BOLERO UNDER THE AUSPICES
OF THE PLANETS
IF YOU WANT TO FIND THE SECRET OF THE
THINK IN TERMS OF ENERGY,
FREQUENCY AND VIBRATION.
In my writings, I have already shown from several perspectives how the effects of planets appear in different fields of life, how they can modify the atmosphere of a particular object, artistic trend, their effect, influence, when the creator, consciously or even subconsciously, but uses the elements of planetary energies purposefully.
Energy, frequency, vibration, effect and interaction. The influence of energies that vibrate on the same frequency, on our life.
The harmonious co-vibrating of every form, material, sounding, etheric form. Those who know my writings, know that I make efforts to present the laws and principles of our existence comprehensively from the most differing points of view.
I would like to repeat some basic rules, however.
We take in a particular energy with our five sensory organs, and discharge it by physical activity.
When someone has a surplus of one of the energies, this appears both in his-her behavior, in their build, in what they excel in, in what they are different, what it is they are better at than others, it manifests in what kind of music they like, what they like reading, what sports they like doing, and even in which dishes are their favorite.
That is, who likes doing what, reveals which energy they have a surplus of, and what they do not like doing, shows which they have a lack of.
The particular energy which forms a surplus in an artist, always permeates her-his works, let it be a painting, a musical composition, culinary art, or any kind of creative work, the creation tells us what the creator wanted to discharge of her-himself.
The next basic law is that the spectator will react to the energy the work mediates according to his-her own energy-stock .
When the particular energy the creation radiates is alright in her-him, then they will not be affected emotionally by the particular work, it might please them, but will not touch them deeply.
When the individual who delights in a work, uses up an energy fast, then she-he will become an enthusiastic fan of works circulating the energy they have a lack of, they will want to experience it again and again, to charge themselves with it again and again.
Just like with water, I can drink myself to the point of almost bursting with it today, tomorrow I will still become thirsty again.
When a creation mediates energies which there is a lack of, it can expect great success.
When a musical composition circulates an energy of which everyone has a lot, then that one, in turn, will become a hit precisely because everyone will want to dance to that, shake it off of themselves.
The melody starts up the particular energy in the listener, they identify the vibration, the body tunes into it, the nerves give the body, the limbs the appropriate impulse, and with the dance, the movement, the system discharges the energy surplus that has gushed up to the surface.
Those, on the other hand, in whose case the particular music does not start resonating, will not want to dance, no matter how others beg them to. They absorb, try to identify with the energy by observation, they keep tasting it, trying it on with their eyes, charging themselves with it.
(When someone cannot dance, cannot move to rhythm, that indicates that there is a disturbance in the connections of neural pathways, the conduits connecting the different fields have not formed.)
A dance production, or the performance of any kind of movement art, can mediate energy towards spectators, because both our eyes and our ears are each an energy-up-taking device.
The individual watching the production takes up the discharged energy, they re-use it in themselves, and then, with time, mediate it in another field.
This is also the law of the conservation of energy.
When somebody sees a work which flows energies they have only an insignificant amount of, then the particular creation, performance will make them nervous, since the energy circulated towards them, cannot resonate in them, the proper interrelation does not take place.
On such an occasion, the individual outright detests the particular work, performance, the error is in their device, however, mostly, the human body needs exactly the energy towards which they feel a resistance – but this is the subject of one of my other writings.
When all the forms of manifestation of a performance are adjusted to the very same energy, the music, the movements, the clothing, the colors, the birth signs of the performers, and so on, then a strong interaction is induced in the spectator.
When the set of means display too many different kinds of energies, however, then the constituents are not in harmony with one another, it will be able to create a superficial effect only.
This is valid in all domains of life, fashion, music, car brands, perfume, poetry.
Now, I would like to talk about the energies manifesting in the arts of movement, and within those, about dance.
I could begin with which dance forms circulate which energy, but such an analysis can be found in most astrological books.
Productions performed in the very same dance style to the very same music, but spiced with different energy-effects, show the differences of energies more spectacularly.
I have chosen ballet to illustrate my point.
I admit that I am far from being a connoisseur, but precisely for this reason.
It is not my brain, my knowledge on the subject which analyze the works, I let the production influence me instead.
I let the sight, with and without music as well, permeate each one of my cells, far away from everyone, totally alone in my room, so that I could hear the reactions of my body exactly, so that I could feel what resonates in me based on the sight, and where.
Ballet itself circulates Saturnian energies.
Precision, endurance, timing, skinny physique, discipline, dieting, concentration, careerism, clothing that follows the lines of the body- all Saturnian qualities.
Maurice Ravel’s Boléro is a work which is 3-beat, therefore it carries Mercurial androgyny, neutrality perfectly, and also manifests as a connecting, dialogue-creating energy.
Due to its neutrality, it can be paired with anything, it will neither strengthen, nor weaken other types of energies in their quality, but will simply aid them manifest.
Mercury, in the present case, Boléro, is like a simple sentence, which can be visually completed in any direction. Depending on the disposition of the choreographer, it is expanded into a question, at other times, into a declarative, imperative sentence, while yet in other cases, into an entire epic by the tools of the nature of motion of ballet.
In the past months, I have spent several hours daily hunting for interesting choreographies, with which now I will try to illustrate how different performances can be categorized according to what energies they circulate, and what effect the particular energies create in the spectator, what hitherto possibly unused energies start unfolding merely by one’s watching a particular production.
Fortunately, in most artists, the knowledge of ancient elements is active instinctively, therefore they couple up the colors, movements, clothing automatically to the message they want to communicate with a particular choreography, but I have already found a few completely chaotic performances as well.
There is nothing wrong with it, of course, this is also a part of creation.
I admit that it was difficult for me to break away from the Maurice Béjart choreographies. Probably, because this was the very first ballet experience of my life – I saw it only on TV, unfortunately.
You Tube search engine: Maurice Béjart 1977
Béjart was born under the auspices of Saturn, and since ballet is a Saturnian quality, they fortified each other perfectly in order for him to reach world-fame, what is more, his first name is identical to that of the compositor, which adds yet again to the harmonious interrelations.
In his Boléro, hands get a prominent role, which is also a Saturnian area, and furthermore, performers dance with a naked bust – skin itself, as an organ demarcating the body, also belongs to Saturn.
So many Saturnian qualities at the same time! No wonder it has always had such a great success in the very same adaptations with different performers.
This kind of performance made Saturnian energies vibrate thoroughly in those who saw it.
In chaotic times, an energy mediating a little order and discipline felt good to spectators.
I liked the master’s suggestive performance the most, but Jorje Donn, who brought his own Plutonic energies, as well as his long limbs strengthening Mercury, or Maya Plisetskaja, who portrayed female grace, or the duet of Octavio Stanley and Elisabeth Ros, who danced at the same time, representing both the male and female pole, all continued impressively what Béjart had commenced, the circulation of Saturnian energies, larded to some extent with the performers’ own surplus energies.
In these adaptations, solo dancers are standing on a circular platform, and other dancers are around the platform, who dance in a circle.
Round dance itself also circulates Mercurial energies when dancers hold or grasp one another while dancing.
This does not appear with Béjart. As if everyone was lonely, loneliness, too, is a Saturnian quality.
Let us look at the Octavio-Elisabeth couple a little.
If I want to be mean, and why should I not be so when facts support me as well, the two young dancers represent rather Mercurial energies, than Mars or Venus. They are both beautiful indeed, no question about that, I love watching them, but with some make-up, they could pretend to be a representative of the other sex at once. Both have androgynous builds, their outfit also represents this, therefore it would be difficult to see them as two different poles. Like two bodies in development, both can become anything. In any case, the production echoes the Mercurial energies in spectators perfectly, since the developing body, adolescence also belong to Mercury.
Sylvie Guillem’s performance follows Béjart’s traditions faithfully, she does not add to the performance, only mimics it with humility – of course, humility, too, is a Saturnian quality, therefore her performance also expands my writing rightly.
You Tube: Béjart Ballet Lousanne. El Boléro de Ravel
You Tube: Maya Plisetskaja: Bolero
Elizabeth Ros – Octavio Stanley (De la Rosa)
You Tube: Maurice Bejart, Boléro, 2002
YouTube: Boléro, Maurice Béjart, Sylvie Guillem
This Saturnian line is naturally followed by Iván Markó, both as a performer and as a choreographer, who is also a Béjart-disciple, therefore continues this very same Béjart line.
In his case, male-female polarity appears already, communication takes place between the members of couples, but solo dancers are lonely, their task is only to arouse desire, not fulfillment.
This turn is interesting to me after Béjart.
Béjart’s troupe touch themselves – which, seeing Octavio Stanley, I am not surprised at. Mercury, incidentally, is rather being clever, than being interested in sensuality. In Béjart’s case, dancers’ caressing their own bodies also suggests that Mercurial personalities care rather about themselves than their partner.
In Marko’s choreography, the dancers of the troupe embrace one another, though the highlight of the tight beat, the rhythm direct spectators’ attention again to Mercurial detailedness and Saturnian precision. Sort of a brainy couple, where the relationship is built on reason, on predictability, not on bodily attraction. There is some fire and desire needed which are embodied by Andrea Ladányi in this adaptation. The artist’s red outfit, her airy being are the flame that kindles the others’ passion.
If I want to portray the Saturnian quality with a single frozen image, then it would be hands with open palms clasped for prayer. In Markó’s dancers, in rhythmic applause, this Saturnian representation appears for a few moments when dancers’ palms clap, therefore the choreography powerfully circulates this energy in this manner as well.
Applause is not present as the audial expression of acknowledgment, it only serves as a tool to make the beat more perceivable.
Iván Markó attempted to approach the very same piece from both the female and the male side.
Male energies were portrayed by Gábor Nyári.
Iván Markó: Boléro (Desire: Gábor Nyári)
Never in my life had I become so nervous as after having watched this adaptation!!!
I literally had to go out for a walk, I drank milk with honey, and even afterwards, I was troubled for days after this performance. I got totally upset from how the dancer was clapping his feet.
A perfect performance!
Art’s essence is, after all, to make an influence on people, to move emotions.
I am at odds with Mercurial men! A lot of argumentation, emotionless, logic-based life–they irritate me–incidentally, the nervous system belongs under the auspices of Mercury, so no wonder if someone becomes nervous because of it when there is a lot, or when it is portrayed well.
Gábor Nyári’s clapping of feet evokes precisely Mercury – since legs are the area of Mercury, therefore he brings this androgynous energy authentically, only I should not ever see it again.
For me, a muscled, masculine body would represent male polarity authentically, with somewhat belligerent movements, but martial art and ballet have not been paired up yet, even though they are not at all that far from one another. Unfortunately, Hercules has not stepped on stage for the beat of Bolero, or it is only me who has not found it yet.
1st picture Jorge Donn
2nd Elizabeth Ros
3rd Maya Plisetskaja
4th Octavio Stanley and the troupe of dancers
Béjart’s and Markó’s performances circulated Saturn so perfectly, I got charged with this energy to such an extent thanks to their performances that for decades I was not even interested in other ballet dancers.
I watched only performances whose choreographer was Iván Markó – no wonder, since rigidity, limitation also belong to Saturn, when there is a lot of it, we become apathetic.
In my case, it limited my interest in the other fields of ballet.
Fortunately, the moment, more precisely, the regard came that opened the more spacious world of ballet before me, so I continued to dig into the qualities of performance tools.
My Boléro-mania had been already present for months when I had the opportunity at last to watch a live performance.
The choreographer of Győri Balett, András Lukács broke entirely away from the Béjart stylistic markers, but still brought the Saturnian quality perfectly.
Black, grey, beige are the colors of Saturn, therefore the clothing presented this energy.
As I wrote above, the naked bust, the sight of the skin evokes it, too. The simplicity, the disciplined way of performance again marks this energy. When dancers kept turning around their own axis, holding their arms sideways and high, they were evoking whirling Dervishes, which gave some sacral overtones to the performance, only increasing its authenticity, since sacral representation is also Saturnian energy.
YouTube: Ünnepi Boléro
To me, this was a flawless Saturnian performance.
At first sight, it is difficult to determine from a fully clothed individual whether his-her build circulates Mercurian or Saturnian energies, because both are typically thin, even ascetic physiques.
Mercurians have rather long legs, while in Saturnians, it is hands which are more emphasized.
When they are scantily dressed, the difference is already perceivable, though.
Mercurian builds are not just thin but narrow as well. Narrow shoulders, narrow chest, narrow hips, kind of a girly, teenage-boyish, androgynous physique.
Saturn results in a sinewy, bony build, with wider, bonier shoulders, with hands with swelled veins, ascetic build.
When a performer is aware of the energy her-his physique, carriage circulates, and dances to a music in a way that stylistic markers are identical to the energy he-she represents, then she-he is sure to succeed.
Ida Rubinstein had a classical Mercurial build, narrow bust with long legs. In 1928, Ravel composed a music for her which is in harmony with, which rhymes with the aura of the dancers’ physique, this is how Mercury-mediating Boléro was born.
A musical work which circulates a particular energy, radiates a particular frequency, to which choreographers tune in and create moves that will resonate in spectators’ viscera in the very same way as the work does, which way the very same kind of energies will be liberated in them.
When a petrified, stuck-down, rarely used energy is freed, this can be considered as a kind of energy-treatment, and the spectator feels relief, joy.
One of the simplest ways to express joie de vivre is spontaneous clapping – see how children are clapping self-obliviously when they are happy about something.
A performance that “vibrates” well, finds the common frequency with the spectator, when the air vibrates perceivably, and in the end, the released joie de vivre flows towards the performers.
Joie de vivre belongs to the energies of the Sun, it is the Sun that ensures success, fame, therefore the applause of the spectators literally gilds the performing artists.
This is the law of energies, of vibrations.
If someone cannot tune into the frequency of the audience, cannot feel what is missing, she-he cannot count on the reward, either.
Boléro affected the choreographers mentioned above in a way that they mediated it towards the audience with a Saturnian tool-set that is identical to the energies of ballet. “Classic!”
Below, I will break down the performances into planetary energies, how stylistic markers appear in individual productions.
Then let us see what Mercurial effects are like.
MERCURY – REASON
“HAVE YOU HEARD THE LATEST NEWS YET?”
Thirst for knowledge, getting to know and formulating new things, and conversations with people.
Negative manifestation: The living, chattering encyclopedia.
Life founded on perfection and precise pieces of knowledge. Researching intellect, exact observation. The passing on of rational knowledge.
Negative manifestation: Distrustfulness concerning even in-depth details, which cynically rejects everything that does not work according to logic.
If Bolero is a simple sentence, then the Saturnian simple sentence is a declarative sentence: I am dancing. This is the Bolero. We are dancing to Bolero. Simple and comprehensible.
In its simplicity, Mercury is also a simple sentence, but with a question mark at the end: Is this the Bolero? Are we dancing? Can we dance? Why are they watching us? Don’t you understand? Where am I going? What do I want to say? Why am I coming this way? Am I a boy? Am I a girl?
Questions, questions, questions. Details, details, details. It can make even the tiniest thing difficult by getting lost in detail.
Its ranges of color are shades of blue, and according to astrological teachings, the rainbow, but I would rather put the rainbow to Uranus, even though now I accept it here as well.
I admit that seeing some of the following performances I almost walked off the map in pain.
Of course, my self-conceit has been tamed already so that I know that irrespective of the fact that I do not like something, it can still be good! Things can become beautiful when we change our point of view.
Incidentally, most Bolero choreographies were inspired by the planet Mercury. Not surprisingly, since the work itself was written under the auspices of this energy, too, therefore choreographers were vibrating with it.
As we watch television a lot, pass a lot of time on the Internet, we are endowed with this energy abundantly. I understand choreographers that they want to get rid of the lot of Mercury, but one must take into account that the audience is also sur-charged with it, and much Mercury can be irritating.
A Mercurian Bolero:
This “Where are my feet? Where are my hands? Does my stomach hurt? Where is my head? What on Earth am I doing here? Am I going in the right direction? Can I even dance?” shows in the following adaptation. Unfortunately, I did not manage to dig up a lot of information about them, but this performance evokes faithfully the energies of the omnipotent adolescent, who wants to solve everything alone, while she-he is not an expert on anything. I am trying to be with you, but neither with you, nor without you is good.
Notwithstanding, dancers discharged their Mercurial excess thoroughly.
You Tube: “El Otro Bolero de Ravel” Compania Nacional de Danza.
However, there are some adaptations I am a fan of.
The simplest and which is the most comprehensible to me is the adaptation of Roland Petit.
Kind of an unequivocal Mercurial flow.
Blue dominates, and it makes the legs work considerably. The costume, too, emphasizes legs, the arms, the bust are covered. The long legs of the male dancer also indicate Mercurial excess.
Rather kind of an aerobic-like gambol, but I like it.
YouTube: Roland Petit: Bolero
The next performance was committed by the Czech National Ballet. I admit that seeing the creators’ names and the clothing of the solo dancer, it was difficult for me to put aside my prejudices.
Petr Zuzka, Zsuzsika as choreographer, and Konvalinka, in Hungarian, “lily of the valley” as solo dancer, all this performed in a translucent white skirt and spaghetti tops, was a bizarre start, but then the lot of Mercury neutralized it.
The solo dancer, Konvalinka, is playing with a huge white die.
Counting belongs to Mercury.
There are always as many dancers on the stage as the number which can be seen on the die. Logical, isn’t it? To Mercury, logic is God him-herself.
The appearance of the solo dancer brings androgyny well. Her clothing is clearly unisex, neither feminine, nor masculine – Mercurial. On female dancers, there are cycling shorts, which is again Mercurial, and a half-skirt, which indicates rather a gender-transition. Attention! Homosexuality is out of question, that belongs to Venus, and bisexuality, too, which is caused by a lot of Uranus. Dancers are only asexual.
YouTube: Bolero: Bohemian Balet
The next Mercurial choreography is performed by ladies. To me, after the Lord of Flies, spontaneously came the title, the Ladies of Flies, to mind. Incidentally, flies also circulate Mercury. The rainbow-like, metalllic-shining dresses belong to this energy as well. Wings evoke the airiness of Mercury just as cycling shorts, cycling itself also belongs to Mercury.
The strips, as connecting elements, evoke Mercuriality too, since the main task of Mercury is communication, the creation of human relationships.
The fan, a tool to create a breeze, creates Mercurial energy again.
The girls are beautiful, feminine, therefore some Venusian energy also appears in the performance.
Choreography: Marissa Vera and Christina Alvarez
You Tube: Bolero de Ravel: Christina Alvarez gala
If Mercury, if legs, if adolescence, then here is an entirely Mercurial performance.
As I said, Mercury is the adolescent-aged teenager, so a group of teenagers, in tights, in multicolored tops, with some awkwardness – Mercury is usually only “being clever”, but does not really do anything, it “argues away” to have to do something.
YouTube: Bolero Ravel Ballet
MARS – WILL
“ATTENTION, I’M COMING!”
Using up the energy at hand without obstruction in to reach the then goal, striving for quick results.
Negative manifestation: violent, autonomous action, obsession with accomplishments.
Build: muscular, medium height, athletic physique. M-sized trousers, XXL-sized T-shirt. Insensitive, uncouth, a lot of life energy, good heat-production.
If Mercury is an interrogative sentence, then Mars is the imperative, a command, an order.
Dance! Play it! Bolero! Mars!– as march as a musical style.
I have not found a choreography that would have belonged here definitely.
Mars, with its colors, evokes fire – red, flaming red. In clothing, I did find such, but not in performing modes.
With a slight exaggeration, I could mention the Delfos troupe here because of their flaps.
At first, they reminded me of washwomen as they took off their jackets and started slamming them to the ground, but since nothing else happens during the entire time, and now and then, they slam the wall as well as one another, as I was watching so much bursting energy, they started up Martian energies in me.
Mars nourishes anger.
(Incidentally, male clothing on ladies is also Martian appearance. There was a period in history when they considered it clearly unfeminine, masculine when a woman appeared in trousers.
Mars is evidently masculine energy, but it nourishes life force as well at the same time, therefore ladies, too, need it at times.)
It is true that the jacket is rather cloak-like, a hard jacket suits this energy better, and in material as well, rigid textiles are which mediate this belligerent energy, but still, due to a tiny detail, the clothing can be ranked under the energies of Mars.
Parallel stripes tune one to Martian energies, the padding of the coat is striped, therefore it circulates this energy.
Had they had a hat as well, it could have been perfect, since the head is the center of Mars, with a hat, this could have been highlighted.
I found it a little infuriating why there was not anything else red in the performance apart from one of the female dancers’ cascade of hair.
Nevertheless, this choreography is indeed the closest to Martian energies, after all, it elicited fury in me, which is the emotional manifestation of Mars…
YouTube: Delfos y Ossla, Bolero de Ravel, Festival Cultural Sinaloa 2013
However, in order to show the quality of Martian energies at least in their atmosphere, here is a symphonic performance to the beat of Andre Rieu.
The drums, the hussar uniform, the fire-works all are projections of Martian energy.
YouTube: Andre Rieu – Bolero (Ravel)
And a picture of fiery Mars which was also made during a Bolero performance, but I have not seen the performance itself yet.
SUN – CREATING POWER
“WHERE IS THE THRONE HERE, FOOTMAN?”
The joy of play. Life is a scene of playful self-expression. Huge joie de vivre.
Negative manifestation: pursuit of power, the small Ego wants to be the center of attention.
Golden colors, sun yellow and orange, round forms, long hair, royal - queen-like appearance, these are the fields of Sun energy.
The Mercurial simple sentence is completed with the personal pronoun.
I am. Look at me. I am dancing in the forefront. The Bolero is played for me. The spectators have come here because of me.
Airs of a star? Yes. The abundance of the Sun lifts one above the others. Arrogance, superiority are the indicators of Sun energy that has not been not used.
Of course, selfishness is the negative manifestation of much Sun energy.
Saying yes to life, joie de vivre and creation belong to Sun energy.
I am dancing out of joy. I am entertaining others with my dance. I hope my smile will spread to others as well. I enjoy from my heart what I am doing– these are the positive manifestations of Sun energy.
The Sun is rather masculine energy. Proportionate build is its characteristic, with average height.
Naturally, it goes hand in hand with a proud, royal carriage.
The first Sun-like performance is not really powerful.
The orange color and the form of the decoration put in a semi-circle are what evoke the Sun.
The simple costume is in striking contrast with the pomp of the Sun, still it can be tied to the energies of the Sun, because the black band directs one’s look to the stomach which is the region of the Sun.
Let us just think of belly dancers with their uncovered stomach as their stomach, their hips are undulating, in the spectator the memory of a hot summer day is brought forth at once.
The sight of a rhythmically waving lower body starts up both the feeling of warmth and even possibly sexual energies, let the dancer be a man, or a woman, in spectators, they induce the echo of the Sun.
The performance below presents this very minimally.
The choreographer: Dana Manolescu
YouTube: Ballett: Bolero ( Dana Manolescu)
Here is a picture which circulates this energy but I have not managed to find the video belonging to it, nor other information.
Burlesque – frivolous, ballet characteristics now and then, a lot of twisting of the hips, the stomach moves a lot…
(To be continued)