Events are listed in chronological order. For historical interest, see also the list of past events.
A special time of year and a special jam when we welcome many of our longtime community members and their families to come and dance. The grass is high, bees are buzzing, the garden smells and tastes like heaven, and contact improvisation is our focus in the studios and in the woods. What better way to be patriotic than to dance with the land and make fireworks on the dance floor? The Earthdance Family Committee organizes a structured children's program for several hours/day.
All levels of experience welcome.
Total Jam Fee: $295 – $415 sliding scale
Workshop in (Contact) Improvisation, BMC & Performance
Schwelle 7, Berlin
Tuesday, June 30 – Saturday, July 4, 2009 – daily 11 am – 16 pm
Morning Class: The Athletics of Intimacy
The morning classes will combine skills and applications of Body-Mind Centering®, with skills and practices of Contact Improvisation to fine tune and engage the imagination of the dancer in solo, duet and ensemble play. The classes will explore musicality and phrasing, the learning of specific lifts and rolls as well as how we craft time and space becoming more tuned to center and subtleties of touch, direction and intention. Skills will include release techniques and experiential anatomy to better understand the mechanics of the body, and developmental patternings, body puzzles, and forms that shape the body and space with odd timings and unusual perspectives to create dances that are dynamic and alive in the moment. We will learn more about the interior of the body and and our ideas and find pathways to external space, time and place. discovering new challenges and risks in our movement vocabulary.
Body-Mind Centering (BMC tm) is an eclectic and dynamic approach to somatic training and re-education developed by Bonnie Bainbridge Cohen.
Contact Improvisation is a duet dance form initiated by dancer Steve Paxton in 1972 that investigates balance, trust, momentum, gravity, stillness and perceptual play.
Afternoon Class: Improvisation: Performance as Exposure
The training of Contact Improvisation is a physical practice that includes increasing range of motion, awakening awareness and clarifying intention.
We learn through kinetic feedback with another as well as through exploring different patterns of movement and how all of our senses lead us into dancing. Touch is not enough.
Preparing to perform requires more than awareness, it asks us to be seen and to see. In this workshop, we will focus on meeting truthfully and directly the unexpected.
Contact Improvisation will be our entrance into the physicality of our images and applications of Body Mind Centering® will fine tune us to the mechanics of our instruments – our bodies.
Weight, mass and breath become movement, become landscape, become story, become question, become idea. We will play with heightening our senses and perceptions, amplifying our awareness to expose more of our interior, making the invisible visible to play with time and space.
Witnessing, reading, writing and the voice will be used to further engage and enliven our imaginations and for discovering new challenges and risks.
How do we ready ourselves for performing and who is the being in the body?
The workshop will culminate (if desired) in 2 evenings of performance.
Friday, July 3 and Saturday, July 4 at 19:00
About K.J. HOLMES
K.J. Holmes is an independent dance artist, singer and actor who has been exploring improvisation as process and performance since 1981.
She teaches, choreographs and performs at festivals, universities and venues throughout the world, as a soloist and in her collaborations with artists such as Simone Forti, Image Lab (Lisa Nelson, Karen Nelson and Scott Smith) and in the work of Steve Paxton. Her influences include Contact Improvisation, Body-Mind Centering®, Yoga (certified teacher 2007), Authentic movement, Ideokinesis, Alexander and Feldenkrais techniques, Martial Dance, world vocal studies and contemporary dance and theater. A 1999 graduate of the School for Body-Mind Centering, K.J. is adjunct faculty at New York University Experimental Theater Wing, is an ongoing teacher Movement Research NYC and has a private practice in Dynamic Alignment and Re-integration in Brooklyn, N.Y. where she lives. She just completed a two year acting training in the Sanford Meisner acting technique at the William Esper Studio in New York City and is developing an evening length piece entitled This is where we are (or take arms against a sea of troubles) which looks at where the body and language meet.
Participation: 5 days 200 Euro
Sleeping: We can host up workshop participants in our special sleeping cocoons. The cost is 10 EUR a night per person.
Registrations per email: info(at)felixruckert.de
Place: Schwelle 7, Uferstraße 6, HH 1. OG (near Uferstudios), 13357 Berlin, Germany
Welcome to ecite09!
It will take place at Edge Hill University in Ormskirk, near Liverpool in the North-West of England, 2.-10.7.2009. There is place for +/- 80 participants.
Ecite09 will celebrate diversity. In experience, teaching-style, age, aesthetics, interest… We would like it to be an event where we can inspire each other and ourselves in our diversity through different forms of exchange.
Exchange has been a keyword in the ecites of the past 14 years, and it will be again this year, in the fields of teaching, current research and performing.
In putting together the programme we are looking at what forms will allow depth in our exchange and are appropriate for ecite now. CI is growing throughout Europe, and is taught and applied in a large variety of places, from academic settings to festivals to therapeutic situations. Festivals and international workgroups become more important as places to meet, practice, learn and exchange. The number of teachers grows, making for larger differences in age and experience. As organisers we take a close look at ecite's place within these developments. For the programme this will mean a larger variety of exchange-forms, ranging from pre-planned activities to 'open' time.
Forms of exchange we propose are:
classes on things we are passionately engaged with
one on ones
talks / discussions
lectures and lecture demonstrations
videopresentations of work done
to attend ecite09 you must apply via the website! visit http://www.ecite.org/
The participant all-inclusive price is £ 345 (GB Pounds).
Please, check under Children/Guests for additional price information.
A small number of bursary (supported) places are available for European contact improvisation teachers, reducing the price to £ 245. If you wish to apply for a bursary place your application must be completed online by 31st March. Please state your reasons for wanting a bursary place and whether you have sought additional support from other sources. Bursary applicants will be notified by 15th April if we are able to offer them a supported place.
spazio NU Pontedera (PI)
Taught by: Jess Curtis, assisted by Maria Francesca Scaroni
Contact Improvisation: Compositional Tool / Performance Event?
6-10 July (h. 11-17)
A course and laboratory for people with intermediate to advanced skills in Contact Improvisation, exploring the use of those skills as both a compositional tool and a performance form. We will address issues of presence, connection with a partner, dynamics, virtuosity, utilizing scores and musical accompaniment. We will also explore staging, the integration of objects and the exploration of contact-based images. We will develop movement as both virtuosic, performative action and as meaningful theatrical image. We will examine the physical actualities of touch, manipulation, counterbalance, force, resistance, and surrender, both as physical states and as metaphors for interpersonal and intercultural relations. We will examine and practice the state and quality of improvising, looking at a variety of relationships between imagination, action and time.
Jess Curtis, Director/Choreographer
Living and working in San Francisco since 1984, Jess Curtis has created a body of work ranging from the underground extremes of Mission District Warehouses with Contraband (1985-1994) to the formal refinement of European State Theaters with Jess Curtis/Gravity (2000-present). Along the way Mr. Curtis has co-created ground breaking circus works with the Franco-American Circus project Cie Cahin Caha, Cirque Batard; collaborated with the renowned FabrikCompanie in Potsdam Germany to create the award winning fallen; and been commissioned to create works for companies such as Artblau in Germany, ContactArt in Milan, Italy and Blue Eyed Soul Dance Company in England.Mr. Curtis has twice been recognized by the Irvine Foundation/Dance USA California dance initiatives having been awarded a California Dancemakers Fellowship (2001) and a Dance: Creation to Performance Award (2005). In 2005 he was the recipient of San Francisco’s prestigious CHIME (Choreographers In Mentorship Exchange) Fellowship with and was one of twenty American choreographers nominated for the extremely competitive Alpert Awards in the Arts Fellowship. In August 2002 he received a Fringe First Award at the Edinburgh Fringe Festival for “fallen”, which in 2003 was also awarded San Francisco’s Isadora Duncan Dance award for best company performance.After a youth filled with sports and musical training, Jess began making dances in the early 1980’s at California State University, Chico where he studied creative writing, theater and modern dance. Upon graduating he moved to San Francisco where he joined the Lucas Hoving Performance Group, and the San Francisco Moving Company and performed at Brooklyn Academy of Music’s Next Wave Festival with experimental theater innovator Chris Hardman in Antenna Theater’s “Russia”.
In 1984 Jess met and began to work with choreographer Sara Shelton Mann and helped to form San Francisco’s internationally acclaimed CONTRABAND. Over the next nine years he was a primary collaborator in the creation of seven full evening dance theater works, specifically co-conceiving “The Invisible War” (1989) and “Mandala” (1990), and producing tours to the former Soviet Union, Italy and across the U.S.A. Together they received 3 Isadora Duncan Dance Awards.
In 1994, Jess co-founded the extreme performance group CORE, with Stephanie Maher, Keith Hennessy, Jules Beckman, and Stanya Kahn. CORE created two full-evening works, “Psychic Driveby”, (1994) and “entertainment for the apocalypse” (1996). In 1997/98 Curtis, Beckman, and Hennessy created the critically acclaimed “Ice/Car/Cage”, which received an SF Weekly Black Box Award for Choreography and two Isadora Duncan Dance Awards for Best Choreography and Best Visual Design.
From 1999 to 2002 he and longtime collaborators Keith Hennessy and Jules Beckman worked with with noted French circus director Gulko on a new dance-theater-circus called Cahin-Caha, Cirque Batard. The project toured extensively throughout Europe, including a two-month run at the prestigious Parc de La Villette in Paris, and in the fall of 2002 toured to the US for a sold-out four-week run at Yerba Buena Center for the Arts in San Francisco.
“enormous physical and metaphysical risk expressed through some of the simplest means with the lightest touch.” Sima Belmar, SF Bay Guardian
Maria Francesca Scaroni is a performer and teacher from Italy.
After dancing in Italian TV productions, she trained and worked with Manuela Bondavalli Danza (1998/2004), a collaboration that rooted her dance practice in release-based contemporary technique and Contact Improvisation. Joining Jess Curtis/Gravity (2004 to present), a San Francisco/Berlin based collaboration project, her perspective on dance and dance technique was challenged by an ongoing questioning process around improvisation as a performative practice, nurturing a more critical/informed attitude around the choices and modalities of performing movement. With Gravity she extended her teaching practice to Contact Improvisation, Composition and physically inclusive workshops.In 2006 she met the San Francisco choreographers/dancers Sara Shelton Mann and Kathleen Hermesdorf, who invited her into a creative process that will premiere in 2007.
She holds a Masters degree in Contemporary Literature, with a focus on Communication and Performance Theory. She enjoys cross-training with Tango, Yoga, Aikido and Gyrotonic.
Interested in deepening your contact skills and awarenesses? Looking for ways to bring new focus and engagement to your existing practice? Come to Earthdance this summer as we bring three seasoned teachers and active researchers of contact improvisation from the West Coast for a special six-day intensive. You will have the opportunity to engage in workshops, labs, and open jamming time with both the teachers and other experienced dancers. Bring the topics you've always wished you could explore more fully, your burning questions, and your own artistry. Dialogue and dance with your peers, as you evolve the form together.
Alicia Grayson has had a love affair with CI for the past 20 years and has taught for the past 16. Brenton Cheng is a teacher, director, and performer of improvised and choreographed work, based in the San Francisco Bay Area. Nita Little has been developing, choreographing, performing and teaching improvisational dance for the past thirty-six years, notably Contact Improvisation , which she helped evolve from its inception with Steve Paxton , Nancy Stark Smith and others.
Sliding Scale Tuition: $250 – $350
Standard Room & Board: $225
Total Workshop Fee = Tuition + Room & Board
Join members of SPAN: Spontaneous Performing Artists Network, a national group of improvising artists, July 12-18, 2009 for an intensive exploration of improvisation through somatic modalities, Contact Improvisation, site-specific exploration and performance.
Located at Wild Meadows Farm in Schellsburg, PA, and surrounded by 200 acres of secluded mountain ranges and fertile valleys near the Allegheny Mountains, the intensive will provide ample opportunities to nurture, expand and challenge your improvisation practice.
Activities will include classes in: Contact Improvisation, improvisational performance, developing site specific approaches, the Bartenieff Fundamentals, Six Viewpoints and Authentic Movement.
Nicole Bindler (Philadelphia)
Cyrus Khambatta (Seattle)
Sharon Mansur (Washington, DC)
GENERAL INFORMATION: Wild Meadows is surrounded by secluded mountains ranges and fertile valleys, an ideal location for reflective thought and investigation into the practice of improvisation. Some previous experience is requested. Break periods will be scheduled to enable participants to take in the glorious natural surrounding of the farm.
FOOD: is included and will be communally prepared. Each participant will be requested to assist in the preparation of 2-3 lunch/dinner meals (with work study assistance).
TRAVEL: The farm is 2.5 hours from Washington D.C., 5 hours from New York City, 3.5 hours from Philadelphia and 2 hours from Pittsburgh. There are also buses and trains to where pick ups can be made.
Early registration sliding scale: $200 – $350
(full payment due by May 18th)
Regular registration sliding scale: $225 – $375
($75 deposit due by May 18th)
DEPOSIT: $75 deposit due by May 18th, remaining amount due June 29th
You're welcome to pay whatever you can afford within the sliding scale. Please keep in mind when choosing your fee that the market rate for a retreat of this scope is $375 or higher. We're offering a sliding scale a scale rate to include folks with varying incomes. *Cost includes all food, lodging, and workshop, except travel.
Dates: 18-26 July 2009.
July 18 – Teachers performance in Theatre of THE MEYERHOLD CENTRE. Participants are invited free of charge!
July 19 – participants arrival and registration, festival opening. Jam
July 20-21-22 – first three days of intensives, classes and performance research labs.
July 23 – day off, discussions with teachers and evening OPEN JAM.
July 24-25 – intensives and classes resume, closing circle on 25th night.
July 26 – good-bye jam and departure of participants.
Andrew Harwood (Canada);
Martin Keogh (USA);
Arye Bursztyn (Israel);
Gesine Daniels (Germany).
If you would like to get a discount for participation – you should register before 10th of June. We will find you where to stay on 18th night after teachers performance, please come on 18th!
In addition to the festival itself we organize TWO workshops in Moscow (in the city):
July 10-14 – workshop for all levels with Andrew Harwood.
July 28 – August 3 – workshop for advanced CI dancers with Martin Keogh.
Large discounts for the workshops are available for the festival participants.
350 euro for early registered
July 25-26 Workshop: CONTACT CONFIDENT (all levels of experience)
Everything you need to know for safe and satisfying dancing.
The principles are simple, the practice infinite.
Beginners welcome. Participation is divine.
Come as you are, begin from there. Bring your curiosity.
July 26 – August 1: CONTACT INQUIRY & JAM
State of Inquiry: How does inquiry inform our dancing?
What is? What are we doing? What else is possible?
What unfolds as we embody our curiosity, physically and verbally?
We gather to inquire, of ourselves and each other.
Camping, food and childcare provided.
Tasty vegetarian meals with wheat-free, vegan and non veg. options.
Non-refundable deposit of $100 is required, with the total due July 1.
Workshop is limited to 25, the Inquiry & Jam to 50.
Last year we filled fast, so send a deposit to save your space.
To register send cheques to-
123 Sesame Street
Lasqueti Island, BC V0R 2J0
or contact Mark at email@example.com
Explorer of C.I. since 1984, calling her thread of inquiry the Touchmonkey path. She realized hundreds of performance projects with Patrick Gracewood in the 90's, spent years teaching and performing world-wide and is now based in Portland, OR. Her events emphasize inquiry and exploration as the origin and life blood of the form. All are invited to research and contribute to the paradigm of contact improvising, on and off the dance floor!
Workshop only: $150 (CDN)
Inquiry & Jam Only: $280 (CDN)
Full 8 Days: $380 (CDN)
Camping, wholesome meals, and childcare are included in the event cost.
with Patrick Crowley
1 – 5 pm Sunday July 26, 2009
We will develop our skills in contact improvisation while finding the freedom in the form. Support, alignment, leading/following, upside down work, lightness, moving without manipulation, vision exploration, sound, solo, duet, trios, and different improvisational scores will be some of our investigations. We will span the subtle and the large. The objectives are learning through the movement, letting the body live in its natural state, and of course, fun!
Beginners Welcome. Please email or call with any questions.
$50 ($40 if pd. by 7/17)
Contact improvisation requires a courageous willingness — but never so much as when we dance in the absence of will – those moments when we drop the reigns and, nowhere bound, allow our animal to carry us.
Join good company for dancing and discovery. With games, some sweat, and the unique physicality of the contact body we will savor and rock the boundaries between states of allowing and mindful intention.
We will explore:
• Moving from a base of sensation
• Dancing with a shared central axis
• Seeking ease in going off balance
• Finding the spontaneous acrobatics of the form
• Spending more time in nuance, disorientation, and extended follow-through
This is an advanced level training for those with a grasp of Contact fundamentals.
150 euro for Russian CI festival participants;
250 euro for those who comes only for the workshop.