improvisation (14)


Thursdays 4-5:15pm EST

Somatic awareness+breath+mindful movement+connection

I am offering the Dancing Awareness class adapted to the online environment. I will continue our exploration and benefiting of the possibilities of playing with networked presence, shared vitality and expanded somatic exploration.  I lead the sessions as synthesis of my investigation on somatics, embodied cognition, meditation, dance improvisation and networked performance.

You need a hight speed internet, computer or smart devices with camera and microphone. You can do this class alone or with a group and need at least some space to move and play. You may also adapt the activities to your space and range of movement afforded by it. I suggest to place the device at floor level and be willing to reconnect with  you body and with others.

We will use the ZOOM video platform.

This class is produced and supported by
Yoga Center Amherst | Online

Pay from the heart model!

Follow instructions here!

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Improvising Androgyny

There are several reasons why the performance Insignificant Others (learning to look sideways) by young Austrian dance artist An Kaler was worth seeing, even twice.

For the start, it is performed by three dancers (Antonija Livingstone, Alex Baczynski-Jenkins and An Kaler herself) whose skills as dancers are outstanding. By skills, I don’t mean only control of the body, but the physical and emotional investment in their physical actions, what as a result takes this performance to the more complex level than its initial structure proposes.   Watching for an hour three persons moving the way those three move, was captivating and inspiring.

The format of this work offered an authentic experience: the starting point for the audience wasn't the starting point for the performers. At first we hear their footsteps as they run towards the stage door. They storm on the stage, visibly exhausted and sweaty, and they slowly calm down, facing each other, always looking sideways. They take their time.

The flow of the performance and its dynamics were slowly picking up to the maximum and dissolving again into almost nothing, to rise again to the extreme intensity. There were several endings and long periods of hesitation. The code of choreography is not very complex – dancers share the space, but they don’t watch each other. They improvise alone, but always in relation to another. Sometimes they take movements from one another as an impetuous; sometimes they share the energy, and the other time the stillness. Nothing much happens, but intensity of being together is another memorable premise of Insignificant Others.

The „choreography“ was improvised what resulted in the feel of suspense. The concentration/awareness/presence that was needed to deliver improvised movement on this level of speed, energy, clarity and aesthetic coherence is an evidence serious intervention during the rehearsal period. The alertness of performers was transferred to the spectators thus nobody in the room knew what is going to happen next. And yes – there were some unexpected, risky, quite impressive instant movement solutions going on.

The question of androgyny, much talked about in relation to this work, is the point where this performance becomes more than well done movement research. How is that achieved in an abstract movement improv? (Most people wear jeans, t-shirts and boots, but they don't make gender trouble.)

My suggestion is that the androgyny in Insignificant Others was constructed primarily through the movement material and use of space; while Antonija Livingstone tends to use more compact movements, throws and head swings, Alex Baczynski-Jenkins insists in extreme turned-out leg work, beck bends and long and open lines of the arms. (Whether these movement choices are intentional or not, is irrelevant). In the way our culture works long limbs, flexible hips and light body are perceived as „feminine“ categories and athletic, compact, direct body as “male”. I am not trying to say that he “danced as a woman” and she “as a man”, but that the gender identity can be manipulated in such a marginal thing as the difference between parallel or turned out position and corporeity of a dancer.

The other point is the way dancers positioned themselves towards each other in the space. Most of the time (at the first performance in ImPulsTanz Vienna 2012) Livingstone and Baczynski-Jenkins appear to be the driving force, both of them performing with self-assurance and strong personal style. As the “third”, An Kaler was hiding from the „spotlights“. As much as her energy and dancing skills were equal to the others, her movement was more inward orientated, her presence was demure, and she was using rhetorically „weaker“ spaces on the stage, as if she was hiding. That intentionally understated presence, combined with aggressive even self-destructive movement style, boyish costume and haircut, underlined the gender play.

And the last point –

although they didn’t look in the eyes of each other,

although they danced isolated from each other,

although they didn’t touch or do synchronized sequence,

they were together.

The performers of Insignificant Others (learning to look sideways) created deep connection with each other  and that connection, that feeling of caring for the person moving next to you is something worth seeing and keeping in the memory.



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PISO proyecto

12249538886?profile=originalPISO como plataforma de la improvisacion


en plancha HOY martes 24, 1:30 Inter Metro, Puerto Rico


en plancha este  jueves 26 en el lote, Cinema Paradiso en la calle Loiza, Puerto Rico

junto a los estudiantes y profesoras del Departamento de Arquitectura de la Politecnica.


como plataforma para la improvisacion:en la Trienal. 28 abril hasta agosto 2012.

Arsenal de la Puntilla, VSJ, Puerto Rico


en plancha, en un espacio performativo: DanceSpace Project, NYC, mayo 19, 2012


en plancha fuera del area metro este verano 2012, Puerto Rico.



aun esperamos por nuestra primera respuesta afirmativa a varias propuestas que hemos solicitado



esta es una manera de apoyar este proyecto AHORA.






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resonance improvisation laboratory | sound, space + time

XBunker Exhibition Space
Kongevej 40, 6400 Sønderborg, Denmark

Tues Oct 11- lab12:00-18:00
Wed Oct 12- lab12:00-18:00
Thurs Oct 13 lab12:00-18:00 / performance 19:00 -21:00
*Participants are are not required to attend entire laboratory.
* All Participants are invited/encouraged to perform on Thurs.
*There is no set fee, but donations to help cover costs are very helpful and appreciated.

resonance improvisation laboratory is a three day exploration of sound, movement, space and time and is open to any dance artist, sound artist or musician, regardless of previous improvisation experience. The laboratory will take place in the sonically and visually unique Xbunker space, formerly a tunnel / bunker, and will culminate in a public performance.

William "Bilwa" Costa(US) sound artist/co - director of perpetual movement sound—along with sound artists Florian Tuercke(DE) and Christian Schroeder(AT)— will lead the resonance participants in workshops,improvisations, exercises, experiments and practices that enable heightened states of sensory perception.

The laboratory shares methods for reverberating mindfully with other artists during duet and ensemble improvisation. We will focus on listening, sensing, and acting from sound, movement, and memory impulses. We will explore expansions and contractions of energy and sound in our bodies and in the space.

We will trace the pathways that movement material takes between outside and inside: input - filtering - output - sending. Rather than reacting to other bodies, we will cultivate a stance that allows us to observe, consider, and respond with as much of our selves as possible.

During the lab, participating artists are encouraged to experiment, lead workshops,lecture, demonstrate, record audio/video, etc.


During the lab, participating artists are encouraged to experiment, lead workshops,lecture, demonstrate, record audio/video, etc.

Inquires: contact Bilwa - williambilwacosta[at]gmail[dot]com

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Watch live streaming video from beverde at

Mixed Reality Participatory Environment

By Isabel Valverde and Todd Cochrane

Senses Places is a dance-technology collaborative project creating a playful mixed reality performative environment for audience participation. Generating whole body multimodal interfacings keen to a somatic cross-cultural approach, the project stresses an integration of simultaneous local and remote connections, where participants and environments meet towards a kinesthetic/synesthetic engagement.

Tuning the audience participants into several whole body modes of physical-virtual body-body and body-environment interactions, within a physical and virtual environment (Second Life©), Senses Places re-purposes recent Web 2.0 enabled game devices with a synergetic/semantic approach to interface design. The interfaces include, video and avatar mediations via Webcam, Wiimote©, and Kinect©, plus a biometric device.

Emerging embodiments, realities, and cultures are generated by the multi-participant playful involvement as the participants follow, act upon, and respond to each other’s physical bodies, video mediations, avatar moves, and/or environmental changes. Climate related body-environment activity is affected through wireless communication, linking biometric inputs and environmental device actuators, such as, temperature-light/color, breathing-smoke/wind modulations.

Through an inclusive process engaging kinesthetic empathy, Senses Places deepens contemporary dance practices, interweaving Eastern-Western somatic based practices, like, Contact Improvisation, Tai Chi, Yôga, Body-Mind Centering, Release, and Alexander Techniques. The improvisation evolves in a sharing of corporealized places, times, and energies, encouraging a fuller experience of the moment.

Senses Places wishes to contribute to enlarge the range and interconnectedness of sensory-perceptions within the already complex practice of group improvisation, proposing a constructive and transformative means of inter-subjective and collective socialization, reversing the dead end substitution, gender and movement cultural stereotypification, and instrumentalization of bodies by avatars in social networks, such as Second Life©.

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Motion Tracking with Particle Creation

I am currently exploring different ways in which I can incorporate programming and interactive technologies with dance performance. This particular experiment uses motion tracking software created in openFramworks. Graphic lines are drawn from particles within the space to the silhouette of my dancing figure.

playing with particles from Adam Scher on Vimeo.

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Felicitaciones David!! Bien merecido...!!

Form Guggenheim website:


For over twenty-six years, David Zambrano has been a monumental figure in the international dance community, and his passion for cultural exchange continues to influence his work. Living and making work in Amsterdam and teaching/performing internationally, Zambrano is an ambassador and liaison across many borders, bringing together artists from all over the planet for his projects.

An inspiring teacher, thrilling performer, and innovative choreographer, Zambrano has contributed generously to the field of dance in ways that have influenced many and impacted the dance world from several angles. His development of the “Flying Low” and “Passing Through” techniques are among his recent innovations that have helped to lead improvisational dance into an exciting future. Many of his projects have continuously influenced Zambrano’s pedagogic methods, keeping them fresh and interesting for the students from around the globe.

Watch a compilations if interviews and performance excepts

David Zambrano's 50 DAYS-workshop trailer from Rodrigo Pardo on Vimeo.

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Strings Attached: An Experiment in Connection

Strings Attached: An Experiment in Connection
May 19, 8pm at TSA Collective
$5 donation

“…interaction should consist of bidirectional communication, and can have no predetermined outcome if the interactors are genuinely engaged in the exchange of information/experience.” Sita Popat

Strings Attached is an interactive performance choreographed and performed by Cindi L’Abbe. The piece explores the roles of audience, director and performer through modes of audience participation, choreographed structure and improvisation. Soundscore will be provided by Ian Logan and David Ross. The performance will be followed by a panel discussion moderated by Laina Barakat.
The panel includes Cindi L’Abbe, Ian Logan (of Sisters and Brothers) and Cathy Nicoli (dance faculty at Keene State College).

What’s the point?
To allow audience members to “enter” a dance by interacting and directing the performance
To explore the concept of communication through a dance conversation using words and physical strings
To illustrate the connected-ness of human beings through invisible and visible threads
To create interactive art as a demonstration of the creative potential of audiences as well as performance, to democratize the dance

What are we talking about?
Interactive elements in performance art as methods of creating audience “connection”, relevance
Improvisation as conversation, performance as communication
The performing arts as an illustration of humanity
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EMBODIED TECHNE SERIES Eposide 1 An interview with dance improvisation artist, lecturer and researcher on improvisation and perception (Tunning Scores) as one of the "Embodied Techne Series". She takes us across her experiences with dance, movement studies, psychology of perception (J.J. Gibson) and her experience with video. Conducted in New York by Marlon Barrios Solano (February 15/2008) and video editing courtesy of Ashley A. Friend. LISA NELSON is a dance-maker, improvisational performer, videographer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the early '70s. Stemming from her work with video and dance in the '70s, she developed an approach to spontaneous composition and performance she calls Tuning Scores: a communication format for ensemble performance that she presents as site-specific Observatories. She performs, teaches, and creates dances in diverse spaces on many continents, and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, videoartist Cathy Weis, and Image Lab, a multidisciplinary research/performance ensemble. She received a NY "Bessie" Dance and Performance award in 1987 and an Alpert Award in the Arts in 2002. For 30 years, she was co-editor of Contact Quarterly, an international dance and improvisation journal, and directs Videoda, a project for videotapes of improvisational dance. She lives in the mountains of Vermont in the U.S. Video images from workshop organized by Movement Research Thank you!
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These Things Happen

These Things Happen when three dancers and one dancer/film maker follow instructions given by choreographer, Angus Balbernie at a Dance House research lab. Spontaneous, textured and very low-tech.Following another failed attempt to hire any equipment I ended up using my own Mini DV and mobile to film improvisations at Angus' research lab. Angus had agreed to let me use the footage anyway I decided but I wasn't sure how to put it all together with it being on different formats and still make it look like one cohesive piece. After a lightbulb moment last weekend I decided to embrace the low-tech aspect and only use the footage from my mobile. The only editing I chose to use was to rotate some of the sections which had been captured in portrait to give the feeling of the camera rotating but the dancers remain standing.I'm quite pleased with the results and am now thinking of ways this can be combined with my final project.
Find more videos like this on
These Things Happen will be screened at the launch of re:surface tonight, the Dance House's video dance event.
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for full schedule clickwww.mediatisedsites.net - channel live between 2-00 – 5-30pm BST and 8-00-9-00pm BSTTune in to the following URLs for live feed of virtual performances:Laura Cooper performs Exercise Rose(es) from 1-2pm BST from the British Council in Bangkok
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