About this Event

'๐—ฆ๐—ฃ๐—ข๐—ก๐—ง๐—”๐—ก๐—˜๐—ข๐—จ๐—ฆ ๐—œ๐—ก๐—ง๐—˜๐—ฅ๐—”๐—–๐—ง๐—œ๐—ข๐—ก' ๐˜พ๐™ค๐™ฃ๐™ฉ๐™–๐™˜๐™ฉ ๐™„๐™ข๐™ฅ๐™ง๐™ค๐™ซ๐™ž๐™จ๐™–๐™ฉ๐™ž๐™ค๐™ฃ ๐™’๐™ค๐™ง๐™ ๐™จ๐™๐™ค๐™ฅ ๐˜๐˜ฏ๐˜ท๐˜ช๐˜ต๐˜ช๐˜ฏ๐˜จ ๐˜บ๐˜ฐ๐˜ถ ๐˜ต๐˜ฐ ๐˜ซ๐˜ฐ๐˜ช๐˜ฏ ๐˜ถ๐˜ด ๐˜ช๐˜ฏ ๐˜ข๐˜ฏ ๐˜ช๐˜ฎ๐˜ฎ๐˜ฆ๐˜ณ๐˜ด๐˜ช๐˜ท๐˜ฆ ๐˜ฆ๐˜น๐˜ฑ๐˜ญ๐˜ฐ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ฐ๐˜ง ๐˜ต๐˜ฉ๐˜ฆ ๐˜ข๐˜ณ๐˜ต ๐˜ฐ๐˜ง ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ค๐˜ต ๐˜ช๐˜ฎ๐˜ฑ๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ด๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ. ๐˜›๐˜ฉ๐˜ช๐˜ด ๐˜ช๐˜ฎ๐˜ฎ๐˜ฆ๐˜ณ๐˜ด๐˜ช๐˜ท๐˜ฆ ๐˜ธ๐˜ฐ๐˜ณ๐˜ฌ๐˜ด๐˜ฉ๐˜ฐ๐˜ฑ ๐˜ช๐˜ด ๐˜ฅ๐˜ฆ๐˜ด๐˜ช๐˜จ๐˜ฏ๐˜ฆ๐˜ฅ ๐˜ต๐˜ฐ ๐˜ฏ๐˜ถ๐˜ณ๐˜ต๐˜ถ๐˜ณ๐˜ฆ ๐˜บ๐˜ฐ๐˜ถ๐˜ณ ๐˜ถ๐˜ฏ๐˜ฅ๐˜ฆ๐˜ณ๐˜ด๐˜ต๐˜ข๐˜ฏ๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜ฐ๐˜ง ๐˜ฎ๐˜ฐ๐˜ท๐˜ฆ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต, ๐˜ต๐˜ฐ๐˜ถ๐˜ค๐˜ฉ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ข๐˜ณ๐˜ต ๐˜ฐ๐˜ง ๐˜ด๐˜ฉ๐˜ข๐˜ณ๐˜ฆ๐˜ฅ ๐˜ธ๐˜ฆ๐˜ช๐˜จ๐˜ฉ๐˜ต, ๐˜ถ๐˜ฏ๐˜ญ๐˜ฐ๐˜ค๐˜ฌ๐˜ช๐˜ฏ๐˜จ ๐˜ข ๐˜ธ๐˜ฐ๐˜ณ๐˜ญ๐˜ฅ ๐˜ฐ๐˜ง ๐˜ฑ๐˜ฉ๐˜บ๐˜ด๐˜ช๐˜ค๐˜ข๐˜ญ ๐˜ฆ๐˜น๐˜ฑ๐˜ณ๐˜ฆ๐˜ด๐˜ด๐˜ช๐˜ฐ๐˜ฏ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ค๐˜ฐ๐˜ฏ๐˜ฏ๐˜ฆ๐˜ค๐˜ต๐˜ช๐˜ฐ๐˜ฏ, ๐˜ธ๐˜ฉ๐˜ช๐˜ค๐˜ฉ ๐˜ข๐˜ช๐˜ฎ๐˜ด ๐˜ต๐˜ฐ ๐˜ฑ๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ฅ๐˜ฆ ๐˜ข ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ณ๐˜ฆ๐˜ฉ๐˜ฆ๐˜ฏ๐˜ด๐˜ช๐˜ท๐˜ฆ ๐˜ถ๐˜ฏ๐˜ฅ๐˜ฆ๐˜ณ๐˜ด๐˜ต๐˜ข๐˜ฏ๐˜ฅ๐˜ช๐˜ฏ๐˜จ ๐˜ฐ๐˜ง ๐˜ด๐˜ฐ๐˜ญ๐˜ฐ ๐˜ฎ๐˜ฐ๐˜ท๐˜ฆ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต, ๐˜ฑ๐˜ข๐˜ณ๐˜ต๐˜ฏ๐˜ฆ๐˜ณ ๐˜ช๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜ข๐˜ค๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ด, ๐˜ธ๐˜ฐ๐˜ณ๐˜ฌ๐˜ช๐˜ฏ๐˜จ ๐˜ช๐˜ฏ ๐˜ต๐˜ณ๐˜ช๐˜ฐ๐˜ด, ๐˜ด๐˜ฑ๐˜ข๐˜ต๐˜ช๐˜ข๐˜ญ ๐˜ข๐˜ธ๐˜ข๐˜ณ๐˜ฆ๐˜ฏ๐˜ฆ๐˜ด๐˜ด, ๐˜ณ๐˜ฆ๐˜ง๐˜ญ๐˜ฆ๐˜น ๐˜ช๐˜ฏ๐˜ต๐˜ฆ๐˜จ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ, ๐˜ฅ๐˜ช๐˜ท๐˜ฆ๐˜ณ๐˜ด๐˜ฆ ๐˜ฅ๐˜ข๐˜ฏ๐˜ค๐˜ฆ ๐˜ฒ๐˜ถ๐˜ข๐˜ญ๐˜ช๐˜ต๐˜ช๐˜ฆ๐˜ด, , ๐˜ข๐˜ฏ๐˜ฅ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ข๐˜ณ๐˜ต๐˜ช๐˜ด๐˜ต๐˜ช๐˜ค ๐˜ฆ๐˜ด๐˜ด๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ ๐˜ฐ๐˜ง ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ค๐˜ต ๐˜ช๐˜ฎ๐˜ฑ๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ด๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ. ๐Ÿ. ๐’๐จ๐ฅ๐จ ๐Œ๐จ๐ฏ๐ž๐ฆ๐ž๐ง๐ญ ๐„๐ฑ๐ฉ๐ฅ๐จ๐ซ๐š๐ญ๐ข๐จ๐ง: In this section, we will delve into the fundamentals of solo movement within the context of contact improvisation. Through guided exercises and improvisational prompts, we will be encouraged to explore our own body's vocabulary and movement potential. Where we will be exploring, how to use the body as an instrument to initiate and respond to impulses, setting the foundation for fluid interactions in subsequent partner work. 2. ๐’๐ก๐š๐ซ๐ข๐ง๐  ๐ญ๐ก๐ž ๐–๐ž๐ข๐ ๐ก๐ญ: Discover the intricate balance of distributing weight between yourself and your partner, a foundation of Contact Improvisation that fosters trust and communication. ๐Ÿ‘. ๐๐š๐ซ๐ญ๐ง๐ž๐ซ ๐ƒ๐ฒ๐ง๐š๐ฆ๐ข๐œ๐ฌ ๐š๐ง๐ ๐“๐ซ๐ข๐จ ๐„๐ฑ๐ฉ๐ฅ๐จ๐ซ๐š๐ญ๐ข๐จ๐ง๐ฌ: The workshop will progress to focus on partner interactions and trio dynamics. Through trust-building exercises and partner-based improvisations, where we will explore to establish a dialogue of movement, weight-sharing, and responsiveness. Trios will introduce a dynamic layer, encouraging participants to navigate the complexities of multiple connections, expanding their movement possibilities and Partner Connection. Through guided exercises, participants will develop trust, sensitivity, and communication skills while in physical contact with a partner. ๐Ÿ’. ๐—ฃ๐—ผ๐—ถ๐—ป๐˜ ๐—ผ๐—ณ ๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜: Understand the significance of where your bodies meet, as the point of contact becomes the epicentre of sensation, communication, and improvisation. ๐Ÿ“. ๐’๐ฉ๐š๐ญ๐ข๐š๐ฅ ๐€๐ฐ๐š๐ซ๐ž๐ง๐ž๐ฌ๐ฌ ๐ข๐ง ๐‚๐จ๐ง๐ญ๐š๐œ๐ญ ๐ˆ๐ฆ๐ฉ๐ซ๐จ๐ฏ๐ข๐ฌ๐š๐ญ๐ข๐จ๐ง: Understanding and utilising space is vital in contact improvisation. This section will explore spatial relationships, pathways, and levels of movement. Through exercises that emphasize proprioception and spatial manipulation, leading to a more profound understanding of spatial relationships in movement. ๐Ÿ”. ๐‘๐ž๐Ÿ๐ฅ๐ž๐ฑ ๐ˆ๐ง๐ญ๐ž๐ ๐ซ๐š๐ญ๐ข๐จ๐ง : Contact improvisation involves spontaneous reactions and reflexive responses. we will engage in exercises which will find a way to develop a sense of body awareness and instinctual reactions. These activities will encourage us to tune into our bodies, fostering organic and authentic movement interactions. ๐Ÿ•. ๐—™๐—ฎ๐—น๐—น๐—ถ๐—ป๐—ด & ๐—–๐—ฎ๐˜๐—ฐ๐—ต๐—ถ๐—ป๐—ด ๐— ๐—ผ๐—บ๐—ฒ๐—ป๐˜๐˜‚๐—บ: Embrace the concept of controlled falling, where surrendering to gravity leads to beautiful, spontaneous movements & Harness the energy of motion as we delve into the art of catching momentum, creating fluid and dynamic movements that flow harmoniously. ๐Ÿ–. ๐’๐ฉ๐จ๐ง๐ญ๐š๐ง๐ž๐ข๐ญ๐ฒ: We will explore with the intention to create awareness and open up to 'what happens in the space'. Observing transitions from states of coming from premeditated movement into the happening of a spontaneous interaction and moment. Exploring what leads to finding new pathways, breaking patterns with a familiar language. ๐Ÿ—. ๐„๐ฑ๐ฉ๐ฅ๐จ๐ซ๐ข๐ง๐  ๐๐ฎ๐š๐ฅ๐ข๐ญ๐ข๐ž๐ฌ ๐จ๐Ÿ ๐Œ๐จ๐ฏ๐ž๐ฆ๐ž๐ง๐ญ: Diversity in movement qualities adds depth to contact improvisation. Participants will experiment with various movement textures, dynamics, speeds, and energies. By incorporating contrasting qualities, we will enrich the movement palette, leading to more engaging and evocative improvisational exchanges. ๐Ÿ๐ŸŽ. ๐—Ÿ๐—ถ๐˜€๐˜๐—ฒ๐—ป๐—ถ๐—ป๐—ด ๐˜๐—ผ ๐˜๐—ต๐—ฒ ๐—ข๐˜๐—ต๐—ฒ๐—ฟ ๐—•๐—ผ๐—ฑ๐˜†: Hone your ability to listen, not just with your ears, but with your entire being, attuning yourself to your partner's movements and intentions. ๐Ÿ๐Ÿ. ๐„๐ฑ๐ฉ๐ฅ๐จ๐ซ๐š๐ญ๐ข๐จ๐ง ๐จ๐Ÿ ๐๐ก๐ฒ๐ฌ๐ข๐œ๐ฌ: Contact improvisation often involves an exploration of the principles of physics, such as gravity, momentum, inertia, and balance. Dancers play with these principles, experimenting with different ways of moving, falling, and redirecting energy within the context of physical contact. ๐Ÿ๐Ÿ. ๐Œ๐ข๐๐ฐ๐š๐ฒ ๐Ÿ๐ฅ๐ข๐ ๐ก๐ญ๐ฌ During these midway flights, dancers navigate the space between weight-sharing and weightlessness, finding harmony through mutual trust, sensitivity, and awareness. It's a thrilling sensation of being suspended in time, where the body responds intuitively to subtle shifts in weight, momentum, and connection. ๐Ÿ๐Ÿ‘. ๐‹๐€๐ ๐’๐ž๐ฌ๐ฌ๐ข๐จ๐ง: Lab sessions often include jamming, where dancers are invited to explore freely in an open space without prescribed movements. Jam sessions provide an opportunity for spontaneous improvisation, creative expression, and the discovery of new movement possibilities through interaction with others. (๐—ช๐—ต๐—ผ ๐˜€๐—ต๐—ผ๐˜‚๐—น๐—ฑ ๐—ฎ๐˜๐˜๐—ฒ๐—ป๐—ฑ ๐˜๐—ต๐—ฒ ๐˜„๐—ผ๐—ฟ๐—ธ๐˜€๐—ต๐—ผ๐—ฝ) ๐˜›๐˜ฉ๐˜ช๐˜ด ๐˜ธ๐˜ฐ๐˜ณ๐˜ฌ๐˜ด๐˜ฉ๐˜ฐ๐˜ฑ ๐˜ช๐˜ด ๐˜ฐ๐˜ฑ๐˜ฆ๐˜ฏ ๐˜ต๐˜ฐ ๐˜ช๐˜ฏ๐˜ฅ๐˜ช๐˜ท๐˜ช๐˜ฅ๐˜ถ๐˜ข๐˜ญ๐˜ด ๐˜ฐ๐˜ง ๐˜ข๐˜ญ๐˜ญ ๐˜ฃ๐˜ข๐˜ค๐˜ฌ๐˜จ๐˜ณ๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ๐˜ด, ๐˜ฃ๐˜ฆ๐˜จ๐˜ช๐˜ฏ๐˜ฏ๐˜ฆ๐˜ณ๐˜ด ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฆ๐˜น๐˜ฑ๐˜ฆ๐˜ณ๐˜ช๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ ๐˜ญ๐˜ฆ๐˜ท๐˜ฆ๐˜ญ๐˜ด ๐˜ธ๐˜ฉ๐˜ฐ ๐˜ข๐˜ณ๐˜ฆ ๐˜ช๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜ฆ๐˜ด๐˜ต๐˜ฆ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ฆ๐˜น๐˜ฑ๐˜ญ๐˜ฐ๐˜ณ๐˜ช๐˜ฏ๐˜จ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ฑ๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ฏ๐˜ฆ๐˜ช๐˜ต๐˜บ ๐˜ฐ๐˜ง ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ค๐˜ต ๐˜ช๐˜ฎ๐˜ฑ๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ด๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ & ๐˜ฎ๐˜ฐ๐˜ท๐˜ฆ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต , ๐˜ข๐˜ฏ๐˜ฅ ๐˜ข๐˜ฏ๐˜บ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜ช๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜ฆ๐˜ด๐˜ต๐˜ฆ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ฆ๐˜น๐˜ฑ๐˜ญ๐˜ฐ๐˜ณ๐˜ช๐˜ฏ๐˜จ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ณ๐˜ช๐˜ค๐˜ฉ ๐˜ต๐˜ฆ๐˜ณ๐˜ณ๐˜ข๐˜ช๐˜ฏ ๐˜ฐ๐˜ง ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ค๐˜ต ๐˜ช๐˜ฎ๐˜ฑ๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ด๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ. ๐˜—๐˜ข๐˜ณ๐˜ต๐˜ช๐˜ค๐˜ช๐˜ฑ๐˜ข๐˜ฏ๐˜ต๐˜ด ๐˜ข๐˜ณ๐˜ฆ ๐˜ฆ๐˜ฏ๐˜ค๐˜ฐ๐˜ถ๐˜ณ๐˜ข๐˜จ๐˜ฆ๐˜ฅ ๐˜ต๐˜ฐ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฆ ๐˜ธ๐˜ช๐˜ต๐˜ฉ ๐˜ข๐˜ฏ ๐˜ฐ๐˜ฑ๐˜ฆ๐˜ฏ ๐˜ฎ๐˜ช๐˜ฏ๐˜ฅ, ๐˜ข ๐˜ด๐˜ฑ๐˜ช๐˜ณ๐˜ช๐˜ต ๐˜ฐ๐˜ง ๐˜ค๐˜ถ๐˜ณ๐˜ช๐˜ฐ๐˜ด๐˜ช๐˜ต๐˜บ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜ข ๐˜ธ๐˜ช๐˜ญ๐˜ญ๐˜ช๐˜ฏ๐˜จ๐˜ฏ๐˜ฆ๐˜ด๐˜ด ๐˜ต๐˜ฐ ๐˜ฆ๐˜ฏ๐˜จ๐˜ข๐˜จ๐˜ฆ ๐˜ช๐˜ฏ ๐˜๐˜ฎ๐˜ฑ๐˜ณ๐˜ฐ๐˜ท๐˜ช๐˜ด๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ด๐˜ฐ ๐˜ซ๐˜ถ๐˜ด๐˜ต ๐˜ฃ๐˜ณ๐˜ช๐˜ฏ๐˜จ ๐˜บ๐˜ฐ๐˜ถ๐˜ณ ๐˜ค๐˜ถ๐˜ณ๐˜ช๐˜ฐ๐˜ด๐˜ช๐˜ต๐˜บ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ค๐˜ณ๐˜ฆ๐˜ข๐˜ต๐˜ช๐˜ท๐˜ช๐˜ต๐˜บ ( ๐‘ญ๐’๐’“ ๐’๐’–๐’“ ๐’”๐’†๐’”๐’”๐’Š๐’๐’, ๐’‘๐’๐’†๐’‚๐’”๐’† ๐’“๐’†๐’Ž๐’†๐’Ž๐’ƒ๐’†๐’“ ๐’•๐’ ๐’˜๐’†๐’‚๐’“ ๐’๐’๐’๐’ˆ ๐’”๐’๐’†๐’†๐’—๐’†๐’”, ๐’‘๐’‚๐’๐’•๐’”, ๐’‚๐’๐’… ๐’˜๐’‚๐’“๐’Ž ๐’„๐’๐’๐’•๐’‰๐’†๐’”. ๐‘พ๐’†'๐’๐’ ๐’ƒ๐’† ๐’–๐’•๐’Š๐’๐’Š๐’”๐’Š๐’๐’ˆ ๐’‚ ๐’๐’๐’• ๐’๐’‡ ๐’ƒ๐’๐’…๐’š ๐’”๐’–๐’“๐’‡๐’‚๐’„๐’† ๐’๐’ ๐’•๐’‰๐’† ๐’‡๐’๐’๐’๐’“, ๐’”๐’ ๐’„๐’๐’Ž๐’‡๐’๐’“๐’•๐’‚๐’ƒ๐’๐’† ๐’‚๐’•๐’•๐’Š๐’“๐’† ๐’˜๐’Š๐’๐’ ๐’Ž๐’‚๐’Œ๐’† ๐’Ž๐’๐’—๐’†๐’Ž๐’†๐’๐’• ๐’†๐’‚๐’”๐’Š๐’†๐’“. ๐‘จ๐’…๐’…๐’Š๐’•๐’Š๐’๐’๐’‚๐’๐’๐’š, ๐’Š๐’•'๐’” ๐’‚ ๐’ˆ๐’๐’๐’… ๐’Š๐’…๐’†๐’‚ ๐’•๐’ ๐’ƒ๐’“๐’Š๐’๐’ˆ ๐’†๐’™๐’•๐’“๐’‚ ๐’„๐’๐’๐’•๐’‰๐’†๐’” ๐’Š๐’ ๐’„๐’‚๐’”๐’† ๐’š๐’๐’– ๐’‡๐’Š๐’๐’… ๐’š๐’๐’–๐’“๐’”๐’†๐’๐’‡ ๐’”๐’˜๐’†๐’‚๐’•๐’Š๐’๐’ˆ ๐’…๐’–๐’“๐’Š๐’๐’ˆ ๐’•๐’‰๐’† ๐’”๐’†๐’”๐’”๐’Š๐’๐’. ๐‘ฉ๐’†๐’Š๐’๐’ˆ ๐’‘๐’“๐’†๐’‘๐’‚๐’“๐’†๐’… ๐’˜๐’Š๐’๐’ ๐’†๐’๐’”๐’–๐’“๐’† ๐’‚ ๐’Ž๐’๐’“๐’† ๐’†๐’๐’‹๐’๐’š๐’‚๐’ƒ๐’๐’† ๐’†๐’™๐’‘๐’†๐’“๐’Š๐’†๐’๐’„๐’† ๐’‡๐’๐’“ ๐’‚๐’๐’ ๐’๐’‡ ๐’–๐’”) ๐ƒ๐š๐ญ๐ž : ๐Ÿ4๐ญ๐ก ๐ญ๐จ ๐Ÿ8๐ญ๐ก ๐Œ๐š๐ฒ ๐“๐ข๐ฆ๐ž : ๐Ÿ๐ŸŽ๐š๐ฆ ๐ญ๐จ ๐Ÿ:๐ŸŽ๐ŸŽ๐ฉ๐ฆ ๐•๐ž๐ง๐ฎ๐ž : ๐„๐ƒ๐Œ ๐ก๐จ๐ฌ๐ญ๐ž๐ฅ (๐ž๐ฑ ๐•๐ข๐ฌ๐ก๐ซ๐š๐ฆ),๐”๐ฉ๐ฉ๐ž๐ซ ๐ƒ๐ก๐š๐ซ๐š๐ฆ๐ค๐จ๐ญ , ๐‡๐ข๐ฆ๐š๐œ๐ก๐š๐ฅ ๐๐ซ๐š๐๐ž๐ฌ๐ก. ๐‘๐ž๐ ๐ฎ๐ฅ๐š๐ซ ๐Ÿ๐ž๐ž : ๐Ÿ๐ŸŽ,๐ŸŽ๐ŸŽ๐ŸŽ ๐ซ๐ฎ๐ฉ๐ž๐ž๐ฌ ๐„๐š๐ซ๐ฅ๐ฒ ๐›๐ข๐ซ๐ ๐ฉ๐ซ๐ข๐œ๐ž : ๐Ÿ–,๐ŸŽ๐ŸŽ๐ŸŽ ๐ซ๐ฎ๐ฉ๐ž๐ž๐ฌ (๐Ÿ๐จ๐ซ ๐ž๐š๐ซ๐ฅ๐ฒ ๐›๐ข๐ซ๐ ๐ฉ๐ซ๐ข๐œ๐ž ๐ซ๐ž๐ ๐ข๐ฌ๐ญ๐ซ๐š๐ญ๐ข๐จ๐ง ๐ฐ๐ข๐ฅ๐ฅ ๐›๐ž ๐›๐ž๐Ÿ๐จ๐ซ๐ž 10๐ญ๐ก ๐จ๐Ÿ ๐Œ๐š๐ฒ) ๐ƒ๐ซ๐จ๐ฉ ๐ข๐ง : ๐Ÿ๐Ÿ“๐ŸŽ๐ŸŽ ๐ˆ๐๐‘ ( ๐ƒ๐ซ๐จ๐ฉ ๐ข๐ง ๐ฐ๐ข๐ฅ๐ฅ ๐›๐ž ๐จ๐ง๐ฅ๐ฒ ๐จ๐ง ๐Ÿ๐ข๐ซ๐ฌ๐ญ ๐ญ๐ฐ๐จ ๐๐š๐ฒ๐ฌ) ๐ฉ๐ก๐จ๐ญ๐จ ๐›๐ฒ : ๐’๐ฎ๐ ๐š๐ญ ๐†๐š๐ข๐ค๐ฐ๐š๐ ๐™๐™ค๐™ง ๐™๐™š๐™œ๐™ž๐™จ๐™ฉ๐™ง๐™–๐™ฉ๐™ž๐™ค๐™ฃ๐™จ ๐™–๐™ฃ๐™™ ๐™ข๐™ค๐™ง๐™š ๐™ž๐™ฃ๐™›๐™ค๐™ง๐™ข๐™–๐™ฉ๐™ž๐™ค๐™ฃ : +918484935911 ๐™€๐™ข๐™–๐™ž๐™ก : ๐™˜๐™ง๐™š๐™–๐™ฉ๐™ž๐™ค๐™ฃ๐™ค๐™›๐™ฅ๐™š๐™ง๐™›๐™ค๐™ง๐™ข๐™ž๐™ฃ๐™œ๐™–๐™ง๐™ฉ๐™จ@๐™œ๐™ข๐™–๐™ž๐™ก.๐™˜๐™ค๐™ข ๐™’๐™š๐™—๐™จ๐™ž๐™ฉ๐™š : ๐™ฌ๐™ฌ๐™ฌ.๐™˜๐™ค๐™ฅ๐™–๐™ฏ.๐™ž๐™ฃ (๐—”๐—•๐—ข๐—จ๐—ง ๐—™๐—ฎ๐—ฐ๐—ถ๐—น๐—ถ๐˜๐—ฎ๐˜๐—ผ๐—ฟ) ๐—๐—ฒ๐—ฒ๐˜ƒ๐—ฎ๐—ธ Jeevak is an innovative and versatile performer, skilled in theatre, Movement, and Contact improvisation. He comes from Pune but is currently based in Goa, India, where he explores and practices movement and performing arts. His passion for experimentation shines through in his captivating performances, where he has showcased his experimental performances in various spaces like cafes, restaurants, studios, streets,theatres and black boxes. These performances are characterized by their extended durations, aligning with his research interests. Throughout the past six years, Jeevak has dedicated himself to refining and mastering his contact improvisation skills, leading jam sessions and workshops. He also organizes a monthly workshop called "Back to Basics," aimed at introducing the principles of contact improvisation to interested individuals. His ultimate goal is to bridge the gap between performing art and contact improvisation. He emphasizes the importance of understanding one's own awareness and that of others, adapting to ever-changing environments, and comprehending the presentation of contact improvisation as both an art form and a means of communication between the performer and the observer. (๐—”๐—•๐—ข๐—จ๐—ง ๐—–๐—ข๐—ก๐—ง๐—”๐—–๐—ง ๐—œ๐— ๐—ฃ๐—ฅ๐—ข๐—ฉ๐—œ๐—ฆ๐—”๐—ง๐—œ๐—ข๐—ก) Contact improvisation is a form of improvised dancing that has been developing internationally since 1972. It involves the exploration of one's body in relationship to others by using the fundamentals of sharing weight, touch, and movement awareness. Contact improvisation (CI) is a dance practice in which the physical contact points, between at least two dancers, become the starting point of an exploration made of improvised movements. Contact Improvisation is based on playing and exploring the possibilities of two bodies meeting in space. It involves a lot of listening and being aware of the body and the surroundings, whilst the improvisational aspect invites the curiosity of going into the unknown territory of every moment.

Dance Styles

Contact Improvisation (100%)

Pricing

Drop in:โ‚น2,500.00
Early bird:โ‚น8,000.00
Regular fee:โ‚น10,000.00

Organizer

J

Jeevak More