Saturday, 5 November 2016

October 30th Halloween

Clare's notes

Radical responding
Respond to everything outside the self and body
Try and have the body disappear
Only respond ( Only connect E M Forster)
to outward elements
What does the air, earth, water around you inspire
What do the trees, sky, road, sound, weather, shapes, animals, insects, grass, leaves, stones, colours sing to you
What music do they all speak to you
all senses( see, hear, touch, smell, taste) but in response
Examine that music, that unworried form
How do all theses things ’sing’ (back) to you

William Blake’s  Seeing angels in all the trees, visions

In place/meadow respond to other dancer, see them as of the place, respond to that
in poems of movement, music of movement

Put your thoughts into the natural world, see what it thinks

Martha Graham via Zadie Smith’s new book about writing and dancing
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. and if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. it is your business to keep it yours clearly and directly, to keep the channel open. MG

The Wind
It’s like the light, -
A fashionless delight
It’s like the bee, -
A dateless melody.

It’s like the woods,
Private like the breeze,
Phraseless, yet it stirs
The proudest trees.
Emily Dickinson

Basho: Go to the pine if you want to learn about the pine, or to the bamboo if you want to learn about the bamboo. And in doing so, you must leave your subjective preoccupation with yourself. otherwise you impose yourself on the object and do not learn. Your poetry issues of its own accord when you and the object have become one - when you have plunged deep enough into the object to see something like a hidden glimmering there.