I loved Akram Khan’s choreography. Although I will not pretend that the motions were not physically demanding and mentally tiring, the lessons I learned were more than one hundred times worthwhile. It was spectacular. Every rehearsal was difficult and eye opening at the same time. The motions were grounded, but in no way hindered or stiff. The body would drop very low to the ground and continue in its journey, in its shift of weight, until the body found itself at a new height. His pieces were lead not only by the types of movements but an overall tone that was both unique to each piece and a marker connecting every phrase. The energy in each rehearsal never ceased to flow. It was constantly in motion, constantly shifting in position and intensity, but it never stopped moving. I learned how to control the energy, releasing it, grasping it, and throwing it. Even the pauses, the points in the piece where the body ceased to move, the energy still buzzed beneath the surface. The analogy used to describe this liquid flow of energy was that of a bouncy ball. A bouncing ball can be thrown with a large amount of force> Once it hits a surface it momentarily pauses as it comes into contact with the wall before it changes direction, but the energy of the original throw never disappears. That is the mentality that I constantly kept while learning this movement. It was flexible, dynamic, and beautiful simultaneously.