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Dance of Repair

Today my dance is a gentle rendering of my care for an infection in my bladder.

Lifting my pelvic diaphragm frees my bladder to float or at least in my minds eye. Those lifting signals are received at the Dancer’s Diaphragm floating the shoulder blades and the Lats under my arms. A network of signals is established, sending returning signals back to the pelvic region and to the bladder.

Shaping and reshaping a double helix image begins an internal rotation that engages the edges of the torso between the two diaphragms. I twist my torso to engage the kidney area and free the entire spine to move together.

I reform the two double helix from each hip crossing the torso to the Lats under my arms. With each rotation the movement generates from the internal rotation rather than a directed outer image of the body. My focus is freed internal sensation plus the image of the double helix always in rotation itself,
Tim Hurst 12/06/17

I have allowed my intense work schedule to take precedence over high blood pressure and now weaknesses in my bladder area are showing the results.

What I know is the beauty of my dances as renderings of my care for myself. My attention shifts easily through each connection in my self. I can picture and build movement to and from the damaged areas of my bladder. A recognizable exhale and full inhale are signs of connections made.

Yet I have pushed myself beyond the place of simple repair and I have to acknowledge the blood pressure must be dealt with. Hopefully I can return to more rest, shorter work hours, more dancing and walking, and this will assist in my healing.

My desire is not to have to push my body to respond with antibiotics, surgery, and medicinal blockers of my heart activity.

This mornings dance is a recognition of the vital connections of cranial areas including the brain to every part of my nervous system, my muscular control centers and support networks.

My spine responds by recognizing the tension caused by this new stress from the bladder. Allowing and following the free movement of my spine is key to not allowing spasms to occur from unattended tensions around the spine.

I am vulnerable and asking all the questions of myself and my creator of how a repair process is possible.
Tim Hurst. 12/07/17

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Fractal is Dance

Fractal geometry is characterized by self similarity and endless iteration. Using dance, the human experiences the fractal as a simple form that varies by repeating an infinite range of combinations. Using this experimental process, dance interrelates all the human systems and has the outcome of simplifying the entire experience in a melodic form of metaphor.

Dance is a friendly entry point for using the fractal. Actually dance is already built on the fractal with its full experience in every direction, every mood, every dynamic, every rhythm.

Dance is defined as the principles that were selected through evolution and hard wired along with music into the earliest humans. Dance movement is similar to music which uses only twelve notes and is infinitely able to express in melodic statements the unity of a person, a generation, a people.

The artistic process like the scientific process is built on simple elements that are combined into an infinite number of experiments. Dance deserves our focus because it uniquely interconnects every human system physical, personal, motivational. Dance goes beyond mechanics to the quality of movement and to the interrelationship of emotion and the building of the self.

Fractal concepts are applied in dance by the use of pattern, interconnecting signals throughout the entire person through perception, rhythm, timber, and melody.

Pattern are added to pattern down to the smallest size and to the slowest speed. Basic shapes are triangles and spirals.

Signals are differentiated through the nervous and limbic systems. Signals initiated from specific areas of the spine define movement qualities and dynamics of mood and emotion.

Quality is defined as variations of initiation and extension giving concepts such as sustained or staccato, flicking and floating.

Dynamics is a use of increase and decrease, emphasis to initiate force or ease.

Anticipation precedes initiation with either arc or continuing line. The variations interrelate the processes of perception, integration of new forms as they emerge, and the process of metaphor to simplify and express the building of the self and the community.

Rhythms are constructed of sound and silence. Rhythms are visualized with shape using a binary mode made of short and long durations.

Timber is identified with imagery of sensation, color and taste.

Melody is the formation of a metaphor to represent a person, a people.

Perception differentiates incoming signals and builds awareness and interconnection of each human system. Perception may begin with the eyes, ears, nose, taste, skin, then progress to the sense of chemical and electrical modulations within the body, then may become interrelated to the processes of anticipating and initiating transformations and finally to the building of the self through metaphor. Perception may be within a range of both familiar or unfamiliar experience. All experiences are integrated through fractal processes of identifying simple forms, varying these forms in infinite repetition of combinations.
Tim Hurst 09/06/15

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Crystal Dancer

My dear dancer forming as a crystal
Molecular brilliance responding reforming
Each moment a creation revealing itself.

Yet you, crystal brilliance, touch the cosmos with your eyes.
Opening and closing eyes gifting self and every self with something beyond yourself..
You are eyes nurturing every formation within you.
You are eyes with a reach into the worlds of person and leaf and star and night.

Yet you, only you are the crystal forming your unity of person on person into infinity.
You and your eyes make union with your self or not, with other crystals or not.

You crystal dancer can stare as if you do not exist or wish it so.
Or every cell of you can offer to join you in celebration of yet another crystal.

Yet you crystal dancer and your eyes are the gate to an intimacy with life as it forms in your every move.
And your eyes may nourish your every cell and reveal each one to us your fellow dancers.

For you see my dear crystal dancer, I grow as you grow, crystal upon brilliant crystal.
Tim Hurst 11/14/17

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Eye Body Integration

I experiment with eye movements to reconcile the two sides of my body. So I close one eye and move the other. I vary my movement and stillness, I spin, I lay down, I float in the bath. I sing to activate the right vocal chord while moving either eye.

The result is a vulnerable feeling. New territory. New integration.

I have to add an image of filling and emptying myself along with the eye movement. This image is more than an inhale and exhale but similar in the wave like motion of anticipating a rise and a fall. This image reminds me of moments when I feel more certain and comforts me that being vulnerable rises and dissipates the same way that being certain does.

To give a little background, I have found areas of my myself that need to be sewn back together. These areas are my sense perception of right and left body, specific muscles along my right side, my right vocal chord that sometimes vibrates and sometimes does not.

To reach these areas, I experiment with one simple movement of my eyes that I identify as fractal movement. I begin with a simple curved line and add a loop to the line, then I add a loop to that loop, and so on. I rotate the entire movement in as if the entire shape were spiraling in space. The movement becomes an improvisation using these components and though it sounds complex, the movement becomes very simple use of curves and loops.
Tim Hurst 11/13/17