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Geared toward Conscious Embodiment in Performance
| Somatic Movement Arts Festival Los Angeles, Sept 18-23, 2007 |
| Faculty Bios & Class Descriptions |
| Happening @ 18th Street Arts Complex, Santa Monica, CA 90404 *Highways Performance Space, 1651 18th Street *Continuum Studio #7, 1629 18th Street |
Produced by:
INTENTION
Dance Theatre
Dance Theatre
Presented by:
&
| CHRISTIE SVANE EMBODIED AWARENESS The Inner Romance 2 Part Intensive: Sat/Sun, 9/20-21, 9:30am-12pm |
This is a movement meditation going into the space between the nature of our
experience and the form it takes. One is like a cloud of timeless, radiant
consciousness; the other has definition, direction, duration. They are interdependent,
infinitely creative, and one of their symbols can be seen depicted in sacred Buddhist
iconography as deities in sexual union. If we observe these two aspects of the
source of our movement, and see the dialogue between them as the unfolding of an
inner romance, we can receive our own movements as gifts of profound respect and
tenderness. Holding this view, we can use dualism to move us toward unity, like our
two feet walking us home.
experience and the form it takes. One is like a cloud of timeless, radiant
consciousness; the other has definition, direction, duration. They are interdependent,
infinitely creative, and one of their symbols can be seen depicted in sacred Buddhist
iconography as deities in sexual union. If we observe these two aspects of the
source of our movement, and see the dialogue between them as the unfolding of an
inner romance, we can receive our own movements as gifts of profound respect and
tenderness. Holding this view, we can use dualism to move us toward unity, like our
two feet walking us home.
CLASS DESCRIPTION:
BIOGRAPHY:
I was initiated into the source-field of sensory imagination as a young teenager in
San Francisco studying dance with Ann Woodhead. Later, at Bennington College, (and
still, to this day, on occasion, in flying dreams), Steve Paxton is my teacher on the
secret of gravity’s changeability, that all of life is a contact improvisation. Lisa
Nelson initiated me into using sight as a mirror of mind. Nancy Stark Smith showed
me how to keep the word-stream flowing while dancing. The Dzogchen master, Chögyal
Namkhai Norbu, initiated me into the sky-like nature of my own mind. Eugenia
Oganova taught me to see the divine masculine and feminine. John Rolland took me
into the beauty of the balancing bones, and then before dying, reminded me, “A
teacher has only one job, to help one love oneself.”
San Francisco studying dance with Ann Woodhead. Later, at Bennington College, (and
still, to this day, on occasion, in flying dreams), Steve Paxton is my teacher on the
secret of gravity’s changeability, that all of life is a contact improvisation. Lisa
Nelson initiated me into using sight as a mirror of mind. Nancy Stark Smith showed
me how to keep the word-stream flowing while dancing. The Dzogchen master, Chögyal
Namkhai Norbu, initiated me into the sky-like nature of my own mind. Eugenia
Oganova taught me to see the divine masculine and feminine. John Rolland took me
into the beauty of the balancing bones, and then before dying, reminded me, “A
teacher has only one job, to help one love oneself.”
Christie Svane, photo by
SOMA fest