When a dancer touches palms together an integrated circuit is formed connecting the entire body.
When the hands are touching and move apart, leaving space between the palms, the integrated circuit continues with signals passing between the palms and between the inner surfaces of the arms.
I love watching babies touch their feet and mouths to establish these circuits.
I experiment with touch as I initiate different dance movement. From my experience as a practitioner of Craniosacral Therapy, I experience touch as both exploratory searching and receiving of information. With this kind of touch, I dance allowing my hands to initiate a movement and catch the movement in mid air.
With dancing I experience a wide range of emotions and qualities of movement. More and more I discover how these experiences build networks of signals. I draw from my Craniosacral Therapy experience to identify diaphragms that cross the entire body and to seek connections between these areas of the body.
As I experiment with the hands, I remember the ways many people use their hands in different situations. This is a review of what I have seen or experience myself.
Touching both knees with my hands, I experience a crouching sensation ready to stalk and pounce.
Hands on my hips is a readiness stance while I straighten my pelvis and pull energy from my feet and pass energy through my body.
Hands to the lower back is a resting pose common to frontier women performing back breaking labor.
Hands to the belly is responding to internal turmoil of some kind.
Hands to the lower ribs in a caving in motion is a response to a blow from trauma, either physically or emotional.
Hands to the solar plexis at mid chest is a sense of surprise and curiosity.
Hands to the collar bone is gasping for breath to deal with a sudden flood of signals rushing from the body to the head.
Hands to the sides and back of the neck is a grasping for understanding and an attempt to stabilize from a flood of new data.
Hands to the temples is a sense of unbelief and a call to all systems to integrate to face what is happening.
Hands clasped at the back of the head is a meditative resting pose that connects to networks for gaining a broader view of our experiences. This is also an important position of the hands in Craniosacral Therapy.
Hands on the brow between the eyes is another call to all systems for help in integrating experiences pleasant or troubling. In some systems this is called the Third Eye.
Hands on top of the head is an anticipation of surrender to new information passing through the body.
How do the understanding of hand movements relate to the dancer?
Each area of touch is a sensory platform or diaphragm that dancers explore to build signal networks. The dancer explores each area being touched as platforms to initiate movement and to gain access to sensory data. Improvisational dance movements will often touch these sites to vary the dancer’s experience of an infinite variety of qualities.
Different qualities of signals within a touch requires a level of awareness and access to sensory data that is not easily studied. My guess is that the child is moving at light speed through subtleties of emotional and physical connections. This level of growth and learning may be overwhelming to us as we get older. This might explain why we relegate this kind of sensory data to spiritual exploration and to the realms of the artist. The isolation and demeaning of these sensory explorers might be just an adult fear of traveling at light speeds within us.
Just a note is that within a light wave are many spectrums and a variety of speeds that produce an infinite range of intensities and qualities that require the human system to slow down in order to process. This experience of slowing down and speeding up may be one of the ingrained phobias of the human.
Tim Hurst 11/01/17