The Bridge

"Look, a three-head­ed mon­key!!"

An­oth­er draw­ing of Aldric's char­ac­ters be­cause I just love draw­ing these two! ^-^ They are con­tor­tion teacher Emaryl and one of his best pupils, Romir.

All the pupils love their mas­ter, Emaryl, be­cause he has such a bright at­ti­tude both as a teacher and a per­son. He has a unique way of teach­ing and be­cause of his phi­los­o­phy his pupils be­come some of the most flex­i­ble elves in the world! His own con­tor­tion prac­tice in the past helped him to de­vel­op his way of teach­ing.

Emaryl's main idea is that stretch­ing must nev­er be painful but must be in­stead some­thing that can be tru­ly en­joyed. First of all, Emaryl would teach the young elf to touch his feet to the back of his own head. This is some­thing that most chil­dren can do very eas­i­ly, but most of them don't even know that they can do it. He would then let the pupil ex­pe­ri­ence how won­der­ful it feels, he wouldn't push any fur­ther and would let the boy en­joy the feel­ing of hav­ing his bare soles lay­ing on the top of his head for as long as he likes.

The stu­dent falls in love with this feel­ing and then Emaryl says that this is ac­tu­al­ly what con­tor­tion is all about! But it's on­ly the be­gin­ning, more ad­vanced pos­es would feel even greater!

If it is so en­joy­able, the pupil would quick­ly grow to be ob­sessed with it and would want to prac­tice it in­stead of be­ing forced to prac­tice it. Emaryl nev­er says such things as "You're good for noth­ing!" or "You're not work­ing hard enough!" or any­thing like that, be­cause say­ing that would rep­re­sent the teacher's own fail­ure that the stu­dent isn't in­ter­est­ed enough.

The next stage is learn­ing to fold the back com­plete­ly in half back­wards, it takes a pret­ty long pe­ri­od of train­ing dur­ing which Emaryl tells his stu­dents very in­spir­ing lec­tures. He says that putting feet on the head is just child's play, while fold­ing com­plete­ly in half is the most amaz­ing thing the body can ever ex­pe­ri­ence! The sen­sa­tion while sit­ting on your own shoul­ders can­not be even com­pared to any­thing else, it's a tru­ly won­der­ful ex­pe­ri­ence!

The pupils lis­ten to Emaryl's phi­los­o­phy while gulp­ing and hav­ing with their eyes wide open and when he's done talk­ing they im­me­di­ate­ly want to stretch to learn it as soon as pos­si­ble. And very of­ten they over­do it, and then Emaryl tells them: "Hey, if you came here to tor­ture your­self, you came in­to a wrong train­er!" He ex­plains that push­ing too hard is the first step to de­vel­op a ha­tred for con­tor­tion. The pain would build a fear of stretch­ing and that fear would re­sult in get­ting more stiff be­cause of the stress, which would con­se­quen­tial­ly make it on­ly more and more painful. When the train­ing be­comes a source of stress, the pupil would start avoid­ing it and even­tu­al­ly would stop train­ing at all!

Emaryl of­ten says that the mis­take of oth­er con­tor­tion teach­ers is that they push too much. A good teacher, ac­cord­ing to Emaryl, should not just con­tort the stu­dent's body but he should al­low the stu­dent's body to de­vel­op the feel­ing of love for be­ing con­tort­ed. The body should grow to en­joy be­ing con­tort­ed, the stretch­ing should not be a stress but a plea­sure. On­ly through love and plea­sure tru­ly amaz­ing things are pos­si­ble, and on­ly if the stu­dent is re­al­ly en­joy­ing it like noth­ing else.

Any­way, this is a stone bridge be­hind Emaryl's house. It is rare to see oth­er elves cross­ing this bridge be­cause it's at the out­skirts of the vil­lage and this bridge is on­ly ac­tive­ly used dur­ing fes­ti­vals and spe­cial events, or when the elves need to trade with oth­er vil­lages. Oth­er­wise the bridge is rarely used, but it's a place with a nice view and Emaryl likes to use it for out­doors train­ing, since fresh air is very good for the body, and prop­er breath­ing is one of the most im­por­tant nu­ances while stretch­ing: if the breath­ing is re­strict­ed the stu­dent would get stressed with­in min­utes, but if the breath­ing is well done, it's very en­joy­able to stay con­tort­ed even for a very long time. And of course, some of the best pos­es are of­ten done out­doors ^^

p.s. Once again thank you so much, Aldric, for hav­ing cre­at­ed such a beau­ti­ful place as the Ori­en­tal vil­lage and such won­der­ful char­ac­ters as Emaryl, Romir and many oth­ers! They're such a plea­sure to think about and to draw! ^-^ <3

Char­ac­ters be­long to Aldric ©

See al­so

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