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Posts tagged ‘timeless-ness’

Fear Rolls Off Round Time

Today I dance to Arabic taksim. The music hypnotizes me into the Moment. Vines of sound coil this way and that, furbelows and twists and double-backs and digressions. The flute takes me. We wind around and around, losing our bearings. As if in a blizzard, the world swirls white. I seem to waltz on the same spot, step after step, heading somewhere but which way? The world becomes spherical. The relentlessness of linear time has dissolved…When the snowfall ends, when the music resolves, the world stills. Where am I? I am somewhere, but is it forward or backward or up or down? I am just here… Read more

Face of the Divine

When we cultivate our spiritual life, our daily life increasingly becomes the face of the Divine.

This came to me as we chanted Ya Muhyi  (The Enlivener) in the recent Baton Rouge weekend workshop. I saw daily life as surface, like the earth’s crust, floating above a  timeless unitive Communion. We have families and jobs, responsibilities and identities. This is our surface. If, inside, a spark flutters then flames into a blaze of spiritual life, we find, Read more

A Veil Romance

I want [my veil] to unfurl so I toss her but don’t drop her. I let her billow. I wrap a wide arc of space in her skin. Soon she has seduced me into her world. My legs and feet have forgotten their clay and I am in the small sky that inhabits my NYC apartment. Air is always a morsel of sky, yes? Breath is always a morsel of sky.

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Dancemeditators Describe Their Room

Here is a wonderful string from a Facebook conversation amongst Dancemeditation™ practitioners. Our goal with this conversation is to inspire and support a daily practice or teaching of Dancemeditation. Each month we work on a suggested topic.


November 1  Dunya McPherson, Principal Teacher
Please describe in excruciating detail exactly where and when you do your daily practice. Where is the space? What time of day? What do you wear? What do you sit on? What music have you been using? How long have your practice sessions been? How many each week for the past two weeks?

November 1  Jessica Iscah Tkach Paquin
In the last two week I have practices 2-3x a week. I have a dance/meditation room. It has teal walls and big bright windows. Read more

Spending My Spiritual Capital

In an earlier post I wrote about coming home from retreat and, with all that new juice, getting involved in lots of projects and using the energy lavishly though often unwisely. I remember those words as I return to NYC with recharged batteries, as if the New Mexico sun had charged my soul. I am aware that all the cleansing breaths I’ve taken on the mesa have been healing. The light has been healing. And my cells feel wonderful. Alive!

Back in NYC I focus on business. I sit in front of my computer and type away. I’m on the phone. I email. I organize Dancemeditation sessions and ‘run the store’. But as I do, I feel what I am doing. Inside my apartment, I inhale EMFs. As I walk along the street, I inhale heavy metals. With every breath comes poison.

NYC is a stimulant — caffeine or speed. It’s a great jolt, useful in creative tasks and for un-spooling complex ideas. The mesa is nourishment. Direct inspiration. I make the two sound very black and white. Who wouldn’t prefer the mesa? But the mesa has its rigors. Its austerity is a large part of its ability to heal, and that must be gotten used to. New York is materially cushy. Lots of water. Lots of electricity. Anything you could possibly want — for a price.
The power of NYC for me has always been its raw energy. If I can transform it with my practice I have a dynamic resource, but I have to transform it, not get lost in it, or follow its whims and tides which easily chew up a soul.

I feel almost as if I need to get all my business work done quickly before I lose my juice. But then I realize that the healing that took place on the mesa is changing how I am working. I breathe as I type. I tend toward balance. I don’t teeter on an edge. I am all here, and being all here is far less crazy, less volatile, less self- destructive than past ways I’ve lived in NYC.

I stopped in at Grace Church on 10th and Broadway to listen to the noon organ concert. That was a nice break. The cool colored light. The smell of wooden pews and leather prayer books. Timelessness, to breathe and be bathed in music.

Comfort in Practice

My night reading of Koran verses was surprisingly refreshing. I used to find them judgmental—all that ‘do the right thing or be in hell’—but with a new perusing and the leavening of age and experience, that they are right.  They just are. The question is understanding what the ‘right thing’ is. Each sura drops a tiny clue in its bed of poetry to what a right thing is. Read more

I Need This Palace

Late night. The crickets sings. I don’t sleep. I wake, light a candle, and read beautiful Hafiz poems and Koran. My cabin is a cranium, the door a mouth, and the deck its tongue. I walk out of the head, through the mouth, onto the tongue, and fall into space as a song. Quiet settles in me. It grows too cold for the cricket. I close the window and lean toward the candle. Read more

Timeless-ness Windows

Five Ruby Women
(written after Thursday class)

My hands climb the air slowly on their own.

The canyon floor spread around me,
the pale green trees lacy along the river.
A dense hiss then
a blast of pitting sand folding me before
shooting off like a big air serpent disgusted
by its marbled morsel of me.
And the world halted.

My hands halted.
There was nowhere else.
A silvery kanoun hangs the icicles of plucked tones on a sparse branch.

My heart beat.
The canyon still.
In a room with a red floor five women
with five wombs, five hearts, ten hands
and ten thousand pulses
are still.
A silvery kanoun hangs plucked tones.

Pale green branches eyelash cheeks.
The river of thoughts or no thoughts winds
her water, ruffled by fish, stones, breaths
of five ruby women.


During Dancemeditation my body combines times. The sense of dual realities – not so much recollection – is montage or pentimento. In this poem, the stillness combines all times. During the class, this was so palpable to me. I also felt that there was no particular importance to the specific scenes other than their stillness. I had no urge to analyze the ‘meaning’ of place, or action, or who. The value was ‘stillness’.
Yet there was place. There were occupants. And these aspects were beautiful to me. It was a limpid, awake dream-like perception – not a day-dream or memory. The exactitude of the experience had the detail of  Persian miniature, though not particularly visual so much as a full-range awareness. An other-worldly awareness.

Stepping beyond ordinary awareness is an interesting cultivation. These perceptions are not accidental. They aren’t easy to find. Like a coming across a tiny brook with perfect green moss, undisturbed, pure, with a small bird flipping its head in a shaft of light, and you know, never having taken that path before just at that time of day, you might never see that exact scene ever again.
It is so delicate…

Turning the Year

In the year’s turning, I dance my way back into the many strands of Truth that escape my tight self.
My hair falls free. Truth.
Into my heart comes a gush of clean Truth, a flame, a song, a wind, and I can move (and we can all move) beyond my “I”, my “my”.

All times melt into Present.
This gift, this Present, doesn’t erase other times; she is All Time.
Large. Full. Beyond thought.

This Present is Truth on our whirling Earth. When are we ever not turning?

Time. Again.

I’ve been feeling lately that time, or the moving time that whirls the hands on the clock face, is a thick, cement-y porridge filling any crack in my existence. I live bricked up inside a solid wall of time. My practice––it inexplicably fetches me when I’m truly overwhelmed (I cannot explain why I am able to do it now; no resistance, but instead docility, even gratitude)––digs a chink in the odd hour where I can slide through and unwind.

I prepared new visual film poem for my book‘s premier party. The film titled ‘Collections’ is a series of still life images. And I thought how odd it was to use still images in a video when the whole point of video is motion. As I edited, I saw the attraction––stopped time. Still life. Then, even better, I could surge time, sforzando, then stretch or chop it by how I transitioned from one image to another. Such pleasurable control. And the final joy was seeing the structure of the whole piece express classical lineaments. Themes returning. Themes developing. Beauty. Eternity. This sort of time.

Here are a few images from Collections.