As a movement analyst and a structure geek, I couldn't pass up the opportunity to make notes on how she organized the ritual (over the internet from CA!!) and what I saw transpire in the room. Below are my notes on the event and paraphrased ideas that Anna expressed. I wrote as quickly and accurately as possible, but paraphrasing was necessary.
This was made possible by some fabulous people at UMD and once I have that info, I promise I'll post it.
Anna Halprin PlanetaryDance Workshop on 10/27
2:00 Instructions from Faculty for the (about) 40 participants (Movement Integration, Ritual Dance class, other participants, faculty)
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3 Concentric Circles
o
Outer: Running clockwise
o
Middle: Trotting counterclockwise
o
Inner: Walking clockwise
o
Inside these circles: the drummer will sit. You may join him and pulse in some way. No
rotation.
-
Make an intention: who or what are you running
for?
2:15 Meet Anna and
begin Warm-up Exercises
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Gather in a circle. Say your name with a gesture. The circle repeats your name and performs
your gesture.
-
Send a clap around the circle keeping a constant
rhythm.
o
Try it without the aid of the drummer.
o
Try it again while stomping your feet
rhythmically.
o
Try it again with your knees bouncing.
o
Send it in the other direction
-
Anna says, “You, yourself are your own
instrument”
-
Warm up using polarities
o
Grounding – breathe out and get grounded with a
growl and pushing the person to your right
o
Uplifting sky – reach from your ribs, scapular,
each finger into the sky
o
Horizon – find where the ground and sky meet in
your body. The “horizon”. Draw a
diagonal line between your belly button and the bottom of your sacrum. Put a red dot in the middle of that line. That’s your middle. “Energy radiates from there”.
o
Swinging – bring your arms to the air. Let go.
Notice the swinging
-
Now try with head
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Feel the gravity in the drop, the inertia in the
swing, the force to return. More force makes a jump happen at the top!
Beginning with Running
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Anna explains what will happen
o
A volunteer will start to run. As she begins, she will state her intention
o
Intentions can be in memory of someone, or for a
cause like the safety of refugees
o
You can improvise during the run
o
The speed of the run is your choice
o
Add into the run and state your intention
-
A volunteer starts to run. As she begins, she states her intention
o
More people follow when prompted by Anna and
faculty
2:33 A few minutes into
the process
-
People are creating the inner circles of
trotting and walking and pulsing. They
are taking rests
o
There are smaller layers with clapping in the
center
Anna prompts the group to
add chanting and sounds as they enter the middle pulsing area
-
Faculty begin to add movement besides running in
the outer circle. Others begin to follow
them or follow the visual prompt
o
More complex layering starts
-
The circles begin to contract as the outer
running circle becomes less populated.
It expands as more people join
o
There is a concentration around the drummer
throughout this expansion and contraction
o
Windows begin to appear as people find places to
turn around to join another circle.
-
2 people become primary sounders
o
Others float in and out as occasional sounders
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Notes: polarities, grounding, breath, rhythm,
sounding
Observations:
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Moving Methods
o
Running circle: dancing, skipping, walking,
running
o
Trotting circle: skipping, slow jog, fast walk,
sliding
o
Walking circle: walk, strut
o
Pulsing middle: swaying, dancing in place,
clapping
-
Transition Methods: quick turns, sliding
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Rest Methods: moving to an inner circle, slowing
pace of movement, lessening frequency or intensity of core initiations,
lowering facial and body affect, finding less populated circles
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Space Negotiation
o
Establishing leaders
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Movement: 5 people emerge as leaders
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Sound: 3 people emerge as leaders
o
Finding running space, finding windows, filling
open space, not letting the circle disappear
2:45 Circles
contract
-
Down to 4-5 people at a time in the Running
circle out of about 40 people present
- 2 people emerge as new movement
leaders
-
One runner has knee impingement, this is
lessening flexion in joint and maybe preventing twisting in spine?
-
Pulsing crowd has expanded exponentially
2:54 Runners down to
0 for a moment. Back up to 1.
-
Walking circle speeds up to a trot and expands
in size. Is this to compensate for lack
of runners?
-
We lose 2 dancers out of the entire ritual to
fatigue
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Vocalizations slide down to the decibel level of
a conversation
2:58 Anna prompts Final Run and Gathering around Drummer
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Arms into air to gain levity
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Clapping near drummer
-
Anna
prompts everyone to slowly lower to the ground
o
Private Moment: visualize what you ran for.
Imagine it will come true.
o
“Close your eyes, lower your head, come inside
yourself”
o
See who or what.
Imagine it’s truth. “Do they have anything they want to say to you?
o
Stand and place your hands on your heart
o
Blow your breath into your palms. Burst/fling
your arms in the air with a “PAH!” to send the message into the air.
3:03 Form into groups of 4-5 people
-
Share what your intention was and how you’re
feeling now.
3:11 Time Check
and transition of people who need to depart for another class
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Appreciation shown to drummer
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Anna says “Thanks”
3:15 Question and Answer Time
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Q: Natural Elements within Ritual
A: I work very “objectively” with anatomy of individuals
o
Ex) movement of ribcage w/ trapezius
o
Ex) upper-lower connection and tone: touch your
sternum & touch your sacrum. Move one & feel the movement of the other
o
Ex) Partner back-to-back sitting: first person
bends forward and the second rests their back on first person’s forward
spine. Feel the open space between the
sternum & pubic bone. Now switch.
-
Q: Meaning/idea of the shape of the concentric
circles and their use in ritual.
A: "Tri" This has meaning in many
ways. It’s also physical; it
accommodates people’s physical range and endurance.
-
Q: Significance of the use of rhythm, chanting,
drumming.
A: Usually many musicians & singers participate. Music always adds inspiration
-
Q: Do you have any specific Memories that
inspire your work now?
A: Vertical Dance Company in Israel
o
Wanted to teach them a new creative process that
uses the dancers more: instead of setting choreography on them, using a score.
o
Also did a peace walk with women of all
different faiths: women walking in silent meditation for peace. Ended in dancing and singing
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Q: Elaborate more on HEALING component of work
A: We can use dance as a powerful healing force that participates with
the medical profession.
o
Be active in the use of imagery
o
Keeping body in good shape
o
Internally experience movement.
o
Go deep into your own body
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Q: What aspect of your career are you most proud
of?
A: I never thought of…
o
Planetary Dance: 46 different countries. Getting
more people moving that never had experienced it before.
o
Tamalpa Institute: Daughter continues it. Life as an art process. How does art relate to your life?
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Self Portrait Process: One week on pelvis, one
on arm and at the end, you dance your portrait
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Q: My class is in process of designing
a community ritual dance event with an altar.
What words of wisdom do you have for us?
A: Consider; what is your intention?
o
Ex) Help people with AIDS connect with their
community. This turned into a 10 day
even where each person brought a caregiver with them.
o
What do you hope to achieve?
o
How will it involve the audience and what role
will they have?
o
How do you develop a vocabulary that supports
your intention?
o
What is the community’s role?
-
Q: Why are altars effective?
A: They become a concrete symbol.
3:30 Goodbye is said with a “PAH” sent skyward
to Anna
