Barbara Dilley developed a shared dance/meditation practice called Contemplative Dance Practice – CDP, a "dancer's meditation hall". I've been exploring adaptation of this score for online sharing. The aim is to share meditation and movement across the gap of social distancing. (See below the score description for online meeting logistics and further info about the practices.) (The framing of this score is a work in progress, continuing to change. Revision information is at the bottom.) Score Description The score is divided into sections. At the beginning of each timed section the facilitator says which section it is and arranges for a bell to sound at the beginning and the end of that section. Opening Circle : Time for brief introductions / check-ins and to review the outline of the score (essentially, the bold headers below). Meditation: 15 minutes for stillness . In the original score the participants share sitting meditation. We invite whatever meditat

The title kind of says it all, but maybe it'll help to substantiate it. I've noticed "emotional weather" in many social contexts, where commonly known incidents - negative or positive - have cultural ripples, in which people tend to "infect" one another with brightness or dismay, tension or ease, whatever it might be depending on the circumstances. Actual weather, like the first warm sunny days of Spring or extended gray and chill in winter, can have ripples like I mean. Cultural events, like unexpected gestures of deep decency or diplomatic crisis and breakdowns, or the release of a new album by a beloved group. Whatever kind of thing it might be, all these things can lead to a small undercurrent of emotion in many people, and the mutuality of these small changes can register between them, reinforcing the sense of ease or unease, all without the people experiencing them explicitly recognizing that it's happening. One context where I get to explore g

Many people are acquainted with the notion of conventional musical scores, which describe what musicians should do to perform a song/piece. No matter how specific the instructions, it can't be perfectly complete. It's always necessary for the person performing the score to make choices of their own - particular emphases and cadences and whatever it is that establishes what the performer expects is best to realize the piece. At the other end of the spectrum, improvised pieces can have scores also. Those scores don't generally use standard notation, but instead describe some parameters of the piece in some way, leaving many aspects up to the participants. This accumulation score is one such movement improvisation score. I don't recall where I first learned about it, nor do I recall the exact instructions I received in the various times I've been exposed to it. The ones below are my own take on it, but I expect they're similar to those that many others have also

I'm copying the following from a post by someone else - a fellow named Rex, on a mailing list named Twister - because Rex is one of those rare people who basically is always sensible and informative when he speaks - always worth listening - and I'm hungry for some clear perspective on COVID-19, and think others might appreciate it, too. A nd, selfishly, have an easy place to find it for my own future reference. To not get too carried away, though the guy is smart he's does not omniscient, and things might develop differently than he expects. I find this helps me get a sense of proportion on what is currently known, but not more than that. Ken March 3, Rex: It's a virus which hopped from animals to people.  Happens now and then. Kinda flu-like symptoms, but greater severity, especially for older or unwell people.  There have been influenza strains that are approximately as bad, but not for a long time.  (The H1N1 outbreak of 1918 probably had slightly lower mor