Contemporary – adopting an ever-shifting set of values so as to elude any sort of qualitative criteria. Contemporary – adopting a differing set of values so as to problematize the normative set of qualitative criteria
Jam ~ Performance
A Jam is a situation in which all participants have equal access to movement, location, and observation.
A Performance is a situation in which participants have unequal access to movement, location, and observation.
Contemporary Contact Improvisation…or achieving the full potential
If, as some have stated contemporary dance is about the search for and exploration of potential, then contact improvisation in its nigh-omnipresent hetero-normative iterations is not contemporary as the hetero-normativity represents merely a third of the potential permutations of the duet based on biological sex.
Extending this thought to the duet in relation to number, the normativity of the duet in relation to the physical practice of the form is also a limitation of potential. A dancer of CI, in order to make use of the full potential of the form, should be able to dance with anyone in the place of practice and not be limited to one person.
In order to achieve the full potential of the form, and thus bring CI into back into contemporality, practitioners of the form must move beyond the hegemony of the hetero-normative duet.
Tanznacht Berlin 2014 – a simple financial analysis
at 1.43 minute per € „KELLERKINDER“ byTanzzeit Jugendcompany Evoke & Kadir Amigo Memis was the most expensive performance of Tanznacht Berlin.
at 10 minutes per € KRUMP „N“BREAK RELEASE“ by Shifts-Art in Movement was the best deal of Tanznacht Berlin.
(note: this does not take into account the reduced rate for tickets. Maybe I should go back to school or get the Tanzcard)
| Artist &Performance | Cost in € | Length in minutes | minutes per € |
| JUAN GABRIEL HARCHA – „ANGELA LOIJ“ + „TULLE LABYRINTH“ | 14 | 45 | 3.214285714 |
| DRAGANA BULUT -“WHERE IS THE ZOMBIE?” EPISODE 2 | 14 | 70 | 5 |
| SIEGMAR ZACHARIAS & ALICE CHAUCHAT “INVASIVE HOSPITALITY #4 | 9 | 60 | 6.666666667 |
| TANZZEIT JUGENDCOMPANY EVOKE & KADIR AMIGO MEMIS „KELLERKINDER“ | 14 | 20 | 1.428571429 |
| SHIFTS – ART IN MOVEMENT / DAVID BRANDSTÄTTER/MALGVEN GERBES „KRUMP „N“BREAK RELEASE“ | 5 | 50 | 10 |
| NIELS `STORM’ ROBITZKY, RAPHAEL HILLEBRAND, LOUISE WAGNER ”DIALOGIC MOVEMENT – FORUM FÜR ZEITGENÖSSISCHEN URBANEN TANZ” | 14 | 90 | 6.428571429 |
| EVA MEYER-KELLER & SYBILLE MÜLLER “KATASTROPHENKOMPOSITIONEN” | 9 | 30 | 3.333333333 |
| KENJI OUELLET „LE SACRE DU PRINTEMPS – A HAPTIC RITE“ | 9 | 15 | 1.666666667 |
| RICARDO DE PAULA „SHOOT FIRST“ | 9 | 25 | 2.777777778 |
| DEWEY DELL “CINQUANTA URLANTI QUARANTA RUGGENTI SESSANTA STRIDENTI” | 5 | 10 | 2 |
| MARTIN HANSEN “MONUMENTAL” | 9 | 40 | 4.444444444 |
| KAT VALASTUR “GLAND” – THE MARGINAL SCULPTURES OF NEWTOPIA (DIMENSION A & B | 14 | 60 | 4.285714286 |
| SHIFTS – ART IN MOVEMENT/DAVID BRANDSTÄTTER & MALGVEN GERBES „FESTINA LENTE – MAKE HASTE SLOWLY“ | 14 | 60 | 4.285714286 |
| BEGÜM ERCIYAS „HYPNOSIS“ | 14 | 70 | 5 |
| CHRISTOPH WINKLER „DAS WAHRE GESICHT – DANCE IS NOT ENOUGH“ | 14 | 70 | 5 |
| TIAN ROTTEVEEL „HARDCORE“ | 9 | 30 | 3.333333333 |
| FRÉDÉRIC GIES „SEVEN THIRTY IN TIGHTS“ | 14 | 70 | 5 |
| SERGIU MATIS „FAKE – THE REAL DEAL“ | 14 | 120 | 8.571428571 |
| ANGELA SCHUBOT & JARED GRADINGER “SOON YOU ARE THEIRS” | 9 | 25 | 2.777777778 |
| ALEXANDRE ACHOUR „THIS ISN´T GONNA END WELL“ | 14 | 70 | 5 |
| JOCHEN ROLLER & MONICA ANTEZANA „DER CARPENTER-EFFEKT“ | 14 | 65 | 4.642857143 |
| Averages | 11.47619048 | 52.14285714 | 4.517006803 |
| Mode or most common value | 14 | 70 | 5 |
Creative
c r e a t i v e r e a c t i o n c r e a t e d r e a c t i n g
r e a c t i v e c r e a t i o n r e a c t e d c r e a t i n g
Valorization
Contemporizing JFK
And so, uh, my fellow Americans: like, ask not what your country can do, um, for you—ask what you can do for, for, for your country. My fellow citizens of the world: ask not what America, like, you know, will do for you, but what together we can do, uh, for the freedom of man, you know what I mean. Finally, like, like, whether you are citizens of, you know, America or, like, citizens of the world, ask, um, of us the same high standards of, uh, um, you know, strength and sacrifice which we ask of you, yeah. So, with a good conscience our only sure reward, you know, with history the final judge of our, uh, deeds, let us, like, go forth to lead the land we love, you know, asking, uh, His blessing and, um, His help, but, like, knowing that here on earth, like, you know, God’s work must truly be our own.
Taking Place
When an event takes places, where does it take it?
Throw in the Towel
When I finally decided to give up religion, I threw in the cowl.
When I finally decided to give up frowning, I threw in the scowl.
When I finally decided to give up spelling, I threw in the vowel.
When I finally decided to give up poetry, I threw in the Howl.
When I finally decided to give up carpentry, I threw in the dowel.
When I finally decided to give up gardening, I threw in the trowel.
Another Definition of CI
Contact Improvisation is the simultaneous exploration of, experimentation with, and execution of physical and perceptual attention to the location, duration, and operation of one or more touching or potentially touching surfaces between two or more bodies.