Touch&Play 2011 Exploring the edges of Contact Mon, 18 Feb 2013 14:38:18 +0000 en-US hourly 1 The Sensuality of the Senses in the Biospheric Dance – Paola Motto Tue, 14 Jun 2011 15:10:07 +0000 How can we touch the immense sensuality that comes with us from our interplanetary travel to birth?

From the myth of Theseus as a symbol of the initiatory journey, this workshop is born with the intention of stimulating the sensual life of our senses, in connection with that ancestral – primordial memory. And from there, display the game so that memory can animate the infinite dance, through the imaginary she wakes up.

The essential invitation is to develop our carnal empathy with the living world that sustains us; enjoy the wonder and pleasure that can bring to us our immersion in the landscape of the multivocal universe (feel ourselves Nature); return to our senses to discover how our experience flows in a huge frame of perceptions and feelings, as reflected by an uncountable number of other human and nonhuman bodies.

The dynamics proposes the creation of conditions to reach a synaesthetic perception: combined activity of sensory interaction, essence of our relationship, mixture of receptivity and creativity whose indomitable and participatory logic ramifies and develops itself to become in expression. An affective-magical-mythical see, that allows us to live all perceived as an energy field, as a new nexus of experience, as a new way to open up to the gift of the Other and in this way can access to his / her intimity.

From this space of play, the purpose is to deploy through the Movement (in duos, trios, quartets and solos), the sensuality that can be discovered in resonance with that dimension of smells, tastes, colors, textures and pulsating rhythms, heated by the sun and full of seeds that is the Biosphere: the matrix of life from we are born, organic network of interconnected phenomena which our sensitive body belongs. And from there, to live the joy and gratitude for the reciprocity between the human animal and the Earth where it inhabits.

What relationships can exist between this way of being that is the odor-flavor-color-image-texture-sound we feel or we bring inside, and that other way of being which is the co-created dance? We will investigate how this connection can generate a sensual language, a dramaturgy of the skin, resulting in a particular way of “dancing the world”.

In subtle dialogue with Hermann Hesse´s The Metamorphosis of Piktor and other stories.

(Some expressions taken from David Abram, The Magic of the Senses, Ed Kairós; woskshops of Enrique Vargas and Pablo Friedländer, and diverse traditions of original cultures).

- Feel the ways in which, in contact with the Elements and the Earth´s native forms, our senses come to power and subtlety, allowing an access to the beginning of transformation that is present in the day to day.
Open a space of freedom and praise of the singularity, providing the elements in an homeopathic way for the cosmos of each dancer can resonate from the game and find her/his creative uniqueness there.
- C
ultivate lightness and essentiality as ways to create a dance or tell a story with a single resource to link the interior with the outside world, in the here and now.
- Draw bridges between the conscious and the unconscious through the symbol
, as experience that concentrates the psychic energy of human beings and allows us to leave the literal identification, revealing to the world as a place full of possibilities to find meaning.
- Create conditions for the emergence of synchronicity
, through concrete experiences and plays that reveal it like an everyday possibility.
Recognize the touch and be touched as a mirror of the sensual:
also to be aware of how
the world perceives itself through us, and how when we touch (for example) the crust of a tree we may experiencing at the same time our own “tactile”.
- Promote the
Biocentric culture, cooperative in our mutual care, respectful of all manifestations of life, remembering that we are nature and she is who sustains us.
Share a process of collective and individual learning on the way to the art of love.

Read Paula Motto’s Biography

]]> 0
Paola Motto Tue, 14 Jun 2011 15:04:11 +0000 Lover of the performing arts, its immense potential and the expanding movement that can be generated through them, I develop as a creator, researcher and workshops facilitator in the pursuit of integrating art with health and connection with nature.

Since my teens I had the opportunity to study and participate in plays, festivals, companies, seminars, publications and other activities in the fields of Theatre and Dance, as well as make numerous trips by Latinomérica sharing roads with creators from various latitudes.

I was trained in acting, staging, dance-theater, singing, arts and deep ecology with outstanding teachers for their dedication and generosity. I participated in meetings, intensive seminars, jams and CI practices -mostly coordinated by Cristina Turdo-, and in the Residence of Physical theater and Experimental dance Kosmos in Movement held in Coroico and Isla del Sol (Bolivia).

Between November 2010 and May 2011 I attended the Postgraduate in Sensory language and Poetics of the game provided by the Theatre of the Senses and the University of Girona, in BarcelonaSpain, directed by Enrique Vargas. And I was invited to participate as an actress-inhabitant in two works of the company: The first dance (El Polvorí Montjuic-Barcelona) and Oracles (St. Augustine of Guadalix-Madrid Tour).

I am part of the Biospheric Academy´s creative team (, facilitator of The Dance of the Imaginary-Creativity Workshops to expand the sense and creator of the play The Spiral that Joins Everything -in dialogue with the artist´s work F. Hundertwasser and dedicated to promoting the Free Creativity in Harmony with Nature´s Creativity.

In Barcelona, where I live now, I am a resident collaborator of the Symbolon Laboratory (


]]> 0
I wanna hold your hand – Sensual Pleasures/Social Spaces – Jess Curtis Thu, 02 Jun 2011 17:02:50 +0000 What do I do with whom and where? Who cares and why? How can I construct or
interrupt social structures that support or prevent me from being free?
Being responsible? Being kind? I propose to examine physical contact that
would normally carry social significance in social spaces. I will begin with
public hand holding with multiple partners and possibly develop further
based on the results of our preliminary experiences.

Read Jess Curtis’ Biography
Read about Jess Curtis’ “Bone Sex” workshop


]]> 0
Bone Sex: The Erotic Body, Deep Touch, Weight and Motion – Jess Curtis Thu, 02 Jun 2011 16:53:52 +0000 A workshop in the physics of sensual pleasure in Contact Improvisation.
Deepen your sexual dance and it’s connection to your partners’. Find the
pathways that lead to freer motion. Get out of your head, beyond your
genitals, come to your senses. This class is for men and women. All
participants must be equally willing to work with men and women, within the
context of negotiated consensual boundaries. Wear comfortable, loose fitting
clothing(i.e.sweats). Some exercises may be clothing optional.

Read Jess Curtis’ Biography
Read about Jess Curtis’ “I wanna hold your hand” research proposal

]]> 0
Laura Staniland Thu, 19 May 2011 06:08:20 +0000 Bio


These things are in my training ‘background’: physical theatre, clowning, mask work, music facilitation, natural voice work, massage, co-counselling and non-violent communication.

I’ve been dancing contact for 3 years.

I have an interest in the concept of ‘health’, how things fit together to make a coherent whole, or not.

I like the phrase “more than the sum of it’s parts”

I like participation. I like creative participation.

I don’t like eating blueberries or writing bios. Yet.

Read Laura Staniland’s Life Cycles research proposal

]]> 0
Life cycles – Laura Staniland Thu, 19 May 2011 06:03:36 +0000 My impression is that every festival has a natural life cycle (having a basic birth, life, death…but also perhaps having a childhood, adolescence, maturity and mid-point crisis) and I think working with this idea and making this cycle distinct would make for a more enlivened festival and experience for everyone involved. From this perspective I have two proposals of contribution to the festival that I would like to explore and research during the experiment:

1. Re-childing. I’d like to create a space, perhaps in the mid-point of the festival, which people people enter as adults and leave as children – seeing the festival through new childlike eyes, playing with their new child playmates and bringing their innocence into the space. This would be informed by my experiences working with masks, clown, immersive performance and live-action role play.

2. Exploring, subverting, perverting and swapping our masks. This is about bringing our self-concepts, the stories we embody about ourselves, and our constructs of “who we are” and playing with them in our dancing. For me its a very joyful experience to turn these ideas about myself on their heads, and I’m curious about how it would be to do it as a group, to try on other people’s ideas and to play with that chemistry together. For me this is about the ‘adolescence’ of the festival – that point where everyone is beginning to figure out who’s who, and ‘how things work’….I’d like to play around with that.

Read Laura Staniland’s biography




]]> 0
The Art of Presence – Benno Voorham Wed, 11 May 2011 20:34:49 +0000 In my work as a dance maker and improviser I am interested to explore the crossroads between dance and theatre. Using the potential of the human body to tell stories through movement in a non-literal way.

Contact Improvisation will be the common ground to continue and deepen our skills to come into a physical and kinaesthetic dialogue with others. By awakening our physical and sensory awareness we will bring mind and body into a state of readiness and receptiveness for dancing in a playful and spontaneous way.

We will spend time to work on various skills and explore the underlying principles of Contact Improvisation, playing with physical forces such as gravity, levity, momentum and inertia.

In the second part of each class we will work with different scores and structures for improvisation with a strong focus on developing a playful and subtle presence in our dancing. Dances in which we can expect to be in physical contact at any moment and at the same time keeping an awareness of ones own direction in improvising.

“Being in the moment” will be our motto during this intensive workshop.

We will play and create dances in which we use our imagination and creative potential. We will spend time to tune our bodies in movement, to develop a sense for ‘being in the moment’ from where we will dive into the realm of improvisation.

read Benno Voorham’s Biography

]]> 0
Pain Processing – Felix Ruckert Fri, 06 May 2011 14:31:21 +0000 Pain can stimulate awareness, trigger trance and create relieve. Pain can make you feel strong, powerful and present. It is all about technique. The art, the knowledge of the active part is to administer pain in the right amount, in he right moment, on the right spot. To read the body of the partner, to understand his or her reactions. The art of the passive part is to invite the pain, to process and to transform it. Only for a few lucky people pain directly creates sexual arousal. Most people prefer pain combined with sensual touch and comfort. In the workshop we will learn the right balance between malice and care that creates an intense and potentially ecstatic experience. We will work with different sources of pain, like whips and floggers, cloth pins, canes, hot wax and others. We will apply various techniques and cover safety issues. Every instrument, every technique creates a different sensation and permits a specific experience, but they all have one thing in common: it is about connection and trust, And about power and devotion on both sides. The workshop is suitable for beginners, but also for experienced players looking for a different approach or seeking to refine their technique. I use all the knowledge that I acquired in 25 years of exploring dance, body work, touch and BDSM. Read Felix Ruckert's Biography ]]> 0 Rituals of Intimacy – Felix Ruckert Fri, 06 May 2011 14:21:54 +0000 Sex and Sensuality. Relating our intimacy to Improvisation? Improvising our intimate relationships? Do we have tools and techniques here just as we have in the dance? Do we have rules and regulations? Do we want them? Can we let fears and desires enter the dance as we do when we love. Do we love our dance?? Do we dance our love? This workshop wanders into the realms of sensual encounter. It is about sniffing, smelling, tasting the dance. It is about arousal and frustration, about fear and desire, about the mechanics of sex and the heaven and hell of intimacy. Contact is seen as a spiritual connection, an emotional state that happens long before and way beyond physical touch. Read Felix Ruckert's Biography ]]> 0 Entanglement and Disintegration – Felix Ruckert Fri, 06 May 2011 14:00:42 +0000 Philosophy and Psychology of Bondage & Restriction

Bondage, Bonding, Binding, Bound. We will start this workshop with some physical exercises, clarifying the important role gravity plays in the mental and bodily construction of ourself and how the temporary negation of gravity in suspension bondage affects our perception systems “Restricting the body in order to free the mind”, “ Being entangled in order to disintegrate” “ I tie you up to let you fly” We will practice and reflect on those “bondage paradoxes”. Bring your own rope, if you have…

Read Felix Ruckert’s Biography

]]> 0