Rosalind Crisp dancing as research - lab

Rosalind Crisp

dancing as research - lab

13:30 -17:30

small_icon_pdf Flyer-Research-0410.pdf

Rosalind Crisp dancing as research - lab

My practice of dancing moves between perception and action: between the ‘feedback’ from the body itself and the ‘feed-forward’ of conceptual reflection to deconstruct movement choices. In proposing this lab I am interested in facilitating deeper inquiry into this field.

The preparation of the body will involve aspects of release work, focusing on breath, weight and the senses. To stimulate each person’s inquiry I will propose certain frameworks for perception that come from my own practice, for example imagining the body as made up of many independent and separable parts, or perceiving each next surface of the body that receives the weight as the body rolls slowly across the floor, or noticing each next shape that the body ‘arrives’ in...

I think of the body as an environment, an endless source of sensation, but also of the environment as a ‘body’, a source of sensation.

Frameworks for generating movement will also be proposed, what I call choreographic improvisation. These are stimuli for responding to what is perceived and for generating movement within particular limits, for example, moving only in an outward direction from one body surface at a time, or increasing, decreasing or maintaining the space between two body parts, or shifting a ‘shape’ through space... tools to interrogate movement choices and to wake up continual potential choice-making.

Being able to access a range of perceptual and generative tools in any one moment might be where the fun is to be had. (Tools only become tools through practice of course. The body is not a idea). How we practice perceiving emergent forms, and how we practice making movement with what we perceive, leave their indelible imprints on our imaginary. Beware!

Reference : Rosalind Crisp’s dance practice deals with a volatile group of choreographic principles which guide the way a dancer makes movement. Her dance has its own logic.  Its compositional causality is unpredictable. Movements may come from any part of the body, at any speed or level, with any force or direction, for any duration... at any time. It is about dancing.


After early training in classical and contemporary dance, Rosalind studied release, BMC® and Contact Improvisation at the EDDC in Arnhem, Holland.  She created the Omeo Dance studio in Sydney as a site for her choreographic research for over 10 years, receiving a  number of awards and a choreographic fellowship from the Australia Council, 1999-2001. Since 2003 her company is based in Paris where she is a choreographic associate of the Atelier de Paris - Carolyn Carlson and teaches and performs throughout Europe.

Aplication/Important Note

Binding Registration
Registration can only be made via e-mail and binds the participant to paying the contribution for the research project. The registration is only reserved form the moment the fee has been paid and received. In case of exceeding the allowed number of participants or cancellation of the research project on part of LaborGras, the whole fee will be reimbursed to the participant immediately. In case of cancellation by the participant after April 5th, 2010 reimbursement is no longer possible, except in the event that the participant finds another person to take their place in the research project. In case of cancellation before April 5th administrative charges of 20,- Euro will always be applied. Each participant is solely liable for possible injuries.

Bank Info:
LaborGras GbR, Deutsche Bank,
Account 1758424, BLZ 10070024,
IBAN: DE49100700240175842400
BIC (or swift code): DEUTDEDBBER