by meghanleborious | Jan 12, 2016 | Notes on Practice
I had an urgent errand this morning, but it cooperated and I was able to make it to this Sunday’s Sweat Your Prayers class, which was taught today by Daniela Peltekova. Stepping into the already vibrant room, I happily greeted many friends, found a spot on the floor, and fell into circular movement.
Today I was exceptionally grateful to step into a 5Rhythms class. Being away for the holidays kept me out of classes for nearly two weeks. Also, during my time away, I attended a brief not-5Rhythms dance retreat. I wanted something satisfying to do for New Year’s Eve and the retreat seemed like a good option. Although I am not one to bounce around to many different spiritual practices, I remain receptive. If I find that if I am insisting on 5Rhythms, I know I am in danger of making a dangerous identity affiliation that could deaden my very vibrant relationship. The practice doesn’t need me to validate it. It speaks very much for itself.
In Maps to Ecstasy, Gabrielle Roth, the creator of the 5Rhythms practice wrote, “Identifying completely with one spiritual way is not spiritual freedom but imprisonment. You can’t see beyond it. You make the teacher a god, the teaching becomes absolute truth, and you end up unable to see the value and the meaning of anything else.” (184)
At the retreat, there were a number of people in attendance who had never in their adult lives danced. I was touched to witness their joy and awakening as movement began to unfurl. Despite how powerful it was for many people, I had a hard time getting into it.
One aspect of the retreat experience that is relevant to the writing I am doing here (this will make the most sense to those who read my last post about attending Tammy’s recent “Rhythms in Waves” workshop) is that the not-5Rhythms workshop included a huge dose of tribal-type exercises. That is to say, exercises that involve one person leading the group with a simple movement and the others following the movement. A bit like aerobics class, some might say. One of the dominant threads in that last post was how much I hate tribal exercises. I had to laugh, noting the irony. There were no easily-narrated, cathartic insights—only the universe insisting on a particular point it is trying to make.
Today’s class with Daniela, for me, began with a lot of joyful energy. Though I arrived fifteen minutes late, Flowing was still unfolding; and I continued to investigate the category of flowing movements that have been coming up for me lately. As I write, I realize that I have gotten good at this particular way of moving, and that it has lost some of its creative energy.
Staccato eluded me slightly during the “Rhythms in Waves” workshop last week, but today I found Staccato without much difficulty—at one point, bounding with angular front-and-back, diagonal gestures inside the joyful resistance the music offered.
A long selection of drum music somehow zapped me halfway through. I have a sore neck that has been constraining movement and perception and it started to exacerbate at that point.
In conversation with my (much adored) father on New Year’s Day, I reflected that you have to have deep faith in something in order to be transformed by it. For example, at the not-5Rhythms workshop I just couldn’t give myself over, and in part because of that, my experience was not deeply transformative. Maybe the biggest part of the challenge of transformation is finding something that deserves your faith. Faith, for me, isn’t a decision, but is rather an embodied process of inquiry.
January 3, 2016, Brooklyn, NYC
This blog consists of my own subjective experiences on the 5Rhythms® dancing path, and is not sanctioned by any 5Rhythms® organization or teacher.
by meghanleborious | Jan 4, 2016 | Notes on Practice
![image[2]](https://notesonpractice.com/wp-content/uploads/2016/01/image2.jpeg?w=300)
The first night of Tammy Burstein’s “Rhythms in Waves” 5Rhythms workshop at the Paul Taylor Studio on the Lower East Side followed an extremely unpleasant day in my own small life. I stepped into the high-ceilinged rectangular room, with its clean, metal theatrical fixtures and foot-scuffed black floor and immediately collapsed, touching my forehead to the floor, grateful to enter the charged space of dance, and looking forward to three consecutive days of intentional moving—hoping it would provide me with some kind of antidote.
The premise of the workshop was that we would investigate not just the “pure” five rhythms: Flowing, Staccato, Chaos, Lyrical and Stillness; but also that we would also investigate each of the five rhythms as it is intersected by each of the other five rhythms. For example, a Flowing wave (in 5Rhythms, a “wave” is the thing that is created when we move through each of the five rhythms in sequence) might have the following sequence: Flowing, Flowing-Staccato, Flowing-Chaos, Flowing-Lyrical and Flowing-Stillness. A Lyrical wave might consist of Lyrical-Flowing, Lyrical-Staccato, Lyrical-Chaos, Lyrical and Lyrical-Stillness. If this sounds confusing, maybe we could just say that the workshop was about investigating each of the five rhythms and their many nuances.
During the first wave of the workshop, I felt happy and connected to everyone in the room. I noticed that there were many brand new dancers and wondered if that would affect the “depth” of my experience. Asked to partner, we were instructed to verbally share what rhythms felt comfortable and what rhythms felt uncomfortable for us. I said that nothing felt particularly uncomfortable, though I noted a hint of disengagement in Staccato. Tammy offered, “Where it is uncomfortable, that’s really the site of inquiry,” letting her words sink in as her gaze traveled among the dancers gathered on the floor around her.
I continued to find it difficult to connect with Staccato—the rhythm of expression, of linearity, of boundaries, of clarity, of the heart—in exercises devoted to its exploration, though felt at ease in every other rhythm. My mind offered me, “I think I need to repair my relationship with Staccato.”
On Friday, I loved being in Chaos. I noticed that I was especially in the mood for songs in the category of Chaos with grating, bass resistance that drew me toward the ground and inspired dragging, weighted gestures. I danced with one of the brand new dancers and my questions about being in a workshop with so many new people dissolved. The new dancer and I entered into an ebullient Lyrical dance. I started with some of the gestures I have lately been investigating in Lyrical, then discovered some totally new ways to move, thanks to this wholehearted and enthusiastic partner. Next, I continued in Lyrical, stepping into a high-energy dance with an old friend, playing along with some of her favorite footwork that I have by now incorporated a version of into my own movement vocabulary.
We had tea. We danced another wave. This one ended with groups and repetitions, which I hated. We had to participate in a circle and each person had to offer a gesture the others would follow. I had a hard time picking a gesture when it was my turn. I was also resistant to some of the gestures offered by other dancers, and enacted some of them only reluctantly.
At the end of Friday’s final wave, we sat in pairs and were asked to take turns telling our own story of Chaos. I expressed that I had embraced and enjoyed Chaos during the evening’s work. I self-deprecated, saying “Maybe I just tend to be chaotic in my life,” then later circled around to my original statement, revising it, “I don’t know if it is that I am really so chaotic. I think I’m just really driven by creative energy. I hate structure. I hate the structures around me right now. I really just want to be immersed in creative work all the time.”
Saturday’s session began late. Most weekend workshops include a daytime session on Saturday, but in this case, due to scheduling constraints with the studio, Saturday’s session was from 5.15pm-10pm.
My five-year-old son, Simon, and I spent the day before the Saturday night session together. We set out to find a group of his friends in Prospect Park. Running late to begin with, we had a very difficult time finding the appointed place. As you may know, Prospect Park is big and rambling, and it can take a long time to get from one end to the other. The play area wasn’t on any version of the map, and I couldn’t figure out where to park. After much futile research, we took our best guess and headed into the park. We asked several people and no one knew what we were talking about. I was getting frustrated and feeling urgency, not wanting to let Simon down and fearing that his friends would have already gone home by the time we got there.
A gentle witness—an elderly woman on a park bench—inspired me to shift the frame. By then, Simon was getting upset, too, and I knelt down in front of him. “Listen, sweetheart,” I said. “I know we are having a hard time finding the play place. I’m getting frustrated, too. But I think we have to push the re-set button. We are in the park now. Let’s enjoy being in the park. We will still try to find our friends, but let’s decide we’re going to have fun no matter what.” We did shift, and as a result entered into a series of adventures and pleasant exchanges. We eventually found the visually discrete play area, which was tucked behind a wide field around some ancient trees that had fallen during a hurricane. Most people had already gone home, but Simon’s current favorite classmate was still there, and they were able to play together for nearly an hour.
Simon’s friend laughed when I used one of the many terms-of-endearment I have for him, “Pumpkin.” Walking back through the park, I asked him, “Simon, do you want me to not call you pumpkin around your friends any more?” “Mommy, you can call me that any time. You can even call me pumpkin in a big crowd of people and I won’t mind that at all!”
After an opening wave for Saturday’s session, in a formal discussion with a new dancer, I was asked to tell the story of my relationship to Flowing. I floundered about, beginning with, “If we really have no edges at all, no directionality, then Flowing is just air. There is nothing there.” This is a thought that has been with me for a long time now. Sometimes I feel like I need to apply just the tiniest bit of force so Flowing has responsiveness. This question is subtle and is not plaguing me, but it would be good to ask some teachers and practitioners to find out what others think. My partner offered me advice at that point, which was not in keeping with the construct; but I let it pass through me, neither leaning into it nor pushing it away.
Tammy proposed an exercise in which we partnered and alternated roles between “passivity” and “receptivity.” I stepped right into a dance with someone I find it hard to be receptive to, entering fully into the experiment regardless. “Passivity” felt uncomfortable—constrained, breathless, worried. “Receptivity” felt much more comfortable, but was difficult to enact, as I wanted to move toward and around my passive partner, which started to feel like crossing the line into Staccato, simply with the act of approaching. I noted with interest that I perceived that the passive partner was the one who drew the energy into himself, whereas the receptive partner inevitably seemed to move toward the passive one. I wondered about the implications of these insights for my relationships; and I absolutely loved moving back and forth between the two ends of this very particular continuum.
We moved in many different flavors of Flowing: Pure Flowing, Flowing-Staccato, Flowing-Chaos, Flowing-Lyrical and Flowing-Stillness. On this day, I particularly loved moving in Flowing-Chaos and found wild, uncontrolled spinning and dramatic, frozen suspensions.
We took a short break halfway through our Saturday night session. The producer had provided snacks and tea, which I gratefully gathered, then sat quietly in the massive bay windows facing a now-darkened Grand Street and the foot of the Williamsburg Bridge.
As we began the second wave of Saturday night—our Staccato wave—we entered into conscious inertia, the shadow of the rhythm of Flowing. I noted that I have a bias against inertia, and posed the question to myself, “Is there any positive aspect of inertia that I can let in?” I realized that inertia could be experienced as a kind of slow langor. At just that moment Tammy offered something about “moving in honey” into the microphone.
As we began to get into the Staccato part of the Staccato wave, my mind was deliberating on a work problem. I had a hard time shaking the inertia, as well. I had moments when I felt connected to myself and to the others in the room, but overall I wasn’t fully engaged and my energy was dipping. I remembered the previous day’s thought, “I need to repair my relationship to Staccato.” I reflected that my workplace structure causes me to suffer, and that I feel trapped and oppressed at the moment.
To explain a tribal exercise—when one person creates a simple gesture and a group of people follow it—Tammy pulled me forward to help her to demonstrate. She correctly read my resistance and called me out publicly, mimicking my gesture and naming it, saying, “That’s great! Do that again.” She was right. Tribal work is the least comfortable, least pleasant and least interesting category of 5Rhythms experiment to me at this time. Truthfully, I hate Tribal. Tammy explained that Tribal exercises are about learning to follow and learning to lead. Perhaps I have issues in these areas. I find it very hard to select one simple gesture when I am leading. It is like putting all my eggs in one basket. Choosing a favorite color. Flattening myself out to make myself easier for someone else to understand. When someone is leading, I grow bored easily with the many identical repetitions. I lose interest. I watch the clock. I also get irritated and don’t want to follow if I decide to believe that the person who is leading (and who I am following) is full of shit, for some reason.
Being enmeshed in a painful hierarchy at work might be a bigger factor than my inherent ability to lead or to follow. At any rate, I did my best. I felt no shame at being called out, nor at fumbling to find a gesture, but simply noted it. Tammy said we should each pause when we reached the other side of the room and turn to look at the phalanx of dancers moving toward us with our own created gesture and ask, “Did I create confusion or clarity?” My first go seemed to create confusion. The second go had more clarity to it, relatively speaking. Later in the workshop, when called to enter into another similar exercise, I willingly stepped up without hesitation, pushing myself, but feeling no less awkward or resistant.
Again and again the theme of needing to repair my relationship to Staccato emerged. To revamp my ability to create clean boundaries, untainted by aggression or insistence.
After the conclusion of Saturday’s final wave, we gathered briefly. One new dancer expressed that although she feels like she is very oriented toward Flowing in her life, she was surprised to discover that she could step right into Staccato on the dance floor. She wondered aloud if she might not also have the capacity to enact Staccato in her life. I love that next she asked Tammy if it is possible that dance could change how you are in life. I don’t think I could have formed a question like that in the very beginning! Such a very direct and staccato move, in fact. Tammy answered her sincerely, explaining that in her own experience, dance did just that. As things arose on the dance floor and she worked through them, she also started to change in her life off the dance floor. The new dancer seemed to like her answer, and nodded with a head-tilted look of concentration.
At the end of the session, I walked pensively to the car. Arriving home late, I did nothing but have a snack, make a few quick notes, and go to bed.
On Sunday, I headed to the Lower East Side with adequate time and no need to rush. Driving, I listened to a story on the radio that explored theories of the “multiverse,” a perspective that holds that time is not linear, as we often perceive it, but is instead curved and overlapping; and may in fact be occurring simultaneously in more than one dimension. According to the reporter, the multiverse did not start only with Einstein. The story traced the idea historically, beginning with a group of ancient Greek philosophers who believed that the entire cosmos was wiped out every 40,000 years or so, then every event, structure and being was exactly duplicated, and then enacted the exact same history until everything was wiped out again. And again. And again.
I stepped onto the dance floor quivering with awareness of the vast, unknowable cosmic mystery that is constantly unfolding around us. I lapped the room several times—exploring the perimeter, noticing things at the edges. As I write I realize that, too, when I was walking the perimeter of the dance floor, part of my intention was to help to create sacred space—a place where the false distinctions we inhabit can more easily dissolve to show us infinity and the fundamental truths of existence.
As Sunday’s wave opened, this time at noon, I found a totally new expression in Flowing. For months, I have been exploring a clock-like, radial, stuck-to-the-floor, folding-in-and-out-of-myself series of movements. Recently, these movements have gained lift and twist, becoming athletic and emphatic—with a strong influence of 80’s style breakdancing. On this Saturday, I also began to move back and forth from this radial series of gestures into a compressed, spinning little ball. Though we were just beginning the session, I was already sweating and breathing hard. It was almost like an interpretation of the early universe—when swirling dust began to coalesce as form—leading eventually to our earth and planets.
It is not uncommon to ask another dancer, “What are you working with lately in dance?” There is often a movement that presents repeatedly over a period of time. It might be a stuck memory working its way through. It might be an aspect of self that needs attention. It might be a hint of a different lifetime, or of a forgotten experience in this life. It might be a way of moving that simply feels correct at a given time. A movement itself might have something to teach us. As I write this text I ask myself, “Is there something this way of moving is trying to teach me?” My mind answers back, albeit cryptically, “As I learn to worship the ground, the entire universe opens up.”
Shortly after, I entered into an exercise in a group of three, in which we all experienced a shared event from our own point of view. The event involved one person dancing through each of the 5Rhythms in a wave and another moving in the rhythm of Chaos only. One of the trio members shared that witnessing the person in Chaos next to the person dancing an individual wave was like watching her younger self, when she danced huge all the time and felt very identified with Chaos. She also said something about “garbage” to get rid of. The other trio member shared that when one person in Chaos blazed with intensity she “Was like, enough already! Like if I had two kids and one had her ups-and-downs and the other was at maximum all the time, I would be like, that’s enough!” She also shared that she just wasn’t interested in dancing so hard any more. That it was just too much on her body.
I loved hearing their insights, but a little piece of me wanted to defend Chaos. Even as lately I have been more interested in investigating other rhythms, I note that I am still very identified with Chaos. I don’t think it is just about getting rid of garbage, but that, too, it can be about moving with full awareness in ever-changing, completely unpredictable circumstances. Groundlessness. Uncertainty. I think Chaos is a representation of the tangled, beautiful fucking mess of living—all that is in our exploding, relative reality. (And I love it for that. How do I love it for that!)
I noted with interest that while I was dancing an individual wave and another dancer was in Chaos with all the intensity she could muster, I had no problem with sharing space with her. At moments I felt concerned that she would exhaust herself, but, for myself, I was able to have my own experience. This was comforting to me, as I often fear that my sometimes-gigantic Chaos is just too much. I was happy to know that I was completely ok with offering space for another’s gigantic Chaos. It made me feel more at ease with myself, somehow. Maybe in letting myself be gigantic when it comes, I open the door for others to be gigantic when their time comes, too.
I circled back to Tammy’s guiding questions: What do the places we are comfortable have to teach us? What do the places we are uncomfortable have to teach us? I am very comfortable in Chaos and in the face of others’ Chaos. I am very happy within constant change. I love to be immersed in creative work. I love to be spontaneous, responsive, dynamic. The question of what the uncomfortable places have to teach me will have to be contemplated more over time. At this time, the rhythm of Staccato and tribal exercises seem to be the places that I find most abrasive.
We took over an hour for lunch on Sunday. I felt introverted, protective. I just wanted to be quiet and let the previous dances sink in. I ate the lunch I had prepared the night before, then settled into an edge of the dance floor to make a few notes and perhaps lay down discreetly in the dimmed room. Soaring birds in a big, curved pattern passed the light-filled high windows on one side of the studio when I happened to look up.
Unfortunately, one of the participants, who was also in the dimmed room, was listening to her headphones and began to sing loudly, a yoga-chanting type of number. I repaired to the area off the dance floor with the giant bay windows looking onto Grand Street. I sat next to an open pane, and unseasonably warm air, perhaps inspired by the El Nino current, drifted inside. Though it was just lunchtime, dusk was quickly approaching.
When the singing finally concluded I returned to the studio floor, leaning against a wall. I spent a few moments catching up with a friend, and found tears as I narrated my recent experiences, especially when I talked about work and the structures I am now immersed in.
In addition to dancing many waves during the workshop, the workshop itself followed the format of a larger wave, with early investigation of Flowing, then Staccato and Chaos. After lunch on Sunday, we moved into an investigation of Lyrical. I was weary, we were all weary, but somehow Lyrical still came through. I reveled in easy movement, smiling and connecting with many in the room. My hands caught fire, and then, too, my heart, burning a hole right through my chest to the back. My spirit entourage appeared, supporting me in every gesture as I moved intuitively, my hands still on fire.
This vision persisted through the workshop’s final investigation—of Stillness. I was so tired I left the room to eat a square of chocolate, hoping it would help to revive me, then returned to complete this final wave and to complete the larger wave of the workshop.
We ended in a semi-circle around an exquisite installation created specially for the workshop by Anahita Mekanik. It featured cantilevered ropes attached to the black velvet stage curtain behind it like flying buttresses, carefully selected texts, both ephemeral and weighed objects, and two graceful spirals, representing various aspects of each of the 5Rhythms—Flowing, Staccato, Chaos, Lyrical and Stillness.
“Movement is my medium and my metaphor. I know that if a wave of energy is allowed to complete itself, it yields a whole new wave, and in fact that is all I really know.” -Gabrielle Roth, Creator of the 5Rhythms
December 23, 2015, Brooklyn, NYC
This blog consists of my own subjective experiences on the 5Rhythms® dancing path, and is not sanctioned by any 5Rhythms® organization or teacher.
by meghanleborious | Dec 14, 2015 | Notes on Practice, Uncategorized
I arrived early to today’s Sweat Your Prayers class at the Joffrey Ballet, and stepped in to an already breathing room. Amber Ryan, who lead the class, played tonal, attenuated music and I langored on the floor close to one of the mirrored walls, moving in great circles, my body at times stretched star-like, finding circularity, my limbs and head threading around me and back into the arc of the circle. As Amber added a song with a touch of a beat, these pendulous motions gained lift and twist and lead into a group of energetic gestures that felt like breakdancing—perhaps inspired by four aging b-boys whose performance I witnessed during a walk through Times Square on Friday night.
Several times I bounded to my feet, then, finding myself at a loss, dropped down again to the ground. Finally, I gained my feet, and began to move through the room. As is often the case at this point, I saw and experienced the people I shared the room with, my movements being influenced by the gestures and paces of everyone around me. I was a little confused by the music at this point. I couldn’t figure out what rhythm Amber was indicating through her song choices; and I noted a slight lag in energy. I meandered to the edge of the floor again, and got back to the ground, re-connecting with the ground-level family of gestures that I had started the class out with.
There was a person in the room who was waiting for a project from me—a project I have had a hard time finalizing. I realized that as long as something is easy, it is no problem for me to jump in, but that once it gets harder and starts to take up more time, I start to lean back a little. Afraid, perhaps, of being swallowed by my many initiatives, and of losing contact with my own creative work in the process. I realized that there are hints of resistance all over the place in my life. Then, I had the tear-accompanied insight that 5Rhythms practice itself is one of the very few things in my life that I meet with absolutely no resistance. I am putty in its hands, truly.
I noted that I was slightly concerned that this person might be angry with me, and that I felt guilty for even being in the class instead of at home working on the project. I was tempted to allow my inner dialogue to defend me and make excuses. Instead, I decided to allow whatever the person was feeling, without even my own internal resistance, and simply resolved to make a sincere effort to deliver a final product today after class.
I danced worlds just inside the class’s first wave—what we call it when we move in sequence through each of the five rhythms: Flowing, Staccato, Chaos, Lyrical and Stillness. I connected with many new faces and with old friends, moving fluidly from one partnership to another.
My all-time favorite dance partner was there and together we moved into every outrageous extreme we could wiggle, burst, shake, collapse, spin, freeze or leap into. We alternated between surrender and the wordless exploration of all our edges—playfully facing our many characters and habits, even re-casting old explorations that we spent countless hours investigating in past dances.
I often get swept along when someone dances by me, and found myself following behind many dancers. One who I followed is a woman I am always very happy to see. She and I shared one of the most beautiful gestures of my entire 5Rhythms dance career. She is a white woman from Greenwich, Connecticut—a category of people that I sometimes feel resistant toward (though I am not far from that category myself). I followed her and she noticed me, turning around to smile and share a dance. Her heartful, grounded and welcoming presence brought tears to my eyes.
As Chaos began to transition, I moved through many brief partnerships, then found myself with a friend who I have shared many emotional dances with over the years. In Lyrical, I flied, sailed, and dropped to my knees; smiling and extending my arms to their limits. I was delighted with how I was moving, and had the thought that I would really like a video of myself right now, so I can have it when I am old. I went quite a ways into that planning—even losing myself in thinking of how I might present this idea to Tammy, who prohibits photographs or video during classes (maybe I could blur out all the faces except mine, maybe I could ask people on the way in, maybe I could agree to never make it public….) Just then the song changed and the lyric was something like, “Someday we will be old; and we will think about all the stories we could have told.” The synchronicity was remarkable. I started to cry, and to feel strong pressure on my throat. I let myself sob. My partner noticed immediately, showing up for me without trying to fix or adjust me. Next, I had the thought that when I die, I want two images to be included in the ritual—a photograph of me and my tiny, newborn son, sleeping on my chest; and a video of me dancing, at a moment when I am totally surrendered to the dance, to the universe, to all that is. That is how I want to be remembered someday. This made me cry more. And, too, soon after, I turned to the question of how I want to live, knowing that before I know it I will be old, will be facing death. Amber uttered one of her signature phrases into the microphone, “What is your intention?”
“Radical freedom,” my mind answered. Freedom from my self-imposed constraints. Freedom even within the constraints that arise—that I have no choice but to deal with (and that have been exceptionally present lately). I gently took the hand of my friend and tried to entice her to dance through the room with me, but we moved only a short distance, finding a still dancer with a frozen cry and dancing spontaneously around him. He quickly regained his motion, and soared off into the room. My friend stayed with me still, hugging me as I cried while Amber gathered the room around her and offered brief verbal instruction.
And that was only the first wave!
The feature presentation—live drumming—was still to begin. I lost myself completely in the layers of rhythm offered by Robert Ansell and Sanga of the Valley. In the past, I haven’t always been able to find my connection to live drumming within a 5Rhythms class, since I couldn’t find Flowing easily. In this case, however, the opening wave, Amber’s added DJ’ing and the subtle changes in rhythm and intensity lead me seamlessly through the wave. The entire room was alive. Spontaneous conjuctions of three, four, even five dancers arose and fell away as we responded to Robert’s big, steady drum and to Sanga’s skillful syncopation.
I just managed to catch the down elevator and encountered a friend inside. She shared that she had known Robert and Sanga for over thirty years, and that at one point during the class she had looked over at them, and had also seen a vision of a very young Gabrielle Roth—the recently deceased creator of the 5Rhythms practice, and also Robert’s wife and Sanga’s long-time musical collaborator.
The class unfolded in its own interstice in time, folding us all into it, collapsing the distinctions between us and between our own many selves. Then, I went home and did my best to finish my project; and after that, sat down to write.
December 5, 2015, Brooklyn, NYC
This blog consists of my own subjective experiences on the 5Rhythms® dancing path, and is not sanctioned by any 5Rhythms® organization or teacher.
by meghanleborious | Nov 30, 2015 | Notes on Practice, Uncategorized
I have had Amber Ryan’s “Examine Stillness” workshop on my calendar for over a year. When I first spotted the date on Amber’s calendar, I emailed her, thinking it was a typo. She responded, letting me know it would take place in 2015, not 2014, and that the date was correct. I noted it right away, and have looked forward to it since that time. I am dismayed and, indeed, angry, to report that I was not able to attend today.
I emailed the workshop producer yesterday to let her know that I would not be able to attend as I was ill, and, too, that I have to take a big test tomorrow afternoon and need to study. I am feeling slightly better physically, but the test still looms. I have been teaching Global History and English in a high school in Brooklyn; and (in part because of a clerical mistake) I recently learned that I have to take and pass several exams in order to continue teaching. The one I am facing tomorrow is a Math test. The test includes Algebra, Geometry, Trigonometry, Statistics, Functions and Calculus. I took remedial Math when I was an undergraduate, and struggled even then. I already failed the test once, but was determined to beat it this time, and have immersed myself in studying for the past several weeks.
I don’t know if I am writing now because I am taking a break or if it is because I have given up. I am still struggling to master high school Algebra, never mind the higher-level concepts I will surely encounter on the test.
Peter Fodera taught Tammy’s Friday Night Waves class this week. I was not feeling well, but decided to attend and move gently, giving myself permission to leave early if I needed to. Arriving to an already active room, I flowed right in, even feeling joy and excitement as I found a safe spot for my belongings and began to move in the collective field.
During that afternoon, I had found myself sobbing after two days of school parent-teacher conferences. I sat with a co-teacher, receiving parents of our shared students both Thursday night and Friday afternoon. I was happy to offer compliments and good news to some parents; and also offered targeted suggestions when called for.
More notable was what the parents and students were bringing to us. It doesn’t feel correct to publish the specifics, but the hours were filled with stories of death, illness, abuse, challenges and sadness. Too, they were filled with resolve and the intention to persevere and thrive, but what lingered in the air was the tone of pain.
After the final session had ended I saw a student in the hallway. He introduced the family member who had come to the parent-teacher conference to support him. Both my colleague and I had tried repeatedly to contact someone from his family without success, as we were concerned that he was not succeeding academically. I also know that his history is pocked with severe difficulty, by his own account. The student’s family member, who I had not even known about, professed great love and support. I was incredibly relieved that this kid had someone to look up to and to watch out for him. I know it is not professional, but I started to cry. I tried to turn away, but the student lingered. “I love you, Ms. LeBorious,” the student said, leaning over to hug me. I hurriedly sent them along to another teacher, shut the door to the room and broke down.
I was happy that I made it to Friday Night Waves class, despite not feeling well. I moved without any effort, relaxing into the music. Peter had been thinking about the Paris bombings; and he decided to select music with the theme of love in response to the events.
In the rhythm of Chaos, I alternated the pace of movement, slowing and softening—almost going slack, then bursting into a new flurry of gestures. I kept sneezing and blowing my nose, even in the excitement of Chaos.
I did not partner as much as usual, preferring to keep to myself. I felt more subtle than expansive, and more gentle than emphatic. I shared several dances, including with one of my favorite partners of all time, but in most cases disengaged after just a song or less.
After the first wave, I decided to take it easy and head for home. I knew I had left my water bottle in a particular spot; but I could not find it. I pawed through bags and jackets to no avail.
At the same time, Peter paused the music briefly to offer verbal teachings. He shared that he had been in Berlin the week before when the recent bombings took place in Paris. A close friend—another 5Rhythms teacher—was practicing alongside him. She was from Paris and had left her young child in another’s care to attend the Berlin workshop. She thought about returning right away, but in the end decided to stay in Berlin and dance.
Peter’s message was clear. You can always choose love. You can always make the choice to turn toward love, no matter what you face—even when there is great fear. Knowing a little bit about Peter’s personal story, this pronouncement has even more weight. He carries some heavy challenges, yet he smiles with his entire body, dances with everyone he encounters and seems, by all accounts, very, very happy. “That is one of the things I love about this practice,” he said. “You can fall in love with everyone! Why not? Why not fall in love with everyone?” He asked, smiling, holding both hands upward as his eyes moved around the room, making eye contact with the many seated dancers gathered around him.
I sit here writing, knowing full well that I should apply myself to studying, and at once feeling doomed. I will return to the studying shortly, but for now I have a little more to say.
I finally located my water bottle, which had been knocked off the end of a table and buried by piled-up coats and bags. I decided to stay just until the next wave started, to avoid being rude while Peter was talking. Then, Peter told us he had selected music with the theme of love (teasing himself a little—I guess for his supposed sentimentality); and I hung my things on the studio doorknob, deciding I would stay for just one more song. I was tired, but the music motivated me.
After the first song of the wave ended, I stayed for just one more. Traveling around the room, I passed a friend who was dancing on the floor—not wanting to put weight on a foot that was bound in a soft cast. I put my hand on my heart and met her eye by way of greeting, thinking I would continue to move through the room, but instead found myself pulled in to dance with her. In Flowing, we danced with increasing expressivity, never rising to our feet, but instead arcing sideways, spinning on the floor and undulating—smiling all the while.
With just 25 minutes left in the two-hour class I did finally leave, thinking I could at least get a little studying in before I went to bed.
The next day, I studied some more. I arranged for a friend to take my son for the afternoon, though Saturday is my only full day with him, and continued to study. Material did not seem to be sticking. In a way, I was trying to learn 15 years of Math in just a few weeks. I felt discouraged.
My five-year-old son woke up as usual before dawn, and, as he stretched his back and rose to consciousness, muttered, “Mommy, are four sets of nine thirty-six?”
That day, I studied some more. I re-did some practice tests and got many of the things I got right a week ago wrong this time. I started to entertain the idea that I might, in fact, not be able to pass the test. That I might lose my job. I even started to think about where we would move if I didn’t have a job and couldn’t afford the rent any longer. Anxiety took over. I thought of all the unfair, horrific events and deaths that have touched me in recent years. I thought of my son’s father—unemployed for far too long. I thought of losing my parents one day. By this point, my mind had completely taken over. I even started to feel anxiety about imagined, projected events of my son’s teenage years, which are still over a decade away.
Another thing that plagued me was that I couldn’t stop thinking about my 22-year-old friend—my son’s babysitter—who has been in a coma for three weeks. Thankfully, she is starting to regain her senses, but she is not communicating at all yet. I finally found out what had caused it—her doctors think she had a stroke. A stroke. I just couldn’t manage that.
By the end of the day, I started to see the tricks my mind was playing on me. I attended a yoga class, and, immersed in embodiment, found language for what I was experiencing. Simply put: fear. I was afraid and aversive. I was angry at the injustice of my situation. Slowly, I let myself open to the fear I was experiencing; and to the reality of the situation I was embroiled in. Really, it was just a slight shift of perspective. The only thing I have some measure of control over—really, when you come down to it—is how I choose to deal with what I have to deal with. Whether I am open to it or not, I still have to deal with this crazy test somehow.
As a result of opening up to my own fears, I noticed my compassion for other people in impossible situations. I felt compassion for the many teenagers I teach who try and try and cannot pass the difficult state exams required to graduate. I also thought about the many Syrian refugees—fleeing danger and violence and stepping into total uncertainty. People in abject poverty. People with terrible illnesses. And, too, all of the people in the exact same situation I am in—having to pass the Math CST test in order to continue teaching despite the fact that they don’t teach Math and have not been trained in the material. Opening to my own pain, and to everyone else’s, softened me; and I spent much of the class crying, with my forehead on the floor.
The anger that I had experienced initially toward an unjust system had dissolved completely; and I was reminded that the measure of my humanity is not just my ability to surmount obstacles and to set and reach goals—but is, too, defined by my ability to open to everything that arises in my experience, even when my circumstances seem impossible and the air seems filled with pain.
November 22, 2015, Brooklyn, NYC
This blog consists of my own subjective experiences on the 5Rhythms® dancing path, and is not sanctioned by any 5Rhythms® organization or teacher.
by meghanleborious | Nov 19, 2015 | Notes on Practice
A new friend came to the Friday Night Waves with me this week—her first 5Rhythms class ever. She and her son joined me and my son for dinner beforehand and we left them both in my son’s father’s care to travel by car to the Joffrey Ballet in the West Village. On the way, she asked questions about the 5Rhythms. I hoped I wasn’t giving too much away—remembering the considered prudence of the friend who invited me to a 5Rhythms class for the first time. On the way, I also filled my friend’s ear with bits of a long-storied history with someone very close to me—a history that has been begging for a new round of healing.
Even sharing bits of it flooded me with the chemicals of fight-or-flight. I felt it in my stomach, my legs. Shaky, small, and at once trying to make light of it. “Well, it is what it is,” I said aloud, trying to convince myself.
We arrived on time, finding a parking spot right in front of the Joffrey.
Kierra Foster-Ba taught Tammy’s class on Friday; and she offered no verbal instruction during the first wave, leading us only with the music she selected. “Where is the teacher?” my friend whispered. I motioned that we should step back outside the door to talk, then explained that she was the one sitting at the computer doing the music, and that we would hear from her eventually. It occurs to me now that my friend might have expected that the teacher would be in front of the class and that the students would face her. I guess I take for granted that the classes are multi-dimensional and dynamic—never settling into a permanent pattern, but instead shifting as we do.
We stepped back inside the studio, and my friend seemed to settle right in to the flow of the room. I moved away from her, thinking I should have explained beforehand that I wouldn’t stick with her during the class. She is very independent and empowered, so I wasn’t too worried, but it would have been good to mention that we would each have our own journeys.
The first wave lasted for three quarters of the two-hour waves class; and was, for me, characterized by massive movement—both physical and emotional. I shared extremely energetic dances with several friends. One was with a man who I have danced with often over the last few months—exploring allowing myself to be lead, resisting, pushing back, defending and confronting. Something about it made me uncomfortable this time—and I wondered if there was something in it of another close relationship that I struggle with (not the same one that I discussed with my friend in the car on the way).
I moved from that partnership into a dance with a very lyrical friend who I love to dance with. We used every possible level and orientation, twisting, spinning, strutting, our limbs emerging to the farthest edges of our orbit, then carrying us into the tiny compressed center of us. Playful, I spun, keeping eye contact with him by tipping backward toward him as my body revolved. On the floor, I worked every possible edge of my feet—even the tops. As the song changed, he backed away, smiling with his hand on his heart. I looked down and realized my foot was bleeding—not profusely, but not nothing, either. It seems I had disrupted an almost-healed soccer wound, barely noticing as I was so captivated by the dance.
I remained in a space of emphatic inspiration throughout the entire wave, becoming exhausted at moments, but slowing only briefly to catch breath. Staccato seemed to last for a very long time, and I found all sorts of new edges and approaches. I backed away from a dance with my new soccer-moving friend because I couldn’t sustain the intensity, fearing that I might actually faint. After, I wondered if the sensation that I might faint was just a result of sustained athletic intensity, or if it might be that some of the new fight-or-flight chemicals that had been recently lodged in my body were releasing, roaming free inside me before they passed out of me again.
Kierra gathered us after the completion of the first wave to offer verbal teachings. I moved toward my friend and sat down facing Kierra; and my friend rubbed my back affectionately, smiling, seeming totally at home. Kierra started by saying that anything she offers when she teaches is just an invitation—saying, “If it doesn’t feel right for you, then don’t take it on.” She said her suggestion for the night was that we consider dancing “from the inside out.” She reflected on a time five years ago when she had offered the same invitation.
Kierra shared a story of alluded-to intrigue, when she formed a strong intention not to be drawn into gossip. As the story unfolded, she shared that she eventually succumbed to the strong pressure to participate in the gossip flying around her. That night, she had to teach her weekly 5Rhythms class in Harlem. She felt physically uncomfortable—unsure of the source of her discomfort. In the class, she offered the invitation to “dance from the inside out.” As she moved, she got the message her body had to offer. As she explained,
“I love this work. This work is so amazing. It is so powerful. It is all because of the vision and commitment of one woman—of Gabrielle Roth. The body is very powerful. It really supports us. And I realized that when I formed that intention—to refrain from gossip—my entire body aligned to that intention. Even my organs, everything, were there to help me. And then when I fell away from that intention, the whole system went into a kind of chaos. And so I invite you now, to take on dancing from the inside out, to see where that takes you.”
She went on to say that we might even experiment with dancing the liver, dancing the spleen. This is a suggestion I have given myself many times over the years, especially in Chaos. I might seem to be relatively still, but am actually giving a particular organ a chance to release, to move, to express. I don’t think I have ever heard another 5Rhythms teacher offer it as a specific teaching. Kierra comes across as so grounded, so gracious in the objective world; and every time I am in a class she teaches, I have the sense that she also moves consciously in very deep waters.
Concluding the second and final wave, I stepped onto a lyrical amusement park ride with a friend who had greeted me on the way in to class with generous compliments about a post in this very blog. Energetic, high on my toes and lilting down, curving in and finding the outer edge of the ride, exquisitely connected, both of us beaming, and smiling—from the inside out.
After cleaning my bloody foot and putting a band-aid on the surprisingly small wound, I drove home with my friend who had attended a 5Rhythms class for the first time. I spoke a little less this time, and listened a little more, though I did discuss some of my experiences during the class, and narrated my current understanding of each of the rhythms, at her request. She shared her thoughts, including some emotional insights about her off-the-dance-floor life. She also expressed that she felt more courageous after the class. Getting out of the car, she said, “The other thing that came up was that…well, I am so used to moving like this,” she made a gesture of forward and back, “and like this,” she made a gesture of moving to the side, “but I forget about all of this!” She held her arms wide, looked up and around, behind, to the sides, moving dynamically. “This is not going to be her last class!” I thought.
The honor of bringing a new person, too, reminded me of the gigantic, unending gratitude I have for Gabrielle Roth, for the cherished friend who changed my life forever by inviting me to my first 5Rhythms class, and to the many teachers who have trained me—with countless words, gestures, suggestions and personal examples—how to dance from the inside out.
November 15, 2015, Brooklyn, NYC
This blog consists of my own subjective experiences on the 5Rhythms® dancing path, and is not sanctioned by any 5Rhythms® organization or teacher.
by meghanleborious | Nov 13, 2015 | Notes on Practice
I was lucky to attend two 5Rhythms classes this weekend, Tammy’s Friday Night Waves class, and Jason Goodman’s The 7th Wave class, which was taught this week by Ray Diaz.
I encountered no significant obstacles in arriving to Tammy’s class this Friday, and found parking right in front of the studio. I began on the floor, and noted an unusual tinge of inertia. That afternoon, I had been anxious—worried, it seems, about everything.
A group of emotionally-related stories tugged at the edges of my attention. The worst track was the fact that I had accidentally shut my small son, Simon’s, hand in a car door. I kept remembering his crumpled face—filled with pain—as he bawled. I felt terrible that I had literally caused him harm. I was picking him up early from his afterschool program to take him to an extra soccer practice; and I wondered if we should go straight to the doctor instead. I perseverated, reviewing every other time I thought I might have caused him harm—with intractability, with a sharp tone, with frustration, or, as in this instance, as a result of lapsed mindfulness. I am also very worried about a young friend, Simon’s babysitter of many years, who is in a coma now. I don’t know what happened, only that she is fighting for her life. The internalized voices of my many 5Rhythms teachers said, “Let the ground receive it,” and, beginning to move on the floor; I soon found my way into Flowing and to presence.
During the first wave, I moved joyfully. I shared several dances with my jaunty, soccer-moving, new friend. I tested out his moves both in dancing with him and as I moved around the room—jumping into crossed feet then spinning out of it, tipping sideways and kicking my foot to the side, bending my knee and drawing my ankle in, almost kicking my backside, then flinging the foot, led by the pressing heel into an almost comical sideways-moving gesture. I stepped into another dance with a friend who arrived late—a staccato connection defined by creative joy and specificity. Toward the end of the wave Tammy put on a song that had a jig in it, and I met another friend, smiling, bounding upward and sailing together through our intersecting arcs.
At the conclusion of the first wave, I imagined my own body hovering in the sky. The room was filled with blue, and white clouds lingered amongst our bodies.
Tammy did not pause for verbal instructions halfway through the class, as is her usual custom, but instead began another wave, just as we were finding our final expressions of Stillness.
During the second wave, my enthusiasm contracted, and I had a hard time with my thoughts. I kept wanting to put my forehead on the room’s center column and rock. I moved out of that gesture, but found it again moments later. Self-abuse overtook me. I sank to my knees, swaying, with my hands together and touching my forehead. A male dancer didn’t seem to notice me and almost stepped on me repeatedly as I continued to move away from him. Closer to Tammy, I began to bend forward and exhale, filling my cup-shaped palms with breath as I folded over my knees, saying “I’m sorry,” and “I forgive you.” I poured this breath over myself like it was water. Then, I started to release the breath from my cupped hands into the air. I realized that both expressions had run together; and I could no longer tell them apart.
At the end of the class, I lay with my forehead to the floor, crying with a pained expression, without catharsis.
On Saturday, I cast a net toward a couple of babysitters, thinking it would be nice to attend class. Simon and I were hosting my friend and her son; and we were having a beer at 7, when my roommate sent a text saying she was willing to babysit for the class that started at 8. I got dressed while our company played in the living room, then kissed Simon good night, dropped the friends off at their house, and made my way from Brooklyn to the West Village for class.
Relatively new 5Rhythms teacher Ray Diaz was teaching the 7th Wave class; and I got to experience his unique take on the 5Rhythms for the first time. I arrived twenty minutes late and stepped in during Staccato, nodding briefly to Flowing as I moved with the energy of the room, taking big, soaring steps. There were nine of us at the class including the teacher, so there was plenty of room to move. I played with alternating the big, soaring steps with tiny steps, foot over foot in a straight line, the shifting back into the giant, soaring steps.
After the first wave, Ray gathered us and told part of his own story. He said that when he first started coming to 5Rhythms classes, he would stay only for the first half of class, then leave. After several rounds of this, a 5Rhythms teacher caught him on the way out and told him to get his clothes back on and, “Get back in there!” Shortly after, he did a Heartbeat workshop where he found his feet for the first time. That was when he knew “this was it,” and he was able to stay for the entire class. (Interestingly, I have noticed that many 5Rhythms practitioners can point to a moment of great insight coming when they first “found their feet,” a First Communion of sorts.)
After his story, Ray explained the 5Rhythms wave. He emphasized Flowing throughout the narrative. After he told us about first finding his feet, he started to move in Flowing, and stated that in Flowing, you let the energy fill you up, starting with the feet. After a few moments in Flowing, he started to move into Staccato and said, “Then, once you are filled up with energy from the feet up, it starts to want to move out, it starts to take direction.” He exhaled sharply as he moved with staccato gestures. “But always with Flowing. Flowing is always with us. Sometimes when you get lost, you just go back into Flowing.” I don’t remember exactly what he said about Chaos except that it is about letting go again and again. I do remember his words and gestures about Lyrical—that suddenly something breaks through, and we find ourselves lightening up. Stillness, he continued, is when we let the breath lead us, and we move with whatever is left. I loved his emphasis on the trajectory of energy as he shared his understanding; and I found his way of explaining the transition from Flowing to Staccato particularly helpful.
During the second wave, I was more sedate. Perhaps because the beer I had before the class was wearing off. I had a great, ego-evading shake in Chaos, though. I noticed that my neck was a tender in some places, and that I was holding its muscles. I decided to let all of my edges go and, as a result, my neck was very released as I moved with great energy. When the music turned to Lyrical, I found flight. It felt amazing—I lit up onto my toes, waltzing backward, then arced down like a great kite, my fingertips grazing the ground and then the ceiling, as I turned in arcs, my head still totally released, following the rest of me for once.
In Stillness, reflections of the ballet bar across the room turned into a body of water. And to the young woman I love so much has been in a coma for two weeks now. I saw her in a boat in the middle of the body of water, bobbing slightly, looking back over her shoulder, her long, shining black hair curled about her shoulders. I beseeched her to come back, my eyes wide, hoping at once that this was my imagination and not a vision.
At the end of the class, Ray gathered us into a circle. He said, “A big part of the practice is that no matter what, you just keep moving forward.” He then asked us to take turns, each saying to the person next to us, “I release you. I release me.” The person on my right looked into my eyes and said, “I release you. I release me.” I turned to the person on my left and said, “I release you. I release me.” For a moment you and me stopped mattering—there was no separation.
Simon’s hand is fine now. Just a little bruise. I will be more careful shutting the door from now on.
“For a true spiritual transformation to flourish, we must see beyond this tendency to mental self-flagellation. Spirituality based on self-hatred can never sustain itself. Generosity coming from self-hatred becomes martyrdom. Morality born of self-hatred becomes rigid repression. Love for others without the foundation of love for ourselves becomes a loss of boundaries, codependency, and a painful and fruitless search for intimacy.”
-Sharon Salzberg, Lovingkindness: The Revolutionary Art of Happiness
Brooklyn, NYC, November 8, 2015
This blog consists of my own subjective experiences on the 5Rhythms® dancing path, and is not sanctioned by any 5Rhythms® organization or teacher.
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