A midweek rendezvous, to consider how we move and how we're moved by what we do.

Saturday, November 12, 2011

Half-day Movement and Dance Discovery Workshop

Learn to use the Basic Tools for Effective Movement.

Awaken Potential and Bust Discouraging Myths.


Orlando, Florida
December 10th
11:00 - 3:00



John Parnell Dance Studio
1949 Sand Lake Road, Orlando
cost: $80
information and reservations: (407) 375-0198


The Movement and Dance Discovery workshop is a warm and fun first step into the world of contemporary dance. More than that, it's for those who dream of moving with ease but only find themselves struggling and getting more stuck.

Let's face it, most coaches and instructors tell us what to do, but rarely how that 'doing' fundamentally happens. If you can pull things off, we say you've got a natural talent. If you can't... (Well, I'm sure you're cut out for something else.)

But, what happens when you try different things and still can't find your niche? What happens when an activity holds a special place in your heart and, yet, you still scramble and flail to no avail?

Talent can be a crushing word when you think you don't have any. Whether it's through genetics, karma, the planets or God, we just assume that some people are gifted and others, not. But, is this really true? Do we really know our own potential?

Look around at children. Watch how they dart, spring and roll without strain. Watch how toddlers stand still for long periods, no shifting or shuffling in sight. We forget that we were once like that. We, too, had an uncanny knack for living in our bodies.

Yes, we need to learn techniques -- the gestures for weight-machines, stretching, and bowling and tennis swings -- but those efforts won't go far if we don't reconnect with our body's innate intelligence, first.

I've had a long and varied career as a performer. And, I love to teach what I've learned over the years -- especially to adult beginners. I encourage them because I started dance late (and with no visible signs of talent) and know, through experience, that great changes can happen at any age. You don't have to start dance classes young to become a good artist. Nor, do you have to stop dancing at thirty because you're used up.

I used to wear leg-warmers; I dreamt of doing the splits. I had seen Flashdance and Fame and bought into all the ol' dance myths. Among my ideas of how dancing should be, there were words like discipline, control, sacrifice and mastering. But, years of arduous work finally proved those concepts to be extremely limiting and, even, physically dangerous.

In order to continue dancing, I was forced to reconsider movement in general. And, I came to realize that rich, effective movement needs what children give it instinctively and what most adults have left behind: deep intention, a sense of play and a big craving for the mysterious.

That's how we approach dance in my workshops. In terms of body work -- alignment, coordination, flexibility and support -- that's what brings about seriously good results. Good results and delight. The delight of letting go and, yet, feeling everything come together.

P.S. The doubtful and seemingly uncoordinated are welcome.
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Daniel Bodiford has performed professionally for over 25 years in more than 30 countries. In venues such as the Moulin Rouge, the Folies-Bergère, the Barbican Centre, l'Opéra de Paris, Johannesburg Civic Theatre, Shrine Auditorium, Hué Imperial Palace...

Wednesday, April 6, 2011

Stray

Do you remember the last time you picked up a cat? As you cup a cat's stomach and lift him up, his body just hangs in your hand. His legs dangle down, ruminating over the ground.

Cats rarely clutch to new situations. They're hard to convert or rally to your side. And, anyway, once they come and all the rallying's done, they'll never get quite as giddy as you think they ought to get.

Cat's are sleek and slick.

Sure, they may rub up against you and purr, for a while. But, they might just back off or continue on their way. Cats are all about choice. They step solidly from one option to the next. And, because of this, they pass through the day gliding like shadows, shifting furtive as shade.

Watch a cat roaming about your house or neighborhood. Watch him sprint like delicate lightning or twist, as he falls, to land on his feet. For that matter, watch him sitting there quietly, his four feet tucked underneath...

How can so much force come from something so loose? What kind of tension allows both flexibility and support?

Focused and open, strong and soft, here and elsewhere, social and not... the cat seems to arch his back and bridge the difficultly reconcilable.

Lots of dance students I see only connect tight, sore muscles to stiff, bandaged knees. And, though they slam into their limitations, again and again, what they've heard about dance says to never give in. In movies and on TV, the world of dance is largely lopsided.

Passion, determination, sacrifice for fame... fierce competition and 'No pain, no gain'... triple-threats, sweat, submission and discipline... a corps being honed and led into perfection...

Are we talking about dancers or an elite military strike force in training?

I got off lucky. I've had a diverse career, starting out in Florida, in a theme park parade, and ending up in France, in a modern ballet. In between, there was jazz, folk dance, musicals, cabaret and opera.

But, there were periods of great frustration and conflict, too. Times when nothing that moved me moved from within. Times when I tried and I tried, only to feel knotted and tied.

I was brought to reconsider my approach to dance.

Our consumer-oriented society values enthusiasm and bright, chipper smiles. And, as markets open up and competitors grow, we're pushed to let our deep caring show and show, no matter how crisp it becomes.

Distant just doesn't sell. It's got a bad name. It has been put in the lot with haughty, cold, indifferent and lame.

But, we need a certain distance. It's the first step towards autonomy. And, afterwards, it lets us stay healthy and free, even following teachers or programs, expectations or dreams. And, though it's hard to sell contemplation, patience and risk in a market full of contests, high-kicks and splits, teaching distance is a major way to help inspiring artists.

Dance needs incertitude and questioning. Dance needs the intrigue that gets us to stray until we stumble and tumble upon something innate: our body's natural knack for choosing the right way to move.

Dance also needs to be reminded of a basic truth: The indirect is as pertinent as the direct, and artistry comes as we find how they connect.