Half of us are one end of the room, the other half at the other end. One comes forward to dance our anger, then her half come forward to do the same move, to back her up. I lead, once: in sumo stance, I am doing head-level punches, eight forward, four to each side. It is Wonderful, haka-ing at each other like this: there is no sense of threat for me, just the huge energy.
Later, we are in a circle. Again, one comes in to dance her anger or fear, and I do, twice. My fear is a relaxed move, quiet, lithe, eyes turned upwards, with some desperation, some resignation and expectation of nothing, some misery. -This flavour of fear: join in if you feel with it. Watch out for becoming disconnected from your feelings. Oh, Sue, you have understood so beautifully.
At the start we are in a circle, and we show how we are in movement. My mind is-; my body is-; my heart is-. It can be difficult to differentiate promptings of the body from those of the heart, the physical response always seems to be an emotional response, to the intellect- and there are non-rational, simply physical responses.
You can plan, before, if you want to. You can even do as you plan, that is alright, it is not always perfect: or, you can move in the moment. I moved in the moment, spontaneously without thought or planning, and surprised myself. Others apologised for standing up rather than doing a motion kneeling or sitting, and I moved around the whole circle. Yes, there is a difference: my mind is inquisitive, eager to experience and to see, playful; my body is relaxed, stretches, loosens; my heart is open and responsive. The conscious I sees that, from my own spontaneous movements: and the memory of the movement is more precise than the words used to classify it.
Later. In the circle. I go into the centre to dance my anger. Sumo stance again, karate moves are dance-like and can be brought into dancing. In sumo stance, I am tense. My fists are up, defensively, and I turn, to face each person. “Give her a moment to find the movement.” I feel more and more threatened, then I am on the floor, either Salaaming or banging my head on it, then curled up, then writhing. Rage and hurt become conscious, real, present for me in the moment, in the movement: I am they.
In the end, we move in a performance, which is quite unplanned. We may emerge from the audience to the four instruments at the end of the room, or two seats at the side where one may speak, or the floor space. Here I speak without thought, spontaneously: I evoke titters from the audience, always a pleasing response. I love to perform to an audience, I need to find spaces where I may develop and use such talents. I participate in all four spaces: chairs, audience, instruments and floor, and on the floor dance alone or with others, in harmony.
All this evokes the judgment of another: “Beautiful soul”. Mmm. I mentioned that before, didn’t I? I breathe it in.