JAM guidelines + resources

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photo © Flor Rubulotta

The jam is necessarily a rather wild place.  Taken from jazz vocabulary, a jam is simply a period of time in which improvisors use their skills and vocabulary to discover composition and dialogue with one another. It can serve as a place to skill-build, to develop work for choreography and performance, or simply to engage with one another as dancers. In order for contact improvisation (or any type of improvisation) to happen there needs to be a relatively open ‘field’ and abundant time for the dance to develop.

The open-ness and unstructured quality of this space is exciting and can open up enormous possibilities for new movement pathways, unexpected compositions, breathtaking falls and catches but it can also lead to some less enjoyable things. Everything from boredom and chaos  (which are not necessarily bad) to misunderstandings and negative experiences (which are not things we want) can occur inside the relative anarchy of a jam.
As improvisers we are always working to build our consciousness and awareness around our behaviors inside of these spaces both as individuals and as a group. Here are some resources we’d like to share to ‘prep’ participants, especially new arrivals, and to give you some context and tools to work with in a jam:

* a couple of JP Jam- specific invitations/considerations *

  • We live in a complex, touch-deprived society and culture. Elements of our identity including gender, age, race and body image all play a role in how we see and are seen in our bodies. It is natural that those realities will play out inside of a form like contact improvisation. It is safe to assume that we cannot know the ‘stories’ of the bodies we are encountering in a jam. Proceed consciously and with deep listening.
  • Someone dancing alone is in solo they are not necessarily ‘waiting’ or looking for contact and they are not in-between dances. They are dancing.
  • We invite people not to give impromptu lessons or to ask if someone wants to ‘learn some contact’ during the jam. Why? Are you sure you have something to teach them and that you’re the one to teach it? Are you sure you are getting an authentic ‘yes’ from them? (no’s are often harder than yesses). How long does this ‘lesson’ last? INSTEAD we encourage agency among beginners to ask for guidance from more experienced dancers. The classes also offer ample teacher-student time.
  • Take breaks. You can sit and watch as long as you want. Witnesses and an ‘audience’ are great for the jam.
  • Say no until you feel the yes. Say yes until you feel the no. (both good options)
  • Contact Improvisation inherently involves risks. Serious injury, though rare, is a possibility. By taking part in the Jam you acknowledge this fact and take responsibility for your own safety. Know the limits of your skill. While it’s worthwhile to take mindful risks, don’t put yourself in physical situations that your skill level does not support. You might find that doing a movement at half speed allows mind and body to cooperate better.
  • This Jam is not a place for overt sexual behavior. If you witness a dance that makes you uncomfortable, you may choose to share your discomfort directly with the dancers, or to check out your perceptions with another person in the community. It may turn out that you are projecting/misinterpreting, or you may be naming unacceptable behavior.
  • Unwanted sexual advances and touching are NEVER acceptable and anyone experiencing this should stop the dance, tell their partner “no,” or share their experience with a Jam Host or anyone else in the dance space that can help. Sexual propositioning IN the jam space- even on the sidelines, is not ok. The whole wide world is yours to do that on and in your own time. Below are some pictures from the 2018 West Coast Contact Improvisation Jam where women, queer folx, people of color and allies gathered to stage a sit-in during a jam to bring awareness to sexualized behaviors, non-consensual touch and predatory behavior that have led to feelings of discomfort and lack of safety for people. Here in JP we are serious about being allies to those groups who have been historically mistreated. The JP class and jam is for learning the FORM.
  • We have a 2-3 strike rule around inappropriate behavior in the class/jam space. Patterns of sexual or unsafe behavior that are reported to us will be taken very seriously and can/will result in suspension or expulsion from the jam space. If you’d like to know more about this policy please reach out to a facilitator.

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Some of our wording is borrowed from the Moab Jam safety guidelines, which are wonderful: http://www.moabjam.com/sites/default/files/MoabJam_Guidelines.pdf

A brief and simple list of some helpful approaches to CI from Dance Magazine:  http://www.dancemagazine.com/rules-of-contact-improv-class-2529732730.html

A wonderful article about the newcomer experience by Kathleen Rea: https://contactimprovconsentculture.com/2018/01/02/the-newcomer-experience-in-contact-dance-improvisation/

Here is an article by Taja Will, Keith Hennessy and others that discuss intersectionality and how CI spaces can heal, harm or be implicit in the marginalization of different groups [download the pdf] https://contactquarterly.com/cq/article-gallery/view/ci-intersections.pdf

Another great piece by dance-artist Neige Christenson using ‘The Work’ of Byron Katie to explore the Jam experience: http://www.sharingweight.com/articles/christenson-freeing-the-mind

An article from Contact Quarterly by teacher/dancer Kristin Horrigan on gender and identity inside of the dance https://contactquarterly.com/cq/article-gallery/view/queering-contact-improvisation

More links to information on the form can be found HERE

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