{"id":193,"date":"2026-07-09T11:07:53","date_gmt":"2026-07-09T11:07:53","guid":{"rendered":"https:\/\/rescen.net\/blog10\/?p=193"},"modified":"2026-07-24T16:29:54","modified_gmt":"2026-07-24T16:29:54","slug":"from-inner-to-outer-by-huang-shu-lien","status":"publish","type":"post","link":"https:\/\/rescen.net\/blog10\/2026\/07\/09\/from-inner-to-outer-by-huang-shu-lien\/","title":{"rendered":"From Inner To Outer by Huang Shu Lien"},"content":{"rendered":"<p><strong>07 July 2026<\/strong><\/p>\n<p>During Fai\u2019s rehearsal process (2 July), I&nbsp;observed how he guided dancers to&nbsp;explore the&nbsp;Head\u2013Tail connection as&nbsp;a&nbsp;way of&nbsp;developing a&nbsp;more integrated bodily awareness. Dancer A&nbsp;engaged in&nbsp;free movement exploration, investigating internal sensations and&nbsp;movement possibilities through the&nbsp;dynamic relationship between the&nbsp;head and&nbsp;the&nbsp;tail. Through this process, a&nbsp;highly personal movement vocabulary began to&nbsp;emerge. Meanwhile, Dancer B gently placed their hands on&nbsp;A\u2019s head and&nbsp;tail, offering tactile feedback and&nbsp;support throughout the&nbsp;exploration.<\/p>\n<p>What stood out to\u00a0me was how A\u00a0gradually expanded from Personal Space into the\u00a0surrounding environment. The\u00a0pathways, directions, and\u00a0bodily extensions became increasingly expansive, creating a\u00a0visible transition between Personal Space and\u00a0General Space. The\u00a0movement seemed to\u00a0unfold from an\u00a0inner bodily awareness toward an\u00a0outward engagement with the\u00a0environment. This practice not only heightened awareness of\u00a0movement initiation and\u00a0connectivity, but also deepened the\u00a0dancer\u2019s sensitivity to\u00a0spatial use and\u00a0embodied expression.<\/p>\n<p>A\u00a0different approach to\u00a0spatial exploration emerged in\u00a0Ruping\u2019s rehearsal process. Using the\u00a0image of\u00a0a\u00a0flock of\u00a0birds in\u00a0motion, she invited dancers to\u00a0investigate collective movement and\u00a0spatial relationships through improvisation. Although the\u00a0movement material was not <nobr>pre-choreographed<\/nobr>, a\u00a0clear Leader\u2013Follower structure provided a\u00a0framework within which dancers could develop movement dialogues and\u00a0compositional possibilities.<\/p>\n<p>One section was particularly striking. Dancers began by\u00a0attending to\u00a0their own Shape within Personal Space, observing how forms emerged and\u00a0transformed through movement. Gradually, this awareness expanded into General Space as\u00a0dancers travelled through the\u00a0environment while searching for\u00a0new leaders. Whenever directions or\u00a0pathways shifted, dancers were required to\u00a0identify a\u00a0new leader and\u00a0adjust their responses accordingly.<\/p>\n<p>Throughout the\u00a0process, Ruping (2 July) repeatedly emphasised the\u00a0importance of\u00a0Awareness. Dancers were asked not only to\u00a0attend to\u00a0the\u00a0quality, direction, and\u00a0clarity of\u00a0their own movement and\u00a0Shape, but also to\u00a0remain sensitive to\u00a0the\u00a0positions, trajectories, and\u00a0changing dynamics of\u00a0those around them. As\u00a0leadership roles shifted, dancers relied on\u00a0visual, spatial, and\u00a0movement cues to\u00a0navigate these transitions while maintaining a\u00a0sense of\u00a0collective connection.<\/p>\n<p>Watching this process prompted me to\u00a0reflect on\u00a0a\u00a0central question: How can dancers retain their individuality while remaining deeply connected to\u00a0a\u00a0collective? Perhaps this tension between personal expression and\u00a0group belonging is one of\u00a0the\u00a0most compelling aspects of\u00a0improvisational choreography.<\/p>\n<p>Written by\u00a0<strong>Huang Shu Lien<\/strong> (Scholar)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>07 July 2026 During Fai\u2019s rehearsal process (2 July), I&nbsp;observed how he guided dancers to&nbsp;explore the&nbsp;Head\u2013Tail connection as&nbsp;a&nbsp;way of&nbsp;developing a&nbsp;more integrated bodily awareness. Dancer A&nbsp;engaged in&nbsp;free movement exploration, investigating internal sensations and&nbsp;movement possibilities through the&nbsp;dynamic relationship between the&nbsp;head and&nbsp;the&nbsp;tail. Through&hellip; <\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-193","post","type-post","status-publish","format-standard","hentry","category-posts"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/193","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/comments?post=193"}],"version-history":[{"count":5,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/193\/revisions"}],"predecessor-version":[{"id":530,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/193\/revisions\/530"}],"wp:attachment":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/media?parent=193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/categories?post=193"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/tags?post=193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}