Contemplative Dance Practice nach Barbara Dilley

The genesis of CDP can be traced back to the adaptation of day-long group meditation sessions called nyinthüns. CDP is both a “Dancer’s Meditation Hall and a Meditator’s Dance Hall,” says Dilley—embodying Trungpa Rinpoche’s wisdom of finding the present moment through the synchronization of body and mind.

The form of CDP requires an open room, reminiscent of meditation halls, adorned with cushions, chairs, or benches for seated meditation. A subtle bell marks the beginning and end, creating a sacred space or container for the practice. The instructions aim to integrate the art of sitting practice with movement research, inviting practitioners to explore the delicate balance of being alone and together.

Dilley explains, “The underlying motivation was to let each person find their own connection between the stillness of sitting, posture, and movement to study what happens to your body-mind as you come out into the open. You have a chance to work alone and together. That was something that came to me out of being in the nyinthüns—we were all alone together in that shrine room for three hours. It was never face-to-face. So when I was teaching CDP, I would talk about being alone and together and ask ‘What is that membrane or atmosphere between you and other?’”

The practice of Contemplative Dance Practice includes several distinct stages. It begins with the Opening Circle, where participants initiate the session with a bow, inviting a sense of togetherness. Introductions and a brief overview set the tone, preparing individuals for the exploration ahead. The session then transitions into Sitting Meditation, initiated by a resonating meditation bell. Here, practitioners are guided into a state of relaxation, focusing on breath sensations and noticing subtle micro-movements.

The practice then progresses to Personal Awareness Practice (PAP), marking a shift from stillness to movement. This phase encourages participants to explore meditative awareness in motion, fostering self-care, research, and spontaneity. The incorporation of kinesthetic delight and carefully curated sound environments supports individual self-discovery.

Open Space then follows: each practitioner enters the space with a bow. This phase often stirs emotions and thoughts, which the dancer is encouraged to embrace. The practitioner is invited to take on the role of host to the present moment and track where their awareness leads. This naturally accentuates the role of the practitioner as a host to the unfolding moment. Freedom to enter and exit is granted, and there is a steadfast commitment to self-responsibility and non-harm. During this stage of the practice, Dilley would guide students by asking questions like, “Who do you meet when you come into the space? What is your relationship with? Whoever else shows up there, do you work with them or do you turn and go away?”

CDP then culminates in the Closing Circle and Discussion. Participants gather for reflective discourse, sharing their unique experiences. Once personal perspectives have been shared, the session concludes with a collective bow.

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