performing arts

Watch Them Whip: A decade of fun, confidence, and refuge.

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Many of us are looking for a beat, something solid and rooted where we can take refuge and begin to explore the fluidity of being alive, to investigate why we often feel stuck, numb, spaced-out, tense, inert, and unable to stand up or sit down or unscramble the screens that reflect our collective insanity.

I mentioned in an earlier post that I'm trying to integrate the arts as much as possible into my classroom. One of the most difficult for me is dance. 

This is perhaps the best defense for dance that I've ever read.

Dance is the fastest, most direct route to the truth — not some big truth that belongs to everybody, but the get down and personal kind, the what’s-happening-in-me-right-now kind of truth. We dance to reclaim our brilliant ability to disappear in something bigger, something safe, a space without a critic or a judge or an analyst.
We dance to fall in love with the spirit in all things, to wipe out memory or transform it into moves that nobody else can make because they didn’t live it. We dance to hook up to the true genius lurking behind all the bullshit — to seek refuge in our originality and our power to reinvent ourselves; to shed the past, forget the future and fall into the moment feet first. Remember being fifteen, possessed by the beat, by the thrill of music pumping loud enough to drown out everything you’d ever known?
The beat is a lover that never disappoints and, like all lovers, it demands 100% surrender. It has the power to seduce moves we couldn’t dream. It grabs us by the belly, turns us inside out and leaves us abruptly begging for more. We love beats that move faster than we can think, beats that drive us ever deeper inside, that rock our worlds, break down walls and make us sweat our prayers. Prayer is moving. Prayer is offering our bones back to the dance. Prayer is letting go of everything that impedes our inner silence. God is the dance and the dance is the way to freedom and freedom is our holy work.
We dance to survive, and the beat offers a yellow brick road to make it through the chaos that is the tempo of our times. We dance to shed skins, tear off masks, crack molds, and experience the breakdown — the shattering of borders between body, heart and mind, between genders and generations, between nations and nomads. We are the transitional generation. 
This is our dance (via).

What impresses me most about this video isn't their moves, but their faces. They're all having so much fun, and they're doing it all with so much confidence.

Because it's their dance. 

And its something I've never known, because

I look like this:

We dance to hook up to the true genius lurking behind all the bullshit — to seek refuge in our originality and our power to reinvent ourselves; to shed the past, forget the future and fall into the moment feet first.

For more on . . .

-N- Stuff  :  Art  :  Art in the classroom

 

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Hamlet : Giving back to society, from prison

Every now and again, a seemingly random idea or theme will emerge, in various forms, over a short period of time. I've written about it before. This week, it happened again. 

A few days ago, on my way to work, I listened to a podcast from This American Life and instantly had to tell a few Shakespearean fans about it. 

Take a few minutes (okay, more like 60) and listen to why Jack Hitt, A Shakespeare enthusiast and critic, who has seen Hamlet a dozen times, staring people like Kevin Kline, Diane Venora (three nights in a row), and "Ingmar Bergman's production done in Brooklyn, performed entirely in Swedish," say "this production was different. Because this is a play about a man pondering a violent crime and its consequences performed by violent criminals living out those consequences. After hanging out with this group of convicted actors for six months, I did discover something. I didn't know anything about Hamlet" (via).

Soon after, and about a month after teaching Hamlet for the first time, I came across this, from Great Big Story.

"According to the prison commissioner, 97% of the people locked up today will someday join us on the outside. Manuel is leaving for a halfway house in 48 hours. He could have been out weeks before but chose to stay in prison so he could finish the play. Hutch has a scheduled date for release. And a few more of the cast have parole board hearings coming up to decide whether they've changed enough and should be allowed to mingle with us on the outside. To that extent, this whole night, including the cast party, is just another rehearsal" (via). 

Jack Hitt said he didn't know anything about Hamlet until watching it performed live, in prison. I wonder if he also learned about those living behind bars, those whom society considers only outcasts, criminals, and non-contributors. I wonder if he knew nothing about them too, just like me.

You can read more about Teaching Shakespeare in a Maximum Security Prison or watch some behind the bars footage of prisoners performing Shakespeare

 

For more on . . .

-N- Stuff  :  Real People  :  Do we not bleed!

 

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