Dancing on Canto Ostinato

My body was sculpted on sections of the Canto Ostinato for one week long, on a 10 16 rhythm. Or maybe I can better use the word moulded. My forms changed a bit, adapting themselves to other tensions, different from those they are already used to. Even my skin feels different when I touch it: smoother, as my face expressions and my attitude. I realize I missed it: to dance. I confronted, again, my body to new limits: physical limits. My knee felt blocked after 6 days of discovering new planes of using the space, like ground level. But he has been kind to me: he gave me the chance to experience bound and flow, at different speeds, forms and intensities. Like life itself. Art demands so much from you but he gives you so much in return. You do not have to ask for it: it simply comes to you, the fulfilling. Art empties your body and your mind, he resets you, and he fills it up with pleasure, overwhelming you. What did I learn these days? That you can create together, contacting other people: visually, physically, mentally, from concentration. And you create a connexion line that binds you with the ones you are working with, with the ones they are looking at you, reading your movements, your expressions. You write in the air, on the ground, on other dancers bodies. And you make it visible: the text, the notes, the melody. You perform for the public, not for your own pleasure. That is what Erik told us. But when the public is pleased, those multiplied and amplified emotions come back to you, impacting you, like an adrenaline shot. Maybe my knee is now suffering from too many hours of exercise, but my soul is suffering from absence, only two hours after leaving the workshop. Void. I feel void. Thank you companions. Such a gift.

Inés Legemaate

I like to receive inputs from what I see, hear, read, experience and talk about, and then recycle (or not) and express it through a writing, drawing or painting process.

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