Fifteen years ago, I discovered contact improvisation—a form of dance that thrives on connection, trust, and shared movement. It quickly became a cornerstone of my practice, teaching me to listen with my body and find creativity in the unpredictable. Over the years, I enjoyed how contact improvisation invites us into a dance of flow and connection, yet, for all its beauty, I’ve sometimes felt something was off.
CI often focuses on the physical interaction—how bodies roll, balance, and flow together—but for me can sometimes feel impersonal. I found myself wondering: Who is the person behind the movement? What emotions, thoughts, or longings are they carrying into this shared space? While the body’s language is expressive, I was longing for givigng space to the raw human stories woven into every touch and turn.
This curiosity is what led me to develop Playfight. Unlike contact improvisation, Playfight shifts the focus from movement mechanics to relational dynamics. It creates a space where emotional depth and human connection take center stage. Playfight invites participants to meet each other as whole beings, bringing vulnerabilities, strengths, and quirks to the forefront. It’s not just about how we move together but how we relate through movement—expressing struggles, playfulness, and connection.
Who is the person behind the movement?
Recently, I had the opportunity to offer a space to explore the intersection of these two practices in a workshop called Playfight into Contact. It was an eye-opening experience, revealing both the synergy and contrasts between them. Contact improvisation offers a free-flowing exploration of physical connection, while Playfight grounds that exploration in the emotional and relational stories of the participants. The workshop wasn’t simply about merging the two but about uncovering new possibilities for connection.
In contact improvisation, I’ve always admired how it fosters creativity and flow. Participants learn to adapt to the unpredictable, discovering endless ways to share weight and momentum. Bringing this openness into Playfight added a layer of dynamism and exploration that enriched the experience. At the same time, Playfight brought emotional depth and intention to the physical interactions, rooting the movements in authentic human connection. Participants moved seamlessly between flowing creatively and grappling with real relational dynamics, highlighting the unique strengths of both practices.
One participant shared how the Playfight moments allowed them to confront feelings they had avoided, while the contact improvisation sequences offered a sense of freedom and playfulness. This balance of rawness and flow created an atmosphere where people could explore themselves and each other in profound ways.
The transition between these practices felt significant because it bridged two different approaches to connection. Contact improvisation celebrates a dialogue of bodies in motion. Playfight, on the other hand, transforms movement into a platform for relational storytelling. Together, they offered a fuller spectrum of connection—one that embraced both creativity and emotional honesty.
Playfight transforms movement into a platform for relational storytelling.
As the workshop concluded, I reflected on the possibilities this dialogue opens. Whether we’re dancing, playing, or confronting one another, what matters most is the curiosity we bring to the moment—and the willingness to explore not just movement but the stories and emotions that shape us. This intersection of practices reminds us that connection is never one-dimensional; it’s a dynamic interplay of body, heart, and mind.
Looking ahead, I’m excited to continue deepening this exploration and inviting others into this journey. If you’re curious about experiencing the meeting of Playfight and contact improvisation, I’d love to have you join me. Together, we can discover new ways to connect, grow, and transform through movement.