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Written by ana
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Wednesday, 12 August 2009 15:15 |
We’ve been in Brazil for a month and are now in Porto Alegre, but we got to see quite a bit of progress on our land in Canoa Quebrada before we left. The dance floor is almost done, and we have started construction on an outdoor kiosk which will have a little kitchen and several bathrooms. The land is now pretty covered with coconut and fruit trees, as well as patches of succulents, colorful flowers and jasmine. Plans are rolling along for the Nomadic College Brazil, March 2010, and my goal is to have registration online by the end of September. We will do our best to keep prices low and provide helpful information for planning your trip there, which promises to be unforgettable, and hopefully the first of many!!
I will be teaching a class in the Nomadic College titled “Off Balance,” and had the opportunity in Canoa to do some research. I am intrigued with finding ways of inducing and taking advantage of the state of being off balance as it is a rather fundamental Axis Syllabus concept, yet one which can be hard to recognize and embrace. It makes sense that we develop many subtle and unconscious ways of avoiding being off balance, as most of our daily activities involve being vertical and in control, so it is necessary to recognize these patterns in ourselves in order to play with the infinite potential and movement possibilities that are available when we truly let ourselves go, at least for a moment, at least in part. I plan to take advantage of the landscape in this class and hold at least one of the classes on the beach and in the water. We are building this beautiful dance floor, but it would be an injustice not to take advantage of the spectacular topography, as well, and the ocean herself right in our front yard.
Several years ago I wrote an article on my blog titled “God’s Ballroom” in which I described how I would go to the beach during low tide and dance, alone, removed from the pressures of language, free from the cages of structure and identity. I wrote about how I would slowly surrender to the pull of the ocean. This time I went to the ocean even more and played in deeper waters. The beach in Canoa is the perfect laboratory in which to explore going off balance. The water is warm, not too salty, and there is a nice gentle slope which starts up on the sand, flattens out for a while, which is evident at low tide as a nice, long flat surface with a slightly firm floor from the dampness, and then gently slopes again out into the water. The waves tend to be small and well spaced apart, except when the tide is coming back in and they become a bit rougher, but still they are welcoming and easy enough to play in.
There is a familiar pull on the beach that I only have to allow for and engage with, and each time I come I am drawn in a little bit deeper until I can spend hours in the water, going into states of bliss and timelessness. I’ve been collecting some very simple concepts to play with in the water – focusing on the pelvis and tracking its movements as I surrender to the push and pull of the waves, returning to rootedness through my legs and feet, or allowing for small steps which follow the movement of my pelvis as the water initiates different pathways. I have mostly played with having a soft focus, something to return to, but allowing lots of space for direct experience, sensation, surrender, and interplay between surrender and will. Different depths in the water offer different types of exploration, different rhythms, but the movement is initiated by the waves and energy generated from the ocean and by all of the forces at play in the water.
I feel drawn onto this path of discovery. This is where my work with movement and dance and performance has been taking me. Everything I have learned about allowing for movement and listening for impulse feels heightened as I play in and out of the water in Canoa Quebrada. There is logic to the idea that the ocean and the moon and the sand can teach us, but the logic of it is not the end. The idea is not the real thing. These forces cannot be accurately described, but they are available to us to engage with directly. We have complete access to this wisdom. And in Canoa it feels like a big open hand giving us free reign and clear messages. The teachings are pure and authentic.
To have this intimacy with the elements feels very instinctual. I began to think about Yemanja, Goddess of the ocean, though I know little about her aside from music and myth. I can learn many things by studying traditions that have evolved out of these forces, but I need no teaching to learn from the forces themselves, no ability aside from the ability to stay present. To allow my body to fall into her arms, she teaches me so much. There is such a beautiful dance in her push and pull, her rolling invitations. The earth may be our first dance partner, but we must also dance with the ocean, with the wind, with the sun and moon, to their rhythms, and the rhythms of everything that they have all created together. It’s the overarching artist’s collective. And here are these opportunities to feel something so real and pure, something that has been around since way before we humans stepped onto the scene with a swagger. We’re not dominating the waves or the wind. They are not our cross to bare or our dragon to slay. They are a source of universal wisdom and power, simple, pure, loving and fierce. We are of them. They are not really of us, although we try mightily to force them into our stories. I think there is no coincidence that the ocean and the wind are also areas of current interest in the search for renewable forms of energy, energy for production, transportation, etc., etc.
When I chose the topic of “off-balance” for my class I hadn’t been planning to take the class to the beach and into the water, but it seems so obvious now, and the opportunity is here for the whole month to use Canoa's vast resources. What a waste of energy it would be not to. I hope you come. I hope this is just the beginning. Maybe by dancing here, we will be welcoming many great and powerful unknown forces.
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Last Updated on Wednesday, 19 October 2011 08:55 |
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Written by Administrator
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Thursday, 01 January 2009 23:24 |
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We’ve been in Canoa Quebrada for a couple weeks now, in Ceara, along the famous northeast coast of Brazil. This is my fourth time here and Fabio and I plan to build a house here eventually, but meanwhile, while we wait for the appropriate government agency to give us permission to begin construction, we come here and spend time with family and friends, trying to imagine a life here someday.
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Last Updated on Thursday, 13 August 2009 06:40 |
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Dance Class as a Movement Laboratory |
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Written by Administrator
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Thursday, 01 January 2009 23:26 |
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The Axis Syllabus – universal motor principles™ is a set of ideas relating to dance or movement. It includes a technical reference guide derived from laws of physics, geometry and human anatomy, and presents observations about safe and advantageous mechanical parameters within which the human structure suggests we should move. One thing that sets the Axis Syllabus apart from other movement “techniques,” is that the material presented in class is to be used as a framework in which to explore these principles, a sort of obstacle course or playground in which a student can engage in her or his own exploration of movement. Phrase material is offered to serve the students and their learning, rather than the other way around. When counsel is given in class, it is usually addressing the mechanics of a given movement, shedding light on a dynamic principle that the student is missing, rather than a judgment of their instrument and the way it moves. In other words, students receive feedback about what they are doing, as opposed to criticism about themselves or their bodies. |
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Last Updated on Friday, 02 January 2009 19:30 |
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Written by Administrator
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Thursday, 01 January 2009 23:21 |
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If you are interested in contact improvisation but are a little timid or scared, or if you have already begun exploring the world of contact but want to find ways to go deeper in your exploration, the Axis Syllabus is a fantastic toolbox for several reasons. The safe falling habits, structural awareness and ability to make transitions smoothly can all be incredibly liberating, giving you more confidence to try things and allow for off balance situations. The AS helps you feel universal principles in your own body before starting to merge dynamically with others, and ultimately you first have to trust yourself before you can really trust another person. CI then becomes a bit less awkward and scary. Of course, there are no guarantees, no magic formula for success, and everyone must find their own way in their own body, but I believe the Axis Syllabus is a very helpful resource for anyone who moves, and particularly for contact improv. First I want to focus on falling. When all weight sharing and lifting possibilities are relatively new experiences, one is bound to find herself in awkward exchanges, but one must try anyway in order to learn. Rather than avoiding falling at all costs, in AS training we seek opportunities to fall, exploring new ways of falling and guiding our falls safely, striving for “off balance” as the goal. If you fall to the floor repeatedly in different ways and don’t hurt yourself, your body will get the message that it’s OK to fall. If it’s OK to fall, then it’s always playtime! In fact you may even start to find falling pleasurable or fun. Having well trained falling reflexes helps you to remain open to new experiences. If you are more apt to explore and try things, you are bound to learn much faster. I remember a dance partner once commenting to me when I was first starting to go to jams about my ability to fall and land safely. What I think is so cool is that this is something that nearly anybody can learn. It doesn’t take any special qualities, flexibility or strength. It takes concentrated study and surrender, so that the right body parts take the impact at the right angle at the right time. Meeting the ground with receptive body parts (typically the same body parts used in self defense training,) can actually be very good for you, reaffirming your presence and the resilience of your structure. If things don’t go how you expect and you fall to the ground, you know how to protect yourself and you can use the energy from your fall and channel it right back into the dance. As students and teachers of the Axis syllabus, we examine the skeletal support system as the first building block in analyzing movement through space, looking at where the most support can be found and how to use this support to move with the least amount of effort or strain. This takes specific organization of the body and sensitivity to weight shifts, which can then serve as a foundation when you want to offer the support of your bones to another, or you want to find it and use it in his or her body to support you. When you have studied and know well the support structures in your own body, you are more likely to be able to find it in someone else’s body. There is something so satisfying about feeling the sound architecture of your bones stacked up solid and receptive inside of you, and then building on top of that with another person, maybe several people! Another important part of the Axis work is what we call sidebending. Sidebending principles generally refer to lateral flexion in the spine, but acknowledge that moving sequentially through the body is the more efficient way to travel through space and that our body parts are not meant to move along single planes or axes. A healthy sidebend actually involves rotations around all three axes in all three proximal motors, the pelvis, torso and head. However, rather than working primarily from this idea of a shape, we use the idea lightly to suggest something the body passes through on the way to something else, so that we are always in a state of transition, never fixed. This is very helpful when trying to merge your body’s collection of shapes with another’s, and you can be very adaptable and open to respond to moment to moment changes in a logical way. When multiple layers of understanding come together it can be very exciting. What I have described above is foundational work. Without this foundation, higher dynamic becomes more and more risky. Of course, with no risk, there is no fun. So . . . it is about getting to know the risks involved as well as possible, and going from there. For more information about the Axis Syllabus and some great articles written by Frey Faust about CI and partnering, go to http://www.axissyllabus.com.
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Last Updated on Friday, 23 October 2009 22:59 |
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