Guru Suraj with Marielle Gerke
Guru Suraj, a dance artist living in Chennai, India is visiting Toronto to present his film Contact Improvisation Lab Goa, co-created with Rahul Varma and Hari Choudhary, at the Contact Dance International Film Festival. Their film was selected by the festival jury as a Silver Award winner. Guru will be accepting the award for his team at the July 1 Gala screening at the iconic Revue Cinema on Roncesvalles Ave in Toronto.
Guru Suraj is a painter, dancer, theatre artist, Yoga trainer and more. He graduated from one of the most established Art Institutions in India – The Government College of Fine Arts (Chennai) and has a master’s in the philosophy of Yoga. He started practicing Contact Dance Improvisation 10 years ago and fell in love with the form. Guru has taught Contact Dance in Malaysia, Indonesia, Thailand, and UAE and is a teacher and team organizer at popular Goa Contact festival. He has been instrumental in building the contact dance scene in India through his group Contact Improv India Organization, which focuses on spreading Contact Improv around India and making it accessible for everybody. Guru explains, “I see dance as not only everyone’s birthright but one of the greatest tools of awakening one’s consciousness and awareness. Dancing can be a mirror to look deeply into our self.”
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. Similar to martial arts like Aikido, momentum is harnessed through weight sharing and rolling point of contact. Contact dancers use these techniques, not to defend themselves, but to dance. The form requires a deep awareness that allows dancers to respond in the moment to their partner. There are no pre-set roles and the role of leader and follower interchanges and blurs together. Contact dance is accessible to people with no previous dance training and to people with physical disabilities.
The Contact Dance International Film Festival celebrates films featuring momentum-based dance created by some of the top creators and dancers in the field of Contact dance improvisation. It provides an opportunity for both film and dance lovers to experience the joy, chaos, and intimacy of human connection through physical movement. The Festival runs every two years on the odd years and is presenting its fourth season in Toronto, June 29 to July 1, 2019.
The Contact Dance International Film Festival was founded by local Roncesvalles, Toronto area resident Kathleen Rea through her dance company REAson d’etre dance productions. Kathleen, a former dancer with the National Ballet Company of Canada, switched ship from ballet to Contact Dance when she tried it for the first time twenty years ago. At that moment, she decided to dedicate the rest of her life towards supporting and promoting contact dance. Kathleen explains, “Contact dance is just about the furthest form of dance from ballet. They are both beautiful but really are on opposite ends of the spectrum. Ballet is about control and exacting technique, while contact dance is more like surfing a wave that you do not have control of. One does not have control the momentum of another decent but it takes a practiced level of awareness and skill to this harness kinetic force ”
Kathleen goes on to describe her philosophy in creating a contact dance film festival. She says, “Contact dance is really an all levels dance form in which experienced dancers get just as much joy from dancing with a beginner as with more advanced dancers. I really wanted the Contact Dance International Film festival to have the same feel. So, we program all level films! This means that films with high production values are screened right next to Instagram clips filmed on someone’s smartphone.”
Dancers Guru Suraj, Marielle Gerke and Hari Choudhari
The festival has always received submissions from around the world, but Kathleen noticed during the submission phase this year that there was an increased level of diversity. Since Toronto is such a diverse city, she was excited that the festival content was starting to come close to matching the level of diversity in the city in which it is occurring. Contact dance improvisation is not a codified dance form and as such every part of the world practices, it in a different way led by their community’s curiosities and interest. When different groups meet there is a chance for a rich and inspiring exchange of new ideas can that invigorate the community.
This increase in diversity of films submitted to the festival is partly due to the growing contact dance scene in India and the draw and history this community has to dance filmmaking. This season CDIFF is screening 4 films by Indian filmmakers. The popular Goa contact festival has in particular been the springboard for the creation of numerous contact dance films. A documentary on the Goa festival won an award in the 2015 festival. Two of the four Indian films this year were created in Goa and both have won festival awards. Guru’s filmmaking team has won the CDIFF silver award and Rohit Prem is a co-winner of the CDIFF emerging filmmaker award.
Film-still from Rohit Prem’s film Contact Improvisation Goa India with dancersRosolind Hogate Smith and Ariane Bernier
Possibly Bollywood culture plays into the fact that so many contact dance films are created by Indian filmmakers. Dance in Indian films has had a large cultural imprint both in India and on the world and Indian contact dancers may naturally gravitate towards creating films focused on dance because of this cultural history.
The Contact Dance International Film Festival invited Guru Suraj to come to Toronto to pick up the Silver Award on behalf of his filmmaking team and to network and share knowledge with the Toronto Contact Dance community. After a lengthy and involved visa application process, the Canadian Government initially claimed that they did not believe Guru would leave Canada after his visit and denied him a tourist visa.
Kathleen says, “as Canadian citizenship, international travel is a relatively easy thing for me. I was shocked at how involved the application was to apply for a tourist visa to Canada for many of the festival’s filmmakers from countries targeted with strick and involved travel visa policies. When two of our filmmakers received visa denials, I came to understand better how access to travel can affect a person’s career trajectory. The Canadian government’s belief that Guru would not leave Canada was unfounded. He is teaching in Germany later in the summer. He is a well-known and respected dancer who has made it his life work to bring contact dance to India. Why would he want to stay in Canada?”
Guru Suraj and Maite Moreno Martínez
Both Kathleen and Guru did not want the rich cultural exchange to be swept aside by travel policies that target certain regions of the world. In one week, they raised enough funds to hire Bondy Immigration Law to reapply for Guru’s tourist visa. A petition was also started that garnered 1440 signatures. Federal MP Arif Virani got on board as well, writing a letter of support for Guru’s re-application. The Contact Dance International Film Festival was moved by the level of support from both the Toronto and the international contact dance community. The team effort paid off as Guru received his Canadian travel visa on his third application.
Guru says about this visa application process, “…What a start for a journey, journey before the journey itself. I have never been involved in such a fight or had to ask for so much support or have received so much love. And as I receive the visa… I feel a lot of gratitude for everything that happened. I’m grateful for the determination … of Kathleen Rea to try every way possible to make this happen. I remember her saying: “you are coming to pick up this award!” But also to make this case as loud as possible. It’s such an eye opener for people who were not aware of this regional discrimination and travel politics. This goes far beyond my personal opportunity to travel and teach. What I received will be shared with my co-artists here [in India]….. And this is also about carving the paths for Artists from all parts of the world to have equal opportunities to share their work. And about the strength of this nomadic CI community that truly backs up its members when needed.”
Kathleen says, “I am late in the game in terms of realizing how much access to travel imbalances have shaped the international Contact dance improvisation community. The fact that many contact dancers have to go through months of rigorous visa applications and frequent denials creates an imbalance in terms of who can build their career through international travel. I wanted in some small way to repair this imbalance by supporting Guru in obtaining his travel visa, but it is not enough actually. What I would like to see is that a global discussion starts in the contact improvisation community around this issue that leads to practical solutions. Festivals could have a travel access fee added to registration to be used to support those having trouble getting visas. If those of us with travel privilege can pitch in to support those without the privilege then I hope things can become more balanced. Money raised could be used as well for education about the issue and on lobbying countries that have unfair travel policies targeting certain regions. As a Canadian, I am ashamed to say that Canada is one of those countries.”
Come out and meet and learn from Guru Suraj at the Contact Dance International Film Festival occurring June 29 to July 1, 2019, in Toronto.
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
A great article by Nora Samaran
The opposite of masculine rape culture is masculine nurturance culture: men* increasing their capacity to nurture, and becoming whole.
The Ghomeshi trial is back in the news, and it brings violent sexual assault back into people’s minds and daily conversations. Of course violence is wrong, even when the court system for handling it is a disaster. That part seems evident. Triggering, but evident.
But there is a bigger picture here. I am struggling to see the full shape emerging in the pencil rubbing, when only parts are visible at a time.
A meme going around says ‘Rape is about violence, not sex. If someone were to hit you with a spade, you wouldn’t call it gardening.’ And this is true. But it is just the surface of the truth. The depths say something more, something about violence.
Violence is nurturance turned backwards.
These things are connected, they must be connected. Violence and nurturance are two sides of the same coin. I…
View original post 6,202 more words
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.
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
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.
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.
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
Registration Information: www.contactdancefilmfest.com
Film Still Captures
Dancers: Morgen Ross, Vivek Patel, Kim Hunter, Michael Nickson, Olivia Proudfoot, Matilda Carlsson, Puja Jones and Micheal Haltrecht
Photographer: Jim Bush
Dancers: Vivek Patel and Phil Wackerfuss