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Dance improvisation is not only about creating new movement but is also defined as freeing the body from habitual movement patterns (see Postmodern dance and Judson Dance Theater). Dancer and singer Michael Jackson combined improvisation in both of those definitions, insisting that he had an interest in performing a dance to Billie Jean only if ...
In the late 19th century, modern dance artists such as Isadora Duncan, Maud Allan, and Loie Fuller were pioneering new forms and practices in what is now called improvisational or free dance. These dancers disregarded ballet's strict movement vocabulary (the particular, limited set of movements that were considered proper to ballet) and stopped ...
Free improvisation primarily descends from the Indeterminacy movement and free jazz. Guitarist Derek Bailey contends that free improvisation must have been the earliest musical style, because "mankind's first musical performance couldn't have been anything other than a free improvisation."
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Dance improvisation as a choreographic tool: Improvisation is used as a choreographic tool in dance composition. Experimenting with the concepts of shape, space, time, and energy while moving without inhibition or cognitive thinking can create unique and innovative movement designs, spatial configuration, dynamics, and unpredictable rhythms.
Contact Improvisation (CI) is a postmodern dance practice that explores movement through shared weight, touch, and physical awareness. Originating in the United States in 1972, contact improvisation was developed by dancer and choreographer Steve Paxton, drawing on influences from modern dance, aikido, and somatic practices. [2]
The Gaga movement language was created by Ohad Naharin, former Martha Graham dancer and artistic director of the Batsheva Dance Company (1990-2018), and has been further developed in relation to Naharin's research in dance and choreography. Naharin created Gaga as a reaction to a back injury he was experiencing.