Other kinds of things that enable
us to jump off the cliff, make the extraordinary leap, to find flow?
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Decide to enjoy it more
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Practicing pushing forward through the point of
indecision rather than retreating from that point, therefore practicing
single-mindedness and not allowing ourselves to be distracted
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General practice/rehearsal, or preparation: the dancers described that knowing in
advance that they were going to jump off the edge of the cliff dictated the
shape of their journey getting there and contributed to enabling them to take
the leap. Because of this, I think it could be important to document the
preparatory acts described in the short story Fly, such as the main character making his/her wings, in the final film. We
worked a little with the idea of wing-span in the final workshop, and
specifically the connection of the hands to the head, although there’s more to
be done on this, and on finding ways to embody the through-line from the act of
making wings to the act of using those wings.
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Similarly, practice can be very important in
overpowering the worry, fear or the anticipation of failure that the dancers
described feeling before responding
to a task rather than during or after
that task. I think this practice can include physical rehearsal, but also
ongoing practicing of a clear, positive, enabling feedback process, through
which the dancers are able to come to their own (intrinsic, authentic) understanding
of what they are doing and why.
Once again, thanks to Caroline Salem for having us in the studio at Clarence Mews, plus
Dr Kate Hefferon, Siri Steinmo, Elsa Urmston and the dancers who have given their time to the research so far:
Tim Casson, Marie Chabert, Morgan Cloud, Thomas Hands, Hamish MacPherson,
Samantha McCormick and Jess Williams.
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