I attended a yoga workshop with yoga teacher, Seane Corn, this weekend. I've taken workshops with her before, so I knew what I was getting into. I always get inspired from her workshops, podcasts, and other email blasts she may send out. However, each time I attend a workshop, I discover more about myself.
She talked about the Three Realms of Consciousness and how it can be applied to your yoga practice, specifically Vinyasa style, but any style will work. The Three Realms are:
1) Physical/Mental
2) Emotional/Energetic
3) Spiritual/Symbolic
The physical/mental is utilized in the physical practice of yoga, where one takes the time to understand their limitations in the poses; the benefits of the sequence of poses; and an awareness of alignment, so you're not just "dumping" into the poses. Once you've worked the body, the emotional/energetic aspect of the practice emerges. This occurs when, after moving and stretching the physical body (muscles, bones, connective tissues, etc.), old memories, traumas, experiences can be released. The spiritual/symbolic, to me, is different for everyone. It's that time when you make the "connection." You "get it." You may realize, Wow! I can let that go and take my power back. You connect with your intuition, the essence of who you are.
There were many things that came up for me, but mostly self-inquiry. It's something that has come up for me in the past, but I used to ignore it because I felt ashamed or a failure. The questions that arose, "Why do I practice yoga?" "Why do I teach it?" "What draws me to the practice?" "Why did I start yoga?' and "Am I open to being in the present, or do I shutdown?"
I don't have any answers, but these are great! Like I said before, I used to feel ashamed or a failure for thinking these things because it was those "times" when teaching yoga, I was not present. I was just moving through the motions because I thought I "had to." I went through a 500 hour yoga teacher training, I SHOULD teach!
So when these questions came up during the workshop, I felt grounded. I felt more open and willing to be with the inquiry and the emotions that came up. I felt okay. and this was huge for me.
We also delved into the Seven Chakra (energy centers) of the body. For me, this is where it all came together. It's amazing what you can find out about yourself when you apply this body of knowledge with yoga. For instance, tight or pain in the hips may be due to a block in the 1st or 2nd chakras (survival, relationships, sexuality, fear, abandonment issues). One of the best books to reference the chakras is Eastern Body Western Mind by Anodea Judith. Although, she doesn't apply it to yoga specifically, it's an amazing journey to understanding and having more compassion for yourself.
I'm going to stop for now, but I plan to continue a more deeper inquiry each time I practice yoga. Utilizing these three realms of consciousness and the chakras, I feel simple self-inquiry can take us a long way, even if the question is "what do I want to do?"
Showing posts with label workshop. Show all posts
Showing posts with label workshop. Show all posts
Sunday, August 7, 2011
Monday, February 7, 2011
The Katsura Kan butoh workshop
I had an amazing experience at the Katsura Kan workshop this past weekend. Click here to read about it at my movement blog.
Wednesday, December 15, 2010
Moving forward
It was a hard thing to decide, but it's time to move on. I decided to drop my *Daly City yoga class, and pass the reigns onto another great, up and coming teacher. I'm still going to teach in San Francisco at 24 Hour Fitness and sub at the YMCA when needed. I'm also curious and open to see what other opportunities are out there in the yoga teaching world. I will miss my Daly City students, and do hope they continue their practice and going to class. This class was my first real teaching gig ever! So there's definitely a lot of history there, and growth within my teaching over the years.
So what next?
I feel 2011 will be about recharging, revamping and refreshing my practice as a yoga practitioner and teacher. I will take more workshops and trainings for myself, so I can continue to grow in my yoga practice. In a way, I feel I've neglected that most important part about being a yoga teacher: practice! It's time to focus my attention there and see where it takes me. I miss going to class, not just for the yoga part, but the community of other like-minded individuals and yoga enthusiasts. I miss that network. I feel the withdrawal and the craving. It's time to step back into myself and see where I'm at in all of it. I'm so excited, open, and grateful!
**Leeat Louvton will be taking over my class on Monday evenings at War Memorial Community Center in Daly City. For more information, go to www.doelgercenter.com and check out the class schedule.
Namaste!
So what next?
I feel 2011 will be about recharging, revamping and refreshing my practice as a yoga practitioner and teacher. I will take more workshops and trainings for myself, so I can continue to grow in my yoga practice. In a way, I feel I've neglected that most important part about being a yoga teacher: practice! It's time to focus my attention there and see where it takes me. I miss going to class, not just for the yoga part, but the community of other like-minded individuals and yoga enthusiasts. I miss that network. I feel the withdrawal and the craving. It's time to step back into myself and see where I'm at in all of it. I'm so excited, open, and grateful!
**Leeat Louvton will be taking over my class on Monday evenings at War Memorial Community Center in Daly City. For more information, go to www.doelgercenter.com and check out the class schedule.
Namaste!
Tuesday, July 27, 2010
Performing privately in the public
I took a performance workshop/lab over the weekend. My friend/collaborator ran the workshop for her research toward her MFA graduate work at UCLA. We did a series of exercises that investigated relationships, intimacy, witness/viewer/performer, and installation art (placing random objects in space). Each exercise was specific in its own, but it all meshed together at the end of the workshop when we showed our work to each other and outside viewers.
It's hard to describe the experience in words, so I'll do my best. For me, the workshop pushed me to take risks as a performance artist. This triggered some things inside me as well such as the fear of failure (if those risks are taken), being seen, and belonging. I've gotten better at accepting these fears through performance, but this was the icing on the cake!
The last two exercises of the workshop were placing objects--both personal and random--in space together. All 5 of us participated in this in many ways. We took turns placing the objects and then would view it from all angles and directions. At one point, one of the participants began to interact with the objects and then became an object with the objects. After that, we individually set up our own installations in different parts of space, hence bringing that private into the public. I chose a hallway in back of the theater. My installation (and I wish I took a picture!) consisted of a sheet of paper with lipstick kisses, smears, and marks. Each mark had a different amount of Rx pills in each one (the Rx was my old anti-depressants) labeled M, T, W, Th, Fr, Sat, Sun and ?. Along with that was a bottle of saki, spray starch can labeled "Faultless", a compact mirror, red lipstick tube, hand santizer, a magic marker and a "to do" list, which read: Breathe, ground, spit, sleep, TP, paper towels. I had checked off certain items with the lipstick. Also, there were crumpled up paper towels with lipstick marks. Now close your eyes and imagine all that!
Then, lastly, we had to come up with a 3-5 minute performance that would be done in any part of the space, with any objects, music, sounds, and it was for just one person. In some way, this intimate performance had to perceive the giving of a gift in some way. This starts to bring in the intimacy, relationship, private-in-the-public themes. I did mine in the restroom, which had two public shower stalls. I placed my installation piece on the sink, and then did my performance in one of the shower stalls with the viewer sitting in a chair in front of it. I had a plant-watering can in the shower with me. The only instructions I gave the viewer was to open the shower curtain when they heard the water. I began watering the area around me in the shower. Then I tipped the watering can over me and let the water splash onto me (I had a stretch pants and an tank top on). After I set the watering can down in the shower, I gently smoothed the water on me in a specific way each time--like a cleansing ritual. Then I take a towel and carefully dried myself off and dropped the towel to the floor. I pick up a red lipstick and compact mirror and applied the lipstick. I put them down and harshly took off the lipstick with a paper towel, throwing it on the floor violently. I grab the lipstick and mirror, then go to the viewer, take their hand and bring them just outside the shower stall. I put the lipstick in their hand to put onto me, which most complied to do. Then I motioned for them to put it on themselves, which most did comply. I turn the mirror towards them so they can view themselves with the lipstick on; then I take a paper towel and blot my lips with one end and have them blot the other end. I shape it into a flower, so you can see the lipstick blots. I step out of the shower and place the paper flower on the shower stall floor. I pick the watering can up and water the paper flower. I stop and stare at it with the viewer, and then turn to them and say, "thank you", prompting the end of the performance. I did this 4 times in a row.
Again, it's hard to describe how I felt, but it was amazing to hear the feedback from the audience/viewers about every piece. The feelings and thoughts that came up for people were:
-I felt obligated
-I felt uncomfortable, like I shouldn't be there
-It touched me, and reminded me of what I'm going through in my own life
-I wanted to leave
-I wanted to run away
Everyone loved the experience because they had never experienced a performance like that before, and neither did I! It effected them in many ways, but it was wonderful how open and honest they were in their feedback. It was very validating for me because there was one person who didn't comply with the lipstick in my piece, and when he expressed his thoughts and feelings, I felt better about it. The mind chatter was definitely in full force before, during, and after each viewing. So after hearing all the viewers speak, I felt acknowledged, heard and seen.
I've decided to try this out at friend's living spaces to see what happens. I think it would be powerful, scary, and fun!
It's hard to describe the experience in words, so I'll do my best. For me, the workshop pushed me to take risks as a performance artist. This triggered some things inside me as well such as the fear of failure (if those risks are taken), being seen, and belonging. I've gotten better at accepting these fears through performance, but this was the icing on the cake!
The last two exercises of the workshop were placing objects--both personal and random--in space together. All 5 of us participated in this in many ways. We took turns placing the objects and then would view it from all angles and directions. At one point, one of the participants began to interact with the objects and then became an object with the objects. After that, we individually set up our own installations in different parts of space, hence bringing that private into the public. I chose a hallway in back of the theater. My installation (and I wish I took a picture!) consisted of a sheet of paper with lipstick kisses, smears, and marks. Each mark had a different amount of Rx pills in each one (the Rx was my old anti-depressants) labeled M, T, W, Th, Fr, Sat, Sun and ?. Along with that was a bottle of saki, spray starch can labeled "Faultless", a compact mirror, red lipstick tube, hand santizer, a magic marker and a "to do" list, which read: Breathe, ground, spit, sleep, TP, paper towels. I had checked off certain items with the lipstick. Also, there were crumpled up paper towels with lipstick marks. Now close your eyes and imagine all that!
Then, lastly, we had to come up with a 3-5 minute performance that would be done in any part of the space, with any objects, music, sounds, and it was for just one person. In some way, this intimate performance had to perceive the giving of a gift in some way. This starts to bring in the intimacy, relationship, private-in-the-public themes. I did mine in the restroom, which had two public shower stalls. I placed my installation piece on the sink, and then did my performance in one of the shower stalls with the viewer sitting in a chair in front of it. I had a plant-watering can in the shower with me. The only instructions I gave the viewer was to open the shower curtain when they heard the water. I began watering the area around me in the shower. Then I tipped the watering can over me and let the water splash onto me (I had a stretch pants and an tank top on). After I set the watering can down in the shower, I gently smoothed the water on me in a specific way each time--like a cleansing ritual. Then I take a towel and carefully dried myself off and dropped the towel to the floor. I pick up a red lipstick and compact mirror and applied the lipstick. I put them down and harshly took off the lipstick with a paper towel, throwing it on the floor violently. I grab the lipstick and mirror, then go to the viewer, take their hand and bring them just outside the shower stall. I put the lipstick in their hand to put onto me, which most complied to do. Then I motioned for them to put it on themselves, which most did comply. I turn the mirror towards them so they can view themselves with the lipstick on; then I take a paper towel and blot my lips with one end and have them blot the other end. I shape it into a flower, so you can see the lipstick blots. I step out of the shower and place the paper flower on the shower stall floor. I pick the watering can up and water the paper flower. I stop and stare at it with the viewer, and then turn to them and say, "thank you", prompting the end of the performance. I did this 4 times in a row.
Again, it's hard to describe how I felt, but it was amazing to hear the feedback from the audience/viewers about every piece. The feelings and thoughts that came up for people were:
-I felt obligated
-I felt uncomfortable, like I shouldn't be there
-It touched me, and reminded me of what I'm going through in my own life
-I wanted to leave
-I wanted to run away
Everyone loved the experience because they had never experienced a performance like that before, and neither did I! It effected them in many ways, but it was wonderful how open and honest they were in their feedback. It was very validating for me because there was one person who didn't comply with the lipstick in my piece, and when he expressed his thoughts and feelings, I felt better about it. The mind chatter was definitely in full force before, during, and after each viewing. So after hearing all the viewers speak, I felt acknowledged, heard and seen.
I've decided to try this out at friend's living spaces to see what happens. I think it would be powerful, scary, and fun!
Tuesday, March 9, 2010
Becoming clear and the Diego Pinon experience
It's Tuesday and I'm still processing my weekend. I really don't have the words to really clearly define the experience, all I know is, it happened and it was for a reason. I took a workshop with Diego Pinon called Butoh Ritual Mexicano. I have always wanted to take a workshop with Diego after hearing from friends who studied with him. I went in there with no expectations. (I don't want this to be a review of the workshop so go to www.diegopinon.com to find out more about Diego and Butoh Ritual). Since his work draws a lot from energy work itself, I couldn't help but know and feel that my mind, body and spirit needed this.
There were so many different exercises that created this collective with everyone in the group. Giving and receiving energy non-stop and feeling, feeling, feeling.......In a nutshell, the whole weekend was about feeling. There's no other way to put it. We were all feeling things moment to moment and moving and dancing from that feeling inside all of us. If you can't feel whatever is inside you, why perform? why share? This was the ongoing inquiry Diego presented all weekend.
During and after this workshop, I became more clear about my desires and needs of my path. It allowed me to see the power and importance of connection with others. How we're always wanting to connect with others on a deeper level, yet our culture, world, society may view this as inappropriate or there's a time and place for that. Why can't we connect all the time on these deeper, conscious levels? I know many people have fears, but that's just one of the so-called "reasons". I decided for myself that I not only want to connect more and more with my deeper self, but a LOT MORE with others through this work I experienced over the weekend. I want to help, support and guide others to do this in my yoga classes and dance workshops.
I also became more clear about this stage in my business. Since I will be relocating back to the east coast in a year, I decided to use the time I have in the SF Bay Area to learn from what I have to offer and enjoy it at the same time. In other words, ENJOY what I'm doing! No matter what it is, allow myself to feel it all. I have been in this paradox for quite some time, but I finally feel that I can go with it without fear and doubt, as long as I ask for support and know it's there.
There were so many different exercises that created this collective with everyone in the group. Giving and receiving energy non-stop and feeling, feeling, feeling.......In a nutshell, the whole weekend was about feeling. There's no other way to put it. We were all feeling things moment to moment and moving and dancing from that feeling inside all of us. If you can't feel whatever is inside you, why perform? why share? This was the ongoing inquiry Diego presented all weekend.
During and after this workshop, I became more clear about my desires and needs of my path. It allowed me to see the power and importance of connection with others. How we're always wanting to connect with others on a deeper level, yet our culture, world, society may view this as inappropriate or there's a time and place for that. Why can't we connect all the time on these deeper, conscious levels? I know many people have fears, but that's just one of the so-called "reasons". I decided for myself that I not only want to connect more and more with my deeper self, but a LOT MORE with others through this work I experienced over the weekend. I want to help, support and guide others to do this in my yoga classes and dance workshops.
I also became more clear about this stage in my business. Since I will be relocating back to the east coast in a year, I decided to use the time I have in the SF Bay Area to learn from what I have to offer and enjoy it at the same time. In other words, ENJOY what I'm doing! No matter what it is, allow myself to feel it all. I have been in this paradox for quite some time, but I finally feel that I can go with it without fear and doubt, as long as I ask for support and know it's there.
Monday, January 11, 2010
weekend of play
it was a full weekend, but of wonderful things. i performed friday and saturday night; saw avatar; taught yoga; took a butoh workshop; went food shopping and made dinner with my hubby.
performing was fun, surprising and exhilarating! i performed to yma sumac, an amazing peruvian singer of the 50s and 60s who can sing in 4 octaves (sorry, mariah but she outdoes ya!). the name of my piece was "snake goddess" in which i did become a snake goddess. i not only had the white, butoh make up on, but something really broke out inside of me. i love it when my playful self comes out, along with my sensual, sexual self. what's even better is that it's so meshed and integrated together. that's what made it so fun!
i'm not going to go into everything i did but i have to share about the workshop for my own needs and for memory. we did this exercise which i absolutely adore. one person represents seaweed and the other represents the current. the seaweed keeps their feet grounded and eyes closed, while the current intentionally touches a part of the seaweed's body. then the seaweed reacts to it. as we really progressed into the exercise, the teacher had us add sound, instead of touching then words or text. the seaweed could now move about, reacting to the stimulus. when i was the seaweed, my current gave me the following words i remember so far:
red, sodium hydroxide
i wish i could remember the others but the images that came up were of hardness, coldness, like branches of a tree in the middle of the artic, but the color red. no leaves or life on this tree because of the cold. yet, my body was there in that space. i can picture it now in the middle of the arctic ocean, emerging as if it wants to escape, yearns for rescue and refuge. a lot of feelings/emotions come up around that image. wanting to move forward but there's fear. fear of what? the unknown? beauty can emerge from the darkness.
i'm going to end there....
performing was fun, surprising and exhilarating! i performed to yma sumac, an amazing peruvian singer of the 50s and 60s who can sing in 4 octaves (sorry, mariah but she outdoes ya!). the name of my piece was "snake goddess" in which i did become a snake goddess. i not only had the white, butoh make up on, but something really broke out inside of me. i love it when my playful self comes out, along with my sensual, sexual self. what's even better is that it's so meshed and integrated together. that's what made it so fun!
i'm not going to go into everything i did but i have to share about the workshop for my own needs and for memory. we did this exercise which i absolutely adore. one person represents seaweed and the other represents the current. the seaweed keeps their feet grounded and eyes closed, while the current intentionally touches a part of the seaweed's body. then the seaweed reacts to it. as we really progressed into the exercise, the teacher had us add sound, instead of touching then words or text. the seaweed could now move about, reacting to the stimulus. when i was the seaweed, my current gave me the following words i remember so far:
red, sodium hydroxide
i wish i could remember the others but the images that came up were of hardness, coldness, like branches of a tree in the middle of the artic, but the color red. no leaves or life on this tree because of the cold. yet, my body was there in that space. i can picture it now in the middle of the arctic ocean, emerging as if it wants to escape, yearns for rescue and refuge. a lot of feelings/emotions come up around that image. wanting to move forward but there's fear. fear of what? the unknown? beauty can emerge from the darkness.
i'm going to end there....
Monday, January 4, 2010
Butoh Workshops this weekend
I'll be attending Sunday's workshop. Totally psyched!
Workshop #1
Syzygy Butoh Workshop
Taught by Nathan Montgomery
Saturday, Jan 9, 2010
2:00-5:00 pm
Studio 210, 3435 Cesar Chavez (@Valencia)
San Francisco
$35
In this workshop we will focus on recovering and cultivating physical dignity in the body and expression. Syzygy Butoh proposes a dance training in which we develop energetic presence in order to liberate our impulses and learn to work with all our energetic qualities. We start by exploring the empty body, or corpse body. From there we move into progressive explorations of standing, walking, running, twisting and jumping. By focusing on these simple physical actions we can recover basic energetic principles of presence in the dance. We then move into improvisational explorations that challenge us to reach beyond our normal movement patterns and explore our connection to multiple dimensions of body, space, time and content. For example, we may explore what the quality of stone has to teach us in dance, or the quality of paper, flower, wind, water, etc. Come with a beginners mind. No previous dance training necessary.
Nathan teaches and performs throughout the United States. He has studied Butoh for over ten years with Diego Pinon, as well as spent time in Japan with the Ohnos. He works in collaboration with such groups as Human Nature in Arizona and the CarpetBag Brigade of San Francisco. He co-created TinHouse Experimental Dance Theatre in Boulder, CO, and continues to base his productions there . In classic proscenium, on mountaintops, or in the town junkyard Syzygy performs in diverse venues. and settings. For Nathan, while the work is originally connected to the seed of Japanese Butoh, Syzygy grows as an American Butoh.
Workshop #2
The Poetic Body
Butoh: connection, spirit and form
Taught by Jennifer Hicks
Sunday Jan 10, 2010
12:00-3:00 pm
Studio 210, 3435 Cesar Chavez (@ Valencia)
San Francisco
$35
The Poetic Body is a movement laboratory for those interested in traveling deep into movement consciousness in the context of dance/theatre. Topics of exploration toward choreography may include personal memory, embodying imagery, awareness training, translating poetry to movement, puppetry techniques for the body, meditation, physical stamina training and choreography/designing space. Splicing metaphors and specificity of form, we become the worlds and carry its atmospheres. Exercises range from slow internal focus to chaos. The physical and energetic body transforms through birth, influence and letting go, revealing a new relationship to imagery, the audience, and body/mind. Combining movement imagery with space, shape, time, gesture, relationship and kinesthetic delight. Spirit, space, atmosphere, partner exercises meet though form.
Ms Hicks believes form must go hand in hand with spirit for the theater, not one chancing the other. We will explore pure kinesthetic joy of moving and finding connection to space, self, others and spirit as well as finding a repeatable form. We will work with form/technique letting spirit erupt from inside. We dance from metaphors and experience, colliding worlds open to a river of thoughts and feelings. We move from earth, from emptiness, from strength and from turmoil. From specificity, we create, through spirit we dance. Students will work as a group, solo and in partners.
Jennifer is of the 3rd wave of butoh artists which began dancing in the United States in the late 1980's/early 1990's. She has studied with many Japanese Butoh Masters, but her main mentor is Katsura Kan. She has also been influenced greatly by her study with Maureen Fleming and early training in butoh with artists such as the Tamanos at the San Francisco Butoh Festivals. Her other influences include modern dance, Body Mind Centering, Yoga, The Viewpoints, Shintaido and Trancedance. These aspects are taught in unique combination creating an ongoing investigation into how one is to take Butoh, as a viable performance technique, into the next century. Let's talk, dance, and share ideas.
Basic class structure: brief meditation - warm-ups to unify the group, stretch and train the body/mind - dynamic group, partner or solo exercises designed to build spirit, energy and focus - work with butoh kata or forms - combine into dance/set in space and time - closing.
Once again, to sign up for these classes, or for further info on the performances, please contact:
Bob Webb
bobwebb20@hotmail.com
415-821-7124
Workshop #1
Syzygy Butoh Workshop
Taught by Nathan Montgomery
Saturday, Jan 9, 2010
2:00-5:00 pm
Studio 210, 3435 Cesar Chavez (@Valencia)
San Francisco
$35
In this workshop we will focus on recovering and cultivating physical dignity in the body and expression. Syzygy Butoh proposes a dance training in which we develop energetic presence in order to liberate our impulses and learn to work with all our energetic qualities. We start by exploring the empty body, or corpse body. From there we move into progressive explorations of standing, walking, running, twisting and jumping. By focusing on these simple physical actions we can recover basic energetic principles of presence in the dance. We then move into improvisational explorations that challenge us to reach beyond our normal movement patterns and explore our connection to multiple dimensions of body, space, time and content. For example, we may explore what the quality of stone has to teach us in dance, or the quality of paper, flower, wind, water, etc. Come with a beginners mind. No previous dance training necessary.
Nathan teaches and performs throughout the United States. He has studied Butoh for over ten years with Diego Pinon, as well as spent time in Japan with the Ohnos. He works in collaboration with such groups as Human Nature in Arizona and the CarpetBag Brigade of San Francisco. He co-created TinHouse Experimental Dance Theatre in Boulder, CO, and continues to base his productions there . In classic proscenium, on mountaintops, or in the town junkyard Syzygy performs in diverse venues. and settings. For Nathan, while the work is originally connected to the seed of Japanese Butoh, Syzygy grows as an American Butoh.
Workshop #2
The Poetic Body
Butoh: connection, spirit and form
Taught by Jennifer Hicks
Sunday Jan 10, 2010
12:00-3:00 pm
Studio 210, 3435 Cesar Chavez (@ Valencia)
San Francisco
$35
The Poetic Body is a movement laboratory for those interested in traveling deep into movement consciousness in the context of dance/theatre. Topics of exploration toward choreography may include personal memory, embodying imagery, awareness training, translating poetry to movement, puppetry techniques for the body, meditation, physical stamina training and choreography/designing space. Splicing metaphors and specificity of form, we become the worlds and carry its atmospheres. Exercises range from slow internal focus to chaos. The physical and energetic body transforms through birth, influence and letting go, revealing a new relationship to imagery, the audience, and body/mind. Combining movement imagery with space, shape, time, gesture, relationship and kinesthetic delight. Spirit, space, atmosphere, partner exercises meet though form.
Ms Hicks believes form must go hand in hand with spirit for the theater, not one chancing the other. We will explore pure kinesthetic joy of moving and finding connection to space, self, others and spirit as well as finding a repeatable form. We will work with form/technique letting spirit erupt from inside. We dance from metaphors and experience, colliding worlds open to a river of thoughts and feelings. We move from earth, from emptiness, from strength and from turmoil. From specificity, we create, through spirit we dance. Students will work as a group, solo and in partners.
Jennifer is of the 3rd wave of butoh artists which began dancing in the United States in the late 1980's/early 1990's. She has studied with many Japanese Butoh Masters, but her main mentor is Katsura Kan. She has also been influenced greatly by her study with Maureen Fleming and early training in butoh with artists such as the Tamanos at the San Francisco Butoh Festivals. Her other influences include modern dance, Body Mind Centering, Yoga, The Viewpoints, Shintaido and Trancedance. These aspects are taught in unique combination creating an ongoing investigation into how one is to take Butoh, as a viable performance technique, into the next century. Let's talk, dance, and share ideas.
Basic class structure: brief meditation - warm-ups to unify the group, stretch and train the body/mind - dynamic group, partner or solo exercises designed to build spirit, energy and focus - work with butoh kata or forms - combine into dance/set in space and time - closing.
Once again, to sign up for these classes, or for further info on the performances, please contact:
Bob Webb
bobwebb20@hotmail.com
415-821-7124
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