Spacewalk
Spacewalk - the 1st art of ¡ Co-Ordinatio !
It is not for nothing that I spent two semesters of my studies at the University of Music and Movement in Vienna with the subject "walking in space". It was our daily practice as a group of people, walking in space! And there was even a grade for that :)
The best grade was not given for external effects like in a show on a catwalk. It was about functionally economical adjustment of the musculoskeletal system, the natural correction of alignment, the possible meanings of spatial paths, interactions of walking people, the importance of the floor for the bracing feet, eutonic body tension vs. hypothonic or atonic, about different ways of walking, and mostly about finding expression of yourself, taking your own steps in reciprocal naturally coordinated weight shifting. A modern way of Zen-Practice. Indeed, the art of walking is a training ground par excellance to explore your own conscious natural coordination. This subject should be practiced in every place of the world to get people out of the limitation of unconsciousness about themselves.
In the online study of ¡ Co-Ordinatio !, this art is the first to be experienced. You will experience an upgrading of normal walking and "Spacewalk" as you could never have imagined. Let's raise awareness of the importance of the cause for society, push walking by doing and celebrate!
To give you a first impression of the level on which my thoughts are moving, I will show you here two musical examples of “walking in space”:
BPM 110 (medium tempo, fun yet chilled out going).
Papi Churro's "lofi music with a tasteful Latin attitude" (1) brings forth "Baila me", a song that is perfect for an unobtrusive introduction to the hour. The song comes across as almost inconsequential and yet convinces with the advantages of "easy listening": in relaxed mode, the fine liveliness of the music transfers particularly well to the liveliness of the body.
"The feet understand" that the weight of the body shifts equally from one side to the other. There is no preference between left and right, the side shift is just equal.
The rattling sounds lighten the beat considerably and cause an up and down bounce that is noticeable in the yielding of the knees with each step. The vertical axis is thus reinforced, i.e. the dancer is first of all alone with himself in space.
"According to Joachim-Ernst Berendt, offbeat accents arouse in the listener the need for rhythmic movement, because the subconscious wants to connect the two through a movement from the advanced accent to the unaccented beat, in order to "heal" the disjunction between beat and accent. What is probably meant by this is that the offbeat - "contradicting" the beat scheme - stands in a relationship of tension to the beat that confirms the beat scheme. This tension arises from or corresponds to a musically perceived tension in the listener, on whom it exerts a psychically stimulating effect. In any case, it should be indisputable that offbeats have an invigorating effect." (2)
The charango, a "small plucked instrument from the altiplano of the South American Andean region" with its continuously rising tone sequences stands for lightness and pure joie de vivre; whereas the drums and bass anchor the feet in the ground and show possible paths through the jungle. Each beat deepens, each bass melody note establishes the reference to space.
(1) Papi Churro on Instagram
(2) Wikipedia about "Offbeat"
(3) Wikipedia about Charango
BPM 110 Suitable for equal side weighting and a bouncy mid tempo walk. The richness of the instrumentation may cause some uncertainty. Walking to this lively music is to be accessed gropingly (preferably in a forefoot gait). At the same time, the many voices stimulate different individual paths, so that this contributes both to the individuation of the individual and to the loosening of the spatial paths
