William Forsythe's "Decreation" at BAM

William Forsythe's "Decreation" at BAM

Like the Ouroboros, I have now come full circle.

No other visible artist on the planet, it seems, has insight into Kundalini like William Forsythe.


I can still recall the excitement I felt in my body, the Kundalini surging, when I first saw the Frankfurt Ballet in Los Angeles in 1992.   There was a ticker tape machine on stage and the dancers were reading out messages and they were all about time.

He detected it: the crucial importance of art evoking its time.  Time as the last remaining 20th century challenge for physics. Science failing to explain how — when we have so many time saving devices — we are losing time.

This past week, I spent far more time than usual in the unconscious.  On Thursday, for example, I felt myself levitating from the bed and finally got up  to discover the morning had disappeared.  I went for breakfast at 2 PM, when the Lakeside Diner was getting ready to close and sat there until they mopped under my feet, completely focused on organizing images for my oral presentation scheduled for the AICA 2009 Congress in Dublin.  My awareness of Time factored right into it!

It sounds like an old cliche, I know, to say how crucial a moment of time is because it will never happen again, but given the perspective of astrology we can scientifically calculate just HOW unique it is!

My goal as a critic is to evoke in my writing the patterns existing at the very time of its execution. To be successful at such a co-creation with the universe, I need to focus on artists who create works evoking their times.

Can my ambition explain why great human beings such as Fuller were out of context with their times?  If Time dominates human thought, than how could Margaret’s critics appreciate her being an instrument of her time?  In living in the same time as her, they couldn’t detach themselves from their times in order to see, in high relief, how she evoked her time, the post-romantic era.

This is the gift that Mary of Persephone gave me when she advised me to view my own chart from the perspective of the Galactic Center, which now represents the Great Unknown.  Ever since then, I am happy to stand in the “I don’t know” and realize this is the place of great power!  Entering the place o unknowing means a surrender to the unfolding, letting the evolutionary energies work through the body, the ultimate indicator of time.

And what about the body of work.  The timing of delivery, the timing of performances, the timing even of beginning and ending my writig.  It is all about capturing the unique moment in the most appropriate expression reflecting that moment.  This is the essence of true creativity that I am understanding by reading about Margaret Fuller.  A life in co-creation with the universe.  She was 200 years ahead of her time and her time rejected her because they couldn’t understand her achievement — mastering time so to filter her times!

Below are my notes on DECREATION which attempt to explain why this performance was so evocative of our time, defined as it is by the Saturn-Uranus opposition.  The performance begins in real time and ends in mythical time.  What separates the two is Sound.

Video illuminates symbols as signs of transformation: the hand, black face and the Sphinx created through a face resting between two feet propped on the table.

Bringing the Kundalni into the body, the rejection of kundalini by the body.

The medium of dance is explicity about the body.

Dance is therefor the Kundalini’s natural medium.

A black dancer with her holistic moves represented the natural flow of the Kundalini.  Others in the company revealed the fear associated with the serpent power.  The fear of losing control.

The very word Decreation has a religious association.  If God created the world in seven days, then how long does it take to decreate the world?

To decreate the patriarchal hold on the body and create the vacancy so the Goddess can enter.  Yet, there is considerable resistance from the Ego and the result is schizophrenia, the body fighting with itself.

It was the message of the Sphinx that drove me to Brooklyn to see William Forsythe’s Decreaton.

I have never seen such a penetrating view into human emotion, the warring opposites behind schizophrenia surfacing as the heated, desperate negotiations in a relationship, with frequent lapses into lawyering, that we carry on in the name of love.

The sheer futility in speaking about LOVE when the heart is closed and the body rejects and/or distorts the serpent power that attempts to break through the blockages that maintain stagnancy.

The heart has its own intelligence.  This central organ regulates the blood flow, maintains our ALIVENESS.

How is it that we let our mind fuck it all up??

William Forsythe acutely understands duality and the need to reconcile the warring opposites.  All the talk of love, he shows us on stage, is representative of a culture that resorts to words as a cover for the utter lack of unifying feeling.

Words as blades thrust at such an emotional pitch that the spontaneously transform into opera.

Yet, through a communal sound there is unity.  Sound creates the sacred geometry of the circle, a geometry of holism, which dominates the close of the performance.

That is the transformation.

Sound and Silence.

Decreation ends on a hopeful beautiful note, the passage into unity, the round table and the two female dancers, one wearing black and the other white, embracing.  it is reminiscent of the yin and yang.  With the rest of hte company sitting at the 12 chairs.  Twelve being a number of sacred geometry: twelve were the tribes of Israel; twelve gates to the holy city; twelve houses of the zodiac.

Sacred Geometry of the Hieros Gamos on stage.

Where Forsythe goes, others will follow.

This circle completed with William Forsythe is all about Time.  The Ouroboros devouring itself.  My work of self-devouring completed JUST IN TIME.

When science accepts astrology, which is the oldest science of all, we will have resolved the problem with Time.  And from there, scientific experiments with astrology will reveal a truth known by shamans: the gods we project onto space are actually within.

This leap in human evolution will be undeniable with 2012.  Who can deny the convergence of time and space when we have the collective experience of the Winter Solstice Sun aligning with the Galactic Center?

The question that lingered all this week after seeing Decreation is this: how much do things have to deconstruct in order for us to embrace the truth of our interconnectedness with the Earth and its place in the divine rhythm of the cosmos?  Wouldn’t it be best to have all the warring parts of ourselves take their places around the round table representing the unity we can discover by understanding our inner rhythms influenced by the galactic bodies?  Isn’t it time to prove Newton wrong and reveal scientifically that the planets are not just dead objects in space, and alive as our own bodies, charged by the cosmic rhythms!


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