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Search May2017

What I Learn.
My search is personal and a constant reminder that all artists build their own imagery and daily regimes to encourage themselves and to express the results of their search.

What I Want to Learn.
What is the brightness I experience observing dancers and musicians?

I experience them as being “on top of the movement” and “on top of the beat.” Brightness becomes an ease and agility to move in any direction with any variation of quality and emphasis.

I experience also the free flow of energy carrying emotion, sensation, and physicality through every part of their bodies.

I experience the growing of the artist as creating a capsule of themselves, all that they think and feel, and hope in this moment.

What I Want to Experience.
Brightness. I want to experience the brightness that I see in dancers and musicians.

I want to experience being “on top of every movement” with agility and infinite choices for blending movement qualities.

I want to experience the free flow of energy through every part of my body at once.

I want to experience the intersection of all my thoughts, emotions, sensations, and hopes as an expression of my world at this moment.

I want to experience myself as a growing changing melody that rises and falls through a full range of experience.

What I Ask For Myself and Others
I ask for the trust to see my strength and agility grow daily.
I ask for the wisdom to know when I use my skills for harm rather than growth.
I ask for the receptivity to rest and allow all my concerns, insights and goals to wait their time.
I ask for the empathy to notice when someone, even myself, needs encouragement.
I ask for the humility to ask and receive help.
Tim Hurst 05/26/1

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Assessment May2017

I can only guess that all my study and writing is an attempt to summarize my own life process. So I hope I can take a look at my broad picture.

The Physical
“You are leaning to the right.” “You are twisted. Your right hip goes forward and the right side of your ribs protrude outwards.” “Everything at the bottom of your rib cage shifts to the left and your head and shoulders lean to the right.”

The Mental
Some kind of split occurred very early between my right and left side. Everything I do is either all from feeling and reflected from metaphor or I control it with planned thought and force.

The Results
Memory is mostly feeling based. To remember physical patterns or even directions at a stop light, I have to consciously reconstruct a thought process of how I got to my present moment and how to move from there.

Vulnerability is a given. I throw myself into activity with only feeling markers and an acceptance of ambiguity. All research and planning is a separate realm for reference and reflection.

Physical adjustments, therapy, and instruction to remedy my physical splits and torques have proved to be only temporary and do not translate into awareness. Conscious and continuous attention do not hold for long as my feeling state takes over.

My personal attitude bounces from anger and concentrated force to total acceptance and patience. When I take on a new skill, my projected time for learning is years not months.

My Remedy
Music and dance have been my preferred study since they insist that I integrate both feeling and physical states. Through both, I discover how to initiate and follow the process of learning and expressing myself.

Every moment is an experiment to integrate my feeling and metaphorical states with my conscious directed thought and movement processes. I live in an improvisational world. Music and dance improvisation are my play and my study.

Meditation and prayer bring me to a state of hope and anticipation to continue improvisation when planning, control, and force do not work. Since I get lost in feeling states, combining movement and singing with meditation and prayer is a natural process. Luckily many people have explored this realm in spiritual rituals and I have delved into many of them.

My thought processes go immediately to metaphor so poetry and automatic writing have been a tool to explore my states of awareness. I discovered that writing is a way to observe my states of awareness and also to connect with artists engaged in similar exploration. I began to combine automatic writing with observing dance.

My Perspective
Hope is a constant. Everything is in flux and I can make small adjustments and daily routines to manage the flux in ways that are encouraging.

Gratitude and awe are essential to receiving and applying every insight that comes from dancing and singing.

Daily repetition is constant play with the many variations that music and dance offer. My goal is to encourage myself with the curiosity of new approaches each moment.

I take advantage of melodic phrases in dancing and singing to build awareness of the depth of my personal experience.

I observe the variations of each dancer and musician and share my observations to encourage them and to express my appreciation for the insights they bring me.
Tim Hurst 05/26/17

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Pelvic Floor Test 2

Had two Pilates sessions to introduce my grandson to an intense workout. This was a perfect chance to test out my experience of the pelvic floor for three dimensional responsiveness through the body.

So far I am playing with the pelvic diaphragm for vertical lift sending signals to both the lower limbs and the upper torso. Horizontal wave motions regulate the position and signals to and from the hips,

First exercise of pushing out with the legs, Karin Carlson helped me identify my overuse of the thighs and need to connect the back of my legs and gluts. By alternating between horizontal and vertical lift motions of the pelvic floor I was able to immediately change my orientation. Signals moved easily through the front and back of my legs. My thighs were supported and I was able to continue to push against a heavier weight than ever before.

I continued to use this experience as I explored extensions. Balancing countering actions with each leg meant sending signals down each leg. Finding the passage points on the pelvic floor came quickly and made it easier to equalize a shorter leg and keep both hips engaged and aligned.

In the second session, I asked about the tension behind my knees. Karin suggested that I pull up from the knee caps to engage my entire thighs front and back. After feeling the sensation, I applied outward compression to both hips engaging the thighs and simultaneous lifting of the pelvic floor.

I had access to more movement in the back of my legs. Sending signals through the entire knee area gave me the extra freedom to release into more of an extension. Long way to go and lots of Ballet classes before all will be functional.

Coordination of the legs brought new sensations in muscles I had not experienced before. New cooperation had to be worked out. Stretching also felt different.
Tim Hurst. 05/14/17

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Pelvic Floor Update1

My experience of the pelvis floor today is a feeling of integration. I am aware of the full surface going all the way through my body from edge to edge. A sensation of wideness is unusual.

Signals are easier to pass from different areas of a wider surface to connect with legs and feet as well as sending lifting signals through my torso and head.

My practice is to slowly lift and lower the pelvic diaphragm sending signals up through the top of my head. Figure eight wave motions across the width of the diaphragm connect with the lumbar spine and send signals through the legs to the ankles and arches of the feet. Tilting the entire diaphragm makes subtle adjustments to the pelvis.

The results are a full body network centered in one location. Adjustments are small that are not related to commands to move body parts. For example, no longer needed are the conscious physical requirements to separate the top of the legs from the pelvis or squeezing of the buttocks to engage the inner thighs.

Laying on my back, I can roll on my pelvis and use Skinner Technique movement of the legs to clarify signals coming from the pelvic floor and the lower lumbar spine muscles.
Tim Hurst. 05/12/17