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Dancers dress comfortably (sweatpants, t-shirts) and performances can take place in many venues, including theaters, bookstores, and galleries. Now co-edited by Nancy Stark Smith and Lisa Nelson, the journal brings together the diverse reflections of teachers and practitioners of contact improvisation and strengthens an international community by equipping it with a body of communication as well as hosting many other bodies of thought, including writings. Founded in 1975, Contact Quarterly (CQ) began as a forum to discuss the emerging dance form of Contact Improvising. Today, many contemporary choreographers use contact improvisation as an important resource for movement. For these rehearsals, Steve Paxton relied on his training in modern dance (he had danced with José Limón and Merce Cunningham), aikido, and gymnastics. by contemporary dancers and somatic practitioners. One of these aesthetics was the development in the late 1970s and early 1980s of a smooth, continuous, controlled flow of quality, including the previously avoided eye contact and direct hand contact, paralleling the opposite trend of interest in conflict and unexpected reactions. among professional dancers, except in a choreographed form. In Belgium, where Steve Paxton has been since the 1980s, where Klapstuk and Kaaitheater invited him, very few professional dancers performed this dance regularly, and apart from some bursts of fire in successful concerts, contact improvisation cannot be said to have left a lasting mark.
America, Western and Eastern Europe, Finland, Russia, Israel, Japan, Taiwan, Australia, India, China and Malaysia, as evidenced by the regularity of jams, festivals and weekly courses held in these countries. The discoveries envisioned in the first moments of contact improvisation are not unique to the collective led by Steve Paxton. Contact improvisation is now practiced in most major cities of the French metropolis – Paris, Grenoble, Lyon, Marseille, Montpellier, Lille, Rennes all have at least one concert a week – and is taught at many conservatories, including the National Conservatory of Music and Dance in Paris. In this regard, Lisa Nelson had a special place in the enthusiasm for the development of contact improvisation. Concerts also occur in multi-day residential courses led by a dancer or group of dancers at conferences or festivals, where days alternate between free practices, courses by visiting artists, and discussions that regularly bring together practitioners. The syncopated, risky, raw and strange style of the first performances was quickly replaced by various aesthetics within the form.
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