On Body Philosophy of Dance and Basic Categories and Conceptual Clusters of Dance Principles

Jing-yuan

What dance really is? Why is it turned from something ubiquitous in people’s life to a performing art in the “ivory tower”? What exactly is a dancer’s body? Why is it turned from the “subject of life” to the “expressive tool” of dance styles? These are the questions that need to be answered in constructing the dance principles. Based on a series of basic categories and conceptual clusters in the theories of physical being structure and life process in Chinese medicine, this paper reflects on the existing problems of body cognition in the fields of education, creation, and research of contemporary dance and on the foundation of dance principle construction.

foundation of dance principles, body philosophy, Chinese medicine, basic categories, conceptual clusters

As the “artistic quality” of dance improves, the body of dance is going further and further in a direction of being anti-human, anti-natural, and anti-social. Contemporary dance becomes an art and a profession, and the focus of the dancers is to master the professional knowledge and techniques. What they have learned, used, and studied in the fields of body training, artistic creation, and research of the contemporary dance are mainly the postures,styles, flavors, and skills of folk dance, classical dance,and modern dance inherited through the modern and contemporary civilization. Meanwhile, since the rule of training a dancing talent has it that “one minute of performance on stage, ten years of hard work off stage,”the main space for a dancer’s body to stay is the closed place such as a dance studio or a theater. Hence, a dancer’s body has less and less contact with nature and society.

What dance really is? Why is it turned from something ubiquitous in people’s life to a performing art in the “ivory tower”? What exactly is a dancer’s body? Why is it turned from the “subject of life” to the “expressive tool” of dance styles? These are the questions that need to be answered in constructing the dance principles.

What should a complete dance principle system be?I believe it should include not only the technical principle(the principle of dance techniques, skills, and methods),the artistic principle (the principle of the artistic creation of dance), and the mechanism (key factors of the changes and development of dance) but also the philosophy(dance ontology, epistemology, and methodology) and medical principle (the principle of the existence of dance body and life process) (see Figure 1). And today’s construction of dance principles is still focusing on the technical principle and the artistic principle of the upper levels, while the construction of the basic levels,especially the medical principle, is inadequate.

Figure 1. The levels and system of the dance principle construction.

According to common sense, the “medical” and“artistic” principles seem to be associated mainly with occupational diseases. However, the traditional Chinese medicine has told us that the “medical principle” is to study the principles and system of the physical existence and life process of human beings — a knowledge system that dancers must comprehend. Based on a series of basic categories and conceptual clusters of the structure of physical being and life process in Chinese medicine,I have reflected on the dance principle construction of the Chinese dance. Also, I believe the reference and the reflection are also applicable to the entire education,creation, and research fi elds of contemporary dance.

Figure 2. The connotation and denotation of the concept Shen (see FU Jing-hua’s lecture notes).

Basic Categories and Conceptual Cluster I: Shen (神，spirit), Xing (形，formation),Shi (時(shí)，process), and Ji (機(jī)，origin of changes)

To haveShenandXingin their works are the ideals pursued by the dance creators and performers. However,these categories have not been studied thoroughly in contemporary dance field. What isShen? It is regarded by the Chinese ancestors as the origin of all things and of life. While the sun, the moon, and the stars are called as the “three wonders in the sky” andYi,Bing, andDing1as the “three wonders on earth,”Jing(精，essence),Qi(氣，breath, air, and the energy), andShenare called as the “three wonders of people.” Therefore,Shenis closely related to men’s life and death.

Mr. FU Jing-hua has summarized the understandings ofShenof life as follows:Shendominates life activities and is the dominant way of life and movement. It is a comprehensive re fl ection ofShen,Hun(魂，soul),Po(魄，internal spirit),Yi(意，idea), andZhi(志，will), unified and led byXinshen(心神，heart and blood).[1]41—45It also includes the fiveZang(臟) — liver, heart, spleen, lung,and kidney — which are not the “organs” regarded by today’s people but the classifications of the modes of exercise; besides, it represents the classifications of the“Five Elements” (Wood, Fire, Earth, Metal, and Water)ofShen,Qi, andXing(see Figure 2). Body is a universe,and each part is indispensable and they are mutually in fl uenced.

Figure 3. Shi-dao in the fi eld of life process.[1]5

To apprehend life process, we should heed the law of life development. The fi eld of life process indicatesShidao(時(shí)道，nature of life process), includingSheng-dao(生道，existence),Qi-dao(氣道，Qias mode of motion),He-dao(和道，Heas interaction),Shu-dao(數(shù)道，Shu,number, as mode of action),Xu-dao(序道，Xuas sequence of action), andLei-dao(類道，Leias category of action) (see Figure 3).2

The key elements of life showJi-dao(機(jī)道) (see Figure 4).Jiis the origin of all the changes.Ji-daoincludesFa-dao(發(fā)道，F(xiàn)aas the origin of the changes of movement),Huadao(化 道，Huaas the process of the changes of movement),Bian-dao(變道，Bianas the ultimate result of the changes of movement),Tai-dao[態(tài)道，Taias the ways of changes,Tai-daoincludeShen-tai(神態(tài)),Qi-tai(氣態(tài)), andXingtai(形態(tài))],Shi-dao[勢(shì)道，Shias the property of changes,Shi-daoincludeShen-shi(神勢(shì)),Qi-shi(氣勢(shì)), andXingshi(形勢(shì)), andXing-shiincludesJu-shi(局勢(shì)，situation),Qu-shi(趨勢(shì)，trend), andShi-shi(時(shí)勢(shì)，time)], andXiangdao[象道，Xiangas display of changes,Xiang-daoincludesShen-xiang(神象),Qi-xiang(氣象), andXing-xiang(形象)].In this system, however, we only take notice of the end categoryXing-xiang.

The structure of life is aboutXing. The fi eld of life structure is manifested inXing, including container (life space), basis (life program), and matter (life material).Matter also includes light (life fi eld), micro (life particle),and network (including the integrity, system, and parts.Parts include biological macromolecules, cell tissues, and organs) (See Figure 5).

Figure 4. Ji-dao in the fi eld of key elements of life.

Hun,Shen,Yi,Po, andZhiare the classifications ofShenof life. The dominant process of life isShenandQi. The fi eld of the existence of principle includeShi(時(shí)process),Ji(機(jī)，key elements), andXing(形，structure),while the container ofXingis the universe ofShenandQi. As Mr. FU Jing-hua has analyzed in the above fi gure,Shen,Qi,andXingare not the fundamental components of human body but a general term for all the life activities and methods.[1]5And dance only focuses on the “images,”the ends of the key elements of life, and “organs” under“matter”-“network”-“parts,” which re fl ects the one-sided and shortsighted understanding of body and life.

Figure 5. Xing in the fi eld of life structure.[1]71

Basic Categories and Conceptual Cluster II: Qi, Yi (意， meaning), and Shi (勢(shì)，potential)

Qi,Yi, andShiare a group of very import concepts on body of dance art.Qiis a complex concept in both Chinese medicine and philosophy. According to traditional Chinese medicine,Shenis the essence,Xingis the universe, andQiis for practical use.Qiis the realization of life activities.[1]41Hence, whenQiis embodied as the breath in dance, it requires coordinating with not only the range of motion but also the physical constitution of the performer. DoingTuna[吐納，inhale and exhale breathing exercises inQigong(氣功)] during natural and coordinating movements, the breath will fl ow with the will, bringing out the harmonious and smooth movement. Meanwhile, one should “useYito moveQiinstead of using force to driveQi” with a positive and natural attitude. “The whole body should focus onJingandSheninstead of onQi; if one focuses onQi, the body will be stiff.” Yet, there has not been any in-depth study onQifrom the perspective of life in contemporary dance.

For example, “the subordinates of the body,” such as the dancers’ fi ngers and feet, are normally regarded as “the four tips” of the body in dance. According to the principles of Tai Chi, influenced by the principles of Chinese medicine, however, the tips of human body are understood as follows: The tip of blood is the hair; the tip of flesh is the tongue; the tip of bone is the tooth; and the tip of ligament is the nail. Accordingly, one’s hair is apt to stand up against the hat because the blood tip is full of energy;one’s tongue is apt to injure the teeth because the fl esh tip is full of energy; one’s teeth are apt to tear up the ligament because the bone tip is full of energy; and one’s nails are apt to penetrate the bones because the ligament tip is full of energy. Reaching the tips ofBlood,Flesh,Ligament, andBoneis controlled by theQiof life, displaying the inner feelings and emotional states of human life. It is a regret that dance, as an art to convey human’s feelings, has not been involved with “the tips of body.”

The importance ofYiin dance is that dance is a symbolic system of body language. In Chinese medicine,Yiis generated fromXinshen.Yiincludes“hidden meaning,” “potential meaning,” and “obvious meaning.” Each has three levels — awareness, thought,and knowledge — which are sensed, perceived, and understood. FU Jing-hua’s analysis of the concept ofYiin Chinese medicine enables us to see the huge gap in cognizing the construction of contemporary dance. Even in terms of “obvious meaning,” our “sense” is not sharp enough, our “perception” is not broad enough, and our“understanding” is de fi cient (See Figure 6).

Figure 6. Connotation and extension of the concept Yi.[1]74—75

Figure 7. Shi-dao of life change and development.

It is clear thatShi, as the property of the changes of life movement, is closely attached toShen,Qi, andXing.Or in other words,Shiis the manifestation of the changes ofShen,Qi, andXing, so as to formShen-shi,Qi-shi,andXing-shi.It is a complex network system. TheShi-daoof arts, in essence, is from theShi-daoof life — it is the property of life change and development (See Figure 7).However, it has not been studied deep enough in dance fi eld.

Basic Categories and Conceptual Cluster III: Jing (經(jīng)，meridian channels), Luo (絡(luò)，associated vessels), Xue (穴，acupoints),and Mai (脈，vessels)

According to Chinese ancestors, a human body is composed of essence, breath, body fluids, four limbs and nine orifices, fiveZangand sixteen parts, and 365Jie.3And there are four systems to maintain life:Jing(Shen) [essence (spirit)],Qi, Blood, andJingluo(經(jīng) 絡(luò)，meridian system).Shenis the dominant of life;Qiis the driving force of life; Blood is the material basis of life;andJingluois the channels through which breath and blood fl ow, a bridge to connect the internal and external life activities (see Figure 8).

Figure 8. Shen, Qi, Blood, and Jingluo are the four systems to maintain life.[2]31

Figure 9. The system of Jingluo.5[2]111

In terms of the physiological sense,Jingluois the channels through which blood and breath flow, playing the roles in nourishing, connecting, and communicating all kinds of organs, passing life information, and regulating the function and balance of life.Jingluoin Chinese medicine is a very complicated system (see Figure 9 & Figure 10). It is divided into three major parts:Jingmai(經(jīng)脈，meridian channels),Luomai(絡(luò)脈，associated vessels, or collaterals), and affiliated systems. The first partJingmaiis composed of the twelve primary meridians, the eight extraordinary vessels, and the twelve divergent meridians.They are the backbone of theJingmaisystem, with their own starting points, ending points, and acupuncture points in the middle points. The second partLuomaiis the branch network of theJingmaisystem, including the fifteenLuo-connecting meridians, 365 subordinate meridians, minute collaterals composed by the extremely small vessels, and superficial collaterals surfaced on skin. The affiliated systems include the twelve sinew meridians, the twelve cutaneous regions, and associated tissues and organs.

From the perspective of the life process,Jingluorepresents the interrelationships, interactions, and interlacing of the different life activities. As a contacting way of life activities,Jingluolinks the two concepts of Chinese philosophy [You(有) andWu(無), being and nihility], connects theZangfu, and is a process ofShenandQiflowing around, transmitting, and intersecting.It covers three areas: life space, life program, and life material. It is involved in the opening and closing, the dynamic and the static, the advancing and the retreating,the rising and the falling, and the gathering and the scattering of life, and it thus constitutes the origin, drive,transmission, feedback, and evolution of life energy and life information. It is a web of coordinating and commanding.[1]78

The reason why the study of meridian is worthy of emphasizing in dance research lies in that one can master the point, line, plane, solid, and network of the internal body of the dance movement by masteringXue,Mai,Jing, andLuo. For example, Tai Chi’s body movement emphasizes that “l(fā)eading theQiby using theYiso that theQican fl ow through the body,” conducting around the big and smallZhou Tian(周天，universe). Mind connects theBaihui(百會(huì)，the point at which all the yang gathers),breath descends to theDantian(丹田，energy center),foot steps onYongquan(涌泉), and ankles stretch fromKunlun(昆侖).7They are the approach and method that we should pay more attention to so as to enable the Chinese national dance to form its own style and pattern. They also should become the approach and method for the world dance for reference.

Figure 10. Left: “State Standard of the People’s Republic of China: The Location of Acupoints.” Right: “Meridians and Acupoints Chart.”6

Basic Categories and Conceptual Cluster IV: Tian Di (天地，Heaven and Earth), Liu He (六合，between Heaven and Earth) Jiu Zhou (九州，Nine Provinces), Si Shi (四時(shí)，four seasons), and Twelve Jie (節(jié)，Solar Terms)

Dance is an art about body moving within the time and space. Therefore, it has been the research subjects of dance art to study the time and space of body movement and their relationships.

In the Chinese culture, the perception of space and time is based on the understanding of the origin,development, growth, and movement of life. This is a special view of time and space with the characteristics of Chinese traditional culture. It reveals that the life movement exists not only in the external natural time and space (e.g.Tian Di,Jiu Zhou, and East, South, Center,West, and North as well asSi Shiand twelve solar terms that influence life movement), but also in the inner time and space of life (such as the fi veZang, the twelve primary meridians, the eight extraordinary vessels, and the process of life). Meanwhile, the revealed life movements are never detached from society and historical cultural time and space. Behind the perception of time and space, it shows Chinese ancestors’ profound understanding of life and universe. It also proves that the idea, “the men should be in harmony with nature,” pervades through the history of the traditional Chinese body philosophy.

Moreover, the view of time and space can be seen in the cultural heritage of Chinese classical dance. For example, the use of space in ChineseYayueis based on the concepts of East, West, South, North, and Center.Jiushao Dance and Music Illustrationsby YU Zai-zhi of Yuan Dynasty records dance postures, directions, and music by usinghetu(河圖),luoshu（洛書） square, yin and yang,changes of odd and even, and the nine colors — red, white,bluish-green, red, yellow, black, purple, cyan, and green.In tōgaku of Japanese gagaku, the concepts of Metal,Wood, Water, Fire, and Earth are used to note the dancers’directions and their relationships with the “home base.”8

The current cognition of the space in dance is mainly guided by the geometric analysis. The contemporary dancers mainly face to the audience, taking it as the front.Centering on body, they have established the awareness of the movement directions of the 27 points on the diagonals and within the space. In terms of time, the main focus is on the length of the rhythm. These cognitions apparently break the connection of the dancers’ body with nature and society.

Basic Categories and Conceptual Cluster V: “Five Directions,” “Five Climates,” “Five Elements,” “Five Flavors,” “Five Zang,”“Five Odors,” “Five Colors,” “Five Body Constituents,” “Five Sense Organs,” “Five Grains,” “Five Domestic Animals,” “Five Numbers,” “Five Tones,” “Five Emotions,”“Five Sounds,” and “Five Changes”

Closely connecting with the above-mentioned concepts (Tian Di,Liu He,Jiu Zhou,Si Shi, and TwelveJie), the concepts — “Five Directions” (East, West,South, North, and Center), “Five Climates” (Wind, Heat,Dampness, Dryness, and Cold), “Five Elements” (Wood,Fire, Earth, Metal, and Water), “Five Flavors” (Sour,Bitter, Sweet, Spicy, and Salty), “FiveZang” (Liver,Heart, Spleen, Lung, and Kidney), “Five Odors” (Putrid,Scorched, Fragrant, Rancid, and Rotten), “Five Colors”(Green, Red, Yellow, White, and Black), “Five Body Constituents” (Tendon, Vessel, Flesh, Skin, and Bone),“Five Sense Organs” (Eyes, Tongue, Mouth, Nose, and Ears), “Five Grains” (Wheat, Broomcorn, Millet, Rice,and Beans), “Five Domestic Animals” (Chicken, Sheep,Ox, Horse, and Pig), “Five Numbers” (Eight, Seven, Five,Nine, and Six), “Five Tones (of traditional Chinese music)”[Jue(角),Zhi(徵),Gong(宮),Shang(商), andYu(羽)], “Five Emotions” (Anger, Joy, Pensiveness, Sadness,and Fear), “Five Sounds” (Shouting, Laughing, Singing,Crying, and Groaning), and “Five Changes” (Spasm,Depression, Vomit, Cough, and Shivering) (hereafter referred to as “16 Five X”) — correspond each other in Chinese medicine. From their relationships of mutual generation and overcoming, mutual promotion, and mutual restriction, it describes the structural relationship between life and all the other things in universe and the forms of movements, taking it as the interpretation of the internal and external of the survival of life and the relationships between life and nature and between life and society (See Figure 11). It is without doubt that it should be highly valued in the construction of the dance principles.

For example, in discussing the mutual generation and overcoming of East, Wind, Wood, Sour, Liver, Green,Eyes, Anger,Jue, Shouting, and Spasm,Yellow Emperor’s Inner Canonexplains why “among the tones it isJue”and “among the sounds it is Shouting” as follows: It is because that “among the emotions it is Anger,” and anger should be prohibited. “Among the sounds it is Shouting,”and shouting also means roaring. “Jueis the tone of Wood,tuneful and straight. According to the ‘Record of Music,’ifJuebe irregular, (the air) expresses anxiety; the people are dissatisfied.” In discussing the mutual generation and overcoming of South, Heat, Fire, Heart, Vessel, Red, Tongue,Bitter, Joy,Zhi, and Laughing, it explains why “among the tones it isZhi” as follows: It is because that “among the emotions it is Joy,” and joy brings about harmony and happiness. “Among the sounds it is Laughing,” and laughing is the sound of joy. “Zhiis the tone of Fire, harmonious and beautiful. According to the ‘Record of Music,’ ifZhibe irregular, (the air) expresses sorrow; affairs are strained.” In discussing the mutual generation and overcoming of Center,Dampness, Earth, Sweet, Spleen, Yellow, Flesh, Mouth,Pensiveness, Vomit,Gong, and Singing, it explains why“among the tones it isGong” as follows: It is because that“among the emotions it is Pensiveness,” and pensiveness makes people know the far. “Among the sounds it is Singing,” and singing is the sound of sigh. “Gongis the tone of Earth, loud and harmonious. According to the‘Record of Music,’ ifGongbe irregular, (the air) is wild and broken; the ruler of the state is haughty.” In discussing the mutual generation and overcoming of West, Dryness,Metal, Spicy, Lung, Skin, Nose, White, Cough, Sadness,Shang, and Crying, it explains why among the tones it isShangas follows: It is because that among the emotions it is Sadness, and sadness is contemplation. Among the sounds it is Crying, and crying is the sound of grief. “Shangis the tone of Metal, soft and fi rm. According to the ‘Record of Music,’ifShangbe irregular, (the air) is jerky; the offices of the state are decayed.” In discussing the mutual generation and overcoming of North, Cold, Water, Bone, Kidney, Black,Ears, Salty, Fear, Shivering,Yu, and Groaning, it explains why among the tones it isYuas follows: It is because that among the emotions it is Fear. One is fearful and therefore fears the evil. Among the sounds it is Groaning, sound of being painful. “Yuis the tone of Water, low and deep.According to the ‘Record of Music,’ ifYube irregular, (the air) is expressive of impending ruin; the resources (of the state) are exhausted”.[3]32–36

Figure 11. The structural relationship between life and all the other things in universe and the forms of movements.

Moreover, the terms of music,Jue, Zhi, Gong, Shang,andYu, are also the terms ofYellow Emperor’s Inner Canon,interpreting life and society and analyzing life and medical principles.[3]417–455Thus, the theory is one not only of medical treatment and regimen but also of the study of music. It has guided us to pay more attention to people’s emotions (e.g.,joy, anger, sadness, pensiveness, and fear), corresponding expressions (e.g., crying, laughing, shouting, singing, and groaning), and the relationships between the artistic expression(e.g.,Gong, Shang, Jue, Zhi, andYu) and social life.

Basic Categories and Conceptual Cluster VI: Qing Zhi (情志，seven emotions), Zhen Ren (真人，immortal men), and yin and yang

To express people’s real emotions is the constant pursuit of dance art. Therefore, studying and comprehending a variety of the subtle emotions of human beings is the main content of the dance principle construction. According to the Chinese ancestors,Qing Zhiis the seven basic emotions— joy, anger, sadness, pensiveness, shock, grief, and fear— representing how people response to the objective things. As the normal physiological phenomena, it has a close corresponding relationship with the fiveZangand is the manifestation of the functions of the fi veZang— “joy harms the heart”; “anger harms the liver”; “grief harms the lung”; “pensiveness harms the spleen”; and “fear harms the kidney.” The activities of the Five Emotions can only be functioned normally under the control of xinshen.

The understanding of human beings inYellow Emperor’s Inner Canonis established on the idea of physical and mental integration. Therefore, its study of physical constitutions involves not only the “body presentation”(appearance and shape) and “quality” (internal energy)but also the “disposition” (spirit and look, personality, and mood), covering both physical and mental qualities. For example, the analysis of the “ fi ve types of people in different characteristics of yin and yang” is based on the analysis of the physical constitutions. The classi fi cation — “Tai-yin(太陰) people,” “Shao-yin(少 陰) people,” “Tai-yang(太 陽)people,” “Shao-yang(少陽) people,” and “mild both in yin and yang people” — emphasizes the indivisible relationships between men’s physiological and psychological characteristics and between the physical and mental characteristics.Moreover, the philosophical view of the “physical and mental integration” and Chinese people’s life view — “among the moral integrity, talent, and knowledge, the priority should be given to the former” — are established on the emphasis on the observation and analysis of human’s nature and morality.

Chinese medicine puts forward the living of sphere of theZhen Ren.Yellow Emperor’s Inner Canonregards men as the men engaging in regimen. In terms of growth and longevity, people are divided into “Zhen Renwho live in correspondence to the Tao,” “accomplished men who master and grasp the Tao, ” “sages who live in harmony with the Tao,” and “exemplary men who follow the Tao.”The “physical and mental integration” is the highest pursuit of Chinese people in life. InYellow Emperor’s Inner Canon,Zhen Renis regarded as the highest pursuit of life. People should pay attention to the spiritual and moral cultivation if they want to becomeZhen Ren.Zhen Renlive in correspondence to the Tao and their body can achieve high degree coordination, so that they are able to live in correspondence to heaven and earth (see Figure 12).

The professional ethics of Chinese medicine practice consist in training the hands with spirit and bearing benevolence in mind. In education and talent training, it emphasizes the improvement and perfection in terms of“truth,” “goodness,” “beauty,” and “virtue,” rather than the techniques and skills only. This tradition has affected the body culture of the Chinese nation for thousands of years. For example, Tai Chi stresses that “using the fi sts to establish the morality” — it has a convention that “eight types of people cannot be taught.” They are disloyal and un fi lial, delinquent,dishonest, reckless and irresponsible, arrogant, impolite and ungrateful, capricious, or unappreciative. They cannot be taught the methods of the martial arts. In short, the Chinese tradition emphasizes the spiritual and moral cultivation. However, they are largely ignored in dance education.

Figure 12. The Zhen Ren is regarded as the highest pursuit of life in Yellow Emperor’s Inner Canon.[2]63

Figure 13. Chinese medicine is beyond the study of medical treatment and regimen. It is a study of physical being and life process.[2]

The reason why Chinese medical principle should be the base of the dance principle construction also consists in that it points out that the origin and development of all things in universe are the antithesis and unity of yin and yang. The basis of life is to communicate with the Heaven and Earth, nothing more than yin and yang — heaven and earth, the sun and the moon, day and night, male and female, nihility and being, water and fire, internal and external, dynamic and static, rising and falling, warm and cold, bright and dark, thriving and declining, forward and backward, and clear and opaque. Yin and yang, constantly moving and changing, have promoted the development of things through the contradiction of antithesis and unity.The four seasons, heaven, earth, and humans, and the “16 Five X” have the close connection and relationship of interdependence, or mutually generation and overcoming,or interchanging. They change constantly, interact, and mutually restrain, so as to form the power and drive to promote the development of the universe (See Figure 13). Through the efforts to enable the body to achieve the balance of yin and yang, it aims to ensure the healthy development of life.

To sum up, the understanding of the structure and process of body and life provided by Chinese medical principle shall be the basis of the dance principle construction.Although the aforementioned categories and conceptual clusters are from an academic subject of science, different from dance as a discipline of liberal arts, the two are related to the same “path of life” (life principle). It is undoubted that it will provide ideas and theoretical support to dancers’ body philosophy and dance principle construction.

Therefore, it is an essential work for the dancers tolearn Chinese medicine and medical principle,comprehending the principles of physical structure, the process of life movement, and the integrity of life.