Wednesday, 6 December 2017

gripping tensing and holding

Years ago, when learning dance improvisation, when improvising with a partner you were taught not to hold, not to grip- because it was fear driven - fear of falling, fear of momentum, fear of communication and gripping expressed nervousness, desire to control, to own; whenever there was  flow, gripping stopped, constricted, inhibited
"...follow the point of contact, don't hold on, stay relaxed,
no coercion, let go of thought of where to go next, l
let go of the desire to lead and be flexible to what is happening." 
if a fall happens let it, learn how to fall and recover, it was meant to be…

gripping tensing is  wanting to control, own. Desire to grip, to hold has many of the same attributes as  as the desire to copyright and market oneself as a holder, possessor of knowledge, a spasm of tightening, tensing
And letting go, allowing flow is similar to having a  non copyright, open access approach.

I hear stories of people wanting to  copyright things as their own- ways and means of unownable things like kinds of movement, actors training, ways of making music or traditions of training from Tai'Chi to voice work and see how the act of copyrighting, trying to own processes and traditions they have no right to own, prevents flow and prevents creativity. This  seems to inflate the copyright owner into becoming an untouchable expert. In order to copyright it helps to have a suspicious mind- assume that the world is out to exploit you,  the world will not celebrate and acknowledge your inventiveness, your wits, your nous.
Maybe having a risk averse approach inhibits play, discovery and invention?
A suspicious untrusting copyrighting mind
is the same as the tense gripping controlling body
which is the same as the mentality of the little nationalist who is scared of thebig bad world outside, scared of the other,.
Is this what makes someone want to build walls?

Yes, protect what's precious but maybe too much gripping and pushing away is not good.

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