Early memories of movement and dance

My first memory in this lifetime: Florence, 1973, as an impressionable child, standing in the doorway of a ballet class. Behind me are my Irish mother and Italian grandmother who have taken me to see if I want to participate. Black leotards and pink shoes. A regimented atmosphere. I was awestruck with the discipline of it all.

Another memory that I’ve embodied: my mother’s own autobiographical accounts of living in New York during the 60’s, before I was born, when experimental dance was in its nascent stages. Her witnessing the ‘happenings’ of the Judson Collective (Steve Paxton, Yvonne Rainer, Deborah Hay, Lucinda Childs, Trisha Brown...). She always spoke of her love of dance and wanting to be a dancer; this became an embodied dream realized by her daughter.

Teachers who have influenced my embodied identities

All my teachers and therapists have shaped my embodied identities. My Mother was my first teacher. From her body came my body and in my body, is a part of her.

Here are some reflections on other key relationships which have shaped my embodied identities over time (and I believe that time is a key factor in the process of embodiment):

A kind Drama teacher at school, who, when I was 14, helped me to articulate my adolescent angst through dramatic improvisation.

A supportive Ballet teacher at school between the ages of 16-18 who assisted me in the preparation for auditioning for professional dance training.

Sister Triyay, a Peruvian-Scottish Nun at the boarding school I attended. Our conversations in the car on the way to my weekly contemporary class helped me to articulate the daily challenge of managing relationships during times of conflict (all too prominent in this girl’s catholic boarding school).

A Choreography teacher at Laban who asked the class the definition of ‘integrity’. I think personal honesty is an important part of the process of embodiment.

Steve Paxton who taught me how to trust the moment of contact.

Deborah Hay who unwittingly encouraged me to keep attending to personal process in my choreography.

Gabrielle Parker who showed me about how to hold multiplicity in my mind and who modelled a generous reflective process when witnessing others dance.

Penny Best whose effervescent energy as a teacher allowed me to re-experience playfulness in my improvisations during DMT training. This was a welcome relief after years of gruelling dance training where the notion of play was squeezed out of my body.

Dr Marcia Leventhal who reminded me of the Great Big Picture.

Dr Arnold Mindell who guided me towards recognizing the path of the heart as well as working with playfulness in the psychotherapeutic process.