Hidden treasures discovered while digging through Frank Moore's huge archives.

Tag: ritual (page 1 of 1)

about play (playing)

By Frank Moore, May 1, 1995, from his book, Cherotic Magic.


Enjoying playing unlocked every possibility.

Schechner defines performance as “ritualized behavior conditioned (and) permeated by play.”

We will get technical in this. But we should always remember that at the root, the student comes to the teacher, the audience comes to the performance, the person comes to the bodyplay to be deeply and intimately with a flesh and blood person or a group of flesh and blood people in a way that is usually denied to her in normal polite social life. She comes for touching, holding, rocking, playing, having fun, and healing. This has been usually forgotten under rigid serious rituals, techniques and theories. Again, western medicine is a prime example of this forgetting. But even spiritual methods of healing in our culture have put the rituals and techniques over the playing and fun.

This is why, before we get into the techniques of chero bodyplay, we have to be clear about what we are doing. By doing the apprenticeship, by doing performances, by doing bodyplay, we are calling forth the liminal state of controlled folly. Controlled folly is liminal because it is a combination of the awake reality and dream reality. Rituals make this combination possible.

In the state of controlled folly, the activities of playing and creating fun are intensified and expanded, because rituals take the place of the normal rules, taboos, fears, and inhibitions. This makes it possible to go into the unknown where anything is possible. Ritual is what makes this magical playing safe by giving the playing a living, breathing structure. Playing is only possible within a structure. But when ritual becomes important in itself, rigid and serious, it starts limiting and killing the play and fun. So it is important to remember that the ritual is just the channel of the play and fun.

Playing is a primal state in which things are drained temporarily of their normal meanings. Life goals for a time fade in importance in this state. Tensions and stresses of normal life are safely transmuted into creativity. In play, newness appears. This newness is translated into inspiration, into new ideas, new ways of doing things. The young, both in the higher animals and humans, learn the most through the state of play. Both man and the higher animals use play to transform violent energy into safe acting out. The human mind and civilization were evolved by playing.

In bodyplay, chero is aroused by playing with the body. Fun is created and released by this play into the world directly. Fun is energy focused upon itself, rather than upon some goal. The fun we are talking about in this work is a deep, intense fun that corrects imbalances and induces newness. This kind of fun comes from risk taking and work. This deep fun feels very different from the surface, light, fast fun of the world of politeness, glamour, romance, and social rules.

Through bodyplay, erour is slowly reached by calling forth chero in all parts of the body by eroplaying. This is true not only in the “receiver,” but also in the “healer.” Moreover, through the energy released through these magical sessions, a collective social erour is gradually created for the general world. This is the ultimate reason for this work. The chero released as focused fun “writes” upon the place in which this magical play is performed. It transforms the place into a magical site. The more play is done in a place, the more chero is stored in the physical site. The more chero that is contained in a physical site, the easier it is to perform more intense play.

Cherotic bodyplay releases, frees, creates new possibilities. This is true for the people who are actually directly playing together. But this is also true for the society, the people, the world, the outer reality surrounding the eroplaying people. This makes bodyplay not just an individual problem solving therapy. Instead, it is a playful but powerful ritual that has effects on many different levels. There is a danger in focusing too much on what it will do for the individual, how it will affect his life, what does it mean in terms of his life, how it will help him. This kind of focus can turn bodyplay into encouraging individualism which keeps the person in the prison of fragmentation.

To be successful, bodyplay has to be intensely personal between the playing people, but should not be individualistic. It should not push the people inward onto their “selves.” Bodyplay should expand them outward into others.

Front page of the handout which was on display and available to take for free at performances. Drawing by LaBash.
Handouts on display at a performance.

Download the handout here:
https://www.eroplay.com/aboutplay.pdf

Gestures – Part 2

Here is the list of “adjectives” … see the previous post about Gestures here:
http://eroplay.org/gestures/


arousingly

joyfully

gently

suggestively

deeply

warmly

desiringly

playfully

SWITCH PAIRS

lovingly

child-like

knowingly

healingly

passionfully

magically

calmly

confidently

happily

JOYFULLY

exploringly

softly

vulnerably

soothingly

calmingly

intimately

pleasurefully intensely


Gestures Ritual – An excerpt from Frank Moore’s The Uncomfortable Zones Of Fun, recorded Saturday, February 27, 2010 at Temescal Arts Center, Oakland, California


Gestures

Gestures was a ritual that Frank developed during his three year performance series at University of California, Berkeley in the 1980s and that he continued to use as a module in many of his performances for the next 30 years.

It is based upon the book MANWATCHING by Desmond Morris. During the ritual, those who choose to participate are paired, then strips of paper are drawn randomly from two bags and read aloud; one bag filled with the gestures (the complete list is below), one bag filled with adjectives.

The Gestures bags
Adjective and gesture strips.

Here is the introduction to the ritual that was read during a performance:

A Chanter sings:

“This is a ritual, a magical ritual, a ritual of Gestures which will open up a physical, magical force within those who choose to participate. At times the ritual will be very silly. At other times there will be a raw vulnerability, an intimacy that is not limited by social taboos, not framed in by romance or sex.”

“This magical ritual operates on the random principle. Magicians and mystics have used the factor of change throughout the ages to get past the rational, the logical, the linear, to get to inner knowledge or to universal wisdom. Shuffling the tarot cards and the throwing of the yarrow sticks for the i ching are but two examples of this random principle. In this ritual, the random principle, pulling gestures out of the box, will direct the ritual. Some gestures are silly. Some gestures are intense and intimate. The random principle makes each gesture equal. The random principle will remove the linear limiting taboo, sexual, romance context.”

“Linda will now pair people … to do the gestures.

The Chanter waits until Linda finishes pairing. Then the Chanter sings:

“Slowness is important in the quiet gentle sounds and laughter will help the magic. Watchers should refrain from talking during the ritual.”

“Each gesture has a special time length. You should keep doing one action until Linda sings the next gesture.”

“You will start releasing the physical force of eroplay in your bodies. This ritual will take eroplay out of social, moral, sexual, and romantic contexts, so that the focus will be on the pure magical fun and pleasure. It is important that each act be done gently, slowly, softly, completely.”

The Chanter quietly exits. Linda takes over.

“Gestures”, U.C.B. Series, Spring 1985. Photo by Mary Sullivan.

Here is the complete list of gestures:

HUNCH YOUR SHOULDERS

PUT YOUR HANDS OUT PALMS UP

TILT YOUR HEAD TO ONE SIDE

LOWER THE CORNERS OF YOUR MOUTH

RAISE YOUR EYEBROWS

HUG YOUR LEGS

CROSS YOUR LEGS

CROSS YOUR LEGS

CROSS YOUR LEGS

CLASP YOUR HANDS ON YOUR THIGHS

OPEN YOUR EYES WIDE

OPEN YOUR LEGS WIDE

OPEN YOUR LEGS WIDE

OPEN YOUR LEGS WIDE

OPEN YOUR LEGS WIDE

SHAKE YOUR WHOLE BODY

SHAKE YOUR WHOLE BODY

OPEN YOUR LEGS WIDE

OPEN YOUR LEGS WIDE

WAVE

SMILE

LIFT YOUR EYEBROWS UP

BLOW A KISS

SHAKE HANDS. Focus on having all touching and exchanges be deep, gentle, firm, self-confident, and fun.

SPREAD YOUR ARMS AS IF YOU ARE GOING TO HUG

LOOK AT ONE ANOTHER, VISUALLY EXPLORE ONE ANOTHER, PASS TABOOS

RUB ONE ANOTHER’S BACKS

RUB ONE ANOTHER’S RIBS

PUT YOUR ARMS AROUND ONE ANOTHER’S SHOULDERS

MAKE BRIEF EYE CONTACT WITH THE OTHER, THEN JERK AWAY

HOLD HANDS

RUB EACH OTHER’S HANDS. Feel the gentle warming pleasure

EXPLORE EACH OTHER’S HANDS. Feel the gentle warming pleasure

HOLD HANDS. We have started releasing a physical force in our bodies, EROPLAY. We feel this EROPLAY now as we hold hands. This ritual will take EROPLAY out of social, moral, sexual, and romantic contexts, so that the focus will be on the pure magical fun and pleasure. It is important that each act be done gently, slowly, softly, completely.

RUB NOSES

RUB ONE ANOTHER’S BARE ARMS.

RUB FORHEADS

RUB EACH OTHER’S HEAD, HEAD TO HEAD. Turn on each other’s scalps. Make one another feel like a puppy having its belly rubbed.

RUB ONE ANOTHER’S SHOULDERS

RUB ONE ANOTHER’S BARE ARMS, ARMS ON ARMS.

RUB FORHEADS, FORHEAD TO FORHEAD

RUB EACH OTHER’S HEAD, HEAD TO HEAD. Turn on each other’s scalps. Make one another feel like a puppy having its belly rubbed.

RUB ONE ANOTHER’S SHOULDERS

RUB ONE ANOTHER’S ARMPITS GENTLY

RUB CHEEKS, CHEEK TO CHEEK

LOOK DEEPLY INTO ONE ANOTHER’S EYES

RUB ONE ANTHER’S FEET. Turn them on to an intense warm glow of relaxing pleasure.

STICK YOUR TONGUE BARELY OUT, CURL IT UP AND MOVE IT

HUG ONE ANOTHER…AND ROCK BACK AND FORTH GENTLY. Rock out of any fear or taboos…rock back to primative humaness of being one with another by physical contact

STICK YOUR TONGUE BARELY OUT, CURL IT UP AND MOVE IT

HUG ONE ANOTHER…AND ROCK BACK AND FORTH GENTLY. Rock out of any fear or taboos…rock back to primative humaness of being one with another by physical contact

STICK YOUR TONGUE BARELY OUT, CURL IT UP AND MOVE IT

HUG ONE ANOTHER…AND ROCK BACK AND FORTH GENTLY. Rock out of any fear or taboos…rock back to primative humaness of being one with another by physical contact

STICK YOUR TONGUE BARELY OUT, CURL IT UP AND MOVE IT

HUG ONE ANOTHER…AND ROCK BACK AND FORTH GENTLY. Rock out of any fear or taboos…rock back to primative humaness of being one with another by physical contact

CURL UP, HUG YOURSELF, AND GENTLY ROCK BACK AND FORTH. Rock into comforting trust

JERK YOUR HEAD VERY SLIGHTLY

SHOW EACH OTHER YOUR BARE BELLY AND RUB YOUR BELLY

RUB ONE ANOTHER’S BARE BELLY LIKE A PUPPY’S BELLY, SOOTHINGLY

RUB BELLIES, BELLLY TO BELLY

EXPLORE ONE ANOTHER’S BELLY

HUG ONE ANOTHER

SQUEEZE ONE ANOTHER’S HANDS

SHOW YOUR BARE CALVES TO THE OTHER

RUB ONE ANOTHER’S CALVES

EXPLORE ONE ANOTHER’S CALVES

RUB ONE ANOTHER’S CALVES, CALVES TO CALVES

RUB ONE ANOTHER, ALL OVER

RUB HEADS, HEAD TO HEAD

STROKE ONE ANOTHER’S HAIR

RAISE YOUR HANDS ABOVE YOUR HEAD AS HIGH AS THEY WILL GO

PUT YOUR HANDS ON YOUR GENITALS

RUB ONE ANOTHER’S BACK

EXPLORE ONE ANOTHER’S BACK

LOOK AT ONE ANOTHER

PUT YOUR HANDS ON ONE ANOTHER’S GENITALS

RUB ONE ANOTHER’S SHOULDERS AND NECK

RUB ONE ANOTHER’S CHEST

RUB ONE ANOTHER’S BREASTS

RUB ONE ANOTHER’S CHEST, CHEST TO CHEST

RUB ONE ANOTHER’S BREASTS, BREASTS TO BREASTS

EXPLORE ONE ANOTHER’S CHEST

EXPLORE ONE ANOTHER’S BREASTS

EXPLORE EACH OTHER BY USING EVERY PART OF YOUR BODY

RUB BODIES

INTERTWINE YOUR BODIES AND SLOWLY MOVE TOGETHER

ONE LAY UPON THE OTHER AND MOVE IN SLOW MOTION

EXPLORE ONE ANOTHER’S BODY BY USING EVERY PART OF YOUR BODY

RUB BODIES

INTERTWINE YOUR BODIES AND SLOWLY MOVE TOGETHER

ONE LAY UPON THE OTHER AND MOVE IN SLOW MOTION

EXPLORE ONE ANOTHER’S BODY BY USING EVERY PART OF YOUR BODY

RUB BODIES

INTERTWINE YOUR BODIES AND SLOWLY MOVE TOGETHER

ONE LAY UPON THE OTHER AND MOVE IN SLOW MOTION

EXPLORE ONE ANOTHER’S BODY BY USING EVERY PART OF YOUR BODY

RUB BODIES

INTERTWINE YOUR BODIES AND SLOWLY MOVE TOGETHER

ONE LAY UPON THE OTHER AND MOVE IN SLOW MOTION

RUB YOUR GENITALS FOR BODY COMFORT

EXPLORE YOUR GENITALS FOR BODY COMFORT

PUT THE OTHER’S HAND ON YOUR GENITALS AND GUIDE IT SENSUALLY

RUB EACH OTHER’S GENITALS, NOT FOR SEXUAL REASONS, BUT FOR BODY COMFORT

HUG ONE ANOTHER…AND ROCK TOGETHER

RUB ONE ANOTHER’S BACK

LOOK AT ONE ANOTHER

RUB ONE ANOTHER’S SHOULDERS AND NECK

RUB ONE ANOTHER’S CHEST

RUB ONE ANOTHER’S BREASTS

PUT YOUR HEAD ON THE OTHER PERSON’S SHOULDER. HUG AND ROCK TOGETHER

RUB FACES

RUB FACES, FACE ON FACE

EXPLORE FACES

STICK YOUR TONGUE WAY OUT

LICK ONE ANOTHER’S EAR

RUB ONE ANOTHER’S KNEES

RUB ONE ANOTHER’S THIGHS

RUB ONE ANOTHER’S KNEES, KNEES TO KNEES

RUB ONE ANOTHER’S THIGHS, THIGHS ON THIGHS

EXPLORE ONE ANOTHER’S KNEES

EXPLORE ONE ANOTHER’S THIGHS

HOLD ONE ANOTHER’S WAIST

EXPLORE ONE ANOTHER’S BUTTS

RUB ONE ANOTHER’S BUTTS

RUB ONE ANOTHER’S BUTTS, BUTT TO BUTT

RUB YOUR GENITALS FOR BODY COMFORT

PUT THE OTHER’S HAND ON YOUR GENITALS, GUIDE IT EXPLORINGLY. RUB EACH OTHER’S GENITALS FOR BODY COMFORT, CALMING AND RELAXING

RUB ANYWHERE ON ONE ANOTHER’S BODY

EXPLORE EACH OTHER BY USING EVERY PART OF YOUR BODY

RUB BODIES

INTERTWINE YOUR BODIES AND SLOWLY MOVE TOGETHER

ONE LAY UPON THE OTHER AND MOVE IN SLOW MOTION

RUB YOUR GENITALS FOR BODY COMFORT

RUB EACH OTHER’S GENITALS FOR BODY COMFORT

IN VERY SLOW MOTION, RUB YOUR BODIES TOGETHER AND TALK TOGETHER


Gestures at University of California, Berkeley, July 24, 1986