contact improvisation and safe touch

this post is in response to davids thoughts about safe touch in contact improvisation. what follows is a more detailed youth dance contextualisation with some additional refinement

safe touch/contact

the concept of safe touch covers four contexts:

  • sexualised touch: absolute no-go zones, e.g. the genital area.
  • unsettling touch: personal discomfort zones.
  • inappropriate touch: socio-culturally defined no-go zones.
  • harmful touch: areas at risk of harm, physical injury, e.g. the throat.

when working with young people and contact improvisation (ci), sexualised touch is neither appropriate or acceptable.

participants who are not used to engaging in (safe) touch may find contact improvisation unsettling. it may be useful to start with non-touching improvisation tasks and increase the (spatial) proximity of the tasks over time. as the participants work individually (but in closer proximity) they will experience incidental touch. this helps prepare them for the direct, purposeful (safe) touch of contact improvisation.

the openness of touch in contact improvisation is a socio-cultural construct. not all participants, communities, or cultures may deem touch, or ci practice to be appropriate. you should inform potential participants (and their parents/guardians) about the use and context of touch in contact improvisation.

sometimes touch (contact) can be harmful. for example, placing pressure on the throat, or mid back (when a person is on all fours) is dangerous. poking, scratching, and applying constant pressure to any part of the body should also be prevented. the participants age (and physical development) should always be taken into account when teaching weight bearing exercises.

safe touch is appropriate touch that promotes learning. it is purposeful touch that lies within the philosophy of contact improvisation.

seeking permisson

you should always ask permission to touch. participants and their parents/guardians should be made aware that touch will be used/involved before the course begins.

in the first session explain the concept of touch within contact improvisation practice. seek permission from the participants to use touch with yourself and their peers. this permission should cover the duration of the course, you should not need to constantly re-ask permission. however, occasionally re-asking permission (e.g. when demonstrating with a participant) is polite and good practice.

make participants aware they can opt out at times when they feel uncomfortable. be clear that ‘opting out’ will not lead to exclusion. if the participant wants to engage in touch but feels unable, offer support. sometimes participants simply need space and time to 'process’, they will re-engage in the following session.

there is no difference between teacher-participant touch, and participant-participant touch. being the teacher gives you no more (or less) permission to touch participants than their peers. although we are more familiar with reports of teachers abusing participants, participant to participant abuse also occurs.

be aware that as the 'teacher’ you may unintentionally coerce your participants into accepting touch. look for physical signs of discomfort even when permission has been given. adjust your approach or disengage as appropriate. learning to read physical signs of discomfort will also help you ensure appropriate touch between participants.

accidental non-safe touch

in contact improvisation, it is likely that non-safe touch will occur. you need to explain to participants the difference between intentional, and accidental (incidental) touch.

accidental touch is usually functional (e.g. quickly grasping to prevent a fall) and non lingering. touch that intentionally crosses boundaries is lingering and non functional. give participants clear tasks that lead to (safe) incidental touch, or use purposeful (safe) touch. this experiential learning will help them read non-safe, but accidental touch. with this knowledge participants will recognise non-safe touch that is purposeful or/and pretending to be accidental.

aside from the 'appropriateness’ issue, learning to perceive intentional and incidental touch is a good contact improvisation skill. developing a sensitive, and communicative touch requires considering the effect of our touch. we should be able to:

[dance] with someone in a spontaneous, unplanned way, free to create without disturbing one’s partner. [steve paxton (1997) cq vol 3, no1]

into practice

there are many ways to seek permission to touch, explain the use of touch, and define boundaries of touch. find a an approach that is suitable to your teaching and the contexts you deliver in.

talk to your peers or seek advice from more experienced practitioners about how to practice safely. if possible, undertake professional safe touch training. when properly implemented, safe touch will support, not negate your contact improvisation practice.