Ferus Animi // Terra Nova is a movement research practice, built around the application of modern physiological, cognitive and neuroscientific understanding into supplementary training methodologies for cross disciplinary movers and craftspersons. In our research we explore many aspects of human evolutionary physiology, including the Roles of the Sympathetic and Parasympathetic Nervous System States, Environmental Adaptation in Action, the Circadian Rhythm and Chronotypes, the roles of Play, Failure and the Reward Centres in Cognitive and Motor Learning, the Sensory and Motor Homunculi, and the concepts of Neuroplasticity and Tensegrity, as well as taking anthropological and philosophical examinations of our modern training habits and lifestyles. Our workshops are appropriate for anyone looking to supplement their practice with new perspectives and tools.
Jorge Itapuã Beiramar
"Capoeira Orgânica - Organic Flow"
Capoeira Orgânica: É um método desenvolvido por Jorge Itapuã para se aprender a jogar Capoeira sem precisar ficar fazendo exercícios mecânicos e repetitivos. Sua proposta é de através de exercícios de consciência corporal e jogos corporais, estimular o exercício dos princípios básicos do jogo da Capoeira, como o movimento individual expressivo, a conexão com o outro, a criatividade e a fluidez.
A partir do auto conhecimento, surge a expressão individual, que em conexão com o outro qualifica o entendimento do jogo corporal e somado a busca pela fluidez do movimento, se chega ao movimento espontâneo, orgânico.
Nesse método, o jogo da Capoeira é a base para integrar outras técnicas corporais como o Yôga, a Bioginática, o Jiu-Jitsu e o Play-Fight, entre tantas outras práticas possíveis.
Módulo actual: Defesa/Ataque A intenção do ataque e da defesa está sempre presente no jogo corporal da Capoeira Orgânica, muitas vezes com uma atitude em sinergia com o outro, outras vezes em disputa. Nesse novo trimestre vamos estudar o gestual de ataques e defesas presentes nos embates corporais.
Golpes de Capoeira, quedas, projeções e elementos de defesa pessoal serão introduzidos e trabalhados nas aulas, como ferramentas para ampliar as possibilidades do jogo! Segurança e cuidado com a integridade física e emocional de todos praticantes é garantida em nossa abordagem. Vamos Jogar!
"The right art is purposeless, aimless. The more obstinately you try to learn how to shoot the arrow for the sake of hitting the goal, the less you will succeed in the one and the further the other will recede. What stands in your way is that you have a much too willful will. You think that what you do not do yourself does not happen." - Eugen Herrigel

Each day of workshop will consist of 3 parts:

* Part 1 - Warm-up Tom's concept of warm-up is based on the mover's need to tune into a clear and subtle quality before their practice and execution. The routine Tom follows and teaches is inspired by concepts of Chaya (Shadow) Yoga and particularly the "Balakarma" series (stepping into strength), and other forms of soft martial arts. The warm-up routine emphasizes the opening of the darkest parts of our bodies - our legs, which are also the most distant from our eyes. Demanding postures alongside gentle flow with circular motions and spirals will be introduced in order to provide better awareness of the lower parts. The second principle Tom wishes to unfold is preparations (or introduction) to low movement while maintaining the gentle functions of the wrists and neck as tools for balance, sensing the space and organically digesting physical information; internal and external.

* Part 2 - Technique/Floorwork Tom's technique of floor work serves as a "risk management" mechanism which ultimately, leads to freedom in a much larger scale than usually experienced by performers of a single discipline. Tom introduces dynamics of falling, rolling, collapsing, flipping and melting down in order to reduce and eventually eliminate the type of actions we usually refer to as "failure" in dance, athletics and martial arts. The practice is composed both of simple, almost "daily" actions, alongside "complicated" acrobatic risks without distinguishing between them or judging what's important and unimportant. This approach allows a blend of influences from the Animal Kingdom, Capoeira, Gymnastics, Tae Kwon Do, Parkour, Brazillian Jiujitsu and Bboying to fall effortlessly into an empty category of functional motions.

* Part 3 - Archery The "Archery" practice is Tom's sincere attempt to create a practice of movement which lies in the space between fight and gestures-free expression. The practice can be executed with two movers and up, and involves the development of both circular and sharp reactions which leads to high levels of awareness and a fluent - "tactical" mind. The movers will go through different forms of "games" which can wear strict rules and objectives or just a physical play of examining and interacting - a play we are all familiar with but tend to lose during our mature life in modern society. Upon practicing Archery one can feel either like he or she is involved in a very skillful combat or in a passionate dance full of risks and traps. It is important to note that the name "Archery" ultimately holds nothing behind it as it constantly changes and flows into the shape the practitioners make up according to their needs and passions.
Ancestral Movement is an open exploratory practice uncovering movements and cognitive abilities innate in human bodies because of our ancestry, stretching back through deep time to the beginning of life in the womb and all the way back to the very origins of life on the planet. Movements that we share with all other creatures that have ever lived on the earth: our fellow primates and mammals, all creatures with four limbs, with a spine, a central axis, a segmented body plan, a digestive system, all creatures that evolved in the ancient oceans, all creatures with a vascular system, all cellular life. Movements and abilities that are unique to the human species: empathy, mimicry, shape changing, storytelling, theatre.

In this practice we will be studying the evolutionary anatomy of the body, the adaptedness of our various body parts and patterns to the different natural environments in which our ancestors have lived over the ages, anatomical and behavioural comparisons with other related organisms, and including the basic and practical understanding of the brain and nervous system, the combined science of neuroplasticity and the integrated systems of body awareness, emotion, pain, memory, empathy and nonverbal communication.

We will use movement, breath, directed attention, emotion and imagination, in solo practice and with partners, to open up deep and forgotten parts of the body normally hidden from conscious awareness: every tiny articulation of the spine, ribcage, abdomen, the diaphragm, throat, pelvis and skull, and hidden muscles joints and movements throughout the body. Ancient, fundamental ancestral movement patterns will emerge which we can use to integrate these hidden and forgotten areas back into our self-image to become more alive, aware, expressive, creative, powerful and sensitive to ourselves and to the other human and non-human bodies around us.

Some sessions will have a more internal focus, others will be more externally physically strenuous. All of the practices can be scaled according to individual abilities, and all sessions will be challenging but extremely rewarding for people of all backgrounds and physical capacities, including teachers and advanced practitioners of any other disciplines.