|
creating being
the way I am perceiving
creating in being
in an existence
of a human being
old age, infancy
the very same seedling
always there present
in the existing being
carrying all level
an equal value
in the existence, in the being
being alone
if not existing beyond /
social codification
conceptualized knowledge /
that marginal vocabulary /
limited being by the definition
the predetermined destination
of conclusive communication
ceasing being /
why not knowing
while finding
exploring
emancipating
that uniquely being
to existing
communicating answers out of insecurity?
— I don΄t know
© 1995 by Jaana Vähä-Antila
All rights reserved
CREATIVITY IS ABOUT COURAGE
I am not without direction. I believe that creativity is about self-reliance. I believe that
being true to oneself, will eventually lead one to find oneself in the right place at the
right time. The definitions in the arts are being broken all the time. Sometimes, people
are resistant in letting go of restrictive definitions. In particular, people who are afraid
of change, and people who have no solid base to stand upon. Security comes from
within. Uncertainty takes trust and courage. The life of a blooming flower is short, but
in no time, there will be another flower. And even a more beautiful one!
In dance, I am a perfectionist, one could well say. In my studies, I was told that I do
have talent, but I seem reluctant to use it. — I never want to take in anything on the
outside value. I need to explore and find out the underlying meaning behind things.
For example, dance technique. One is encouraged to learn an external form, and ´a
technique` that supports and functions in that specific form. I am always asking
myself, what for? I want to discover a technique, or rather a level of being (and moving
in dancing), that gives me freedom from any kind of predetermined, or preplanned
form or function. A technique that certainly is there, enabling articulation and
precision, but is not bound to any specific form or function...
My solowork Oleton (Undefined Being) from 1997, represents an important momentum
in my personal organic process. Unfoldment of my creativity / life. I am getting in touch
with, and starting to reveal something that is uniquely me, and not of the world. (Nothing
marketable, no commercial value...) In the performance, which was a structural
improvisation, there was a strong structure and a clear and precise movement theme.
More like a composition. However, I was still a little shy about exploring and revealing
what was clearly there. But, one should keep in mind that when improvising, in this
kind of work, it is extremely challenging to stay close to the tune, and yet be free.
I strongly feel now, that dancing will always mean to me an explorative journey in to
the unknown. Without hesitance and with complete trust, and with self-reliance!
What will my dancing be like in a few years? Or more to the point, what will I think
that dancing is all about! I believe that I am about to be ready to release my upper
spine, from the sacrum, and start flying! I have always thought of myself as a bird,
and I suppose that being a human being, I need to go through the long way to learn
about flying. But it´s been all worth it!
© 1998 by Jaana Vähä-Antila
All rights reserved
CREATIVITY — IT IS FUN!
Watching the recordings of my studiowork*, it is fairly obvious that it has never been
my interest just merely dance, as ´dancing` is traditionally understood. Had it been
my inner intricate personal print, I would have been a fine ´traditional dancer`.
Picking up figures, shapes and different qualities of movement dynamics, and
executing them as I was asked to do. I always experienced a strong conflict between
the needs I had within me, and the needs coming from the people outside, which I
was expected to fulfill, in order not to be rejected.
I clearly remember from the very beginning of my dance studies that I did not
understand why the emphasis in the learning process was in picking up steps and
movement dynamics, etc. I always had a real need for stillness, and a need to trace
back to what lies behind all that movement… My personal thought processes are too
deep and concentrated, for me to get joy from dancing learned predetermined steps,
shapes and figures, rigorously following specific rhythms, according to the esthetic
standards in dance, set by the mainstream cultural (commercial ...) values. I am not
saying that there is something wrong with the tradition, merely that I have a need to
use the tradition as a bridge to a definite viewpoint and experience of my own (life).
I have always had a strong desire for exploration and research. What is movement?
What is time? Dynamics? – If you think of light. It travels so fast, it looks as if it is still
… Or, a stream running down a mountain side… Researching these elements in the
bodymind, I am exploring the concepts and elements of movement, time, space and
dynamics. Which again are related to the experience of music. Musicality. Possibly, we
are all, to some extent, rather brainwashed about what is dance and movement?
Musicality? Choreography? — Dance. Dancers.
I have wanted to awaken the intricate thinking body, and the knowledge and
resources it carries within. What are my resources as a human being? This journey of
discovery and exploration has taken time. And it will take time. An on going process of
discoveries and revelations. A never ending journey which is it´s own reward.
However, I must say that as it is now, I am really beginning to enjoy this business
called dancing. I am about to be able to listen, and to sing the story of my own living
instrument beyond predetermined expectations.
© 1998 by Jaana Vähä-Antila
All rights reserved
*Video recordings of my studiowork.
A part of a letter to a friend in December 1995
WHAT IS THE POINT?
I am not going to go into details concerning my life. You see, I am so deeply involved
with my myself, my life, at least for the time being, that it is impossible for me to put
my life on a piece of paper. I feel it is as if you had to describe your appearance to
another person by exact details. Instead, one can let the other person observe for
herself, in the course of the interaction, however brief. Personally, in my
communication, interaction with another person, I have a tremendous need to let the
other person develop her inner authority in her thinking, whether she likes it or not. I
do not choose to press the marked button, in any concern. I am striving for genuine
interaction, genuine contact. I am aiming to reach the uniqueness within each person.
Unfortunately, most people are so very afraid of not knowing. Although, it is obvious
that in recognizing the limit of one´s knowledge, knowing, that is the point where one
truly is reaching towards the unlimited supply of universal knowledge, bank of knowledge
and information, that has no boundaries.
In other words, visualize a blank sheet of paper, in which there is a single tiny dot
drawn on it. Let´s say, that the dot is representing the classified system of
established ´thinking`, conceptualized thinking. Think about the relation between the
dot and the vast, uncovered area outside the dot, surrounding the dot. Majority of
people identify with the tiny dot, so to speak. And single mindedly want to believe, in
their fear of not knowing, that the dot contains whole of the universe, all that there is,
all that they are, all that they can be and all that they can become of. Most of the people
choose to see that the dot is their single source of information, bank of knowledge.
And, more to the point, identifying with the dot, they become the dot. In a way, people
put a full stop to their own, unique lives, their own unique beings, their unique
reasons to exist and their unique gifts to contribute to the world. You see, what I
mean by saying that I personally want to reach the uniqueness within each person,
and NOT the identification with ´the dot`? I am to contend that in most occasions, the
reaction I receive in my way of communicating, is not an immediate, recognizable kind
of respond, but more of a kind of confusion and slight irritation. Caused by fear people
feel, when they do not know how to relate to, and what to relate with, in this situation.
When in fact, what they really fear is that they are not offered a possibility for an
identification (with ´the dot`). Only an opportunity to develop inner authority in
one ´s thinking process, to experience some of her uniqueness.
I admit that is scary! Not to really know, to face the unknown. One needs to surmount
one´s inner fear of the unknown before one can shift one´s awareness towards
welcoming choices. - In other words, to be open to creative being and thinking. To be
open to creativity. One does not need to lose ´the dot´. One just needs to be open to
learning the ability to shift one´s focus off ´the dot`. Which again enables one to
observe ´the dot` in a more detached, objective manner. To realize that the dot is
merely representing a possibility, among just uncountable choices of possibilities.
Along with that revelation comes an openness towards the source of endless
universal bank of knowledge. There´s a perspective of unlimited possibilities for
exploration of one´s unique gifts to humanity, to the world. We can contribute a
unique perspective to the whole. A gift of creative being. Perceiving, thinking, seeing,
doing. Making one´s own point.
More of this some other time, I will tell you more about the whereabouts the source of
endless universal bank of knowledge and information. It is to be found within
ourselves, within our very own bodies. It lies within our cells. Our minds lie within our
cells. You just need to blow your mind and make a quantum leap. Till then!
© 1995 by Jaana Vähä-Antila
All rights reserved
THE SECRET LIES IN SIMPLICITY
The forms of movement expression and aesthetics in dance, for logical reasons, are
limited to the concepts that are covered by dance education, and consequently
provide and outline the concepts that are understood and accepted by the general
audience and reviewers. Therefore, dance education is directly influencing cultural
expansion and growth. Expansion and growth can take place through objective
acceptance and understanding, which is obtained by access to profound knowledge
and open information. It is clear that when there are invisible, rather rigid set rules
(due to lack of exposure to diversity of experiences and information), as what are the
right ways to present an idea, there are no painless chances for growth and
expansion in the dance scene. This is about expansion and growth in consciousness.
In Finland and Sweden, the predominating and well accepted dance expression is
emotional, theatrical expression, in which the movement is started/ motivated by an
emotional impulse. The audience (at least, supposedly a major part of it) feels safe for
they are offered a possibility for identification and relatedness. Emotion is subjective,
versus intellectual that is about objectivity and detachment. There is no right or
wrong. However, for the audience, the issue is about being capable of making a
distinction in one´s personal approach.
Ideally, it is about being capable of listening to a kind of a person, who is unlike and
different from ourselves. And yet, we want to make an effort to see, to receive the
person´s point of view. Objective dialog between people is a way towards a more
accepting and tolerant future for us all.
Finnish dance audience has difficulties in accepting absract dance, ´intellectual
dance`, in which movement is started / motivated by an intellectual impulse. As it is,
for example, dance based on Cunningham aesthetics. That is possibly, because
people do not know how to relate to this kind of dancing, and therefore there are no
obvious and familiar possibilities for identification. Possibly, these people have not
been exposed to this kind of dance, and therefore rather want to stick with the safe
way of relating through recognizion; recognizing emotions. This indicates a need for the
audience to develop inner authority in the thinking process. To grow and to expand does
mean accepting, as a digestive, something that is unrecognizable, previously unknown. In
fact, it is expansion and growth, when one is seeing and experiencing something that
one is not able to identify with and relate to. Because, at that point, one is directly
facing a situation where the need for inner authority in one´s thinking is called for,
activated.
Consiousness is a struggle. Technique is a way of means to achieving something that
is not at hand as such. Technique is a way opening out to a wider horation, to
exploration. Travelling, learning about different cultures was made possible with the
aid of technique. Likewise in dance, technique is a doorway to freedom in creativity: in
the forms of expresson, and consequently, in the concepts available in choreography
and movement research. Technique provides depth to creativity.
For instance, lets say we create a dance piece, in which the movement material
consists mainly of plain little steps and leaps. In general, in the northern countries,
the dance piece would be considered simple. That is exactly what it is. Simplicity is an
extremely difficult quality to achieve. Simplicity is achieved through tremendous effort:
consistent, continuous and persistant long-term effort. Through personal metamorphosis;
mental, emotional, spiritual and physical transformation.
Very few people have the eye, and/ or understanding for simplicity. It is more than
often the case that a loud voice is heard well and clear but a pure and simple one is
left unnoticed, in the background. It is the musician´s excellent technique, skill, which
gives the sounds such purity and clarity, and opens the way to the depths of a single
sound. That is, after all, what a composition consists of: single sounds. One can say
that creativity lies in the secret of a single sound, of a single stroke of a painter, of a
single step of a dancer.
6th April 1995 Jaana Vähä-Antila
© 1995 by Jaana Vähä-Antila
All rights reserved | 
Five Writings About Creativity
