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…”
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.”
“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.
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.
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…”.
Artwork # 370. MAYA DANCER
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.
Artwork # 369. MAYAN DANCE OF LIFE
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.
Artwork # 143. BREATH AND LONGING
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.
Artwork # 1003. PLASTIC BALANCES
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.
Artwork # 1238. INTERIORIDAD ENHIESTA
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.
Loya Lopategui, Carlos, Tap Tap, Plástica y Poesía, EMULISA, 2017, México.
We will have to live our present time, to walk through modernity with amplitude on those ancient footprints, that is to say, imitating and repeating -as far as possible- our ancient ancestors, in terms of:
1. Movement and physical dynamism: Walking.
2. The perception of light and darkness: circadian rhythms.
3. Solitude and sociability: Authenticity.
4. Silence and noise: Tranquility and self-esteem.
5. The Absorbing Society: The Here and the Now.
6. Nature forgotten: Walking barefoot.
7. Stress: Lack of time.
8. Vital instincts: Playing without competing.
9. Sedentary lifestyle: Cellular self-generation.
10. Social conditioning: Personal self-realization
All of these are intimately related to our central theme of “walking”; however, there are others that we will also have to consider in order to continue to move forward in balance and well-being, such as food, education, technology, etc., which will have to be studied and observed separately, but with the same depth and seriousness.
We are the same human beings for 50,000 years; our genes are the same, so we must act accordingly. We said in Post HOMO-ITER: MAN WALKER. PART II: “We pointed out, in a general way, how the human being has been abandoning the practice of walking throughout the last 10,000 years, having been, since the most remote times, a perfect walker in his erectus and nomadic characteristic”.
By complying with the 5 fundamental principles of the WALK-RWD System we will achieve attunement with our genetic structure of homo sapiens; thus we will be stepping on the footprints left by our ancient ancestors.
We are almost genetically the same beings, but we do not act in the same way. We are sedentary, as we hardly walk any more; during the day we shelter from the sunlight; at night we place ourselves under artificial lights; we have various social conditioning that lead us down unhealthy paths; and a long etcetera that have distanced us from the ancestral practices that led us along healthy paths.
We also said in that Post: “…the man of the future will perhaps be the HOMO-ITER (walking man), the one who will be more aware that he must now replace some means of transport, to go back to walking, and other activities that he carries out standing he must start to practice walking, and others that he carries out sitting, he must develop them standing and/or walking”.
In Post BODY PARTS FOR WALKING – THEIR CARE, we said that to take care of our body it is necessary to listen to it and we also mentioned this present Post that just by walking, following our own footprints, we could improve its physical state and heal it (WALK-RWD System, p. 502*).
We can consider that this present Post is a complement of Post RHYTHM, COMPASS AND CADENCE IN OUR JOURNEY-WALKING, regarding the health stage, through the application of the WALK-RWD System. We will be able to better appreciate how the System works to reach that healthy stage and also as a preventive mechanism of diseases, through the application of its 5th Principle that is formulated from its implementation, as well as the practice of the rest of the Principles of the System.
In the mentioned Post we present a scheme where you can appreciate two essential stages that are reached with the System: HEALTH and IDEAS, and precisely the trinomial that gives it its name, are the substructures on which our body relies to radiate health and creativity: Rhythm, compass and cadence. These 3 dynamic sources feed the physical, mental, spiritual and emotional body.
This cadence or time span that we employ (use, apply, make use of, serve) when we walk has been learnt over millions of years.
The 1st and 4th Principles guide us to keep a position when we walk. Our limbs must be exercised with respect to our natural vertical axis and in an upright position.
The efficacy of Principles 2 and 3 of the System, procures a better brain functioning, as it generates a better thinking by entering into a structural instability and maintaining its dynamic equilibrium. In Posts THE WALK-RWD SYSTEM ENCOURAGE CREATIVE THINKING. PART I; THE WALK-RWD SYSTEM AND COGNITIVE PERFORMANCE, we have exposed that the WALK-RWD system favors the creation of ideas (and other cerebral and mental benefits) by means of the application of these 2 principles, the 2nd and 3rd.
The 5th Principle is the one that defines and applies in a more direct way the HEALING of our body, generating also, by itself, the prevention of illnesses.
Thus, the WALK-RWD System provides HEALTH, when walking by applying this 5th principle, which guides the people who apply it, to enter in accordance with their own rhythm and cadence, while walking.
5th Principle or Principle of Rhythm, Compass and Cadence.
“Every individual has a Rhythm, Compass (Beat) and Cadence of his own, he only has to discover, apply and maintain them while walking”.
Let’s take a closer look at how the WALK-RWD System works in terms of health irradiation and disease prevention.
The oxymoron expressed in the title of this Post leads us down the path of two apparently contradictory words.
The word sound should be conceived as the resonance that echoes in our body, both physically and mentally, the benefits of walking. And not only walking but all the other elements of healing and satisfaction that are structured in the WALK-RWD System. Walking generates a vibration in our whole body and mind.
Silent refers to the way the system operates. We do not seem to hear its gifts. Regarding the physical part, it proceeds (operates, intervenes) with marginal effects on our body, and therefore we must always wait for a peremptory time to appreciate its achievements, and for them to accumulate, although in the emotional and sensitive aspect the responses are immediate. When we take a walk, we immediately begin to feel healthy, physically and emotionally; we feel better about ourselves. It is difficult to find anything similar that has such effective and immediate results in terms of feeling good.
The WALK-RWD System, through walking, generates healthy and healing “energetic vibrations” that spread throughout the body, flowing to all organs, systems and glands, which in turn impact the brain of the person who practices it (Post RHYTHM, COMPASS AND CADENCE IN OUR JOURNEY-WALKING; Future Posts ENJOYING OUR PERCUSSIVE MUSICAL WALKING; THE PERSONALITY DEFINED BY THE RHYTHM WHEN WALKING). The same can be said of the transmission of energy we receive from the ground, when walking barefoot (Post WALKING BAREFOOT. PART I; and Future Post WALKING WITH SHOES AND WITHOUT SHOES. PART II).
Although there is no solid scientific evidence to support this claim that, when walking, the human body generates energetic vibrations, it certainly produces and responds to various forms of energy, such as electrical flow in the nervous system and biochemical signals that regulate various functions. However, talk of internally generated waves of some kind that may have curative or preventive effects on health is not supported by the scientific community.
The movement generated by walking produces in the physical body a transmission of energy that is transferred to all its organs, systems and glands.
Walking is a physical activity that involves the mechanical movement of muscles and the body in general. During this activity, the body uses energy in the form of burning nutrients, especially carbohydrates and fats, to provide the necessary energy to the muscles and systems involved in the movement. This energy is produced primarily through aerobic metabolism, which involves the use of oxygen to break down nutrients and generate energy in the form of ATP (Adenosine TriPhosphate: an organic molecule that acts as the main source of chemical energy in the cells of living organisms).
In the scientific community, when referring to the activity of walking and its effect on the body, it is more common to mention the metabolic and physiological processes that are generated during this exercise, such as increased blood flow, oxygen transport, liberation of neurotransmitters, among others.
Notwithstanding this scientific position, it is incontrovertible that there is this “vibrational energy” or “energetic waves” that are generated towards the organs, systems and glands of the whole body, when we walk.
Surely in the near future it will be observed scientifically that every human body has its own RHYTHM, COMPASS AND CADENCE when walking, which makes it characteristic of each individual. A personal and distinctive way of walking.
Let us seek, analyze and find our own walking and in doing so we will discover our own resonance that will echo in our body, both physically and mentally. We will not hear anything, but our being will immediately begin to feel better in our soul. Let us continue to walk in the FOOTSTEPS OF OUR ANCESTORS, leaving our own footprints every day, with our own characteristic and personal Rhythm, Compass and Cadence. Let us become the HOMO-ITER of the future (Posts HOMO-ITER: MAN-WALKER. PART I; ..HOMO-ITER: MAN-WALKER. PART II).
(*)Loya Lopategui, Carlos, WALK-RWD SYSTEM, EMULISA, México, 2022. Distributed by Amazon, available in Kindle Edition: https://www.amazon.com/dp/B0B4B9TP26.
Sleeping, in the human being, is a vital function, necessary for the correct work of the organism. During sleep, the body regenerates and recovers, and various fundamental physiological and cognitive processes are carried out. Sleep is a state of rest in which there are changes in brain activity, breathing, heart rate and other bodily functions. We can also consider it an activity because it involves a series of processes and events that occur in the body while we are resting. During sleep, we go through different stages, such as light sleep, deep sleep and REM sleep (REM: Rapid Eye Movement; Post WALKING AND SONAMBULISM), which are repeated in cycles throughout the night. In addition to being a function and an activity, sleep plays multiple roles in our overall well-being. It contributes to memory consolidation and learning, promotes cardiovascular health, strengthens the immune system, regulates mood and promotes hormonal balance. Therefore, adequate sleep is essential to maintain good health and optimal performance in various phases of our lives (Post WALKING AND SEXUALITY; Future Post PSYCOSEXUAL ENERGY AND WALKING).
You can stop eating for 7 days and not die. But you cannot stop sleeping for 7 days because many psychic and physical functions are disrupted. Although walking is an expenditure of energy and sleeping is a saving of energy, both functions complement each other and allow healing, boosting and repairing parts of the body, because of the different tasks each one performs.
Sleeping is not only a “physiological” need for rest to replenish energy (rest, passivity, relaxation, calm, immobility) or energy saving, but it is also a compensatory (restorative) and corrective work, i.e. it has a function of propelling the being (body, mind and spirit) to set it satisfactorily towards the tasks of the next day’s activities, because it also allows the mind to rest and reconstitute itself through various acts during sleep: catharsis, tranquillity, rhythmic breathing, relaxation in neuronal activity, unconcern, no commitments, no obligations, and always in order to be able to move towards daily tasks.
Artwork99.-EX IN VERITATIS
For its part, walking, as we have pointed out, is not only an activity to be able to move, but it contains a multitude of functions that, although it is an expenditure of energy, it also generates in the being (body, mind and spirit) a compensatory and corrective work, but it also propels the cellular self-generation of the organism (Post THE WALK-RWD SYSTEM AND THE CELLULAR SELF-GENERATION OF THE ORGANISM ), keeps it in good health, gives it strength in various orders (physical and spiritual) and places it in a position that has allowed it to reach levels of development that no other animal species has achieved.
Both activities, sleeping and walking, are the 2 sources of free Youth that we human beings have.
I would now like to devote a few paragraphs to the activity of walking, in order to elucidate what this movement (activity) really is and how it favours sleep and therefore the health of the human being.
This Post could have been entitled “SLEEP WELL TO WALK WELL IN THE MORNING”, or also “WALK TO SLEEP BETTER”.
This is a vigorous-virtuous-healthy circle as walking encourages sleeping, and sleeping encourages walking; all of which feed back daily to stay healthy.
I have found, that by walking every day you sleep better, and by sleeping well you wake up better, with the desire to walk, so the virtuous circle of WALK-SLEEP closes every day.
I believe, that walking should be done daily to improve the quality of sleep. This regular physical exercise can help regulate circadian rhythm, reduce stress, promote relaxation, and thus improve sleep excellence and quality of life.
The amount of time or distance to walk daily may vary according to organ capacities, level of fitness, place of residence, tasks performed during the day, and specific goals pursued. However, it is recommended that adults should do at least 210 minutes of normal walking each week, which can be distributed in sessions of 30 minutes a day, 7 days a week. (1) Manual for walking by reading, writing, and drawing.
It is important to remember that each person is special and unique, so everyone can adjust the time and distance according to their own needs, conditions and preferences. At first, shorter walks are recommended and gradually increase the time or distance as the individual feels more comfortable.
In addition, it is advisable to walk outdoors when possible, as exposure to natural light can also help regulate the circadian rhythm and promote more restful and healthy sleep.
GENERAL SLEEP FACTS
On average, it is recommended that an adult should get 7-9 hours of sleep per night to maintain good health. However, it is important to keep in mind that sleep needs may vary from person to person. Some people may feel rested with fewer hours of sleep, while others may require more hours to feel fully rested. In addition, life stages can also influence the amount of sleep needed. For example, newborns and children require more sleep than adults, while older adults may need less sleep. It is essential to listen to your own body and make sure you get enough rest to keep you healthy and functioning properly during the day.
RECOMMENDED HOURS OF SLEEP BY AGE GROUP
1-2 years: They should sleep 11-14 hours per day, including naps.
3-5 years: Recommended 10-13 hours of sleep per night, including naps.
6-10 years: They need 9-11 hours of sleep per night.
11-15 years: They should sleep 8-10 hours per night.
16-20 years: 7-9 hours of sleep per night is recommended.
21-25 years: They need between 7 and 9 hours of sleep per night.
26-30 years: 7-9 hours of sleep per night is recommended.
31-40 years: They should sleep between 7 and 9 hours per night.
41-50 years: 7-8 hours of sleep per night is recommended.
51-60 years: They need between 7 and 8 hours of sleep per night.
61-70 years: 7 to 8 hours of sleep per night is recommended.
71 and older: 7 to 8 hours of sleep per night is recommended.
These are general guidelines and individual sleep needs may vary. Some people may require more or less sleep to feel rested and healthy.
Artwork 837.-NETI, NETI (NOT THAT ONE, NOT THIS ONE). (BOTTOCKETS OF PASSIONS)
Now let’s look at the physical and mental disorders and illnesses that can result from not getting enough sleep.
Lack of adequate sleep can have a number of negative effects on health, both physical and mental. Here are some disorders and illnesses that can be associated with a lack of normal sleep:
Disorders caused by lack of sleep:
1. Insomnia: Difficulty falling asleep, staying asleep or waking up too early.
2. Sleep apnoea: Interruptions in breathing during sleep, which can lead to excessive daytime sleepiness.
3. Narcolepsy: Excessive daytime sleepiness and sudden episodes of sleepiness during normal activities.
4. Shift work sleep disorder: Difficulty adjusting to atypical sleep-wake schedules due to night or rotating shift work.
Physical health problems caused by lack of sleep:
1. Increased risk of cardiovascular diseases, such as high blood pressure, heart disease and stroke.
2. Increased risk of obesity due to hormonal imbalances that affect appetite and metabolism.
3. Increased risk of type 2 diabetes due to impaired glucose tolerance and insulin resistance.
4. Weakened immune system, increasing susceptibility to infection and disease.
Mental health problems due to lack of sleep:
1. Increased risk of developing mood disorders, such as depression and anxiety.
2. Cognitive impairment and difficulties with concentration, memory and decision-making.
3. Irritability, mood swings and decreased emotional well-being.
4. Increased risk of developing psychiatric disorders, such as anxiety disorders, depression, etc.
It is important to note that these are just a few examples and that chronic lack of sleep can have a significant negative impact on overall health. If you experience certain sleep difficulties or suspect you have a sleep disorder, it is advisable to seek medical help for proper diagnosis and treatment.
However, there are various situations, elements or factors that can contribute to the development of insomnia, making it difficult to get to sleep and the quality of sleep. Some of them are mentioned below:
1. Stress: Chronic stress, whether related to work, personal relationships, financial problems or other factors, can interfere with the ability to fall asleep.
2. Mental health problems: Conditions such as anxiety, depression, post-traumatic stress disorder (PTSD) and other psychological disorders may be associated with insomnia.
3. Sleep disorders: Conditions such as sleep apnoea, restless legs syndrome and narcolepsy can make sleep difficult and lead to insomnia.
4. Poor sleep habits: Adopting irregular sleep routines, such as going to bed and getting up at different times every day, can deregulate the circadian rhythm and make it difficult to fall asleep.
5. Unhealthy lifestyle: Factors such as excessive caffeine or alcohol consumption, smoking, lack of regular physical activity and poor diet can negatively affect sleep.
6. Stimulation before bedtime: Use of electronic devices (such as phones, tablets or computers) before bedtime, as well as exposure to bright lights or intense emotional stimuli, can hinder the relaxation needed for sleep.
7. Environmental conditions: An unsuitable sleeping environment, such as a noisy room, temperature extremes, intense lighting, or an uncomfortable mattress and pillows, can interfere with sleep quality.
It is important to note that insomnia can be caused by a combination of these factors and that each person may experience them differently. If you are facing insomnia problems, it is advisable to seek medical help or consult a sleep disorder specialist for proper diagnosis and treatment.
SLEEP REGULATION
Sleep in humans is regulated primarily by the circadian rhythm system, which is controlled by a part of the brain called the suprachiasmatic nucleus (SCN) in the hypothalamus. The circadian rhythm is a kind of internal clock that regulates sleep and wake patterns over an approximately 24-hour cycle (Post THE WALK AND CIRCADIAN RHYTHMS-PART I).
The suprachiasmatic nucleus of the brain receives light information through the eyes and uses this information to synchronize the circadian rhythm with the natural cycles of light and dark. When there is light, the SCN signals the body that it is time to be awake and active. Conversely, when the light dims and night approaches, the SCN signals the body to prepare for sleep and relaxation.
Melatonin: The pineal gland produces melatonin, a hormone that helps regulate the sleep-wake cycle. Melatonin production increases in response to darkness, which promotes drowsiness and sleep.
Adenosine: Adenosine is a chemical that accumulates in the brain while we are awake and plays a role in promoting sleep. As the amount of adenosine in the brain increases, the feeling of sleepiness increases.
Stress hormones: Cortisol and stress hormones, such as adrenaline, can also influence sleep. High levels of these hormones can make it difficult to fall asleep and keep us awake.
The right balance between these hormones and circadian rhythm regulation helps to maintain a healthy and adequate sleep pattern. However, several factors can interfere with this regulation, such as sleep disorders, stress, changes in sleep schedules and exposure to artificial light during the night.
It is important to maintain regular sleep habits and maintain a suitable environment to promote quality sleep and ensure optimal functioning of the circadian rhythm and sleep-related hormones.
MEDICINES FOR SLEEP
There are medicines and substances that can be used to treat certain sleep disorders and help improve the quality and duration of sleep in some people. However, it is important to note that the use of these medicines must be supervised by a doctor of medicine and that each case is unique, so the benefits and risks must be assessed on an individual basis.
I have found that the application of the Virtuous Circle of Walking-Sleep avoids the need to resort to the use of sleep medications.
Taking drugs or substances to improve sleep without proper supervision can be harmful. Unwanted side effects such as excessive daytime sleepiness, confusion, memory disturbances, dependence and addiction can occur. In addition, some medications may interact with other medications you are taking, which can cause adverse effects.
Feeding, sleeping and walking should be done daily. Stopping the first 2 activities becomes intolerant, but not walking goes unnoticed; however, all 3 are essential for optimal health of the body, physically and mentally.
This picture shows the perception we make when we stop sleeping and eating, which is quite intolerant for every human being; while when we stop walking, we are not aware of it; however, silently our body -physical and mental- resents it.
Let us walk, as we sleep and eat; let us do it every day (Future Post WALKING WITH EROS AND TANATOS. PART II).
The appropriate solution for all is to enter daily into the Virtuous Circle of WALKING and SLEEPING.
(1) Loya Lopategui, Carlos, Manual for Walking, Reading, Writing and Drawing, EMULISA, Mexico, 2016. Distributed by Amazon, available in Kindle Edition: https://www.amazon.com/dp/B09K6N5FTL.
In Post WALKING TOWARDS THE CONCEPT OF FREEDOM OF 20 THINKERS. PART I We proceeded to infer, from the ideas and conceptualizations that 20 thinkers had about freedom, what the practice of walking represented for each of them. Now, we will try to venture into the area of pictorial creation. We will try in an imaginary way to walk inside one of the houses that Van Gogh painted, creating its interiors. We will use Artificial Intelligence to discover several of these rooms, such as the living room, dining room, family room, bedroom, courtyards and gardens, etc.
We chose Van Gogh because he was an outstanding creator and one of those who made a considerable number of houses. Of all of them (Van Goghian houses), we have selected one to recreate these hidden spaces.
To imagine walking inside one of the houses painted by Van Gogh, any of them, means a great effort that we have to make to conceive what the arrangement of the house would be like.
Anyone can carry out this mental exercise to idealize one of the houses he painted, however, it is very attractive to observe 4 or 5 printed rooms that Van Gogh himself could have imagined. It is a very interesting exercise as it allows us to “play” with a wide range of possibilities. We select the house that we like the most, the one that may hide certain plastic characteristics that appeal to us: the place, the countryside or the city from which Van Gogh drew his plastic motifs. However, it can be any painting by any painter.
As a further reference to the cause for which this proposal-invitation to motivate walking arises is Post WALKING: FEELING AND ENJOYING, which has turned out to be quite objective illustration of the 2 outstanding aspects that I explain in it, about “FEELING” and “ENJOYING”, which sometimes we don’t understand clearly, especially the concept of feeling.
Of course, this is an idealized way to promote and encourage walking; however, additionally, I should mention that it is also a consequence of my recent book, entitled “VISITING THE INTERIOR OF THE ARTWORKS OF GREAT PAINTERS” (1).
In this book, I expose the use of Artificial Intelligence to recreate the interiors of any painting by the Great Masters of Plastic Arts, and with this description we can recreate the architecture to build that house or use Holography (Chapter 6 of the aforementioned book), in such a way that we would not necessarily have to build that house, we would only wander around inside it, by means of holographic images.
As we already mentioned in Post WALKING: FEELING AND ENJOYING, autotelicity refers to doing an activity for its own sake, because of the intrinsic satisfaction it brings, rather than for the purpose of achieving an external goal: just walking for the pleasure of doing it.
In this case, using holographic images for walking could be considered autotelic for several reasons:
Immersive Experience: Holographic technology provides an immersive and exciting experience in itself. The sensation of being surrounded by three-dimensional images while walking could be rewarding on its own.
Exploration and Discovery: Walking with holographic images could allow you to explore interesting and exciting virtual environments. The simple act of exploring new worlds and discovering details in the images can be intrinsically rewarding.
Sensory Stimulation: The combination of physical movement with holographic visual perception could provide unique and pleasurable sensory stimulation. This could generate a sense of connection between your actions and the images you see, contributing to autotelicity.
Creativity and Play: If you have the freedom to interact with and manipulate the holographic images during the walk, you could be engaged in creative and playful activities. These activities tend to be intrinsically satisfying because of their autotelic nature
In short, walks using holographic images can be considered an autotelic activity because of the intrinsic satisfaction that comes from the immersive experience, exploration, sensory stimulation and creativity associated with holographic technology. It is not so much about achieving an external goal, but about FEELING and ENJOYING one’s own action and experience, about FEELING and ENJOYING a walk inside the idealized rooms of one of Van Gogh’s painted houses.
For copyright reasons, we will only present images of the interiors that we created with the support of Artificial Intelligence, recreations obtained from one of the artworks executed by Van Gogh.
As I mentioned in a previous paragraph, this is a sublimated way to promote and encourage walking, as perhaps no one is encouraged to walk inside a house, let alone in an idealized way; however, for a considerable number of people who are reluctant to walk, just showing them some ideas of how Van Gogh might have imagined a house to paint its façade is probably enough to get them to take the first steps and get them to walk, if not inside their house, then outside it.
We could also, in order to imagine walking outside that Van Goghian house, recreate the courtyard in front of it and the courtyard behind it.
Let’s waste no time and go for a walk, imagining that we are walking through one of the courtyards that Van Gogh walked through.
(1) Loya Pinera, Rodrigo & Loya Lopategui, Carlos, Visiting Inside the Artworks of Great Painters, EMULISA, Mexico, 2023. Available on Amazon, Kindle Edition: https://www.amazon.com/dp/B0D3GMC9KR.
