ALTERED STATES OF KNOWING:
States of consciousness experienced in dance where the metaphysical appears to intersect with the physical.
DANCE LANGUAGE:
A way to communicate the unspeakable as experienced by the body in danced motion through space. A way to speak about what I encounter in the dance through the language of dance and through the written word. The foundation for a corporeal theory. Speaks about a sense of belonging to and being a member of a larger corporeality that exceeds the limits of the boundaries of my skin. A way for a potential humanity to reveal itself. A way to communicate a journey into incarnation. A process of consciously transforming what passes through the body unconsciously.
PSYCHOPHYSICAL RESONATING SPACE:
Refers on a micro psychobiological scale to the inner spaces of an individualized entity of a dancing human being where the energy and sound of movement can pass through. On a macro cosmological scale, mind or consciousness or spirit reach beyond the individualized psychophysical entity of the human being towards the transcendental and metaphysical realm. Through the inner spaces of the dancing body the movement of the dance enables a resonance between the inner spaces of the dancing human being and the vast spaces of mind, spirit and consciousness.
REAL:
The reality of the body is the first place of resistance to the dance. Openings towards the real experienced through the dancing body hint towards a zone of non-resistance coming forth from within the resistance of the physical body, creating a space for an experience of the sacred.
SUBTLE BODY:
An idea about human physiology that synthesizes metaphysical and spiritual dimensions with the physical reality of the human body. Differentiated yet interpenetrating layers of the subtle body can also be conceived of as a mind-matter continuum that encompasses different degrees of matter-consciousness.
CORPOREAL THEORY:
Corporeal nonverbal and verbal reflections on dance experience articulated from the first-person perspective.
CREATIVE INTERFACE:
The dancing body understood as a vehicle for perceiving and communicating dimensions of being where the metaphysical and the physical intersect. Through a dialogue between the conscious awareness of the dancer and the spiritual-corporeal intelligence of the body (hypothetically rooted in the somatic unconscious) movements triggered by experiencing fields of intersection between the physical and the metaphysical are transformed into a dance language.
DANCING BODY:
A creative interface that participates in the physical and the metaphysical and that draws them together through the medium of dance. A psychophysical resonating space animated by the dancer in motion through space. A research laboratory and vehicle for enhanced perception. The dancing body generates a state of suspended intuitive judgment. An animated vehicle for perception that appears to be in touch with realms of being that extend far beyond its corporeal boundaries. An interface between spirit and matter.
EMBODIED GNOSIS:
Suggestive of a process of entering and deepening a state of knowing-being in dance, where a blending of sensory as well as supra-sensory qualities of experience permeate and transform the corporeality of the motions of the dancer. A psychophysical state that hinges towards the numinous. Suggestive of a metaphysically transcendent, yet also physically immanent layer of an experienced reality that underlies and connects apparently contradictory facets of experience. A radical opening towards the unknown, with trust.
IMAGINAL:
A place and state of knowing-being suspended between the sensorial movement logic of a dancing body and a supra-sensorial faith in – and at times gnosis of - an unseen, yet intuited immanent and transcendent divine or sacred realm of being. An artistic adoption of the term imaginal coined by Islam scholar Henry Corbin. It is distinct from the imaginary by giving an ontological status of reality to a specific level of being and knowledge. In oriental theosophy this level is the world of the soul and of souls and is situated in between the intellectual world and the sensible world.
POLYPHONIC BODY:
A multilayered, sensory-suprasensory creative vehicle that draws known and unknown, dense and subtle layers of being together through altered states of knowing.
It speaks through different textures of psychophysical tonalities characterized by different degrees of intersection between the physical and the metaphysical.
ATTUNEMENT:
Intentional orientations for corporeal consciousness. Intended to cultivate and intensify a sense of proximity with a creative source and a sense of the real. Enables the dancing body to recognize and to stabilize its ability to create, to perceive and to communicate subtle yet profound dimensions of being and experiential reality. Oriented towards a unifying state of being that blends and transcends opposite ends of a spectrum towards a region of experience that participates in both aspects of a polarity pair yet overcomes their strict distinction through altered states of knowing. Psychophysical preparation to enable an experience of embodied gnosis.
DANCE:
A non-verbal corporeal movement towards the unknown in a constant state of becoming. A dynamic and poetic exchange between different degrees of consciously inhabiting the body and the unconscious spiritual-corporeal intelligence of the body. An inspired way to be in the human body. A positive spiritual force that animates the subtle and dense matters of the body. A monumental movement that disrupts inertia and that surrects the matters of the body.
SPIRITUAL CORPOREALITY:
Cultivating a specific quality and texture of corporeal consciousness through attuning intentional orientations as a practice of maintaining contact between the everyday world and a psychophysically intuited metaphysical source of being, life and meaning (partially based on a definition of a spirituality by Wouter J. Hanegraaff)
Encompasses movements on a spectrum ranging from the gross materiality of flesh and bones to the more subtle materialities of thoughts and words.