Dance Postures Quotes

….watch me rise like smoke from fire. Watch me fly above your hate. Watch me dance upon your meanness like a ballerina with posture; grace. Watch me laugh over your hatred; watch me soar above your sea of grief. And know that I am out there somewhere… C R U S H I N G.

Cynicism is, ultimately, fear. Cynicism makes contact with your skin, and a thick black carapace begins to grow—like insect armor. This armor will protect your heart, from disappointment—but it leaves you almost unable to walk. You cannot dance in this armor. Cynicism keeps you pinned to the spot, in the same posture, forever.

Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives. To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates. 'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic. They've served their purpose. Nature is unsentimental. Death is built in.

Look tonight at the stars. Let them overwhelm you in the postures of their bright dance. Face the vastness which they dot like silver bees, and sound with your own brain the mystery, hazarding at the inscrutable plan of things.

A defense strategy favored by many “spiritual” people is an elaborate form of denial, an assertion that the individual has “gone beyond” the shadow qualities of sexuality, anger, passion, desire, and self-interest. Many religions cater exclusively to this strategy. Priests, ministers, gurus, and “enlightened masters” who adopt a posture of transcendent superiority have great appeal to people with similar defense systems, who are able to escape their personal confrontations by identifying as members of an elite, 'enlightened' group.

The song is gone; the dance is secret with the dancers in the earth, the ritual useless, and the tribal story lost in an alien tale. Only the grass stands up to mark the dancing-ring; the apple-gums posture and mime a past corroboree, murmur a broken chant. The hunter is gone; the spear is splintered underground; the painted bodies a dream the world breathed sleeping and forgot. The nomad feet are still. Only the rider's heart halts at a sightless shadow, an unsaid word that fastens in the blood of the ancient curse, the fear as old as Cain.

Hence it is from the representation of things spoken by means of posture and gesture that the whole of the art of dance has been elaborated.

The dance posture of the God may be visualized as the symbolic syllable AUM which is the verbal equivalent of the four states of consciousness and their fields of experience. (A: waking consciousness; U: dream consciousness; M: dreamless sleep; the silence around the sacred syllable is the Unmanifest Transcendent.) The God is thus within the worshiper as well as without. p109

Water everywhere, falling in thundering cataracts, singular drops, and draping sheets. Kellhus paused next to one of the shining braziers, peered beneath the bronze visage that loomed orange and scowling over his father, watched him lean back into absolute shadow. “You came to the world,” unseen lips said, “and you saw that Men were like children.” Lines of radiance danced across the intervening waters. “It is their nature to believe as their fathers believed,” the darkness continued. “To desire as they desired … Men are like wax poured into moulds: their souls are cast by their circumstances. Why are no Fanim children born to Inrithi parents? Why are no Inrithi children born to Fanim parents? Because these truths are made, cast by the particularities of circumstance. Rear an infant among Fanim and he will become Fanim. Rear him among Inrithi and he will become Inrithi … “Split him in two, and he would murder himself.” Without warning, the face re-emerged, water-garbled, white save the black sockets beneath his brow. The action seemed random, as though his father merely changed posture to relieve some vagrant ache, but it was not. Everything, Kellhus knew, had been premeditated. For all the changes wrought by thirty years in the Wilderness, his father remained Dûnyain … Which meant that Kellhus stood on conditioned ground. “But as obvious as this is,” the blurred face continued, “it escapes them. Because they cannot see what comes before them, they assume nothing comes before them. Nothing. They are numb to the hammers of circumstance, blind to their conditioning. What is branded into them, they think freely chosen. So they thoughtlessly cleave to their intuitions, and curse those who dare question. They make ignorance their foundation. They confuse their narrow conditioning for absolute truth.” He raised a cloth, pressed it into the pits of his eyes. When he withdrew it, two rose-coloured stains marked the pale fabric. The face slipped back into the impenetrable black. “And yet part of them fears. For even unbelievers share the depth of their conviction. Everywhere, all about them, they see examples of their own self-deception … ‘Me!’ everyone cries. ‘I am chosen!’ How could they not fear when they so resemble children stamping their feet in the dust? So they encircle themselves with yea-sayers, and look to the horizon for confirmation, for some higher sign that they are as central to the world as they are to themselves.” He waved his hand out, brought his palm to his bare breast. “And they pay with the coin of their devotion.

Change your emotional state Distract yourself: An emotion is only as strong as you allow it to be. Whenever you experience a negative feeling, instead of focusing on it, get busy right away. If you’re angry about something, cross something off your to-do list. If possible, do something that requires your full attention. Interrupt: Do something silly or unusual to break the pattern. Shout, do a silly dance or speak with a strange voice. Move: Stand up, go for a walk, do push-ups, dance, or use a power posture. By changing your physiology, you can change the way you feel. Listen to music: Listening to your favorite music may shift your emotional state. Shout: Talk to yourself with a loud and authoritarian voice and give yourself a pep talk. Use your voice and words to change your emotions.

In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.' Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand. The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously. "Music! more music!" she cried. Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")

Meditation is not a posture. Instead it is a state of awakened consciousness. Awakened consciousness can be practiced while sitting, standing, walking, running, singing, dancing or sweeping the floor.

At high school I was never comfortable for a minute. I did not know about Lonnie. Before an exam, she got icy hands and palpitations, but I was close to despair at all times. When I was asked a question in class, any simple little question at all, my voice was apt to come out squeaky, or else hoarse and trembling. When I had to go to the blackboard I was sure—even at a time of the month when this could not be true—that I had blood on my skirt. My hands became slippery with sweat when they were required to work the blackboard compass. I could not hit the ball in volleyball; being called upon to perform an action in front of others made all my reflexes come undone. I hated Business Practice because you had to rule pages for an account book, using a straight pen, and when the teacher looked over my shoulder all the delicate lines wobbled and ran together. I hated Science; we perched on stools under harsh lights behind tables of unfamiliar, fragile equipment, and were taught by the principal of the school, a man with a cold, self-relishing voice—he read the Scriptures every morning—and a great talent for inflicting humiliation. I hated English because the boys played bingo at the back of the room while the teacher, a stout, gentle girl, slightly cross-eyed, read Wordsworth at the front. She threatened them, she begged them, her face red and her voice as unreliable as mine. They offered burlesqued apologies and when she started to read again they took up rapt postures, made swooning faces, crossed their eyes, flung their hands over their hearts. Sometimes she would burst into tears, there was no help for it, she had to run out into the hall. Then the boys made loud mooing noises; our hungry laughter—oh, mine too—pursued her. There was a carnival atmosphere of brutality in the room at such times, scaring weak and suspect people like me.

Consider your will and your body as two dancers, moving in total unison. Too many beginning and even experienced yoga students make their yoga into a wrestling match—the mind contending with the body, forcing it into postures that the body is resisting. Yoga is a dance, not a wrestling match.

Ladies and gentlemen, you have made most remarkable Progress, and progress, I agree, is a boon; You have built more automobiles than are parkable, Crashed the sound-barrier, and may very soon Be setting up juke-boxes on the Moon: But I beg to remind you that, despite all that, I, Death, still am and will always be Cosmocrat. Still I sport with the young and daring; at my whim, The climber steps upon the rotten boulder, The undertow catches boys as they swim, The speeder steers onto the slippery shoulder: With others I wait until they are older Before assigning, according to my humor, To one a coronary, to one a tumor. Liberal my views upon religion and race; Tax-posture, credit-rating, social ambition Cut no ice with me. We shall meet face to face, Despite the drugs and lies of your physician, The costly euphenisms of the mortician: Westchester matron and Bowery bum, Both shall dance with me when I rattle my drum.

Wow,” he added, blinking rather rapidly as Hermione came hurrying toward them. “You look great!” “Always the tone of surprise,” said Hermione, though she smiled. She was wearing a floaty, lilac-colored dress with matching high heels; her hair was sleek and shiny. “Your Great-Aunt Muriel doesn’t agree, I just met her upstairs while she was giving Fleur the tiara. She said, ‘Oh dear, is this the Muggle-born?’ and then, ‘Bad posture and skinny ankles.’” “Don’t take it personally, she’s rude to everyone,” said Ron. “Talking about Muriel?” inquired George, reemerging from the marquee with Fred. “Yeah, she’s just told me my ears are lopsided. Old bat. I wish old Uncle Bilius was still with us, though; he was a right laugh at weddings.” “Wasn’t he the one who saw a Grim and died twenty-hour hours later?” asked Hermione. “Well, yeah, he went a bit odd toward the end,” conceded George. “But before he went loopy he was the life and soul of the party,” said Fred. “He used to down an entire bottle of firewhisky, then run onto the dance floor, hoist up his robes, and start pulling bunches of flowers out of his--” “Yes, he sounds a real charmer,” said Hermione, while Harry roared with laughter. “Never married, for some reason,” said Ron. “You amaze me,” said Hermione.

A man who is awake in the open field at night or who wanders over silent paths experiences the world differently than by day. Nighness vanishes, and with it distance; everything is equally far and near, close by us and yet mysteriously remote. Space loses its measures. There are whispers and sounds, and we do not know where or what they are. Our feelings too are peculiarly ambiguous. There is a strangeness about what is intimate and dear, and a seductive charm about the frightening. There is no longer a distinction between the lifeless and the living, everything is animate and soulless, vigilant and asleep at once. What the day brings on and makes recognizable gradually, emerges out of the dark with no intermediary stages. The encounter suddenly confronts us, as if by a miracle: What is the thing we suddenly see - an enchanted bride, a monster, or merely a log? Everything teases the traveller, puts on a familiar face and the next moment is utterly strange, suddenly terrifies with awful gestures and immediately resumes a familiar and harmless posture. Danger lurks everywhere. Out of the dark jaws of the night which gape beside the traveller, any moment a robber may emerge without warning, or some eerie terror, or the uneasy ghost of a dead man - who knows what may once have happened at that very spot? Perhaps mischievous apparitions of the fog seek to entice him from the right path into the desert where horror dwells, where wanton witches dance their rounds which no man ever leaves alive. Who can protect him, guide him aright, give him good counsel? The spirit of Night itself, the genius of its kindliness, its enchantment, its resourcefulness, and its profound wisdom. She is indeed the mother of all mystery. The weary she wraps in slumber, delivers from care, and she causes dreams to play about their souls. Her protection is enjoyed by the un-happy and persecuted as well as by the cunning, whom her ambivalent shadows offer a thousand devices and contrivances. With her veil she also shields lovers, and her darkness keeps ward over all caresses, all charms hidden and revealed. Music is the true language of her mystery - the enchanting voice which sounds for eyes that are closed and in which heaven and earth, the near and the far, man and nature, present and past, appear to make themselves understood. But the darkness of night which so sweetly invites to slumber also bestows new vigilance and illumination upon the spirit. It makes it more perceptive, more acute, more enterprising. Knowledge flares up, or descends like a shooting star - rare, precious, even magical knowledge. And so night, which can terrify the solitary man and lead him astray, can also be his friend, his helper, his counsellor.

Cynicism is, ultimately, fear. Cynicism makes contact with your skin, and a thick black carapace begins to grow—like insect armor. This armor will protect your heart, from disappointment—but it leaves you almost unable to walk. You cannot dance in this armor. Cynicism keeps you pinned to the spot, in the same posture, forever. And of course, the deepest irony about the young being cynical is that they are the ones that need to move, and dance, and trust the most. They need to cartwheel though a freshly burst galaxy of still-forming but glowing ideas, never scared to say “Yes! Why not!”—or their generation’s culture will be nothing but the blandest, and most aggressive, or most defended of old tropes. When young people are cynical, and snarky, they shoot down their own future. When you keep saying “No,” all that’s left is what other people said “Yes” to before you were born. Really, “No” is no choice at all. When

Yet the homogeneity of contemporary humanity is most apparent when it comes to our view of the natural world and of the human body. If you fell sick a thousand years ago, it mattered a great deal where you lived. In Europe, the resident priest would probably tell you that you had made God angry and that in order to regain your health you should donate something to the church, make a pilgrimage to a sacred site, and pray fervently for God’s forgiveness. Alternatively, the village witch might explain that a demon had possessed you and that she could cast it out using song, dance, and the blood of a black cockerel. In the Middle East, doctors brought up on classical traditions might explain that your four bodily humors were out of balance and that you should harmonize them with a proper diet and foul-smelling potions. In India, Ayurvedic experts would offer their own theories concerning the balance between the three bodily elements known as doshas and recommend a treatment of herbs, massages, and yoga postures. Chinese physicians, Siberian shamans, African witch doctors, Amerindian medicine men—every empire, kingdom, and tribe had its own traditions and experts, each espousing different views about the human body and the nature of sickness, and each offering their own cornucopia of rituals, concoctions, and cures. Some of them worked surprisingly well, whereas others were little short of a death sentence. The only thing that united European, Chinese, African, and American medical practices was that everywhere at least a third of all children died before reaching adulthood, and average life expectancy was far below fifty.14 Today, if you happen to be sick, it makes much less difference where you live. In Toronto, Tokyo, Tehran, or Tel Aviv, you will be taken to similar-looking hospitals, where you will meet doctors in white coats who learned the same scientific theories in the same medical colleges. They will follow identical protocols and use identical tests to reach very similar diagnoses. They will then dispense the same medicines produced by the same international drug companies. There are still some minor cultural differences, but Canadian, Japanese, Iranian, and Israeli physicians hold much the same views about the human body and human diseases. After the Islamic State captured Raqqa and Mosul, it did not tear down the local hospitals. Rather, it launched an appeal to Muslim doctors and nurses throughout the world to volunteer their services there.15 Presumably even Islamist doctors and nurses believe that the body is made of cells, that diseases are caused by pathogens, and that antibiotics kill bacteria.

I suppose we ought to go back,” she said when several minutes had passed, and his silence became unsettling. In answer Ian tipped his head back and closed his eyes, looking like a man in the throes of some deep, internal battle. “Why?” he said, still in that odd posture. “Because there’s nowhere else to walk,” she answered, stating the obvious. “We did not come out tonight to walk,” he said flatly. Elizabeth’s sense of security began to disintegrate. “We didn’t?” “You know we didn’t.” “Then-then why are we here?” she asked. “Because we wanted to be alone together.” Horrified at the possibility that he’d somehow known what thoughts had been running through her mind at supper, she said uneasily, “Why should you think I want to be alone with you?” He turned his head toward her, and his relentless gaze locked with hers. “Come here and I’ll show you why.” Her entire body began to vibrate with a mixture of shock, desire, and fear, but somehow her mind remained in control. It was one thing to want to be kissed by him at the cottage where the vicar was nearby, but here, with absolute privacy and nothing to prevent him from taking all sorts of liberties, it was another matter entirely. Far more dangerous. More frightening. And based on her behavior in England, she couldn’t even blame him for thinking she’d be willing now. Struggling desperately to ignore the sensual pull he was exerting on her, Elizabeth drew a long, shaky breath. “Mr. Thornton,” she began quietly. “My name is Ian,” he interrupted. “Considering our long acquaintance-not to mention what has transpired between us-don’t you think it’s a little ridiculous to call me Mr. Thornton?” Ignoring his tone, Elizabeth tried to keep hers nonjudgmental and continue her explanation. “I used to blame you entirely for what happened that weekend we were together,” she began softly. “But I’ve come to see things more clearly.” She paused in that valiant speech to swallow and then plunged in again. “The truth is that my actions that first night, when we met in the garden and I asked you to dance with me, were foolish-no, shameless.” Elizabeth stopped, knowing that she could partly exonerate herself by explaining to him that she’d only done all that so her friends wouldn’t lose their wagers, but he would undoubtedly find that degrading and insulting, and she wanted very much to soothe matters between them, not make them much, much worse. And so she said haltingly, “Every other time we were alone together after that I behaved like a shameless wanton. I can’t completely blame you for thinking that’s exactly what I was.” His voice was heavy with irony. “Is that what I thought, Elizabeth?” His deep voice saying her name in the darkness made her senses jolt almost as much as the odd way he was looking at her across the distance that separated them. “Wh-what else could you have thought?” Shoving his hands into his pockets, he turned fully toward her. “I thought,” he gritted, “you were not only beautiful but intoxicatingly innocent. If I’d believed when we were standing in the garden that you realized what the hell you were asking for when you flirted with a man of my years and reputation, I’d have taken you up on your offer, and we’d both have missed the dancing.” Elizabeth gaped at him. “I don’t believe you.” “What don’t you believe-that I wanted to drag you behind the hedges then and there and make you melt in my arms? Or that I had scruples enough to ignore that ignoble impulse?

As they walked toward the dance floor, Pamela barely felt the bruises on her feet from Henry. The thrill of waltzing with Mr. Carter practically banished the ache. On the floor, he took her into his arms. She liked the feel of his hand on her waist, the press of their gloved palms together. For the first time, the intimate posture, which had always made her feel uncomfortable and stiff, seemed right, and she wished he would pull her closer. Throughout the beginning of the waltz, they remained silent. She had the sense that Mr. Carter was concentrating on his steps, and she didn't want to distract him. He frowned. "I'm sorry I'm not a very good dancer." "Not at all." Pamela thought of Henry and had to restrain a laugh. She didn't want Mr. Carter to think she was making fun of him. "You couldn't possibly be worse than my previous partner, who led me in the wrong direction and trod on my toes!" His troubled expression cleared. "Well, then, I'm grateful you decided to risk your toes again with me. I promise, I'll try to keep my boots on the floor where they belong." He wiggled his eyebrows. Pamela laughed at his playful act. "I watched you with Elizabeth, and you were fine. So accepting your invitation to dance was not such a risk as you're making it out to be." As they bantered, Pamela found herself relaxing. Conversing with this stranger she'd only met twenty minutes ago was far easier than talking with some men she'd known all her life. Mr. Carter also seemed to become comfortable. His lead became more expert, and he picked up their speed. As they became in tune with each other, they flowed in perfect step to the music. Exhilaration welled up in Pamela. She'd never known dancing could feel like this. She glanced up at him, feeling a smile as wide as the moon stretch across her face. "We're flying!

Grey wasn’t quite drunk, but he was far from sober when Rose entered his study later that evening. His heart stuttered at the sight of her, but his head…his head couldn’t take any more. “I’ve been drinking,” he warned her, just in case his sprawled posture and missing cravat wasn’t enough indication. “And I refuse to dance this ridiculous dance with you any more tonight.” “May I have a drink with you?” He glanced up. She stood beside the sofa where he half sat, half lay. She looked like someone who’d just lost her best friend or puppy or something equally as tragic. He sat up. “Of course.” Never mind that it wasn’t proper. Who the hell cared? They were well past proper. He was simply trying to hold on to sane. She poured herself a substantial glass of sherry and took a seat on the chair nearest him. He sat quietly, nursing the remainder of whiskey in his glass while she took several sips from her own. “Do you remember my come-out ball?” she asked after a few minutes. “Of course.” And he did. “I remember telling you that you looked lovely in pink.” She smiled. “You danced the first dance with me so I wouldn’t have to dance with Papa.” “You were afraid the other girls would laugh at you if you danced with your father.” “They didn’t laugh at me for dancing with you.” “No.” He chuckled at took a drink. “I wager they didn’t.” Rose sighed. “They thought you were so scandalous, you know. All night I had girls coming up to me wanting to know about you. I felt very important.” He saluted her with his glass. “Glad to be of service.” “I think I fell a little bit in love with you that night.” Grey choked on a mouthful of whiskey. Coughing, he cursed himself for being stupid enough to relax his guard with her. “Rose…” She held up her hand. “I’m not telling you this to make you uncomfortable, Grey. I wanted to tell you that you were a knight to me that evening-a knight on a big white horse. I didn’t know much about your reputation, all I knew was that you made me feel grown-up.

Come Let Us Worship Come, let us bow down in worship, let us kneel before the LORD our Maker. —PSALM 95:6     A recent point of frustration, debate, and tension in many churches has been about defining worship and agreeing what it should look like. Older Christians are confused because of changes made to the style of worship. They wonder whatever happened to the old hymns that were so beloved. They knew the page numbers and all the old verses by heart. Today there are no hymnals, the organs have been silenced, and guitars, drums, and cymbals have taken over. The choir and their robes have been abandoned, and now we have five to seven singers on stage leading songs. We stand for 30 minutes at a time singing song lyrics that we aren’t familiar with from a large screen. What’s happening? If the church doesn’t have these components, the young people leave and go to where it’s happening. Are we going to let the form of worship divide our churches? I hope not! The origins of many of the different expressions of worship can be found in the Psalms, which portray worship as an act of the whole person, not just the mental sphere. The early founders established ways to worship based on what they perceived after reading this great book of the Bible. Over the centuries, Christian worship has taken many different forms, involving various expressions and postures on the part of churchgoers. The Hebrew word for “worship” literally means “to kneel” or “to bow down.” The act of worship is the gesture of humbling oneself before a mighty authority. The Psalms also call upon us to “sing to the LORD, bless His name” (96:2 NASB). Music has always played a large part in the sacred act of worship. Physical gestures and movements are also mentioned in the Psalms. Lifting our hands before God signifies our adoration of Him. Clapping our hands shows our celebration before God. Some worshipers rejoice in His presence with tambourines and dancing (see Psalm 150:4). To worship like the psalmist is to obey Jesus’ command to “love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength” (Mark 12:30). There are many more insights for worship in the book of Psalms: • God’s gifts of instruments and vocal music can be used to help us worship (47:1; 81:1-4). • We can appeal to God for help, and we can thank Him for His deliverance (4:3; 17:1-5). • Difficult times should not prevent us from praising God (22:23- 24; 102:1-2; 140:4-8).

When cynicism becomes the default language, playfulness and invention become impossible. Cynicism scours through a culture like bleach, wiping out millions of small, seedling ideas. Cynicism means your automatic answer becomes, "No." Cynicism means you presume everything will end up in disappointment. And this is, ultimately, why anyone becomes cynical. Because they are scared of disappointment. Because they are fearful their innocence will be used against them - that when they run around gleefully trying to cram the whole world into their mouth, someone will try to poison them. Cynicism is, ultimately, fear. Cynicism makes contact with your skin, and a thick black carapace begins to grow - like insect armor. This armor will protect your heart, from disappointment - but it leaves you almost unable to walk. You cannot dance in this armor. Cynicism keeps your pinned to the spot, in the same posture, forever. And of course, the deepest irony about the young being cynical is that they are the ones that need to move, and dance, and trust the most. They need to cartwheel through a freshly burst galaxy of still-forming but glowing ideas, never scared to say, "Yes! Why not!" - or their generation's culture will be nothing but the blandest, and most aggressive, or most defended or old tropes. When young people are cynical, and snarky, they shoot down their own future. When you keep saying, "No," all that's left is what other people said, "Yes" to before you were born. Really, "No" is no choice at all. When other people begin to bring their guns to the party, it's not a party anymore. It's a battle. Without realizing it, I have become a self-defeating mercenary in a pointless war. I'm shooting my own future.

When cynicism becomes the default language, playfulness and invention become impossible. Cynicism scours through a culture like bleach, wiping out millions of small, seedling ideas. Cynicism means your automatic answer becomes, "No." Cynicism means you presume everything will end up in disappointment. And this is, ultimately, why anyone becomes cynical. Because they are scared of disappointment. Because they are fearful their innocence will be used against them - that when they run around gleefully trying to cram the whole world into their mouth, someone will try to poison them. Cynicism is, ultimately, fear. Cynicism makes contact with your skin, and a thick black carapace begins to grow - like insect armor. This armor will protect your heart, from disappointment - but it leaves you almost unable to walk. You cannot dance in this armor. Cynicism keeps you pinned to the same spot, in the same posture, forever. And of course, the deepest irony about the young being cynical is that they are the ones that need to move, and dance, and trust the most. They need to cartwheel through a freshly burst galaxy of still-forming but glowing ideas, never scared to say, "Yes! Why not!" - or their generation's culture will be nothing but the blandest, and most aggressive, or most defended of old tropes. When young people are cynical, and snarky, they shoot down their own future. When you keep saying, "No," all that's left is what other people said, "Yes" to before you were born. Really, "No" is no choice at all. When other people begin to bring their guns to the party, it's not a party anymore. It's a battle. Without realizing it, I have become a self-defeating mercenary in a pointless war. I'm shooting my own future.

She wraps him with her flirtatious song - full of hints – then follows it with an ode in which with slow posturing she upbraids him, curses him, implores him, then finally adjures him with desperate wringing of her hands.

Narcissists do not feel like the world is safe. They might not say it out loud, but this is their inner experience. While we all use self-protective strategies, the shadow dance of a narcissist is a dance of radical avoidance of anything that threatens his grandiosity, his control, his certainty. And while the narcissist lives self-defensively, threatened by any who might be a rival or postured to stay in the one-up position in every relationship, he is really most threatened by what is hidden within. At his core, he is a scared little boy. And yet he appears angry and controlling when the repression of the shame and rage within unwittingly reveals itself, turned on others and a world he is threatened by.

Dance was curious in its near universality. Not all species had dance in their cultures, but most did, and those that did not latched onto the idea once exposed to it... Sidra had watched a lot of archival footage of dance, but fascinating as that was from a cultural perspective, she enjoyed the improvised madness of a multispecies gathering much more. In the pit, she'd observed, it didn't matter what your limbs looked like, or how you liked to move. So long as there was a beat and warm bodies nearby, you could do whatever felt good... The kit responded, changing its posture into something Sidra hadn't experienced before. The limbs were no longer pressed close to the torso, the back no longer straight. What had been tension and angles was now a harmony of curves, rocking, swaying, shifting... A curious sense of delight began to warm up Sidra's pathways.

The buffalo played a large part in the ceremonies and mythology of the Plains Indians. Many myths and folk tales about the buffalo, which delighted both young and old, were told and retold about the campfires. The first buffalo spirit was supposed to have been born in a northern cave and was said to have been pure white. It had great powers in healing, especially wounds. A white buffalo in a herd was supposed to be the reappearance of this buffalo spirit on earth. The hide taken from such an animal was sacred and had special ceremonial purposes. Most of the Plains tribes had buffalo societies. The members of these groups took part in special buffalo ceremonies and dances. These men had personal names suggesting movements, actions, or postures of the animal, such as “Standing Buffalo,” or “Sitting Bull.” The Buffalo Dance of the Plains tribes has many forms. Sometimes a herd of buffalo are represented. In this dance we have only one buffalo wearing a buffalo mask and a buffalo tail. Other dancers, eight or more in number, are hunters carrying feathered lances and shields.

We have come to be danced not the pretty dance not the pretty pretty, pick me, pick me dance but the claw our way back into the belly of the sacred, sensual animal dance the unhinged, unplugged, cat is out of its box dance the holding the precious moment in the palms of our hands and feet dance We have come to be danced not the jiffy booby, shake your booty for him dance but the wring the sadness from our skin dance the blow the chip off our shoulder dance the slap the apology from our posture dance We have come to be danced not the monkey see, monkey do dance one, two dance like you one two three, dance like me dance but the grave robber, tomb stalker tearing scabs & scars open dance the rub the rhythm raw against our souls dance WE have come to be danced not the nice invisible, self conscious shuffle but the matted hair flying, voodoo mama shaman shakin’ ancient bones dance the strip us from our casings, return our wings sharpen our claws & tongues dance the shed dead cells and slip into the luminous skin of love dance We have come to be danced not the hold our breath and wallow in the shallow end of the floor dance but the meeting of the trinity: the body, breath & beat dance the shout hallelujah from the top of our thighs dance the mother may I? yes you may take 10 giant leaps dance the Olly Olly Oxen Free Free Free dance the everyone can come to our heaven dance We have come to be danced where the kingdom’s collide in the cathedral of flesh to burn back into the light to unravel, to play, to fly, to pray to root in skin sanctuary We have come to be danced WE HAVE COME

In years gone by, particularly in the East and the South, ladies would attend charm school to learn how to elegantly stand, sit, dance, and walk. Even today, there are "Cotillion" classes for young people to learn how to carry themselves with dignity and use proper social graces. I don't mind sounding old-fashioned because these culturally rich rituals lay a firm foundation for the appropriate behaviors and excellent manners necessary for a positive impression. Embracing a tried and true tradition can sometimes be beneficial. Let's avoid the awkward, embarrassing, and unsophisticated ways we see all too often.

It was as though the real person had suddenly decided to reinhabit the hostess’s body. Her eyes, her expression, her posture had all come alive, and again I felt that vital energy that had animated her dancing.

Try something for me, Genevieve.” “We need to find some toys,” she said as if she hadn’t heard him. “The boys will be here directly, and if we don’t entertain them, they’ll entertain themselves.” Dreadful thought. “This won’t take but a moment. I want you to curse.” Not only were her arms crossed, but she’d drawn herself up, aligned herself with some invisible, invincible posture board such as Helen of Troy might have relied upon to get all those ships launched in a single day. “I beg your pardon?” “Curse. Call him your blasted, damned cat.” Her brows knitted, making her look like one of Kesmore’s daughters. “I love Timothy.” “Of course you do.” Lucky cat. “But you do not love having to rely on his good offices for your candlelit sketches.” He prowled closer. “You do not love being shuffled about from family member to family member.” Another step, so he was almost nose to nose with her. “I daresay you do not love baking.” “I rather don’t.” He unwrapped her arms and kept her hands in his. “Genevieve.” “I do not enjoy baking in the least.” He waited, certain if he were patient, she’d rise to the challenge. The corners of her mouth quivered. “I perishing hate all the mess and heat.” “Of course you do.” “It’s a dashed nuisance, and one gets sticky.” A smile started, turning up her lips, lighting her eyes. “How sticky? “Blasted, damned sticky.” “Say it again.” She beamed at him. “Perishing, blasted, damned, damned sticky.” He wrapped his arms around her. “Well done. You must curse for me more often, Genevieve. It makes your eyes dance.” And her cursing made him happy too. As she hugged him back, it occurred to Elijah that Christmas was touted as the season for giving, though in recent years, the occasion hadn’t arisen for him to do much of that. He’d give to her. He’d give her a safe place to curse, a place to draw as she pleased, and some kisses. If he counted his approval of the mistletoe tradition, that was two holiday sentiments in one morning. Elijah

Petipa responds with vigor equal to Ralph's robust song and flamboyant gestures. Once the energy level is raised, Ralph feels that his postures become imbued with an unconscious spiritual significance which Petipa affirms by countering with her own complementary moves. A hopping arabesque from Ralph may provoke a series of elegant stalking leaps from Petipa, while a fluttering of fingers may be countered with tiny aerial flurries. Poignant moments of unconcerned fur licking punctuate the patterns of the dance. Dancing with a tail of his own attached, Fred becomes a psychic extension of the cat. 'I share its grace, power, and oneness with the universe. I relate to Fluff and the whole spectrum of feline physicality on a profound level--I even regard birds differently.' Cat dancing is likely a complex vocabulary of gestures that we have yet to recognize and fully understand. Helen, along with others who share her covenant, has come to feel that Boot's studied poses communicate his inner thoughts and embody his souls unexpressed desires. But you have to be careful; sometimes the energy is so powerful I worry about overstimulating my aura. At those levels, an unstable etheric oscillation could collapse into an astral vortex and suck my spiritual reserves into a sate of negative sub-matter.

Humans going into altered states of consciousness all react the same way, no matter where they come from. It is part of the way the human brain is wired. There are three stages of altered consciousness that have been recognised by laboratory experiment (Lewis-Williams & Dowson 1989: 60–67). In the first stage, people see zig-zags, dots and whorls. In the second stage this develops into a deeper trance experience, and the subjects see and feel a world more familiar to them, and can hear water, experience thirst, etc. The third stage is the deepest, and people in deep trance talk about entering a hole in the ground and seeing ‘real world’ imagery of animals and people. These different stages have been recognised in the rock art: stage one with grids, zig-zags, mesh shapes (such as nets); stage two with nested ‘U’ shapes and buzzing (interpreted as beehives); stage three with snakes coming out of the rock face, people with animal heads, etc. This last stage accompanies visual images of trancers in the dance, which include the ‘bent-over posture’ assumed by the shaman when dancing, and bleeding from the nose, which would occur when the shaman was physically under stress when entering the spirit world (Figure 4.4). Interviews with shamans have reported that at the moment of the climax, the power shoots up the spine and out of the top of the head. This, among the Ju/’hoansi Bushmen of Nyae Nyae, is called kia (Katz 1982), as we have seen in Chapter 3.

What I remember now, years afterwards, is that I rather liked strutting around, and so, I feel sure, did most of my fellows.' Marching aimlessly about on the drill field, swaggering in conformity with prescribed military postures, conscious only of keeping in step so as to make the next move correctly and in time somehow felt good. Words are inadequate to describe the emotion aroused by the prolonged movement in unison that drilling involved. A sense of pervasive well-being is what I recall; more specifically, a strange sense of personal enlargement; a sort of swelling out, becoming bigger than life, thanks to participation in collective ritual.

One time, as I entered the throne room, I heard the Lord say, “Don’t prove your value. Know it.” Now, don’t read this wrong. I am not in any way prideful when I walk into the throne room. I know my place, which is always on my face in worship. I walk in as a humble child every time, no matter how much He teaches me before I enter. I know the authority I walk in, but my posture is always that of a learner.

Ode To The Stretchy Trot Oh stretchy trot, friend of friends, honest and true, how do I love thee? Let me count the ways. There in the beginning, and there at the end, thy calming presence evolving into the finest equine dance. Compulsory test circle or ultimate personal choice, available at a moment's notice, thou art the true collaborator. Releasing tension, transmitting serenity to the mind, encouraging relaxation, improving weight carriage; Steadfastly the soothing one during tumultuous times. . I know when thou art here: soft ears, loose muscles, bounciness, floating light-stepped-ness, and the ever-pervasive snorts! . Not a mere "neck down" or some prescribed posture to behold, thou art an overall body stretch through the topline from tail to ear. I cannot express enough love for thee, save that I will be here, lingering, eagerly awaiting your next appearance.

A peculiarity of Chinese rule over Tibet is the government’s insistence that Tibetans are happy, so happy that they while away their days singing and dancing. This ruse grows out of the Chinese Communist Party’s historical posturing as the defender of the oppressed. To absolve themselves of the sins of imperialism, it was essential that they show the Tibetans’ enthusiastic acceptance of Chinese rule. To this end, government propagandists devote inordinate effort to disseminating photographs, pamphlets, and books that show Tibetans with smiles stretched across their faces.

Shiva raised both his arms in an elegant circular movement to the sides to bring them in line with his shoulder. His right hand was holding an imaginary dumru, a small, handheld percussion instrument. His left hand was open with its palm facing upward, almost like it was receiving some divine energy. He held this pose for some time; his glowing face indicated that Shiva was withdrawing into his inner world. His right hand then moved effortlessly forward, almost as if it had a mind of its own. Its palm was now open and facing the audience. Somehow, the posture seemed to convey a feeling of protectiveness to a very surprised Sati. Almost languidly, his left arm glided at shoulder height and came to rest with the palm facing downwards and pointing at the left foot. Shiva held this pose for some time. And then began the dance. Sati stared in wonder at Shiva. He was performing the same steps as her. Yet it looked like a completely different dance. His lyrical hand movements graced the mystical motion of his body. How could a body this muscular also be so flexible? The Guruji tried helplessly to get his dhol to give Shiva the beats. But clearly that wasn’t necessary. As it was Shiva’s feet which were leading the beat for the dhol! The dance conveyed the various emotions of a woman. In the beginning it conveyed her feelings of joy and lust as she cavorted with her husband. The next emotion was anger and pain at the treacherous killing of her mate. Despite his rough masculine body, Shiva managed to convey the tender yet strong emotions of a grieving woman. Shiva’s eyes were open. But the audience realised that he was oblivious to them. Shiva was in his own world. He did not dance for the audience. He did not dance for appreciation. He did not dance for the music. He danced only for himself. In fact, it almost seemed like his dance was guided by a celestial force. Sati realised that Shiva was right. He had opened himself and the dance had come to him. After what seemed like an eternity the dance came to an end, with Shiva’s eyes firmly shut. He held the final pose for a long time as the glow slowly left him. It was almost as if he was returning to this world. Shiva gradually opened his eyes to find Sati, Krittika and the Guruji gaping at him wonder-struck.

The union team of New Zealand's national sport of Rugby has incorporated the static posture of the Haka war dance into its symbols. That symbol of the sprawling arms and legs is similar to that of the Dogon's Kanaga mask which I trace back to Egypt; it resembles the Ka signaling the beginning of the solar and/or lunar cycle based on the Egyptian theology when Osiris proceeds from the Great Pyramid (which is the House of Ka) into the Duat.

[B]ad conscience also appears as a result of incipient priestly influence, beginning in the era when priests are considered, or at least associated with, aristocracy. According to Nietzsche, the priestly valuation ‘branch[es] off from the knightly-aristocratic [manner of valuation] and then develop[s] into its opposite’. Knights (and warriors) prize ‘a powerful physicality, a blossoming, rich, even overflowing health, along with whatever is required for their preservation: war, adventure, hunting, dancing, war games, and in general everything that involves strong, free and cheerful activity’. Priests value other things. They are impotent and thus afraid to act openly for fear of reprisals. Their desire for expression remains undiminished, however, and so gives rise to hatred. This hatred is directed toward those in power, whether primeval barbarian-masters or present-day noble-masters. It results in a posture contrary to everything represented by the masters (aforementioned as knights). For Nietzsche, masters are the picture of Life. They say yes to everything in the world, whether good or bad. The impotent, by contrast, say no to everything in the world, imagining another domain to which to flee for refuge from the perceived suffering of this one. The impotent, for Nietzsche, represent something even more dangerous and profound than death. Theirs is the way (paved by the priest) to nothingness.

What happens when you’re intimidated? Run to the nearest corner and hide, do you?” “I should say not,” she said primly, wondering if she were being teased. “I do what has to be done, no matter what the situation.” Winterborne’s smile widened until she saw the flash of white teeth against that deep bronze complexion. “I suppose I know that better than most,” he said softly. Understanding that he was referring to how she had helped him through the fever…and remembering how she had held that black head in the crook of her arm, and bathed his face and neck…Helen felt a blush start. Not the ordinary kind of blush that faded soon after it started. This one kept heating and heating, spreading all through her until she was so uncomfortable that she could scarcely breathe. She made the mistake of glancing into his simmering coffee-black eyes, and she felt positively immolated. Her desperate gaze settled upon the battered pianoforte in the corner. “Shall I play something for you?” She stood without waiting for a reply. It was the only alternative to bolting from the room. Out of the periphery of her vision, she saw Winterborne automatically grip the arms of his chair in preparation to rise, before he remembered that he was in a leg cast. “Yes,” she heard him say. “I’d like that.” He maneuvered the chair a few inches so that he could see her profile as she played. The pianoforte seemed to offer a small measure of protection as she sat at the keyboard and pushed up the hinged fallboard that covered the keys. Taking a slow, calming breath, Helen arranged her skirts, adjusted her posture, and placed her fingertips on the keys. She launched into a piece she knew by memory: the allegro from Handel’s Piano Suite in F Major. It was full of life and complexity, and challenging enough to force her to think about something besides blushing. Her fingers danced in a blur over the keys, the exuberant pace unfaltering for two and a half minutes. When she finished, she looked at Winterborne, hoping he had liked it. “You play with great skill,” he said. “Thank you.” “Is that your favorite piece?” “It’s my most difficult,” Helen said, “but not my favorite.” “What do you play when there’s no one to hear?” The gentle question, spoken in that accent with vowels as broad as his shoulders, caused Helen’s stomach to tighten pleasurably.