Ballet, Believing, choreography, conscious body, Conscious Living, conscious movement, contemporary ballet, contemporary dance, courage, Courageous Vulnerability, Dance, EBAS, inclusion, love, Movement, movement meditation, movement wellness, Soul to Soul, spirit
I am looking forward to presenting at the annual Corps de Ballet conference coming up at the beginning of July. I was invited to share my research with them through the lens of the Elemental Body Alignment System (EBAS) connecting the work with their theme; Suspended in Grand Renversé: Embracing the “Big Upset” and Ballet’s Relationship to Liberatory Practices.
I am excited about this particular sharing as I will be making the connection with The Five Element System of Traditional Chinese Medicine (TCM) and EBAS to the ballet form and how this time of return might be the right time for rewiring our practice and welcoming more folks into the form through a sensorial approach to the form rather than the traditional aesthetic approach which has isolated so many from the fold.
In this sharing I will be turning our focus to the sensations and imagery the elements offer as a new window into the experiential discovery from the inside out, rather than the outside in. Since the five elements of: winter, spring, summer, late summer and fall correspond to yin and yang organs, emotions and energies; this shift will allow access to an internalized visioning as well as emotional connection and qualitative correlation to qualitative dynamics.
By referencing the actions and movements in EBAS like the Spinal Awakening Series, we will be able to see how the kidneys are connected to the contraction as the first articulation and movement in awakening our practice in EBAS. Winter is the first element of the wheel just as the contraction is the first articulation of EBAS. Wonderfully, the plié is the first exercise in the ballet form as well. Looking at how the kidneys rise and fall or rather descend and ascend in the “waters” of the form, helps us to feel or sense the buoyancy of the floating vertical pelvic bowl and the animating of our backspace through the kidneys.
This is just an example of the kind of information we will be swimming in as we explore how layering and weaving all these concepts through the somatic lens and the experiential body practice opens the floor to all bodies who wish to explore the movements of ballet through their own perspective and potential. The practice becomes one of internal connection rather than external manufacturing and manipulation. Imagine the freedom of sensing and then reflecting then ultimately radiating that imagery and energy through movement and spirit?