For beginners through advanced, G³ in motion uses the art of dance as a tool for spiritual reflection and builds on a practice that has been utilized by the Christian church, and other faiths, throughout history.

Some of the primary reflections we offer are: Movement as it relates to Jesus Christ as the Source of our spiritual progress; Connection as it relates to our attentiveness to the call of the Spirit; and Partnership as it relates to the trust we place in Jesus Christ as the one who guides us in life.

There are many more Christian spirituality themes that can be illustrated through the use of dance. We invite you to take the journey with us and experience them for yourself.

Movement is often defined as the act or process of moving, or a change of place, position, or posture. But these definitions only supply us with the "visual impressions" left by the act of moving. Simply defining or interpreting movement based on visual impressions can be misleading, and often times pollutes an individual's ability to awaken what is uniquely natural to his or her body. Nevertheless, the temptation is great for the untrained dancer to copy what is readily seen, thus settling for the superficial beauty of dancing. Unbeknownst to that individual is that the beauty and grace that are seen are the fruits of doing something fundamentally right.

Therefore, movement in dance can only be understood and precisely interpreted with the understanding of its fundamental source: the dancer's center. Since the idea of center is abstract in nature, it is important for the individual to define, locate, and embody his or her personal center, thus creating a heightened awareness of its presence and importance. In this center is where every movement must be rooted and initiated, making the rest of the body an extension of this source. Once this abstract principle is infused with the dancer's movement, only then will he or she bear fruit to naturally graceful movements.

Connection is necessary since partnership dancing requires the harmonious movement of two uniquely independent bodies. Though the two are independent, connection serves as a translating channel that interprets the unique language of one independent body to the other. Therefore, connection demands that both individuals maintain complete awareness of the other's physical position throughout the dance. It also requires attentive listening, and a delicate sensitivity to the subtle or radical changes of the other's movement. It is constant, uninterrupted, and dependable. And since it promotes reciprocity, in time connection becomes the direct extension of one dancer's center to the other: making the two ONE.

To acquire this, the individuals must willingly commit from the beginning. They must invest time, place trust, and constantly search for the connection that is unique to their dance partnership. Without connection, an individual relies on assumptions that often lead to disconnected and abrupt movements. The dancing begins to feel like a struggle; a musical exercise of tug-of-war that robs their dancing of both its romantic essence and graceful beauty. The absence of connection also closes the door to any spontaneity, thus requiring the individuals to rely on the more "learned," and somewhat robotic movements. It leaves no room for any improvisation which leads to empty and emotionless movements.

One of the beauties of dancing is its spontaneity: the kind of spontaneous dancing that produces absolute freedom of movement as one freely moves in time and space. The movement is natural, fluid, and readily responsive without appearing predictable or rehearsed. To achieve this, we must understand our role in partnership dancing as one which facilitates an atmosphere of trust: trust to self, to the other, and to the partnership. It requires that while one person encourages movement, the other--while abandoning the temptation of anticipating the other's steps--patiently listens to the gentle whispers of their partner's lead. And while engaged in careful attention, the individual responds without any preconceived notion of the direction or desired action of their partner.

This demonstrated act of self-resignation is not exclusive to one, but rather is a necessary disposition for both individuals. Furthermore, the person "leading" must understand that to lead is not simply to physically manipulate the position of the other. Quite the contrary: leading is a physical giving of oneself to "indicate" a desire to guide, not to force, but to firmly promote movement with clarity of intention. This ideal movement can only be achieved through the genuine act of trust which eventually dissolves the distinction between leader and follower, and allows them to build toward a single identity: the Partnership. The two become one, moving in complete union. Only through trust, the necessary adhesive that binds together the basic tenets of partnership dancing, can this be achieved.