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T: THOUGHTS

I: IMAGE

M: MEMORY

E: EMOTION

S: SENSATIONS

I: IMPULSE

Embodied practice

Embodied practice emphasises the interplay between the body and mind, which in my understanding emphasises the interplay between the body and the mind to create a 1+1 greater than 2 effect. In dance, the body is the superficial tissues of the human body, the muscles, joints, organs and so on, and then the mind, which is simply the thoughts, emotions, perceptions, strength and so on, but this training emphasises the body as a form of cognition.

However, this training emphasises the body as a cognitive medium, where information is received through direct sensory input and physical movement, rather than heard, spoken, symbolised and so on.

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1. In complex environments that require movements of varying difficulty -

2. it is active when a person is not focused on the external world and when the brain is at a state of wakeful rest, e.g. during daydreaming and wandering. It can also be active during detailed thought processes associated with the performance of external tasks. Other times when it is active include when individuals are thinking about others, thinking about themselves, remembering the past, and planning for the future. Creates a coherent ‘internal narrative’ control for the construction of self-awareness. 4.

3. Autobiographical information: a collection of memories of events and facts about oneself.

- Self-reference: characteristics and descriptions that refer to oneself. 5.

4. Self-emotions: reflecting on one's own emotional states.

5. theory of mind: thinking about what others think and what they may or may not know

6. other people's emotions: understanding others' emotions and empathising with their feelings

7. moral reasoning: determining just and unjust consequences of behaviour

8. social appraisal: attitudinal judgements of good and bad social concepts

9. social categories: reflecting important social characteristics and status of a group 11. social isolation: feeling a lack of socialisation

10. social isolation: perceived lack of social interaction

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During direct experience, several areas of the brain become more active, including the insula and somatosensory areas, all of which are involved in perceiving our current bodily sensations, both internal sensations and sensations of our surroundings. Thus, when this direct experience network is activated, you don't concentrate on thinking about the past or the future, other people or yourself - or much at all. Instead, you experience direct sensory information in real time. Sitting on a dock, your attention is focused on the warmth of the sun on your skin, the cool breeze in your hair, and the cold beer in your hand.

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The purpose of the embodied practice course, I think, is mainly in two aspects: one is the external physical reaction, that is, to let people focus on different joints, muscles, organs and so on, through meditation, so that they can find their own body as soon as possible, that is, they can perceive their own physical state, which includes their emotions, their body's state, their muscle's state, which includes the state of each joint, muscle, organ and so on, and the other is the state of each joint, muscle, organ and so on. Tom advocates an active warm up rather than a passive warm up, that is to say, he advocates stretching and movement based on dynamics, similar to yoga, rather than stretching one's muscles in a static way.

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- While one lives one risks dying.

- One needs to find your own poetry in life

- The body is like the trunk of a tree, your centre shaft is like the trunk of a big tree and the branches of the tree are like your limbs You are unique

- Our bodies and brains need some time to adapt to the environment and blend in

-The most important mentors in our lives are parents - teachers - community religion and culture - and learning. This series continues throughout our lives.

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Warming up: for me it's useful because what's missing for me is the relaxation, not only of the joints but also of the breathing and the emotions, and then when I'm physically breathing and relaxing it's a challenge to integrate them together, because I think when you're dancing your body feels honest but with it your heart and your emotions. Because I think that when you dance, your body's sensations are very honest, but along with them, your heart and emotions fluctuate, so it's a challenge to incorporate this unique sense of relaxation into your dance.

The most important thing for me to understand about myself is the shift in energy, the breath, letting go of the baggage, and breaking the circle of protection, breaking the circle of protection is a very important thing, because it doesn't just mean that you're in denial, it also means that you don't trust your own body, so it's very important to break the circle of comfort, not to judge your own body, and to be honest with your body and to show it, and to express it, and to work with it, because it's also a failure, right? Being willing to fail is not the same as being negative, it's something that makes you aware of your own shortcomings and allows you to adapt to them, in other words, to improve, to enhance and to innovate on your own.

Breathing: it seems to be a very simple thing, but it's very difficult, when you add body movement to breathing, you realise that breathing naturally is not an easy thing, and in rakesh's class, his restrictive breathing, where the exhalation and inhalation is through the nose, I think it's a kind of restriction, but I think it's not a good thing.

On the plus side, it allows us to control our breathing so that it's as calm as possible rather than as rapid as possible, but in Kenny's class I found that it's very easy to hold your breath when you're exercising, especially with fast-paced music, and your breathing can get out of control, which can lead to a rapid heart rate, but when you consciously incorporate your breathing into your dance, you'll find that it can help you to move, and also that when you're tired and at your physical limitations, you'll find that it's not easy to breathe naturally, and you'll find that it's not easy to breathe when you're tired. When you're tired and in a state of physical exhaustion, it's very difficult to find a peaceful way to breathe, which can lead to breath-holding.

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There were a few things that confused me about the Dickson rehearsal, which was different from the rehearsal in China, perhaps because it was the first western rehearsal I had been exposed to in the UK, so I was a little bit uncomfortable.

Firstly, the communication between the choreographer and the actors, probably because of the language, so I don't have much contact with the choreographer, so I don't know much about the choreographer's own ideas.

The second point is about the standard of movement required by the choreographer during the rehearsal. Of course, Dickson doesn't have a very strong standard of movement for his own work, but in reality, we can feel that there are still discrepancies. The second point is about the choreographer's framework for some of the sequences, such as formation, rhythm, orientation and so on, and this may be due to language, which leads to a feeling of frustration about the effect that he wants to achieve. I felt frustrated.

But to sum up, I found that in fact, the face of different personalities of choreographers, artists, these are the things we have to face after graduation, because in life every artist is a person with a different personality and a different way of communicating, so for me it is also a kind of training, so that I can contact a lot of different people in order to find out their own problems at the same time to adapt.

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MOKITA is a different kind of work for me, because when I first came into contact with this work, I found that I didn't really understand it, which led me to be very unclear about the movements I was given, whether it was from the details of the movements, the music, or the co-ordination with my companions, all of which were so strange. Gradually, as I was groping with the piece, I realised that the piece was like the tentacles of a small octopus, with countless streams of thoughts flowing into my heart, in short, I was constantly asking myself questions. Until the following performances, I realised that my expression of the movement was different for each performance, because what was going on in my heart at that moment was different, which led to the different feelings that my body displayed.

Rehearsal is the most profound feeling is compared to the domestic foreign .

rehearsal style and our differences are still very big!

1. the authority of the choreographer: abroad, their rehearsal style is more democratic, because they do not require high standardisation of movement, it seems that they do not like you to give movement directly to the actor directly, the actor also seems to be unable to accept the uniformity of the movement

2. Actor's view on movement: In my opinion, I think the good thing is that the actor can add personal elements to the movement taught by the choreographer, that is, his own understanding of the movement and thus show it, but I think the shortcoming is that the actor is easy to attach his own wrong understanding to the movement of course, stylistic is important, but if it is a blind change that is a kind of misperception. I think we should add our own understanding of the movement vocabulary on top of maintaining the original stylistic nature of the movement.

3. Rehearsal efficiency: If we single out the students in our class, it seems that some of them do not have a strong grasp of music, of course, our class has many students with different undergraduate professional backgrounds, so generally speaking, including Chinese people, many people still have a certain lack of sensitivity to music, including myself. I don't know if it's because my classmates don't have a lot of rehearsal experience or what, but it seems that some of them don't have a good memory for rehearsal movements.

4. Spatial Awareness: From this week's observation, it seems that some of us have a poorer sense of the group dance formation, the distance between us and the people next to us, and our sense of direction.

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‘The Dance of Awareness - The Form of the Wild Goose

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‘The Dance of Awareness - The Form of the Wild Goose

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This is a classical Chinese dance from my undergraduate studies with my tutor, and I would like to bring this dance into the classroom for everyone to understand.

Wushu is a ‘national art’, which began in the living environment and daily life of the ancient ancestors, and gradually formed with the development of the Chinese civilisation, including training methods, practical methods and combat methods of practical disciplines. Wushu is widely used among all ethnic groups and different social strata to perform the functions of witchcraft, rituals and sacrifices, to protect life, to defend the family and the country, and to cultivate one's moral character and education.Through the macro-understanding of the wushu profession, the group firstly identified several key points to learn from wushu: 1. Not limited to learning a specific style of wushu routine or a specific type of boxing, but to practice different styles of wushu boxing and rehearsal forms. 2. Not only focusing on the learning of the external movement forms, but also focusing on digging out the intrinsic training methods of different wushu schools. 3. Instead of limiting the training to a certain point or a certain phrase, we should systematically learn the methodology of professional training of wushu from the overall macro point of view, so as to purposefully extract the training elements and national traditional cultural connotations behind which are valuable for the development and training of Chinese dance form.

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The introduction of the Great Dance adopts the meaning of ‘Bird Shen’ as the theoretical guiding principle for the exploration of this topic. The image of wild goose, combined with the free and romantic artistic image of wild goose, serves as the basis for the creation of the teaching materials for this programme.

As the basis for the creation of the teaching materials for the development of the basic training of the dance profession, the theory of this project is based on the image of a wild goose.

The goose is also known as the wild goose. The goose is also known as the wild goose. It is the representative of respect, honour and noble etiquette. The nature of its ancient elegance, the wind travelling, since ancient times cruising

It has been travelling since ancient times among gentlemen and scholars, poems and songs, and ink and paintings. Gentlemen and gentlemen, cultivate fitness and mind, cultivate governance, cloth form, waiting for gas,

Exchange with God. It is the solution.

Soo? Classical dance from the heart to marvel at the ancient sages noble wisdom! So far, the subject of the creation of teaching materials name is determined as: ‘Awareness Dance Guide - geese shape’. Modern science distinguishes between different disciplines and theoretical knowledge, and carries out independent and specialised research.

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Time: 20 minutes to start watching

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"Mindful Dance Guidance: Yan Xing" Method,Scholars Lecture at Beijing Dance Academy北京舞蹈学院306青年学者讲座记实

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1. rakesh breathing training methods are almost all about relaxing the body through meditation and sensing the state of your body on that day, emotions, muscles, stress, etc. 2.

2. the new point is that the difference between inhalation and exhalation is that rakesh says that the inhalation of the breath is to let one's centre of gravity drop down and the exhalation is to feel that the container inside the body is emptied, and that it is the same as when one breathes out.

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MARTIAL

Personally, I feel that compared to Chinese martial arts, Indian martial arts are more of a ritualistic martial art, including the videos and documentaries that our teacher showed us, all reflecting their country's understanding of religion. Secondly, there is the animal stream, and what they know so far are elephants, snakes and so on, but this is similar to China's Praying Mantis, Snake Fist and so on.

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The most important thing for me was my breathing. Of course, Mr Rakesh had already incorporated his own breathing method and the breathing method that could help us dance into the activity because this was the first time that I could feel my nose breathing when I danced as the teacher had said, and I could also feel my body's reaction and change after dancing, unlike before when I danced and then gasped for air. I was able to control my breathing rate. Then the second point, which is also the current problem, in their own comfort zone, that is, their own strengths (fluent and coherent) how to make themselves in this to create some wonderful accidents, which is currently I have not solved.

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IMPRO

Three circles, the circle of comfort, the circle of learning and the circle of danger.

- The first level is breathing, how to use breathing to match our movements with our breathing.

- The second level is to find your improvisational limits, that is to say, to find your 100 per cent, and at the same time, to be able to go down from 100 per cent to 100 per cent, that is to say, to have precise control over your improvisational state.

- The third level is to associate your experiences, emotions, muscle memory, feelings of the day and so on, and to express these thoughts through your body for 25 minutes.

In the previous layer, there was a fourth layer: how to create a sense of surprise during movement and dance, that is, to give the audience a sense of surprise. Of course, this layer of improvisation also has an understanding of one's own body, and in this part of the rakesh, we will go through the movement of the single joints (not the joints, muscles and skins that are commonly used by oneself). This is also a challenge for the brain, but the advantage is that it allows us to discover our body's mobility and its characteristics, its weaknesses and its strengths, without realising it.

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1. Failure in life

2. Failure in interviews

3. Is stepping out of your comfort zone a failure?

4. whether relaxation is also a failure to let one's muscles loose

5. is overthinking a failure?

6. confidence, courage, experimentation, and perhaps failure as a first step.

7. whether failure is a new beginning

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Accept failure - face failure - change failure.

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Accept failure - face failure - change failure.

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This time, in the first unit, what made me think most is the phenomenon of ‘failure’. Not only in dance, but also in real life, at work, with others, failure seems to be a common thing

1. Failure in life

In life, I think failure often has a profound educational significance. Whether it is a minor setback or a major failure, it is an opportunity to remind me to revisit my goals and strategies. It forces me to think outside of my comfortable routines and expand my ability to adapt.

Among dances, failures in the art of dance may manifest as bottlenecks in technique, performance errors, or even creative exhaustion. But these failures often propel dancers to find better methods of training, expression, and sources of inspiration.

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Interview failures can reveal our weaknesses, help us identify areas for improvement, and also train mental resilience. Each failure has its own specific reasons, such as lack of preparation or nervousness.

Failing an audition in dance is often a challenge for dancers to face. It may indicate a lack of technical or expressive maturity, but it also provides the dancer with the opportunity to observe others and to refine themselves. Just as I have experienced different auditions I find that I feel differently about my failures in each one. I think it is precisely because of these different feelings of failure that I can continue to move forward in the future.

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Stepping out of one's comfort zone means breaking out of existing perceptions and behavioural patterns and accepting risks and unknown challenges. Allowing the body to fail is, I think, a way to have a dialogue with inner perception.

In dance, stepping out of one's comfort zone might be trying a new style of dance or experimenting with a different way of moving the body. As I felt down in rakesh and kenny's class is that as I try out different dance styles, body textures, and movement variations I find my body and inner thoughts changing, of course in the moment I may be uncomfortable and feel as if my body is not my own, but as I self-digest I realise that this process of physical ‘discomfort’ or “failure” in this process is actually the path to progress. Letting go of over-control of the body and allowing movement to be more fluid and free can instead inspire more creativity.

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4. Looseness and Relaxation: Muscle ‘Failure’

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4. Looseness and Relaxation: Muscle ‘Failure’

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Relaxation may be seen as a state of loss of control, but it is actually a necessary step to release stress and build up energy. Moderate relaxation is not only a mental break, but also a physical recovery. As it were, I found that the curriculum for Unit 1 was set up as if it were based on such an intensity, allowing students to enter class freshly at a more relaxed class intensity, gradually working their way up the scale, followed by a slow decrease.

In dance, overly tense muscles can impede the natural flow of movement. Dancers need to learn relaxation techniques (e.g. through breathing) to make the movement more expressive. The ‘failure’ of relaxation is actually a way to rebuild strength and control. So when I was improvising in class I realised that the reason why rakesh had us improvise for different lengths of time, and why he wanted us to tape our mouths shut, seemed to be that he wanted us to slowly regulate ourselves physically and emotionally through a process of failure.

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Overthinking can lead to delays in action or loss of intuition. I believe that action and creativity often start in a state of ‘imperfection’. The same is true in life, if one keeps thinking about whether or not to complete something or try it, this seems to be a failure of overthinking, and it is only when you take the first step that you realise that sometimes direct action seems to be the way to go.

In choreography or performance, the obsession with ‘perfection’ can lead to stiffness or lack of expression. Dancers need to rely on the body's natural reactions rather than relying too much on rational analysis. So when I am improvising I find that I tend to overthink, I think about my movements, my emotions, my body, and when these collide, I become hesitant and timid.

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Failure is a natural part of courage and trying. No matter what the outcome, the courage to take the first step deserves recognition in itself, and the experience gained from failure is the cornerstone of the next success.

In dance, it takes a great deal of courage for dancers to try bold movements, expressions and interactions on stage. Even if one fails in rehearsals or performances, what is really important is to keep the confidence and keep trying and perfecting one's expression. So when I solo in MOKITA, I think about whether what I want to express is what my body expresses or not, because I often ask myself what kind of state you want to express, but when you think about it for a long time, you'll realise that experimentation is perhaps the most direct way, to try and feel and experience with your own body.

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Failure should not be seen as an end, but as a new beginning for the next attempt. Each failure brings new perspectives and opportunities for growth.

In relation to dance: a dancer's failure may be a loss in a competition or an unfinished dance piece, but it often becomes the starting point for future breakthroughs and innovations. Many great works have been born from failed attempts.

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In traditional dance, ‘perfection’ is often seen as the goal - precise movement, seamless choreography, and audience recognition of the dancer's fluidity. However, as the art of dance has evolved, the ‘aesthetics of failure’ has become a prevalent artistic concept. It emphasises the expression of a unique artistic language through failure, imperfection and the unexpected, an idea that is closely related to the authenticity and complexity of the human experience.

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Dispelling the myth of perfection: The Aesthetics of Failure challenges the artistic standard of ‘perfection’ and seeks to reveal a more authentic and human side. In dance, physical limitations, incongruities, interruptions in movement, and even accidental mistakes can become part of the expression.

Authenticity and Vulnerability: Failure is often a window to emotional expression. It demonstrates the vulnerability and struggle of the dancer, allowing the audience to empathise more deeply. This aesthetic is not about pursuing failure per se, but about using failure to reveal deeper inner strengths and emotions. This is also the inner vulnerability that I want to show in MOKITA.

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The aesthetics of failure in dance sometimes deliberately emphasises the state of the body's inability to achieve the desired goal, for example:Traces of interrupted or unfinished movement.The clumsiness, shakiness or loss of balance of the movement.The dancer's sense of struggle in the face of pushing the limits of the body.Example: In some contemporary dance works, dancers may deliberately show ‘unsuccessful jumps’ or ‘shaky standing’ in order to explore the reality of the body through such imperfections.

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Clair de lune (Debussy): Alexandre Tharaud, Yoann Bourgeois - piano & dance

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(2) Fragmentation and incoherence of movement

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(2) Fragmentation and incoherence of movement

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While traditional dance seeks smooth transitions between movements, the aesthetics of failure tends to adopt ‘fragmentation’ of movements, including:Sudden stops, stutters, or collapses of movement.Repetition of the same failed movement, creating the effect of ‘trying to finish but never finishing’.Deliberate retention of the unexpected or random in the choreography.Example: Belgian choreographer Pina Bausch's dances are often characterised by a sense of fragility and instability, marked by out-of-sequence movements or seemingly meaningless repetitions.

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In dance, there is a deliberate relinquishing of complete control over the body, accepting unexpected failures or improvised movements, for example:Dancers getting back up after ‘falling down’, or transforming ‘wrong steps’ into a new dance language.Improvisation that deliberately does not avoid sudden mistakes.Example: Contemporary dance groups such as Gaga Movement focus on the free flow of the body, encouraging dancers to explore new ways of moving through ‘failed physical responses’.

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Echad Mi Yodea by Ohad Naharin performed by Batsheva - the Young Ensemble