The dance of the alchemical body
by Damiano Fina
The hunter's days around the fire are still in our cells. When the sky was full of stars, the human organism was made up of stories and rhythms around the fire. Those days are still in our memories. The study of the body led me to create a methodology that studies the potential of our connection with our ancestors. So I divide the alchemical body into four bodies, which I use as a guide for my pedagogical method: physical body, emotional body, spiritual body, remote body. The free play of these four bodies in dance is represented by the alchemical body, able to unite distinctions, harmonies and disharmonies and to transform the whole into something else and greater than the sum of its parts. These are the foundations of the FÜYA method, a kinesthetic pedagogical approach that aims to teach nonviolence through the development of the arcane qualities of the human organism.
For a pedagogy of expression
Once upon a time there was dancing around the fire. Humans, after the hunt, prayed to the universe in this way. It was a necessary rite for those creatures, who felt they had to somehow pay nature a debt, that of having freed themselves from the condition of prey.
Killing through hunting was still something dark, which certainly involved something that ceased to be visible. Here was born the kingdom of the invisible, a place teeming with presences with which one dialogued through the ritual. Becoming a predator, the human being built his jaws and claws with spears and arrows.
Inclined to the mimesis (imitative ability) of the self and the other by himself, the human being had modified his nature into something dynamic, in constant transformation. The human being was a predator and a prey. But doing as if it were the other -human or animal- had also given him a share in what he killed. Hence the need for the ritual. From here would be born the dance.
On this reflection I wrote a book, called The Dance of Eros and Thanatos and you can order it comfortably on Amazon.