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I remember my philosophy teacher in the last year of high school. According to him artists, especially dancers and singers, should be paid by social security because they are true catalysts of energy and a necessary antidote to our heavy intellectual, technocratic, official systems that stiffen our lives and stifle the impetus for creativity ! An old hippy himself, he was some kind of a strange artist in the way he taught and brought philosophy to life. Not only did he make me love Nietzsche, René Char and Saint John Perse but he also made me understand that the most important thing in life is to be true to ourselves and try to fulfill our dreams.

I tried to fulfill mine and be true to myself. It hasn’t been that easy because living from one’s art without necessarily being classified, established and approved of by official authorities is a tremendous challenge which requires unusual fighting spirit coupled with genuine talent. You may seem to be encouraged by politicians but in reality, it’s another story. I nevertheless ended up understanding it was as sterile to discard the system as a whole as to accept living from castrating charity on the fringe of society. It seems cleverer to take part in it, with humility, without losing one’s soul, and to afford oneself to work for its change, so as to take part in the evolution of our changing society. The reign of the brontosaurus, simply limited to our reptilian selfish and private desires, is getting out of date compared to the incredible awakening of consciousness guiding us towards a global economy hand in hand with the protection of the planet and its life. Yet, as artists are pioneers, isn’t it their role, when they are aware of and responsible for the emerging new world, to offer more “aerodynamic” ideas and structures that can sail the winds of change ?

In the logic of life, there is a time to receive, a time to experiment and a time to hand over what we have learnt. 30 years of dance, nearly 20 years of psychotherapy and the experience I gathered from my dedicated research and work on the body granted me the mission to hand over something beyond technique, something by definition, invisible and incommunicable -the movement of life. What cannot be seen may be felt, hence a transmission from one body to another, as life generating and transmitting itself through an act of love.

As a consequence, the attempt to recreate a body structure likely to be permeated again by the movement of life, was the greatest challenge of all : not trying to live but to be alive, not trying to dance but to be the dance. Drunk with ideal beauty, I looked for the secret of a perfectly outlined flight, free from the laws of gravity, in the asceticism of ballet dancing. Hungry for rhythm and sensuality, I shifted my hips and balance in a hysterical and theatrical way with jazz. Carried away by absolute liberty, I looked for the Greek origins of dance with a body that Free dance had liberated from technical constraints. Practicing African dance, I tried to let myself go to the point of trance in order to discover the thrill of an ecstatic beat.

In Butoh dance, I looked for movement beyond awareness to get to another side of myself. With Sacred dance, my body and soul joined in universal communion becoming pure energy and vibration.

“Nothing about dance shall remain alien to me” was to be my motto, sometimes to the point of madness, until I could learn the secret of the movement uniting them all- the secret of the spiral of life encompassing everything.

Présentation du livre
Spirale de vie
Dans la lignée de la psychologie biodynamique(*), Rafael Baile nous raconte la fabuleuse aventure de la danse biodynamique à (...)
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