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 Aberjhani's Paradigm Dancing

Sunday, May 20, 2012 9:52PM
 
The Nature of This Paradigm Dancing
Posted By: * Aberjhani

Tags: John Galsworthy, Moliere, Stephen R. Covey, Paradigms, dancing, Paradigm Dancing, language, war, terrorism, human rights, cultural migrations, writers and writing, Aberjhani


The high-stepping Nicholas Brothers in Sun Valley Serenade (1941). (photo by Bettmann/Corbis)
 

Whether language is shyly uttered, fiercely written, or fearfully thought, it creates an inherent rhythm that invites the soul to dance to such intoxicating melodies as truth, anger, inspiration, fear, and love.


Human beings most often accept that invitation to dance in many different ways. Sometimes we do so by following the lead of an initial small or large realization until it whirls voluptuously into an unyielding idea that persuades us to take a certain action or cautions us against another.


Sometimes other pronouncements, spoken or un-, follow the first but in languages of different kinds. They spring back and forth between diverse grammars and revelations of universal symbols or archetypes, as strangely enthralling formulations and poetic constructions creating what many might recognize as: a song of some kind. The music is not always beautiful and the dance it inspires may appear more macabre than graceful. As much as we might prefer to choreograph our lives to hip-hop ballads of genuine democracy, various populations throughout the world community endure their existence instead to the soundtrack of something closer to a nonfiction nightmare dystopia.   


Ours is an age in which thousands are driven daily from their homelands by the unforgiving brutalities of war, terrorism, political oppression, starvation, disease, economic piracy, and the relentless suffocation of that singular breath which makes human beings individuals. In the United States, Latinos once secure in their identities as Americans discover they are in fact something referred to as “illegal aliens.” They then have to make their way south across the Mexican border and reestablish their lives to the tune of conditions and customs which previously had been little more than the subject of tales shared by grandparents and other interesting relatives. Leaving Somalia, refugees struggle to reach neighboring countries like Kenya and Ethiopia or, increasingly, to cross the Atlantic to the United States to escape rape, mutilation, and genocide. People indigenously at home in rain forests and other native locales find themselves driven out by the encroaching demands of commercialism.


In each of these scenarios human beings have to adapt to choices made by someone other than themselves and dance frantically, as it were, to a beat not their own. The forced nature of these cultural migrations burden language with a vocabulary of tears steeped in grief and desperation. And they challenge writers to retrieve out of these everyday tragedies any beauty worth singing–– without glamorizing the horrors involved or betraying the lives so despicably at risk.   


An author accepting language’s invitation to dance steps onto the floor of his her sensibility-charged consciousness and begins to move instinctively––even if with much dread––in ways that synchronize images, ideas, emotions, sounds, smells, ignorance, and knowledge. Subtle energies crackle insistently along intersecting horizontal and vertical lines to occupy each other repeatedly and compose a vision which at some point may be called a story, a poem, an essay, or a play.


The pattern of dynamics might alter where different authors are concerned but the nature of this paradigm dancing remains essentially the same. Such is the culture, if you will, of the dance shared between vernacular and writers that others––passionate readers, curious friends, fellow authors, tribes on the run––are always encouraged to join them. Many, in fact, will say the dance is not a true one until they do.
 

by Aberjhani
author of The River of Winged Dreams
and co-author of Encyclopedia of the Harlem Renaissance
 
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