Starting the workshop with a warm up consisting on folding, pushing and pulling.We then experimented with spiraling, keeping in contact with our partners whilst spiraling around one another. This i found helpful and useful as it is a tool which allows you to stay in contact with your partner at all times. The weight exchange and speed of the movement allowed us to listen to one another whilst being focused and in touch with ourselves.

We then went on to focus on our scores which we looked at last week. We developed them in order to create a more effective piece. The set rules in which we followed were

• 2 people out at all times
• when a duo starts travel the opposite way in which you start
• If you make a trio initiate the change of direction
• every time you come out of the space set yourself a new rule
• End the score using small dance and in a sustained position

We performed the score and were given feedback. In order to make our score successful we were to make our choices more obvious by setting clear direction. The idea of two people being out at all time worked effectively however the audience thought having more people out would allow certain duo’s and trio’s to attract the audiences attention. From this i found myself thinking about the things in which i would like to improve on or try more. When we performed the score again i found that the set direction worked more fluently. I set myself three tasks throughout the score. My first one was to never touch the floor, this made me focus on the use of lifts in order for the duet to work. This method i found successful as i took risks which i usually wouldn’t. Secondly,i decided to increase the pace of my movements, i linked onto a duet which i found was rather slow paced and used the idea of initiating set direction to also initiate a quicker pace. This took time, as it required adjustment for the other dancers, however the transition worked effectively. Finally, the other method which i was eager to experiment with was the challenge to not use arms to create lifts. This was a difficult task as i had to find several other structures within my body which my partner could use as a support during a lift. From the second score, we found the rule of having more people out gave time for effective, impressive duos to take place. We were told to move down stage as the space wasn’t being utilized enough, this was something to take on board for the open jam.

Open Studio 

Commencing before the open score was a jam which lasted several minutes. Within this we became in touch with our kinespehere and skinesphere as well as those around us. Using pushing and pulling motions i found my self relaxed and focused on the score ahead. Rolling among the ground and others around me i came into touch with others and started to perform contact improvisation. Starting out of the space i found myself coming into a duet to start the score. Here i gave myself a rule to never touch the floor providing mid level structures for my partner as well as participating lifts, and resisting against the urge to use the ground. Throughout the piece i focused on using the front of the space as well as applying set direction, i wanted the audience to feel involved in the piece, and not like outsiders. This i found worked effectively. Coming out of the space i found it exciting to watch our score developing. The use of direction worked effectively and was easing for the eye as it allowed me to focus on the movement specifically. Also, i found within the score the set rules which people personally applied, changing slow duo’s and attempting to speed them up. Also, i witnessed people resisting against the ground in order to experiment with movements on a medium and high level, which worked effectively as they incorporated lifts within the space.

The workshop started by viewing week 7’s assessment video. From the video i found several features in my dancing which i had never noticed before. I found i often became a stable 4 point structure for my base, kneeling with hands in front. This made me notice that i am not taking enough risks and need to remove this habitual movement. However, i found my self giving my weight quite a lot, which was surprising as i feel like i do not do this enough. I feel like my ability to form improvisation has become stronger since the start of the semester. I am able to perform lifts as well as being lifted, and i view my self working with each individual instead of restricting my self to the people i usually dance with. Viewing the other dancers in the class i noticed a real improvement. People giving weight and receiving weight in a safe and sensible manner. This i found re-assure as i could view the effectiveness of improvisation, as each dancer i viewed as original and imaginative.

Coming into the practical side of the workshop we experimented with more developed lifts which required the pelvis being higher than usual, whilst  moving through space. The first lift, we started lying on the floor and indicating with just our pelvis, applying movement through space. When i became comfortable with this pelvic movement we began to work in partners. the over dancer was to lay or sit  on the floor and rise their pelvis whilst whilst allowing leg moment, in order to transfer their weight onto their partner whilst they were creating several levels, and structures for the over dancer. I found this task fairly difficult as the start struggling to rise my pelvis higher than previously asked. My partner is fairly tall. This i found a beneficial challenge as it made me rise my pelvis even higher.

The practice of this then lead onto trying to apply movement whilst being hooked. Here i found it fairly difficult to direct my partner and it also applied pressure  and a pull on my arms. It restricted movement and added unnecessarily weight. However, when we went on to just trust each others movements the task became less strenuous and it began to move more fluidly across the space.I felt less weight from my partner, and felt a positive connection throughout the experiment. The next task i found fairly difficult. It required us to experiment with raising our pelvis.This required one person placing their hands on their knees bent over with a slanted back. Then the other partner was to higher their pelvis whilst raising on their toes, in order to pour their pelvis into the other dancer’s. Developing from this the partner was to toll their pelvis higher up the other dancer’s back and slide down their shoulder. It took me and my partner several tries to reach fluidity. The difficult part we found was raising our pelvis high enough in order to be successful. When providing the surface for my partner i found it difficult to find the perfect balanced position. I became off balance due to my legs being too far in. After adjusting this, i found it easier to be a strong base for my partner. I look forward to using this lift in the jam as it challenged my ability.

The final part of the workshop required us in a group to set an improvisation score for the open studio in the near future. We looked into and developed ideas from Jamie Stover’s Some Considerations When Structuring an Improvisation. His reading was based on scores and how to differentiate your score from others. He gave instructions to help develop a score by advising to either follow a strong set structure or allow the dancers to improvise from instinct and their self influences throughout the jam. Also, the score could either develop an understanding for the audience or allow the score to be purposeless. A further decision was to decide whether or not we were to use visual markers or follow the rhythm of the piece. Taking from our last research lab we were eager to focus on the use of space and if a set direction allows a easier flow of improvisation. We came up with these certain rules;

1. At least two dancers out at all time, to allow viewing time

2. Move in the opposite direction from which you first started

3. When another dancer makes the duo a trio they are to initiate the change of direction.

When performing a small jam and applying these scenarios, we found the instructions about direction worked efficiently, creating more fluidity between movement and lifts. It was rather difficult to visualise the third dancers initiated direction. We also found that even after experimenting new lifts during the workshop, we still found it difficult to get the lifts from the floor into the air. From this we will imply new rules in order to allow us to raise our hips and raise from the floor. An example of this would be to apply a rule which requires staying off the floor. I am exciting, and eager to view our results.

Our final task was to devise a contact score in groups to be performed at an open studio event in a week’s time. In order to create our score, we referred to Jamie Stover’s Some Considerations When Structuring an Improvisation, which identified the two ways that a score could differ. Firstly a score could either follow a strong structure that the dancers religiously keep to or the dance itself could influence and change the original score depending on the dancer’s performing. Secondly a score can either be formal enough for the audience to follow and understand the action or completely invisible with no particular purpose or ending. In relation to Stover’s considerations, we also had to decide whether the score include visual markers, how much the dancers needed to rely on the rules and what spatial rhythm structure the score would follow. Following on from our research labs, we wanted to primarily focus on a way to transition between levels fluently and diversely as well as experiment with using different tones and speeds within our score.

So far our score follows these rules, however these will be developed further before our performance:

• To start, each dancer asks an audience member to pick a number between 1 and 10 – if the number is even you start on the floor, and if odd you begin on a higher level
• If you are on a lower level, the movement must be slow, sustained and controlled
• If you are on a high level, the movement must be faster
• Whenever transitioning between levels you have to find the most complicated route
• Everyone brings their own rule to the score which is applied throughout the score but no other member of the group knows
• You must exit the space after dancing with 2 dancers
• You can only enter the space after seeing 3 lifts performed
• If a duet is left in the space, the others create a corridor for them to travel down

This week’s aim was to experiment within a trio. I was in a group of five and our question was ‘Is it possible to do the same lifts with the same intention and fluidity in a trio as it is a duet’. Throughout contact improvisation we found that within a trio one person often became the outsider whilst the duet performed lifts. We wanted to experiment with a wide variety of lifts to see how we can incorporate a third person. We did not only want to perform the lifts, but find ways in which we could link them fluidly between our solo improvisations.

We went on to experiment with lifts we had learnt in previous workshops. Firstly, we tried to re-create the back to back lift, which created the image of a see-saw. We found this lift in particular fairly difficult. Having two people as a base instead of one and the other person leaning on two of our backs created an un-even surface. We found that one person was taller than the other so the surface for the over dancer was un even. Moving on from this we decided to try the lift again, however, placing two people on one person’s back. This worked more adequately, providing we had a strong and supportive base. The lift also appeared to be visually exciting and looked rather advanced. I will definitely try to incorporate this lift throughout improvisation.

Moving on, we experimented with a different lift, which in a duo requires the under dancer to lift the over dancer underneath the arms in order to create lift whilst moving backwards. From this, we incorporated a third person by having them as an under dancer and lifting at the over dancers ankles. This then created a T-shape position. Again, what we found is that it required the two under dances to be of a similar height in order for the lift to be successful, creating a symmetrical T shape. We then went on to trying to link into and out of the lift, to create fluidity and ease. Linking out of the lift was fairly more difficult, however, we found a sufficient movement which worked well. Sliding the over dancer along the under dancer’s shoulder added fluidity and grace to the lift.

We then went on to develop the hip to hip lift. From this we had the under dancer lift the over dancer higher than the hip in order to create height. Leading on from this a third person took the weight of the over dancer creating another lift from this. We found this particular lift fun to o experiment with as it gave us a lot of opportunities incorporating different levels and shapes. This lift added great fluidity and raised connections between each dancer as a trio.

Creating a small jam and showing our research we all participated within the jam looking for opportunities to create lifts as a trio. We found ourselves coming into a clump in order to initiate the lifts. This created chaos and made the jam look clunky and full of thought. After participating in this we discovered questions which would help us develop the research lab further.

1. Can you interchange the role of the lifter who is being lifted?
2. Can you pass on the weight of the lift from one person to another?
3. Can you perform lifts in trios without grabbing or using the arms as a support?
4. How can a trio lifts move across the floor and through space

We decided we would try to experiment with these particular questions throughout the Jam. Before the jam commenced i felt tired and effortless. However, i soon became surprised when i found out the jam was going to be blindfolded. This task was exciting, however, i was extremely cautious of that was to come. Commencing the jam i found everyone was being over cautious and not taking risks with the lifts. Nevertheless, we soon came into our comfort, almost forgetting the blindfold was there. I even found myself being comfortable improvising with everybody not knowing who they were. Afterwards, i discovered i worked very well with robin incorporating a range of lifts fluidly. This has enable to be more confident, as it has proven to me that i can work with several people and take more risks.

Reading a similar sourcebook as last week, by the same author Woodhull, it helped me further my research about the giving of weight and centre of balance. The reading this week was intriguing as it was based on a paralysed mans view of contact improvisation. The reading opened my mind to ideas of how I can give my weight in various ways. And to also take weight with not just my legs and back but also other structured and stable body parts such as my stomach. ‘keep your eyes open don’t get lost in your head’ (Woodhull, A, 1998, 157), This quote sparked my attention. It allowed me to think about looking for opportunities to support my partner and to take weight without listening for agreement. Being aware and focused is crucial during improvisation, as it allows you to find moments of uniqueness and surprising risks.

At the start of the workshop this week we watched two videos which allowed us to see different duets performing contact improvisation. However, the one that I felt intrigued me the most, was Otto Akkanen and Mirva Makine’s piece. Their routine was satisfying to the eye. Soft, not stiff. I was mesmerised by the fluidity of their lifts and their lifts were adventurous and precise. So much precision and effortlessness it almost looked choreograph. The video inspired me to develop my knowledge of contact improvisation further, wanting to create a piece were everything felt connected with a sense of thoughtlessness.

This week during the practical based workshop, we experimented with lifts going up as well as lifts going down. An example of this is the paper clip grip. Where the over dancer places their arm over the under dancers back. The under dancer grabs around their waist and lifts them onto their side. I felt this lift worked well to go up and back down, however, the lift didn’t create much height. This lift I feel could be more advanced in order to take a risk.     We experimented with a rather difficult lift which required the over dancer balancing along the under dancers shoulder. This was rather exciting to try. However I was apprehensive to whether I would be able to lift someone in that way taking their whole weight. Surprisingly I found myself performing the lift with ease as well as relying on someone to lift me.

I found that when we performed a small jam at the end of the session everyone felt more relaxed and at ease with taking and giving weight. I felt adventurous as well as nervous as to whether the lifts would go to plan. Despite this, I decided to go into the lifts without thinking about the performance of them. This benefited the fluidity of the lifts allowing me to relax and to take my partners weight ant to be a supportive structure. Surprisingly I found myself being the over dancer rather than the under dancer, this I found strange as I’m usually more comfortable being the over dancer. But however I felt a great sense of trust with my peers. I left the Jam feeling impressed with everyone’s progress, and the ability to perform advanced lifts in an improvised setting.

Woodhull’s Centre of gravity sourcebook reading, looked at several meanings which gravity has to dancers. The reading asked us to place or centre of balance amongst oblong shapes. This allowed us to visualise the body in different positions, whilst finding our centre of gravity. The image of a see-saw came into play within the reading stating that if one person was heavier the lighter person would sit on the end in order to create a stable balance within the see-saw. This image I found helpful when thinking about giving weight to my partner and in finding my centre of gravity whilst performing improvisation. The reading left me asking questions such as;

How high can I move my centre of gravity, will my partner be able to support me?

Before the workshop, I felt rather curios of what was to come. Last week’s workshop and jam had given me the courage to try more advaced lifts with people I haven’t necessarily worked with before. The ability to roll fluidly around people came into play last week and I felt I gave my weight more and allowed efficient rolling. The workshop started with a warm up, giving people weight, and coming up and down from the ground, whilst connected. During the lesson we experimented with more advanced lifts and I felt rather surprised when I found myself trusting people to take my full weight and those around me allowing me to take theirs.

The first lift which came into focus, was the pelvic tilt lift. The lift required a plié at the knees so that the over dancer could counterbalance their back on yours whilst lifting them in the air. Lifting the pelvis higher than the under dancers pelvis was key during this lift. Me and my partner found a real fluidity within the movement, I felt at ease and trusting as I was giving my full weight. It was beneficial that me and my partner are of similar heights , as I would have found it rather difficult to experiment with a taller or smaller dancer as it would have requires me lowering or heightening my pelvis for my partner to be able to perform the movement correctly. Two similar lifts which we tried required us to either lift our partner with the back of the leg and waist whilst jumping, and placing out hands just on their back whilst our partners perform the jump. I found the first lift easier to grasp. The specific grip allowed me and my partner to perform the lift with significant height, However, I felt restricted of any height when trying the two hands on back grip. If I were to try this lift again, I would perhaps try other grips to see which was more beneficial for me.

A specific lift which I found worked well to understand the placement of our pelvis during improvisation, was the baby lift. The lift instructed the over dancer was to be lifted like a baby on their backs. However, this time the over dancer was to pull their outer hips towards their partner creating a straight line. This technique took weight off the under dancer and worked more fluidly as we spun out of it. I felt comfortable lifting, and being lifted. I found I worked as a great support experimenting whether I can take several peoples weight After this we looked at a jump from the floor The under dancer is to spin the under dancer on the floor, reach for their hands to pull them up from the floor, legs behind the over dancer waist. Momentum was crucial when performing this lift as it created great height bringing more risks to the task. Awareness was very important we had to look at each other in order to initiate the jump and catch motion. Executing the lift made me wonder, whether the over dancer could be caught in several positions in order to create more of a risk.

I found the lifts very beneficial during the jam. And after feedback week I found myself rolling along other people rather than climbing. The initiation of the lifts I found difficult, due to only learning them a few days before the jam. Nevertheless, when I came to perform lifts I felt I was relaxed, allowing my partner to take my full weight. I tried to incorporate as many lifts as I could allowing gravity to take control. I enjoyed the jam session, and came out of it feeling more confident and more intrigued about contact improvisation.