Alkupiiri
Kiitos Steve Paxton
I Seisoa likumatta
a/ kuvitella itse sinun edessäsi
b/kuvitellut tupla pysyy paikassansa, mutta sinä menet tuplan väsensivulle
c/sinä kuvitelet että tupla menee sinun taakse ja katsoo sinun selkää
d/ sinä menet tuplan oikealle sivulle
II Kävellä tuplansa kanssansa,
a/ tupla johtoo joskus, sinä johdot joskus
b/ tupla haluu koskea sinua
-on ikävä: väistää
-on mukava: mennä vastaan
-neutraali
III Lasten leikki : hipa
kosketus on - ikävää: väistää
- mukavaa: mennä vastaan
-neutraali
IV Piirissä Steve Paxton-in small dance
seisomassa, jällät kiini
liike ; kaksulotteisessa tilassa, koliulotteisessa tilassa
V Parityössä
yksi maataa ja toinen manipuloi ; etsiä vegetatiivistahermostoa
rooli vaihtaminen
VI paino, massa ja magneetinen voima
Päät kontaktiissa
Loppupiiri
SMALL DANCE from the book Contact Improvisation by Cheryl Pallant ISBN 0-7864-2647-0 /Teakin kirjastossa 128 004 3654
Kiitos Steve Paxton
I Seisoa likumatta
a/ kuvitella itse sinun edessäsi
b/kuvitellut tupla pysyy paikassansa, mutta sinä menet tuplan väsensivulle
c/sinä kuvitelet että tupla menee sinun taakse ja katsoo sinun selkää
d/ sinä menet tuplan oikealle sivulle
II Kävellä tuplansa kanssansa,
a/ tupla johtoo joskus, sinä johdot joskus
b/ tupla haluu koskea sinua
-on ikävä: väistää
-on mukava: mennä vastaan
-neutraali
III Lasten leikki : hipa
kosketus on - ikävää: väistää
- mukavaa: mennä vastaan
-neutraali
IV Piirissä Steve Paxton-in small dance
seisomassa, jällät kiini
liike ; kaksulotteisessa tilassa, koliulotteisessa tilassa
V Parityössä
yksi maataa ja toinen manipuloi ; etsiä vegetatiivistahermostoa
rooli vaihtaminen
VI paino, massa ja magneetinen voima
Päät kontaktiissa
Loppupiiri
SMALL DANCE from the book Contact Improvisation by Cheryl Pallant ISBN 0-7864-2647-0 /Teakin kirjastossa 128 004 3654
Steve Paxton
When founder Steve Paxton was developing the movements that came to be associated with Contact lmprovisation, one of his explorations centered on the difference between rapid, frenetic motion and stillness. He believed stillness is never completely void of movement. Focusing attention on stillness reveals the minute, natural motion of the body. ln "Small Dance, " a signature warm-up, he guides us into attending to the micro-movements of the body that accompany standing as a way to uncover our primal sources of motion and to make them more readily apparent. The exercise encourages us to set aside the controlling mind and give in to the natural forces of the body necessary for dancing to unfold effortlessly.
Steve Paxton is the founder of Contact lmprovisation. He is one of the founders of the Judson Dance Theater, Grand Union, and Touchdown Dance, a
company for the visually disabled. He lives on a farm in Vermont and lectures, performs, choreographs, and teaches in the United States and Europe.
All you have to do is stand up and then relax and at a certain point you realize that you've relaxed everything that you ean relax but you're
still standing, and in that standing is quite a Iot of minute movement... the skeleton holding you upright even though you're mentally relaxing.
Now, in that very fact of you ordering yourself to relax and yet continuing to stand -finding that limit to which you could no further relax
without falling down - you're put in touch with a basie sustaining effort that goes on constantly in the body, that you don't have to be aware of.
It's background movement static that you blot out with more interesting activities, yet it's always there sustaining you. We're trying to get in
touch with these kinds of primal forces in the body and make them readily apparent. Call it the "Small Dance," a name chosen largely because
it's quite descriptive of the situation and because while you're doing the stand and feeling the "Small Dance" you're aware that you're not doing
it, so, in a way, you're watching yourself perform, watching your body perform its function. Your mind is not figuring anything out and not
searching for any answers or being used as an active instrument but is being used as a lens to focus on certain perceptions.
When founder Steve Paxton was developing the movements that came to be associated with Contact lmprovisation, one of his explorations centered on the difference between rapid, frenetic motion and stillness. He believed stillness is never completely void of movement. Focusing attention on stillness reveals the minute, natural motion of the body. ln "Small Dance, " a signature warm-up, he guides us into attending to the micro-movements of the body that accompany standing as a way to uncover our primal sources of motion and to make them more readily apparent. The exercise encourages us to set aside the controlling mind and give in to the natural forces of the body necessary for dancing to unfold effortlessly.
Steve Paxton is the founder of Contact lmprovisation. He is one of the founders of the Judson Dance Theater, Grand Union, and Touchdown Dance, a
company for the visually disabled. He lives on a farm in Vermont and lectures, performs, choreographs, and teaches in the United States and Europe.
All you have to do is stand up and then relax and at a certain point you realize that you've relaxed everything that you ean relax but you're
still standing, and in that standing is quite a Iot of minute movement... the skeleton holding you upright even though you're mentally relaxing.
Now, in that very fact of you ordering yourself to relax and yet continuing to stand -finding that limit to which you could no further relax
without falling down - you're put in touch with a basie sustaining effort that goes on constantly in the body, that you don't have to be aware of.
It's background movement static that you blot out with more interesting activities, yet it's always there sustaining you. We're trying to get in
touch with these kinds of primal forces in the body and make them readily apparent. Call it the "Small Dance," a name chosen largely because
it's quite descriptive of the situation and because while you're doing the stand and feeling the "Small Dance" you're aware that you're not doing
it, so, in a way, you're watching yourself perform, watching your body perform its function. Your mind is not figuring anything out and not
searching for any answers or being used as an active instrument but is being used as a lens to focus on certain perceptions.