Nora to Aimar

18.12.2006
FINISH AND SHIFT

Today we finish the first phase. No sadness! Things need to keep changing. It is enough. Shift, before it becomes too much of a habit. I have exhausted this place. It becomes harder and harder to drift, disorient and be surprised. The practice has emptied itself and we need to move on to another phase of development. And I am tired of this computer blogging work!
What this research has brought me: a desire to study and practice the dérive as well as read up on the Situationists. To develop techniques of disorientation and elasticity. To develop a practice of performing place, in many different ways. To test Rupture in Space with many people at once. To start practicing movements of work that produce a sound score.
My plans for the next step: we both collect a list of our own material, the different qualities, and name it. We both make a DVD with the recorded material for each other. We hand over the material in Barcelona on December22. We view each other’s material and register what seems interesting and engaging of the other’s movement. We let the practice of the past 20 days resonate, revisit the tasks and think about how what we have done could emerge into a performance score.
At our first meeting in Amsterdam we will do a long coexistence without any rules but a time frame, which will be recorded and later viewed. I trust that a structure will appear.
Goodbye!

Aimar to Nora

17.12.2006
Re: RPTRNSPC.20

Ideal quality for Sunday’s hangover! Actually my state of mind and body today is the best for this rubberbody. I actually understood further the disorganized body (or the emptying). But this quality brings continuity to the emptying, spiraling, energy feedbacks forth and back.
I am sad. It’s the last one. It’s Sunday. It’s the sunset. I am leaving Amsterdam. But I enjoyed so much doing this first part of the process!
I’ll see you in Barcelona for 20 minutes!

Nora to Aimar

17.12.2006
RPTRNSPC.20

RUBBERBODY. This one is about a lose, relaxed mind as well as body. Imagine yourself with extremely long floppy limbs and a long rubber spine. All ends of those limbs, including the head and tail, are extended and pointing/projecting into space. You fling them around in a very released way, gently directing into space. Guiding them with anatomical awareness. Remember again all the connections and relate things in different ways, but let it happen on it’s own. It shouldn’t be muscular at all but very soft, gentle and rubbery. Imagine yourself walking on a fluffy ground (a room filled with the material that’s inside a teddy bear, an uneven ground like my construction site of yesterday). Another shifting ground technique. Initiate falls in all possible ways but don’t fall. Suspend. Find elasticity. Find the curve. Disorient in space. Keep extending through the two last fingers. Find the shoulder support: feel yourself hanging from between the shoulder blades, lifted from that point. An upward lightness and a downward fall. Maybe a bit drunk. Give up all control but don’t collapse. Get as silly as you want, but register sensations.

Aimar to Nora

16.12.2006
Re: RPTRNSPC.19

That was great! Actually I start to think that I can relate much easier with Paxton’s words than Alexander. There is something in the vocabulary he uses that clicks immediately with my way of understanding. I read it and it’s immediately physical.
Why people respect so much such an action like today’s (as you see in the picture), just because there’s a camera behind? I hate this. I go out with the ball and no camera, and I get into troubles. But suddenly there’s a camera there and there’s respect and curiosity! mmmmm, makes me wonder!

Nora to Aimar

16.12.2006
FAILURES

Today I struggled with the sites. It started out like this: a beautiful sunny day. So I decided to take a drifting walk and find my location on the way. I arrived at a little house in the grassland. That seemed like a good place. Before doing my dance, I wanted to take a short rest in the sun. I had almost fallen asleep when a car came by, turned, stopped. A man with long black hair and a belt filled with munition jumped out of the car, followed by a crowd of dogs. He asked me what I was doing there. I said that I was just sitting here, not knowing much what else to say in Spanish. He looked at me with suspicion and then told me that this little house wasn’t a good place. I guess he thought I was moving in. He then told me that he lived a few meters away in another, slightly bigger house. I took notice. He went off with all the dogs, and I passed on. I could later witness the noises of some shooting activities.

In the evening I tried again. An underground parking attracted my attention. I went in, took pictures and was about to start, when suddenly, all the lights went out and the entrance door shut. I figured it was a clear sign that I was not wanted here. I fortunately could convince the guard to let me out.

I then had a place in mind that I had liked before. It was closed.

I came by a poster that indicated the day’s theme: “loka okupada” was written on it. I took a picture.

My desperation took me to a close by construction site that I had always admired. Very uneven ground and nice texture. Too dark to take a photograph, but I will document it tomorrow morning. I started a movement exploration and ended up doing the small dance with a location object (fool’s hat). Passers-by always stop at the site to discuss the past and future of this place (which house went down and which house will go up). They also did so now and must have been surprised to find me with the hat walking through the dark. I felt stared at like an animal in the zoo. The day didn’t end with the worst (I could have been taken to the psychiatric hospital).

Nora to Aimar

16.12.2006
RPTRNSPC.19

SMALL DANCE. This text is coming directly from Steve Paxton’s words. I tried to write it down as precisely as I could remember. I would like to think about the almost, the edge of movement, pre-acceleration, pre-initiation. The edge between the virtual potential of a movement/thought and an actualization of a movement/thought. How actual is the pre-initiation of a thought movement? What happens if you think it but don’t do it, or did you do it by thinking it? Does it need to be ‘done’? What means ‘to do’?

(Stand.)
Find your balance. Find your concentration. Easy breathing. Watch the small dance, the little movements around the skeleton that help you balance. Relax your coxyx. Relax your sacrum. Long inhalations. Long exhalations. Diaphragm moving down with inhalation, up with exhalation. Feel your weight on the floor. Agreeing with gravity. Organs relaxing down into the bowl of the pelvis. Bowl of the pelvis receiving the organs. Easy sternum. Easy means. Observe the small dance. Feel the dome of your skull suspending upwards. Feel the length of your spine extending through your head towards the ceiling.

Relax your shoulders. Feel the direction of your arms falling away from the spine. Without changing that direction, find the smallest stretch in that direction. Release. Can it be smaller? Where does it start? Where could it start? What is the smallest thing we can perceivce? What is the smallest stretch? The smallest fall? The edge of movement?
Relax your shoulders. Relax your arms. In the direction that your arms are hanging, without changing that direction, find the smallest stretch. Release. Feel your finger prints, beyond the fingers, pointing downwards. Feel the small dance. Adjust the your mind to the continuous changes.

Imagine but don’t do it: imagine you are taking a step with your right foot. Imagine but don’t do it: imagine you are taking a step with your right foot. With your left foot. Right, left right left, right, left…
Stand. Balance. Feel the small dance.

SLOW WALK. With the small dance in mind, go for a slow motion walk in a place that runs at speed. A busy noise place that you can rupture by being slow.
Then try another slow walk. You have to carry a big object, maybe a chair or table. You have to stay with the small dance awareness while carrying something big.

Aimar to Nora

15.12.2006
Re: RPTRNSPC.18

That was fun!

Nora to Aimar

15.12.2006
RPTRNSPC.18

ISCHIAS REACHING BACK. Try this blindfolded. It might be good to have something, or many things, to sit down on. Blindfolded, you walk backwards, reaching with your ischias, trying to find the place to sit down on. Maybe try to find a slightly different way of doing it from the usual Alexander exercises. Just to find another approach. Reach from your right ischia only, from your left ischia only. Sit down on the floor. Get up again. Orient into a backwards space from your ischias pointing. They are your new eyes.

Aimar to Nora

14.12.2006
Re: RPTRNSPC.17

Shifting ground by blocking senses, disorienting situation. Put some cotton into your ears (blocking noise). Close your eyes (blocking image). Hold your breath as long as you can. Walk in circles, moving your head. Imagining there is no thing such as flat. Hallucinate! You can do this practice many times, each time it will be more intense. Every time you need to breath again, open your eyes and orient yourself, but don’t wait too much to hold your breath again, so it’s just a physical experience of disorientation. Enjoy!

Nora to Aimar

14.12.2006
RPTRNSPC.17

SHIFTING GROUND. Create your own technique and report back to me. I will then try it out myself.

COLD DÉRIVE. While waiting for your instructions on shifting ground, I have not gone to the dance studio, as planned, but ended up on a long drift through the cold and extremely foggy night. I tended towards the football stadium. The bright flood lights dispersed in the mist looked very attractive. On the football field people were running, training, screaming and playing. I watched and got into my peripheral vision. I then started to feel the ground touching my feet and the cold creeping up. I tried to be non-judgemental about the cold: not disliking it but taking it as a sober fact. As much fact as my bones are fact to my structure. I started to relate the sober cold to the empty bone. Finding a silent sensation. Trying to endure the place of cold while observing sober sensations. I started a very slow bone walk with peripheral vision, sensing the texture of ground change under my feet. From concrete to sand. A very slow cold silent bone walk into the football field where everything happened at a noisy speed. Rupturing place with a disjunctive activity.
Returning to the town center I was informed by a digital thermometer that the temperature had dropped several degrees since my departure. I recovered my blue fingers in warm water at home.

Aimar to Nora

13.12.2006
Re: RPTRNSPC.16

I was wearing headphones, stereo music shaking from one ear to the other. I shook my head (it’s not that easy, by the way, to do it with MMT!). Then I focused on my pelvis. If before I was trying to shake my brain, now I was trying to shake my organs. And using the image of the stereo ears, but now as stereo hips. The hip socket (acetabulum) as the ear, and the head of the femur as the headphones (stereofemurheads!).
To shake is not easy, but I so love it. And the best is the walk afterwards.
I also tried to shake thinking about the silence of the bone. It helps for the MMT.
I go to sleep (and, maybe, shake a bit!).

Nora to Aimar

13.12.2006
RPTRNSPC.16

SHAKING. Again you might want to use music. But it’s not necessary. You also might want to rehearse this in the dark. But don’t dare sending me two black shots!
Start with the head. Shake it sideways, a bit like trying to shake water out of your ears. I want you to get the sensation of shaking your brain inside the skull. Make your head very lose and shake it around like a balloon of water.
When you got it, start shaking the pelvis from the coxyx in the same way, as if it were your brain. Then shake every part of your spine. Work your way to the middle, from the head down, from the pelvis up. Shake your floating ribs, shake your sternum. Shake your scapula. Do it all with MMT (minimal muscle tension). Remember this sentence of before (quote from Steve): shaking the bone into sensation. The shakes can be small, but they should be as lose as possible.
Find the back of your head, the lower brain. Shake it. Initiate turns from the back of your head, heavy weight or water in the back of your head.
Finally, from this lose spinal shake, find a, effortless krempty. Experiment with size and intensity: minimal or marking krempty, or big krempty. If you point your ischias forward so that your legs walk in front of your torso instead of under, and still you sit down in your pelvis, then your legs are free and lose for easy stomps, and the spine waves come automatically all the way up into your sternum and head.

Aimar to Nora

12.12.2006
Re: RPTRNSPC.15

Did it!

Nora to Aimar

12.12.2006
RPTRNSPC.15

FRAGMENTATION 2. In any space. From any position. Make a small fragment of a movement. If you had the intension to stand up: just take the first bit of the movement. Think of it as a journey from point A to B. Go back. Repeat AB. Reverse, repeat, reverse, repeat. ABABABAB… as much as you think is useful. Then add on the next fragment: BC. Reverse and continue. Repeat this pattern. You get ABABABABBCBCBCCDCDCDCDCDDEDEDEDEDE. The movement can be simple. Stand up, sit down, lie down, get up, take a step. You can play with different timing.
In the end add all the bits to one phrase and loop that phrase.

Aimar to Nora

11.12.2006
Re: RPTRNSPC.14

It’s been raining the whole fucking day, so I had to find a space that was covered… and… ups! I ended up at the muziektheater, while they were playing the nutcracker I was practicing fragmentation. Actually I must say that more than fragmentation I happen to practice inclusion. It’s the first time you asked me to relate everything, and I was busy understanding this physicality. Probably now I’ll be able to break it and fragment it, now that I start to get the dynamic of it (which, by the way, I so love it!).
I must say all these stuff it’s the best injury prevention workshop I have ever done! My body feels totally ready, connected, aware, flexible, available, clear and crazy!!!
I think today’s pictures are great… It was hard to choose.. I will show you the other ones later!

Nora to Aimar

11.12.2006
RPTRNSPC.14

FRAGMENTATION 1. For this work I recommend you to use music again: Deadbeat “New World Observer”. I think you have it.
Fragment connection. First find all the connections back: HE-IS-CO-SC-FI, the whole story, the spine, the aikido arms, the curve. Then start to fragment relations. Wildly recombine and rupture. It’s a mix between waving and fragmenting, jumping between connections and constantly shifting. It might start to look like an electric hip hop style, or like Charlie Chaplin. Use your feet softly rolling toe-ball-heel, or fragmenting that order. Use the HE-IS connection. Keep the blade/curve in the arms and keep the connection to the last two fingers. I think it helps to enter a very connected and powerful body. Fragment the spiral, the curve, the break step. This is stop-motion anatomy. Sorry to rupture yesterday’s spiritual approach – I think change is healthy!

Aimar to Nora

10.12.2006
Re: RPTRNSPC.13

I went for a Sunday winter walk around my beautiful neighborhood. The focus of the walk was the silence of the bone. I was floating. I felt young, yet with body experience. I love this image. I just think it, and I get immediately what I have been looking for during the last years by doing Alexander Technique. Freedom of movement. Effortless and efficiency. I understand the mechanics, and I can’t stop loving it! I have the feeling today I’m quite spiritual… (maybe hangover!), but since today’s task is so beautifully
poetic I like to say spiritual, yet very physical and conscious, aware…

Today we are not ruptured at all. I have the intuition we are totally linked today, really! I feel totally connected with you.
This image of today has been revealing for me. I think about it and it has an immediate reaction, I get a big inner space.
And I keep on sharing with people I talk to, and they all have the same reaction. It’s amazing how things can be understood so easily when the words are the right ones, in the right order.

Nora to Aimar

10.12.2006
RPTRNSPC.13

SILENCE OF THE BONE. I transmit this idea of Steve Paxton to you as directly as possible. I was reminded of that silence when being in the mountains yesterday. The mountain seems to be the bone of the landscape body.
Imagine your body as three layers of sound depth: S-M-L. Large or most noisy would be the skin: a vibration. One level deeper at medium volume are the muscles: an up and down rush. At the deepest level the bone. Silent. Empty. Imagine the hollowness of the bone. Try to move from that silent place. Try to find the silence of the bone. Move from the emptiness of the bone.
We are trying to work with sensation and the senses, feeling. Not with the sensational spectacle. Can the bone sense? Can you sense the bone? Can you sense an empty place without nerves, how do you sense that, what do you sense with?

Aimar to Nora

9.12.2006
Re: RPTRNSPC.12

Without really planning it I ended up in a corridor (actually it was raining outside so I had to find a safe place for my camera!). Anyway, it was so ideal the place, since I could bounce from wall to wall to floor very easily. If I would allow my body to be elastic (giving this quality image), I would get very easily to any position. It is a great image to use when attempting to do some breakdance floor work, since the body is totally rounded and elastic, so ready and available for anything.
I couldn’t try the spin… it was getting to wet!

Nora to Aimar

9.12.2006
RPTRNSPC.12

ELASTIC MONKEY. CURV(ATUR)E. For this quality I had different titles in mind, wasn’t sure how to name it. For sure it’s elastic, for sure it’s an animal (breakdancing maybe) and for sure it is very curved! You start standing, finding the connection from your scapula to the outer edge of the arm into the last two fingers. That whole shape you make very round, a big curve, like a wheel. To get a good feeling of it, you can roll the wheel over the wall.
Now reach that curve from the fingers downwards to the floor. Let the reach pull you up on your toes, pelvis suspended high, you fall onto your hands, or better: your two outer fingers. You will move on those two fingers and on your toes, heels reaching upwards, pelvis as suspension point high. Be hung from the pelvis. We could say that in this case the elastic point is the pelvis, though of course an elastic point is not something clearly locatable, rather always shifting position and mode.
Come into a very soft elastic monkey walk on all 4s. work with the HE-IS-FI connection. Heels always off the ground. Fingers either softly receiving the weight or pushing up with a bounce. Ischias pointing high and suspending your mass, the point through which any curve will pass. Try to observe as many curvatures as possible: the arm one, which can be directed anywhere, a spinal one from head to pelvis to feet, and many other microcurves, multidirectional. You can reach one arm between your legs through to the back like a monkey tail: that will bring you into a head or aikido roll. Under and through the other arm: that will bring you to a side roll. You can push off the floor with your hands and for a moment hang in the air, fall down again. You can come into a circular break step while pushing off and falling back down on your hands. You can push feet and hands off the floor into a little dead cat jump. You can lower down very close to the floor, like rock climbing on the horizontal plane. That can also bring you into a freeze. Or into a more flattened side roll. You can shift weight and play out the IS-HE connection, elastic break step or little mini handstand. Just keep the whole situation soft and elastic, pelvis as suspension point, heels pointing up, only the last two fingers touching the floor.
In the end you can try a backspin with this feeling of curve in your arms and through your back. Make yourself a spinning wheel.

Aimar to Nora

8.12.2006
Re: RPTRNSPC.11

That was an intense experience. Can’t really comment on that. I’ll do a further exploration tomorrow morning in my yoga session!

Nora to Aimar

8.12.2006
RPTRNSPC.11

BREATHING (IN A BOX). Today I suggest you a minimized space for a site: a box that you can stick at least your head into, or head and torso (cardboard, wood). But you can start the exploration of breath first outside the box. Whenever you feel ready, breathe inside the box, lying, standing, sitting, or on all 4s. Whatever you like. Try different positions for different types of breath. Observe the simple intimacy of you in the box with the breath and nothing else to do.
Stand. Breathe. Now visualize how your diaphragm moves downward with the inhalation, compressing the organs downward, and upward with the exhalation, decompressing the organs and making space for them. This also answers the question you once had, telling me “I breathe with my lungs and basta, I don’t know what they mean when telling me to breathe into my lower abdomen.” So maybe breathing with your center simply means to move the diaphragm down with the inbreath (opposed to other strange habits we might have). Then you can also concentrate on filling up your lungs to the very top, and expanding the kidney area with the inhalation. Now you already have quite a large breathing container.
Start with a one sided yogic breathing: close off the left nostril and breathe in through the right, close off the right nostril and breathe out through the left, in through the left, switch again, out through the right, in through the right… you know it.
Breathe again normal. If you inhale to a medium level, and from there give a sharp impulse with your diaphragm upwards to initiate a short exhalation, repeatedly, while the inhalation will simply happen on it’s own – you have another type of yogic breathing which you have probably also done before in a yoga class (also nose breathing). You can do series of 20 with short breaks of normal breathing in between.
If you exaggerate the up/down diaphragm movement and come to intense but relatively short in and out breaths, it seems to become a type of hyperventilation (also nose breathing).
Fragment in- and exhalations with different rhythms and observe what it does to your spine. If you initiate from the diaphragm, those can become very sharp fractions.
Then change to very long and relaxed in- and exhalations, effortlessly streaming the air in and out. This can work best lying down, and you can chose to use mouth breathing. When they are very long, suspend the very ends (full or empty lungs) and observe this nothingness or still point together with its silence. It’s a suspension of nothing to do and nowhere to go. Maybe this is also a type of suspended elasticity in the curvature of breath (thinking of Erin’s text).
Play around with all combinations inside and outside the box. Focus on your diaphragm and the effects in your spine. How the breathing patterns influence the timing and quality of your movements (inside the box, those might also just be movements of thought or awareness).

Nora to Aimar

8.12.2006
QUOTE
“No things are ‘together’ except in experience; and no things are, in the sense of ‘are’, except as components in experience or as immediacies of process which are occasions in self-creation.”
(Whitehead, 1967: 236)

Aimar to Nora

7.12.2006
Re: RPTRNSPC.10

I was practicing my spine waves, the three of them you suggested. Actually immediately I had to move the focus towards polyrhythm, because it was impossible to keep the three waves waving at the same time with the same
rhythm. This would require some great coordination and some practice and time… which I may focus on later. So I practiced the polyrhythmic waving, and then I used my eyes and I saw the light balls also waving horizontally to the floor, each one with a different rhythm; and I used my ear, while listening ‘makesnd-cassette’ and of course I was getting a different rhythmical input. Fantastic experience! I actually thought that maybe we could add another wave line on the floating ribs level. That’s a suggestion!
By the way, the top of the spine is the last vertebra which is called ‘atlas occipital’ which makes contact with the skull.
Then I practiced some effortless krumping, or kremptying, and yes, it is much easier. I will, from now on, approach it that way.

Nora to Aimar

7.12.2006
RPTRNSPC.10

SPINE WAVES. For this work I recommend you to use some music, the electronic minimal spacy type (Kit Clayton, Jan Jelinek, Deadbeat, Dettinger…). I realized today why I feel so attracted to the sound of water when working with the skull and spine: I think we are shifting from the bone into the fluid, into the CSF (cerebrospinal fluid). It’s the fluid of the spine and skull and has a very slow and subtle rhythm.
First find again both ends of the spine (coxyx and tip of the spine between the ears, and by the way, do you know the name of the tip of the spine?). Move both ends very subtly in circles and figure 8s. When you have entered the sensation of the free spine, you can start with the spine waves.
Stand, feet shoulder width apart. Imagine three horizontal planes: describe a circle with your coxyx in both directions (low plane), circles with the point between your shoulder blades on sternum height (mid plane) and circles with the tip of your spine (high plane).
Then describe wave forms with your spine, either initiating from the place between your ears, or from the coxyx. Those are either lateral waves or frontal waves. You can experiment with size: from very small to extremely exaggerated.
You can also try the waves against the wall or lying on the floor, back or stomach touching surface.
Now improvise with head or coxyx initiated spine waves. Take your spine on a ride through space. Imagine endlessly curving and spiralling pathways, potential journeys that you could link into or not. Become spinal-snake.

KREMPTY. If you have fully explored that easy and pleasant spinal trip, I would like to propose an effortless krump, or krempty (= emptying+krumping). Last time you said that krump was not fun and hard to do. This is why I want to shift focus away from the muscles and try a krempty from the CSF. It sure sounds like a contradiction! With zero or minimal muscle tension, keep the easiness of the spine and initiate light spinal shakes. If they come from the coxyx they can easily resonate in a chest pop from the sternum. Let your spine be bouncy, almost jumping and floating. No muscles, only bones and fluid. Engage your heel to ischia connection to come into a light and effortless stomp. Lower your pelvis for the stomp but don’t lose the lightness. Then very lightly play with stomps, wide legs, heel to ischia, ischia to heel, spinal shakes and waves from the coxyx up into the sternum and head, and finally add arm throws or elbow throws from the scapula. The arms can be very lose as in emptying. Krempty can be done with an emptied out mind, letting go of all muscle tension and will to push. Just shake your bones and ride on the fluid.

Aimar to Nora

6.12.2006
Re: RPTRNSPC.9

Today I took the practice with more freedom, and after reading the principles you wrote me, I went to take an aikido class to apply the spirals. And it was just amazing… Aikido is a fantastic practice, that gathers a lot of principles we are working on, and the spirals are basic in order to unbalance the other, and to protect yourself. The great thing of working with couples is that the potential of your spiral grows because it passes through to the other.
I am just realizing how multi-layered knowledge is. Every technique or principle adds to the other ones. So, in a way, one complements the other. And that’s fantastic!!!
I’m learning, learning, learning…. and that makes me happy!
Today’s pictures are from outside the aikido’s gym.

7.12.06
I need to write again, since I’ve been dreaming all night with spirals, and I think we’ve been spiraling in bed while sleeping (nothing sexual). It is like an obsession this spiral work, is so fantastic. Spirals are…… are everything!!! I’m in love with a
spiral!!! And spirals can be even super sexy.. that’s the best part!
OK… time to wake up!

Aimar to Nora

“We’ll be safe, as soon as everything keeps on moving.”
exhibition title from Doug Aitken

Nora to Aimar

6.12.2006
RPTRNSPC.9

SPIRAL/HELIX. Start with a tai chi spiral. Stand. With your right hand reach around the back of your head, grab your left ear and pull it towards the right side so that your head comes into a spiral. This is the principle for the tai chi turn, at least what we will concentrate on. Remember the space between your ears from yesterday. Again stand, arms hanging. Keep your center heavy and pelvis aligned to the front. Only spiral your spine/torso. Start to swing right and left from the ears reaching back and around, your arms loosely swinging/wrapping around your torso. Try to shift focus in the initiation of the movement: you can either spiral from your center (two fingers below your navel, three fingers to the inside), or from your ears reaching around, from the space between your ears, from one shoulder reaching front and the other back, or from the eyes wanting to look behind and around. Try all possibilities. Do it for quite a while. Then shrink the impulse until you stand still again.
Now try the head only. Bring the right side of your face to the front, left side of your face to the back. Reach as far as you can, eyes wrapping around. Then the other side. Try the same from the shoulders. Right shoulder reaching to the front, left shoulder reaching to the back. Spiral to the extreme but keep your pelvis aligned frontally. Release the spiral. Take a short walk.
Lie down on the floor on your back. Bring the right foot across the left. Very very slowly start reaching with the right foot diagonally over, as if wanting to roll over to your stomach. Feel how the initiation of that reach opens your sacrum. As you keep reaching, the right leg will start to pull your right arm, so you feel a long diagonal stretch. With the right hand, curve up from the floor, initiating with the last two fingers, starting to make the curved shape of the aikido arm. The left arm as well can come up from the floor and curve from the outer arm blade. Your head should be turned to the right, you look at your right shoulder. This is the spiral stretch lying.
To come into a spiral roll, make the shape a bit more compact, meaning straight, not so diagonal, but keep the principle. Reach further around with your head and sight, reach the left shoulder up from the floor and over, keep both aikido arms rounded, curved and extended from the outer arm blade, the right leg extending into a counter reach. Like this, you should be able to come into a continuous roll. But it might be a bit too complex for me to describe to you in words.
You can try both sides.
Now standing. Same thing: sight wrapping around to your back, aikido arm reaching from the outer extension into the direction of your sight, front shoulder folding back, back shoulder folding front, twisting further and further. Your arms could be at any height, over head, sternum height, or low. You can also create a version of the tai chi spiral: bring your arms into a ballet curve, round in front of you. Project the outer side of arms and fingers to the outside. Bring the arms low, almost as low as your pelvis. Right arm reaching around the front to the back, left arm reaching around the back to the front. Reverse. You can speed it up into a reversing and rebounding twist. Layer stepping legs on top of that twist. Play around.
Try continuous spirals, never-ending helix twists. If we think of the right side wrapping around the left side, and the left around the right, this is a helix double-spiral, like the DNA structure. So you are entering a very basic and deep life principle. When I first tried spirals, I started to dream about entering this DNA logic, becoming spiral, becoming helix. You might feel like understanding the very basic movement of life principle. But first do it a lot. Spiral in your bed. In the kitchen.
I propose two improvisation games: one is head and sight leading into spiral. The other is a spiral arm twist with flexed hands, very related to the aikido arm, playing out the scapula-ischia-heel relation.

Aimar to Nora

5.12.2006
Re: RPTRNSPC.8

I was drifting with my bike looking for unknown places in a know city.
I found a floating platform on the Ij. Floating space for a floating head. It was extremely windy, which helped to feel the alignment of the spine.
When the focus is on the spine I realize that all the practices I have done before become very easy to do, since all the groins (femoral joint, humeral joint, scapula, etc.) are free of movement. Because the spine has a clear direction the freedom of movement resonates through the whole framework.
It seems like you read my mind. Today I totally needed some spine/head work, since the yoga class I did yesterday (which wasn’t so good, by the way!), made me wake up with a total stiff back. So…. thanks my darling/lovely/wife!!

Nora to Aimar

5.12.2006
RPTRNSPC.8

HEAD. Initiation from the head. Start with micro head movements. Stand. You might want to close your eyes. Very very effortless, shake your head. Just small and tiny, to the right and left. Feel the very top of your spine. The place between your ears. How that head movement rotates on that point. Then try nodding. Feel how your head balances on that point. Visualize your skull like a dome. Start moving your skull, micro movements, always moving around that point of balance at the tip of your spine.
Now imagine this: top and lower end of the spine mirrored. The skull mirroring the pelvis. The atlas mirroring the sacrum. The tip of the spine mirroring the coxyx. With the same lightness as you have moved the skull, you can also move the pelvis or its parts.
Try figure 8s from that point between your ears. Observe what it does to your spine. Maybe it introduces spinal waves. Make a movement exploration of your head leading, from between the ears, taking the spine on a journey through space.

ADDITIONAL INFORMATION:
For the headstand to handstand. I realized that you have to keep everything frontal. The center very compact. The legs in front of you. Then I think you just push up through the psoas.
For krump. I recommend to try it effortless. Just as we did emptying in an effortless released way. Of course krumping is not effortless, but it might move itself better through minimal effort mind.

Aimar to Nora

4.12.2006
Aimar: Fingerprinciple

I kept on forgetting to send this picture. The first I made for the 4-5 finger’s practice!!!

Aimar to Nora

4.12.2006
Re: RPTRNSPC.7

The work of the eye is a fantastic complement to all the practices I have done before. It just adds a new element of shifting perception to the physical task (ischia-heel, coxyx, aikido arm, etc.). What I love the most is to walk around the city as if I was blind, but with eyes open. Looking but not seeing anything, kind of a peripheral view but not really seeing anything concrete.
Very interesting to work with one eye. Suddenly reality shifts, distance changes, coordination changes. I actually remember when I was a kid I had an accident when a firework exploded in my eye. I had to be for almost a month with a blind eye, covered. It took me a while to get used to it, mainly when I had to catch things with the hand, things were not where I thought.
I think I will try to keep the practice of the eye during these coming days. In my everyday life, when cooking, brushing my teeth… and when doing the coming tasks.

Nora to Aimar

4.12.2006
RPTRNSPC.7

EYE. Today work on vision. Sight initiating head movement, body following head initiation. Stand. Look somewhere to go. Don’t go. Just feel the initiation. How it resonates back to your feet. Play with the pre-acceleration of wanting to go. Then not going. In all directions. Look behind you over your shoulder. Your eye wanting to catch your coxyx. Walk small circles around yourself, your eye wanting to eat your tail.
Maybe you dropped something. You are looking for it on the floor. You bend down a bit to search. From your eyes. No it’s not here. Maybe there. No it’s not there either. Maybe somewhere else. Play with the inhibition of the impulse of wanting to go. Pre-initiation, initiation, inhibition.
Cover one eye. You can use a pirate eye cover, a shirt, or just your hand. Move through space from only one eye. Observe how one eyed vision makes your head move more than two eyed vision. Change eyes.
Walk circles, either from your right or your left eye initiating. Right eye: look beyond the side of your nose, past the nose to the left, into a circle. Left eye: the other way.
Move through space changing the initiation: right or left eye.
Go to shake hands with somebody. Invisible or real. Stop before you touch. Observe the directionality of your eyes pointing the way towards where you want to shake hands. Feel the extension from your scapula out the last two fingers, aikido hand going to shake hands. Before you touch: feel the space extending out beyond your hand, wanting to relate, pointing hand with the pointing eye. Make a shaking hands exploration, eye, intension, aikido hand. From shaking hands, point the last two fingers up or down. Transform shaking hands into aikido arm.
Let sight disorient you in space. Make space move from sight moving.
Turn in circles with eyes closed. Stop and open eyes. Observe space moving. Find other ways to move space through sight.

Nora to Aimar

3.12.2006
ADDITIONAL TASK

NON-DANCE ACTION. Over the coming days, please observe people’s work actions, strange peripheral activities, any other non-dance activities. If any activity attracts you, try to relate it to the principles in the research, and to the project. Remember some that seem worth remembering. Eventually, I would like that both of us have a rupture activity that can be acted out with the same movement principles from the dance but it is not officially considered a dance.
I mentioned before chopping wood as my idea of a rupturing activity. I thought here in the mountains people would chop wood. But in fact, it is all very urban, nobody chops wood, and all around I cannot spot a single forest. The closest I came to the idea was today:
As I was moving on my location in an industrial quarter at the city’s edge, a woman passed by, small with long black thinned out hair. They call them gypsies here but I will still enquire about their proper name. So this small old gypsy woman walks by, does not mind my strange activity, I do not mind hers. She pulls a small trolley, a structure on wheels that could possibly transport a suitcase. On her trolley she has a piece of cardboard and a grey plastic garbage bag tied on. She walks up to a pile of trash wood from a factory and starts to gather old planks and bits of material on her trolley, the cardboard holding the planks, the plastic bag for the small bits. A dog accompanies her. When she had filled up the trolley, she walked on, the dog with her.
I took a picture of the trash pile. I will remember this action. I wondered what I would collect on my trolley in Amsterdam? How to do it with a little finger to scapula connection? Would I just be unfunctionally collecting bits as I am unfunctionally drifting and walking?

The dérives are intensifying. Maybe addictive. Today I drifted for at least 6 hours, out of the city, into the mountains, further, further. Then, as usual, I had to run a bit to get down from the mountain before dark. Useful application of the ischia to heel connection. Arrived completely disoriented on the fields, alone with the moon and mountains in my back. This is a good way to come in touch with any place. Approaching the city from the dark, I felt almost blinded by its lights. Entered from an unknown angle, disoriented entrance to city, more drift, until finally I surrendered to the map, and all that had been good so far suddenly collapsed.

Aimar to Nora

3.12.2006
Re: RPTRNSPC.6

Ufff, I feel like cinderella, getting home before midnight to send the report!! Ok, that was funny. I get to the parking, I make sure there are no surveillance camera’s. I do my krumping practice and when I’m packing up my camera suddenly the guard comes and says “are you ok?”, “yes I said, I was just practicing!”, and then he says: “oh, I saw you in the camera” (fuck, I thought) ” and I was worried you were freaking out” (so sweet, I thought)… then he left, then I left.
By the way, krumping is very hard, I kind of hate it! But for sure you get rid of any feeling of anger!

Nora to Aimar

3.12.2006
RPTRNSPC.6

STOMP. This is an introduction to beginner’s krump. (As if I knew anything about it!).
Start with what I call a psoas walk. Put your hands on your waist below the lower ribs. Push deep inside, so that you feel the psoas muscles like big wires. To really feel them you have to pretend you would be sitting down. Then raise one leg at a time from the heel, as if wanting to walk. It will look like the monkey position. Walk around with this psoas walk and feel the engagement of the psoas muscles.
Keep that feeling when practicing stomps. They have to come out of an undercurve. The leg will be heavy but lose, just like for the sumo step. If you just stand, put your wait on the back foot (let’s say the left foot), so that the right one is free to move and without wait. Stomp the right foot. Let it fall down on the full surface of the foot, feeling it resonate from the heel to the ischia, through the pelvis and coxyxy into your spine, up your spine into your head. Practice simple stomps that way on both sides.
Another version of stomp is a triple one. Weight on the back left foot. Stomp right, then make a double stomp left-right. Weight stays in the back. A stomp with two legs: jump on two legs together at the same time. A heel-to-ischia stomp: legs wide, a bit in plié, stomp first right then left, before you touch ground the heel of the lifted foot has to touch the ischia, or at least point in that direction. A bit clownish. A kick-out stomp: stomp left, weight left, kick out right foot to the right side while jumping the left foot to the left side, step right foot next to the left. Last version: stand, kick the right heel to the front, make an undercurved circle with the right leg to the front, step right foot, left foot.
Now the chest pop. Practice simple stomps and let them resonate through the spine into your head. From that feeling, let the stomp resonate into your sternum: pop out your chest. Next comes the arm throw. Arm through will resonate out of the chest pop, it throws the chest back in, so there is a counter action between sternum and shoulder blades. The arm throw comes out of the shoulder blades just like the aikido arm. Think of arm throw as a way to empty your arms, or to punch somebody, to fight, to box. With your elbows, you can fight off invisible enemies in all directions (in front, on your sides, behind you). You can also do arm circles with the whole arm or from your elbows only, forwards, backwards. Backwards it can make you arch to the back in the spine so far, that when you lower your center deep enough, your hands will almost touch the floor behind you. Do arm throws on only one side or with both arms. It can become quite a shaking, disorganizing motion. Disorient yourself. Disorient the organization of stomp, chest pop and arm throw. Fuck it up. Shake your spine. Disorganize your spine. Shake your shoulder blades. Lower your center of mass (you can even come down to the floor, or a kneeling position) or bring it up again. Get krump.
This is best to practice when you are angry or frustrated! Krump it out. The form does not matter, fuck up the form. The disorganization matters. Invent it new.

Nora to Aimar

3.12.2006
COMMENT

DÉRIVE. Today I take the freedom to write a short comment as well. Something appears to me through walking. I am not quite sure what I mean to say. I arrived at this new place, not knowing the language or infrastructure at all. So I walk, every day in another direction. I never make a plan where I want to go to: I drift. I guess you could call it a dérive. But there is not even a task to the dérive, I just drift. I have the tendency to go where it seems most ugly and unattractive. Not just run-down ugly, but boring ugly. Not even ugly-attractive. As if the very act of walking slowly brings about appropriation of place. I drift until I tend toward a location that feels good for a movement exploration. I arrive, I research, I document, I leave. This habit starts to build experience of place. Movements start to relate to locations. I start to belong to this unknown city because of the repetitive place appropriation through walking. I don’t think I have ever spent so much time with unfunctional walking before.

Another comment. I am not exactly researching the same subject which I have proposed to you for the day. I tried but it felt useless. I have found myself drifting in the movement as well. I am not quite sure where I am going. I am movement dériving and discovering new. Unexpected sensations.

Aimar to Nora

2.12.2006
Re: RPTRNSPC.5

The big bone in motion. A physicality that reminds me of a butoh dancer, or a martial art fighter. A full awareness of the body, the center of gravity as low as possible, so a full body grounded, impossible to knock down. When adding the aikido arm, the situation opens up to the space. The body is ready. And when relating heel to ischia the center of gravity can go even lower, but because using the aikido arm, the body does not sink into the floor. The body keeps a feedback of energy from ground to sky, 360º, all around.

Now I understand something. I think by doing these exercises I get a compact body, full body movement. Why? I think because I start using deeper muscles. So it’s not about shape, about superficial layers, it is something deeper inside, which is fantastic. Something I have been looking for since I am moving.

Nora to Aimar

2.12.2006
RPTRNSPC.5

SUMO. BIG SLICE. Today work on big motions, deepening the center of gravity, a big heavy mass in motion. First find your pelvis. The sensation of the bone. Stand feet shoulder width apart. Soft knees. Try to shake the bone of the pelvis into sensation. It might help you to make fists of your hands and let the arms hang down. Visualize your pelvis as a bowl receiving your organs. Get a sense of the ischias and their scooped form, looped form, how they provide the shape for the undercurve.
When you have energized your pelvic bone, you will come to a stand a bit wider than shoulder width. Bring your hands into a praying position in front of your sternum. You can also lower your hands a bit. Now press them together. With resistance, push them to the right and left. Push to the left, shift your weight into your left side pelvis, sit down (imaginary) and raise your right foot. Imagine to be a sumo fighter. Drop the foot down with all its weight. Do the same on the other side. This we call the sumo step. It is the basic principle for the stomp, which will connect to krump.
Then take a very wide and deep plié. Once again you will work on the heel to ischia to heel connection. In cross patterns and wide lateral steps, touch the heel of the free foot to the opposite ischia. Or point the ischia to either heel. Integrate the aikido arm as well. The outer arm blade like a big tool that can slice air. Feel the scapula sliding up, down and sideways. It’s a dance of the heel, ischia, scapula, and arm blade. Transported through space by a low and heavy center of mass. It is a lateral movement as much as a rounded movement that can take you into curves.
On top of the lateral sumo step you can start to shake your scapula. One side or both sides. Shake your shoulders up and down by sliding the scapula, as extreme as you can.

Aimar to Nora

1.12.2006
Re: RPTRNSPC.4

Although understanding the coxyx as part of the spine, to initiate movement with the coxyx brings immediately a great use of the pelvis. (Not necessarily sensual, but quite a bit!) The awareness of the coxyx helps to any inversion (handstand, headstand, elbowstand, etc). It helps to align the spine even when being upside down, trying to bring the coxyx on top of your head. The same when trying to bring your coxyx under your pelvis, in between your heels, etc.
I attempted to go from headstand to handstand. It failed. I tried again, this time a bit better, but it failed again. Maybe I should try to focus on the alignment of the spine, rather than on my biceps and triceps! I will keep on trying.
When attempting to do breakdance floor work it helps in order to draw a pattern on space, but it gets to a totally different dynamic, much more fluid and thick (not jumpy and break).
Today it was short. I hope tomorrow is sunny and I can go outside.

Coxyx initiation is a fantastic principle for disco dancing, by the way!

Nora to Aimar

1.12.2006
ADDITIONAL INFORMATION

THROUGHOUT THE COURSE OF OUR RESEARCH:
Watch the improvisation of Steve Paxton on the Goldberg variations. Read the text “The Elasticity of the Almost” by Erin Manning. You will receive it by email.

We have agreed: every day Nora sends an image of the site she has been working at. Every day Aimar sends two images of himself dancing.
The above photo is of Steve Paxton doing a spiral roll on the floor.

Nora to Aimar

1.12.2006
RPTRNSPC.4

COXYX INITIATION. Stand. Touch your coxyx to feel it. Now start drawing tiniest figure 8s in both directions from your coxyx, feet a bit apart. Find the smallest initiation, almost a pre-initiation. Find the edge of movement. Can it be smaller. What is the smallest perceptible. Then try to curl the coxyx in or open it out, arching it. Sense what this does to the rest of your spine. What it does to your pelvis.
Imagine the last top vertebra of your spine being the coxyx, mirrored on top. Also draw tiniest figure 8s with that last vertebra, between your ears. You can play all coxyx games mirrored by the top vertebra.
Come to all fours and practice spinal movements between top vertebra and coxyx: lateral waves, circles, down and up arches. Imagine that you have a real tail as an additional limb, able to point, extend into space, curve and spiral.
Find a spinal wave initiation from the coxyx. Start very small. Try it lying, on all fours and standing. Let the movement grow in size. Eventually, let it bring you into coxyx initiated jumps. From standing, spinal waves, try coxyx initiated jumps forwards, curling the coxyx in, and backwards, opening the coxyx out. Try frog jumps from a squat position. Try handstands initiated from the coxyx, leave your legs folded and small. Just work with the spine. Try low footwork, six step, circular motions with coxyx initiation.
Combine the finger/arm principle with the ischia/heel principle and the coxyx initiation. Practice some low floor footwork and crawling, only touching the floor with fingers 4+5. Six step with fingers 4+5 pushing.
Last thing: in standing, find the smallest shake into the spine from the coxyx up. Switch between shaking out your spine / disorganizing the concentration with big movements, and those tiny vibrating shakes.

ADITIONAL EXTRA TASK: every day practice to come from a headstand into a handstand. Put something soft on the floor for your head. Come to a small headstand with legs folded. Don’t wait too long but right away push into handstand. You have to feel the alignment of your spine very well. Extend your legs up from the heels, away from the ischias, and at the same time straighten your arms. Arms and legs have to go at the same time. It is only a matter of alignment and timing, not so much of strength. Don’t get frustrated if it does not work right away. Keep trying.

Aimar to Nora

30.11.2006
Re: RPTRNSPC.3

This is getting very exciting. These connections are really adding a new layer to the 9 lines of movemet of kinesiology (Lulu Sweigard). These connections are bringing a full compact body but at the same time totally aware of space, since it’s helping to open up the situation because the spirals. The heel-ischia connection is a different way to approach all the foot-work and floor-work from break dance. Just by practicing it produces the kind of physicality that breakdancers have. A very fluid way to go up and down. Because you pass through your body, your body is connected, but at the same time is open to new possibilities, without being scared of having an accident. The body is ready to dissolve at any moment through these anatomical connections. Again, I shift the floor.

Nora to Aimar

30.11.2006
RPTRNSPC.3

HEEL-ISCHIA CONNECTION. Start with a simple warm-up: pointing your heels to your ischias. That means, you will walk, and every time one foot leaves the ground, you raise it so far behind you that the heel of that foot touches the ischia of that side, or the skin at least. Try it parallel and in cross patterns. If you give it a bit more swing and kick, you will start to get into a rhythmic break step. A bouncy kick step from the heel. Play around with top rock break steps in different rhythms and different directions, as well as levels.
Next you will take it down to the floor. The idea is to create the farthest distance (reaching away) between heel and ischia, or the closest proximity (touching). You are in a six step squat. You extend one leg to the front. Now you start to play by shifting which heel touches which ischia. This will bring you into six step motions, little kicks, turns. Another way is to come into a small handstand, either heels touching the ischia, or reaching away. So all the time in any level or position you will either have your leg(s) extended out or folded in.
You can also switch it around: pointing the ischias to the heels. Stand, feet a little wider than shoulder width. Soft knees. Point your right ischia to your right heel, to your left heel, left ischia to your left heel, right heel. Point both to one side, the other side. Play with all combinations. Also try it balancing only on one foot or in 4th position. If you make it a pretty wide stand and lower to plié, you can start to experiment with krump steps, thinking of ischia to heel. We will get to stomps another day.
You can layer the aikido arm principle on top of the heel-ischia principle. When you work on low level footwork, also use the arm blade and roundness from the back to make you turn and shift.

Aimar to Nora

29.11.2006
Re: RPTRNSPC.2

The aikido arm gives me a full spiraling connection to my whole upper body, and the possibility to resonate to my lower body. I have tried which kind of movement possibilities it would give to me when focusing only into this connection. Somehow, after having researched for a week the 9 lines of movement of kinesiology, it helps me to add this 10th line which hasn’t been written yet, a line of movement for the arms to connect to the torso and center of gravity. It produces a very thick, continuous, never ending quality. (I will try on the coming days to see if it can change quality, doing the set of exercises with different dynamics). It produces a clear awareness of space because the use of the spiral. It produces a compact body. It produces a shifting floor, not flat. (I will try this on a skater’s half pipe to see how it affects). It produces a body that is ready and available, in a way, what aikido does when relating to another body.
I attach two pictures of today’s session. And I have recorded 2 minutes of today’s session.

Nora to Aimar

29.11.2006
RPTRNSPC.2

FINGER PRINCIPLE. Separate the first 3 fingers (thumb, index finger, middle finger) from the last 2 fingers (ring finger and little finger). The first 3 are connecting to the head, mouth, eating, reaching, pointing, seeing. The last 2 are connecting to the back, the outer/under side of the arm, scapula, all the way into the center/pelvis/ischias. In this research you will concentrate on the extension and reach of the last 2 fingers, which is used to push.
Try to push yourself up from the floor when lying on your stomach. Use those outer fingers to push. Try to point the two fingers downwards and upwards when you have your lower arm extended out to the side from your torso. Feel what it does to your scapula and ribcage. Extend your arm from those two fingers in spirals into space. Find all different kinds of spiralling directions.
Find a swimming movement that starts at your scapula or even the pelvis/ischia. Round your arm all the way from the back into the last 2 fingers, feel the outer edge of your arm as a blade or knife that can cut air. Swim straight to the front, diagonally across, slice figure 8s sideways in front of you, and figure 8s behind you.
Use this rounded back-arm extension (which we will from now on call the aikido arm) to initiate walks, in circles, loops, figure 8s, forwards and backwards. Always lead with the last 2 fingers and the aikido arm that connects all the way to your scapula, back, pelvis, ischia. The aikido arm will define the direction of your feet and the type of curve.
If the aikido arm is operating on the horizontal plane, you will be walking or running. If the aikido arm extends diagonally downwards, you will spiral down into the floor, upwards you will spiral out of the floor. If you through the arm diagonally upwards, it will take you into a jump. If you slice it sideways, it will take you into a sideways sliding jump.
Reach the rounded aikido arm forwards in a curve back towards yourself, touching your opposite thigh or hip. This is a closed circuit. Reach it further down towards the floor and resist with your ischias until you will finally fall in a circular pathway towards the floor. Find different ways to resolve that fall. Transform it into ground footwork or immediately come up again.
From a position between squatting down and standing in plié (meaning: a slightly elevated squat), find the sideways lateral aikido arm principle and try to come into a one-armed handstand for just a short moment. Think of a lateral wheel.
Design your own exercises based on the extended aikido arm and the last 2 finger extension into space, or spiral into space. Create a simple set of exercises that you can repeat every day.

Nora to Aimar

28.11.2006
RPTRNSPC.1

FIRST TASK. Every day you have to look for a location to practice the movement principles for any amount of time. It could last from a minute to several hours, as you wish. Find a way to document (drawing, writing, foto, short video clip, it’s up to you how you do that). You have to shift location every day.

Welcome to RPTRNSPC

25.11.2006
INTRODUCTION

WELCOME TO [RPTRNSPC] ! = RUPTURE IN SPACE

The conditions are as following.
Nora is located in Huesca, Spain.
Aimar is located in Amsterdam, Netherlands.
This takes place from November29 until December18 2006.

Both will work on the movement project Rupture in Space. They will communicate process through email, giving tasks but not showing any resulting material to each other. Both will create a solo, based on the email dialogue, during 20 days. In January 2007 they will come together at de Appel in Amsterdam and negotiate what will be done with this ruptured material.

Nora will give clear physical tasks to Aimar. Every email will be called <RPTRNSPC> with the following number. The tasks are physical movement instructions.

Aimar will respond to the tasks only with reports and observations. He will respond by including the former email in the reply and only sending it as <Re:>.

Both will design their research time and location as they please. No limitations. Unconventional experiments are welcome. Every day they have to search for a different hotspot in their city to practice the material for any amount of time (1 min to several hours). They will each take a photo of the location and email it to each other. They can also create short 1 min video clips. A dance map will start to be created of each location.

Nora will take inspiration from the reports, Aimar will work on realizing the tasks. We assume that he will necessarily misunderstand the tasks to a certain degree. This is the rupture.

The material and principles will be inspired by Material for the Spine / Steve Paxton, in addition to Breakdance and Krump videos. To be remixed and twisted into a new hybrid form based on personal interpretations and style.

All email dialogues will be collected and posted publicly in the ruptures blog.