There are more nerves going from the heart to the brain than from the brain to the heart. Both the electronic and magnetic fields of the heart are stronger than those of the brain. Often though, we focus on stimulating or freeing the mind to get ourselves going in improvisation. What if we deflate the mind and focus on letting the heart inflate - free the heart and see what happens? Both in the articulation of the body as in the depth of our self expression and engagement. So this class focuses on the heart area as a center and a starting point of movement, from where it can radiate, relate, influence and dialogue with the rest of the body - and out to the world.

Heart supporting actions - actions supporting heart

- Starting with simple anatomical viewpoints. Movement patterns to warm up, find fluidity and articulation in the body. Opening the chest area and connecting breathing and movement. Connection of hands to the heart and back;  reaching out and folding in.

- Hands-on work with thoracic spine & sternum to articulate the bony structure around the heart and the lungs. Working with the movement of the rib cage with the help of touch. The sinking and rising of the organs within.

- Going for movement research solo, in duets/trios and later on witnessing others. Improvising with anatomical connections, relations within the body, such as

• connecting to the pulse, the blood flow and the alternation of contraction and release of the heart muscle
• connecting the lower body - for example with the heart and the two knees forming a continuously re-shaping triangle relationship
• the relation of heart to brain. deflating one, inflating the other. leading-following. dialogue.
• connection of heart to the hands. reaching out from the heart, pushing away from the heart, drawing towards the heart

- In the end of the class, we will have time for discussion, thoughts and ideas.

The class is not based in any specific method but is an organic mixture of the teacher's experience and interest, with various somatic methods such as Body-Mind Centering and Ideokinesis, with practices of Improvisation and Release Technique, spices of traditions of Yoga and a hint of Contact Improvisation. And with all of that, it is to be a part, and to serve our contemporary dance practice.

"The heartbeat is an alternation of contraction and release, activity and rest; its ceaseless pulse is the fundamental rhythmic movement of life. It maintains the flow between expansion and contraction, movement and stillness, the cycle of birth and death which is the great activity of the life of the universe."

                    (Linda Hartley: Wisdom of the Body Moving, an Introduction to Body-Mind Centering)