After the 21st of March 2014

If you checked the previous post of beautiful day on 21st of March 2014, this is what followed it.
About the task which I gave that day I got peer feedback,
from movers point of view:

• feeling of connection with the partner
• physical exchange that became a duet
• easy to give up and let go of rolls
• taking a different role than usually in life
• longing someone to take you 
• enough even a small impulse to react 

from leaders:

• interesting to explore 
• building up a choreography

in general:

• adequate sound - taking, inspiring 
• great solution for selecting the roles - tapping on the shoulder.

My personal feedback contains of things that I was working on while my peers where working on the task.
Few things that I was considering:

• trial for combining patters
• not giving too much information, but giving enough
• letting go of my own expectations of how exercise should look like  
• multitasking - in the same time managing music in combination of giving enough information for task as well as observing class.

To breath to fill lungs only?!

I have been having some thoughts and I can recall some bits of conversations.
I know it is confusing: what thoughts and what conversations?
I guess if I would start right from the beginning it would not make more sense.
However, this time I will refer to the reading on the subject of dance that I have done recently. Still is not clear enough.
It starts this way.
Subject:

1. Yoga. In my case, it is dynamic style of yoga.
2. Contemporary dance training. In relation to my experience, it is training with the focus on the different somatic based practices.

Questions:

1. How does my yoga practice is related to the dance practice?
2. How does yoga practice informed my dancing?

Doubtless, this process of questioning and discovering answers on previously mentioned questions is ongoing.Therefore, I kindly ask to put judgements a side and look at this piece of writing as a work in progress sharing attempt.

In reference to Malanie Bales 'A Dancing Dialectic' yoga practice can be seen as discipline that involves: play between passive and active (the stable body parts vs. the mobile parts, the strength vs. the stretch), the repetition of the poses versus finding something new each day; focus on the group practice or spatial awareness versus focus on the self, 'or inner space'; a sense of the universally human (yoga as a spiritual practice that unites people) versus the hyperpersonal (experience of one's individuality in flexibility, body shape and tone, strength, and perseverance).

It is clear and condense answer to first question as there are many parallels and overlaps how both disciplines can be linked  As my yoga teacher says: '..look at yoga as a dance..dance to the rhythm of your breath.' Indeed, while dancing some body parts are mobile when others remain fairly still.  Most of the time the base of the dance is movement. And many movements together have been called choreography that can be repeated over and over again as it is practiced in the yoga classes with asanas or postures. And these are just few examples of common features that contemporary dance training and yoga share. 

In relation to my own moving,  I have discovered that I have neglected importance and a role of yoga in my dance practice. For a while I have looked at yoga in a narrow way. It remained unknown for my consciousness that yoga have been more just a tool to condition my body and gain: strength, flexibility, tone and shape.
During practicing yoga I have learned to 'breath to and into the movement'. It has helped to stay focused as well as to melt in to the posture and keep up with the dynamics of the particular yoga style.
Looking back at my journal records there have been little notes about breath while dancing. I believe that in the studio practice I have unconsciously used the same yoga principles of breathing in my moving.
Authentic movement task that I completed revealed importance of the breath and the way how it can improve my practice. Focusing on the breath helped me to stay honest to my movement impulses, to keep up with dynamics of it, and kept judgmental thoughts away while I was moving.
At the end I found myself filled with a joy as I had experienced moment when UNKNOWN has became KNOWN. Now the practice to focus on breath and awareness of it can be implemented in my daily practice routine. I have experienced what is called SOMATICS, created a new pattern in my brain and linked theory with practice :)
I understand that this is just a one example how yoga practice have contributed to development of my dancing. And there is many other ways that urge to be explored as my movement practice keeps improving. There are no doubts that both disciplines lie close to each other. And more Eureka moments of my movement practice are on their way to my consciousness.

score

Choreography session - discovering possibilities of noticing movements. This session was unique, because finally I started to get and define, what is score and how it can work for me.

Observations of Two Quartets (Siobhan Davis)

Two Quartets is work in two parts, which are made in collaboration with fashion designer Jonathan Sounders. Both parts were made to be seen as one work and they are danced in quartets.

In the first quartet stage is bare and white in contrast with black surrounding. And the lightening of stage creates different relationships and textures of contrast.

The same color principle is used in dancers costumes. They are dressed in black and white colors, which can be combine to create visual image of duet. For example, both males costumes creates visual image of one black or white costume and in the same way works costumes of females.

In the all first quartet dancers work very close to each other as they are making continuous line of circle. There is change of speed and levels, from fast to moments of stillness and from high to middle level of movements. The main language of movements shifts from running, tripping, turning to walking and posing.

In contrast to the first quartet, in the second quartet is clearly seen the distance between dancers. Because during the whole part dancers are working separately. And even if on the stage are more then one dancer, they stay asunder. It seems more like two separate solos than a duet.

In the choreography is used changing of levels and dynamics, and repetition of movements in different directions. However, in the second quartet is used more contact with floor and voice of dancer, which is not used in first quartet.

Another difference between quartets is costumes of dancers. They are dressed in different colors, more to black and white is added red.

There is also difference in stage design. It isn't bare, but it is cleaved to four pieces by white walls. Trough all piece they are changing from flashy white to transparent. These changes create new visual images of stage.

This experience of observing gave me chance to realize that one piece of work can be created in two different ways, but in the same time.