social dreaming

Amaara Raheem: a correspondence with self.

One important thing is that I find one dance leads to the next. In my experience, it’s not so much that I make a dance, but that one curiosity leads to the next. For me, the process of making things is totally intertwined with context … In fact, what I’m actually making are contexts, … When you’re in process, everything that happens through the day is put into the mixer of your making. That’s the thrill of being in a making process: yo u have that container, those questions that can be answered all day long. It’s not studio-dependent; it’s not dependent, even, on your collaborators being present all the time. (Lisa Nelson)

I remember sitting in the pub one afternoon, I think it was a Tuesday, with Alex talking.dreaming about a possible collaboration on ‘spirituality and performance’. The idea being: 3 movement artists would come together, each making a solo examining.interrogating their individual relationship with Buddhist thought and practice in relation to their movement practice.process. In other words making through merging or alone together.

We also thought that alongside this making.sharing process there could be documentation – an official report with a constant AND, fluctuating rhythm: A Wild Card. A book of Songs. Alex asked his friend, Andrew Carey (writer / publisher) if he would be interested in being part of the making.writing process? He was.

A few months later, in Dorset, sitting at the kitchen table in West Hay – Andrew and Sandra’s house-by-the-sea – Andrew placed a brown paper covered lined notebook on the table next to the teapot. ‘A place for us all to write in’ he said and passed the sugar.

The book became known as THE CHORUS.

Writings from THE CHORUS:

We are defined by all the things we haven’t done, all the paths we haven’t trodden, all the boys we haven’t kissed. We make a small shape in a universe of things that amount to all of our unfulfilled potential.

If we change solitude to









does that change anything?

If we accept that beginnings are purely cognitive construct, does that lessen our attachment? Make less our identification?

The destination that’s not a destination could be the performance.

The level of presence we launch ourselves into is already an act of letting go.

Solo Encounters was a performative event in which three solos, by Sandra Reeve, Amaara Raheem and Alex Crowe were presented, accompanied by the constant AND fluctuating rhythms of writings by Andrew Carey in a published book called ROPE, STICK AND PILLAE. 50 audience members came – friends, family, Buddhists and non-Buddhists; their generous donations went to Eastbourne House – a project where Tiratna Buddhist Centre can buy the falling down building (of which they’ve been tenants for 21 years) and repair it in order to continue making contexts – cockle.rock tipple.stone wobble.block jiffle.trunk – the creation of arts made in collaborative community.

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