We are [not] the robots

20664520_10159348228720455_8960342708194455563_n The body is not a robot (PS, I love robots). Most days, people treat their bodies like robots,  like a machine that needs fixing, like a series of parts that can be replaced, improved or ‘spot’ trained. The ways we talk about our bodies matters and changing language can have a profound effect on our experience of our bodies.

We all have days that it feels like our body is a hindrance and depending on our particular age, health and ability/mobility, we each have a unique range of movement that we’re working with. This is not an ‘anyone can do it if they really try’ type of sentiment that I’m talking about here.

Across all of these differences, we can embody our physicality in ways that are appreciative of the body as a process, as a complex ecosystem that remains forever in flux. The only constant is change, a zen concept that has a lot to offer us in our movement practice. Life will add and subtract things from our bodies, gravity will always be more reliable than willpower and time will not move backwards. Within these concepts are further subtleties as bodies oscillate along the continuum of sickness and wellness, stamina and fatigue.

IMG_8017Part of a healthy movement practice as  I see it, is allowing for the fluctuation of practice while still maintaining a discipline. Pay attention to the messages you tell yourself both when you ‘do well,’ ‘see results’ as well as when you fall behind on your practice or fall short of accomplishing something you had your heart set on. This is all food for thought, these reflections on the stories we tell ourselves and how its connected to our movement.

I love watching dancers whose movement flows so seemingly effortlessly from their bodies, with a flow that gives the perception they are being moved by something the audience can’t see. I know they worked their asses off for it but the ease of their movement weaves a compelling imaginary tale.

We’re not all going to be able to do the things we admire in others. I will not be able to perform the physical feats of a professional dancer but I am serious about practices that maintain an ease of movement in walking and dancing and sitting life. All of it, bring ease to all of it. Even the uncomfortable and painful things, cultivating grace will allow the body to move in ways that brute force just wont be able to.

Yes pushing ourselves physically and mentally is healthy and necessary, that’s how we grow. Trust the process, as they say.  And, we are not robots, not machines, not broken to be fixed. We are fleshy, bony, organ-y,  casings of shifting rhythms that house emotions and nervous systems and histories –be kind to yours no matter what.

So far this summer has been filled with delicious movement!

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Katalyn Schafer (Hungary) pop-up workshop hosted by Ya Amar.
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Sword workshop with Zahira of Dragonfly bellydance.
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Post-show with the troupe at Kensington Market Pedestrian Sundays. catch us again next month!

 

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Today is day 80 of 108 Days of Dance

 

 

 

 

108 Days of Dance: Insights from the almost halfway point

 

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108 Days of Dance

It’s day 47 of 108 Days of Dance, my own personal challenge to dance each day. For a few reasons: general enjoyment of dance and movement aka FUN!, also to up my practice game, to work on technique refinement as well as improvisation. I had intended to document at least once a week on my blog via video, and write my insights along the way. Yet here I am at almost halfway, having done the practice, foregoing the documentation. Begging the new cultural question, if it wasn’t posted online has it really happened?

This challenge for me has been a mostly solitary process, though much of my dancing is just the opposite: for and with other people. Filming oneself practicing is a strange thing. See, I practice to practice (and perform to perform)…I mean, I’m already looking at myself in the mirror which is in and of itself a type of performance. But enter the camera, recording for the purpose of sharing through social media, and another layer of awareness inserts itself into the process. Case in point: yesterday I posted a poorly-shot video of myself doing sun salutations to a favourite community radio show: Groove Concept Radio. Grainy and ill-framed, I wobbled sideways in my transition from downward dog to warrior…immediately my mind wandered to the edit, or maybe I should re-shoot that sequence? Instead, I left it as is. Yoga as any other form of dance/movement is imperfect, as we struggle through visceral experiences of this mortal coil (aka the meat suit) and the fluctuations of the mind. Not to mention the emotions that arise through movement, for better and worse!

So all of this is to say that I mostly prefer to be alone for my movement practice(s). Or at least with others who are focused internally yet also fully entrained in our collective experience (aka dance class).

In conclusion friends, I have in fact been dancing each and every day for this 108 Days of Dance. A few insights have been around the power of solitary practice, like the solitude of most creativity and innovation (at least the root of a new idea or creation, even if later collaborative, happens for most people in a solitary moment). During this time I have added a new class at Dragonfly to my schedule, tofu-ing (no beefing for this vegan!) up my home practice (mostly tribal fusion and cabaret styles) and weekly troupe rehearsals (shout out to my Serpentinis!). I guess what I’ve realized so far is that its not too far a stretch from my regular practice to dance each and every day. Though, it has created a new level of discipline, with the goal of maintaining a daily practice with this challenge, as I did with yoga in the wake of my teacher training a couple of years ago.

How about YOU? Do you prefer to practice movement alone or with others? How is it helpful (or not) to post your practice on social media?

 

 

 

 

 

 

 

 

 

Rainy day dance drills

Day 16 (earlier this week) was all about small isolations. Sharing dance drills footage is a little intimidating because, well, it just doesn’t look much like dance. But dance drills are a crucial element of well rounded practice and are not as free as dancing. Working with layering upper body movements over ongoing and well timed hip shimmy can make the lips purse and the brows furrow. Maybe a little angry dancer face happening in this clip…

How could you ever talk about dance without also talking about music?! The same day I filmed this little clip, I later on had the pleasure of seeing The Specials at the Danforth Music hall and though we were waaaaay in the back, we found room to dance in the aisles.

 

 

 

 

Cues and Tattoos 2017

 

logo_2017Another great trip to Seattle for Cues and Tattoos has come and gone! This was my 5th year attending Cues and Tattoos in Seattle. And the event celebrated their 10 year anniversary. Ten years of providing a well curated lineup of instructors on improvisational fusion bellydance! Serpentina North Ensemble has performed three times at the Serpent’s Muse stage –this year an homage to Prince with our improv number to Raspberry Beret! This was the year of the intensive: Zoe Jakes, Amy Sigil and Caroleena Nerricio-Bohlman all had two day intensives before the weekend of workshops. I arrived on Thursday for the workshops starting on the Friday and as usual the weekend was a wonderful whirlwind of dance.

 

For the second year in a row, all of Serpentina North Ensemble attended and between us all, we have a whole lot of new material to work into our improv sets. This was my itinerary:

Rachel Brice – ‘Shake it up and break it down’

Zoe Jakes – ‘The Divine Muse’

Moria Chappell – ‘Odissi Fusion’

Ashley Lopez – ‘Oddity: Unconventional time signatures and an odd choreography’

Donna Mejia – ‘Core-ography’

Mardi Love – ‘New Choreography’

Over three days I got to study with some of the dancers I greatly admire: Mardi Love, Donna Mejia, Ashley Lopez, Rachel Brice, Moria Chappell and Zoe Jakes. Rachel is a generous and grounded teachers and I enjoyed working on a bunch of different shimmies and putting them into combos. Zoe led us through some basics of Odissi and Balinese dance. Moria taught an Odissi fusion choreography and lectured on some of the origins of Odissi dance before and after it was codified into a national dance of India. Ashley led us through a fast moving choreography with a 13 count time signature that was a lot of fun, rolling, jumping and partner interaction. Donna schooled us in anatomy, core strength, breath and creating longevity in a dance/movement practice.

The last , but certainly not least, workshop of the weekend was the three hour Mardi Love choreography to a sweet little vintage jazz song. Mardi is cream of the crop in terms of tribal fusion dance aesthetic, and continues to be humble in her influence on the art form. Since seeing her dance live in San Francisco in 2009, she remains one of my most significant dance role models. I’m pretty sure I smiled through the entire workshop, despite my end-of-weekend fatigue and missing a few of the quick time isolations in the number.

The troupe got a chance to visit the Bruce Lee exhibit at the Wing Museum. Below was the only photo op.

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Recreation of the hall of mirrors in Enter the Dragon.

The Seattle weather was perfect, especially leaving the Toronto snowfall (though short-lived) behind. Parting ways after Cues and Tattoos, I made my way to San Francisco for a few days, where the temperature was higher.

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Post-class with Jill Parker

 

 

Though it was a non-dance trip, I managed to squeeze in a conditioning class with the one and only Jill Parker at ODC studios after a long day of hiking the Muir Woods.

Til we meet again west coast, its always a pleasure.