My friend Misri wrote making some connections to the Julie Tolentino writing I did a while ago about her performance A True Story About Two People, here. She's writing about it in terms of contact improvisation, which really wouldn't have occurred to me, since its way off my territory. But reading this now I can see how much sense it makes as a refference point to the piece.

"It reminded me a lot of the questions and challenges that arise when I am doing/teaching Contact Improvisation... a form I have practiced for the last twenty years or so and which I've taught the last few years. Your conversation reminded me of how skin or muscle or sweat touch triggers associations of momentary and short lived intimacy, how in a jam you can have a long changing involved physical dance exchange with a stranger and they are not strange anymore and you never see them again. And how leaving a dance is always a moment - significant. Although it does happen a lot, so you get used to quick byes, slow byes, sort of good byes only to say hello again in a later dance. And it can be momentarily painful, a relief, a loss, a good ending, a quick exit. And the hellos, the moment of making contact and then following the point of contact as a duet can also be tentative - a getting to know, a slow and often importantly clumsy exploration of what moving is possible. Fast beginnings can be good too, but is more rare - often fast beginnings are a cover up for allowing the new awkwardness of the meeting and the strange sensation to filter in. A bit like what you said about talking to Julie as you danced to start with - which can mask sensation/just being there. Yeah - good old words. Nancy Stark Smith, one of the founders of CI spoke to me in an interview of how in her teaching of the form - 'the first move is into sensation' .  I like the confusion that is triggered, although it can be hard as well."