49:00 - "improvisation..." (Michelle's video footage, 10.8.08)
Grove ambient 17.mp3 Michelle H. talking about all the implications and why she likes teaching improvisation, why she likes contact work that gives us a sense of accountability with people and things, talking about how we are increasingly separated from people and compartmentalized, buried in technology, this work gives chance to look at another living thing, implications for how you act in your environment as a human being
Grove ambient 14.mp3 Michelle H. talking about the score they are developing that includes yielding to the tree, running from tree to tree, making contact with other people, etc.
Grove ambient 28.mp3 Michele gives rules to second improv of class: dancers can run from tree to tree, can pick up movement qualities of the space, and can establish contact, 40% running, 40% movement qualities, 20% make self available for contact with trees or people
The warm up is over and Michelle H. provides instructions for the first improvisation structure. The class splits into two groups: one to observe and one to dance. Dancers can enter and enter the space (the grove) and while they're in the space they should look for contact. (chris's notes 9//29/8)
The first improvisation ends and Michelle H. begins to talk about it. She said that the running was "very arresting." She noticed many dancerly movements, which I assume means that these dancers were relying on their studio dance vocabulary and maybe losing some kind of consciousness of the moment like Steve Paxton talks about. Michelle wants them to move with an "authenticity of purpose." She wants them to not think of the other dancers and wants them to leave their dance vocabulary behind. That must be hard for the dancers to do - to forget everything they've been taught to do over the last 15 years. (chris's notes 9/29/8)