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Addressing Gender in CI Practice and Community

by Kristin Horrigan

As a professor of Dance and Gender Studies at Marlboro College in Vermont, I have been researching the intersections of CI and gender for several years and leading workshops on the subject in the U.S. and Europe. In this self continue...

Todos Mis Muertos (All My Dead Ones)(1996) by Merián Soto

OUT-FIT: Merián Soto’s decadent defiance in "Todos Mis Muertos"
by Pedro Alejandro

by Merián Soto and Pedro Alejandro

Some dances are gifts. The directives for the dance simply reveal themselves to me. I follow unquestioningly. This was the process of Todos Mis Muertos. In searching for a practice of Day of the Dead traditions, my approach was to continue...

Ukraine's Revolution of Dignity

by Katja Kolcio

As a college professor, I have mostly taught somatic practices in the context of the American college campus. I use movement as a way for students to establish a personal sense of place, a sense of belonging in one’s own continue...

An interview with Sharon Fridman on Contact Improvisation & Choreography

by Romain Bigé

Ibiza Contact Festival 2014, August 27. Under the pine trees and the blue sky of the island off the coast of Spain, I had the pleasure of conversing with Sharon Fridman after a workshop he offered to some of the continue...

writings, INterventions, interruptions, questions

by mayfield brooks with interview by Karen Nelson

IMPROVISING WHILE BLACK is an interdisciplinary dance project and dance improvisation experiment. The seed for IWB sprouted out of brooks’s personal experience of being racially profiled when driving while black/DWB in San Francisco, California. continue...

A class by Ralph Lemon

remembered by Aretha Aoki

We wrecked the room. continue...

by Melinda Buckwalter

The Card, White on White
Forgetful Snow: three naked white women stand about on a rectangular white shag carpet in a white-walled gallery space illuminated from above by a square of white neon tubes. The audience enters into continue...

The trans-queer formalism of devynnemory/beastproductions

by devynn emory with Liza Coviello

The following is an interview by curator Liza Coviello with choreographer and performer devynn emory. The interview and video documentation of emory's dance works were exhibited at NAPOLEON gallery (Philadelphia, PA) in devynn emory's Personal Public: On Gender Variance in continue...

Steve Paxton talks about how the Stand relates to stage fright and entrainment in Contact Improvisation

edited by Karen Nelson

Steve talked on two different afternoons during the seven-day Breitenbush Jam in March 2014 in Oregon. To accommodate newcomers, the second talk became a multilayered event, with Steve interrupting a recording of his talk to make comments. Talk 1 continue...

LNelson prods HIJACK in Kristin Van Loon’s living room

Minneapolis, March 2014
Lisa Nelson: What about movement? Or: what is the material of dance? I think we’ll agree it’s movement. What part does it play in your work? I’ve read a lot of mention of your choreographic continue...

by SK, Rythea Lee, and CQ

Last April, I got an email from a woman I had never met before (referred to here as “SK”), asking for advice about how to handle a particularly disturbing experience she had had at a CI festival. Simply stated, it continue...

distilled choreographic inspirations

by Eliza Larson

[click to order deck through CQ ] Create a design book—something that will inspire you.* These were the directions that inspired me to create Terpsichore’s Deck. I was in the middle of the last semester continue...

by Julia Wallace

The dancer lying on top of me suffocates my delicate lungs and crushes my precious ribs. She’s larger than me, thick and big-boned. Her dark, short hair slides between my curled fingers.
I cannot get up. I cannot roll continue...

Dances Informed by Natural Horsemanship

by JoAnna Mendl Shaw

JoAnna Mendl Shaw has been making site-specific performance works for dancers and horses for over fifteen years. During a guest artist residency at Mount Holyoke College in 1998, she produced a trilogy of works for fifty dancers and six equestrians continue...