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The 4 Rules That Will Get You Through Your First Contact Improv Class
Experienced practitioners of contact improvisation appear to float through the air and move through the most daring positions with ease. Those new to the form, on the other hand, often feel awkward and impatient. Some dancers hesitate, worried they will hurt their partner by giving them too much weight. Others move too quickly, trying for impressive lifts without laying the proper groundwork. Having spent so much of their training focused on aesthetics, many dancers struggle to stop fixating on what their movement looks like. But just like any other form of dance, contact improvisation skills can be developed with practice and the right approach.
1. Forget Your Assumptions
Contact improvisation was created to be done by anyone, regardless of dance experience. While dancers have certain advantages, like familiarity with movement and partnering, they also face specific challenges.
"Some students may be familiar with partnering techniques where the places people touch and the ways they lift are very composed," says Stephanie Nugent, who teaches contact at Indiana University. "Other people may have improvised, but not with partnering." Dancers may have also learned that men should lift women, that bigger people should lift smaller people, or that one person should be in charge. None of those things are considered a given in contact improvisation.
Rather than thinking of picking a partner up and putting them down, says Barnard College professor Colleen Thomas, dancers should focus on the connection from the floor, to their core, to their partner.
2. Know When to Say No
Part of contact improvisation is learning to say yes to your own ideas and your partner's. It may seem counterintuitive, but one trick that can help you feel more comfortable saying yes is knowing when and how to say no.
"Touch has so much social and physical meaning. It's important to acknowledge when you feel uncomfortable, and then make a choice either to be interested in that or say 'I want to stop,' " says Nugent. "Being able to say no is really fundamental to safety." Thomas suggests taking a moment to pause and reset if you begin to feel uncomfortable.
For Nugent, saying no is fundamental to safety. PC Crow's Eye Photography, Courtesy Nugent
To get students more accustomed to touch, most teachers begin with simple exercises like placing hands on a partner, starting with neutral places like the shoulders. "Through my contact practice, I've learned to recognize my own boundaries, whether physical or emotional," says Nugent. "It's really powerful to have that awareness and make conscious choices based on it inside and outside of the studio."
3. Be Okay With Not Knowing
As with other forms of improvisation, part of contact is learning to notice your own impulses without judging them. However, the addition of a partner can complicate efforts to go with the flow. "Dancers have a harder time getting out of their choreographing mind. They want to make a lift happen, or try to control their partner," says Thomas. "But in contact there is shared weight. You would fall if your partner left and vice versa. There are no followers. Everyone is a leader."
Instead of thinking about what the dance might look like, focus on your sense of touch. Feel the connection between your body and your partner's, and work on maintaining a point of contact as you move through space.
Colleen Thomas emphasizes that everyone is a leader in contact improv. PC Alex Escalante, Courtesy Thomas
Thomas feels that the freedom of contact is especially beneficial for her college students, who are striving to succeed in a high-pressure environment. "This is the one time during their day that they get to come in and not know," she says. "It really opens up new pathways in the body."
4. Think About Quality
Dancer Christina Robson has worked with several choreographers who rely on contact improvisation for movement generation, including Bill T. Jones, David Dorfman and Alexandra Beller. Robson's biggest aha moment came when she started to think not just about giving weight to her partner, but about whether she was being active or passive in that exchange. "I realized that surrendering into softness or engaging into active tone creates different transitions into and out of my partner or the floor," she says. Focus on the quality of your touch. Is it firm or light? Are you pushing or softening into your partner? Experimenting with different intentions will change the trajectory of the dance.
Christina Robson (in white) in Bill T. Jones' Analogy: A Triology. PC Ben McKeown, Courtesy NYLA
After years of practice, Robson says she still has to remind herself to be patient and listen to her partner. According to Thomas, honing those physical listening skills will benefit your dancing beyond contact. "What's happening in the brain in contact is similar to what's happening when we meditate," she says. "You learn how to take care of yourself, and trust, and take risks, and it creates a lot more range in your dancing."
Season 2 of World of Dance is almost here! The new season officially kicks off on Tuesday on NBC, and it's bringing a whole new crew of talented dancers with it (plus, some old favorites). Dance pro judges Jennifer Lopez, Derek Hough and Ne-Yo are back, too, with Jenna Dewan serving as the show's host.
Obviously we'll be watching, but just in case you're not completely sold, here's why you're not going to want to miss out:
JLo Might Be Performing
Earlier this week, JLo (who serves as the show's executive producer) posted this insane promo clip to her Instagram. Dancing to a mashup of Cardi B's "Bodak Yellow" and her new single "Dinero," JLo reminded us all of her dance skills while also leading us to believe she might just hit the stage herself for a performance.
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Considering we practically live in our dance clothes, there's really no such thing as having too many leotards, tights or leggings (no matter what our mom or friends say!). That's why we treat every sale as an opportunity to stock up. And thanks to the holiday weekend, you can shop all of your dancewear go-tos or try something totally new for as much as 50% less than the usual price.
Here are the eight sales we're most excited about—from online options to in-store retailers that will help you find the perfect fit. Happy Memorial Day (and shopping)!
Now through Monday, Danskin's site will automatically take 25% off your entire purchase at checkout. Even new items like their Pintuck Detail Floral Print Sports Bra and Pintuck Detail Legging (pictured here) are fair game.
"The sun may be shining brightly, but we are not in a very sunny mood today!" said New York State assemblywoman Linda Rosenthal during yesterday's rally for the Artists of Ailey.
The dancers and stage crew are demanding increased wages and more comprehensive benefits, what they have termed "reaching for the standard" and "fair wages."
Pain is an inevitable part of a dancing life and dancers have a high tolerance for it, according to Sean Gallagher, a New York physical therapist whose practice includes many professional performers. "So when dancers complain, it really means something," he says.
But women and men experience pain differently, and tend to be treated for it differently as well. Female dancers need to understand those differences before they go to a doctor, so they can make sure they get treated promptly and effectively.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.