CSF LAB

CONTACT TO CREATION

In the last 10 years, Sharon Fridman has been developing and consolidating a series of dynamics in his classes that have given rise to new contact qualities, related to the concepts of elevation and creation of physical centres that connect bodies to each other. The practice of these notions also becomes a source of inspiration when composing.

This research process, aimed at the creation of a dance technique, method or language, is called ‘Contact to Creation’.

The focus of this language is placed on the concept of gravity, on digging deeply into this matter, on discovering its most unexplored aspects. How is my body capable of manipulating the weight of the other? What are the active centres that allow me to carry out this manipulation? What new forms of movement can I generate from there?

On the other hand, to these questions must be added the energetic expression that shapes the bodies, because it never goes unnoticed in the creative processes. Movement implies the transmission of an element with which it has previously been connected… I move as a direct expression of what happens inside me, not as a tool of expression, I move out of an internal and irreversible need.

CSF LAB

The ‘Contact to Creation’ finds its way during the course of each CSF Lab: a weekend-long research seminar led by Sharon Fridman together with a team of professionals from different creative fields.

The handling of this series of terms is at the base of the exercises and dynamics proposed to the participants of the CSF Lab:

  • The movement that precedes the contact with weight exchange. There is almost no touch, but there is already a relationship with the other, a warmth is shared.
  • Common breathing, generating a system of inspiration and exhalation, marking each inspiration with deep contact and each exhalation with loose contact. This exercise allows us to enter into a common engine.
  • Shared point. A point shared by two or more bodies, the advance and the range of possibilities to move in space having a reference.
  • ‘Punto acapunto’. The active point, the one that holds the form. We are practicing the creation of an available center, which allows its modification at any time.
  • The contact of the skin, up to where we let our weight fall, when the fall ends that does not get through the skin of others, controlling my fall, or letting my fall surf between light points of support.
  • Deep contact. How much I can let my center fall into the other, at what depth. There we discover the process of exiting and entering the other.
  • Searching for the knot. Let my body knot with the other body in this knot, recognizing the end of it, confirming it with the use of muscle tone.

 

Learning is a purgative act: stripping oneself of masks, patterns of movement and habitual gestures in order to gain access to the forgotten, to everything I need to know and that already lives in me.

 

The CSF Lab has also become a space of consciousness in which it is possible to express what happens within each one of us in a fluid way, identifying what blocks and interrupts the flow that runs between the landscape with which I connect (vertical channel) and what I transmit (horizontal channel). The pedagogy of dance cannot ignore the tuning of the heart, the emotional athleticism of the performer, and the emotional fluctuations expressed through movement. We open a conscious and intentional path, which fills with meaning the forms distilled from Contact. Consciousness in movement.