“in the hot humid night; raw dance, serious surface, hard-nosed… at one point a trio of coming and going and lifting uses the same short phrase six or eight times, drilling it into us beyond recognition, as if asking the sequence to take on by its insistence something other than the delight suggested by the degree of variety displayed elsewhere in the piece.” Douglas Dunn DansNotes



Jordan is an Associate Professor of Dance at Texas Woman’s University, a Fulbright Specialist and a recipient of the prestigious 2012 TWU Mary Mason Lyon Award for Excellence in Scholarship, Teaching and Service. He has co-written an article on integrating partnering and improvisation into technique class in Contact Quarterly (Partnering, Permeability, and Sensation: Integrating Contact Improvisation into Technique Class). In addition, he has been on faculty at Hunter College and Movement Research in NYC and taught nationally and internationally at institutions and organizations including:



Alfred University, Alfred, NY 
Brown University, Providence, RI 
Columbus Movement Movement (cm2), Columbus, OH 
Danz'Aqui Festival Internacional , Luquillo, PUERTO RICO 
Earthdance, Plainfield, MA 
Hollins University, Roanoke, VA 
Hong Kong Academy for Performing Arts, HONG KONG 
Kenyon College, Gambier, OH 
Living Arts of Tulsa: New Genre Arts Festival, Tulsa, OK 
Long Island University, New York, NY 
Manhattanville College, Purchase, NY 
Movement Exchange, Providence, RI 
Moving Arts at Earthdance, Plainfield, MA 
National Taiwan University of Arts, Taipei, TAIWAN 
New York University/Experimental Theatre Wing, NYC 
Nippon Sport Science University, Tokyo, JAPAN 
Ohio State University, Columbus, OH 
Ohio Wesleyan University, Delaware, OH 
OhioDance Festival 
Princeton University, Princeton, NJ 
Rhode Island College, Providence, RI 
Rice University, Houston, TX 
Slippery Rock University, Slippery Rock, PA 
Studio Plus A, Tokyo, JAPAN 
Sushi Performance and Visual Art, San Diego, CA 
Texas Christian University, Fort Worth, TX 
Texas Dance Improvisation Festival 
Tsekh Summer School in Moscow, RUSSIA 
University of Central Oklahoma, Edmond, OK 
University of Texas, Austin, TX 
Wesleyan University, Middletown, CT 
West Coast Contact Improvisation Jam, Berkeley, CA 


Technique Class


Integrating the perspectives of contact improvisation derived partnering work and improvisational structures into 'technique class’, we will warm up through working improvisationally with a partner, before shifting our focus to set solo body combinations that emphasize spiral, successive movement patterning and distal movement initiation. Class concludes with explorations of duets that integrate improvisational partnering and set solo phrases at close-quarters. The class encourages dancers to shift between solo and partnering perspectives with ease and finesse, to engage in real time decision-making, and to use technique to move beyond technique by dancing at the border between clarity and abandon. 



Accompanying


A class in moving with a partner in near-space, touch and non-touched based relationships, to both scored and pre-set movement structures. The class progresses from contact improvisation derived improvisation and partnering scores to explorations of pre-set solo movement combinations, before integrating scores with pre-set structures.

 

Contact Improvisation


More and more I am looking at contact improvisation class as an opportunity to develop and hone physicality. By physicality I mean an embodied, dynamic state of presence, in which many opportunities are present in every moment. Using partnering scores we will explore moving and weight-sharing with a partner with ease and finesse, encouraging an ability to seamlessly transition between together and apart. 



Sustaining Ambiguity 


This dance-making laboratory in improvisation/composition looks at the possibility for dance-making to be a process of dismantling what we already know. Ambiguity speaks to holding more than one meaning at a time. We will explore, create and revise structures that help us to know a dance and then, rather than resting on what we already know, we will dismantle these structures in order to sustain ambiguity and access new possibilities for expression.