Posted on Nov 9th, 2006
by
Alli
It all started with my Mom's offer to send me to Hollyhock for a birthday getaway. Months later, I was finally taking the time to browse the online calendar of workshops, blown away by the endless options of amazing topics and presenters. As I found the Dancing and Drumming workshop, my reading speeded up and exitment began bubbling in my heart - little did I know that this was the first step in re-awakening the dancer!
I'll have to confirm this with Mom, but I believe that at the age of 4 I attended my first dance class - which involved me crawling around the perimiter of the studio, not quite ready to join in the group movement. Given what I now know about creating and holding sacred space, this makes perfect sense! At this point in my life, it's rare that a day goes by without a full 'set the space' prayer being spoken, whispered or thought whether it be for meditation, movement, healing or sleeping. All seven directions - North, South, East, West, Above, Below and All areas in between - are acknowledged. Seeing that we're in 3rd dimension, crawling around the edge of the room would have accomplished this in my mind!
Fast forward through about ten years of dance classes, including ballet, tap, jazz and (my favorite) modern. I'll also have to check with Mom and Dad to see how many times each week they ended up driving from Silverthorne to Frisco to drop off/pick up my sisters and I at the studio. Or how many hours my mom spent at the sewing machine making our costumes. And how much she wanted to throw fits of anger at us as we whined about the numbered fittings during our Disney movie marathons. Ah yes, and how many Mother's Days were overshadowed with the annual weekend recital. I love you Mom and Dad! Maybe we should start having a second Mother's day each year to make up for all those that were spent in a dark auditorium with a stoneage VHS recorder on the shoulder?
Around about 14 years old it was time for the competitive dance 'Company' try outs. Teenage hormones, point shoes, studio politics, and spandex should never be mixed. After a short period of time performing in the company, my taste buds seemed forever soured. I am still amazed that so many girls could form the same movements to the same beats, cram into a dressing room in a fit of nakedness, blush and lipstick, and appear so beautifully in sync on stage all while holding petty hatred and competitive quarells with each other.
So I quit dance and started recruiting for our High School's first ever woman's rugby team. At the time, I just wanted to avoid conflict - of words and emotions, I guess. In hindsight, it makes perfect sense to have channelled that competitive energy into physical conflict, right?! I can remember showing up for practices and even games with a lot of anger over whatever was going on in my life, and leaving feeling completely free of it all. There's nothing quite like tackling another girl to the ground or hitting the back of a bunch of them in the middle of a grunting ruck, or how about stripping the ball and sprinting as hard as you can! Oh wait this is the dancing blog, I'll do another on rugby later.
Fast forward about 5 years to my sophmore year at CSU. Lots of soul searching, a few changed majors and endless scouring of bulletin boards and non-traditional courses led me to the basketball gym once a week for a month to gather in circle and learn african drumming beats. The instructors drove up from Denver, some students had their own drums, but mostly it was a group of passionate white kids looking for release and creative outlet. The first hour was drumming, the second hour dance to the drummer's newly-acquired rhythms. It brought back a lot of memories - travelling across the floor practicing repetitive moments, learning the first 8 counts and adding more and more for the final performance. But this time it was wild and crazy movements - forget the rigid, controlled muscle memory of the limited pleeeaaaaaayyyy, throw out the ingrained ballett teacher's shriek about first through fifth position of the feet and 'perfect turnout' from the hips! Instead trying moving your hips like you've never imagined! Turn your neck into a spaghetti noodle and thrust that torso every which way! I loved it. I wanted more of it.
I took a few classes here and there, but over the next 7 years I found more work and volunteer 'opportunities' to crowd my schedule and attention. So I've finally come full circle to the Hollyhock workshop - it ignited a very small yet flickering flame inside me - I knew it was time again to bring joy into dance and me into such movement.
The workshop was cancelled, but I still got to dance a few times a week at Hollyhock since the instructor, Soasis and her drumming dude husband Zach live on Cortez Island. Whether it was Wednesday night open dance at the communal Manson's Hall, or 7am 5 Rhythms in the beautiful dome-like building known as Raven, I was there moving every body part - waking up my soul.
I held slight concern about leaving Hollyhock and finding more opportunities to dance, but as it turns out they just keep presenting themselves. My 3 heavanly days at Esalen were each graced with long, sweaty dance sessions facilitated by different yet equally beautiful people. I didn't know it was possible to get quarter-sized blisters under the thick pad of your heels.
And then as I parked my car on Hwy 1 at the Del Mar beach I was overcome with the need to move - so I had a private boogie party in the sand with the wave-facing doors wide open and some hip hop song singing out the speakers. Ahhhhh.
My time in NYC has been graced with exactly 5 Five Rhythms classes as of tonight. How synchronistic that the creator of this form of movement, Gabrielle Roth, lives here and is teaching a workshop during my stay! It will start tomorrow, lasting about 5 hours each day until Sunday. Right now my feet are aching - oh how I wish I knew a reputable reflexologist in this huge city! There are hole-in-the-wall spots on every other block advertising various levels of a skillful 'foot rub', I suppose it couldn't hurt to give one a go.
I started this entry because I wanted people to be able to read and understand what I'm talking about when I tell them I'm going to dance classes and workshops that are transforming my energy and perspective on life. It's morphed into a novel, so now that I've spilled my dance background, let's see what Gabrielle has to say about 5 Rhythms Dance. This is from her second book, entitled Sweat Your Prayers: Movement as a Spiritual Practice:
"Each rhythm holds specific teachings for us. In FLOWING we learn how to be sensitive to the flow of our unique energy, to follow it and be true to it, and to ground that energy in our bodies and in the body of the Great Mother, earth herself. In STACCATO we learn how to organize our energy, to focus and direct it, to listen to our hearts and honor our need to express our feelings. In CHAOS we learn how to dive below the surface, logical mind to the intuitive mind; how to get in touch with our whims, our impulses, our spontaneous, poetic intelligence, and free them to move through our bodies and hearts.
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Dancing CHAOS grounds the mind in the body adn releases everything that blocks you from your intuition.
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Intuition is chaotic. If you're afraid of chaos, it's hard to access your intuitition. CHAOS is the wild mind fully embodied; if you release yourself into it, the world becomes transparent and you can read it like a book.
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In LYRICAL, the drums are as incessant as in CHAOS, but they have a lighter tone. My feet are as light as a feather, my heart is on fire, my head is empty. ... LYRICAL is the rhythm of trance and self-realization.
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In this state of grace I slip into the rhythm of STILLNESS, into the breath of the beat, to revolve around my own axis, to shift down into the drift of a waking dream. ... In STILLNESS, the mother of all rhythms, we seek the emptiness within all of us, and take refuge in it.
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These rhythms catalyze motion deep in the psyche. Each is a practical tool of awakening that will release us to dance on the edge, to be outrageous, to transform suffering into art and art into awareness. "
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