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Dancing Beyond Experiment

My study is to dance beyond what i know by preparing for the surprises in the movement of my physical body, my intention, emotion, and sensation. I work with energy as the basis for building signal networks in all these forms of movement.

I do this by working directly with the shift of focus between making specific connections to build signal networks and a focus on all energy connections happening at once.

Concentrating on the brain body ability to make distinctions between two connections, I concentrate on finding the simplest connections and vary the connections in one way to find new connections.

Dance is the perfect model for me to follow this process of simplicity growing into complexity by adding variation.

The principles of dance are directed toward this study of focus. The binary approach takes two realms of study and compares them. I am specifically interested in the variations between more and less force, circular and spiraled movement, extension and elevation of movement, directed action and imagery for moving energy.

My study is centered around my weaknesses of trying to force my movement and direct every action and my resistance to patterned and structured movement that seems to emphasize those weaknesses.

My process is derived from Ballet and Modern Dance and informed by study of many forms of technique, therapy, and improvisational dance.

Every day I set out with the goal to renew connections of energy and to discover new connections.

I lay on the floor and I stand. I move my entire body with each movement establishing support networks to move in every direction, with different levels of speed, intensity, and dynamic quality.

I use simple movements initiating from spine signals that go outward and inward.
i vary the directions of signals to go in the same and opposite directions.
I vary the movements from vertical with the spine to horizontal crossing the spine.

I establish a central image of spreading and elevating by following the action of my diaphragm expanding for inhaling and rising for the exhale. Then I transfer this image by pairing the breathing diaphragm with other diaphragms and platforms throughout my body.

I use spiral imagery of the double helix to enhance changing focus within continual movement and intimate relationships between different networks.

I check myself to make sure movement is a process of entering delight. If I am struggling and feeling strain, I simplify the connections and experiment with changes in the size and speed of my movements.
Tim Hurst 03/23/18

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Dancing Beyond

Dancing Beyond 032318 Tim Hurst

My experience of dancers and dancing is entering delight. Delight is the curiosity and anticipation of connecting everything that I know of myself and a willingness to prepare for any surprises I have never known before.

Movement is the agility of transforming energy much like cells dividing to create more life. The characteristics and qualities of movement are much like the sound wave and the light wave that is in perpetual variation and combination of color and intensity.

My shaping of energy is entering this realm of creation and recreation. My experience is agility of connecting and reconnecting energy.

Agility is the readiness, the awareness, and the willingness to move within all the types of energy that I represent as my self.

Agility is my movement as a person. My experience is like balance of human erectness that goes beyond the wobble, like breathing that goes beyond the actions of inhaling and exhaling, the emotion that goes beyond self control, the initiation of thought that goes beyond the physical circumstances.

What emerges is intimate relationship with every form of energy inside and outside myself. My experience is like an image of the spiral, the double helix of DNA strands. Every movement is a relationship that fosters connection of energy.

The character of movement is life giving and life receiving, energy expended and rejuvenated, energy spreading and rising into the new life of the spiral.

The study I seek is to enter this realm of life that is perpetually interactive within the experience of intimacy that is given and received. Within this realm, there are all the continuums of more and less, all the spectrums of light and sound.

Entering this realm is facing the changes from certainty to uncertainty, boldness to subtlety, confidence to vulnerability, The basis is reaching into the unfamiliar while embracing the familiarity of the self.

Simply, we act and we reflect. We gather and we sort. We shape a self that reflects as concise imagery and physical movement.

Where I find this study is in three disciplines that have grown from the same source, music, dance, and religion.

Each of these disciplines deal with the agility to interconnect every form of energy. They choose as their focus the shifting point between the goal and the image beyond the goal.

This shift of focus between self energy and other energy is the basis of their study that is skillful yet goes beyond any expectation.

The demands of each discipline is rigorous because the human system wants certainty, stability, and predictability. For this reason, today’s culture attempts to both stand in awe of dance, music, and religion while at the same time explaining them away as minor realms of study.
TIm Hurst 03/23/18

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Ballet as Simple

The more stressed I become with running a business and worrying about money,the more I search for ways to release the stress in my body. It has taken many years to understand the instant relief that dance gives me.

Trying many forms of dance I decided that my body was not going to do what I asked it to do. So I became an improvisational dancer. I learned about the qualities of movement without worrying about precision.

Searching for more control of my body, I studied Pilates as a form of exercise based on Ballet and Modern Dance. I discovered that I do not have the concentration or the memory structure to make ten commands at once to make my body move correctly. Something was not connecting.

Then I discovered that Ballet simplified commands for my whole body into a network of movements. The very beginning movement, the plié, seems like simple movements of bending the legs, lowering the body, and lifting the arms. When I discovered the basis of this simple, whole body movement, I knew this was the clarity of learning I was looking for.

Pilates identified one principle of Ballet that looked hopeful. They call it the Core, meaning the musculature, nerves, blood flow, around the skeletal center of the body, the spine. Pilates strengthens and stretches the muscles around the spine using an exercise model.

When I began to take Ballet, the Core became related to movement of my whole body with simple commands. Those commands were signals originating at the spine. This sounds a little detailed but I had to have a way to connect my movements that seemed to ignore my commands.

The more I studied the simplest Ballet movements I realized three things. Ballet teaches movements as signals that start at different areas of the spine. A network of signals can move my whole body with one command. And third, when several networked movements are bundled as a phrase, I learn how the effort of one movement supports the next movement.

So my study of Ballet is to train my spine to send and receive signals that guide my body movements. This seems to work because my muscles surprise me by releasing to let the signals pass through.

An added benefit is that watching other dancers learn, I am able to identify the networks that should be connecting for me. For me to get to the networks, I have to go into much more detail than the average person. This drives my Pilates teachers crazy with so many questions and requests to understand what connects to what. Ballet teachers move us through the phrases and ask us to experiment with balance and different speeds to get the connections between movements and to build networks of signals.
Tim Hurst 02/07/18

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Dancing the Self

One of the opportunities of dance is to let all of myself come through my movement. Letting all of myself show seems a bit out of control and the surprise of an unknown part of myself showing up can be a problem.

Because of difficulty learning patterns and having to relearn them every day, I developed several approaches that put me right at the center of my fears and my surprise. Every pattern had to be improvised and shifted from different directions, moods, and intensities. Nothing seemed to store in a concrete way so my memory had to be more like a poem of images than a set of lines with precise positions and angles.

This was especially interesting when performing memorized music or ballroom dance with a partner. I would basically enter a feeling state that included a series of experiences. Inevitably I would enter a blank space and have to improvise my way back into the series. Remembering lines in plays was the same issue.

My approach was to study movement exercises for theater and Modern Dance to get an idea of pattern while finding different dimensions of emotion and intensity. I gradually studied more and more improvisational dance forms with open possibilities for creating surprising patterns. I created performances that were so internal that I would begin with only an image and allow my movement to flow.

The results were that I would indeed find surprise that might be a blockage in myself that froze my thoughts and movements or I would create such a vulnerable place in myself that I was dancing my fear rather than allowing my self to come through.

Watching dancers has been my life and standing outside of the world of patterns has been interesting. I watch for how the person comes through the pattern and how alive that makes the pattern. From this perspective I naturally gravitate to dance that has a range of emotions and intensities. If the patterns of a dance do not shift from delight to seriousness, then I look for the individual dancer who allows themselves to experience a variety of intensities.

So my recurring question is how the dancer who experiences a full range of emotion and intensities relates to the patterns of the dance. Since dance is an interactive form, an even more involving question is how their individual experience connects with their fellow dancers and to the audience participants in their dance.

In my search I have discovered how movement patterns and the dance class methodically take a dancer into the realms of making these shifts of experience. Because dance engages every part of the person, each dancer recognizes the unending number of connections in different ways and at different stages of their learning.

So my process of watching dance is to experience each dancer as a unique composite of experience. This is a special delight since I can experience the baby, the child dancer, the professional or the beginner adult of all ages.

Then I have taken those questions to ask how I, a relative outsider in the realm of pattern, can enter the dancer’s experience of shifting perspectives and qualities of movement, emotion, thought, and even interaction with others.

With my round about ways of learning dance, I began to ask how I could really enter the experience of dance as a way of varying not just the emotion and intensity but also the pattern.

Having studied in depth several approaches to dance improvisation, movement meditation, singing, and theater, I came to the science of dance as we know it, Ballet. Taking ballet for the first time at mid-life was a rush of energy I had not felt. Maybe all those years of watching added up to give me a rudimentary structure to build on.

All this clarity of energy made my blocks even clearer. No area of my body would respond to a command and there were so many commands at once. Pull this, lower this, send energy here then there. I had to take one command to one body area at a time. That meant private class which limited my experience of learning with other dancers.

I enrolled in Pilates, in Balance Class, in combinations of Modern Dance and yoga, and finally in Floor-Barre directly related to Ballet movement. I was still caught in the command issue of trying to move this, hold that, and somehow hold it there. Obviously I still had no storage for the pattern necessary to put all this together.

So I started improvising Ballet movement and trying to find a way to simplify the commands in a way I could learn the movement. My desire is more than that. I want to experience what the dancer experiences when that one dancer enters the whole person that can shift from delight to seriousness, from laughter to reflection, from pattern to emotion in all its intensities.

To remember and to clarify all my rambling experiments, I have written this blog. Those who can wander with me are welcome.
Tim Hurst 01/22/18

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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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Dancer Dragon Slayer Prep

I join Dancer Dragon Slayer.
We choose a tree where we will prepare for our journey.

We close our eyes, We enter secret spaces, expansive kingdoms.
Here I will know the fullness of courage that will carry me
to the Dragon’s lair.

The moment my eyes close, my dance begins with movements so slight, I feel my eyes joining the tree quietly rustling with delicate breezes and also creating our own breezes simply with our hidden eyes.

I recall thousands of moments just before entering a dance. Silent. Absolutely still. Readiness becomes brightness.

My eyes relax and move calmly spreading to receive the life around me preparing to send waves of life that my eyes will precede and then follow.

My breath gives way to spreading and lifting brightness through me. My arms too give way to a weight as if they are falling into gravity in all directions at once.

We enter our secret kingdoms the two of us, Dancer Dragon Slayer and I.
Tim Hurst 07/09/18

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My Urgency towards a Dynamic Vision of Dance

What is my urgency of exploring a Dynamic Vision of Dance?

Every day I wake up to hear of a new discovery about human intelligence, how the brain can be improved to take advantage of this emotional or athletic intelligence, and what substance in what kind of pill will instantly enhance my abilities.

The question that interests me is when has this kind of exponential growth happened before in our history? It may have happened many times after we as a species had lulls of discouragement and disillusionment.

Most probably a leap in human skills of this sort happened as the human began to accept their new powers of the brain. Most important though are the gifts the human developed before realizing the new powers. These gifts became strengths that made it possible to garner the courage and the commitment to explore and build on these new powers.

We seem to be in one of those discouraged seasons of history. Even with all our new discoveries, we look at our youth and find more anxiety, more suicides, more depression and more addiction to substances that we rely on to face our challenges.

One perspective that sticks out as something that has helped humans to persevere is a discovery by Steve Johnson. In his book Wonderland, How Play has Change the Course of History. He connects play to the experience of Delight.

The first question Johnson asks is why in the evolution of humans, the flute preceded the invention of fire. The sounds of the flute were intricately developed to produce a scale that is mathematically astounding. The answer he gives is that our ancestors explored the experience of Delight.

What gift did humans have to help deal with a larger brain? Delight. Where did the intricacies of math and astronomical observation come from? Delight

How did humans persevere in the discouraging times when changes were demanded and new powers seemed unwieldy? Delight was studied and practiced in three ways. Two of the activities were named in language as the same thing. Music and Dance were the same activity. Music and Dance and Religion held the same purpose. First it was Delight. From the delight came bonding of the group plus the growth of observation and anticipation. Most important was the growth all three brought to make phrases that captured the sense of the individual and the group. A phrase was a declaration of the hope and aspiration of each group in their search for the courage to persevere.

What is interesting in our times is our reliance on music and dance as ways to grow our Delight while at the same time not understanding their importance. They are relegated to the realm of religion that is not understood but exploited for the hope it gives.

What is my part in this urgent quest for an overall vision?

I have a unique history with music dance, and religion. All took me a long time to grasp. The technique was slow coming. My brain would freeze if I got over stimulated with each study.

My only entry point in to music, dance, or religion was Delight. Because of early trauma, I developed an escape hatch that was a kind of surrender to Delight. I discovered a particular kind of surrender that always brought Delight. Plus i was able to play and sing music with an abandon that I did not understand.

The tenants of religion were puzzling to me yet I felt myself abandon to Delight in meditative and ritual experiences.

An example of the difference is that learning music or dance has been a process of being a stick man with jerky movements and continual mistakes. Likewise, memory was not something I understood.

What I was able to do was to abandon myself to Delight by playing with the pieces of learning I could remember from a class. I could commit my pieces to memory by connecting each section to a specific kind of Delight.

I would often have lapses of memory while performing. There was no recorded memory of the music or the dance. I would improvise until the Delight would return and there was the remainder of the phrase, the tonality, or the melody.

So my study of Delight has a special meaning to me. Also I seek to understand the kind of surrender that brought me to enter Delight.

All these things are what dancers, musicians, and people of religion approach in their own ways. I have a very detailed perspective because it has all come to me through a longer time line than most.

For example, it took me six summers of daily swimming to learn how to coordinate legs and arms and breath in swimming. Tennis took about the same time just to hit a ball after I bounced it in front of me.

I will not admit the enormous length of time I have spent to arrive at an ease with music and dance. Religion took years of intense meditative practices to coordinate my readiness to my willingness. I persevered in order to both surrender and to reach for the courage to ask the real questions.
Tim Hurst 07/02/18

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Where is My Delight?

I meet nephew of almost three at the waters edge.
He says his full name, three of them.
I dunk myself to remember the entirety of my history in three names.

We stand eye to eye in the water. His smallest bounce delighted me to follow. A little more bounce, him then me. Bouncing now in slightly deeper water, our smiles just above waters surface.
Our eyes shining. Our heads beaming at bottom and at top of the bounce.

Bouncing moves us across the pool. He notices. I just follow. Now he bounces backwards across the pool. I follow still one and a half feet away.

His smile enters the water now and on the rising bounce, he says, “I am happy.”

Out of concern, someone hands him a tube of floating sponge. He touches one end. I touch the other. He bounces backwards. I follow. At pool’s edge i pull the tube and we quickly cross the pool. His feet adjust his bounce in ways I can not see.

I make a crunching sound as the tube hits the edge of the pool. Some yell comes out of me meaning, “your turn to pull me.” He pulls and bounces us back across the pool. I float, follow his pull, and subtly tug the tube and us out of deeper water.

He examines the hole in the end of the tube. I make a sound in the other end. Laughing, he makes a sound in his end.

Adults arrive and nephew has to go home for bedtime.
Tim Hurst 07/01/18

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Who Do I Say I Am?

Who Do You Say that I Am?

Energy of course. Alternating energy you say yet what is that?

I suppose I am the aperture of my own camera that nurtures the energies I receive, those I follow, and those I join with my very own energies.

Yes I suppose I have to nurture and own up to my own energies. So simple you say yet who am I to say.

Dare i? Step into my own energies?

Where would my courage come from? my balance?

Strength given through my immense energies you say?

Start Again We All Say.

Where is my energy now? Images I delight in? Movements I delight to find in me? Sounds I echo at my surface edge?

Where do my energies meet to clean themselves, to shine themselves, to nurture a beginning again?
Tim Hurst 07/01/18