Thursday, May 26, 2016

The ReWilding Project
A solo performance about our modern neurosis, sense of loss and
search for hope, while aiming to re-member the nature inside of us.

Performance/Concept: Liz Erber,
Video/Technology: Dan Farberoff,
Sound Design: Julia Kny

Di./Tues. 31. May 2016, 20:00
English Theater Berlin (Fidicinstr. 10965 Berlin)
Expat Expo Festival,

Sa. 28. May 2016, 20:30/ So. 29. May 2016, 20:15
K77 Studio (Kastanienallee 77, 2HH 3OG 10435 Berlin)
Performing Arts Festival Berlin,

Photo © Dan Farberoff

New Contact Improv Serie für Anfänger/ Beginners

mit Liz Erber 
9. Juni - 21. Juli 2016 (7 x)
Do./Thurs. 20:00 - 21:45 
K77 Studio, Kastanienalle 77, 10435 Berlin


für Anfänger/ Beginners

Early Bird bis/until 2. Juni = 75-90 € 
danach/afterwards = 90-110 €

Sprache/Language: English/Deutsch

“Jede Bewegung hat etwas mit Beziehung zu tun” - Beziehung zu sich selbst, der äußeren Welt oder Anderen (Peggy Hackney).CI kann uns zur Klarheit mit uns selbst (unserem Zentrum und unserer Intention) sowie mit Anderen führen. 

In dem 7-wöchigen Kurs erfahren wir spielerisch die Grundlagen der CI, dazu gehören auch das Gewicht spüren/wahrnehmen, mit Gegengewicht tanzen, Vertrauen gewinnen, Gewicht geben/nehmen, Rolling Point, u.a. Ferner gehen wir auf die menschliche Körperorganisation und Entwicklung ein. Da wir am Anfang unseres Lebens bereits viele Grundlagen von CI nutzen, knüpfe ich im Unterricht an vorhandene Alltagserfahrungen an.

Liz Erber: Ich habe fast 15 Jahre Erfahrung als CI Lehrerin und schätze ich jede Möglichkeit meinen Leidenschaft für Tanz und CI mit Anderen mitzuteilen. Unterrichten vertieft auch meinen Verständnis den menschlichen Körper. Ich erhielt Bachelors in Tanz, Theater, Chemie/Biologie und bin ausgebildet als Tanz und somatische Pädagogin mit eine Hintergrund in Laban/Bartenieff Bewegungsstudien, verschiedene “Release” und somatische Techniken, Bewegungsanalyse, u.a. Zudem bin ich als Performerin, Choreographin und Bewegungscoach beschäftig. 

Kontakt: Liz Erber,, 0178/1879427,

“All Movement is relational” - in relation to ourselves, the outside world or others (Peggy Hackney).
The practice of CI can teach us how to connect more clearly to ourselves (to our centers and our intentions), the earth and others. And - it is fun and playful!
During this 8-week course we will cover the basics of contact - weight sensing, establishing trust, counterbalance, giving/receiving weight, rolling point, etc. - as well as, the basics of human movement and development. We will consider whole-body coordination and the way in which we grew and developed in “contact" with others. Most of us were naturally practicing and playing with elements of CI as we grew, so I believe learning CI is more about remembering early ways of moving and interacting, rather than learning anew.
Having taught CI for nearly 15 years, I am grateful for every opportunity to share my love of dance and CI with others while also deepening my understanding of the human body and human interaction. I hold degrees in dance, theater and chemistry/biology, and have a background in somatic education, Laban/Bartenieff studies, various release techniques, and movement analysis. 

Anmeldung/ Registration: Liz Erber,, 0178/1879427,

Friday, June 12, 2015

Joints & Expressivity: What the two have to do with one another

When you think of your joints, "expressivity" may not be the first association that pops into your mind - but actually the two are closely related. To many people "joints" are merely anatomical parts that we rarely consider until they cause us problems - such as, when they are injured or become achy. Anyone who has had an injured knee, ankle, wrist, etc., knows how debilitating this is to daily function. A little over a decade ago, I had an on-going injury with the lower joint of my left big toe that caused me distress for several years. So even an injury to a toe joint can affect daily function. (More later on the common colloquialism of "them causing us problems".) But that is enough on injury. What about expressivity?!

In these photos you can see how the articulation of the joints is linked to expressivity:

In these photos I am improvising with Paul Singh, a dancer from New York.

The Latin word for joint is "articulus". Hence, the words articulation in French, articulación in Spanish, articulação in Portuguese, and articalzione in Italian. The Latin root also found its way into English; we have the adjective "articulate" and the verb, "to articulate" as well as noun and adverbial forms. However, these words are more commonly associated with language expression and the ability to express oneself with clarity. According to the American Heritage Dictionary, "articulate" has the following definitions:

1. able to express oneself fluently and coherently: an articulate lecturer.
2. having the power of speech
3. distinct, clear, or definite; well-constructed: an articulate voicean articulate document.
4. (Zoology) zoology (of arthropods and higher vertebrates) possessing joints or jointed segments
5. to speak or enunciate (words, syllables, etc) clearly and distinctly
6. (tr) to express coherently in words
7. (Zoology) zoology (intr) to be jointed or form a joint
8. (tr) to separate into jointed segments

A synonym for "articulate" is "expressivity". Bingo! There we have the etymological connection - but the link between joints and expressivity is more than an abstract connection to be extracted from Latin words. (The word link is derived from the German word Gelenk, meaning joint. Focusing on the joints is good for making connections.) We can observe and readily experience this connection in our daily lives, and day-to-day movement.

Body movements, both fine and gross motor movements, are made possible because of the joints. Joints allow our limbs to move in relation to one another and to the trunk, or torso, of the body. Our muscles act as lever systems contracting body parts or extending body parts from one another. The torso itself, with the pelvis at its core and the spine running along its midline, is full of articulating joints. Each vertebrae (25 in humans) has at least four joints. The thoracic vertebrae, which are the 12 middle vertebrae to which the ribs attach, have up to four extra joints. Therefore, there are over 100 joints in the spine alone!

Anatomists and evolutionists sometimes refer to the torso as our primary body, since it evolved first, and the arms and legs secondarily. So to begin, let us look at the expressivity of the torso. The spine is extremely expressive of our internal state and/or emotions. Imagine for instance the spine of someone who is full of joy, or of someone who is eager, or depressed, or stuck-up, or stressed. It is, of course, ideal when we have full access to the expressivity of the spine, and can move through these various inner-expressions of being without getting stuck, long-term in a particular position or posture. (This can serve as a good reminder to myself to move and change my position somewhat frequently while typing at my computer.)

How would you interpret the expressivity of the spine in these photos?

Here I am performing with dancers Henrik Kaalund and Andrew Wass

We all know, however, that many of us do get stuck in a particular shape or posture. I believe this happens for various reasons. For one, many people simply lose range of motion in the spine due to lack of movement. Our lives have become highly sedentary compared to the lives of most humans throughout human history. By not moving joints regularly through their normal range of motion, we eventually lose the ability to articulate and move these joints properly. In some cases the joints simply become more fixed, or rigid, while in other cases, the joints may become hypermobile due to a weakening of the surrounding infrastructure. Secondly, there is truth to the old somatic saying of "form follows function". If our daily work holds us in particular postures or positions for hours on end, our body will start to form to these postures - especially if we are not regularly finding other ways of moving. Thirdly, fixed ideas or images that we have of ourselves (these may be personal or cultural) often affect how we hold ourselves. For instance, in the middle ages, many women would thrust their pelvis and belly forward as if pregnant; pregnancy being a highly desired state. Is there a particular way that tennagers in your culture hold themselves? How do you imagine the posture of a soldier, a ballerina, a homeless person.

How to maintain the full articulation of your spine? 
Ideally we are moving our spines everyday in all of the directions and motions available to us. The spine exhibits a full spectrum of movement possibilities in all planes: 1) in the vertical plane (up-down), which translates to lateral, side-to-side movement, i.e. fish-like movements, 2) in the sagittal (front-back) plane, i.e. a wave or dolphin motion, 3) twisting along the axis in the horizontal, or table plane, and 4) 3-dimensionally through all planes of movement. 

A healthily mobilized spine also means a more stable spine -  The great spinal dualities – mobile and stable & functional and expressive:
The spine is a structure, which is both beautifully mobile and also extremely stable. Think of how the stability of the spine allows to you to pick up a child or grown-up (if you practice contact improvisation), or to carry a backpack or to work upright at your computer. Mobility and stability come hand-in-hand. By regularly working with the mobility of the spine we engage the muscles around the vertebrae and thereby also enhance the stability. Working with stabilizing movements (think plank position of yoga or any sort of abdominal or extension training) can also serve to enhance healthy degrees of mobilization.  And, of course, a healthy balance between mobility and stability means a fully expressive spine. Someone with backbone is someone who can stand up for him/herself or a cause. It is someone that has a stable spine. At the same time we want a beautifully mobile spine to express playfulness and also flexibility. 

The Importance of the Breath
Each inhale and exhale offers us the potential to stimulate and move the joints within the spine, especially the costovertebral joints of the thoracic spine, which connect the ribs to the spine. The ribs are meant to expand with the inhale and release inwards with the exhale. By allowing for full breaths you can notice how the spine grows with the inhale and shrinks with the exhale. You will also notice that for full breaths to be possible the spine is ideally in an upright position, and you are not slumping in a chair. 
If I am sitting for a long time, or working at my computer, I notice that my breath often becomes shallow. Studies have shown that most people are far from using the full capacity of their breath and are often breathing shallowly. Shallow breath is frequently due to slumping, which in effect collapses the capacity of the lungs, but it can also be due to a simple lack of awareness around the breath, or can be psychologically related.  

A shallow breath translates to less stimulation of the joints in the spine and along the ribs. The ribs may even become frozen and not move at all with the breath. Note that the breath stimulates the ribs' connection to the spine at one end and to the sternum at the other end - thus we experience a 3-dimensional expansion and release with the breath, along the front, sides and back of the body.

The breath is also highly connected to emotions. You can notice how your breath changes from one situation to the next depending on how you feel. What is your breath like when you are in the company of close friends as opposed to when you are in the company of superiors or colleagues who you feel may be judging you? Stressful situations in which you do not feel free to express yourself can also lead to a more shallow breath and more cramped, immobile expression through the body. Or, you may feel that you have to put on a coat of armor to protect yourself - which is something that we literally do when we feel attacked, not allowing ourself, particularly our torso, to move or be moved. It is, however, not ideal when we have to keep our armor on hour after hour, day after day. This will naturally alter our ability to express ourselves, and we may even loose access to our own feelings.

Do you know someone who is frozen through the torso? This person may be difficult to "read". It may seem that he/she is covering up his/her true thoughts or feelings.

So what do we do in any of these unideal situations? Notice the breath and allow it to move us. 

Exercise 1: Notice your breath and how it moves the joints along the spine and ribs. Notice what happens with the inhale and with the exhale. What effect does the shape of your spine have on your breath, i.e. slumping, or sitting upright?

What is the most expressive joint in the body? What do you think?
Is it the shoulder joint, which has the widest range of movement of any joint in the body? Or, the combined actions of all the joints in the hand? Or is the core of the body more important? Although the range of movement at the center of the body may be more minimal, its affects are magnified through the proximal limbs. Or is the atlanto-occipital joint the most expressive? This is the joint, or actually pair of joints, between top spinal vertebrae and the skull, which allows for nodding and side-to-side movement of the head.

Exercise 2: Explore movement of the joints and find which one for you is the most expressive.

 Dance allows for a full range movement and of expressivity:

In conclusion, daily movement of the joints is important for maintaining the health of these joints. Movements that explore the full range of the joint, without forcefully pushing the edge of this range, like arm circles, shoulder roles, or hip circles, help to keep the joints in good working order. For synovial joints, those which contain synovial fluid, daily movement is necessary for the lubrication and smooth functioning of these joints. (Lubrication is not only something necessary for car engines and mechanical parts.) If we do not regularly move our joints through their normal range of motion, we will gradually start to lose this range of motion and the full functionality and expressivity of this joint.

The body causing us problems!
How is it that parts of our bodies, literally parts of ourselves, can cause us problems? The key, of course, lays in the objectification of the body and the belief in the widespread cultural paradigm of the body-mind split. If we were to fully identify with our body as ourself, we would likely listen to our bodies with equal interest as we do our will and daily plans, and give it the attention that it requires. And, we would not blame our body for causing problems or creating limitations. More often than not our limitations begin in our attitudes (be them cultural or personal) not in our bodies. 

Exercise 3Play with the articulation of your joints and notice how these affect your feelings, and emotional state. 

Exercise 4: Imagine yourself as a baby or small child who is first learning how to use his/her joints. You are naturally curious and excited to explore the full range of movement possible.

Wednesday, May 6, 2015

Dynamic Play - Body & Voice

a workshop in instant composition*
with Liz Erber

During this dynamic 3-hour workshop which will explore the diverse and dynamic pallatt available to both body and voice. We will investigate various attitudes towards time, weight, and space. It is through the dynamics of expression that we communicate our inner impulses, needs, and desires. By investigating dynamics we can start to better understand both our personal and cultural preferences, and open up the possibility of making different choices and embodying characters, or entities, that are quite different from ourselves. 

Liz will be teaching a special method of dynamic space which places the dynamic pallatt available to us in the s
urrounding space. This method helps us to remember and have better access to the possibilities available to us, while also helping us to bring our expressive selves out into the space around us. The method is inspired by the dynamic space work, or "dynamosphere" of Rudolf Laban.

This workshop is organized by Berlin Arts United as part of the Solo on the Move #1 - Hungry Hearts project, which includes a workshop series and performances (please note the workshops are not connected to the performance.) 
Performances will take place on June 11 – 13, 2015 at Studio Boerne 45, Berlin-Weissensee.

COST: 15-30 Euro (sliding scale)


Sa 6. Juni 11:00-14:00 K77 Studio "In and Out - and places in between" with Maria Ferrara

*Instant Composition - please see blogpost on this topic to know more!

What is instant composition?

Instant composition is when movement, sound and/or voice creation is simultaneously composed and performed. Unlike many traditional performance works, in which the structure, composition, and main content is created long before the performance, and often by someone other than the performer, in instant composition the creation process unfolds before the eyes of the audience. The performer is both the performer and the author/choreographer/composer, all in one. Instant composition, therefore embraces the unique, creative potential of each person.

Within each of us is the ability to notice and become sensitive to the world within and without, and to then weave together the movement, images, stories, sounds and words of these inner and outer worlds into beautiful and unique tapestries of human experience. This is what instant composition is. Beauty is, of course, subjective and I do not refer to beauty in a traditional sense. An instant composition can also be grotesque, or frightening, just as it can be joyful or funny. Beautiful to me is the unearthing of unexpected thoughts, images, stories, which are then uniquely tied to one another in a never-before created collage. Each composition is a work of art in itself.

What is the difference between improvisation and instant composition? or are they the same?
Instant composition is improvisation, although I look at the term "improvisation" as being a slightly more general term. I often refer to myself as an improvisor and say that I practice improvisation. For me, on a personal level, the terms are almost interchangeable. There exists, however, out in the ether, a somewhat widespread notion that improvisation is not a practiced skill, that anyone can just do it without preparation. In the arts world it can be devalued. As someone who practices and performs improvisation, audience members, more often than not, cannot believe that the improvisational performances were improvised, they were too "composed". But that is what good improvisation is, instantaneous composition! In the world of arts funding it is generally better to opt for a term other than improvisation, or to use it carefully and with sparsity if you want your project to be funded.

Personally I like the term "improvisation" - it roles off the tongue with greater ease than "instant composition". Yet, I find the term "instant composition" compellingly accurate and descriptive. With the term "instant composition" we can be proud of ourselves as simultaneous composers, creators and performers. I am an "instant composer". It sounds a bit like being a magician - and maybe we are: releasing white doves from the depths of our inner and collective imaginations.

Instant Composition is a trained skill, and at the same time, it can also come quite naturally. In one sense, it is like "child's play," in that we tap into the flowing spontaneous creativity that is common to children. And in another sense, it is more than child's play. The more we train, or practice instant composition, the more skilled and capable we become as performers and creators. In instant composition we train our compositional and performance skills, as well as, our abilities to respond instantaneously and freely to both inner and outer impulses. Through the process of training, we slowly become aware of personal preferences, our habits, our blocks, our skills. We seek to release, or let go of, all that blocks us or gets in the way of us experiencing the moment at hand and the natural on-going flow of spontaneous inner images, experiences and connections. There is a rich, unexpected world at hand - both inside and outside of us. Through instant composition we have the possibility of experiencing it now, spontaneously!

With instant composition we have the chance to experience ourselves more deeply and in unexpected ways. Even after practicing instant composition for nearly 15 years, there isn't a performance or practice that goes by which does not surprise me in some way. In the process of performing we often have no idea what will come out of our mouths or the movements that will come to our bodies, minutes, or even moments before it happens. 75% of the time I am stunned by what arises. I discover that I know things I did not know.

At various times earlier on in my instant composition experience, the thought passed through my head, "now I have mined all of my good material - now there can't be anything left." But this thought is absurd, as well as, the idea of our "best material." In actuality we have little idea what lurks in our minds and imaginations - or what images or experiences have been long-lost in the dark, cobby recesses of our cells. Our inner self is a vast universe. It is likely that we do not even consciously know our "best material". Our best material will arise in the moment of awareness, in real-time. This is what we work towards. Moreover, "best" is an irrelevant qualification. What arises in the moment is likely what is most relevant and therefore "best" in the moment. When practicing instant composition, I try to remember to trust in the vastness of my experience, and in the human ability to always make new connections. Too much planning or calculation can block more spontaneous images and/or experiences from arising, and I may walk right past the obvious. Mining the vast, unknown universe of the body-mind is what makes instant composition amazing, and perhaps one of the most potentially relevant performance forms.

As humans we have the ability to constantly make new connections and discoveries. The process of discovery is especially beautiful to witness first-hand on stage. It is as if we are opening the inner-workings of the body-mind to the outside, for all to see. The audience mind also jumps with excitement when a new, unexpected connection is made.

In instant composition we see the confluence of an individual's inner and outer worlds shaped by the individual into a unique experience of sound, movement, image and/or story.

In my hand I hold a house. And in the house is a city. And inside the city is a country. And inside the country is a continent. And inside the continent is a planet. And inside the planet is a universe. (From an instant composition practice with Berlin Arts United, as preparation for Solo on the move #1 - Hungry Hearts performances, June 11 – 13, 2015 at Studio Boerne 45, Berlin-Weissensee.)