A week-long workshop of improvisations in Somatics, Contact, Tuning Scores, Logomotion
Your dance is unique and continuously threading through many forms, studies, observations, inspirations, and influences. We will explore various styles of improvisation that point us towards discovering a dance that feels unique, connected, on the edge, and belonging, all at the same time. Enlivening somatic influences including Body-Mind Centering™, Embodied Life imbued Feldenkrais™movement and listening practices, Process Oriented movement work of Amy and Arnold Mindell, combined with the profound underlying states discovered in Tuning, Contact, Material for the Spine and Logomotion will guide our way. Nóra, K.J. and Karen’s shared history brings over 30 years association, collaboration, performance and research with each other, and with their mentors Steve Paxton, Lisa Nelson, Simone Forti and others. Open to those with experience and a passion for making. (Photo credit: Ray Chung)
The word “begin” is a treasured Tuning Scores call that measures the start of a dance, among other things.
Three classes a day and evening activities including jams, discussions and showings will activate the mix. Find more information, including the "begin" blog HERE
Tuition, Room & Board (tiered for accessibility)
Note: Full Payment will be due April 16, 2017
Our Sliding Scale
The fees to attend Earthdance Jams and Workshops are priced on a sliding scale. Please pay at the highest level of the sliding scale that you can afford. This allows others who need to pay less the opportunity to attend.
Human/ity Dance with K.J. Holmes
We are the mediums between all the expressions we enter. This workshop will address the dancing human through looking at the collaboration between studies and research that connect to a greater sense of self and the world, both as sensation and from being alive in these contemporary times. In classes we will: look at systems and states of the body; challenge ourselves with direct contact as physical, psyche, emotion and dream; sound, sing and use our voices as music, with found text and what we write; and we will find a poetics of creating dance and theater that we can utilize what we know and reveal new strengths and tools for performance.
In addition to the shared practices between K.J., Karen and Nóra (The Tuning Scores of Lisa Nelson, Moving the Telling of Simone Forti, and Material for the Spine of Steve Paxton,) Human/ity Dance classes include 30 years of personal research into somatics, theater, voice and eastern forms. These forms include the evolutionary and developmental studies of Body Mind Centering (r), the Athletics of Intimacy of Contact Improvisation, the Sanford Meisner acting processes (who said "Acting is doing/living truthfully under imaginary cirucmstances"), Roy Hart Voice work (who taught there are no wrong sounds, and the body is a base for singing, for speaking, as it holds both our mortality and what is immortal in us); and Yoga and Ayurvedic practices (ancient practices of being contemporaneous in one’s body and mind and the joining of the two through intentional actions).
How do we resonate? How do we work with resistance? How do we know when we are more? How do we encounter the human dancing?
Logomotion + Puppet Dreaming with Nóra Hajós
Logomotion, “....a way for me to know what`s on my mind ...before I think it through, while it`s still a wild feeling in my bones.” In her own words, Simone Forti describes this improvisational dance/ narrative form she developed where movement and words spring spontaneously from a common source. We will begin with a warm up, focusing on our inner sensation.Than we will explore moving and talking arising in the moment. The class will spend some time outside of the studio observing and being in the nature surrounding Earthdance & explore spontaneous writings. Every movement is a valuable one that can carry information. As we move, images can come to our mind and we can unfold those images via words and movements, until they have a life.
In addition, Puppet dreaming, part of Nóra’s longtime practice and study of Process oriented movement work founded by Arnold and Amy Mindell, notices and appreciates our intentional movements while also exploring unintentional and spontaneous movements as the seeds of our on-going day and nighttime dreaming process. Puppet dreaming shows the way to access and unfold our hidden dance as well as gets us in touch with our dreaming while awake process. Using objects from nature we will each make our innerwork puppet. Working alone and together as a group, we will discover the creativity of our dreaming process and the wayour creations teach us about life. Founders of Process work Amy & Arny Mindell say, “When we explore these movements with awareness we can enrich our experience of everyday life and discover ourselves as unending creativity.”
TUNING the Unimaginable ~ Flow ~ Resonance with Karen Nelson
This class mashes forms. It also simply and clearly follows an embodied journey of Contact Improvisation from before it was imaginable thru the discovery of flow, onwards towards resonance, and approaches Tuning Scores both as compositional experiment and underlying warm-up.
During Unimaginable, in solo and with a partner, we attend to the sensations of falling, momentum and reflex of balance, and continually re-discover sensations of the skeleton and it's movement in relationship with gravity, what Steve Paxton called the “small dance” of standing. In practice, we start small and carefully, listening to our movement using Embodied Life influenced Feldenkrais lessons as a further basis with gravity—eventually we free our movement to get as big as we can, playing with the larger, expanded relationship between ourselves and earth. In Flow we sustain connection to falling by constantly refreshing the off-centered autonomy, and focused entrainment of reflexes with the partner. We allow hierarchy and domination to vanish by returning to sensation of “the third thing” that leaving an egalitarian entrance into an as-yet-unexplored-now. In Resonance we are expanding into space, improvising with inner and outer spirals and puzzles, studying specific rolls discovered in Paxton’s Material for the Spine. And, Tuning Scores (developed by Lisa Nelson with herself, the group Image Lab and others) to compose dances of physically-based perceptual awareness games that absorb making and watching into the unfolding dance. The choice maker becomes involved in following instructions provided by the environment and the physical sensations of the imagination. Tuning Scores use actions and verbal calls to communicate, learn, and resonate compositional desires with collaborators during an improvisation.