But that only becomes necessary after nonverbal boundaries have been ignored, missed, or misunderstood. When a sexual boundary has been transgressed the act of re-establishing that boundary can have an especially significant emotional cost. That just needs to be understood. For me it goes like this:. As much as I advocate for myself and others to practice setting boundaries and speaking them, I also advocate for the world to do better at not transgressing in the first place.
Beautifully stated, and so well thought out, Sarah. It took me a long time to read this article because so many things you said created a flury of memories and feelings within me that I had to process. I could probably write an entire article in response to your article. For me, boundary setting within a dance goes beyond the issue of sexuality within a dance.
There are many times when I have felt slimy or completely uncomfortable after a dance. I often have difficulty processing the why, but I am left with the feelings. There can be so many subtle messages within a dance. I sometimes feel as though I am navigating through a labyrinth. Your article is extremely thought provoking for me and I will continue to process. I look forward to further discussion. Some folks there organized an ongoing discussion during the jam about boundaries, permission, and sexuality that I found echoed a lot of what is written in this post. I have two contributions from those discussions:.
However, It was pointed out to me that just because this type of touch generally produces positive experiences for me, that I cannot assume this is true of my dance partners.
This is certainly true! Reflecting on my personal desire for dances that permit and welcome extraneous touch, I engage in a process of negotiating what kind of touch and interaction are welcome in a duet from moment to moment, through my own awareness of feedback from my partner. I tend to follow more than initiate, keeping always aware of the potential for greater trust and risk to unfold in the duet, or not.
But of course, this negotiating and following could all still just be my more subtle way of imposing my will and desire into a duet!
Fundamentals of Contact Improvisation
I would love to hear feedback about this. Suffice it to say that this has been my experience with CI, but I also realize that I have an entire litany of societal privileges that have made the CI environment more easily transformative for me than for those without white, male, and heteronormative privileges.
Yet I agree that CI must insist on creating a framework of social responsibility that names and dismantles unjust privileges. It, obviously, helps me better understand the challenge for others, including those with less power in a situation. Awesome and super educational mythbreaking. I enjoyed it so much.
Thanks for mentioning and reminding about the importance of intersectional power dynamics. And for you powerful story about your experience saying no. I gain awareness of my possible power abuses through stories like this.
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Thank you! Fantastic article Sarah! Really appreciate this. Thank you for making the case for creating space for talking about issues. It can re-establish a boundary, but, other times, it can set a boundary. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.
Dance improvisation in dance education: Attitudes and uses
Now Sarah: Hello! Happy reading, respectful dancing! A response to romantic hands after dancing Some dances resolve in a sort of post-coital lull, a moment when the shared energy generated by a dance continues to play and swing around our resting bodies. For me it goes like this: First, I have to recognize that I am feeling uncomfortable. Since I am socialized as a woman, with the expectation that I should be able to easily make emotional accommodations and put others before me, I usually brush that feeling off a few times before I accept that it is strong enough to deserve attention.
Then I have to check in to make sure that the source of my discomfort is someone else, and not my own headtrip or gas. Then, I swell with a mixed sensation of disappointment, dread, and anxiety as well as fear, rage, or any other cocktail of heightened emotions which could be related to the specific details of the current experience, past trauma, a response to other factors about the environment, etc.
Next I have to calm myself down using strategies developed over the course of a lifetime fending off unwanted sexual advances. I remind myself that I deserve to stop it immediately. At this stage, I also do a lot of subconscious caretaking. I get concerned for the other person, feel guilty for the possibility that they might feel uncomfortable, attacked, or offended.
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Practicing movement towards the unknown. During my travels high up in the mountains, I realized that fear and anxiety are never behind or ahead of me; they are where I am right now. My courage awakens just when I make the step above the peak of the mountain. When I jump from stone to stone, I find myself scared but courageous and funny.
#3: Saying “No” is easy
This is what this workshop is about - the novelty of each step and movement. Having danced Contact Improvisation since , I keep renewing my interest in this form and specifically in relation to my performance work. It has given me a strong basis to come in a physical and emotional dialogue with others. In my work as a dance maker and improviser I am interested to explore different crossroads between dance and physical theatre. Using the potential of the human body to tell stories through movement in a non-literal way. Contact Improvisation will be the common ground to continue and deepen our skills to come into a physical and kinaesthetic dialogue with others.
From there we will enter the realm of improvisation in relation to performing. We will play with different scores for improvisation to challenge and sharpen our compositional and spatial awareness.
Articulation and playfulness are two keywords for this workshop in which we will dance a lot for and with each other. Dances in which we can expect to be in physical contact at any moment and at the same time keeping an awareness of ones own direction in improvising. Benno Voorham is an international performer, choreographer and teacher from Holland, living in Stockholm since Since his graduation in from the School for New Dance Development in Amsterdam he has worked internationally as an independent dance-artist, directing his own work as well as collaborating with others in both set and improvised pieces.
We like to play, dance and move together. When can humor and lightness appear? When we are ready for surprises!
Bring your imagination and a curious sense for understanding as the dance unravels between us. It could be seriously funny! Playing and dancing is to be taken very seriously. Full commitment is required if we want to delve into the unknown. We will offer some movement games and take time to watch other dance.
After that we will see Tonya then worked in the Moscow Malaya Bronnaya Repertoire Theatre for four years until when she moved to Ireland and joined Echo Echo Dance Theatre Company where she now regularly performs, teaches and directs work. Tonya also performed in The Cove which toured to six theatre venues around Ireland in This class aims to open our movement into 3 -dimensional space and to make us able to respond to any changing circumstances in the dance.
Closer, further, in and out of contact. Yes, spirals deal with reaching, strong tone but also with relaxed, released movents. What kind of quality does a relaxed body add to the dance?yqyjicivax.ml
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Let's explore together. For me a free neck is one of the the most important keys of the dance. I believe that: - a free neck allows more easy upside down positions in the dance and more fluent and efficient lifts - it opens the spine! Then it opens the backspace! Letting the neck free is one of the ways to make the head flow.