Dance is for me state of mind. Presence. Combined with availability in the body. How do I prepare myself so that my body is available and soft. Able to move multiple directions. How do I arrive with myself in that state of presence and openness, where my body and mind are available to choose and change. I find myself spending quite a while on the floor, rocking and shaking. Bringing elasticity to my tissues, softening the fascia to be receptive, soft and movable. I explore my joints, how they move, which directions are open. Bouncing and winding back-and-forth. Opening pathways, patterns and transitions. 
Subtle mechanisms in my body. Organizing my bony structure. Pushing and pulling, rolling and sliding. Reaching and folding.
If we can fly on the floor, we can fly on each other´s shoulders.

And then, how is my mind? My emotions and thoughts are part of my dance. Maybe somewhere there in the background. To become aware of what´s present. Accept. Giving myself permission to be where I am, gives me opportunity also to change. Transform.

Why to push? Sometimes it´s good to push. I like to have an atmosphere of allowance in the dance-studio. Witnessing. Being. Noticing.
Soft awareness embracing yourself, others and the space. Soft mind, soft body? Sometimes. Permeability to receive, and re-direct.

So often we please the other. Or think what the other thinks. All these underlying thoughts and attitudes. Expectations and wishes. They all are part of our choices. I wish to see un-polite dances. Follow your own dance, your own energy, your current interest. How this comes together as dialogue? How to say no, maybe, or welcome something new? Make a change. Agree and disagree. Re-direct.
For this play we can use a soft mind and an available body to wonder in many directions. 

Something concrete?

We will flow in and out of contact, viewing the dance as a playful dialogue, which breathes freely in time and space. Composing the dance, composing the contact. Material alternates between contact- and solo tasks, towards trios and group-scores.

I often bring in an anatomical viewpoint, and we look our bodies through that lense.
Progressing to explore that first in our own body, and then with each other.
I might introduce a task, a sketch, a movement motive - which captures a specific body-principle.
Then we research that, and see what happens.

We will work with a variety of different methods including explorative exercises, experiential anatomy and specific technical material.
Through different techniques we are focusing on understanding the underlying physical principles of contact improvisation; as sharing weight, rolling point, under- and over-dancing. Exploring momentum, falling and suspension in order to create effortless flow in our movement. Or not.

We will play around the ideas of falling and flying. By researching the subtle mechanics of ‘small dance’ and suspension, we progress towards using momentum and spirals of the body to enter fluid ways to lift one-another through using the fall into ‘catching a ride’.

We will also explore how to use our arms and wings as extension of our spine. Arms can be a beautiful pathway to find entrances into lifts, and creating space and time in our dances. Breathing in and out of contact. Working with the frame and structure of the arms, we find ways connect to the space and find counterbalance in the body, providing frames to both lift and be lifted, and offer structures to be explored.

Technique and Poetry.
Structure and Freedom.
Playful Beings in Motion.​