Dance Technique Quotes

Great dancers are not great because of their technique, they are great because of their passion.

Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.

To understand what I am saying, you have to believe that dance is something other than technique. We forget where the movements come from. They are born from life. When you create a new work, the point of departure must be contemporary life -- not existing forms of dance.

Singin' in the Rain was most excellent if you like movies where people burst into song and tap-dance. Which I do, though not as much as I like movies where people don't.

Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.

I became an artist because I wanted to be an active participant in the conversation about art.

I never set out to create a technique. I started out on the floor to find myself, to find what the body could do, and what would give me satisfaction - emotionally, dramatically and bodily. But I did not ever dream of establishing a technique. I still can't believe anything like that happened.

A good relationship has a pattern like a dance and is built on some of the same rules. The partners do not need to hold on tightly, because they move confidently in the same pattern, intricate but gay and swift and free, like a country dance of Mozart's. To touch heavily would be to arrest the pattern and freeze the movement, to check the endlessly changing beauty of its unfolding. There is no place here for the possessive clutch, the clinging arm, the heavy hand, only the barest touch in passing. Now arm in arm, now face to face, now back to back -- it does not matter which because they know they are partners moving to the same rhythm, creating a pattern together, and being invisibly nourished by it. The joy of such a pattern is...the joy of living in the moment. Lightness of touch and living in the moment are intertwined. One cannot dance well unless one is completely in time with the music, not leaning back to the last step or pressing forward to the next one, but poised directly on the present step as it comes... But how does one learn this technique of the dance? Why is it so difficult? What makes us hesitate and stumble? It is fear, I think, that makes one cling nostalgically to the last moment or clutch greedily toward the next. [And fear] can only be exorcised by its opposite: love.

Didn't you have some big deal last night?" Peabody asked her. "Yeah, in East Washington. Roarke had this dinner / dance thing for some fancy charity. Save the moles or something. Enough food to feed every sidewalk sleeper on the Lower East Side for a year." "Gee, that's tough on you. I bet you had to get all dressed up in some beautiful gown, shuttle down on Roarke's private transpo, and choke down champagne." Eve only lifted a brow at Peabody's dust-dry tone. "Yeah, that's about it." They both knew the glamorous side of Eve's life since Roarke had come into it was both a puzzlement and a frustration to her. "And then I had to dance with Roarke. A lot." "Was he wearing a tux?" Peabody had seen Roarke in a tux. The image of it was etched in her mind like acid on glass. "Oh yeah." Until, Eve mused, they'd gotten home and she'd ripped it off of him. He looked every bit as good out of a tux as in one. "Man." Peabody closed her eyes, indulged herself with a visualization technique she'd learned at her Free-Ager parents' knees. "Man," she repeated. "You know, a lot of women would get pissed off at having their husband star in their aide's purient little fantasies." "But you're bigger than that, Lieutenant. I like that about you.

The effort of learning. It's the same when you approach any new skill or technique, from a dance step to driving a car. The effort of learning stops you, at first, from doing it well.

Classic Ballet, Keep away, keep building your creaky fairy castles, keep cloning clones and meaningless manners, hang on to your beanstalk ballerinas and their midget male shadows, run yourself out of business with your tons of froufrou and costly clattery toe shoes that ruin all chances for illusions of lightness, keep on crowding the minds of blind balletomanes who prefer dainty poses to the eloquent strength of momentum, who have forgotten or never known the manings of gesture, who would nod their noses to barefoot embargos ("so grab me" spelt backwards). Continue to repolish your stiff technique and to ignore a public that hungers for something other than a bag of tricks and the empty-headedness of surface patterns. Just keep it up, keep imitating yourself, and, , go grow your own dance makers. Come on, don't keep trying to filter modern ones through your so-safe extablishment. We're to be seen undiluted, undistorted, not absorbed by your hollow world like blood into a sponge. Yours truly, A Different Leaf on Our Family Tree

Style in dancing, as in everything else in life, is immensely more important than technique.

Great dancers are not great because of thei technique. They are great because of their passion.

But I can do any kind of dance,” he continued, smiling at my incredulity. “I also do swing, modern. What would you like to dance to?” “No way,” I said. “I’m not dancing with my therapist.” I wasn’t concerned that he was being sexually suggestive or creepy; I knew that he had no intention of that. It was more that I didn’t want to use my therapy time that way. I had things to talk about, like how I was coping with my medical condition. But part of me also knew that this was just an excuse I was giving myself, that this intervention could be useful, that the movement of dance allows our bodies to express our emotions in a way that words sometimes can’t. When we dance, we express our buried feelings, talking through our bodies instead of our minds—and that can help us get out of our heads and to a new level of awareness. That’s partly what dance therapy is about. It’s another technique some therapists use. But still—no.

Meditation is not a posture. Instead it is a state of awakened consciousness. Awakened consciousness can be practiced while sitting, standing, walking, running, singing, dancing or sweeping the floor.

dance allows our bodies to express our emotions in a way that words sometimes can’t. When we dance, we express our buried feelings, talking through our bodies instead of our minds — and that can help us get out of our heads and to a new level of awareness. That’s partly what dance therapy is about. It’s another technique some therapists use.

Be an epic goofball. Seriously. Praise be to Pokemon Go for getting people out and doing stuff again. For about five minutes, Pokemon Go was beating out porn in internet usage. That’s crazy awesome. Who knows what the fuck the new hot thing will be by the time you are reading this book, but I am all in for anything that gives us permission to be epic goofballs. I will talk in a crazy accent, wear weird t-shirts (I love buying t-shirts from the boys’ section of the store) to work (the benefit of being self-employed… I set the dress code), dance with my waiter in the middle of the restaurant (thanks, Paul!), and have my husband (a deeply patient man) push me through the grocery store parking lot while I stand on the shopping cart.

At first Widmerpool and I were unable to grasp the root of the trouble, partly because Monsieur Lundquist’s lobbing technique was sufficiently common for none of the rest of us specially to have noticed it that afternoon: partly because at that age I was not yet old enough to be aware of the immense rage that can be secreted in the human heart by cumulative minor irritation.

To hold a friend in the background at a certain stage of a love affair is a technique some men like to employ; a method which spreads, as it were, the emotional load, ameliorating risks of dual conflict between the lovers themselves, although at the same time posing a certain hazard in the undue proximity of a third party unencumbered with emotional responsibility – and therefore almost always seen to better advantage than the lover himself.

Every time political leaders of the world meet in those funny events called G8 or G20, the failure of political power—their lack of grasp on the future—becomes more evident. When they met in Sapporo, Hokkaido, in July 2008, and in L’Aquila in July 2009, the powerful men and women who lead the nations were supposed to make very important decisions about the crucial subject of climate change and its effects on the planetary ecosystem. But they were completely unable to say or do anything meaningful, so they have decided that, by 2050, toxic emissions will be reduced by half. How? Why? No answer. No political or technological action has been taken, no shorter deadline has been decided upon. Such a decision is like a shaman’s ritual, like a rain dance. The complexity of the problem exceeds world politicians’ powers of knowledge and influence. The future has escaped the grasp of political technique and everything has capsized, perhaps because of speed.

For years, the suspicion that Mr. Putin has a secret fortune has intrigued scholars, industry analysts, opposition figures, journalists and intelligence agencies but defied their efforts to uncover it. Numbers are thrown around suggesting that Mr. Putin may control $40 billion or even $70 billion, in theory making him the richest head of state in world history. For all the rumors and speculation, though, there has been little if any hard evidence, and Gunvor has adamantly denied any financial ties to Mr. Putin and repeated that denial on Friday. But Mr. Obama’s response to the Ukraine crisis, while derided by critics as slow and weak, has reinvigorated a 15-year global hunt for Mr. Putin’s hidden wealth. Now, as the Obama administration prepares to announce another round of sanctions as early as Monday targeting Russians it considers part of Mr. Putin’s financial circle, it is sending a not-very-subtle message that it thinks it knows where the Russian leader has his money, and that he could ultimately be targeted directly or indirectly. “It’s something that could be done that would send a very clear signal of taking the gloves off and not just dance around it,” said Juan C. Zarate, a White House counterterrorism adviser to President George W. Bush who helped pioneer the government’s modern financial campaign techniques to choke off terrorist money.

Nikhilananda’s birthday. Maybe we’d Morris dance, naked, around the base of an old-growth California redwood, its branches lavishly festooned with the soiled hammocks and poop buckets of crunchy-granola tree sitters mentoring spotted owls in passive-resistance protest techniques. You get the picture. In place of Santa Claus, my mom and dad said Maya Angelou kept tabs on whether little children were naughty or nice. Dr. Angelou, they warned me, did her accounting on a long hemp scroll of names, and if I failed to turn my compost I’d be sent to bed with no algae. Me, I just wanted to know that someone wise and carbon neutral—Dr. Maya or Shirley Chisholm or Sean Penn—was paying attention. But none of that was really Christmas. And none of that Earth First! baloney helps out once you’re dead and you discover that the snake-handling,

Many ancient teachings tell us that we have the capacity to gain extraordinary powers through grit or grace. Techniques used to achieve these supernormal abilities, known as siddhis in the yoga tradition (from the Sanskrit, meaning “perfection”2, 5), include meditation, ecstatic dancing, drumming, praying, chanting, sexual practices, fasting, or ingesting psychedelic plants and mushrooms. In modern times, techniques also include participation in extreme sports, floating in isolation tanks, use of transcranial magnetic or electrical stimulation, listening to binaural-beat audio tones, and neurofeedback. Most of these techniques are ways of transcending the mundane. Those who yearn to escape from suffering or boredom may dive into a cornucopia of sedatives and narcotics. Others, drawn to the promise of a more meaningful reality, or a healthier mind and body, are attracted to yoga, meditation, or other mind-expanding or mind-body integrating techniques.

I felt as though the temple curtain had been drawn aside without warning and I, a goggle-eyed stranger somehow mistaken for an initiate, had been ushered into the sanctuary to witness the mystery of mysteries. I saw a phantasmagoria, a living tapestry of forms jeweled in minute detail. They danced together like guests at a rowdy wedding. They changed their shapes. Within themselves they juggled geometrical shards like the fragments in a kaleidoscope. They sent forth extensions of themselves like the flares of suns. Yet all their activity was obviously interrelated; each being's actions were in step with its neighbors'. They were like bees swarming: They obviously recognised each other and were communicating avidly, but it was impossible to know what they were saying. They enacted a pageant whose beauty awed me. As the lights came back on, the auditorium seemed dull and unreal.I'd been watching various kinds of ordinary cells going about their daily business, as seen through a microscope and recorded by the latest time-lapse movie techniques. The filmmaker frankly admitted that neither he nor anyone else knew just what the cells were doing, or how and why they were doing it. We biologists, especially during our formative years in school, spent most of our time dissecting dead animals and studying preparations of dead cells stained to make their structures more easily visible—"painted tombstones," as someone once called them. Of course, we all knew that life was more a process than a structure, but we tended to forget this, because a structure was so much easier to study. This film reminded me how far our static concepts still were from the actual business of living. As I thought how any one of those scintillating cells potentially could become a whole speckled frog or a person, I grew surer than ever that my work so far had disclosed only a few aspects of a process-control system as varied and widespread as life itself, of which we'd been ignorant until then.

After arriving at Burning Man, Musk, a regular at the event, and his family went through their standard routines. They set up camp and prepped their art car for a drive. This year, they had cut the roof off a small car, elevated the steering wheel, shifted it to the right so that it was placed near the middle of the vehicle, and replaced the seats with a couch. Musk took a lot of pleasure in driving the funky creation.“ Elon likes to see the rawness of people there,” said Bill Lee, his longtime friend. “It’s his version of camping. He wants to go and drive the art cars and see installations and the great light shows. He dances a lot.” Musk put on a display of strength and determination at the event as well. There was a wooden pole perhaps thirty feet high with a dancing platform at the top. Dozens of people tried and failed to climb it, and then Musk gave it a go. “His technique was very awkward, and he should not have succeeded,” said Lyndon. “But he hugged it and just inched up and inched up until he reached the top.

It is certainly true that imitation is everywhere, from sport to business, from dancing to dressing, from driving to singing. In fact, imitation is at the heart of competitive behavior and of almost any kind of social interaction. Like the fixed cost cum marginal cost argument that, as we pointed out earlier, is so powerful an argument that it can be applied to any and every thing, imitation is so widespread that, when taken literally, it is also everywhere. By this token one should see unpriced externalities in every market where producers imitate each other, thereby concluding that all kinds of economic activities should be allowed some form of monopoly power. Restaurants imitate each other, as coffee shops, athletes, real estate agents, car salesmen, and even bricklayers do, but we would certainly find it foolhardy to grant to a firm in each of these businesses monopoly power over one technique or another. This suggests that equating imitation with unpriced externalities leads us into a dark night in which all cows are gray.

Miss Bronson,” Jason said to Elizabeth with extreme casualness, “are you enjoying the evening so far?” Elizabeth fiddled with the silver dance card and made a show of adjusting the ribbon around her wrist. “Very much, Mr. Somers.” Staring at Elizabeth's down-bent head, with all the silky dark curls confined with pins, Jason spoke a bit gruffly. “I thought I should approach you before every place on your dance card was filled—or is it already too late?” “Hmmm… let me see…” Elizabeth flipped back the silver lid and consulted the tiny pages, deliberately drawing out the moment. Holly bit back a smile, knowing that Elizabeth had followed her advice and saved a few spaces for just an occasion such as this. “I suppose I could squeeze you in somewhere,” Elizabeth said, pursing her lips thoughtfully. “The second waltz, perhaps?” “The second waltz it is,” he said. “I'll be interested to discover if your dancing skills are more advanced than your architectural taste.” Elizabeth responded to the little jab by turning to Holly and adopting a look of round-eyed puzzlement. “Is that an example of witty repartee, my lady?” she asked, “or is he by chance saving that for later?” “I believe,” Holly said with a soft laugh, “that Mr. Somers is attempting to provoke you.” “Really.” Elizabeth turned back to Jason. “Does that technique usually attract many girls, Mr. Somers?” “I'm not trying to attract all that many,” he said with a sudden grin. “Only one, in fact.

Most disconcerting of all were those experiences in which the patient's consciousness appeared to expand beyond the usual boundaries of the ego and explore what it was like to be other living things and even other objects. For example, Grof had one female patient who suddenly became convinced she had assumed the identity of a female prehistoric reptile. She not only gave a richly detailed description of what it felt like to be encapsuled in such a form, but noted that the portion of the male of the species' anatomy she found most sexually arousing was a patch of colored scales on the side of its head. Although the woman had no prior knowledge of such things, a conversation Grof had with a zoologist later confirmed that in certain species of reptiles, colored areas on the head do indeed play an important role as triggers of sexual arousal. Patients were also able to tap into the consciousness of their relatives and ancestors. One woman experienced what it was like to be her mother at the age of three and accurately described a frightening event that had befallen her mother at the time. The woman also gave a precise description of the house her mother had lived in as well as the white pinafore she had been wearing—all details her mother later confirmed and admitted she had never talked about before. Other patients gave equally accurate descriptions of events that had befallen ancestors who had lived decades and even centuries before. Other experiences included the accessing of racial and collective memories. Individuals of Slavic origin experienced what it was like to participate in the conquests of Genghis Khan's Mongolian hordes, to dance in trance with the Kalahari bushmen, to undergo the initiation rites of the Australian aborigines, and to die as sacrificial victims of the Aztecs. And again the descriptions frequently contained obscure historical facts and a degree of knowledge that was often completely at odds with the patient's education, race, and previous exposure to the subject. For instance, one uneducated patient gave a richly detailed account of the techniques involved in the Egyptian practice of embalming and mummification, including the form and meaning of various amulets and sepulchral boxes, a list of the materials used in the fixing of the mummy cloth, the size and shape of the mummy bandages, and other esoteric facets of Egyptian funeral services. Other individuals tuned into the cultures of the Far East and not only gave impressive descriptions of what it was like to have a Japanese, Chinese, or Tibetan psyche, but also related various Taoist or Buddhist teachings.

Thirty-Nine Ways to Lower Your Cortisol 1 Meditate. 2 Do yoga. 3 Stretch. 4 Practice tai chi. 5 Take a Pilates class. 6 Go for a labyrinth walk. 7 Get a massage. 8 Garden (lightly). 9 Dance to soothing, positive music. 10 Take up a hobby that is quiet and rewarding. 11 Color for pleasure. 12 Spend five minutes focusing on your breathing. 13 Follow a consistent sleep schedule. 14 Listen to relaxing music. 15 Spend time laughing and having fun with someone. (No food or drink involved.) 16 Interact with a pet. (It also lowers their cortisol level.) 17 Learn to recognize stressful thinking and begin to: Train yourself to be aware of your thoughts, breathing, heart rate, and other signs of tension to recognize stress when it begins. Focus on being aware of your mental and physical states, so that you can become an objective observer of your stressful thoughts instead of a victim of them. Recognize stressful thoughts so that you can formulate a conscious and deliberate reaction to them. A study of forty-three women in a mindfulness-based program showed that the ability to describe and articulate stress was linked to a lower cortisol response.28 18 Develop faith and participate in prayer. 19 Perform acts of kindness. 20 Forgive someone. Even (or especially?) yourself. 21 Practice mindfulness, especially when you eat. 22 Drink black and green tea. 23 Eat probiotic and prebiotic foods. Probiotics are friendly, symbiotic bacteria in foods such as yogurt, sauerkraut, and kimchi. Prebiotics, such as soluble fiber, provide food for these bacteria. (Be sure they are sugar-free!) 24 Take fish or krill oil. 25 Make a gratitude list. 26 Take magnesium. 27 Try ashwagandha, an Asian herbal supplement used in traditional medicine to treat anxiety and help people adapt to stress. 28 Get bright sunlight or exposure to a lightbox within an hour of waking up (great for fighting seasonal affective disorder as well). 29 Avoid blue light at night by wearing orange or amber glasses if using electronics after dark. (Some sunglasses work.) Use lamps with orange bulbs (such as salt lamps) in each room, instead of turning on bright overhead lights, after dark. 30 Maintain healthy relationships. 31 Let go of guilt. 32 Drink water! Stay hydrated! Dehydration increases cortisol. 33 Try emotional freedom technique, a tapping strategy meant to reduce stress and activate the parasympathetic nervous system (our rest-and-digest system). 34 Have an acupuncture treatment. 35 Go forest bathing (shinrin-yoku): visit a forest and breathe its air. 36 Listen to binaural beats. 37 Use a grounding mat, or go out into the garden barefoot. 38 Sit in a rocking chair; the soothing motion is similar to the movement in utero. 39 To make your cortisol fluctuate (which is what you want it to do), end your shower or bath with a minute (or three) under cold water.

Let us now assume that under truly extraordinary circumstances, the daimon nevertheless breaks through in the individual, so to speak, and is this able to let its destructive transcendence be felt: then one would have a kind of active experience of death. Thereupon the second connection becomes clear: why the figure of the daimon or doppelgänger in the ancient myths could be melded with the deity of death. In the Nordic tradition the warrior sees his Valkyrie precisely at the moment of death or mortal danger. In religious asceticism, mortification, self-renunciation, and the impulse of devotion to God are the preferred methods of provoking and successfully overcoming the crisis I have just mentioned. Everyone knows the expressions which refer to these states, such as the 'mystical death' or 'dark night of the soul', etc. In contrast to this, within the framework of a heroic tradition, the path to the same goal is the active rapture, the Dionysian unleashing of the active element. At its lower levels, we find phenomenons such as the use of dance as a sacred technique for achieving an ecstasy of the soul that summons and uses profound energies. While the individual’s life is surrendered to Dionysian rhythm, another life sinks into it, as if it where his abyssal roots surfacing. The 'wild host' Furies, Erinyes, and suchlike spiritual natures are symbolic picturings of this energy, thus corresponding to a manifestation of the daimon in its terrifying and active transcendence. At a higher level we find sacred war-games; higher still, war itself. And this brings us back to the ancient Aryan concept of battle and the warrior ascetic. At the climax of danger and heroic battle, the possibility for such an extraordinary experience was recognized. The Lating ludere, meaning both 'to play' and 'to fight', seems to contain the idea of release. This is one of the many allusions to the inherent ability of battle to release deeply-buried powers from individual limitations and let them freely emerge. Hence the third comparison: the daimon, the Lar, the individualizing I, etc., are not only identical with the Furies, Erinyes, and other unleashed Dionysian natures, which themselves have many traits similar to the goddess of death — they are also synonymous with the storm maidens of battle, the Valkyries and Fravartis. In the texts, for example, the Fravartis are called 'the terrible, the all-powerful', 'those who attack in storm and bestow victory upon those who conjure them', or, more precisely, those who conjure them up in themselves. From there to the final comparison is only a short step. In the Aryan tradition the same martial beings eventually take on the form of victory-goddesses, a transformation which denotes the happy completion of the inner experience in question. Just as the daimon or doppelgänger signifies a deep, supra-individual power in its latent condition as compared to ordinary consciousness; just as the Furies and Erinyes reflect a particular manifestation of daimonic rages and eruptions (and the goddesses of death, Valkyries, Fravartis, etc., refer to the same conditions, as long as these are facilitated by battle and heroism) — in the same way the goddess of victory is the expression of the triumph of the I over this power. She signifies the victorious ascent to a state unendangered by ecstasies and sub-personal forms of disintegration, a danger that always lurks behind the frenetic moment of Dionysian and even heroic action. The ascent to a spiritual, truly supra-personal condition that makes one free, immortal, and internally indestructible, when the 'Two becomes One', expresses itself in this image of mythical consciousness.

Before the white man became universally disliked for his mental outlook, it was there. The white man found only too many people who looked different. That was all that outraged the receivers of his discrimination, that he applied the technique of the wild jiggling dance and the rattling tin cans to anyone who was not a white man.

This is how it should be done’ but rather ‘This is how we are currently doing it today, it’s up to you to show us how it’s done tomorrow’.

It is advisable to understand some basic principles and methods of the work before starting the first technique. You should not be surprised that our purpose is a new, clear-sightedness or self-vision. Yes, the Self is already there, waiting for you to reveal it. You will not ‘build’ the Self and its dream, you must show it or rather encourage it to reveal itself. Spiritual development is certainly a struggle, but letting go is the main weapon in this fight. It is not necessary to focus, try hard, or push when trying to open. What would happen if you were to do that? You'd operate from your ordinary mind, meaning that fraction of yourself that you're thinking about right now–the discursive mind that continues to talk in your head all the time. You are trained to do everything from the brain from an early age. So if you're attempting to ‘run’ the business of interpretation, you're likely to remain trapped in your talking mind–a surface that's famously unfit for any form of spiritual experience. Avoid doing that. Be fully conscious, but be aware of it. Relax and allow what is hidden to come to the surface and be revealed to you in consciousness. Don't do anything, let things unfold. Dance to the rhythm. If you want something, you have to search for it in the physical world. But in the spiritual world, as on the other side of a mirror, everything is inverted. You have to let it come to you if you want it. It's a new skill that needs to be developed. It might be called "active letting go" or "creative letting go." It is the opportunity, to be honest, and through you to disclose states of consciousness. Just be aware, and it will all happen.

So they told me that, according to the most advanced theories and techniques in every field, based on extensive theoretical research and experimentation, through analysis and comparison of multiple proposals, they did find a way to preserve information for about one hundred million years. And they emphasized that this was the only method known to be practicable. Which is—” Luo Ji lifted the cane over his head, and as his white hair and beard danced in the air, he resembled Moses parting the Red Sea. Solemnly, he intoned, “—carving words into stone.

Hong Kong Cha-Cha Champion of 1957. And just as he could pick up dance steps after being shown them only once, so he had an instant understanding of any martial art he encountered — whether Chinese, Japanese, Korean, or Filipino — or Western techniques of fencing or boxing. In parallel with his acting career, Bruce Lee was also the catalyst for the hybridization of martial art styles — a unique approach to the subject that eventually led to the ‘mixed martial art’ and ‘ultimate fighting’ of today. Bruce’s intentions have often been misunderstood by some in the martial arts community, who believe he was accumulating every possible technique he could, so as to create a total armoury. But for Bruce, it was the shared principles behind all the various techniques that were far more important than acquiring a vast catalogue of moves. I do not fear the man who has practiced ten-thousand kicks once. But I fear the man who has practiced one kick ten-thousand times. In his view, a martial artist shouldn’t set out to compile an encyclopedia of styles any more than a musician should.  After all, would the ultimate musician be one who learned every jazz lick he could, every blues lick, every classical piece, and pop tune — along with the folk music of Kazakhstan — which he then tried to cobble together into one unholy racket?

As it turned out, ballroom dance practice techniques led me out of my little loop of “mystery misery.” Instead of starting out trying to pray a good Rosary with the contemplative powers of a saint, I treated the repetition of the Rosary as though it were a foundation for later prayer, and all I had to do was practice keeping a steady beat.

Then it came to him. This was not the diversion, the battle of Gibeah was the diversion. The real goal was to capture Mikael himself, the prince of Israel. Well, he thought, they picked the wrong archangel to mess with. I have a chosen nation to protect. He pulled out his horn to call for help, but Ba’alzebul’s mace smashed it out of his hands. Dagon assaulted him with a barrage of sword slashes and strikes. Mikael kept him at bay, but almost got stung by Asherah’s javelin from the other side. He dodged and kept moving. His Karabu training was his only hope. It was the heavenly battle technique of Yahweh’s archangels developed to protect the Garden of Eden in primordial days. They had taught the human giant killers Enoch, Methuselah, Lamech, and Caleb the Way of Karabu, but now he would need to call upon his training to survive this ordeal. He flipped, spun, and danced around the four attacking gods and their weapons. It frustrated the malevolent beings, which was to Mikael’s advantage. But archangels were still created beings. He began to grow tired. They were wearing him down. Dagon’s sword grazed Mikael’s arm, cutting through his tunic. He was not going to be able to keep it up. He would have to do something drastic. Ba’alzebul moved in on Mikael. The biggest, meanest, mightiest of the gods had been waiting for his opportune moment when Mikael was just weary enough, just worn enough, to be incapable of expecting the unexpected. Ba’alzebul took the lead and pounded Mikael’s sword with his mace and backed him up against the ledge. Mikael looked down to the chasm floor. Saul and his forces made their way through the chasm below after slaughtering the priests of Molech. It wasn’t a fair fight. And neither was this fight. But Saul was safe. He had made it through and went north toward Gibeah. But the gods were not here for Saul. They were here for Mikael. Ba’alzebul suddenly threw down his mace and rushed Mikael like a bull goring its prey. Mikael didn’t register why, until Ba’alzebul hit him. The two of them launched off into space, plummeting toward the chasm floor two hundred feet below. Angels and gods could not die. But they were not mere spirits. They were enfleshed spirits. While it was unique flesh that would heal miraculously, it was still flesh that could be hurt — as Ba’alzebul knew all too well from his own painful experience in the molten earth. They hit the ground with a powerful thud and sank several feet into the dirt. Every bone in Mikael’s body was broken in the fall. He was paralyzed in excruciating pain. Ba’alzebul had been on top of Mikael, so while he too would be somewhat incapacitated, it would not be as bad for him, having used Mikael’s body as a cushion in the fall. As Mikael slipped into a state of delirious pain, he knew that their goal had been to capture him this way. To ambush him and therefore make both Saul and David more vulnerable to human attack. But what did they plan for Mikael? He could not begin to imagine.

He shrugged. “When I was younger, I tried to make a good impression on dates. I’d take girls out dancing, bribe the bouncers to get us into trendy clubs, follow all the rules on the pickup artist sites. And one day about five years ago, I realized something: I suck at dancing, I hate trendy clubs, and the women who fall for the standard pickup techniques are airheads. So now I do stuff I like to do anyway. If my date doesn’t like it, then we’re probably not compatible anyway.

Bacha Bereesh As the music grew louder and the men grew bolder, Vaj was ready to take center stage. Since he was a little older and more experienced than I, he mixed traditional Indian dance styles with Arabian folk techniques. The Indian swirled and twirled like a professional batcha to an audience of rowdy applause and cheers of wolf whistles. As his dancing progressed, he began disrobing without hesitation while his admirers showered Bahraini dinars at him.

traditional weapons of the samurai Dim Mak Death Touch doku poison dōshin Edo-period police officers of samurai origin (low rank) endan ninja smoke bombs fugu blowfish or puffer fish Fuma Wind Demons gaijin foreigner, outsider (derogatory term) geisha a Japanese girl trained to entertain men with conversation, dance and song haiku Japanese short poem hamon artistic pattern created on a samurai sword blade during tempering process hashi chopsticks horagai conch-shell trumpet horoku a spherical bomb thrown by hand using a short rope itadakimasu let’s eat! kagemusha a Shadow Warrior kamikaze lit. ‘divine wind’, or ‘Wind of the Gods’ kanji Chinese characters that are used also by the Japanese katana long sword ki energy flow or life force (Chinese: chi) kiai literally ‘concentrated spirit’ – used in martial arts as a shout for focusing energy when executing a technique kimono traditional Japanese clothing kissaki tip of sword koban Japanese oval gold coin

This is the part of film acting that I was only too happy to leave behind, the part that became more agonizing as time went on. Yet you have to go through those terrifying times if you are ever to have the magic ones, the times when it all works—and to be truthful, those I have missed. There were perhaps only eight or nine of them out of forty-five films, but they were the times when I stepped into my light and my muse was with me, all my channels were open, the creative flow coursed through my body, and I became. Whether the scene was sad or funny, tragic or triumphant, never mattered. When it worked it was like being enveloped in love and light, as I danced the intricate dance between technique and emotion, fully inside the scene while simultaneously a separate part of me observed and enjoyed the unfolding. Ah, but just because it has happened once doesn’t mean it will again! Each time is starting new, raw; it’s a crapshoot—you just never know. Which is why this profession is so great for the heart—and so hard on the nerves. I always assumed that the more you did something the easier it would get, but in the case of my career I found the opposite to be true. Every year the work seemed to get harder and my fear more paralyzing. Once, on the set of Old Gringo, I watched Gregory Peck late in his career doing a long, very difficult scene over and over again all day long. I saw that he too was scared. I went up to him afterward and hugged him and told him how beautiful and transparent he had been. “But, Greg,” I asked, “why do we do this to ourselves? Especially you. You’ve had a long and incredible career. You could easily retire. Why are you still willing to be scared?” Greg sat for a moment, rubbing his chin. Then he said, “Well, Jane, maybe it’s like my friend Walter Matthau says. His biggest thrill in life is to be gambling and losing a bit more than he can afford and then have one chance to win it all back. That’s what you live for—that moment. The crapshoot. If it’s easy, what’s the point?

A painter paints pictures on canvas. But musicians paint their pictures on silence.’ Leopold Stokowski

Many New Age activities are being practiced by the ordinary everyday person, who may not even be actually interested in New Age. Yet they receive its influence unawares. Relaxation techniques and even some physical therapies contain New Age exercises. Acupuncture, reflexology, and visualization techniques involve spiritual “energies,” whether or not the therapist or clients realize that. Health centers offer their patients reiki, a relaxation technique that originated in Japan, yet many are unaware that it involves the transmission of healing from reiki spirit guides.

The sales process should be as natural and fluid as a well choreographed dance.

Holistic moving therapy is a combination of various movement based bodywork techniques such as movement therapy, manual therapy, Pilates and Belly dance classes.

The waiter brought the drinks. After he had moved silently away, I looked at her and said, “You’re not involved in any of this?” She looked into her glass. Several seconds went by. “You want an honest answer, or a really honest answer?” she asked. “Give me both.” “Okay,” she said, nodding. “The honest answer is no.” She took a sip of the Highland Park. Closed her eyes. “The really honest answer is, is…” “Is, not yet,” I said quietly. Her eyes opened and she looked at me. “How do you know?” I watched her for a moment, feeling her distress, seeing an opportunity. “You’re being suborned,” I said. “It’s a process, a series of techniques. If you even half realize it, you’re smarter than most. You’ve also got a chance to do something about it, if you want to.” “What do you mean?” I sipped from my glass, watching the amber liquid glowing in the candlelight, remembering. “You start slow. You find the subject’s limits and get him to spend some time there. He gets used to it. Before long, the limits have moved. You never take him more than a centimeter beyond. You make it feel it’s his choice.” I looked at her. “You told me when you first got to the club you were so shy you could hardly move on the stage.” “Yes, that’s true.” “At that point you would never have done a lap dance.” “No.” “But now you can.” “Yes.” Her voice was low, almost a whisper. “When you did your first lap dance, you probably said you would never let a customer touch you.” “I did say that,” she said. Her voice had gone lower. “Of course you did. I could go on. I could tell you where you’ll be three months from now, six months, a year. Twenty years, if you keep going where you’re going. Naomi, you think this is all an accident? It’s a science. There are people out there who are experts at getting others to do tomorrow what was unthinkable today.” But for her breath, moving rapidly in and out through her nostrils, she was silent, and I wondered if she was fighting tears. I needed to push it just a little further before backing off. “You want to know what’s next for you?” I asked. She looked at me but said nothing.

A pas de deux is more than just a partnered dance. Two souls. One body. Entwining together and weaving a story--- evoking a sensation, a memory, a thought. I shut my eyes, remembering how Damien laid me upon the petals and joined his soul with mine. In the heat of summer, he vowed to love me, and we became a part of each other. We separate, taking our places across the sea. The tension pent up inside my body slips away as the darkness spills into the water. My dance was always powerful, even when I'm imperfect and fragile and completely surrendered. I know that now. I fall into my adagio, weightless. Technique no longer matters. Instead, I'm passive to the waves, allowing the current to spin me in pirouettes. The darkness fans out, blooming like a flower. As I lunge into an arabesque, my fingertips release a nebula. Stars explode across the darkness and create my own galaxy. I fall into a piqué manège, birthing stardust strokes. With quick bourrée steps, constellations sprout across the sea. The water illuminates as I leap into a grand jeté, sending shooting stars as I fly. The sirens coo, and I welcome them to join me. They spin tendrils of gold into the darkness, using their fish tails like paintbrushes. As they circle me, the ragged dress I wear transforms into a glittering gown, reflecting rainbows when hit by the light. Finally, I embrace the angel I always was. Filling the distance between me and Damien, I leap into his arms. When he catches me, his darkness feathers into the sea. We entwine, twirling in a whirlpool as the sirens hold us in a glittering lattice.

It was a long and grueling practice, drilling over and over again on new skills. Bean saw that Wiggin wasn’t willing to let them learn each technique separately. They had to do them all at once, integrating them into smooth, continuous movements. Like dancing, Bean thought. You don’t learn to shoot and then learn to launch and then learn to do a controlled spin—you learn to launch-shoot-spin.

Releasing emotions can feel intense or scary if you’re unsure what to expect or how to release them fully. If you suspect your body is trying to release trapped emotion during a somatic exercise, you can try the MY MOVE technique. It stands for: • Mindfulness: Practice being mindful of the emotion, acknowledging it fully. • Yield: Let the emotion exist in that moment. Don’t resist it, yield to it. • Move: Use your body to move, shake, rock, wiggle, dance, or deep breathing to release. • Open: Keep your body language open to communicate safety and openness. • Voice: Don’t be afraid to make noises, cry, or laugh if it feels releasing. • Engage: Once the emotion has subsided, engage with your thoughts.

The discovery of this archetypal layer of the unconscious and the presentation of techniques for confronting it is one of Jung's great contributions to psychology. For without the concept of the archetypes, we would forever be caught in a never ending circular dance with persons in outer reality.

Rhythm is evident everywhere in the world. In the Way of Noh dance, minstrels with their wind and string instruments all have their own harmonious, regular rhythms. In the Way of martial arts, releasing an arrow, firing a gun and even riding a horse have distinctive cadences. Rhythm must never be contravened in any of the arts. Rhythm is also present in things that are invisible. For the samurai, there is rhythm in how he succeeds in service or falls from grace. There is rhythm for harmony and rhythm for discord. In the Way of commerce, there is cadence in the accumulation of great wealth and a rhythm for losing it. Each Way has its own rhythm. Judge carefully the rhythms signifying prosperity and those that spell regression. There are myriad rhythms in strategy. First, the warrior must know the cadence of harmony and then learn that of discord. He must know the striking, interval and counter cadences that manifest among big and small, fast and slow rhythms [between attacks]. In combat, it is critical for success to know how to adopt the “counter rhythm.” You must calculate the cadences of various enemies and employ a rhythm that is unexpected to them. Use your wisdom to detect and strike concealed cadences to seize victory. I devote much explanation to the question of cadence in all the scrolls. Consider what I record and train assiduously. As written above, your spirit will naturally expand through training diligently from morning to night in the Way of my school’s combat strategy. I hereby convey to the world for the first time in writing my strategy for collective and individual combat in the five scrolls of Ground, Water, Fire, Wind and Ether. For those who care to learn my principles of combat strategy, follow these rules in observing the Way: 1. Think never to veer from the Way 2. Train unremittingly in the Way 3. Acquaint yourself with all arts 4. Know the Ways of all vocations 5. Discern the truth in all things 6. See the intrinsic worth in all things 7. Perceive and know what cannot be seen with the eyes 8. Pay attention even to trifles 9. Do not engage in superfluous activities Train in the Way of combat strategy keeping these basic principles in mind. Particularly in this Way, inability to comprehensively see the most fundamental matters will make it difficult to excel. If you learn these principles successfully, however, you will not lose to twenty or even thirty foes. First, by dedicating your energies wholeheartedly to learning swordsmanship and practicing the “Direct Way,” you will defeat men through superior technique, and even beat them just by looking with your eyes. Your body will learn to move freely through the rigors of arduous training and you will also overcome your opponent physically. Furthermore, with your spirit attuned to the Way you will triumph over the enemy with your mind.

INFORMATION TECHNOLOGY: TUTORIAL 6 – had been enough on their own to fill Miller with an apocalyptic dread, but the content, delivered in an unfortunate monotone that sounded like a Dalek on Mogadon, was an altogether different level of horrific. ‘As an IT infrastructure technician, you’ll be supporting clients, assisting with troubleshooting and providing solutions so as to problem-solve business-wide infrastructure concerns.’ ‘I think I’m actually slipping into a coma,’ Miller said. ‘You’ll be responsible for workflow management, as well as applying structured IT techniques to both common and non-routine computing issues . . .

He nodded gravely, though his eyes were dancing. “But yes. I will transfer my vital energy into you by way of a secret technique.” “A secret ...?” Words failed her.  “There is nothing remotely secret about your technique!” “It will be most invigorating, I promise,” he whispered.  Jane spluttered but voiced no objection.  “I’m just going to lie here,” she warned him.  “I’m not going to do anything.” “No husband could ask for more.

We are the ultimate online destination for coffee enthusiasts seeking incredible coffee experiences. Our brand is fueled by a team of coffee nerds who consume copious amounts of their favorite brew daily, striving for perfection in each cup. We understand that the journey to incredible coffee is an intricate dance of technique, equipment, and passion for the bean. That's why we're committed to providing fellow coffee aficionados with the knowledge and tools needed to achieve coffee nirvana.

Whether a man sings or paints, writes or dances some piece of his art should be his confessional, of what he did and what he saw. He should create out of what seems unspeakable and incommunicable to the world until there isn’t a need to do it any longer, until he feels peace away from the most inhumane part of himself. If he only trained his hands for destruction, he must train them in techniques of construction. He should be possessed to produce even if he can’t replace a single thing that he destroyed; he must learn how to bring good into the world out of the strange places where he chose his exile, and the strange people who chose to love him, or the people he hated, shunned, injured or even killed. Every man who knows the snake knows the sword, fire, banishment and a gate that shut forever. He is only damned if he doesn’t choose to control his destiny with his experiences and knowledge.

It is for the very reason that people are different that something alive and interesting can possibly happen in dance and in life. It is fragile, definitely. In dancing, not only is there the technique and dancing capabilities of each person to consider, there is the even greater, more impactful field of the nature of each – the depth or lack of it, the amount of fire inside them, the presence or absence of calmness, the quality of mental lucidity, the willingness to navigate through emotional openness, the capacity to not indulge in neediness and self-pity while still maintaining an emotional transparency, and the willingness or otherwise of bringing one’s soul to the table and seeing what the other will do with it. All high risk.

On 1970’s The Lady and the Unicorn he applied his filigree technique to a procession of courtly dance tunes from across medieval Europe, including an old English tune, ‘Trotto’, and an Italian one, ‘Saltarello’, given a folk-drone feel by Renbourn’s use of an unusual tuning and double-tracked with a sitar.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

Her life was better in her safe place, where she'd successfully driven everyone out. There she didn't have to have any real conversations or expose what was really going on inside her head. She'd fine-tuned the technique. She was good at it because she'd been doing it for years. But it was time to make a change. She needed to transform her life into something more bearable.

As she screams her words, she slaps me like the worldchampion surf lifesaver she is, with full hip rotation and follow-through. Magnificent core strength. Textbook technique. Open hand to cheekbone, cheek, and jaw. Nope, she couldn’t have hit me better. Ten out of ten, say the judges. The crowd cheers. Deuce, no make that game to Chelsea. The nose—that’s where I feel it. It’s just like at the beach when a dumping wave strikes with the power of Aquaman, causing salt water to dance, prance, and gurgle in and out of the nostrils. I feel the pressure of that slap like that wave is holding me down for seconds and seconds. I see this weird combination of circling stars. Under pressure such as this, my core values are wobbling. I could whack her right across the chops. I’m livid. That’s how I feel. In my eyes, she’s a piece of shit right at this point. A fake. A liar. A fucking pretender. I always knew she was hiding something. She was always too damn good to be true. That’s why she does so much for the community: because she’s rotten to the core. No. I fucking love her way more than I can cope with. Jerome Kremers, book 2, TEAM PURSUIT.

TOOTSIE (by Larry Gelbart and Murray Schisgal, story by Don McGuire and Larry Gelbart, 1982) • Premise When an actor can’t get work, he disguises himself as a woman and gets a role in a TV series, only to fall in love with one of the female members of the cast. • Possibilities You could take a funny look at the modern dating dance, but also dissect the deep immorality that underlies how men and women act toward each other in the most intimate part of their lives. • Story Challenges How do you show the effect of men’s immoral actions against women without seeming to attack one entire gender while making the other gender look innocent? • Problems How do you make a man believable as a woman, weave several man-woman plots together and make them one, end each plotline successfully, and make an emotionally satisfying love story while using a number of farce techniques that place the audience in a superior position? • Designing Principle Force a male chauvinist to live as a woman. Place the story in the entertainment world to make the disguise more believable. • Best Character Michael’s split between dressing as both a man and a woman can be a physical and comical expression of the extreme contradiction within his own character. • Conflict Michael fights Julie, Ron, Les, and Sandy about love and honesty. • Basic Action Male hero impersonates a woman. • Character Change W—Michael is arrogant, a liar, and a womanizer. C—By pretending to be a woman, Michael learns to become a better man and capable of real love. • Moral Choice Michael sacrifices his lucrative acting job and apologizes to Julie for lying to her.

PRAYER is not a technique, it is not a ritual, it is not a formality. There is no pattern to it. It is a spontaneous outpouring of the heart, so don't ask how, because there is no how and there cannot be any how to it. Whatsoever happens in the moment is right. If tears come, good. If you sing, good. If you dance, good. If nothing comes and you simply remain silent, good. Because prayer is not in the expression; it is not in the container, it is in the content. Sometimes silence is prayerful, sometimes singing is prayerful. It depends on you, it depends on the heart. So if I say sing, and you sing because I have told you to sing, then the prayer is false from the very beginning. Listen to your heart, feel your moment, and let it be. And whatsoever happens is good. Sometimes nothing will happen, but that is what is happening. You allow it, you don't impose your will on it. When you ask how, you are trying to impose your will, you are trying to plan. That's how prayer has been missed. Prayer has to arise in you, it has to flower in you. And each moment has its own prayer, and each mood has its own prayer. Sometimes you may feel very sad, because sadness also belongs to God. Sadness is also divine. There is no necessity to always be happy. Then sadness is your prayer. Then let your heart cry and let your eyes pour down tears. Then let sadness be offered to God. Whatsoever is there in your heart, let it be offered to the Divine Feet -- joy or sadness, sometimes even anger. Sometimes one is angry with God. If you cannot be angry with God, you have not yet known love. Sometimes one is really in a deep rage. Then let anger be your prayer. Fight with God -- He is yours, you are His, and love knows no formality. Love can survive all fights. If it cannot survive a fight, then it is not love. So sometimes you don't feel like praying; then let that be your prayer. You say to God, "Wait! I'm not in the mood, and the way you are doing things, it is not even worth praying." But let it be a spontaneous pouring of your heart. Never be inauthentic with God because that is the way of not being with Him. If you are insincere with God -- deep down you are complaining, and on the surface praying? -- then God will see the complaint, not the prayer. You have been false. He can look directly into your heart. Whom are you trying to deceive? The smile on your face is not going to deceive God; your truth will be known to Him. He can only know your truth; lies don't exist for Him. So let the truth be there. You simply present your truth to Him and say that today you are angry, you are angry with His world, you are angry with Him, you are angry with your life: "I hate it! And I cannot pray, so you will have to remain without my prayer today. I suffer much; now you suffer." Talk to Him as one talks to one's lover, one's friend, one's mother. Talk to Him as one talks to a small child.

In the morning, I woke up clean from my dip in the jungle pool the night before, and feeling totally refreshed! Leaping to my feet and shaking out my feathers, I looked over at my master, who was doing sword drills in the pink rays of the rising sun. Sir Zebulon moved through his techniques slowly and smoothly, as if dancing with his iron blade. The sword glinted in the morning sunlight.

PRAYER is not a technique, it is not a ritual, it is not a formality. There is no pattern to it. It is a spontaneous outpouring of the heart, so don't ask how, because there is no how and there cannot be any how to it. Whatsoever happens in the moment is right. If tears come, good. If you sing, good. If you dance, good. If nothing comes and you simply remain silent, good. Because prayer is not in the expression; it is not in the container, it is in the content. Sometimes silence is prayerful, sometimes singing is prayerful. It depends on you, it depends on the heart. So if I say sing, and you sing because I have told you to sing, then the prayer is false from the very beginning. Listen to your heart, feel your moment, and let it be. And whatsoever happens is good. Sometimes nothing will happen, but that is what is happening. You allow it, you don't impose your will on it. When you ask how, you are trying to impose your will, you are trying to plan. That's how prayer has been missed. Prayer has to arise in you, it has to flower in you. And each moment has its own prayer, and each mood has its own prayer. Sometimes you may feel very sad, because sadness also belongs to God. Sadness is also divine. There is no necessity to always be happy. Then sadness is your prayer. Then let your heart cry and let your eyes pour down tears. Then let sadness be offered to God. Whatsoever is there in your heart, let it be offered to the Divine Feet -- joy or sadness, sometimes even anger. Sometimes one is angry with God. If you cannot be angry with God, you have not yet known love. Sometimes one is really in a deep rage. Then let anger be your prayer. Fight with God -- He is yours, you are His, and love knows no formality. Love can survive all fights. If it cannot survive a fight, then it is not love. Never be inauthentic with God because that is the way of not being with Him. Whom are you trying to deceive? The smile on your face is not going to deceive God; your truth will be known to Him. He can only know your truth; lies don't exist for Him. So let the truth be there. Talk to Him as one talks to one's lover, one's friend, one's mother. Talk to Him as one talks to a small child. Let the moment decide, let the moment be decisive, and the truth of the moment should be your prayer. That's my answer: the truth of the moment, whatsoever it is, unconditionally, should be your prayer. And once you allow the truth of the moment to possess you, you will start growing, and you will know tremendous beauties of prayer.

PRAYER is not a technique, it is not a ritual, it is not a formality. There is no pattern to it. It is a spontaneous outpouring of the heart, so don't ask how, because there is no how and there cannot be any how to it. Whatsoever happens in the moment is right. If tears come, good. If you sing, good. If you dance, good. If nothing comes and you simply remain silent, good. Because prayer is not in the expression; it is not in the container, it is in the content. Sometimes silence is prayerful, sometimes singing is prayerful. It depends on you, it depends on the heart. Listen to your heart, feel your moment, and let it be. And whatsoever happens is good. Sometimes nothing will happen, but that is what is happening. You allow it, you don't impose your will on it. When you ask how, you are trying to impose your will, you are trying to plan. That's how prayer has been missed. Prayer has to arise in you, it has to flower in you. And each moment has its own prayer, and each mood has its own prayer. Sometimes you may feel very sad, because sadness also belongs to God. Sadness is also divine. There is no necessity to always be happy. Then sadness is your prayer. Then let your heart cry and let your eyes pour down tears. Then let sadness be offered to God. Whatsoever is there in your heart, let it be offered to the Divine Feet -- joy or sadness, sometimes even anger. Sometimes one is angry with God. If you cannot be angry with God, you have not yet known love. Sometimes one is really in a deep rage. Then let anger be your prayer. Fight with God -- He is yours, you are His, and love knows no formality. Love can survive all fights. If it cannot survive a fight, then it is not love. Never be inauthentic with God because that is the way of not being with Him. Whom are you trying to deceive? The smile on your face is not going to deceive God; your truth will be known to Him. He can only know your truth; lies don't exist for Him. So let the truth be there. Talk to Him as one talks to one's lover, one's friend, one's mother. Talk to Him as one talks to a small child. Let the moment decide, let the moment be decisive, and the truth of the moment should be your prayer. That's my answer: the truth of the moment, whatsoever it is, unconditionally, should be your prayer. And once you allow the truth of the moment to possess you, you will start growing, and you will know tremendous beauties of prayer.

We must approach exercises as we approach the treatment of an illness. We get orders from a doctor, but the individual knows best how the orders should be carried out. Basic Principles of Classical Ballet: Russian Ballet Technique (p. 33). Dover Publications. Kindle Edition.

There is no doubt whatsoever that the idea of a detachable soul, a Double, is a fundamental aspect of shamanism, whose influence on the Hellenic world is manifest. We will take as the last witnesses the enthusiast cults, that of Bacchus, for example. If the Bacchants fast, dance, sing, and shout to achieve divine delirium, it is in order to free their spirit Double from their body, as Maurice Halbwachs has clearly shown.10 What is this technique if not a variation of the shamanistic ecstatic technique?

As Judi thought about their responses, a lightbulb went off. Why not teach a dance class for regular women focused less on technique and more on sweat? A class that approached dance not as art per se, but as exercise and fun? Judi ran her idea by Gus. He gave her the go-ahead, “so long as it occurred downstairs in the rarely used back studio.” She posted flyers advertising a new adult class called Jazz Dance for Fun and Fitness. And she personally appealed to her dropouts to come back and give her another chance.

Discovering a Hidden Gem: My Silver Jewelry Class Experience in Ubud, Bali When planning my trip to Bali, I imagined serene beaches, lush rice terraces, and sacred temples. But one unexpected highlight completely stole the show: a silver jewelry making class in Ubud. It turned out to be one of the most memorable and meaningful experiences of my entire journey—and I walked away not just with memories, but with a beautiful silver ring that I made with my own hands.