The dance they did amid the marigolds was such a captivating sight to see. It made a storied world of the household, and it filled hearts and minds with quiet glee. Their bodies glistening, naked and wild. They stomped in muddy soil with grubby feet, and hearts did sing as childlike souls did smile, and all dancers hinged and moved like athletes. But with an ankle twist, the party lulled - one dancer fallen from the frenzied horde. The momentum was lost, and minds were dulled, and musicians played only some sour chords. The flower petals all began to wilt and dancers wandered home in shame and guilt.
dancers held hands and frolicked in circles, only by moonlight
Taken November 9, 2019 in Bangalore.
There are many downsides to being introverted, but one upside (at least in being a kinesthetic-oriented introvert) is that I can get out of my head and in touch with my body quickly and efficiently when I’m in motion. It can be a blissful state when the inner yakking pipes down and my awareness becomes attuned to sensation.
I would differentiate three types of movement that have very different effects on my state of consciousness. First, there are highly repetitive acts of movement such as running. Now, I do run because it’s great exercise, but it doesn’t tend to put me in the state of mind I’m talking about. Your results may vary. I know many people find “runner’s highs” or achieve a quieting of the mind when running. For me, running tends to produce a daydream-centric state of mind. I sometimes counter this by focusing my awareness on my breath, stride, or sensations, but — left to its own inertia — my mind goes into daydream mode.
Second, there are fixed sequence series of movements — preferably with a flow. The best example that I can think of — and which I currently practice — is taiji. I’ve been practicing Yang Style Taiji for a few years now, and find it’s conducive to this state of mind. However, the point that differentiates this type of movement from the next is that it takes some time to get to that point. One has to ingrain the sequence of movements into one’s body, then coordinate the breath, and then correct minute mistakes in the movement. It’s worth it, but it’s not an instant ride to altered consciousness. While you’re getting the fundamental movements down, the conscious mind is necessarily quite active and it’s hard to tune into the movement and the sensations.
Third, this is what I would call free movement. Some people think of it as a kind of dance, but not one with a fixed choreography, which would fit more in the second category. Free movement is just letting your body move (usually to music) with awareness to the body, but without conscious direction. While the feel created is much like that of the second type of movement, mentally it bears more resemblance to free writing, which I discussed last month. That is, one is trying not to direct the body consciously, but rather let the movement come about (perhaps mediated by the music.) Rather than trying to consciously direct the movement, the conscious mind is used to direct and maintain awareness of sensations. Sometimes, I keep my awareness on the soles of my feet, feeling how various movements — subtly or unsubtly — change the distribution of weight on the feet.
In doing this, I find that sensitivity to sensations — external and internal — dials up. While I’m focusing on internal sensation. I often notice tactile sensations that would usually not register. There’s also a more visceral experience of the effect of music, which is another subject in its own right. The blissful effect of music seems to be amplified by the body in motion.
In thinking about the difference between the second and third types of movement experience, I was reminded of the argument that a ritual is an essential element of plumbing the depths of the mind. As the argument goes, there’s something about inggraining a sequence of actions into one’s muscle memory and continually performing them that tunes one into something vaster than the self.
I’m still planning to do two more posts in this series, although I’m bouncing around alternative subjects for November and December, those joining this experience in progress and curious about previous posts can find them:
January – Psilocybin Mushroom
February – Sensory Deprivation / Float Tank
March – 30 Days of Meditation
April – Hypnosis
May – EGG Feedback
June – Breathwork
July – Lucid Dreaming
August – Sleep Deprivation
September – Free-writing / Poetry
This is a book about body awareness. It explores the subject by presenting tidbits from a range of movement and posture systems.
The book is divided into three parts. The first is a brief overview of the subject of bodily awareness. This section discusses what it means to be aware of the body, how body and mind / emotion are connected, and it sets up the need for the practices described throughout the rest of the book. The second part deals with a series of solitary activities that one can do to improve one’s quality of posture and movement. It forms the bulk of the book. The nine chapters of this portion of the book can themselves be divided in two. Three of them deal in aspects of bodily awareness: breathing / voice-work, grounding, and sensation. These sections borrow and adapt from established systems in a generic sense (e.g. the section on grounding uses a number of techniques drawn from yoga.) The other six chapters each deal with a system of bodywork, including: self-massage, African dance, Tai Chi, Eutony, Kum Nye, and running.
I’ll describe two of these specifically because they aren’t household names. I suspect most readers can imagine what the following look like: self-massage, African dance (even if it’s from a Paul Simon video), Tai Chi (from old folks in the park), and running. However, it’s probably reasonable to assume that some readers will have no idea what Eutony or Kum Nye are. Eutony is a system developed by a Danish teacher, Gerda Alexander, during the 20th century to use explorative movement to work toward more efficient movement. As far as I can discern, the founder is no relation to F. Matthias Alexander who developed–the more famous–Alexander Technique (AT is mostly well-known among actors, actresses, and would-be entertainers.) However, Eutony might be put in the class of techniques like the Alexander Technique and Feldenkrais that were developed last century and work toward improved use of the human body. However, the approach seems much different from Feldenkrais, which is highly structured, while Eutony is apparently not.
Kum Nye isn’t well-known either, but not because it’s a johnny-come-lately, rather because it’s ancient and obscure. Kum Nye is a Tibetan system of yoga. A lot of the techniques shown seem to be designed to help one gain the suppleness needed for extended sitting in meditation, but there are also “flying” techniques and other standing techniques that will help loosen one up, perhaps to free one up for more meditation.
The third part is shorter: three chapters presenting systems of partner-work. The first chapter is on Aikidō. For those unfamiliar, this is a Japanese martial art founded by Morihei Ueshiba that emphasizes harmony and flow. The chapter features a few basic drills from that martial art. The next chapter is on relating to others in a general sort of way, e.g. body language, emotion, etc. The last chapter is about massage.
Graphics are utilized heavily throughout the book. These include color photographs and drawings. Given what the book tries to do–showing these various approaches to movement–the graphics are essential. In the unlikely event that there are any prudes who read my reviews, you may want to make a note that there is a fair amount of nudity throughout the book. It’s not gratuitous or raunchy, but if you’re one of those people freaked out by nudity, this is probably not the book for you (nor the subject to be studying, for that matter.)
The book’s strengths are its valuable subject, its organization, and its use of graphics. Its weakness is in the number of approaches that it examines. There are too many for one to get any great insight into any particular system, but it’s too few if the goal is to give the reader a menu of movement and bodywork systems from which to find on right for them. I guess I wasn’t really clear what the objective was. If it is to show the reader a variety of paths so they can find the one best for them, the menu is too small. However, if it’s to show the reader one path consisting of all these elements, then it’s muddled. Among Western health and fitness purveyors there’s a tendency to think that if you take anything that’s good and ram it together with anything else that’s good, you’ll get something great. This is clearly not true; sometimes you get a pudding sandwich. This book feels a lot like a pudding sandwich.
If you are looking for a limited survey of movement and body awareness systems, and are okay with the list mentioned, you should check this book out. It also has some good general information about body awareness, though it’s a bit pedestrian for experienced practitioners.
Before the retreat ceremony at the Wagah crossing, there are patriotic festivities including a women-only session of dancing in the street. Why women only? I’d like to say that it’s just so that the message that Indian women are liberated is loud and clear–so that Pakistan will take note of it. However, I suspect that it also has to do with the large number of young Indian men who are… [how can I put this delicately] too horny to be trusted amid a crowd of gyrating females. [Of course, arguably, there’s probably a circularity problem. Being segregated perpetuates the issue.]
At any rate, like Kevin Bacon, they are attempting to dislodge the stick of ignorance. [See what I did there.]