La queue la tête
Sandra Wieser
6/7/15
être à la hauteur de sa présence
à la présence de son corps
au corps de son écoute
à l'écoute de son absence
à la présence de son corps
au corps de son écoute
à l'écoute de son absence
LUNDI / Monday
YVES SALMON-LEGAGNEUR
Parce que parfois le meilleur de moi-même est un temps accordé
À juste être là
La question se pose : Qui en moi, quoi en moi
Et pourquoi une différence entre quoi et qui
Le chien est-il qui ou quoi ?
Et l'arbre ?
Et cet instant s'élargit
Englobe le vivant dans le qui
Et l'inerte dans le quoi
Et se pose la question
L'inerte existe-t'-il ?
Peut-être, mais je ne sais pas où
Le verre du carreau prend de la gravité avec le temps
Mais ce mouvement est plus long que ma vie
Inerte ?
Ce temps devient essence
Instant où tout est mouvement
Et point fixe à la fois
Pour le mouvement qui est plus rapide
Du corps physique au corps psychique, énergétique, social
Le jeu des poupées russes propose l'ajustement dans la forme
Mais chaque corps prend sa propre forme, et se joue parfois des autres,
s'expand et se rétracte
Et aucun n'appartient à l'espace de l'autre
A moins d'éduquer, transmettre, rechercher, les relations qu'ils établissent
Pour tenter l'équilibre
Révéler l'instant immobile du tout
Que son intensité rend éternel
Le point du Ma
L'entre-deux de la montée à la descente de la balançoire du chaos en mouvement
qui promet de revenir à ce point pour se régénérer
Equilibre, sérénité, pleinitude, liberté, semblent en être certains de ses noms,
selon le corps le plus influent de cet instant
(in english…)
Because sometimes the best of myself is a time rewarded
To just be here
The question rises : Who is in me, what is in me
And why a difference between what and who
is the dog who or what ?
And the tree ?
And this instant widens
Embraces the living in the who
And the inert in the what
And the question rises
Does the inert exists ?
Maybe, but I don't know where
The glass of the pane picks up gravity with time
But this movement is longer than my life
Inert ?
This time becomes essence
Instant in which all is movement
And fixed point at once
For the movement that's faster
From the physical body to the psychic, energetic, social body
The game of the russian dolls suggests fitting in the form
But every body takes its own form, defying the others,
expands and retracts
And none belongs to the space of the other
Unless one educates, transmits, researches, the relationships they set up
To attempt equilibrium
Reveal the motionless instant of the whole
Whose intensity becomes eternal
The Ma point
The in-between of the rise and the slope of the swings of chaos in movement
which promises to come back to this point to regenerate itself
Equilibrium, serenity, wholeness, freedom, seem to be some of his names,
according to the most influent body of this instant
À juste être là
La question se pose : Qui en moi, quoi en moi
Et pourquoi une différence entre quoi et qui
Le chien est-il qui ou quoi ?
Et l'arbre ?
Et cet instant s'élargit
Englobe le vivant dans le qui
Et l'inerte dans le quoi
Et se pose la question
L'inerte existe-t'-il ?
Peut-être, mais je ne sais pas où
Le verre du carreau prend de la gravité avec le temps
Mais ce mouvement est plus long que ma vie
Inerte ?
Ce temps devient essence
Instant où tout est mouvement
Et point fixe à la fois
Pour le mouvement qui est plus rapide
Du corps physique au corps psychique, énergétique, social
Le jeu des poupées russes propose l'ajustement dans la forme
Mais chaque corps prend sa propre forme, et se joue parfois des autres,
s'expand et se rétracte
Et aucun n'appartient à l'espace de l'autre
A moins d'éduquer, transmettre, rechercher, les relations qu'ils établissent
Pour tenter l'équilibre
Révéler l'instant immobile du tout
Que son intensité rend éternel
Le point du Ma
L'entre-deux de la montée à la descente de la balançoire du chaos en mouvement
qui promet de revenir à ce point pour se régénérer
Equilibre, sérénité, pleinitude, liberté, semblent en être certains de ses noms,
selon le corps le plus influent de cet instant
(in english…)
Because sometimes the best of myself is a time rewarded
To just be here
The question rises : Who is in me, what is in me
And why a difference between what and who
is the dog who or what ?
And the tree ?
And this instant widens
Embraces the living in the who
And the inert in the what
And the question rises
Does the inert exists ?
Maybe, but I don't know where
The glass of the pane picks up gravity with time
But this movement is longer than my life
Inert ?
This time becomes essence
Instant in which all is movement
And fixed point at once
For the movement that's faster
From the physical body to the psychic, energetic, social body
The game of the russian dolls suggests fitting in the form
But every body takes its own form, defying the others,
expands and retracts
And none belongs to the space of the other
Unless one educates, transmits, researches, the relationships they set up
To attempt equilibrium
Reveal the motionless instant of the whole
Whose intensity becomes eternal
The Ma point
The in-between of the rise and the slope of the swings of chaos in movement
which promises to come back to this point to regenerate itself
Equilibrium, serenity, wholeness, freedom, seem to be some of his names,
according to the most influent body of this instant
Mardi / Tuesday
Yves Salmon-Legagneur
Et le jour commence avec la nourriture,
celle que l'on avale
Le premier choix à la naissance
La première becquée, la première tétée
Qui se développe en une relation avec l'environnement, dès sortie du prénatal
Et devient des allées de boîtes et paquets, ou des étals de fruits et légumes.
Se pose la question qu'est ce que j'avale
L'air, la senteur de l'arbre, l'humidité,
Dans sa disponibilité permanente
Comme un acquis, si précieux pourtant
donne goût à la salive
Combien de litres par jour ?
Et cette eau primordiale devient le sang
Qui anime mon corps, subtil plutôt que physique
Ce qui s'ajoute est énergie,
Transformation de la lumière en plante, animal
Où tout est mouvement
J'avale le mouvement de la vie que j'intègre
Et le fait vivre par mon mouvement propre
Et à expirer ce que j'avale le son se révèle
Et sa résonance fait la forme
Du physique et de la pensée
(in english…)
And the day starts with the food,
The one we swallow
The first choice at birth
The first beakful, the first sucking
Which develops into a relationship with the environment, right out of the prenatal
And becomes aisles of boxes and packs, or stalls of fruits and vegetables.
The question rises, about what I eat
The air, the scent of the tree, humidity,
In its permanent availability
As acquired, although so precious
gives taste to the saliva
How many liters a day ?
And this primodial water becomes the blood
Which animates my body, subtle rather than physical
What adds up to it is energy,
Transformation of the light into plant, animal
Where all is movement
I swallow the movement of the life I integrate
And make it live in my own movement
And in expiring what I swallow the sound reveals itself
And its resonance builds the form
Of the physical and the mind
celle que l'on avale
Le premier choix à la naissance
La première becquée, la première tétée
Qui se développe en une relation avec l'environnement, dès sortie du prénatal
Et devient des allées de boîtes et paquets, ou des étals de fruits et légumes.
Se pose la question qu'est ce que j'avale
L'air, la senteur de l'arbre, l'humidité,
Dans sa disponibilité permanente
Comme un acquis, si précieux pourtant
donne goût à la salive
Combien de litres par jour ?
Et cette eau primordiale devient le sang
Qui anime mon corps, subtil plutôt que physique
Ce qui s'ajoute est énergie,
Transformation de la lumière en plante, animal
Où tout est mouvement
J'avale le mouvement de la vie que j'intègre
Et le fait vivre par mon mouvement propre
Et à expirer ce que j'avale le son se révèle
Et sa résonance fait la forme
Du physique et de la pensée
(in english…)
And the day starts with the food,
The one we swallow
The first choice at birth
The first beakful, the first sucking
Which develops into a relationship with the environment, right out of the prenatal
And becomes aisles of boxes and packs, or stalls of fruits and vegetables.
The question rises, about what I eat
The air, the scent of the tree, humidity,
In its permanent availability
As acquired, although so precious
gives taste to the saliva
How many liters a day ?
And this primodial water becomes the blood
Which animates my body, subtle rather than physical
What adds up to it is energy,
Transformation of the light into plant, animal
Where all is movement
I swallow the movement of the life I integrate
And make it live in my own movement
And in expiring what I swallow the sound reveals itself
And its resonance builds the form
Of the physical and the mind
Random texts from CQ
Marika Rizzi
Random text 1
7/7/2015
That instant began for me probably in 1961 and is still continuing. It's simply part of the process of exploration that dance work has been for me. Human body moves, steps into the stream of information, absorb change, and grows to become the body of knowledge. The combinations test the flexibility, imagination, courage and intelligence of the bodies involved in the play. The concern for rhythm and balance of class time. Developing trust in the quiet of before and after-image. Dancing well with new students is the most advanced part of my learning. The exigencies of the form dictate a mode of moving which is relaxed, constantly aware and prepared, and on-flowing. In actual fact this arrangement never happened. motor nerve sends impulses to excite muscles. Although total weight varies a lot, people don't differ too much in how the weight is distributed, so this is reasonably OK. It has served me well in this regard. The body, in order to open to these sensations, must learn to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement.
From CQ
1e European Contact Teachers Conference
Nov. 28 - Dec. 1 1985
-
Random texte 2
8/07/2015
Wow ! What an experience ! I lost all sense of balance. Very strange. I found myself only being able to use one hand, not both – too much information. Eight of us or so stood in one or another of our somewhat realistic, somewhat stylized poses against the windowed wall of the bank, falling in and out of unison as chance and choice would have it, so that for the semi-circle of tourists and lunch-breakers who had established themselves as viewers of the canine spectacle, we became an upstage, off-hand corps de ballet. There are four parts to this course :
From CQ Summer/Fall 95
-
Random Text 3
9/07/2015
And then a tiny movement came, a shift that made my spine snake, everything changing from work to grace. In my many travels to conferences, jams and festivals, I introduce myself as « strictly non-dancer ». I loved him. I did something a little weird to my back, so I stopped digging and started getting into my body. Since I was very young, dance has been part of my identity, giving me a sense of purpose and meaning. To my eyes, a person dancing is the news, hot off the press. My spine is doing better. We are experts at reading movement. All of my experience watching dance has shown me that whether the movement itself is set or structure is created by addressing other parameters has no relevance on the artistic content of what is actually created. In following Contact Improvisation, I found a great subject to fulfill my personal idea of photography.
From CQ Winter/Spring 2004
-
Random Text 4
10/07/2015
The influence of John Cage is undeniable. Yah, I never felt incontrolled or unsafe, I was not conscious of the down into the floor. To find a way to watch, Joroen calls on Anamnesis – the process of re-collecting sedimented knowledge and re-experiencing its truth(-iness). By attending deeply to sensation, imagination, and feeling through guided explorations of breath, sound, and movement, one uncovers all manner of knowledge through experience. If we are to stay present with our truth, it’s about letting out what already is, without an attempt at performing or posturing. As I started to read Through the back, I experienced a little of the dread I sometimes have in a crowded lobby. Give me an example of something that has been corrected. I had passed through it with some of my improvising friends. Inescapably, one of the many facets of my body visibility is my identity ; however, this is not the starting point or the focus of my dance practice. This wasn’t about anything, wasn’t for anything ; it was just a feeling of engagement, pleasure, and curiosity throughout my body tissus, one that seemedto connect « me » to an experience of the body as part of a much bigger system of life and movement and communication than just my immediate « civilization », however I defined that. The time between each Blur is called an Interval.
From CQ Winter/ Spring 2015
7/7/2015
That instant began for me probably in 1961 and is still continuing. It's simply part of the process of exploration that dance work has been for me. Human body moves, steps into the stream of information, absorb change, and grows to become the body of knowledge. The combinations test the flexibility, imagination, courage and intelligence of the bodies involved in the play. The concern for rhythm and balance of class time. Developing trust in the quiet of before and after-image. Dancing well with new students is the most advanced part of my learning. The exigencies of the form dictate a mode of moving which is relaxed, constantly aware and prepared, and on-flowing. In actual fact this arrangement never happened. motor nerve sends impulses to excite muscles. Although total weight varies a lot, people don't differ too much in how the weight is distributed, so this is reasonably OK. It has served me well in this regard. The body, in order to open to these sensations, must learn to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement.
From CQ
1e European Contact Teachers Conference
Nov. 28 - Dec. 1 1985
-
Random texte 2
8/07/2015
Wow ! What an experience ! I lost all sense of balance. Very strange. I found myself only being able to use one hand, not both – too much information. Eight of us or so stood in one or another of our somewhat realistic, somewhat stylized poses against the windowed wall of the bank, falling in and out of unison as chance and choice would have it, so that for the semi-circle of tourists and lunch-breakers who had established themselves as viewers of the canine spectacle, we became an upstage, off-hand corps de ballet. There are four parts to this course :
- A foundation of mental and physical understanding is built using many simple exercises.
- Several foundamental jumps are repeated throughout the course to extend basic skills.
- Conscious use of energy and mental focus reinforce and enrich developing physical abilities.
- A wide variety of jumps, lifts and balances are explored to expand possibilities and stimulate the imagination.
From CQ Summer/Fall 95
-
Random Text 3
9/07/2015
And then a tiny movement came, a shift that made my spine snake, everything changing from work to grace. In my many travels to conferences, jams and festivals, I introduce myself as « strictly non-dancer ». I loved him. I did something a little weird to my back, so I stopped digging and started getting into my body. Since I was very young, dance has been part of my identity, giving me a sense of purpose and meaning. To my eyes, a person dancing is the news, hot off the press. My spine is doing better. We are experts at reading movement. All of my experience watching dance has shown me that whether the movement itself is set or structure is created by addressing other parameters has no relevance on the artistic content of what is actually created. In following Contact Improvisation, I found a great subject to fulfill my personal idea of photography.
From CQ Winter/Spring 2004
-
Random Text 4
10/07/2015
The influence of John Cage is undeniable. Yah, I never felt incontrolled or unsafe, I was not conscious of the down into the floor. To find a way to watch, Joroen calls on Anamnesis – the process of re-collecting sedimented knowledge and re-experiencing its truth(-iness). By attending deeply to sensation, imagination, and feeling through guided explorations of breath, sound, and movement, one uncovers all manner of knowledge through experience. If we are to stay present with our truth, it’s about letting out what already is, without an attempt at performing or posturing. As I started to read Through the back, I experienced a little of the dread I sometimes have in a crowded lobby. Give me an example of something that has been corrected. I had passed through it with some of my improvising friends. Inescapably, one of the many facets of my body visibility is my identity ; however, this is not the starting point or the focus of my dance practice. This wasn’t about anything, wasn’t for anything ; it was just a feeling of engagement, pleasure, and curiosity throughout my body tissus, one that seemedto connect « me » to an experience of the body as part of a much bigger system of life and movement and communication than just my immediate « civilization », however I defined that. The time between each Blur is called an Interval.
From CQ Winter/ Spring 2015
Mercredi / Wednesday
YVES SALMON-LEGAGNEUR
Cette belle journée au ciel gris
Où les cercles de parole spiralent le mouvement
Repas, atelier, discussion, danse et jam s'alternent dans un joyeux fourmillement
et la stigmergie donne la réponse au chaos
Ou bien est-elle sa construction ?
De la nébuleuse au fascia, la trame paraît similaire
Et sans savoir où l'on va, la décision s'installe
La récolte se fera plus tard
Aujourd'hui le rassemblement la porte déjà
Et l'on picore parmi les proposiitons,
avides de rencontre et d'échange,
pour anticiper son goût.
(In english ...)
This beautiful day under a gray sky
Where the circles of parole spiral the movement
Meal, workshop, discussion, danse and jam alternate in a joyful swarm
and the stigmergy gives the answer to chaos
Or is it its construction ?
From the nebula to the fascia, the pattern looks alike
And without knowing where one goes, the decision sets up
The harvest will be done later
Today the gathering bears it already
And we graze among the proposals,
eager to meet and exchange,
to anticipate its taste.
Où les cercles de parole spiralent le mouvement
Repas, atelier, discussion, danse et jam s'alternent dans un joyeux fourmillement
et la stigmergie donne la réponse au chaos
Ou bien est-elle sa construction ?
De la nébuleuse au fascia, la trame paraît similaire
Et sans savoir où l'on va, la décision s'installe
La récolte se fera plus tard
Aujourd'hui le rassemblement la porte déjà
Et l'on picore parmi les proposiitons,
avides de rencontre et d'échange,
pour anticiper son goût.
(In english ...)
This beautiful day under a gray sky
Where the circles of parole spiral the movement
Meal, workshop, discussion, danse and jam alternate in a joyful swarm
and the stigmergy gives the answer to chaos
Or is it its construction ?
From the nebula to the fascia, the pattern looks alike
And without knowing where one goes, the decision sets up
The harvest will be done later
Today the gathering bears it already
And we graze among the proposals,
eager to meet and exchange,
to anticipate its taste.
Jeudi / Thursday
YVES SALMON-LEGAGNEUR
La pierre, et quelle belle pierre !
Premier résultat de la dualité
Le solide, le physique,
qui par le feu créateur et sa résonnance
s'est amalgamé en formes
Première intrigue du vivant
qui fascine tant, que l'on batit pour se sentir petit en son sein
comme en vénération de cette énergie d'origine inconnue qui l'a créée
Elle appelle la structure, l'ancrage, et semble donner le rythme,
comme un rappel du grondement de son origine
Et son binôme
Le vide
Qui me laisse hébété et craintif à la fois
Bizarrement le solide paraît être au physique ce que le vide est à la pensée
Et sans doute j'ai aussi peur
qu'une pierre me tombe sur la tête
ou que le vide m'aspire
Et à la fois leurs directions s'opposent
La vie apparaît comme l'équilibre entre-deux
Et comme pour un équilibriste sur son fil
Son immobilité impossible
(in english ...)
The stone, and what beautiful stone !
First result of the duality
The solid, the physical
which by the fire creator and its resonnance
has amalgamated into forms
First intrigue of the living
that fascinates so much, that we build to feel little within it
As in veneration of the energy of unknown origin who created it
It calls for the structure, the anchor, and seems to give the rhythm,
as if a reminder of the rumble of its origin
And its pair
Emptiness
which leaves me dazed and fearful altogether
Oddly the solid appears to be to the physical what emptiness is to the mind
And no doubt I fear the same
That a stone falls on my head
Or that emptiness sucks me up
And in the meanwhile their directions oppose
Life appears as an in-between equilibrium
And as for a walker on its tightrope
Its immobility impossible
Premier résultat de la dualité
Le solide, le physique,
qui par le feu créateur et sa résonnance
s'est amalgamé en formes
Première intrigue du vivant
qui fascine tant, que l'on batit pour se sentir petit en son sein
comme en vénération de cette énergie d'origine inconnue qui l'a créée
Elle appelle la structure, l'ancrage, et semble donner le rythme,
comme un rappel du grondement de son origine
Et son binôme
Le vide
Qui me laisse hébété et craintif à la fois
Bizarrement le solide paraît être au physique ce que le vide est à la pensée
Et sans doute j'ai aussi peur
qu'une pierre me tombe sur la tête
ou que le vide m'aspire
Et à la fois leurs directions s'opposent
La vie apparaît comme l'équilibre entre-deux
Et comme pour un équilibriste sur son fil
Son immobilité impossible
(in english ...)
The stone, and what beautiful stone !
First result of the duality
The solid, the physical
which by the fire creator and its resonnance
has amalgamated into forms
First intrigue of the living
that fascinates so much, that we build to feel little within it
As in veneration of the energy of unknown origin who created it
It calls for the structure, the anchor, and seems to give the rhythm,
as if a reminder of the rumble of its origin
And its pair
Emptiness
which leaves me dazed and fearful altogether
Oddly the solid appears to be to the physical what emptiness is to the mind
And no doubt I fear the same
That a stone falls on my head
Or that emptiness sucks me up
And in the meanwhile their directions oppose
Life appears as an in-between equilibrium
And as for a walker on its tightrope
Its immobility impossible
VENDREDI / Friday
YVES SALMON-LEGAGNEUR
Est-ce une goutte ou une larme ?
Si c'est une goutte, elle porte la vie en elle
Et si c'est une larme, la mort
Fascinant comment d'une réaction d'une énergie formidable
Et d'une chaleur inimaginable
Il a pu résulter ce liquide qui ne s'oppose à rien
Aide tous les sens
Agglomère et transporte tous les éléments du vivant
Sang de l'univers, cœur de l'amour,
sans lequel n'existent ni la terre, ni l'air, ni le feu.
Fascinant aussi comment cette matrice originelle d'une douceur infinie
a l'énergie de briser le roc, éteindre le feu, nourrir la terre
On découvre qu'elle porte la mémoire de l'univers
La nôtre aussi donc
Et sa mort
Selon les éléments qu'elle transporte
comme le sel
que l'on verse quand on pleure
Pourquoi chercher le divin ailleurs
quand il est là
courant dans nos veines
sans doute origine de tous nos sentiments
nos pensées, nos actes,
Et lorsque le mouvement l'exprime
Il a la beauté de l'impermanence
Et du devenir
À réagir en résonnance
elle donne à la vie ses formes
elle porte le son et l'odeur
aiguise le regard, affine le toucher
et son absense flétrit la peau, craquèle la terre
Et immobilise le mouvement
(in english...)
Is this a drop or a tear ?
If it's a drop, it bears life
And if it's a tear, death
Fascinating how, from a reaction of tremendous energy
And unimaginable heat
Could result this liquid which opposes nothing
Helps all the senses
Agglomerates and carries all the elements of the living
Blood of the universe, heart of love,
without it neither the earth, air, fire would exist
Fascinating as well how this original matrice of infinte sweetness
has the energy to break the rock, put out the fire, feed the earth
We discover that it bears the memory of the universe
Ours as well then
And its death
According to the elements it carries
like salt
which we pour when we cry
Why search for the divine elsewhere
when it's right there
running in our veins
no doubt, origin of our feelings
our thoughts, our acts,
And when movement expresses it
It has the beauty of the impernanence
And the becoming
In reacting with resonance
it gives life its forms
it carries the sound and the smell
sharpens the look, refines the touch
and its absence withers the skin, cracks the ground
And immobilizes the movement
Si c'est une goutte, elle porte la vie en elle
Et si c'est une larme, la mort
Fascinant comment d'une réaction d'une énergie formidable
Et d'une chaleur inimaginable
Il a pu résulter ce liquide qui ne s'oppose à rien
Aide tous les sens
Agglomère et transporte tous les éléments du vivant
Sang de l'univers, cœur de l'amour,
sans lequel n'existent ni la terre, ni l'air, ni le feu.
Fascinant aussi comment cette matrice originelle d'une douceur infinie
a l'énergie de briser le roc, éteindre le feu, nourrir la terre
On découvre qu'elle porte la mémoire de l'univers
La nôtre aussi donc
Et sa mort
Selon les éléments qu'elle transporte
comme le sel
que l'on verse quand on pleure
Pourquoi chercher le divin ailleurs
quand il est là
courant dans nos veines
sans doute origine de tous nos sentiments
nos pensées, nos actes,
Et lorsque le mouvement l'exprime
Il a la beauté de l'impermanence
Et du devenir
À réagir en résonnance
elle donne à la vie ses formes
elle porte le son et l'odeur
aiguise le regard, affine le toucher
et son absense flétrit la peau, craquèle la terre
Et immobilise le mouvement
(in english...)
Is this a drop or a tear ?
If it's a drop, it bears life
And if it's a tear, death
Fascinating how, from a reaction of tremendous energy
And unimaginable heat
Could result this liquid which opposes nothing
Helps all the senses
Agglomerates and carries all the elements of the living
Blood of the universe, heart of love,
without it neither the earth, air, fire would exist
Fascinating as well how this original matrice of infinte sweetness
has the energy to break the rock, put out the fire, feed the earth
We discover that it bears the memory of the universe
Ours as well then
And its death
According to the elements it carries
like salt
which we pour when we cry
Why search for the divine elsewhere
when it's right there
running in our veins
no doubt, origin of our feelings
our thoughts, our acts,
And when movement expresses it
It has the beauty of the impernanence
And the becoming
In reacting with resonance
it gives life its forms
it carries the sound and the smell
sharpens the look, refines the touch
and its absence withers the skin, cracks the ground
And immobilizes the movement
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