The document discusses the author's experience drawing dancers improvising their movements. The author aims to capture brief expressive moments in quick sketches from memory rather than direct observation. This challenges the author to identify the main lines of movement and react spontaneously to the unexpected shapes, interactions, and emotions displayed by the dancers. The author feels privileged to observe and draw the dancers freely expressing their personal feelings through improvised movement.

1. SPONTANEOUS
IMPROVIZATION

2. Some
years
ago
I
had
the
opportunity
to
draw
a
dancer
while
in
movement.
I
wanted
to
know
why
the
a9tude
of
a
body
spoke
so
much
to
me
and
to
understand
the
expressive
quali>es
of
line
drawing.
In
2015
I
was
again
fortunate
to
be
able
to
draw
dancers
who’s
movement
was
mainly
guided
by
improvisa>on.

5. Lately,
drawing
the
group
of
dancers
moving
in
an
improvisa>onal
way,
I
too
had
to
be
ready
to
perform
with
a
spirit
of
spontaneity
and
intui>on

6. This
>me
there
where
many
people
performing.
I
felt
that
these
new
drawing
sessions
would
further
reinforce
what
I
had
previously
learned
and
internalized.
I
thought
about
how
I
would
approach
the
challenge
this
>me
around.

7. I
imprint
an
image
on
to
my
memory.
Then
drawing
rapidly,
generally
within
ten
to
fiIeen
seconds,
no
more
than
thirty,
I
sketch
what
I
see
have
in
my
memory
rather
than
from
direct
observa>on.

8. Rapidity
is
important,
because
the
image
in
my
mind’s
eye
will
dissolved
quickly,
being
replaced
by
the
next
experience.

9. I
wait,
ready
to
capture
a
brief
moment;
a
swiI
expressive
movement
that
catches
my
eye

10. A
few
seconds
to
draw
what
I
have
commiMed
to
my
memory
forces
me
to
iden>fy
the
main
expressive
line

11. Exact
human
propor>ons
are
not
the
primary
goal.
I
am
making
an
expressive
work,
whether
figura>ve
or
not

12. At
>mes
some
dancers
would
connect
with
each
other
in
two’s,
three’s
or
even
more

13. Dancers
meld
into
each
other
crea>ng
combined
forms

14. I
observe
how
one
person’s
movement
and
form
can
be
a
result
of
the
interac>on
with
another
dancer’s
posturing

15. I
react
to
an
impulse;
a
sudden
realiza>on
of
what
I
am
seeing.
In
this
case
the
geometry
of
the
body
in
movement.

16. A
sudden
realiza>on
sees
me
diverted
into
a
new
direc>on.
The
animal
appears.

17. My
reac>ons
are
spurred
not
only
by
the
formal
shapes
that
I
see,
but
also
the
dancer’s
expressive
movement.
I
have
liMle
>me
to
think;
just
react.
So,
only
on
comple>on
do
I
fully
see
the
dancer’s
emo>ons
and
character.

18. I
was
giIed
the
privilege
to
see
the
dancer’s
express
their
very
personal
feelings
in
movement.
Improvisa>on
comes
from
a
decision
to
liberate
emo>ons
and
so
I
had
to
be
ready
for
the
unexpected.

19. Acknowledgments
I
would
like
to
thank
Einat
Tal
for
her
generous
invita>on
to
draw
the
improvisa>on
dance
groups
in
Barcelona
and
Sant
Pere
de
Riudebitlles
in
Catalunya.
Thanks
you
also
to
all
the
dancers
for
allowing
their
work
to
be
experienced
by
others.
I
also
extend
a
thank
you
Judit
Rodriguez
for
photographing
me
drawing
at
the
Barcelona
session.