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Sustenance in Melody

Singing today I fell in love with the overtones that connect a musical melody into a whole.

Since the qualities of dance and music is so close, I wonder what the connecting elements are for dance in a movement melody.

With musical overtones, the resonance of one tone fills the spaces of one note to the other. Their is a continual flowing movement no matter what rhythmic spaces occur for emphasis and anticipation.

Dancers also know how to fill a movement with different levels and qualities of resonance. Each movement, each part of the interconnected body, each cell and organ, fills with a resonant energy that continues like music through any rhythmic space into a melodic phrase.

Yet there is something more basic below the energy. That is the movement of the curve that dancers understand as connecting any transition from one movement to the next. The curve can be a loop that can double back into what seems like a line. The curve can be a continuous spiral that intertwines with other spirals from many areas of the body, the emotions, and the intentions of the person.

The basis is of course the wave that makes up sound and light. The wave like the dancer extends to a peak and rides the curve into a rejuvenating exhale before receiving another inhale at the lowest point to rise again.

Each point along the way connects in millions of ways with the next points changing direction into a fresh movement. The dancer studies the wave form as the sustenance between each movement and the sustainer of the melody creating an imprint of the individual and the group of dancers.
Tim Hurst 02/06/18

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Dance Music Surprise

There seems to be much surprise that music and dance are helpful to people with all kinds of ailments and diseases. Some reference is made to the processes of the brain.

This surprise is curious since most people have an immediate response to rhythm, to melody, to dance. Obviously dance and music are important parts of our well being.

The effect of dance is easily recognized. When an athlete makes especially clear movements, the are called graceful like a dancer. The influence of dance technique and phrasing is easily spotted in a gymnast or a skater.

Why then the surprise of the importance of music and dance as a major connector of areas of the brain? Or more to the point, why do we have so many qualms about arts as a part of hard core education? And to continue the inquiry, why have we ignored the learning of dance and music that centers around building experience as a major part of learning?
Tim Hurst 12/28/17

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Experiment Brightness

I want to experience the brightness of the dancer when everything is engaged. There is a quality of expectation within a centered energy. Every moment seems fresh.

My experience of this brightness is anticipation of each moment like the experience of a roller coaster just before the first curve downwards. There is a moment of curiosity at the peak of the curve before the momentum and full attention takes over.

Yet I need more clarity than throwing myself into a movement with the hope that my little amount of skill paired with lots of force will get me somewhere near a desired movement.

Instead I want my options to be clear relating to direction, speed, force, dynamics, and tone.
And I want to be able to focus of everything at once. I understand dance as the training to do both. So how do I get to that much brightness?

My feeling from watching dancers is that they are on top of the movement much like a musician is on top of the beat. From the top of the wave, so to speak, the dancer or the musician can choose to navigate within the beat, before or after as the moment seems right. The same applies to emotion, riding on top of the experience to have the agility to navigate toward more or less intensity.

So my experiment is to find the signals that ride on top of my vertebra, on top of the beat, on top of my emotions, on top of the loops and spirals between movements. There is an agility there when the signals are clear and can be varied to be small or large, light or intense.

There is a goal there I do not understand about all this coming from me and shaping me. Perhaps this comes with the fun of being fully engaged in the dance.
Tim Hurst 03/18/17

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What is Human Power

Accessing Human Power
How much power does a human have? The basic question is how much access does the person as an individual and as a group have to human power?

Let’s look at an abbreviated inventory of the power of the human:
Synthesizes light and air into nutrients.
Assimilates and adapts to natural and synthetic nutrients.
Assimilates data and perspectives in the presence of nature and other people.
Cycles and recycles through challenge and self encouragement.
Has an intricate system of monitoring, adaptation, and defense for harmful substances and chemical imbalances.
Forms and reforms self healing adaptations to rejuvenate the entire human system.
Filters all circumstantial changes through a network of what we divide into physical, mental, psychic, and spiritual processes.
Activates a sensual network from smallest particle to intricate interconnections throughout the entire person.
This sensual network activates warning systems that translate signals through a wide range of messaging options. The easiest message to interact with is pain. Prior to pain are more subtle messages that have their own networks for attuning human perception to sensations, calibrations (of chemical and electrical status, of balance, agility and spacial placement), initiation and momentum, anticipation and hope, balance points of synthesis internally and externally, and the translation of each attunement into visions, verbal cues, and interactive conversation.
Actively modulates along many spectrums gauged by the contexts of vulnerability and certainty.
Negotiates with the internal and external push and pull of self interest and group survival.
Encapsulates large amounts of data into concise formative projections and artistic renderings.
This list of human power is filled to infinity with the individual and group experiences of all humanity past and present.

The practice of accessing all these powers began with the earliest humans and are preserved in the study of dance, music, and interactive prayer. The source of human power is life itself.

The process of accessing all the power available rests on the willingness of the human to enter the power of life. Entering life requires both vulnerability and certainty, qualities that humans constantly stumble over. Our entire systems prefer to operate on a narrow range of options that are controllable and predictable.

Dance, music, and interactive prayer open areas of experience that point to the variability of life. They codify ways to approach the building blocks of life so we can begin to digest principles and points of view beyond our imaginations, beyond our thought processes.

Just a simple example of the variability these forms bring into our experience. One of the elements of life we can see is the wave form that is continually varying along many spectrums. Each form, dance, music, and interactive prayer, bring an intimate experience of the wave form into every system of the human. The entry brings instant access to powers of life that are automatically given to the human.

The purpose of human life is to activate those powers by discovering access points and the courage to enter and experience the powers on deeper and deeper levels.
Tim Hurst 03/25/17