JULY 25th to JULY 31st | The Field Center | Vermont

Announcing our first annual Summer Contact Improvisation Festival featuring 6 days of intensives, classes and jams exploring and training in Contact Improvisation. We dedicate this gathering to the living legacy and memory of Nancy Stark Smith [1952 - 2020] | REGISTRATION OPENS MAY 30th

The Summer Festival is divided into two parts; The intensive with Karen Nelson, which runs Tuesday 25th through Thursday 28th includes room, 3 meals per day, daily focused training and nightly facilitated Jams. 
Friday 29th through Sunday 31st, the festival moves into the open weekend format with presentations, classes and open music jams.

Registration options include taking the Intensive Only, Weekend Pass only, or a FULL FESTIVAL PASS with camping options available. This event is limited to 40 participants including campers.
For more on pricing options visit our REGISTRATION PAGE

3-day Intensive : Karen Nelson

Touching Again: dancing together for joy, grief, light, curiosity, play

Contact Improvisation (CI) offers awareness of a reflex-ready body state that Tuning Scores diverts and exposes to space, location, visibility, imagination, and collective compositional play. What’s up with CI after 50 years? The strategies we will use are related to developments, extensions and diversions of the CI form since it formalized in 1972. Happy Anniversary CI!

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Karen Nelson (she/her) rests playfully within dance improvisation and Buddhist study and practice. As explorer-collaborator, teacher, maker, touring performer, author/contributor to Dancing with Dharma and Contact Quarterly she has been a mutator of the form Contact Improvisation since 1977. She co-founded mixed-ability experiments Dance Ability and Diverse Dance Research Retreat and integrates Material for the Spine (Steve Paxton) and Tuning Scores (Lisa Nelson/Image Lab) into her physical-sensation based approach to dancing, along with investigating dominant cultural narratives and re-vers(ion)ing these fictions within her own embodiment and wider community.

Weekend Classes + Jams

Born and raised in South Korea, Jungwoong Kim has been a dancer, choreographer, CI teacher
for more than 20 years. He has extensive training in martial arts and Korean traditional dance and ritual, both of which strongly inform his artistic vision and aesthetic. He studied Deep Listening with Pauline Oliveros, and has performed CI with Katie Duck, Kurt Koegel, Hiekyoung Blanz, Kristie Simpson, Karen Nelson, Chris Aiken, Germaine Ingram, Leah Stein, Marion Ramirez, among others.

He has taught improvisation and CI at numerous universities and independent workshops in the U.S., Europe, Japan and South Korea. 2021 he has been guest artist at Franklin & Marshall College. Also he award 2021 ART IS ESSENTIAL for the creation of Gather Together in Their Name. Lately he enjoyed work with Wilma Theater for movement consultant - The Cherry Orchard play in April 2022, directed by Dmitry Krymov.


Sarah Konner is a dance artist, improviser and somatic movement educator. Sarah is interested in dance as a process of evolution, a way to understand our connections, and a means of storytelling. Sarah creates dance-theater work with Austin Selden and others that has been shown at performance venues, universities, and museums across the country.  She has had the pleasure of working with Jeanine Durning, Jenna Riegel, ChavasseDance&Performance, Shura Baryshnikov, Megan Kendzior, Alex Springer and Xan Burley, Headlong Dance Theater, and setGo Performance Improvisation Ensemble. In addition to her performance work, Sarah teaches contact improvisation in New York and internationally. Sarah holds an MFA in Dance at Smith College, a BFA in Dance and a BS in Environmental Science from the University of Michigan, and is certified in Yoga, Pilates, and Body-Mind Centering®. www.SarahandAustinDance.com


Shura Baryshnikov is an interdisciplinary artist who works broadly as a dancer, actor, improvisor, choreographer, and somatic movement educator.  Performing improvisation, set choreography, as well as contemporary text and classical verse, Shura is compelled to question ideals of specialization in the performing arts.  Shura has co-founded a number of dance projects, including Doppelgänger Dance Collective, a Providence-based dance company dedicated to the curation and commission of new contemporary works, and the Contact Improvisation research and performance ensemble Set Go with U.S. based dancers Paul Singh, Sarah Konner, Aaron Brandes, and Bradley Teal Ellis.  Ultimately interested in applications of practice in pedagogy, process, and performance, Shura employs work in Viewpoints Technique, Safety Release Technique, Action Theater, and Contact Improvisation to co-create deeply-sensitized, collaborative spaces. 
She is currently Head of Physical Theatre for the Brown/Trinity Rep MFA Program in the Department of Theatre Arts and Performance Studies at Brown University where she has instructed since 2011 and has also instructed at MIT, Dean College, and Connecticut College, among others.  She is a member of Actors' Equity Association.


Bradley Teal Ellis, a Brooklyn-based dance improviser, studied and practiced contact improvisation for 17 years with many teachers across the United States. He has performed improvisation at MoMA PS1, Joyce Soho, 92nd Street Y, Movement Research at the Judson Church, Performa, and other institutions. Ellis is a faculty member of Movement Research (one of the worlds’ leading laboratories for experimental movement and dance) and also teaches in the Conservatory of Dance at Purchase College and the Tisch Experimental Theatre Wing at New York University. He has been a guest teacher at Gibney Dance, the New School, University of the Arts, and Temple University, and has taught a workshop designed for high school students at Ethical Culture Fieldston School.


John Hughes is an internationally renowned composer, kora player, percussionist and vocalist whose style crosses myriad cultural boundaries and fuses disparate influences.  Playing ancient traditional instruments not often heard in the United States, many of which he builds himself, John takes his audience on an intimate musical tour of universal expressions of joy and hope that soothe and up-lift the spirit.  Whether playing elegant and stately pieces from the classical repertoire of the Jeli’s (Griot’s) of West Africa or original compositions, John's kora playing has an uncommon beauty that is, at once, exquisitely detailed and bold.  His signature pieces are rhythmically nuanced and laced with syncopations that cascade off the strings into whirlpools of mesmerizing sound. John has released 6 CD's of original music.  Please visit www.johnhughesarts.com to learn more: 


Composer/filmmaker Jake Meginsky, a New Music USA award winner and Massachusetts Cultural Council Fellow in both music and film, has collaborated and performed with an extraordinary range of musicians including Milford Graves, Alvin Lucier, Joan La Barbara, Kim Gordon, Vic Rawlings, Greg Kelley, Bhob Rainey, Joe McPhee, Thurston Moore, William Parker, Daniel Carter, Paul Flaherty, John Truscinski, Arthur Brooks, and Bill Nace.

His work has been presented widely and internationally, including Institute for Contemporary Art (London, UK), TUSK Festival (Newcastle, UK), BFI Southbank, (London, UK), IFFR Rotterdam, SXSW Film Festival, CPH:DOX, Click Festival (Copenhagen, Denmark), Deutsches Historisches Museum (Berlin, Germany), Laemmle Music Hall (Los Angeles), Counterflows (Glasgow), Standards (Milan), the Duolun Museum of Modern Art (Shanghai), Beijing Today Museum, Jinse Gallery (Chongqing, China), throughout New York City at The Kitchen, Lincoln Center, Metrograph, The Guggenheim, New York Live Arts, Joyce SoHo, Gibney Dance, Dance Theater Workshop, Danspace Project, Symphony Space, Judson Church, La MaMa, The Stone, The Flea Theater, Vision Festival, Roulette, Museum of Arts and Design, Center for Performance Research, Improvised and Otherwise Festival, and Northside Festival; in Boston at the Museum of Fine Art, Opensound Festival, The MIT Center for Art, Science & Technology, YDLMER Festival, Mobius Gallery, Le Laboratoire and the New England Complex Systems Institute; The Neurosciences Institute (La Jolla, CA), Context Art Fair (NYC & Miami), Experimental Music and Performing Arts Center (EMPAC), and the Arts Center for the Capital Region (Troy, NY), The Fisher Center for the Performing Arts (Bard College, NY), DOT AIR Festival (Providence, RI), University of Iowa, Flynn Center for the Performing Arts (Burlington, VT), Work in the Performance of Improvisation Festival and USDAN Gallery (Bennington College, VT), A.P.E. Gallery, Academy of Music, and the Sound and Space Festival (Northampton, MA), Pioneer Arts Center (Easthampton, MA), and the Mead Museum of Art (Amherst, MA).

Lisa Nelson is a dance-maker, improvisational performer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the 70s. From an investigation of video and dance, she developed an approach to real-time editing and collaborative performance she calls "Tuning Scores." Nelson travels widely to perform, teach, and create dances and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, and Image Lab—Scott Smith, KJ Holmes, and Karen Nelson. She co-edits Contact Quarterly dance journal since '76 (www.contactquarterly.com), was encouraged by a Bessie Award in 1987 and an Alpert Award in 2002. Currently creating a real-time video editing application and 3D graphic computer game with Contredanse in Brussels, her writings are accessible on MovementResearch.org Critical Correspondance, and oralsite.be/pages/Anthology-Lisa-Nelson. She lives in Vermont.