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Quote by Arundhathi Subramaniam

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Wild Women: Seekers, Protagonists and Goddesses in Sacred Indian Poetry

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Arundhathi Subramaniam

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“Membership finds its ceremonial endorsement through the dance. In almost all tribal communities dancing has had an important role in reinforcing the communal spirit, and in particular in ceremonies of initiation and marriage. It represents a supreme act of surrender to the tribe and its ruling deities. In dancing we set all purpose aside and are governed by the spirit of the dance. At the same time, dancing has a peculiar social intentionality – in the normal case dancing is a ‘dancing with’, a fitting of one’s steps and gestures to the steps and gestures of others. In the old culture of Europe dancing was therefore a part of courtship – a kind of stylised intimacy in which the sexual allure of the body could be displayed and enjoyed without social catastrophe. For young lovers, dancing was a way of going ‘part-hog’, as Harold Pinter would put it, while behaving with proper decorum and with an excited consciousness of their embodiment. But it was not only young lovers who danced. Traditional dances were formation dances, like the minuet, the jig and the saraband, in which you changed partners, to find yourself dancing with someone (your grandmother perhaps) in whom you had no sexual interest whatsoever. In the Mediterranean, it was even unheard of for the sexes to dance together: the men performed in a troupe, and then the girls, each sex with an eye for the other but decorously removed from physical contact. In this way dancing became a ceremony, in which the community’s bid for eternity was enacted beneath the stars. Love, sex and the body are perceived differently by young people today; courtesy and courtship have disappeared from their dancing, since they have disappeared from their lives. The idea of dancing as an orderly affirmation of community is dead. Dancing has become a social and sexual release, among people who expressly represent themselves, in the dance, as sexual objects, even when, and especially when, they dance without a partner. Indeed the concept of the partner – of the one with whom you are dancing, and who agrees to dance after an exchange of courtesies – hardly engages with the new reality. You all dance together, and every step or shake or gesture is right just so long as it feels right. Nor is this new kind of dancing of marginal significance. On the contrary, it is the central episode in the youth culture, the moment when the individual renews his attachment to the group and is raised to a heightened level of excitement and a sense of the rightness of being what he is and doing what he does.”

PastDancePresent
Book:An Intelligent Person's Guide to Modern Culture
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“When I ache, when I'm tired or just lonely living in the town on my own, I know I have to keep on going. I walk into my theater and see my stage which still calls out to me and pleads with me, "Use me. Create for me." It's there ready to offer itself for more creatively [sic]. It is up to me to use it again. My theater says to me, "Take me. Do something with me. I'm ready for the challenge. Give me something to live for; something to look forward to.”

StageTheaterDancePerseveranceBalletArtistic ExpressionMuralsDeath ValleyAmargosa Opera House
Book:To Dance on Sands: The Life And Art of Death Valley's Marta Becket
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“Contrary to the dogma downloaded from our many cult-like institutions of higher (actually lower) learning, we’re not in any way separate from the quantum dance of the imagination; we’re inextricably bound up in it. In a mind-melting paradox, we somehow manage to give rise to the quantum dance … even as it dances us!”

ImaginationDancingDanceParadoxDogmaQuantumQuantum PhysicsScientismEntanglementImaginal
Book:Get Out of Here Alive: Inner Alchemy & Immortality
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