Dance Practice

I am puzzling over my dance practice and how it feeds my choreography. I consider my dance practice a solo form of authentic movement. After a slow warmup with Bartenieff Fundamentals and perhaps some traveling exercises, I find my way into an improvisation of anywhere from 15-40 minutes. I may have a particular concept to play with: for instance, moving from heart or exploring the connection between hand and scapula. The overall goal of my practice is to increase my awareness of my sensations.

The potential value of such a goal is enormous. Awareness of my sensations while I'm moving helps me discover the physical needs of my body on any particular day: whether my body is ready for speed, whether my spine is tense and requires a gentle exploration, whether my knee is recovering, etc. Such information allows me to work with my body and not overdo. Also, artistically, such awareness allows me to be much more present: whom I am, where I am, when this is. I am essentially practicing stage presence.

Perhaps most importantly, awareness of sensation increases my awareness of my emotions. The give and take relationship of sensations and emotions is well documented. To me, the study of one is a gateway to the other. By concentrating on my sensations, instead of willing them quiet and pushing through whatever I'm driven to accomplish, I feel more than just aches and pains. I find tears in my eyes, I find bursts of energy, I find a desire to curl up or a desire to expand, I find myself flying or lying still--I find myself getting in touch with my subconscious. This form of Active Imagination allows me to experience my emotions as they are: layered, mixed up, vivid. They do not fit into neat categories, such as anger, love, or joy. They are surprisingly integrated, negative feelings blending with positive in a continuum of experience.

The health benefits of acknowledging emotions are well known. Repression of emotion is a cultural trait in the US and a source of much misery. From a health standpoint alone, my dance practice has great value.

How does it serve my work as a choreographer? This connection is less obvious. I certainly do not try to record my solo practice so that I can perform it later. When I choreograph, however, I do so on the spot. Frequently, I take the place of the dancer for whom I am creating, so that my body can find a compelling movement choice. I often have an idea when I enter the studio, but I make intuitive choices when I get there: changing my original vision to align with what I see. Interpretation is part of it. I see what the movement and the bodies are doing, then I have to make a choice about what these elements communicate. What I seem to see happening has great influence over the movements that I subsequently guide. All of these choices, movement generation, redirection, and analysis are influenced by my emotions. I choose movement that moves me. My eye is directly connected to my heart.

Last week, working with Alex and Amanda, I entered the studio with the idea of Amanda using Alex as a blanket. This thread expanded into a short, delightful section about tossing and turning on a restless night. I have decided to rehearse with the whole group on Thursday because I think that Florencia's solo and the duet are related, separate parts of a trio section. I can't wait to get to it!

This Sunday, I plan to attend a contact improv workshop with Chris Aiken and Angie Hauser in Philadelphia. See you in Philly!