This conscious dance practice of ours is a movement odyssey that can whisk the dancer from an intimate dance of discovery to a dance of communion – in dialogue with another – just by extending the range of perception.
Then, as a dancer relaxes into this field of immeasurable movements and vast spatial awareness, they may find themselves immersed in the diversity of a dance community. A majestic and messy conglomeration of assorted dancers attitudes, peculiar movement sequences, strange timing frames, and uncomfortable relational boundaries that is suddenly up for grabs in this playing field.
What is possible here in this dance excursion are ways of discovering a wider vocabulary of movement language. We begin to notice that dancers ebb and flow in and out of our personal range. Our world grows larger as the possibilities to speak of the dance increases. What is seen, what is experienced, what is impacted, and an array of influences take hold in us in ways that may prove to be unfamiliar and even alarming to some.
Our dance education is now entering a postgraduate phase.
What a relief to have this extensive engagement moved away from ego self and displayed in a field of energy and information. When I realize that I am not the be-all and end-all of the dance, I am liberated from the constraints of personal story and contriteness.
I begin to realize that there is, in fact, a dance happening – going on, irrespective of me. I get to plug into it. I get to participate in it. It was happening before me, and it will continue to happen after me. I can celebrate the wonder of it all while not insisting on myself. Humble.
Like the journey of an intrepid warrior who leaves home and returns changed and charged, in the conscious dance, we leave our personal harbors of safety to venture out into unknown spaces. The sound of music, the silent song, the gestures of another, the alive and aware space, all offerings for us to be centered in our gut, which allow a slow spiral passage to the heart space.
In this dance we are never certain of where we are going, and that is fine.
We participate in the seamless continuity of change that is the dance.
We ride the wave of wonder and wander without any fixed landing point.
Exposure and experience are guides that the dancer relies on in these whirling waters of discovery.
Dancers open the eyes of the body to drink in the changing dance that is always in process.
This is the education that enlivens and enriches the dancer. The dance opens to us in ways without requiring any script. If I always experience comfort and safety in the dance, then I may be skimming on the surface of benefit. I may be missing a fuller presence and power being offered.
The dance that I am most intrigued by is the one that consists of a series of falls and recoveries. I delight in being slightly off guard in territory that enlivens and may even alarm.
I desire an edge to dance on, fall and restore from.
When hurling down the freeway in an automobile, I desire safety, when shifting gears on avenues of the dance, not so much.
You can’t know what will happen until you yield to the moment of movement that drinks in everyone and everything in the field. Then without any warning or heads-up, it roars back in a most generous offering of aliveness and adventure.
I wish to be lost in an exhilaration of experiences of being born, maintained, and dissipated in a moment as the dance. This receiving and realizing, this coming to and moving away, are fields of continuity where dance lives. We show up with the same porous attitude of arriving and departing to receive its benefits.
Once again, the play of impermanence becomes the only dance worth being with.
Soul Motion dancers appreciate that the dance is an inside/outside job.
Our practice consists of knowing the dance in the space behind the eyes, the interior space of discovery, and the physical space of the room.
We learn about igniting the panther body, that sinewy extended pull and push emanating in our gut and reaching out to all areas of the body. It is a way of engaging the total body as a field of connective fibers. The body surface, in its entirety, is participating in rounds of movement that scatter and gather toward a still point in arcs of awareness. We are sensitive to a collapsing and an extending of the body in rounds.
Both environments receive our conscious attention as primary and secondary. Both environments figure prominently, as sacred containers, for the dance. Both court a position of presence and set up an atmosphere of invention, which surrounds the dancer.
Rest in the interior space of allowance as movement moments arrive and disappear. Become clever at noticing what is happening as fluid events, and remain alert to the overlay of judgment, analysis, and commentary. Witness all movement moments in their cycle as they appear, crest, and depart.
Return to the gap and notice the next oncoming movement moment. Like gestures born in the dance, they wither away as they are being constructed.
Announce yourself as the one who experiences the experience. Take a step to the right and return home to witness and reclaim the goodness as to what is happening.
Each space the conscious dancer occupies is a zone of awareness that crests toward the shores of becoming.
In the play of our dance, these shores anchor moments of mystic play and represent occasions for appreciation of sentient surprises.
We see, hear, touch, and speak the dance in space, as shapes.
Space is a stretched canvas on which the dance artist hurls the work of grace and gesture, the inquiry of mystery, the exploration of stillness, the recollection of consciousness, and the idleness of chatter.
Space is a vehicle in which the dancer asks questions, issues statements, listens as body, lowers as mind, and learns as heart.
Conscious dancers expose the intimate circular space of teaching and learning that surrounds all dancers who show up to wake up, alone together.
We are the point of choice of mind, full motivation and passionate purpose that unite each time we are ready to dance.
Space is a channel of communication, a vehicle for messages transmitted from dancer to dancer.
Space is a container of the collective.
Space will shelter and support all those who stray toward the center’s edge.
Space is revered, and ready to hold in high watch what moves through the community of dancers, without condition, judgment, or story.
Space houses every thought, every gesture, every punctuated pause created as the dance.
Space is the frame in which the dance form moves in, moves through, and in those rare transposed times; moves as the dancer.
Space is alive. Enjoy yourself.
Vinn Arjuna Martí
Artistic Director/Designer of Soul Motion, a conscious dance practice