Much more than a simple activity of bodily expression, the Dance of the Five Rhythms is a tool of self-knowledge and inner liberation. Our journalist has experienced it.
Each his rituals. On Sunday morning, I practice the Dance of the Five Rhythms. Every week, the workshop settles for two hours on the fourth floor of an old industrial building, rehabilitated in a dance studio. In the entrance, transformed into a dressing room of fortune, I put on my clothes. Here, no fuss, girl or boy, we change in the light of all.
We do not rush on the track, but move gradually and, above all, consciously. That is why he is asked to try to keep his eyes wide open during the whole session. After a
warm-up, Amélie Schweiger, our teacher, announces the stages of the "journey" to come. The five rhythms correspond to five fundamental qualities of energy, five ways of being, which Gabrielle Roth, creator of the method at the end of the 1960s, called "fl uidity", "staccato", "chaos", "lyrical" and "quietude". Each rhythm follows from the previous one, always in the same order, to form a cycle: the "wave". Based on percussion, electronic, Indian or Celtic, a specific music accompanies each sequence. There is no imposed choreography. Everyone is free to give his movement the form he wants.
Typically feminine, smooth, curvaceous and spiral, "fluidity" is like a flow. It allows to regain a lost ease during the accidents of our history and to charge us with energy. For Gabrielle Roth, a large part of our psychic or physical problems would come from the fact that our intellect took power over our body, cutting us off from the source of our vital energy. To reconnect, we must force our conscience to "go down" from its control tower. Each one moves in space without forcing, respecting its limits and its imperfections. We can walk by drawing circles with the feet and drag the rest of the body into the dance.
As the sequence progresses, we disengage, the blocking zones give way. The movement gains in spontaneity, I dare to venture into the moving mass of others without ever hurting anyone, as by instinct.
The rhythm of the music becomes more supported. A masculine movement in all its power, driven by an energy concentrated in the lower abdomen, the "staccato" requires a total commitment. We are called to choose a partner. In front of him, eyes in the eyes, we must affirm who we are, without weakening.The gestures are clear and precise, sharp as the sword. We must also show determination, vigilance to defend our space, and flexibility, anticipating the movement of the other to adjust to it, as in a game. Expression of self, the "staccato" invites to burst its bubble and to confront the others, in order to find its right place in the relation. Each time these words come back from a Buddhist master: "Coward, but never give up." A lesson I would like to remember in my life when I support an idea or express a desire.