Lit review 2

With the constant drive to learn more about various dance styles and the constant question at the fore front of my mind of what will I be doing in a year’s time, I came across this book

Sacred/Circle Dancing by June Watts.

In my current state of connecting with my spirit/soul, of course dance plays the key part

This book is about spiritual and ritual dances performed in circles.  The author writes about her personal teachings, learnings, experiences and findings.

I was intrigued to find out how this could help in our dance today and if some of my theories about our inner body connected to our outer living . My other questions, under my line of inquiry, are to explore ‘all dance is a therapy’ and ‘dance origins’

What attracted me to this book was the  connection of ‘mind, body and spirit’ working with a language that develop movements naturally and organically from vibrations that happen within the body.

The author learned about circle dancing from Bernhard Wosien, a German Ballet Master who had a passion for traditional European Dance. (1) 

Certain dances where said to have healing energies thus connecting us with the earth.  Meditative in movement, they can relieve stress, release creativity and help dancers feel centered.  

Watts explains how we are all energy and every subatomic particle dances, ‘an endless energy dance of creation and destruction‘   drawing to ‘The Dance God of Shiva and Sub Atomic Particles’ (2)

A couple dancing can generate energy power equivalent of five to ten amps. An intent focused group of people could generate much more.

We experience this energy when watching a chorus or crowd of dancers in a musical on stage today or any large gathering of dancers.  In Cuban Salsa dancing, couples dance in the round with one another.  When dancing in a ‘Rueda’ (wheel) dance as a couple, there is no doubt they become highly energized and are tremendously exhilarated when focused on the correct moves and patterns.

The writer discusses Bernhard Wosien ‘raison d’etre’, he explained at every occasion the importance of dance.  He was devoted to his purpose, to something that was greater than all of us.  He would say; When we enter the circle we subsume the self and our individuality into the greater whole. We become part of something greater, something we can share and share in equal measure.  Each of us holds our place in the circle facing the centre and shares the centre in common with everyone else. But each has a unique perspective and no link in the same as any other.

She was enchanted by him and must have had a passion for him as she watched his powerful, muscular body with awe and stated he was dance. 

After Woisen’s death she felt she had been given a special gift of empowerment.  She felt the centre of the circle light up with a powerful vibrant light and felt his presence.. At this point she felt her ‘reason for being’.  She began her intensive quest the reason for her existence after having three children and ten years of absence from dance.

A quote from one of today’s Spiritual Enlightenment teachers;

Independence of Spirit

The most lauded luminaries of humanity's rich history have all been bold individuals who, in one way or another, bucked the status quo in order to follow their own muse. They courageously did what too few human beings are willing to do: think for themselves about the big and important questions in life. Who am I? Why am I here? What is the purpose of existence and what is the purpose of my existence? What I call "spiritual self-confidence" comes from knowing the answer to these profound and fundamental existential questions. In order to become self-actualized human beings, ironically, we have to, in our own ways, find the strength and integrity to mimic the greatest human beings who have come before us. In this case, that means embracing enough independence of spirit to finally find our own authenticity and think our own thoughts. It's not an easy thing to do. But it's worth it. It's more than worth it.—Andrew Cohen

I agree with her totally when she talks of our body as tools of the dance trade, musicians have their instruments, artists have their brushes and paints, crafts people their tools.  A dancer’s body is the instrument.  She talks about the language that dancers learn daily in maintaining flexibility and technique. Dance classes are a ritual for professional dancers

In her ‘Brief History of Dance’ section two facts are stated, one, humans have always danced, two, everything natural moves in circles.  True, we see this daily, the planets revolve around the sun, the moon and sun rise and set, the seasons of the year is a cycle.  Circles within circles.  Our ancestors understood their place in the scheme of life and dances moved in open circles. We see evidence of these dances on wall paintings and vases and Etruscan 4th Century BC wall paintings show funeral dances.  These dances became part of ‘mystery religions’

I find parallels with the Greco-Roman world of religious cults circa 4th century,(3)  and Physical Theatre today. (4)  A cross over between music, dance, drama, art and life.

The Greek history contributed to the development of our arts today particularly in dance, (5) celebrating by dance every event of life, births, deaths, harvest, sporting events, (The Greek Olympiads ) the hunting etc.  The Greeks came to understand the rhythmic laws expressed in their manual occupation; ploughing, sowing seeds, rowing their boats with oars etc. and discovered jerky and broken movements resulted in work exhaustion and bad production.. During the Hellenistic period,(6) children learned music as training for the mind which developed the aesthetic sense and gymnastic exercise for the physical.  This made way for and cultivated a natural foundation for life. The Greek felt whole and able to express himself through the body ‘which was the material object that contained the soul’ (5).

Dance, in it’s highest form was a language of prayer, praise and dedication. An act of worship to their Mythological goods.

I think the thought of modern dance as a form of worship will scare most young people away.  

Watts explains the ‘inner and outer’ and ‘vertical and horizontal’ axis.  Dancers move from the ‘inner’ (within) vertical axis running through the centre of the body to the outer world.. 

One of Martha Graham’s fundamental technique for contemporary concentrates on the spine as vertical axis taking it further to a twisting of the torso or known as The Spiral

Wosien called this ‘Meditation on the Cross’. First position in ballet, heels together, arms curved in front with fingers opposite the solar plexus. The Dancer is centered, alone and ready.  Second position, heels, shoulder width apart, arms open out to the side, ready to connect with others. Third position, feet at right angles, right heel, touching left instep, right arm up above the head, left arm open to left side.  He called this ‘ready to serve’. Energy running up and out through the top of the head and down the body, through the feet to the centre of the earth, centered and strong.

The outer, the journey, not knowing where it will lead.  

It’s a good way of thinking, a way for professional dancers to experience that moment of stillness in time gathering energy from within and connecting before dancers set off towards the end of the dance, as that is their objective, it’s over and done!! 

One exceptional dancer, Sylvie Guillem can take you with them on their dance performance journey and you experience every single move with her. Not unlike the the slowing down of moves as in ‘The Matrix’  

I wonder if we all experience this consciousness and understand it’s form. Joseph Campbell asks, are we the ‘vehicle of consciousness’ or are we ‘the consciousness’ (7) 

The author continues with symbols, shapes and dance direction.  Symbols and shape have meaning and are relative.  In many dances we start to the right, symbolizing we get on with life, then take a few steps to the left before moving on again, as if to review the past before continuing to the right.  A parallel with our planet Mercury when in retrograde for a few months every year.(8) 

She continues with explanations alignment and attunement, still points, transforming spaces and interconnectedness of ourselves and the environment.

I read this book for the reason of learning but reviewing it is a different matter but trust I have maintained a balance.

The main point of this book is about circle dancing and a connection to sacred power of dance. A book written for groups interested in historical, folk and spiritual dancing.  

Circle Dance is definitely form for therapy.

The authors excellent description of form, structure, motives and concepts are very useful notes for any style of very basic choreography. Her definitions and ways of thinking will help with the emotions a choreographer may wish to portray. 

Circle Dance may be more acceptable than Sacred Dance today. It is seen as a dance for certain types of people; folk, religious, older age group, passive dancers, non professional dancers, community dance.  The very young children enjoy linking hands and moving around in a circle.

I would suggest professional dancers to experience at least once, circle dancing to share the energy it emits within a group and to take you back to some of the origins of dance. It’s a good leveler. 

The book was interesting at the time of reading but not as enjoyable reviewing it as much as my first. The subject matter did not expand into any artistry, ingenuity or raw passion of the moves.

A complete contrast to my first review about professional dancer and choreographer Pina Bausch and her contemporary physical theatre dancers. Although both dedicated to the dance and finding their purpose in life, both internally driven to find inner strength, direction and reason for being. 

‘We take class every morning!
Morning class is necessary for dancers not just beneficial reasons, it is like a ritual’. - Daisuke Miura ,a Professional Dancer with Ballet Cymru. - A quote taken from LinkedIn Nebuli dance forum 2012.

(1) http://en.wikipedia.org/wiki/Circle_dance

(2)  http://hinduism.about.com/b/2008/09/10/the-dance-of-shiva-and-sub-atomic-particles.htm

(3) http://en.wikipedia.org/wiki/Greco-Roman_mysteries

(4) http://en.wikipedia.org/wiki/Physical_theatre

(5) Gateway to The Dance by Ruby Ginner

(6) http://en.wikipedia.org/wiki/Hellenistic_period

(7) http://en.wikipedia.org/wiki/Joseph_Campbell

(8) http://astrology.about.com/od/advancedastrology/p/MercuryRetro.htm