Conscious Dance Practices/Integral Dance/sr

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Integralni ples (kreator Aleksandar Giršon) je ples koji vodi ka većoj celovitosti. Pomaže u održavanju duboke veze sa samim sobom (na nivou tela i svesti), povezuje nas sa drugima na poseban način, pomaže da osetimo svoju pripadnost svetu (prirodi i umetnosti) i nečemu većem što je teško izraziti rečima (duhovni nivo). Štaviše, ove veze su dinamične prirode.

„Integralni ples je nastao iz želje da se ples otelotvori u praksi kao put ka celini i iz razumevanja da je takav put više od terapije. Sviđa mi se fraza: Dobra terapija se završava, ali ples je beskrajan.“

„Terapeutski ciljevi, kako ih ja vidim, su svrsishodni, situacioni, jasno definisani — ali ples može pratiti ceo ljudski život.“

„Ples koji može da prati ceo ljudski život, sa svim što sadrži — to je integralni ples.“

— A. Giršon

Osnovni principi integralnog plesa

1. Telo i svest su nerazdvojni

Svaki izraz žive osobe, bez obzira na to kako se predstavlja, uvek ima telesnu reprezentaciju. Sve što doživljavamo, mislimo i odlučujemo je otelotvoreno. Mozak je deo tela — ovo je jednostavno, ali suštinsko razumevanje.

Kada se osoba predstavi, ispriča svoju priču ili izrazi svoja osećanja, uvek posmatramo kako se to manifestuje na telesnom nivou - kroz izraze lica, male gestove, promene držanja, promene mišićnog tonusa ili vokalne intonacije.

2. Ljudsko biće je proces, a ne objekat

Bitno je posmatrati osobu kao višedimenzionalni proces u razvoju.

Prvi zaključak iz ovog principa: svaka situacija koja postoji ovde i sada ima određenu istoriju — osoba je prošla kroz određene faze, faze i epizode ​​razvoja. Drugi zaključak: ova situacija će se nastaviti, ova priča nije završena.

U izvesnom smislu, ovo se poklapa sa egzistencijalnim shvatanjem osobe kao nedovršenog projekta.

Pitamo: Šta se stalno kreće? Šta se stalno menja? Koji se proces odvija?

3. U svemu se može videti ples i partneri za kretanje

Ovaj treći princip proizilazi iz prethodnog pitanja: Šta je ovaj proces? I tu dolazimo do plesa.

Ako ples shvatimo kao višedimenzionalan, koordinisan proces, postaje važno pronaći odgovarajuće mesto za svako iskustvo.

Na primer: „Ova situacija mi ne odgovara jer neki deo mene nije u stanju da je prihvatim.“

Ili: „Pozicija u kojoj se nalazim me ograničava i ne dozvoljava mi da prihvatim ono što se dešava.“

Sa holističke, integralne tačke gledišta, ne možemo ništa odbaciti. U tom smislu, ples shvatamo na zaista širok način i svaku životnu situaciju možemo smatrati plesom, a njegove učesnike partnerima u pokretu.

Four Levels of Integration in Integral Dance

Dance with oneself

The core values of Integral Dance are freedom, creativity, wholeness, and care (first and foremost — self-care).

Listening to one’s own rhythm, listening to one’s deep desire, listening to one’s authenticity — these are the qualities a person learns.

And naturally, when a person learns to care for themselves, they begin to build relationships with others in a qualitatively different way.

True self-care is the ability to be free and to create.

Dance with another

At the most basic level, every person has a deep sense of being: “I exist, and I have the right to exist.”

I exist, and that is enough.

From here — if I exist, I can feel, and I can act. I have the right to feel and the right to act.

The next circle of integration is connection with the Other.

There can be no integration that is purely individual.

It cannot be that I am whole by myself, but in relationship with others I immediately lose this state.

If a person is truly whole, this extends to the quality of their relationships with others — in which, if one wishes, one can always see partners for movement.

Dance with the world

This means that I have my own place in the world, and I am at peace with it — my place in society, in culture, and in nature.

It means that I have a certain connection with nature — one that feels right for me.

These can be very simple things: for example, a person enjoys walking in the park and intuitively knows when it’s time to go there.

Or perhaps they feel a deep connection with a certain element or force of nature.

Connection with the world also manifests as connection with culture — in the sense that I truly understand which culture influences me, which culture I belong to, and why my tastes and preferences are what they are.

This is what integration means: what I do in society corresponds to my inner sense of self, and there is no strong contradiction between them.

There may be compromises or crises that I go through, but strategically I am in my right place in this world.

Dance with eternity

Most people who practice dance note that at times they encounter an inner experience that is difficult to express in words — as if part of it cannot be verbalized and lies beyond our consciousness.

If a person has experienced a powerful, vivid state through dance, it needs to be integrated — to find its place and meaning.

What place does it occupy? Where can it be of use, and what nourishes it in return?

Integral Dance provides space for this sacred side of the dance experience, creating a field for calm and clear understanding — where it leads and why it is needed.

Main Tools of Integral Dance

• Integral Dance-Movement Therapy
• Integral Somatics
• Integral Performance and Improvisation
• Dance as a Spiritual Practice

The foundation of Integral Dance is built upon several different schools of improvisation and improvisational performance on one hand, and body-centered therapy on the other. Dance therapy itself treats movement as a language of communication between therapist and client. Establishing non-verbal therapeutic relationships is the essence of classical dance therapy.

Another cornerstone of Integral Dance is Authentic Movement. Interestingly, Authentic Movement is both a separate discipline and, at the same time, already carries a sense of integrality. It can serve as a therapeutic tool, it can be a personal practice—sometimes for stress management, sometimes to support creativity, sometimes to address personal challenges, and sometimes simply because the process itself is valuable. It is also a spiritual practice. At least in the form practiced by Janet Adler, the Discipline of Authentic Movement is a modern mystical practice. Both aspects—the therapeutic and the spiritual—are explored in A. Girshon’s book Stories Told by the Body.

A significant body of knowledge emerged after classical dance-movement therapy, particularly in the 1970s–1990s, through somatic techniques. These, on one hand, share much with dance-movement approaches but are positioned under a different label. Somatic therapists often have separate professional associations, use somewhat different tools, and draw on a distinct knowledge base. Yet the foundations and goals are very similar. The somatic approach has significantly enriched the understanding of dance, movement, and human development. It also integrates well with discoveries in neuroscience—a field that must be incorporated today. Naturally, dance therapy and psychotherapy in general strive to understand and integrate this knowledge, relating it to practical therapeutic techniques.

Additionally, there are practices not focused on creativity or therapy per se, but rather on dance as ritual or prayer—dance as a form of spiritual practice.

Thus, Integral Dance draws on many foundations: improvisation, therapy itself, authentic movement, dance as a spiritual practice, and somatic or body-oriented approaches. Integral Dance is a process that helps us understand how all these elements relate to one another. By combining these forms of knowledge, we can more clearly and accurately—and most importantly, while staying connected to ourselves and our intentions—use Integral Dance for self-discovery, personal development, and enhancing our engagement with life.

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