DOTS

"The Dots" is a movement research practice developed by Aleksandra Janeva Imfeld. It serves as a tool to both acknowledge and disrupt habitual patterns, rhythms, and sequences in improvisation, resetting the body in unexpected ways. The body is treated as a space, with each “dot” acting as an author within that space, shifting focus from traditional movement initiators (e.g., limbs) to precise internal points that trigger movement.

Through this practice, participants learn to make choices with trust and immediacy, viewing decisions as part of an evolving composition. Instead of judging choices as right or wrong, they engage in a continuous dialogue between action and feedback, shaping the next move based on the body’s response to what just happened. This rapid back-and-forth deepens participants' understanding of the body’s impulses and reactions.

The methodology includes a range of exercises, from simple to complex, designed to enhance the connection between the “dot” as a movement initiator—the “author of the movement”—and the body’s motor and sensory functions.

• The Dot (Ball) as the Movement Initiator/The dot, a small ball-like structure, is the motor of movement, serving as the central point of initiation. Its texture can change, influencing the quality of movement, whether soft or firm. By focusing on the dot, the mover refines their precision and deepens awareness of the body’s structure.

• The Helpers as Coordinators of the Movement-/"Helpers " are other body parts or systems that assist in executing the movement initiated by the dot. These include muscles, fascia, and more. Sometimes, helpers activate before the dot, creating a dynamic preparation process. For instance, when lifting the head, muscles in the neck, shoulders, and pelvis may engage to balance the action.

• Composition/The dot initiates movement, but the mover decides how many helpers are involved, from minimal to full-body engagement. This deepens body awareness and transforms movement into a creative composition, offering a range of expressive possibilities from precise control to expansive, whole-body movement.

  • The "Dot" methodology is based on the idea of an imaginary point that can be placed anywhere on the dancer’s body. It is essential to understand that, once placed, the dot does not move within that specific part of the body – it doesn’t slide, shift, or expand locally. Instead, the dot may "jump" to another part of the body, from where it then takes the lead in initiating movement.

  • No matter how minimal the movement may be – such as a slight rotation or tilt – the entire body responds in accordance with the dot. For example, if the dot is located inside the head and initiates a small rotation, the head will soon follow that direction. This will likely lead to the neck, shoulders, and even the rest of the body being drawn into the same movement. This chain reaction continues until the dot relocates to another area of the body, where it begins a new direction and dynamic of movement.

Key principles explored in "The Dots" practice include:

1.Discovering specific “dots” – Points placed on the surface of the skin, from which movement begins.

2.Using partner touch – Using the touch of a partner to change the points from which we tend to initiate movement.

3.Entering the “dots” into the body underneath the surface of the skin -Shifting focus from the skin's surface to imagining dots beneath the skin or within the space just beneath the surface and further inside the body.

4.Practicing solos, duets, and trios within specific body parts – Learning how to initiate multiple layers of movement within one body part, starting with solos and building up to duets and trios.

5.In-Between Spaces – Focusing on initiating movement from points along long bones, where bending is limited.

6.Trio Manipulations – Incorporating physical touch from others, which creates sensory overload and shifts the quality of movement in response to external input.

7.Second-Hand Choice – Encouraging participants to reconsider initial choices by making secondary or deferred decisions, revisiting or shifting the first impulse.

8.Accumulative Dots – Gradually adding more dots from which movement is initiated, creating complexity and expanding bodily awareness.

9.Pause – Highlighting the importance of stillness and suspension within motion, offering moments for reflection and resetting.

10.Dots Musicality – Engaging with rhythm and timing, creating a dynamic interplay between movement and its internal or external tempo.

11.Unpredicted Stops – Introducing unexpected halts, allowing the body to adapt and respond creatively to sudden interruptions.

12.Frozen Dots – Exploring moments of stillness, where the dot "freezes" in space, providing insights into tension and the dynamics of holding a particular group of dots "frozen".

13.Instant Decision-Making – Practicing making decisions on where to guide movement during moving.

14.Multitasking – Assigning different movement tasks to multiple body parts, each controlled by its own "dot," encouraging participants to move in a layered,simultaneous way.

15.Karaoke Dots as a Voice in Movement

Participants connect movement to vocalization, imagining each "dot" as a distinct voice within a song. The goal is to synchronize sound and movement, exploring how voice influences rhythm and movement initiation.

16.Photoshop Technique for 3D Movement Tracing
Participants visualize tracing movements in space as if drawing 3D shapes with a "Photoshop" tool. Dots serve as spatial guides, enhancing precision and encouraging participants to create intricate, flowing pathways.

17.Using Dots to Break Familiar Patterns
By placing dots in unfamiliar or awkward locations participants disrupt habitual movement patterns. This encourages creativity and exploration beyond the body's usual positions.

18.Activating the Whole Body
Participants activate different body parts (head, arms, legs, torso) by shifting dot placements . This sequential activation ensures dynamic, full-body engagement, enhancing coordination and awareness.

19.Reverse Flow Dots
Movements start in reverse order challenging habitual movement patterns and stimulating new neural pathways.

20.Shifting Focus Between External and Internal Dots
Participants alternate between external (surface) dots  and internal dots as movement initiators, deepening body awareness and sensory connection.

21. Contrasting Qualities Dots
Different dots are assigned opposing movement qualities, such as soft vs. sharp, fostering the ability to manage multiple movement dynamics simultaneously.

22.The "Marionette Dots"
Participants imagine dots as puppet strings controlling their body, exploring external movement control and expanding physical expression.

23.Sequential Dots
Dots are activated in a progressive, domino-like sequence, creating a continuous and flowing chain of movements through the body.

24. Tension-Releasing Dots
Dots are placed on areas of tension, and movement is used to release stress, combining physical motion with somatic awareness for relaxation.

25. Complex or Asymmetrical Pathways
Movement jumps unpredictably between non-linear body parts, demanding heightened alertness and adaptability in both mind and body.

26. Octopus Movement Research
Exploring movement by considering the octopus as a model, where the head, legs, and arms move in a unified, non-hierarchical way. The concept assumes that all parts can move with similar speed and flexibility, even if this isn’t physically true.

 

These principles create a framework for participants to break free from conventional patterns and explore new creative possibilities. By focusing on these concepts, the body becomes a playground for improvisation, where movement is driven by the dialogue between choice and response.

 The Dots" fosters an environment where participants not only explore their own bodies but also share energy and inspiration with others. It invites participants to collectively shape a research space, where support, unpredictability, and collaboration thrive.

Participants also engage in the “Solo of the Day” and “Performance of the Day” practices, which encourage them to become more comfortable being observed by others, while also learning to borrow and integrate the movement logic of their peers.

As a teacher, Aleksandra integrates DJ-ing and diverse music selections to challenge habitual ways of moving to rhythm. By introducing various music genres and styles, participants are encouraged to step out of their comfort zones and make unexpected dance choices, freeing their bodies from ingrained patterns. The different musical landscapes provide a creative framework that invites dancers to adapt and explore new dynamics within their movement.

The use of humor is also a vital part of the process, creating a supportive environment where participants can embrace self-observation and constructive criticism with openness and ease. Humor helps to break down barriers, allowing dancers to approach their own observations with lightness and fostering a space of growth and shared learning.