The way to the studio was rushed. By 9 am I was in studio for the peer facilitation session. I was exited to give the task I had prepared for my colleagues.
Theoretical
base of given task was from Michael Hoeye's 'Adventures in Real
Space: An Alternate Mode of Thinking and Problem Solving' essay in
'The Body Can Speak' Essays on Creative Movement Education with
Emphasis on Dance and Drama'.
'Creative
work is physical and pragmatic. Engagement and accountability are its
hallmarks – not self-absorption or idle freedom. Creativity is a
form of problem solving that uses time and logic differently than
traditional analytical thinking. It is a continuum of computations,
assessments, and adjustments in which solutions evolve through time.
Creativity uses thinking itself differently, linking it much more
closely to action of some sort'
(Hoeye
2001 in Mertz 2002).
I honestly participated in the tasks of my peers and hoped that they will do the same in return. When my turn for leading came I started my exercise trying to stay as calm and confident as possible.
So I started:
- Pair up (facing partner/each other);
- Stretch both your arms forwards towards partner's arms till both of partner's/ all four palms are touching/osculating;
- close eyes and breathe (try to feel the surface of your own palms and the surface of your partner's palms; feel the life processes running beneath the skin – blood running through the blood vessels, sense how with each breath oxygen fils every cell providing your body with the fuel for metabolism, try to feel trough the palms the bubbly and effervescent processes that are happening while you are 'motionless' in this stillness. All of it happens here and now with both of you/ with all of us);
- There following is a leader& follower task. I am going to tap on the shoulder to the person who is going to open his/her eyes and will be a leader for the first half of the task. The other person is going to remain with closed eyes and will be a follower. All communication is allowed only through palms (try to remain with the light cellular touch, listening to partner's push and pull signals sent through the palm to palm);
- Task/challenge for the leader is to follow your own movement curiosity remaining fairly simple in choreography as you have to stay in contact with your partner and take care of his/her safety;
- Exercise for follower is to stay alert and attentive to fulfill the goal which is to extend, interpret, amplify the intention/choreography of the leader sent to you through his/her palms;
- Music on!;
- Leaders try to find the starting impulse for your movement from within, start simply, moderate your speed;
- Check your breathing, are you holding it;
- Find the ending (lower the volume of music);
- Exchange roles (Leader closes eyes, find a moment of stillness, breathe, feel your palms touching. Exchange roles, new leader opens eyes when she/he is ready. Start slowly).
- Cellular touch;
- Push and Pull through the leader's hands;
- An active, self-conscious, physical presence trough the following task;
- Raised awareness of limb connection to the whole (underlying navel radiation pattern) as follower must manifest moving by assuming a navigable posture where 'hands and arms must serve a steering mechanism for the body' (Hoeye 2001);
- differentiation between upper body and lower body. Initiating movement from upper body (arms&hands).
In
addition:
- gaining self-knowledge in both roles – taking and giving responsibility, decision making, empathy.
Literature that used in preparation for peer facilitation:
Hartley,
L. (1995) Wisdom
of the Body Moving. An Introduction to Body-Mind Centering.
California:
North Atlantic Books
Mertz,
A. (2002) Essays
on Creative Movement Education with Emphasis on Dance and Drama.
Southern: Illinois University
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