Integration: Going up and coming down
Our research lab question: How can we explore our centre of gravity?
We began by focusing the mind on the centre of the body, the class said that the imagery of standing in sand made them feel grounded and the coloured beam of light through their plumb line helped to work out if their weight was too far forwards or backwards. 3/17 benefited from this component the most and 15/17 felt safe during the warm up. We then experimented with the Flying Angel, Woodhull states that “sometimes our instinctive changes of centre of gravity do not compensate correctly” (Woodhull, 1978-79, 46) instinctively putting your arms down will cause you to fall, you need to find balance and a connection with your partner. Cutis comments that “on top of Alan’s shoulders I could feel the ground through his body solidly supporting me against gravity” (Curtis, 1988, 158) so it should feel as though the bodies are stacking on one another with minimum muscular effort. The idea of going down to go up is a consistent theme with all weight bearing exercises, it provides a steady anchor and platform, provides momentum and the correct positioning of the body. 7/17 benefited from this the most. We then worked on the idea of having a shared centre of gravity by turning and pulling, trying to find a shared motion, however everybody said that this did not work enough, as they did not feel grounded. Conversely, the wheelbarrow exercises and playing with the weight in the arms was fairly successful, as 7/17 enjoyed this the most. Overall, 16/17 said that they felt their centre of gravity change throughout the different exercises; 10/17 felt more grounded on the floor; 5/17 felt grounded and safe in the air and 17/17 felt that they will now be aware of their centre of gravity and use it to enhance safe practice and exploration. The point of our research lab was to bring balance to the bodies in the space individually and as couples; to find stability exploring new angles and developing a bond and connection, as though there is a supportive substance around you and your partner that you mould shapes into, as Curtis explains that “learning where and how one’s contact partner senses and carries their centre of gravity is essential to the development of trust and rapport” ” (Curtis, 1988, 160).
During class we revisited the repertory that we learnt at the workshop with the company Feet of the ground at Dance4. Many discovered that they are not afraid of contacting, but improvising, however our technique is better during improvisation as we lost some of the fundamental skills. Over the next few weeks I would like to revisit it and find more release, fluidity and flow, using the concepts of going down to go up, anchors and leavers and centre of gravity, whilst considering safe practice. I feel that the workshop has made our body more open and receptive to new ideas, because “when we don’t make fences around our bodies, all movement becomes acceptable” ” (Curtis, 1988, 159), however during today’s class it felt as though both people in the partnership were trying to be the dominant role and we were fighting against each other, or both were being submissive and the follower; therefore a balance needs to be found.
I have started to enjoy the jams more, I have more energy and I am more active, as I have a vaster vocabulary, however sometimes I just stick to these specific moves and my creativity is limited, I would like to be more innovative. Many of us got stuck whilst surfing, bit we discovered that the front to front connection can be used as a way to lead to any movement and stay connected, you can go anywhere, roll, take weight, come to table top or standing. I did not think of this connection, but thinking of the body as a vast space with many possibilities is important as Curtis states that one should “maintain an active and attentive relationship to all areas of the body […] there are no “dead” or unfeeling parts” ” (Curtis, 1988, 162).
I find disability and contact improvisation interesting and it can be translated into our practice. Bruce Curtis, who is in a wheelchair and has a spinal cord injury, focuses on “the dance within us” and to him “the micro movement is just as much dancing as what everyone else does with their whole body” (Curtis, 1988, 156), which links to the small dance; he highlights that we can work with a limited range of movement or injury, sometimes this “limitation” can create a block in our minds but Curtis says to that you should “keep your eyes open and don’t get lost inside your head” (Curtis, 1988, 158). At the start of the practice I over thought which made me more anxious, but over the weeks this has improved.
Overall, if both “maintain this bodily-felt relationship to weight exchange and shared movement and stay open to sudden impulses and influences upon either of our bodies, a playful, energetic and innovative dance is created” (Curtis, 1988, 160).
Curtis, B. (1988). Exposed to Gravity. Contact Quarterly/ Contact Improvisation Sourcebook I, Vol. 13
Woodhull, A. (1978-79). Center of Gravity. Contact Quarterly/Contact Improvisation Sourcebook I Vol. 4.