| Mille Plateaux 63 Nava |
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| Why do I dance? Why do I need to perform my dance in front of other people?
Why do I have to choreograph my dance and not only just flow spontaneously? Two weeks before my performance I visited with 2 friends in Tatwani, a hot spring and a Hindu ancient temple. In order to get there, you need to take a 1.5 hours local bus, cross a river by foot and walk for 40 minutes in a beautiful way with mud houses and rice fields in a very quite village. I fall in love with the place- the butterflies, the river, the big trees, the village and the hot spring. Before the performance, I came there for 2 more times by myself, which was a big challenge. Imagine this very calm village. Suddenly appears a strange movement which they had never encountered, and this is a woman, dressed in a very strange costume, doing weird faces, splashing in the mud and moving very very slow. One time I was dancing under a big tree, and a quite old woman, who was constantly knitting, sat down near by me. She was shocked at the beginning but then slowly slowly became also very interested and continued to watch. I felt resonance with her and it made my dance more powerful (to me). Then I understood why I need to perform. I also learned in this creating performance process, that the actual dance of my own subbody heals me. My body forgets its aches and tensions, my mind relax from too much thinking and bad feelings and I can just be. This process gave me a good mirror to see my ego. I had to convince my self to be at the moment in every step of: planning the trip to the spring, the conditioning, and the performance, to enjoy it, and not send my consciousness to the future all the time. Sometimes I compared my self to other dancers in my class and felt “I am not a real butoh dancer”, and sometimes to the village people, who “do more important things”, like growing their own food (and not “playing” like me). I had to find my own strength, courage, totality and reasons to continue dancing my subbody in the nature areas of the village. The performance took place in the morning after we all (students, teacher and stuff members) slept on the roof top of the family house we were hosted by. Before that, I went to bath in the spring, but I was still feeling I am not ready, and I had some headache and backache from the chilly night. I started the performance lying down, smelling the grass, growing around the tree, looking at the small insects and spiders. I relaxed, started to dance. My aches were gone and I was just there, resonating with the nature around, feeling the creatures coming out of my subbody, and feeling big love in my heart. I was once a biology student and today I am guiding kids to be in nature and love it. I learned in biology that we are a body that is composed of many cells that split up from one cell. Learning to be a nature guide, I understood also that we are connected physically, energetically and spiritually to the universe, to creation and to everything that exists in the world. But now, I have some deeper understanding that even this cell that our life as this creature began with is connected back until the first cell created in this world. And there is no separation between matter and spirit because it is all together. I feel it more and more, that it is less and less “Nava”, but a bunch of cells that in some incredible way work together in an amazing resonance. And really, every cell carries the memory of the first cell in this world and all that came after. And that all this “I “ thing is a crazy illusion |
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| Nava has joined subbody workshop 2001, Dharamsala. After seven years she came bach to school, she said since then she continued to feel her subbody wants to come out, then she joined school again. She tryed to connect her subbodies for these three months, and chosed a place for her last performance. That place is a sacred hot spring where is for two hours by bus and walk from the school. The whole process to reach the place was Nava's conditioning. She guided us how to enter the nature and how to change daily mind and body. There was a big tree at the start point of walk near the rivier. The tree was arround five hundred years old. It was a sacred tree for local Indian people. At the foot of the tree there was three sacred stones, and a small hundu temple of Shiva god beside of tree. (You can see them on the photo flip above.) They tells us the long history of Hunduism. Now Indian people worship Shiva temple. The history is only for several thousands years. But before Hunduism, people worship the stone. It was the most primitive simbol of animism. Our human ancesters separated from chimpanzee six millions years before.At that time they feel themselves so weak in the surrounding. Their life must shiver always with all kinds of fenomena in nature. Everything which is stronger than them was god. Not only one God, they believed that everything has their own Mana (misterious force). Rain has rain's Mana, fire has fire's Mana. The stone was the simbol of all kinds of Mana. Local Indian people believe also this animistic Mana. Their life is still shivering with the world. The process which Nava guided us was the huge time travel which upstream from 21C to ancient time. We could learn a lot of thing through this time trip. Under the old tree, Nava took off modern human body and mind, and dance as a spirit of tree, spirit of land, and spirit of water. The swamp water was streaming from the hot spring, then it was also hot swamp.. I didn't know it until that day, though I have been there so many times. Nava return back to her country to guide children to nature. Her guide will be deeper through the deep travel experiences into both of mental ancient world and natural world in Himalaya, India. Her last sentense of her text above told us how deep travel she has experienced here. ;And that all this “I “ thing is a crazy illusion. Nava, Keep travelling into subbody and cobody resonance world deeper, and come back again some day Let's dance together with weakened bodies. I might be real weakened body at that time. Lee |
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