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Expanding My Space Dance

What is my dance today? Expanding Space

I live within an image of my spine as a whole unit from inside my cranium to the bottom of my sacrum.

Expanding space my image surrounds the fluid sheaths around my spine and surrounding my brain.

From these vulnerable territories my movement emerges as gentle, microscopic, and undulating as gentle waves on a shore.

Spreading sensations from surrounding areas emerge meeting the outside air at the edges of my body.

My torso rotates around my spine through the sensations of inner space. My arms and legs follow the pathways of my spine raising and lowering, waving and suspending.

My head bobs into outer space carrying my entire body into spirals in every direction.

The energy filling me moves beyond my body approaching trees and people who emanate their own unfamiliar energies. Returning to my spine I craft waves of movement to offer a meeting of energies.

Dance Tools I Seek
Continuous spiraling energy distinguishing itself as internal and external.
Tim Hurst 06/22/18

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My Expanding Dance

What dance am I today? Expansion

Expansion becomes spreading becomes extension becomes movement.

From top of my spine, my sensation awakens lower brain, throat, jaw.
Spreading through center brain to meditative silence, palate, back of eyes.
Extending in rolling curves to memory of delight and the roaring of energy through the top of my head.

Each section of spine extends to awaken a vulnerable collar bone, an expanding chest, a spreading back, the widening of diaphragms respiratory and pelvic.

Networked energies culminate in the spine’s extension into exploratory extensions as arms, as legs. as head.

Tools of Dance I Seek.
Fluid shifting of focus from single points to connected energy centers.
Tim Hurst 06/22/18

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Dance Basic Ease

Today i need to quiet myself from being busy and worrying. I follow my process of slow circular movement crossing the midline of my body. I do not need the busy activity of the spin but instead gently move arms, palms facing, back and forth across my spine.

My head is networked to balance on my spine with a slight bobble as my eyes and head move the opposite direction of my hands. My hands face each other, arms easily outstretch away from my body. Signals from my spine lift my elbows and soften my hands as they travel in spiral movements up each vertebra of my spine.

My experience is connection of my entire self, a sensation of ease.

It is this study of ease that make up my experiments to find a balance of directed and collaborative movement. The networking in today’s movement comes from Tai Chi but I understand the principles from the detailed training of Ballet and Modern Dance.

I keep trying to verbalize the simplicity of the Ballet learning process. I try to trace the principles in action.

The basis is that energy must be allowed to move through me. A dance image allows my arms to float up. My arms lift from energy traveling from my spine, under my shoulders and around my arms. The action is more than muscles moving from mental direction or from intentional force. .

The pathway of the energy is a spiral traveling through my arms and beyond each finger. The palms facing activate the connection of energy between each hand.

Basically an energy field is created between my arms and energy connections of my torso that begin and end at my spine.

The training of energy movement is the focus. Anatomy is adjusted to encourage the easy flow of energy. Arms are softened by the spiral of energy passing through. Elbow, wrist, and finger joints are flexible from energy passing through their gently curved positions.

The result of this focus is an approach to anatomy as alignment to foster easy flow of energy. Maintaining an erect spine is no longer the commands to hold myself up and pull my shoulders back. Each vertebra is balancing within a flow of energy that is traveling through and spiraling around my spine.

This detailed understanding of movement is why Ballet and Modern Dance have been at the forefront of innovation in training for both flexibility and strength. The effects are a deeper understanding of injury prevention and movement rehabilitation.

One goal is an ease of movement in any direction responsive to any variation of speed, intensity, and quality such as lightness or heaviness. Another goal is the networking of energy signals that create a continual energy loop through the horizontal plane of the arms and the vertical one of the spine. The image of energy loops are applied to every area of the body to respond as a supportive network.

The image of spiral energy is one key to dance as a way to generate delight by engaging the entire person.

I experience the image of spiral energy as a way to generate new connections, a way to go beyond my limitations, and a way to respond to strains to avoid injury.
Tim Hurst 03/25/18

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Enter Dance Delight

Enter Dance Delight
Entering dance is entering delight. Dance is a way to engage my whole self, a way to focus all my attention on a full range of experience.

Dance has many forms that use basic principles. Ballet is the science that has organized dance principles into a progressive system of learning. The power of Ballet as a science has been its ability to add to and influence discoveries in other disciplines. Using the term dance applies to all dance forms and refers to the codification of movement by Ballet.

To fully engage, dance begins with simple movements using an image that guides the building of networks that interconnect the entire person.

Similar to the tradition of Tai Chi, dance imagery is the falling and rising of the body as one unit. This simple image will be applied to every area of the body and to every system from emotional to cognitive.

Also like Tai Chi, dance begins with slow movement allowing time and space for the body brain to record the movement and distinguish it from other movements.

When I lose the sense of delight in dancing, I simply return to the falling and rising. In Ballet it is the plie. In Tai Chi it is the basic lowering of the entire body by bending the knees and lowering the arms from an outstretched position.

In both Ballet and Tai Chi, this is a basic movement that prepares for many other movements from stepping to leaping. The slow connected movement is the gathering of power and the integrating of position in space.

Enter Dance Hope
Dance is the process of anticipating more life revealed in the connection of movement. The experience of anticipation is a recognition of the process of creation and growth in our cells. The cells divide as a creation of more life. Neurons interconnect by the creative process of sending and receiving signals.

Hope is the process of anticipation, response, and integration that brings us to an active curiosity.

Anticipation prepares to recognize the surprises and the shifting of these different networks.

Enter Dance Networks
Dance is a way of training our focus to manage creative connections between our different networks. One network related to focus is the specific goal oriented focus that can identify specific actions and proactively adjust them. Another network is the broad spectrum focus that oversees full person acting at once.

Another pair of networks are the directive and the collaborative. The first is specific and directional while the last is reflective and integrative.

Enter Dance Image
The image simplifies all the complex work of the body brain and empowers the person to wield an instantly changing focus.

One key image is energy. Energy in dance, as in sound and light, can be varied to many levels of force, speed, intensity, and quality.

The dancer uses imagery to shape energy that goes beyond their limitations physically, emotionally and mentally. The interaction and interconnection of energy is studied both within the individual and between members of a group.

Dance is a way to build the curiosity of anticipation and the images as tools that can apply to the uniqueness of the individual and the unity of a group.

Enter Dance Complexity
Dance is a process of beginning with simple movements, adding variations that are easily distinguished, and integrating the movements so they can be combined in multiple ways.

The unique realm of dance is to distinguish the connections within each different network encompassing the entire person. This process recognizes not only skill development and structures of mathematical, geometric, and motor calculations. Training distinguishes experiences of intention, malleability, and states of network collaboration. Building the care for the self as an interactive part of life is at the center of all learning.

Enter Dance Power
Dance is an experience of power from many different perspectives. Clarifying signals through all the types of entry mentioned, the dancer creates a moment by moment portrait of their experience in the form of dance. This portrait is changeable with the wide range of qualities and states of experience. Claiming and building this dance of the self represents a long journey of entering dance.

The source of power is the interactive nature of our systems that receive and send signals allowing the person to evaluate their location in space, the intensity of force they are applying, and their relationship to emotion and intention.

Two other aspects of power are important. One is the openness to surprises that may exceed any expectation. The other is the willingness to ask for help and to experiment with the help given.

Asking for help may be a personal action of specifically asking within the self for the attention and courage to recognize the help that is offered and for the vulnerability to fully receive it.
Tim Hurst 03/24/18

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Two Sides of Me 2017

Even my sweetheart Ginger straightens me up as my lean to the right revisits me in moments of fatigue. Or perhaps the lean is always there throughout my hours of dancing. With all my awareness and my dancing there are clearly two sides to my movement and distinct sensations. Perhaps my feeling of having to direct every new learned movement is correct times two.

Today I will honor two different worlds. On my left is the world of steadiness, a whole sensation throughout. There is vague sense of having to hold on, a clue from Rachel Meador that my left foot was always gripping the floor as if I were going to fall to the left. On my right is the world of collapse, yielding somehow to a deep sensation of trauma.

There is a reluctance to both sides that do not want to be stirred. One Feldenkreis session with Matt Williams ended with his observation that he had to bypass lots of resistance, find alternate routes to move my legs.

I did not pursue the sessions out of a fear to face the ache I would find there from previous trauma. The reluctance is still there, aches not wanting to be touched but the rewards of movement call too strongly to resist.

So today I enter the delight of the dance with a bit of caution. I know that the echoes from past traumas will ache to not be stirred. Or perhaps they will gladly yield to movement as they want to do.

The image that will replace my caution is two versions of the wave down and the wave up, the rising and falling at the core of a dancer’s awareness. On my left I will introduce a spongy loosening of the firmness. The emphasis will be on the downward wave. For my right side I will introduce a springy playful emphasis on the upward wave.

As I move, the sensations are both very distinct. My left side seems to be in new territory, having to release in new ways to feel the downward wave. My right is likewise a little unsure like it has always relied on having a buddy leading on the left.

I explore the double helix image differently for each side. On the left, I shape the image as collapsing vertically to allow a spongy quality to the movement. For my right, the shape is the rising buoyant nature of the rotating double helix. The quality of springy is a continuous upward feeling.

The images come and go from my awareness giving me the clue that either I do not want to go there or I need to allow the image to work outside my awareness to go past the fear. I gently bring the images back and observe. I will have to repeat this experience many times to get a read on what is actually happening.

My movement on the other hand is very demonstrative. My ankles give way and respond to my arches in very fluid ways. My movement is more sweeping and my looping floor patterns are surprising. I welcome all the movement and notice the ending of phrases going into twists that engage the rotation from hip, through the mid back to the opposite shoulder.

I follow this rotation as I build awareness in turns that move forward into the cross body twist and then into a backward version of the twist for the opposite side of the turn. The 360 degree quality in my body is very satisfying.

Moving side to side I engage the rotation in the Dancer’s Diaphragm under the arms while sensing the rotation in the opposite hip,leg, and feet. My hope is that these movements will give me more awareness and access to the leaning into my right side.

More sessions will tell. I can integrate the experience at the end of the rotations and even feel the echoes of trauma in my hip. Standing still afterwards causes me to avoid the sensations. Perhaps in another session a portabrae will help.
Tim Hurst 12/30/17

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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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Hovering Torso Prancing Legs

Today at the Lake Travis beach, Ginger and I went for a walk. I explored an experiment that had occurred to me two days ago. Today I identified what the image is.

My torso is hovering over my legs like a glider that is banking and swiveling in every direction. I was able to feel the hovering sensation because I had recently discovered what it really meant to lift the torso up away from the hips and legs. I had also not understood in Ballet class about the hips operating as a part of the legs.

The discoveries are so interesting because I am fascinated by the way a dancer initiates any movement with a sense of delight. Also I am convinced that dancers training and personal imagery is directed towards clarifying the signals that pass through the body.

This is important for me today because I have strained all the muscles on the right side of my torso. Sarah Brumgart a dancer turned massage therapist spent an afternoon identifying all those aching and painful muscle connections that I could not bring my self to stretch.

This particular experiment was important because I began signals at the lower torso and passed signals through the most painful areas to areas of the back that could easily move.

My hovering torso seems to originate in the suspended diaphragm under my arms in the back. Dana Lewis distinguishes the movement across this area as spreading which is an expansive, extending movement.

With a lifting motion, that Dana also insisted I learn, I initiate a supportive network of signals from the pelvic floor that connect under my ribs all around my body. Shifting the focus of my upper torso felt fluid and made it easy to tilt to a diagonal and bank into a turn that curved my entire body all the way around.

The amazing sensation was that all this movement is initiated in the hovering torso. My legs were tripping along following the movement coming from above. I lifted my torso as if it were independent of my legs and my legs felt free to spring quickly to catch the fluidity of my torso.

This is entirely different from the way I walk. I could not imagine returning to my usual heavy lumbering ahead movement lifting and lowering my legs. As subtle and small as my movements were, my legs felt as if they were flying, a similar image to hovering in my torso.

Of course, my sensation of seeing and thinking was different as well. This is harder to describe. My eye brows expanded. The base of my skull pulled a little up and slightly back freeing also my top vertebra to tilt and bob with every movement.

All these movements reminded me of an experimentation I did with the image of the Gypsy Poney. I paired the movement of my feet springing while lifting the back of my head like the bowing of the Poney’s neck. This is a new sensation of pairiing prancing feet with a raised and arched neck.

My focus widened at my brow and I notice the sensation of my upper torso riding above, like the hovering image, while my feet pranced lightly changing direction easily. My widening focus was a different state of connection between movement, thought, perception, and emotion.
Tim Hurst 10/16/17

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What’s Movement to a Dancer?

What appears to be physical changes of position and poses is for the dancer a refining of complex networks of signals connecting, dissolving, and reconnecting throughout all the systems of the person.

These signals travel in curved pathways that have been understood by dancers for centuries and are now studied as Structural Integration. It is the curved pathways of signals that a dancer experiences as continuous movement of sensation, anticipation, initiation, completion, and transition into multiple directions at once.

The dancer’s tools of compression and extension are related to signals that are continuously in motion. What appears as stillness or a pause is actually another state of movement.

An audience can immediately identify the delight of a dancer’s simple movement. For the dancer also the movement is an instantaneous connection of physical, emotional, and intentional signals.

From the viewer’s point of view, the movement looks automatic as if a body memory has taken over. For the dancer, there is a rapid shifting of many kinds of focus. One type of focus is from the micro view to monitor a specific skill and the macro view of the entire person at once. Another type of focus is in the awareness which shifts the view from foreground to background.

Even though it may seem as if some movements are directed and others automatic, for the dancer patterns are variations of experience that work at levels sometimes called heightened awareness and sometimes requiring less attention. Both levels of the patterned skill are interconnecting with each other, the difference is the focus on foreground or background.

The dancer’s view is more of a malleable system that is in continual responsiveness. Automatic movement and muscle memory do not adequately explain their complex process.

For the viewer and often for the choreographer, the pattern is seen as a repetition, a replica of a specific movement. For the dancer, the pattern is also a malleable experience that is varied by the thoughts, emotions, and energy of the moment. This is one of the reasons that no two dance performances are the same.

Another astonishing perspective is the dancer’s ability to alter the experience of any movement with a set of modulators. A physical analogy is a musicians sound board. Any sound can be modulated and blended with dials that give more or less of different qualities.

The dancer modulates not just speed or duration but also the qualities that bring emphasis, heaviness or lightness, subtlety or boldness, to name only a few. Like the musician the outcome is a confluence of emotion and interpretation of melodies, rhythms, and harmonies.

Imagery is a tool to assist the dancer with the complexity of shifts in focus and with interconnecting the centers of movement, emotion, and formation of meaning. Signals are shaped and managed with imagery.

Also the anatomy of the body is managed with imagery. Physically, the dancer is also working with the body as a malleable system. To do this the dancer has developed imagery within a training processes for understanding the body movement.

Imagery is often indicating the direction of energy flows. Using the image of signals different areas of the body can be viewed as signal initiators and receptors. Rather than commanding a body part to move, the signal begins at a location and travels back and forth to other sites in the body. These specific locations are interconnected into networks.

Signals move between different areas of the body are called diaphragms and platforms. They usually cross the entire body and give the perspective of the dancer as moving three dimensionally and in every direction. Each one is a major sending and receiving point for many nerve endings and flows of energy.

The platforms are the arches and surfaces of the feet, the palms of the hands, the collar bone and scapula that suspend the shoulder girdle, the base of the skull, and the Fontanelles or meetings of the cranial bones at the top of the head.

The dancer makes detailed studies of each platform to refine the nerve and energy flows to and from each area. Then they connect their access to each by establishing networks between them.

The diaphragms are muscular and give clues to the dancer’s detailed training of large and small muscle groups. The diaphragms are the pelvic diaphragm also known as the pelvic floor, the lower rib cage diaphragm also known as the respiratory diaphragm, the mid chest diaphragm also known as the dancer’s diaphragm, and the Centrum Brain diaphragm with one known moving part the soft palate.

The diaphragms are the dancer’s keys to lifting up from feet to head, to spreading the body horizontally to engage front and back muscles, to arching and rotating the spine, to connecting the torso and the spine to movement of the legs and articulation of the knees, ankles, arches, and toes of the feet.

What difference does the dancer’s perspective make? Movement is a springing motion rather than a pounding one. A balance of extension and compression takes less effort and training goes past the desire to try too hard. The shifts of focus bring a sense of delight to movement. Every area of the body is accessible and trained as a supportive network.
Tim Hurst 10/09/17

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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 Practice

Each moment is a kind of balance point in my life. My experience of life in that balance point is one of rising and falling, a kind of wave to ride. If I am at a malleable, agile place in my brain and body, then I accept the rise and I enter the falling.

My daily practice of dance is a sharpening of my agility to accept and enter those moments in everything I do.

The tools I use in this practice are the principles of dance as melodic, rhythmic, and experimentally varied. The languages of dance I seek to learn are first signals that are instantaneous and networked with systems connecting brain and body. Second aspect of the language of dance are images that I seek to simplify so that they amplify and clarify the signals.

The way I inform my practice is to understand in my own body the experiments and multiple ways dancers apply these principles and adapt these languages to their own unique body brain networks.

One way dancers experience is through an intimate understanding of the diaphragms of the body. I see how the dancer uses the diaphragms and I try to break down their training techniques into specific interactive steps. I also try to simplify imagery that gives me ways to apply the many actions the dance teacher introduces in each dance class.

I am aware that my observations and experiments are to some degree unique to myself. My goal is that dancers grasp the overall goals of dance teachers and gather from them an experience of awareness and imagery that can be applied to themselves as dancers and as a person.
Tim Hurst 08/31/17

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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