UPCOMING - ONGOING - REGULAR - COMMUNITY - EVENTS
WILMINGTON CONTACT IMPROV
TIMES, LOCATION, DATES, FEES, FORMAT, etc
Sunday, 10/1: John E. Gray
Sunday, 10/15: Karola Luettringhaus
3-4 pm: warm-up & class for beginners with changing facilitators
4-6pm: open jam (come and go any time)
Payment at the door:
$15 for the class (incl. jam)
$5 for the jam alone (free for those who come to the class)
Cash only please at the door
SAVE with Payment in advance (deadline 3 days before):
Via PayPal to firstname.lastname@example.org
$10 for the class (incl. jam)
$3 for the jam alone (free for those who come to the class)
Nobody is turned away for lack of funds.
Location: Hope Recovery Center
3403 Winston Blvd
Wilmington, NC 29403
Email: email@example.com for more info
Mirla CRISTE THOMPSON
MIRLA CRISTE studied Theatre and Dance at Oberlin College, then choreographed and performed in the professional theatre and modern dance communities in and around New York City for ten years. She has since created, or collaborated in the creation of, original dance, dance theatre and theatre dance work all over the country. A self-professed contact improvisation (CI) junkie, Mirla’s work to develop Contact Theatre, a physical theatre modality that integrates CI into dramatic environments, has resulted in performances locally, nationally and internationally.
About the class:
Our class will touch on basic elements of contact improvisation (CI), as taught by Nancy Stark Smith in the early 1980s. We will follow an arc that includes some or all of these: listening and following, partnering the space, gentle weight sharing, falling gracefully. We’ll end with minute duets or a round robin, to segue into an open jam. No prior experience with CI is required.
JOHN ELLIOT GRAY
John Elliott Gray
received a communication studies degree from University of NC, but receives most interesting communication studies with each and every improv contact dance. He's been contact improv dancing for 5 years, falling in love with it in the Puna section on the island of Hawai'i offering several ecstatic dances per week to study this communication. He's been an official student in classes and has officially taught classes, but views each dance as potent opportunity to learn and teach simultaneously. Each dance is a unique conversation between the unique individuals involved.
The conversation flows freely with attunement to touch and is ironically hindered by typical conversing tools like thoughts and words. In real time, the communication becomes the thing that is being communicated to create. This creation can be referred to as a dance, an art, a therapy, an exercise, a collaborative game, a cooperative sport.
There are no leaders nor followers, no losers, hopefully only winners, with the goal being to safely create an experience together. Since these experiences are improvised there's no bounds as to what they may be. They often hold as many surprises for those actively in the experience as they do for any spectators, thus making this thing that is already so many things into yet another thing; a ride. This is John E's favorite view of this form since it transforms everyone on the planet into a fun ride that can only be operated with the help of one another, simultaneously learning and teaching one another how to operate the ride.
No matter how you view contact improv, albeit a dance, therapy, game, ride, or conversation; it's a metaphor for humans helping each other, something we're all trying to achieve in one way or another.
In this class we'll explore this metaphor by exploring what we can create together through the simple act of touch.
I teach a beginner/foundations of contact improvisation class for people who are totally new to this practice.
We engage with concepts of touch and connection before actually touching. We discuss consent and try things out slowly and gradually. I focus on LISTENING/RESPONSE, SLOW MOTION, and ANATOMY.
Some of the best Contact Improv sessions I have ever had were slow motion practices, so I believe in the teaching power of slowing things down which helps us feel more in control and also makes visible the moments where we tend to skip steps between our ideas of what we want to do and the actual execution of a movement, or the present moment and the reality of what is needed right now. We have to remain in the present moment in this practice. Timing is crucial, and this leads us back to being in the moment and ensuring that support structures can be in place to keep us safe.
We also look at the biomechanical physiological reality of our bodies: How do I engage with my partner in ways that do not hurt them or myself, how much range of motion is too much, what sorts of movements can for example the shoulder joint execute and how do we minimize injury potential?
See the calendar for upcoming classes/workshops.
Meditate, move, have fun, get ready for the day!
Open Door: Join whenever for however long!
7-9am (come and go whenever)
7-7:30: silent meditation (self-guided)
7:30-8: movement and vocalizations welcome, bells (self-guided)
8-8:40: dance to music (playlist: upbeat, energizing, fun, wild - self-guided)
8:40-9: guided: cool-down, stretching, and alignment + mobilization
I will welcome and instruct and guide as needed. Newcomers and all ages (kids with an adult please) and all abilities are welcome. The space is handicap accessible.
Donations welcome to support the space. Suggested donation: $10
Nobody turned away for lack of funds!
Hope Recovery, 3403 Winston Blvd, Wilmington, NC
As part of my research for my PhD dissertation I am choreographing a small section in the production of "The Snake's Riddle" by the Moving Poets Theatre of dance in Charlotte, NC. This is part of my ongoing practice research project entitled: "Tracing Gesture". The piece will research gestures of resistance to patriarchal oppression. The gestures I collect will be assembled into a short dance section. My working topic is:
"Choreographing Lilith: Gesture in female and gender-fluid authority and autonomy in patriarchy - improvisational practices in assertion and resistance".
With opera (stylized audio-spatial takeover), video projection (exploring multiplicity and simultaneity). costume art (queering and angry hyperboly). visual art (tracing gestural imprints). vocalizations (giving voice, taking voice, redefining voice).
Photo "holding brick" below by Carl Kruger.