Vectors! The first vector I noticed was the newest one to me. When Alicia Pons was here she said the man's breath and intention resonates through the two chests and into the woman's hips. In class she said, "men, blow into your partner! Blow into your partner!" and I don't know *why* I'm the only one who turned red...but I get it now. This is the first time I've seen what she was talking about. See how Mr. Roxana Suarez pulls his intention through his body and sends it through her down into her hips and spine, where it turns into dance? Well, *I* see it. Alicia was right about the chest and rib cage being like the body of the guitar, the sounding box. And then in this backward guitar, the resonating in the body creates the plucking of the strings, the movement.
Then I noticed her other vectors. They're easy to see in her because she has such a clean dance. No physical noise getting in the way of the music. When she's standing, I see that strong grounding vector down and also that equally strong breath vector up. When she goes, I see the trajectory vector sending her where she's going, as if it's always a teeny bit ahead of her, even though it changes directions. Not news, but seldom do I see so clearly that the *reason* she has such a peaceful upper body is because it doesn't have to do any *work*. And it doesn't have to do any work because she's sufficiently Going with the parts of her that need to go.
There are also a billion other reasons for her damned-fineness, the chief one being, she's spent enough time mastering beautiful technique that she can just forget about it and let go. But her lesson for me today is, "it's simple. You just get rid of everything that is not Vector."
And then you toss in a few of those yummy little adornos for yuks.
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