Events are listed in chronological order. For historical interest, see also the list of past events.
L’Improvisible dispense des cours (ou plutôt des séances guidées) de contact improvisation à Lille depuis 2013.
Marguerite Péchillon dirige les séances et lance les Jams occasionnelles.
Les cours se déroulent à l’école Arthur Cornette, 18 rue eugène Jacquet à Lille (près des metros Caulier et Euralille)
Improvisible : classes and jam of contact improvisation in Lille (Rijsel) since 2009. Classes at school “Arthur cornette, 18 rue eugène Jacquet” à Lille (Rijsel) (next to subway stations “Euralille” and “Caulier”.
Lundi : 20h15-21h30
Monday : 20.15PM-21.30PM
1 cours : 12€
5 cours : 50€
235€ l’année (200€ tarif étudiant et demandeurs d’emploi)
Every 3rd Sunday of the month | at 4pm
at Praça da Liberdade
- March 20
- Abril 17
- May 22
- June 19
“Jams” de Contato Improvisação
Todo 3° domingo de cada mês | às 16h
Coreto da Praça da Liberdade
- 20 março
- 17 abril
- 22 maio
- 19 junho
KATIE DUCK: IMPROVISATION – Workshop in Performance Research and improvisational compositions – June 3-5, 2016 in Berlin
DATE: June 3-5, 2016
VENUE: Tanzfabrik Kreuzberg, Berlin
COST: Earlybird 100€, thereafter 120€
REGISTRATION: For registration details and workshop questions please contact me by e-mail at email@example.com
EVENT WEBSITE: http://contact-improvisation.net/2015/10/02/improvisation-workshop-by-katie-duck-june-3-5-2016/
Katie Duck has been investigating theater, dance and music with live performance for over 30 years. In her workshop, she takes a microscopic view on the role improvisation plays in a live performance combining her background in the performing arts with her curiosity for advances in brain studies, music and movement research.
WHO COULD ATTEND?
Katie can accept students from all performance art backgrounds and professional levels. Her only concern is that anyone who studies in her workshop have a deep interest in the work and is willing to experiment and take risks with the material she offers.
WHAT YOU LEARN?
Improvisational performance breaks the framework of preset choreography and challenges the artist to be the creator/composer/choreographer and the performer at the same time; to be the doer and the observer simultaneously. It is about learning ‘The Eye’: of the space, of the watcher and essentially the eye of work being created.
The workshop is oriented towards building skills of performance presence, timing, tracking and conviction of choice/action. It focuses on developing skills to interpret dynamic space and creating one’s own performance frame. While Katie aims to explore novel and rigorous approaches to body work. The main focus lies in reaching a state of surprising oneself. The workshop will be structured into body work, activity-based sessions, performances and a jam.
Her warm-up and exercises emphasis how the eyes and the ears work in coordination with movement, sound and exposure to gathered crowds altering our perception of time, space, feelings and emotions. Improvisation sessions revolve around the terms pause, flow, exit, choice and presence with discussions articulating play, memory and intuition.
Katie guides the dancers and performers through physical exercises that highlight how the eyes and ears affect movement choices and developmental brain studies about “how we learned to walk”. She extends the workshop toward improvisation sessions by setting a fictional front in the studio space and then declaring this as a platform to choose pause, flow or exit. This platform highlights how the limit of these three choices can already provide the frame for a composition to take place, and that misunderstanding, coincidence, live time, interactivity, messiness, emotions, intuition and inspiration are basic materials in a creative process. These raw materials are integrated with the combined fact that everyone in the workshop group can make a choice.
Choice is introduced to the workshop group as a compositional reality but also as a means for individuals to elect to participate in the performative or as a viewer and yet remain involved in the process. The aim is to gather the workshop group to recognize that in a creative composition process, time is passing at different perceived speeds and that space is shifting in several dimensions at once. This awareness creates a presence in the space and a compositional alertness.
Her aim is to provide a situation where artists can practice together and grow in confidence toward public performances with an objective to clarify that improvisation not the antitheses of choreography or composition but rather the way choreography and composition can be executed.
The improvisation sessions are given a delegated time frame with an option for the workshop group to shift, drop or lift the space at will. This shifting, dropping and lifting of the performance space places each individual in a position where they need to be to be fully awake or they will recognisably loose the thread of the creative compositional activity in play.
HOW KATIE TEACHS?
Katie has been teaching since she began to perform professionally in the mid 70’s. She is dedicated to how process and research play a major role in how one can continue to be artistic in how they approach their life and their work.
Over the past 10 years her workshops have been titled “Improvisation” in order to emphasis her views on theater as a live art form reflective of how she executes her own professional performances. Her research is placed in practice with lectures containing her recent interest in brain studies and film.
She integrates her current research making each workshop completely unique. She draws from her experiences in live performances, music collaborations, as a director and choreographer.
Her enthusiasm for a young artists to be able to continue their practice, in a very different atmosphere than when she began her work, is evident in how she has continued to up grade her life style with new technologies, continued to do research in the sciences, the performance arts and music. She has created several projects with an aim to support a young artists rather than her own career. She continues to take risks with her own career in the support of young artists giving them the possibility to experiment within their own practice.
She promotes to her students that the mental connection to the practice of improvisation can be accessed weather they are doing set or open framed performance pieces and that the definitions of what improvisation within art practices mean today need to be reflective to advances in brain-studies and technology.
In the way she communicates with students, one is aware of how she understands that the professional field of the arts has altered drastically in comparison to when she began her practice in the mid 70’s. As part of her teaching, she encourages young artists to devise strategies that allow for them to sustain the production of their work with creativity and research involved and yet survive.
Katie has had the possibility to create material for her workshops out of a wide range of practice in the performance arts. She has never formulated her teaching material into a frozen body of knowledge. She does not believe that the accumulation of knowledge is how one becomes a teacher. She believes that It is out of her practice and the practice she witnesses with a student that all knowledge becomes clarified in the lessons she leading.
QUOTES KATIE DUCK:
“The combination of moving, seeing, hearing, feeling and deliberately volunteering to expose myself in front of an audience alters my perception of time, space and emotions. What I do for a living is an induced neuron madness”
“I am not interested in the moment even though it does feel good. I am interested in movement and the fact that time is passing. It is a kind of hippie hype to encourage someone to be in the moment.”
“A fully awake body is rarely pedestrian. The body awake needs to be discovered and demands a discipline beyond everyday tasks. And yet when I see movement that does not respect the beauty of the body as pedestrian I become uncomfortable. How the body works and how I see a body is not so different an activity in how I feel. To not respect the body as an already perfect place of motion is like watching a dog trying to learn ballet.”
Cage make a movie
(Solo Katie / Music Mix Katie Duck)
Duck and Snaith (girls at work)
(Yolanda Snaith and Katie Duck / music mix Katie Duck)
Recent improvisation (OT301 Amsterdam / live musicians)
Katie Duck & Alfredo Genovesi at SDSU – closing talk
DR Sharon Smith essay about working with Katie Duck
Home from Home by the Blue Stocking Social Club, by Vincent Cacalano
BIO KATIE DUCK:
Katie Duck has been a professional performer and maker since the early 1970’s. She has been a influential figure in the improvisational performance scene internationally, inspiring generations of performers, musicians and performance makers. She set up the acclaimed Gruppo in Italy in 1979 and toured Europe with a host of productions. She was head of choreography at Dartington College of arts (senior lecturer) in the late 1980’s. She joined the staff at Amsterdam Hogeschool voor de kunsten in 1991 teaching movement research, improvisation, composition and technique and founded the improvisational dance and music company Magpie in the 1990’s with whom she toured internationally. She has collaborated with renowned dance and improvisation music artists form all over the world. Katie’s career has included independent teaching, university teaching, set choreography’s, structured improvisations, music and dance real time performances and live streaming international performances. Her collaborations have been with musicians, visual artists, lighting designers, dancers, actors and comedians. She has initiated education courses and workshops, festivals and monthly performance series in her three bases Italy, England and Holland. She has led dance companies, dance/music companies, advises young artists and has written text for her performances as well as critical articles. Katie has a determination to continue her research in theatre, music, dance, text and performance. Alongside her vocational studies, her research has led her toward social studies, cultural studies and brain studies. She believes that her research must not be validated by way of academic speak alone but rather on her insistence to hear, see and take part in the practice.
More at Katies Website: http://katieduck.com/about-katie-duck/bio/
June 3-5, 2016
Friday: 4-8 pm
Möckernstr.68, 10965 Berlin (Kreuzberg)
U6 & 7 Yorckstrasse / Mehringdamm
S1 & 2 Yorckstrasse
Bus M19 Katzbachstrasse
This workshop offers specific explorations in Contact Improvisation and embodied mindfulness practices, guiding us toward fully engaged presence. Whether you are brand new to C.I. or mindfulness practices or a long time practitioner, engaged presence and embodied action are available to all of us. We will draw on meditation, Body Mind Centering, Authentic Movement and visualizations as we move in and out of solo and partner dancing. Our mindfulness practice will enhance our fluency with important CI skills, such as refining our sensitivity in listening and responding to touch, following the point of contact, giving and receiving weight with ease and using momentum.
Cultivating presence allows us to be open in any moment to an infinite number of choices in the dance. For those new to CI, you will be supported to listen deeply to your whole body self as you attune to your partner, creating the ground for delicious dancing, based in listening, awareness and spontaneous action.
For those of us who have practiced CI for years we can become habituated to particular choices and find ourselves unconsciously swimming in the same pattern, body system or tempo. This series will help us recognize that a multitude of choices are available at any moment, allowing a whole new world of experience to emerge.
Alicia Grayson has been passionately involved with dancing, teaching and performing CI for the past 27 years. She has taught contact improvisation as an adjunct faculty at George Washington University, University of Denver, Naropa University and Shenandoah University. She teaches CI, yoga and pilates classes in Boulder and regularly travels nationally and internationally to teach. Her long time practices of authentic movement, yoga and meditation are important influences on her dancing and teaching. She is a certified Hakomi Therapist and Perinatal Somatic Therapist. She delights in exploring and discovering new depths to contact improvisation and related disciplines and is particularly interested int he intersection of physics and expression and the mind/body relationship.
10 -13 June
at THE GRANGE
4 days of improvisation and exchange through contact improvisation, dance, music, drawing, eating and discussion in a beautiful renovated barn in south west france, one hour from bordeaux.
Possibility for carpooling from Bordeaux.
There is a dormitory on site. Food is vegetarian and can be organised for special needs (no dairy, non-gluten).
We invite people that are willing to enter into “contact” with others, in what way are we able to contact, through which method ?
Prices include food and sleeping-
25 people maximum, reserve your place ASAP
website : (in french)
Contact for more details in english : firstname.lastname@example.org
Friday June 10 – Sunday June 12 : 100 euros
Friday June 10 – Monday June 13 : 120 euros
With Katri Luukkonen and Hugh Stanier
Look forward to a Contact Improvisation holiday with Greek flair in the middle of gorgeus landscape and a dance floor directly in front of the sea.
During this retreat we wish to offer you diverse taste of our favourite ingredients of Contact Improvisation and dance.
Slowing down, and sinking deeper to ourselves. Breathing, arriving with soft floor-work and bodywork/massage-inspired material into more dynamic exchanges. We will approach the core principles of Contact with a relaxed and playful attitude.
Beginning with basic Bodywork techniques we will move into individual floorwork, partner rolling and then gradually building up to standing using the natural spirals of the body. Exercises will alternate between contact and solo work to connect the group as a whole, creating an open, safe environment where participants can feel totally free.
Emphasis will move on to improvised duets where we use each others’ energy to spin off into moments of freedom and individuality, then finding pathways to reconnect with our partner.
The focus of the workshops will be to cultivate deeper awareness of listening, breathing, giving, receiving, timing. Developing our dances from inside out, from down to up, exploring organic movement on different levels. Finding soft strength and support, preparing our bodies to listen and connect with the others, as well as with the space, and our surroundings.
We gonna explore simple tools as sharing weight, support, momentum, suspension, different qualities of touch, impulses, leading and following, falling, spiralling… Playing with our spines and centers. Using our breath to soften our being. Finding effortless and easy ways to move together – finding the flow and joy of dancing.
We´ll also play with energetical space around us – in and out of contact. Creating a sphere of listening with all our senses, touching without touching. Developing sensitivity to read and follow each other in movement.
Price: 299/419/499 Euro including:
• 7 nights accommodation at Karras Star Hotel (Shared Room)
• Additional charge Single Room: 120 Euro
• 7 x breakfast buffet at Karras Star Hotel
• 6 x vegetarian, organic lunch buffet at THE EGG
• All sessions/classes at THE EGG
During this week participants will experience the lifestyle that we espouse at Leviathan Studio. We will labour for a few hours, meditate for a few hours, dance for a few hours, eat for a few hours and sleep for a few hours.
Labour will be participant directed. If you want to garden, there is gardening that needs to happen. If you want to help build a tiny home, we will be doing that too.
There are three meditation times per day of one hour. Meditation is not taught at Leviathan Studio. We practise vipassana in the style of S.N. Goenka.
Self care is the physical practice of undoing the damage that labour can do to your body. Participants will be led in Tai Chi, Yoga and Contact Improv exercises.
The food is extraordinary. Participant prepared mostly organic and abundant.
$425 Canadian includes tuition, meals, and camping or dormitory.
The friendly small-scale international festival is once again host to contact improvisers from around the region and beyond*. From June 20–26, 2016, participants will get a chance to study intensively daily with experienced teachers from various countries. There will also be jams, and participants get to live on-site at the venue, which is the beautiful Rimbun Dahan, a residential arts center situated not far from the city.
Heike Kuhlmann (Germany)
Chan Sze-Wei (Singapore)
Hiroko Takahashi (Japan)
Yana Sutina (Russia)
Kirill Popov (Russia)
In addition to the festival, an Underscore practice will be facilitated on June 18 and 19 in conjunction with the 16th annual Global Underscore.
*Past festivals were attended by participants from countries such as Malaysia, Singapore, Hong Kong, Taiwan, Japan, South Korea, Australia, Finland, Germany, Italy, Spain, Switzerland, Russia, and the United States.
Fee for both Underscore & festival: USD400
Fee for Underscore practice only: USD100
Fee for festival only: USD340
Fee for both Underscore & the festival: RM870
Fee for Underscore practice only: RM225
Fee for festival only: RM740
In this 12 day workshop participants will be led through the foundation exercises to Contact Improv including Tai Chi, Vipassana Meditation and Aikido.
This workshop is for all levels. There are many experienced dancers returning to participate in this workshop as the skills are not learned in a day. Tai Chi, Spiral Rolls, Crescent Rolls, Aikido Rolls, are all skills that everyone should practise regularly. These skills will make anyone a better Contact Improv dancer.
Vipassana Meditation is not taught at Leviathan Studio. Participants are expected to endeavour to be quiet and still. Napping or sitting quietly in the forest is welcomed. Coffee and conversation is discouraged. We sit for one hour, three times per day.
There are two dance classes per day of 2 hours. During the day we practise the skills to get us ready for the evening jams.
This is a well honed workshop. At the request of many previous participants we have made it longer for 2016. There are rewards for effort. There will be plenty of chocolate, but not during valuable class time. Come to play seriously and seriously play.
Participants are well supported with extraordinary meals. The gardens are abundant and local. Eat all the kale you want. Meat is locally sourced and organic, served on the side at every meal.
Mark Young has been studying and practising Tai Chi and Contact Improv, attending numerous workshops since 1997. Leviathan Studio is his creation.
$850Canadian includes all meals, camping and dormitory beds, tuition, taxes and transportation on Lasqueti Island.
June 28–July 3, 10am – midnight. Features open jamming, peer exchange, five-day intensives with Melecio Estrella and Kira Kirsch, daily family jams/classes with EYen Zak and Jote Mahern, fundamentals intensive taught by organizing teachers, and classes with Alito Alessi, Aaron Brando, Rebecca Bryant, Leslie Castellano, Jeremie Chetrit, Anya Cloud, Krista DeNio, Minna Karttunen, Elise Knudson, Ophra Wolf, Ulla Mäkinen, Utam Moses.
$225-$450 sliding scale pricing for full festival. Other pricing and partial participation options available. See website: wccijam.org