TDIF 2014 extraordinary line up of instructors!
Do not miss the opportunity to study, learn, share ideas with these phenomenal improvisational artists.
Lisa Nelson, Nina Martin, Sarah Gamblin, Jordan Fuchs, Leslie Scates, Erin Reck, Amii LeGendre, Maureen Freehill, Jhon Stronks, Amber Ortega-Perez, Amy Morrow, Catherine Solaas, Sandra Paola Lopez and Chris Reyman, Christie Nelson, Diane Bedford, Jessica Hale, Jessica Tartaro, Julie Nathanielsz and Silva Laukkanen, Lauren Tietz, Lily Sloan, Rosie Trump, Tiffany Fish
LISA NELSON – guest artist
Tuning Scores Laboratory - Composition, communication, and the sense of imagination.
This performance research practice focuses on the physical base of the imagination. It raises the questions: what do we "see" when we look at a dance? How does composition arise in the body and its environment? The scores offer inner and outer communication tools and practices that make apparent the ways each of us sense and make sense of movement. A focus on vision, touch, and hearing will expose our body's opinions and initiate a dialogue-in-action about space, time, movement, and the desire to compose our experience. The explorations provide tools and a framework for communication and collaboration that is constructed by the players in the act of doing. As a practice of real-time editing and instant replay, Tuning mimics life and is an aesthetic game and self-balancing system that uncovers its intention each time anew. Performers and creators in all disciplines are welcome.
Lisa Nelson is a dance-maker, improvisational performer, 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, she developed an approach to spontaneous composition and performance she calls Tuning Scores. She performs, teaches, creates, and dances in diverse spaces on many continents, and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, Cathy Weis, Scott Smith, and Image Lab--a Tuning Score performance ensemble. She's received various encouragements along the way, including a 1987 NY Bessie Award and a 2002 Alpert Award in the Arts. Her writings have been published in Nouvelles de danse, Contact Quarterly, Writings on Dance, ballettanz, MovementResearch.org Critical Correspondance, and sarma.be/oralsite. She has co-edited Contact Quarterly dance and improvisation journal since 1977 and lives in Vermont.
ReWire/Dancing States: A somatic method developed by Nina Martin and Lower Left Performance Collective emphasizing radical body (kinesthetic) and brain (neural) dancing states that develop diverse linear (kinetics) and non-linear (neural) movement dynamics while strengthening precision in technical dance abilities. This movement system developed out my research into how emotions arise from the body and what part habit plays in one’s movement choices. ReWire/Dancing States educates the dancer to work “under the radar” of the conscious mind to excavate authentic expression and aesthetic. The class employs Contact Improvisation as a base relationship in which to play with rewiring our dancing.
Nina Martin’s choreographic works and master teaching have been presented in New York City, across the US, and in Europe, South America, and Asia. Performance credits include David Gordon Pick-Up Company, Mary Overlie, Deborah Hay, and Simone Forti, among others. Nina danced in the PBS Dance in America Beyond the Mainstream program which featured Steve Paxton and others. She was a founding member of Channel Z (NYC), New York Dance Intensive, and Lower Left (www.lowerleft.org) and presently is board president of Marfa Live Arts and is associate professor at TCU School for Classical & Contemporary Dance.
This class will share tools from my artistic practice: exercising the body with vocal sounding, stirring weight with risk and stilling weight with awareness, isolating images while integrating weight and exploring these modes in close proximity with a partner.
Sarah Gamblin is an Associate Professor of Dance at Texas Woman’s University whose teaching and scholarly emphasis is on the intersections of performance and choreography. She has been invited as a guest artist at Perpetual Motion, Mam-Luft & Company Dance, Texas Christian University, and the University of North Texas among others. Her original choreography has been produced most recently at the New Genre Festival in Tulsa , Oklahoma, Coduit Dance Center in Portland, OR and the Cultivate Dance Festival in Bethlehem, NH.
There are multiple definitions for belly: the fleshy part of a muscle, the rounded underside of a ship or aircraft, the undersurface of an animal's body, and of course the front part of the human trunk below the ribs, containing the stomach and bowels. In this contact improvisation class we will explore undersurfaces as locations for initiating movement with a partner.
An Associate Professor of Dance at Texas Woman’s University in Denton, Jordan Fuchs is a dance artist committed to explorations of form and formlessness, proximity, and physicality. His choreography has been commissioned by Danspace Project and Dance New Amsterdam in NYC and presented across the US. In 2009 he founded TDIF, which he continues to coordinate. He has been on faculty at Movement Research and taught internationally at NTUA in Taipei, Taiwan, TsEKh in Moscow, Russia and Danz'Aqui in Puerto Rico. He holds a BA in Religion from Oberlin College and an MFA in Choreography from Ohio State University. www.jordanfuchs.org
#1 Ensemble Thinking / Set and Not Set
This workshop approaches and acknowledges the utility/limitations of, attractions/aversions to, and compositional strategies regarding improvised and repeatable movement sequences inside Ensemble Thinking group composition scores.
How does executing movement from memory in an improvised performance shift awareness of the local, emerging, group composition?
Participants are not required to learn repeatable phrases offered in class, and are not required to make repeatable movement phrases in this workshop, but are given opportunities to do both.
Participants may improvise all movement in this class, and contact improvisation vocabulary/composition is invited. Learning set material is optional.
I am interested in creating ensemble dances that (may) include vocabularies that can be warped, executed/improvised in unison/not unison, and repeated consistently in conjunction with improvised vocabulary inside a tight compositional container.
I am curious about brains/composers/states of awareness in spontaneous choreography while exercising options for performing memories in movement form.
Leslie Scates is a member of Lower Left Performance Collective and works with Sophia Torres, Erin Reck, CORE Performance Company, and Jhon Stronks. In June 2014, the Houston Press named Leslie one of Houston’s 100 Top Creatives. She teaches Ensemble Thinking, Contact Improvisation and Choreography to performance ensembles, in educational dance programs, and to corporates in collaborative environments. She is adjunct faculty at the University of Houston, and is a coordinating committee member for TDIF. Leslie has a massage therapy practice at Shana Ross Fitness, and recently founded Ink Stringer, a handwritten correspondence service for executives and socials in Houston.
This class uses neurobiology as a tool for improvisational structures. The pathways of place neurons extend beyond the limitation of your body while mirror neurons fire empathetically when seeing movement or emotion, both are connecting you diametrically and personally to the people and the space around you. We employ exercises and scores that stem from and activate our connection to place and other.
Erin Reck has been dancing, choreographing, teaching, and drumming up projects in New York City since 1997. She relocated to Houston, is an Assistant Professor at Sam Houston State University, and works out of both cities under the name of Recked Productions. Her work has been presented by venues in NY and across the US. She has danced and collaborated with many fine artists, including Sara Rudner Performance Ensemble, Karl Anderson/SLAMFEST, Lynn Marie Ruse/Freefall, ltd, Hope Stone Dance Company, NobleMotion Dance, and Leslie Scates. She received her BA from the University of Washington, and her MFA from Sarah Lawrence College. Every summer she returns to NYC to work for Lincoln Center Out of Doors on their site-specific productions. www.erinreck.com
We interrogate this term ‘legibility’ to contact improvisation and compositional improvisation in order to develop material more legible to an audience member/witness. Practices include reading the body for narrative and character, toggling between sensation and story, articulating how you track as you improvise, and some basic strategies for subverting habits and inverting vertical orientation in contact dancing.
Amii LeGendre is a Visiting Instructor of Dance at Bard College, whose teaching and performance work relies on aspects of immersion theatre, contemporary dance, theater of the oppressed, activism, and applied improvisation. After fifteen years in Seattle, WA, she currently works with a group of NY dance and music artists (Zamboni ) who study and perform dance/music improvisation. She teaches new dance technique and contact improvisation, emphasizing research in performance and legibility. She’s taught and made work at Purdue University, TWU, Weslyan, Connecticut College, U Wisconsin, Earthdance, Dance New England, and many sites all over Seattle.
The Present MovementTM and Butoh
Butoh & Nature-Based Embodied Soul Work. A 1.5-2hr class outlining key practices & principles drawn from 30 yrs experience with soul & nature focused dance ritual. This includes lineages of masters Kazuo & Yoshito Ohno (Japanese Butoh), Anna Halprin (Scoreography & WilderDance), Elizabeth Cogburn (Long Dance) and Christa Ray (Shamanic Voice + Bodywork). Weather permitting the class will convene outdoors and draw our inspiration from elements of nature within & without; offering potent tools for sensual, imagistic & emotional capacity building while honoring & integrating wildly indigenous aspects of being into daily life, creative process, somatic healing work and environmental education.
Maureen Momo Freehill, MFA is Founder and Artistic Director of Butopia Retreat Center; offering nature- based retreats, performances & intuitive somatic wellness training on Whidbey Island in WA State. In 1994 she began to study, perform & eventually tour Europe with her primary teacher, Butoh founder Kazuo Ohno. Inspired by his life of "dancing freely by not thinking, only soul,” she created The Present MovementTM 6 month LifeArt Mastery Mentorships. With over 30 years experience as and improvisational performer, educator & director she is recognized internationally for innovative fusing of eastern & western modalities with nature while viewing performance as a vehicle for personal, cultural & global awakening. As Artistic Director of MomoButoh Dance Company she created numerous performances and over 500 site-specific dance films for the YearOfButoh project (www.dailydance.net). Her work is studied across the globe including appearances at Dance Festivals in Seattle, Vancouver BC, California, North Carolina, Colorado & Dublin. She holds an MFA in Directing Asian Performance (U of HI) and is a certified Hypnotherapist & Yoga Teacher specializing in Aerial Yoga.
Open Wider Please (a contemporary movement laboratory)
This class explores the art and function of sensation-based improvisation and authentic movement practices, while addressing their application in performance and movement cultivation. Beginning with the philosophy that every dancing body has a specific dance history that should not be ignored, participants are encouraged to start with the foundation of their personal dance history. The practice and focus is on understanding the polarity between presence and projection. This class seeks a marriage between somatic philosophy and the western tradition in technical/classical dance technique
jhon r. stronks holds a BFA in performance and choreography from Cal State Long Beach and a teaching certificate form the Teacher Training Institute in Atlanta GA. As an instructor he strives to connect the practical elements of technique to the magic and humor of life and performance. jhon has been teaching Improvised, Jazz, and Modern dance techniques to movers of all ages and levels for more than 15 years. His current passion and obcession lay in the space between somatic practice/philosophy and the western tradition in technical/classical dance technique and performance.
The Dancer is Present/Choreography “on the fly” with contact improvisation:
In order to bring a lived, human element to our movement we will begin with an inner focus on our own bodies, allowing ourselves to become truly bodily aware and sensing our surroundings. From inner, bodily sensing, we will move into an awareness of each other and discover the performative phenomenon of being in contact with one another. Contact will evolve gradually with an attention to honesty within our movement choices, and will bring us to a place of true presence. We will then work through a series of warm ups that will challenge the body center and visual focus which will prepare our bodies for the learning of a solid movement phrase from which participants will be paired together. In pairs, participants will create choreography as a duet “on the fly” through an evolving process of improvisation directives.
Amber Ortega-Perez of San Antonio, Texas holds a B.F.A. in Modern Dance from Ohio State University. She is a two time Artist Foundation award recipient and is currently pursuing her M.F.A in choreography from Jacksonville University/White Oak. She is director of SpareWorks.dance company, founding member of Modern Dancer's Co-Laboratory (Modacolab) and curator for W-I-P (Works In Progress), a dance performance lab in collaboration with San Antonio Dance Umbrella (SADU) and Jump-Start Theater Company.
Ortega-Perez is an artist and choreographer influenced by the humanity of movement and gesture. In her work she magnifies small moments and relishes in crossing the borders of social acceptability and propriety. She is currently working in collaboration with filmmaker and writer, Erik Bosse.
Through Shoshana investigates movement availability?using Gaga as a movement language. Shoshana refers to?her mother’s name (Lilly), the name of the choreography?center she danced in during the recent war in Israel?(Suzanne), and hope that the desert will bloom (Rose). In?times of conflict and questioning, we can move through?what we don’t understand and go with what sticks. Even in stillness, movement can still travel through us. We can connect to pleasure while listening to pain, connect to our ability to snap from a soft, yet explosive place. We embody many textures and let them travel through our bodies; allowing soft and thick to resonate as opposites on the same line. We can take these investigations seriously and still allow laughter to roll through our bones. Through movement we become an available vessel for movement to travel through, connecting us to ourselves, others, and more through and through.
Amy Morrow is a teacher, choreographer, and communications specialist based in Austin and Tel Aviv. The Hiraeth Portrait Series of film, music, and dance collaborations shares a sense of being at home in spite of distance. The portrait, Through Shoshana was first presented in Israel during the recent conflict. Amy has presented portraits internationally while hosting workshops with certified instructors in Gaga and Countertechnique®, as well as classes in Composition, Ballet, and Indian dance.
Developing Movement Voice through “Body Narrative
Students are invited to tap into and develop their unique movement voice! In the practice of personal narrative, real people tell their own personal stories: memories from childhood, recounts of milestones, lessons learned, dreams… The list goes on and includes anything one finds interesting enough to share! Just as one tells a story verbally, or as one updates their social media status with daily experiences, workshop participants will tell their own stories. They will explore the syntax and grammar, timbre of the voice, the rhythm and texture of vocal story telling. The catch is, instead of sourcing words and improvising sentences; students will dive into their unique movement vocabulary, quality and dynamic, musicality and shape to “tell” their body narratives.
Catherine Solaas is a dance artist and educator who has been exploring her creative process and making dances since 1996. Before transplanting to Texas in 2010, Catherine performed and showed work in the US, Canada and Norway, and has had the pleasure of working with Susan Hadley, Claire Porter, Margo Van Ummersen, Tiffany Mills, Jill Sigman and others. Catherine received bachelors (1993) and masters (1996) degrees in dance from the University of Oregon and is currently an Assistant Professor of dance at Austin Community College where she teaches modern dance technique, improvisation, composition and performance.
Creating groupness’ in ensemble improvisation (co-teaching with musician & improviser Dr. Chris Reyman)
In this class we will look at ensemble improvisation through the lens of Social Therapeutics - a performative and radically humanistic approach to psychology, therapy, education and community building where human beings are related to as active social creators of their lives. Our work blends our artistic and spiritual practices with our experiences in performance and development.
In this class we will use exercises that we have developed, borrowed and adapted from our artistic experience (drawing heavily from contact improvisation, Creative Research and Ensemble Thinking, Deep Listening and social partner dances) and our own practice and research blending collaborative improvisation and social therapeutics. We will focus on ensemble improvisation that is interdisciplinary and collaborative; blending music and dance while creating ways to see our roles of movers/sounders as fluid and blurring the line between the two. “When building the group [creating groupness] the importance is not on the content but rather, there is a powerful shift of focus to the human interaction”
Sandra Paola López R. BFA, Ed.M is a dancemaker and improviser with a multifaceted career involving performance, education, community building and organizing, which has taken her throughout the US, Colombia, Brazil, Cyprus, France and Mexico. Ms. López uses collaborative improvisation to foster human development and community building, blending elements from Ensemble Thinking, Contact Improvisation, Social Therapeutics and social/partner dance. She has studied and/or performed with Kristie Simson, Jennifer Monson, Rebecca Bryant and the Lower Left collective, among others. In 2011 she co-founded in2improv an organization that fosters collective creativity through interdisciplinary ensemble improvisation with musician and improviser Dr. Chris Reyman.
Pianist and accordionist Dr. Chris Reyman (DMA), is an Assistant Professor of Music at the University of Texas at El Paso. A highly versatile artist with degrees in Jazz Performance and extensive experience with interdisciplinary collaborative improvisation, he has performed with Kirstie Simson, Alvaro Morell, Marika Rizzi, Simon Ellis, Tim O’Donnell and Rebecca Bryant, among others. Along with dancemaker and improviser Sandra Paola López, he co-founded in2improv, an organization that fosters group creativity to promote the building of environments in which people can explore new ways of relating and creating through performance and collaborative improvisation.
Puzzle pieces- finding a mold for support
A contact improvisation workshop for beginning to advanced improvisers
Working with partners we will find puzzles as a theme for support. Using the concept of puzzles and how they fit and mold together we will create a supportive space to work on lifting and supporting skills in improvisation. We will find support in various arrangements that may sometimes feel awkward. But allowing the awkwardness to fade and recognizing the possibilities of the body in relationship to another, we will find new ways to explore our own improvisational practices.
Christie Nelson is a choreographer, improviser and educator whose work has been presented nationally and internationally. Christie earned an MFA in choreography specializing in production from the CalArts Sharon Disney Lund School of Dance. She earned her BA in Dance with a focus in choreography from Texas Woman’s University. Residencies include Feldstärke International 09, at CentQuatre Paris, France; Pact Zollverein Essen, Germany; and CalArts Los Angeles, California. Christie is currently a guest artist and collaborator with companies; Out on a Limb Dance Company (Waco/Dallas), Big Rig Dance Collective (Denton, TX), and The Bell House (Tulsa, OK). Currently Christie resides in Dallas, TX and is on faculty at Texas Woman’s University, Collin College & Eastfield College.
Touch and Go: A Site Specific and Interpersonal Exploration – What is the motivation and impetus of movement from touch? How do we move differently when motivated by animate objects/people versus inanimate objects? What movement vocabulary can we harness from touching versus being touched? What vestiges are left when touch disappears and movement remains? Together we will explore and investigate these questions as we move through a series of explorations with partners and with elements in the space around us.
Diane Cahill Bedford serves as Clinical Assistant Professor in the Dance Science Program at Texas A&M University. She holds an M.F.A. (2010) and a B.F.A. in Dance (2003) from Florida State University. Her choreography has been presented by the West Fest Dance Festival in NYC, Brazos Contemporary Dance Festival in College Station, TX, as well as Fieldworks and The Dance Gathering in Houston, TX. Her work has also been seen at ACDFA, San Jacinto College, Fort Wayne Ballet, The Tallahassee Ballet, and the FSU Opera. She has also had the opportunity to perform in works choreographed by Jawole Zollar, Gerri Houlihan, Terry Creach, Darshan Singh Bhuller, Andy Noble, and Lynda Davis as well as recent collaborations in Houston with Rebekah Chappell.
Robin Williams: A Tribute
Robin Williams, what a concept! In this three-hour workshop we will be creating a short film inspired by the many characters that touched our hearts over the years. The class will be lead by choreographer and filmmaker, Jessica Hale, and will consist of a creation period, followed by filming the work. So bring a costume that resembles your favorite Robin Williams character and let’s have an adventure! After the class, Jessica will edit the footage and provide participants with footage for their personal use.
Jessica Hale is a multi-media dance artist currently pursuing her MFA in Dance at Texas Woman’s University in Denton, Texas. She holds a BFA in Dance Choreography and Performance with a minor in Political Science from Columbia College in South Carolina. As a recipient of the Experiential Student Scholar award, Jessica is working with choreographer Jordan Fuchs on a video installation that works to extend solo dance by moving beyond the body.
Jessica has performed and presented works ranging from live performances to video dances at Dance-Forms Productions International Choreographer’s Showcase in Guatemala, both the ACDFA southeast and mid-central conference, and participated in the Dance Exchange’s Summer Institute, in D.C. This will be Jessica's second year working as the Documentation/Media intern for the Dance Exchange. For more information please visit Jhaledance.com
The Dance of Intimacy: Learning to Stay Connected through Contact Improvisation
As a mirror for who we are in relationship, Contact Improvisation offers a generous reflective surface. Join Dr. Jessica Tartaro to explore how you show up in connection with others through the free play of Contact Improv. We will use both dance and coaching exercises to excavate what arises when we lean into relationship in an unknown moment. What is difficult about trust? How do we withdraw in uncertain moments? And how can we use CI to facilitate greater trust and willingness to improvise in our interpersonal spaces? Together we will ask these questions in this 90 minute workshop. Participants will leave with both a new awareness of their patterns in relationship, as well as creative tools for crafting the dance of intimacy that they most desire in their lives.
Jessica Tartaro, PhD, is a dancing psychologist. She holds a PhD in Clinical Health Psychology and a coaching certification in Intimacy and Desire. She has brought her magic to ecstatic dance communities in Phoenix, Oakland, Austin and now Dallas, where she maintains a private practice. Jessica has studied contact improvisation on both coasts as well as in Austin, and teaches the psychology of healthy relationships through the principles of contact.
Mixed ability and disability in dance
Have you ever wondered how you can simply and effectively include a diversity of moves and movers when teaching a dance class? When going well, radical things happen in integrated dance: moving relationships that defy expectation and render useless our pre-conceptions of what will happen; the appearance of small or significant contrasts, that subsequently play teacher; a sense of your own body composing the moment. integrated dance is not about resorting to a lowest common denominator (a prevalent view) it’s about inviting our internal authority as dancers, finding ourselves at home in the body, while in ensemble. What if “attending to the most minute details of difference...we experienc[e] connection rather than isolation”? Come ‘adjust your set’ and learn some basic tools for your current or future teaching work.
Julie Nathanielsz is a dancer and choreographer based in Austin. She is founder of The Meeting Point project, which began life engaging real-time ensemble (dancer and musician) performance, and continues to evolve new directions in choreography. Julie teaches independently, and as adjunct faculty at Austin Community College; she is a core teacher for and organizer of the mixed-ability project BodyShift. Julie is deeply influenced by a physical practice woven from instant composition, meditation, Body Mind Centering, and Skinner Releasing. Julienathanielsz.com
Silva Laukkanen, a native of Finland, holds a BFA in Dance from The North Karelia College of Outokumpu and a post graduate degree in Community Dance from The Trinity Laban Conservatoire in London, UK. She has worked with Remix Dance Company and SCORE in Cape Town, South Africa teaching children and adults in local communities. Silva has given workshops in Finland and England for mixed aged and ability groups, including a two-year stint teaching a weekly class for the Finnish mixed ability company Magic Dance. Silva is currently working with Forklift Danceworks as a teacher for their Leaps and Bounds and Body Shift programs.
Instant Composition and Mindfulness
Part lecture and part discussion on the some of the parallels between improvisation and mindfulness practice. What is this notion of presence? We will discuss the structure of the human brain and autonomic nervous system in order to spark conversation around concepts of interdependency, resiliency and adaptability (essential realities in improvisation). Also discussed will be the practice of Authentic Movement (an embodied mindfulness practice) and how AM practice relates to the relationship between viewer and performer. Why have a witness/audience member at all? What is the significance of being seen? How are we wired for this and what is at stake? These are just a few of the ideas to play with.
Lauren Tietz completed her MFA in New Media (dance and film) at Transart Institute in 2011 and since 2009 she has been exploring dance and film. Her short films have been screened at: On The Wall: Berlin Dance on Film Series curated by Non Fiction (2010 - Jump and Velocity is a Vector Quantity), The Not Festival: Curated by Luis Lara Malvacias, NY (2011 - Sink Float Swallow Spit) and The 5th International Video Art Festival Cuba (April 2013 - Sink Float Swallow Spit).
Lauren has been teaching improvisational dance investigations in one form or another for over a decade: Authentic Movement; Contact Improvisation; Movement Practices inspired by Butoh & Martial Arts; Land-based improvisational composition and research.
Undo the Doing
This class will explore improvisational scores that unhinge personal habitual movement patterns within contact improvisation. Our class goal will be to create and dance within an environment of surprise, confusion, and complexity.
A Denton-based dance artist, Lily Sloan received her M.F.A. in dance at Texas Woman’s University with the Outstanding Graduate Student award. Currently, she is a Co-Director of Big Rig Dance Collective and an Adjunct Professor at Texas Woman’s University and Texas Christian University. She has performed and/or presented work in Michigan, North Carolina, Texas, Washington D.C., Italy, and Mexico and worked with choreographers such as Amii Legendre, Rebecca Bryant, Mark Dendy, Jordan Fuchs, and Sarah Gamblin. Lily strives to continue exploring, performing, and creating innovative performances, combining her interests in alternative venues, multimedia, and improvisation.
This class will examine how site can expand the choices we have in an improvisation. We will travel to several spaces in downtown Huntsville to dance. We will play with found movement, environmental sounds and interesting terrain. Bring your tennis shoes! Class culminates in an informal performance during lunch.
Rosie Trump holds a MFA in Experimental Dance Choreography from UC Riverside and a BA in dance from Slippery Rock University. She facilitated the Texas Dance Improvisation in Houston, TX in 2010. She recently performed at the Prague Fringe Festival, YourMove Dance Festival (NJ), and the MixMatch Dance Festival (LA). She teaches workshops in site-specific improvisation, directives/scores and contact improvisation. Her teaching credits include the Texas Dance Improvisation Festival, American College Dance Festival, Seton Hill University, Mt. San Jacinto College and Rice University. She is an assistant professor of dance at the University of Nevada, Reno.
Instincts of Improvisation: trusting the moment of movement
This workshop will encourage the cultivation of trust within the participants improvisational practice by investigating out known patterns and methods at which we arrive at movement decisions. Writing, movement, and discussion will will be used as tools of exploration into how these habitual beghaviors affect our range of discovery with each other and with in ourselves. We will find ways to use imagery, imagination, and proprioceptive awareness to create a limitless personal movement identity. Believe and you will be.
Tiffany Sullivan Fish began her professional career with the Genesis Dance Company and worked for the Genesis Foundation for the Arts, teaching outreach programs throughout Brooklyn, The Bronx, Manhattan and Connecticut. She then went on to perform with the Metropolitan Opera with such artists as Sean Curran, Doug Varone and Julie Taymor. After receiving her MFA in Choreography from Jacksonville University she has been collaborating with artists from the US, Israel, Austria, Iceland, France and South Africa. Tiffany often uses the medium of film to communicate her artistic vision and her films have been screened nationally and internationally. She recently won best experimental film at the 2012 Portland Film festival for a film she created in Skagastrond, Iceland and Honorable Mention at the Movies by Movers Festival for (Be)longing, a film commissioned by JDT in 2012. Her most recent dance -film collaboration, with Yaacov Bergman and Peter de Grasse, was premiered with the Portland Chamber Orchestra in early May. Tiffany has been active in the national and international contact improvisation community for the last decade, teaching and moving in festivals from her home state of Florida to Israel.