// INVESTIGATIVE MOVEMENT PRACTICES (IMP) //
IMP Classes and workshops are taught by leading movement practitioners and reflect current developments in the field of contemporary dance. Each series takes a multi-faceted approach that integrates technique and creative process.
Investigative Movement Practices (IMP) Workshop Series
Velocity Kawasaki Studio 1621 12th Ave
$15 Drop-in / $12 MVP
Buy a full class series for just $10/class
> Series 1: Jan 7-28 with Jan Trumbauer / $40 for full series REGISTER NOW!
> Series 2: Feb 4-25 with Cathy Madden + Crispin Spaeth / $40 for full series
> Series 3: March 4-25 with ilvs strauss / $40 for full series
> Series 4: April 1-22 with The Pendleton House / $40 for full series
> Series 5: April 29-May 20 with Molly Sides / $40 for full series
> Series 6: May 27-July1 with Victoria Jacobs / $60 for full series
Jan Trumbauer: Embodied Writing // Movement Linguistics
This workshop assumes that your writing and dancing tendencies are manifestations of your physicality. We will tone and stretch our writing by pushing at the textures and tempos of our physicalities, and we will enliven our kinesthetic imaginations by dancing the terrain of highly-specific language. Open to all levels of comfort with movement and writing.
Jan Trumbauer writes, creates images and plays at the intersection between movement and theatricality. She has taken an interest in exploring intersections between writing and movement both in performance and on the page, most recently as assistant editor of Encounters with Contact Improvisation, a special edition of Contact Quarterly about contact improvisation in institutions of higher education, and as former Editor of Velocity’s Stance: Journal of Choreographic Culture. In Seattle, she performs, makes her own work and works as a college writing tutor, freelance editor and ghostwriter.
Cathy Madden + Crispin Spaeth: An Introduction to the Alexander Technique for Dance
Are you a dancer / choreographer / dance teacher / improvisor looking for ways to more fully realize creation and expression? You already have a lot going for you. Smarts. Self-awareness. Body knowledge. A desire for genuine expression. Experience putting yourself on the line.
In this 4-week workshop, we will help you learn a new way to cooperate with your underlying coordination so you can do what is most important to you. You may reach new depths of creation and expression, find new creative choices, move past an injury, finally understand that one note you keep getting… The options are yours.
The Alexander Technique (AT) is a tool that supports self-awareness and constructive choice in thought, action, and communication. In Cathy’s words, “The Alexander Technique is constructive, conscious kindness to ourselves, cooperation with our design and supporting our desires and dreams.” Performing artists have used AT for over a century to improve the quality and sustainability of their performance lives. This class focuses on the specific activities and unique requirements of dance artists, laying out practical and repeatable processes to more fully realize creation and expression.
Cathy Madden is an internationally respected teacher of the Alexander Technique. Based in Seattle, she is Principal Lecturer at the University of Washington Professional Actor Training Program, Director of the Alexander Technique Training and Performance Studio in Seattle, and Associate Director/Research Director for BodyChance in Japan. She is also the author of Onstage Synergy: Integrative Alexander Technique Practice for Performing Artists due out in December 2014. Crispin Spaeth is a choreographer, producer, and long-time student of the Alexander Technique. She is thrilled to bring this work to the Seattle dance community.
PAST IMP series
DEC 3-17, 2014
Jonathan Lilly: Dance Meets Martial Arts: Contact Improvisation and Aikido
The genesis of Contact Improvisation was originally inspired by aikido, a martial art based on the idea of blending energy. While Contact Improvisation has evolved greatly since its creation, there is still much commonality between these two very differnt arts, and much to be learned at their intersection. This class will apply skills, forms, and awaremenss practices derived from aikido to Contact Improvisation. Topics include forward and backward rolls, skeletal alignment as base, two-person rolls, and lifts derived from modified aikido techniques. The class is suitable for all elvels; no previous experience in contact improvisation or aikido is required.
Jonathan Lilly began practicing aikido in 1991, and has fifteen years’ experience teaching aikido to adults and children. He holds a fourth degree black best as well as on instructor certification from the United States Aikido Federation. His movement practice has been heavily influenced by the Feldenkrais method, and more recently, by conact improvisation and improvisational dance.
OCT 15-NOV 19, 2014
Tamin Totzke: Contact Improvisation: Refreshing the Basics
Contact improvisation (CI) is a dance form exploring the spontaneity of improvisation through shared physical contact with another person. In this series we will build foundational CI skills, such as rolling, surfing, giving and receiving weight, off-center dancing, lifting and releasing into the joy of disorientation. Skeletal alignment and efficiency will be emphasized to find strength through structure instead of force. Playing between image-based and athletic sensibilities, we train our attention to stay curiously responsive. Each class will build upon the last to embody rich new potential while cultivating the confidence to trust in our own dancing. We will tune to the forces of gravity and momentum- releasing tension in our minds and bodies to find ease and vitality. Come find readiness, pliability, humor, connection and flight.
Tamin Totzke is a dance educator, improviser and choreographer with an MFA from the University of Illinois, Urbana-Champaign. She has toured throughout the US teaching and performing at universities, theaters, and festivals including West Coast Contact Festival, both SEEDS and Ground Research at Earthdance and the Seattle Festival of Dance Improvisation. She has taught internationally in Taiwan, Cambodia and Mongolia working with companies such as Cloud Gate Dance Theater, Taipei Dance Forum, Epic Arts and Nature Dance. Tamin most recently finished a film project that toured through Mongolia, Nepal, Tibet and Bhutan exploring dance improvisation as a vehicle for the storytelling of sacred places.
OCT 1 + 8, 2014
Melanie Noel: SOURCE TRANSLATION
What have you encountered lately that your body wants to translate? What is your translation’s unique syntax? In her book of poems translating the rubbings of beetle trails under bark – _Translations of the Bark Beetle_ – Jody Gladding writes “there are only two verb tenses: the cyclical and the radiant.” In this two class workshop you’ll encounter the distance and mystery of the thing you want to translate and find a language for its translation into dance. This will involve thinking about writing, language, and score, and how they both alienate and engage the body.
Melanie Noel grew up in Oregon and lives in Seattle, Washington. She’s the author of The Monarchs (Stockport Flats, 2013) and her poems have appeared inWeekday, LVNG, La Norda Especialo and THE ARCADIA PROJECT. She’s also written poems for short films and installations, and co-curated APOSTROPHE, a dance, music, and poetry series, with musician Gust Burns and dancers Michèle Steinwald and Beth Graczyk, and IMPALA, a reading series that took place in her grandmother’s car. She sometimes teaches experiential workshops meant to invoke synesthesia.
MAY 14 – JUNE 18, 2014
Sara Shelton Mann Project
Legendary choreographer, improvisor and activist Sara Shelton Mann launches this IMP Series, guiding attendees into her uniquely developed material. Tune kinesthetic perception and unveil “the Morse code of our collective body.” From many years of research, Sara has created a training that integrates the physical and energetic body. We will dance solo, in partnership, and with creative puzzles from this platform.
Training includes Chi Cultivation as a way to both detox and invigorate the whole being. We address a segment of the body each day and through function and research. This may include writing and image creation.
We work the imagination muscles. We play and invite new possibilities each day. We dance.
Sara Shelton Mann will lead the first two classes in this series. Beth Graczyk, Alice Gosti and Alia Swersky will continue the trajectory of the work by synthesizing Sara’s workshop material with the work they will be delving into while in residence with Sara at Velocity. Graczyk, Gosti + Swersky bring their own long standing research in dance, improvisation, healing and spirituality.
Sara Shelton Mann is an already legendary dance artist whose choreography and teaching has played a significant role in shaping contemporary dance performance aesthetics and choreographic process. Her protégés (Curtis, Epiphano, Hennessy, Hermesdorf, de Hoyos, Erdman, among many others…) tour internationally. Herself a protégé of Alwin Nikolais and Murray Lewis in NYC in the 60s, Sara was also deeply influenced by Contact Improvisation. From 1979-96 Sara directed Contraband, a ground breaking troupe of artists working at the leading edges of contemporary dance, performance, ritual, and music. She has received 5 Isadora Duncan Awards and was a Guggenheim Fellow in Choreography in 2000. Sara collaborated and toured internationally with Guillermo Gomez-Pena 96-99 and has created commissioned work across the US, in Europe and Russia as well as at UC Davis and other universities. Sara’s work has been supported by Djerassi Artist in Residence Programs, ODC commissions, NEA, NEFA, SFAC, SFF, Zellerbach Family and Gerbode Foundations.
APRIL 2 – MAY 7, 2014
Sheri Cohen: Seeing, Dancing & Your Kinesthetic Imagination
FEB 19 – MARCH 26, 2014
Cyrus Khambatta: Improvisation Performance Lab
This IMP lab facilitated by Cyrus Khambatta will follow up on the work on trios presented in the first two sessions by the Seattle CI Lab in the preceding IMP series, focusing on partnering in duets and trios. Cyrus will share some of the methods and strategies he uses to help dancers create evocative movement, using each dancers’ physical personality signature and architectural dynamics. It will include the heavy influence of contact improvisation in Cyrus’ work as well as mutual observation of each other’s traits to assist one another in bringing out both movement qualities and dynamics that we can use to turn our personal movement strategies into a physical “game,” that we can play with others.
Cyrus Khambatta graduated from New York University where he founded Khambatta Dance Company (formerly: Phffft!). He has created both improvised and Contact-inspired choreographed works presented in nine US states, throughout Europe, Russia and Latin America by many companies. He has taught with improvisers such as Chris Aiken, Nina Martin, Karen Nelson, Katie Duck among others and performed/taught at Freiburg CI Festival, The New York and Washington D.C. Improvisation festivals, Seattle Festival of Dance and Improvisation, Dartington College (UK), Bialystok Dance Festival, Kontakt Budapest and others. He runs the Wild Meadows Farm CI Intensive, previously advised the Washington D.C. Improvisation festival, produces The Centrum Jam in Port Townsend, WA as well as the Seattle International Dance Festival –For more info www.KhambattaDance.org
JAN 8 – FEB 12, 2014
Seattle Contact Improv Lab: Come on Up to the Lab and Dance to the Greatest Hits
The Seattle CI Lab has been exploring, expanding and evolving the form of Contact Improvisation in Seattle for the past six years. Based at the Grassroots Studio in West Seattle, the lab is a group of committed Contact dancers who weekly, taking turns to facilitate explorations and experiments, gathering data and evolving their approaches to this incredible dance form. Current members include W. Scott Davis, Louis Gervais, Mike Hodapp, Alex Kewitt, Cyrus Khambatta, Michal Lahav, Lisa Lightner, Nadia Losonsky, Liz Mattson, Kaitlin McCarthy, Sheila Skemp, and Christian Swenson. In preparation for this IMP series, the Lab has compiled a Greatest Hits series to share. Each lab will be facilitated by a different member of the group.
A “dance lab” is similar to scientific laboratory. Exchange beakers for bodies and chemicals with kinesthetic experience. The goal is to ask questions about who we are and what we seek as we dance and to observe how certain approaches to contact improvisation bring us different results. It’s an on-going adventure. Participants in thisIMP series will be invited into the exploratory approach to improvisation — we will be labbing ideas together. The intention of this series is to help you find your inner dance scientist, to help you transform and expand your ideas about contact improvisational dance. Join us!
DEC 4-18, 2013
Stephanie Skura: Open Source Forms (OSF): Freedom + Rigor + Courage
Fluidly expanded from Skinner Releasing Technique (SRT), Skura developed Open Source Forms (OSF) after 12 years as a member of the SRT Institute’s core faculty, and decades of radical performance practice.OSF is about cross-fertilizations and deep commonalities of SRT and creative process: a technique that includes shedding outer layers, finding primal energy, agility navigating subconscious realms, and imagery as powerful tool for transformation. Skura draws on her research and practice in improvisation and innovative composition techniques, and her extensive background in SRT. Her teaching derives from a rehearsal process that celebrates diversity, collaboration, and individual empowerment. These sessions offer methods to access conceptual and creative freedom, specificity, courage and honesty in movement, vocal practice and performance. With juicy experiments finding surprising pathways between conscious and subconscious, movement and voice, witnessing and participating. Bring paper and pens for writing and drawing.
Stephanie Skura, ”reliably irreverent” Bessie award-winner, is a choreographer, director, performer, mentor, teacher, teacher-trainer, writer, innovator. She has toured professionally for three decades in 13 countries and 30 states. Her current work takes an innovative approach to language and voice, continuing investigations of boundaries and intersections of dance, theater, poetry and performance. Her involvement with permaculture and naturopathy supports a dedication to catalyzing creative process in a holistic and collaborative way, with a deep respect for individual diversity and subconscious realms. She holds a BFA and MFA in Dance from NYU Tisch, and directs Open Source Forms Teacher Certification Program.stephanieskura.com
OCT 23-NOV 27, 2013
Christian Swenson: Becoming Animal
“For art to appear, we must disappear.” – S. Nachmanovitch
Who or what are we when we’re not ourselves? How can we imitate the Other with accuracy and deep regard for the spirit of each different being? In this class we will practice the ancient art of animal imitation as movement artists, scientists and shamans. We will carefully morph ourselves (hands, spines, faces, eyes and voices), enact predator/prey relationships, create creature-characters and observe their behavior and interactions. Learn how to disappear yourself without costume or make-up, and notice how and why this is humorous, beautiful and scary.
Christian Swenson has an uncanny ability to shape-shift his body and voice to imitate creatures from this world and beyond. For 30 + years he has been performing and teaching around the Northwest and the rest of the world. He is known for his pioneering work in what he calls “Human Jazz”, a global fusion of dance/drama/music for body and voice. In 1977 he received a BA in Theater from the University of New Hampshire and moved to Seattle to work with the Bill Evans Dance Company. Further training has included work with Tony Montanaro; Diane Schenker; Ruth Zapora; Korean shaman, Hi-ah Park, and with the late Pakistani master-singer, Nusrat Fateh Ali Khan. He has performed with Bill Irwin, The Seattle Symphony Orchestra, and The Jay Clayton/Jim Knapp Collective and in Europe with Jim Nollman of Interspecies Communication Inc. He presently teaches in the Theater programs at Seattle University and Bellevue Community College. Christian has received Fellowships from the National Endowment for the Arts, Washington State Arts Commission and Artist Trust of Washington. He resides happily in Seattle with his wife, Abigail, and two children.
SEPT 11-OCT 16, 2013
Louis Gervais: Dancing Energy Systems
When we look beyond our visible, physical bodies, we can see ourselves as energy and information. From this alternate standpoint, we resemble a chain of interconnected centers or chakras that are in constant motion as our life force energy flows in, out and throughout our bodies. Through improvisation, visualization and somatic exploration, we can create powerful personal relationships with the invisible and ever-changing energetic Self. Working with gesture and story, we describe shapes and pathways of these centers. Through rhythm and breath, we can sense the distinctly different qualities of energy throughout the body and beyond. Creative exploration and knowledge of the chakra system not only enhances self awareness and movement quality, it can also vitalize yoga and other practices as well.
Louis Gervais brings 40 years of dance experience and creativity to his teaching. Louis has performed with Compagnie Marie Chouinard among many other professional companies. Louis’ teaching work combines improvisation with transcendent dance practices and Eastern philosophy within a somatic framework.
MAY 15 – JUNE 19, 2013
Alice Gosti: Say Yes
A movement and imagination workshop against self-censorship and judgment. We will be working on the idea that one’s body has inspiration of it’s own and it is connected to one’s imagination. What if we think about our signature movement not as something that we need to avoid and get rid of, but as an unfinished sentence that we never allowed ourselves to deeply and completely realize? What if we give permission and say – yes – to all of the random impulses and images that pop into our imaginations? What if instead of tricking the mind into being distracted, we trusted the bodies’ mind? No, I am not a ‘non-conformist of the 1960s’, I am a punk that loves airplanes and airports and thinks that we give too much power to our minds, that’s all. Come to class.
The exercises and tools that will be used in this class are the same that Spaghetti CO. has used in the creation of the first two chapters of the Spaghetti CO. saga – Something just happened at 1:19 pm and Are you still hungry?. This class is open to people interested in movement and imagination, dance experience is not necessary.
Alice Gosti is a 27 year old space transformer, dancer, choreographer, performer, filmmaker. She was born and raised in Perugia, Italy, and is the daughter of the dynamic art duo Sandford&Gosti. She trained in her hometown at Ass. Culturale Dance Gallery with Rita Petrone and Valentina Romito, and graduated in 2008 with a B.A. in Dance from the UW. Alice has performed in works by Paige Barnes, Carolyn Carlson, Bruno Collinet, Jane Comfort, Laara Garcia, Mark Haim, Tonya Lockyer, Keith Hennessy, Monica Mata Gilliam, Tiffany Mills, Amy O’Neal, Fritha Pingelly, Jennifer Salk and Ellie Sandstrom. This year she has received – the Vilcek Prize for Creative Promise in Dance 2012 and Dance Web Scholarship 2012 for ImPuls Tanz in Vienna.
APR 3 – MAY 8, 2013
Alia Swersky: Sensation into Play into Design
Moving from sensation we will follow our instincts and be guided by what is already happening in our bodies. We will tap into what is primal to access multiple layers of our innate creative wisdom. In essence, engaging our inner world to release the subconscious into physicality, play and compositional design. Through a dynamic physical collaboration of the senses, along with attention to image, space and touch, we will gently interweave internal and external awareness to create solos, duets, and ensemble dancing.
Alia Swersky is a movement artist, performer and teacher, engaged deeply in the vital act of dance improvisation. She graduated from Cornish College of the Arts in 1998 with a BFA in dance and now teaches as part of the creative process curriculum at Cornish as an adjunct faculty member since 2005. Swersky has taught at Velocity’s Strictly Seattle Festival and the Seattle Festival of Dance Improvisation (SFDI). She was a long time Co-artistic director of Dance Art Group (DAG), a non-profit organization that promotes the practice and appreciation of dance and somatic education in the Seattle area, including the Seattle Festival of Dance Improvisation. Alia has taught yoga continuously for over 10 years and invites this influence into her dance work and teaching. Other influences include contact improvisation, release/somatic techniques, Authentic Movement, Tuning Scores, Aikido, Buddhist meditation, and many pivotal dance partners and teachers. Alia danced and toured nationally and internationally as a member of the LeGendre Performance Group. She has also collaborated and performed in the works of many Seattle artists including The Maureen Whiting Company, Khambatta Dance Company, Jurg Koch, KT Niehoff of Lingo Dance, and Salt Horse. Alia has been actively performing, and creating improvisational and choreographic works in Seattle since 1998.
FEB 20 – MAR 27, 2013
Louis Gervais: Exploring Contact
In this class, we will explore the interpersonal relationship that arises when we dance with one another. Whether we are dance partners or life partners, a highly personal sense of self is being communicated when we move together. Exploring intimacy, sensitivity, listening, and curiosity, we will dive into this inner landscape focusing on partnering from the inside out. Working from inside to outside, we will discover how the inner connection is reflected in the dance that comes out into space. This class is great for beginners and even non-dancers who are interested in exploring Contact Improvisation and partnering skills.
Louis Gervais, former member of Compagnie Marie Chouinard, has been exploring the intersection of improvisation, intimacy and spirituality for more than 20 years. His explorations have led to numerous course offerings such as: Chakra Balancing, Dancing Energy Systems and Men in Contact. With a focus in somatic studies, Louis received his MFA in dance from the University of Washington in 2009.
JAN 9 – FEB 13, 2013
Lucia Neare: RINGING THE BONES: Exploratory Sound-Making
Jump into the New Year by ringing your bones! Explore sound-making from a playful, whole-self perspective. Discover your unique and powerful vocal instrument. We’ll dive into vocal anatomy, body mapping and the athletics of moving air, we’ll unearth resonant territories, we’ll map the geography of vowels and the choreography of words. Let’s get lost in sound and find our voices by ringing our holy bones. This class is not about making pretty sounds (though there may be some of those); this class is about exploring your voice. These holistic, experimental, and sound-loving classes are open to all, including the vocally curious, shy, and terrified. All are welcome. Please bring a journal.
Lucia Neare is the Mayor’s Arts Award Winning creator of the beloved site-specific theatrical wonder, Lulluby Moon. Her free, large-scale, site-specific works have inspired thousands. A classical singer, sculptor, designer, director, performer, and producer, she is artistic director of Lucia Neare’s Theatrical Wonders. Neare has received commissions and support from organizations such as 4Culture, Artist Trust, the Office of Arts and Cultural Affairs, Seattle Art Museum, Olympic Sculpture Park, On the Boards, Seattle City Light, SAFECO, and Seattle Parks and Recreation. Lucia received the 2008 Artist Trust/Washington State Arts Commission Fellowship, Seattle Magazine’s 2008 Spotlight Award, and the Mayor’s Office of Arts and Cultural Affairs 2007 CityArtists Award. Neare studied theater and contemporary performance at Naropa University and is a graduate of Mount Holyoke College.
Photos: Sheri Cohen by Briana Jones; Sara Shelton Mann by Mark McBeth