Nobody’s Dance: Brussels, BE

Nobody’s Dance Brussels January 2016

Facilitators: Eleanor Bauer, Ellen Söderhult

Documentation: Nassia Fourtouni, Chloë Engel

Participants: Janne Aspvik, Eleanor Bauer, Susanne Bentley, Romany Dear, Olga De Soto, Tale Dolven, Gabel Eiben, Chloë Engel, Saskia Leudo de Ronde, Bryana Fritz, Nassia Fourtouni, Ariadna Girones Mata, Dolores Hulan, Mikko Hyvönnen, Aleksandra Janeva Imfeld, Veli Lehtovaara, Meri Pajunpää, Simon Queven, Carolina Repetto, Manon Santkin, Ellen Söderhult, Kathryn Vickers, Stav Yeini.

List of practices
25 January – Kaaistudio’s

1)
Name: Circle warm-­up
Shared by: Meri Pajunpää
Origins: inspired by the teachings of Francesco Scavetta
Notes:
Directions:
­Get a partner, start warming your hands and give a nice brush to the other person, on the skin level. Brush the skin all around the body, from the top of the head to the feet and release the superficial tension. Give a little squeeze in the shoulders and change. Do not stay too long in each place. Try to get the flesh out of the bones, especially in the legs. Also, do not forget to take care of the face. Then, come in a circle and start breathing exercises. In each breath in, feel that it comes from the earth and in each breath out have the image of a waterfall, also make the sound. Think that all the cells in the body get the oxygen. (Continue with another breath combination.) Do it again a bit faster.
­Another version: in dog position, stretch high one leg and then bring it bent in front of you. Then pass through the following positions: cat position, back to dog position, walk your hands to your feet and roll up gradually each vertebra. Variation with the hands, swinging left and right, take care to articulate the fingers. Arms to one side and to the other, a bit faster, then diagonal up and back to the centre. Then, warming up the feet, with ronds de jambes, synchronizing with arms and also the other way around, closing your arms to you. Change the direction of arms in relation to the legs. Then swing the legs, think of arms and legs as long lines. In the end, just shake the body.
Duration: 30 minutes

2)
Name: Noticing where your attention is now
Shared by: Susanne Bentley
Origins: adaptation from a practice proposed by Andrew Morrish, an Australian improviser
Notes:
Directions:
­- Close your eyes, notice where you are at this moment.
­- Notice weight, sensation, blood, heat, emotions, anything that feels uncomfortable.
­- Slowly open your eyes and notice what you can see, notice other people, in detail and then close your eyes again. Notice a body part, focus on that and then see if what you notice changes, if something else is taking away your attention and follow that, notice where your attention is every moment.­You can play with speed, sides, repetition and be curious about where your attention is. Notice when your attention shifts. Also, you can be influenced by others, so now your attention is not only inside but outside too. Now slow down and let it fade out.
Duration: 20 minutes

3)
Name: Dancing not the dancer
Shared by: Eleanor Bauer
Origins: the creation and performance of ‘Midday & Eternity (the time piece)’, by Eleanor Bauer with Rebecka Stillman, Cecilia Lisa Eliceche and Naiara Mendioroz, 2013
Notes: Rule #1 likely inherits from or is influenced by Debora Hay’s ‘Ready, Fire, Aim.’ Rule #2 likely inherits from or is influenced by David Zambrano ‘your whole self whatever you consider to be yourself.’ Rule #3 likely inherits from or is influenced by J. Krishnamurti and meditation practices.
Directions:
1. Say yes to the movement before you can recognize it.
2. Complete it with your everything.
3. You are the observer.
Additional explanation and tips:
Regarding rule #1: Don’t be late for yourself. As soon as you perceive any vague intuition or impulse or impetus for movement, act on it. But this does not necessarily mean you have to move quickly all the time ­ you can also think about listening for the movement, waiting for it, but once it emerges to move on it before it’s fully known. Eventually you can also observe ‘the balance between letting it happen and making it happen’ (this quote is from Martin Kilvady). Regarding rule #2: include all of your physical, intellectual, artistic tools: training, percepts, habits, tastes, skills, preferences, ideas, performance, expression, etc to make it done. Place all of your faculties at the service of the dance’s execution. Regarding rule #3, and the title: It’s not about identifying with the dance or expressing yourself with the dance or manipulating the dance. The dance is a thing that is happening through you and your body, and your role as observer is simply to observe without judgement what it is at every moment.
variation, in couples:
­- one person dances ‘Dancer not the dancing’
­- the other person copies aiming for perfect and detailed unison­ change roles of leader/follower
Duration: open

4)
Name: –
Shared by: Manon Santkin
Origins: from a project called ‘Unexplained Dances’
Notes:
­The more you do it, the more you manage to understand how to do it
­at first you notice that you are not able to maintain your attention to your dance
­notice when the observation can become a correction.
Directions:
­- Take a paper and a pen. For ten minutes: concentrate, think much larger in your life and your practice and name 7­-9 concerns that you have in relation to dance. Formulate these specific aspects. They can also be some themes that interest you. If you could break down your interest by thinking of a situation that you feel engaged, for example, when you watch a show. Write a word or a phrase but leave also space to add things later on.
­- For another ten minutes: split each word into four more specific aspects of what you
formulated before.Then continue to make another list. A list in which you name the skills and technique that, you find fundamental, from your own experience as a practitioner or spectator. Name the things that you notice you are sensitive with – less than ten. In case the word ‘skill’ does not suit you, formulate it in a way you find relevant.­ Try to put names on things that you are interested in. The more subjective you can be, the better. -Then, somebody stars dancing a dance for ten minutes (a solo dance). The focus is on doing the task on your own. Start from stillness. There is no choreography, it is instantly proposed. Each of us tries to find ways to make something dancable today but related to the previous brainstorming.
Duration: 20 minutes

5)
Name: The yellow and the black dance
Shared by: Manon Santkin
Origins: from a project called ‘Unexplained Dances’, inspired by ‘The six thinking hats’, from the psychologist Edward de Bono in the 1980’s, also used a lot in managerial practices and problem solving methods. Manon applies it to dance. Yellow means the expression of something positive and black the expression of something negative.
Notes:
Being completely subjective is part of the task, so do not try to think if something is good or bad objectively. The constraint is to talk about what is good or bad according to you. It is important to try to play the game, it is more interesting if you do not fake it.
Directions:
­Putting on the yellow or the black hat: start talking about the positive or negative aspects of it.
­- Talking and dancing at the same time.
­- Divide in two groups and find a partner.
­- Also, take notes about what people are saying.
­- For ten minutes, you work with a partner – one dances and the other observes and gives the colours. (10 min video)
­- Then another 10 minutes – change roles in the couple
duration: 20 minutes

26 January

1)
Name: The non­massage dance
Shared by: Manon Santkin
Origins: This practice was developed by Manon Santkin and Cecilia Lisa Eliceche.
Notes: It is a practice that is related to massage but is not intended to be a massage. It is an exploration of how the other body can be moved by different kinds of touching. What is of most importance is the communication with the other person and the feeling of being ready to do something but not doing it.
Directions:
­- One person is the massager and one is the receiver. The person that receives lies down and the person that gives is sitting and gives the information with their feet.
­- Let yourself be moved by the other person – the more relaxed you restart, the better – and take care of yourself.
­- Take it as a warm up for you and see what you can do with your feet. Think that you are
conditioning them to move afterwards.
­- The people who receive it keep their eyes open and observe while being moved.
­- You continue the exploration and slowly more manipulations and more constellations arise. Gradually you try to move on to more manipulative movements.
­- Also, for the non­massager: It is not that we do not use the the hands but more that we try to use them as much as the rest. Try not to re­arrange or re­position yourself but try to keep contact with them from where you are. Gradually, the givers try to go under the receivers, while massage or move them, and try to find new ways to do so. Also, if you sense that the person that receives does not want to move so much, go back to massage and smaller movement. In the end, when you are about to finish up, slowly you move the person to the sitting position or at least somewhere with the head standing up.
­- For the ones moved: Try not to think about how they want to move you but just allow them to do so.
­- Also, check how much you stress yourself when you are lifted. Notice whatever that feels unnecessary.
­- Change roles.
Duration: 30 minutes

2)
Name: The dot practice
Shared by: Aleksandra Janeva Imfeld
Origins: A practice that she developed with Dolores Hulan
Notes: Keep in mind:
Don’t be judgmental, every choice is good.
Don’t forget some of your body parts.
Don’t get too studious in one body part.
A straight trajectory does not necessarily means straight lines.
Try to position the dots not in elbows, knees, etc. but more in in between places, less mobile.
You can also play with your own propositions within the head.
Directions:
­- Imagine a dot not as a point but as a ball. Think of it as three dimensional, not two
dimensional.
­- The body adjusts according to where the dot that you visualize goes.
­- Then you jump to another body part, you put it 1 cm underneath the floor, in your own
tempo, you place it in another position, you lift it 1 cm away from the previous position, you push the dot underneath the floor, vertical (the starting point now is that the dot touches the floor).
­- Gradually you increase the centimeters.
­- Then you can visualize the dot anywhere inside the body you want and then neutralize
again.
­- Make the dot travel – do an adjustment to the helpers (definition of the helpers).
­- When the dot is not on the floor and is on a body part it is heavier.
­- Try not to fake it. You pick up a dot, you detect it, you move it along and you continue.
­- Now start to play more with your rhythm composition without forgetting the in between spaces. You can also simplify the path and make a direct line – in case fade in and fade out of different dots is confusing.
­- Also, you can experiment to see how your body will adapt. When it starts becoming more complex, you can also think of speed.
Duration: open

3)
Name: Solo yolo
Shared by: Romany Dear
Origins: A practice that was created by Romany Dear in connection with Julia Scott, Ashanti Harris, Melaine Forbes Broomes, Daniela Corda, Justyana Ataman, Cussie Oji, Zephyr Liddell.
Notes:
Directions:
­- You are invited to move around the space by a track of 1 minute.
­- Keep moving while the music fades out.­ Focus on something that you find pleasurable, keep moving, but having in mind a specific body part that you enjoy moving.
­- Then, actively focus on a kind of opposition or resistance. You choose and apply a kind of opposition (could be slow motion versus high speed or different body parts, etc.)
­- Now, you have two things:
a) something that you find pleasure
b) something that is oppositional to it
­- Now the group splits in half, in order to be able to see each other.
­- When you go back to that thing (or you can do another version) you talk about it while
dancing.
­- Then, you decide to make a solo, based on your previous decisions. You decide the length of it. You are not obliged to talk all the time, you decide when and how much you want to talk.(In other words, pleasure: verbalize it, opposition:verbalize it)
­- In two groups: altogether dancing and talking, then each one starts saying ‘now I will do my solo, it’s called ‘solo yolo’ and then, when the last one declares that Romany puts the music in the end.
Duration: 20-30 minutes

4)
Name: –
Shared by: Olga de Soto
Origins: It was first used as part from a solo piece called Murmures (1996) Olga uses a lot this as a tool to work with physical memory.
Notes:
­- The focus is on memory.
­- You have to focus on your own memory.
­- The idea is that you try to produce a dance that you don’t know.
­- As you produce, you have to find new ways, and you have to connect to your visual
memory.
­- You can wait for another impulse to come.
­- The person who explores uses their retrospective memory.
­- The person who watches knows that they have to try to remember.
­- We also work on our remembrance of time.
Directions:
­- In couples, for 10 minutes, one watches (and tries to remember) and the other dances
(explores).
­- Change roles
Duration: 20 minutes

27 January

1)Name: The substance exercise
Shared by: Chloe Engel
Origins: from Anneleen Keppens
Notes:
Directions:
Walk in space and find a place for you. Close your eyes, arrive in your feet, find your presence for today. Find the three points in your feet. With each breath sense your mass. All the visceral material of your body is leaving into the ground. Also think of the hollow structure. A 3D shape that is empty, as if there are no muscles, no bones, no fluid, it is hollow. Rediscover what this three dimensional shape is without having anything inside. Focus on your hip, feel them empty. Each leg is empty. Now you arrive at an empty state. Like a shell. Heat? Feel the substance of the body. Stay still and sense this substance. Interview the substance. The pathways. Your hollow legs, the ball of your hips, your stomach. What is this movement, what is this texture. Feel the substance in your chest. In each arm, each finger, the substance is everywhere. Stay with this sensation. How does it act, how does it move in space? Do the qualities of substance interact with the qualities of movement? With every new that you find, or old, notice how this material acts. As you are moving, the substance shifts. How does the substance respond. Put it in a situation that not necessarily discover on its own. Following the path of the substance. Slowly, find for yourself a stillness, standing as in the beginning. (…) until you are again an empty body. Notice how it feels now to be without it,without that substance and all the other materials that make up your body. Now each material slowly returns. Open up your eyes. And walk in space a bit.
Duration:

2) Name: Qi Gong warm up
Shared by: Katie Vickers
Origins: From her teacher, Abby Yager
Notes:
Directions:
Everybody gathers in a circle. Feet a bit wide, left arm down and we tap from the shoulder till the fingers of the left arm and change side. Then with both hands tap the back of the neck. One arm vertical up and tap with the other in a swing movement and then change side. In the beginning, tap the back of the pelvis, then continue with the legs and come back upright and tap your belly area. Slowly slow down and and breath in with your hands softly on your belly area. Then bounce your legs, think of the relation to the ground. Keep your eyes open. Allow your arms also to follow the movement of the bounce of the whole body. Point your fingertips into the ground while continuing the bouncing. Slowly reduce and stop the bouncing, focus again on your breathing with your hands on your belly. Open your eyes and walk in the room.

Duration: 20 minutes

3)
Name: –
Shared by: Dolores Hulan
Origins: a practice from Lisa Nelson’s Tuning Scores
Notes:
Lisa Nelson was interested in cultivating a notion of not knowing what you do in her practice,
which is obvious here.Directions:
­- Find any kind of position and close your eyes.
­- Think of the relation of your body to the space and the floor.
­- You can focus on to the now or bring a past sensation of your body in the warm up.
­- You can choose a substance. Once you have a concrete image, start moving. It does not
need to be slow, it can be whatever comes. Once you know what a place looks like, you
continue further, stopping and moving. Just try to be precise with the stops.
­- The next time you start moving, you open your eyes, and when you stop, you close them.
Think and play with the imaginary, how the air is or choose a colour.
­- Then, choose a partner. One person is blind and touches the other person who moves. The blind person tries to dance the same dance. Try to understand what the person does and follows it at the same time. There is no overlapping, you stop it and start dancing with your eyes open. (10 minutes for each one)
-­ Now each person makes a solo of what they remembered to have danced. The other person makes a solo of how they remembered to have watched (literally, how you were watching, the conditioning of looking in the their eyes, sitting, changing positions, using your hands). The task is to memorize as much as you can, all the small gestures, adjustments, changes in your movement and also observe yourself while watching.
­ Then change roles.
Duration: 30 minutes

4)
Name: Near Perfect Future Dance
Shared by: Eleanor Bauer
Origins: the creation and performance of ‘Midday & Eternity (the time piece)’, by Eleanor Bauer with Rebecka Stillman, Cecilia Lisa Eliceche and Naiara Mendioroz, 2013. This particular score was developed from discussion of a similar task that Rebecka offered which involved prediction of another person’s movements, from her work together with Ulrika Berg, where they developed predictions based on each other’s singing and also on ones own movements as seen on a TV screen filming them.
Directions:
­- three (or more) people dancing together while dancing, you look at one of the other people moving (or in stillness) and you take a ‘snapshot’ of their movement as a departure point in order to predict their next movement.
­- perform immediately and as accurately as possible the movement you predict or ‘see’ them doing next
­- you do not have to pass through their starting position or repeat their previous movement in order to do the movement you ‘see’ coming next.
­- it helps to look away from that person once you have chosen their departure point, in order to execute accurately what you foresee coming next without distraction from what they are doing, which is likely not exactly what you predicted and are doing.
­- when you have finished executing the movement you predicted as far as you predicted it, return to the others and look at another body in the trio or group (or the same person) to take a new departure point.
­- try not to continue with or ride the momentum of your own dancing: your dance should
always be the dance of the futures you are predicting from the other bodies
­- you can predict different durations of futures, different dynamics, levels of detail, direction, etc. The rhythm or scale of your predictions and what you consider one movement at a time can very.

Duration: open

5)
Name: Whatever bullshit bodywork
Shared by: Mikko Hyvönen
Origins: practice proposed by Mikko in Inter­local atelier project, 2012 – 2013.
Notes:
Directions:
­- It’s done in couples and takes 15 min per person.
­- It is divided in two parts: the bodywork part and the whatever part, which is more artistic.
­- The one person is active and the other is passive. The one who is active gives the bodywork but also does a little dance.
-­ You can follow your desire, on what you want to work today, at the moment.
­- The most important is to experiment on what you think would be most beneficial, on what you think bodywork is, along with the making of a dance at the same time.
Duration: 30 minutes

28 January

1)
Name: A shaking practice
Shared by: Veli Lehtovaara
Origins: It does not come from a specific person but he will use words that come from many people
Notes:
Directions:
– Find a standing, stable position, feet a bit apart. Hands loose or on your belly. Eyes either open or closed. Start shaking slowly. Connect with the ground. You can alter the frequency, intensity, and how fast you vibrate. At first, bring the attention to your feet. Let the soles of your feet to open, to the ground, till the centre of earth. And from the other direction, from the centre of the earth comes also a support. You imagine a tyre around your ankles, giving you some squeeze and then you relax them. You can take what you want by all these said, you can also stay with your own sensation. Now focus your attention on the bones of the leg and especially the knee joint. Deepen the hip joints and the sitting bones, towards the ground and the centre of earth. Again, the intensity and frequency can be altered. The pelvis is floating, moving up and down in the vertical axis. With a couple of breaths your hands go a bit away from your belly and slowly do a circle around you to the back, till they touch your back. Then you put your hands in front of your thorax and tapping it slowly. Then you put your hands in front of your chest, palms facing you and while continuing shaking the body, you think the shaking of your lungs and chest, let your heart shake. Bring your attention to your breathing.
The shaking and the breathing allow warmth to expand from the centre to the extremities. The throat becomes soft and falls. Let the weight of the brain shake. Bring the attention to the eyes, the gaze. Bring your attention on the top of your head and a bit above of the top of your head, opening the crown chakra. Now bring your attention to both your head and the pelvic floor. Breathing is easy and free. Letting the movement go slowly. It’s only the only the echo.
They let go of the echo and stay only with the memory and there is nothing left.
Duration: 20 minutes

2)
Name: The pleasure horizon
Shared by: Eleanor Bauer
Origins: this is Alice’s group version of a duet form developed by Jennifer Lacey for her piece ‘Les Assistantes’, (in collaboration with Nadia Lauro and Jonathan Bepler, performed by
Audrey Gaisan, Barbara Manzetti, Ana Sofia Gonçalves, DD Dorvillier, Jennifer Lacey, Alice Chauchat, 2007)
Notes: In the duet form, one person commits to following one person for the whole duration of the practice.\Focusing on the feeling being an important knowledge. (quote from a Shambala teacher)
Directions:
­- At any moment, you may choose to either do something with your body which gives you
pleasure, or copy another person
­- Pleasure is the horizon. You move to experience pleasure, following and focusing on
pleasure/enjoyment
­- When copying, the follower does the same as the leader, as precisely as she can. Form is
the portal to empathise with the person you’re copying
­- At any time you can choose/change your role between following or generating movements
Duration: 30 minutes

3)
Name: The reptile practice
Shared by: Aleksandar Georgiev
Origins: A practice developed by Aleksandar Georgiev, Ihana Pencheva, Irena Tzvetanova, Ofelia Jare Ortega, influenced by ‘the digestive tube’ by the body mind centering teacher Isabel Schad.
Notes:
Directions:
­- Focus on the part of the brain that is responsible for primal instincts.
­- Focus on the instinct that is faster than the explanation.
­- Also, being aware of the digestive cube.
­- Then focus on the stomach, closely going down, till the intestines, till the end of the body.duration: 20 minutes in music

4)
Name: Introduction to Laban Movement Analysis/ Bartenieff
Shared by: Simon Queven
Origins: from the teachings of Laban teacher Angela Loureiro (book: Effort: L’alterance
dynamique – Angela Loureiro. Collection pas à pas ­ Ressouvenances)
Notes:
Directions: LMA is a tool to analyze movement, not to produce movement.
­- This is an introduction to the four basic elements of movement according to Laban: time, weight, space, flow.
­- Explore each of these for 10 minutes having in mind that:
Weight is about sensing.
Space is about the projection of thinking.
Time is the feeling.
Flow is the intuitions.
Duration: 40 minutes

5)
Name: –
Shared by: Janne Aspvik
Origins: A practice influenced by the acting methods of the Finnish theatre director Jouko Turkka, based on a exercise by Paulina Hulkko (dramaturg, theatre professor) and Esa Kirkkopelto (theatre director, playwright, professor) in a workshop, in 2007.
Notes:
Directions:
­- Recite a poem (as is) while dancing/moving (5 minutes)
­- Start gradually distorting the poem – for example, repetition, subtext (stream of
consciousness), etc. (10 minutes)
­- Start gradually using less and less words until you are only dancing/moving. (10 minutes)
­- No music (maybe in the end)
Duration: 25 minutes

29 January

1)
Name: Kundalini yoga warm­up
Shared by: Dolores Hulan
Origins:
Notes:
Directions: Start in a lotus position. No talking from the person leading apart from some explanations on breathing. Find where your diaphragm is and think more of pressing the air out (rapid­fire breathing). Think of the spiral from the bottom to the top, going through all the chakras. Then, anti­clockwise, you do circles with your spine (rephrase) and change direction. Go back to the centre and take 3 breaths. Hands on the shoulders and turn right and left while stressing the breathing out. Then, starting from a kneeling position, the head moves directing the floor (rephrase?) and goes back to the starting point from the spine. Again the emphasis is on breathing. Cat position – leave the belly to fall – do the opposite curve with the spine. Always the emphasis is on breathing. In all fours, breath in and go to the dog position, repeat four times. In dog position, stay and
breath out repeatedly. From dog position (breathe in) to cobra position (breathe out). Repeat a few times. Then relax on your knees, head on the floor. From where your hands are, go back and forth. Roll your spine to come back in sitting position and stay quietly there a bit. In push­up position, pelvis up, knees up from the floor, elbows in a triangle. And go back to the previous sitting position. Breathe in and breathe out while stretching the spine back and forth. Just stay there, in the sitting position. Lie down and arms and legs up from the floor. Stay there and do the rapid­fire breathing. Leave arms and legs on the floor. (…) Lotus position and elbows in 90 degrees from the floor and the upper body twists right and left with the breath. As if you are holding something with your right arm on your left and with the left arm on your right and bring it close to you, always synchronizing it with your breath. Hands on shoulders, open up the sternum and close it. Stay in lotus position. Then in sitting position, arms back and stay there, stretching your body with your head back. In the lotus position, arms up and move them in front of you and the last time close to your heart. In the end, lie down on the floor, do a small shavashana.
Duration: 15 minutes

2)
Name: Inside someone’s walking
Shared by: Veli Lehtovaara
Origins: His own score
Notes:
Directions:
­- Hands on your chest.
­- Focus on your breathing in the middle of your chest.
­- Soften your ankles and your all body and let the weight shift, doing the smallest dance ever, like being in someone’s walking.
-­ Preferably eyes closed but you can choose to have them open too.
Duration: 15 minutes

3)Name: Perfect Movement

Shared by: Katie Vickers

Origins: Salva Sanchis

Directions:

– For Solo practice:

Choose a beginning position. Without moving from this position, identify and visualize the next position you want your body to be in. Move into that position, being as exact and specific as possible. Pay close attention to the pathways your body negotiates while transitioning. Find stillness in the new position. Continue to visualize exact positions in space, move into the predetermined positions with a close attention to the pathways of the entire body and find stillness. As this practice settles in the body, decrease the length of stillness in each position, till the transition from identifying and moving to each position becomes seamless. Experiment with various movement qualities, and timing.

– Perfect Movement in Partners:

One person follows, the other leads. With eyes closed, the follower touches their leaders, who are doing Perfect Movement. The follower wants to be with the leader in space and time but is not aiming to make the same shape. The follower’s eyes open, keeping touch. Eventually, follower takes away touch and remains actively connected and aware of their leader. The follower and leader roles start to blend, so neither person is only leading or only following.

Change roles.

Duration: 30 minutes

4) Name: –

Shared by: Suzanne Bantley

Origins: –

Directions:

– In partners one person is dancing, and one person is speaking.

– When the dancer is moving the speaker speaks, and when the dancer stops moving the speaker is silent.

– The speaker has no obligation to match the syntax and punctuation of the movement; however, they are following the timing of the movement to inform the quality of speaking.

– Eventually, the speaker gets more involved in the rhythm and tonality of the movement.

– The speaker is not attempting to narrate the dance.

5) Name: Hyperventilation

Shared by: Mikko Hyvönnen

Origins: –

Directions:

– In a circle, the group bounces from foot to foot (similar to a jog) with pronounced heavy breathing through the nose for 10 minutes.

– Arms are loose and weighted, dropping towards the ground, letting the elbows bend with every step.

– After 10 minutes, everybody falls to the ground and touches at least 2 other people, forming a large clump. Stay for 5 minutes.

Duration: 15 minutes

6) Name: PREPURIAL

Shared by: Bryana Fritz

Directions:

– Working in partners, one person is lying on the ground dead; the other person is preparing the body for death. However, while preparing the other body for death, they are also mentally/emotionally/physically/spiritually etc. preparing for their own death.

– The person lying dead must remain absolutely still, and try to use circular breathing to make their breathing invisible.

– The person preparing the body does whatever they need to do to the body to prepare the body for the journey into death (ex: sing, purify the body of demons, whatever…) In this time, they must also prepare themselves for their own death by doing whatever they need to do before they die.

– Roles change as frequently or infrequently as partners’ like

Duration: 15 minutes