The Turning Point Experience
By passing through a short semantic research via web – maybe for inertia or nostalgia of a silent fluent movement of my hands – I discovered
a rare place of unusual rightful ability, a little place in the southern country side connoted by a direct capacity of gathering people of interest
in the arts of movements and collecting human energy from some kind of universal centre or even from the closest little town.
The season of vacancy was no more relevant to me, unless I could have bumped into the early past and space of my unique joyful period of
life when my body and my soul stayed in a magnificent and impressive position on earth and, without knowing it, even in the world.
I didn’t feel myself at the full of my strength so as to dominate my own body, and I could only imagine I was entering into one of the educational
life experience of what would have been recognized as The Nomadic College by Maestro Frey Faust, up today the only ray of sunshine in my
ancient danceable production: "Free Fall and Slow Motion" – as the basics of The Axis Syllabus convey –, but, above all, the original experience
of that gait I would have found as experienced deed in my own unconventional body. Not that the dancing barefoot was unknown to me,
nevertheless I was trying a long term daily lesson and a long term outdoor workshop on a parquet in the slight shade of beautiful sunny days
during a pleasant Summer week, in the characteristic surroundings of the local green environment. Somebody included to mere watching
would have perceived a sort of untouched underwater natural landscape, where the limbs happened to be hardened by the toil.
Once more, it didn’t spring to my mind to present myself as a ballet dancer, but only as someone able to execute something popular quite well
and properly but out of the job disposition. Indeed, I was already accustomed to express my choreutic attitude through a precise and fast act
of archive of something else, with no alteration of the rule, but with the inevitable necessity to train the thing in order to go beyond any speller.
I’m still not conscious if the case of the immediate form of archive happened because of mere dehydration, or a sense of inner cooling or a
sort of slow agony, a lifelong act of waiting of a legitimate debut of the kind and not the occurance of its antagonistic knowledge. Of course,
there are yet some memories that I can keep since then and I must say thanks to my own body in its natural shape and attitude. First of all, I
have to admit and focus on an almost early, previous physical knowledge of the concept of arch, practically executed by bending the backside
of my body and fostering the aspiration of an angle of 45 degree backwards, maybe to ideally maintain somebody’s walls or produce a
passage.
God knows that the natural bent of my back has never forgiven more than 20 up to 30 degree of inclination and has never known a soft curving
movement like a piece of true butter or some decline.
Anyway, I cannot deny a recurrent ‘take care’ of the curve or the arch, where it follows its natural way, under the foot, just to make a pertinent
example. The profile of my foot was taken...and then, for another bunch of years, I was perfectly able to jump joyfully through a vertical push
on and off the ground or by launching a leg in the air and then the other one, something unfamiliar to a set of marching legs and more
overwhelming just as a liquid waving movement ahead towards its climax.
What I found perceivable different in the action of leaving the ground was the weight, a sense of gravity and its contrary in the gap of short
suspended moments.
The sense of connection with the environment was an invisible joint force, but not produced by too wide isolated movements or repeated brief
contacts with the floor in order to stay within a selected area.
I mean that a very primary sense of continuous movement was finally really tasted or physically understood, and I believe that was the concrete
turning point towards my conception of what must be dancing and not only moving on the forming of a capital group.
I experienced also some practice of contact improvisation and it was interesting to test and lead the weight of another person without using
the hands but with the almost unreal aim to defeat the sense of gravity.
Anyway, unfortunately, once more I stayed totally unaware of what is having a partner, in dancing.
Instead of a partner, I got to be initiated to a new but ancient non human shape of my total body according to a spiral dynamic acted on the
floor, to me better known as the C-star that I am able to execute properly just like an unforgettable action, and which I consider a complete
simple exercise for warming up the body after the stillness of unknown origin.
So, since then, it happened gradually to be aware of the abandon of the saddest posture of the ballet chorus of white swans, on the left and
on the right of a fancy lake or any other swamp, and even the extra-rotation of hips, knees, legs and feet pushing out the calcaneus of the
anterior leg, from a golden saga turned to become a very short story of some cockney accent, a plume in the widest of the sea.
a rare place of unusual rightful ability, a little place in the southern country side connoted by a direct capacity of gathering people of interest
in the arts of movements and collecting human energy from some kind of universal centre or even from the closest little town.
The season of vacancy was no more relevant to me, unless I could have bumped into the early past and space of my unique joyful period of
life when my body and my soul stayed in a magnificent and impressive position on earth and, without knowing it, even in the world.
I didn’t feel myself at the full of my strength so as to dominate my own body, and I could only imagine I was entering into one of the educational
life experience of what would have been recognized as The Nomadic College by Maestro Frey Faust, up today the only ray of sunshine in my
ancient danceable production: "Free Fall and Slow Motion" – as the basics of The Axis Syllabus convey –, but, above all, the original experience
of that gait I would have found as experienced deed in my own unconventional body. Not that the dancing barefoot was unknown to me,
nevertheless I was trying a long term daily lesson and a long term outdoor workshop on a parquet in the slight shade of beautiful sunny days
during a pleasant Summer week, in the characteristic surroundings of the local green environment. Somebody included to mere watching
would have perceived a sort of untouched underwater natural landscape, where the limbs happened to be hardened by the toil.
Once more, it didn’t spring to my mind to present myself as a ballet dancer, but only as someone able to execute something popular quite well
and properly but out of the job disposition. Indeed, I was already accustomed to express my choreutic attitude through a precise and fast act
of archive of something else, with no alteration of the rule, but with the inevitable necessity to train the thing in order to go beyond any speller.
I’m still not conscious if the case of the immediate form of archive happened because of mere dehydration, or a sense of inner cooling or a
sort of slow agony, a lifelong act of waiting of a legitimate debut of the kind and not the occurance of its antagonistic knowledge. Of course,
there are yet some memories that I can keep since then and I must say thanks to my own body in its natural shape and attitude. First of all, I
have to admit and focus on an almost early, previous physical knowledge of the concept of arch, practically executed by bending the backside
of my body and fostering the aspiration of an angle of 45 degree backwards, maybe to ideally maintain somebody’s walls or produce a
passage.
God knows that the natural bent of my back has never forgiven more than 20 up to 30 degree of inclination and has never known a soft curving
movement like a piece of true butter or some decline.
Anyway, I cannot deny a recurrent ‘take care’ of the curve or the arch, where it follows its natural way, under the foot, just to make a pertinent
example. The profile of my foot was taken...and then, for another bunch of years, I was perfectly able to jump joyfully through a vertical push
on and off the ground or by launching a leg in the air and then the other one, something unfamiliar to a set of marching legs and more
overwhelming just as a liquid waving movement ahead towards its climax.
What I found perceivable different in the action of leaving the ground was the weight, a sense of gravity and its contrary in the gap of short
suspended moments.
The sense of connection with the environment was an invisible joint force, but not produced by too wide isolated movements or repeated brief
contacts with the floor in order to stay within a selected area.
I mean that a very primary sense of continuous movement was finally really tasted or physically understood, and I believe that was the concrete
turning point towards my conception of what must be dancing and not only moving on the forming of a capital group.
I experienced also some practice of contact improvisation and it was interesting to test and lead the weight of another person without using
the hands but with the almost unreal aim to defeat the sense of gravity.
Anyway, unfortunately, once more I stayed totally unaware of what is having a partner, in dancing.
Instead of a partner, I got to be initiated to a new but ancient non human shape of my total body according to a spiral dynamic acted on the
floor, to me better known as the C-star that I am able to execute properly just like an unforgettable action, and which I consider a complete
simple exercise for warming up the body after the stillness of unknown origin.
So, since then, it happened gradually to be aware of the abandon of the saddest posture of the ballet chorus of white swans, on the left and
on the right of a fancy lake or any other swamp, and even the extra-rotation of hips, knees, legs and feet pushing out the calcaneus of the
anterior leg, from a golden saga turned to become a very short story of some cockney accent, a plume in the widest of the sea.