Monday, February 21, 2011

popping and locking in the urban fluid

the grace of dancers
primary delights, 
open face coming from 
a crouch, (was she singing, "I
saw you"?) and I was
seen. be a row of
train seats
red folding 
propulsions in adrenal 
boa in a basket 
go with me

always offer a window sill sliding along landscapes and running varnished music to sunstruck rivers, in the church on regular days, attending small silvers...

 "would you like 
a lateral stretch", "why am
I afraid to invert myself?"

its all question and 
gesture, what is given
a chance to move without much
thought over other 
surfaces, grace
of dancers to suggest
options in--even slow
and cautious 

quick write after the first in the new Words and Deeds series, tonight's class taught by Jessica Tully and David Buuck. in a big new art studio above grimy civic center (which i have a fondness for anyway, it being the center of my initial work life, LightHouse, library, etc)

a bit from Jessica Tully: (who maps me back to my bathtub where i take the cross country BART back to manatee self. and makes me think about how severe long term arthritis can be staged as new kind of popping and locking, given the rights, that is what she made me think about...the stiff slow body in the urban fluid.)
Dr. Crissy Huffard, PhD, didn’t laugh when I told her about my line of inquiry. She is the marine scientist who discovered that octopuses could walk as bipeds on the ocean floor when they want to. We met at her part-time bungalow somewhere deep in the Santa Cruz mountains. She spends most of the year in Indonesia and was preparing for a trip there the very next day. I explained that I was working on conceptual forms that could be used to investigate the octopus’s elegant, otherworldly characteristics and wondered if she thought there could be a potentially feminist and community-centered application for this inquiry.
And David initiating many ebullient ridiculous hellos, in which I remembered how so many things are easier with dancers, their body tells them before their mind. (i was initially afraid upon entering the room, realizing that, for the first time, i was going to be part of a movement class not framed by disability dance...and could that be safe for me?) yes, my feet could creep even while others darted and i was protected by a kind of uncategorical attention (not adhering to visible pain or societal administration to/neglect of decrepitude). the moving and the still gets regarded in the dance space and brought out, carefully and without language.

in related news, was pining to go to the somatics workshop held in ann arbor this weekend, to be there with Denise and Thom and Bhanu and Eleni and Neil and Petra. but i could not face another plane after Fla. college reunion. but here is a bit from BK's blog about the weekend, the conclusion she came to after the weekend:

I should open a vocational training center for poets.  Melissa could teach hypnosis and palmistry; I could teach facials, wraps and maalish: Indian head massage with mustard seed oil -- the points of the nadi opening like flowers on the skull (plus the pouring of the oil over the forehead); Sarah could teach art therapy and cranio-sacral skills; Petra could teach Esalen massage; Gina could teach yoga therapy; C.A. Conrad could teach the tarot -- and so on.  I actually thought that Thom Donovan would make an incredible transpersonal psychotherapist, with a focus on music and writing.  Why don't poets have trades?  I think it's important.  At the very least, it's a way to connect with the barter economy: the acupuncture, massage, homeopathy, yoga, home repairs and biodynamic produce (to name a few of the things I have bartered for) that support the body that writes.  I think of hospice work, of volunteering with children in homeless shelters, or the organizations that support families, or work with refugees: how can we bring a somatics to these other communities, that so many of us think about in our work?  How can we be practical?  How, too, could we earn a living in an alternative way?
BK, I will offer experiments from the Write To Connect lab, plus peer counseling for folks with chronic illness disability--envisioning/enlivened listing practices!

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, where this blog lives now. because it can be read and posted to through that app, one-handed, on my back, by a body of water, or in the cool olive green light above my mattress. This is articulation my spine had not dreamed of before.

My blog lived on Tumblr for a minute

because it is so much easier to access from my phone. fallinginrealtime.tumblr This is the feed. No, I don't like it. I can't add another virtual box. I'll make due with Twitter.

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