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

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.

- 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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.