desire

topic posted Sat, November 10, 2007 - 7:28 AM by  Lynn
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warm greetings fellow rollers and flyers,

I have a question that I hope I can word correctly and it peaks interest. When I'm teaching introductory classes, I usually invite the students to first be aware of the connections around them (space, self, other) and to play with responding or not responding to these connections. I then say that these responses aren't from a place of desire.

What is your experience with personal desire when you dance? Perhaps they don't altogether disappear, but with awareness simply have respect. Perhaps sometimes they are good to be aware of and to follow or not? Do you see our responses as desire?

I don't see them as desire - it's as if what I want from an ego place simply disappears and I'm acting from a much deeper place. I've taken space away from them, and can see them, but no longer want to act on them.

The reason I tell my students this is to aid in their brain asking "what do I have to do?" and to keep open their options by breaking down the walls of "I". But perhaps allowing them to act on desire is okay at first? Any help on this? I want to open not limit my students.

Thank you.
posted by:
Lynn
Wisconsin
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  • Re: desire

    11/12
    I find my desire manifests as an draw to touch.....in bringing consciousness to this, I'm also listening, noticing if the touch is wanted....if its received. If it is, there is such a wonderful opening of energy throughout my whole body and heart - of amazing love. In cases where it may not be wanted, I'm aware of the desire that may still remain, allowing that feeling and energy to still exist in my own dance and breath....In cases of heart constriction, I notice how it really has nothing to do with them, but my own core issues of love and acceptance. :)
  • Re: desire

    11/14
    I think the answer varies depending on the 'object' of the desired connection. When I'm dancing, I will *always* indulge a desire to dance with a wall or other physical structure in the room, or to bust a move that pops into my head (with all appropriate caveats about other dancers in proximity). I freely give in to those desires. When it involves another sentient being, whether human or feline, I always take a much different approach.

    If the desire is to initiate a dance with another, I make a tentative opening: An extended limb with at light touch, or a brush past, or maybe eye contact (eyeDance). The other's response fuels my next action. I *try* to keep *I* out of it, but you know no matter where I go, there I am!

    If in a dance, and the desire is Desire, or a wish for a more initmate dance, then s-l-o-w is the word. Many progressive physical queries and responses get processed, perhaps/probably even over a series of dances. The desire I am feeling could be momentary or longer lived. My partner in that dance may have a range of responses from "how do I get out of this dance?!" to "oh yeah, let's have a cuddle dance". Since I have no desire to be a jerk, I hope that I allow sufficient time and progression so that sometimes I initiate a step, and sometimes my partner takes the next step.

    By far the vast majority of my dances are no-brainers, moving with animate and inanimate partners with little desire or goal - experiencing the Now.

    When desire appears I do each of these, probably in the order they're listed.
    1. Acknowledge the desire, and ignore it.
    2. Acknowledge the desire, and act on it briefly (a desire for a lift, or to go to the floor for example, or a moment of closer contact). These impulses act as queries: Does my partner want to explore this desire with me? An affirmative response might lead to #3, though maybe not in the current dance.
    3. Acknowledge the desire and loosen the reins, allowing it to shape the dance without controlling the dance. Letting go of more of my weight or momentum, seizing an opportunity for a lift, initiating a tempo change, or maintaining close contact for more than a moment are examples.
    4. Wallowing in it.

    Of course, those form a progression requiring awareness of my desire measured against the desire (or lack thereof) of my partner. Call me a speciest, but I don't sweat about whether the floor cares if I caress my cheek against its cool surface, but I do proceed with caution before doing the same with partners that are aware. But I do sometimes proceed with desire.
  • Re: desire

    11/14
    At a lab last year someone instigated a session called "restorative contact." we entered this dance with the intention to restore ourselves, to follow the physical desire, to indulge our bodies, and to take care of the other dancer. It was an incredibly delicious dance and I was restored by it. The invitation to follow desire was there at the beginning. It was a choice of both partners. I think we discussed physical limitations or injuries before we began. It was yummy.

    What else do we have besides following desire? Where else does a dance arise from if not from desire? I think of Rumi and Hafiz, of the deep desires of the soul and flesh. Not the superficial desire for fast food or a 'zipless f----," but of the desire to connect, to be in touch, to listen to deep connections.

    And sometimes the desire comes to do a somersault over the top of a pile of bodies, or some other seemingly outrageous or ridiculous movement. Then I temper my spontaneity and determine if it is safe and appropriate to the group and the moment.
  • Re: desire

    11/14
    Lynn, seems you have a particular use of the word "desire", which probably is different from Vajrana's. I like to seperate out semantics from phenomena... perhaps just the sceintist fetish in me.

    let's look at some of the phenomena ...

    pleasure...sensual, kinesthetic
    fear-based grasping
    awareness (or lack thereof) of the other's inner landscape
    emotions... attraction (to what?), nurturance, anger
    boundaries
    associated with boundaries, there is the will to act on them, fear of acting on them
    sexuality
    what we might call "lymbic resonance" ... that space of ease produced by another's touch

    What other phenomena are there to look at here?


    When you say desire, Lynn, I have the feeling that you are talking about something to do with satisfaction of the emotional or sexual. However, would you not say that when you go to another place and find impulse,this is just the desire of some other part... something perhaps non-sexual and not involving lymbic resonance with other.

    It was an experiment early on to start from some place of non-sexual/non-personal. Of course they didn't all agree on that exactly, but the idea was out there. What does that involve to not go there? supression of feeling (Freud), or perhaps inhibition of feeling (in the "neautral" Alexander sense)? In either case, something else does open up in the flow of kinesthetic curiosity uninterupted by the emotional resonance/connection or sexuality.

    I rather liked what Chris Aiken noted in a workshop some years ago... that this inhibition was relatively necessary originally so that we could discover the many possibilities of the kinesthetic and to create this safe haven of "non-bonding" touch, but now that we have it, we can explore out from it, not the slave of our inherited emotional culture, but relatively free to experiement, given this safe place to fall back on.

    ... an idea still worth challenging, but nice nonetheless.

    k
    • Re: desire

      11/15
      Thanks all for responses thus far.

      Thanks Karl, for bringing up the necessary need to define what I meant by desire - I should have known better.

      By desire I simply mean the part of me, perhaps ego, that is selfish and unlistening, disrespectful. Examples of dances I've had that look like this - picking up and carrying without noticing partner's willingness or unwillingness to go there, that feeling you have when you know your partner isn't even noticing that they're dancing with you - it's their own dance that they're enjoying for themselves, and being overcome by the desire to fly without seeing if my partner is in the same place to go but going anyway (usually to injury).

      Nataraj seemed to grasp exactly what I was looking at. Perhaps emotional, sexual, sensual, but more than that, and certainly never leaving them aside, but feeling them and responding from a different place - which may leave from a different place. I think I can act from a place of desire (I'm tired and want a slow dance and am not open to other kinds) as long as I communicate it through the form, through touch and energy to the person or even speaking rather than just doing without communicating. Or acting from a place of fear - but recognizing it and making a clear choice whether or not to go into or away from that fear, or if that fear comes up after doing what I fear then watching as I learned something.

      And as dances can have several scores, like (let's follow our sexual desires) I mean purely for the sake of general knowledge for beginners to begin listening, communicating in the form.

      As I'm typing this, it seems I am simply noticing the difference is EXPANDED AWARENESS. From that place I have felt the desires of the energy around me, the desires of my partner, the desires of myself, perhaps noticing just the flow of where things naturally move ... yet feel like I respond from curiosity and quiet - even when it's a crazy fast sweaty dance.

      My dictionary defines desire as "longing or craving" - which simply sounds like attachment, holding on to the definitions and expectations I already hold, a subconscious unwillingness to surrender, perhaps.

      This is, perhaps, different than how the form originated, but that doesn't interest me - for it has become so much more.

      I hope this is clearer. I feel further from my original question, so something has shifted.
      • Re: desire

        11/22
        desire is a loaded word.

        karl may respond as a scientist and i'll respond as a theologian. perverted, subverted desire leads into all kinds of strange places of self denial and self mortification. when the root desires of being human are squashed, they arise in unhealthy places. you don't have to look far among political or religious leaders to see the wreckage of self mortification. conversely, when the sacred heart of desire leads us, it brings us toward compassion, love, ecstasy, enlightenment. i think we can look all around us and see the perversion of desire manifest in greed and consumption. Tomorrow is Black Friday, our annual American indulgence of perverted desire in the name of a holy cause: Christmas or Consumer Capitalism, your choice. (this is my soap box, apologies for politicizing the topic). i personally experience the tactile arts, dance, yoga, martial arts, meditation, as a remedy to this perversion of our culture. I think this is true for those of us who are kinesthetically-dominant.

        one of the gifts of contact is that it gives the self a place to investigate the need and desire for touch that is: playful, sensual, aware, safe, non-sensual, goofy, curious, emotional, and more adjectives that aren't coming to me right now. but we can subvert our desires on the dance floor as easily as we do in life.

        i think that inviting students to listen to where their impulse to move arises from is great. one of my colleagues here consistently uses the breath as his impulse. When he teaches he continually asks us: where does the desire of the breath lead you? Can you dance the inhalation? Can you dance the exhalation? Other impulses might arise from weight, from pain, from pleasure, or from a story line in the head. are any of those bad places? whatever the impulse, we must be aware of more than the self. Lynn, was this where you were going with the question: that the impulse, while arising in the self, must always be aware of the other? That our desire is filtered through the sensory awareness of the dance beyond the self.

        i experience a magical dance when my verbal brain gets quiet and my dance arises from some place deeper. sometimes it is purely as sensual/sensory/tactile place. sometimes it is a playful gregarious place. puppy piles, otter play, dissolution. sometimes i become unaware of the difference between the self and other, it feels as though i have stepped beyond the self. there are some scientific studies of the brains of meditating monks that are of interest here. in the state of ecstasy, the part of the brain that controls both spatial awareness and the sense of self and other becomes quiet. When that part of the brain is silenced one experiences a sense of unity with all that is. This is a thread that ties mystics together: the sense of universal oneness. Our dance can take us to this same place by taking our awareness beyond the self, by focusing on physical sensation, and by literally playing with the brains capacity for spatial awareness and proprioception. when we reach this mental state, we lose the sense of self versus other and feel a sense of unity.

        the most dangerous desire in my own dance, is my desire to experience that magical place of unity again and again. when i am longing and grasping for that, i'll never get there. someone, on another thread, said to treat each dance as if it was the best dance ever. i like what happens when i do that. this is the best dance, this is the best partner, i'm here now in this moment making the most of what is, giving myself fully and completely to this moment. i let go of the desire for an outcome in the dance, surrender to the dance, and i'm on my way....
        • Re: desire

          11/23
          Thank you Vajrana for your thoughtful and sweet response!

          "Lynn, was this where you were going with the question: that the impulse, while arising in the self, must always be aware of the other?"

          YES! Thank you for putting these simple words in place of my chaos around this issue. Answers found in the silence... I think this is the very reason I think warmups are so essential in contact improv - it gets us quiet, inward and yet aware before we come to cut boundaries and soar in the freedom that CI brings. It also ensures safety simply from listening. A good opening moving meditation does this work that I'm asking about without necessary words to explain it.

          I don't think this is too far off from yoga, where I've experienced greatly the tremendous benefits of warmup. If I'm not centered and at least body aware before I begin, my session feels gross and unbeneficial and I end up feeling confused. While in yoga sometimes this could provide some useful information (i.e. experience of being out of control) this seems irresponsible for CI where we work with others and so intimately.

          Perhaps CI can simply be done as a physical form - just showing up and dancing and forgetting anything else, and all awareness... but it is my understanding and experience that CI *works* its most beautiful when we are aware.

          I feel now I've opened two branches - one on goals of CI and on warmups...

          Thanks to all who are participating, I hope it is as full for you as it is for me.

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