#tensigrity

Ramayana was an epic scale epic. Since we did not have the bandwidth for more than one Ramayana or Mahabharata - we decided to ensure another Ramayana never happens. 

So every other potential Sita was trained - a clear Line drawn - stand inside, well within the line. 

“How many times should i tell you! Stay inside”

Sita - “but the cow…”

“What cow? No cow! Stay inside. Always remember the line. Everything outside is Ravana.”

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Notes on Kalari -- Dr. Priyadarshan Lal

Warm body- warm up

Being able to stand on two feet requires great balance. Not any other mammals other than humans - who start erect. Core- balance ( like cycle/swimming)

Drawing associations of etymology. Letter of Tamil are distinguished as.

Mei-ezhuthu-  Consonants. Mei --> Body

Uyir-ezhuthu - Vowels. Uyir-->Breath

---> Mei- payattu

8 types of postures:

Lion - cross legged and paw connect. Cross core

Elephant - simultaneous movements of the side. All of left shifts. Then all of right shifts.Strength.

Fish - turn. Flash turn.

Kukkuda/ rooster - flutter up and land

Horse straight

Boar -stright. lift.

Snake

Cat

All the postures appear in the meippayattu, obviously or subtly.

(*noticing how barteniff similarly constructed fundamentals based on evolutionary stages of embryo. In my experince so far, the manipulation of the jelly like that is strong and flexible and can contort and expand and realign etc, in connection with the breath, creates a posture if extended to the extremeties)

(pic courtesy: https://www.leisurepro.com/blog/explore-the-blue/5-harmless-species-jellyfish/) 

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Empty handed combat. Win over the enemy without fighting. (*love and empathy)

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Adhara chakra

(*he didnt elaborate, but from the adishakti workshop of many years ago i remember that each posture has an associated chakra basis. Maybe the movement originates or is held or passed through that particular chakra. Im yet to experience it. For fish and horse and elephant maybe i sense it, but i cant be sure)

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I feel close to being done writing about myself. And my vantage at this point. I feel it would be nice to explore a subject in writing.

Like kalari. And where kalari meets ramana. Not scholarly sense, but for me. So that i can discover for myself the connections i have made. And the questions and blind spots are clearer to me. 

Looking at a dance journal called FUSE, i caught a glimpse of the dancer’s notes...the notes, the scores, seemed closer to my way of enquiring. Scores. Questions. Frames of observation.

What of the archetypes and narratives and characters? 

“We’ll isn't it interesting, that as well as you know your characters and the relationships between them, you aret compelled by dialogues - what they say to each other seems to be of no import to you.” 

 Yes. I cant seem to care much for dialogues insipte of all that auditory hallucinations. 

I feel - The dialogues are not spoken. They are actions. And in the body, their very being itself there is something alive and exchanging and transforming. SOmething that doesn't lean on words to do preliminary negotiations. Something that is, and goes in, and is being from the very start all they way.  Like mom keeps saying, actions speak louder than words.

Yes. And in their moving around and relating back and forth to the space and movements and changing landscape of their emotions/memories/ etc… changes takes place… in ascertain  kind of quietness. Cant call it silence.  Or in a certain kind of silence. Cant call it quietness. Or is it a certain kind of silence. 

But dialogues have no place there. Expect as inner soliloquies. May be as monologues. When it comes to rapid energy exchange, it physical. Not words.  Because words are diversions at best.

Most of the time. They appear when there is no choice, but to speak. And then  the words appear, and they appear crystal clear, to illuminate, to clarify. Not to veil and hide. 

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Form is created by tension. Last night i was watching the mind. Or rather something was watching the mind. And i was in the mind trapped in its incessant chatter and looking from outside. The incessant chatter seemed to originate from a tension at the base of the skull. From something taut, like a string of a musical instrument. Though not wholly a pleasant feeling. 

In this tension, between this points of tension space is created and form appears. A is the tension between the two slanting lines whose base is pulled apart and wedged by a shot line. Form. Uyirzhuthu. K is the inclined upward and inclined downward push, directed to a particular single point on the vertical line.

Not sure if i would have been able to finally get a sense of the symbols used to denote english alphabets, if wasnt for my conversation with DK, aka Quirky.

Me: wait... i have more technical question ...how do you remember what you did on the floor?

and when does meaning emerge?

He: It's all in the flow

And it's the experience and the environment that the movement create that in turn gives the watching person to make meaning

Technically it's all about the flow and muscles memory

Me: but what of the mover? where is he/she finding meaning?

or is the meaning purely an experience of spatial truth?

He: Meaning is subjective isn't it

Me: yuss

He: It's like the color red and the redness of the read. Red

I guess redness of the red is what I am interested

Not what meanings people associated red with

Of course one can use association of the red to creat an emotion or mood but as a core the ness ness of something is the research

Me: do you at any point at all, as a mover dancer, remember being interested in what meanings people associated with red? or was it always about redness of red?

He: When is create it all about the Ness nesss but ofcourse once the composition and presentation of the idea start I do play with association of the given ideas or objects to create tention. 

But I also know if I considered the association I am closing a lot of other posibal reading

It's a balancing act

Me: mmmm

He: If I address the association more often them not I will be taking stands and sides

Which may be use full for certain works

But as a for being true to the work I find it enriching to look for the nessness of the idea

Me: Ness-ness is nice. very nice. i supoose it the most neutral position available to you while fully innit - if i must intellectualise. but ya... when i was asking you, how do you rember, i was coming from a simplistic space of notaton and mnenomics. but this redness of red gives me a btter answer tothe unasked question.

He: I don't remember I am not wired like that

Dicklessli. Lol

Its all in the flow and muscle memory

And ofcourse repetition

Me: relieff

just came acrosss this https://www.yumpu.com/en/document/read/63113284/fuse1

He: The useal lol . Gay and tamil mami

Lol. I know of the person who runs this project

Me: trust you to massacre! Nut!

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I dint quite understand what he meant by this “ He: When is create it all about the Ness nesss but ofcourse once the composition and presentation of the idea start I do play with association of the given ideas or objects to create tention. “ yesterday.  This idea of creating tension using associations etc for the compositions and presentations and sharing… the point of outer reflection and feedback from the larger whole , as mirror.  Like R says, “only when the play meets the audience does it become a play”, audience provides that vital energy - that space- witness. ANd thats when the possibilities of the play star unfolding. 

What of traditional performers such as koodiyattam then? For whom the lamp is the only witness?

Also https://www.brainpickings.org/2015/07/06/the-aesthetic-of-silence-susan-sontag/

“Art is a technique for focusing attention, for teaching skills of attention… Once the artist’s task seemed to be simply that of opening up new areas and objects of attention. That task is still acknowledged, but it has become problematic. The very faculty of attention has come into question, and been subjected to more rigorous standards…

Perhaps the quality of the attention one brings to bear on something will be better (less contaminated, less distracted), the less one is offered. Furnished with impoverished art, purged by silence, one might then be able to begin to transcend the frustrating selectivity of attention, with its inevitable distortions of experience. Ideally, one should be able to pay attention to everything.”

“So far as he is serious, the artist is continually tempted to sever the dialogue he has with an audience. Silence is the furthest extension of that reluctance to communicate, that ambivalence about making contact with the audience… Silence is the artist’s ultimate other-worldly gesture: by silence, he frees himself from servile bondage to the world, which appears as patron, client, consumer, antagonist, arbiter, and distorter of his work.”

Both of which i resonate with to whatever degree of my experience  has been. This struggle of audience. And a certain withdrawal and dismissal and a sense of pursuit of something much larger than popularity or appreciation of peers. Which is questioned very starkly here by Sontag like a slap on the hand

“

Sontag recognizes that the gesture of silence in abdication from society is still “a highly social gesture.” She writes:

An exemplary decision of this sort can be made only after the artist has demonstrated that he possesses genius and exercised that genius authoritatively. Once he has surpassed his peers by the standards which he acknowledges, his pride has only one place left to go. For, to be a victim of the craving for silence is to be, in still a further sense, superior to everyone else. It suggests that the artist has had the wit to ask more questions than other people, and that he possesses stronger nerves and higher standards of excellence.”

Is that why i am still around. Hanging on nail and tooth. Because i havent proved myself in this world. That the way to Griffindor is through the corridors of Slytherine?

Ramana says, not necessary. 

Kalari says, if necessary, come to the pit.