Styles of Dance

Jazz dance has Fosse, Simonson ( the only two I know of) and I sure many more styles

Modern has Horton, Graham, Limon.

Ballet has Vaganova, Cecchetti, Russian, Danish, English styles, to just name a few.

Yoga has Vipassana, Hatha, Jivamukti, Svaroopa, Ashtanga, Bikram and...

Say Jazz, modern, ballet, or yoga and most people will have some idea of what you are talking about. Might not be exactly what you mean, but in the ballparl

Contact Improvisation, as of know, has one name. Yes, there are regional styles - West Coast, East Coast, European. But as CI is so young compared to the other movement modalities mentioned (how old is Yoga?!?), it has not been around long enough to change and become codified.

Eventually Contact Improvisation will become codified and that is just as good as it is bad. Codification can lead to clarity, but also to ossification. Codification can then also let practitioners of the form reject was has come before and discover new ground within a form. If CI does not expand and grow (some people might see this as becoming something else and the death of the form) it will stagnate.

I look forward to how many styles and flavors of CI there will be in another 38 years.

Investing in an Improvisation

Language is a powerful tool. And as with all tools, it is empowering and limiting at the same time. After teaching at Dance Ranch Marfa BERLIN and performing as part of the performance marathon at Ponderosa, I have been thinking about the word "invest".

What does it mean to invest in an improvisation? To invest in material? Other terms for a similar idea are "t0 mine that vein" of material. Again the idea of "going in" is present. The idea of "going in" in relation to an improvisation is telling. Why do we need to go in, to invest in material to create and develop material? It shows an idea that to create and develop material we need to shut out and remove ourselves from outside stimuli. I can't think of a more limited place in terms of external stimuli than a mine. Why would we want to work/improvise/create from a place of limited awareness and options?

The idea of "investing in material" leads spatial static work. Going in...into a black hole that sucks you in. Somewhat dramatic of an image...

And if the rest of the ensemble is there to take care of the space, the composition while you and partner(s) invest in material, that leads to even further imbalance between the investors and the ensemble. The investors implode and the ensemble waits for them to resurface.

Take the word "invest". INvest. How about OUTvest? How would we outvest in material during an improvisation?

Why can't our awarenesses go outwards when we are mining material in an improvisation? Why isn't the spatial care taking of the ensemble the mother lode to be mined?

Some other nascent thoughts-

using the Four Winds in CI to explore spatial awareness.
mining the space metaphor relating to Cloud City in Star Wars