truly brave are soft of heart and eyes,
and feel for what their duty bids them do.
they behold the brave oppressed with odds,
touched with a desire to shield and save:--
mixture of wild beasts and demi-gods
they--now furious as the sweeping wave,
moved with pity; even as sometimes nods
rugged tree unto the summer wind,
breathes along the savage mind.
Byron (Don Juan)
In a very literal way, consciousness
lives in the continual and ever (re)new(ed) interplay of electricity in
Rather than say that our "consciousness is energy," it might be more
accurate to understand that the physical structures
of the brain are dependent on this energy - which "plays upon" these
structures and ever evolve jointly so that
consciousness is always, and can only be:
dance company is the name under which Abel Coelho produces,
directs, and choreographs dance works. I work in many genres of
dance, from experimental stage performances to extremely aesthetic and
disciplined choreography practices.
a workshop teacher,
I apply everything I know and think to participants. In that
role I focus sharply on each and every individual, even with twenty
people in the room. I connect philosophy
with movement, and show how philosophy and being are intimately
connected in the body, and how to adjust those connections for various
purposes. In this way my workshops are rather rigorous
yet free-wheeling. The body is a vital and so immediate
locus to experience philosophy and ways of "being".
performed in several cities, most notably Honolulu, Tokyo, New York
City, Tasmania, and Shanghai. We are based in Kyoto.
ruinedmap is original and
detailed. We flock and follow, lead and migrate, ultimately
journeying across the stage in diverse ways as metaphor and image.
We have our own tradition of dance
– our stage movements owe very little to modern or contemporary
performance styles. Rather, we have our own dance language, one that
expresses his our concerns and techniques as artists.
Neither fish nor fowl is our work – it
lives within its own tradition.
My art uses organic materials such as
the human body, relying on somatic empathy to express abstract
truths. The viewers sympathize with and respond to what they see
because, as humans, we all possess bodies and are capable of limbic
empathy. By using the human body, I hope to work with these very
human responses to create “art” that truly speaks to the human being by
awakening viewers’ somatic responses.
The mouth is important for everyday
use. We use the mouth. Without the mouth, we might perhaps
revert to more basic and direct means of communication, just gossamer
language with our limbic systems. When an age comes where the
mouth ceases to matter, then maybe we will have found a truer means of
talking to each other. A language that no longer uses
symbols/words, but less concrete means of expressing our feelings.
When I realized that the human body is
capable of so many actions, infinite ways of moving and posturing, I
began to wonder how trapped we were in our learned movement
patterns. We are shackled to learned movements from childhood, and
if we just try to break out of them, the unexpected difficulty is
incredible; surprising. Interacting with the world in a less
formalistic way involves far less and far more effort than one could
Our vocal equipment is capable of
producing infinite sounds, yet most of us limit ourselves to our
vocabularies and some society-acceptable noises. The capacity to
communicate incredible volumes beyond merely that which can be put into
words lies mostly dormant in all of us.
Our bodies are still aliens. We
have many communication strategies that are unused, unknown. That
which you see onstage are some of the less recognized forms of movement
- we are communicating with the most alien of creatures: each other.