"HOOPOSOPHY: Choose to Let Go and Allow the Results to Evolve with Ease"

"HOOPOSOPHY: Choose to Let Go and Allow the Results to Evolve with Ease"

Denise E Williams/Subtle Woman

Occupational Therapist/Wellness Counselor,

Healing Touch Certified Practitioner &

Psychic/Intuitive Empath & Medium 

1.17.2018  

Welcome to, HOOPOSOPHY, my weekly Vlog on the elements, symbolism and experience of Hooping, dancing and musicality. Each week, I expect to tape one of my Hoop sessions and share it on social media.  I will include tenets of Shamanism, intuition, psychic awareness, therapeutic interventions, music, dance and healing. 

I live my life as a Shamanic Medicine Woman in the Cherokee tradition, Healing Touch Certified Practitioner, Certified Intuitive/Psychic, Master Hooptress, Spiritual Eclectic Performance Artist, Classically trained Vocalist, Jazz singer, Dancer, Dee Jay, Wellness Counselor and Occupational Therapist.  Please enjoy the writings of this multi-sensory scribe.  

This afternoon, I processed my Hoop improvisation through my terminology of Intuitive Musicality.  Miles Davis’, “It’s Only a Paper Moon” featuring Sonny Rollins musically supported my efforts.  *No Copyright Infringement Intended. *

Again, I created this Dance Hoop segment with the use of two 3lbs. Hoops.  In the back of my mind was the Synchrony of Duo Hoop/Rhythm/Flow without the triad’s faltering and resultant falling of the Hoops.  However, it was unwise for me to project these concerns, because the Energetic Disconnection was more prevalent and possible.  Okay, fake it ‘til I make it.

I start with a stirring motion of the Hoop to the left side.  [In the tradition of Shamanic Healing, the left side connotes the emotional/feminine/intuitive/Yin element].  I gave a strong Swoosh with accompanying finger snaps to augment the beat.  What’s done to one side must be done to the contralateral (opposite) side in the Bilateral Experience.  [The right side connotes the intellectual/masculine/logical/Yang element.] 

Visually, I discerned a less impactful Energetic Portrayal.  [What concerned me?]  Well, of course, my issues of control and avoidance of failure wafted up.  That weaker portrayal created an energetic void within the Hoop!  So, what did I do? I stabilized the Friction Brushing of the two Hoops as they rubbed and spun past each other.  I gathered the disorganized and detached energy within the bilateral union and initiated a midline presentation of my feetwork.  I become Still, so that the Hoops could realign.

I resumed a moderately complex footwork pattern until the glisser (the slide and subsequent disengagement of the Hoops) lessened.  However, not for long, because the Hoops began to spin in opposing elliptical patterns.  As this Tent Effect of the Hoops persisted, they finally gave way to gravity and fell.

I quickly assessed the situation and retrieved the fallen pair.  [In Occupational Therapy, the estimation of Force that is required to grasp, hold, manipulate, attach and/or disassemble objects—hand occupations, become another aspect of Hooping].  I was thinking vs. sensing the movement and beat, thereby disallowing adequate connection of my intuition/core/motor control.  In order for me to align the bilateral Hoop experience, I will infuse a Knowing, relaxed state and an Assured Expectation for a successful connection in the Hoop Experience. 

And, so goes the Lesson of Hoop Praxis (motor-planning) i.e. the Dance of Lead and Follow.  The Hooper can choose either role—Leads evoke the change in choreography and Follows respond to the change.  As the Master Hooptress, I frequently choose the role of Lead in my Hooping practice.  In Hooping, the complexity of mastering choreography mirrors the tenets of an Energetic/Shamanic Healing i.e. Grounding, Assessing, Balancing, Clearing and Mindfulness.

When the Hoop falls, pick it up and start again.  A Japanese proverb asserts, Fall down seven times, Stand up eight.


Please view the attached video.  Thank you in advance.

https://www.facebook.com/denise.e.williams/videos/vb.1097291343/10213384230455699/?type=2&theater

"HOOPOSOPHY: Added Weight Requires an Energetic Adjustment and Attunement for Achievement"

"HOOPOSOPHY: Added Weight Requires an Energetic Adjustment and Attunement for Achievement"

Denise E Williams/Subtle Woman

Occupational Therapist/Wellness Counselor,

Healing Touch Certified Practitioner &

Psychic/Intuitive Empath & Medium 

1.2.2018

I am resuming my HOOPOSOPHY Vlogging series today. Each week, I expect to tape one of my Hooping sessions and share it on social media.  In addition, I will portray my intentions with an accompanying blog, including tenets of Shamanism, intuition, psychic, therapy, music, dance and healing.  I live my life as a Shamanic Medicine Woman in the Cherokee tradition, Healing Touch Certified Practitioner, Certified Intuitive/Psychic, Classically trained vocalist, Jazz singer, dancer and Occupational Therapist.  Please enjoy the writings of this scribe.   

I chose the song, Hum-Drum Blues by Marianne Solivan.  The music commences with a strong bluesy character.  Marianne belts out, Life can be mighty monotonous.  We always battlin’ boredom; Where, tell me where has it gotten us? Everything’s still so doggone hum-drum!  Stuck in a rut, getting’ nowhere fast!  Mmmm-mmm, I got the hum-drum blues.

I enter stage right moving upstage Southeast to Northwest i.e., the four elements in the Cherokee tradition—the cycle of Beginning a Process to the Attainment of Wisdom.  In my right hand, I carry two 3 lbs. weighted Hoops while dance-walking slowly to her poignant recitative.

Gradually, I take my wide-legged stance and begin the challenge of Blooping (Hooping to Blues music) with two weighted Hoops.  In my mind and body, I enjoin with the Energetic Flow of the two Hoops.  Subtly and rhythmically, I gently pair my movements to the music.  Immediately, they take on a life of their own—separating and spiraling away from each other.  I garner control as they slide against each other.  The French verb, glisser i.e., to slip, slide and glide, pops into my thoughts.  I adjust my motor delivery and torque for a refined rotational adjustment.  The friction of the two Hoops provides a point of stability before I can resume the ease of Hoop mobility.  (A tenet in therapy, stability before mobility is required to facilitate movement).  

I, tentatively, roll my trunk laterally off my axis to merge with the beat of the music.  The rolling rhythm unfolds to a two-step pattern to the right.  Now, the music calls for a series of Heel Pops.  My inner Tap dancer wants a turn in the Hoop.  Well, why not?  Four Pull Backs seem in order, again-tentatively, so not to jar the faint connection of the Hoops.  [I am responding to this added weight like an apprentice Hooper vs. Master Hooptress.  The uncertainty of the Hoops’ accuracy has softened my intentionality in my usual Hoop expertise.  Hmmm…]

I gesticulate Ms. Solivan’s message through my hands and head movement with a staccato flair.  I look down onto the two misbehaving Hoops, as if to make eye contact with the culprit Hoop.  At this point, I engage my fatiguing abs to whip those Hoops back into shape.  I augment my ab work with an Energetic Fingering technique to temper the discordant Hoop movement.  Voila! The Hoops steady!

Later, the elevator panel rings to indicate its arrival and possible emergence of an occupant.  I quickly dart my eyes to the right.  The Hoop registers this somato-energetic break in the Hoop Flow.  Mischief resumes with the Hoops tandem detachment and resultant cascading to the floor.  I retrieve the recalcitrant Hoops and continue my improvisational explorations.

As the music is wrapping up, the Hoops and I unravel with the floor-bound Hoops finding their target in an asymmetrical circular disarray.  In my haste to gather the Hoops, my Pork Pie hat topples to the floor.  [Life’s events are completely coming apart at the seams].  None-the-less, I regard my composure, realign, attune and resume my flirtation with the Hoops, vocalist and rhythm.  Not to be outdone, one of the Hoops has one more chance at its folly, thereby falling to the floor.

Decidedly, I drop the remaining blue Hoop (akin to dropping the mic) and make my clamoring statement.  I vacate the stage with the Heel Strikes of my boots providing the exiting sound.

C’est tout.  That's all.  Aho.

 * No Copyright Infringement Intended. *

HOOPOSOPHY: Added Weights requires an Energetic Adjustment and Attunement for Achievement.

"Hooposophy: The Mirror of the Hoop"

"HOOPOSOPHY: The Mirror of the Hoop"

Denise E Williams/Subtle Woman

Occupational Therapist/Wellness Counselor,

Healing Touch Certified Practitioner &

Psychic/Intuitive Empath & Medium 

3.7.2017

Here’s my seven-pound extra-large Hoop.  The premise of adding weight makes me Core up and Dig in.  Procrastination carries lightweight Energy.  Intention carries resolute Energy.

My salute to Catherine Russell continues with “Whatcha Gonna Do When There Ain’t no Swing?”

In time to the background vocals, I hasten the pace to get the extra-large hoop.  Slow and steady movements unfold.  I am trying to find my way.  Careful and controlling…slow and steady.

The anterior/posterior movements seem uncertain and guarded.  My lateral movements are easier and sure-footed.  Seemingly, I am experiencing issues of directionality and laterality.  Being sure of which way is a quandary in my logical, ordered thinking of my left hemisphere.  My lateral foot movements remind me of the quick syncing of my easily accessed intuitive thoughts. 

Of course, I go for more…

Lateral hip movements confuse—dysregulates the flow of the hoop.  [More practice is needed].  I am hesitant in my belief in the possibility of this Hip/Hoop/Hike Synchrony.  As I think, so it does.  Following the Energetic Thread, I start the Earthquake i.e., a Twerk step exemplified by a rapid and concise wiggling of my rump.  Aaaaahhh…it works!  The vibratory effect of my hips facilitates the Core-Hip Connection.  I recognize and rejoice with the silent hand gestures of sign language.

Well, why not create a punctuated level change?  Superior-to-inferior placement of my Energy and Intention feels just right.  However, when I view it, I see another attempt at controlling vs. allowing the Path of the Hoop.  Hmn…

The earthbound vs. airbound Pullbacks are next.  Again, the fear of making a mistake (on camera) rears its familiar and judgmental head.  Finally…three jumps!!!  These words come to me: Feel the fear and do it anyway, Susan Jeffers, PhD, author of same-title book.

A seque into Balboa basic steps and Lollies are predicated by the unexpected rhythm tempo change in the music.  Something happens in life, and you respond in the moment.  Henry Ford contributed, “Whether you think you can, or you think you can't—you're right.” 

So, just as I end my weekly Jazz-based Hooposophy segment, Rufus Thomas; “Walking the Dog” comes on.  I must…I must…Hip Pump, Plie, Hip Roll and exit downstage with Step, Step, Step Ball-Change.

Music and Dance are my Muses.

"The Zumba Effect"

"The Zumba Effect"

Denise E Williams/Subtle Woman

Occupational Therapist/Wellness Counselor,

Healing Touch Certified Practitioner &

Psychic/Intuitive Empath & Medium 

12.27.2015

The women and few men convene in the large room while awaiting their favorite Zumba instructor, Latrice M.  Such a clamor of anticipation, jockeying for positions, esp. those of us who enjoy the close proximity to Latrice provided by being on the front line.  The remainder of class time includes the sheer accuracy of our ability to judge and adhere to our positions in line--without bumping into each other.  (I fondly remember the intricate choreographic patterns and intuitive spatial analysis of the 1940's Busby Berkeley dancers).

Like clockwork, Latrice enters and enthusiastically prepares us for the intention of the next sixty minutes of the Zumba class.  She adeptly leads us through the familiar and occasionally novel paces of our musicality and the rhythmical routines.

The class unfolds, the tempos pour forth, the choreography--yes, naysayers--the choreography entices, educates and entertains the audience of dancers!!!   The swell of endorphins and sheer joy can be palpated.  At the end of class, some of us slowly extricate ourselves from the conjoined energy in the class and file out.  Others delay our departure and continue the animated conversation, additional dancing and eager promises to return to class the next day!

 

I have danced for the past 45 years, from Ballet, Tap, African, Swing, Balboa and now to Zumba.  The sense of post-Zumba excitation and unadulterated joy should be packaged and marketed as a tool for happiness, camaraderie and positive communication.  So, when I hear non-Zumba persons attempt to marginalize the efficacy and importance of Zumba as--it's just dance, I marvel at and dismiss the disenchanted verbalizations of the uninformed.

Ladies and gentlemen, do yourselves a favor and take a class.  Lift your spirits!  Raise your heart rates!  Enhance your dance skills!   Experience Zumba for yourself!!!

You're welcome.

The Zumba Effect

The women and few men convene in the large room while awaiting their favorite Zumba instructor, Latrice M.  Such a clamor of anticipation, jockeying for positions, esp. those of us who enjoy the close proximity to Latrice provided by being on the front line.  The remainder of class time includes the sheer accuracy of our ability to judge and adhere to our positions in line--without bumping into each other.  (I fondly remember the intricate choreographic patterns and intuitive spatial analysis of the 1940's Busby Berkeley dancers).

Like clockwork, Latrice enters and enthusiastically prepares us for the intention of the next sixty minutes of the Zumba class.  She adeptly leads us through the familiar and occasionally novel paces of our musicality and the rhythmical routines.

The class unfolds, the tempos pour forth, the choreography--yes, naysayers--the choreography entices, educates and entertains the audience of dancers!!!   The swell of endorphins and sheer joy can be palpated.  At the end of class, some of  us slowly extricate ourselves from the conjoined energy in the class and file out.  Others delay our departure and continue the animated conversation, additional dancing and eager promises to return to class the next day!

 

I have danced for the past 45 years, from Ballet, Tap, African, Swing, Balboa and now to Zumba.  The sense of post-Zumba excitation and unadulterated joy should be packaged and marketed as a tool for happiness, camaraderie and positive communication.  So, when I hear non-Zumba persons attempt to marginalize the efficacy and importance of Zumba as--it's just dance, I marvel at and dismiss the disenchanted verbalizations of the uninformed.

Ladies and gentlemen, do yourselves a favor and take a class.  Lift your spirits!  Raise your heart rates!  Enhance your dance skills!   Experience Zumba for yourself!!!

You're welcome.