ABSTRACT
Possibilities for dancers catching breath drift out of the everyday Newtonian world of separation and division towards new levels of engagement with others in the same dance context. Breath eases movement into fluidity so tensional relationships can ride in the river of sensations. The assistance that breathing provides while moving can be customized to the needs of the move and the interpretive desires of the dancer. Just as Bond suggests there is no one right way to breathe, neither is there one way to use breathing to negotiate through moving tensegretically. The epidemic of bad breathing habits for dancers relates to holding the breath, where this frozen rib cage inhibits sensing tensional relationships. The dancer in this state of holding the breath with Ingold’s approach disables himself/herself from contributing fully to others dancing with him/her. Movements can look harsh and disjointed, and although executed, there is a lot of punch and hitting quality to the moves.
