Automatism and Creativity in Contact Improvisation: Re-Inventing Habit and Opening Up to Change

This article aims to show that the artistic creativity at work in improvised dance depends on the acquisition of automatisms through the capacity of gestural repetition to dissolve the instrumental character of the movements performed and leads to a focus on the mode of their performance. After illustrating how the rupture and experimental character of postmodern dance relies on repetition and the guiding role of feeling in contact improvisation, an analysis is made of how the abandonment of feeling—conveyed by the abandonment of gravity—that takes place in contact improvisation is indicative of the transition from a controlling attitude aimed at “problem solving” to a creative attitude aimed at “problem finding”. The recourse to the Straussian notion of pathicity, the valorisation of an aesthetic—affective, expressive, emergent, and relational—character of creativity, and the adoption of a neophenomenological approach will be functional in showing that improvisational artistic creativity arises from the acquisition of a sensitivity to otherness that makes one accustomed to respond in ever new ways to the affective stimuli coming from the circumstances and the affective state underlying the dance style and one’s own interpretation of it.