post-modern buddha

RATNA

http://youtu.be/F0OmQaLaj6c

CONTACT IMPROV, modern dance: buddha and padma

Joerg Hassmann & Jenny Haack performing 'paarmitsessel' 2005

LINDY HOP; KARMA IN ACTION

KARMA IN ACTION

TANGO, PADMA; VAJRA, KARMA, BUDDHA

PADMA

BUDDHA, VAJRA, KARMA

Karma humor.

HIP HOP: BUDDHA, PADMA, VAJRA

HIP HOP; FULL SPECTRUM OF ENERGIES

FULL MAITRI MANDALA
all energies displayed

Food

Sandwich:
Ketchup
Sierra Nevada's stout mustard
Red onion
avocado
Nutritional yeast
Arugula
German rye bread
Ht sauce optional

The first section I am going to discuss is about "Chance Encounters", where Buckwalter describes Katie Duck's "time art" (60). Buckwalter paraphrase Duck beautifully, when she said "time art" is "a performing art, or an art form that unfolds in time"; the idea that improvisation is dependent on time for its creation of art. I like that. The enfolding of art out of dancing, Buckwalter points out, is different depending on if it is performance or choreography. This is obvious. What we choose to do in improvised performance is not always accepted or encouraged in choreographed movement. With the later, time and movement are constructed around a structured idea, usually “in time” to music or counts; so personal creativity is funneled into a particular form. In improvisation, we have a choice in deciding when, where, why and how we will move to create a dance. Those series of choices create the art. Buckwalter says, choice "drives the dance initially" and it multiplies from the very beginning (61).
I am interested in producing a particular type of art, with the freedom of time and space to experiment. I am interested in aesthetic complexity (either through the construction of complicated or simple shapes and movements) and the meaning tied with such expressions. There are multiple components that add to complexity. One, is knowing and using an eye practice.
What does it mean to return to a natural pattern of an eye practice? Katie Duck offers three modes of seeing, short-range gaze such as for internal types of movement, mid-range gaze for interaction with others and a long-range gaze incorporating the entirety of the space, often coupled with large movements. In any of these, to stay relaxed in the gaze is crucial, says Duck (120). The part that I found interesting in this section was that Duck is pulled to not only experiment, but notice what kind of patterns come naturally, and if they "jibe" or not with dance movement" (121). This brings our personal mentality back into the ensemble. The idea of bringing our eyes into the dance, rather than glazed over some horizon somewhere, suggest that we get involved with others, while being open to read the space and energy. What Duck calls "eyeballing" (120). I think eyeballing our environment gives us the choice to engage or disengage with it, two options we have.
Duck's aesthetic come from the "aesthetic of chance"; when “choice and chance” play as the “composers in improvisation” (61). "Duck asks dancers to make choices that "create space" (or possibilities) for the dance to happen amid", such as the space that creates a mood or relationship (61). I don't know if we need to hold onto those creations, especially to the effect that Buckwalter suggests: "there is less freedom for individual choice -- suddenly a dancer can't do just anything (61). Could it be possible to hold onto our personal choices and freedoms while also co-creating a composition? I think it is possible to get touched into that level of creation where I can get synched to myself as well as the "others". Like when we played with taking on the flocks of birds, or the group of frogs. What I am getting from Duck's perspective is that she is interested in creating aesthetically interesting works that come out of a series of chances and choices, essentially the framework for Life.
Its only now, that we have deeply en-cultured ourselves, that we “believe” we cannot understand, yet alone embrace, choice and chance. As if they were elements we have to control or dominate. Buckwalter puts it best when she says, "after all, excitement of improvisation is in chance happenings; what need to be created are the conditions for those chance encounters to occur" (62). Precisely! To create the conditions for the causes (all out of chance), while simultaneously allowing ourselves to let go of the impulse to do the happening through force. Realizing that what is, is. To change that, Duck offers that we can only create space for the possibility, the chance that something manifests itself.
The other important eye practice Duck focuses on is with our potential to create relationship with the audience. Buckwalter writes, "eyeballing creates an excitement by evoking "biology", an interpersonal chemistry between dancers, that pull the audience in and gets them involved in the exchange emphatically, or she [Duck] suggests, even hormonally" (120). Yes, bring biology back into our scope of awareness. Our body's biology, the crowd's biology, the environment's biology -- the the organic component that make us alive. Why not incorporate biology's presence into our awareness?
According to Melinda Buckwalter, Katie Duck says "improvising isn't about generating new movement" nor is it about the "specifics of how a dancer arrives at his or her movement"; it is the spatial skills, such as " remembering to exit, and using 'biology” that create improvisation (Buckwalter 19). Essentially, it sounds like Katie Duck is more interested in the content when it is composed with and in relationship to others, staying aware to the subtlties of energy and timing. She's not as interested in the movements themselves, as much as the “art” that it create in the present moment, however fleeting it is.
As Melinda says, Duck is concerned with presence (Buckwalter 19). This is interesting for me. I have noticed there can be an exaggerated emphasis on process and and going into our comfortable place, but can kinesthetic delight be taken to the edge. How can we bring our presence to the edge? The edge of movement, as when we are pushing our bodies to their "limits", experimenting with our preconceived limitations to see where else we can take ourselves. To grow and expand in our bodies, just as much as we nurture them, and bring in the small dances. I agree with Duck, who supposedly believes that technique blended with our personal understanding of our "limitations', can bring us deeper into dance, through improvised expression.
I'd like to see kinesthetic delight coupled with kinesthetic technique (the development of the body-mind into its full potential), the bridge between meaning and form. So that we can take the time to go into our psyches, our soma, our primordial brains, indulging in the exploratory processes; while also staying aware of what our form implies; what it communicates. "To that purpose, [Duck's] dance technique class combines elements from ballet, modern dance, and Contact Improvisation and includes postmodern techniques” – especially release technique (a way of freeing the body from tension, opening the body up to greater possibilities) (Buckwalter 19).
I looked at Duck's website, katieduck.com and I found some interesting things. For one, Duck offers a summer workshop along with a guy named Alfredo Genovessi, who say "They do not approach improvisation as a subject on its own in arts practices but rather take a microscopic view on the role improvisation plays in the creation process". If life is one big creation process, evolution of species and form, than we are a part of that process, naturally. On the website they say, "Duck values technical training, and her dancers are often highly trained. But in improvisation choosing and editing are also key skills." I would like to be highly trained. I would like to develop my coherence in movement expression and work with others in this way.

Katie Duck says, in a conference with Dr. Lee Kyuag, “Awareness is easy. Awake is something else. It has more to do with how we are able to perceive time moving. Even someone in a coma is moving. They are thinking or dreaming and therefore they are moving.” (website)

In 1996, Duck formed Magpie Music Dance Company, where "improvising musicians are featured equally with dance as the company suggests," (112). The set was set up that both dancers and musicians were part of the stage, including all movement into the performance. What I liked most from reading this section about the possibilities with music was that "Magpie encourages practical dialogue" between both parties. I think by doing this, both input and multiple perspectives bring an extra layer into improvisation. If the dancers and musicians can create discussion, I am interested to see what can happen. I have experienced that the these kinds of play create interrelationship that develop organic and interactive events.
One such memory comes from my time spent in Sydney, Australia during summer 2009. On a Saturday afternoon, during a Contact Improvisation Jam, we has some very special guests visiting. Two guys created music -- symphonies as well as a range of other sounds from car horns to bird calls, solely through their mouths. One of the guys also sang beautifully, and they synthesized beauty completely from their voice boxes. It was extremely interesting having the chance to listen to their improvisations while we danced ours. In closing circle, we all had a chance to discuss what came out during our time together, which was eye opening for me. The musician commented on their experiences, what it was like to watch and be influenced by dancers, and that they haven't had many situations like that. That they could think of a sound by a dancer's movement all on the spot.
It was also interesting that there was a space to not be influenced by each other. We had the power to choose whether to directly engage with one and another, shows the potential of possibilities in these kinds of interactions.
I would personally like to explore this type of play with musicians and dancers during my time at Naropa. I have already engaged in dialogue with a couple of students studying music, and we have all shown interest in working together. They have expressed the challenge they foresee in doing everything improvised, and we have discussed alternative possibilities, like playing something on loop, while improvising. Or having something recorded and creating new sounds on top of the recordings. During one Contact Improvisation student group gathering a couple of weekends ago, we had a drummer come improvise while I facilitated a class. It was the drummer's and the other students' first time improvising to each other's form. We all loved what came from this kind of experience, especially the part about feeling deeper connection with each other. Music facilitates that. The spontaneity and presence offer a rich environment to understand one another.

Melinda Buckwalter's Meet the Artists

p. 161 Richard Bull-the dialogue that gets arises out of form".

Married to Cynthia Novack- wrote Sharing the Dance: Improvisation and American Culture

Bull created the Wareen Street Performance Loft in NYC 79-98

De Facto Dance continues their work

Penny Cambell performance improv. "the direction of the study arises from the interests of the group"

studied with Judith Dunn and Bill Dixon @ Bennington College

works with musicians

faculty at Middlebury College since 85

cofounded Workin the performance of improvisation, transforming into movement intensive in compositional improvisation MICI 996 (163

now interested in studying culture through movement***

spoke about "the practice of adopting metaphors from science as artistic research tools."

EARTHDANCE!!!

"more recently Cambell articulated the benefits of improv dance "Dance in the University Setting" Bennington College 75th reunion.

Barbara Dilley: 73 yrs young

Contemplative Dance Practice: score that explores open space improv

p. 164: directed the Natural History of the American Dancer: Lesser Known Species 71-74: where she developed scores such as the grid.

Mariposa Collective: 94-99 with Diane Butler, Carol McDowell and Polly Motley.

Katie Duck: "aesthetics of chance" founded Magpie Music Dance in 95 (in Amsterdam) : model of what she's into. Performances are often with live improvised music, sometimes incorporating text.

founded GROUPO in Italy in 79.

Magpie is now an org that not only puts on dance performances but supports improvised experimental dance and music projects. summer workshops and apprentice program.

Taught at Dartington College in UK. currently in Amsterdam teaching School for New Dance Development

ch1 p 18. ch 3 p 69. ch4 p87 ch 6 112. ch 7 p 120

Earth Energies

Jose Arguelles: “art of living in harmony with the land, and deriving the greatest benefit, peace and prosperity from being hte hright place at the the right time is called feng-shui.” Stephen Skinner-- living earrth manual 1982.
goes on to say “just as yoga cultivates the life force in man both East and West, so feng-shui can cultivate the life force or ch’i in the earth as easily in the West.”

• astrobiology- mathmatecial expression with biological rhythms of the earth.
• art and sciences in ancient Chinese civ. revolved around geomancy. cycles and transformations of five elements _ I Ching. Taoist nature mysticsm. eventually the Ch’an (or Zen) Heaven-earth-man. that is the “axis”. “the resonance, of the self-existing order-- the natural hierarchy-- of the universe”. The resonance has never changed. same resonance, same freqeuncy.
• “both man and weather-- the changes of the phenomenal world available to our sense-- are unified by revolving around the same axis.
• 17th century- Robert Fludd- “Cosmic Meterology-- winds, earthquakes, rainbows AND thier correspondence to psychic conditions and stages of development.
• Binary progression.
• Influenced. Posits an inherent sacredness that is nonthiestic and organic. Deomonstrated by garden and landscape arts that were ‘brithed in China”.

1978 George Leonard-- The Silent Pulse-- termed holonomics- as the nature of a hologram. term descriptive of holistic knowing, i.e. “knowing that is simulateneoulsy intiuitve and rational, scientific and artisitic.” Therefore holonomics described the order of reality, as well as the way we come to know and express that order.

• priniciple governing whole systems. it is the study of the principle.
• if the universe is holonomic, then there are holarchies (subsystems) that reflect the order of the total systems.
• if this is true, then the parts and whole are facets of “one mutually interacting, interpenetrating set of orders and operations.”
• there is capacity for self-transcending knowledge
• non rational realm of knowing-- psi. dependent on the self-reflective consciousness; the clear perception and ability to account for and create order.
• 18th century was blunted by the materialist sciences.

“holonomics role is in unifying the various strands of thought tht have come apart during the grinding war-torn course of the 20th century.”

• this approach accounts for interdependence

Oliver Reiser- physicist
“complete theory of any complex social phenomenon” philo of history and theory of man. human society as a part of the “evolving giant creature” (earth)
radiation belt and psi field-- 2 poles or binary elements of which generate between them the “world sensorium”. Reisner refers to as the “guiding field controlling the psychosocial evolution of mankind.”

• all this implies that the humman mind and the environment are connected and can actually operate in harmony.

Pierre Teilhard de Chardin-- catholic mysitic and paleontologist.

• termed “noosphere” the thinking layer of the earth. a “probable place and disposition of hte thinking element through the universe.” Planets with noosphere, far from being a curiousity in nature, would quite simply be the * normal and ultimate product of matter carried to its completion.”
• supposition that the noosphere was like “an evelope throuwn like a very thin but superactive film all around the earth.”

pointing towards the planetization of consciousness. he says, the manifestation of noosphere is “dependent upon the appearance of man as a self-reflective being.

Oliver Reiser-- physicist at the University of Pittsburg. 1966.

• what Reiser called the psi field was a combination of Chardin’s noosphere with Van Allens radiation belts and the genetic code (with the binary double helix system)
• this field “ functions as both a shield and as an electromagnetic membrane recharging and recirculationg the atmosphere of the earth. DNA of course has proven to be the decipherable code common to all living organisms, from portozoa to protean man.”
• genetic code and radiation belts were “discovered” in 1953.
• “Reiser envisioned this field something like a planetary cerebral cortex. The two hemispheres somehow corresponded to the right and left sides of the brain, correspond somehow to the two hemispheres of Western (rational) and Eastern (intuitive) thought.”
• Suggestion of complimentary thought: the intuition of the East wit the rational of the West comprise a global totality. 2 side of the global brain. Which is happening right now. With globalization the rational and intuitive are blending, merging and sharing to unite the two together.

the BINARY CODE:
pos/neg division. underlies the genetic code. but also the electrical, electromagnetic, and and neurological functions as well. **?
operates:
sunspots (regulate the earth’s magnetic field and appearance of hte aurorae), synaptic leaps in brain functions (neurons processing information as well as computer programming), and most minutely-- the atomic structure (the stabilization of electrons and protons).
“that all these binary operations figure in the composite description of the psi bank only gives further wieht and substance to the conceptualization of the psi bank as a holonomic mind (or brain) giving at this poin in time an actual conscious direction and purpose t o the evolution of the planet.” p. 18
Jose goes on to say,

“this read-out would provide us with not only an ideologically sanitzied nonsectarian guide to our psychosocial evolution as it has developed this far, but also with a gauge and map of our future as well. In this way the psi bank offers a full-blown philosophy of the history and theory of man, while providing a completely non-linear, holistic interpretation of man’s relationship to the organismic unfolding of planet earth as a conscious member of the universe.” p. 18

THE HISTORY: While studying Art history in 1969, Jose was dissatisfied with the methodology of the academic discipline of the subject. He was looking for a just and comprehensive approach that went beyond The European Renaissance. He found that all art history texbooks and all course in the US and Europe presumed that the “high poin of and even the reason for the history of art occured in the Euro Renaissance.” To correct this bias he went a quest to establish a methodology that was genuinely global.

He was pressed against a two-fold barrier. One was simply the shere challenge of undertaking such a task. To establish such a global method was to chronologize the history of art that was not only “herculean, but encyclopedic, and to do justice to the scope of it.” The second barrier was precicely the hardened instituion he was trying to expand. By looking to understand the deeper historical and universal patterns, he was inherently challenging and pushing against the established artisic histories of major civilizational regions, cultural episodes and spiritual traditions that he was very well in the midst of persuing.

In the wanderings through time, he came to see that the artisitc expression of a people was inseparable from their world-view, and that benearth the bewildering aarray of names, styles and cultures there lay a common psychocultural root and civilizational structure. It was in the effort to find the common underlying principles and causation for the similar forms, symbols, and techniques of expression that led him to consider a mental or psychic medium of diffusion (the spreading of these forms in the widely separated geocultural zones).

In the course of following the “thread he began to unravel”, he stumbled upon three essential components to the structure and function of hte psi bank. These were, I Ching or The Book of Changes; the Sacred Calendar fo ancient Mesoamerica known as the Tzolkin among the Mayan an d hte Tonalpohualli amon the Aztecs; and the resonant field model of Charles Henry.

Jose states, the I Ching is not to be considered Chinese. That would be to say that electricity is American becuase Ben Franklin and Thomas Edison were pioneers in the understanding use of it. I Ching should rather be considered the code of biopsycic transformation-- “based on the binary permutations of eight primary triplet structures, thus yielding a total of sixtyfour six-lined structures, kua, or hexagrams. Much like the DNA codons are the code of more purely biological transformations.

The Sacred Calendar-- has “long baffled archeologists, scholars and historians in the general for the simple reason that as a calendar it operates on a 260-day cycle.” The permuations are brought upon through the combination of 13 numbers and 20 symbols; thus yielding 260 possibiliities. This perpetually reapeating calendar or sequence was found to “mesh” with the solar cycle every 52 years, and the Venusian cycle every 104 years. Generally this calendar played a highly significant role in both everyday and high cultural affairs of ancient Mesoamerican civilization from its inception some 3,000 years ago to its demise no more than 500 years ago. No known “organic terrestial cycle could be found to which the 260- day cycle had a correspondence.” To whom was this cycle devised? Why and when?

The system is visgesimal ,counting by twenties instead of by tens. Also by employing the dot and bar notation system (similar to the broken and unbroken line system of the I Ching), the pattern of pulsations emerge and are considered in relation to the binary sunspot cycles.

Charles Henry (1852-1926) French scientist, mathmetician and philosopher. In Generalization of the Theory of Radiant Energy (1924), e wanted to present a spherical model to indicate a condition of dynamic equilibrium “otherwise known as the ‘atom of life’ consisting of three intersecting fields of resonance: electromagnetic, gravitational and biopsychic.” p. 21.

These three intersecting fields were not meant to be understood merely as a atomic model or structure, but as the “three resonant fields by which ur expereince of reality may be defined.” p. 21. These 3 fields correspond to the I Ching’s heaven, earth and man. Heaven being the electromagnetic field- the world of the senses, as well as the sensations comprising our experience of the phenomenal world. Earth corresponding to the gravitational field, the grounding and evolving “terrestrial-physical experience”. And finally man, seen in the biosychic field, as the DNA-linked biological organism and the self-reflective mind, knowing and joining heaven and earth.

Jose claims, while shamanism provides the common psychocultural root for human social development, it is the correspondence between “mathmatical heaven and biological earth that invested the emergence of the seven pristine streams of civilization (with a common geomantic world-view and hieratic structure). Pristine is used to describe the civilizations “which appeared to have emerged and developed quite independent of each other.” These include: Egypt (Nilotic), Mesopotamia, India, China, Mesoamerica, Andean (Peru) and Nigeria (West Africa).

Jose says:

• emerging at different points in time, the streams comprise of a “geochronological totality, unfolding as the hieratic octave of civilization.” p.22

• built and expressed differently, all share a uniform degree of sophistication.

• discovered a common artistic or iconographical similarities that deeply unify the otherwise often geopgraphically and choronologically disparate streams of pristine civ.

• he posits, “if civ were a unitary function of global unfolding, and humanity in reality a single organism, then the underlying cause and principle for the diffusion of common ideas, motifs, and symbols would be in the normal course of events and would not neccessarily depend on material diffusion.”

Talks about 4 stages of human psycocultural development:

1. Holonomic topocosm

2. Pristine civilizations- independent emergence.

3. Rise of cosmopolitan religions-- Buddhism, Hinduism, Christianity and Islam (consequent creaton of the medival world) imperial social structures. They shared much in common. The artistic expression developed by the spiritual forces, possessed common qualities. again not necessarily explicable by means of material diffusion. universal mental factor?

4. Global-industial- “swiftly undid whatever common aesthetic, spiritual or cultural language was being forged in the medieval world.” is this too bias? Materialist science + industrial technology created a kind of universal condintion he calls “holonomic amnesia, a forgetfulness not only of the whole nature of things but also greater common purpose. Institutionalization. patriotisms, racial bigotry, ideological chaubinisms, dominated by an unbending allegiance to and gaith in the alleged problem-solving powerof materialist science” p. 22

How to access an individual for their creativity: Gardner style

1. address cognitive issues- meaning their natural strengths and weaknesses and evidence of prodigious behavior in early life.

2. looking at personality and motivation-- at the extent to which the individual conforms to the traditional view of the creative personality (which is?)

Nature of relations with others, extent of self-promotion, and kinds of childlie features that seem "preserved in these creative masters" 42

Also how individuals express emotions and a "degree of tension they had to sustain in their lives" 42

3. Turning to Social psychological natures-- relationships between child/parent; attitude toward discipline and permissiveness in the home; degree of "marginality" (in relation to society)

4. Finally, Gardner looks at life patterns- the "peaks and valleys in the productivity"; particularly during a ten year span--

Howard's thougths:

Creating Minds: An Anatomy of Creativity

In relatively pure form, the claim is that history has its own dynamic, with specific issues and ideas necesarily coming to the fore at a given time, and then giving way in crisp fashion to another set of issues at another time" 14

"In recent years, the innovative French scholar Michel Foucautl argued that history eras are characterized by certain underlying (and typically unconscious) assumptions about the nature of knowledge." 14-15

"when a number of individuals live in the same era and actually know of one another's work, such mutual influence may well become the rule." 15

for INTD:

"many reasons account for common themes and co-occurrences across disciplinary domains; accordingly... it would be odd if highly creative individuals did not somehow take others' novel conceptualizations into account in their own work." 15

"Bourgeois civilization, with its tight-laced moral code, increasingly determined standards of behavior and thought... Still , by the end of the nineteenth century, these entrenched norms were being widely challenged." 16

"Fatal blows to the nineteenth-century consensus were struck in rapid succession around the turn of the century" 16

"A study of each one's efforts, while illuminating in itself, gains significance when considered in light of the parallel even s and insights occurring in the lives of the co-creators of the modern era."

Talk about Solitude and Community

Talk about the necessity of bees for life.

I just finished watching Vanishing of the Bees, a documentary about bees and epidemic that spread between 1994 and 2007.

http://www.climbingpoetree.com/live/

http://www.dannyhoch.com/

http://www.ted.com/index.php/talks/sarah_jones_as_a_one_woman_global_village.html

http://www.universesonstage.com/

Sarah Jones as a one-woman global village | Video on TED.com

Sarah Jones as a one-woman global village | Video on TED.com

Contemplating improvisation

1. Chaos. Openness. Not-knowing. How do you feel? What do you do? Describe.

Chaos- I enjoy it. Openness- I enjoy it. Not-knowing- I enjoy it.

With Chaos, depending on where I am in my moment of body, mind, spirit, I welcome chaos, yet at other times I feel overwhelmed. Although I welcome the edge and pushing limits, I also notice when the chaos becomes too much, if that is such a thing. Chaos feels pleasantly wild and an abandonment of fear surges through my body. Other times, chaos feels pressing and heavy, asserting itself with a spirit of dominance-- and I search for order and stability.

I am a contradiction. My heart opens and I welcome the world with eyes and hands wide open to receive and give all the life that flows through me, in me and among everything else. Then I think, and the moment has shifted into thought and separation. Discriminating who I want to give to, who I turn away from. Who is the other?

Not-knowing-- as if that is the state of my life. For all the experience and life that has traveled along my twenty six years, I am foolish to assert knowledge. And yet I do know. Experiences that I have partaken in, lived through, witnessed and participated in, all give me a first-hand knowledge. I have lived. I live now, therefore, I know. And yet this state of not-knowing is all too familiar, especially in dance. It feel free; free from responsibility over someone else, free to be in that state of not-knowing, to flow and explore, how autonomous.

2. Limits. Structures. Rules. Do forms inspire or frustrate you? Describe.

Limits-- what are they. I truly partake in the inquisition. Have I gone too far, what is far enough, what are the edges, boundaries, limits?

Structures-- they are necessary. They put us in the physical world, and they hold us upright. We are bound to them. Our bodies, our houses, are social systems-- all structures, with frames and supports, balancing and counterbalancing.

Rules. Oh, the rules. This one I have trouble with. What are they and can they be broken. Again that is when I begin to question the limits and limitations to the rules. Yet I consider them necessary as well. They create play. A game without rules is chaos. Chaos without limits is too chaotic for me.

I think all three have their presence in dance and are essential. I believe in the exploratory work that allows us to push and pull on all three, while appreciating them for what they hold.

Forms inspire me until they become pretentious; they become pretentious when they are no longer genuine expression. But that is subjective. How can I assert that my judgment over genuineness? How pretentious.

Perhaps its more important to stay humble within the dance forms. Humble in the sense of being open minded and experimenting with form while staying non-attached to the outcome or the process. I think that will help.

There are also particular forms that dancer own, which I respect and want to acknowledge. In ballet, the turn outs and pointed feet; in contact improvisation there are physical patterns that develop, as well as the ability to absorb weight; in tango there is a very particular form, agreed upon rules and choreography. I think once form is learned and technique established, then comes the improvising and expanding outside of them. The saying “you need to learn to walk before you can run,” comes to mind. But I do appreciate the school of thought in the dance community that says, simply by persistent improvising, form can emerge.

When you are improvising do you 'capture' forms and give them names? Describe.

Yes. But after the fact. I try to move my body in what feels good, sometimes what feels bad. In the kinesthetic delight. That is my reference point. However, the mind is present, and sometimes it interprets movements by “capturing” them. For example, I bring my palms together in front of my heart and my mind thinks, perhaps ever so quietly, “oh, prayer hands.”

When does the movement research become Dancing? Is Dancing different from ordinary/pedestrian movement? Describe.

When it feels good. When it is expressive or emotive. When it heals. When there is intention. When there is genuine interest and willingness. When it is conscious.

Dancing is different from from ordinary movement only if one thinks it is. What's harder is to live every moment in dance. I am interested in that research.

picture taken from http://www.mnartists.org/article.do?rid=193268

Advances in Group Processes vol. 25 JUSTICE

Karen A Hegtvedt and Jody Clay-Warner editors

JAI Press of Emerald Group Publishing Limited

First ed. (08)

British Library Cataloguing in Publication Data

ISBN: 978-1-84855-104-6

ISSN: 0882-6146 (Series)

Ch 3- equality and inequality after the Civil War

Ch. 4 inequity among intimates: Applying equity theory to the family.

Ch 6 Injustice and emotions using identity theory

Ch 7 system justification theory- emotional distress. social hierarchy and society

palliative |ˈpalēˌātiv; ˈpalēətiv|

adjective

(of a treatment or medicine) relieving pain or alleviating a problem without dealing with the underlying cause : short-term, palliative measures had been taken.

Palliative effects of ideology.

Ch 8 what makes people participate in social actionQuest

Ch 9 Identities- ideologies, group membership and perception of justice

Ch 10 alternative dispute resolution

11 transgression- break out of the terms- moving toward unifying frameworld of justice restoration

transgress |transˈgres; tranz-|

verb [ trans. ]

infringe or go beyond the bounds of (a moral principle or other established standard of behavior) : she had transgressed an unwritten social law | [ intrans. ] they must control the impulses that lead them to transgress. • Geology (of the sea) spread over (an area of land).

George Leonard: Awakening Your Body's Energies (excerpt) - Thinking Allo...

APRIL IS WAS A MONTH OF VIDEOS.