Olivia Proudfoot with Tim Spronk and Mika Lillit Lior
CM 2022, Toronto, Guelph, Malta EU
need for equity within the contact community in relation to assumptions and opportunities to dance outside of gender roles
develop partnering roles not based on size-weight of the dancers
use contact dance
create a female-male duet
use narrative and comedy
skeleton of a story
audio track / voice-over
both have experience of contact jams, therefore share references
shared interest in partnering roles specifically in contact dance lifts/flying
to present a finished piece for performance in autumn 2022
to match current skills with demands of the story-telling
to recognize what skills-knowledge they have (not necessarily contact dance or dance at all) that can be applied to the creation process
creating a dance piece using 2 different performance modes that have very few inherent intersections (see “discoveries”)
What aspects of Contact dance assist the story-telling, what aspects cloud the story-telling?
What form of Comedic story-telling best intersects with contact dance? i.e. comedy that has the setup-the story-the punchline / movement that has the offering-accepting-follow flow-the arrival
Whose point-of-view is the story told from?
Do you need to complete each move? When they are used to flowing from one move into another, can they somehow continue the dance when the flow is broken?
A choreographer-dancer can sub-in another dancer in order to see from the outside what is going on in the dance as a whole.
Divide the story into simple sections (meet, first dance, etc...). Each section is distinct in action/dance and intention/drama, giving specific information that advances the story.
Practice comedic structures e.g. setup leads to punchline, then try this within each section.
Work without audio voice-over.
Play with actual speaking during dancing
Make eye contact at points within the piece. Eyes take us into character and intention.
Contact dance > flow, momentum (FM)
Comedy> timing. unusual occurrences, surprise (TUCS)
Comedy’s TUCS disrupts Contacts FM
Contact’s FM doesn’t allow for Comedy’s TUCS
A tight score assists hitting marks for story-telling
improved recognizing useable material (from improvisations)
learned to commit to a strict “score” in performance
learned to shift role of director in the process of co-creating the duet material
the duet material became a co-creation, each took turns at being the director
Questions from mentors
Might the issue you are working be more about Consent in general, rather than about male-big/female-small.
Might this free up your interactions and the development of the piece including its narrative aspects?
About Comedy, the syntax of the many different forms
How much of what we experience in dance (when dancing) goes unspoken yet is communicated, or is not communicated. (between performers, from performers to audience)
Re: Consent in contact dance improvisations- Given that contact dance is a form that inherently involves touch and close contact, what kinds of interactions are we/I willing to accept within the form? e.g. Do I have to give up this beautiful dance because I don’t want to be thrown around? and, if unacceptable, what do you/I do about it?
Stay longer in each section to know what is going on.
It may be useful to name what is going on – physical specifics (body parts doing exactly what?) and overall sensation (e.g. meditative or explorative or give-and-take or attack, etc.)
Take discoveries into rehearsal to finish the work for perfromance in November 2022, produced by Raison d’Etre Productions.
consent, flow, momentum, surprise, timing, comedy
Olivia Proudfoot - Toronto based teacher and performer of Contact Improvisation (CI). Olivia discovered CI in 2000 and fell in love with the form. A multi-genre dance-aholic, Olivia has performed salsa, tango and breakdance, enjoying a slight advantage from her youth spent in gymnastics and ballet. All of these inform her approach to partnering and movement narratives. She is also certified in Kaeja Elevations.
Tim Spronk began dancing at the School of Alberta Ballet in 1992. After completing a BFA at York university he danced independently in Toronto with many different choreographers and companies, including Arabesque (now Yasmina Ramzy Arts) Kaeja d’Dance, Corpus and Motus O. Tim currently co-facilitates Contact Improvisation jams and continues to dance and train in Martial Arts.
Mika Lillit Lior (online from Malta) is an interdisciplinary dance artist and scholar with a PhD in Culture and Performance from the University of California, Los Angeles (March 2021), Mika Lillit Lior is interested in how overlapping personal, spiritual and social processes can transform relations to ourselves and others across human and more than human worlds. Her creative practice draws on dance storytelling, improvisation, multimedia collaboration, samba, capoeira and performance ethnography.