How did you gauge your body as an average on a scale of 1 to 10 (1 being very low, 10 being very high) in terms of the following parameters during the day:-
Temperature Range: 8
Density:10
Energy Level:9
Speed:9
What are your main observations and/or experiences from the MB?

What are your main observations and/or experiences from the Manipulations?
Working with Marianne, who's been here only for a shorter time. She has a singers' abdominals.

What are your main observations and/or experiences from the Ground Work?
Christine gave the MB. With more than 2hours, it was quite long and very varied in its' elements. I remember mainly the "slimber-body" sensation from it, and release through my upper spine. Enjoyed the low volume of the music, able to hear the wind lots. This time no problem in shift of "style". My body feels overall adjusted to almost no matter what. Switching physically has become much easie

What are your main observations and/or experiences of the whole day?
Bisoku with recollection of moulding the body to the landscape during the walk the previous day. 3 stations to this. Standing in one row facing the ridge just before we start the walk; familiar view and territory. First rock, where we said goodbye to two participants, who walked back away smallish below us through the 1hour desert stretch we had just crossed. Last stop close to the only shadow throwing tree, looking into the far beyond at the other side of the mountain range (Ewings'). I then had hardly moved at all. Now my memory came back through my body in great detail, and things which I thought of as forgotten emerged lightly and with speed. My body moved very diversely and easily without the attachment of thought. First or second favourite Bisoku experience in my relatively short BWL-history. (4 years) "Stukkies": First quest for compositional undertaking on chosen locations along the riverbed. One hour and a bit of prep-time by oneself. Using the elements of all the previous work we did during the workshop. (Tess repeating a list before we ventured out). Remember it being an unsuspected moment in time for this. Started out a bit reluctant, but rediscovered a spot in which I had wanted to work already before the workshop had started out. By a tree close to the playground area next to the riverbed, where fires had been burned and a low ditch had gathered the coal-ashes. Fresh in my memory: the visit of the horses Aboriginal neighbouring people owned. They were grassing after dawn behind a fenced in little patch, and during my visit were hardly moving at all (at most their heads, never quicker than 1cm per second). It was midday and full heat then. So I structured the mini-piece of officially up to 3min into three parts, outlined by my hovering positions and the travelling time from one to the other within a circular area of about 3x my body length. (These came from the suggestion of being placed within the landscape by other people or external influences). I start working on a slope, shaping my body linearly and stretched out into a position reminiscent of Manipulation Nr.1 starting point. Arms turned in and stretched out above the head. Pressing my lower back into the concave shaped earth patch. I travel by getting up with legs like clouds and upper body like water, feet slipping away underneath me, backwards walking up the slope away from the observers' point of view. Once up high, I turn around and add the sensation of being led blindfolded on a string, while stumbeling across rocky surfaces and grasses, feet needy of quick reaction and sensation of awkwardness. Old. Drunken. Keeping that I lower myself down through the knees to match the descending slope and exaggerate it. Before it ascends again, I copy a movement out of Tesses' MB where the arms open up and flap into the sky, and add a fall through my knees onto the knees (2x). I get up again to continue with the legs as clouds and upper body as water matching the ascending slope. On top of that, I lower into the horse-resting position (Both legs and hips to one side onto the ground, ellbow-joints flexed and hands close pointing towards the torso. Head above all of this. I move not for 30sec. Then the head moves 1cm-10cm per second looking at surroundings with nose following an imaginary finger. This forms half time. Time suspended now, I get onto all fours, while my spine directs itself between two selected sounds coming from either side of my body. Layered besides this is me crawling into the ash-ditch across rocks and earth, keeping as much weight off of my arms and lower legs as possible and sensing the textures. On the bottom I look up to a string attached to the tree above, roll slowly across my head to reverse the direction and lower my back (as in Manipulation Nr.2) to mould with the shape outlined by ash-patterns on an ascending slope.(10cm p.sec.) By now parts of my body are covered with ash I'm meant to throw up into the air but don't, and my psychy is taken over by all which I don't do. History of this fireplace to my knowledge is connected to its use during gatherings of Aborignal people by the riverbed (but not only them, I'd guess). I end, once both of my legs have reached the ground along the slope, and I feel sufficiently settled upside down, by lifting my right leg as if it were manipulated by somebody else and then dropped. Sounding. Once. Twice. What are your main observations and/or experiences of the whole day? Fantastic to see all these min-solos' and get some idea of peoples' "ideas" and bodys left to themselveswithin the given parameters. It too a long time, and most solos were longer than 5min. We agreed to keep showing on later, after, or the next day. Things became somewhat confusing, tiredness, long evening, long talk of Dougie and Bob..... The arrangements not clear. People went to sleep or did similar things to sleeping, and were woken up to continue the work at about 10pm with flashlights. The night-shift visions were exciting, but I had wished all along for some nightwork like this under more fresh circumstances. We work some inside Julias'installation after that, voluntary improvisation. Short-cut, dry, but worthwhile for a number of reasons. Especially Julias' excitement and effort.