Dance as if there were only bones and joints. Lose as much of the muscle control factor that is possible. Bone dance may be of similar qualia as puppet on strings dance.
Maximize your awareness of joints and move them like padlocks. Also be aware of joints that have very little movement such as feet joints or wrist joints, e.g. the intermetacarpal joints and the intercarpal joints, see Figure 1.
Upper & Lower Extremity Deep Initiation Points
For the upper and lower extremities, instead of initiating from the shoulder or hip, one can go much deeper and initiate from the sternoclavicular joint for the upper extremity and the sacroilliac joint for the lower extremity. In this way, the extremities will be both less disembodied and possessing wider ranges.
Contract and relax as many muscles in the body as you can. Exaggerate the degree of muscle use with every movement. You may even gather inspiration from the movements of body builders at a competition. Also make use of muscle twitch. Experimentation with the muscles will eventually lead to experimentation with pulsation, shock, and freeze.
Large exterior muscles are for large movement, whereas deeper and smaller muscles are for more subtle movements such as twisting, standing (psoas), and fine motor movement. We are to be aware of all our muscles.
The fascia is a net-like system surrounding all of the muscles. When you extend/constrict/stretch your body in certain ways, you can feel the fascia.
One example of feeling the fascia includes extending your arms while pulling up on the hand to show the palms. If you feel a dull pain along the entire arm, this is the fascia being stretched. You can feel this with your entire body. Try an outstretched dance where you are constantly feeling this.
The skin is the outer covering of your container. Do not hesitate to use touch in some form or other, which does not need to be the hands.