Monday, February 25, 2019

naked bare (bear) pieces: music - and other "helpers"/facilitators/enzymes of/for movement

after a very long phase where works grew and still keep growing from and by interaction with set musical pieces, I am once more thrown back onto movement without this additional element. for a while, ongoing sounds like these healing drones felt especially good, and for training with others to them. but now even that should be off, for a time.

it feels almost like getting off drugs, because in my current state it is so easy to move in response to musical stimulation on all levels.

I had always made it my point to dance as a Gesamtkunstwerk, using my own bodymind as the core system, where all would come together, be perceived, worked with, each at its own intensity (in a way, following through on Elaine Summers' notion of intermedia, where two or more media merge to in-form a "third" ... )

but now I am returning to the sense that just my moving body is enough justification for the dance to be "legitimate", worth the effort and the attention. and that without the extra stimulus/happening, my bodymind can and will have some quite different things to do / "say", on its own.

additionally I also increasingly enjoy dancing naked (easy enough in my home backroom/studio)
again there is a similar feeling of bare openness of myriads subtle possibilities and chances.
finally, I recognize that -just as in the first phase of Kinetic Awareness® (echoing Viewpoints)- it can be good to slow everything down and explore one element / bodypart at a time. in this case the / my moving human bodymind, on its own, with only the co-incidental sounds that John Cage rightly identified as music.

and challenge the idea of a 'machine' with a limiting, and more safely expectable, outcome / result ...

on a similar plane, but not the same:

And this then began to bother me because perhaps I was getting drunk with melody [...] and so I began again. [...] That led me to some very differnt writing that I am going to tell you about in the next thing.  Gertrude Stein, from Portraits and Repetition, "Lectures in America", 1934

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