The degree of access to the potential state of void marks the starting and ending points for each sourcing ritual. The deeper the capacity for receptivity (via No-Form), the deeper the capacity for experience of whatever energy or source engaged. The personal degree of comfort with being nothing. Click this for more on no-form.
Sense of emptying to for amplify No-Form; sensing the physical body as hollow, as in, a vessel or medium.
Wherever direct intutive contact with the energy of a given source exists -- not to be imagined or visualized but detected as an existing condition. The contact point can be within the physical body and/or the energetic body enveloping the phsyical body as aura. The degree of detection of the contact point depends on the depth of no-form.
Beyond the personal no-form process, the potential state beyond one's personal efforts at emptying; the no-form beyond your personal no-form; the impersonal void at large.
From the receptivity of no-form, sourcing refers to the inner action of accessing and engaging sources of energy in the body/psyche while allowing for a full immersion and identification with that source.
The conscious act of intentionally projecting a source of energy into an area on the floor outside of the body and then, physically stepping into that source area to subject oneself to the force of your own projection. Sourcing utilizes the otherwise unconscious reflex of projection of psychic energy (outside of oneself onto others, the world) by doing it on purpose as a ritual technique to charge an area with a specific energy.
Executed before the physical warm-up cycle, a single source projected into the entire workspace while standing in no-form at the periphery of the workspace. The foundation source has three purposes: 1) activating the energetic body 2) setting a tone for the following Physical Warm-Up and 3) creating an underlying support source for the entire Lab session.
The emotional investment in a source resulting in an empathy that sustains movement, action, and vocalization. During the act of sourcing, discover what you care most about that source and allow this care to deepen and sustain self-expression. Sustaining care infuses movement and sound with empathic presence.
Identification into Service
When fully immersed in any given source, we 'become' the energy through identification which can result in a state of surrender to that source. Service involves a shift away from identification to serving its expression through the physical/vocal instrument. This internal shift can liberate a greater circulation of force to support a more economical, specific, and playful spirit in tone, movement, and actions.
When giving oneself over totally to any given source, a state of surrender ensues. Passive surrender tends towards internalization of experience, where outer expression is muted towards a caving in on oneself. Active surrender allows for a more dynamic outward expression of forces through the physical and vocal instruments.
The act of maintaining receptivity to any given source while directing and managing its influence through physical and vocal expression; holding a dynamic balance between spontaneity and precision, contol and abandonment.
This inner and outer action begins with selecting a charged polarity of opposing sources and then, designating two areas on the floor to each source. In personal polarity work, this occurs within your private area or circle. In group polarity work, the entire ritual space is divided in two. From No-Form, enter one area and subject yourself to that source and then, enter the other source area. By physically traversing between both areas, sourcing each force as you go, a balancing of inner energies occur and a neutralizing of excess charge innate to either or both sources. Polarizations yirleds more flexibility to the ego (self-image). Click this for a list of polarities.
Body as Unit
Moving the body as one unit, as one piece, in unity with itself. Much like the way a cat walks across the ground or floor, no part of the body is disengaged or "left behind". Body as Unit incorporates the whole body in motion; like the cat, the movements do not need to be large or dramatic to express unity of the whole body motion.
The following three questions are asked of oneself, one at a time for a few minutes each -- outloud or in silence: 1) Why am I here ? 2) Where am I going ? 3) Who am I now? These questions are asked to invoke somatic response, not any mental conclusions or answers. Somatic questions can help liberate the body's stream of impulses at the start of a lab session.
Moving throughout the space of the setting invested with a value, such as space as "sacred" or as "intelligence" or as "love". To communicate one's relationship with the space itself by the moment to moment way one moves through that space. A device for increasing spatial awareness and an asocial climate at the start of a lab session.
Time set apart for allowing the expression of redundant movement habits and predictable kinetic patterns towards their full exposure and acceptance. To expose and identify one's movement habits and cliches as the 'default setting' we fall back on whenever new movements cease to be discovered.
Any action, movement, sound, song or physical adjustment that increases the felt, palpable sense of one's own energetic presence. A device for generating a self-reflexive experience of one's own energy, "aura or field", of presence. This device can be applied to amplify personal presence at the start of a lab session.
Movement Vocabulary Work
1) Vertical; any movement limited to up and down directions. 2) Lateral; limited to any sideways movement. 3) Frontal/dorsal; any movement limited to forward and backward motions, tied together as one movement.
Human Systems: Movement Vocabulary Work, cont.
By sourcing a series of existing biological systems -- Skeletal, Muscular, Nervous, Respitory, Circulatory, Glandular, etc. -- opportunities present themselves for expanding the movement vocabulary beyond existing cliches and redundancies.
Idiosyncratic Motion: Movement Vocabulary Work, cont.
allowing whatever state you're in to dictate the expression of movements innate to that state; moving in ways innate to your own energy that cannot be duplicated or copied
The Movement Stretch
A technique for expanding range of motion by stretching the muscles while remaining in constant movement across the floor. The movement stretch reaches muscles often missed in a stationary stretching process. To expand range of motion, slow down and deepen moment-to-moment awareness while moving across the floor.
Aimless Wandering (wu wui)
Walking about the space without intention or any purpose beyond getting lost in a shuffle of aimless wandering.
Lying down on the floor and rising to a vertical stance using minimal effort, tension and resistance. The point of the rises is to expose any tendency to force or push a movement. The rises can encourage receptivity to the shift of gravity as a propellent for motion and achieving physical verticality with minimal effort. After reaching a vertical stance, we fall back to the floor and repeat the process. Rises should be performed at least five times from a different horizontal floor position each time we fall to discover new rising pathways to the vertical stance.
Various jogging forms are utilized as mediums through which to find or create specific devices, like a transition jog to "break trance" or a "heat jog" to raise body energy or "maintenance jog" to sustain the heat and presence previously accumulated. Some of the other jogging forms include"the No-Form jog", "the vertical jog" and "the non-directional and directional jogs".
The result of allowing any movement, sound, solo or group ritual process to fulfill its natural course to its end (without controlling or predetermining that outcome); to fully extend any direction to its natural outcome
Advanced level work ~ where a given source is expressed through actions and gestures articulating the innate purpose or function of that source. click this for more details
ADDITIONAL PARATHEATRE TECHNIQUES
USING SOUND AND SONG (from the Spring 2004 'Song As Vehicle' lab)
-- developed and compiled by ANTERO ALLI
and tested by Antero and Participants