Ellis Simon, Losing oneself project, Coventry univ
A research project investigating the phenomenology of dance improvisation in dialogue with research into nonduality, flow, interoception and
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@performanceperform
Ellis Simon, Losing oneself project, Coventry univ
A research project investigating the phenomenology of dance improvisation in dialogue with research into nonduality, flow, interoception and

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Plant whispering
“Plant whispering is understanding the language of plants. It is being able to discern something within you change when you see a flower, taste a herbal tea or sit under a tree. And to understand that the change within you is a response to the plant. This is communication. This is being able to notice the whispers that the plant is putting out into the world. To notice them, and from them be able to understand a little more about that plant itself, but also how the plant affects you. Plant whispering can also be taking that basic level of communication further. It can be asking a direct question, receiving a direct response and understanding the meaning.”
from “Rewilding & the art of Plant Whispering” by Rachel Corby
Database of works, references and notes by Dorota Michalak // dance _ mesh _ choreography _ practice
Database of works, references and notes by Dorota Michalak // dance _ mesh _ choreography _ practice
Félix Guattari’s notion of the “three ecologies” takes on new urgency; it presents an attempt not to think of the environment, social relations, and mental processes—or ways of subjectivation—in isolation, but to analyze them in terms of their mutual connections. In light of the environmental crisis, an intensified conflict between labor and capital, and the resurgence of totalitarian subjectivities, what is at stake today more than ever are the “transversal” connections between the three ecologies.
This is a laboratory for dancers/performers who want to deepen their practice of real-time composition to widen their own language, disrupt familiar patterns, and sharpen the art of risk at the edge of structure.
First, We Arrive In The Body. Then, The Body Listens Into Form.A 5-day research-based training in somatic movement and real-time composition

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https://paleohori.com/events-posts/rest-in-motion-dance-somatic-movement-lefkada-greece/
https://docs.google.com/forms/d/e/1FAIpQLSdVu9SbXvPVmxh9Qn2eOz5XgW8VY3DFDTlgWJrpJbXSw4QrDA/viewform
Marina Tsartsara introduces her Somatic Art Practice® (SAP®), an interdisciplinary approach that weaves together somatic inquiry and artistic creation.
Focusing on fascia and the relationship between rest and activity, this cycle explores:
• support, elasticity, and responsiveness in the body
• how movement emerges through connection
• how perception and expression are shaped somatically
Participants are invited into a space where movement, drawing, and sensing intertwine, opening new pathways of awareness and creativity.
Practices and explorations
• Somatic perception and awareness of movement—on land and in water
• Experiential anatomy: nervous system, fluids, and embryological development
• Somatic listening, deep perception, and sensitive movement
• Dance improvisation, relation, and embodied expression
• Integration of movement with artistic practices (drawing, writing, visual media)
• Movement in relation to others, space, and the natural environment• Heart Circles and shared group process
Embodying Developmental Memories – a marine workshop with Eleonora Parello • August 19 – 26
Eleonora Parello invites participants into a site-specific journey between land and sea.
Inspired by Body-Mind Centering®, this cycle explores:
• fluidity and early movement patterns
• the body’s relationship with water
• sensory awareness and embodied memory
Through gentle guidance, participants engage in a process of listening, sensing, and playing, discovering new ways of moving and relating — within themselves, the group, and the living marine environment.
shiatsu
http://somework.be/pages/SHIATSU
TRADITIONAL CHINESE MEDECINE PRINCIPLES (TCM)
1- Interconnectedness A system is comprised of everything that creates and sustains it. Everything is interconnected and interdependent. If all of the parts of a system are in harmony with one another, then the whole system is in harmony. Disturb one thing and you create a disturbance that ripples through the whole system. This principle applies to any and all systems. For example, it applies as equally to a human being as it does to a family, community, or the environment. Any system that is in harmony tends towards health, wellbeing, and sustainability. A system that is in disharmony tends towards illness, disease, suffering, and collapse.
2- Qi ("Prana" in Sanskrit) QI is the unseen life force in the body and everywhere. It is universal. It embraces all manifestations of energy, from the most material aspects of energy (such as the earth beneath your feet, your computer, and flesh and blood) to the most immaterial aspects (light, movement, heat, nerve impulses, thought, and emotion). A healthy (and happy) human being is a dynamic but harmonious mixture of all the aspects of Qi. Qi is in a state of continuous flux, transforming endlessly from one aspect of Qi into another. It is neither created nor is it ever destroyed; it simply changes in its manifestation. When cultivated, QI can be used for healing, breaking or self defense purposes. All true strength is a product of Qi rather than muscles.
3 - Meridian A meridian is an ‘energy highway’ in the human body. Qi energy flows through this meridian or energy highway, accessing all part of the body. Meridians can be mapped throughout the body; they flow within the body and not on the surface, meridians exist in corresponding pairs and each meridian has many acupuncture points along its path. The term ‘meridian’ describes the overall energy distribution system of Chinese Medicine and helps to understand how basic substances of the body (Qi, blood and body fluids) permeate the whole body. The individual meridians themselves are often described as ‘channels’ or even ‘vessels’, which reflects the notion of carrying, holding, or transporting qi, blood and body fluids around the body. It is tempting to think of the meridians of the human body the same way as we think of the circulatory system, as the meridians are responsible for the distribution of the basic substances throughout the body just like the circulatory system, but here is where the similarities end. Conventional anatomy and physiology would not be able to identify these pathways in a physical sense in the way that blood vessels can be identified. It is more useful to consider the meridian system as an energetic distribution network that in itself tends towards energetic manifestation. Meridians can be best understood as a process rather than a structure. There are twelve main meridians, or invisible channels, throughout the body with Qi or energy flows. Each limb is traversed by six channels, three Yin channels on the inside, and three Yang channels on the outside. Each of the twelve regular channels corresponds to the five Yin organs, the six Yang organs as well as the Pericardium and San Jiao. It is important to remember that organs should not be thought of as being identical with the physical, anatomical organs of the body. Each meridian is a Yin Yang pair, meaning each Yin organ is paired with its corresponding Yang Organ: the Yin Lung organ, for example, corresponds with the Yang large intestine.
4 - Yin and Yang In the Chinese perspective, given the importance of "taking everything as a whole," all things are relative. A thing can be understood only in relation to something else. This is the essential idea behind the use of the terms yin and yang. These terms used to describe relative opposite qualities or manifestations of Qi. If yin is form, then yang is function. If yin is material, then yang is immaterial. Yin refers to aspects or manifestations of Qi that are relatively material, substantial, condensing, solid, heavy, descending, cold, moist, cooling, dark, passive and quiescent. Yang refers to aspects or manifestations of Qi that are relatively immaterial, amorphous, expanding, hollow, light, ascending, hot, dry, warming, bright, aggressive, and active.
My creative process implies often altering the mundane state of attention. Working eyes closed, stretching the time, accumulating constraints, drifting on associative logic, all this strategies converge towards a trance-like state, a heightened suggestibility. At the heart of this is the search of a porous body, a body that cultivates his ability to be affected, moved and transformed by the situations he’s engaged in, a body who travels inside to experience his own inner multiplicity. As a whole, my work addresses the interactions between the many layers of our being into the world. More importantly, it aims at invoking the ungraspable flow that animates these layers and percolates through them."
Julien Bruneau, May 2015
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Tuning to the Poetic Space
tuning to the poetic space is a practice of the collective, of living and composing with each other and with all the forces, human and not only human, present. It is a practice in which each player has the power to communicate her opinion through her actions in space (gestures and vocal calls). This communication aims at tuning to each other. It makes explicit and apparent the agreements and disagreements that are present in the shared space. Thus it can be seen as a practice of consensus and dissensus, as a way of agreeing to disagree together, that is: to stay alive in our dissensions. In this way, the practice acts on intimate, poetic and political levels, as an eco-somatic observatory that reinscribes us in a network of relationships in constant transformation. Anouk Llaurens
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A Japanese Village Where Dancing and Farming Bodies Met
sense lab & 3ecologies by Erin Manning
A definition

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The Walk of Life approach is grounded in:
inhabiting the materiality of the body
a three dimensional awareness of the body and of space
the integration of upper and lower body through the spine
the integration of limbs and torso
released joints and the interconnection of the whole body allowing movement to flow freely through the body
a mobile sense of grounding
the ability to follow a movement as it evolves and moves through space
the ability to move freely through all the levels from the floor to upright working with the structure of the body
clear but permeable body boundaries
an awareness of the layers of space
the inter-relationship of sensation, feeling/atmosphere, images/associations and state of mind
a receptive and responsive attitude to oneself, to others and to the environment
the capacity to move in a mutually responsive relationship to others without losing a sense of self
the ability to be simultaneously aware of personal and environmental landscapes
the integration of moving and seeing
Resources on dance
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