Everything comes alive when contradicts accumulate.”
“Silence is not the absence of something but the presence of everything.”
My teaching work focuses on connecting our primal animal intuition to contemporary human life. Organism and Identity. Our objective is to abandon domestication and reclaim our basic wildness in which instinct acts as a liberating force .
For Organism, I lead people in an eyes-closed visualisation, 1 – 2 hours long. I play music live and speak and encourage people to suspend willful action is favor of simply witnessing the phenomena of sensation, pleasure, curiosity and movement as it is born in their bodies. This is time/space slowed to our aquatic origins. A collective human Magma often unsues. As bones are discovered, verticality tends to increase.
For Identity, our eyes are open. We play with clock-time, and finite space, and choice as a conscious process. After some games, rhythms, and voice work that activates the social body, we play with one-minute improvs in a taped-off square on the floor, often in duos. We speak about how how it feels to see and be seen. We explore strategies for thriving in the seen world, and foundations of improvisation.
This is a post-CI intensive, which means we are informed by but not limited to the codes of CI. We will touch and dance and experience states of consciousness in unfamiliar ways.
Is an American interdisciplinary performing artist and teacher living in France since 2002. He has been making work collaboratively, teaching, and touring steadily in contemporary dance, performance and new circus since 1987. Beckman co-created Autochtone, with Collectif AOC/Karin Vyncke (2009 – 13) ; co-founded, libertivore with Fanny Soriano (2005) ; joined I.D.A./Mark Tompkins (2005 – 08) ; collaborated intensively with Cahin-caha, cirque bâtard (1998 – 2005); Core (1995-98) and Contraband/Sara Shelton Mann (1987-95). Beckman worked for Anna Halprin on stage and pedagogically (1990 – 97), as well as Zaccho Dance Theatre/Joanna Haigood (1996-98). In 1995, Beckman was offered roles in both Stomp and Blueman Group before moving back to San Francisco to found the collective Core with Jess Curtis, Keith Hennessy, Stanya Kahn and Stephanie Maher. Beckman is an ongoing collaborator with K.Hennessy since1987. As of autumn 2011, Beckman’s collaborations include eighteen full-evening original works and several shorter pieces
Jules has taught throughout the USA, in Europe, Russia, Mexico and Japan including 1001 Fest, Centre National des Art du Cirque, Canaldanse, FAIAR, MADE in France (FR), New College of California, Connecticut College, Holyoke College, Prescott College (US), DOCH, University of Dance and Circus (SE).
courage – trust – surrender:
Where does my dance lead me to when I give full commitment to gravity and to the movement flow? How does a lift feel like that moves both of us through space instead of simply bringing my partner straight up and down again? How can I find the trust to follow my partner unquestionably?
Following through is one of the core principals of Contact Improvisation – this is what I found in the last years of dancing, exploring and teaching this form. As following through is something very active it goes fare beyond of just letting the dance happen. To follow my own movement impulses, gravity and my partners dance I have to be absolutely present and to develop the ability to change the direction of my movement at any split second. Moving in this way will bring me inevitably into the very here-and-now – and the dance evolving from there may be very wild and fast or almost not visible from the outside.
In this workshop we will explore Contact Improvisation under the aspect of following through as well on the level of movement technique as from the improvisational point of view. This can be very demanding and liberating at the same time! You will need to find your trust, surrender and sometimes also your courage to follow the offered material, but over the time – hopefully when the workshop will end at the latest – you will discover more and more the big freedom, the excitement and the grace coming from the principal of following through.
We will work on movement principles, contact skills and – very important – on deepening our ability to perceive our body, the space and the partners movement. Improvisation scores and bodywork will round off our work in movement. There will be space for free dancing, verbal exchange and for silence to get a deeper understanding of this dance form and to integrate the new material in your own dancing.
Adrian Russi is one of the leading CI teachers in Switzerland and travels all over Europe to teach and perform Contact and Free Improvisation. He has been deeply involved in CI since 1992 and since then has dedicated the greatest part of his life to this wonderful dance form.
After studying Modern Dance at “bewegungs-art” in Freiburg/Germany he continued his education with many different teachers, including Steve Paxton and Nancy Stark Smith who had started to develop CI in the early 1970s with a group of other dancers.
He offers his work as a freelancer to a wide range of people and also regularly gets invited to teach in schools. In his teaching he focuses on the technical aspects of CI (ease, precision and strength) as well as on matters of perception (sensation, connection of inner and outer space, of bottom and top) and on a creativity coming from a distinct body-awareness. For him the pleasure of play, of deep engagement in dance, and respect for others are the basis for gaining the best possible experience from dancing CI.
As a performer he works with many different international artists and his performances are primarily based on Free Improvisation incorporating Contact Improvisation, dance, dance-theatre, voice and live music. In 2007 he initiated “Moving Men”, a men’s trio with Charlie Morrissey and Jacky Miredin touring with their performance work all over Europe.
As an organizer of CI-events he is involved in many festivals, jams and teachers meetings, including the “Moscow Contact and Performance Festival”.