After a nice beer at the Skofja loka Castle with friends, I set to dance 42 around the hill Krancl and around.
It occured to how much I sense the music of Dmitri, its structure, its straighforwardness and of course how much Keith is at ease with him playing with that. Having said that it was obvious to me that I did not set on an easy way. And this is the easy part of the difficulty and challenge I put to myself. And I am not yet at dancing, performing and choreography.
Already few times before I realised, that extracting/sensing/acknowledging the principle of dance at hand while dancing on prelude, is a task of its own (yet anther challenge. I mean the dance principle at hand is most not articulated in terms of thoughts or mental understanding. Usually the mental understanding would only come after the whole act was finished and I would be sitting in from of TV after having shower that the mental understanding would arrive 🙂
The next challenge lies in fugue. If I had luck to surrender enough to my task, I would abtsract the dance principle from prelude. But then how does one surrender to the play that dance principle likes to play with itself?
When I am fully immersed into the three above mentioned challenges, dancing away at the ruins of the old castle on Krancl, the attention and focus start to druft away in an unfunctional way. The physical drifting I don’t mind so much (though I know it is tightly connected, if not one and the same thing), but when the awareness sharpness is drufting, I know I am tired.
This is when I become aware of the importance of content, density of movement, of bodytelling. In order to create it with some consistency, I need being aware, need to be present, attentive.
Where does this dance come from, where does it go, what does it pass thorugh?
These identified challenges helped me realize I am onto something new and super challenging and charging. At least for me. Since the material I am touching is unknown to me. Havent passed yet my physicality. I LOVE IT. It is dissolution of all the concepts of dance and its elements and their relations, networking.
I trust my simple initial decision that the 42 has to be danced through my image of someone else. This gives ground to my dance. Otherwise it has great danger of becoming, well, not-nothing-and-not-something, something between nothing and something. And that is what I am not interested in here.
Who I was dancing through today? The nature at the Krancl. Also through this it came realisation that the material I am touching now is new, not yet passed my physicality. The nature around me was not the source of the movement, motivation, surrounding, conditions, state. This movement comes from abstracting the dance principle of the movement at hand.
And I wanted to be funny as well. Thourgh and with the moevment.
And the whole thing lasted maybe 1,5h. Uf.