Researching my old learning while experiencing new learning

As well as writing my AOL's, I've been having a little whirlwind of activity over the past few weeks - On starting this MA I decided to also engage in as many new dance opportunity as I could, it has been interesting to have experiences with my mental eye viewing them through my AOL's.
Last weekend I went to the Ageless Festival at Yorkshire Dance, Leeds, as the name suggests the weekend was an exploration of what it means to dance at any age. 
An amazing weekend of workshops and talks; the highlights include Liz Aggiss' performance, chatting with Nanrom about his re-engagement with performance and working with Galit Liss and experiencing her Gila Movement.
The name Gila, which in Hebrew means age, joy, and discovery, reflects the spirit of women who choose to dance at any age. (Ageless Brochure). 
Galit is a performance artist who chooses her medium to be the mature female dancer, she says she fell in love with the integrity of the stories that the mature body produces. Instead of being a choreographer who makes work for the older dancer, she uses the older female dancer as a tool to represent, disrupt and challenge the narratives she is presenting. (Galit 2019).
Her process led her to develop a movement style that helps women create integrity in their dance movement. She uses - Visualise - Feel - Imagine. Each movement she encourages us to, see; what we are doing, feel; sense what is actually there and imagine; both as a tool for the quality of the movement (i.e walking through sand) and as an eye from outside.

Her use of the mature dancer as a tool for her art, transcends cultural stereotypes about 'old dancers' - Her work Go, combines the mature dancers with images of combat and military customs, she says;

In the work she uses the older body to subvert our expectations, allowing her to interrogate themes far removed from 'the older dancer' - the juxtaposition challenging us to reconsider our prejudices.

Galit says;

"I found that the movement of an older body has a "physiological aesthetic" that in the context of the stage has implications with the personal, social, and political representation that I am interested in touching upon. I felt that working with the older body sends us to a delicate place where we constantly wonder: Is it possible? If not, then how can it be?" (Time Out 2018)

All this new thought stimulation keeps throwing-up moments of realisation about how I have come to know what know. These realisations mostly come through discussions about the new ideas, it is interesting that we sometimes only know what we understand when we need to articulate it - Which I guess is the point to the AOL's