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Dance> God-Heart-Dance
Discovering
God and the Heart at the Center of Dance
By Kim Knode
Published September 2001
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As a student of social dance (Swing
and ballroom) and an admirer of the
sacred Sufi ritual of the Whirling
Dervishes; I have come to believe
that all devoted dancers probably
share a common hunger to discover
the aperture, commonly called the
heart, that connects into the Divine
self. Entrance into a mirror-filled
dance studio may be part of a conscious
or unconscious quest to matriculate
into the ways of the heart.
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References
provided by the author [i] [ii] etc.
Comments provided by the editor [a]
[b] etc.
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| Far
from the Western ballroom world, in
the Middle Eastern homeland of Islam,
Sufis of the Mevlevi Order spin in continuous
circles. With outstretched arms, they
continue turning while directing their
eyes skyward. It is a feat of awe-provoking
balance, which I surmise is made possible
by the dervishes’ intense focus
of mind and heart on the pure present
produced by God. The concerns and challenges
of planet earth are left behind. The
dervishes use their bodies to pray to
Allah: “Dance in our enterprise
while at our best tonight. O sweet
singer of love, tell us the secrets
of love…Union in his breast tonight.”[i]
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[i]
Rumi, Divan-e Shams, 36, Shahriar
Shariari, Rumionfire.com, Vancouver,
Canada 1998, Los Angeles, CA 1999-2001 |
| To
achieve union, the Sufis of this mystical
sect of Islam, discipline their bodies
with fasts. They nourish their minds
with meditation and sacred text so as
to melt with God. According to Kabir
Helminski, author and co-director of
the Threshold Society, (an association
dedicated to the promulgation of Sufi
practices), the purpose is to discover
that, “This whole universe is a
manifestation of cosmic love.
We are living within an infinite heart.”[ii]
There is nothing to do but trust and
give thanks to the Spirit who sustains
the spinning.
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[ii]
Kabir Helminski, The Knowing Heart,
(Boston, MA: Shambalah Publications,
1999), 41 |
| Certainly,
spinning and “spotting” (focusing
on one spot to preserve equilibrium
while turning) and sensible diet savoir
faire are not foreign to ballerinas,
Broadway and ballroom performers in
the West. Like the Whirling Dervishes,
the concept of staying present and keeping
the mind clear is crucial. “The
surest way to throw a pirouette off
balance is to hesitate just before doing
it. A calm, aware and present mind can
adjust to what is actually happening,”
says accomplished ballerina, Leda Meredith
[a], of American Ballet Theatre II and
Dances Patrelle fame.[b]
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[a]
the-vu is proud to have many of Leda
Meredith's brilliant writings on dance
theory, online in the Dance section.
[b] For more on Francis Patrelle,
written by Leda Meredith, see A Passion
for the Dance in the-vu's Dance section.
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| Learning
the art of “finding your center”
and staying balanced when whirling and
twirling disciplines performers to concentrate
in the now. Dancing divinely demands
a clear mind – empty of egocentric
thought. (The pluses of the spiritual
principle of staying present have even
seeped into the secular sector. Bill
O’Keefe’s Family
Circle syndicated cartoon speaks
of the fact that, “Yesterday is
past. The future is a mystery. Today
is a gift. That is why it is called
the present.”)
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| And
the gifts are abundant when individuals
surrender the mind in favor of: “The
light that fills the heart - the light
of God - pure and separate from the
light of intellect and sense.”
[iii] Meredith says that, “I can’t
speak for other dancers but I am well
aware of a spirit communicating through
me and guiding me when I dance. Performing
is an altered state.” She continues
to explain with enthusiasm, “My
heart is my whole body when I dance.
On a physical level, I am aware of my
heart beating faster from the sheer
exercise of the movement and the adrenalin
of performing. At the same time, there
is a wonderful sense of being safe and
centered.”
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[iii]Rumi,
Mathnawi, Volume I, 1126-7, Kabir
Helminski, The Knowing Heart,
(Boston, MA: Shambalah Publications,
1999), 85 |
| While
professionals and Sufi devotees might
spin themselves into a state of nirvana
or ecstasy, I believe the same essence
of the Divine, of bliss, is available
to the novice. (After all, endorphins
- the same chemical compounds that produces
euphoria after eating chocolate - are
released while exercising with dance
or aerobic movement.) Beyond the flutter
in the chest from Foxtrotting to Frank
Sinatra, dance lessons provide opportunities
to merge (even if momentarily) with
the Divine.[c]
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[c]
How we choose to interpret these divine
feelings is a matter of personal choice,
and the-vu is in no way attempting to
promote acceptance of any one religion,
or suggesting that atheists might be
unable to achieve the same wonderful
experiences from dance and movement
as those who believe in intangible concepts
such as God etc. |
| While
dancing I have stumbled into unexpected
epiphanies. Perhaps that is why I am
a ballroom and Swing addict. I
desire to connect again and again to
the flashes of feeling Light –
almost like flying – in the midst
of dances like the Foxtrot. [d]
At peak moments, my head visits a crystal-clear
high altitude and emotional burdens
evaporate into thin air. I no longer
concentrate solely on steps and patterns.
I simply merge with the music and move
with my partner as one – for a
second or two. The experience
is unforgettable. For the time
being, I am completely aware of a contentment
and thanksgiving in my heart. (Similar
to “My cup runneth over” teary-eyed
sensations that spring forth when reviewing
my blessings.)
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[d]
Beginners in Foxtrot don't get to fly
much, but as one becomes more advanced,
the flying sensation is real enough,
and the dance glides at a runner's speed
around the floor. |
| In
order to allow the magic on the dance
floor, I must surrender all worldly
concerns such as IRAs [d] and others’
opinions. It is necessary that I heed
the words of the revered Sufi poet,
Rumi: “Fast from thoughts, fast:
thoughts are like the lion and the wild
beasts; people’s hearts are the
thickets they haunt.”[iv]
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[d]
a note to our readers in Ireland and
the U.K. An IRA in America is an Individual
Retirement Account, nothing to do with
the I.R.A.
[iv]Rumi, Mathnawi, Volume
I, 1126-7, Kabir Helminski, The
Knowing Heart, (Boston, MA: Shambalah
Publications, 1999), 86
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| And
like the dervishes I must be willing
to surrender all to touch God –
as Adam did in Michelangelo’s painting.
And the pathway says Rumi is to, “look
inside…The heart is the essence,
to transform…Burn with fire, burn
in scores. Fire of love sets your heart
and soul ablaze. Every thought and every
word scorch, erase.”[v]
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[v]Rumi,
Mathnawi, Volume II, 1751-1772,
God Talking to Moses, Shahriar
Shariari, Rumionfire.com, Vancouver,
Canada 1998, Los Angeles, CA 1999-2001 |
| For
me, erasing and letting go of the punishing
thoughts of past “sins” –
forgiving the “missed marks”–
allows my heart to awaken. I find
myself moving without restraint. And
with the choice of looking with the
eyes of original innocence, the pipeline
to God – the heart - opens. (Judgments
and thoughts of separation disappear
for varying degrees of time. I also
comprehend more clearly the cues and
leads from my partner to execute different
patterns.) As an added bonus, sometimes,
giggles erupt from the mighty heart
organ, like a volcano rising from sleep.
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| Sometimes,
the connection to a higher being through
my heart is a sensation of soothing
calm. (“If trust were a sensation,
then that would be how I would describe
my heart when I dance,” says Meredith.)
For me, I can only describe the buzz
as an angelic presence who brushes his
or her wing past my shoulder and communicates
a message of comfort that all is well
– despite what my mind says.
Perhaps, this path of surrender and
celebration is what Christ’s disciple,
Matthew alludes to when he writes: “Except
ye be converted, and become as little
children, ye shall not enter into the
kingdom of heaven.”[vi]
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[vi]King
James Bible, Matthew, 18:3 |
| Certainly,
at age three, I did not have to consciously
surrender anything. I simply twirled
with the spirit of the moment down the
aisle of a movie theater and did a duet
with Audrey Hepburn to “I Could
Have Danced All Night” in My Fair Lady. (My red-faced older sister came to retrieve me
and plunked me back down in my seat.)
Heeding the call of joy of my heart
were my priority, not social mores.
[e]
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[e]
Peter Pan Syndrome. Children should
be allowed to enjoy their gift of pure
joy. We adults are too eager to prevent
them from experiencing it, thereby rendering
them unable. |
| Remembering
to keep a childlike consciousness of
awe and appreciation of the art of ballroom
and Swing is vital to my enjoyment.
Simply stated, I find it is more pleasurable
to play at dancing versus seriously
working at it. A carefree attitude
allows me to advance with a cheery cha-cha-cha
towards my goals of living and dancing
in harmony with my heart.
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| In
the dance studio, myriads of mirrors
not only in the form of glass but breathing
beings reflect my progress on my path.
My mastery of dance patterns and movements
can be seen in the glass, while my success
at casting aside my egocentric thoughts
aside in favor of the heart can be seen
in the reactions of my classmates. The
feedback is immediate. Am I resisting
following the rhythms my partner hears?
Am I insisting that the way I hear a
song is the only way to dance on time
to the music? As I move my body, I clearly
see what progress I am making towards
the kingdom of heaven. I am able to
discern the blocks (such as judgments
and impatience with myself or others)
that hold me back from entering through
the pearly gates into a place of freedom,
fun and peace.
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|
| Dr.
James Kleinrath, [f] the current and
three-time National Senior Smooth Ballroom
Champion (Amateur division) is a veteran
of the magic carpet ride that comes
from surrendering the mind and maneuvering
with his partner as one on the dance
floor. Despite his weekly fifteen-hour
practice sessions in the studio, the
retired dentist believes that “It’s
wonderful to move to music. A new dance
is created every time.” However,
he confesses that, “Competing together
is very hard on a relationship. It’s
so easy to fall into the ‘it’s
your fault’ trap.” Through
his twelve years in the ballroom world,
Kleinrath says, “I’ve learned
a lot about acceptance.”
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[f]
For the story of Dr. James Kleinrath,
see Tango in the Twilight, by Kim Knode,
in the-vu's Dance section. |
| Where
“two or more are gathered”
for a dance class or party, a mambo
or jive presents participants with time
to not only perfect and practice technique
but also exercise relinquishment of
ego. Partner dancing also offers the
opportunity to master the ability to
move as one by staying acutely aware
and sensitive to each other second by
second while staying true to the rhythms
in a song.
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|
| Dance
instructors often refer to partner dancing
as “a conversation” on the
dance floor. “Both partners
can chuckle to music,” says two-time
U.S. Open Swing Champion, Melanie Roberts.[g]
“A dancer reflects what he is hearing
in the music with his body and two beats
later his partner can respond to the
move.” She adds that Swing steps
and basics must individually be mastered
before introducing elaborate details.
“Like a musician, a beginner can’t
play a Mozart with mastery until he’s
learned how to use his instrument properly.”
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[g]
The most exceptional West Coast Swing
Dancer and teacher. Melanie's classes
and events in Los Angeles and
San Diego can be accessed at GottaDanceLA |
| So
once again, the room of mirrors –
the dance class – offers Westerners
who are so used to instant gratification
– an opportunity to patiently repeat
school figures until the teacher says
it is time to move on. And how
lessons are processed inside and how
we interact with classmates reflects
our shining and shadow selves.
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| The
patron saint of the Whirling Dervishes,
Rumi, says, “Spiritual conversation
is divine light. It brings us close
together and melts us in unity.”[vii]
I see couples who consistently step,
swing, sway and sincerely smile together
with synchronicity across the dance
floor. I crave that spiritual exchange…So
I keep practicing communication skills,
staying present and encouraging loving
in my heart as I perfect ballroom and
Swing patterns.
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[vii]Rumi,
Mathnawi, Volume I, 2909, Kabir
Helminski, The Knowing Heart,
(Boston, MA: Shambalah Publications,
1999), 267 |
| Be
Lost in the Call whispers Rumi. “I
created a mirror: its shining face,
the heart…If you wish your heart
to be bright, you must do a little work…Remember
God so much that you are forgotten.
Let the caller and the called disappear.”[viii]
And in the Divan-e Shams, the Sufi poet
reminds seekers of the heart: “You
too can choose to dance in light divine,
Delight the stars and deep earthly mine.”[ix]
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[viii]Rumi,
Be Lost in the Call, Kabir Helminski,
Love is a Stranger, (Boston,
MA: Shambalah Publications, 1993)
[ix]Rumi, Divan-e Shams, 51,
Shahriar Shariari, Rumionfire.com,
Vancouver, Canada 1998, Los Angeles,
CA 1999-2001
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| Kim
Knode's interview articles focusing
on artists, celebrities and dance champions
have been published in various print
and on-line publications. |
 |
| See
more of Kim's work at www.kimknode.com |
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