In Touch

Loby Lam


Loby works as an improvisation practitioner and teacher. He has a background in improv-piano (since 1991) and -theatre (Founder of the Theatregroup Vreemdwild in 2009)
He organized performances with students from the Art Academy AKI/ ArtEZ Academie and provided performing workshops.
Through play, people get connected and learn the most effective way through personal experiences.

Contact Improvisation is largely influenced by the Japanese martial art Aikido, and this is why his search for the roots of CI led to practicing Aikido. Since 2013, he has been practicing at the Aikikan dojo (The Netherlands) and this inspired his CI practice. He is preparing for his 1st Dan black belt examination.
"My core motivation for giving CI workshops is to bring people together and seeing our connection through playfulness as we show our authentic selves in our movements." CI shows benefits applicable to his daily life, like being mindful in changes and to make a deeper connection with life itself and bring
oneself more in the present moment.

He set up Kahbam (a CI group based in Enschede, The Netherlands) in 2013, to combine all the different gathered perspectives of movements and disciplines in order to offer space to share movement experiences.


Connected movements into performance

We will explore our movements inspired by the practice and attitude from the Japanese martial art Aikido. How do we make a connection through interaction directed towards our centers?
How do we extent and blend in with the given direction, redirect the connected center point to challenge balance? We are going to explore and play with connected movements and explore different ways providing of support by grounding and expansion of our bodies. We challenge and take care of our partners by the amount of input, meanwhile being able to catch ourselves at any given moment.

The findings internalized in our muscle memories, will be translated into small performances, to exchange inspirations. During these performances, we will connect the observers with the performers' movements. How does the observer allow inspiration and being moved by the performer, and how does this effect their own movements in order to become the performer as a reaction?
How does the performer find conclusions and endings to become the observer?
We become the observer and the performer at the same time by inter-acting connected movements.