Every second Sunday of the month, 2 – 4pm *movement studio*

2nd Sunday Contact Improvisation Jam
Facilitated by Megan Yankee
Sound Design by John Osburn

Cost: Sliding scale $10-20

Jam Description: Megan and John facilitate an open level contact improvisation jam. In the opening and closing circles, we will introduce ourselves and participants to each other and standard guidelines for the jam. Participants can expect touch, weight baring and improvisation wrapped in quirky, inspiring and experimental sounds and music. Megan and John have been jointly facilitating CI jams since 2010.

CI Description: Contact Improvisation is an improvisational, weigh-baring social dance form founded int he US in the 1970s. It is a training tool practiced by professional dancers, an educational tool for training in partner dances, as well as a therapeutic, creative and strengthening practice for people of all walks of life. What distinguishes CI from other partner dances is its unique combination of improvisation, fluidity of leader/follower roles, the potential for full weight-sharing, all practiced under the watchful eye of a seasoned facilitator.

Megan is an performer, experimental choreographer and award-winning movement educator. Her movement lineage is comprised of an eclectic mix of contemporary dance techniques, gymnastics, colorguard, contact improvisation, as well as somatic and releasing techniques. In her choreographic, educational and administrative work, she prioritizes welcoming people and children of all income, experience and ability levels, ages, heritages, and walks of life into the dance world. Megan’s choreography highlights non-linear spontaneous composition, site-responsivity, performer wellbeing, and direct interaction between audiences and performers. She has presented work in Kampala, Uganda; Ouagadougou, Burkina Faso; Belfast, Northern Ireland; and in festivals across the US. Megan has taught in a range of settings including online dance theory courses, non-profit dance studios, public and private school residencies, private lessons, dance festivals, intensives and collegiate programs for the last sixteen years.

John Osburn hears sound like a painter sees color, paying particular attention to the textures and shading of each element within his work. He not only listens to how his sounds thread in and out of each other, but also focuses on how they are affected by the space in which they resonate. Rather than creating music, Osburn focuses on creating a sound environment in which to immerse his audience. Sourcing from his eclectic background in Western music, African drumming, and Sonic Arts studies, Osburn creates a unique musical blend which floods out of his speakers in an evocative array of frequencies.