Dance Rhythm Quotes

Everything in the universe has a rhythm, everything dances.

Human speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars.

To live is to be musical, starting with the blood dancing in your veins. Everything living has a rhythm. Do you feel your music?

Live by your own rules Move to your rhythm, instead of dancing to the beat of someone else’s drum Decide how you want to be treated Choose what you will or will not tolerate Leave if you don’t get what you want.

Why am I afraid to dance, I who love music and rhythm and grace and song and laughter? Why am I afraid to live, I who love life and the beauty of flesh and the living colors of the earth and sky and sea? Why am I afraid to love, I who love love?

Dancing. Come on. You can do it. It's a lot like navigating through a laser grid. It requires rhythm.' He moved her hips to the beat of the distant music. 'And patience.' He spun her around slowly and back toward him. 'And it's only fun if you trust your partner.' The dip was so slow, so smooth that Kat didn't know it was happening until the world was already turned upside down and Hale's face was inches from her own. Count me in, Kat.' He squeezed her tighter. 'You should always count me in.

Our biological rhythms are the symphony of the cosmos, music embedded deep within us to which we dance, even when we can't name the tune.

Sometimes the heart is so heavy that we turn away from it and forget that its throbbing is the wisest message of life, a wordless message that says, "Live, be, move, rejoice -- you are alive!" Without the heart's wise rhythm, we could not exist.

Dancing is creating a sculpture that is visible only for a moment.

The same stream of life that runs through my veins night and day runs through the world and dances in rhythmic measures. It is the same life that shoots in joy through the dust of the earth in numberless blades of grass and breaks into tumultuous waves of leaves and flowers.

Sometimes I think there are only two instructions we need to follow to develop and deepen our spiritual life: slow down and let go.

Jumping from boulder to boulder and never falling, with a heavy pack, is easier than it sounds; you just can't fall when you get into the rhythm of the dance.

You’re not going to walk through life, Amara,” he uttered roughly, each word a vow that cemented itself in her heart. “You’ll dance through it. And I’ll fucking remove anyone who tries to break your rhythm. I promise you.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - these qualities you find always in that the true artist captures. You can find it in the turning of the seasons, the way sand trails along a ridge, in the branch clusters of the creosote bush of the pattern of its leaves. We try to copy these patterns in our lives and in our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move towards death.

Now I am going to reveal to you something which is very pure, a totally white thought. It is always in my heart; it blooms at each of my steps... The Dance is love, it is only love, it alone, and that is enough... I, then, it is amorously that I dance: to poems, to music but now I would like to no longer dance to anything but the rhythm of my soul.

It doesn’t matter if I’m off the beat. It doesn’t matter if I’m snapping to the rhythm. It doesn’t matter if I look like a complete goon when I dance. It is my dance. It is my moment. It is mine. And dance I will. Try and stop me. You’ll probably get kicked in the face.

[T]he truth is that fullness of soul can sometimes overflow in utter vapidity of language, for none of us can ever express the exact measure of his needs or his thoughts or his sorrows; and human speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars.

Ribbons! Long ones, short ones, ones for every mood." He does a little dance to the singsong rhythm. "Thin ones, thick ones, and ones to tie your shoes!

Dance with the waves, move with the sea. Let the rhythm of the water set your soul free.

Light and darkness dancing together, born together, born of each other, neither preceding, neither following, both fully being in joyful rhythm.

Stars are always dancing. Sometimes they dance twinkling away with the rhythm of your joyful heart and sometimes they dance without movement to embrace your heartache as if frozen sculptures of open-armed sadness.

Biology designed the dance. Terror timed it. Dictated the rhythm with which their bodies answered each other. As though they already knew that for each tremor of pleasure they would pay with an equal measure of pain. As though they knew that how far they went would be measured against how far they would be taken.

Darkness was and darkness was good. As with light. Light and Darkness dancing together, born together, born of each other, neither preceding, neither following, both fully being, in joyful rhythm.

When each partner loves so completely that he has forgotten to ask himself whether or not he is loved in return; when he only knows that he loves and is moving to its music—then, and then only are two people able to dance perfectly in tune to the same rhythm.

Dance less in motion and more in spirit; awaken the dreamer within.

My lips are fierce with passion. My heart spins fiery beats. A rhythm lives within my fingers and dances in my feet.

What if the task is simply to unfold, to become who you already are in your essential nature—gentle, compassionate, and capable of living fully and passionately present? How would this affect how you feel when you wake up in the morning?

Love moves in sync with the cadence of forgiveness, sings in tune with the melody of acceptance, and dances in rhythm with the music of companionship.

Sometimes it’s only in the ecstasy of unrepressed movement that we may enter the stillness of our authentic selves. In such sacred moments, the world seems to be in step. This is why the idea of finding love across the dance floor endure — symbolizing that, when we know the true rhythm of our heart, we know the other.

Where I had felt a victim, I had become a determiner by recognizing I had choices. When considering a purchase, I stopped saying, "I can't afford it," and started saying, "That's not where I want to spend that amount of money.

Music does not need language of words for it has movements of dance to do its translation.

Remember this, my darling—remember this. What you achieve on earth is only a small part of the deal. If there's a secret I could whisper, and that you could keep, it would be that it's all inside you already. Every single thing you need. Earth is just a stopover. A kind of game. Make it a star game. If I could give you a gift, it would be to teach you how to stay free inside that game, to find the glory inside yourself, beyond the roles and the drama, so you can dance the dance of the game of life with a little more rhythm, a little more abandon, a little more shaking-those-hips.

Somewhere along the road many of us have picked up the belief that to change we must suffer. Some things are earned with work. But work is not suffering. Work is just work.

Every culture has its southerners -- people who work as little as they can, preferring to dance, drink, sing brawl, kill their unfaithful spouses; who have livelier gestures, more lustrous eyes, more colorful garments, more fancifully decorated vehicles, a wonderful sense of rhythm, and charm, charm, charm; unambitious, no, lazy, ignorant, superstitious, uninhibited people, never on time, conspicuously poorer (how could it be otherwise, say the northerners); who for all their poverty and squalor lead enviable lives -- envied, that is, by work-driven, sensually inhibted, less corruptly governed northerners. We are superior to them, say the northerners, clearly superior. We do not shirk our duties or tell lies as a matter of course, we work hard, we are punctual, we keep reliable accounts. But they have more fun than we do ... They caution[ed] themselves as people do who know they are part of a superior culture: we mustn't let ourselves go, mustn't descend to the level of the ... jungle, street, bush, bog, hills, outback (take your pick). For if you start dancing on tables, fanning yourself, feeling sleepy when you pick up a book, developing a sense of rhythm, making love whenever you feel like it -- then you know. The south has got you.

Soar like an eagle beyond skies of heavens reach; as wings of dreams dance with winds of reality.

Dance resides within us all. Some find it when joy conquers sorrow, others express it through celebration of movements; and then there are those... whose existence is dance,

When you meet the one who changes the way your heart beats, dance with them to that rhythm for as long as the song lasts.

When Heraclitus said that everything passes steadily along, he was not inciting us to make the best of the moment, an idea unseemly to his placid mind, but to pay attention to the pace of things. Each has its own rhythm: the nap of a dog, the procession of the equinoxes, the dances of Lydia, the majestically slow beat of the drums at Dodona, the swift runners at Olympia.

Because lascivious or venal lips had murmured the same words to him, he now had little belief in their sincerity when he heard them from Emma; they should be taken with a grain of salt, he thought, because the most exaggerated speeches usually hid the weakest feelings - as though the fullness of the soul did not sometimes overflow into the emptiest phrases, since no one can ever express the exact measure of his needs, his conceptions, or his sorrows, and human speech is like a cracked pot on which we beat out rhythms for bears to dance to when we are striving to make music that will wring tears from the stars.

I finally found my rhythm when I realized that even the steps backward were part of the dance.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

A loud song with a thumping beat rang from Jay's pocket. He gave me a goofy grin and began to bop his head back and forth to the rhythm. Oh, no-not the crazy booty dance. “Please don't,” I begged. Jay broke into his funky ringtone dance, shoulders bouncing and hips moving from side to side. People around us stepped away, surprised, then began to laugh and cheer him on. I pressed my fingers against my lips to hide an embarrassed smile. Just as the ringtone was about to end, he gave a little bow, straightened up, and answered the call.

When the melody plays, footsteps move, heart sings and spirit begin to dance.

We do not dance to reach a certain point on the floor, but simply to dance. Energy itself, as William Blake said, is eternal delight—and all life is to be lived in the spirit of rapt absorption in an arabesque of rhythms.

The pillars of traditional healing were 1) connection to clan and the natural world; 2) regulating rhythm through dance, drumming, and song; 3) a set of beliefs, values, and stories that brought meaning to even senseless, random trauma; and 4) on occasion, natural hallucinogens or other plant-derived substances used to facilitate healing with the guidance of a healer or elder. It is not surprising that today’s best practices in trauma treatment are basically versions of these four things

Sometimes we focus too much on the lyrics that we forget to dance to the music. And sometimes we dance to the music and don't listen to the lyrics. Let the rhythm guide you. Let the lyrics inspire you.

Whereas the truth is that fullness of soul can sometimes over flow in utter vapidity of language, for none of us can ever express the exact measure of his needs or his thoughts or his sorrows; and human speech is like a cracked kettle on which we tap crude rhythms for bears to dance to, while we long to make music that will melt the stars.

With the passage of days in this godly isolation [desert], my heart grew calm. It seemed to fill with answers. I did not ask questions any more; I was certain. Everything - where we came from, where we are going, what our purpose is on earth - struck me as extremely sure and simple in this God-trodden isolation. Little by little my blood took on the godly rhythm. Matins, Divine Liturgy, vespers, psalmodies, the sun rising in the morning and setting in the evening, the constellations suspended like chandeliers each night over the monastery: all came and went, came and went in obedience to eternal laws, and drew the blood of man into the same placid rhythm. I saw the world as a tree, a gigantic poplar, and myself as a green leaf clinging to a branch with my slender stalk. When God's wind blew, I hopped and danced, together with the entire tree.

You are my heart, my soul,” he said, his arms going around my waist and holding me tightly. “As you are mine,” I repeated. The magic in the air got stronger, thrumming through the forest, matching the rhythm of our breathing, matching the beating of our hearts. “Dance with me, this night and for the rest of our nights,” he said. “For as long as the moon shines in the sky and for as long as we live underneath her.

Show me how you take care of business without letting business determine who you are. When the children are fed but still the voices within and around us shout that soul’s desires have too high a price, let us remind each other that it is never about the money.

Home was finding the person whose heartbeat matched yours, then dancing to the rhythm together.

If I want to live my ability to be fully present and compassionate, my ability to be with it all—the joy and the sorrow—I must find the ways, the people, the places, the practices that support me in being all I truly am. I must cultivate ways of being that let me feel the warmth of encouragement against my heart when it is weary.

Each heartbeat begins with a single, electrical impulse, or "spark." The distinctive sound we hear through a stethoscope, or when we place our head on a loved one's chest, is the sound of the heart valves opening and closing in perfect synchronicity with each other. It is a two-party rhythm - a delicate dance of systole and diastole, which propels the heart's electrically charged particles through its chambers roughly every second of the day, every day of our lives.

When we dance, we wake up, we get down and juicy with ourselves, we have fun and forget all the heavy shit we carry around. In the dance we get real, get free, get over ourselves. Movement kicks ass. When you truly surrender to your own rhythm, you look so cool, so mysterious, so seductive— the way you deep down really want to look but don’t trust that you do.

Now, I can tell you about some women writers who truly are fantastic. One is Anna Kavan. She writes stories like I approach "Land of a Thousand Dances": she's caught in a haze and then a light, a little teeny light, come through. It could be a leopard, that light, or it could be a spot of blood. It could be anything. But she hooks onto that and spirals out. And she does it within the accessible rhythms of plot, and that's really exciting. She's not hung up with being a woman, she just keeps extending herself, keeps telescoping language and plot. Another great woman writer is Iris Sarazan, who wrote The Runaway. She considered herself a mare, a wild runaway. She was a really intelligent girl stuck in all these convents with a hungry mind. I identify with her 'cause of her hunger to go beyond herself. She wound up in prison, but she escaped and wrote some great books before kicking off. Her books aren't page after page of her beating her breast about how shitty she's been treated, they're books about her exciting telescoping plans of escape. Rhythm, great wild rhythm.... The French poet, Rimbaud, predicted that the next great crop of writers would be women. He was the first guy who ever made a big women's liberation statement, saying that when women release themselves from the long servitude of men they're really gonna gush. New rhythms, new poetries, new horrors, new beauties. And I believe in that completely. (1976 Penthouse interview)

You’re not going to walk through life, Amara, You’ll dance through it. And I’ll fucking remove anyone who tries to break your rhythm. I promise you.

A good relationship has a pattern like a dance and is built on some of the same rules. The partners do not need to hold on tightly, because they move confidently in the same pattern, intricate but gay and swift and free, like a country dance of Mozart’s. To touch heavily would be to arrest the pattern and freeze the movement, to check the endlessly changing beauty of its unfolding. There is no place here for the possessive clutch, the clinging arm, the heavy hand; only the barest touch in passing. Now arm in arm, now face to face, now back to back—it does not matter which. Because they know they are partners moving to the same rhythm, creating a pattern together, and being invisibly nourished by it.

I weave the papers through the branches, in a long loop. Up and down, my knees bending. My arms above my head, like the girls I saw once in a painting in a cave. There is a rhythm to this, a keeping of time. I wonder if I'm dancing.

Our life's dance is not painted for us in footsteps on the floor. It's not laid out so we know where to place our next step. We simply had to judge which steps best fit the rhythms that we hear."

Dance with me." Blinking, first at his offered palm and then at his features, I asked, "Why?" Not immediately replying, he reached for me, pulled me to my feet, and slid an arm around my waist. I allowed him to hold my body against his, fit our hands together, and sway to the lovely music. Begrudgingly, I admitted to myself he had great rhythm. Someone had taught him to dance. Jehtro dipped his mouth to my ear, his beard tickling my neck as he finally whispered an answer to my question, "Because you want me to hold you, but you don't know how to ask.

Fire! Your nose ignites, flameless kerosene (and, some say, Drano) laced with ephedrine you want to cry powdered demons bite through cartilage and sinuses, take dead aim at your brain, jump inside want to scream troops of tapping feet fall into rhythm, marking time, right between your eyes get the urge to dance louder, louder, ultra gray-matter power, shock waves of energy mushroom inside your head you want to let go detonate, annihilate barriers, bring down the walls, unleashing floodwaters, freeing long-captive dreams to ride the current through arteries and capillaries, pulsing, rushing, raging torrents pounding against your heart sweeping you away

It may have been due to the effect of the gordo blanco on my cognitive functions, but I was suddenly overwhelmed by an extraordinary feeling—not of satisfaction but of absolute joy. It was the feeling I had in the Museum of Natural History and when I was making cocktails. We started dancing again, and this time I allowed myself to focus on the sensations of my body moving to the beat of the song from my childhood and of Rosie moving to the same rhythm.

Am I witch? I don't know. That's what they call me. They say it's because I follow the rhythms of the earth, honor the seasons, dance under the moon and seek the ancient herbal wisdom of our ancestors. "Folk Lore, poppycock, myths," they say as they sneer at the rosemary in my cup, the comfrey brewing on the stove and turmeric stains on my hands. "Western medicine and science have replaced all that nonsense," they say. They make witches out to be evil and then call me a witch because I am seeking the knowledge & ancient wisdom that the world seems hell bent on forgetting. Well, they can call me what they like, but I know I am not evil. This is what I know: I am an intuitive woman who instinctively knows that this sacred earth holds healing that western medicine will never be able to replace. I will be here holding space. I will be their witch. So, here I am- A kitchen witch sipping her Rosemary tea, mixing up her herbal potion, dancing under the moon, and fighting for the knowledge & wisdom of our grandmothers to not be forgotten.

The most exaggerated speeches usually hid the weakest of feelings - as though the fullness of the soul did not overflow into the emptiest phrases, since no one can ever express the exact measure of his needs, his conceptions or his sorrows, and human speech is like a cracked pot on which we beat out rhythms for bears to dance to when we are striving to make music that will wring tears from the stars

The fields that push up the corn, and the water that rushes down the ravine, the juice of the grape, and the life of a man as it flows past him, are all one and the same thing. The sole unity in life is the unity of rhythm. A rhythm to which we all dance; men, apples, ravines, ploughed fields, carts among the corn, houses, horses, and the sun. The stuff that is in you, Gauguin, will pound through a grape tomorrow, because you and the grape are one. When I paint a peasant labouring in the field, I want people to feel the peasant flowing down into the soil, just as the corn does, and the soil flowing up into the peasant. I want them to feel the sun pouring into the peasant, into the field, the corn, the plough, and the horses, just as they all pour back into the sun. When you begin to feel the universal rhythm in which everything on earth moves, you begin to understand life….

On days like today, even if I see something that would make a good picture, I don't take it out of my pouch. I take my time as I walk... here, between the sky above and the earth below... Its rhythm follows the pace of my steps. A song emerges from my parted lips. As I look around at the world, out from myself, I continue walking. But I carried on my strange song and dance all the way home. I never took out my camera.

Title: Blue Light Lounge Sutra For The Performance Poets At Harold Park Hotel the need gotta be so deep words can't answer simple questions all night long notes stumble off the tongue & color the air indigo so deep fragments of gut & flesh cling to the song you gotta get into it so deep salt crystalizes on eyelashes the need gotta be so deep you can vomit up ghosts & not feel broken till you are no more than a half ounce of gold in painful brightness you gotta get into it blow that saxophone so deep all the sex & dope in this world can't erase your need to howl against the sky the need gotta be so deep you can't just wiggle your hips & rise up out of it chaos in the cosmos modern man in the pepperpot you gotta get hooked into every hungry groove so deep the bomb locked in rust opens like a fist into it into it so deep rhythm is pre-memory the need gotta be basic animal need to see & know the terror we are made of honey cause if you wanna dance this boogie be ready to let the devil use your head for a drum

I danced with her mother on an old wooden floor where rhythm was queen. I danced with her father as he held her mother. I danced with her mother when her belly was big, a sail blown full with the wind. I held her mother as she let go of the earth’s pull, as her family did its best to let the sweet dancing mother come home to me.

Today I made love to my woman. Not because I wanted to right then, But because I knew i'd want to when we started, And that the walk on the beach we took afterward would be more romantic, The cocktail I made at 5:45 would taste better, The shrimp I seasoned would have more savour, The all-star game we watched at 7:00 would be more exciting, The music we danced to til midmight would have more rhythm, And the conversation about life we had together, sitting across the table from each other, until 3:00 am in the morning would be more inspiring. And it was.

A good relationship has a pattern like a dance and is built on some of the same rules. The partners do not need to hold on tightly, because they move confidently in the same pattern, intricate but gay and swift and free, like a country dance of Mozart's. To touch heavily would be to arrest the pattern and freeze the movement, to check the endlessly changing beauty of its unfolding. There is no place here for the possessive clutch, the clinging arm, the heavy hand, only the barest touch in passing. Now arm in arm, now face to face, now back to back -- it does not matter which because they know they are partners moving to the same rhythm, creating a pattern together, and being invisibly nourished by it. The joy of such a pattern is...the joy of living in the moment. Lightness of touch and living in the moment are intertwined. One cannot dance well unless one is completely in time with the music, not leaning back to the last step or pressing forward to the next one, but poised directly on the present step as it comes... But how does one learn this technique of the dance? Why is it so difficult? What makes us hesitate and stumble? It is fear, I think, that makes one cling nostalgically to the last moment or clutch greedily toward the next. [And fear] can only be exorcised by its opposite: love.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace—those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move toward death.

Dancing is spiritual. Dancing is personal. Some people look at a dancing person and say, What a total show-off. They only notice the body of the dancing person. They look at the way the elbows jut out, the way the hips shake and the neck bends. They criticize all of these things, saying, This dancing person shouldn't be dancing. This dancing person has no rhythm. But the dancer is immune to all of this.

A couple of hours after Sunset Michael Robartes returned and told me that I would have to learn the steps of an exceedingly antique dance, because before my initiation could be perfected I had to join three times in a magical dance, for rhythm was the wheel of Eternity, on which alone the transient and accidental could be broken, and the spirit set free.

I don’t know what to say. That’s the problem with words. In my head, words are magic. My thoughts are eloquent and fierce. On the page, words are music. In the clicks of my keyboard, in the scratches of pencil meeting paper. In the beauty of the eraser, of the backspace key. On the page, the words in my head sing and dance with the precision of diction and the intricacies of rhythm. Out loud? Words are the worst.

To trace the development of mind from earliest times...requires...not a categorical concept, but a functional one.... The most promising operational principle for this purpose is the principle of individuation.[p. 310]" "[yet she also says:]...we have no physical model of this endless rhythm of individuation and involvement, we do have its image in the world of art, most purely in dance;...this dialectic of vital continuity...[p. 355]

The gods have meant that I should dance, and by the gods, I will dance!!! For in some mystic hour I shall move to the unheard rhythms of the cosmic orchestra of heaven, and you will know the language of my wordless poems, and will come to me... for that is why I dance." "Los dioses me destinaron a bailar, ¡y por los dioses bailaré! Pues en alguna hora mística me moveré a los ritmos ináuditos de la orquesta cósmica del cielo, y conocerás el lenguaje de mis poemas sin palabras, y vendrás a mí... pues por éso es que bailo.

A voice said: One. One. One, two. One, two. Then the footsteps went back into the distance. After a while, another voice said: One, two, three, four- And the universe came into being. It was wrong to call it a big bang. That would just be noise, and all that noise could create is more noise and a cosmos full of random particles. Matter exploded into being, apparently as chaos, but in fact as a chord. The ultimate power chord. Everything, all together, streaming out in one huge rush that contained within itself, like reverse fossils, everything that it was going to be. And, zigzagging through the expanding cloud, alive, that first wild live music. This had shape. It had spin. It had rhythm. It had a beat, and you could dance to it. Everything did.

By asking questions rather than thinking for the audience, we invite them to join us as a partner and think for themselves. If we approach an argument as a war, there will be winners and losers. If we see it more as a dance, we can begin to choreograph a way forward. By considering the strongest version of an opponent’s perspective and limiting our responses to our few best steps, we have a better chance of finding a rhythm.

For some reason, the sight of snow descending on fire always makes me think of the ancient world – legionaries in sheepskin warming themselves at a brazier: mountain altars where offerings glow between wintry pillars; centaurs with torches cantering beside a frozen sea – scattered, unco-ordinated shapes from a fabulous past, infinitely removed from life; and yet bringing with them memories of things real and imagined. These classical projections, and something in the physical attitudes of the men themselves as they turned from the fire, suddenly suggested Poussin’s scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outwards like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seeminly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.

What I Will by Suheir Hammad I will not dance to your war drum. I will not lend my soul nor my bones to your war drum. I will not dance to your beating. I know that beat. It is lifeless. I know intimately that skin you are hitting. It was alive once hunted stolen stretched. I will not dance to your drummed up war. I will not pop spin break for you. I will not hate for you or even hate you. I will not kill for you. Especially I will not die for you. I will not mourn the dead with murder nor suicide. I will not side with you nor dance to bombs because everyone else is dancing. Everyone can be wrong. Life is a right not collateral or casual. I will not forget where I come from. I will craft my own drum. Gather my beloved near and our chanting will be dancing. Our humming will be drumming. I will not be played. I will not lend my name nor my rhythm to your beat. I will dance and resist and dance and persist and dance. This heartbeat is louder than death. Your war drum ain’t louder than this breath.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

His arm was warm against hers. "I always wanted to do the Henley." "Can you be serious for a second?" "Dance with me." "What?" she asked, but his arms were already going around her waist. He was already holding her tightly against him. "Dancing. Come on. You can do it. It's a lot like navigating through a laser grid. It requires rhythm." He moved her hips to the beat of the distant music. "And patience." He spun her out slowly and back toward him. "And it's only fun if you trust you partner." The dip was so slow, so smooth, that Kat didn't know it was happening until the world had already turned upside down and Hale' s face was inches from her own. "Count me in, Kat." He squeezed her tighter. "You should always count me in.

As the native drum kept rhythm with the nighttime symphony of the African bush, the cry of a hyrax (a small, furry animal that sounded a lot scarier than it looked) pierced the night. A hyena howled. A warthog ran through our camp. What was he running from? Sitting in front of my tent, I tried to figure everything out. I wouldn’t have called what I did prayer but maybe wonder.    Night after night, I’d listened to the rush of a river or watched my own personal light show as lightning spider-webbed across the heavens, danced in the distance, and serenaded me with a muffled growl. Until a crash—so loud it seemed to break the sky—caused me to twitch as a shiver ran up my spine.    “You know how it is when you feel someone staring at you from across the room?” I said to Truth. “You turn to meet the gaze. It was like that, but I saw no one. I just felt a comforting presence as we sat together in silence.”    “You think it was God?” she asked.    “Yeah, but I called him Fred. Not so overwhelming, more personal.” 

I watched her—the way her shoulders moved with the tilt of her head, how her smile lit up the six people around her, how her hair, tucked behind her ears, framed her face like baby’s breath. I thought about how the sound of her heart beating sounded the rhythm for our dance atop the magnolia floor. I wanted to tell her all this, but didn’t know how. Just because something is broken doesn’t mean it’s no good. Doesn’t mean you throw it away. It just means it’s broken, and broken is okay. I wanted to tell her that broken is still beautiful, still works, still wakes me in the morning, and at the end of every day past and those to come, I can love broken.

And then it struck him what lay buried far down under the earth on which his feet were so firmly planted: the ominous rumbling of the deepest darkness, secret rivers that transported desire, slimy creatures writhing, the lair of earthquakes ready to transform whole cities into mounds of rubble. These, too, were helping to create the rhythm of the earth. He stopped dancing and, catching his breath, stared at the ground beneath his feet as though peering into a bottomless hole.

Live life in moments, not in days or years or your schedules. It’s our misconception—most of the time—that we live our lives the way we want. Every single step that we take is influenced by others. Only the part that we hide from everyone else and keep deep within our heart, is our own. I strongly urge you all to realize that hidden part of yours. Go, live that part. Live your life. Don’t let your dreams die within you. Trust me, your struggle, your fight, will be worth the risk in opening yourself up. Get up. Inhale the air of passion. Start your journey. Grab your dreams. Enjoy your mistakes. Dance to the rhythm of your heartbeats. Smile. Laugh. Love. Live.’ Author

Men have dragged us by our hair through the ages, and whether they give us crumbs or bright, shiny rocks, they truly give us nothing at all. If you have not opened your legs for them so that they could drawl out as babies or crawl in as men, they they will leave you to starve like a dog on the street. So now we are done playing the way they want us to play. Now we are moving to music they cannot hear, to a rhythm they cannot understand. They call it madness and we call it truth and find me the magistrate you can trust to judge between the two? Bah. So we dance on, we dance on.

I can text in complete sentences. Oh, yeah, it’s a skill.” He smiled, proud of his accomplishments. “And, thanks to my mom being a competitive dancer as a teen, I know how to do the Lindy hop and the jitterbug.” I sat bolt upright, and Akinli rolled his eyes. “I swear, if you tell me you can jitterbug, I’m going to . . . I don’t even know. Set something on fire. No one can dance like that.” I pursed my lips and dusted off my shoulder, a thing I’d seen Elizabeth do when she was bragging. As if he was accepting a challenge, he shrugged off his backpack and stood, holding out a hand for me. I took it and positioned myself in front of him as he shook his head, grinning. “All right, we’ll take this slow. Five, six, seven, eight.” In unison, we rock stepped and triple stepped, falling into the rhythm in our head. After a minute, he got brave and swung me around, lining me up for those peppy kicks I loved so much. People walked by, pointing and laughing, but it was one of those moments when I knew we weren’t being mocked; we were being envied. We stepped on each other’s toes more than once, and after he accidentally knocked his head into my shoulder, he threw his hands up. “Unbelievable,” he said, almost as if he was complaining. “I can’t wait to tell my mom this. She’s gonna think I’m lying. All those years dancing in the kitchen thinking I was special, and then I run across a master.

I WISH I COULD SPEAK LIKE MUSIC I wish I could speak like music. I wish I could put the swaying splendor Of the fields into words So that you could hold Truth Against your body And dance. I am trying the best I can With this crude brush, the tongue, To cover you with light. I wish I could speak like divine music. I want to give you the sublime rhythms Of this earth and the sky’s limbs As they joyously spin and surrender, Surrender Against God’s luminous breath. Hafiz wants you to hold me Against your precious Body And dance, Dance.

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy, in the way my body stretches to music and opens into response, harkening to its deepest rhythms so every level upon which I sense also opens to the erotically satisfying experience whether it is dancing, building a bookcase, writing a poem, or examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife. This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe.

Karlheinz Stockhausen to journalist: "I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work "Song of the Youth," which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it [was] varied to some extent and if it did not have a direction in its sequence of variations.” Aphex Twin to journalist: "I thought he should listen to a couple of tracks of mine: 'Didgeridoo,' then he'd stop making abstract, random patterns you can't dance to".

Sticking your nose in a book might seem like the very opposite of grabbing life by the balls, but reading had always been one of my great loves, and it was one of the things I was most terrified to lose. Sure, there were always audiobooks, but the holy communion of bringing your eyes to paper and sweeping them across the page, left to right, left to right, left to right, the rhythm of that dance, the quiet of it, the sound of the page turning, the look of crinkled covers stained with the coffee you were drinking when you read that chapter that changed your life--you didn't get any of that when listening to an audiobook, and I wanted as much of that as I could get, while I still could.

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

Don’t tell me how wonderful things will be…someday. Show me you can risk being completely at peace, truly okay with the way things are right now in this moment, and again in the next and the next and the next… Here is the question: Are you willing to be completely at peace with how things are right now in your life? Are you willing for just one moment to let go of all your dissatisfaction, of all your suffering about how things are? Are you willing to let go of all the worry and tension in your body and simply breathe? I think of happiness as the delight I have when I am aware of being completely at peace and fully present with myself and the world just the way it is in this moment. It is a lack of suffering plus a self-reflectivity that makes the peace I am feeling a conscious state of awareness. I am not simply at peace, I am aware that I am at peace—happy. So, are you willing to be happy?

Oh Kay you are like a key that opens the door of my heart. Your charm crushes me. Like a clinking machete slicing my flesh thinly cutting my heart. Let you hit my neck with the longing that you create without compassion and mercy. Kay oh Kay there's no one like you in this world. Because for you, I'm a little kid who can cry for a stuffed toy. Wherever you sing, the rhythm of the music will accompany you. And let the dance floor come to you, twisting and lifting you in a dance that makes everyone crazy. Kay oh Kay you are my sickle machete. You are the dagger that stabbed my soul, you stoned me with the sweet needle of your innocent smile. You're the sweet mouth that sighs that moans that laughs that makes my soul restless. Kay oh Kay. Your sweet spit drips like the most sugary honey on my thirsty mind. I desire you from the most sordid nests, the most abominable paths and the most perverted thoughts. I want to taste the most delicious nectar of your flowers. Oh how you taint me with your fire. You trapped me with your innocence. With your nakedness that leads me astray. How you give hope that I do not have. You won a heart I didn't fight for. Kay oh Kay you are the only answer I never questioned. A destination I never expected but greeted me with joy. You are the reality that I never dreamed of but came true by itself. How do I accept you as you accept me with all the charm of your madness. Kay oh Kay my sunshine moon. You are my river and sea. Only you my eyes are fixed, only you my heart trembles. You let me be the key that enters the darkest hole of your soul. It is not in your majesty that my dreams wander, but in your intoxicating beauty. You have imprisoned my most wretched soul. Oh Kay you are my kitchen knife, my axe, my saw, my hammer, my screwdriver. You enslaved me in this unbreakable lust. I serve you like a stupid servant. A deaf and blind goat that only serves one master. You are the master of all this passion and madness. Everything I know about you is a lie. How did you deign to allow me to love someone other than you? Kay oh Kay, if truly adoring you will give me the true meaning of a poem, then how can you give me true love that you never had?

What is this, Enki?” says the Queen. “Do you not honor me?” Enki’s smile is wide and bright. “I give you the greatest honor,” he says. “You are dressed in the manner of a slave,” says she, “in a city where there are none.” “There aren’t,” he agrees, though now his smile seems too sharp for his words. “But there is the verde.” “And what of it?” “I am dressed in the manner of my people.” “Are we not your people?” And we see that the Queen is torn between amusement and anger. Enki is leading her in a dance, but has not tapped out its rhythm. “You are everything to me.” “And yet you come before us hardly as a king.” “I come before you,” says Enki, “as a simple verde boy.” He takes a quick step back, almost skipping, and his dust-lightened hair bobs around his ears. “I will leave you as a king.” And when the drums start, that’s how he dances: as a king.

Every day, sometimes when I am doing my meditation practice and sometimes when I am working at my computer or sitting in my car waiting for a traffic light to change or sharing a meal with friends, I turn my attention to my breath and visualize myself on some inner plane of the imagination turning my face toward that which is larger than myself—the Great Mystery. I only have to turn my face toward it. I become aware of the temperature of the air touching my cheek. I imagine the molecules of oxygen and hydrogen and carbon dioxide colliding in exuberant activity, caressing the skin of my face. And I become aware that these molecules are alive with a vibration, a presence that is there also in the cells of my skin and in the molecules of those cells and in the atoms and subatomic particles of those. Slowly I turn my attention to an inner view of the landscape around and within me, and I become aware of this presence, like the hum of a great song constantly reverberating throughout and emanating from my body, the chair supporting me, the ground beneath me, and the people around me. And I know this presence as a whole that is larger than the sum of the parts and yet inseparable from the parts—including me—which are in a state of constant change. And I experience this presence, this bloodred thread of being that runs through the dark tapestry of daily life, as that which gives me the ability to truly know each other as another myself—as compassion.

I tried to hold fire once...see from a distance it mesmerized me captivated me for hours at a time The more it danced with the wind, I felt my body sway to its rhythm I tried to hold fire once It's glow drew me in closer And although I know full well the damage that fire can do... Staring directly at it, I know it's beauty too It's warmth was now on my face and I couldn't imagine being in any other place I reached out with my bare hands & it danced even more And suddenly I felt it's heat deep within my core Rising like a volcano ready to erupt But somehow balanced & purposeful I tried to hold fire once until I realized that fire held me Passionately and I was it's guiding force. If you look close enough, you'll see it dancing in my eyes, feel it in my touch, even hear it in my voice...but don't ever forget that fire consumes and cannot be contained so I must master my energetic output to control the flames.

Too often we sit back and speak platitudes of the nitty-gritty bits of writing; the editing, the story structure, the verbal sparring vs. banter, the character development, the world-building become more important to us than the tune rhythm of the tale. And when you lose the music of the story, all the footwork in the world is not going to make up for the loss of continuity and heart. We need to take a step back in our souls and conjure the image of what this story is: the notes and beats and things woven into it's fullness. See, that's what is so easy to lose sight of as we write. We forget that, in a way, this story is a full story in itself. We tend to try to build the story piece by piece, line upon line, precept upon precept, but that--as any true writer knows--is not entirely practical. A story does have its own identity. To some extent, the story exists in your mind as a whole. Its own being. To chance sounding sappy: Your story is a full piece of music waiting for you to dance it into existence. Don't make the mistake of leaving out all the music. It is tempting to want to have everything arranged to perfection so that little editing will be done. But if you are keeping in mind the way your story needs to run--feeling it and dwelling in the beauty of its passion and color and vibe--the footwork will take care of itself. Certainly it will require practice and your technicalities will need a little work--everyone's does. But you will have captured the essence and blood of the tale, and really that's the prettiest part of a dance.

How happily we explored our shiny new world! We lived like characters from the great books I curled up with in the big Draylon armchair. Like Jack Kerouak, like Gatsby, we created ourselves as we went along, a raggle-taggle of gypsies in old army overcoats and bell-bottoms, straggling through the fields that surrounded our granite farmhouse in search of firewood, which we dragged home and stacked in the living room. Ignorant and innocent, we acted as if the world belonged to us, as though we would ever have taken the time to hang the regency wallpaper we damaged so casually with half-rotten firewood, or would have known how to hang it straight, or smooth the seams. We broke logs against the massive tiled hearth and piled them against the sooty fire back, like the logs were tradition and we were burning it, like chimney fires could never happen, like the house didn't really belong to the poor divorcee who paid the rates and mortgage even as we sat around the flames like hunter gatherers, smoking Lebanese gold, chanting and playing the drums, dancing to the tortured music of Luke's guitar. Impelled by the rhythm, fortified by poorly digested scraps of Lao Tzu, we got up to dance, regardless of the coffee we knocked over onto the shag carpet. We sopped it up carelessly, or let it sit there as it would; later was time enough. We were committed to the moment. Everything was easy and beautiful if you looked at it right. If someone was angry, we walked down the other side of the street, sorry and amused at their loss of cool. We avoided newspapers and television. They were full of lies, and we knew all the stuff we needed. We spent our government grants on books, dope, acid, jug wine, and cheap food from the supermarket--variegated cheese scraps bundled roughly together, white cabbage and bacon ends, dented tins of tomatoes from the bargain bin. Everything was beautiful, the stars and the sunsets, the mold that someone discovered at the back of the fridge, the cows in the fields that kicked their giddy heels up in the air and fled as we ranged through the Yorkshire woods decked in daisy chains, necklaces made of melon seeds and tie-dye T-shirts whose colors stained the bath tub forever--an eternal reminder of the rainbow generation. [81-82]