Five moments of memory
We started from a range (5-10) of chosen moments in our memory from childhood until now and connected them with the body in movement at those moments——postures, positions, and movements.
Different from last section, I feel much easier to step into my memory starting from fixed chosen moments. In the dance of getting into those moments, I came to that moment, emotions, time, and story—— with my body, from my body. Memory is at first scarce and flat: it feels distant from me, like a pale record with few strokes of brush; then it comes alive, being soft and fresh in our dance. We don’t know if the movement brings those coming memory or if memory brings more memory. But this provides a view to see why we are practising: in our dance, we are working on the connection between physical movements and our memory. We are not acting, depicting, or choreographing from memory, but trying to find the door through our continuous movement’s evoking. And in this way, we find an endless source of dancing and creating.
The 3 levels of attention
This part echoes to a previous question of mine about the state of dancers in dance.
Gustavo introduces us to this practice:
1 outside us: We dance in the space, seeing, interacting, and moving in the exterior.
2 between us and space: We feel our body, feel its boundary
3 inside us: We are inside the body, in breath, in lungs, inside the head, in the stomach, in the spine, in the blood vessel
I find this interesting. This is about how we place ourselves. We have this choice: to be in the environment, to be in the us who are in the environment, and to go deep– I don’t know then where. But in my experience today, it feels like a place without forms and shapes, just like revoking all walking sticks of living in this vast and huge world: before mastered and also trapped by separated five senses, especially vision and th most dominating sixth, ideas.