In one culture a gesture could be a kind greeting, and in another the same gesture is a grave rude insult. People have said that it is “impossible” to have a universal gestural language. They have postulated that gestures are cultural, and not able to be understood universally.

And yet we are attempting this Utopian task: Empatharian is a universal gestural language in the making. As we communicate, initially, we will need to make sure we are being understood, that our communication “equals” what we intend.

The international symbol for equals “=” is the gesture we use: With two hands at neck level, fingers together, facing down, one hand above the other, making an equal sign, it’s quite obvious what you’re communicating: Equals (IS)

Everyone, everywhere triumphs making a stand for peace , which IS> b>

enthused, dignified energy, seeking heart connections to innate joy and wisdom.

The meditation/movement prayer which is the “Empath Stretch”, is especially designed to be intuitive movement gestures which anyone seeing could understand intuitively. That is the game of it: each word is understood without needing verbal explanation, and more than just understood, but felt. The game is for universal understanding: beyond cultural differences, language barriers, beyond national colloquial gesture or to include that.

Tammy Narena, who originally formulated these positions and the concept of Empatharian, which she called “Telesymbols”, spoke five languages, and Russian was her first language. She grew up in South Africa where Africaans and English, as well as Swahili and several other native languages were spok,en. She was a Prima Ballerina and so knew French, the language of ballet positions.

She became a ballet teacher, but also specialized in mime, tap dancing, and national dancing, including flamenco which was called “Character Dancing”. When she taught her senior students, there would always be a 10 minute session of “Call Out” movements, where the teacher would call out movement phrases, and the student would dance them, improvising and emoting through the movements.

Several parents described their child having improved in their school work, from “C’s” to “A’s and B’s” and their personality becoming more outgoing and less shy, more astute and tuned in. From this feedback, Tammy began to observe that her “Call Out” practice seemed to be improving the neurological responses of the students, the more and faster they did it, the more they became better at everything they were doing.

In England, Tammy created “Dancing of the Planets”, where Uranus, Pluto, Venus, etc. all were specific positions/movements and a new movement vocabulary, without the rigorous disciplines of ballet. This soon evolved into “Telesymbols” which then became the project she worked to establish for 35 unfruitful years.

She created over 110 paintings and artworks that were words for different demonstrations. Sentences that had meaning, and perhaps often, ambiguous meaning, so that discussion could clarify, or different people could have different interpretations of the meaning of the sentence. She wrote stories and curriculum for ages pre-school through adult, for children and adults to then move and interpret the story.

So, it was all about “Equals” for Tammy. Meaning becomes clearer when you restate in different words, different dimensions.

So:

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