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.