This article examines the senses of messiness and unpredictability which I have found within the Cunningham dance technique. It will do this by explicating my lived experience of learning and teaching aspects of a Cunningham-based approach to dance practice. A central question of my research is how a sense of messiness contributes to enable ‘kinaesthetic unpredictability’ in the lived experience of performing Cunningham’s precise and predetermined dance phrases. To define my ‘sense of messiness’ I will use choreological methods and improvisational frames to argue that a somatic sensation of messiness arises in various ways in the body/mind, produced in the act of dancing multiple and fragmented relationalities. The article will question the value of exploring a lived experience of Cunningham’s fixed forms and examine how messiness and unpredictability can free up dancers to find individual innovations. The discussion draws on voices of Cunningham dancers and teachers. I will share my own pedagogic approach to expanding a lived experience, encouraging different ways of knowing and experimentation with potential relationalities. The article aims to extend debates about dance training today including the use of codified forms and somatic approaches, principles of legacy techniques, and synthesising and innovating ways of knowing.

本文探讨了我在坎宁安舞蹈技巧中发现的混乱和不可预测的感觉。它将通过阐述我在基于坎宁安的舞蹈练习方法的学与教方面的实践经验来做到这一点。我的研究的中心问题是，凌乱的感觉如何有助于在执行坎宁安的精确和预定的舞蹈短语的生活经验中实现“动感的不可预测性”。为了定义我的“混乱感”，我将使用舞蹈学方法和即兴框架来论证，身体的混乱感会以多种方式在身体/心灵中产生，这是由跳舞多重和零散的关系而产生的。本文将质疑探索坎宁安固定形式的真实体验的价值，并研究混乱和不可预测性如何使舞者有空找到自己的创新。讨论借鉴了坎宁安舞者和老师的声音。我将分享自己的教学方法，以扩展生活经验，并鼓励人们以不同的方式来了解和尝试潜在的关系。本文旨在扩展有关当今舞蹈培训的辩论，包括使用编纂形式和躯体方法，传统技巧的原理以及知识的综合和创新。鼓励人们以不同的方式去了解和尝试潜在的关系。本文旨在扩展有关当今舞蹈培训的辩论，包括使用编纂形式和躯体方法，传统技巧的原理以及知识的综合和创新。鼓励人们以不同的方式去了解和尝试潜在的关系。本文旨在扩展有关当今舞蹈培训的辩论，包括使用编纂形式和躯体方法，传统技巧的原理以及知识的综合和创新。