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Incorporating dance into ones life as a means of finding depth and beauty

In my example, there were more women than men and some in pairs, but most of them by themselves. I sat down and looked around. I felt like I was looking into silent body stories. I was present, they were present, and yet none of us were visible. In a way we were all part of an invisible everyday non-event. I was attracted but also repelled. It is easy to see this scene as an image of a traditional female role in that the women, not young and not old, were just sitting there, doing nothing, passively waiting, hoping for something to happen.

It could also be seen as an urban contemplative space. Secret places in the city, opening into dreamscapes through rituals of the steam of coffee and smell of sweet chocolate cakes, allowing the stillness and invisibility of the in-between. Nevertheless it is also a body narrative of western urban civilization that reveals associations of feelings of pressure, tiredness, expanding into embodied knots of heaviness and frustration with a gentle mellowness of unexpressed longing.

It is as if the smells and tastes of bitterness and sweetness are opening into dreamscapes of sensuality, laziness, the joy of doing nothing and the openness and fluidity of being in a hidden in-between-space. I tap into the felt quality of the unmoving back. I feel the immobility of the back as an expression of stress, heaviness and sadness of unexpressed life. Their movements seem to express repertoires of routines and a certain qualities of heaviness and compactness.

I see the drooping bodily shapes and rhythmic qualities of non-movements. The after-image is one of passive waiting and lack of initiative-taking. This is for me a key image of the opposite of aliveness and also a strong bodily resonance of the felt sense of a certain mood and even a cultural identity of passive waiting. Scene 2 A kind of ball game "They had a break at around eleven o'clock and they used it to play a kind of ballgame on the top of the broad landing of the stairs.

It was a kind of soccer, but they also used the wall in their game like in squash, and in this case the wall was indeed curved. When the ball was out, it was really out, bouncing down all the stairs and rolling a hundred meters down the slope where an eager boy rushed down after it, between cars, busses, scooters to some place at the grand obelisk" RASMUSSEN,p.

This is a completely different movement story.

Incorporating dance into ones life as a means of finding depth and beauty

It is a small scene of boys playing an improvised ball game. When I first read the scenic description I found it to be another key image of radical aliveness, this time experienced through the quality of spontaneous and free improvised play.

  • Yeah, fans have already been drawing all kinds of conclusions;
  • Additionally, aesthetics has been used to describe natural phenomena;
  • Embodiment and civility in early modernity:

This is a completely different kind of quality of the "in-between". The boys meet the possibilities of the now with total involvement and creativity, intensifying the felt sense of radical meaning and aliveness. The involvement of the boys playing soccer comes to fruition through spontaneous, strong and flexible movements expressing a bodily aliveness and total dynamic flexibility toward the complex now of body-city-other-ball-game. The ability to accept the conditions as they are and use them as a living space for creation of possibilities resonate with associations of freedom as embodied intensification of presence, involvement and meaning.

I associate the scene with strong feelings of being active, taking initiative and going toward a chosen and desired goal and at the same time being open to free improvisation of body-space-time. The way of moving expresses the playful attitude of being totally present, improvising and adapting to the complex event of playing ball in a city.

The contrast to the former scene is extreme, and it widens the understanding of everyday "in-between" events as a continuum of bodily dynamics and experiential dimensions here expressed through a strong and intuitive bodily presence intensified through moments of playful interaction.

Soft and undulating waves are running through the spine of the dog as it is walking. It's a beautiful and very alive movement of rhythmic waves that I feel and nearly can hear as a kinetic song of joy of moving—a sensual joy of being.

At the side of the dog walks a middle aged man. His back is leaning a little bit forward. His bodily attitude is formed in the style of a tortoise shell. The rigid backs of adults have many causes; I am not trying to investigate or describe all possible explanations fro this. Rather, through kinaesthetic empathy I attempt to feel the living stories that come to expression through the rhythms and tonalities of the body narratives.

The Story Behind Childish Gambino's Symbolic "This Is America" Dance Choreography

The repertoires of walking are a continuum of personal, cultural, situational and unique forms condensing into a variety of forms of life. They are living embodied images of aliveness and identities.

The movement dynamics are expressive forms of possible body scapes, both animal-like and civilized. It is the dance of the now—being woven into continually changing patterns of enlivening and deadening rhythms.

  • It is a process that is a dynamic articulation of chiasms of body-world-self-other as co-creation of a qualitative continuum of enactment of the possibilities of the living now;
  • Depraz, Nathalie; Varela, Francisco J;
  • Now the social and historical conditions of each artist, and their psychological necessities, began to determine the goals of dance;
  • You make a cameo as a dancer in this, too, right?
  • Aesthetics in art and nature In order to explore environmental dance and activism I first examine how aesthetic theory and history relate to environmental ethics and artistic values;
  • The Art of Life The art of life has to do with our embodiment as rhythmic expressions of attunement to the event and how that influences possibilities of life.

It is easy to find these movement images in any modern urban scene. But the stiff and unmoving back is more often the case than the rhythmic fluidity of "animality". The rigid back can be seen as a sign of sedentary life styles, an expression and a sign of embodied stress or just as a personal or cultural attitude or habit. It can also be seen as a cultural sign of seriousness, responsibility, status—a sign of being concerned with serious matters—and not just play, fun or dance.

The undulating back can also be a sign of sensuality and intense aliveness that can be interpreted as an open expression of sexuality. There are always cultural norms and ideals where bodily gestures and patterns of movement are expressed as signs of status, gender, race, age and so forth. No matter what the context, the movement repertoires of the back are important silent expressions of identities and life, as well as rhythmic and dynamic expressions of the embodied now.

The movement patterns of the back are an important rhythmic dimension of embodied attunement and meaning. The human back is telling tales of kinetic and kinaesthetic songs of ways of being. Modern urban cultures often seem to invite non-moving modalities of bodily repertoires.

Walking and waves of movements are basic forms of animality and aliveness in human movement ENGEL, Lots of young men and women use the scooter not just as a swift and practical transportation in the city, but also as an extra dimension of staging youth, gender, and freedom and sexuality. The girls are dressed exactly as the boys in tight jeans and tight, short T-shirts—a unisex style. Bodily auras and attitudes express a very self conscious way of being present in public space.

They seem to be very aware of how to express themselves in the possible best way to stand out and be perceived as special.

  1. The young girls radiate the cultured body stories of a sexualised femininity and a strong outgoing energy of youth.
  2. Healthy boundaries are the key to everything else in your life, as they are connected to and integrate your learning, and the way you will be held throughout the course it doesn't mean you get walked on, are weak, or are overly sensitive all of my work revolves around finding your truth and being at peace with it,.
  3. The visible and the invisible transl.
  4. Some Afterimages and Thoughts The dance of the now is not just personal, but a transpersonal co-creation of expressive fields of being and becoming.
  5. He strides with long energetic steps, holding his upper body and hips very firm, very tight. They might look simple in the video, but there's a lot of technicality to them.

They want to be seen and to be admired. The girls are flirting in a very direct way. They are continuously looking around using the gaze in a very active and outgoing way. They are sitting on the scooter leaning forward with very straight back and with a proud attitude and suddenness in every change of direction. They express a strong will to be admired and also a will to take initiative. The middle aged women are leaning back on their heels with a heaviness that makes the energy of the body move downward—but face and hand gestures are very alive.

The body mirrors heaviness and immobility. In spite of the heaviness, the middle-aged women still radiate a sensual aliveness, but in a tamed way performing the cultured body stories of civilized, middle-aged femininity. The young girls radiate the cultured body stories of a sexualised femininity and a strong outgoing energy of youth: They radiate action, freedom and sexuality.

Even if both cycle and scooter invites a bodily attitude of just sitting and somehow being fixated—they also have possibilities of freedom at the same time as the possibility of expressing power, control and will to take initiative.

The scooter seems to be even more inviting to a feeling of riding and in this way imitates or associates mythic dreams of wildness and freedom of riding a live horse. These urban body images of youth express a polarity between straight lines, the direct, the outgoing, the strong and the desire and will to take initiative and have control—but also the curved, round, spiralling, waving expressing qualities of aliveness, spontaneity and sensuality in an open more playful and unpredictable way.

They are primarily images of youth and outgoing sexuality coloured by the specific situation and culture. Their verbal communication, repeated several times during the week, stays the same. She repeats every now and then: The man is very active, like a little boy playing at the seashore. His body is slim and strong. Her body is soft and curved.

She leans back a little when she walks in a very lazy, very passive way. She keeps herself busy by observing, organising and controlling all of the things that they have brought to the beach. She moves in a very traditionally feminine way, keeping her feet on one line, keeping her steps small and swinging her hips in a very self-conscious manner. He embodies a western traditional masculine picture of a young man—muscular, strong and active.

He strides with long energetic steps, holding his upper body and hips very firm, very tight. The overall emotional tone of his activity is one of impatience and restlessness.

The emotional tone of her bodily movement is one of frustration, continuous order and control of the surroundings. Discussion and Reflections on the Five Scenes of Everyday Life The different situations such as if people sit, walk or run are not so important; rather, it is much more about how everyday movement expresses repertoires of activities as well as the emotional tone, the involvement, aliveness and uniqueness of certain personal, but also cultural, bodily habits and attitudes.

All the expressive dimensions are kinetic and kinaesthetic strings of an interwoven field of body-mind-event. It is creating a certain tone and rhythm that colours the event and the ways we relate to self, other and the world.

It is not about form-feeling as a linear causality; rather, it is about the felt significance of the poetics of the dance of the now. These movement repertoires and styles embody the personal and cultural co-creation of how it is possible to perform everyday life. Incorporating dance into ones life as a means of finding depth and beauty varieties of expressive forms are possibilities of expressions and co-creations of ways of being—personal and cultural bodily narratives of aliveness as lived body, lived space, lived time and lived meaning.

Ways of walking and sitting in everyday events are quite common in all western countries. Children's movement dynamics are more spontaneous, more fluid and more radically alive than the movement of adults.

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To be grown up seems to mean that the body repertoires are much more stereotyped. Stiffness in the movements of ankles, knees, hip, spine and neck are very common. Furthermore, the children in the scenic descriptions seem to attack the "in-between" moments and—movements in a manner that transform them by making up games, movements, pure play, thus being in the dance of the now effortlessly and yet with radical aliveness and embodied creativity toward an intensification of being-becoming.

It is easy to interpret the living body forms as polarities between aliveness-deadness, order-chaos and activity-passivity and, at the same time, see them as choreographies of attunement and emotional tone.

The bodily rhythms become personal and cultural patterns of background feelings of dynamics and vitality. It becomes a kind of bodily articulation of living a postmodern life. It could also mean to be bodily present as a way of being radically present. The energetic processes of the body are related to feeling states of aliveness in the body. The more alive, the more energy is available for action and feeling.