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At Shabbat Contact. Photo: Ed Shamis |
From the moment I touched down in Tel Aviv, my interactions with people were intense, honest, probing and warm. To be included in the Israeli Contact Festival was both a surprise and a challenge. Having been away from it a long time, I considered what my relationship to contact improvisation is now, what it offers and what I have to offer people whose dancing practice is deeply felt and not so preoccupied with aesthetics. I was eager to continue developing my teaching of Contemplative Dance Practice. What follows is a blow-by-blow account of the classes.
At "The Greenhouse," Day One - FEET ON THE GROUND
I am not accustomed to gyms with big numbers of dancers. And
cold gyms, at that. The basketball players prefer the windows OPEN, so we come
in to a cold floor, cold air…but eventually warm ourselves.
I explain that doing and re-doing is part of dancing. That
just as bread is made from a recipe that might have been used on this very spot
in Galilee 4,000 years ago, but still tastes fresh when you make it, so a dance
task is new each time. Or that it is like combing the hair. We comb, and
recomb. And getting different perspectives on one issue in dancing ultimately
gives us a fuller picture. In the way that a collection of blind men’s
descriptions of an elephant—one talks of a rough trunk, another of smooth tusk,
etc.—different ways of considering the same dance issue fills out the picture.
We begin with a foot
massage, in pairs. Pressing into the spaces between the bones. Pressing on
the bones and releasing. It stimulates and opens so we can “get our feet on the
ground” and “plant ourselves.” Building from the ground up means yielding to
the floor. Opening the feet.
We explore, bringing sensation to each foot as it is newly
massaged. Then letting the exploration
of the feet move the full body, a sweep of the foot engaging all the joints
of the legs, the spine as it twists, the arms as they bear weight. We move into
the middle level to warm ourselves, pushing against floor to rise in space.
Making a circle around the outer edge of the room, we
practice the classic peripheral vision
exercise learned from Steve* and then three
Qi gong exercises that sink and rise along with the breathing. I learned
these from Eva K and practice them myself often. They center and create a good
sense of the whole body, balanced.
Then, how to walk? If we consider taking a step, if we take
the first step toward taking a step, what happens? We walk slowly, and faster,
going through the middle. I first
experienced this with a big group on tour with TBDC, with Stephen or
someone else teaching. The lively zipping through others, using the hands to
help navigate, is fun! If you move swiftly, there’s lots of sensory input, and
you see the faces of the full group flash by. It’s a chance to connect with
everyone.
We slow to do walking
meditation, traditional style. The circle is huge. And someone points out
that it’s hard to know if one’s own movement speeding up or slowing will affect
the tempo of the whole.
A moment of indecision—with half an hour left shall I fill
it full, or allow more space? The group giggles as I waiver and then choose to
ask them to add an element: the slow
spiraling into and out of the floor. Becoming more fluid, it’s about
yielding into the floor in the same way that the feet yield.
Then I ask them to dance for each other, using the elements
of foot finding sensation, presence from
the walking meditation and spiraling into and out of floor. Dance 8
minutes, talk 4 about what was experienced and seen.
Then a final circle with energy gathering from Qi Gong that I learned this year from Jano.
Day Two - HANDS and FEET TO HEAD
We began with a hand
massage that echoed the foot massage of the day before. I taught this form,
which was the Do-In I learned in France in the 80s, and then added the first of
the wrist stretches I learned from
Steve. Warming the hands before taking weight on them is helpful, feels good.
We worked then with tipping to feel yielding and the beginnings of pushing. Playing between those two
on all levels brings about mermaid movement, amphibian and reptile action.
With hands touching, we had weight-sharing pushing duets.
With partners we used a hand
on the mover’s head to provide pressure. As they yielded, the partner did
too, as they pushed the partner gave pressure. This connects feet to head very
strongly.
The dancing became solo
dancing, witnessed and then spoken about.
Introducing Contemplative
Dance Practice in a short amount of time allowed touching on the framework
and introducing sitting meditation. It became clear that many people have not
much frame of reference for the Open Space part of the practice. Some haven’t
practiced ways of relating in groups beyond contact. So I am inspired in the
next class to give them tools to play with.
Day 3 - FROM CENTER OUTWARDS
This class was really settled and felt as though everyone
there had “clicked in” to the work. We started with some Qi Gong, standing. Arching and twisting the back in every direction
and gathering the energy in between. The bird-like lung-large intestine meridians action with exhale fold,
inhale lengthen into a starfish shape came next. We could rise a little,
letting the heels lift off the floor. So we were moving from into center,
folding, and out in all directions, reaching and extending.
The next time was spent on a trio hands-on exercise for head, tail and all the limbs where we
give a slight direction to head and tail first, allowing them to lengthen away
from each other. It is so hard to communicate how delicate the touch wants to
be for this. I talk about how a helium balloon will bound away if you give it
too much oomph. Also that it’s more just a “thought” than a touch. Then we do shoulders, pressing into front and
back, each person on one side, so that the person’s shoulder blades widen away
from each other. Finding space between the bones again. Then catching the
energy of the arm by draping it, drawing outward and testing the weight of it,
shaking a little at the fingertips. Then legs, pressing into buttocks and hip folds and then moving the meat of the legs
around the bones, tracing down the center front and back and finally grounding
the feet again along toes and heels.
Next: Duos with
one giving these kinds of directions with the hands as the other dances,
thinking about center and edge, moving between deep fold and big
expansion. And talking about it in
between. And finally group dancing where you could give hands on to others
during the dance.
Break. Rock garden.
Rocks of three heights – sitting ,standing, lying down. Placement, direction,
feeling the whole space. We start with three people entering one by one.
And then do the same, but add three with
the direction to “make it more of whatever it is.” Finally we go to half the
group at once, so big numbers of dancers
fill the space, and then, after witnessing their own configuration, change,
rearranging in a new way, finding out how to “make it more of whatever it is.”
You can really feel them sensing and looking and navigating. The space is
awake!
Later as Ariye and I talk about this and the experience of
the following Contemplative Dance Practice
I am reminded that these simple practices are really lenses for seeing the
workings of mind and body. That they are frames, much the way a Japanese
lacquer table, black and perfectly shiny, will reveal the first tiny speck of
dust.
People seem more comfortable with the sitting meditation.
It’s shorter. And possibly a few who had a really hard time with it didn’t
return. The sense of the group is great. Expansive. Clear. And the explorations
during Open Space do reflect the
double kind of awareness we’ve been pointing to—feeling one’s own body fully
and also relating to the wider space and all that’s happening in it.
Evening -SHOWING
We created a choreography by consensus in response to the
invitation to show something from the Intensive. People were interested in
doing walking meditation and allowing others to join in. We hit on a sandwich
structure with our group walking, then feathering out into the group rock
garden practice, changing configurations three times, then dissolving back out
into walking, at which point watchers were in invited in. This was announced
before we began. And what happened was astonishing. It was as though the whole
village of the Greenhouse walked along with us. Lior in her wheelchair, a
toddler behind her Mom, and so many of the dancers, so densely packed together
that we could barely step forward. This didn’t seem to be a problem for people.
They appreciated how slowed down it became. Then gong. End.
Day Four - PRECISION AND LETTING GO
Considering the idea that you focus on something, that you
make it your object of meditation, and then you widen out, let it dissolve,
forget it and just allow whatever is there to be. The group talked at the beginning about their questions and
wishes. Some wondered about
incorporating the organs (my reply – in another series of classes), several
commented on experiences in meditation. This combined with the many comments I
heard at the workshop’s end gave me the feeling that the Intensive became a
place for people to work through their own stuff, whether digesting and putting
to use earlier work they had done or just making room for feeling and being.
We began with a twenty
minute evolution roll, traveling from one end of the gym to the other
passing through yielding, navel radiation, pushing and reaching. I loved this:
it reminded me of an image I had in a natural history book as a child. The
tadpole swimming, then sprouting its legs, slipping up onto land, crawling and
eventually hopping away. Some folks didn’t make it to homo sapien…we let them
come to standing slowly.
Repeat of the lung-large
intestine flying meridian which opens out all of space. Then we repeated
Eva’s 3 Qi Gong pliĆ© and rise exercises.
Working next in partners,
one would go for a walk and the other would place him/herself in relationship,
playing with distance and direction. Switch. This was “reading.” Then we did reading timing, the song of the
partner’s movement, and being with it, precisely. Finally we combined duos to
make quartets and three people followed one, reading timing and secondarily playing with space. This is a brand
new exercise for me, and made for some wonderful ensemble work.
Break. Contemplative
Movement Practice with a longer amount of time for Open Space—30 minutes.
The group worked well, but some were frustrated, not remembering the possibility
we had laid out to do round robin-type tagging (the number limit for being in
the space was 10, then I upped it to 15. With 30 dancers that involved some
patience.
Some intense energy arose, and along with that the question
of what does and doesn’t belong within the container of the practice. I
realized later that peoples’ difficulty with this particular aggressive moment
was that the person came into others’ space. Not with touch, but with a clearly
violent energy. It was rattling. It makes me think about discussing working
with energy in the future. We did talk about not solidifying something, not
deciding “this is what I am doing” and then holding on to it. That the practice
involves allowing whatever we have to arise, dwell and cease.
In Tel Aviv, Class One – PARALLEL LEGS, WALKING AND “IT”
Feet on the wall.
I drew the anatomy of the leg bones, and described their function. This classic
is always a revelation or a reminder. From the extended finish, with feet
against the wall and heels tucked into the corner, we came to a stand
gradually. Imagining each shift required
in going from floor to upright, then doing them. Pausing to feel the new
relationship of each cell to gravity. In standing we imagined taking a step. Then did, in stages. Slid into walking meditation.
Then we let it go to do a walking warm up. And walking
with a partner, changing often.
After a break we worked with finding an essential “it,” starting from open space and being
attentive to what arises like a faint radio station that we tune into. We
talked about arising , dwelling and ceasing and in particular how something
ends. Then we transformed that practice of identifying and staying with an “it”
into 10-9-8 practice. Everyone together, then in two groups, talking about what
you saw your partner do.
Then Contemplative
Dance Practice.
Day Two – ROCKING AND ROLLING
We thought about people’s questions regarding meditation and dance, and I suggested that they
stay with the questions, and see what their research question might be if they
don’t already have one. Read Suzuki Roshi on controlling one’s cow by giving it
a big meadow.
I spent quite a while drawing
the head, ribcage and pelvis from above, and from the front, looking
especially at their roundness and the places where there is joint movement. We
did hands on rocking, on a supine
partner, starting with the hips, reaching across and lifting so that gravity
would allow the partner to rock back down. Path was hips to shoulder, and
lifting from behind the shoulder. Then down the legs, moving the meat on the
bones. Then lifting head from underneath just taking the weight, then turning.
Shoulders and arms rolling finished it, with a final sweep—head, arms, legs.
Taking that relaxed body, rocking into rolling. Rock, pause, feel each new stopping place and
how the body settles into it, folding and unfolding arms and legs to create
open surfaces.
Solo rolling of head,
ribcage and pelvis in all levels, using push of hands to arise from watery
sea creature to amphibian, to all fours, and finally to homo sapien. With Meg’s
music.
Duets reading timing with
one leading. Adding walking and running to make it simpler.
Trios reading space
with one leader.
Then trios using both
of the above, but “forgetting,” not controlling and allowing all that had
happened so far to be present. This was really fun. Wonderful connections
between dancers.
Pause.
Walking meditation. Then walking meditation with entering the
circle to find and “it” and leaving when it’s complete. A new experiment.
Contemplative Dance
Practice, this time 20 minutes to sit and 30 for Open Space.
FINAL DAY
We started with the standing
hands on similar last week, but lifting the leg and circling the knee, then
replacing it. We traced as partners
began to move, and after both people had experienced hands on, made it into duets with tracing.
Then standing lung
meridian action (the bird-like one) followed by Eva’s 3 Qi Gong exercises,
all in the service of unifying the down and the expanded out and upward.
Walking meditation in
3 parts – 5 minutes each first plain, next going in and out, and finally
with only one time entering.
We took a long (“Israeli time”) lunch and afterward began by
looking at Trisha’s Early Works DVD, noting how
the relationship to weight and tilt was connected to the beginnings of
contact. That her work and contact arose in a parallel way, from the same
roots.
Then the transformations
practice. I hadn’t realized how the heart of that is repetition. And how
shifts are an important part of it. Perhaps important to develop the thinking
about this.
Finally, we did 20 minutes of sitting, 10 of warm-up
and
30 minutes Open Space in
CDP. I realized watching that this
practice completely eliminates the “what is happening now?” bardo of repeating
something after the juice has left it or not knowing where to be in a
transitional moment, because each moment
is the thing that it is.
~~~
* Steve is Steve Paxton. I referred to all colleagues/teachers by first name in these notes. In addition to Steve, they are: Eva Karczag, Stephen Petronio and Jano Cohen. Eva and I worked together to develop our understanding of Shizuto Masunaga's Meridians stretches, referred to here. Contemplative Dance Practice I learned from Barbara Dilley. There are references to concepts from Body-Mind Centering as originated by Bonnie Bainbridge Cohen and to practices from Alexander technique which I studied with Lydia Yohay, Jano and several others.