As I walked down the stairs to re-enter the world, your harmonies made themselves at home in my chest, humming open the back door of my heart. Bryan thank you for reminding me that the moon is a finite thing, that locomoting in mayurasana, like most magic, is yes insane but not impossible. Aurora, thank you for opening the vortex, for being its ambassador, for going where I could not go, for traveling into the great beyond and distilling its essence. Sara, thank you for dirt. Thank you for your brave hands, the diligence of your courage, how patient and willing your body is to accept what will come. You caught fire a few times. I saw a spark shoot up the middle of you, your limbs snapping sharply with the charge of it. It is hard to be so patient. It is hard to be so willing. Please tell Mr Universe I say thank you for the bass, for the dance and song. Tell him we knew about him that he was a warlock and it scared us. We watched him, feeling his power, wondering how he might conquer us. Thank him for his mercy, for giving us small, chewable bites, for refraining from destroying us too soon.
I thought it as I rode up to Links today. I saw the man with the ponytail mustache riding the opposite way, as he did every Wednesday. Our lives crossed within this minute detail of the noticing. And today, again wondering if I would see him, and I did, and he nodded his head to me in recognition. Or so I like to think. I don’t know if I will ever see him again.
How many times will you watch the full moon rise?
The few regular tai chi practitioners follow our rehearsal times on Wednesdays. We are always still clearing out when they arrive. Our belongings strewn about, half dressed and gleeful. I finally met Clarice today, after she learned it was our last slated rehearsal. She expressed a real sense of disappointment, that we weren’t going to be there anymore. And we feel sense these things, and we know it is real.
It all seems limitless.
WE REACHED OUR GOAL! We have even exceeded it (which is brilliant b/c taxes and processing fees were not included in our original estimate) We have learned, and we are getting psyched for the show to come. Thank you to everyone who donated so far! We will let you know when the monies are dispersed…special shout outs to our parents, the big backers!! ❤
Now come see it for yourselves, the Mystical Bootcamp.Purchase Tickets online here We expect a sold out show, so get your tickets while you can!
One year I spent 52 hours hugging Sara
We stood with our arms around one another on street corners
by the lake
We strained and shifted, eventually
discovered breath and how to stand up straight
We stuck out, went unnoticed
We were called artists and lesbians
We embraced strangers and they embraced us
Our bodies evolved to fit together with ease
Hugging simple as breathing passed hours into seconds
And before we new it a year had passed
There was an opening
Yesterday Sara and I discussed the idea that each of us plays different characters. Our masks bring four different characters to life. Each character has its own qualities and elements it brings to our healing ritual. Here’s what I envision:
Lightning…….Kinetic Energy, Alchemy
Bird/Dog…….Playfulness, Curiosity, Mobility
I am thinking of a draft of the second half of the performance. Right now it look something like this:
– Nationlistic dance. People start to peel off to change. S remains doing nationlistic dance the longest. She doesn’t change in the space. When she is done she exits the side door
– A and B do modified pedestrian dance – fav pedestrian dance movements + some Yvonne Rainer moves? Sara enter from the back, changed. She puts on mask and paces on back bench (perch), close to audience members. Meanwhile C sets up sound? Ped dance ends with very long shmoosh. C joins for shmoosh. Shmoosh begins to migrate further downstage.
– S leaves her perch, begins to approach the three onstage. She circles around shmoosh, which is becoming faster and more aggressive (or opposite? Shmoosh starts violent and becomes more gentle?). She circles around, transforming mob and also opening space.
– S sounds single note, all freeze. ***Is this where she takes off her mask? All sound different notes in harmony/disharmony
– A and S peel off and begin to put dirt out downstage. C and B peel off and put on masks.
– C goes to his perch
– B does solo lightening dance, bringing alchemy and energy into space. During this time A and S continue to arrange
– B goes to his perch
– C comes forward as bird/dog. Playfully he does the dance of chicken feet, leaving tracks in the dirt ***do C and B’s dances overlap slightly? In middle of C’s dance A goes to back, puts on mask. She approaches dirt, slowly moving from upstage to downstage, bringing strength
– Ocarina sounds
– All take off masks. Place mask just upstage of dirt on ground?
– All begin Wigman dance. 1st round counts of 8, then get faster and faster. Then some movmts from earlier in the piece come in (Falling to the floor, computer typing, muscles, salute, etc)? During this time singing various harmonic/disharmonic tones. Tones trigger motion sensors. Sounds build as poses/movements get faster and faster CLIMAX!
– Bryan breaks free from Wigman poses/configuration. Others freeze in Wigman poses. B begins his healing dance. Halfway through B’s dance, S and A unfreeze and begin to walk downstage slowly. At this point, C unfreezes. He statically hold several poses from earlier in the piece such as one wigman mvmt, salute, face down on ground. He holds each pose for several seconds.
– A and S lay down on their sides in the dirt, heads facing one another. They slowly begin a healing dance. First couple of mvmts are in unison and then they break off, each doing individual healing movements. During this time C and B get the water. They begin to flick the water on the dirt and the women while they are doing healing dances.
– C begins to hum. All join in humming and come to stillness. Women get up from dirt.
– Everyone puts boots back on. Continue humming whole putting boots on. One by one they grab their individual masks and line up parallel to audience and centerstage. All sounds stop. All stand shoulder to shoulder, holding masks and simply witnessing audience. Then slowly walk out through dirt, up aisle, and exit space.
**In this version, the climax, the Wigman section is the height of trauma
**I really want more integration and connection btwn the first and second halves of piece. What if the beginning had more expressive (healing or traumatic) movements interspersed? What if some people ‘fall off’ during the nationlistic dance and have to be brought back. Fall on face and then stay there? Take a break and smoke a cigarette, leaning against the wall?
**I think it would be awesome if Sara played more of the drill sargent role in first half. Then, she becomes the conductor of sorts, or initiator of the healing ritual in the second half. I like this connection!
**Putting shoes back on at end = acceptance of some part of group identity
**I thought there would be some more storytelling in the second half, but I am not sure where this fits in yet. Each person speaks a short bit of text about belief?
Possibilities for spoken stories:
sara and biodynamics
Aurora believes too!
Shamanistic complex example!
Story of a healing
Example of how group empowers
Illustration how group identity oppresses
tetter totter of belief
body – in the earth
energy seen in other
water – sound that heals
teeter totter of belief
embrace Mennonite beliefs
simple living, peace
atomic energy church
a light-charged symbol abounds
chant and meditate
water swirling song
reflects our community
mental looping escape
culture of belief
god in spaces in between