by Jenny Rose | Aug 10, 2017 | A Flourishing Woman, The Journey
Photo by Andrew Montgomery on Unsplash
I often imagine life as a river and myself in a boat of my own making, floating on it. I don’t picture a sailboat, having no experience of one, but a small boat that glides with the current and can be paddled. I don’t imagine a single river, but a vast network, far more than I could ever explore in this lifetime. Sometimes it’s a river of water, sometimes a river of stars. Sometimes it’s a river of green moss carving a path through thick forest. Sometimes it’s an air-borne river of leaves and feathers and pieces of sky.
Sometimes it’s a river of stone.
The thing about rivers is they take me where they take me. I can paddle and steer, but whatever river I’m on at any given moment is a living thing in itself. I’m not its master and it doesn’t ask me where I want to go.
Of course, I don’t have to surrender to this kind of movement. I can refuse to make a boat in the first place, refuse to learn how, refuse to try. I can take a short cut and buy a premade boat or jump in someone else’s boat. If I do manage to create a boat, I can still make my way to the shore at any point and stop.
I can always throw myself out of the boat, too … but then I’ll never find out where the river is taking me.
I can also fight with the current.
I know a lot about this.
In the last few days, I’ve been floating on a river of stone.
Photo by Paul Van Cotthem on Unsplash
Stone is very, very, v…e…r…y slow. Oh, it moves, in the deep foundations of life. It shifts and compresses, slips, breaks down, heats and cools. It tells an old, old story, whole volumes of which are faded and weathered into illegibility, or hidden so well I know I’ll never read them. Now and then, though, a period of grace arrives in which I inadvertently enter a river of stone and have an opportunity, which I reject, avoid and try to escape, to hear whispers of stone stories.
During these times, others on the river are out of sight and out of hearing. My calls echo back to
Photo by Milada Vigerova on Unsplash
me off stone canyons and cliffs. I reach out for another in my sleep and wake with bloody knuckles. On the river of stone others do not respond. They don’t follow through. They don’t keep their word. My password doesn’t work. I can’t log on. There is no clarification or confirmation. I’m alone, in my little boat, and I feel adrift and forgotten, unseen and unheard, left behind.
The river of stone tells me a story of foundations, of beginnings, of layers of time and events, of family and tribe. My agenda, my insistence on movement and progress, my puny frustration with things not done, make less impression than a fragile-winged dragonfly that flung itself into the stone’s embrace uncounted aeons ago and flies now forever in the river of stone.
The river of stone is inexorable. It forces me to slow down. It provides me with no distraction and no easy entertainment. Creativity falls into sleep from which I cannot wake it. Those tasks and activities I call “productive” cease. Frantically, I paddle my boat, one side, then the other, until my hands are bloody blistered and my shoulders are a block of pain. All the old demons in my head leap into life, jeering and heckling, joining hands in gleeful celebration, and they have their way with me because I’m trapped in a river of stone.
I accomplish nothing on a list. I write no pages. Plans fall through. I wait too long to walk, and then it rains. Dirty dishes sit on the counter. All I want to do is get lost in an old familiar book — if only I could stay awake long enough!
Then, gradually, frustration, panic and fear exhaust themselves and lie down to rest. I rediscover the beauty of emptiness. I begin to see veins and gems and stardust in the stone around me. I remember the difference between doing and being, and the delicate balance they must maintain. The stone speaks to me of strength, of endurance, of centering and grounding. I give myself to the pause in communication and creative work. I put down the paddle, the oar, stretch out in the boat and rest, dreaming of stone-lipped wells refilling with spring water, dreaming of a spray of words leaping off waves or trailing behind stars in a river ahead, dreaming of friends whose faces I haven’t yet seen and broken connection repaired.
I doze, rocked in a cradle of stone. I rest, floating on a river of rock. I sink into the slow, deep, stony heartbeat in the center of all things, imagine inhalations and exhalations, each lasting 100,000 years.
Photo by Brent Cox on Unsplash
I surrender to the river of stone, and in doing so I float out of it.
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Jennifer Rose
except where otherwise noted
by Jenny Rose | Jul 27, 2017 | Connection & Community, Emotional Intelligence, Holistic Management
My partner and I have hired a permaculture group called the Resilience Hub out of Portland, Maine, to collaborate with us in the development of a 30-year plan for our 26 acres.
Photo by Gabriel Jimenez on Unsplash
Permaculture, for those of you who didn’t follow the above link, is “the development of agricultural ecosystems intended to be sustainable and self-sufficient.” In other words, it’s a holistic management plan that includes plants, animals (insects, birds and reptiles), people, water and land. The land we live on consists of wetland, a river, a pond, a year-round daylight spring, streams, fields and woodland.
That’s what we tell people, anyway. I’m beginning to understand what permaculture really means to me, though, is a commitment to love.
I’m interested to discover I’ve achieved the ripe old age of 53 and discarded nearly my entire definition of love after two marriages, two long-term non-marriage relationships and raising two children. At this point I know a lot more about what love isn’t than what it is.
Here’s my current working definition: A relationship revolving around what we want others to be is not love. A relationship revolving around the question “Who are you?” is love. Notice sex is not part of the definition. I’m talking about love in the wide sense here, the act of loving another human being, independent of legal or blood ties. For me, this is also the root of self-love. Do we endlessly tell ourselves what we should, must, and have a responsibility to be, or do we allow ourselves to discover who we in fact are?
Creating a permaculture plan for this piece of land is a deliberate and intentional journey into what the land and the life it sustains is, as well as what we are as individuals and as partners. From our most private thoughts and beliefs to the boundary of the 26 acres we live on, we become note takers and observers. We practice surrender and acceptance. We listen and watch with curiosity and attention. We are present every day with ourselves, one another, and the land. We don’t think about imposing our will. We think about collaboration and cooperation, weaknesses and strengths, effectiveness and healing.
The consent to see and be seen is a profound and intimate expression of love rippling from the inside outward. We are not intruders here. We inhabit this land and want to protect and preserve it. The porcupine living in the barn cellar, the owls down by the river, the phoebes nesting in the barn, the passing bear who wiped out our suet feeder, are not intruders, either. The poison ivy, stinging nettle, ticks and mosquitos live here. The snapping turtles in the river and the leeches in the pond call this place home, just as we do. Permaculture is a peace treaty, the practice of appreciation for the variety and complexity of life around us, and the humility to admit much of its elegant mystery is beyond our knowledge or understanding.
Photo by Takahiro Sakamoto on Unsplash
As I walk these acres, alone, with my partner or in a group with the Resilience Hub, I’m learning the land as I would learn a beloved’s body. I’m noticing the animal trails wandering from field to forest to river, lines and wrinkles of use tracing their way along the land’s contours and folds, suggesting where we, too, might make a path, a place to pause, a spiritual resting place.
I map old stone walls like the delicate sculpture of a spine, huge mossy boulders and landmark trees, learning the texture and landscape of this place. I wander in the thin-skinned places where old bones of ancient glacial esker are revealed. I think about bird nesting boxes, bee and pollinator boxes and honeybee hives.
Over the years, my partner has discovered all the delicate veins of water, daylight and underground, seasonal and year round, the lifeblood of the land. Thick forest hides damp, humid hollows and shallow bowls where mosquitoes fill the leaf-dappled air and the turkey and grouse hide. The grassy hair on the open slopes and fields is twined, in this season, with black-eyed Susan, purple vetch, queen Anne’s lace, wild pinks, blooming milkweed, and red clover.
The land shows us where wildflowers thrive, and which type decorate which season. It demonstrates where water runs, so we know exactly where to position a well. The trees inform us of water availability, drought, crowding, disease and age. The raptors flying over us, hunting, help us know where raptor roosts would be welcome in order to protect the woody agriculture we think of introducing against rodent damage.
As we wander this terrain, we look for nothing and try to see everything. This is how the sun falls during each month of the year. This is where the field floods when the river ice dams thaw in the spring. This is where the doe that was hit on the road lay down and died. This is the special spot where I come, early in the morning, to sit by the river and be alive. This is where the wind strokes the exposed slope, and this is where the trees shelter a small clearing that catches the sun. This is the place where a bittern pounced like a cat on some small rodent by the pond one morning. Here the snow drifts, and here it lies late in the season as the bluets bloom in the boggy field. Here was the old fox den.
Trees topple, decay into humus where fungus thrives and new trees reach for the sun. The land stretches, sheds, sloughs away and reconfigures. Species populations rise and fall. We aspire to that resilience and sustainability. We aspire to the harmony and complexity innate in the landscape around us. We don’t want more than we need to eat, to live, to love. We don’t want to be well-groomed, civilized, obedient and sterilized. We want to root the rest of our lives in the color and scent and texture of the primordial wisdom of life and death as naturally and unapologetically as the raven, the fern or the tree.
Who am I? Who is my partner? What is this land? I believe these are questions that open the way to true love; to sustainability; to reciprocity, respect and surrender. As long as we ask and cherish these questions and receive and cherish the answers, hour by hour, day by day, season by season, cycle by cycle, love endures.
All content on this site ©2017
Jennifer Rose
except where otherwise noted
by Jenny Rose | Jul 20, 2017 | A Flourishing Woman, Body
Photo by Leon Liu on Unsplash
Last night we danced. I’m patiently and persistently attempting to root a dance group into this community. It’s taking time, but I hope in the end to have a healthy core of four or five women with whom to share this sacred practice.
As I danced, I remembered an old friend with whom I danced in Colorado. She used to often say, at the end, as we sat in a circle holding hands, “It’s so good to be in the body.”
Not in the head, where family and other relationships, financial and political complexities, expectations, rules, to-do lists and all our internal voices reside, but in the body, right now.
Our bodies contain a childlike innocence and a wisdom beyond words. They communicate to us the truth about how things are with us via feeling and sensation. Patiently, they carry us through our lives, our most loyal and faithful companions. Persistently, we neglect, abandon and abuse them.
Somewhere along the way, we’ve learned to reject, be ashamed of and hate our physical being and experience. Now we’re to the point where bodily functions tied to being biologically female are a matter of political incorrectness and a hate crime. Social pressure is increasing to eradicate the very words that define female physical experience.
But dance is for everybody in every body, and the spiritual practice of dance has taught me to honor, protect and care for my physical self in new ways. There are no labels in dance, no gaslighting, no power-over that seeks to diminish or limit my physical history or expression. Dance is wordless, so there are no language police. Dance is the freedom to belch, to fart, to wiggle, to jiggle, to giggle, to cry, to shout, to play and to sweat.
Allowing my body to be and joyfully inhabiting it has been a powerful act of self-love. It means allowing my hair to grow as it will, where it will, in the color it is. It means moving with dignity and pride. It means gratitude, for my life is a journey mapped onto my flesh. Every mole, freckle, stretch mark, scar, lump, bump, line, wrinkle and vein holds part of my story, and I honor story.
Being in my body is a powerful act of surrender, not to what the culture says I must be or not be, not to what I think I should embody or not embody, but to what I am. Simply that. The unique, miraculous complex system of genetic material, living tissue, viruses, bacteria and chemical processes that I am.
Allowing my body to be is a peace treaty. My body is not for the pleasure or evaluation of others. It’s not for sale. My body and I owe nothing to anyone, not explanation, apology, conformity, obedience and especially not shame. I refuse to go to war over gender, sexuality or political correctness ideology. I decline to support or participate in self-hatred or hatred of other bodies. The power of my body transcends the judgements, criticisms and opinions of others.
The deepest language I know is of the body. Words are inadequate to my passion, to my love, to my creativity. Spoken and written language fails to convey the richness of my body’s capabilities.
The tick crawling high on the nape of my neck along my hairline, the feel of its tiny claws stirring each hair as it seeks a good place to fasten on, gives me a physical experience so vivid and visceral it cannot possibly be conveyed in words. My skin shrinks, telling me what the sensation is before I examine the cause with my eyes. Undisturbed hair around its path rises, quite automatically, in response to the small but ominous trespass. It feels solid and smooth as an apple-seed between my thumb and finger as I pinch it off. It hurries up and down a bookmark, chestnut colored, as I transport it down the stairs, almost as though it knows it’s been seen, recognized and a death sentence passed.
We come out of our favorite restaurant after a meal on a hot, humid day and find a snake clothed in brown and green, voluptuously twined around our right front tire. My partner stoops and grasps it and it curls and writhes as it dangles from his hand, twisting between the newly-laid black tar and the heavy sky, glaring with sun, humid as a steam bath. My partner takes it into a nearby field and as he comes back he holds out his hand with a rueful expression, showing me beads of bright red blood, dazzling as rubies, on his finger, and two parallel shallow cuts that sting, he says, like paper cuts.
Photo by Leon Liu on Unsplash
Last night I danced with the tick, the snake, the rasp on my knee from falling on the front cement steps, their uneveness hidden by the encroaching hostas, blooming now on thick, fleshy stems, their lavender flowers plundered all day by bumblebees.
I danced with the rattling air conditioner lodged into a window of the recreation center activity room. As usual, we traded the rise in heat and humidity in the room with the lower and quieter fan setting.
I danced with a dead fly on the wood floor, trying to avoid stepping on it with my bare foot. I danced with a living large black ant, bewildered, crawling across what must have seemed like acres of flat, featureless terrain, also not wishing to step on it, but too involved in the flow of the music to stop and take it outside.
I danced with my breasts and belly and thighs, with my feet and elbows and wild hair. I danced with trickles of sweat and a wet upper lip. I danced with my tattoo and swaying earrings and sliding silver bangles. I let myself go. I let myself be. I let myself sink into my body as though sinking into a lover’s arms, for I am my body’s lover, and it is mine.
I danced, and remembered again how good it is to be in the body.
Photo by David Hofmann on Unsplash
All content on this site ©2017
Jennifer Rose
except where otherwise noted
by Jenny Rose | Jun 22, 2017 | A Flourishing Woman, Self-Love
Recently I went back to the little mountain town in the Southern Colorado Rockies I called home for twenty years, and wrapped up the sale of my house. It was an important trip for me, one which I’ve been anticipating ever since I arrived in Maine two and a half years ago. My partner and I drove out and drove back. I didn’t try to blog or write on the road, but I made a lot of notes and I discovered a persistent theme.
Reclamation, according to a quickie internet search, means “the process of claiming something back or of reasserting a right” or “the cultivation of waste land or land formerly under water.” It strikes me there’s an interesting and subtle possibility of conflict in those two definitions. What exactly is waste land, and who has the power to define it? Also, what does cultivation mean? Big Ag? Monocropping? Pesticides and Roundup? Or cultivation by plants, animals and wind?
In any event, I’ve been carrying the word reclamation for some years now like a talisman. It’s a cord linking events and choices of the last years of my life together.
Photo by Tanja Heffner on Unsplash
I remember exactly when it started. I was sitting in a chair in the salon where a friend cut my hair for years. In the mirror, I could see my hair falling over my shoulders and down my back, thick and wavy and beginning to be streaked with grey. I was desolate because of a broken relationship, and I saw a woman who was unwanted in that mirror. I didn’t want to be her anymore. I wanted to be someone else. My friend asked me what I wanted to do and I told her to cut it all off. “Reclamation,” I said. I couldn’t say more because I didn’t want to break into sobs, but she knew exactly what I meant, and she tied a smock around my neck and started cutting.
My ex-boyfriend had loved my hair. I loved it, too. It made me feel sexy and beautiful and feminine. Cutting it was the first step I took on the road leading me to this attic space in central Maine, where I sit this summer morning (with short hair) writing with the windows open and the sound of crickets, frogs and birds flowing in.
I held onto that word, reclamation. It became a boat to sail away in, and then a lifeboat, and then a raft and then a spar of wood in a fathomless sea of floating debris that kept me alive until current and waves took me back to shore.
Photo by Edewaa Foster on Unsplash
The little town I lived in had no claim to fame or big dollar tourism except for a golf course. When I moved there the course was renowned for being one of the most beautiful in the country, and visitors came from all over during the summer to play there, filling the inns and RV parks. Then drought struck that part of Colorado, the golf course was sold to an absentee owner who immediately got crosswise with the town, and gradually, due to a mixture of water problems, politics and general assholery on the part of the owner, the golf course went downhill, people lost jobs, the greens became unkempt and the tourists stopped coming. Then, just about the time I left town, the golf course closed.
I don’t play golf and my living fortunately didn’t depend on the tourist trade, but every morning, just before dawn, I walked on the golf course.
I didn’t do it for exercise or as a discipline. It was my lifeline. It was the one place where I never failed. I was guaranteed solitude and peace. Nobody knew where I was. I knew the course so well I could disappear into it, be absorbed. I had several routes, one for ordinary days, one for days of grief, one for days of rage and the longest one for days of despair. I used some of the cart paths, but mostly I followed the contours and edges of the greens and walked along the river, which was generally only a trickle, if not entirely dry. I often heard owls going to roost as meadowlarks began their morning chorus. I saw bears, foxes, skunks, deer and geese.
In the days of relative plenty, maintenance men worked as early as I was walking, but I was a familiar local figure and we ignored each other. I avoided them and they only saw me at a distance. There was an elaborate sprinkler system, of course, that worked all night every night and made the whole place fresh and green and cool, a stark contrast to my daily reality of hauling or pumping grey water out to my garden because of drought and watering restrictions. I lived a five-minute walk away.
During our recent trip we only spent one night in that little town, but I woke early, slid into my clothes and walked to the golf course. I knew it had been closed altogether for some time. This year the drought momentarily broke in the valley with record amounts of snow and rain, and the river that so often dried up flooded, both on the course and through the town. As I slipped through the gates and passed the “no trespassing” signs in the dark of early dawn, I could hear the river, an amazing, miraculous sound. The scent and chill kiss in the air of running water was very different from the mechanical chik, chik, chik of an automatic sprinkler.
The cart path was rutted, muddy and overgrown. Large tree limbs had fallen and nobody cleared them away. The river actually broke out of its banks and spread across a former green. I’d seen pictures in the local paper, but I still couldn’t believe my eyes. The town sent in machinery to make barriers out of heaped-up debris and mud. Whole trees had toppled, their root balls pathetically exposed to the sky.
Photo by Alejandro Escamilla on Unsplash
Once, I could have walked several paths on the golf course blindfolded. I often was there in the dark. Now my footing was uncertain. The grass grew up to my waist and I kept tripping over hidden windfall branches. Weeds filled the sand traps. The greens were, of course, gone. The groomed contours that once marked my route had vanished, forcing me to slow down and move more cautiously. I strained my eyes to discover familiar slopes and hollows in the dim light.
As I moved deeper into the old course, I thought of all the hundreds of mornings I’ve spent there, praying, weeping, raging, pressing myself against nature in every mood and season. I took my joy there, my hope, my dreams, and my gratitude practice. The golf course was a place of creative inspiration, a place of guidance and comfort, a place in which to staunch wounds enough to carry on another day. I was real there. I didn’t try to hide from myself.
That highly-groomed, herbicide-gagged, shaved, enslaved, money-making piece of land (a waste land) is going wild again. It was captured, bought, and pimped by a businessman in order to create a profit. Now, Mother Nature reclaims her own. The land begins to remember itself. As I walked and the light increased, showing me myriad signs of healing, I felt akin to the land. What is happening there is happening to me. I had a pimp, too — myself. I sold myself for what I thought I was worth in order to get what I needed. Now the land and I reclaim ourselves from a bleak and limited culture that relies on chemicals, profit and power-over rather than natural cycles and cooperation.
Reclamation is not a controlled, civilized process. It’s wild, sometimes catastrophic. The river made a scar where it broke its banks and uprooted trees, but it carved out a new bed for itself. The old bed will fill in. New growth will cover all that exposed earth. The downed limbs and trees will rot and feed the soil and mycelium while native plants and grasses return. Is this what we mean by waste land? Forest fire, flood and storm are acts of nature that reshape the land and environment. Life dies and renews, one act leading to the other. We often experience reclamation as terrifying and tragic. Human beings, for the most part, don’t welcome change unless we control it.
Yet we do change. The world changes. The weather changes. Those around us change. We can neither stop nor control it in any significant way, and I’m entirely grateful for that. The golf course and I are messy. Our hair is disheveled. Our trim, neat lines are blurred. The high unmown grass through which I waded brushed against the hair on my bare legs. The water feeding the land and the water of feeling that feeds me have carved a new, wider path. Bridges and trees sag and unravel, not trash but compost for the next thing. Paths and fences fall into disrepair. Grass and saplings mingle freely, each reaching toward the other at the edges.
Photo by Laterjay Photography on Unsplash
Snakes, rabbits and insects live again in the shelter of the grasses. Does can leave their fawns safely concealed while they browse, and their presence will bring the mountain lions down from the foothills. Owls will find abundant mice, voles and other rodents in what was a carpet of sterile green velvet. The beaver and raccoons will no longer be trapped or shot, lest they disturb the regulated beauty of the water features or annoy the tourists. Over all this complex, creative system, the meadowlark still sings, that king of the high fields and plains, and his song still brings tears to my eyes and an ache to my throat.
That land will always be home to the woman I was. I was glad to return for a brief hour and realize my beloved place has moved on, just as I have. The land and I were both over-civilized into waste land, but now we’re reclaiming ourselves. The golf course and I reassert our right to be what we are. We surrender to change, to mess, and to the transformative edge of chaos.
All content on this site ©2017
Jennifer Rose
except where otherwise noted
by Jenny Rose | Sep 1, 2016 | A Flourishing Woman, Body
Last weekend I took my own advice and surrendered to the now of my life. Two big, heavy wooden doors opened like wings and I came home to dance between them.
One of my dearest friends introduced me (kicking and screaming all the way) to dance more than ten years ago.
“No,” I said, “I can’t do that.”
“No,” I said, “I don’t know how.”
But she, in her infinite female wisdom, nagged and niggled and poked and prodded until at last I agreed to try it. Once. Just to get her to shut up about it!
So I tried it and found myself there, waiting. I rarely missed a dance for years afterward. Ours was a small group of dancers, ebbing and flowing over the years, but the core group remained remarkably the same. Sometimes there were only two of us. It didn’t matter. It was a safe place, a place to be with myself in candlelight, a place to be in my body without thought, shame or responsibility. Everything happened at dance. We raged, we sobbed, we hurt, we lay on the floor. We shouted and clapped, farted, belched, giggled, played, pounded on the walls and danced until we drooled. It’s one of the few places in my life where I’ve felt I belonged.
Leaving my dance group was the most painful loss when I left my old life and came to Maine. I knew I could never replace it, but I hoped to find another place, another group, another dance.
The farmhouse I live in is more than a hundred years old and that means the ceilings are low. I don’t need a lot of room to dance by myself, but I do need to be able to move freely. I did dance a couple of times the first winter and spring I was here, but I had to make myself small so I didn’t scrape the ceiling with my hands and my heart was filled with what I’d left behind. It was so painful I didn’t want to face it again.
In Colorado we danced in a yoga studio. It was a beautiful space — clean, high ceilinged, wood floored. Perfect. Our little town was safe after dark. The studio was easily accessible, heated, had a bathroom available, and for most of us it was less than a five-minute drive to get there.
Since I’ve come to Maine I’ve searched for a local group. I’ve talked to several women about dance. Some have been intrigued, but they’re busy, or they have partners, or we don’t live very close together, or there’s no place to get together and do it. You know.
Here, the nearest town is twenty minutes away in good weather. I’m sure there are places in town we might use, but I don’t know where. Or who. Or how. I’m intimidated and overwhelmed and it seems ridiculous to try to find a suitable gathering place when there’s no dance group to use it.
So I stopped trying. Too painful. After all, now I have a partner to hang out with in the evenings. I told myself I’d keep thinking about it, look for openings, and eventually, maybe, be able to start another group. Or even find one. One day. When we had more money. If we moved somewhere else. If we had a better car that could actually deal with driving on winter nights.
But this summer there’s a lot of movement and change, not all of it comfortable. I’m learning a lot. I’m feeling a lot. Writing is good, and so is swimming, but dance accesses something deeper. I’ve known for a few weeks now I need to find a way to get back into those depths for my sake and for the sake of my loved ones.
So I decided to quit playing games with myself and figure this out.
Naturally, an old farmhouse in Maine comes equipped with a barn. Ours is a total of 
four stories, a typical New England nineteenth-century barn. There’s a bat colony in the top of it and it’s an apartment house for rodents. It’s constructed of gorgeous beams and posts with high ceilings and huge blocks of stone in the foundation. Windows look across the tops of the trees and over the river valley, most of them without glass now. We have six cords of hardwood stored in the driveway level and miscellaneous stuff on the top two floors. The spirit of the building is in the cellar, though, which is accessed through two huge heavy wooden doors that are permanently propped open in the back of the building. This area is mostly underground and the stone foundation can be clearly seen. There are old pens and animal stalls built by hand from the plentiful wood here; not boards, but logs and saplings, rough cut. The mowed area in front of this lower floor is not visible from house, driveway or road and is surrounded by trees.
So, I built a playlist of good music, a mix of old familiar dance tunes and some new discoveries. I swept and raked, picked up trash and got rid of some impressive spider webs. I found an old rusty tin can, filled it with dirt, and stuck incense in it. I put on a skirt and some jewelry, found a pair of light shoes I thought would work (I’ve always danced barefoot), grabbed a yoga mat to sit in the grass and stretch on and went to see what would happen.
They were all there, my dancers. It seemed to me I could almost reach out and touch them. They mingled with the ghosts of animals who once lived in this barn, long dead; generations of birds, now flown from empty nests in the rafters; and the dirty lace of old cobwebs. My feet felt clumsy and heavy in shoes and it wasn’t night, but my body remembered how to move and my brain remembered how to lie down and rest. The music swept me up, pushed me with sharp elbows and knees, shook me by the scruff of the neck, played with me and soothed me. I danced with my expectations, my stories, my fears and limitations and loss. I danced with my disappointment and grief and rage. I threw down my rigidity, refusal and denial and danced in their blood. I danced with the joy of coming back to myself.
I danced in an old barn, in a new life, but not alone. The past is still with me, the dancers I knew green and supple in my memory. The pain of change is not, after all, too great to bear. I don’t need money. I don’t need a better car. I don’t need anything that hasn’t been here all along. I don’t need to wait for anyone else or anything else. I just needed to surrender to what is now.
So this one’s for you, my dear Bobbi; for you, Jill, in all your beautiful sensitivity; for you, Rena, who taught me so much about strength, courage and being real; and for you, Pat, who brought essential balance to our group and allowed us to dance with a playful small boy.
Half a world away, you all still honor my dance with your presence.
**************
We based our dance practice in Colorado on the work of Gabrielle Roth, and I still follow this template. Please see my resource page for links. Also, here’s a wonderful piece about the power of dance.
All content on this site ©2016
Jennifer Rose
except where otherwise noted
