Life is a Dance: Contact Improvisation and the Conscious Dance Movement

By Brian D Smiley

Preface:

This is dedicated to our ancestors; the explorers, the practitioners and the intrepid.

There is a paradox around writing and speaking about something filled with paradoxes; like to maintain one’s dance while supporting another. How challenging and exciting for those that make the leap onto the dance floor. This will be both a guide and points for further exploration.

I like to ask about people’s dance journey. Each one seems unique, but we often have many similarities. Sometimes our journey follows how the music of day has unfolded, or what our parents were into. Some people have been dancing since they could walk and have formal training in ballet, modern dance or hip hop; while others are just starting out later in life with their first African dance class or at an Ecstatic Dance.

Understanding movement with conscious or world dance principles makes it easier to navigate the dance-floor and life. The styles we explore can be helpful for us to get closer to our raw human nature. Knowing forms helps to push and respect boundaries, but anyone in any body can do non-performative conscious dance like Contact Improvisation or barefoot free dancing; though not everyone is up for it yet. Fusing dance principles into your other movement practices, dances and relationships offers a rewarding evolutionary path and unique perspective. The world looks different when hanging upside down on someone else's back or finding everyday opportunities to move together!

I had been dancing and making music since I was little. I was breakdancing with my neighbors on the streets of LA suburbs when I was five, as a teen in metal mosh pits, experiencing The Grateful Dead or at rave parties. In college in the mid-nineties I got involved with music production, touring with bands and attending dance events. I first saw Contact Improvisation (CI) at BurningMan in Center Camp in 2001 and immediately thought that I had to learn how to do that. With the unbridled dance energy of the playa, and similar experiences, my dance imagination was inspired and dance unlocked a new level of creativity and compassion that has compelled me to move in distant lands with neighbors and strangers who often become fast friends. 

When I moved to the North Bay SF in 2005, I could find conscious dance spaces almost any day of the week and at festivals like Earthdance. I’ve traveled and danced in distant countries and have seen how this personal expression is growing. I want to acknowledge my teachers, collaborators and the living examples I have had for music and dance. I have learned much about non-performative conscious dance by showing up with a beginner’s mind, through challenges and doubt, because there seems to always be a reward of expression, holistic exercise and plenty of lessons to learn. Dancing expands my perceptions of space, builds grace and strengthens social interactions off the dance floor. There is so much to explore.

~“The first partner is the earth!” This perspective started to help me shift into a new awareness of matter, spirit, and expression.~

Beyond the occasional pains that come with this exploration, the strain and pursuit makes one stronger. I’ve been to unique workshops, festivals and in small discussions and at jams with dance community around the world, focused on the west coast of the U.S.. While I can attempt to synthesize what I have learned into these pages, I owe all of these lessons to my community, ancestors and to those who are advancing these ideas in dance spaces and with somatic practices.

The Dalai Lama says that the source of all blessings are our positive thoughts. Showing up to dance with a good intention is often key to a great time. To those that have guided me, a thousand thank you’s, I am blessed and privileged to bring these practices forward ~*~ 

Chapter 1: What is this? The Preamble

What is “Conscious Dance”? 

This is a genre that encompass several dancing styles and is generally non-performative and done primarily for the dancer themselves. Some forms are synthesized from world folk styles from around the planet that all center around human development, expression, and exploration. The concept is spreading across all dance floors, but typically a container is held where sobriety, mindfulness and community are the cornerstones. Ecstatic Dances support global bass-centric music and are a safe space for Conscious Dance and moving how you wish. This idea has bloomed out of modern dance blending with world folk styles and influences, along with containers and styles like Barefoot Boogie, 5 Rhythms, Body Tales, Butoh, Hip Hop, Dancing Freedom, Biodanza, clubs, raves and modern dance forms like Axis Syllabus and Contact Improvisation. It is constantly evolving and goes by many names but the container feels ancient. It is a safe place to play and move together, to discover and extend each other’s range of movement, and to gain new perspectives.

What is Contact Improvisation (CI)?

CI is a modern dance and movement form that was codified in the 1970’s that can be practiced in dance jams or integrated into “fusion” partner dance styles. Originators, Steve Paxton, Nancy Stark-Smith and choreographers like Pina Bauch, and at many schools, have all developed the form for over 50 years. Its roots are in dance theatre, the study of pedestrian movements, martial arts and pure play. It is done through maintaining touch or, importantly, mindful presence with single or multiple partners and remaining fully engaged. Through weight sharing, lead sharing and all the geometries available, two or more bodies can slide, push, pull, roll, lean or shelf, jump into and fly above each other, with a range of dynamics, with or without music, on the ground to on your feet. AND we can even dance and move in the kineosphere or negative space and not even touch while still being engaged with full presence. 

One of the roots of CI came from Paxton discovering how two bodies can collide safely; how the subconscious takes over when in flow states. CI has few rules, but a lot of techniques and skills. We can practice just about anywhere. The jams and spaces can have more or less structure, but agreements can be good; rules can open up options and create safety. With an "Underscore" we energetically arrive, preamble and track each others movement. With an ecstatic dance, we move as we wish, but refrain from conversations, don't take pictures and respect others. With a supportive compassion for your partner, and the ability to listen deeply with all your senses, CI can evolve into an intense choreography or be as simple as a clasping of hands and leaning back for a good stretch and balance. The principles of CI can be practiced through life and by laymen because life is a dance. 

Chapter Two: We’re Still Dancing

Lao Tzu said if you are anxious you are living in the future, if you are depressed you are living in the past. Well, the future is a mystery and the past is history, so how do we seize more of this gift of life in the here-and-now? What can be learned from doing CI/Fusion extends into life in surprising ways. Beyond the obvious health benefits, body awareness and reflexes that a movement practice supports, I think it’s possible to feel more unity and make deeper connections socially, long after the practice, jam or dance party. Removing expectations of form with improvisation opens us up to surprises in life; to the body’s innate wisdom. The athletic or kinesthetic intelligence stays with someone after practicing and our neuropeptide profile is enhanced for days afterward. CI/Fusion can lead to becoming more mindful of yourself and your environment at all times. We are “Still Dancing” long after leaving the dancefloor.

You can choose to not move or dance by yourself forever, but humans are a social creature and eventually we may realize that conscious partner dance is a vehicle for both more rich human interactions and our relationship to our biosphere. The time is now to work and play together to go farther and dancing with flow and improvisation is a really fun way to connect and evolve ideas in surprising ways. 

“I don’t know what I’m going for, but I’m going to go for it for sure” Saint of Circumstance, Grateful Dead -Barlow/Weir 

Underneath the surface the paradoxes fascinate; not only with how we can maintain our dance while supporting someone else, but to get into a flow-state without talking about it or switch effortlessly between leading and following. Or, to find more joy through the pain of strengthening and bodies reaching limits. How can anyone create a structure or write about something so ineffable, gestalt and experiential; so synergistic? How can one be passionate but unattached; fully engaged in authentic movement, but ready to support others? How do two people take responsibility for their expression together and learn how to respect firm boundaries gracefully? 

Conscious dance is best learned through experience, but it is good to practice some techniques and train for your next session. In its most simple form this is a movement meditation, but it can also be a vehicle for self-actualization. So ultimately, like experiencing life, what Conscious Dance is, is largely up to you!

For any form for creative people there has to be an escape route; a way to leave all some structure behind; to play and be authentic while moving within your boundaries. Improvisation provides this rebellious container for respectful creativity and to stretch ideas. As we change, we bend the rules and norms in order to stay adaptive. Perhaps it is in the striving for the ideals in whatever you do, that we all find the inspiration to dance, write, cook or be together. Maybe these impulses can come from our deeper subconscious. The brain changes when falling. We drop from the frontal lobe to quiet the noise and step into our reflexes. With practice we can more easily trust our own bodies to fall into someone. We can unleash our full instinct through experiencing pure intuition without anticipation, and diving into the form with both the intellect and an embodied perspective.

Chapter Three: Reach

To reach, physically, is a dance technique, but figuratively how we keep ideas and thought processes evolving. How would you know where your edges are if you don’t push them? Society is changing. Having the skills to navigate space and others is key to our survival. The objective, dispassionate approach to movement allows others to express and allows one to listen to the next move without strong judgements. We keep practicing yes, and how to turn no’s into yes’s. Or, accepting no and moving on with the rhythm that is present. Looking beyond gender, race or body size and focusing on the energy, movement and expression allows everyone to unfold and move in the rhythms that are happening in real-time. Dropping our expectations or anticipations is a practice. 

Some days aren’t right for us to practice dance. We can’t expect others to take on everything we are going through, but we can all get more clear together. Having someone to talk with before and after dance is helpful to show up with a clearer light, with a lack of expectations and a full yes to be present and engage. Sometimes showing up and being authentic is what the community needs and sometimes what we are working out is what’s happening at-large. 

Keep reaching, even into what seems like empty space, and eventually you will find, feel or trace something. When contact is made we listen, with our soft gaze and open ears, pouring weight, not forcing. This exchange extends our range of motion. I am more capable in different ways when moving with someone else. Sometimes we instantly feel each others’ core and we race to find each others’ boundaries so we can play on the edge. This is the raw primal life that we often need; to feel deeper. To push ourselves so that we can face the unknown. 

Instant trust at deep levels is possible. Sometime we have to work for it and slowly lean in. To hold another persons weight is a gift and insight into many things. In a contact jam, with or without music, all sorts of interactions can happen. Depths of yourself are waiting to be revealed. What are you attracted to, how willing are you to break through the norms, where are your boundaries with rolling across the floor, flying, lifting your friend or a complete stranger? How do we non-verbally communicate what it is that we need or are capable of in the moment? How do we build upon soft and singular points of contact and turn that into a full yes, where almost anything goes? How do we converse without speaking? This consciousness builds in experienced dancers.

My exploration here is to uncover all the allegories and possible meaning that comes from moving together in a unified space; To continue to sketch out a model that can help us slip into our flow states; To bring some color and a unique perspective to this ever-changing medium. While I can only brush upon deep subjects here, uncovering some pathways to feel and experience the forms directly, I will try to express my inspiration so that conscious dance and contact improv spreads. I want to practice this form throughout life because it has the potential to bring peace into us and with each other. So, I note my discoveries along the way to sustain and compel my own practice and to move with you one day in our collective dance community. 

Since I've discovered these practices, I've shared with anyone who is curious. It is fun and exciting to see what the music or the space brings out in each other over years of movement, I would like for conscious dance to integrate into every dance space and into human interactions. It is a beautiful, deep and life-changing orientation to space-time and each other. If you have yet to feel joy and fulfillment of conscious partner dance, I am excited for you! If you are a steadfast improviser, perhaps we can continue to uncover the subtle insights together. Share what you have learned, the world needs all of us to keep practicing, discussing and engaging. 

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