Dancehouse is on Wurundjeri Country. We offer our respects to the Wurundjeri woi-wurrung people — and to all Aboriginal and Torres Strait Island people — who continue to dance on Country, and have done, for thousands of generations. Always was and always will be Aboriginal land.

Not a Jam

by Aimee Raitman

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‘Not a Jam’ (2026) by Aimee Raitman. Photo by Georgia Moloney.
6pm, Wed 14 — Sat 17 Oct 2026
Upstairs Studio

**TWO SHOWS $48
***THREE SHOWS $66

Fan $42
Full $32
Concession $27
Members/Locals $22
MobTix $22
Companion Card FREE

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** See YOUR CHOICE OF either We wanna have a lot of forks in a backpack by Lola Borroni and Hannah Vella OR ROCKABYE / HAVEN by Sam Osborn / Wren Sky Milera on the same night

*** See ALL THREE SHOWS on the same night

Duration: 45 minutes

 

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— Words, histories, and dancers roll around a studio, but this is not a jam.

A ‘Jam,’ as it is fondly known in the Contact Improvisation community, can be a social gathering. A Jam can be a research lab. A Jam can be a training ground. A Jam can be a rich space of learning, or a place to decompress.

In the Upstairs Studio at Dancehouse, the Contact Improvisation Melbourne Jam gathers every Monday night. This year marks the 30th anniversary of the Melbourne Jam. Many of the dancers at the Jam have been dancing together since before Aimee and Ned were even born.

This show is Not a Jam. It is a performance that questions the performability of Contact Improvisation.
As the dance form’s name suggests, the dancers must stay true to both the elements of remaining in Contact and Improvisation. They may discover new things about each other throughout the show. They might giggle or fall clunkily. They will surely breathe a little deeper, and negotiate each other’s weight. Audiences might feel their body a little more grounded.
Through other bodies they have danced with, the performers trace their lineage back to the founders of Contact Improvisation, Steve Paxton and Nancy Stark-Smith.

This show explores the lineages and histories of Contact Improvisation in a playful, experimental, and spontaneous manner. Audiences witness an unfolding as the two dancers learn more about each other, trace the constellations of their dance histories, and interrogate the performability of an improvised practice, live, each performance.

 

Choreographer & Performer Aimee Raitman
Performer Ned Nicholson
Sound Design Callum Cheah

This work has been supported by The Space Dance and Arts Centre, and Hobsons Bay City Council. First development created in collaboration with Martin Hughes, presented at Out of Bounds 2026 supported by Dancehouse and Lucy Guerin Inc.

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Aimee Raitman, based in Naarm/Melbourne, works with improvisation, choreography and body based practices. Most recently, she has been creating intergenerational and interdisciplinary work. Her choreographic practice is informed by her training and research in Contact Improvisation, Gaga and Zenthai Shiatsu. Aimee holds a Bachelor of Fine Arts (Dance) from the Victorian College of the Arts, where she received the VCA Choreographic Award. Her work has been supported by Australian Dance Theatre, the Adelaide Fringe Foundation, Geelong Arts Centre, Lucy Guerin Inc., Dancehouse and ACMI. Aimee is currently an Artist in Residence at The Space Dance and Arts Centre, was a 2026 Foundations artist at The Substation, and is an active collaborator with Coexist Collective.

Callum Cheah is an award-winning sound designer, composer, writer and ambient music creator from Melbourne, Australia. Callum’s award-winning designs have toured festivals globally, such as “Altar” (OFFIE Award Winner, Edinburgh Fringe, MIDSUMMA), “Asynchrony” (2022 Adelaide Fringe Weekly Best Film, Digital & Interactive Work, Melbourne Fringe, Adelaide Fringe, Edinburgh Fringe) and “A Recorded Companion” (Access & Inclusion Award, 2020 Melbourne Fringe Festival). They have also worked with Barking Spider Creative as assistant sound designer/facilitator on ‘Kids Country’ (2022), Facilitator on ‘Wood Wide Web ‘(2022) and as the Head Sound Designer on ‘Old Light, New Lens’ (2023). Most importantly though, they love making little bleeps and bloops on the ‘too many’ synthesizers they own.

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