STILLNES, NEUROPLASTICITY AND THINKING TOUCH IN MOVEMENT

 

 Pare it down and you’ve got two things left: ground and space.
Ground is any object in the universe that has mass. Any object that has mass exerts a gravitational pull, or force, on every other mass. As far as gravity is concerned, humans are objects right along with refrigerators, and cars. It’s all a matter a perspective./Bruce Fertman

 Out of touch. Unaffected. Unmoved. Numb. Left cold. Removed. Language surrounding apathy takes form as a lifelessness. Does then the answer to apathy lie in liveliness, in animation? I would like to consider the opposite: that in fact developing a response to apathy involves going deep into lifelessness, into the inanimate, and finding a curious bond with life there./Thinking touch in Partnering and Contact Improvisation-Brandon Calejja Show

 

Challenging both the mind-body split and the prioritisation of vision over touch, Merleau-Ponty’s phenomenology endeavours to situate humans in a world that looks at us as we feel it. Merleau-Ponty in "Visible/Invisible seeks to overcome dualities and hierarchies central to Western Philosophy; efforts to think past the Cartesian dualism dividing the human self into mind and body. It demonstrate a sense of bond or relationship between humans and their physicality and touch - it is a dominant means of conceiving this interaction./ Brandon Calejja Show

 Today I was exploring being still, neuroplastic (find my own organic way in the movement) and working on touch( unfortunately not with the person this time, but working with the objects and their stillness, playing with the air and touching it, touching the wall, floor, door with all my senses and with some body parts, to feel their softness and heaviness (such as playing with the jaw, tongue, arms, head). Today was a day when I really needed that support, even from the objects, when you need their stillness, or they absence of movement, sound, even breath. Eternal peace was playing through my body and bones. I have learned how every entrance into the working space is always sincere, serious, calm like I am entering into the stage, very proud but humble. And it is always look as a beginning, with a lot of frustration, worry yet also will power to create again and again something new. It is like a craziness this creativity, it does not give you to rest,  to stop, to sleep, to eat, to drink, to relax...however, this all is also my food for the soul.

All is in creative work visible and invisible, possible, in dualities, polarities, between touch and non-touch, between lucidity and craziness... the most important thing is that we are playing all activities for a real, that we are conscious of every movement, step, breath, touch, sound. Conscious of our dance. 

Every day I am exploring little by little Bartenieff's Developmental Movement Patterns or Fundamental Patterns of Total Body Conectivity. Moving from resting position with the little locomotive ability until I am able to lift up, slide, roll, crawl, even get up. This is so important how to shift the weight of alternating body parts upon standing or going down. Today I was exploring that part with the stick and it is great to observe what is happening with all these actions while you can not use your hands, how core and breath support must be valuable. This is also not the linear process, but always the spiral one, where one returns to the previous stage, modified by the new discoveries.