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As dancers we perceive not only with our eyes, but as well with our bodies. We develop an emotional response which is resulting from finely regulated intelligence, and an equally finely tuned sense of our virtual nearness to our surroundings. The work of art as dancers is the climax of long work of preparation. We take from our surroundings everything that can nourish our internal vision, either directly or by analogy. In this way we step into lucrative position to create. It is the expansion of this rhythm that our work as dancer becomes creative.
There is a relatively different sensibility of space which a choreographer brings to her/his sense of a responsive environment. This is resulting from the obvious fact that choreographers have not only the shape of the dancers’ body when they choreograph, but as well the breathing space in which the dancers move. The movement of a body throughout a space changes the sense of balance of that space to the eye, and also the experience of the body as it occupies the space.
'Occasioning' is Heidegger's4 expression for the real meaning of causality thought as the Greeks thought it. This bringing forth is poiesis as defined in Plato's Symposium. Physis, the taking place of something out of itself, is also poiesis. Techne has the contented open belonging to bringing-forth not in itself, but in another.
4Martin Heidegger is acknowledged to be one of the most original and important philosophers of the 20th century, but also the most controversial