The 4 elements: Practice

This capsule is the second part of the previous one; I recommend that you first watch number 8, in which I explain in a more conceptual way how to relate the four elements of nature (air, fire, earth, and water) to the language of the body and dance. In this second part, I show you in a practical way how to move based on the four elements and share materials that help us improvise using this stimulus.

Fire: as we mentioned in capsule 8, if it were a drawing it would have pauses and sharp cuts; if it were an animal, it would be an eagle or a rooster. It is related to impulsiveness, youth, passion, and unpredictability. The energy of the movement begins in the chest and back; we could say it is a sharp movement that comes from the chest or back, and the rest of the body follows that impulse. It is arrhythmic, it can go offbeat, it may draw straight lines, it is not continuous, and it has pauses. In dance terms, it could be breakdance.
Materials we can use: colored ribbons, small scarves.

Water: if it were a drawing, it would be wavy; if it were an animal, a feline. It is related to sensuality and maturity. The energy flows in and out of the pelvis, the body’s energetic center, and from there it may or may not extend to the rest of the body. It is a continuous, flowing, undulating, and rhythmic movement. In dance terms, it could be oriental dance or belly dance.
Materials we can use: fabrics for individual dancing or a large 4×4 meter cloth for group dancing or creating giant waves.

Earth: if it were a drawing, it could be pointillist; if it were an animal, an elephant or a bear. It is related to serenity, old age, security, and roots. The energy moves from the waist downward, toward the ground. The movement is rhythmic and continuous, with pauses and silences that are also part of the rhythm. In dance terms, it could be African dance or urban dances.
Materials we can use: sticks, small bells.

Air: if it were a drawing, it would be a spiral or a trajectory; if it were an animal, it could be a butterfly, a snake, or a jellyfish. It is related to what is naïve, ethereal, spiritual, winged, distracted—the child. The energy comes from the upper limbs, from the upper part of the body. The movement is continuous, very light and volatile, focused on the upper body; it feels weightless. In dance terms, it could be ballet or classical dance.
Materials we can use: tulle scarves, painter’s overalls, fans.

This practice was implemented in Sabadell, Vallès Occidental.