Because every part of us is constantely being affected by innner and outer influences we are all in a constant state of flux. When we are in pain we often, consiously or unconsiously work against this notion : The search for a path out of the pain can become a desperate search for a static state where everything is just right; where we imagine that we will be in control. But what if this is not the way to navigate? What if the one thing we need to master in our work with pain is instead the capacity for state change, as supposed to holding a fixed state? And what is the one pre-requisite for being able to do this? Continue reading
Fra UNIMA´s minneutstilling i festivalen Figur i Fossekleiva 2019
Towards a more embodied way of life
Most of us far too often take our miraculous bodies for granted, and by doing so ignore the fact that were it not for our bodies every joyfull life event we have ever experienced would be nulled out.
It´s definitely not every day that one gets to be on iTunes!!
This is the podcast of the founder of Timani, Tina Margareta Nilssen, about embodied musicianship and explorations into the vast landscape of music, mind and body.
I was very honored to be interviewed about my experiences with exploring musical expression faced with the experience of growing up with a body that didn´t (and sometimes doesn´t) seem to have quite the same agenda as the ego, and how the need for artistic expression sometimes can seem to overwhelm our own body and challenge the limits of expression we think we can allow ourself.
It is said that a concert pianist has fine motor-control skills with a degree of coordination which exceeds that of a brain surgeon during operations. To perform of piece of music which demands that each finger, each joint of that finger and each muscle in the hand, arm and body cooperates and contributes to the end result and that this end result is experienced as harmoniously, melodically and rhythmically complete is really somewhat of a physiological and neurological miracle.
Perhaps the reason why most of us still don’t reflect on this when great art is presented to us is because one of the hallmarks of great art is that it is perceived as “effortless”. We sense the coordination, the seamless conversations within the body of the practitioner, how everything just seems to “flow”. Yet a part of our mind is aware of the enormous amount of coordination happening and realises that there is no way we can consciously control all of these minuite operations. So what is going on? Continue reading
I dagens samfunn har vi outsourcet bevegelser fra store deler av dagliglivet vårt og erstattet det med stillesittende arbeid som består av forenklede og repeterende bevegelser. Dette kombineres gjerne med korte, intense perioder med trening som, for mange, er synonymt med “bevegelse”. Fordi vi gjerne måler effekten av trening i form av antall timer trent vil mange oss, når det snakkes om at vi trenger å bevege oss mer, tenke på hvordan vi skal klare å dytte enda en time trening inn i en allerede overfylt timeplan.
Men bevegelse kan også forstås på en annen måte. Continue reading
It takes a lot of effort to make something look effortless
– Steven Sondheim
When we witness an expert performer in music or in sport the word “effortless” often springs to mind. However, most people are (hopefully) aware of the amount of work actually needed to reach this level of mastery. Therefor “effort-less” can´t necessarily mean that something is “without effort”.
A seemingly “effortless” performance is indeed the result of a sophisticated physical and neurological coordination which creates a subtle fluctuation between tension and relaxation in the parts responsible for the movements and to master this coordination is at the true core of every excelling performance. Continue reading