After a great short first week, of 3 days of work, it only made sense to continue where we left off. To deepen the findings of last week we gave time to explore the dynamics of each of or 3 improvisations.
subjects of discussion.
How can a movement dynamic become a global tool across the body? It is in my experience for this to be the case there must be a deconstructive inquiry into the basic makings of the movement dynamic i.e this could be as simple as a direction: upwards, downwards, horizontal, as well, the direction could combine with time: deceleration or acceleration.
In this, we already can see Kandinsky's evolution of 'point' to 'line'. Where he talks about different forces that act on a line from the external that can create different meaning and expression to a line. In this case, a line has an expression depending on the direction or time factor that is applied to the line. In regards to movement acceleration and deceleration are easier to perceive than in a painting as a painting is held in time, once it is completed. From this perspective, how would one show acceleration or deceleration in a painting and apply that principle to movement, what quality of movement would be expressed and what body layer would be considered?
painting: declaration the line gets heavier and wider
movement: the movement gets slower and the volume of presence is increased, the dancers become more grounded and possible connects to there blood and muscles layers.
A body layer in this research is understood as a layer of the body that is global. i.e skeletal, muscular, ligaments, organs, fluids, nervous system, and endocrine these layers of systems are taken from BMC. However, it is possible to consider others, such as internal space respiratory.
To consider the dynamic and then to consider which layer suits that dynamic. Of course, all are possible, through choice, however, this approach looks to find what body layer/system resonates the movement dynamic.
The reason for this is to understand why one chooses that dynamic over the other, as embodied awareness that can then be explored epistemically - engaging with or creating knowledge - through embodied movement.