• What is Contact Improvisation?
• Purpose of these CI Reels (Flashback)
• Qualities of a seasoned CI dancer #1
• Crossroads in CI

• CI: Come and dance as you are
• The two kinds of CI dancers
• Qualities of a seasoned CI dancer #2

• Using our hands in CI (Flashback)
• By what metric is a CI dancer “advanced”?
• CI common courtesies
• CI embracing the awkward
• Instability and CI

• CI and journaling
• How CI is practiced
• CI lab guidance
• Lucid touch in CI
• Qualities of a seasoned CI dancer #3
• CI as an open-source dance form

• The importance of spirals in CI (Flashback)
• Steve Paxton and the CI safety talk
• CI: peripheral vision and animal tracking
• Is CI performable?

• Other modalities to train for CI
• CI reflecting life
• Dancing with a CI score
• When the CI dance gets awkward
• Finding flow in CI

• Is CI an artform?
• CI and embracing the unresolved
• Fundamental skills of CI
• Falling in CI as a generous act

• A Steve Paxton story
• CI and being gobsmacked
• CI: Reading the space through your partner
• CI and what is great art?
• Learning CI through limitation

COMING SOON:

• What are we doing when we dance CI?
• Music at CI jams – a rant
• CI is a sandbox game
• My secret ideal in CI
• What does a CI teacher teach?

• Qualities of a seasoned CI dancer #4
• CI and the train of self-doubt
• Who can teach CI?
• Ways to make contact in CI

• Why do I dance CI?
• Rides on the fly in CI
• CI: the shamanic dance
• CI scores to dance with
• CI: the template of the ideal dance

• CI: multiple points of engagement
• Fears for the future of CI
• Why do you dance CI?
• CI: mastering the art of stretching time