Just dancing – Steve Batts

I understand Contact Improvisation to be, in a very simple way, just dancing. 

I don’t really separate it from the rest of my dancing. 

My own “definition” of Contact Improvisation is: “The exploration of the limits and possibilities of moving with poetic intent, but without a plan, in close proximity with other people, and the effect of what is learned there on the dance when we are further away”.

If I had to name my concerns in a few words I’d say;

  • People dance – not bodies.
  • A tendency to being poetic in movement is a universal human trait. That’s the seed of dancing.
  • Dancing is real movement in real space and real time engaged in with poetic intent. It can’t be reduced to feeling, sensation, idea or physical function.
  • A dance wants to make sense.
  • Armour off  – not armour on. This is quite scary – and so it should be. (I think we should be permitted to wear some armour when we aren’t dancing though; when it makes sense).
  • The compositional sense is intuitive, organic and natural but so is the desire to educate, refine, tune that intuition through disciplined forms of practice
  • Being in the moment always involves a deep relationship with past and future – memory and imagination.
  • The way that the concept of “inhibition” (non-doing) is used in the Alexander technique continues to inspire me.
  • Improvisation and composition are more like two perspectives on any phenomenon rather than two different things to “do”.

I’m exploring presence, space and time through (among other things) explorations of tonus, effort, addressing levels, disposition, vertical journeys, proximity, meter, pulse, rhythm, phrasing. 

Intendo la Contact Improvisation, in un modo molto semplice, come danza.

Non lo separo davvero dal resto della mia danza.

La mia “definizione” di Contact Improvisation è: “L’esplorazione dei limiti e delle possibilità di muoversi con intento poetico, ma senza un piano, in stretta vicinanza con altre persone, e l’effetto di ciò che si impara lì sulla danza quando siamo più lontano”.

Se dovessi nominare ciò che mi sta a cuore in poche parole direi:

  • Le persone danzano, non i corpi.
  • La tendenza ad essere poetici nel movimento è un tratto umano universale. Questo è il seme della danza.
  • La danza è movimento reale nello spazio reale e nel tempo reale impegnato, con intento poetico. Non può essere ridotto a sentimento, sensazione, idea o funzione fisica.
  • Una danza vuole avere un senso.
  • Armatura tolta, non armatura indossata. Questo è fa abbastanza paura- e così dovrebbe essere. (Penso che dovremmo avere il permesso di indossare un’armatura quando non balliamo, quando ha senso).
  • Il senso compositivo è intuitivo, organico e naturale, ma lo è anche il desiderio di educare, perfezionare, mettere a punto quell’intuizione attraverso forme disciplinate di pratica.
  • Essere nel momento implica sempre una relazione profonda con passato e futuro – memoria e immaginazione.
  • Il modo in cui il concetto di “inibizione” (non fare) viene utilizzato nella tecnica Alexander continua ad ispirarmi.
  • L’improvvisazione e la composizione sono più come due prospettive su qualsiasi fenomeno piuttosto che due cose diverse da “fare”.

Sto esplorando la presenza, lo spazio e il tempo attraverso (tra le altre cose) esplorazioni di tono, sforzo, livelli di indirizzamento, disposizione, viaggi verticali, prossimità, metro, polso, ritmo, fraseggio.


Living the void – Elisa Ghion

Verbal exchange shapes our dialogical relationship, giving shape to the silences that intersperse words. Silence can therefore be considered a relational place in which we are

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Linus and Emelie

Linus and Emelie are two professional musicians and sound healing practitioners fromSweden.Emelie has been studying classical percussion and chamber music at Örebrouniversity in Sweden and

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Circle – Nayeli Špela

A circle is a place where our dance continues and we witness each other through another chanell.  We still improvise and we also allow ourselves

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Beginner’s Mind – Lior Ophir

“In the beginner’s mind there are many possibilities, in the expert’s mind there are few” Shunryu Suzuki Towards the upcoming autumn contact silence retreat I

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Who moves who? – Roberto Bellatalla

https://www.contactsilence.it/wp-content/uploads/2022/09/Gana-Bellatalla-Duo-VICINO-LONTANO-2022-II.mp4 Between lines, points, spirals, an invisible thread holds bodies and ropes together, like the grass that grows in the interstices, new forms are generated,

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Polarità – Elisa Ghion

In this period I am particularly interested in observing how polarities interact with each other. Thepresence of one makes the presence of the other vivid.

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E=mc2 – Anna Da Pozzo

E = mc 2Did Einstein dance contact? Today at school I explained this wonderful scientific revolution condensed into a formula.When the time comes for this

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LEAF JAM – Angela Mara Florant

Finding pleasure in every movement.Connecting with the season.Harvesting thoughts,Inspirations.Moments of silence.Focused spaces where we dance.Moving from the insideTo the outside.I don’t know the next stepI

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ECHOES – Marta Iucci

« Once a Zen Master asked a disciple: ‘Have you seen the snow leopard?”No’, replied the disciple.’Isn’t it wonderful?’ The Master asked him.from «Silence is

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Tomo Haru


Here is Tomokombu at work, he will accompany us in the evening jams of the first round of the retreat. We remind you that the

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6 – 10  April 2023

Gaia Terra, Flambruzzo, Udine

31 Agosto – 4 Settembre 2023

Monterosi, Anghiari, Arezzo

29 October – 2 November 2023

Gaia Terra, Flambruzzo, Udine



CONTACT SILENCE retreats is a social promotion project of LIBERA MENTE APS association

We firmly believe that contact improvisation holds great potential on a social and communicative level and carries within it an unequivocal educational message. In addition to being the vanguard of the natural and authentic movement, it teaches respect for one’s body and the other, nourishing the fundamental need of the human being to physical contact, gives joy and well-being to those who practice it, reconnects man to his creativity and the primordial dimension of the game.