Me:
I find it very difficult to hold my line without having some sense of being in service.
Otherwise it's like walking the plank off a ship and falling off into the sea.
I was very struck by Alex's session and finding the edges of a movement and finding its meaning and then narrowing it down until I can remember it and repeat it.
And I was struck my Kristina's session which started from moving with the trees and plants as my teachers, which is what I've been doing in going out very early in the mornings to walk and move.
I want to keep exploring the land around where I live.
Intention:
I'm going to continue going out regularly to the wood and the fields at Westhay, narrowing down my attention and just see what happens.
JK:
What I have to offer is precious. But when I take it into a work setting it won't be treated as such.
Can I risk taking it into a work setting?
Before I can embody the movement and my Eastern roots in a work setting, I have to believe it myself.
I don't know how to do that.
Feedback
You do know how to do it. It's like crossing a stream. You know how to do it, you just have to dare to do it.
There's a transmission from your body that you can trust.
Intention:
I'd like [some of] us to meet again if you would be prepared to help me explore how to take elements of this into two training modules I am running with organisations this Spring.
JM:
I find it very difficult to put myself in the space.
I have a sense of being wrapped around with something that keeps me held away.
[Does an arms wide starburst movement].
That movement is terrifying.
In Jules's session, everyone had equal value, so I felt safe. But I make comparisons all the time.
In the performance sessions my sea anemone clenched.
I am so comfortable with the senses, but I never got a chance with the imagination.
I wonder which track to follow:
The juice of the senses or the difficult path of the imagination?
I could join an amateur dramatic group but I want to attend to the nuances in writing and speaking and putting myself in all sorts of spaces. It feels like a risk. Writing can be so solitary.
Feedback
There is something about specialness and ordinariness here.
Intention:
I'm going to find more then one way to explore imagination with others
I find it very difficult to hold my line without having some sense of being in service.
Otherwise it's like walking the plank off a ship and falling off into the sea.
I was very struck by Alex's session and finding the edges of a movement and finding its meaning and then narrowing it down until I can remember it and repeat it.
And I was struck my Kristina's session which started from moving with the trees and plants as my teachers, which is what I've been doing in going out very early in the mornings to walk and move.
I want to keep exploring the land around where I live.
Intention:
I'm going to continue going out regularly to the wood and the fields at Westhay, narrowing down my attention and just see what happens.
JK:
- I can see/find the preciousness and value in others but find it harder to acknowledge it in/for myself. I want to be able to acknowledge and own how precious this movement work is in me and for me.
- I wonder how to bring in my Eastern roots.
What I have to offer is precious. But when I take it into a work setting it won't be treated as such.
Can I risk taking it into a work setting?
Before I can embody the movement and my Eastern roots in a work setting, I have to believe it myself.
I don't know how to do that.
Feedback
You do know how to do it. It's like crossing a stream. You know how to do it, you just have to dare to do it.
There's a transmission from your body that you can trust.
Intention:
I'd like [some of] us to meet again if you would be prepared to help me explore how to take elements of this into two training modules I am running with organisations this Spring.
JM:
I find it very difficult to put myself in the space.
I have a sense of being wrapped around with something that keeps me held away.
[Does an arms wide starburst movement].
That movement is terrifying.
In Jules's session, everyone had equal value, so I felt safe. But I make comparisons all the time.
In the performance sessions my sea anemone clenched.
I am so comfortable with the senses, but I never got a chance with the imagination.
I wonder which track to follow:
The juice of the senses or the difficult path of the imagination?
I could join an amateur dramatic group but I want to attend to the nuances in writing and speaking and putting myself in all sorts of spaces. It feels like a risk. Writing can be so solitary.
Feedback
There is something about specialness and ordinariness here.
Intention:
I'm going to find more then one way to explore imagination with others
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