SENSATION INTO IMAGE 

Sensitizing attention

Attending to senses

Exercises are done eyes closed to return to sensations

If the attention roots in the body, then the eyes can be opened

Open the eyes first looking at your own body and to a close proximity (around 1 meter)

Then look far away and beyond the building

Then move in the middle range, between far and close

The underlying principle is unholding – from the place of rest, everything arises

One person provides a surface / touch

Begin with a big surface and a distinct touch on the torso + head

Clear beginning and clear end

Move towards subtler touch / more varied touch and smaller / versatile surfaces

Include the upper limbs

Include the lower limbs

Pay attention to the rhythm of touches

Pay attention where you have already touched, where haven’t you touched yet

Let the person move alone, with the memory of the surfaces and allowing the new surfaces to emerge

How do you transition between them?

Change roles

Also: Can describe the journey in the present tense

Can draw the journey

Can draw the way the body looks now

Move one thing at a time, following the principle of one surface at a time; one thing can be anything: a limb, a surface, a bone, a tissue

Establish a rhythm of moving, and keep that rhythm.

Each beat a movement is created.

When your attention weakens, take a rest and observe the others.

 

Variation 1

In couples: 1 person does, the 2 one observes.

Call: change roles.

The roles are immediately changed.

Call: change roles.

How do you change roles this time? How long does the change last?

Call: change roles.

How do you surprise the partner? How do you surprise yourself?

Change roles whenever you want to within your couple.

When finished, talk: one person names three things that brought them pleasure when doing, and when observing. Change roles.

With a partner

Observer places two hands simultaneously on the body of the partner to indicate two surfaces. You don’t want your partner to do anything, you just provide information. The hands are taken away simultaneously.

The doer brings these two surfaces towards and away from each other.

How do you do that? How quickly? How close to each other? How long does the movement last? How do you feel? What image does it create? How does it feel?

Doer stops and then the next two surfaces are given.

What do you notice in the moment of pause? How do you include new touch = new piece of information?

Doer moves alone, recycling the touches they have received.

Observer moves away and observes.

Observer may give additional touch from time to time.

Exchange roles.

 

Variation 1

Two surfaces are given without the pauses.

 

Variation 2 

Start from two surfaces at a time and then throw one surface onto the space..

Throw it on the wall and move towards and away from it.

Throw it on another wall.

Throw it on a ceiling.

Throw it on the floor.

Throw it into a very specific corner.

Rest it on another person.

Include an awareness of the whole space and move towards and away.

Keep the surface in the body stable.

Shift the surface within the body.

Allow everything to shift, what do you keep as stable?

Offer a textured touch, a cutting line, a calming rest, a twist on the skin, etc.

Clear beginning and end.

When receiving the touch, pay attention to what emerges in the body.

The doer receives the touch and moves with it.

The observer stops giving touches and watches the doer.

The doer recycles the touches and works with any new textures that appear.

When you need inspiration, do it to yourself.

Observe the flow of the breathing, allow the breath to return to its own rhythm, without a need to change it or control it.

Notice pouring of the weight.

Notice inhale and exhale.

Make the breathing slightly louder to focus attention.

Connect the breathing to pouring weight: on an exhale – pour weight, on an inhale – pause.

In the pause expend attention to the whole of your body – where are you in your body, in the space, in your imagination?

Pay attention to beginnings and ends of the movement.

Connect the movement to the breathing: let the movement ride the breath.

Find a way to include different levels.

Release the relationship between breathing and pouring weight: what new pleasures arise.

Where does it want to go?

Where do you take it?

Close your eyes and take a look at your body. How do you look? Breathe out and open your eyes.

Draw the image you see.

Describe it to a partner in the present tense.

Partner asks open-ended questions to be able to see the image clearly.

Partner verifies the image: are there any cultural, social, historical references the image refers to?

Partner becomes the image, the original “dreamer” observes the movement.

The original “dreamer” joins in and takes over the dancing, the partner observes; the OD dances with what attracted their attention; Partner watches for patterns.

Partner joins in and for a moment doubles the OD, then stays and dances the patterns. The OD steps down and observes – watches for what the question is – where does this “material” want to go? 

The OD enters with the question and sees what materials re-emerges in response to the question, the partner watches for the response: is there any necessity to this dancing?

Partner enters and addresses the necessity.

Partner and OD talk in the present tense about their experience.

Choose an object in the space, or a space that attracts your attention.

Sense it: touch it, smell it, taste it, listen to it, observe it.

Describe it to the others.

Become it – move as it moves, get its texture, rhythm, space. How does it come into relationships?

Speak from its perspective – have a dialogue with another person as this particular object, they speaking from their object. Discuss, e.g. how to save the world? What needs to change in this country?

What do you learn about yourself when being this object?

From the sensation into movement pattern.

Partner work.

Touch the partner – clear beginning and end, clear place in the body, clear duration, clear texture.

Start with torso and move out to the extremities.

A single touch.

Touch and then observe the response of the doer – what / how do you respond?

Variation: touch and as the touch is happening movement response.

Leave the partner and let them move with the memory and the new impulses that come the way.

Draw a map of the experience.

Tour guide through your map – observe the response in the body.

Draw a line on the back of your partner.

The line has a beginning middle and an end.

Partner responds to the line.

The response has beginning middle and end.

Observe the doer.

When the doer is done, offer another line.

Change roles.

Partner work.

Take your partner by hands, partner has eyes closed, lead them in a boring way through space and then arrange their hands in a clear position in space.

Release their hands and walk around your partner observing this sculpture you have composed.

Partner notices the sensation, feeling, action in the body and speaks from this place describing what they see, feel, do; allow the body to becomes more it.

Repeat couple of times until you change roles.

 

Variation 1

Take both hands of your partner again and lead them to another place in the space, arrange their hands in a clear position.

Release their hands and walk around your partner observing this sculpture you have composed.

Partner notices sensations, feeling and actions in the body. Becomes the person, thing in the space and speaks directly from this place, e.g. “Hey, stop, I am not ready yet!

Repeat couple of times until you change roles.

 

Variation 2

Take both hands of your partner again and lead them to another place in the space, arrange their hands in a clear position.

Release their hands and walk around your partner observing this sculpture you have composed.

Partner notices sensations, feeling and actions in the body. They continue the movement that they see in their imagination.

Repeat couple of times until you change roles.

 

Variation 3

Take both hands of your partner again and lead them to another place in the space, arrange their hands in a clear position.

Release their hands and walk around your partner observing this sculpture you have composed.

Partner notices sensations, feeling and actions in the body. They continue the movement that they see in their imagination. Continue the story of this perspective through dance improvisation.

The other person observes the partner and sometimes places their both hands on the partner, and then the mover reports of where they are and what they are doing, then they continue with improvisation.

Draw the map of the experience.

Speak the story by moving the pen on the map.

Change roles.

Do imagery exercise of looking inside your body and seeing how you look today.

Draw a portrait of yourself.

Describe it your partner, in the present tense.

Partner asks clarifying questions: open ended questions.

Partner asks verifying questions: does it remind you of a recent event? A piece of art? A film you watched? A memory?

Move with this image, partner is observing.

To experiment if the 1st person is the one who proposes the image, or the one to listen to the image.

1 person moves 2 person observes what attracts their attention.

2 person moves with what attracts their attention 1 person observes patterns.

1 person moves with patterns 2 observes patterns.

2 moves with patterns 1 observes what is the question.

1 moves with the question 2 observes for the question.

2 moves with the question 1 observes for necessity.

1 addresses the necessity 2 joins in addressing the necessity.

1 and 2 speak about the experience in the present tense: what do you notice, sensations, feelings and emotions, thoughts and understandings, actions. 

1 and 2 name this experience.

Where do you get to? Draw the new image of yourself on the other side.

Change roles.

Hear all the names of the experiences.

 

Variation 1

Do imagery exercise of looking inside your body and seeing how you look today.

Draw a portrait of yourself.

Describe it your partner, in the present tense.

Partner asks clarifying questions: open ended questions.

Partner asks verifying questions: does it remind you of a recent event. A piece of art. A film you watched. A memory.

Where is the place of expansion, growth, lightness, joy?

Is there a necessity to the image?

Move with this image, responding to the necessity of the image, everyone at the same time.

Draw the new image on the reverse side.

Give it a name.

Share all the names.

Choose a place in a room, choose a comfortable position.

Let your eyes glide around you, across the space.

Do not jump across things, surfaces, glide, feeling how your eyes touch them.

Move far, close, treat everything your eyes encounter with equanimity.

Choose one place that attracts your attention and rest your eyes there.

Get up and walk towards this place: notice how your moving towards it changes what you see. When you do a close up: what are the new things you notice?

Stay in this new place in the room and again, let your eyes glide around you, across the space.

Again choose another place across the space, walk towards it keeping it all the time in the centre of your attention: what are the new things you notice?

Stay in this new place and let your eyes glide around you.

Choose another place across the space and move away from it.

Once you arrive “away” stop, and return to eyes gliding across the space.

Start playing with it.

Shift your eye to your pelvis and play with this double vision, moving towards and away.

Shift your eye to your chest, and play with this double vision, moving towards and away.

Shift your eye to the back of your head, and play with this double vision, moving towards and away.

Become all eyes.

Write down different types of movies.

Doer moves with any task, e.g. throwing an eye.

Witness observes them through a different style of filming.

Observer watches the doer and witness: what kind of a relationship does it create?

The quality of your observing and witness impacts the dancing.

When watching your partner, play with:

Foreground and background,

Detail and whole,

Follow a detail.

Play with listening to them more than watching them.

Watch them through your back.

Watch them through your foot.

Notice what happens in your body.

Stay in one place physically.

Follow them.

Come close, too close.

Move far away, almost losing sight of them.

Notice how every change you make is information.

Take an empty piece of paper in your hand.

Walk with it in the space, holding it against the backdrop of different places in the room.

Shift your attention to look at what appears at the blank piece of paper as you shift your position: notice the changes in light, and shade, the forms, the shapes.

Play with the form of the paper.

Do it as a couple work: one does, one observes.

Can you include the gaze of the observer in your exploration? Can you include the fact that you are being seen?

Draw three moments from the exploration of your partner.

Re-enter them, reflecting back to your partner what you have seen.

Doer tells what surprised them about their own doing and about their partners reflection.