Site Facilitator :Rocío Rivera Marchevsky
Dancers :Rocío Rivera Marchevsky
Sostener para liberar para sostener para liberar para sostener
Desde la reciprocidad con otro cuerpo encuentro mi propia libertad de movimiento; soy por consecuencia de la interacción con otros.
Cada uno ES desde que se distancia de otro.
Agua que no derrama, si gotea, se vuelve a sostener, no pasa nada
En mi encuentro con otros es que descubro mis límites, sin ellos, no lo sabría.
El pantalón negro se dobla y pasa por debajo de la pierna del pantalón gris que sostiene a una pierna vestida de rojo que toca la mano de un brazo con polera rayada que a su vez va cayendo para encontrarse con un polerón gris.
La pureza del ser.
Entender la sincronía, respirar la simbiosis, encontrarnos en el juego y en la escucha colectiva del todo, desde las pieles, danzar, descansar en la presencia y la confianza de estar juntos.
Site Facilitator :Nayla Espinosa
Be there. Don't go early.
Challenge yourself and challenge the others.
Taken seriously, see the paradox in that.
What is honest?
Where is the focus? A personal thing.
When your heart is open.
Different jams in the same jam.
Energy travelling like waves.
Linn, Amanda, Kettil, Dominique, Nayla
Site Facilitator :Jocelyn Chng, Tu Le
Dancers :Jocelyn Chng,Tu Le
"Hanoi was proud to host its first ever Global Underscore this year. We danced in a very full room in the heat of summer, without air-conditioning. Remarkable energy."
Lê Thị Hải Linh
Nguyen Thi Quynh Anh
Phạm Quỳnh Trang
Nguyễn Thị Thu Trang
Nguyễn Ngọc Ánh
Nguyễn Thị Thúy An
Hoàng thị thu hằng
Hoàng Thị Mai Linh
Vu Thu Trang
Trương Thị Thuỳ Trang
Nông thị hương giang
Võ Quốc Anh
Vũ Minh Thu
Nguyễn Văn Hoàn
Lê Mai Phương
Tran Ngoc Tam
Ha My Thuy
Site Facilitator :Sarah Young, Patrick Crowley, Nancy Stark Smith
Dancers :Saliq Savage, ,Moti Zemmelman
Global Underscore 2019
Real Time Harvest + Overall Harvest
@ APE, Arts Trust, Northampton, MA USA
Carl Sigmond talk-thru
Heather Anderson Jones
Maite Moreno talk-thru
Mary Moss talk-thru
Nancy Stark Smith
Raven (Lamont Stephens)
Sam Gerdes talk-thru
~ Sarah Young
At one point looking up and out from my skinesphere, the room was framed by small groups of wall contact improvisations, with only a few single bodies in the middle of the space. Lovely.
sometimes we want to dance with someone but our flow takes us elsewhere but really we're all dancing together anyway.
Liberated sun-kissed bright green sparks
I keep getting bored. Then I tune into what my body wants, and boredom ceases.
I'm finding that lovely experience of NO TIME. I'm not even remembering to track it-lost in the best way. Lost in sensation and listening. I feel wonderfully connected to the other sites, you all over the world, I feel our timeless dance together. This language is speaking through all the years of my life, since I'm 22, and now I'm 50. It's been my true language.
My daughter has grown up in this timeless practice (she's 7 now), it's hard to imagine what it's like for her to know it as normal and expected. I wonder sometimes if she'll choose it again when it's time for her to choose her life's patterns. But maybe it will be inside of her already so she won't actually have to choose. That's a wild way to think of it. Maybe we don't choose it, we remember it.
The facing when there is not “facing”. The pauses, in synchronicity. Faces this and that way. The middle way, the space in between the floor and the ceiling, occupied by space to explore. ….
the grey area of being “all in”, what does that mean for each of us. What is our experience of “all in”, is the amount of presence any different for you? For me, it's the same. Just a different type of response.
Sarah and Patrick, our intrepid GUS Northampton coordinators standing on the wall surveilling the dancing in the space. Patrick in black and gold stripes, Sarah in a midwestern flowery tank.
And the unifying surge of circling around the outside of the space, bringing all in who want to herd, creating a larger more visible, feelable unit of coherence. How long does it last? How does it mutate, change, dissolve? What else comes of it?
Anna generating an ”other” kind of rhythm, energy, snappy, hittin it hard, such a satisfying contrast to the smoother, oozier dancing in the space. I catch her eye from across the room, seeing it, smiling.
Who am I?
Am I this flux, this flow,
this neverending cacophany of yes and no?
This flesh, and bones?
It doesn't matter
in the grand scheme of things
in a thousand years
will know my name
And yet in this moment
of lights too bright
and a vertical floor supporting
my heels and hips
In this moment
In this moment
In this moment
~ Shayna Hesselgrave
...”So much unfinished business”
The trios and quartets full of ambitious climbs and wrestles are kept to the edges by a soft milling...and how often yelps and hoots of fear or disorientation are echoed by the group as a way of soothing and acknowledging.
~ Jared Williams
r l e
i g ? i f
p n a
I wish I could say that the higher planes are calling us. But it seems as though their uninterest is resolving. The humans below reach for these higher levels with practices varying
one of them could be contact improv
relationship between attraction and coincidence. Are we attracted by coincidence or... is it a coincidence we are attracted. 3 women with grey hair, wearing blue and black form and formulate. What comes first the chicken or the egg. A signal from across the room dominoes across the space.
--- Final Group Sharing Harvest---
At the beginning there was the mention of the Abenaki from the North. [She shares a phrase she knows in the native tongue]: I'm happy to see you.
Snapshots: Patrick and Sarah on the wall, surveying the dancing. Thinking of the two of them as coordinators. Enjoyed seeing them together.
Also enjoyed seeing the family group of Patrick, Rythea, and Torielle. Sweet, cozy unit
Raucous men's physical trio quartet. Strong and great. Orange and black and tan.
In lots of constant learning. Three times I had specific destinations in willful mind, and all times, I didn't get there.
A very big parade. I wondered when it would change directions and how, and it did. And I don't know how
I feel gratitude for the level of listening, attention, and focus and attentiveness. Grateful for all that made this happen and the space.
Writhing wave of attention as we gave our facing toward the northeast and it was palpable. I enjoyed how it increased the attention. And I wonder how it would feel as the attention from the Facings decreased, and the decrease was really palpable as well.
I'm in this place where I notice when the boredom comes and now i'm not resistant to it. There've been times when I've been frustrated by that in the past, and now I see it as just another way to be.
At the end, there was stillness and Daniel was shuffling across the floor.
There's a poster outside about using art to survive horrible things, specifically for Palestinians. I think it's called “The Wall” And there's a sign that says, talk about Walls, in the room behind the chairs. I was struck by how walls can be used for vision, control, horror, and how we used walls for support, play, and interaction.
It occurs to me today that I've been living my life on the surface of the earth. I've been gardening, biking, walking, walking, walking, climbing trees, and trying to get IN. But it was today that I felt the whole sphere, through the periphery, the mantle and the core, coming through me. All of us giving ourselves to the earth. I felt it I felt the whole thing.
There is a magic to the Underscore. Every single time I come in tired. Every time. And every time, I have no idea how I will get through. And every time, I come out feeling vivacious and this is no different. And this idea that it is one score, one dance, we are not coming and out, we are in it the whole time, I feel propels me, and propels the whole group for the score.
The other thing I want to say, I have a few moments where one of my limbs or a section of one my limbs was completely engulfed in what I felt was a hug. It was part of the dance. But this happened a number of times whether it be my forearm or my calf or my head and I went “Hmmm, what is this about?”
I feel like I've grown up in this contact community even though I was like 21 or 22 when I arrived. I feel myself becoming an elder. I feel it in my body and in the community. I always need to make sure Torielle comes into the room. It's important to me. I can't believe what it's like for her to grow up with this being normal. I feel your love and acceptance in that way. I see so many people in the room who I've known for a long time. And I'm equally excited to see new people.
Conduit of elemental energy instead of a person and it was much easier than being a person. It was a much easier way to be. As a person, there are many stories.
Elemental energetic, it's much more clear. The most difficult story for me: if I dance with someone that I don't know, I have a hard time dancing with them twice. That would be too much. That's the story that I want to live. That i'm around long enough that you can dance with me twice. I'm part of an elder community and I'm still here. The story that I'm afraid of is the story that I want
Walls can keep us out, or bring us in. if I could be inside the things that were containing me, I could be home.
A lot of things came up the whole time for me connected to thoughts and feelings, and I kept self talking “wow that's interesting”. Self talking so I could stay present with each moment. When it was too much to be close to people, I copied other people “by myself” so I could still be part of it but still be true to myself. I felt a lot of discomfort. And I felt a lot of joy. I feel this is the year I'm coming back to dancing and art and it was gift to have my daughter in here. I kept thinking she should be doing this whole thing. I have the sense that one day this will be what she does. It was a gift to have her here in the container of “this is what it will look like”
I liked not knowing when the littles were going to be it the room. I looked and I didn't know, and thought “look at this small person, this small human being”. It was nice to have the intermittent meetings and comings and goings with the kids.
just a preamble to the date with the world. I love the world aspect of this with attention. At the precarious moment in the world, this is necessary. We need to be grounded in our bodies and in each other.
GRATITUDE for this safe space to be, dance, mingle and THE IDIOT BUTTON.
It felt like sequestering carbon, taking from the air and putting into the Earth.
I just had to say thank you again for today and share these quotes.
Margo, 8 years old. “Mom, those 4 hours we were there, it was magical, it might have been the happiest time of my life.” Why...”the chariot, Torielle, everyone, everything”
Wally, 3 years old, “I love that place, I love the Underscore.”
We finished the afternoon under the that blue sky with perfect clouds and ice cream.
Thanks again for all your efforts over all these years.
~ Heather Anderson Jones
Amsterdam, Noord Holland
Site Facilitator :Kees Lemmens, in cooperation with the Amsterdam Jam
Dancers :Teacher/organisers of the Amsterdam Jam, who may be present at this Global Underscore: Diederik Burke, Kristien Sonnevijlle, Maaike van de Westeringh, Patrick Johnson, Rita Vilhena, Sara Licher, Sebas van Wetten, Tim Justo, Tom Goldhand, Kees Lemmens
GLOBAL UNDERSCORE AMSTERDAM, in confluence with the Amsterdam Jam:
In Amsterdam the Global Underscore coincides in timing almost exactly with our weekly Saturday Amsterdam Jam.
Officially this jam is only 16:00-18:00, local Amsterdam time (CEST). Most often however at least some dancing goes on until closer to 19:00, or sometimes even after that.
On the day of the Global Underscore we officially extend the time-frame for which we rent the dance studio for the jam, until after 20:00. And we do everything we can imagine, for everyone to be able to dance a full Underscore. (This year we also offered the possibility for separate talk-through, plus some dancing earlier in the week, together with the Tuesday CI-course group.)
. . .
Because the Global Underscore Amsterdam 2019 on Saturday June 22 was as such also our weekly jam (open for beginners; with a weekly preceding class from 14:00-16:00 by various teachers from our teacher/organizers pool) the group in the sharing at the end consisted of seasoned Underscore dancers as well as at least one absolute CI beginner …and dancers of every level of experience in between that:
DANCERS OF THE GLOBAL UNDERSCORE AMSTERDAM 2019:
Joshua Pieter van Hoek
Mikki van der Wal
"This was great!
Like I said at the beginning: this was the very first time I did Contact Improvisation. I also took the class before the jam/Underscore today [with Sara Licher this week] and I thought 'well, OK: I kind of suck at this'. But there was a great acceptance in the room, and this Underscore-thing …it felt very free, and it feels really good to me."
"At the beginning it felt strange: how does it work?
The different phases and states… the contrast of Diederik, who was already dancing.
But then it did work."
"I am curious: how does CI relate to the Underscore (or the other way around: how does the Underscore relate to CI)?
Is it a subset?"
"I felt more free to stop, and to change partners.
And I realized that when I experience a gap, that not always the other person also does so.
I just sometimes felt; 'now there is a sort of nothing'... Other people, my partners, just kept going."
"The Community-support and -connection; it’s come to my body and gives me much power.
...I felt a big attention."
. . .
"I can relate to that; I am not physically tired at all! I was sweating, but the energy kept coming to me; it was so beautiful!
So powerful what we can do when we set our intentions."
"This kind of structure seems to be attractive…
There is also something like an innerscore, which — I was talking about this with Katie-Lee — is 'disentangling'.
It is a release of the entanglement of relationships, which gives the energy.
…Yet people seem to need this kind of structure to get there. It’s a paradox."
"While I am dancing, my mom might be cooking in Columbia… Usually I am not aware of this.
Now I am aware that I am doing this, and that the same thing is happening in other cities around the world …and we even knew quite exactly what was happening at times.
It gives me a sensitivity of how I can effect the greater space."
“It was often very quiet. When I focussed on listening, most of the sound then seemed to be the friction of body-parts and feet on the floor.... This made me hyperaware of my own feet; I think I will study turning with less weight on them.
I was very tired after not sleeping all night, so for a while I was just lying down on the side: observing, with one ear on the Earth.
And I heard the sounds of friction through the floor…
At that moment I think someone happened to play some soft music shortly? Anyway: there was a wonderful contrast (and obviously a connection) between the above-ground sound and this strange underWorld music.”
"I felt that after about 1,5 years of practicing Contact Improvisation, it was time that I should dance an Underscore.
When I saw the Global Underscore announced, I came here with two expectations. One expectation was that there would be a lot of people; more than usual. Which was true...
The other expectation was about the structure of the Underscore: I had wondered what the structure would be, and had some ideas about this...
But it is actually not a structure like that at all; it is a series of possibilities…
It served me as an inspiration!"
"The way people witness from the sides, present and involved, is really supportive of the dancing and the presence in the whole space."
. . .
"I agree. It is like a holding (of) the space together, and it gives me more peace and quietness."
"Often aware of the state I am in, thanks to the Underscore ....and sometimes also when I shift states, or even why this happens.
Also: I can sometimes use the Underscore to consciously decide to shift states; like today, after the stand when we were facing Basel, I really felt I needed to shift to lower- rather than upper-kinesphere ...and so I just lied down."
"I know Contact Jams.
Gaps, collisions, attraction, repulsion… they all happen (there as well).
In the structure of the Underscore I am much more aware that these happen …to notice: 'Oh, now it is a gap.' [ ]"
"The Underscore is like glue holding everything together. Dances that come to a resolution and dances which follow that up...
The Underscore makes it all —all the different elements of a jam experience— ‘one thing’, one happening."
“…Having no music brought a different consciousness”
. . .
“Yes! …It surprisingly wasn’t boring at all.”
" In the Underscore, because I am more aware than in a jam, I also become more aware of what I want to develop more and learn."
. . .
"Reflecting and sharing help me for learning also, because I can hear and think about what others experience …and I can think about it later and afterward, at home, too."
"We did this last year too: compare the Underscore and the jam… Should we do this?
I mean: I do it myself too, and I find this interesting. But I am also wondering: why compare it?"
. . .
"'Integrate it!', I would say.
If you come with this focus to the jam, then your every jam will be an Underscore."
. . .
"About the comparison of jams versus Underscore: I believe this is just a way in which we articulate certain things...
Yet I personally am trying to get away from this. I am nowadays trying to talk, or share, just about the specific(s of the) Underscore which I just danced: like today while dancing I noticed my visual focus shifting to people's feet at some point (which, by the way, preceded my auditory noticing of friction: it was a separate earlier moment from this) ...This focus hit me as an interesting form of 'zooming in', because there were feet all over the room. So my focus was simultaneously similarly all over: it was both 'zoomed in', as wél as 'zoomed out' or even dispersed.
However: I also think about jams in terms of the Underscore, sometimes.
The symbols and names might indicate the general for me... I feel harvesting the specific with these, helps me most for what you just now suggested: to integrate the Underscore into my jam-skills."
THERE WILL BE OTHER UNDERSCORES TO PRACTICE IN THE NETHERLANDS:
As there was again so much love for the Global Underscore in Amsterdam, and many of us seem to feel this does help develop our jamming culture and jam-skills, we intend to hold at least one completely pure Underscore on a Sunday later this summer/year.
I will try update this harvest/sharing... and add a date of this upcoming Underscore-event as soon as we have fixed this, also here.
Also we will program an Underscore in the Netherlands Contact Improvisation Festival in Overveen (which is immanent! 16-21 July) organised by two of the teacher/organisers of the Amsterdam Jam; Robin Berkelmans & Tom Goldhand, together with Janine Brouwer ...and assisted by many of the active NL-based CI-teachers plus three international teachers from abroad.
This will be the first festival-event in the Netherlands since the "Amsterdam 4-day CI-weekends", which I mentioned in an earlier GUS-sharing online because like this and 2 earlier Global Underscores Amsterdam these '4-day CI-weekends' were organised around the Saturday Amsterdam Jam.
CREDITS / RESPONSIBILITY / CONTACT-INFORMATION:
Thanks to Jop Nozza and Andy Kilian for helping me document the harvests/sharing. When the GUS-Amsterdam 2019 dancers are alright with how (well/badly) what they said has been documented by us, I may later add names to separate shared harvests.
. . .
NB Due to technical/personal difficulties between my computer and camera, pictures (of the dancing) couldn't yet be uploaded.
Hopefully these can and may then also be added later ...but surely after the upcoming Netherlands Contact Improvisation festival. This online sharing/harvest is enough overdue as it is.
The above online harvest/sharing has been submitted by Kees Lemmens, co-GUS-faciltator of the Global Underscore Amsterdam 2015 together with Sebas van Wetten, and GUS-facilitator for the Global Underscore Amsterdam 2017, 2018, 2019 in cooperation with the weekly Amsterdam Jam, its teachers, and its dancers (some of whom also helped facilitating in earlier years) .
. . .
The weekly Saturday Amsterdam Jam is organised by dancers/teachers: Diederik Burke, Kristien Sonnevijlle, Maaike van de Westeringh, Patrick Johnson, Rita Vilhena, Robin Berkelmans, Sara Licher, Sebas van Wetten, Tim Justo, Tom Goldhand, Kees Lemmens.
The Saturday Amsterdam Jam is on, any given Saturday:
class 14:00-16:00, jam 16:00-18:00. Class+jam: €15,- Jam-only: €5,-
website of the Saturday Amsterdam Jam: www.amsterdamjam.nl,
e-mail of the Saturday Amsterdam Jam: email@example.com
Communication about above harvest/sharing, or about the mentioned "Tuesday CI-course" (and possibly other future CI-events, like the former "Amsterdam 4-day CI-weekends" and such) in Amsterdam/the Netherlands, best via: firstname.lastname@example.org
Great thanks to everyone dancing, facilitating, and organising the Global Underscore 2019 all over the world!
Kees Lemmens – July 2019