Energy and music

Consider energy, physical and mental. An example of a high energy state is jumping off the ceiling, and a low physical energy state is lying at rest on the floor.
1) Dance for 4 minutes
2) Put on a song and dance for 4 minutes.

Visualization

(Some people liked this)

Play a song three times (e.g. Born to Rule by Transviolet 2:52)
1) Dance with the song
2) Be physically stationary and visualize dance with the song
3) Dance with the song

Dance, Don’t Dance

Pick a spot in space several meters away.

• Travel there and back
• Dance there and back
• Travel there and back (don’t dance!)

An immutable axis of time

(See pages 4-5 of Invisible Connections)

1) Pick a point several meters away. Move toward it at a constant pace (this is the axis of time). Dance. When you reach the point, stop immediately and return directly to your starting point (do not dance). You may not repeat this path.
2) Repeat without time. Dance in that place. Finish when ready. You may revisit this point to dance later whenever you like.

Perhaps try this with a partner(s) and alone?

Power, Society & Consent (1)

Asymmetrical power dynamics exist everywhere, for example, the choreographer/dancer dynamic tends to be highly asymmetrical. Consider three power dynamic positionality spectra from kink: Top/Bottom (top performers an action and bottom receives) Dominant/submissive (Dominant commands authority and submissive yields to that authority) and a spectrum of whose needs and best interest are valued. Embody all 6 ends of the spectra in the presence of consent: someone whose needs are consensually honored and respected, someone whose needs are consensually neglected, someone who is consensually dominant someone who is consensually submissive, someone who consensually performs an action, someone who consensually receives an action.

Prompt passing

(This was actually done, notes to come on how it went)

Check-in
Walk the space (walk can be interpreted broadly)
Give prompts (tap someone on the shoulder you both come to rest facing each other, and you give the prompt)
Follow a prompt you receive until you give someone a prompt, at which point you return to walking unprompted.
This entire structure and every individual prompt is an invitation, not a requirement. If you don’t like a prompt, feel free to decline it. Every prompt given is an opportunity for dialogue.
If you are looking for ideas, you may always copy others or return to walking.
Midway through invite folks to keep prompts they like even after they give a new one
End it like we edit improv—just after the climax and just before the audience is ready to move on.
Give folks a 10-count to find an ending.

Notes: play some music. Debrief, checkout.