Accompaniments

THE PROJECT IN MOVEMENT:
accompaniment of an artist to work on project

consultations : creations in situ

 

by movement: increase suppleness / unblock • find your breath / let your energy flow • transfer (redistribute) weight / change your supports • suspend • work on fluxes / tensions / displacements • make rhythms and durations vary • use different contact modes • vary formations (solo-duo-trio-…group) • create original relationships
by representation: modes of representation • representation situations / situation simulations / games • miscellaneous components of a representation • representation apparatus
by places: read a place • turn it into a representation • suggest assemblages
by apparatus: work • research • games

 

with
a breath of fresh air / an original point of view / a stimulation / tools and techniques / procedures and methods / games and practices / original know-how / a non-formatted approach /  a style

 

for whom ?
• artists, artistic teams, directors of establishments or artistic events.
• places and structures with a vocation other than artistic: private and public alike.
• groups of people united around a common project, a question, a reflection, faced with a situation or an event: elected officials, users, players in a specific area, members of an association, a company, etc.

 

for what ?    
• to accompany the emergence of an artistic or other type of project.
• to provide feedback on a project (expertise linked to the artistic domain, performing arts, dance, performance, visual arts and pedagogy).
• to help build or change one's mode of representation.
• to suggest how to read a place.  
• to help with its (re)-configuration.
• to accompany the setting up of a work, research, (re)presentation apparatus, etc.

 

how ?
methods

• I offer a "made to measure" method, case by case, according to a given context.
• I propose consultations at various times: reflection / preparation / execution / follow-up.
• I rely on a network of professionals in a variety of fields (artistic, scientific, training and research).
Consultants who can take direct action as applicable.
• I work in-situ, in the places proposed by the people concerned or on premises or sites that I choose in accordance with the work involved.

 

tools
•  My experience as an artist linked to the body and movement, to space and to research and representation apparatus and as a person responsible for artistic and pedagogical projects in a wide variety of contexts.
• I dispose of a broad range of tools and techniques.
I dip into my Tool box according to needs, taking care to maintain and complete it and ensure that it is kept up-to-date.

 

> ericksonian hypnosis
In 2000 I discovered all the wealth of the hypnotic tool. I have since pursued my training in Ericksonian hypnosis with the AFHYP (French Hypnosis Association) and have researched into the relationship between the creation process and the hypnotic process, in relation with Dr. Jean Becchio and various researchers in the fields of hypnosis and the physiology of perception.

 

Presentation text of the French Hypnosis Association (extract) -  2008:
The contribution made by Milton Erickson (1904-1984) – This American psychiatrist revolutionised the hypnotic technique, abandoning direct suggestions such as "now you will sleep" to use only indirect suggestions and metaphors.  
The contribution made by neuro-sciences - the PetScanner and IRMf have made it possible to show that the hypnotic state is different from sleep and from wakefulness: it is a specific state of consciousness in which certain areas of the brain work in synchronous manner. In this state, the hypnotic subject becomes receptive to the suggestion that may lead to changes in behaviour, the metabolism or circulation in the nervous system. Ericksonian hypnotherapy is an active process.

 

> Release technique and improvisation
With a highly varied background and training in different contemporary dance techniques (Graham, Allemande dance, buto) and in flamenco, today I work mainly using improvisation and the release technique, enriched by contributions from the Feldenkrais method and Body Mind Centering.

 

Trisha Brown has invented a new technique known as the “release technique”.  What exactly is this technique characterised by? Gravitation. We let go, we let a limb drop that then falls onto another part of the body, which in turn drops and so on: movement is generated by the weight of the body… It is quite simply attraction or universal gravitation and the way in which one limb passes energy on to another limb. This technique Is relatively close to the contact technique.
The dance practiced by Trisha Brown is technically brilliant, not so much by the quantity as by the extremely subtle way in which she approaches movement.

 

> Qi Gong
Zhi Neng Qi-Gong or Wisdom Qi-Gong was developed by Master PAN HE MING from exercises that have always been practiced in his family and according to Chinese traditional medicine, Buddhism, Taoism and Chinese martial arts. Taught by Master Zhou Jing Hong, it is essentially made up of three methods and complementary exercises that use an extensive range of simple, supple and slow movements, rhythmical breathing and mental concentration.

 

> Tai-Chi-Chuan / self-massage / taoist gymnastics
Tai-Chi-Chuan (Supreme Ultimate Fist/Long River Fist), a Chinese martial art, is based on use of internal energy and founded on the principle of alternation and complementarity of the Yin and the Yang. Practiced today as an excellent exercise to ensure good health, it is characterised by an unbroken sequence of slow, continuous and supple movements known as the Form, resembling a fictitious combat of the utmost precision. Each individual learns to recentre him/herself, re-appropriate his/her inner space and protect him/herself from disturbing influences.
Self-massage and Taoist gymnastics go hand in hand with this practice.

 

> sensitive mapping and apparatus   
I use my knowledge of representation apparatus in which I pay special attention to the place given to the spectator and to the notion of in-situ (creation in, with and for a place).
I use various modes of representation of space including sensitive mapping and a wide variety of games.

 

> film /photography /sound /writing  +  objects /panoplies /collections
My artistic work has allowed me to develop numerous applications of these techniques over the course of my creations.
I dip into this pool of techniques and experiences as required.

 

> gardening
Gardening provides a special viewpoint in that we have to relate to various time scales (the day, the season, years, etc.). It is a sequence of precise actions at the service of a project bound by its very nature to be transformed. It develops the ability to perceive priorities day by day and to adapt. I agree with Gilles Clément in his conception of gardening that brought him to the notion of garden in movement: "I finished by accepting that movement and only movement - taken in its physical and biological acceptance - made it possible to solve a difficult dilemma: the gardener's ability to welcome what is alive without the changing forms in his expert hands ever being a source of distress." (La sagesse du jardinier (The gardener's wisdom)

 

> foraging
Foraging offers us the joys of an enriching collection through all the means at our disposal and that we come across every day (in our environment, the medias, internet, etc.). When guided by a very clear aim, foraging becomes precise and rapid amidst the flow of data with which we are confronted. It supplies both food and flavour.

 

 

 

Catherine CONTOUR
has been a practising artist for the last thirty years, enjoying a rich career in the fields of the performing and visual arts. Her work stands out through the variety of forms and formats of the artistic objects in which context and place play an essential role (in-situ).
Each creation is the start of a fine negotiation between spectators and performers, in which decision-making (choice of improvisation) and autonomy are practised.

 

> She collaborates regularly with stage directors and other choreographic and visual artists: Chantal Morel, Marc François, Michel Cerda, Jennifer Lacey,  Alain Michard, Frédéric Lormeau, Jean-Paul Thibeau …
> Exchanges with artists, teachers and researchers: François Deck, Simone Forti, Alain Goulesque, Jennifer Lacey, Laurence Louppe, Jean-Paul Thibeau …
> Participates in a variety of reflection groups: Les Signataires du 20 août, (The Signatories of 20 August), Le 22 mai (the 22 May), Danse sur Cour (Dance in the Courtyard), Danse à l’école (Dance at school), les Mauvaises Herbes (The Weeds), etc.
> Implements apparatus in relation with pedagogy, training, research, transmission to a wide variety of publics and guidance of artists: classes, workshops, experimentation platforms/laboratories, seminars, conferences, classes with artistic creation worksites, etc.

 

her training:
1985  Graduate from the Higher Institute of Decorative Arts/Paris (Scenic arts)
End of study dissertation:"Lieu chorégraphique/Chorégraphie du lieu" (Choreographic place/Place choreography).
• Contemporary dance
1993  Accreditation to teach contemporary dance (Department of Cultural Affairs and Francophonie).
• Long training courses
2004  Travel in landscapes with Simone Forti
2003  Logomotion–improvisation in narrative dance with Simone Forti
1998  Instantaneous composition – improvisation approches and techniques with Simone Forti/Lisa Nelson/Steve Paxton
1988  François Verret/Anne Koren technique-improvisation-composition
1987  Dance and Eutony with J. Patarozzi/Hans Zullig/Françoise Weidmann/Anne Frémy
• Important classes and training courses:
Thierrry Bae, Arlet Bon (M.Graham), Carolyn Carlson, Lucinda Childs, Hervé Diasnas, Catherine Diverrès/Bernardo Montet, Irène Hultman, Anne Koren, Min Tanaka, Jacques Patarozzi, Mark Tompkins(video/dance), François Verret, Hideyuki Yano…
• Ericksonian hypnosis within the AFHYP (french HYPnosis association/Paris):
2008  training as a 1st cycle clinical hypnosis trainer.
2006  further training in clinical hypnosis.   
2004-05  introductory training in psychodynamic hypnosis and its application in communication.
2000-03  self-hypnosis courses.
• other
since 95  Zhineng Qi Gong, Zhou Jing Hong (Paris)
since 88  Tai Chi Chuan with the ITCCA  (Paris/Grenoble), Thierry Bae and Olivier Gelpe.
Flamenco, Kathakali, Kabuki, Shiatsu, Feldenkrais method, Gardening.

 

contact :  cc@maisoncontour.org