κινέω (kineō) Movement Fluency

 
 

It all started when… searching for… and found the source

Recreating the First Impulse and Building Toward Mastery — This process begins with a return to the instinctive movements of childhood: the first gestures of expression, the initial attempts to connect with others, the earliest embodied responses to rhythm and sound, and the primal use of movement to soothe and regulate the self. From this foundational impulse, we build awareness, skill, and intentionality—transforming spontaneous motion into refined, expressive mastery. It is through this journey—from instinct to intent—that movement becomes both art and language.

κινέω (kineō)

Verb meaning "to move" or "to set in motion"

Movement practice for any performative activity

The following Principles are embedded in all of our “occurrences”:

  • Proprioception, the sensorial experience of three-dimensionality of the body and surroundings, safety and ease.

  • Focus, internal and external, eyesight and intentionality 

  • Acknowledging, negotiating, and flowing with Gravity

  • Space Projection, the space we inhabit and the space we create.

the expansion of the body and the body’s relationship to telescoping motion 

in a three-dimensional way.  

  • Time as Construct, Time as a Variable

  • Where we were, where we are, where we are heading

  • Efficiency and efficacy

  • Safety. Above all things, Safety

  • Surrender

 

 Experiential analysis,  Exercises for training and class structure:

INITIATION, and Response [including all joint articulations, all possibilities] assisting, resisting, amplifying , or modifying the trajectory. One focal point in the body moves, what does the rest of the body react like. Allowing reaction, encouraged reaction, planned reaction.

 

IMPULSE, impelled by single spot articulations or generated by self-thrust, i.e. The shoulders move the arms; the hips move the legs, etc.

BODY TRAJECTORY, Where and how the movment travels within the body

 

ARTICULATING, WEIGHT SHIFTS, ON AND OFF THE GROUND, feet, toes, the three balls of each foot; stationary and in locomotion

 

GLIDE/TOPPLE/PROPEL/HUMPS/FALL & CATCH, VERY MUCH OFF CENTRE—ABC’s Legs, torso, eventually arms

 

SPACE TRAJECTORY, space design and space goal employing the (Space Design Sculpting Tasks). Mostly for limbs to be used as sculpting tools. Based on Laban’s concept of “Arks and Spokes.” Movement in each of three planes [and all combined]

“SPACE HARMONY,” Another Laban’s construct. Adding the ideas of “space pull” “kinesphere” “telescoping” “action & counteraction” “anchorage” “connecting points in space” and “Choreutics”

 

FLOWMENTUM/MOMENTUM/FLUIDNESS & FRAGMENTATION

 

FLOOR WORK, for flow and for strength. Applying the Bartenieff developmental moves and expanding into

 

MAKING CHOICES OF FACTORS and/or SEGMENTS and COMPOSICION STRATEGIES, Dancers choose the elements of all of the above to explore further movement potentials; in their own kinesphere, and across the space; on their own, or creating a “Conversation” with other dancer/s