​SENSING MOVING WORKSHOPS
with Nóra Hajós~~~~ 
 

​LOGOMOTION  is an improvisational dance/narrative form wherein movement and words spring spontaneously from a common source. (form developed by Simone Forti, http://en.wikipedia.org/wiki/Simone_Forti) She quotes: "It `s been a way for me to know what`s on my mind. What`s on my mind before I think it through, while it`s still a wild feeling in my bones."

 

 

"In Improvisation it takes a lot of being aware of our impulses and than editing as we go. Thoughts affect movements and movements affect thoughts. The Somatic component of thought."

~~~in this class we will , explore spontaneous moving and talking arising in the moment.

 

 

Nóra Hajós met Simone Forti in the late 80`s and was fortunate to be asked to work with her.

She studied and toured duet performances with her,in USA and Europe. 

Her goal is to teach Simone Forti`s Logomotion , that was passed onto her in it`s most authentic form possible.

 

MATERIAL FOR THE SPINE

​In 1986, dancer Steve Paxton began examining the spine he had observed in the practice of Contact Improvisation, a duet movement form he had instigated in 1972. Material for the Spine immerses us in this artist’s world for the first time, to experience the logic and invention at the core of his technique. The system of MFS is a meditative study of spinal and pelvic movement initiations combining a technical approach with an improvisational process. The fruit of four collaborative years with Paxton, these audio-visual essays deal with concepts such as gravity, weight, walking, the back, and improvisation, utilizing video imagery, motion capture sequences, extracts from lectures, classes, workshops, and archival footage of performances. In addition, each of the forms of the Material for the Spine technique is detailed in the interactive videos.

“With Material for the Spine, I am interested in alloying a technical approach to the processes of improvisation. It is a system for exploring interior and exterior muscles of the back. It aims to bring consciousness to the dark side of the body, that is, the ‘other’ side, or the inside, those sides not much self-seen, and to submit sensations from them to the mind for consideration.”

-Steve Paxton

TUNING SCORES ~

Tuning Scores based on Lisa Nelson`s work,

 

Laboratory: Tuning Scores—Composition, Communication, and the Sense of Imagination.

Performer, videographer, and collaborative artist Lisa Nelson has developed an approach to spontaneous ensemble composition and performance she calls Tuning Scores, 

Lisa Nelson quotes:"What are my aims in teaching? Practically speaking, two things: To create a learning environment that is the essence of performance, and to unite dance and the performance of observation.

 

 In order to make relatively short workshops meaningful in the long run, to offer internal dance practices that can continue outside of the studio, anywhere, at any time, and that can be applicable to the study of any artistic discipline

 

 

"By altering the way we use our senses while moving and watching movement, we can identify the genetic, cultural and idiosyncratic movement patterns our senses use to read our environment and contribute to constructing our experience. 

These patterns both inform our desire for action and what we perceive when we are attending to anything.

 Practices include tuning the senses (vision, hearing, touch, kinesthesia, intuition) to follow features in both the “inner” and “outer” environments; sensing and measuring stillness and movement through each of the senses; 

and shifting from sense to sense and sensing to action, activities we engage in every waking moment. Fueling this research is the perception of the body as both proscenium and performer, as container and generator of imagery, as thought and feeling."

 

"Within an improvisational framework, I've looked for communication systems that could encompass both the choreographic craft and the experience of dancing. In

tuning scores, I discovered a tool to make visible the space between the arbitrary and the inevitable, an improvisational dilemma for both observer and performer." -- Lisa Nelson

Nóra Hajós was 1 of the first participants in 1990 to be invited to Lisa Nelson `s research, what became Tuning Scores and Image Lab. She has been studying with her ever since on and off and collaborated in various Laboratory Observatories with her.

Her goal is to pass on Tuning Scores,  in it`s most authentic form possible.

She is hoping to give a glimpse in this little time given of the essence sensation of Tuning Scores.

 

 

​CONTACT IMPROVISATION CLASS​
Based on "Material for the Spine" by Steve Paxton
Exploring through sensations  2 partners:

    Partner number 1: the earth 

    Partner number 2: the other person we are dancing with
Focusing on our inner sensations while warming up slowly
Learning and practicing rolling on the floor,helix rolls, and crescent rolls, reviewing Steve Paxton`s puzzles

Class Process:

  • slow warm ups

  • inner sensations

  • helix rolls

  • crescent rolls

  • weight sharing exercises

  • focusing on point of contact

  • moment to moment awareness

  • small dance

  • following the spontaneous rise of group improvisation

PROCESS ORIENTED MOVEMENT WORK

The art and science of noticing and appreciating our intentional movements while also exploring unintentional and spontaneous, movements as the seeds of our on-going dreaming process. When we explore these movements with awareness we can enrich our experience of everyday life and discover ourselves as unending creativity.

-- Amy & Arny Mindell

 

 

 


Contact me at theship@hevanet.com for more information about the workshop or to schedule a  workshop in your area. 

© 2013 by The Ship Gallery

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