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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

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Dancer Going Deeper

When I move, I can not leave any part of me behind. If I only command my movements, I freeze in tension and I frustrate my desire to coordinate many actions at once. If I move without a command, I experience a free flow of movement yet their is no architecture to build upon and I both limit the range of my motion and I am not able to summarize and repeat the motions or the experience. If I apply sheer will and discipline to perfect patterns of movement, my attention cuts off my emotion and binds my ability to both enter the experience of moving and integrate what I have gained.

What I am left with is self doubt and self criticism as my tools to transform my body and to make a clear summary of my self and my experience in a dance. Dancing like any other repetitive study becomes almost a chore.

I say “almost” because dance by its nature engages the whole body brain, the whole person. We have to work so hard and expend so much effort to resist the dance process that opens all the parts of ourselves.

Whether the dancer tries to ignore emotions or the intricacies of body movement, the result is the same. Something has to give. Some thing has to break, either the body or the psyche, or the access to dance opportunities. The dancer ends up with rehab or the bottom of one addiction or another simply to find a way to include all of themselves in the process of dance.

The dance teacher has one main duty, to encourage the dancer to go deeper. The learning process is the same for meditation, for prayer, for the innovator. Go beyond the frustration, beyond self destructive determination, beyond the excuses of self doubt and impassible roadblocks.

The message is built in, “There is more. Go deeper.” Every person chooses their level. That is the beauty of dance, I can be satisfied with simplicity and allow a statement of myself to emerge. A musician only has to repeat a few notes with a single rough voice quality to be recognizable as a fully engaged person.

I can live in the full experience of my dance at the most simple level. If I am fully engaged I have the ability to notice and access many qualities of movement that carry me to experiences I could not imagine. Like the person in meditation and prayer, the dancer can open to experiences that grow slowly or that quickly shift to more curiosity.

The process of dance training is designed to make this growth with the most ease and with an awareness of a level of confidence within the continual challenges to pay more attention.

PS, I want to move steadily toward more acceptance of myself so I can go deeper.
Tim Hurst 09/09/17

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Dance image Variety

Today I experiment with a balance point between experience of the macro image of everything engaged at once and access to the micro image of creating connections on the simplest levels. My question is, what is happening when I feel the image move through me without needing to visualize the image.

The answer is obvious. When I need the image, I will visualize it. When I need to focus on completing the movement, I will allow the image to move through me in a different way.

I suppose that in the learning situation there are so many necessities to call up support of weak muscles or to correct a position or action. It must be the facility to move between the images of the broader movement and the more specific images of individual working parts.

Even though specific images like a helix can disappear, there is one image that carries me. I follow and shape the multiple movement signals traveling through me. The image is of life signals traveling in all directions at once with multiple curves, circles, and spirals. So within any one movement, I do not worry myself with a one dimensional line. In this way I can catch spirals that are effortless rather than trying to force myself into movement patterns. I can be released from my default belief that everything must be directed and held tightly.

Another constant image is the edges of my body forming circles in space. The edges of my torso form an oval. The edges of my limbs form curved shapes. Within these oval shapes are all the movements of life in a human system. All I have to do is activate those movements and learn from them.

That study is very detailed, but what is important is that I have access to signals connecting all the cross sections of my body brain. I no longer have to think of myself as a machine being ordered to move. I no longer have to attempt to move myself as a stick figure.

Within all this, I experience a brightness and curiosity that initiate movement. Patterns and variations emerge and become experiences that change with my internal and external experience.

Another image I have been studying is weight as buoyancy. The study came from many perspectives. Weight as effortless movement. Weight as rising and falling that reverse the placement of gravity on the upside or downside of a wave form. Simple muscle action becomes springing that takes place in an image before a movement.

This study changes every move I make because I have networked the experiences of weight into paired areas of my body and with different qualities of movement. Once the connections are made, they need only be nurtured with daily attention and experienced in a variety of dance situations.

The advantages are access to simple commands that activate any area of movement and personal experience. I can vary the sensation of power or vulnerability that ripples through any self instantly. I can vary the size and weight of the smallest or the largest movement. I can shift from completing a movement to adjusting and experimenting with different parts of the movement.
Tim Hurst 09/06/17

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CranioSacral Therapy and Dance

CranioSacral Therapy, John Upledger
Notes:
Touch is a common thread of interaction with self and other.
Enter common personal space with another person and persons.
Neutral agenda: purpose to listen together
Gentleness and effortless attention support a neutral agenda for listening together.
Therapist enters neutral space by asking to experience unknown connections
Therapist studies in depth the interrelationships of physical structure, interactive movement of energy, fluid, and signals through the physical system, interrelationship of brain and tissue and intention.
Therapist observes and follows the interactive connections being made by persons present in therapy.

Osteopathy: send signals through tissue
CranioSacral Therapy: Signals sent also return with infinite amount of personal information

Fascial tissue connects the entire body
Dural fluid nourishes and protects brain and the neurological system
Send and receive signals through tissue and fluids

My experimentation is the practice of Craniosacral Therapy on myself and others to discover the sense of neutrality of agenda and how to listen to the workings of the human. Beyond that is the experience of asking and observing the multiple pathways within myself and a client and working with other practitioners. This is not my business so I have taken my time in this process.

Then I began to involve touch with my hands in my movement. Touch to get another sensation of movement internally and externally. Touch to follow a movement. Touch to catch myself at the bottom of a wave form. Touch to encourage a spiral or to initiate a slight loop that returns a movement to where it came from. Touch simply to provide a resting platform in the process of following a path.

Contrary to my inclination to direct my movement with touch, I practiced gentleness and listened for the information that was being carried in my movement signals. All this experimentation is very rewarding, opening new areas of curiosity all the time.

On one occasion several years ago, I performed this process while singing improvised songs which I often do when I will not wake my sweetheart in the early morning hours. The result was satisfying yet terrifying for me to perform and show such vulnerability.
Tim Hurst. 08/27/17