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SNAKEDANCE by MESMERA, Excerpts from Instructional Video "DANCE OF THE SERPENT" continued from Page 2
ISIS AND OSIRIS are Indigos and they like to run. Their bodies are streamlined so they can move with ultimate grace and speed through the deepest parts of Florida's Everglades, silent and unseen. They have long, lovely jet black bodies with belly scales that gleam like rare black opal in the light. They wrap and entwine, seldom content to stay in one place for long. It's an exercise in awareness, presence and letting go when we dance together.
Snakes that hunt in flat or open areas tend to be faster, like SLEEK, who is a corn snake, and MIRACLE, a glossy from the desert. Like the Indigos, they are active and fascinating to watch, as well as move with.
The magnificent RUBY, a nine foot Re -Tail Boa, as given me strength. Just moving gracefully with her requires great control and balance. As she's grown, she's offered me a chance to tone up without even having a gym membership! Could this have been Eve's Secret Workout?
Boas, like Pythons, have no venom or fangs; they are constrictors, and are therefore most dancers first choice because of their natural tendency to hold on. They are frequently arboreal and feel secure swaying in the upper limbs of a dancer, giving reasonable freedom of movement.
When asked to do a snake dance, I choose a snake who has not just eaten and whose belly may be full and uncomfortable when handled. I also take note of the colors in the scale patterns to see if th ey are bright or dull. If they are dusty or dry in appearance, or if the belly is pinkish, perhaps the eyes a milky blue, I let that snake rest, for the skin will be shed soon. This happens several times a year. The snake is nearly blind at this point, and may feel nervous when touched. You will generally be able to read the disposition from their response at first contact. My snakedances are usually not choreographed. The snakes won't hear of it.
Costuming for snake dance requires some awareness. Long strands or loops of beads are easily broken. sequins add friction, unless sewn on very smoothly like the scales of a Mermaid. I make sure my costume is strong enough to support a snake tail seeking a good grip.
Most important of all, I make sure they're warm and clean with fresh water. Many of mine spend a great deal of time at the bathes. I handle them often, so that we are sure of each other and I know they are healthy and happy.
For performances, I transport them in a basket which is often used in the dance. Bringing the snake out of the basket can be a sensitive moment. Remove the lid gently so as not to be alarming. Use a light, yet firm touch to hold the snake several inches behind the head, and use the other hand as necessary to support the rest of the body as you bring your snake out of the basket, or any other enclosure as well.
When dancing, the smoother and more refined your isolations, the easier it is to hold the snake steady. When handheld, you can readily do turns, travels, hips, ribs and shoulders as well as arm work. This gives you opportunity for variety and dynamics. Once around your neck and shoulders, the ribcage and shoulders must remain stable, and only the slower more flowing moves will keep your partner from being bounced around. (I cringe when I see dancers that have so little respect for the serpent as to jostle and jerk it through their choreography like a prop.) Although this position confines upper body expression, it does free the arms and hands.
Sometimes, if the proportions are inviting, your partner can feel secure by wrapping around your waist or hips. Your costume can give added support. In this case, upper body and arm or even head moves work very well, while only the most undulating slow hip work will be best.
Some snakes will enjoy holding a "crown" position on your head. The Royal, or Ball, Pythons are known for this. The serpent crown is dramatic and excellent for slow or fast hip work. At times, an inquisitive snake head may appear at your cheek, or upon your brow as in Isis' uraeus.
Never allow a snake to lose its grip or fall. Avoid sharp, uneven movements that shake them. When turning, hold them in close to you or centered above you so that the centrifugal force will be minimal. Although we can wrap and unwrap to place them, the touch that is used must be gently firm and insistent. To unwrap, begin at the head or the tail.
It is important to understand that snakes are wild creatures of the first degree. Patience is a key element. They cannot be trained, or bribed, or rewarded. We may work with them well by respecting their primitive nature. Snakes prefer to hold onto you, rather than be held by you. They are cold-blooded so a warm environment is essential to their well-being. The heat generated by our bodies when we dance is very attractive, making the neck a warm and comfortable place.
Although very sensitive to even the most subtle vibrations, snakes have no ears, so we do not share the music. Yet, they are highly responsive to our touch and our movements. If you get a little squeeze at the throat or any other point of contact, your snake is probably insecure with your motions and holding on tightly for fear of falling. Use this to refine the smoothness, ease, and timing of your dance. It will continually develop your skills, and lead you to advanced awareness within your creative process.
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