By Lynne Anne Blom;L.Tarin Chaplin
A entire advisor to circulation improvisation, together with lucid presentation of two hundred examples for college kids, starting and complicated.
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Additional resources for The Moment of Movement: Dance Improvisation
Yet there is a way of keeping your eyes unfocused, allowing you to see a wall, a body, or an obstacle without its distracting details. Try keeping your eyes half-closed and unfocused, or use peripheral vision, focusing beyond or next to a person. When moving with someone you know, this technique can help to filter out distracting elements of your relationship. What you don't need to do is check to see (1) if the leader is watching you; (2) how you look in the mirror; (3) what Sam is doing in the corner; or (4) if you are doing it right.
How does that feel? What's the difference in sensation between making large slow circles with your arms and making tiny, fast ones? Or the difference between snapping your fingers rhythmically, with the rest of your body stoic as stone, and snapping your fingers while tapping your feet, rolling your head, and undulating your body all at the same time? What is the range of an isolated part of your body? How heavy is your head? Can you feel the cohesiveness of the whole body moving with one intense focus, all parts collectively contributing?
Possibly try weaving the new movement closely around them, perhaps touching them. Realize that they may be ready to acknowledge but not join you. Can you bridge the gap without forcing it? One way might be to go back to their movement and make a transition that entices them to follow, that maps the route. Or stamp it loudly, demanding them to notice and join in or meet your challenge in some fashion. On the other hand, you should retain enough sensitivity so you know when to let go of your tangent and get back on board.