Category Archives: the dance

still sitting

Still sitting even in the snow, or maybe especially in the snow.  Sitting requires more rigor and devotion when it is cold and windy.

There are days when I do not want to do the work, when I feel that it will take too much from me, or that I do not have enough to give to it. The work could be anything:  the writing, the riding, the dancing.

I went to the barn early today to ride because a snowstorm was coming.  For me, riding is sitting.  Riding is practice.  Riding is that combination of rigor and devotion.  Today was one of those days when I did not think I had enough to give.  My body felt sore and stiff after several days of riding the big, powerful Friesian, Sanne.

At one point in the ride, I wanted to stop and say, “Wait, this is too hard, I cannot do it, I do not know how.”  In fact, I think I did stop and say something like that.  I could feel how the muscles in my arms were braced, how the pieces of my riding were not flowing together, felt I was coming apart, both mentally and physically.

Here is the thing.  It was less my body than my mind.  It was that old doubting, questioning, fearful part of my noisy mind, the part that has gotten up and left the meditation hall even when my body is still sitting there (in the saddle, holding the reins.)

Somehow I did recover myself.  Here is what I did.  I stopped trying the same old thing, and began to improvise my ride.  A circle here, a softening there, a change of direction:  change, change, change.  I shifted my attention to the stiff, unyielding parts of my body and invited suppleness there.

I think this is what it means to be a spiritual athlete.  Nurturing an athleticism that is not about big muscles or marathon sitting, but the kind of athleticism that is about endurance and steadfastness.  About finding a way in, every day.  Offering the best, every day.

SHARE & EMAIL

shadow or dance?

Sometimes the shadows overwhelm the dance. In relationships, that can mean that we have fallen into shadow, and are no longer dancing.  That seems to happens when there is no real listening, or our attention shifts to the dark parts – the unlit terrain of the relationship.

What is the path out of that?  I think it is deciding that the history of the shadows, the background architecture of the story is no longer really important. What is needed is finding a way to flow forward with good intention.  Then the shadows are not a problem, just playful dance partners.

 

flow

Photo:  Pam White                 Dae and Esme flowing down Lucy Vincent Beach on Martha’s Vineyard

I learned some wonderful lessons about flow today.

First, a lesson from the movement analyst (me):  In movement, in creativity, in relationships, there are two kinds of flow. Free flow is where the feeling is unrestricted, outpouring, ongoing.  Bound flow occurs when the movement is restricted, held back.  A lot of us assume that bound flow is bad – it means that we are stuck, or limited in some terrible way.  But there are times when we want to engage bound flow – putting down a delicate cup, or picking up a pen for example.  We don’t want the cup to crash, the pen to fly our of our hands.

  • During my riding lesson with Brandi Rivera, I learned (again) that using bound flow in my riding aids (leg, seat, hands) for short moments creates a clearer sense of free flowing, fluid connection and suppleness with my horse, Sanne.
  • I learned that creating boundaries for a troublesome child opens us to greater ease and communication.
  • I learned that starting the day early by opening the floodgates to my fiction writing creates another one of those great, unexpected entry points to the day.  It is like choosing to enter the cave first, rather than stepping right out into the light.

How do you experience flow?

 

 

cookbook for the bonehouse: upcoming workshop

I don’t usually do an out-and-out pitch, but for those of you who have been wanting a non-digital, deeply physical experience, this is it.

MOVEMENT FOUNDRY presents

COOKBOOK FOR THE BONEHOUSE

an improvisation workshop for dancers and performing artists

 

with PAULA JOSA-JONES, MA, CMA, RSME/T

 

SUNDAYS, March 25th & April 1st,  3:00 pm – 5:00 pm

 A two-day workshop that takes a playful and strategic approach to movement, voice and performance. For the past twenty-five years, Paula Josa-Jones has developed a “cookbook” of wild play “recipes” that she uses to challenge and focus dancers. Techniques include: development of personal, kinetic imagery; the power of stillness; the palette of dynamic space; internal phrasing; initiation and beyond; a thousand voices (a “chunking down” practice that brings greater clarity and differentiation to the body); shape shifting; listening and responding.

CLASSES TAKE PLACE AT

The Dance Complex, 536 Mass Ave. Cambridge 02139

COST
$30 for both classes / $18 a la carte

HOW TO REGISTER
Please email movementfoundry@gmail.com to reserve your spot.

You will be asked to pre-pay for your classes by check. Mailing address will be provided.

PLEASE NOTE
Participants interested in taking both classes will be given registration preference.
Maximum capacity: 22 students per class

FOR MORE INFORMATION VISIT
WWW.MOVEMENTFOUNDRY.YOLASITE.COM