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11º Festival de Contact Improvisación

From 23th to 26th of March of 2018

The 11th edition of our Madrid C.I. Festival is ready to once more embrace and trigger our will for dancing. This year, in order to keep unfolding new colors of this dance form that we love so much, we propose to dive into the performative side of C.I. We warmly invite you to this celebration of dance and improvisation led by a team of professionals internationally recognized.

Friday 23th

16.30 – 17.00 Arrival-registration

17.00 – 17.30 Opening circle

17.30 – 21.00 Class CI and performace. Jess Curtis

Saturday 24th

11.00 – 14.00 Class CI. Katja and Otto

16.00 – 19.00 Class and performance practice.  Jess Curtis

19.30 – 21.30 Jam Session

Sunday 25th

11.00 – 14.00 Class CI. Katja Mustonen and Otto Akkanen

16.00 – 18.30 Class CI and Performance. Jess Curtis

19.00 – 19.30 Performance Open to public

19.30 – 22.00 Open Jam

Monday 26th

12.00 – 15.00 Class CI. Katja Mustonen and Otto Akkanen

16.30 – 17.30 Integration warm up/score into Jam. Jess Curtis

17.30 – 19.00 FINAL Jam

19.00 – 19.30 Feedback and closing

Prices and Registration

210€

Discount until 23th.02.2018:  190 €
Discount for groups: 180 €/person (and for students Formación en Estudio3, students Formación en Vitoria, Asociación EHKIE), more info in Estudio3.

Conservatorio Superior de María de Ávila
Calle del Gral. Ricardos, 177, Madrid. <m> Oporto

RESERVE YOUR PLACE

Class CI with OTTO and KATJA

FLOW IS SPORT, FRAGMENTATION IS ART

The base for our study is the physical understanding of flow. Considering flow as a mobile, structured mass moving through space – usually spherical pathways – with ease and softness. Practicing flow through listening shifts of weight, escpecially in slowmotion, builds up the common vocabulary for our dances. However, sometimes staying within flow diminishes our possibilities for choices.

This has drawn our curiosity towards how do I make choices as a solo while continuing to attend the dance with other(s), and has brought us to question our habitual patterns of movements. Fragmentation as the loss of learnt responses, refusal of offered invitations, gaps and the braking of the flow will serve us with widening field of possible dances.

The workshop will oscilate in the space of learning and questioning the learnt.

Flow provides us the physical skills, fracmentation gives access to uncommon choices, and by combining both we compose our dances.


Class WITH JESS CURTIS

PERFORMAING CI

How do we per/form Contact Improvisation (CI)? From its outset, CI has been inextricably entwined with the act of performance. Whether in the performance experiment, Magnesium, or the early performances at the Weber Gallery in New York (both led by Steve Paxton.) The doing of CI has gone hand-in-hand (sometimes literally) with specific practices of perceiving and receiving. From its influence on partnered acrobatics on the largest stages, to the way we watch and feel and listen to each other at a jam, CI and the concept of performance are inextricable. CI was and is part of a movement that both questions the values of spectacular commodified performance and sometimes mobilizes different values in the ways it is performed. In this workshop we will work from the most basic building blocks of experience, unpacking sensation, perception, impulse, affect, cognition, reflex, and reaction in order to create more space between them in which to locate our performing skills. Layering synesthetic sensory-motor skill sets we will ground in and surf through twisting topologies of flesh and blood to enact perceptual acrobatics that bring us into new dimensions of world. Is freedom the state of having choices, or a state beyond choosing? How do our senses in/form, support, interrupt confuse and enable the (inter) actions we call performing? What is in the space between sensing and doing, or is there any space there? How does doing create sensing? How do we enact our perception(s)? How might we perform our perception? How can this way of thinking about experience inform our dancing in a jam or the making of a body-based performance? How do various architectures and social spaces affect the dancing we do? How does something as simple as sitting in a circle, change the way we watch each other? How does my awareness that you are watching me change both of our experience?

+ We will also address issues of presence, connection with a partner, dynamics, virtuosity, utilizing scores and musical accompaniment. + We will develop movement as both virtuosic, performative action and as meaningful theatrical image.

+ We will examine the physical actualities of touch, manipulation, counterbalance, force, resistance, and surrender, both as physical states and as metaphors for interpersonal and intercultural relations.

+ We will examine and practice the state and quality of improvising, looking at a variety of relationships between imagination, action and time. This workshop will be an embodied exploration of cycles and scales of sensing, observing, and consequential action in physical practice. Working from the cellular to the global, we will examine how we sense each other, take action and make meaning while we move. We will give particular attention to the tension between the concepts of presence and performance as lenses through which to observe/view/feel/listen-to/activate the body. Bring curiosity, a desire to dance and a willingness to be seen.


Jams

A space to listen to the echo of what has been learned, to forget it and to recreate ourselves in what remains, to continue working and to delight ourselves with new discoveries, to release our dance and enjoy it with innocence, to observe ourselves and savor the pleasure of dancing.

Performances

I enjoy your eyes, I guide your look, I want you to see what we can only feel. I have the feeling that you dance with me when you look at me.

 

JESS CURTIS

KATJA MUSTONEN

OTTO AKKANEN

MUSICIANS

ANTONIO LORENZO

I started my musical studies at the early age of seven months, when I crawled to the kitchen cupboards to open them, take out the pots and pummel them.

Then came African´s percussion formations, samba schools, blues and guitar, jazz and keyboard. In the last ten years musical improvisation has been my school: in formations that went from rock improvisation to environmental music, also concerts in the premises to music for yoga and meditation classes (practices in which I have also entered in).

Four years ago I knew the world of improvisation in dance, and I began to dance Contact Improvisation and Butoh, and get into organize dance jam sessions with live music. I collaborated to improvise as a musician in two dance companies: Omosuno by Cristiane Boullosa, and the collective El Saco Roto. For three years I have been organizing the Oniric Concerts, relaxing musical spaces that invite you to dream. And during last year I organized free dance sessions with a multidisciplinary focus, called Dream Session, facilitating a space for interaction between music, dance, poetry, painting, pastry…

ANTONIO DUEÑAS

I have always been attracted to the proposals that make different artistic disciplines coexist in a single stage event. After training at the Royal Conservatory of Music in Madrid and the Hochshule für Musik und Theater Felix Mendelssohn Bartholdy in Leipzig, as well as under the direction of artists such as Carlo Marccione, Hopkinson Smith, Chema Vilchez and Enrique Blanco in different disciplines such as the classical guitar and electrical or composition, among others, I decided to explore and investigate the relationship between that scenic fact and music. This decision keeps me currently linked to the dialogue between sound, body, space, movement, visual arts, music and words, through the language of theater, dance or performance nowadays.

DANIEL SALAMANCA

I started in classical piano training, although I ended up developing it self-taught learning harmony, guitar, singing, bass and percussion, and complementing it throughout my career with courses and private classes of modern piano (with Sonia Megías, recently), vocal technique (with Tata Quintana), musical technology and ethnomusicology. I compose music from an early age, one of the essential tools for the development of my auditory training, always starting from the premise of the three I’s: Improvisation, Intuition and Integration. Over time, this leads me as an author, performer and arranger to form and integrate musical projects, alternating different styles such as folk, jazz, rock, minimalist music, new age or author song. I also participate as a musician in recitals of contemporary poetry, as well as in music and dance jam sessions. My love for performing arts and music, were born in me since I was little and I do not currently conceive my trip without the connection or simultaneity of both. I compose music for various theater and dance shows. Over the last six years I have been part of the company Omos Uno, to which I owe most of my learning in the scenic improvisation of music and dance.

A lo largo de los últimos seis años formo parte de la compañía Omos Uno, a la cual debo la mayor parte de mi aprendizaje en la improvisación escénica de música y danza.