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@themusicthatmovesme
"The first language humans had was gestures. There was nothing primitive about this language that flowed from people’s hands, nothing we say now that could not be said in the endless array of movements possible with the fine bones of the fingers and wrists. The gestures were complex and subtle, involving a delicacy of motion that has been lost completely.
During the Age of Silence, people communicated more, not less. Basic survival demanded that the hands were almost never still, and so it was only during sleep (and sometimes not even then) that people were not saying something or other. No distinction was made between the gestures of language and the gestures of life. The labor of building a house, say, or preparing a meal was no less an expression than making a sign for I love you or I feel serious. When a hand was used to shield one’s face when frightened by a loud noise something was being said, and when fingers were used to pick up what someone else had dropped something was being said; and even when the hands were at rest, that, too, was saying something. Naturally, there were misunderstandings. There were times when a finger might have been lifted to scratch a nose, and if casual eye contact was made with one’s lover just then, the lover might accidentally take it to be the gesture, not at all dissimilar, for Now I realize I was wrong to love you. These mistakes were heartbreaking. And yet, because people knew how easily they could happen, because they didn’t go around with the illusion that they understood perfectly the things other people said, they were used to interrupting each other to ask if they’d understood correctly. Sometimes these misunderstandings were even desirable, since they gave people a reason to say, Forgive me, I was only scratching my nose. Of course I know I’ve always been right to love you. Because of the frequency of these mistakes, over time the gesture for asking forgiveness evolved into the simplest form. Just to open your palm was to say: Forgive me.
Aside from one exception, almost no record exists of this first language. The exception, on which all knowledge of the subject is based, is a collection of seventy-nine fossil gesture, prints of human hands frozen in mid sentence and housed in a small museum in Buenos Aires. One holds the gesture for Sometimes in the rain, another for After all these years, another was Was I wrong to love you? They were found in Morocco in 1903 by an Argentine doctor named Antonio Alberto de Biedma. He was hiking in the High Atlas Mountains when he discovered the cave where the seventy-nine gestures were pressed into the shale. He studied them for years without getting any closer to understanding, until one day, already suffering the fever of the dysentery that would kill him, he suddenly found himself able to decipher the meanings of the delicate motions of fists and fingers trapped in stone. Soon afterwards he was taken to hospital in Fez, and as he lay dying his hands moved like birds forming a thousand gestures, dormant all those years.
If at large gatherings or parties, or around people with whom you feel distant, your hands sometimes hang awkwardly at the ends of your arms-if you find yourself at a loss for what do with them, overcome with sadness that comes when you recognize the foreignness of your own body-it’s because your hands remember a time when the division between mind and body, brain and heart, what’s inside and what’s outside, was so much less. It’s not that we’ve forgotten the language of gestures entirely. The habit of moving our hands while we speak is left over from it. Clapping, pointing, giving the thumbs-up: all artifacts of ancient gestures. Holding hands, for example, is a way to remember how it feels to say nothing together. And at night, when it’s too dark to see, we find it necessary to gesture on each other’s bodies to make ourselves understood.”
~ The History of Love, Nicole Krauss
"The language of movement can be said to contain words. Words, whether written or spoken, are sounds and shapes that contain meaning, which are used to communicate ideas. In movement, shapes and forms are distilled reductions of ideas into symbol, which are also used for communication. In creating movement language, you are drafting thoughts and ideas and condensing them into visible form.
Whether copious or sparing, the lexicon must be clear, the alphabet legible, and symbolic meaning understood. The dancers are not just executing steps, or exhibiting their personality, but are actually inhabiting ideas and ciphering those ideas into communicable expression. The dancer's personal identity is diminished in order to experience and receive information from those ideas, and to allow those ideas to speak. Behind ideas is the power of their meaning, enlivened by the life force of the interpretive messenger.
The human body with its mind, heart, and cerebrospinal centers is a musical instrument, a treatise, and a microcosm of the macrocosm. It is hierarchical in that the mind is above the body and the soul above the mind. They all have to be engaged for balance. All human beings are meant to be artists and create, regardless of their field of endeavor.
If the dancers were only executing steps, a musician solely picking notes, an orator only reciting words, there would be no soul engagement, which means no voice, no statement, and therefore no communication. Behind each note and step there is thought and meaning. The artist interprets their understanding of thoughts and ideational structures through the uniqueness of their original voice. The principle concern of the artist on every level of accuracy is statement-what is being said. The task of the messenger is to disappear so that the idea alone is paramount. Dancers are making visible the rhythmically moving breath of thought.
We live in a world of duality. The place beyond the realm of words is usually the artistic goal. Words are often clumsy and inadequate. This is why we marvel at the masters who place language realms that hitherto where incapable of verbal expression. Our default to words is because we are no longer adept at telepathy. Yet and still, words can transport us to spheres above words. Words are uttered with the mental image the word represents, it's meaning, and the vibrations, which produce sound, to speak the word. In dance, as in all parts of the creative process it is the same. Thought is born in the mind, corralled and given energy and then made manifest in the material world."
~ Alonzo King, Thoughts on Writing Ground
Art is not a hobby or a pastime. It is the result of an internal battle royal, one between the quest for safety and the desire to matter.
Seth Godin, V is for Vulnerable
Art isn't a genetic or chronological destiny, it's a choice, open to anyone willing to trade pain in exchange for magic.
Seth Godin, V is for Vulnerable
Never did we dream that thought could arise from the lonely animals who cannot dream each other’s dreams.
The Hive-Queen, Ender’s Game by Orson Scott Card
The buggers don’t talk. They think to each other, and it’s instantaneous, like the philotic effect. Like the ansible. But most people always thought that meant a controlled communication, like language—I think you a thought and then you answer me. I never believed that. It’s too immediate, the way they respond together to things. You’ve seen the videos. They aren’t conversing and deciding among possible courses of action. Every ship acts like part of a single organism. It responds the way your body responds during combat, different parts automatically, thoughtlessly doing everything they’re supposed to do. They aren’t having a mental conversation between people with different thought processes. All their thoughts are present, together, at once.
Ender’s Game by Orson Scott Card
The grown-ups advised me to put away my drawings of boa constrictors, outside or inside, and apply myself instead to geography, history, arithmetic, and grammar. That is why I abandoned, at the age of six, a magnificent career as an artist.
The Little Prince by Antoine de Saint-Exupery