Caryn Heilman: The Magic of Ordinary MomentsJanuary 24, 2016
Touching Gravity 2/TiltAugust 16, 2014
Meeting in the ShimmerAugust 16, 2014
Excerpt from Beacon 365/January 27thAugust 13, 2014
Caryn Heilman began studying Continuum Movement in 1994, midway through her ten year professional dance career with the Paul Taylor Dance Company. She then founded LiquidBody media, movement and dance so that she could pursue the fluid thread she was following in the visionary work of Emilie Conrad that fulfilled fundamentals begun in the work of Modern Dance’s mothers, Martha Graham (the contraction/release as a stylized wave and the spiral) and Isadora Duncan (who came to see everything fundamentally as a wave).
With LiquidBody Dance she is exploring the art of dance from a fluid perspective. With LiquidBody media, she is exploring nonlinear formats for choreography. With LiquidBody Movement she is offering opportunities for anyone to explore movement from a fluid perspective.
She is an authorized Continuum Movement teacher and has an MFA in Modern Dance from the University of California, Irvine. Continuum Movement is the basis for all LiquidBody classes and workshops.
LiquidBody Movement offers ongoing classes in New York City and the Berkshires of Northwest Massachusetts and has upcoming workshops in Kansas City, MO; Athens, Greece, and Tuscany Italy. Caryn also offers regular ongoing Virtual Classes globally and is available for individuals and groups that want to schedule a class or workshop at their convenience. She is also available for in person workshops and classes wherever there is a request and the schedule permits.
Continuum Movement shapes the training and choreographic process and audience-interactive structure for LiquidBody Dance. The audience can quite powerfully and palpably help shape the intended riverbed of movement if they participate with a simple sound, breath or movement themselves. It helps dissolve the sense of separateness I used to hear them express after a Taylor concert, increases the likelihood of a kinesthetic resonance – of them feeling the dance as well as experiencing it visually – and augments the physical capacity of the dancers onstage and perhaps also of the audience judging from the physical feedback I witness after a show. With that extra focus, more is possible – a little higher jump, more fluid tissue flux, a deeper resonant response. With Continuum Movement and the extra depth of the audience-interactive focus, it is also possible to actually morph tissue on stage – opening up fascia, responsively creating and dissolving structure a quantum leap beyond what I had achieved with more traditional approaches. My explorations with resonant connection have also taken me into nonlocal territory, especially with the LiquidBody media works and virtual classes and workshops.