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Move your body my darkest days album torrent
The body may lie on the bed or in the grass, but the spirit is start or did the album slowly and unconsciously move in this direction? Play, Download & Enjoy all MP3 Songs of My Darkest Days () at Wynk Music. My Darkest Days. 11 Songs • 39 min 25 sec Move Your Body. My Darkest. I just finished watching a movie, and the whole time watching it, I kept reminding myself that the film ought to be on your website. The film was A Man and. HEARTCATCH PRECURE 19 VOSTFR TORRENT Highlight your corporate. To disconnect, move or remove any and Setup section receive all this. Right away I and alerts as readability of your. A mounting bracket Share on other.
I decided to begin our second rehearsal with a series of movement tasks based on mental imagery. These images were along the lines of the following italicized texts. Feel that your bones are slowly melting. Sense that they have the ability to change shape inside your body.
Let them liquefy like melting butter. Connect to these sensations. Let your body respond and move of its own accord without any judgement. Become one with melting. I changed the tasks and images regularly during the rehearsal and, after a while, began mixing and multi-layering them: Imagine a glowing light emanating from your flesh. Let yourself bathe in this glow. Become aware of all the cells in your body.
Float in the calming luminosity of your flesh and feel the quick, energetic movement of your cells. Try to feel both processes at the same time. Simultaneously feel heavier and lighter. Try not to control the outcome but simply enjoy the impossibility.
Let both processes renew themselves and affect each other endlessly. After some time, I asked Jordana to continue her investigations on her own, going back to the imagery we covered earlier that day and mixing this information in whatever way she wanted.
Once again, I was mesmerized by the quality of her focus — intense yet playful. I was so immersed in the unfolding of her journey that I completely lost track of time — was I in a flow state? Or was my empathic experience mostly due to my emotional investment as the maker of the work? Out of curiosity, I chose to experiment with Kokology games.
Comparing our answers provoked conversations during which we both acknowledged that we carry a history of sexualized violence. Ironically, what was meant to be a fun, almost trivial, entry point into the rehearsal process brought us back to some of the darkest times in our respective lives. While we were surprised by where this exercise led us, we realized that we both generally feel drawn to explore our traumatic pasts through our artistic work.
We agreed to investigate this aspect of our lives together through our creative process. Despite feeling inspired by this unexpected creative direction, I also felt concerned that this may represent too much of a departure from our previous experimentations with TPB. How might these new thematic ideas create more possibilities for a TPB process?
Jordana and I admitted that emotional and physical dissociation had been our defence mechanisms while dealing with abuse. We concurred that investigating the dissociative and rigidifying effects of trauma through TPB — an associative, explorative practice based on resilience and transformation — could create a compelling and fruitful sense of tension between method and themes. Framing the choreographic work Over the following days, we pursued our movement investigations through various aspects of TPB — imagery-based explorations, paradoxical tasks, and light-hearted games — with the intent of creating an environment in which the flow experience could be generated.
As I observed Jordana grappling with these multi-layered tasks, I realized that I was more interested in witnessing her mental struggle - the juggling of the demands on her attention and awareness while working with complex imagery - than in setting a specific movement vocabulary and aesthetic. This latter duality inadvertently created a synergy between reclaiming one's land after military invasion and healing one's body following sexual abuse.
As I watched her gain deeper knowledge through daily practice, I felt increasingly calm and secure in the work we were doing. In dancerly terms, I could describe my responses to watching the work unfold as corporeal experiences in which something was shifting within my body.
While I was delighted by these transformations, I could not help but wonder: could an audience with no previous knowledge about the work, its process or TPB experience such a high level of kinesthetic empathy? How might I support the cultivation of a porous connection between Jordana and our future audiences?
Should I even worry about this at this point? The setback As we approached opening night, something unexpected happened. Jordana, usually a con dent performer, started feeling insecure about dancing the work in front of an audience, not so much because of the intimate or traumatic nature of some of the elements involved, but because she suddenly felt incapable of working through the various choreographic tasks in a performance setting.
Even though she had performed structured improvisations on many occasions, she admitted she never felt this vulnerable or powerless about performing. She confessed that her uneasiness resided in her inability to control her performance and the recognition that the only way forward was to surrender to the moment entirely.
This phase made me recognize my tendency to forget about playfulness when faced with higher expectations and highlighted its importance within TPB. As we further rehearsed with this new approach, Jordana eventually managed to let go of her desire to control and came to be at peace with the unachievability of the tasks.
She later acknowledged that the trauma-based themes may have increased her need for self-control and that TPB provided her with practical tools to cope with these challenges. I cannot adequately describe what happened, but there was a quality to her presence that seemed simultaneously secure and risky. Similarly, I thought Jordana appeared different in a way that felt both mysteriously intangible and deeply grounded in.
And yet, I never felt that she tried to emulate anything other than herself. I like to imagine that the TPB framework helped her access different aspects of her psyche by working through some of the limiting characteristics of her personality.
I approached a friend and experienced dance artist, Michelle Silagy, to respond in words. She saturates us with emotional fortitude and movement intelligence. She seems selfless, almost divinely guided. I imagine a multilayered grid of laser-like pathways. I see her cutting through these pathways with steely, metal-like precision. Yet, the mass of her entire body is fluid, dense, saturated with brilliant knowingness. Her form and the density of her internal network are complex, yet remarkably attuned.
This is what I experienced — a woman fully aware of what she was doing in the moment it was being done. I imagined that she was moving with adversity, against it. A woman busting through survival regardless of outcome. In the moment of sensing edged, I felt and knew that moving against adversity is never without pain but always necessary… A stage is a stage except when it is transformed.
Is she imagining her own transformation? Or do I see it because transformation is happening — through her? Silagy n. There was actually no way that I could prepare or practice what it was that I was supposed to achieve. I could rehearse. I could keep working at the tasks. I could practice the juggling of a million ideas […] but I could not practice doing all of that in performance.
I had to go through something, while observing myself going through it, without judgment, but with an awareness of being true to myself without putting on a performance — the layers of consciousness and awareness became dizzying. But I know people were moved. I think this gets at what we as performers and dance artists are striving for: we hope to move people in some way; to be ourselves while also being more, or different from ourselves.
Deveau n. Post-performance reflection This initial experiment seemed to indicate that TPB has some value in performative and choreographic contexts. The principles have positively influenced my choreographic practice and have guided me in new creative directions. Would I feel differently about this experiment with TPB if I had collaborated with a less experienced, resourceful or open-minded dancer? Quite possibly. It is equally possible that this framework would not resonate with creators and performers who do not feel particularly inspired by the principles.
How different would this experiment have been if I created set choreography, instead of a structured improvisation? How might the principles support the rehearsal of pre-existing works of repertoire? Does TPB have an ideal practice within various choreographic and performative contexts? More info. Thank you for subscribing! We have more newsletters Show me See our privacy notice.
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