Steve Paxton's

Steve Paxton’s “Interior Techniques” Contact Improvisation and Political Power Robert Turner

[I]n what is given to us as universal, necessary, obligatory, what place is occupied by whatever is singular, contingent, and the product of arbitrary constraints? — Michel Foucault 1984:45

What had the culture physically suppressed or selected out [...] which we might reclaim? — Steve Paxton 1993:64

According to Steve Paxton, the idea in the practice of contact improvisation (CI), whose sem- inal performance Magnesium took place at Oberlin College in January 1972, is to discover, through spontaneous movement in contact (typically duets)1 with others, human movement (and human behavior in general) that is “pleasant, highly stimulating, and elemental” (1993:64) to us as interactive human organisms. There is no set choreography, no specific instruction.

1. Duets are typical; trios or larger groups are not impossible, but the more bodies, the more difficult it is to attend to all the bodies involved.

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124 Robert Turner ‘selves’” (Paxton 1993:64). (Paxton ‘selves’” our of presentation proper for to aspire or acquire we attitudes mental accompanying the as well ture[...] behavior [...] which constitute [the] proper social activities andcommunications [...] as blind”that (1972:131).ties produces unawareness pos- “gestures,in of conditioning modes This the production.are that bind of that mechanism ties the The of unaware are who slaves produces dictators,the the racy,for life fortunately American slaves; be others that demand must dictators power: political “Weof form slavery.a voluntary was to contact conditioned and are democ- a In movement our in constraint or emancipation that explained also relations.Paxton hall But mance hand,members”other improvisation,1972:130).the contact (Paxton on In the by thoroughly past,had,played the it been in to submitting or authority assuming of means company.and choreographer of game grand the gentle issue,those the There,and is ego-play bypasses became unintentionally Union Grand the that company improvisational totally “The Dance Judson Theater: Limón,José and Cunningham,Merce with dancer a as years several (1970 Union Grand the of members with earlier years duets,two in begun visation dance.will they whom movement,own when,their long, choose with how continuously and space the in Improvisers Museum of Modern Art, 1976. (Photo by(Photo 1976. MuseumArt,Modern of Ted Pushinsky) FigureSteve(previouspage) 1. Paxton, Nancy Stark Smith, “ReUnion,”Francisco San at performance attentionforhours each day. Themissing potential here isobvious life tion, dance “[i]n produc- cultural of space freer a being well.of as Instead practices dance in bodies ciplinary (64). contact physical satisfying for potential our undermine sensing.”peripheral of varieties Wetouching”of that taboos in and disciplined “constraints are people. between contact and movement of from another as politics and sense, political a in dance understand to come has study, Robert and work performance this Through Soleil. du Cirque and Circus, Gravity Zero NorthEurope,IsabelleAmericaKristinaDance,in and including circuscompanies and modern, ballet, with work to University,on Government Cornell gone in at PhDhas a he completing while training Robert Turnerresearcher, dance vagrant his dancer, a performer. is circus Beginning professional and culture”our (133).of typical is [...] ment Weproximity,of afraid are respond therefore and allot- space isolated his within stay must person [...] each floor That the across moving when isolated work, sequentially floor or in others the all from spaced equally is person each class isolated: physically “in are space,dancers performance most or rehearsal and classroom dance 2. If this attempt were successful, it would achieve more satisfying dance studio and perfor and studio dance satisfying more achieve successful,would were it attempt this If others.restricting (131) or confining without emancipated be to attempt the of favor in ignored is manipulation time-space-effort person’sof another aesthetic one’sto subjecting self of tradition atrical performance. improvisatory in the- arises weighty that The self-exploration amplified of way the in get to seems in,it indulged since occasionally only is material pre-set of rity member’sresponsibility.each continual is lead to oneself allowing or following secu- The (Paxton1993:64). ‘selves’our of presentationproper for to aspire or acquirewe attitudes mental nying accompa- the as well as communications, and activities social proper constitute which language) body (i.e., ior out selected or suppressed physically culture the had “What Paxton observed this general cultural production of (though he did not use the term) dis- term) the use not did he (though of production cultural general this observed Paxton — repression of possibilities is the general rule, mirroring social forms”rule,social general (1972:133).mirroring the the is In possibilities of repression — one laboratory for exploring the human body and all it carries with it in this in it with carries it all and body human the exploring for laboratory one was a continuation of Paxton’s experimentation with impro- Paxton’swith of experimentation continuation a was Magnesium 2 What we learn in school for the most part is “to sit still and focus our our focus and still is sit part “to most the for school in learn we What — certain gestures, modes of posture and behav- and posture of modes gestures, certain

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movementofthe body and — which we might reclaim?”might we which –1976),after - Steve Paxton 125

- - not just the rather than 5 — Magnesium in January and the - presen “condensing “condensing the field [ofmovement] into a tight little a habit underdeveloped in Western movement in general. movement in general. a habit Western underdeveloped in 4 — (133).

after. tation of in 1972.the June Certainlydeveloping work, in by York in then New calledimprovisation,” “contact though the 1972, articleit would is have written been retrospectively. unlikely, example, closing becoming For the disoriented), eyes rolling as a self-protection response (and, consequentially, down the center of the back (rather than from one shoulder across to the other side of the back). lower Paxton (b. 1939) (b. continues to Paxton teach and to experiment with his body even now. is at It not had the clear read Foucault time whether of Paxton the writing of this article:is discuss- 1993. Paxton his head in the that six went months through” ing between the “thoughts If the hierarchical organization of power through the technical and organizational rules ships, turning ordinary ships, materials but into continuing gold, to draw from classical and modern-classical sources of dance It company was organization. the It star is system. difficult to make the general public understand inundated other assystems, we are with the exploitation of personality and appearance in every aspect of theatre [...T]his basic pov- erty of understanding on part the is audiences’ a (1972:131; drag see [...]. also Novack 1990:58–59) In general, Paxton observed, dance companies, whether they were classical, modern, or whether post- dance they modern, Paxton companies, were In observed, classical, general, Many social forms were used during the 1960s the to In tra- accomplish ballet, dance. et al.), ditional Lang, courtly In hierarchy modern Límón, continued. dance (Graham, the same social form Post- was used except magicians rather than monarchs held sway. maintained alchemical dictator Waring) modern Marsicano, dancers (Cunningham, 5. 3. 4. the aikido roll. The latter could, therefore, be broken The therefore, down latter into could, parts the that aikido allowed roll. one to feel its sensations. governing both dance and society were then the perhaps problem, by removing these restric- tions one could find a freer type of movement and contact. Paxton’s innovation, therefore, was constraints that to “external” produced and eliminate these see the inhibitions, what happened. dis- correction, Paxton set up movement director, experiments in which there was no teacher, cipline, no andset nochoreography, specific instruction. From Paxton’s perspective, CI’s potential impact would be to return decision-making authority to the dancer institutional professional, but anyone who moved. CI could “reclaim” the “the potential but “reclaim” that institutional anyone CI professional, who could moved. “physically It suppressed would had or (1993:64). do selected this culture” out” precisely by “habit developing of our attention,” In particular we lack “sensitization to the corporeal” (64). In Western movement, in our movement, sports Western In In particular “sensitization we to (64). lack the corporeal” and con- choreographed, the proper Paxton performance contended, and of dance, a particular, trolled form of movement was prioritized; the sensation of movement was merely second- The aikido roll, “behavior evolves on from (64). In the sensing CI, other movement” hand, ary. requires for attention example, to sensation (on the back and neck) for its proper execution; way (to achieve dancers external taught form the alone) roll Western tended in to a reproduce habitual actions associated with the performance of a forward roll/somersault,

Paxton, for his part, desired “unique and (131) for desired personalized of His his forms” dance dis- Paxton, part, practice. satisfaction with these hierarchical in power which relations, directors and dancers reproduced impersonal dance practices (and perpetuated demand their for moti- audiences’ the impersonal), experiments vated with Paxton’s improvising during in his contact, time at the Grand Union and bubble around the person,” “withdrawing “There or inside is by the (133); dignity skin wall” bubble around the person,” for the mind even if the messages of The the understanding body of must per be ignored. sonal space is social/habitual and since the habit having is that defensive, space invaded can be shocking” had practiced modern, the same disciplinary techniques and reinforced the same hierarchical power relations as in society generally: to “crowding” by avoiding “crowding” contact to Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29September 2021

126 Robert Turner taught by the reflexes. the by taught be and observe weight.would in Consciousness shifts to adjustments postural tiny the of aware space”the become (64).standing,of one’sexample,could while vision closing For one eyes by peripheral our] [...and body partner, their their under of floor touch the the of sensation the with interacting body’s “weight,reflexively the systems of momentum, aware friction,remain with the body when it is moving fast as well. as fast moving is it when body the with quickly),very consciousness away.” “goes to in”consciousness “hang train Nevertheless,can we rolling or thought”spinning for are (e.g.,fast we too happens when is something “which when slowly, developed environment. be its “reflexively” to with needed interacts this And because body the way the of aware becoming by individual this find could sensorial”One inhibitions? bodies,generic as humans evolution,to by shared “tuned”unfettered a “physical, by social, or (i.e.,general movement behavior) of added). possibilities emphasis unexplored the were What potentials,”and our lished “tuned potential” the (64; of “cultural parts select develop[ed] things partners,CI.himself,in doing and as while Whereas estab- ”“planetary had experience/evolution students,many dancers,in artists, observed children”martial had and I (1993:64), ments well as ele- positive with person generic a physical,[...,] no inhibitions sensorial,with social person or imaginary be simple to basic.“a investigations model”more his working Paxton for the “took body, the of reactions reflexive the to relation were in which awareness of habit a develop must imposed,movement,culturally habitual of one instead free, movement achieve spontaneous to

ground for moving”allow for and ground “spontaneous” (63). improvisation 8. 7. 6.

assumed this reciprocity did exist”(Paxtonreciprocitydid this assumed 1993:66). I mediation? that strengthening or amplifying of property the have consciousness the does and consciousness, the teaching of possibility the have gravity to relative posture of mediation its and system nervous the “Does Paxton’sof basis the be to seems regarding “modesobservations posture”imposed. of culturally are that this Indeed, on. early from culture) therefore (and awareness conscious by influenced are hand, other the on to, bereferring reflexes.to tendon Posturaland really reflexes, seems that “reflexes,”Paxton ones nerve the cranial few very are life of year first the beyond influence conscious of domain the of side Paxton’sfor As trainable. “reflexive”between distinction and out- remain reflexes that those “cultural” behaviors, contradictorily, and then, cultural and uncontrollable, and Consciousness’sinnate first observe. is just leaving “stay” to trained be and can consciousness that then but event/stimulus, the of speed the of “leave”because must “conscious”“reflexive,” the the Paxton consciousness juxtaposes with discussion, that saying confusing this In (Paxton1975:42). posture be “slowlyovermonths.” be should developed to Flexibility was partner a to Takingweight giving and from weight crucial; was movement of down parts,slowing into or down breaking This improved by hatha yoga, emphasizing awareness of (the reflex activities involved in) breathing and and breathing in) involved activities reflex (the of awareness emphasizing yoga, graduallyhatha byimproved 8 This new knowledge of what was merely reflex would become the become “new would reflex merely was what of knowledge new This 7 Through specifically designed exercises, can designed we specifically Through — including the plantar reflex,plantar the including 6 if one wanted one if Steve Paxton 127 whether you were going to — Transfer of weight onto Transfer upper arm, neck,

Figures 2–4. David performing Jurasek Jan aikido 2008. March Toronto, roll House, at Dovercourt (2) shoulder; (3) transfer through shoulder; (4) transfer onto upper back. (Photos by RobertTurner) 9 in January, took place in the John Weber Gallery, June 1972, June with tookGallery, place Magnesium inin Weber theJanuary, John

no longer trying to control, and, instead, simply watching, dancing “flowing simply would watching, be no instead, longer trying and, to control, i.e., reflexive interaction, “a basic mode ofreflexive communication interaction, betweeni.e., the reflexes of people —

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The effect for was both powerful, dancers Contact and improvisers audiences. working with The second performance, after rehearsals in a Manhattan Chinatown loft where the dancers also lived during the rehearsal period. Cynthia observesNovack that the performance was merely a continuation of rehearsal. Each performance lasted five hours, the audience coming and going as they pleased; there was no special music, lighting, costumes, or sets, except for 1990:68). the wrestling mat (see Novack With this developing With awareness withof consciousness reflexes, not influ- under culture’s [I]mages [based on real sensations] were used to focus the mind and then give the mind foci within the sensations of the body. and The generally words informative, had to unthreatening, be unambiguous, understood. The (66) statements and had relevant. to obvious, be true, 9. dance slowly, hardly move, do hardly a move, lot of lifting or and whether falling, it was dance going slowly, to be sensuous Paxton in the 1970s reported feelings during the practice and performances (which were merely the practice but with an “tremendous audience) tension of and excitement about encountering not an knowing anticipation, what was going to happen anybody, ence and “accidental highly elemen- streams that [...] stimulating, of were pleasant, movement” tal” on “blocks” would the Cultural manifest other habits, (Paxton as as hand, 1993:64). they moved” whether in and conscious would “gaps” awareness, be worked or through patiently and calmly, patient This work calm, was made possi- (65). or habitual” orientational, “emotional, they were ble because early CI practice for performances often intense in involved live-in long, training, which dancers would get to know each other developing very trust well, and awareness of themselves and their Paxton dance summed partners. up the essential principles as follows: The image but ratherimages (62), realwould “fictitiousCI’s sensations. not gasses” involve would correspond to the real experience of the CI individual definedin terms. understandable, would based be in a “freedom habits practice of of of interaction awareness, in the social set,” “producing aimed freedom at for individuals of spurring a them group, on to new awareness” Performances would (1972:131). be the practice itself and both would transmit not the virtuosic but the pleasant and highly stimulating freedom of interaction to “star-system,” and hierarchical The firstwho tourtheir might ofaudiences, become theparticipants. work in 1973 was called show you what we do. We’ll come. You

128 Robert Turner would go on to call CI “a kind of grass roots community work”1997:167). community ([1989] roots grass of CI kind call “a to on go would Paxton case.) the be to practice.continues the (This joining from prohibited not were certainly performances,joining and from method. prohibited the be to not introduction might an They dancer”1997:125).the ([1987] with audiences provided describe,also performers And,it the as with empathy physical response,a kinetic or a begins audience the that eyes the through is “it of: aware was himself Paxton something was audiences affect improvisation’sto Contact ability audiences. felt energized”they “extremely that (72).reported ers even persisted tension 1990:70–71).ambivalent Novack this of effects The it,in in always”danger Nelson of (Lisa sense a [...] was combative There and playful of kind or 12. 11. 10. noted, themselves,CI having,practice performers to some on go would members audience these of audience”and (73).performers between Many accessibility of a feeling was “tremendous There performers: the with another,”one interaction performance,initiating the often of end the after long remaining and themselves dance actually would performances,members some audience In

cative duet cative physicalrealagainstcontact, a up eachother,bumping poignant,communi- very soft some very to occur,wouldlevelsdifferent the how see to got contact,tentativemore the perhaps,from starting to over.be possible,would it as people many as with chance a had [...] everyone rolling When and falling,falling and weight-oriented,episodic,and very more jumping usually was between in work solo The wasokayit and out you and rough very demonstration.was a It like were performances The Novack 1990:73) Novack everybody.unified really that something [...] was infectious There in very Nelson (Lisa was away come not and somebody touch to possible was it long how seeing [...] that think I [...] you,you you,they’dcongratulate on on but to lean hang performance a after you embrace would they [...;] you on jump and around rolling start to want really would They I think. (Nancy Stark Smith in Novack 1990:72) Novack in Smith think.Stark I (Nancy healthy,and new very people,to life-supporting.refreshing and very vital was very it And was that movement experiencing of way a and movement at looking of way a as people to something offered had we like received.wasn’twas enthusiastically that It very did we themselves it doing been had sweating, and almost,flushed thrilled performances and the of out come would audience.the to transmitted were happened,They sensations think,What that I was own decisions about the future”the about (Paxtonadded). owndecisions emphasis 1972:131; on focus particular the and past shared their by much as enced “werethey politics; of influ - thinking Grand sometimes Paxtonthat Unionleast implies wereat members also Novack1990:72). response the but impression, my just is You seeing. this were that they what understand about audience the from response gut-level a was there felt always I [...] them in be to me thrilled it exciting,and so were performances “The 2005:226–39). al. et Buxbaum (see movement that with associated signs the to attending of way by movement/behavior of sensations and movement the feeling experience, our by limited extent an to of, capable are we brain, the of micro-structure (synaptic) neural the throughout happens that conditioning associational same Bythe learned the practice from watching a single performance.single a watching from practice the alreadylearned

10 — Audience’s reactions and responses were empathetic: were responses Audience’sand reactions

the applause, the ‘oohs’ the ‘aahs,’applause, and the laughter the [...]. (Lisa Nelson in Novack 1990:71; emphasis added) emphasis 1990:71; Novack in [...].Nelson (Lisa [...] Duets would last ten or fifteen minutes, sometimes even twenty. minutes, even fifteen sometimes or ten last would Duets [...] As a person in the audience, and as a learning performer, learning a audience,as the and in person a As reallyyou [...] Toperformance one truth,was don’tthe there I tell think

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was just a real physical response” (Danny Lepkoff in Lepkoff response” (Danny physical real a just was these effects were transmitted to transmitted were effects these And as by their their by as action collective in developments new dancing; danc- dancing; after — could drop in and in drop could “jumping all over all “jumping 12 as if they if as Through others’ Steve Paxton 129 a - — ational whether but might begin sens — “personal vidual’s indi described and taught using by drawing attention to these for the group; (c) using unambigu- — experience, rather aesthetic than experience, information , I think , each teacher should stick to gravity pro-physical-sensation in The the teaching of this material. through our liberal political and or societal if institutions, necessary — in the determination of our own lives. , was established to Contact , in disseminate Quarterly 1975, the central momentum or — was and is CI’s political potential. After Paxton, one After must Paxton, ask was not and political is potential. CI’s capable of acting assertively and attentively in determining its own life, liberty, capable of acting assertively and attentively in determining its liberty, own life, — — CI was soon (and continues to be) largely: (a) reconceived as internal body exper 13

“voluntary slavery” to a “star-system” by making performance an indistinguishable “star-system” to “voluntary a slavery”

facts. (in Novack facts. 1990:81–82) Paxton had emphasized the importance of: (a) direct descriptions of real sensations as a A new publication, A new publication, symbolism, mysticism, psychology, spiritualism In are actually horse-drivel. teaching the psychology, mysticism, symbolism, stand or discussing No sooner than the popularization of CI in dance studios and print however, had begun, I want to go on record as being An important exception, Lisa Nelson’s “tuning scores” are (like Paxton’s method) designed to draw attention are to (like scores” Paxton’s “tuning An important exception, Lisa Nelson’s to base make of conscious the the patterns the imagination,” movement the “physical organism uses to inter- act with (including its perception of) its detailsenvironment, of “the human movement that are made invisible, and edited to out encour- by concertour cultural dance,” conditioning, dance trainings, and Western marketable environment ([2006] 2008a). age a more direct and indeterminate relationship with one’s

ous and informative words to when inform teaching, the actual practice of CI; and (d) reject- ing our Despite extension with Paxton’s of decision-making practice, authority restored to the dancer. intentions, By the end of members the of decade, the Grand Union had isolated themselves in their own and CI the practices, growing CI including community their of practices, textual new teachers’ deviated and discourse, continue to deviate even further original from emphases Paxton’s and writing. basis for interaction; potential (b) to CI’s produce freedom ideas of as the well practice, as encourage a broader discussion by practitioners and teachers discussion of the direct experience sensations truthful of in words one’s simple, (or images) that recalled the CI practice and techniques and could be The used art- to guide further interaction. “responsibilities to had these Paxton techniques wrote, to ist, keep them clear of confusion” ([1975/76] 1997:5). Paxton expressed unhappiness with the direction its teaching and discourse were taking: iments or somatic education of describing for the the example, small sensation, dance (see for [1977/78] 1997:24–26) as an Woodhull example to be used in CI interaction; (b) characterized as a therapy developing the in power all and “performing” areas strength useful of of for daily presence” life and therefore a legitimate part of college curricula (Lepkoff [1979/80] 1997:55); (c) 13. one’s movement how and one’s contact If result we from and affect relationships of power in society. are conditioned in specific habits of non-confrontation) docility toward (obedience, our- insti and hab- political so parties, on), directors, employers, tutional teachers, authorities (parents, its that therefore guarantee existing distributions of power and keep us generally alienated from each other and ourselves along then conventional CI lines, interactive and offering movement maintaining spontaneous, possibili- power-creating habits, and accustoming ties, us to making conscious decisions in uncertain conditions redistributing power “interior among tech- us and providing more CI’s satisfying relations. could to encourage niques” take us increas- individually and collectively to act more directly, ingly active responsibility through other means the practice, one could, in one close the could, interaction practice, with others with uncertain/unpredictable roles, become and and more clear accustomed contact, aware about, to movements, of, the ambivalent anxiety) tension involved (i.e., in awareness decision-making of authority one’s in direct - rela This encouragement of a radically participatory, tion to others with decision-making authority. active subject and happiness Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29September 2021

130 Robert Turner in Paxton’spractice in own underanalyzed. and part, most been, ignored the has for significance terms.political metaphorical Its in described experience religious performers),a star and its of heroization the (including experience vidual indi - and individualism of aesthetics,celebration personal a a be) to continues (and become had general.in CI practice cultural of) liberal variation American a as even (or to amenable more terms in CI them,defining limit possibilities”exploring narrowly to the of seemed “all instead practice,and discourse the in emerging CI of versions ing,new performances.the and But CI of disseminator articulate most the Paxton teachers,from of removed generation new a by explained be members”its (131).of isolation to also led it “eventually Topart in can sure,divergence be this Union Grand the of members the with occur already divergence predetermined”were this “completely seen (1972:131).had He improvisation cloudy,”tact “was its if “course”evolve process”a not group since could “true tory,performer.and audience between distinctions typical choreography,conventions: hierarchical typical movements,the technical observing reper set specific of repertory developed now its demonstrating on depended curricula theatre and dance 1997:196–98).[1990] Moreover,Pritchard and 1997:130–31; college in CI’sinclusion partial [1987] Svane new,also ated see 1997:140–41; [1988] (Novack elites and hierarchies internal 1997:18),[1977/78] and,Brown (see contrarily,jams contact in inequalities gender cre- it how gaps,impositions,habits. and consciousness’swithout blocks,interference,act cultural to its allowed were unfettered,it if sciousness,”other.the on free, be spontaneous, could reflexes uninhibited,its and body The the of “reflex”opposition and “bodily,” hand, mere one to the “habit,” on “culture,” and “con- oppositions conceptual certain reinforced and detailed,on relied 1997:125–29). ([1987] time of experience our down slow or up speed can system endocrine the language,how and and science were,extended,discussions similarly,intellectual body,the with concerned of philosophy the sensation.bodily of awareness Paxton’steaching that,And with primarily again,concerned are texts within occurred speaking of way this intensity”but pure (34); and energy pure receive 1997:34) example,quality, to “quality karma”of ([1977/78] volley-ball given. [sic] is a what receiving metaphorical and abstract the towards bonds”tended 1997:167).statements ([1989] Some creating work “deep group a as CI on insist to continued 1997).also [1986] He Paxton (see parts body actual to references and sensations real describing explicitly Paxton’sin consistency to attest classes of transcripts and articles body; the to attend persistently not did Paxton that issues on focused strictly were watching: “While in contact, we attend to our reflexes, which have been stimulated by the by stimulated been reflexes, have our which to contact,watching: attend in we “While cussed as affecting change in political power; those few discussions of discussions “politics”few occurred those that power; political in change affecting as cussed dis- never almost (d) and 1997:182); [1989] (Keogh metaphor of dance”means our by of soul metaphor and poetry,and metaphor 16. 15. 14. But this divergence also seems to be in part due to the physiological understanding conveyed understanding physiological the to due part in be to seems also divergence this But vision”con- the was of that it “important that critical,generally was Paxton,said he though The problem,The rather, Paxton’sand discussions,that explicit physiological was though “The dignity of the mind” came at the “expense of the messages of the body” the of (Paxton the messages at the 1972:133). mind”came of the “expense of dignity “The “politics”the to dedicated are articles 200 CI. mately of In 1997). [1992] and 1997, [1983/84] Smith1997, [1976/77] of approach of the Nancy editor be Stark chief to Smith, tends This Contact Quarterly’sContact approxiof - out four 1977–1992), spanning Improvisation Contact articles (with Sourcebook — and possibly spiritualist possibly and 14 as,example, for a the with “spiritual”at concerned “getting endeavor — his teaching and (largely written) discourse.written) (largely was and problem teaching The his 16 CI was reflexes dancing with reflexes, merely with consciousness dancing reflexes was CI to the jam community jam the to internal — — because its structure could “open up all the possibilities,”the all could up structure “open its because “Does the class seek purity? If so, special learner will so,learner If special purity? seek class the “Does — in writing (in writing in and elsewhere),and Quarterlyteach- Contact (see for example Starkexample for (see Quarterly Contact — how CI eliminated role-related eliminated CI how — specifically, repeated the — the far “father”by and not — for - 15

Steve Paxton 131 - - repro unconscious and at least in these latter — their were reflexes and their bodies terms, avoiding the terms, question of con- — ; “sink bypassed improvisers past might the con- “one’s subjective understanding “one’s will continue to ” ([1980/81] and 1997:68) intuition” that explained 18 17 especially if one’s experience of “culture” and authority “culture” had especially experience if of one’s — , “the in habit others of , adaptation freedom [...] will keep us

consciousness: ironically, culturally habitual ironically, — since tension it was was cultural, to Moments be of avoided. tension could inhibitions which many (teachers, students, and inhibitions the which students, outside many dance (teachers, com- 19 — is not the problem but Paxton the noted solution. that he was comfortable with —

Paxton’s repeated association Paxton’s of the body onwith the andreflex, one culture hand, with con- This is evident even in Lisa Nelson’s “pre-technique,” which,“pre-technique,” she writes,“grounded is in theThis play is of evident the body,” even inNelson’s Lisa revisitallowing theone magical“to world of the child, pre-naming” ([2006] 2008a). differentiatesNelson (2008b). at odds” which are “often body,” and the “cultural between the “animal” Again, Lisa isNelson a notable exception here, constantlypatterns, emphasizingprocess, observation of “one’s strategies and appetite for becoming physicalized, i.e., awake, alert When [...]” she create a teaches, she tries “to learning environment that is the essence of performance, and to unite dance and the performance of observation” ([2006] 2008a). material “New comes into range with the ability to relax into contact and attune awareness to movement the demands of the situation. The body can move more swiftly when it acts out of intuition rather than prejudice. Relationships become possible at high speeds that would be arduous if slowed. becomesIt evident that dancers have been 1972:134). only touching the (Paxton surface” Paxton’s students and now Paxton’s future reliant practitioners, upon the fantasy of (instead resolved of observed or investigated) by going back bodily to sensations one’s and

sciousness and culture altogether. For Paxton’s heirs, CI was heirs, an For activity Paxton’s of the sciousness body and and culture the altogether. soul; the body itself and became one spiritual, needed pre- to The be body’s free from the mind. cultural status eliminated any need to address the cultural production entire of organism one’s (consciousness as part of and the even body), the need to change the habit-producing institu- If and one government). could corporation, simply school, tions of our family, culture/s (i.e., then why bother with specific supersede a docile “bodily consciousness experience,” through sensations “culture” relating to been relationship painful? to One’s the world and even oneself now became highly metaphoric. helped secure in his early on students-become-teachers scious the the inhibition, other, diver gence of the teaching and textual discourse away from an understanding and overcoming of inhibitions one’s munity) expected to disappear into an egalitarian utopia once they entered the studio (Novack Equally significant166). was[1988] the1997:129, dissociation of relaxation from tension (Paxton 1972:124); reflexive, “natural” human interaction have “natural” and generallyrelations, ignored the fact thatreflexive, Paxton explicitly placed his hope for the future of human movement and contact precisely in the devel- acculturation) opment of (i.e., 17. 18. 19. ([1988] 1997:143). Consciousness ([1988] might 1997:143). even be writ- Paxton’s scious mind into Read more ([1980/81] attentively, appropriate 1997:69). states” ings are far but more this complicated, simple and reductive opposition was what participants and many “partici- teachers appear As to Novack have puts remembered it, and disseminated. pants took the focus on physical aspects as a a neutral part value, of natural law rather than an aesthetic (1990:68). (cultural) overlay” other’s movements. Our reflexesand movements. move this This us, causesother’s cycle our of partner to move. movement responses is continuous and As forms the basis of ([1987] the 1997:129). dialogue” experienced a (as result, opposed to beginner) CI dancers be ” ducing ([1987] the 1997:129; Consciousness system” emphasis added). statements discrepancies “CI like has these; always abounded in ([1989] logical 1997:167). contradictions” chose to ignore the contradictions and instead however, Most of the rest of the CI community, think in more familiar grow, and more parts body of will one’s come under ([1992] conscious 1997:253). training” grow, it was Sometimes, a “reflex combination of the pleasure experienced in duets; contact dancers improvisers’ learned to have confidence in Whereas in most statements of the Paxton’s process of evolution of the “choices.” reflexive their body is credited as the basis of Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29September 2021

132 Robert Turner 21. (heterosexual duets, men lifting women, performing romance or conflict), even when she conflict), when or women,duets, even romance lifting (heterosexual performing men forms habitual,movement into conventional default to ambivalent.appears intensely She feeling reports “confused”often she or judgment; repulsion, other’sor or approval attraction occur,conventionally does it contact interpret this to When tends dancer the pleasure.of in,can,feelings engaged and provide when threat physical immediate no poses it genders,opposite again,also when but even same the just contact,not abdominal between and fear.and anxiety of feeling visual,the extended manual,avoids generally pubic,participant The fear.tional form,greater the the unfamiliar movement, more solo the improvisational with As rienced by its students/practitioners,particular.North its in in by America rienced maintain. and from result they relations archical hier the and perpetuation their guarantee to continue will docility of habits our from traction changing slavery.voluntary our establishing tain of means and habits these to attention Whereas in the conditioning of habit, of conditioning the in involved always body),therefore the and of part (inextricably bodily fact in is consciousness If itself.effect very this from and selves our from culture),us and distracting thought from away attention our directing (by consciousness our through habit our on effect discursive its has body ignored.be could and unrelated participants’were in minds so and body the of sensations the and culture “consciousness,”powers; with associated consistently problem,never the were being individual,highly personal and spiritual now its Paxton’sand like body lead,the celebrating seemed what followed participants and potential.CI’steachers political undermine CI radical to than “consciousness”(now, apparently, our slavery”),of helped “voluntary source Paxton the to body”back “the experience rather and attention of sciousness/habit/culture,referral and or con- with “glandular”body/reflex the (1993:62).of juxtaposition persistent his Through were,relaxing.Paxton,moments wrote Exciting not “tense”but “adrenalized”1997:129) ([1987] 20. recognized character/role). recognized a of training,performance his/her or in are movement,they dance if modern example, or ballet (for forms movement recognizable) (usually habitual initiates often response judgment,in and people’sother of humiliation, scared of gets experiences thoughts, previous deprecating recalls spectators.or anxious,participants judgmental,feels to thinks dancer threat self- The obvious no poses movement the that fact alone,the dancing improvising,despite when when even tion humilia- feel and about movement),worry no beginners (or movement of end,type and their begin will duets partner),their no when (or partners their choose to freedom the given are ers

celebration of the beginning of “Contact Improvisation”“Contact of beginning the of celebration 1972. in Juneanniversary the 36th CI36, 2008 at paper formal a as perspective this of presentation my to responses and improvisation, contact in experience own my overEurope, all and America North from dancers with interviews informal on based are dance improvisational on otherwise) indicated not is it (where observations following The (2008:151–212). Seepractices. institutional and Turnertechniques disciplinary (conditioning) causal the indicate can stimuli fear-conditioned with confrontation by evoked memories Associated (f) and conditioning; disciplinary from result may conditioning avoidance This (e) avoids; habitually one people) of parts and people (including objects external and feelings, thoughts, stimuli, to attention conscious capacitates tension Ambivalent (d) memory; able [see readiness motor tonic Tucker(i.e., tension ambivalentproduce to stimuli ing) recall- and 1999:537–58]) (c) One can observe such habits of docility (and their means of alteration) in CI as it is expe- is it as CI in alteration) of means their (and docility of habits such observe can One This opposition of an allegedly enslaving consciousness to an allegedly pre-cultural,allegedly free an to consciousness enslaving allegedly an of opposition This The spontaneous physical interaction of interaction physical spontaneous The faster and wiser; (b) Conscious experience Conscious (b) wiser; and faster “theare reflexes because its body” or disappears fear, than to rather conditioned is one that stimuli avoids but ofaware is Consciousness (a) Neurobiological,that: psychologicalresearchindicates neuropsychological,and Consciousness itself behaves like a reflex, automatically attending to fearful, rewarding, and novel (i.e., arous novel- (i.e., and rewarding, fearful, to attending automatically reflex, a like behaves itself Consciousness — them would almost certainly provide greater freedom/power and satisfaction,and dis- freedom/power greater provide certainly almost would them 20 then ignoring culture and thought/discourse only serves to main- to serves only thought/discourse and culture ignoring then — of cultureof usually compounds this basic improvisa- basic this compounds usually contact — is necessary for the development and change of reflexes;of change and development the for necessary is 21 improvis- Although — as a sign of the of sign a as — or

- Steve Paxton 133 Figure 5. Nita Little and Steve Paxton, Merce Cunningham Dance Studio, New New Dance Studio, Cunningham Merce Paxton, 5. Little and Nita Steve Figure October 1977. (Photo Petegorsky) by Stephen York, not understanding the actual means of conditioning or means

22 — - sequestered, isolated settings more sequestered, than ballet and modern. Contact do want to become aware of this free shared themselves conditioning, from limit their experimentation (and satisfaction). CI, therefore, continues to limit therefore, be their experimentation CI, (and satisfaction). and in even — as unrelated to the — isation these pat- —

If, however, they however, If, Paxton, of Paxton, course, and asNelson, we have noted above, repeatedly discuss the cultural conditioning of habits of but movement, not yet in such specific terms; most of therest of existing CI discourse discusses feelings of constraint or freedom vaguely and primarily using metaphor. But these patterns, But though these patterns,

their docility, and act to do what they want, CI’s teachers, practitioners, and and writers act practitioners, will to have teachers, do what CI’s they want, their docility, 22. corroborated by the majority of are contact never improvisers, theless not generally discussed in specific terms in either Quarterly or the CI community. intends to In be spontaneous. organized performances of contact improv terns can be even more marked, and often persist in more experienced improvisers. of satisfaction practiced within conventional the boundaries well-established, of most ballet and modern dance institutions rest of their past and present experience and conditioning in their society Because and culture. their satisfaction with and experiments in improvisation tend to be associated with non-public dance in studio particular settings, communities of and contact directed improvisers, by particu- these lar students teachers, will Improvisers all have their own some particular of experiences, course more intense or extreme but than their others, habits of movement and observations of the apparent reproduction of dance practices and “impersonal” judgment in their own CI practices overlap generally enough to suggest that they (and we who live in the same culture/s) share a pervasive and successful (though not total) conditioning in habits which of obedience, acts to maintain the status quo, and keep them (and us) from satisfying individual and collec- both tive inside interaction, and the To outside the dance studio. extent that experienced contact improvisers become more daring they and tend improvisational, to understand and relay their experience in the generally metaphorical terms of existing CI discourse Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00007 by guest on 29September 2021

134 Robert Turner Paxton,Steve.1997. [1988] “Fall Newton”After (Transcript). In Paxton,Steve.1997. [1987] a Is Word“Improvisation Name.”Can’ta that Keep Something for In Paxton,Steve.1997. [1986] “Transcription.”In relation to others, as the basis for our more expressive,interaction. more improvisatory our for basis others,the to as relation in self the of awareness of technique experimental an of description and practice/performance decision-making.collective Paxton’sand accomplishment is great potential This individual satisfying of kind this precisely achieve to others.is potential CI’spolitical radical and themselves to satisfying are they because do to want also they that but prohibition vious pre- of because reactions fearful/excited provoke that contact and movement unchoreographed thoughts in relation to particular movements and kinds of contact of kinds and movements particular to relation in thoughts ical”or activity. “physical”) sensations,their feelings,of aware and become to have will They tural”or “habitual”), “reflex” and “intuitive” (not “conscious”), even or “spiritual” (not “biolog- metaphors,a in as improvisation “natural” contact teaching (not and about “cul- talking stop to Paxton,Steve.1997. [1980/81] & “Q A.”In Paxton,Steve.1997. [1977/78] “Teacher Teaching.”In Paxton,Steve.1997. [1975/76] “ADelicacy.”of Matter In Paxton,Steve. 1975. Improvisation.”“Contact 19,(T65):42–48. TDR 1 Paxton,Steve. 1972. Union.” Grand “The J.Novack,1990.Cynthia Novack,Cynthia.Improvisation.”1997. Contact [1988] in Hierarchy and “Egalitarianism In Nelson,Lisa. 2008b. “Moving Viewers:Nelson.”Lisa with Interview An Dance-Tech.net Interdisciplinary Nelson,Lisa.2008a. [2006] Nelson: “Lisa TuningScores.” Research/Publishing,Movement Lepkoff,Daniel.1997. [1979/80] Educational “The ValueCollege the for Improvisation Contact of Keogh,Martin.1997. [1989] “Aof Bottle Wine, Cane,Loth.”a a In Foucault,Michel. 1984. Enlightenment?” is “What Trans.Porter.Catherine In J.,Buxbaum,M.Kathleen Laurel Menon.Kyle, Rukmini 2005.and Internal Neurons: Mirror Beyond “On Brown,Byron.1997. [1977/78] Contact.” of Politics “The In References Sourcebook, Editions.Contact Northampton: Quarterly’sSourcebook,Contact Improvisation Contact Smith,Stark Editions. 107–09.Nancy Contact and Northampton: Nelson Nelson and Nancy Stark Smith,Stark Editions. 67–69.Nancy Contact and Northampton: Nelson eds. Lisa Nelson and Nancy Stark Smith,Stark Editions. 34.Nancy Contact and eds.Northampton: Nelson Lisa Smith,Stark Editions. 5.Nancy Contact and eds.Northampton: Nelson Lisa of WisconsinPress. Editions. Contact Northampton: Quarterly’sSourcebook, Improvisation Contact show?id=1462368%3AVideo%3A154482009). May (1 Motion.of Performance the on Explorations Correspondence.www.movementresearch.org/publishing/?q=node/305 (25 2009). April Smith,Editions. 55.Contact Northampton: Student.”In Sourcebook, Rabinow,32–50. New York:Books. Pantheon BrainCognitive Research25, 1:226–39. Humans.”Object-Related in Skilled Actions of Recognition and Imitation Subserving Representations Sourcebook, eds. 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