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Dance as Network Model

Dance as a form of movement and training is a model, a template that networks the entire body.

The model has two basic operations. One is to switch focus from the micro view to the macro view of the entire person as a series of connected networks. Another is to manage the continuous networking of signals within the human system as both directed and surrendered through awareness of both processes.

To assist these operations dance uses two types of imagery. One is the categorization of signals that manage both the directed and the surrendered networks. Another is a master image that signals can pass through to network the entire body brain and to make detailed adjustments to specific micro areas.

To simplify the networks, dance offers an understanding of the sections of the body that can be networked together by signals passing through a master image. These body sections are called diaphragms or platforms. Each section has a purpose as a connector with its paired diaphragm and as a part of the entire body brain network.

It is my belief that dance is the repository of all this information due to the evolutionary growth of the human. Dance as a networking form grew from the earliest humans, from their imitation and communication with other life forms and from their insistence on communication within the unknowns of spiritual experience. I would conjecture that this is the reason dance has been able to contribute to and absorb the discoveries of every movement form including athleticism, martial arts, and religious ritual. I also believe this is the basis for the power of dance along with music to symbolize the experience of entire cultures and entire epochs of human history.

This is also the reason why dance as a form is offering so many innovations in the understanding and managing of disease and rehabilitation.
Tim Hurst 08/24/17

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Signal Inventories

What are signals to me today?
My Basics
System One
I experience everything rising and falling, everything turning, everything stacking top down and bottom up.
System Two
I experience specific signals initiating from my spine, radiating instantly through my pelvis, head, and my limbs.

My Access
I choose today which signals are easily accessible and which ones are nudging me to explore.
I choose how much awareness I can personally accept given my state of mind, body, emotion, and spiritual appetite.
I test my readiness to access every part of myself by observing both slow and faster motion.
I experience my willingness to see and feel and calibrate every motion.
I recognize my sending and receiving of connected signals as my song, my story, my dance for today.

My Challenges
How far can I take my signals today?
Am I willing to spend the time today to follow the signal and repair what I might strain?
Am I willing to drop physical and mental habits that limit my exploration of signals?
Am I willing to deal with a level of disorientation as my discoveries of clear signals conflict with established patterns of thought and body?
Am I willing to observe and respond to my building and rebuilding of my self?
Am I willing to enter states of vulnerability and certainty where my unknowns and errors are as important as what I know as my current level of skill and experience?
Tim Hurst. 03.13.17

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Dance Experiment Yes

Yesterday I tried to describe a daily dance experiment. It became a boring play by play of another exercise system with a now I do this and then this. Unpublished that and spent a day writing about the brightness that is dance to me, to my teachers,and to choreographers and performers that explore the depths of dance every day.

My passion is to share this process of delight and diligence that as dancers we enter every minute of our lives. My 15 year old grandson describes me with the word exuberance that he defines as “overly excited to the point of being obnoxious.” And I have to admit I have been that exuberant when I want every party to be Ballywood with every one dancing and singing. Or when someone says, “I can’t dance,” and my energy fires up. Or when a choreographer has only a small audience to join their performance of excellence and new discoveries about the human spirit.

My search is for a common denominator that we all obviously share when it comes to dance and music. I will walk into any storm to support every person with an inclination to dance. At this moment I am looking at all the storms I have come through. What I see are layers upon layers of interconnected experiences that are obvious and fully described in the art, the lives and in the words of dancers.

Yet to clarify the processes and principles we express, my words turn to mush and I tear my hair at our denial of the massive influence dance has on our lives both as participants and beneficiaries.

The beauty of dance is that each individual samples its juicy delights and digests it in different ways. The nurture of those dance morsels emerges as a person who is more curious, more aware, more tuned to delight and despair. This nurture is available for the dancer and for those who join with the dancer on their explorations.

This is my search, for a place we can all enter this nurturing world of dance. In my life, I follow the trails to dancers who know this delight and who enter it fully. I find this ability to enter dance in the five year old as well as in the professional, in the social dancer as well as the brilliantly dedicated pointe dancer.

Within my search, the questions and the lists read like a composite of restaurant menus from all over the world and from the camp fires of our earliest ancestors. My main focus is, how do we enter what we know as dance, instant connection of everything we are, instant fun, a second wind insisting we dance forever.

As with any endeavor, the range defines the degrees of entry. The range is from a process and a procedure to the individual experience of the process. We sometimes think of dance as learning a form like Ballet or HipHop or Salsa. Yet when we taste the delights of the actual experience, we only want more.

Entry at this point is when the experience shapes the structure of the dance. In other words, the dance becomes yours. You shape the dance to be you rather than the steps and techniques being the only goal.

Dance is unique. The entry point is instantaneous. The first steps of a child instantly turn to dance with music. The beginner learning the waltz can feel the dance within them even if the body is trying to catch up.

The uniqueness of dance is a lifetime study. A particularly interesting point of entry is the activating of the personal monitor. It has something to do with the play between awareness and a generalized sense of everything working together. Dancers confront their internal emotions and traumas as well as their external interactions.

The monitoring is subtle signals or messages or conversations between the person and every part of their life. Dancers often describe their experience as spiritual or as meditative. I suspect that the reason is this aspect of monitoring that is a personal connection with insights, anticipations, and moments of creating new cells and new points of view.

Dance and music ride the line between the known and the unknown similar to religious ritual and meditation. Structure and form are there to develop processes like personal monitoring to navigate these sometimes challenging seas of uncertainty and vulnerability.

As I describe my exploration and experiments, my intent is not to create a structure or a way to dance. My hope is to find an entry way to making the kinds of connections that dancers and dance teachers make every day.

Will these entry points give you more access to yourself and to dancing? Will they give choreographers and teachers clearer ways to state the importance of their explorations? Will more audiences join choreographers to explore new discoveries of themselves? Again, my hope is to give insights for each individual to find the brightness within themselves where dance resides.

All along the way I could say, build your connections, “Do not do as I do.” As a consummate beginner of dance, I am the perfect person to delve into these murky waters that seem so confusing to explain. It takes me years to absorb a structure, relearning each time I return. Learning patterns requires sometimes hours of improvisation and play with the different pieces of a movement. My system sometimes overloads and freezes my ability to move. One of my Pilates teachers says, “You think too much.” My Floor-BarreTM instructor says I need more fluidity as I am learning the movements.

So my qualifications in doing this study are not what I do or can do, they are my passion to find the entry points that bring delight to every movement.
Tim Hurst. 03.12.17

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A Dynamic Vision of Dance

Welcome to a Dynamic Vision of Dance

Dance and music are time capsules from the first humans. These capsules are unique and go beyond our imaginations to explain. Artists say do not explain us because everything is said in our art. Educators or at least politicians say music and dance are extra curricular activities for people who want to become artists.

A Dynamic Vision of Dance is my experiment to find the simplicity of a dance process and a common thread of vocabulary that helps to understand how our dance capsules affect everything in our lives.

The benefits of music and dance are obvious. An ice skater who is a dancer is immediately recognizable. The crowd applauds loudly. On the other hand, it is more difficult to distinguish the influence of dance in a gymnast whose leap suspends her abouve the beam before making an elegant landing.

We experience the fun of dance and music. We become proficient, even exceptional. We connect the power of our capsules to everything from religion to addiction. We label them either brain food or exercise.

We feel the power of our music and dance time capsules or we deny they ever existed. The problem is the contents of these capsules are hard to describe.

We can say our capsules work powerfully. Music and dance can symbolize an entire generation or the innovation of an individual. Yet we are adrift when trying to explain the scope of dance alone with its power to blend emotion and movement, to influence learning, athletic skill, injury and disease prevention, and a full range of personal and body therapies.

In actuality dancers and musicians know the experiences in their time capsules. As teachers and choreographers they share the content of their capsules every day. Dancers know their experience in all its simplicity and complexity. They teach it. They perform it. Even with so much clarity and the ability to capsulize a personal vision and a vision of an entire generation, the benefits of music and dance are explained away as a mystery.
Tim Hurst. 02.03.17

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My Inhale Walk

My walk today was in 95 degree noon day sun. I had to take a slower pace to savor the shade and not push too hard in the sun. Already needing a nap and needing to eat as well, I had to find ways to rejuvenate my energy.

My eyes were being shocked as I moved from shade to sun. I began rejuvenating my eyes in the shaded areas. Allowing my focus to wander through the flickering light of tree leaves calmed me and my eyes were being kind of rocked in the light cool breeze.

When I moved into the hot sunlight, my eyes would go into a rest state as if they were riding the cool breeze of the shade I can just left behind.

To rejuvenate myself, I slowed the pace of my body into an easy rise and fall along with my breathing. Then I realized that even with a slow overall body speed, my feet were speeding up to get to the next patch of shade.

I slowed my feet by catching the weight of my legs in a rise and then releasing their weight into a fall. Even the arches of my feet took this easy rise and fall pace. My breathing was heavy but deep and easy. I wonder if the air drafts under an airplanes wings were this kind of catching weight upwards and then weight lowering through air drafts when the craft slows.

A clear sensation began to form. Each cell of my body opened in anticipation of the next inhale. I felt like a ballon with trillions of air sacks to lift me as I walked in this slow rising and falling rhythm.

My study of dance came clear. Ballet lowering and rising is the experience of opening every cell for the next inhale. The visceral anticipation opens my curiosity to the next moment of fun and interconnection. The nutrients and oxygen on the way is a kind of reward for the hope I hold before me. All I can think of is to ask for the delight of my next breath.

Finding a deep shade on the sidewalk, I completely yield to a dance of following energy curves in multiple directions and shapes. I bank and dive into roller coaster curves with ever so slight and unnoticeable dances.
Tim Hurst 09/20/17

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Dancing the Upside

My play today is with the upside. My teacher, Deborah Hay gave direction for the plié, ” The down is the up. And the up is the down.”

This is a definition of the sine wave. The upward motion contains the momentum and the energy of the downward. The downward motion contains the momentum and energy of the upward.

My emotion and sensation is anticipation and curiosity both approaching the top and the bottom of the curve. Within me is both the delight of life and a kind of responsibility to embrace each wave with willingness.

Here is the place of my dance today. My study is to rise with the breath instantly filling every vessel, every organ, every cell. Toe to head and every millimeter between becomes a sack that fills with oxygen. The whole of me is also in an easy gentle rotation imaging multiple winding helix simultaneously spiraling upwards and downwards.

My body rises with the oxygen filling me. My pelvic diaphragm lifts, my Lung Diaphragm spreads, my Dancer’s Diaphragm behind my solar plexis rotates open, the oxygen opens my cranial base and frees my top vertebra to balance my bobbing head, my Singer’s Diaphragm opens my soft palate reminding me of the slow and gentle third eye and the meditator’s fourth ventricle at the back of my head.

My entire body is filling and with ease extending in all directions beyond my own boundaries. My internal image of a winding helix is participating in the extension not only upwards and outwards but also downwards.

The energy of the spiraling helix is simply upwards and downwards at the same time.

This is not an abstract motion. This is the motion of anticipating something I love, an embrace, holding a child, riding a bicycle. This is the lifting beyond my self and at the same time connecting down within myself. This is the balance of exuberance and personal joy. This is the meeting of people, animal, and plants. This is my reaching to receive the gifts of my creator, Life.

Returning to my practice and experiment of rising with and through my breath, I come face to face with my willingness. The renewed life from the oxygen is both delightful and overwhelming. I have a choice, to force the breath through willful direction or to embrace each breath as a new creation.

The process of life is vast. The repetitive simple inhale and exhale opens and connects every part of myself. With each repetition, my cells die and are replaced with fresh new cells. The circumstance has changed.

My choice is to embrace the extension as both upwards and downwards or to attempt to force myself into one direction. If I choose to only extend outwards then I limit myself to brittleness. If I choose to instead fall into the downward nature of the curve, I will also limit myself and clasp my fists around anything to stabilize my fall.
My willingness is literally embracing the life that is filling me. If I do this slowly in the preparation for my dance, I have access to trillions of minute variations and qualities of moving and being. Any circumstance will be a place to extend beyond and within myself at the same time.
Tim Hurst 09/22/17

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Feel Good Exercise

Why does exercise feel good?
There is more of me to feel. I have more cells looking forward to healthy division and more nourishment on its way through more pathways for blood, for electrical and chemical signals.

That’s not all. My self is present to more, more sensation, more surprise, more tastes and more curiosities. My tinkerer is kept busy asking what matches what and which mix leads down which pathway.

I get to dust off parts of me I had forgotten since I discovered my first steps. Welcome back! Welcome back to simple excitement for the next breath.

Why is it hard to keep exercising?
I want all of me back now. It feels too good to stop myself. Too much, too fast equals pain and sometimes I have to wait for the pain to heal.

Also my excitement is about more than forcing myself to meet pain over and over. My excitement is about more than repeating movements that push me beyond my goals.

Working out is often trying to find a balance of my excitement and my desire to push myself. My excitement sits on the sidelines waiting for me to work out this balance.

In the mean time accomplishing new tasks helps to keep me going.

Why is dance called a fun way to exercise?
Ask a child. Play and exuberance are more than excitement.
Dance is a combination of discovering more to myself and a scientific mixing and matching of many kinds of excitement.
Play is a balance between wanting it all and giving it all up to delight.
As with laughter, every part of my self dusts itself off and says, Welcome back!
Tim Hurst 09/22/17

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Clarify Double Helix

Today I feel the double helix as an image that sustains my movement. What I see in dancers is what I feel in me as the image moves with a delightful agility from area to area in my body.

I change the position of the double helix image at will. I send any signal through the image, fast or slow, intense and large or subtle and small, floating or carving space. The image is the structure for expansion or compression. The spiral shape is perfect as instantly responding as a spring or as an undulating mass able to articulate any area of my body in multiple directions.

I send signals from my spine outwards to both arms with two ends of the helix as a structure. The signal can continue beyond my body with an extended helix image or allowed to disappear into space.

I can make sense out of ballet images for crossing signals in the back from hip to shoulder. The double helix image can follow those pathways and bring sensation to all the edges of the body, front, back, side, internal and external.

The signal has a structure to return to my spine or make a curved transition into another direction. The ending of the helix can be shaped as a figure eight image to make this returning signal instantaneous.

Tilting and banking my body at the different horizontal diaphragms becomes totally different from directing myself to bend backwards or pull my abs in to roll over. The helix has only to be rotated slightly for tilting and angled for banking motions.

Applying the double helix to my feet is an exploration in itself with the many combinations of arches and joints.

The double helix image carries any variety of signals to the smallest area or to my entire body and psyche at once.

The shape of the double helix is two intertwined spirals. The image of two spirals define a circular space between them that can activate and manage interactive fields of energy in small or large areas. A double helix image around the spine interconnects both sides of the body. Likewise an image of a horizontal double helix can activate at least eight cross sections of the body. Combining the vertical and the horizontal images provides inter-connective networks through the entire body and a way to change to many diagonal pathways.
Tim Hurst 09/14/17