May 24, 2017 :: MARILYN MCLAUGHLIN
SOME INSIGHTS FROM THIS SESSION:
- What is “successful” practice?
- That which you resist, persists.
- Coyote’s homework assignment - training spontaneity from spontaneity.
Movement analyst, adjunct professor of dance, personal trainer, balance and mobility specialist, massage therapist, creator and facilitator of drumming and rhythm wellness programs....
And this is just a fraction of what Marilyn does. “I’m always in search of a good movement practice!” she says.
All Bodies Move™ is a perfectly fitting name for Marilyn’s business and website, since she teaches people of all ages and abilities to move their bodies, to find balance, to listen to themselves and others, and to get intimate with their experience.
The work I do is so connected to the work of Shinzen. I teach my dance students that, in order to create movement that is authentic to how you experience the world, you have to learn how to really See, Hear, Feel. You have to know your world.
Before video, dances were documented through notation, like music. In order to notate you have to see every little detail in terms of body, Effort (dynamics) Shape (form) and Space. In order to see it with the highest clarity, you have to be able to perform and name these element of movement expression. You have to know these things from the inside out to be able to record them in detail.
She described mindfulness inherent in her formulation of drumming practice as well.
I don’t teach drumming. I teach people to trust their own ability to listen, to feel the group, and to be responsive. We use our voices, we use our bodies, we use all kinds of handheld percussion instruments in addition to drums. We observe what happens in the quiet stillness following a groove. It’s so much about seeing, hearing, and feeling.
In the moment music making is deep nonverbal communication. When we sit in stillness after a groove all of that sensation has been stirred up and sensory clarity is much more available.
And that’s how I do my personal formal meditation practice. I’ll move or play some instrument – a flute or a drum – and then I sit.
In some ways, a person might look at Marilyn’s work and think it’s all very disparate. But she has found a common thread through the work she loves to do.
It’s about meaning making. It’s about embodied presence.
Learn more about Marilyn’s work and program creations at http://allbodiesmove.com
AT 16, MARILYN LIVED ON A KIBBUTZ IN ISRAEL IN THE NEGEV RIGHT NEXT TO GAZA.
SHE AND A GIRLFRIEND HITCHHIKED ACROSS CANADA TO GET TO A WORKSHOP WITH THE WALLFLOWER DANCE ORDER COLLECTIVE.
WHEN HER CHILDREN WERE SMALL, MARILYN STUDIED CABARET, AND WROTE, PRODUCED, AND PERFORMED HER ONE-WOMAN SHOW.