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Tal
Shibi
2014
My
definition
of
CI
for
today
(it
might
change
tomorrow):
An
open
ended
exploration
of
One
or
More
bodies
in
Space,
utilizing
the
contact
points
with
the
earth,
water,
objects,
or
partner/s
as
a
way
to
be
more
fully
embodied(
alive
and
knowing
it
in
one’s
own
body),
and
as
a
beautiful
excuse
to
dance
together
and
alone,
with
touch
and
without.
If
we
wish
to
write
about
contact
improvisation
we
must
first
attempt
to
define
it,
even
if
just
to
give
a
starting
point
in
which
to
work
from.
In
the
risk
of
trapping
a
living
practice
into
concepts
created
by
words,
we
can
also
realize
for
our
self’s
what
it
is
that
interests
us,
and
maybe
relax
the
fear
we
have
about
defining
what
it
is
we
do
when
we
do
it,
and
what
it
is
that
we
are
searching
for
through
our
practice.
Nothing
will
be
lost
by
this
attempt,
something
might
be
gained.
We
can
allow
definitions
to
change
as
we
change,
and
keep
in
mind
the
understanding
that
we
can
allow
the
words
to
point
at
something
which
they
cannot
grasp.
I
would
like
to
put
the
emphasis
on
the
“open
ended
exploration”.
What
is
open
ended
and
what
is
exploration?
Open
ended
is
hinting
at
growing/evolving
,
and
a
sense
of
timing
which
is
not
defined,
this
gives
space
for
a
form
to
be
a
living
practice.
Combined
with
“exploration”
there
is
a
huge
subtext
meaning
we
seek
less
for
a
specific
goal
,
but
rather
a
mutual
space
where
the
dance
can
unfold
between
bodies,
and
interests
are
expressed
without
effort.
The
goal
(
if
I
allow
myself
to
use
this
word
which
always
attracts
a
bad
reputation,
but
is
actually
subtly
floating
around
as
my
changing
wishes
and
intentions)
itself
is
not
on
a
specific
outcome,
but
rather
on
the
quality
of
space
and
communication
reached
between
moving
bodies.
Only
the
bodies
in
motion
can
recognize
their
changing
interests
and
follow
the
subtle
qualities
and
textures
they
wish
to
create.
In
this
I
Include
the
physical
sensations
as
well
as
the
emotional
rainbow,
which
can
be
encouraged
by
a
dancers
chosen
style
of
movement
and
skill.
The
style
is
the
moment
to
moment
decision
making
,
combined
with
the
body’s
ingrained
movement
patterns,
which
has
the
subtle
affects
on
the
content(the
outcome
of
the
decision
making
process)
of
the
dance.
So
far
for
defining
(which
in
itself
has
some
intentions
clarified),
here
is
my
attempt
at
a
manifesto

a
declaration
of
intentions:
Contact
improvisation
is
a
practice
which
will
remain
open
and
defined
by
as
many
people
who
wish
to
define
it
by
their
experience.
Contact
Improvisation
encourages
the
practice
of
it,
at
least
as
much
if
not
more
than
the
discussing
about
it.
Contact
Dancers
will
make
an
honest
attempt
to
keep
their
systems
(the
moving
body)
open
to
new
information
and
remain
in
the
spirit
of
“not
knowing
everything”.
Contact
dancers
will
also
make
an
honest
attempt
not
to
harm
others
physically
or
emotionally
by
intention.
The
practice
of
contact
improvisation
dance
as
manifested
by
individuals
coming
together
in
what
might
be
called
a
community,
will
make(individuals
in
the
community)
an
honest
attempt
to
recognize
preferences,
while
relaxing
the
notions
of
hierarchy
around
such
issues/subjects
as:
Jams/dancing
with
music
or
silently,
Soft
dancing
as
opposed
to
rough
and
wild
dancing,
Dancers
that
wish
to
listen
and
dancers
who
wish
ignore
all
listening,
dancers
who
wish
to
be
intimate
and
those
who
do
not,
dancers
with
dance
pants
as
opposed
to
dancers
who
insist
on
wearing
jeans.
These
qualities
will
be
recognized
as
qualities,
not
better
or
worse,
but
qualities
in
which
the
contact
dancer
can
recognize
his
changing
preference
as
it
changes
and
when
it
changes,
and
hopefully
it
will
become
a
choice
rather
than
a
default.
In
this
spirit
silent
jams
will
be
treated
as:
Silent,
but
not
holy.
In
this
wish
I
expose
my
preference
of
atmosphere
which
is
respectful,
yet
at
the
same
breath
non
serious.
In
the
same
manner
I
Believe
Contact
Dancers
shall
treat
each
others
Body
with
respect,
while
not
taking
themselves
too
seriously.
Contact
Improvisation
teachers
and
those
who
wish
to
share
the
interests
they
have
acquired
from
experience
in
Contact
Dancing
,
will
support
other
individuals
who
wish
to
Teach,
by
recognizing
that
each
style
and
method
of
teaching
help
enrich
both
students
and
teachers
by
learning
through
contrast,
and
by
allowing
many
voices
and
approaches
which
will
attract
a
variety
of
people.
This
recognition
will
encourage
Contact
as
a
form
of
knowledge
to
be
free
to
flow
and
trickle
to
unexpected
places.
My
intension
is
for
contact
dance
to
promote
such
qualities/practice
as
:
self
exploration
through
motion,
allowing
rest
in
togetherness,
practicing
breathing
with
other
bodies,
using
contact
improvisation
dance
as
a
mirror
for
our
own
issues
outside
of
the
dance,
realizing
different
aspects
of
our
sense
of
boundary,
taking
pride
in
a
practice
rooted
in
physical
attributes
such
as
weight
sharing,
sharing
a
mutual
center
of
gravity,
increasing
skin
and
muscular
sensitivity
of
response
as
well
as
the
skeletons
intelligence
around
organizing
itself
efficiently,
while
also
giving
recognition
for
the
ongoing
play
of
emotion
and
moods
throughout
the
practice.
Being
proud
of
human-­‐ness
(meaning
this
animal
which
has
much
to
learn
and
grow
and
the
belief
that
it
is
creative
by
nature),
playfulness,
foolishness,
and
the
Miracle
of
motion
as
it
is
expressed
through
the
body.
On
the
relation
between
contact
dance
and
the
art
of
tea,
here
is
Something
for
the
heart:
Soshitsu
Sen
talks
about
The
Way
and
Tea;
from
Tea
Life
Tea
Mind
“when
people
set
out
to
learn
something
they
become
obsessed
with
the
process
and
lose
heart
when
it
seems
they
cannot
master
it.
Thinking
themselves
stupid
and
believing
that
others
probably
think
so
too,
they
forget
what
they
were
trying
so
hard
to
learn.
Many
people
learning
Tea,
having
heard
that
it
is
complicated,
try
to
memorize
the
steps
for
making
tea
and
become
perplexed
and
disillusioned
if
it
is
difficult
to
remember
the
order.
The
student
of
Tea
once
on
the
path
must
put
away
his
doubts
about
himself
and
ignore
the
slighting
remarks
of
others.
He
must
give
the
greatest
attention
to
his
study
and
practice.
Tea,
like
cleaning,
is
not
a
skill
to
memorize
but
one
that
is
acquired
slowly
by
the
body
and
the
spirit.
Silently
purify
yourself
as
you
go
through
the
procedures
of
making
tea.
Listen
and
acquire
a
sensitivity
to
the
sound
of
water
poured
from
a
bamboo
water
ladle
into
a
tea
bowl
or
kettle.
Making
and
drinking
a
bowl
of
tea
involves
no
right
and
no
wrong.
It
is
a
simple,
open,
and
honest
meeting
of
minds,
beyond
wisdom,
experience,
and
point
of
view.”