Physical Therapy for Contemporary Dancers

Sharon Gary has a substantial history of studying, performing and viewing contemporary dance and improvisation. This, combined with her expertise in physical therapy, makes her an ideal therapist for the contemporary dancer. Sharon is intimately familiar with common injuries which can occur with repetitive movements, specifically the movements and strategies of the contemporary dancer. Sharon recognizes that your innate movement style, personality, history of sports, dance, yoga and other movement practices all contribute to who you are as a mover and a dancer.

Ideokinesis has had a profound influence on how she introduces movement and teaches the inner workings of self-discovery through movement. Sharon can help you find the inner feeling of right placement inside your body. She can help you discover how to easily move your body within its own architecture and to respect your own limitations. Every person, every body is unique. Sharon tries to meet you where you are. She looks and listens to you, to see you, your body and your unique movement strategies. Sharon’s keen eyes and years of experience can help you heal your present injury, and just as importantly, help you with injury prevention for the future, too.

Sharon Gary’s Contemporary Dance Background

  • 1980 – Austin, Texas Workshop with Deborah Hay when she was working with “playing awake” strategies and practices of cellular awareness.
  • 1981 – Austin, Texas – Workshop with David Gordon 1981.
  • 1982 Moved to New York.
  • Early ’80’s – NYC -Studied improvisational investigations and practices with Simone Forti during a period when she was studying animal movements at the zoo. We used imagery, including animal imagined movements, to create movement within group improvisational classes.
  • Early ’80’s – NYC – Improvisation workshop with Dana Reitz at Movement Research.
  • Mid- 80’s – NYC on Leonard Street – Studied with Nancy Topf for 3 years. Her work then was still developing from her time with Lulu Sweigard, Barbara Clark, who studied with Mabel Todd, and Nancy’s friends a collaborators – John Rolland, Marsha Paludan and Mary Fulkerson. The basis of Nancy’s work was imagining anatomical shapes, structures and joints as the impetus to move. In her classes, individually and as a group we improvised to explore these deep anatomical connections, the breath, with the life and mind of movement. Much of the work was loosely based on developmental patterns, similar to that of Bonny Bainbridge Cohen, one of her contemporaries (though Nancy would have never said it like that.)


Please feel free to contact Sharon Gary for more information or to set up an appointment.

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