Thursday, October 29, 2015

kinesthetic-formed dance

reform (theater-) dance from our kinesthetic sense, above all others
 train ourselves to let the movement be shaped,
not by movement language that we've learned,
but from our kinesthesy in relation to how we perceive and relate with the world within and around us

-> how are sound, visuals, even acting re-formed by such a sensation / experience?

I keep saying that Kinetic Awareness® is an exceptionally good technique for re-discovering the fundamentals of the self, understanding the root of one's own bodymindbeing, before any demands or judgements - then develop whatever potential there is and is desired.
Other than more μετά-oriented approaches, such as Ideokinesis, or BodyMindCentering, or even Feldenkrais, Kinetic Awareness® minimizes any instrumental meta-structures (imagery, instructions, narratives, pre-set movement-sequences etc.) and gives maximum space for experience and self-guided exploration. Props are employed by the student upon their own chosing. While it leaves such meta-structures behind, it is at the same time very systematic, because it helps to discover and follow the system of the practitioner's individual bodymind. so rather than anyone or anything external, the individual practitioner, the individual bodymindbeing, is the system (!) 

-> does dance truly come from the most basic experience of movement as being alive / on our frequency? can we enjoy music because we have a sense and experience of movement to draw from?

same for any other related art-form that involves sight, sound, smell, etc etc.
(and ideally beyond confinements of any single cultural zone)

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