Group rehearsal- week 2
02/06/2021 Helena and Marie
We reiterated a similar process to last week.
-1st: 15min of individual moving, attending to one’s body and attention
-2nd: recap and enhance common knowledge on fascia
-3rd: move again with the awareness of the knowledge gathered. How does it inform your experience? You can stop anytime to write or draw
-4th: move with the awareness of the connective tissue between the dancers.
Helena: Fascia is linked to proprioception: your body knows what it is doing and parts of the body have a relationship to other parts.
Questions :What is the dancer’s body?
It’s an integrity structure where forces are spreads out evenly, there is an intelligent compensation. The whole body is alive rather than dislocated.
Metaphor of scar for non conductive.
To include someone in your kinesphere is like expanding your proprioception.
Using shape: Connection space and the lines of the body.
Sense of elasticity and integrity amongst us.
In contact improvisation, there can be a hierarchy of attention, when there is weight bearing it becomes more structural. It can miss the attention to poetry and to the space.
How to keep a sense of sensitive response to the environment.
Marie: I felt a deep connection center-periphery. Not in a linear way but in infinite threads of possibilities. The drawing (hereunder) surprisingly shows similarities with the fascial fibrous network, as chaotic patch of fibers inter-wowing.
The elasticity of space in-between
04/06/2021 Helena, Jo, Olivia, Maya, Pete (online)
Score 1 and 2:
We carry on our practice of moving individually in the same space, gathering new knowledge: watching videos and pictures on fascia (from Strolling under the skin by Guimberteau, and Fascia by David Lesondak, 2017). Then moving together again with the awareness of the fascia between us.
Words and images we played with :
Scaffold, architecture, elastic, continuous tension, compression. The image of the ghost heart experience : a heart where only the fascia remains, and has been filled with stem cells. After a while the ghost heart grows into a heart again. This shows how much the shaping and surrounding of fascia gives information to the cells and create an environment where the information is transmitted.
The first 2 scores really feel like a self regulating practice as well as a group regulating practice. Where there is no forced interaction or judging, no expectation but instead a presence and a harmony that is co created by the group.
Harmony doesn’t feel like it is necessarily joyful or beautiful. Today the energy feels heavier. Harmony seem to translates into balancing, grounding the energies.
Helena mentions that it is harmonious but not homogeneous.
The term peripheral vision and attention is used. The interconnections feels multidirectional rather than in one direction. This in turn re-emphasise the non forcing aspect of the relationship between the dancers and not having expectations.
Comes up the question of how much attention do we put into something?
I am aware of the layers of attentions, not necessarily focused or peripheral, but a wider spectrum of layered and voluminous (in volume) attention.
To explore next time: how the spherical fascia of the eye informs our 3 dimensional vision?
Without mentioning it at the beginning, spiral and heleptical shapes came up few times.
The drawing here above is almost a representation of the fibres and the ground substance: the contrast and complementary relationship between the fibrous tensile network of fires and fibroblasts and the jelly like, viscous ground substance (consisting the ECM, extra-cellular matrix)
We focus on the architectural aspect of fascia, the fibrous and viscoelastic aspect, the transmission of tensional and compressional forces (mechano-transduction) using elastic bands between dancers.
Different strategies come up to deal with keeping the continuous tension : either spiraling into the band, or stepping on it, the most common version is to reorient and reconfigure the body in relation to oneself, to the partners and to the space around.
Most dancers feel more connected, like in a bubble, with a greater sense of responsibility for the whole than without the bands.
The gaze is sometimes more focused, and a gaze connection between dancers happens by itself. So even though the focus can be sharper, it is not forced.
Pete, the online dancer seems to find strategies to connect with the rest of the group. Again these strategies happen by themselves rather than forcing them or intently finding a connection
Pete who is online is in kinesthetic empathy with the dancers playing with the elastic bands. By watching the dancers playing with the bands, he can feel the connections between the dancers as a more tangible experience, and can feel it in his body too.
Pete worked with compressional forces while the rest of the group experimented with continuous tensional forces: he stuck a stick between 2 different body parts. Because of the rigidity of this compression force, the rest of the body compensate and contrasts: it becomes malleable and fluid.