My questions take on an amorphous quality, merging into one another without specificity. They appear to mimic the somatic experience; the sensations amalgamate until keen observation tells them apart. All of the questions stem from what Chandralekha has to say on indignation in the documentary that capturesSharira. She looks to indignation for direction; it animates her art. Her choreography is full of sharp edges that seem to be cut from her intensity; focus and precision forge those shapes. That her art is strenuous is obvious. I was wondering whether the strain that indignation engenders is sustainable.
There seems to be no dearth of sources if one is looking to be indignated. Those battles of women’s subjugation and social injustice that Chandralekha fights precipitate anger. I cannot imagine any other reaction to them. However, I think that when a person with privilege of some sort is angered on the behalf of a community being wronged, that feeling is in danger of becoming patronizing. But anger is that annexing emotion that tints the initial connections formed with the world outside when one turns to injustice for inspiration. I’d like to suggest that anger is perhaps not the initial connection formed with the world in general. Further, anger is perhaps not the only connection one has with the world.
Strain feels good. I would go as far as to say that the body likes strain. Exercising is nourishment for those points and impulses that the body accumulates but go unheard. While I exercise, it is as if all those points are awakened, stretched and indulged. However, I associate this kind of strain with discipline. This does not mean mortifying the body into a pose, but pushing past discomfort in order to better satisfy the body, to attain exhaustion. Exhaustion for me does not mean degrading the body into submission but marks the completion of one cycle and the beginning of the rest period. However, because strain mandates a certain level of discipline in terms of adhering to a schedule, it is not pure creativity. It is creative in that the body is creating motion but it is motion controlled by the part of me that controls most other activities. Exercise is guided by the brain that intellectualizes habitually. Though muscle memory takes over sometimes, I am still remembering and processing the world as I usually do. I find this to be contrary to the effect of somatic practice.
Somatic practice is also indulgent of the whims within the body, but it is foremost creative; the body flows into the space around it, rendering it no longer empty. Somatic practice creates in a very literal sense in that the body transforms space into a charged atmosphere and steps into that atmosphere. Discipline may arise from the body as a result of somatic practice but it is discipline that arises from the points within the body. The points may follow trajectories familiar to them (perhaps even those of the postures learnt in another form) but they occur in what is perceived to be an arbitrary fashion by the rational mind.