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Borys for Ola
This three Booklets was written as a gift to Aleksandra Borys, on the fall 2017.
-84 pages
Meanwhile we lived together, on the Fall 2017 , at Händealle 3, Montgomery flat in Berlin, for the creation of Cranky Bodies Dance Reset by Peter Pleyer; I gave myself a task of writing Ola.
All those writings tend to get more interesting with time.
Because memory does its tricks.
In a couple of years they will find meaningfulness .
or a kaleidoscope of meanings.
Scroll Down for Reading Few of Booklet's texts
Borys for Ola - PDF sample preview
5. a little bit more instinct / Whatever turns you on...
Anatomy Disappointment
My disappointment with Anatomy do not come from a dislike of the subject, but from a sense that it looses its dream rapidly, as soon as it reasons. Anatomy fails… As science, that modulates a certain way of validation and creation of knowledge. It departs from a dream, but it loose this consistence in practicalities of proofs. And this method, of elaboration and validation of knowledge, was much used to suppress alter states of awareness and wisdom development. For example, the creation of the primitive, or reasons that justify colonialism.
Alternative, as a word or team by itself comes from the same spot, the creation of a norm and consequently the alternations of it.
Back in dance school, I had been fascinated by anatomy. I found a book in my first year, that was dealing with anatomy though a different approach, then what I previous new. Was through the fascia and myofascial tissues.
As a philosophical approach, it brought it back a sense of connection and wholeness. Linking ancient traditions of medicine and healing with a western view of anatomy, not dissecting the body in fragmented parts, but unifying it as a complex whole.
To me the understanding that a valid anatomy should be one that goes beyond the body, started to grow. Slowly in this process I pass through the “desired anatomy”: figures in books - that present ourselves as a machinery; to an “given anatomy”: the realisation that my body was far different from the models presented in theory, an far more than tangible; to an “imagined anatomy” the one that somatic practices help to instigate - that turns your imaginary into discovering your corners - butterfly shapes of the boons, wings on scapulas (…) - a chimeric approach.
I realised that my body as a physical phenomena in relation to science, was causing me a big numbers of locks and blockages - I was afraid of braking a bone, or tearing a tendon a part, getting sick, and dying. It was misleading something a little bit more instinctive in my relation to physicality.
Was here that I gave my books away…
I acknowledge the importance of anatomic studies, I wouldn’t be writing this text or experiencing my life in the way I do it, although wise.
But here I wanna recall a short text I wrote, during the creation of Peter Pleyer´s - Visible Undercurrent, 2014, that made an important point to me. It is called Art, Love and Loss - a thought on Death:
I had not live the immediacy of an epidemic, as the deaths the 80s and 90s brought during the AIDS crisis. But I understand my urgency of dancing by similar means as the community of artists that were being decimated at this period . By engaging my whole self and asserting physicality I attempt to defeat death. Even if just by the moment of a dance.
This utterance isn’t moaning.
Imagining my own death is a hard experience, not just by the absence of presence that it creates but by the loss of the opportunity to keep experiencing life through my body. Death is resilient in its existence, it will always be there as a turning point, but it might be its shade that created the ecstatic, the joy and love. if one would ever die, if ideas would never dissolve our ability of pleasure would be compromised and maybe, even not exist. The condition of dying gave us the ability of living. So then dance should not: not be easy. A moment of Joy is a triumph over and a gift of death.
I started to desire such an “in my body” experience that I would transcend its boundaries. My grandmother had one of those experiences. She prayed through her whole life to die while sleeping. One day she woke up dissolved.
Now, is fall 2017, and daily we have been practicing Contemplative Movement Practice, during the creation of Crankie Bodies Dance Reset (Peter Pleyer 2017). Part of this practice consist in meditating for an amount of time, and after ground this practice through the physical body, and share it with the group through improvisation. Meditation, in Buddhism, is on a briefly explanation, a practice on death - Transitioning the state and manifestation of our consciousness.
Death then is motion.
I witness myself, daily in meditation, vibrating a desire of dying while dancing - is how I pray. Dance isn’t an exit, isn’t attachment either, is a passage.
For me the ultimate transition of corporality.
Anatomy of the intangible.
The concern of impermanence with how I navigate in the world had another take on a text I wrote in early 2017 for Hodworks - Solos:
It happens to me very often, that I wake up in the middle of night with a feeling I’m dissolving. Because I don’t see my body against the darkness of the room, at first, I was afraid I was dying. But then this thought appear: “if I am dissolving, Im less solid than what I think, what leave me with much more space I imagined I had. Porous. Even if I try to hold the hands of someone very tight - we would still have an infinite space between us. Always an infinite space”
Borys for Ola
Time
Time is a will of measuring light.
Focus
Looking is not seeing.
Misunderstandings
Are friction of fictions.
Funny
Funny,
Is funny to hear that
apparently multitasking
Is scientific prof
Not possible.
- it isn’t real -
I think is a matter of presence.
Quantum presence.
Being fully
And entirely in more than
One place.
Split attention
If aware is
Still attention.
Improvising
Is a proposal,
an invitation
and an opportunity .
I invite you
To leave me alone.
I invite you
To see.
I invite you
to give me space
I invite you
To do not join me;
All those are, nevertheless,
Invitations, proposals and opportunities.
You say yes to yes,
And yes to no.