‘Dancing to Gamelan Music’ – one of my dance drawings – ink on chinese paper
I was doing some work in my front garden a few days ago, when one of my students walked by and then stopped to tell me about the film she’d just seen. The film was Pina. My student said ‘Now I have some understanding of what you’ve been trying to teach us in class!’ Having read about Pina Bausch and reviews of the film, I was rather flattered and became more determined in my resolve to see the film.
I saw it last night and was enthralled. I also think I know what my student was referring to – fluid movement and what I call ‘Baby Cobra’. Fluidity is a quality in movement that I aim to teach. One of the ways I teach it, is through exploring the connection between the head/neck and the rest of the body. We practise this in ‘Baby Cobra’, amongst other exercises.
One of these other exercises is ‘Saggy Cat’ – which we revisited in my classes last week. Most people find their spine moves into natural alignment when they draw the front of the throat back and up and in – from the hyoid bone. We explored this principle in a number of poses – Trikonasana, Parsvakonasana, Parsvottanasana – as well as the back bend poses where the effect is more obvious.
Finding fluid connection between the head/neck and the rest of the body
We looked at the different qualities of tone between sagging and rigid. One extreme is the ‘Saggy Cat’ with the soft front of the body hanging off the spine, shoulders collapsed and throat hanging out. The opposite extreme is rigidly held. The ideal is a comfortable balance between the two, where there is a quality of tone that enables us to feel the head/neck and spine fluidly connected.
In the film of course, the quality that my student and I noticed in the dancers’ movement was just a small element that helped to express the whole. A powerful impression I received from the film was that Pina encouraged the expression of all emotions. This resonates with me because of my personal experiences and beliefs – I feel it’s important not to marginalise aspects of ourselves even if they have some darkness. It is therefore fundamental in my teaching that students become more connected to their feelings and emotions – the benefit is that their relationships with others and with themselves, have more depth and meaning. By noticing and accepting the feelings and emotions that arise – including the dark ones – we can be more joyful and creative, more ‘bien dans sa peau’.
I’m reminded of the Rumi poem:
This human body is a guest house.
Every morning a new arrival.
A joy, a depression, a meanness
Some momentary awareness comes
As an unexpected visitor.
Welcome and entertain them all
Even if they’re a crowd of sorrows
Who violently sweep your house
Empty of its furniture.
Still treat each guest honourably;
He may be clearing you out
For some new delight.
The dark thought, the shame, the malice,
Meet them at the door laughing
And invite them in.
Be grateful for whoever comes,
Because each has been sent
As a guide from beyond.
