A sample class Intuitive Technique by Anandha Ray
This form was created to unlock the energy in every part of the body
in a way that opens the channels for creativity
and complete mastery of one's own body
in the poetry of movement.
Body Systems are the division of the skeleton into systematic organization of the joints. Each system is organized in a way that activates joints that are similar in nature.
Layering is the overlay of performance information that the dancer works with in the performance of the class.
Tribal Secrets are concise little bits of information that immediately change your abilities in dance.
Below is a transcript of a class Anandha taught,
divided into notations to describe the objective of each part of the class.
Body System 1
FIRST BODY PART OF SYSTEM 1
"To release into the movement medicine of Intuitive Technique you will begin with the long beautiful lines of the toes."
DIRECT CREATIVITY IN MOVEMENT CHOICES:
"Move those beautiful long toes in space, keeping the energy flowing as if the toes are shooting laser beams through space… in the air, on the floor… The toes begin to speak and the rest of the body listens and reacts."
BEGIN TO EXPLAIN HOW THE BODY COMMUNICATES:
"So there’s a conversation happening in the body, the toes are telling their own story. They have permission to express. What will your toes tell you today?"
"Move the body in ways that you might never have before, surprising yourself with movements that you didn’t know that you knew, movements that might surprise you that you can do."
ENCOURAGE MORE CREATIVE EXPLORATION:
"Toes can travel through space, toes can travel in the air, toes can relate to other body parts…"
ADD SECOND BODY PART OF SYSTEM 1
"Keeping our focus on the long beautiful length of the toes, let’s add the nuanced movements of fingers. Fingers and toes are joints that move quite similarly."
KEEP THE FOCUS ON THEBODY COMMUNICATING
"There is an emotional expressiveness that only fingers and toes can reveal. No other body part can speak this."
ENCOURAGE CREATIVE EXPLORATION
"There are so many movements possible, so many things that the toes and fingers can reveal to us."
THIRD BODY PART OF SYSTEM 1
"Let’s begin to add the top of the head, and now we have the five most peripheral points of the body: the starfish of the body; toes, fingers, and top of head moving through space. Coordinating the whole sum of the body through the most peripheral edges, the most external periphery."
LET THEM EXPLORE FOR A WHILE
BODY SYSTEM 2
FIRST BODY PART of SYSTEM 2
"Now let’s begin to bring our awareness to the level of the ankle,"
INSPIRE CREATIVE EXPLORATION
"…the joint of the ankle as it flexes, extends, supinates, pronates, rotates… such a wide range of action is possible in this complex joints."
"With the ankle leading, the way you will notice that your movement expression changes. And the body reacts, because the ankle, and only the ankle, can express these particular things."
BODY PART 2 in the SECOND SYSTEM
"Adding to the ankles the wrists…"
INSPIRE CREATIVE MOVEMENT EXPLORATION
"…notice the remarkable similarity of the ankle and wrist. They both flex, extend, supinate, pronate and rotate."
"And now it is as if the body has begun to speak a different language."
BODY PART 3 in BODY SYSTEM 2
"And adding to this the back of the neck, at the very top, the atlas and axis joint… where the head is suspended on the very top of the vertebral column. You will notice there is a similarity to that joint as there is to the action of the wrists and ankles."
ENCOURAGE CREATIVE EXPLORATION
"This joint bends and extends, turns plus it can nod, slide side-side and circle. Like a bobble head!"
"Let’s begin to play with the element of time. We being to recognize time in it’s most abstract form, the slowest possible, slow movement, and the speeding quick movements that rapidly express themselves, and the full range of time between so that we are never stuck in one time signature but we can pass through pedestrian time to the very slow, and the very quick."
EXPLAIN HOW TIME EFFECTS MOVEMENT COMMUNICATION
"You will begin to notice that from an audience viewpoint it is this exact thing, the change in time, that causes us to sit rapt at attention.
The human instinct to survive is keyed in to notice that thing which is different form all others. So if we dance in one time signature the audience can go to sleep. But if we change that time signature and we allow our gestures and our movements to be rich with slow and fast and all of the time signatures in-between, we have an ongoing conversation that keeps the audience on the edge of their seat."
Body System 3
BODY PART 1 of BODY SYSTEM 3
"Moving into the knee joint, that beautiful hinge joint."
INSPIRE CREATIVE MOVEMENT EXPLORATION
"Flexion and extension and when bent the knee can add tibial rotation, the rotation of the lower leg. The knee can lead the way in space, the knee can support you weight."
"The knee brings in a whole new way of communicating through the language of movement. What does the knee have to say? How is it different form other joints?"
BODY PART 2 to SYSTEM 3
"We’ll add to the knee, the elbow. Also a hinge joint."
ENCOURAGE CREATIVE EXPRESSION
"This joint bends and extends, and when bent can allow supination and pronation; the rotation of the lower arm."
"And become aware of how the knees and the elbows move in space, in proximity to each other and the body. Try moving them close and near in to the body, and then far away from the body. Try moving so far away that it takes the body off center."
BODY PART 3 to BODY SYSTEM 3
"And adding to this the joints of the neck. Seven joints that move the head through space."
"Moving the head far off the center of the body. Proximally near and far, close to the body and extending as far out, away and as off center as possible."
"In a conversation with the knees and the elbows, what does the expression of the neck add to this conversation?"
"Let’s add to this the element of tension. Tension being the bound energy that works all the way to the most release, collapse energy. Bound being so tense that there is no movement… collapse being so released that there is no movement… and everything that’s in-between. Bound energy that flows through space, collapse energy that flows through space."
TRIBAL SECRET of THE POETRY OF THE BODY (movement communication)
"Allowing the combination of bound and release energies to change the way that the body is speaking, combining this with the element of time, so that tension and time work together with the body in space to create the full expressive capacity…the ability of the body to communicate through movement. The manipulation and full expression of time, tension and the body moving in space, creates the poetry of the body."
Body System 4
BODY PART 1 of BODY SYSTEM 4
"And let’s add the leg… the leg separate from the pelvis."
INSPIRE MOVEMENT EXPLORATION
"The leg that moves in space while the pelvis holds still, the leg that can swing like a pendulum. The leg that can be moved through the air."
TRIBAL SECRET OF SWINGING REVEALED (turns and jumps)
"Notice that if we swing the leg around in a horizontal circle our body turns. That swinging action of the leg, the weight of the leg, allows the body to follow the gravity of the leg in a technically perfect, released, beautifully smooth turn! Begin to notice that the swinging action of the leg can also bring us up into space, into the air! The swinging action can release you from the ground the perfect technique for jumps. With very little energy the swinging action allows the body to turn perfectly, and take flight."
BODY PART 2 OF BODY SYSMTER 4
"Let’s begin to add the arms so that now the arms and the legs are swinging through space."
"As the arms and legs swing they can move the body effortlessly, in turns, and in the air. And then begin to experiment with slicing actions… and the straight and curved lines in space that the arms and legs can make."
"With full use of the elements of tension and time, so that the body is constantly communicating, telling its story, telling us things that our words couldn’t say."
BODY SYSTEM 5
BODY PART 1 OF BODY SYSTEM 5
"And let’s begin to move into the pelvis girdle. The beautiful large bones that connect the legs to the rest of the body."
ENCOURAGE CREATIVE EXPERIMENTATION
"The pelvic girdle that can move through space, with so many wonderful muscles attaching to it that the types of isolations possible with the pelvic girdle is phenomenal. Side/side, up/down, front/back, the pelvic girdle alone can amass tremendous amounts of movement. Explore the possibilities. Things you many have never seen, never felt, playing profoundly with tension and time, allowing the pelvis to be sharp or to be smooth, to be quick or to be slow."
"What can the pelvis express that no other body part can?"
BODY PART 2 OF BODY SYSTEM 5
"And adding to this the shoulder girdle, which much like the pelvis has a wide range of expression."
"Each shoulder, up/down, forward/back, diagonal, in lines, in circles, so many isolations are possible. There are so many beautiful isolations possible… the most minute of muscles cause movement in the pelvis and in the shoulder girdle."
LAYERING THE ELEMENT OF TIME INTO MUSIC INTERPRETATION
"Allowing these things to play with the music rather than follow it, to accentuate it, to find the syncopation, to have a dialogue. The music creates an environment for us to play in. It is the accompaniment to our dance, rather than the dance being guided by the music. Find the syncopation, play with the underlying rhythms, move slow when the music is fast… be creative in your interpretation of the music and the audience will hear the music differently."
BODY SYSTEM 6
BODY PART 1 of BODY SYSTEM 6
"And moving into the spine, where the spine becomes the serpent of the body. The entire spine from the sacrum to the top of the head as if it is a serpent leading the body through space."
"A serpent that can lead from the sacrum or form the top of the head. The rest of the body responding to the movement of the serpent. Serpentine energy moving through the body, causing the rest of the body to react. Awakening the energy at the most central core of the body."
"Still aware of the elements of time and of tension and allowing the body to communicate. The serpent speaking in the serpent’s language. What will your spine reveal to you today?"
BODY PART 2 OF BOSY SYSTEM 6
"To the spine let’s add the ribs,"
"…so that now the ribs begin to move in space, up/down, side/side, slow/fast, sharp/smooth"
"…the ribs begin to tell their story. The ribs begin to reveal. What will they reveal to you today?"
"With your awareness on the core level of the body, allow that energy of the core to begin to explode out into space, so that isolations from the center of the body then travel through the body all the way to the fingertips and the way to the toes, all the way to the top of the head. And experiment with the reverse of this as well. Let’s start on the external edges and travel inward, all the way to that most internal space; the fire inside the body. The most external initiation of movement from the tips of the head the tips of the fingers the tips of the toes coming inward through the body to land inside in a core isolation. Clearly manipulate isolations that extend outward from the core, or inward form the periphery, and travel through the space of the body."
"Vary the tension and vary time; the smallest isolation in the center of the body travels through the body out to the most external edge with nuances of expression that bring tears to the eyes of the viewer."
LAYERING FLOOR WORK
"Taking a moment now to become aware of the weight of the head, as the head begins to lead the body through space. So the head travels first in a direction and the body follows. And as the head goes off center of the body you will find ease in level change. Taking the head off the center of the body allows us to sink to the earth and flow and melt onto the ground. And then taking the head off the center of the body allows the body to rise effortlessly. Keeping the head off center, keeping the vertebra off of the center stack so that it’s completely asymmetrical off center as you move in turns, as you move to the ground, as you rise from the ground. Become aware of the ease that is created by keeping the head off center as we travel down to the floor and rise effortlessly."
"For a moment move into free style movement, movement that the body calls forth. Whatever at this moment your body needs, your body speaks to you and allows you to understand. Listen. Hear. Know what the body is speaking. Know with your feelings. It is what we call the Silent Knowing… feel with your intuition, and not words. Not analyzing, but knowing."
"Use the variances of space, tension and time to allow the body to communicate to you. Those are the elements that allow us to communicate to our audience through movement."
"The three elements that define the way that movement communicates to an audience: TIME, from the slowest slow the fastest fast, always surprising your audience… and TENSION, from the most bound to the most release energies, mastering the nuances of energy… and SPACE, then nearest near and the farthest far, moving on the floor and in the air, moving through space and while standing still. These are quite important nuances. Interspersed large motor movements, large body movements, grand movements, the whole body moving in space, juxt-a-posed with small nuances of movement."
"Full control in the absolute understanding of time and tension and brings us the full joy of expression, whether that expression is sorrow or elation.
You have now honored every joint in your body, allowed it to release blocked energies, and to reveal what it has to express today."
"Notice how you feel."