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Double Helix Dance Image

The double helix image is very helpful when I a learning new movement and when I am correcting old habits that create strain.

The problem I have is concentrating too much on one spiral at a time. My mind can conceive of only one spiral at a time unless I conceive the entire image at once slowly spiraling through my entire body. The image is applied only once from head to toe and allowed to move gently and continuously.

My thinking wants to follow a single spiral but that does not give me the agility to adjust. The problem this causes is I have to focus my specific thoughts on one area of movement.

The advantage of the double helix is that I can switch the entire image to a broader focus and allow it to operate as one part of my networking. The image itself does not require my attention or direction.

Rather than thinking the image, I can grasp the image as a whole and make slight adjustments to improve the range of my experience and my movement. Said another way, once the image is an active part of my entire networks, I can adjust a range of actions to affect the quality of my sensations and my movement.

My actions are first to adjust the shape of the double helix. I can narrow the space between the two spirals to surround specific vertebra and clarify signals to different areas of my body. I can expand the two spirals to the edges of my body for a more three dimensional experience and instant changes of direction and dynamic.

I then can add another specific image to the double helix since my focus already conceives of my full self in action. For example I can add the image of spreading and rising to specific horizontal areas of my body and emphasize the action with the double helix with larger and smaller space between the strands. I can connect the body sensations of my breathing diaphragm to the image of spreading and rising.

By adjusting specific areas of the double helix, I can connect platforms and diaphragms from my feet spreading and rising all the way through my body, up each spinal vertebra, through the top of my head. The double helix only has to be widened or narrowed in the areas that I am connecting.

All this is done while the full image is in continuous movement through my body. Any adjustments are making changes to the actions and connections of the double helix image.
Tim Hurst 03/07/18

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My Platforms My Spheres

At the base of me, my platform, my pelvic floor, a diaphragm, a sphere surrounding me edge to edge.

One pathway of interest calls me to soften and spread my diaphragm so wide. Yes all this falling through space toward a gravity unknown as my most distant platform!The Feet supreme! Also soften and spread. Also fall deep into the earth beyond the gravity I wish I knew.

My jointed knees only yield to the fall, Pelvis to Feet, as they soften all and spread the wideness of my edge to edge body.

My knees reaching the bottom springing point respond to the lifting of my pelvic diaphragm. My feet too lift as my bottom most spine raises following the springing at the center of my pelvis. My narrowing hips catch the flight and gather QL muscles connecting fronts and backs of me.

The lift and the rise floats my arms out of a Dancer’s Diaphragm balancing solar plexis to the front, mid spine between shoulder blades behind. Signals float spine to Lats spiraling around arms to meet at the energy sphere of palms and fourth fingers. The Dancer’s Diaphragm joins in the spreading of my wings this time rising to meet the gravity aloft in flight.

The breath welcomes the rise with a bellows of air to sustain the spreading and the rising awaiting a peak passing through the neck and cranial base to lift the spine right through the roof of my head’s back fourth.
Tim Hurst 12/21/17

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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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What’s Fatigue to a Dancer?

Today fatigue overcame me and I felt my body falling apart. I began to pull every image inside myself to ask if any of them could call me back to a semblance of malleability.

The first image I rely on is the double helix from bottom of spine through top of my head. Two opposite spirals are intertwined strands fashioned on DNA strands. These are image structures that rotate slowly through the entire length of the strands.

The double helix nourishes my awareness with motion and attention to all the moving systems in my cells. The rotation generates a level of energy that I can ask my body to receive as I release tension and resistance that reduces my malleability. My fear seems to grab on to the tension in hopes that some manner of control can stop a closing off of my ability to continue a nourishment process.

Time moves slowly and it seems forever before I sense of relief. I vary the shape of the double helix from one set of stands that is narrow enough to surround my spine to a broad set that travels the edges of my body. I image two sets of double helix along side my spine, crossing to enter my neck and exiting the front and back Fontanelles at the top of my head.

I image a horizontal double helix at the pelvic floor activating the lower vertebra and match the spiral movements at my cranial base activating the top vertebra. Then I follow these spirals with my eye movements.

The variations keep my attention moving and my awareness sharp for any differences in the movement of energy.

I go back to the full body double helix, this time from the arches of my feet up,through my legs, crossing through my hips, passing the the spine just above my pelvic bone, and passing up through my head. The slow rotation of the double helix is comforting and allows me time to ask and receive nourishing energy.

Once my energy begins to return I have to welcome it and feed excessive flow back into the double helix. Otherwise my mind and nerves activate in an overload mode. The slow steady double helix gives me the image to manage the change. Plus I have the presence of mind to ask for all my systems to receive these changes and to work together for the nourishment I need to come back from overwhelming fatigue.
Tim Hurst. 11/09/17

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Nurturing Back Strains

Today I nurture my Quadratus Lomborum (QL), the little square of muscle connecting my pelvis bone the iliac to my spine and to my lower ribs. I have again strained these very tense and unforgiving support muscles. At its worse, I could not straighten my torso and had trouble rising from a sitting position.

Lifting from my pelvis and sending signals to lift under my rib cage has given me freedom to undulate my spine and to swivel around it in all directions.

Counter rotations of paired arms and hips with head added a freedom to slow my visual focus and to internally follow my full body experience.

Then I add an image of a double helix that passes signals from pelvic diaphragm through my QL, through my center spine diaphragm at the lower rib, through my suspended diaphragm between my shoulder blades crossing under my arms, through my neck and cranial base and out the top of my head.

The image of a double helix is two spiraling strands crossing and recrossing from my lower spine through the top of my head. The purpose of the double helix is to organize the signals connecting my entire body. This image allows an instant broad view of the intricate connections of each system of muscle and bone and intention and emotion.

In other words, I can simply visualize the double helix through my body and allow the integration of signals through every system. I can vary size of the double helix to surround only my spine or expand it to encompass the outer circumference of my body.

Today as I purposefully nurture my QL I allow gentle signals to pass through and keep my entire body supple and responsive to initiation of movement that includes signals of many qualities.

I feel lightness and a bright curiosity with each signal passing through my lower and upper torso. I can lift in one area and support the other in a curve forward, back, and diagonal. My QL goes along for the ride without seizing up or complaining with pain.

The counter rotations seem to ease my mind and foster a flow of focus through my entire body.
Tim Hurst 10/17/17

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Brain Body 2X Helix

Today I felt the image process of replicating a double helix in my movement. For the first time I experienced the Chi Gong healing movement of counter rotation following the shape of the double helix. The figure eights of the head and eyes along with the hips travel up and down my body imitating a helix spiral. With palms facing my arms move across my body in counter rotation with the unity of head and hips rotating in the opposite way. The counter rotation is the double helix that meet at one crossing point at the body center in front of me. This crossing point moves slowly up my body and culminates at the peak of my reach overhead. My hands then fall caressing the air on either side of the helix until my hands hang at the sides of my body preparing to rise into another wave motion.

What the experience meant to me was the importance of a macro view of a structure through my entire self.

I experienced the importance of an image being energy and the shape of lines or bands or cloud like vortexes being a quality that I vary. With a micro view I am also varying the speed and the willingness to allow continuous motion to flood me with a fully engaged perceptual experience.

I experienced the importance of the image as a structure that is in continuous motion connecting and reconnecting all of myself. With a macro view I allow all my entire self to join in the continuous motion that brings me into the fully engaged perceptual experience.

I experience the image as a continuous motion internally to externally as well as the opposite externally to internally. My ballet teachers constantly remind me that signals must go down through the feet and through the floor to access the power of rising whether it be a small movement or a leap into the air. Likewise the landing of the lowering is not a crash but a continuation of the lowering of each cell in anticipation of the rising.

This moment by moment shift of micro and macro imagery is integral to the experience of dance no matter my states of awareness. It is what gives the quality of my movement an equal attention to weight in the springing upwards, the floating downward, and the landing in preparation for another spring. This is the dance study of a balance of force at each point of a movement.

The importance of the absolute slowest rate of motion becomes more apparent. My focus wants to skip in order to take everything in at once. Heloise Gold as dancer and Tai Chi Master have taught me that I can train myself to experience the coordination of slow motion of the eyes with slow motion of each part of my body. The Chi Gong healing movement is what I return to often.

Like the wave motion of lowering anticipating the rise and rising to a peak anticipating the lowering, I experience the expansion and contraction like the wave of my breathing. It is the attention on breathing that many meditation techniques and forms of yoga use to experience the wave motion within all the senses.

I experimented with taking my experience of the double helix in this healing movement into a spinning motion used by the Sufi as a form of communication with God. I simply took myself into a slow spin with the semi- circle of my hips to the back. My head and eyes followed my hips while my arms were in counter rotation to the opposite direction. I combined two traditions of entering full engagement of my entire self. The busyness of the multiple movements easily become a full person experience from a macro view.

To shift my spin to the opposite direction, I rotate my hips in a back semi-circle to the new direction, follow with my head and eyes. My arms, palms facing, moving in figure eights across my body. My arms move upwards and downwards imitating the crossing of a double helix.

A visceral experience of the double helix occurs when I stop spinning. This is a favorite movement of children who have discovered the connection of cells in the brain and body within the spin. Stopping the spin, the entire body perception is equalizing and the double helix experience is waves of crossing and recrossing energy.
Tim Hurst 09/30/17

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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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Tuning the Helix

Today my body is bursting to reconnect. Imbalances pop up everywhere, Hips twist. Right leg needs to lengthen. T6 between the shoulder blades is out somehow. All these complaints sends signals of pain to my right knee.

First I acknowledge each area of need to just say help is on the way. Slow and small movement is best like a very detailed barre or a Tai Chi and Chi Gong movement.

For slow focused movements, I send a shower of many signals from all directions. Then I direct the shower from the spine. I shift the signals first to the scattered shower then to the directed shower. This brings the area to life and ready to reconnect.

Today I introduce some slow counter rotations of head with hips in one direction and shoulder girdle and solar plexis to the opposite direction. All this is very subtle movement in slow motion. I can enlarge one area at a time, a hip rotating forward or back in a semi circle. The back under the shoulders can swivel in the same or the opposite direction of the hips.

All of this is to bring life to each area and to clarify the signals that can be shifted through body brain connections.

Then I am ready to apply imagery to reconnect my signal networks. The difference between the imagery of a DNA shaped helix and spiraled signals is coming a little clearer.

The helix image is a structure that I can place within different areas of my body. First I place a helix spiraling from both feet up through my spine and out my head. I experience the slight spiraling of the entire helix image structure. The image can spiral in either direction, can ripple with areas that are trying to align, and become larger or smaller in areas that need more detailed focus.

A single signal can travel instantly through the entire helix and return. For example a contraction in the arch of the feet can send a clear signal out the top of the head. This is my first signal just to test where the disconnects are.

The signal follows the spiraled pathway of the helix and can reshape the position and size of the helix to fit its trajectory. To deal with the imbalance in my legs, I alter the helix to be a loop from one foot through the pelvic diaphragm to the other foot. I am then balanced on a series of spiraling springs, the helix, that can simultaneously apply equal pressure or apply a lifting pressure to one leg while moving the opposite leg.

The same applies to the area between the shoulder blades. I apply one helix from finger tips of one hand through my body to finger tips of the other hand. This helix image engages the area under my arms, connects with the T6 area of the spine and engages the solar plexis at the front of my body.

I move each area in all directions by sending clear signals through the helix image. Because I am imaging the helix as a moveable structure, I do not need to construct the signal as a spiral. The signal travels instantly through the helix. The spiral of the signal through the helix can reflect in my movement if I wish.
The next stage is reconnecting the support areas of the horizontal diaphragms. I have already connected the arches of the feet to the entire body. I continue the connections through my body with the Barre, Floor-BarreTM and variations of Modern Dance sequences.

Reconnecting the pelvic diaphragm is placing a horizontal helix within the pelvis and hip areas. I can send lifting signals through the helix and also signals for expanding and contracting that activate the lower spine and legs.

From the pelvic diaphragm I can enlarge the helix and send signals crossing the spine to activate which vertebra that need my attention.

I can repeat the counter rotations that I used to test my problem areas earlier.

Each diaphragm is important. The one that is calling for help this morning is the Cranial Base where the top vertebra Atlas can swivel and bob the head in all directions. I can send signals from the arches of the feet or from the pelvic diaphragm.

A signal can ripple through the helix to bob or rotate the head in any direction. The ease of motion is so much simpler than the command, “Now move the head.” The movement is connected into a full body network and the sensation is of movement growing from inside out.

So I have spent most of my time notating these steps today. Now I need to spend some focused time with my moving self.
Tim Hurst 09/10/17

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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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Dance Image Helix

I want to integrate the images of the spiral and the helix as ways to simplify my initiation of movement patterns.

The spiral is a tactile sensation that matches muscles and connective tissue as networks wound around and through bones and organs. The spiral finds its destination and at the same time gathers the breadth and depth of the body shapes.

The spiral clarifies my movement in small areas yet I have to create many spirals at once going in all directions to complete even one movement. I am looking for a simpler image.

The image I am looking for must interconnect information from every area of the body at once. The connections must be instantaneous like the trillions of signals moving through a person. The image must respond to the smallest detailed variation of signals and also give access to a whole person view integrating all systems at once.

This image has emerged as a helix based on the shape of DNA strands. Just a brief review of my experiments with a helix image gives me a basis for further experimentation.

Vertical integration of my entire body is a helix spiraling from foot base, through pelvic floor, through respiratory diaphragm and psoas, through a lifted base connecting solar plexis and T6 vertebra, through the Thorasic inlet, the cranial base, the centrum, and out the fontanels at the top of the head.

The helix naturally has a slow spiraling motion. Any adjustment affects the entire helix. Moving my head side to side affects the helix movement all the way to my feet. I can be aware of Multiple adjustments at once to monitor the constant movement of counterbalancing.

Any small signal I send instantly enters an ongoing network of connections. The helix is a model for sending and receiving signals that are in continual flow. I am no longer only sending signals to a destination but also receiving the feedback and need for adjustments.

The helix image simplifies my sending of signals and my sorting of signals for their results.
Tim Hurst 08/05/17