Invitation from Akash

[This is the original document sent out by Akash on March 3, 2016 describing her vision of dancing the 39/46 in January of 2018... with additions from Anthony Blake]
[Additional messages from Akash are shown in chronological order on the menu to the left]

 

 

Beloved friends & fellow travelers,

Greetings.

For the past month, I have been searching for ways in which we can act, in order to make this dream of dancing the 39/46 a manifest reality. What is becoming increasingly clear is that we will all need to play our parts with sincerity and a sense of personal commitment.

This can only work as a group process… it does not belong to any person. Each of us participates according to how much time, energy, love, money we are willing to put in. We do not all need to learn all the movements. Each one of us can choose what we want to learn.

I like the picture of what the movements involve, outlined by Tony Blake. (We have used this format in our earlier work with the 39. It works! I share his letter with you…)

Blake writes… “My own picture of what the movements involve derives, of course, from JGB and his scheme of ‘worlds’ which he adopted from Sufism.

Outward material form – alam-i-ajsam (world of bodies): the postures as knowable elements that can be notated, photographed and learnt. Use of mirrors to try out and correct gestures; ditto film. This does not exclude bringing into play our mirror neurons as in copying someone. It also involves one level of the music: its tempo, phrasing, emphasis. All such elements include variations and alternatives. People can work on this by themselves (this is what I myself took for granted to do and I would undertake to master some sequence in my own time – this of great significance in regard to the next level, since it renders me capable of co-operation with the teacher) “

This could be the first step. Each person who is part of this group takes personal responsibility for learning the movements. Each of us begins to practice the movements that we already know in order to master the outer form. Each of us learn the movements we do not know by whatever means available to us. We can improvise with music or use recorded music that is available.

Everyone who has been learning the movements has a teacher. There is a source from which we have been receiving instruction.

  • Is it possible for us to learn from our teachers the movements we do not know?
  • If our teachers do not know some of the movements, are they willing to learn from those who do know, and teach us?
  • Is each one of us willing to find a way to learn the movements ?
  • Are there teachers amongst us, who are willing to teach?
  • What are the teachers amongst us willing to contribute?

(I am willing to teach anyone who wants to learn, for a very minimal fee or exchange of energy. I know all the movements and have danced them alone, and in groups for many years. If you want to learn from me, write to me, and we can work out a way.)

“Inward felt presence – alam-i-arvah (world of spirits or energies): ‘breathing’ in G’s canon means far more than air in the lungs; he derives from tradition the equivalence of air and ‘spirit’. This level involves the sense and feeling of the movement and also any inner work that might be introduced. The group belongs here. As in any work with groups, one can go the way of ‘uniting’ its members through one’s own authority or even charisma or enter into a mutual participation. The dancers and the teacher discover the movement together. We often tell people to be aware of the others in the class. How can we enable this?  Group work is given great significance in G’s canon.”

This could be the second step. We come together in groups, working in mutual participation, to refine the outer form and open to spirit, with breath, exercises in attention… inner form… sensing… impulse… awareness… in order to access deeper energies and the archetypes that lie beneath the movements. Maybe three or four such groups over the next two years, in different parts of the world, led by those who feel up to the task.

(I would like to offer an open group in Goa, for three or four weeks, in January 2017, for this process. By “open group” I mean one in which there is no fixed leader, leading with his or her charisma… but a process of mutual participation. Those amongst us who wish to lead some movements or inner processes will be free to do so. I will create a structure and a schedule which will allow for different people to step in… smoothly. (In our groups, we have been working successfully with this model for a few years.)

The Truth of the Workalam-i-imkan (world of possibilities or ‘causes from the true inner world’): here belongs the movement ‘in itself’, all that we might mean by objective art or spirituality (spirituality is objective art). When a movement can find a body it rejoices. Here is what the movement means, saying this not to suppose some ‘meaning’ apart from the movement we can work out. The movement when it is realised is a manifestation, the fourth or reconciling line of work in JGB’s canon of seven lines. G like many seers saw into the third world and brought out of it forms that can be known and learned and may serve as a ‘bridge to the unseen’…”

This would be the third and final step, with a four-week intensive in January 2018. By this time, we would have had two years of working with the movements…and may be ready to move beyond outer & inner form into…????

Blake concludes… “The thing about worlds or levels is that each has its own virtues. Each needs to be respected and cultivated. It can be a relief to realise this, because it means that we do not have to strive all the time to get to the ‘high ground’ but can do useful work at lower levels. Being companions in the movements is a wondrous thing. To actually register that another human is standing beside me who is a companion and not just someone in row 5 who does not know his arse from his elbow. But I guess you know the feeling, as the class stands there waiting for the music, waiting for the announcement of… the messiah?... the call to arms?... the last trump?... for the call to prayer?  for the end of the world?... for everyone to be inwardly looking round at each other saying, well this is it, it is this unique life with no re-incarnation or convenient re-runs… just maybe it will happen this time.”

Blake and his vision are very much part of this particular reconstruction of the 39/46 Series. He created a forum for this… the 39 Google Group.

People who are part of that group have been working on various aspects of these movements for several years now. Some have already come forward in support of this renewed initiative.

 

Versions

The movements have been recorded and taught in many versions. The subject of which version to use has come up again and again. The “notes” to which I have referred in the past (apart from my own class notes, made over several years in groups with Amiyo) are those which were created by Deborah, and another set of notes by J. Wilkinson.

Since the Dushka notes appeared in 2013, I, along with members of my group have studied them closely, and those were the notes we followed when we re-created the American 46 in January 2014. There are subtle differences between these and the notes used earlier. I am inclined to put all controversy to rest and just follow these.

I know there is a very wonderful transcription of these notes, which was done by Tony Blake & Maja Moser in 2013. This required a lot of dedicated effort, which really will be a waste if not used. I would be grateful if we could have access to those notes. This way we would all be working with a single frame of reference… and not keep groping in the dark, duplicating the work already done.

Tony? Maja? What say you?

 

Music

Melanie Monsour has agreed to be with us, at the piano, in January 2018. There is an open invitation to other musicians to join us. Margit Martinu has offered to work with the musicians. Melanie has put forward the idea that she could record the music and make it available to us, over time, to support our personal practice.

 

An Invitation

I invite all those who feel called to support this work, to do so in any way possible. You don’t have to be here, dancing the 46 in January 2018.

Teachers… you can support this in a practical way by choosing to teach movements from this series in your regular seminars, even if you cannot come for the finale!

I request a response to this document, along with your ideas and suggestions for other possible ways of bringing this to fruition.

 

Awaiting your response… With love… Akash
email: akashdharmaraj  at gmail.com