STEVE PAXTON: SWIMMING IN GRAVITY
- WORKSHOPS -
25 March > 29 March 2019 - BRUSSELS
This event offers the opportunity to discover varied aspects of Steve Paxtonâ€™s work through a series of workshops â€” Contact Improvisation, Material for the Spine, movement laboratory and dance improvisation. Teachers are artists who have experienced working with Steve Paxton and have integrated it in their own way into teaching and performing practices. All participants will have the opportunity to attend all the workshops, two master classes will be given by teacher during the week. Moments of exchanges, discussions and informal performances are also planned during the week, a jam/party will celebrate the end of the workshop. For more details, see the schedule here below. The workshops will take place in La Raffinerie â€“ Charleroi Danse and TicTac Art Centre.
Price: 230 â‚¬ for the week, lunch included.
Send your CV and a letter of motivation before January 31, 2019 at firstname.lastname@example.org.
The application is for the full week only.
Keep update with the event by following our facebook page Contredanse.
Our practice will focus on the application of grounding, falling, and moving support, to include weight modulation, creating levity, precision in locating centers, developing the optimum tonus and alignment for sudden weight shifts, and more.Â The haptic perceptual system will be referred to inform our movement and choices as we move with others in the field of gravity, riding the curves of spacetime.
Ray Chung is a performer, teacher, engineer, who has a passion for dancing which he likes to share with other people. His main focus is improvisation and use of Contact Improvisation as part of improvisational performance practice.Â He integrates other movement forms into his work, including martial arts, bodywork and Authentic Movement, and regularly collaborates with dancers, musicians, and others.
Photo by Levi Dershowitz
I am interested to take the opportunity to research about the notion of personal score. Revealing the instructions we consciously or inconsciously give to ourselves when we improvise. It concerns as well solo improvisation as group collaborations knowing that whatever is the context we allways have strategies to enter the space, begin, develop langage of movement, interact, be in relation, convene imagination, memory. So in this workshop we'll try to capture our own modes and be able to share it with partners, creating the conditions to discover something about what we do and to observe the phenomena it produces when our inner score is performed by a partner.
Patricia Kuypers is a dancer, choreographer, editor and a dance researcher. She practices improvisation as a performance format and develops creative processes, notably real-time video devices with Franck Beaubois. Since her meeting with Steve Paxton and Contact Improvisation, she regularly teaches in Belgium, France and abroad. Now based in the natural environment of Auvergne, she's been developing a place for creation, research and training in dance, where she teaches and welcomes other artists for intensive practices and open performances.
Photo by Ahmed Waddah
This workshop will create a space in which to explore a number of overlapping versions of our bodies such as: the body as an anatomical proposition (with the skeleton as a point of focus); the body as a perceiving entity; the body as material/substance; the body as a series of processes in time; the body as a reflection of it’s environment. We will work with practical physical exercises and propositions to explore the shift between these and other potential versions of ourselves. This workshop draws on my experience of the work of Steve Paxton via experiments in the studio around, on the way to and departing from Material for the Spine; as well as on the tuning and perceptual practices of Lisa Nelson as extrapolated through my own teaching and performance practices.
I teach movement, perform and devise for performance, and am developing a programme of workshops, performances and other happenings which explore what movement does, at Wainsgate Chapel in Yorkshire, UK. I’m interested in the imagination as a physical evolutionary phenomenon, and in the realm of interaction in all of it’s manifestations.
Photo by Pari Naderi
Steve Paxton developed Material for the Spine (MFS) beginning in 1986 as an exploration of the movement possibilities within the muscles surrounding the spine, as well as the connections between the head, pelvis, vertebrae, scapula and hands. This solo practice is supported by specific exercises, body puzzles and ideokinetic imagery. I have followed Paxton’s work of contact improvisation since 1996 and Material For The Spine since 2010. In 2012 someone asked me to teach a few MFS classes and in recent years this has lead to more and longer workshops. I am responding to people’s requests to learn and to learn myself, and learning is a central constituent of dance. I am also interested in care, preservation and archiving. With MFS we can care for our bodies in hopes of preserving our abilities to move and at the same time we archive this work. What is it to preserve and care for a movement system? A dance? A body?
Otto Ramstad is a dance and video artist and Certified Teacher of Body-Mind CenteringÂ®. For twenty years he has been collaborating with Olive Bieringa as the BodyCartography Project creating performances, films, installations, and festivals. His most current work Lineage looks at learning and how we learn, care, preservation and archiving by drawing lines between his learning of experimental dance and somatic practices, specifically Lisa Nelson’s Tuning Scores, Steve Paxton’s Material for the Spine, Bonnie Bainbridge Cohen’s BMC and emergent the learning of his Norwegian cultural heritage, which has been invisible to him. In his exploration of his Norwegian great grandfather John Ramstad's life and the places he moved through he is reflecting on what it was to live in a body in rural Norway 100 years ago.
The work is informed by exercises intended to cultivate physical and perceptual embodiment and use of the dancers own form, in relationship to their environment. The physical work uses skeletal imaging and movement, with particular focus given to the spine, pelvis and scull. The perceptual work intends to engage the genius of the senses. The purpose of the class work is to extend the participants use andÂ experienceÂ of their physical body, sensation, and action. Contact improvisations may be used in practice.
Scott Smith is a musician/composer and sound designer with a long background in dance/movement, and performance practice. He makes theatre, works in bands, teaches and collaborates with a wide range of practitioners. Originally from Wichita Kansas, he is currently resident in the UK, from where he works internationally as a free lance performer and composer for dance, theatre and video.
La Raffinerie - Rue de Manchester 21, 1080 Brussels
TICTAC art center - Rue E. Carpentier 34, 1070 Brussels
Steve Paxton: Swimming in Gravity is a collaboration between Contredanse, Charleroi danse, BOZAR and TICTAC art centre.
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