trespasse

https://vimeo.com/41690301

trespasse - pedro ferreira

l'instant

quittez toute voie spirituelle

restez chez vous

jetez vous tofus et votre prétention à la paix par l'alimentation, le yoga ou le tai-chi-chuan, regardez, ressentez - rendez-vous compte combien vous vous enfuyez de la réalité quotidienne

pas de recette, d'exercice, d'attitude à observer, être lucide: sentez la peine, la tristesse, la peur

c'est dieu en activité

c'est votre chance

quand vous ne prétendez plus que les choses devraient être autrement, mais que vous vous donnez à ce qui est dans l'instant, tout est possible

eric baret (2018)

(originellement un post de ce qui est à blog.com)

eu remava num lago

eu remava num lago

era uma gruta abobadada sem luz do sol

mas estava claro, havia uma luz transparente e homogénea que irradiava da pedra azul-pálida

embora não se sentisse nem uma ponta de vento, as ondas subiam, mas não tanto que isso pudesse representar qualquer perigo para o meu barco, pequeno, mas sólido

eu continuava a remar calmamente entre as ondas, mas quase nem pensava nos remos, estava todo concentrado em absorver ao máximo o silêncio que dominava o lugar, um silêncio como nunca o tinha sentido em toda a minha vida

era como um fruto que eu nunca tivesse comido mas fosse o mais suculento de todos

agora, tinha os olhos fechados e sorvia-o

mas não sem alguma perturbação

o silêncio era ainda total, mas sentia-se uma perturbação contínua; qualquer coisa ainda sustinha o ruído, mas ele estava à porta, a rebentar de vontade de entrar subitamente

rodei os olhos na direcção daquele que não estava ali, soltei um dos remos da amarração, pus-me de pé no barco que baloiçava, ameaçando o vazio com o remo

mas o silêncio persistiu e eu continuei a remar

franz kafka

singer

....continuez seulement de laisser respirer ce qui respire - de sentir le poids de votre corps - jusqu'à ce que vous ayez rejoint ce que vous habite

il n'y a que le saisissement qui livre passage à l'essentiel

cette part de moi qui n'a ni qualité, ni proprieté, ni attribut, qui échappe à toute catégorie, qui ne connait ni jugement, c'est la substance de notre vraie nature

cette puissance infiniment supérieure à l' homme et qui - mystére vertigineux - n'est agissante sur terre qu'à travers l'homme qui l'accueille ou le corps qui l'incarne, cette puissance ou mieux, cette présence ineffable et fragile, c'est l'amour qui nous fonde

chistiane singer

(n'oubliez pas les chevaux écumants du passé")

rich

an honorable human relationship - that is, one in which two people have the right to use the word "love"

is a process, delicate, violent, often terrifying to both persons involved, a process of refining the truths they can tell to each other

it is important to do this because it breaks down human self-delusion and isolation

it is important to do this because in doing so we do justice to our own complexity

it is important to do this because we can count on so few people to go that hard way with us

          

adrienne rich

just another word for tantra

Contact Improvisation proposes novel types of relational space, doing away with notions of intersubjectivity to the degree that it exists before its emergence, in the inter- corporeal ruction that precedes it. It shows bodies  being expropriated, decentered, delocalizing their centers of gravity to the periphery of their skin: a transit-place for shared gravity.  Bodies full of emptiness and pathways,  becoming pure interfaces along the lines of the chinese caligrapher’s ‘empty hand’ as described by poet Henry Michaux: animated only by the desire to not obstruct what moves through it. Bare bodies giving only that which they do not possess: the weight that binds them to the earth. Masses moving around a common cause in mutual agreement, based on reciprocal trust, not based in ideology but rather on knowledge harvested within the very potential of tact.

The ultimate know-how may be this one: by touching what is most physical, most tangible (another body) we may be giving each other the possibility to touch - together - the untouchable within impersonal life, freed of struggle and face-offs. Contact Improvisation will have created an experimental frame in which ‘two fluid bodies” work to make their dermic boundaries porous, to the point of potentially dissolving the part of selfhood within us.

Nancy Stark Smith and Steve Paxton refer to it as a ‘third entity’: a third,  either you nor me, emerges between us, in our dancing, and dances with us.

“There is a feeling of non-dualism coming up, where it isn’t me dancing with Steve, Steve dancing with me, but we are in an environment together, and we both condition that environment. (...) The response to that acitvity, that third thing, is really important too, it seems. It’s not that it’s dancing you: it’s like an equal. (Stark Smith, 1983)

This union, this peculiar osmosis we experience in moments of grace offered by Contact Improvisation, arrives with a phenomenon of our own core melting, as if it were momentarily vaporized, a cloud in  the in-between. In these brief instants, dancers are not even “subjects” enough to be in dialogue: they can only espouse the shared shapes of their common body. In doing so, CI renews possibilities regarding what we might call proto-social life, and fiercely questions all philosophies of identity and alterity. Turning the key of touch operates a radical change of plan, from intersubjectivity to intercorporeality, from the parliament of subjects to a conspiracy of bodies.

Contact Improvisation is a dance of communication through touch: a testing-ground for weight, forces and identities. Within this communication it can, for brief flashes, open into moments of communion. This is perhaps also what Paxton ‘s digraph, the two-waved symbol, unveils: a promise to suspend adversarial subjectivities. A Tao for dancing. A different way of living.

Alice Godfroy

(Steve Paxton: Drafting Interior Techniques)

instant light