Duende

She had duende, a fundamentally untranslatable Spanish word, literally meaning possessing spirit. It signified a charisma manifested by certain performers—flamenco singers, bullfighters, elves, seers, weavers—overwhelming their audience with the feeling they were in the presence of a mystical power.

The Spanish poet Garcia Lorca produced the best brief description of duende: “Years ago, during a flamenco dance contest in Jerez, an old woman of eighty, competing against beautiful women and young girls with waists as supple as water, carried off the prize by simply raising her arms, throwing back her head, and stamping the platform with a single blow of her heel; but in that gathering of muses and angels, of beautiful forms and lovely smiles, the dying duende triumphed as it had to, dragging the rusted blades of its wings along the ground.”

Little Wing followed a tribal trail to Lacilbula, where, after weaving morning pages she returned to the Rio Guadalete river below the pueblo flowing from the Sierras to Cadiz.

The battle of Guadalete was fought on July 19, 711 when 7,000 Yemenis and Berbers led by Tariq ibn Ziyad defeated the Visgoth King Roderic.

Rio needed cleaning. Thick autumn yellow, green and brown leaves trapped between rocks clogged river sections. Liquid backed up to mountains beneath fast gray storm clouds. Using her walking stick, she clamored down a slippery slope and slowly worked her way up the Rio clearing sticks, leaves and stones blocking the flow. One leaf could do a lot of damage.

There were green maple, silver aspen, brown oak leaves. Old black water logged decayed colors danced with fresh green and orange pigments.

She was the unimpeded flow. A child playing near water and rocks in her dream world. Serenity and sweet water music. Rocks, stepping stones. Small pools and meditation zones of where she felt peaceful. Bird music darted up the canyon.

She cleared leaves long past twilight, staggered up the muddy incline facing the Rio in silent gratitude and performed healing chants next to a bare Aspen tree. She passed a ceramic Virgin Mary statue illuminated by melting red candles in a rocky crevice behind a locked gate.

Mary’s blood flowed over jagged dolomite gray stones flecked with green moss. She collected a hemoglobin sample for future weaving, crossed a stone bridge and returned home. She lit candles, started a fire, relaxed in her favorite chair enjoying a deep breath before bleeding word rivers to dye loom fabric.

The loom was her instrument of transformation and wool the hair of the sacrificial beast which women, by a long and cultured tribal process, transformed into clothing. This suggested how weaving skirts the sacred and the violent. Why her power at the loom was both derided and dreaded, transformed, like giving birth, into a language and symbol, a metaphor with new, positive ends.

apsara

The dancing hall at Preah Khan is where dancers don't smile. They dance. They are slave dancers.

They dance for the king. He is the god-king. He has resurrected his desire and fury creating new customs and new decrees for dancers. They dance for the mighty and powerful. They dance Khmer stories about war, conquest, harvests, seasons, sun and moon. 

They are submissive dances of life/death. They dance to celebrate life. They dance the celebration of tranquility. They dance or die. They wear tinkling bands of gold around wrists and ankles. They wear diamond diademed crowns and shimmering silk clothing. They do not smile. Their faces are frozen in the trance of dance.

One dances to escape the tyranny. She's danced all her short, sweet life.

The hall of dancers is surrounded by columns, portals and broken jumbled green moss stones. Thick gnarled silk-cotton tree roots crawl toward dancers. They dance through roots, past Shiva and Vishnu. The preserver and destroyer of life. 

Dance movement is motivated by emotional expression. Dance is about itself. The freedom of creation. A playful approach to meaning. Dance allows the viewer to interpret. 

 

Hope & Exile

Hope had many choices and she chose Exile. They married at the Cathedral of Dreams and ran through fields over Spanish mountains to the edge of the Mediterranean. 

 “There’s a big world out there,” Hope said to Exile pointing over the sea. 

“Yes and that’s only the top of it. Let’s share an orange,” Exile said to Hope. 

“Yes,” said Hope, smiling at real and imaginary worlds over the horizon, “we will sacrifice the peel to enjoy the fruit. Delicious.”

Hope birthed Patience. Raising Patience was a test for Hope and Exile because she gave them the test first and the lessons later.

Exile was a strange wild bird and while he loved Patience she challenged it, his love. She tested his stability, honesty, devotion and his way of constructing a world inside a world, a universe inside the swirling molecules of their experience. He was a risk taker not a ticket taker and Patience admired this reality. 

They studied and evaluated their character traits and imperfections. They took personality tests. Patience tested his trust, his ability to forgive and forget with gratitude and love. Patience handed him small portions of fear, anger, jealousy, ignorance, and desire. He created a diamond reflecting 10,000 things. These were the things Patience cherished.

Hope was relieved when she saw Exile was content. She didn’t know how long it would last. He always enjoyed living on the edge of somewhere else.

The old forest when they saw the axe handle entering, said, “Look it is one of us.”

“No one dies,“ Exile said one evening as they chopped and carried wood on the edge of a rain forest.

“No, I suppose not,” said Hope. “Patience will never die. She will live forever because she has a magic about her. I felt it before she was born. It was like a stream of light was floating inside me.”

“She is radiant,” Exile said. “She is beauty, truth and wisdom incarnate. She will learn how to float, how to project her spirit energies. She will be a fine healer.”

Exile raised Labrys, his double bladed laughing axe above wood. Streams of splinters blasted into twilight. Exile chopped and Hope carried. These were the choices they made as the moon rose through orange and blue streaks of light.

“He went to the cemetario today,” Hope said. 

“Who?”

“The forcestero, the outsider.”

“He was there yesterday as well, why?”

“Visiting the spirit sources.” 

“Indeed,” said Exile, “they will be out tomorrow with the full moon. Clearly.”

Hope and Exile danced in the meadow under the moon.

Light pierced their being and they floated. Nobody else saw them floating. They were protected by a veil of light dancing behind a curtain of surrender. Their spirits were free of their physical being. They were free spirits in a free world blessed by their imaginary limitations. 

They left their temporal bodies and floated down to the Rio Guadalete to combine their energies with water. The water was clear, cold and delicious. It flowed from dark gray Sierra mountains in a rush of sound through a rocky path. It flowed flowers absorbing their scent inside water. 

As petals danced in air Exile and Hope gathered warm flowers around them below the moon. They ran along the valley through fresh turned soil, past olive and cork trees, inside forests of pine, fir, evergreen, pinsapar, maple and trees without a name. 

Bare trees pointed at the moon.

“Look there,” trees said, pointing thin branches toward the sky, “there, there we are.”

Trees pointed to pulsating white stars. “Yes,” they sang, “there we are.”

“Look,” said one, pointing far away, “there we are.”

“And there and there,” they sang reaching every direction. The wind listened to the stars whisper secrets telling star tales seeing star trails across the emptiness of sky inside the vast vacuum of silence. 

Hope and Exile were light.

Kalapuya

Children watched everything from a council bluff where Native American tribes of their nation gathered for a Ghost Dance ceremony. They shared a spirit vision of a Northwest tribe called the Kalapuya.

A hunting gathering people speaking Pentian, they numbered 3000 in 1780. They believed in nature spirits, vision quests and guardian spirits. Their shamans, called, amp a lak ya taught them how seeking, finding and following one’s spirit or dream power and singing their song was essential in their community.

An ancestor spoke to the tribes. “I speak in tongues, in ancient dialects about love. Dialects of ancestors who lived here for 8,000 years before where you are now. In the forest near the river all animal spirits welcome you with their love. They are manifestations of your being.

“I am blessed to welcome you here. You have walked along many paths of love to reach me.

“My dirt path is narrow and smooth in places, rocky in others. I am the soil under your feet. I feel your weight, your balance, your weakness and your strength. I hear your heart beating as my ancestors pounded their ceremonial drums. I feel the tremendous surging force of your breath extend into my forest. Wind accepts your breath. 

“I am everything you see, smell, taste, touch and hear. I am the oak, the fir and pine trees spread like dreams upon your outer landscape. I am your inner landscape. I see you stand silent in the forest hearing trees nudge each other. ‘Look,’ they say, “Someone has returned.’

“I love the way you absorb the song of brown body thrush collecting moss for a nest. I am the small brown bird saying hello. I am the sweet throated song you hear without listening. At night two owls sing their distant song and their music fills your ears with mystery and love.

“I am warm spring sun on your face filtered through leaves of time. I am the spider’s web dancing with diamond points of light. I am the rough fragile texture of bark you gently remove before connecting the edge of an axe with wood. You carry me through my forest, your flame creates heat of love. I am the taste of pitch on your lips, the odor of forest in your nostrils, filling your lungs. It is sweet. 

“I am the cold rain and wet snow and hot sun and four seasons. I am the yellow, purple, red, blue, orange flowers out of brown earth. 

“I am an old dialect of Kalapuya tribes. I respect the spirit energies. I hear with my eyes and see with my ears. I understand your love for the spirit power guardian. I am the ancestor speaking 300 languages from our history. Now only 150 dialects remain. Language cannot be separated from who you are and where you live. 

“I say this so you will remember everything in this forest. I took care of this place and now your love has the responsibility.”

Elevations

Greetings,

From the HatSa river zone to Phongsali at 1430 metres is a twisting 20K dirt road ride. It is cold and delicious with splendid mountains. It reminds me of Dali and Lijiang in Yunnan and Tibetan landscapes.

At 5 a.m. loudspeakers blare a mantra from a bare tree. "Welcome to a new day in your eternal mindfulness..." This continues forever. 

Mountains and valleys are shrouded in early clouds. The old town rocky paths feature Tibetan and Chinese red wooden homes made from bamboo, straw, packed dirt, wood and cement plaster. "Modern" homes are cinder block. 

This is the simple complete rhythm in a northern tribal zone of human energies peaceful laughter inside language music.

In the market village women lay fresh green veggies on banana leaf mats.

• A woman chops chillies, a mother hauls water.
• A woman puts on her bright yellow socks.
• A woman tears lettuce leaves for her steaming noodle soup.
• A woman sells crabs wrapped in banana leaves.
• A woman unloads her heavy head yoked woven basket filled with greens.
• A woman carries her world on her back.

In slow motion I meet many children. We draw the chalk alphabet on cinderblock walls. We sing and dance. They sing, You are fool whether you dance or not so you may as well dance. 

Metta.