Reflections Task 16 and Task 17 – Uneven surface 2

Dear Maria,

Many thanks for your Task 16 – Uneven Surface. Here are my reflections and your next Task 17- Uneven Surface 2

uneven surface

I’m balancing on one foot with soft grass underneath me. It’s mossy and wet and gives way. The texture of the wind becomes my uneven surface as it throws me to the side and pushes against my body and challenges my balance. There is no predictable rhythm to the wind so it takes me by surprise and creates a sensation on my body that I have to resist to not tumble over in Downward Dog. It holds me up and suddenly presses against my skin reminding me of the surface of my own body. As I breath during a Sun Salutation the wind surface that pushes against me enters my body and the uneven surface goes inside me and gives me an internal experience of weight. I imagine the wind against the surface of my lungs and this image of the wind as an internal sensation of weight and gravity blows my mind. I begin to understand that surfaces are created in the moment I touch the world. I understand in the world. Seeing is a surface. There are snowdrops pushing through the ground and ten variations of green in the mossy grass in front of me. Branches stick out and move in the wind and create an unsteady surface for my eyes. I do tree posture against a tree connecting with the meaning of it as it sways and brushes against me. I am In and On uneven surfaces

Task 17 – uneven surface 2

Have a close look at this lithograph. Work with your own body as an uneven surface.

Henri Matisse: Acrobats (1952)

When you write your reflections write them in a reverse or uneven order of how you would normally structure your thoughts/argument. E.g start with evidence, continue with reasoning then summarise and conclude and then give introduction.

Good luck, I hope you enjoy!

Reflections on Task 15 and Task 16 – Uneven Surface

Dear Marie,

many thanks for Task 15. It is very relevant to work that I have been doing on movement sonification, so I really welcomed the opportunity to explore and reflect upon sound in relation to my engagement with yoga. After some thought, I decided to take literally your instructions to ‘invite’ sounds into my yoga practice. So I started thinking of ways to sonify my practice and I came up with the idea to use bells. There is a phrase in Greek that translates as ‘people will hang bells on me’. It is a playful phrase referring to some sort of social sanction when someone is breaking  the rules or behaves in an unconventional manner: when someone says ‘people will hang bells on me’, they mean that people will stop taking them seriously, they will laugh at them. And I really liked how this idea of hanging bells on my self made a yoga practice, which often takes itself too seriously, a bit ridiculous. So I hung bells on myself.

I chose two Christmas ornaments, made of cheap metal with one tongue each. Silver and guy. I attached them on various parts of my body using pegs and elastic bands. I am positive I looked ridiculous.

I knew that doing yoga invites quietness. I knew that some schools of yoga, and Iyengar especially, work with duration. Each posture is diligently entered, maintained – while attention is given to the breath and all sorts of minute movements – and  released dynamically and carefully.  Yet, I was little prepared for what I heard:

Ding -a- ding -a- dang-a- ding


Ding -a- ding -a- dang-a- ding


Ding -a- ding -a- dang-a- ding


The bells were clear: when I am in a posture there is no sound. Or at least the bells are not sensitive enough to capture the micro-movements that take place. There is  a lot of commotion before I go into a pose with the bells responding to every step and every movement of my limbs and then there is nothing. After a while, the racket becomes annoying – the silence equally loud. The bells tell me that when I do yoga,  my body is quiet. I wonder if it is also mute.

Task 16 – Uneven Surface

The video you posted as a response to Task 13 worked slowly on me. I did not understand what the video was capturing, but after a couple of days, and as I was thinking how I was going to respond to Task 15,  I found that I became more sensitive to textures. First to the textures I was stepping on and then  – wild with joy – noticing that there are textures above me too. As David Abram observes: ‘we are in the world’. Walking on a route I have been taking for years, I also observed that the texture of the surface was uneven. (All these years, I am sure my feet must have known this but kept it to themselves). And what hit me then was another thing I knew all along: that we practise yoga on even surfaces. The artificiality began to bother me. I started thinking that in this way yoga already sets us upon a futile search for a utopian place. A place with even surfaces that does not exist, unless you make one for practising yoga.

So your task is this: Do your yoga practice, any poses you choose, any time of the day, on uneven surfaces.  Try to work with and against them. See how they affect your practice and what you might be doing in order to accommodate them. I hope you will enjoy the task.

Reflections Task 14 and Task 15 – Textures of sound

Dear Maria,

Thanks for your task 14 –the dance of the skin.

In my previous post ‘Two Trainers Prepare –for what?’ I mention the tendency to plan a response to a task – rather than being spontaneous – as something I find challenging. As an improviser, I’m always interested in the immediate reaction to a given instruction and reading a task way ahead of carrying it out, can hinder the spontaneity. For that reason, it was ironic that I read your instructions for this task when you posted it mid-December, knowing I had three weeks to consider it before my reflections were due on the blog. I remember feeling terrified for how I could possibly solve it: “I don’t have any hot water bottles” (we don’t tend to use them much in Denmark as houses are very well insulated!) and ”it’s below freezing outside”.

It has now been three weeks since I read the task and I can’t recall any details of it. It was something to do with wearing hot water bottles and the sensation of the skin. That’s what stuck with me. I decided my challenge would be not to give in to the urge to re-read the task and instead to go by solving it from what the idea of skin and temperature would trigger as a response. I feel strangely like I’m being disrespectful to you by not obeying the task, but decide to go with my plan. Here’s my response:


Task 15 – Textures of Sound

For this task I want you to work with the textures of sound or the sound of texture. How does sound feel? Work with three sounds that either please you or annoy you. Dance with them, walk with them, invite them into your yoga practice.


Two Trainers Prepare – for what? Status after 14 tasks

As one would expect when embarking on a (for us) untried project, the focus and intentions shift and questions come up. In late December 2017 Maria and I met in person – speaking for the first time since starting the project in September 2017– to talk about the collaboration and to check in with each other. How are we getting on with tasks? How do we manage time? Should any of the rules for tasks or reflections be tweaked?

In our meeting, these are some of the questions and thoughts that came up:

What is a Task?

Is it necessary for a task to have a clear outcome?

We discussed the difference between a task that asks for a specific type of response and one that is completely open. We both agreed that reading reflections that divert from the task they respond to are more exciting and inspiring to read. Can we be aware of not turning expected or desired responses into tasks?

How do you give a task? 

Does a task need to be written with clear intentions? Could a task simply be a few words, a Koan, a conundrum? How can we explore the widest spectrum of task-giving from very detailed instructions to abstract ideas?

How do you capture the process? 

An  blog related to an academic invites a particular way of responding. Both of us spend time writing and re-writing reflections in order to be clear about what we want to say. Could a response be more intuitive, more personal, less coherent? Could a reflection also be capturing the process of thinking about how to respond to the task and thereby making decision-making and choices more transparent? Could a reflection simply be quoting or rendering thoughts, images or ideas from someone else?

What is the role of time between reading and carrying out the task?

What happens in the gap from reading a task to carrying out the task? We both experience the challenge of not planning how to respond to a task between the moment when the task is read Monday evening till the point when one finds time to try the task out. If an immediate response to a task is essential, perhaps the beginning of task can specify that only when the person has time to carry it out, can the full ‘instructions’ of the task be read.

How does environment and space influence how the tasks are carried out and what part do they play when we construct tasks?

How does furniture, trees, people and busy streets obstruct or liberate tasks? How does one carry out a task, say about sprinting, if one has only 5 x 5 sf to move in? How is use of space and environment when carrying out the task reflected in the responses we give on the blog?

How can we question or challenge the tone and phrasing of reflections and tasks to push our habits of working?

What are our individual habits of setting tasks and responding? What is the tone of writing? How do we make sure not to fall into a ‘groove’ of responding in a customary way or to anticipate that the other will do so and perhaps therefore interpret their task accordingly?

Is the project moving in the same direction as we set out to do? Are we still working towards a pedagogy of training or are we moving into an artistic practice? What is the difference between the two? 

In the initial post, we described the project ‘as a preparation towards integrating different styles of yoga and other art forms in an interdisciplinary pedagogy’. The project has certainly taken a more creative course than the original idea intended. So, what are we as Two Trainers preparing for?

As we are based in different countries (Maria in UK and me in Denmark) the gap between us feels like an added dimension to the project: What does it mean to work on practical tasks with someone every week when we never meet in person or hear the other’s voice? Does the physical distance have an impact on how we read each other’s tasks and reflections and how we ‘sense’ each other? Not having the opportunity to talk and ‘perceive’ the other allows the question of ‘which direction the project is going’ to remain open.