I began this semester not knowing anything about Steve Paxton. Although I had experimented with Contract Improvisation for years prior, I never knew its origin or if it had a "creator." My partner, Rachel was actually the one who suggested we do Steve and now looking back, I am really glad that she encouraged me to take on the project of researching and getting to know him. I am always interested in trying new things in my work and have used Contact Improv to create choreography. In my project for Composition 2 this past year, I had a section with three dancers where they all were on the floor and I wanted them to stay connected. I had them experiment different ways to roll over each other and pass under one another to create a somewhat chaotic yet passionate feel. I have also experimented with Contact Improv in other dance making classes and after years of practice, I think I feel pretty comfortable with it. I've taught children's classes where we've explored the fundamentals of Contact Improv, and I now feel knowledgeable enough to explain its history and give proper credit.
His work has helped me bring my awareness back to every day essential movement. Being a dancer, I'm always moving throughout my day and I forget that some people don't have that luxury. I want to continue to encourage my son to explore through movement, instead of just sitting in front of Dora the Explorer for entertainment. I also enjoyed learning about his work with the blind and disabled. Sometimes we get so caught up in the "perfect image" of a dancer, we forget that anyone can dance. Steve's work really breaks dance down to it's most basic form. By being active and using myself wisely to move, I hope that I can be an example for my son and dance students.
Steve is an admirable figure in the dance world because of his contributions to working with various types of people. He has reached out and created pieces with disabled, blind and teaches all around the world. His choreography has posed questions as to what dance really is and what it’s parameters are. Success has followed this exploration and Two of his works, Flat and Satisfying Lover were featured in the White Oak Dance Project's PASTforward tour in 2000. Improvisation has been a huge part of his career and he appeared in the improvisation initiative Crash Landing. His contributions to the dance world have been unique, yet powerful.
Since coming to UWM, I’ve realized that dancing is about much more than how many pirouettes one can do or how perfectly they can leap across the floor. Dancing is about connection; within the body, with each other, with our minds. I believe that Steve is an example of an artist who has this philosophy and has had a prosperous career. His work reminds me that the basics of movement are perfectly valid to use in choreography and can be just as intriguing as big jumps or turns. I feel that much of the dance scene in today’s world is all about pushing the envelope. Steve is all about “thinking outside the box” and does not want to conform to society in the way that they are diminishing movement from everyday life. I often hear on the news that obesity rates are increasing, and I know that Steve is aware of this and wants to promote movement, even in its most basic forms, as a daily habit in people’s lives. He is connecting to the current dance world with his lectures and classes that are based on fundamental movement patterns and crafting the body into something that can be supportive yet able to adapt through Contact Improv. I am proud of his bold choice to work with DanceAbility (Contact Improv workshop for people who are disabled) and other organizations that bring movement to those who may be otherwise overlooked for instruction. In my research, I have not found many dance artists in today's world who are willing to reach out to minority groups like he has. Some of today’s dancers are so consumed in themselves; they forget that there is a great big world of dance around them. Steve is someone who cares much about the world and I have never once read anything that makes him sound like a snobby artist. So much of dance these days experiments with contact work that I don't think the dance world, or my personal dance bubble would be the same without Paxton's influence.
-Carrie Martin
I was first introduced to dance through improv, and it has become a huge influence on how I work and move. Of course, credit has to be given, and I couldn't until now.
ReplyDeleteI feel that improv is one of those things from which you cannot hide things from, because it tells you a lot about a person. How they react to impromptu instructions, unexpected relations, etc. Improv is also a way of therapy. It seems that Steve gets at this by working with various groups of people and making it accessible. It is scary, but seeing the things that happen in contact improv are so special and unique in time that you just have to witness it, even experience it. I certainly appreciate the work he is doing in the community outside of dance and his work that has brought me to dance.
By Jose
Jose,
ReplyDeleteI think you have extremely interesting natural movement and have always been impressed when watching you improv! When I took a class on dance therapy at ACDFA, they were talking about how they use methods of improv and contact improv to help people overcome problems. I've always been interested in dance therapy and would like to study more of it someday. The power of movement is totally underestimated in todays culture, I believe. It's amazing how I can begin a class totally frustrated and tired and then by the end of class I feel free and awake. I think that dance has really helped me navigate through life. It was a safe thing to experiment with, to express my self with and to loose myself in. I'm sure the same is true for those with disabilities or impairments. It shows the man who's legs are paralyzed that he can still dance with his upper body in countless, countless ways, and it takes the focus off of the negative and turns it to what he CAN do. Steve seems very down to earth and I, too commend his efforts to reach out and share his ideas. Unlike some of the other artists we've studied, I don't think he puts himself on a pedestal and wants the fame and attention for his work. I wish I could see bodies the way he does, I always try to create new partnering lifts/tricks but sometimes they don't workout well. If you look at some of the videos we've posted, he uses people in such a unique yet possible way; its breath taking!
Thanks for the comment,
Carrie
Jose,
ReplyDeleteI was particularly struck by your comment "Improv is also a way of therapy". I really agree with this comment and I don't know that I have been able to identify specifically why until reading your comment. Improvisation takes the most direct route from your mind to creation. There is no room for editing, therefore it exposes us. This exposure in the right supportive atmosphere can be very therapeutic. Even in a not so supportive atmosphere it encourages independence and confidence/strength in being yourself.
I also think the idea of experiencing contact improvisation is important. I think it is beautiful to watch but the therapeutic aspects really come from the experience. The "scary" element or the element of danger allows you to overcome obstacles with out the luxury of over thinking the situation. Not to mention the incredibly beautiful lifts and dynamics that are created that feel so different from the way they look.
Thanks for the thoughts,
~Rachel