Chunky Move movement class one: Benjamin Hancock at the Hotel Windsor 


[Benjamin] Hi, my name is Benjamin Hancock, on behalf of Chunky Move I welcome you to movement class number one. We respectfully acknowledge the traditional owners on whose unceded lands this film was created. We pay our respects to Elders past, present, and future, and to all Aboriginal and Torres Strait Islander peoples. This class is intended to be experienced both as a participant and as a spectator. There will be parts of the video that follow a class format and other sections that are more performative and intended to be engaged with in a less prescriptive way. I want you to find a comfortable position. These movement ideas can be explored either seated or standing. I want you to acknowledge your breath, no need to change it but be present and aware of your inhale and exhale. Begin to pay attention and bring awareness to your skull. Let the skin soften, the jaw relax, the eye sockets be light. Let the top of the head move up and out inviting space and freedom in and around the head and neck. Let the spine be spacious with freedom to move and negotiate space and direction. As the lungs inflate and deflate let the spine respond like seaweed moving through a gentle current. Let's bring awareness into the fingers, spacious joints, exploring and experiencing all the directions, movements, textures and possibilities. Can they curl, circle, curve, push? Can you move from the fingernail, the knuckle, the inside web of the fingers, the palm of the hand? Let the head and spine be free to respond. Now we move into the wrists, can they float, draw a circle? Also allowing the fingers to keep exploring. Now we introduce the elbows. Can they open, close, circle? Can they move closer to each other? Can they move further apart? Think about the space behind you or beside you. Now we move into the shoulders. Can the shoulder blades wrap around the ribs, rotate? Think of your three-dimensionality, the space behind you, and the availability that the rest of the arms have in this exploration. Remember to emphasize the shoulders. Now we invite the head and spine to explore similar spaces and dynamics, letting the rest of the body explore and negotiate all these possibilities. Now we have the whole body engaged. We're free to move in any direction with any quality. You can move from your fingers to your elbows, to shoulders to head. Have an exploration where you play with all of these options, darting and shifting between the arms, torso, head, any parts of the body you wish. Think about the spaces behind you, close to you, even your kinosphere, how far away can you reach past you? Think of the organs shifting inside of you, the sleepiness of your body. I also like to think about speed, how fast I can go? How slow, how delicate, how articulate I can be? I want you to begin to reduce the movement. I want you to start dissolving some of the ideas. Try and find your center again. Let arm settle, the head relax again, and let all those pathways be small little movements inside of you. I want you to imagine your skin is covered in hundreds of eyes. These eyes are wanting to look around the room. Let your limbs be free to drift and float around the space. The eyes on your palms, look at the ceiling. The eyes on your elbows can look behind you. The eyes under your foot, can look at the small details in the carpet. Think of eyes behind the knees, in the armpit, eyes on the chest. With all these eyes looking around the room, I want you to come back into your eyes and what you're seeing in your space. I want you to begin to describe the room around you through movement. Look at the small details, the trapery of the curtain, the shape of the chair. Can you become and be these objects? What qualities can you achieve in your body? Are your floor boards slippery or sticky? Is there a painting in your room? Can you become the painting? Be in the painting? For the final exercise, we're gonna combine all of the tasks that we've done in this session. Right from moving the fingers, the hands, the wrists, the elbows, shoulders, the spine and head, the eyes on the skin. We also have the room and how we read it. How you chose to respond to the space around you. Now it's time for you to have a play with all of this and see how you go with putting it together. In your own time I want you to find your own ending. How do you choose to resolve and dissolve what you have been working on.

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