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«Choreographic Improvisation» is the name I give to a practice of a dynamic set of principles and scores which guide the attention of a dancer to their dancing, to the making of their movement. It focuses on developing an availability to initiate movement (or not) from any part of the body, at any speed or level, with any force or direction, for any duration ... at any time.

The preparation of the body involves the breath, the weight and the senses. Different frameworks for perception are explored, for example, imagining the body as made up of many independent and separable parts, or perceiving each next surface of the body that receives the weight as the body rolls slowly across the floor, or noticing each next shape that the body 'arrives' in.

Intersecting with this are frameworks for generating movement: these are ways of playing with what is perceived and motors for generating movement from particular choreographic focuses, for example, moving only in an outward direction from one body surface at a time, or increasing, decreasing or maintaining the space between two body parts, or shifting a 'shape' through space. This work is explored through partner/touch work and in solo exploration.

As a practice, «Choreographic Improvisation» can deflect the dancer from their habitual movement pathways, enlarge their range of movement choices, and place them more solidly in the present. It continually deconstructs and reconstructs what dancing is.

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