Category: Contact Dance Improvisation
Last Studio Run-through For Men’s Circle Before We Head To The Theatre
On Friday we performed our final studio run-through before we move over to the theatre. Here is what our small audience that attended has said about Men’s Circle.
Laura Bisoc wrote:
I loved watching Kathleen Rea’s new dance theatre production, Men’s Circle. It tells several stories of emotional vulnerability and unfettered expression with a seamless integration of singing, dancing and spoken dialogue. The dancers are brilliant and combine virtuosity, playfulness and clarity of expression in their fresh and fast paced acts.
A dead patient (most likely killed by the ineptitude of his therapist!) haunts the entire production and is one of the most endearing and mischievous characters I have ever seen. In his defence, the therapist is a wonderful singer and I hope his signature song, Appendicitis, will make it to the top charts. Performed while the therapist is wrestling with his dead patient, Appendicitis is full of emotional ardour and physiological urgency.
The white canopy that represents “our brain waves” is almost a character in itself, and so is the violin case with wings.
Definitely a not to miss event!
Evadne Macedo wrote:
Men’s Circle by Kathleen Rea is brilliant, surprising and touchingly funny. As a work of theatre, the stories reveal the hurts that lie beneath the surface of smiles and the hidden fears that separate us from ourselves and others.
As a work of dance, we are treated to a showcase of male strength, beauty and vulnerability as the characters struggle to heal and to find authentic connection through movement. In watching these courageous men reveal themselves in their acting, dancing and live music, we are challenged to reach into and beyond ourselves to find belonging and understanding in our own lives despite the risks of pain and rejection.
With the spectre of death ever present, and represented on stage as a character who confronts and soothes each man, Men’s Circle reminds us that we each have the capacity to live with grace and humility, and that we are never alone in this incredible human journey.
MEN’S CIRCLE – dance theatre by Kathleen Rea
DRAMATURGE: Tristan R. Whiston
ORIGINAL SONGS: Ariel Llama
DATES: November 2 to 5, 2017.
LOCATION: Betty Oliphant Theatre, 404 Jarvis street, Toronto.
BOX OFFICE: http://menscircle.eventzilla.net/
FACEBOOK EVENT: https://www.facebook.com/events/150598895531063/
PRODUCED BY: REAson d’etre dance productions http://www.reasondetre.com/
FILM STILLS from footage by Drew Berry
Men’s Circle: making room for male vulnerability might be part of the antidote to rape culture
Kathleen Rea is a registered psychotherapist and the creator of Men’s Circle, a new dance-theatre work that follows the story of a men’s therapy group. She speaks out about the current “Me Too” movement and rape culture in general.
In Canada, 80% of suicides are men. Suicide is the leading cause of death in Canada for men aged 19 to 35. It’s clear that men’s mental health issues are in a state of crisis. And this is in context with what I call a “rape culture” a social concept used to describe settings in which sexual assault is pervasive and normalized due to attitudes about gender and sexuality. I believe the epidemic of men’s mental health concerns cannot be separated from the predominance of rape culture in our society — they are two sides of the same issue. The rape culture cannot sustain unless there is an ever ready group of men who lack emotional awareness and compassion. This process starts at a very young age when we tell boys to be strong and stop crying because “boys don’t cry”. Many boys and men are themselves abused, but have no cultural context within which to even start talking about what happened. They often feel great shame at the thought of showing weakness. When we teach people not to feel, to supress their natural emotions, they become unable to have conversations that can be healing. They become emotionally empty human shells that feed our mental health hospitals and our morgues. They also may become people capable of supporting and propagating a rape culture in both overt and subtle ways. This emotional suppression has become so ingrained in society, we don’t see it. Men are expected to not show weakness, and that means they remain silent. The Movember Foundation is currently running a men’s mental health and suicide prevention campaign, and one of their main tag lines is telling men to “Unmute”… to start talking. For me, the movement happening right now is just as much about saving men as it is about saving women.
Acclaimed intellectual, feminist and cultural critic, Bell Hooks wrote:
The first act of violence that patriarchy demands of males is not violence toward women. Instead patriarchy demands of all males that they engage in acts of psychic self-mutilation, that they kill off the emotional parts of themselves. If an individual is not successful in emotionally crippling himself, he can count on patriarchal men to enact rituals of power that will assault his self-esteem.
Fellow colleague Mathew Remski, wrote in his article Minimization as a Patriarchal Reflex:
With this patriarch indoctrination comes a subconscious reflex to equate a woman’s (insert “gay man’s” or ‘transperson’s”) voice or ideas with irrationality, anxiousness, or lack of understanding the real issues of life. This is the baseline emotional reality of heteronormative men that the #metoo movement is charging at on the open field. It’s a vicious feedback loop. Dehumanization escalates to outright rape, and minimization – the most socially-acceptable dehumanization tool – neutralizes the call-out of injustice….
The Me Too movement flows against the attempt to neutralize the call for justice. Waves of stories of sexual harassment and abuse are sweeping social media. They are a call-out to listen and begin the process of unmuting for all. I posted my Me Too story yesterday. It took five days of building up courage to step past the wall of silence and finally post it. The response has been touching and supportive. Even just one day later men in my life have started conversations with me about how they may have supported the rape culture in which I had these experiences. Others, both men and women, have told me their heart-breaking stories. For me, it feels like a movement towards ending the silence for all of us wherever we are on the spectrum from female to male.
I am currently working on my new production, Men’s Circle (premiering Nov 2-5, 2017 in Toronto). It is a dance theatre work that tells the story of a men’s therapy group. I was inspired to create Men’s Circle by the many men I have seen in my private practice who have come to see me seeking to connect with their emotional world and heal from trauma. Through it, I hope to support a culture in which men can be free to feel vulnerable. One of the characters, Joe, starts off completely disengaged from his vulnerability and ends the piece by weeping. Other themes, such as sexual abuse, self-medication through drugs and suicide are explored. This brave cast of men (Allen Kaeja, Bill Coleman, Mateo Galindo Torres, Kousha Nakhaei, Deltin Sejour, Rudi Natterer and Harold Tausch) break down barriers to men’s mental health by showing up and telling the stories of men. I am gathering together 100 male volunteer performers to take part in the production. I want to reach as many men as possible.
My other job is as a mom, raising two boys aged three and seven. In this job I don’t have to undo old habits, but rather have a chance to teach emotional health and respect for others from the start. There is something I always do when my kids cry. No matter how silly their reason for crying (like for instance if a carrot has fallen on the floor), I put my hand on their heart and say, “Cry. Let the tears flow”. One of the most important things in life is to learn to grieve well. I allow my child to take a moment and grieve for that fallen carrot. From what I see, they have a good cry, the wave of crying comes to an end, and they get on with their day. From my experience, it seems they actually get through their emotional wave quicker than if I were to try to stop them from crying. I think this is because they are only grieving the fallen carrot rather then having to grieve both the fallen carrot and the grief of having ones emotional world minimised. In this way I hope to bring up boys who are not frightened of their emotions, who are well practiced in their flow. I hope to raise men who do not shy away from vulnerability.
By telling my own Me Too story, by helping men feel their emotions and by how I bring up my two boys I hope to be part of the humanistic movement that is shaking the foundations on which rape culture exists.
Men’s Circle:
a new dance theatre work by Kathleen Rea that tells the story of men in a therapy group.
DATES AND LOCATION
Betty Oliphant Theatre, 404 Jarvis street, Toronto
Thursday, November 2, 2017 @ 8pm – Pay-what-you-can preview
Friday November 3, 2017 @ 8pm – Opening night
Saturday, November 4, 2017 @ 8pm
Sunday November 5 , 2017 @ 3pm
To volunteer to perform or to attend the performance see info at
http://www.reasondetre.com/
Becoming a dancer: How one man overcame his fear
For most of his life Vivek Patel was terrified at the thought of dancing. He couldn’t even dance when he was alone in his living room. In this inspiring interview, Vivek tells us how he eventually overcame his fear and went on to become a dancer and dance filmmaker
Director of Toronto’s Contact Dance International Film Festival, Kathleen Rea, speaks with dancer Vivek Patel, upon the world premiere of his film “Contact Improv from the Inside Out” at the film festival on May 13.
Phone Interview
K: How did you first become involved in Contact Dance Improvisation?
V: I started doing Contact Improvisation ten years ago. I was thirty-six when I started. I had been afraid to dance all my life, but inside I really wanted to. A friend of mine told me about Contact. He thought that because I do martial arts, it might be right up my alley. He said, “You know, there’s this guy who’s really friendly and really awesome and he’s teaching a workshop. His name’s Allen Kaeja. You should go check him out because even though I know you’re terrified, this guy can help you get over your fear”. And so I went to the workshop with Allen at Harbourfront, and I was just blown away by it. I’d never seen people move like that. I’d never seen people interact like that. You know, in the martial arts world, we pretty much punch and kick each other all the time [laughs]… I’d never been around people before being physical without that competitive nature. They were being cooperative and bonding, and it was just so beautiful. It touched my heart. From the very first day I was hooked but also terrified, because I felt like I was too old to get into something like that. But it touched me so deeply I couldn’t stop.
K: What martial art did you do?
V: I did, and still do, Ninjutsu, which is an ancient Japanese martial art. I was one of the first Canadians to study this martial art and I’ve been doing it now for almost thirty years. It’s a beautiful martial art that has a lot of flow. The principles are similar to Contact Improv, in terms of being in connection with the other person… connecting your own center to their center… feeling the connection to the ground and the strength and power the ground gives you. In both, Ninjutsu and Contact Improvisation, rather than trying to use muscle to force things, we try and use connection, flow, momentum, gravity, and relaxation.
K: What do you think your fear of dance was based on?
V: When I was very young, like maybe eight or nine years old, or even younger, I used to love to dance. And then one day, I had a few friends over and we were dancing in my living room. One of the kids started teasing me, saying “you dance like a girl”. Now, if somebody said that to me at this point in my life, I’d consider it an honour. But when I was seven or eight years old, it seemed like they were telling me I wasn’t masculine enough. I was being laughed at and derided for my dancing.
I didn’t have any kind of emotional foundation to deal with that kind of insult at that age. One of the main reasons I’m so passionate about teaching conscious parenting workshops at this point in my life is that I want to teach parents how to give their kids the tools to deal with things like that so that they’re not so devastated by it. It closed me up for thirty years. I couldn’t even dance when I was alone in my living room. It seems irrational, but that’s how the mind works. My fear of dancing went so deep, it terrorized me. When I went to my first [Contact Improvisation] Jam, I was so nervous I thought I was going to throw up all over the floor. I just sat on the side of the room, watching. I didn’t even have the strength in my legs to get up. You actually came over to me and grabbed my hand and pulled me up onto the dance floor. You were the first person I danced with at a Jam.
K: Wow.
V: I’ve always been grateful to you for making that initiation on that first day. That’s one of the reasons I make an effort to go over to frightened-looking people myself and give them a gentle and welcoming dance as often as I can.
K: What was it about Contact Improvisation that helped you get over your fear?
V: To be honest I don’t think there was anything in particular about contact Improvisation that helped me get over my fear. In fact I found it quite terrifying. It activated a lot of my insecurities. In some ways it still does! I think the thing that really made the difference was that I just decided to keep going no matter what. I knew this was something I wanted in my life and I could feel that there was no shortcut. So no matter how afraid I was I just kept going every week.
At first the fear would outweigh the joy, but I just kept going. Eventually the joy started to catch up to the fear and eventually overtook it. Now ten years later the fear occupies a very small corner of my brain. It is still there but doesn’t make quite the racket that it used to. These days when I leave after a couple of hours of dancing I feel happy, nourished and high.
K: What has changed for you since you started dancing ten years ago?
V: Hmmm… good question. It’s a question with a lot of answers. I think in my own personal self-development, I’ve learned to accept myself more. I’ve learned to accept myself in whatever state I’m in. In Contact, I’m finally starting to learn not to worry about how I look. Not to worry about whether something seems to be working out or not. But just to love the moment regardless of what it is. The more I love the moment, the more I experience and experiment. The more I play and become curious, the more joy I get out of it. This transfers to my life and transfers to my self-image, which is the thing that was damaged when I was a child. Also my physical capacity has increased dramatically as a dancer and as a martial artist. I am able to engage more with my daughter who is very athletic.
K: Some might say you were already embodied as a martial artist. What did Contact Improvisation give you above and beyond, or in addition to, what martial arts gave you? [long, silent pause] Are you still there?
V: Hmmmm… [further pause]………I’m thinking. I’m listening to the answers bubble up…
The first thing that comes to my mind, most obviously, is that Contact Improvisation allowed me to express a deeper feminine side than martial arts usually does. It allowed me to be softer. My martial art is very fluid, but it does have the intent to destroy my opponent [laughs], I’m merging with them with the intent to rip them apart in some way. Contact Improv is decidedly not like that. It provides the opportunity to express my physicality without that violent side. Now, I do love the aggressiveness of martial arts, but being able to explore my softer nature in a dance is also valuable to me.
I’ve been on a personal journey of developing my feminine side for many years. When I was twenty, I saw women as a collection of body parts and not actual human beings with hearts, minds and souls. That’s largely how men are conditioned. I’ve worked very hard to change. Over time I fostered a more feminist approach to politics and philosophy and my relationships with women. Although I was on a personal journey towards exploring the feminine I didn’t connect to my feminine side through movement until I started Contact Improvisation. And then when I brought that learning into my martial art, it just amplified how powerful I was as a martial artist as well….It has even made me be a better lover.
K: How did you have the idea to make a dance film? When did that seed start growing?
V: I was doing martial arts in the park last summer. This guy approached me out of the blue and told me he was a film professor at York University, and he wanted to film me doing martial arts. I said no, because I am camera shy when it comes to my martial art. But I said, “you know, I do this other beautiful movement form that I think you’d be interested in”. I pointed him toward the Contact community. He works with film and he uses chemical processes to create interesting colours and effects. He wanted to include the Contact Improvisation community into his work. And so we organized a day to dance in the park and about ten to twelve people showed up to dance while he was filming. At some point, somebody mentioned that you were looking for submission to the Contact Dance Film Festival. The moment I heard that, the whole idea for a film just popped into my head.
Another reason I love doing Contact Improvisation is that it’s connected me to a community of people that I care about and resonate deeply with. It’s given me a place that I feel is like home for me. So I wanted to honour and showcase that community and the depth that I see in these people who are my friends. I decided to give them a chance to express their authenticity and their relationship to this dance form. And so that’s where I got the idea to create a dance film where the people I dance with every week would write a piece of poetry that expressed how they experience Contact Improvisation and what the dance form does for them. Then they would dance while reciting their poem. This vision popped into my head and I knew I had to make it happen.
I’d never made a film before. I’d done some filming and editing of wedding videos and seminars, but I had never made a film. But I just said to myself that I’m going to throw myself into this and do it.
K: How did you feel when your film was accepted and to discover that your film was scheduled to be on the program with Allen Kaeja’s films?
V: Yeah, for somebody who’s never made a film before I was thrilled and at the same time, I feel like it’s hardly just me that’s been accepted… it’s the community I represented. And I’ll tell you [laughs], when the Film Festival accepted my film, it was a conditional acceptance. The film was twenty-two minutes long and they said that in order for me to have my film in the Festival, I had to cut it in half. When I heard that, I nearly passed out. I couldn’t imagine cutting this work of art that I had created in half. The process of doing so was really, really hard at first. It hurt. But the more I did it and the more I had to change things and let go of things that I had thought were really awesome, the more I started to feel the difference between what was essential and what was extra. What was really necessary to express the message and what was more like the wrapper on the candy. And that process, although it was hard, taught me a lot. Since then I have started to work with that same feeling in my writing and even in my dancing. I’m trying to keep more of what’s essential and less of what’s just the wrapping.
Come out and see the world premiere of Vivek’s film Contact Improv from the Inside Out on Wednesday, May 13, 2015 at 9:00 pm at Dovercourt House – 805 Dovercourt Rd Toronto. More info at www.contactdancefilmfest.com
Visit Vivek’s blog at www.meaningfulideas.com
What is Contact Dance Improvisation? Contact dance improvisation is a social dance involving touch, in which momentum between two or more people is used to create and inspire dance movements. The form is similar to martial arts practices such as Aikido that use momentum and rolling point of contact in defensive actions. Contact dancers use these practices, not to defend themselves but to communicate, dance and express. In Contact Dance Improvisation there is no set lead and follow as is common in other social dances. The dancers will sometimes follow and sometime lead and interchange between these roles seamlessly. With no pre-set roles, deep “listening” and responding in the moment, to one’s partner, is central. Techniques include rolling point of contact, balancing over a partner’s centre of gravity, following momentum, and “listening” with one’s skin surface. Contact dance improvisation is accessible to people with no previous dance training and to people with physical disabilities. It is typically practiced in a jam situation in which a group of people gather to improvise together. These jams occur around the world and include people of all ages and training levels.
2015 Contact Dance International Film Festival The Contact Dance International Film Festival returns to Toronto, May 13 to 15, 2015 for its second season with a program of 27 films from 12 countries. This festival, produced by REAson d’etre dance productions, celebrates films featuring momentum-based dance created by some of the top creators and dancers in the field of Contact Dance Improvisation. Three different screening programs will be presented alongside dance, classes, workshops, jams and parties! The festival is a unique opportunity for both film and dance lovers to experience the joy, chaos and intimacy of human connection through physical movement. From the expansive peaks of British Columbia, to the streets of Kiev, to the Festival Interplay in Torino Italy, prepare to be moved as dancers fly and bodies collide with force, grace and tenderness. More Info at www.contactdancefilmfest.com
Want to learn Contact Dance Improvisation?
Fundamental Skill Contact Improvisation Workshop
Teacher: Kathleen Rea
Date: Wed, May, 13, 10:00am – 11:30am
Location: 805 Dovercourt Road (third Floor)
Description: In this workshop, that is part of the part of the Contact Dance International Film Festival, Kathleen Rea will teach fundamental skills such as balancing weight over centre of gravity, sloughing and following momentum. This workshop is specially designed to be welcoming to beginners. Beginners and all levels are welcome
Cost: $15
Registration Information: www.contactdancefilmfest.com
Photography credits
Film Still Captures
Dancers: Morgen Ross, Vivek Patel, Kim Hunter, Michael Nickson, Olivia Proudfoot, Matilda Carlsson, Puja Jones and Micheal Haltrecht
Photo
Photographer: Jim Bush
Dancers: Vivek Patel and Phil Wackerfuss
The Axis Syllabus and Pregnancy: An Inquiry by Kathleen Rea (the video version)
Six years, two pregnancies and a lot of work to make! It feels good to put it out into the world.
This video (see URL below) an inquiry into how the application of efficient movement principles, as understood by the Axis Syllabus research community, affected the stability and function in my pelvic girdle and knees during my second pregnancy. The inquiry compares my first pregnancy, in which a traditional fitness and yoga program was followed, and my subsequent pregnancy four years later, in which I applied movement principles from the Axis Syllabus to my dancing and daily life. Theories are presented as to how the application principles from the Axis Syllabus might have affected my second pregnancy.
This video be of interest and useful to those:
– working in the field of pregnancy fitness
– suffering from or treating peoples with diastasis recti and/or symphysis pubis dysfunction
– contemplating pregnancy
– currently pregnant
– who exprieacne joint instability and pain due to hyper-flexibility
and or
– studying the Axis Syllabus
Remember to click HD if you want high resolution version
Relationship in Movement: Working on relationship issues with couples through contact improvisation
Working in Toronto during the last year, Kathleen Rea, an expressive arts therapist, author, contact dancer and choreographer, and Brad Johnston, an embodied life coach and contact dancer have been developing an approach to working with people in relationships using principles of contact improvisation.
We developed our approach through a process of dancing together and talking about our dances. Coming from a coaching and therapy perspective, we both notice that simple movement dynamics involved in lead and follow and giving and taking weight were metaphors for what was happening in our growing friendship. We both became curious about how contact improvisation could illuminate relationship dynamics and facilitate learning for couples.
Through a workshop called “Relationship in Movement” people in relationships – ranging from life partners to newly formed romantic relationships – are led through contact improvisation exercises. Participants are often asked to take on clear roles such as leader and follower and then asked to switch roles. The simplicity of intention and clarity of roles invites people’s relationship story to quickly come to the forefront. In one workshop, a woman married for twenty years commented on how hard it was for her to follow her husband and how easy it felt to lead him. Her husband started laughing and said that’s because you’re always in charge. As they continued, they had the chance to practice and gain comfort with the lead/follow roles that were less familiar to them.
The couples are invited to dance without talking and with minimal eye contact so the greatest amount of body sensing can occur. The feelings brought up through the movement are then shared verbally through non-violent communication methods that encourage listening and reflecting back what was heard. Conversing about their dance experiences gives people a safe way to discuss what might otherwise be very loaded issues of power and control. For example, rather than having their usual argument about finances, a couple can instead dance together. The power dynamic at the heart of their conflict will likely show up on the dance floor and can be explored through movement and verbal discussion about how the dance affected them without ever having to mention the heated topic of their shared bank account. Instead of rehashing their usual argument, they are working with the relationship dynamics that underlie the argument.
During our co-facilitation of the “Relationship in Movement” workshops, we make sure to demonstrate each exercise. We aim to be present so that our improvisation demonstration is alive with our “real life” relationship issues. This transparency lets participants witness us working on our friendship and co-facilitator relationship in real time on the dance floor.
In our society, touch is often sexualized and all about performance (i.e. pleasing your mate successfully). Through the workshop, participants experience touch and dance simply for the sense of enjoying moving and feeling their partner. Many romantic couples tend not to move together in ways that are intimate but non-sexual and not related to performance. Through the workshop, the role of touch within their relationship can expand. They can then find satisfying ways of being with each other physically that might have been previously unavailable to them.
One of the exercises in the workshop involves one person lying on the floor while their partner practices draping themselves over. We then teach the person lying down how to redirect weight back to their partner and how they could do this at any point in the draping process. We tell them that this technique lets them communicate through movement: no, not now or yes, now is good. As they progress and switch roles, it is beautiful to witness their trust and playfulness in practicing clear physical communication.
Even though this exercise is playful, participants have many “ah-ha!” moments. One participant was surprised to hear that her boyfriend felt more at ease when she gave him clear physical cues as to when and how much weight she wanted him to bear upon her. He explained that when she was clear, he did not have to second guess the amount of weight he was giving her. She then expressed how using clear physical cues made her uncomfortable because she worried about hurting his feelings. When these types of realizations happen through a dance exercise, either of us might step in to offer the question: “How might this experience you just had in your dance feel familiar to something you experience in your everyday life?” When presented with this question, the man said, “Having to second guess what you want when we are dancing kind of feels similar to how you never gave me a clear answer about whether you wanted to go for brunch this morning.”
We believe that practicing new relationship dynamics in a dance has a carryover effect. For a person who has a challenge saying “no”, practicing clear physical signals in a dance and being encouraged to do so by a partner can increase his or her ability to say “no” in everyday life.
We also believe that repetition is an important factor in establishing a new pattern. Participants are encouraged to name the elements of contact improvisation that stretch them emotionally. For someone who has a deep fear of abandonment, this could be the ending of a dance when the couple is called upon to separate and find their own space. Participants are asked to practice these moments with their partner in self-designed contact improvisation exercises that provide a chance for them to repeat and gain familiarity with the triggers that they have identified.
In “Relationship in Movement” workshops we have held thus far, we have worked mostly with people in romantic relationships. As a next step we want to explore how these methods can facilitate learning in different types of relationships. For instance we plan to run a family series for parents and their adult children.
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This article was written by Brad Johnston and Kathleen Rea. Please note, details of the personal stories told in this article have been adjusted to protect the confidentially of the workshop participants.
For news on Relationship in Movement Workshop Retreat coming up August 23 and 24, 2014 (Unicamp Retreat Centre, Honeywood, Ontario) see
http://www.the-healing-dance.com/news.html
http://www.flowintolife.com/group.html#Relationship_Retreat
Climbing The Apple Tree
This is a video of my three and a half year old son and I dancing Contact Improvisation. Contact Improvisation is a social dance involving two of more people in which momentum is used to create dance moves. It shares similar principals to martial arts practices.
I teach Contact Improvisation to actors and dance students studying at the professional level at two different university programs. I also founded the Wednesday Contact jam fifteen years ago through my company http://www.reasondetre.com
This past Wednesday was officially a heat wave. There was no air conditioning in the studio and it was hot! Yet 19 people still showed up to the Wednesday Contact Jam. Due to the heat my son who usually moves around at the speed of a whirling dervish was moving slow enough to actually catch on film! And how rare that my husband had our camera with him to do so.
I think the fact that Wyatt’s dad is filming is also an integral part of this video. There are moments when Wyatt looks at the camera (his dad Jeff) and is so comfortable and happy. Jeff is also a contact dancer and used his dance skill to dance around us and with us as he filmed. So really this film is about a family dancing together.
I also enjoy how through much of the video Wyatt is gazing at the musicians fascinated with what they are up to.
I hope you enjoy the video as much as I do!
—————–
Film Credits
Description:
Wyatt dancing with his Mama
Dancers:
Wyatt Ray Moskal
Kathleen Rea (www.the-healing-dance.com)
Location:
Filmed at The Wednesday Contact Dance Improvisation Jam, Toronto, Canada, July 2013.
Musicians:
Jesse Stewart (www.PartnershipPlanet.com)
Iven Simonetti
Rebecca Danard
Camera
Jeff Moskal
Produced by:
REAson d’etre dance productions
http://www.reasondetre.com
