Working out shibari logistics at Haus Sommer. Quiet a brain hack, but doable with this amazing team: Yui Kawaguchi, Fungi fung, Tara Jade Samaya.
Photos: Pippa Samaya.
December 20th 2022
The course Beginner with Previous Experience is directed at learning the basics of Shibari/Kinbaku technique. We start systematically with efficient handling of body, rope, and safety principles (knots, wrapping and friction). The material contains a wide range of harnesses for floor work. Understanding restriction from the models perspective, and the complex skill set of the rigger, to create erotic phantasies or a meditative tie.
In the picture: Eliko.
A spontaneous performance moment with Lilly at her house warming.
Thanks to Adrian for the photo 🌸
November 22nd, 2022
The course Beginner with Previous Experience is directed at learning the basics of Shibari/Kinbaku technique. We start systematically with efficient handling of body, rope, and safety principles (knots, wrapping and friction). The material contains a wide range of harnesses for floor work. Understanding restriction from the models perspective, and the complex skill set of the rigger, to create erotic phantasies or a meditative tie.
There are three dates in October, please check that the first and last date we will start one hour later:
Tue 26.10. at 7pm
vaccinated/tested.
Movement exploration for my instagram podcast as part of the program Dis-Tanzen-Solo. Many thanks to Dachverband Tanz Deutschland e.V. for the support.
Live session: Monday April, 26 at 4pm
www.instagram.com/dasniya_sommer/
Talking Toes‘ adds hip action to the previous shoulder exploration ⬇️ because foot habits usually start at the architecture of the pelvis and from there root downward. Activating individual muscles groups in the pelvic region takes a moment since it seems like one massive bone structure, sheltering and protecting our guts from external impact.
Staying on the level of movement research, I am again using PNF -proprioceptive neuromuscular facilitation – a taktile sense ⬇️ to work out axes and patterns of the pelvic joint, and how it’s micro movement travel up the spine if wanted.
At first its not about moving the leg but finding the individual impulse of the right and left pelvic half. Later these impulses are extended into the periphery and shaped to classical forms but originating at the very core.
I am reading into stereometry in dance, or dynamic spatial geometry. Starting.
An arabesque cut in half brakes the idea of the infinite line, as well as the wrist rope. If there is the full circumference of movement, there also is the folded in or the restricted spacial imprint. With smaller reach, with the lower leg being visually deleted. But therefor more differentiation and attention towards surrounding and often neglected parts and their opportunities to move. Now, by immobilising the lower leg, this becomes obvious. The surrounding parts, like toe or sacrum articulation need to take over. Get creative. For a moment it’s a little brain fuck. Sensory unfamiliar. Staminawise harder, but I am after these alternative sources of movement. For now. Twitches in uncoordinated corners of the little toe, and some time later adding goofy fun stuff.
My (not so virgin) lower back also appreciates this routine. Intrinsic fibres between the vertebrae’s are waking up with deeper blood circulation, and if you do it for a while some blood will rush pleasantly across the pelvic floor.
„Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, [Hilfsprogramm DIS-TANZEN/ tanz:digital/ DIS-TANZ-START] des Dachverband Tanz Deutschland.“
Choreographing ‘Slow-ballet’ for my instagram podcast as part of the program Dis-Tanzen-Solo.
Early spring my practice went outdoors. Developing choreographic material at Humboldthain and on the Uferhallen compound. Part of it is to apply authentic movement principles to classical vocabulary. Reducing perfection to marking level (15%) and strip tension plus the classical attitude. Searching a quotidian mode as if walking in the streets.
Unlike often in ballet this quality allows my breathing to switch to an aerobic use of oxygen. The low-fy approach leaves also capacity to watch, hear and react with the environment. In the park when dogs and families walk by there are split second eye contacts which are actually interpersonal.
All in all I am currently searching for a mind state while dancing which can stick to a routine, yet perceives what is going on around and is less busy with ‘showing’.
Later I taught the sequence to Yui and here we are just spacing it together in her backyard. Feels familiar dancing with her since we often trained together in class. There is an underlying beat to the material but it’s intuitive. We need to see each other in the periphery and there is an attempt for synchronicity though I like the slight off-ness between us.
Thanks to the Dachverband Tanz Deutschland e.V. für supporting my choreografic research,
and to Yui Kawaguchi for the video.
„Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, [Hilfsprogramm DIS-TANZEN/ tanz:digital/ DIS-TANZ-START] des Dachverband Tanz Deutschland.“
Experimenting objects and ballet with Yuko.
Der Yoga & Bondage Kurs findet wie gewöhnlich statt. Wissenswert ist allerdings, dass der Unterricht von einem kleinen Kamerateam begleitet wird. ‘Filet Film’ dreht momentan eine Reportage für RTL, über meine Arbeit als Balletttänzerin und das Yoga & Bondage Konzept.
Außerdem werden Frances d’Ath und ich vom ‘London Festival of Japanese Rope Bondage’ erzählen, und gegen 23 h eine 20 minütige Performance zeigen.
Thursday April 8th
Todays class will be filmed by ‘Filet Film’ for a reportage on my work as ballet dancer and the concept of Yoga and Bondage.
Additionally Frances d’Ath and me will be talking about last weekends ‘London Festival of Japanese Rope Bondage’, and show a 20 minute Performance around 23 pm.