INTRODUCTION
This
paper makes a parallel between Indian classical dance of Bharatanatyam
style and Laban/Bartenieff system, in order to facilitate and provide
the learning of such ancient technique, as much as research the integration
between tradition and innovation in the choreographic process.
After studying German dance theater in New York and Germany from 1990
to 1995, and continuing practical-theoretical activities in the field
in Salvador da Bahia, where I reside since then, I received a grant
to study German in Berlin in 2001. In Berlin's multicultural environment,
I searched for body techniques that would integrate process and product,
in a complete training philosophy connected to dance theater principles.
I started then to take Rajyashree Ramesh's classes on Bharatanatyam,
which amazed me by their integrity, from technical details associating
Indian tradition with precision and European contemporary scientific
approaches (anatomy and kinesiology), to philosophical, aesthetic,
religious and cultural commentaries on both India and Europe - such
as daily gestures, Sanskrit, etc). During those seven months in Berlin,
I studied Bharatanatyam intensively, at the same time watching European
contemporary performances involving, for example, multimedia and genetics,
also taking some updating courses on techniques already known, such
as German dance theater.
In the fifth month of my Bharatanatyam classes, I was already following
the students that were taking the technique for the last two years.
This was due not only to my total interest and dedication, but specially
due to ASSOCIATING GERMAN DANCE THEATER PRINCIPLES
TO EACH BHARATANATYAM EXERCISE, DURING THE WHOLE PROCESS. My mentor
Rajyashree Ramesh was also interested in the association, because
she has developed projects associating Bharatanatyam and European
contemporary dance, keeping herself faithful to Indian technique and
philosophy.
Back to the Federal University of Bahia in the beginning of 2002,
teaching Body Tecnique for Actors - levels I to IV - I could see the
acting students' difficulty in learning Bharatanatyam, and how the
teaching of both German and Indian tecniques facilitated the whole
process. I have been teaching dance theater in such classes since
1997, and such material was gathered in the book O
Corpo em Movimento: O Sistema Laban/Bartenieff na Formação
e Pesquisa em Artes Cênicas (The Body in Movement: The Laban/Bartenieff
System in Performing Arts Education and Research, Annablume, 2002),
opened in this Laban Conference 2002. Little by little, I have been
associating Indian and German dance theater in both body training
for the actor and in choreographic projects. The project SYNAPSE,
presented in its solo version in this Conference, is an example. The
group version, presented in the theater of Espaço Xis in Salvador
in July of this year, had 20 performers, among dancers and/or actors
and musicians.
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DANCE
THEATER: TRADITION AND INNOVATION
In
his encyclopedia with detailed description of Asian dances (1992),
the Japanese professor Kiitsu Sakakibara, director of the
Sakakibara Dance Akademi in Tokyo, dedicates all its first chapter
to the 105 dances of India, in its delicate nuances, and underlines:
Bharata
Natayam
is the highest pure dance. It expresses the most important elements
of Indian classical dance. ... [It] is the oldest of the four classical
dance forms [Bharatanatyam, Kathak, Manipuri, Kathakali] and it has
the most completed form. (1992, 42 e 43)
According
to ancient treatises, there are seven Indian classical dance styles:
Bharatanatyam, Kathak, Manipuri, Kathakali,
Odissi, Kuchipudi and Mohinniattam. But the beauty and
strength of Bharatanatyam has conquered even choreographers and dancers
trained in two different styles, as the well-known Alarmél
Valli, trained in both Bharatanatyam and Odissi, and considered
to be the leader dancer of Bharatanatyam of her generation.
The complexity of performing arts of India and, more specifically,
of Bharatanatyam, is due to their historicity. They have been registered
during the Vedic civilization, in the Natyashastra manuscript (Theory
of Drama, by Bharata Muni) - the oldest and more complete treatise
about performing arts, written 200 years before Christ. Alarmél
Valli (Wesemann 1997, 32) explains the depth and inclusiveness
of this dance:
"The greatness
of Bharata Natyam, for me, lies in its ability to harmonise the
physical, intellectual, emotional and spiritual dimensions of life,
giving the dance the power to touch and to communicate at all levels.
Being a composite art, it synthesises melody and rhythm, painting
and sculpture, poetry and theatre. The dancer is simultaneously
the musician, singing with her body... She is the sculptor, shaping
and structuring space in forms both graceful and powerful. She is
the painter, adding tints and hues to a line drawing... She is the
poet, writing her poems with movement, gestures and expressions.
Ultimately she is the seeker, whose dance becomes a transcendental,
transforming experience - an ecstatic prayer that celebrates the
beauty, the wonder and the mistery of life. "
The
association of these various human aspects is also a theme of Meyer-Dinkgraefe's
comparative study (1996) relating the Natyashastra
to western theater techniques and philosophies influenced by the east.
In his book, the professor of the Department of Theatre, Film and
Television Studies at the University of Wales demonstrates that
the classical Indian training of the actor is most complete, and proposes
its use for the development of consciousness in the training of a
"enlightened actor," of either western or eastern
origin. In fact, the eastern-western dialogue has inspired various
researches (Greiner 2000) and is one of the main themes of contemporary
performing arts, also in regard to an intercultural and interdisciplinary
analysis of the technique-performance relationship. In other words,
it is an appropriate moment to join different approaches to the arts
and to artistic making, from scientific and technological knowledge
to cultural, historical, anthropological and aesthetic studies.
In this context, I introduce the founder and pioneer of German dance
theater, Rudolf von Laban (1879-1958). In the beginning of the 20th
century, Laban proposed an aesthetic system at the same time wide
and extremely detailed, overlapping objective and subjective approaches,
practice and theory, kinesthetic experience and cognitive understanding,
in the training of a complete "thinking-feeling-acting
being" (Bartenieff 1970, 11):
"In his
complex system of movement language, later called Laban Movement
Analysis - LMA, or Laban System, the languages of behavioral and
performing representation are gathered under the hegemony of "movement",
broken up until its most simple element... and articulated till
its most complexes harmonies, organized in a proper language and
symbolism structured similarly to a musical motif." (Miranda
2002, 17, 18, 20)
Besides
being a complex and multifaceted system of bodily movement, the Laban
System encompasses other important common points Bharatanatyam:
the concern with systematization and recording of movement, the width
of its movement possibilities, its inter-artistic quality, and aspects
specific to body technique.
The systematization and recording of body movement, started by the
detailed Natyashastra in its 5.800 verses, had in Laban a faithful
supporter:
"When
I undertook as the first one among dancers of today to speak of
a world for which language lacks words, I was fully aware of the
difficulty of this undertaking. Only a firm conviction that one
has to conquer for dance the field of written and spoken expression,
to open it up... to widest circles, brought me to tackle this difficult
task. " (Laban in Maletic 1987, 51)
This
Modern dance pioneer created a system applicable to the a posteriori
observation and analysis of dance, as much as to the a priori dance
processes, as creative method and recording of improvisations. According
to Claire Osborne (1989, 90), the Laban System developed from
Tanz-Ton-Wort (Dance-Tone-Word)
improvisations, creating pieces with daily movement, abstract or pure,
in a narrative, comic or more abstract form. We shall remind ourselves
that Indian classical dance presents three categories:
Nritta (pure and abstract dance), Abhinaya
(expressive dance, usually telling stories of the Hindu literature
through hand gestures, facial expressions, etc.), and Nritya
(a combination alterning the two previous ones). Therefore, both
Indian classical dance theater and German modern (Laban) and contemporary
(ex. Pina Bausch) dance theater encompass a wide possible range of
bodily movements, varying from facial expressions, minimal gestures
- ilustrative or abstract - to functional and daily movements with
the whole body in the three-dimensional space.
Also, both performing art forms imply the relationship between the
arts. The training of the performer proposed by Laban was in accordance
to the multidisciplinary philosophy of the artists in the beginning
of the 20th century, integrating the arts in movements such as Dada
and Bauhaus, in the birth of the so-called "performance
art". During the training in the Laban System in New York,
we visit museums and choreograph out of sculptures; create sequences
out of an archotectural analysis of, for example, a church, or out
of poems, as the beautiful Haikai; draw and do collages in
our daily report notebook, among other activities. During the day,
we had practical classes dealing with whole body postures to studies
of minimal gestures and expression, theoretical seminars, and learned
to draw the detailed notations created by Laban and his disciples.
Movement transformed itself in drawing/notation, in sculptural
shapes on space and in lines in movement (in LMA, respectivelly called
Space Harmony and Trace Forms), as in the interartistic descriptions
of Valli in relation to Bharatanatyam. In presentations at the Laban/Bartenieff
Institute of Movement Studies (New York), and in all my career following
that, German dance theater has proved to be, for me, a "complete
art", as referred by Valli in regard to the Indian classical
dance of her specialty. Today, though, this "completeness"
is within an environment of unpredictable genetic manipulations, virtual
bodies and spaces, in other words, concrete contexts of transforming
tradition.
This takes us to one of the major exponents of the dance of today,
Pina Bausch (1940-
), pioneer of German contemporary dance theater, disciple of
Kurt Jooss, one of the main disciples of Laban. In 1994, Bausch and
her international company travelled to India, where they had several
presentations in a tour with Chandralekha, Indian contemporary choreographer
trained in Bharatanatyam. According to Georg Lechner (2000),
in spite of all the visible differences between the works of the two
choreographers, both are dealing with a post-industrial, productive,
desoriented and "docile" body (Foucault
1988), in search of a (in-constant) beginning in dance. Still
in 1994, Bausch's company received daily training in Classical Indian
dance in Germany. This tour influenced Bausch technically and aesthetically,
and she started to develop choreographic projects connected to different
localities, travelling and experimenting with her company "in
transit" in other cultures, including Brasil (2000).
Another more concrete connection between German dance theater and
Bharatanatyam is the specific technical correspondance between the
Laban/Bartenieff System and the didactic organization of Bharatanatyam
training. During classes on this dance of India, I could observe and
apply Laban/Bartenieff principles to each exercise, clarifying them
and making them more acessible, dynamic and healthy. For example,
to practice the exercises created by Laban's disciple Irmgard Bartenieff
in my warm up helped on performing the basic Bharatanatyam position
Aramandi, in which the legs are flexed with a wide external rotation,
the pelvis as low as possible, without forcing the spinal curves at
any point. This is exactly the work done by the Bartenieff Fundamentals,
developed initially for polio patients and today used by dancers all
around the world. These exercises work on body movement out of deep
pelvic muscle support for breathing, providing a Gradated Rotation
of the femoral joint, connected to a Dynamic Alignment based on Bony
Connections (Bartenieff) - imaginary lines linking important Bony
Landmarks, generating simultaneous support and agility, Stability
and Mobility (one of the 4 Laban Movement Principles).
Besides Core Support (inner muscular support) and Bony Connections,
another relevant Bartenieff Principle in this comparative study is
the Body Organization, which evolves in the following order of growing
neuromuscular complexity: Cellular Breathing, Navel Radiation or Center-Periphery,
Spinal or Head-Tail, Homologous or Upper-Lower Body, Homolateral or
Body Half (Right-Left), Contralateral or Crossed-Sides. In its ancient
wisdom, Bharatanatyam exercises are organized in an order of growing
neuromuscular complexity, as described by Bartenieff and present in
her Fundamentals. Also in terms of Shape or Relationship (LMA), the
learning of Bharatanatyam follows a growing complexity, with the majority
of its exercises in Spoke-Like or Arc-Like Directional Shape (creating
straight or curved lines by the flexion/extension, abduction/adduction),
and evolving into Shaping (sculpting in the three-dimensional space
by the use of rotation) in more advanced exercises.
Also, the relationship of the body with the space, in both techniques
- in the case, actually, systems - is visible. According to Chandralekha,
one of the questions of her work is "how to visualize this body-geometry
[present in well-defined shapes of Bharatanatyam] in terms of space-goemetry
- the inner/outer correspondence." In his Spatial Harmony, Laban
talks about an architecture of the body in movement on space, determining
at least 50 scales created by pathways between geometric points on
space, based on regular polyhedrons. In my Bharatanatyam classes,
I noticed how the exercises follow a growing order of spatial complexity,
as proposed in the Laban training: Dimensions of the Octahedron (Vertical,
Horizontal and Sagital, each one with 2 points in opposite directions),
Planes of the Icosahedron (Vertical, Horizontal e Sagital, each one
with 4 points, resulting of the intersection of 2 dimensional points)
and Diagonals of the Cube (8 points resulting from the intersection
of 3 dimensional points). And one of the 4 Laban Movement Principles,
besides the already mentioned Stability/Mobility, is exactly Inner/Outer,
cited by Chandralekha.
Another relevant point of technical-philosophical contact between
the two systems is the concept of rasa, instigated by researcher Michele
Minnick during the discussion of this paper at the Laban Conference
2002. As a result of this interesting quest, I will add here an item
not presented in the Conference. Rasa is a key-concept exposed in
the Natyashastra, but also found in many Vedic texts. It refers to
water, juice, essence, tasty liquid and, in the context of the philosophy
of India, to the aesthetic experience of the actor and, mostly, of
the public (Meyer-Dinkgraefe
1994, 85). Rasa can be translated to "sentiment",
classified by the Natyashastra in long lists of different "transitory
states" with its subdivisions. I compare here this concept of
rasa to Laban's Eukinetics, in which combinations of inner attitudes
provide an expression that reaches the public. He also called these
combinations of "states", with a main quality of mutability
- a constant transition between "polarities". These are
not taken as opposite, but rather as gradations among extremes of
a specific expressive factor: flow (bound-free), weight (strong-light),
time (accelerated-deccelerated), and space (direct-indirect or flexible).
While weight is associated to sensation, time to intuition, and space
to thinking (Maletic 1987,
203-217), flow associates itself to emotion, and is subliminar
to the other three factors. Flow is the basis of every movement,
as subliminar tension and initial impulse present, for instance, in
all vital functions. It can be associated to Shape Flow or the relationship
of the body with itself, perceiving its own volume and moving out
of its breathing, organs and body liquids. Bonnie Bainbridge Cohen
(1993), disciple of Bartenieff, has proved the importance of the "Fluid
System of the Body" - cellular and intercellular fluid,
blood, lymph, cerebrospinal fluid, synovial fluid - in the expressive
movement, as in the Vedic concept of rasa.
In the next item, I present a Labananalysis of some Bharatanatyam
exercises, in the order performed in class and learned along the years
of training. This will allow the visualization of growing complexity
in neuromuscular patterns and use of space. Before that, though, I
will present some main characteristics of Bharatanatyam.
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LABANANALYSIS
OF BHARATANATYAM AND SOME OF ITS EXERCISES
|
General
Principles of the dance BHARATANATYAM
|
Laban/Bartenieff System - LMA terms
|
| ·
Separation into Major Limbs (initiate the movement: feet, hands,
eyes, head, neck, waist) and Minor Limbs (follow the previous:
legs, arms, face, torso...) |
-
Bartenieff Principle of Initiation and Sequencing |
| ·
Initiation of movements mostly in the extremities, different and
simultaneous movements of different body parts (each one with
specific qualities) |
-
Distal Initiation, Simultaneous Sequencing, creating a "high
energy level" (Van Zyle) in complex combinations |
| ·
Steps with Locomotion associated to hand gestures and facial expression
|
- Gesture/Posture Merger and Bartenieff Principle of Weight Shift
for Locomotion |
| ·
Basic Posture with straight spinal column and arms opened to the
sides |
- Bartenieff Principle of Bony Connections (specially Head-Heels,
Head-Tail, Scapula-Scapula, Scapula-Hand), Vertical and Horizontal
dimensions, Spoke-Like Directional Shape |
| ·
Foot Stepping on the ground, bringing heels high up till the sit-bones
and back to the floor |
- Strong weight and Quick time, Heels-Sitz Bones Connection, Effort
Life for Body Connectivity (another Bartenieff Principle). |
|
·
1. Abstract Dance (Nritta):
.
2. Expressive Dance (Abhinaya):
|
-
mostly condensing qualities combined in Awake State (space and
time), Mobile State (flow and time), Rhythm State (weight and
time), Action Drives (punch)
- all combinations of effort life, especially important is phrasing
(distribution of expressive emphasis, if any, or rhythm of energy
in the movement phrase) and Exertion/Recuperation Movement Theme
(natural tendency to recuperate of a movement by performing
complementary or different expressive qualities to it)
|
| ·
Ocular focus defined in quick moviments |
-
Direct Space and Accelerated Time |
| ·
Eyes follow hands during the moviments |
-
Eyes-Hands Connection |
| ·
Emphasis in bound flow and verticality of torso in Bharatanatyam
|
-
compensated by Bartenieff Fundamentals warm up (shape flow and
floor work with passive weight and free flow on the ground, supported
by deep breathing) |
| ·
Torso bending to the sides or slightly forwards are done from
the waist (main limb), maintaining the relationship between arms,
spine and head as in the Basic Position, in other words, without
twisting at the neck nor projecting shoulders or thorax forwards
or isolately in any direction |
-
Emphasis on the Head-Tail, Scapula-Scapula and Scapula-Hand Connections,
keeping spine and shoulders with a primary horizontal (side-side)
emphasis or vertical (in the case of the spine), rather than sagital
(forwards or backwards) |
| ·
Clear Positioning of Limbs on Space |
-
Bartenieff Principle of Spatial Intent |
| ·
Elbows always out or up, initiating the arm movements |
- Mid-Limb Initiation, Spoke-Like Directional Shape |
| ·
Hand Gestures |
- Hand-Scapula Connection, Directional (e.g. Katakamukham
- stretched first and second fingers touching thumb, while 2 smaller
fingers stretch upwards) or Shaping Movement (e.g. Alapadma
- fingers opened as in a lotus flower) |
| ·
The position of the sitting Budha |
-
Tetrahedron (Cristaline Form of previous complexity to the Octahedron,
Icosahedron, Cube and Dodecahedron) |
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BHARATANATYAM
SELECTED EXERCISES
in the order performed in class and in the learning process (names
based on Padma Subrahmanyam in KOTHARI
1979). OBSERVE THE GROWING COMPLEXITY FROM ITEM TO ITEM. Some
exercises are followed by their rhythmic syllables (e.g. "ta
tai ta ha"), to facilitate their identification by the
practicioners. Detailed descriptions of some of these exercises can
be found in VAN ZILE 1993.
Obs. Adavus are
unities of pure dance; "exercises" which are gradually
added to each other in complex choreographies.
TATTADAVUS
("tattu" = golpear achatadamente; "tatta"
= TO BEAT):
Core Support, Dynamic Alignment, Homologous (Upper/Lower), Heels-Sitz
Bones Bony Connection, Gradated Rotation (hip joint), Vertical Dimension,
Thigh Lift (initiated by the heels towards the sitz-bones).
1o
e 2o NATTADAVU
("natta" = TO STRETCH):
Hands-Scapulas Bony Connection, Heels-Sitz Bones Connection, Head-Hands
(Eyes-Hands) Bony Connection, Homolateral (Left/Right), Spoke-like
Directional, Horizontal Dimension.
3o
e 4o NATTADAVU:
Hands-Scapulas Bony Connection, Heels-Sitz Bones Connection, Head-Hands
(Eyes-Hands) Bony Connection, Homolateral (Left/Right), Gradated Rotation,
Arc-Like Directional, Vertical Plane.
5o
NATTADAVU:
Hands-Scapulas Bony Connection, Heels-Sitz Bones Connection, Head-Hands
(Eyes-Hands) Bony Connection, Homologous (Upper/Lower) and Homolateral
(Left/Right), Gradated Rotation, Spoke-Like Directional, Sagital Plane
and Horizontal Dimension.
6o
NATTADAVU:
Hands-Scapulas Bony Connection, Heels-Sitz Bones Connection, Head-Hands
(Eyes-Hands) Bony Connection, Homolateral (Left/Right), Gradated Rotation,
Spoke-Like Directional and Arch-Like Directional, Vertical and Horizontal
Dimensions, Sagital Plane.
7o
NATTADAVU:
Hands-Scapulas Bony Connection, Heels-Sitz Bones Connection, Head-Hands
(Eyes-Hands) Bony Connection, Homologous (Upper/Lower) and Homolateral
(Left/Right), Gradated Rotation, Spoke-Like Directional and Arch-Like
Directional, Vertical (door) and Sagital (wheel) Planes.
8o
NATTADAVU:
Hands-Scapulas Bony Connection, Heels-Sitz Bones Connection, Head-Hands
(Eyes-Hands) Bony Connection, Homologous (Upper/Lower) and Homolateral
(Left/Right), Gradated Rotation, Spoke-Like Directional and Arch-Like
Directional, Sagital (wheel) and Vertical (door) Planes, Horizontal
and Vertical Dimensions (for the first time including Place Low with
the pelvis, while earlier the Vertical Dimension was restricted to
arm movements).
TATTI
METTU ADAVU
("tattu" = TO STRIKE; "mettu" =
TO BEAT; lifting and strinking heel down):
Heels-Sitz Bones Connection, Homologous (Upper/Lower), Homolateral
(Right/Left), Gradated Rotation, Spoke-Like Directional, Vertical
Dimension. The neurological and spatial regression of this exercise
is compensated by the increase of complexity in rhythmic terms, in
the new action of stepping alternately in half-point and heels (left
and right), while earlier the whole sole of the feet would step on
the ground at each strike.
KUDITTU
METTU ADAVU
("tai ha tai hi") ("kudittu" - TO
JUMP):
Bony Connections (already cited), Homologous (Upper/Lower), Distal
Initiation (hands and feet), Gradated Rotation, Spoke-Like Directional,
Vertical Dimension (heels jumping up in half-point and back down);
Vertical, Horizontal and Sagital Dimensions and Diagonals with the
arms, torso bending into Vertical Plane from the waist.
KHUTTHADAVU,
also called Ettadavu ("etta" = TO REACH OUT)
(ta
tai ta ha - dhi tai ta ha) ("khuttha" = SLIGHT JUMP WITH
BOTH FEET) (dance sequence with 4 phrases, including 3 speeds, in
Alarippu) DEMONSTRATED
IN THE CONFERENCE
Bony Connections (already cited), Homologous (Upper/Lower), Homolateral
(Right/Left), Contralateral (UpperRight/LowerLeft; UpperLeft/LowerRight),
Gradated Rotation, Spoke-Like Directional and Arc-Like Directional,
Vertical Dimension (feet during jumps or stepping down), Horizontal
Dimension (arms to the sides), Horizontal (table) Plane (arms crossing
towards forward middle right or left), Vertical (door) Plane (last
part, arms going to Low Right and Low Left), Cube Diagonals (last
part, arms going to High Forward Right and High Forward Left).
KHUTTADAVU
- VARIAÇÃO
(legs as in Kutaravu; arms almost as in the last part of Kudithametu):
Bony Connections (already cited), Homologous (Upper/Lower), Homolateral
(Right/Left), Contralateral (UpperRight/LowerLeft; UpperLeft/LowerRight),
Gradated Rotation (arms and legs), Spoke-Like Directional and Arc-Like
Directional, Vertical Plane, Cube Diagonals (last part, arms going
to High Forward Right and High Forward Left).
SARUKKALADAVU
("sarukkal" ou "skhalita" = one
or two feet slip):
Bony Connections, Homologous, Homolateral, Contralateral, Spoke-Like
Directional and Arc-Like Directional, Horizontal Dimension, Vertical
Dimension and Plane.
MANDI ADAVU
("mandi"
=knees; down with knees opened, heels high):
especial emphasis on Bartenieff Movement Principles - Bony
Connections, Breath Support, Kinetic Chains, Core Support and Spatial
Intent for agile and rhythmic Weight Transfer on Place Low; Homologous,
Homolateral, Contralateral (on the 3rd variation in the Allarippu,
to stand up), Spoke-Like Directional and Arc-Like Directional, Horizontal
Dimension, Forward Low Diagonals (arms), Sagital Plane and Vertical
Dimension (2nd variation).
MAKUTA
or TIRMANA ADAVUS
("dhi dhi tai") ("tirmana" = TO
CONCLUDE). DEMONSTRATED IN CONFERENCE.
Bony Connections, Gradated Rotation.
1. With arms in arch crossing in front of the torso (with or without
pause): Spoke-Like Directional (legs) and Arc-Like Directional (arms),
Homologous (Upper/Lower), Sagital Plane (arms), Diagonals of Cube
(legs).
2. With arms alternately forward and back, on same side as leg going
forward sideways: Spoke-Like Directional (arms and legs) and Arc-Like
Directional (arms coming back to center), Homolateral (Right/Left),
Sagital Dimension (arms), Diagonals of Cube (legs).
3. With arms alternately going in the diagonal, on opposite side of
leg going forward sideways: Spoke-Like Directional (arms and legs),
Contralateral (UpperRight/LowerLeft; UpperLeft/LowerRight), Diagonals
of Cube (arms and legs).
4. With arms initially in Natyarambhe
(stretched in the Horizontal Dimension), and then alternately going
Back Middle, Place High, and diagonal pull Forward Low on the opposite
side while the other arm goes Forward Middle and opens gradually in
the Horizontal Plane back to the side in Natyarambhe:
Spoke-Like Directional (arms and legs), Arc-Like Directional and Shaping
(Arms), Homologous, Homolateral and Contralateral, Dimensions (Octahedron;
arms), Planes (Icosahedron; arms), Diagonals (Cube; arms and legs).
5. "Ta ha ta jam ta ri ta - Jam ta ri ja ka ta ri tai":
Spoke-Like Directional (arms and legs), Arc-Like Directional and Shaping
(Arms and hands), Homologous (jump), Homolateral (step with one leg
and arm on the same side stretch in the diagonal) and Contralateral
(one arm and opposite leg in the diagonal), Dimensions (Octahedron;
arms), Diagonals (Cube; arms and legs).
Obs:
in all four variations, before going into the diagonal, and back
to center, the lower leg goes up into Place Middle (Vertical Dimension)
from the heel (Heels-Sitz Bones Connection).
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