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All perception of truth is the detection

of an analogy. THOREAU

This is an extension of Post WALKING WITH UNCHAINED PROMETHEUS,WALKING WITH UNCHAINED PROMETHEUS which is continued by the following.

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Prometheus in the Caucasus, experienced terrible moments when every day that vulture devoured his entrails: “Both actions were performed by Prometheus without the permission of Zeus, for which he did not forgive him and punished him by asking Hephaestus (God of Fire, Vulcan) to make unbreakable chains and fasten him with them to the highest part of the Elbruz Volcano. […] Prometheus thus chained on that peak of the Caucasus awaited a vulture, which during the day attacked him, devouring his liver, and whose heart-rending suffering was repeated, for at night it regenerated again, completely replacing all his entrails during the night period, so that the torture became eternal. Fire and agony, daily” (Post WALKING WITH UNCHAINED PROMETHEUS).

PROMETHEUS AT ELBRUZ VOLCANO

Sigmund Freud resorted to some characters from Greek Mythology to represent and exemplify certain desires (inclinations and appetites), rejections (repulsions, aversions, antipathies, contempt, disaffections, detachments and indifferences) and psychological ailments (depressions, attachments, affections and predispositions) of the human being.

Freud’s use of these symbolic characters from the Greek myths – as presented in various dramatic works of Hellenistic antiquity – allowed him to explain some of the recurrent psychological disturbances of the human condition and to give him a basis for the elaboration of his psychoanalytic theory.

We will use the Myth of Prometheus to represent the discomforts and disorders, both physical and psychological, generated by the COVID in patients, and fundamentally in the neurocognitive field.

We have selected COVID to apply in this analogy (simile), because of its characteristics and its symptomatology of psychological ailments (traumatic repercussions) but also because it was suffered by a large number of people worldwide, in a short period of time; it was very representative of what these affected people were suffering daily for several weeks and even months, very similar to the passage experienced by the demigod.

Some of the symptoms that were manifested by the COVID contagion in the patients every day were magnified at a certain time (from 4-6 p.m.), such as a rise in body temperature, body ailments, headaches, etc., which generated trauma, which lasted for several weeks (some patients for several months). It should also be noted that the physical and psychological damage caused by this virus manifested itself recurrently in a large number of patients, just as Prometheus experienced it, hence the simile with this mythological character.

The analogy between the myth of Prometheus and the neurocognitive traumas affecting human beings can be established in various aspects and categories; although it is important to remember that this is a metaphor and not a precise psychological interpretation.

Simply put, Prometheus is a psychological referent(*) to the traumas and neurocognitive disorders from which human beings commonly suffer.

Connection between the myth of Prometheus and neurocognitive traumas:

1.            Prometheus’ perpetual punishment and the persistence of trauma: In the myth, Prometheus is condemned to eternal punishment, where a vulture returns every day to devour his entrails. This could symbolize the persistent nature of the emotional and cognitive traumas that some people experience. Just as Prometheus continued to suffer day after day, many people who have experienced a traumatic event may feel that their painful memories and emotions return again and again.

2.            Prometheus’ immobilization and the feeling of being trapped: Prometheus was chained to a mountain, which made him unable to move or escape from his suffering. This could relate to the sense of paralysis that some people experience as a result of trauma. When someone suffers trauma, they may feel trapped in their negative emotions and intrusive thoughts, which hinders their ability to move forward in life (Post AUTOLIBERATION OF NEGATIVE EMOTIONS THROUGH SELF-SUGGESTIONABILITY).

3.            Prometheus’ constant agony and the lingering discomfort of trauma: The vulture that returns daily to devour Prometheus’ entrails represents an ongoing agony. Similarly, people who suffer from recurrent trauma may feel constant emotional and psychological discomfort, as memories and emotions related to the trauma continue to affect them.

4.            The intervention of Zeus and the role of the mind: In the myth, Zeus is the one who condemns Prometheus to punishment. In the analogy, Zeus could represent the mind of the traumatized individual, which can sometimes contribute to the perpetuation of the trauma through negative thoughts, self-blame and constant ruminations on the traumatic event.

Keep in mind that neurocognitive trauma is a very complex issue and contains multidimensional psychological aspects – dealt with by the science of psychology – so that each individual experiences and processes trauma in a unique way. Furthermore, the process of recovery from trauma involves specific therapeutic competencies (practices, skills) to address persistent suffering and enable healing. However, it is important to note that this analogy, although a simplified form, allows us a metaphorical interpretation of the relationship between the Prometheus myth and neurocognitive trauma.

In this sense, we can define another analogy between the liberation of Prometheus from his chains and the healing process of patients who have experienced psychological trauma and have been neurologically affected. In the following, we express this analogy:

Connection between the liberation of Prometheus and the healing of neurocognitive trauma:

1.            Hephaestus’ intervention and therapeutic support: In the myth, Hephaestus wishes to intervene to free Prometheus from his chains. This can be compared to the therapeutic support that traumatized patients receive from mental health professionals, such as psychologists or psychiatrists. These experts play a key role in helping people to break free from the ‘chains’ of their trauma by providing therapeutic techniques and tools that enable them to address and process their traumatic experiences.

2.            The process of gradual release: In the myth, Prometheus’ release does not occur instantaneously, but is a gradual process. Similarly, healing from neurocognitive trauma is a process that takes time and effort. Patients work with the therapist to identify and understand their traumatic experiences, confront their fears and challenge negative beliefs they may have developed as a result of the trauma.

3.            Regaining freedom and empowerment: When Prometheus is freed from his chains, he regains his freedom. Similarly, individuals overcoming neurocognitive trauma may feel a sense of empowerment and recovery in their lives. As they move through their therapeutic process, they may find a greater sense of control over their thoughts, emotions and behaviors, and thus begin to rebuild their lives in a healthier and more positive way.

4.            Ongoing support: Although Prometheus is freed from his chains, the myth does not end there; his story continues. Similarly, healing from trauma does not always mean that memories and pain disappear completely, but through ongoing support and coping strategies learned in therapy, individuals can learn to live healthier and more resilient lives (Post THE WALK-RWD SYSTEM IS AN EFFECTIVE METHOD OF RESILIENCE), even if the trauma remains part of their future existence (existential story).

The liberation of Prometheus from his chains can be metaphorically compared to the healing process of a neurocognitive trauma, where therapeutic intervention, time and effort contribute to restoring the freedom and emotional well-being of the affected person.

Thus, we can differentiate what Prometheus did personally to free himself in relation to the possibility of a patient’s self-healing through the activities suggested by the WALK-RWD system and fundamentally with the walks in the open air.

Connection between Prometheus’ self-liberation and self-healing through walking outdoors:

1.            Prometheus’ personal initiative: In the myth, Prometheus did not wait passively for his release; he managed to persuade Hephaestus to release him. This could relate to the idea that traumatized individuals can also take personal initiative in their self-healing process. The decision to take walks outdoors in nature, for example, maybe a personal choice that reflects an active desire to heal and find relief in a natural environment.

2.            Zeus’ command: On the other hand, Zeus finally orders Hephaestus to release Prometheus. This could be compared to the idea that sometimes, in the process of self-healing, people voluntarily and consciously seek outside support or recommendations from mental health professionals or loved ones who act as a “command” to take steps toward recovery. For example, a therapist might suggest outdoor activities as part of a therapeutic approach.

3.            Outdoor walking as a pathway to self-healing: Outdoor walks can be an effective tool for self-healing for traumatized patients. These walks can provide a space for reflection, relaxation and connection with nature, which can help reduce anxiety and stress associated with trauma. In addition, physical exercise can release endorphins, which contributes to emotional well-being.

4.            Continuity of self-healing: Just as Prometheus did not free himself from chains once and forever, but rather his process continued, outdoor walking and other self-healing strategies must be consistent and sustained over time to be effective. Self-healing can be a gradual and continuous process in which the individual takes an active role in his or her own recovery.

The story of Prometheus and his liberation, both on his own initiative and at the command of Zeus, can offer valuable insight into the possibility of self-healing for traumatized patients through activities such as walking outdoors, among other actions. Personal initiative, combined with external support when necessary, can be an effective path to recovery and well-being.

It has been reliably established that COVID generated harmful effects of a neurocognitive nature, i.e. a neurological affectation that has repercussions on various brain functions, such as memory loss, fears that are indefinable as to their origin, extraordinary anguish, anxieties, what is commonly called post-traumatic stress, as well as mood disorientation, psychic disorders, confusion and loss of identity, and even the loss of enjoyment of life.

Let us keep in mind that Prometheus’ condition of recurrent suffering defines the psychological state of being. Thus, we can say that the neurocognitive symptoms generated by COVID were a psychological ascendant (**) of the myth of Prometheus; that is, the vulture that returned to devour his entrails is an analogy with those periodic neurological afflictions and other physical ailments, and in this case Prometheus in chains, although he was released from the chains that held him, he was not completely liberated.

With the same character, we can relate Prometheus – to be considered in a general way, not only because of COVID – to the traumatic effect that is generated by negative actions that the human being can receive in an excessive number or enough times to become a traumatic shock. A periodic emotional shock that produces lasting trauma in the mind. How long? This is where the myth of Prometheus with his walking takes on its function.

Just as Freud has pointed out that part of the human condition that is a psychological ancestor of the Oedipus Myth, so too some neurocognitive traumas that human beings have lived through and will continue to live through are psychological ancestors of the Prometheus Myth. Surely Aeschylus was aware of this psychological influence.

Finally, we should think: How does Prometheus free himself from his chains? What does the myth of Prometheus represent in relation to the mechanism of human liberation through walking?

The chains were unbreakable – according to Zeus’ command – but the demigod devised a way to free himself from them. He manages to break free from his enchainment (his bonds) in a way unsuspected by Hephaestus. The same recurring punishment suggested to Prometheus that he should only wait for his body mass to drop to such a level that the shackles that bound his 4 limbs were no longer able to hold him. After 7 weeks he was able to break free from these unbreakable shackles.

One of Prometheus’ feats was to reveal himself to Zeus, but more was his feat of giving fire to mortals. His effort was always oriented to weave a moving plot, both physical, mental and emotional, as he had to manipulate the god of Olympus, in order to distract him and thus help the mortals.

Those Promethean actions were the beginning of a journey to walk, which at the present time we could equate to: what one feels and wishes to be said, is said, even if what is silent is reduced; if what is silent is in excess, it would be a symptom (meaning) -of the neurocognitive type- that the environment that surrounds him has caused him a trauma.

Prometheus’ message to the human being -once he had freed himself from the chains, since he had no need to break them- was that his only unavoidable mission that he must carry out indefinitely was: “To walk on planet Earth”.

In the face of these pandemics and viral aggressions we are ending up like Prometheus in chains, that is, chained to different forms that have been generated by the different varieties of the aggressor virus.

Let’s get down to certain activities recommended by the WALK-RWD System:

– Walking to free ourselves (Post AUTOLIBERATION OF NEGATIVE EMOTIONS THROUGH SELF-SUGGERABILITY). Walking liberates the human being.

– Performing a catharsis while walking (Post PSYCHOANALYSIS AND THE WALK-RWD SYSTEM).

– Walking and at the same time talking out loud, declaring part of the trauma that afflicts us, especially talking about the fears that we suffer or feel (Post WALK AND READ IN LOUD VOICE; Future Post MASCOTIAN CATHARSIS AND THE WALK-RWD SYSTEM-PART II).

– Performing Walking Brain Gymnastics exercises (Post CEREBRAL GYMNASTICS WHILE WALKING-EXERCISES).

– Walking with a pet (Post THE WALK-RWD SYSTEM AND PETS. PART I).

CHAINED PROMETHEUS

(*)PSYCHOLOGICAL REFERENT: The term “Psychological Referent” refers to a figure or model that a person uses as a point of reference in the psychological domain. This referent can be a real or imaginary person, and usually has characteristics or qualities that the individual admires, respects or seeks to emulate. The psychological referent can influence the way someone perceives the world, relates to others and develops their own psychological identity.

(**)PSYCHOLOGICAL ASCENDANT: “Psychological Ascendant” refers to a process of personal and psychological development in which a person experiences growth, improvement or advancement in their emotional and mental well-being. This ascent can manifest in different areas, such as self-esteem, resilience, authenticity or emotional management. It is a term that suggests a positive movement towards a higher or healthier psychological state. This concept highlights the idea of progression and evolution in the psychological realm of an individual.

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I am going to use the words hunger and appetite to try to unravel those cases where we find ourselves – often – not really knowing what we are feeling, i.e. we are unable to distinguish certain emotions and sensations with certainty. And of course, in doing so, to try to promote and convince that we should all walk every day.

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I will start by analyzing its most common meanings, which are those related to food intake, i.e. our nourishment through nutrients, and then move on to other human activities.

Understanding exactly what each of these sensations consists of will prevent us from being misled about what we really feel.

In this scenario, hunger and appetite are two terms related to the need to ingest food, but they have important differences in humans.

Hunger is a physiological sensation that originates in the central nervous system when the body needs energy and nutrients. This sensation is triggered by low blood glucose. Hunger is a signal that the body needs food to function properly and maintain energy balance.

Appetite, on the other hand, is a psychological sensation that relates to the desire to eat. Appetite can be influenced by emotional, cultural, social and environmental factors, such as the aroma and taste of food, the availability of food and past experiences with food. Unlike hunger, appetite is not always related to an actual physiological need for food.

Both sensations are related to the increased or decreased production and release of the hormones ghrelin and leptin. Both hormones are involved in appetite regulation and body weight control. Ghrelin is mainly produced in the stomach and stimulates appetite, i.e. it increases the desire to eat. It has also been shown to stimulate the release of growth hormone and to have effects on the regulation of glucose and fat metabolism. Leptin is mainly produced in adipose tissue and has an appetite suppressant effect. Leptin has been shown to play an important role in long-term body weight regulation by informing the brain about the amount of fat stored in the body. Both hormones work together to control appetite and body weight, and their balance is important for maintaining a healthy weight.

Now, which of these two sensations – hunger and appetite – do we enjoy more? Which of them do we do with pleasure, with greater happiness?

Perhaps this could be the most important answer as to our inclination towards one sensation or the other.

Can we clearly distinguish between the sensation of hunger and appetite?

Here we could enter a scenario that is difficult for some to elucidate and easy for others.

In terms of food, hunger is important because it is a signal that the body needs nutrients. On the other hand, appetite can be more difficult to control, as it can be influenced by psychological and social factors.

Ignoring hunger can lead to malnutrition, which can have serious health consequences.

If appetite is ignored, what are the serious health consequences?

It is important to find a balance between hunger and appetite in order to maintain a healthy and satisfying diet.

It is not easy to solve these questions.

Let’s move on to the part of transferring these 2 words to other human activities, in order to try to clarify ourselves. By doing it in this other way, the binomial hunger-appetite will allow us to decipher and understand -by our own personal nature- this type of sensations, which we ourselves often deceive and confuse, because we do not know how to distinguish these needs.

In addition to walking – which we will leave for the final part – there are other human functions and activities with which we could proceed with this analogy of the concepts of hunger and appetite. We will mention 4 of them:

Sleep: Sleep hunger refers to the physiological need for sleep to rest the body and mind. On the other hand, sleep appetite refers to the psychological desire to sleep because of the pleasure experienced during sleep and the feeling of well-being after a restful sleep. Sleep hunger refers to the physiological need for rest and recuperation. The appetite for sleep, on the other hand, relates to the psychological desire to have a good night’s rest and to enjoy the feeling of relaxation and comfort experienced during sleep. Both needs are related to physical and mental health, as sleep is essential for the proper functioning of the body.

Sexual activity: Sexual hunger refers to the physiological need for sex to satisfy the libido and maintain good sexual health. On the other hand, sexual appetite refers to the psychological desire to have sex for the pleasure of doing it, for the experience of doing it and the feeling of satisfaction that the body -physical and mental- gets after doing it.

Study: The hunger to study refers to the physiological need to learn and acquire knowledge. The appetite to study relates to the psychological desire to know more about a subject and to enjoy the learning process. Both needs are related to intellectual development and the acquisition of skills and competencies that can be useful in different areas of life.

Socializing: The hunger to socialize refers to the physiological need to establish social bonds and interact with other human beings. The appetite to socialize relates to the psychological desire to share experiences and emotions with others and to feel part of a social group. Both needs are related to emotional health and psychological well-being, as a lack of social relationships can lead to feelings of loneliness and isolation (Post HOMO SOCIABILIS OR SOCIALIS? HUMAN AGGRESSION WALKING IN CROWDED PLACES. PART IV of IX).

These scenarios allow us to better understand the confrontation that confronts us with the disparity between emotions and sensations, such as hunger and appetite, being fundamental needs in different human activities, and their functional inter-influence can have an important impact on people’s physical, intellectual and emotional health.

So far it would seem that hunger is identified with the “need for”; and appetite coincides with the “enjoyment of”.

In its analogy with walking in the human being, one could make the following relation between hunger and appetite:

The hunger for walking could be understood as a physiological need to move, to engage in physical activity and to exercise muscles and joints. This need is related to the importance of maintaining an active and healthy lifestyle, as walking is a fundamental activity for cardiovascular health and the maintenance of proper body weight.

On the other hand, the appetite for walking could be understood as the psychological desire to engage in physical activity, either because of the pleasure experienced during walking, the feeling of well-being after walking, or the need to release stress or emotional tension. This desire may be influenced by cultural, social and personal factors, such as the value placed on walking as a physical activity, the availability of time and space for walking, and previous experiences with walking.

In general, both hunger and appetite for walking are important for maintaining good physical and mental health. Hunger for walking indicates the need for physical activity and appetite for walking indicates the desire to enjoy walking. Therefore, finding a balance between the two can be beneficial for maintaining an active and healthy life.

Perhaps we should walk with both words hand in hand, being aware that both are satisfied by simply walking in any way and on any path; but yes, every day, even if it is only for half an hour.

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The purpose of this Post is to achieve motivation to walk, using a different mechanism than the others I have recommended in previous Posts. They are representations of how one can imagine the walk of a “value or virtue” – of those cultural powers – that we have created over the centuries. That is, how we can associate the meaning that this “word” or concept has for us, to the practice of walking.

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Personally, I have chosen some “values and virtues” -always of the positive kind- and I have represented what they mean to me, associating them with Walking.

I have not used anything that is openly negative, such as, for example, sadness, punishment, etc., only those that mean something positive in their essence, according to the culture and our personal experience. And even then, not all of them turn out to be completely positive, as some of them suffer from certain negative characteristics.

Each person, by way of becoming aware of what these words mean, can define the path of these or other values.

LAW:

The walk of “LAW” is firm and steady, with a sure and determined step towards the fulfilment of its norms. It is a slow but unwavering walk, like that of a judge who moves forward with serenity to impart order and justice.

HOPE:

“HOPE” walks in leaps and bounds, with a lightness and joy that denotes optimism and faith in the future; as if floating on air. With a constant step, and each one of them is a small pause to dream and visualize a better tomorrow. He needs to move forward and each step is filled with optimism and expectation, showing a confidence that the future will bring good things.

394. HOPE FLED FROM ITSELF

HISTORY:

The walk of “HISTORY” is slow but profound, as if each movement it makes is an ancestral memory going back in time. It walks solemnly, like a wise old man carrying the knowledge of the past.

JUSTICE:

“JUSTICE” walks with poise and uprightness. Each of its steps it measures with certainty, having firmness and precision, and always seeking to maintain balance and fairness in its walk; as if each step were aligned with truth and equality, seeking to maintain harmony and legality.

MORALITY:

The walk of “MORALITY” is serene and reflective. Each step is a pause to analyze the right path to follow, showing upright and ethical conduct in every movement.

ETHICS:

“ETHICS” walks with fluidity and coherence, as if each movement is connected to the next. Its walk denotes a harmony between its principles and actions.

FREEDOM:

The walk of “FREEDOM” is swift and energetic, like the flight of a free bird in the sky. Its every step is expansive, always seeking new horizons and opportunities.

SOLIDARITY:

“SOLIDARITY” walks hand in hand with others, moving forward in unity and mutual support. Their mobility is warm and comforting, showing the importance of walking together.

EMPATHY:

The walk of “EMPATHY” is gentle and compassionate. Each step is sensitive and responsive, demonstrating a deep connection to the feelings and needs of others.

134. MIMEMPATÍA

FAITH:

“FAITH” walks with a determined and confident stride, as if guided by an inner light that illuminates its path. Every movement is steady and confident, demonstrating a deep belief in what is unseen but felt in the heart.

CHARITY:

Walks are taken by “CHARITY” with open arms, always ready to lend a hand to others. Every step is generous and compassionate, showing selfless giving to those in need.

PRUDENCE:

“PRUDENCE” walks cautiously and sensibly, as if calculating each step before taking it. His gait is thoughtful and measured, demonstrating a wisdom to make wise decisions.

STRENGTH:

The “STRENGTH” walk leads him to always walk with determination and courage, as if he is facing any obstacle with courage. Every step is firm and resilient, demonstrating an unbreakable will.

TEMPERANCE:

“TEMPLANZA” walks with harmony and self-control, as if at peace with herself and her surroundings. Her pace is serene and moderate, demonstrating an ability to remain calm in the midst of adversity.

HUMILITY:

The walk of “HUMILITY” is taken with a calm and simple step, as if she is in harmony with everything around her. Each step is humble and unpretentious, demonstrating an attitude of recognition and respect for others.

MAGNANIMITY:

“MAGNANIMITY” walks with broad and generous steps, as if willing to cover great distances. Their movements are noble and selfless, demonstrating a greatness of spirit and a desire to do good to others.

PATIENCE:

The walk of “PATIENCE” is carried out calmly and serenely, as if at peace with the natural rhythm of things. Every movement is slow and steady, demonstrating an ability to wait without impatience, trusting that everything will come at the right time.

DILIGENCE:

“DILIGENCE” walks with energy and carefulness, as if always moving towards its goals. Each step is carefully and persevering, demonstrating an attitude of responsibility and constant effort along the way.

Each one of them can encourage us every morning to go for a walk, as they enrich the path we take, inspiring and strengthening us to achieve our daily goals.

However, we often want to walk alone. But, if you had to walk accompanied by one of these values or qualities, which one would you choose?

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Jean-Jacques Rousseau, Swiss philosopher and writer, wrote on a variety of subjects, including the importance of walking in life and connection with nature. In section IX of his book The Confessions, he wrote: “…were a sum which kept me from being straitened, and several works I had upon the stocks promised me, without extorting money from the booksellers, supplies sufficient to enable me to work at my ease without exhausting myself, even by turning to advantage the leisure of my walks”. […]At length, all my wishes are accomplished! The first thing I did was to abandon myself to the impression of the rural objects with which I was surrounded. Instead of beginning to set things in order in my new habitation, I began by doing it for my walks, and there was not a path, a copse, a grove, nor a corner in the environs of my place of residence that I did not visit the next day. The more I examined this charming retreat, the more I found it to my wishes. This solitary, rather than savage, spot transported me in idea to the end of the…”

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Walking and solitude were 2 vital vectors for Rousseau for much of his life.

In sections VIII and IX of his book “The Confessions” he describes several events related to his inclination to walk and to be in solitude.

For Rousseau, walking was more than just a form of physical exercise, it was a necessary practice in order to be in tune with his physical and mental body. [Walking: Physical and Mental Body]

In these texts we can infer how walking helped him to clear his mind and find the mental clarity necessary to reflect on his ideas. [Walking-Emotional and Spiritual Well-being].

He describes his love of walking and how physical activity helps him to think and meditate. This activity was essential to his emotional and spiritual well-being.

Rousseau was known for his walks in the countryside, and in his writings he eventually talks about how nature and the contemplation of beautiful landscapes were a source of inspiration for him. He claimed that contact with nature was essential for human well-being and that city life and civilization in general were responsible for the moral corruption and unhappiness of mankind. [Walks-Nature-Inspiration].

In addition to his love of walking, Rousseau also had a penchant for solitude and introspection. For him, walking and meditating in solitude were inseparable activities, and he felt that his mind could only create with his body by walking. He believed that time spent alone was crucial for the development of individuality and reflection on oneself and one’s thoughts. The combination of walking and being alone in nature was for him the ideal way to reach a state of peace and happiness. [Walking-Solitude-Introspection].

He noted how the movement of the body while walking helped him to release accumulated tension and stress, and how this allowed him to feel more balanced and at peace with himself. [Walking-connection and dialogue with the body-Stress release-Emotional balance-Peace with oneself].

He insisted on how contact with nature was essential for human well-being, and that only through living within nature could happiness and inner peace be found. [Walking-Nature-Happiness-Inner Peace].

He described how the beauty of nature inspired him and helped him to find the clarity of mind necessary to reflect on his ideas and emotions. Furthermore, he believed that nature was a source of teaching and wisdom, and that through contemplation one could learn about the harmony and balance of the universe [Mental clarity-Inspiration-Reflection-Wisdom-Contemplation].

After reading his books we have been able to extract some of his conceptions about walking, within these 7 circles that summarize his inclination for this physical practice:

[Walking: Physical and Mental Body]

“Walking is to achieve a balance between my body and my mind”.

[Walking-Emotional and Spiritual Well-being].

“When I walk I achieve a total mental clarity that I can only find in this way”

[Walks-Nature-Inspiration].

“I find nothing so enjoyable as a walk in the countryside, and I would not trade my place in society for any of the treasures of which the world prides itself.”

[Walking-Solitude-Introspection]

“Man is most in harmony with himself when he walks in solitude and encounters nature in its purest state.”

[Walking-Connection and dialogue with the body-Release of stress-emotional balance-Peace with oneself].

“True wealth is not found in accumulating material possessions, but in the ability to enjoy a quiet walk in the sunshine, to find oneself.”

[Walking-Nature-Happiness-Inner Peace].

“The path that leads to wisdom is so steep that sometimes we must walk hand in hand, but the reward at the end of the journey is insurmountable, for inner peace is achieved.”

[Mental clarity-Inspiration-Reflection-Wisdom-Contemplation].

“Walking is the best way to get where you want to go, but it is also the best way to get lost in yourself”.

Seven vital circles where the common element is Walking.

Seven sentences (inferred and elucidated) that summarize and interpret Rousseau’s thought and emphasize the importance he attached to walking as a way of connecting with nature and as an opportunity for reflection and authenticity in life.

Few writers have made clear how important walking has been to them in comparison to Rousseau.

Jean-Jacques Rousseau saw contact with nature as essential to human well-being and believed that only through the contemplation of nature could happiness and inner peace be found. His love of walking in nature was a way of connecting with his body, his emotions and his ideas, and of finding the necessary inspiration for his literary and philosophical work.

Rousseau, like the other thinkers we have mentioned in previous posts, and who we will continue to review in the future, is proof positive that walking is an unquestionable fountain of youth (generating health and preventing illness), and an inexhaustible (unfading) source of ideas and creativity.

Let’s start walking right now and do it every day, and we can obtain the same benefits as Rousseau, in a free, simple and pleasant way.

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The purpose of this post is not to suggest learning the art of ballet, dance or any of its equivalents, nor to transmit how the human body works in movement -during these rhythmic, cadence, practices, nor how its mechanical parts such as muscles, bones, joints, etc. work. Our wish is to transmit the importance of the walking exercise, the upright movement, looking at it from another perspective – anthropological and artistic – from what dance and ballet represent, since these are performed with movements very similar and equivalent to the exercise of walking, besides, for the majority of human beings, dance and ballet are very pleasant.

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In order to explain the subject that concerns us, I must point out that there are two specific terms that differentiate in certain aspects this form of movement that the human body uses to express itself naturally: ballet and dance.

Ballet and dance are terms that are often used interchangeably, but there are subtle differences between them. Dance refers to a form of bodily expression in which rhythmic and paced (cadenced) movements are used to accompany music. Dancing can be a social or entertainment activity, and can have a variety of purposes, such as expressing emotions, celebrating a special occasion, keeping fit, or simply having fun. Dancing is usually performed between two people, a man and a woman.

On the other hand, ballet is an art form that focuses on body expression and choreographic movement. Ballet can be a way of acting out (telling) stories or conveying emotions, and can be accompanied by music or performed silently. Unlike dance, ballet is often considered an art form and can be the subject of academic study and analysis.

While dance focuses on rhythmic movements that accompany music, ballet is represented by artistic expression through rhythmic movements and may or may not be accompanied by music. Ballet is performed individually or in a group, by two or more people, of the same or different sex. However, it depends on which human group is being referred to in this context for these definitions to be correct and accepted.

To be more specific in the English language, the word “dance” is used for the first bodily expression described, and the word “ballet” is used for the second bodily expression referred to, although, depending on the context, the word “dance” is also used. To differentiate between them when naming them, we can say “dance” to refer to dance in general, while for “ballet” we can also use “dance” but with a descriptive adjective, such as “modern dance” or “contemporary dance”, referring to a specific type of dance.

For example, “I love to dance salsa” and “I’m taking ballet classes” are examples of how the terms could be differentiated in English.

Regardless of this differentiation, both words mean a rhythmic movement of the body responding to a musical or percussive sound, or to the body’s own expression. In this Post it will not be necessary to mark this difference in any of its sections, however, it is convenient to be aware of this distinction, for the own knowledge and understanding required for the subject.

In our case, the use of the 2 words represents the same benefits, therefore their use is indistinct.

Although the definitions of ballet and dance, are different, everything mentioned in this post will be applicable to both practices, as both ballet and dance are performed with rhythmic “movements”. Dance is the natural movement of the human being, which responds to a personal rhythm (or a musical one) and is performed either by means of established steps and sequences or only by means of an individual beat. Ballet is the dance that is developed following a musical rhythm and established steps and sequences to be performed individually or in a group; however, it can also be practiced following one’s own cadences.

I repeat: In this Post, it will not be necessary to make any difference between these two words, as they will be considered identical, in all their sections, as they generate the same effects and benefits on the human body and mind.

Now, in order to continue developing this topic, it is necessary to consider the relevance of anthropological, spiritual and artistic in the practice of dance.

In this post, the word “dance” is generally used, not “ballet”. Only in specific cases is the word ballet used.

THE ANTHROPOLOGICAL: Let’s remember that -according to our interpretation- the dance is born by the innate and imperious necessity in the human being to walk -a dynamism that transmits movement to the body and the brain, stimulating the mind and the spirit- and this necessity is sharpened in a very remote time, when the human being stopped being nomadic and he begins to imitate the animals, giving new impulses to the walking, same that provoke the emergence of the dance. In the Post TOTEM AND WALKING-PART I, ANTHROPOLOGICAL ASPECTS, I express: “Walking was analogically preserved as a spiritual practice within the Totemist system. That imperious need to wander, whose beginnings are 2 million years old, we managed to satisfy it spiritually by imitating the animals in their walking and with dance; a rhythmic and cadenced dance, which communicates with a percussive rhythm to their body with the external natural environment…”.

We already commented in Post WALKING AND THE ARCHETYPE “MAGIC” that: “The displacement that is achieved through the archetype ‘Magic’, the soul or spirit of the individual -or group- that is involved in the process of the archetypal images, usually participated by disguising with animal or vegetable costumes, with or without mask, and with rhythms and movements (dance) that resembled the animals he wanted and needed to be present in the ceremony or in the magical ritual, so there is always a relationship between the clothing (or the cave painting mentioned above) that is usually called totemism and the archetype ‘Magic’”.

Walking is a constant flow that renews our existence (Post WALKING AND ITS SYMBOLISM), in the same way that dance does. This arises in a more complex way than walking, perhaps because of the same crisis that the human being begins to suffer in his new sedentary state, because he needs to communicate the distancing that his unconscious suffers with his spirituality, due to the gradual decrease in his walking.

THE SPIRITUAL: We have already referred to what we conceive as spiritual in Post TOTEM AND WALKING-PART I, ANTHROPOLOGICAL ASPECTS, that although it is related to the religious, it is only a part of the being, the other part is made up of artistic activities. We express: “when I use the word ‘spiritual’ I am not referring exclusively to the religious concept; of course they are intimately related, but they are not equivalent. Religion is an evolved phase of Magic and Totemism, as rightly mentioned by James George Frazer, and spirituality is the sensitive and dynamic force (energy), which escapes the rational and the senses for its quantification, dimensions and power, through which, the human being develops certain forms and religious aspects, but also dozens of other functions and soul operations, which only with this ethereal energy, constitutive of being, can achieve them”.

Dance is an intrinsic activity of Totemism, since it leads it accompanies it during all its preeminent presence, that up to the present time we find some primitive groups practicing it, and during their mystical and spiritual representations, dance is their main activity. We can also observe that in modern times we still observe dance as a complementary activity to others, in an unconscious way, such as the preparation of food, requests, petitions and thanks to the gods, games (Huizinga considers dance as something intrinsically ludic), amusements, etc.

We have commented on the biunivocity between dance and food preparation: “An ancestral parallels are the activities we perform when we prepare the daily meal. Sounds are eternal units that reside in the mind, in the interiority of the being, entities that participate in creation when they are emitted by the voice, or by any other means, and received by the ear. It would seem that someone whispered to us advising us that the highest art, the best art, is the one that is performed with the greatest number of human senses. And therefore, we could venture to say that the rhythm in the bodily movements has a profound and subtle effect on the preparation of the cymbals. That rhythmic faculty, sensation and capacity are determinant in the being for it. I do not wish to expand on this, but I do want to comment that the activities that are developed in the kitchen, tending to elaborate the food, have always been carried out in company of movements and work chants – rhythm and compass – since the most ancient times and in very primitive activities such as grinding, cutting, kneading, mashing, combining, chopping, mincing, scalping, severing, mutilating, dismembering, slicing, carving, mixing, baking, roasting, and all of them surely had a compass, a chant, a rhythm, a melody, a cadence (lapse of time), which accompanied and led them. It was characteristic that these were performed in groups and as the activity of food preparation became more of an individual activity, the custom and its rituals of accompanying them with chants and rhythmic body movements in groups was lost”.

Dance has always accompanied Totemism; both are a constant and inseparable binomial. Dance nurtures totemism and stimulates it with rhythmic movements, which usually imitate the way of walking of the animal they are leading – mammal, bird, or any other species – and the group identifies with that animal, since it is the totem they have chosen. At that stage of human development, they began to consider that all things have souls -living and inanimate beings, such as stones and rocks- so they also imitated “the posture and walking” of some plants (animism).

The most common and traditional practice of performing this dance accompaniment to the totem, is its intense realization until reaching ecstasy, losing to a certain degree the senses, placing oneself in “trance” with impetuous movements, until reaching the spiritual contact with the totem-animal.

At present, in our religious rites of all kinds, these ritual dances persist and are practiced in the same way by beginners and advanced dancers or masters, who through them reach semi-conscious states of mystical type, to achieve the union with their god, which is the ultimate goal of all religion (to unite spiritually with their creator god).

THE ARTISTIC: Thus, dance evolves into a new language of the human being to communicate with the rest of the world, with the things and entities that surround him. A new symbolic form using his whole body: body language (Post WALKING AND ITS SYMBOLISM).

Dance is an artistic manifestation of the human body itself that combines music and plastic; in other words, dance is movement, rhythm and plastic.

Dance is born in its origins from the imperious need of being the human being in movement; as well as from the observation and imitation of the instinctive dances of animals, especially (with much curiosity, attention and seduction) in their rituals of courtship and pre-mating, so the dancer executes his artistic creation using his physical body putting it in a continuous movement, which generates an effect of imitation transmitting it to his spectators. I repeat: when I speak of dance I refer to all its equivalents.

Dance is a corporal movement but as a result of that artistic-spiritual need of walking that transforms into a MOVEMENT OF THE SPIRIT, a MOVEMENT of an ARTISTIC type, as a response to that human need of expression.

From Post LISTENING TO OUR BODY WHILE WE WALK I extract the following quote: “Regarding the conjunction and harmony of the body with music, there are elements that correlate them intimately, such as rhythm, pauses, silences, cadence, compass, and all of them in movement (mobility), vibration, displacement, rest and balance. For those people who are inclined to dance or bailar, and also for those individuals who have been told or they believe that they have no rhythm, this conceptualization we will present in the future Post THE WALK-RWD SYSTEM AND DANCING, because they may not respond to traditional rhythms, however, all human beings have their own musical rhythm, and for that reason the same WALK-RWD System orients them to how to be able to know their own compass that will allow them to accept it and to execute it, because for sure they will be able to discover new rhythms, since this is similar to what happens in the artistic plastic environment, even in the musical one, that discover new styles; those people that accept themselves as they are, with their forms and styles that are unrepeatable. “

In this regard, it is important to note the combination of dance with walking, by observing the backward dance made fashionable by Michael Jackson (singer, songwriter and dancer). Walking backwards we have recommended it in the Post CEREBRAL GYMNASTICS WHILE WALKING. EXERCISES. Of course this dance backwards is artistic, representing a new style, and shows us this binomial (walking-dance) that has arisen from an imperious need in the human being.

Something outstanding that I would like to mention that is related to the topic discussed here, is about the Melopea, which one of its defining meanings is the “rhythmic intonation that is achieved when reciting a text in prose or verse”. Already in Post WALKING IN THE RAIN. PART I, I point out something related to this practice: “I would like to mention that I have two books where I have been able to transmit this dance performed at the same time with poetry and plastic arts; one of them is Tap Tap and Poetry and the other is Tap Tap, Plastic Arts and Poetry, and in both I try to transmit my experience of creating music with the percussion of Tap Tap to harmonize Poetry and Plastic Arts, together, in a tri-artistic harmony. I emphasize that I do not use any commercial music, but I fundamentally musicalize with the percussion of the sound created with the Tap Tap dance”. This is none other than the Melopea, that is, a Composition recited with musical accompaniment, of the commercial type; in this artistic process that I have created with Tap Tap and poetry, together with the Plastic Arts, a harmonic Composition is achieved through the percussive accompaniment of the Tap Tap (dance), the rhythm created with the Tap Tap (music) and the poem that is recited.

In order to better understand this relationship between dance and walking and to better expose its artistic and aesthetic characteristics, I will allow myself to compare it with two artistic genres.

Sculpture is permanent visible matter and is plastic because it forms an outline, a figure, a perimeter and a volume, and its visible permanence makes it unlimited. Dance is also matter and plastic, similar to sculpture but in movement, restricted to the human body and not permanently visible.

Music is sound, rhythm and harmony, but it is not visible. Dance is similar to music because it has rhythm, harmony; it is also visible and has movement, aspects and characteristics that imprint and enhance its primal force.

Movement is to dance what sound is to music. Without movement there is no dance, without sound there is no music.

The symbiosis between dance and walking is precisely that movement.

Now, what is movement?

Let us discover the effects that movement has on the human being.

A simple definition of movement in relation to the human body is the change of position experienced by all or part of it, in space and time.

There are 3 propulsive forms that put us in movement: the external stimuli to our organism, the voluntary and conscious needs, and the unconscious or uncontrolled ones.

All human beings respond to the stimuli we receive from the natural and social environment external to our organism, and one of these ways is to set ourselves in motion. However, we also move voluntarily when we consciously wish to do so, without the need of any stimulus –apparently– from the environment around us. The human body is also in permanent motion in some of the organs, systems and glands, generated by the respective physiological functions themselves.

Let us see and analyze only those that put us in motion by our own efforts, by ourselves voluntarily and consciously.

As we have already commented on other occasions, not enough is known about the psychic processes of the mind. In this same context, we can say that we also do not have complete knowledge about the effects that we have when the body is in movement, in such diverse forms as walking, dancing, running, gymnastics, acrobatics, athletics, etc.

The movement of the body is the element or factor that allows us to have a better tangible knowledge of the different physical parts that compose it with the space that surrounds us and with the external material environment in which we are immersed.

In dance, the human physical body is the unique means of expression that together with the motor skills available to the individual, places it in an artistic and aesthetic representation, combined with rhythm, proportion, balance, space, cadence, symmetry, harmony, light, shadows, etc.

The movement of our body generates corporal changes of position in a continuous way, creating a plastic representation of its changing postures. The body as a systemic and integral whole, conducts itself in its movements in a balanced way with its different physical parts that compose it, which, in a harmonic way, respond to the whole body system.

The human body, with its postures and movements, allows us to perceive and understand its general state and in certain occasions, even the particular states of some of its parts that conform to it, and certain affective and physiological aspects of the person.

Body language expresses physical, emotional and psycho-physiological aspects of the human being.

We could say that the physical body of a specific individual is expressed in every movement and every posture (Post LISTENING TO OUR BODY WHILE WE WALK).

There is a biunivocal relationship -of the marginal type- between the different parts of the body, its movements and postures, with the emotions, moods (psychic), mental, spiritual and affective states of the human being. This body language is constituted by general patterns, however, we can observe some differences -marginal- from one person to another.

Each individual could recognize, if he becomes aware of it, his state of mind with the type and form of movement at a precise moment of analysis-evaluation, as well as the postures that his body has externalized and revealed. The language of movement and posture allows us to have a knowledge of the human body, so we could say that to such a posture and movement corresponds such an emotional state. Thus, our emotions can be expressed through the body, across body language (Post LISTENING TO OUR BODY WHILE WE WALK). Through body language we can perceive, in a permanent way, a mental image, clear and specific, of what we feel, suffer, our afflictions, sadness, joys, emotions, sufferings, etc., all the emotional and affective states that the human being can embody. The body language is a first quality “actor-performer” that characterizes our personality (Future Post THE PERSONALITY DEFINED BY THE RHYTHM OF WALKING).

This language, as a whole, constituted by the different body positions, expresses both the conscious and the unconscious part of the character and personality of the individual.

We can also expand on the latter, saying that the body language of an individual transmits his psychological type, or his character and personality, including fundamentally his temperament. This could be supported with a deeper analysis on the state of relationship that keep certain parts of the body with each other, according to the topic that is being analyzed and evaluated, the psychological type.

During the development of the dance, the analysis must be taken to the context of the movement and of the dynamic optics -if it can be said this way-, that is to say, the cadence, the symmetry, the rhythm, and other more variables, are put in a plastic representation, responding to the artistic and also aesthetic aspect, with the concrete objective that the observation (contemplation) is carried out in a marginalist way (minimal body positions) and of the discrete type (not continuous), to highlight each instant where the body parts execute their dynamics in harmony and to observe them as a continuum of the body in movement.

I must be more explicit of what I wish to mean by the marginal aspect in the movement of the body: The human body when put into movement implies a displacement, at least of a small part of it (of the body). For this, it is necessary that some other parts of it remain static, which will serve as support to the part that is in movement. That is to say, while one part of the body is static, it will serve the other part to impel itself and set itself in a stable and balanced movement. Every marginal movement that develops in the dance – as well as any other spatial physical change of the body – is composed of this relationship – trinomial – of support, impulse and movement. To which we could also add that in this process there is no synkinesis (Sincinesia): involuntary movements associated with other voluntary ones. In dance, this trinomial is aesthetically realized in a complete harmony of movements generated by the human body, where a very small marginal movement is followed by another concatenated one.

In this brief way, we realized the importance of moderate, harmonious and balanced movement in the full development of the human body, and dance is an activity that is generated with pleasure and comfortably (placidly), with these special characteristics.

What we essentially wanted to convey is that these fundamental characteristics of dance are the same that we find in the activity of walking and that are vital for the unfolding, development and growth of the human being, in the conscious and unconscious aspects, both physical, mental, psychological, spiritual and emotional:

Dancing and walking are natural activities for the human being.

Dance and walking place the being in general, in healthy movement.

Dance and walking allow us to communicate directly with our bodies.

Dance and walking are symbolic languages.

Dance and walking use the human physical body as a means of expression.

Dance and walking, with their postures and movements, allow us to perceive and understand the general state of the body, as well as the specific parts that compose it.

Dance and walking also allow us to realize the emotional, psychic, spiritual and physiological states of being.

Dance and walking allow us, through their respective expressive languages, to perceive the psychological type of the performer, that is, to know faithfully his character and personality, including temperament.

In general, we can affirm that the body language experienced by dancing and walking, expresses the different physical, emotional, spiritual and psycho-physiological states of the human being.

When we find ourselves walking, let’s observe the way we do it and try to understand what the encrypted data and resonances that our body wants to transmit to us: if it is thanking us for exercising it, or even if there is some claim. What we will never be able to infer or assume is that it is (is found) at any moment keeping silent.

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