Choreographing the Arcane

Choreographing the Arcane:
An examination of the poses and motions of the body in reference to arcane incantations
By Magus Nawen Beign
Senior Mage of M'Chek/Mikona
Sedera Yerak'Le'Yeritath
(Green Order of the Forest)

Most all casting movements are in reference to the hands and fingers. This is due in large part to the scholarly set refining and reducing the art to a series of short precise movements. Furthermore, by the steelcasters reducing the moments even more so to the point they no longer exist. As stated, this is an art, as several fellow magi of the Red Order of the Flame who remind me. So let's explore the art of whole body movement. This idiosyncrasy of casting does not conform to the scholarly approach which relies on the fingers and hand movement but this is more rooted in bardic designs** and sorcery ways for its more expressionist view of the Vortex.

One must understand how a sorcerer is able to perform incantations. It is true we do not spend days, months, or even years studying runic charts, elemental tables, or piles of scrolls by candlelight. The vortex is within our blood and coursing through us. This gives us a distinctive advantage and some disadvantages. While can can't learn as many incantations as the scholarly approach. Our methods for performing such resides not in an intense study but our creativity and passion for the art; imagination. Imagination is expressive and emotional; no two sorcerers will see the same thing in the mind before bringing it out from the vortex. This is but a brief summary of how a sorcerer of that method as we are addressing their movements.

To understand the movements; one must accept there that there is timing, tempo, and even rhythm to performing incantations. The position of the hands in relation to the arms timed with the words being spoken and how the words are spoken. Given all that, the concept of full body arcanic motion becomes simple. It is an expression of a desire to the vortex to allow what one sees to come forth. A dance with Andrinor, one might say.

This is also a varied field of the art. For each sorcerer be them Trust or hedge, there is a uniqueness to their method. Therefore, I can only comment on my own methods of movements. Movements are hard to describe and do change based on emotions and environment conditions; just to name a few. The following is just a brief example of such moments for a few incantations and the Nanshilae terms for movements were the ones taught to me by my Uncle Xandor in Elysia when he was teaching me the art of dance.

In performing the incantations to throw a jolt of electricity from my finger, I will move as if the electricity is within me already and most avoid certain moments in this cause as to not allow the current to cross over vital organs. This can mostly be undertaking while using the 'Meleh Laav' method of movement.

An incantation like firebrand*** where the movements start low to the ground as one sees the fire rising up from the ground in their mine. As I rise, the fire comes up through the ground and unleashes; sometimes encompassing a spin, twist, or even series of jumps. The later is known as 'Nathar Nathar' steps.

When I partake in Isaac's the dance comes alive. Movement becomes important in helping to direct the energy where to strike. Spinning, swaying, and even footwork becomes a part of the incantation itself. Hatool Reygelen'and staying very light on one's toes.

Ice Storm*** by far is one of the most expressive movements I've found in the art. To visualize the ice one thing one but to move and produce so is a sight. The twisting winds of the north that flow between the mountains, the untouched snowfields, and the clearest of skies all add up to creating the ice. Then leap and with outstretched arms bring it down upon those unexpecting antagonists. Sometimes referred to as 'Bathak Oyf.

In closing, the arcanic arts are an art form that should never be limited, but explored through both structured means and creative ways. One should always be encouraged and encourage others to explore where their heart leads and listen to the theories of other magus as we try to understand the Vortex with a greater meaning to its nature and meaning. When we deny or refuse to explore an idea, we are denying ourselves the knowledge from such thinking. Even if it is knowledge we do not agree with or understand, it is still the Vortex and should be respected and understood to the extent we can understand it.

** Bardic design will be addressed in The Bardic Key of Vortex: The blending of song and the vortex into art

*** These notes are in reference to pre-Aeromancer studies and are used as to confuse the reader by citing lighting