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Geared toward Conscious Embodiment in Performance
| Somatic Movement Arts Festival Los Angeles, Sept 18-23, 2007 |
| Faculty Bios & Class Descriptions |
| Happening @ 18th Street Arts Complex, Santa Monica, CA 90404 *Highways Performance Space, 1651 18th Street *Continuum Studio #7, 1629 18th Street |
Produced by:
INTENTION
Dance Theatre
Dance Theatre
Presented by:
&
| Kirk Andrews PSYCHOLOGY OF IMPROVISATION: META Skills Single Workshop: Friday, 9/19, 9:30-12pm |
A workshop for the thinking dancer who doesn’t want to think too much. I will blend
elements of Authentic Movement, Mindfulness, and Process Oriented Psychology into
a performance skills workshop
Meta skills are skills that organize our experience. It’s that “self witnessing” part
of us that knows the big picture and keeps all the relationships and processes in
context; The who(s), the what(s), the when, the where.
In this workshop I will steal from the work of Arnold Mindell and others. I will
introduce language that I use when teaching “inner work” and mindfulness, We will
review the different “channels” of perception in which the mind operates. i.e. visual,
visual internal (imagination), auditory, auditory internal, kinesthetic, emotional and
relational.
We practiced tracking or noting our process; which perceptual channels we are using
and when we switch channels. This kind of self observation, or witnessing allows for
an examination of our patterns and motives. Are we running toward something or
running away from something when we switch channels. No judgement, just noticing.
However once our automatic patterns are brought into the conscious field of play, we
have more choice about them.
I find this kind of channel tracking extremely rich in terms of finding improvisation
material and staying with improvisational themes once I am “in” them. It helps me to
organize myself, and clarify what I am doing.
I am interested in developing my “Inner Director” which is an outgrowth of my
“Inner Witness”. Inner witness is a concept from authentic movement: Attentive,
non-jugemental, accepting. The Inner Director is attentive, choosing, and crafting
movement in relationship to the environment, while dynamically shifting between
acceptance and influence.
elements of Authentic Movement, Mindfulness, and Process Oriented Psychology into
a performance skills workshop
Meta skills are skills that organize our experience. It’s that “self witnessing” part
of us that knows the big picture and keeps all the relationships and processes in
context; The who(s), the what(s), the when, the where.
In this workshop I will steal from the work of Arnold Mindell and others. I will
introduce language that I use when teaching “inner work” and mindfulness, We will
review the different “channels” of perception in which the mind operates. i.e. visual,
visual internal (imagination), auditory, auditory internal, kinesthetic, emotional and
relational.
We practiced tracking or noting our process; which perceptual channels we are using
and when we switch channels. This kind of self observation, or witnessing allows for
an examination of our patterns and motives. Are we running toward something or
running away from something when we switch channels. No judgement, just noticing.
However once our automatic patterns are brought into the conscious field of play, we
have more choice about them.
I find this kind of channel tracking extremely rich in terms of finding improvisation
material and staying with improvisational themes once I am “in” them. It helps me to
organize myself, and clarify what I am doing.
I am interested in developing my “Inner Director” which is an outgrowth of my
“Inner Witness”. Inner witness is a concept from authentic movement: Attentive,
non-jugemental, accepting. The Inner Director is attentive, choosing, and crafting
movement in relationship to the environment, while dynamically shifting between
acceptance and influence.
CLASS DESCRIPTION:
BIOGRAPHY:
Kirk Andrews is a licensed Marriage and Family Counselor, and a registered
Dance/Movement Therapist. He has been using his work in psychology to inform his
improvisational performance for over 20 years. He teaches Contact Improvisation
and Performance and gives workshops in Dance/movement Therapy in the United
States and Argentina. He is also the Program Director for the renowned Saint
Joseph Ballet, an after-school dance program for youth in Santa Ana, California.
Dance/Movement Therapist. He has been using his work in psychology to inform his
improvisational performance for over 20 years. He teaches Contact Improvisation
and Performance and gives workshops in Dance/movement Therapy in the United
States and Argentina. He is also the Program Director for the renowned Saint
Joseph Ballet, an after-school dance program for youth in Santa Ana, California.
SOMA fest