In the not so distant future, within 5 years I’d say, a contact improvisation duet will happen on a stage. It will receive great accolades and fanfare. Critics and arty folks with indeterminate European accents and thick black framed glasses will talk about the brilliance of the choreographer, how cutting edge and brilliant she or he is. The choreographer will be praised for discovering new ways of movement, and entering uncharted waters of aesthetics challenging what people think of as dance.
But, the piece will not be labeled as contact. Improvised, yes, as that is becoming more the trend here in Europe on the big money stages. And the choreographer will personally not have done contact improvisation. The dancers, maybe. Probably a few classes. I doubt that a really famous and funded choreographer would know any people who are really good at contact improvisation, that bastard child of the dance art world, and would have to use ballet-gone-release dancers who can partner.
Using language riddled with isms and dead French thinkers names, this choreographer will bring the tools of CI into the brighter wider better funded stage. Using words ending with “icity” and words with “post”, “pre”, and “neo” suffixes, the choreographer will dazzle us and amaze us with a new dance frontier.
Will it be Forsythe, or Le Roy? Bel, maybe. How about Wade? Sehgal?