Gender: Female
Status: Single
City: San Diego
State: California
Country: US
Signup Date:
06/14/06
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Tuesday, October 09, 2007
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Monday, December 04, 2006
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Self acceptance and Creating a sense of self and appearance through imagination
A ballet student (not one of mine) writes:
"I am too muscular all over, but especially in the legs. My arms, back and waist look very defined and sculpted, and I guess my legs do as well (years of soccer, track, hockey), but I would rather have a smaller, less muscular version of myself. I don't really care about weight loss, I'm fine that way. I just want to lose muscle... desperately. Or at least look like I have. I look too strong for a girl. Can this be done? I'm tired of people commenting on my muscles, especially in ballet where you can see every single one! :o"
My reply: Working in a balanced way and making sure that your muscles are stretching as much as they are contracting might actually alter the way in which your body develops. Your placement and the way that you train may have an effect on the way the energy flows through your body and the way that you have been developing. If you are not placed correctly, changing your placement can have a huge effect on the way your body feels and develops. Often times, when the pelvis is tilted back and the weight is over the heels rather than more towards the balls of the feet, it can create bulkier thighs because of the work that the quadricepts try to do to compensate for the work that the hip flexors, deep pelvic muscles and hamstrings are not doing. It is also not possible to engage the turn-out properly when the pelvis is tilted back like that - and working that way will create bulkier muscles. A teacher with a good eye for placement or good Pilates or Gyrotonics trainers can be helpful in facilitating balance. However, moving the body with breath and in a balanced way in whatever you are doing will create balance in your body. That is also true of your body-mind so whatever you are thinking is part of what informs your sense of self, your life and your dance.
You are born with a certain structure and genetic predisposition in terms of how your musculature appears in its development. But if you think that you are too muscular, you will be carrying yourself that way and dancing that way. Your lack of self-acceptance will be reflected in the way you move, and give a greater appearance of the very thing that you are resisting. I personally love the look of defined muscles and being able to see the beauty of the way that they work. For beauty and balance to become fully manifest, you must learn to love and accept yourself as you are and work with that.
At the same time, your active use of visualization and imagination can also be powerful ways of creating a different sense of yourself and your appearance. So much of ballet and its beauty is etheric... and your imagining into the extension of your etheric body. Ballet and the sense of line that is conveyed goes beyond the gross physical. So if you are (solely) thinking "muscles" that is what will be expressed and seen. If you are thinking that your body ends where your bones end, that is what will be expressed and seen. If you or any dancer limits themselves to the gross physical without engaging your imagination and the spirit of the movement, your movement will be limited and lack artistry. Think of lengthening your legs as you dance and long lean lines that go out beyond your legs and arms and out beyond your fingertips and toes and out beyond the top of your head, as you work ... and even beyond that .. extend yourself beyond the walls of the room that you are in. Feel the constant expanding movement within your stillness so that your positions are alive and never static ... and activate your imagination through your sense of movement and the music, and you can transcend whatever might be limiting about what you have been focused on with regard to the way that you think you appear. Feel beautiful. If you do not feel beautiful, imagine and then act like you do... and through that, you will find the reality and the truth in that, which is there, innately in you, waiting to manifest through your self-acceptance and expression.
6:52 PM
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Wednesday, November 29, 2006
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God's Echo
Category: Writing and Poetry
He said, "I feel like I am God's echo"
and I replied:
"God's echo is silence as it sings its song throughout the universe
God's echo is your voice as it resonates throughout my body
God's echo is our finites playing their infinities
God's echo is its infinities playing through our finites
God's echo is your laughter tickling my own
God's echo is passionate cries for justice
God's echo is anger, fear and ignorance
God's echo is your acceptance of his many faces
God's echo is intolerance, bigotry and hypocrisy
God's echo is your yearning, your desire, your will
God's echo is your compassion and love
God's echo is creativity as it dances music on the stage of life
God's echo is creating limitation out of freedom
God's echo is creating freedom out of limitation
God's echo is your soul as it calls to my own
God's echo is the tear on your cheek
God's echo is my heart as it calls to yours
God's echo is seeing unity through division
God's echo is creating division out of unity
God's echo is fire as it sweeps across the brush
God's echo is water as it turns to ice and back again to water
God's echo is the poetry that pours out of you
God's echo is forgetting itself
God's echo is remembering itself
God's echo is when i hear you say i love you
God's echo is the hills, the lakes and the valleys
God's echo is the cry of lovers in the climax of their passions
God's echo is when the earth quakes
God's echo is the ocean, trees and flowers
God's echo is the clouds painting their mastery in the sky
God's echo is my heart breaking at the beauty
God's echo is beloved to the lover
God's echo is the rain nurturing the earth
God's echo is a baby crying
God's echo is the sun that shines down on us
God's echo is all living creatures
God's echo is your brilliant mind at service to what is beyond it
God's echo is playing for no reason
God's echo is finding all kinds of reasons (for no reason)
God's echo is time as it measures space and space as it measures time
God's echo is eternity where time has no meaning
God's echo is looking into your eyes and seeing mine seeing yours seeing mine seeing yours seeing mine as we plunge into our souls, dissolve and then ask what's for dinner
God's echo is the mystery that awaits us every moment
Indeed you are God's echo."
4:47 AM
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6 Comments - 10 Kudos
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Monday, October 23, 2006
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Entering that special magical atmosphere
To ballet students last week:
In order to experience being in that special atmosphere where everything is one and connected, (when you are feeling beautiful and inspired and the same weight as the air, and you carve lines of beauty through space with all of your movements), you have got to meet it with your imagination. If you come in feeling out of it or in a certain mood that atmosphere will not be in your experience all of the time and the movements themselves will not be charged with that potency unless you meet that atmopshere by creating and weaving it with your imagination.
2:34 PM
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Sunday, August 27, 2006
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The difference between aspiration and attachment to expectations
The difference between aspiring towards one's visions and attachment to expectations.
A frustrated student who started studying ballet as an adult wrote me:
"There is too much embarrassment, too much vaulting disappointment, too much dismissal by the 'dance community' in general and too much time lost all the way around etc etc etc to continue this. So - although I am enjoying the aesthetic effects that ballet has had on my body, I just can't take all the rest of it anymore. These feelings come up in all of my artistic endeavors and I am just done. I will take barre here and there to keep myself in shape, but this whole idea of trying to achieve anything of artistic value in classical dance beyond the age of 14 by anyone (including the adult student deluding themselves) is obviously a huge waste of energy and time."
I am sorry that you are unhappy and disappointed. I think that having the kind of expectations that you have for yourself or from the dance community is a set up for disappointment. You're very hard on yourself and my sense is that it is possibly sabotaging whatever enjoyment you could have through the process.... and therefore the energy and spirit of the process itself. You are so beautiful, and I know you really love it and care to do the best you can do. I wish you could let yourself go enough to enjoy the process and take it lighter. I know how delicate that balance is between caring to do the best you can do and taking it lightly enough so that you do not get into your own way ... but not so lightly that you lose your tenacity or care -- or the joy of being totally immersed in the art. Professional or not, I personally feel that there is no point if it is not enjoyable.
Please take what resonates of the following and leave whatever else is left.
Aspiring towards the highest that you can do is different from getting disappointed if you are not living up to your expectations of fulfilling some standard of 'artistic value.' Someone once said to me that enlightenment is not about doing the 'right thing' but loving whatever you do. I feel that this applies here and can be related to the courage and playful spirit that gives way to artistry. On 'perfectionist' terms, I have found that my perfectionism was imperfect if it did not include the possibility for mistakes, if it judged rather than observed, if it did not allow for what was here and instead argued with it, and if it did not create the space for process and exploring through unknowns and instead focused too much on results and knowns.
That does not mean being indiscriminate or deluded.... but it does mean relaxing your self-judgmental tyranny and pictures of where you should be enough so that you can allow yourself to enjoy where you are. Because you will never get to where you think you should be or be able to achieve your creative visions (even if you are under 14 years old) if you are not present with where you are. No one can function optimally under tyranny ... including self-tyranny. The creative spirit can especially be oppressed in such conditions.
In addition, there are many different vantage points with which to assess "artistic value" - In other words, it is extremely subjective. I realize that you have your own ideas and standards about that which you have to honor. In my book, there needs to be no reason to dance other than the pure joy of it, and artistic value can be very simple. It can have to do with an inspired moment ... whether on a beginning level child or adult. By my standards, I have seen more 'artistic value' or truly inspired and poetic moments from intermediate students of all ages than of some young or older professionals. It could have to do with a surrender to the creative will and allowing it to breathe you. It can have to do with a mastery of technique. It can have to do with unity consciousness, or a feeling a connection or oneness with the music or an integrality of the body, mind and spirit with the technique, choreography, music, moment and all, etc. Or it can have solely to do with unique expression, originality or a vision manifested that expands the art form or is transformative or that inspires an evolution of consciousness or an evolution of the art form itself.
Be careful of unrealistic expectations. Dreaming big is wonderful ... having a vision is part of being inspired. Keep pursuing for the joy of it, but without expecting to satisfy a judgmental mind or get something from anyone else. You will never be happy as long as you look at yourself through the lens of your expectations or judgments ... or as long as you are looking for approval from others. And, as I am sure you know, if you are looking for approval from others, they will never be able to give you enough to satisfy you until you're content and secure within yourself. As you see, it doesn't matter which artistic genre or relationship you are in, if you think it has to do with the genre or the person, it is always the same story.
I think one has to be willing to be a fool ... to make an ass of themselves ... to have the courage to step into the unknown and lose their cherished ideas of themselves to learn and move forward into something beyond where they are. If they're always protecting an idea of self, it makes it very difficult. And these 'cherished ideas' can get more and more insidious and subtle as they get uncovered and revealed. I think being "done" could be very healthy if what you are done with is judging yourself. "Giving up" can be very creative if you are giving up having unrealistic expectations or if what you having given up is seeking the approval of the artistic community. I think it is entirely appropriate and good news to be completely tired of that, of having enough, of being done. ;-)
But I do hope that you can let yourself dance and enjoy your beautiful self and what is positive. I see that all of this is coming up like this to the point where you want to throw in your towel and what has been your vested interests are not there clouding the view, as an opportunity to find out and gently and compassionately illuminate the thoughts and beliefs that get in the way of your ultimate and continued enjoyment of dance and anything you do.
In the spirit of an aspiration for truth, one of the things that we do in satsang and in the light and influence of the sage Sri Ramana Maharshi or his disciple Papaji, is called radical self-inquiry. We ask deeply and beyond what we have decided in the past, "Who am I?" We ask, "To whom does all this matter? "Who" is it that is disappointed? Who or what is it that is embarrassed? Many of the knots hidden through our self-concepts can unravel through this inquiry ... along with our self-concepts. With proper guidance, it is then easier to see the causal wounds at the psychological level and the illusions of separation that are at their core. But one must have a healthy sense of self before they can let that sense go and expand to what is beyond it (rather than dissociate or go mad). Byron Katie has a very wonderful technology "The Work" for inquiring into thoughts and beliefs that cause suffering. We ask if our assumptions are true. "Is it true that I should be other than I am?" "How does it feel to think that way?" "Who would I be if I didn't think that way?" "Is it true that he should not have done this or should be this way other than that way?" Looking at these questions without holding onto one's preconceived answers and assumptions can be very illuminating and freeing.
To your deepest fulfillment, joy, inspiration and unconditional freedom, no matter where your path leads you. To experiencing the dance in all of life,
All of my love,
Ellen
4:10 PM
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Monday, June 26, 2006
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Comparing the present moment to a past we hold onto as special
I think when we try and hold onto these experiences or memories, or sense of self, especially the ones that were so profound and amazing - you know - the ones that we invest in because we think that they are "who we are" or who we should be potentially? - we are not as fully present for what is here now. I have found that what is usually the element that gives way to these incredible experiences or deep, holographic, multiperspectival or aperspectival flows of awareness is our lack of preconceptions and willingness (or inadvertent falling into) the mystery of the moment. If you believe the story that you have lost something or carry that very painful thought, it can sabotage the possibility of realizing what is here now. I have found that the ecstasy is in the embrace. The embrace of whatever it is that is here before us. Whatever it is. Apparently unfortunate or fortunate. Just simply breathing and getting into that is ecstasy.The blessing of forgetting is that it enables you to be where you are and approach things freshly. It gives the divine, as and through you, an opportunity to have another experience ... to experience itself in its infinite diversity. ;-)
4:42 AM
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Saturday, June 17, 2006
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Motivation and the Pursuit of Excellence
Motivation, discipline and the pursuit of excellence needn't come from self-tyranny or the tyranny of others. It can come from our innate perfection's will to realize itself in form. It can come from a love of beauty and perfection and the care for detail that engenders. It can come from the pure joy of total immersion in the moment and what one is doing. It can come from allowing the creative will, innate to us all, unwounded and unencumbered, to breathe itself in time.
9:48 PM
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Thursday, June 15, 2006
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Form and Formlessness Getting It On
Towards the One, using the relative to bridge to the non-relative as these bodies temporal in their belief find themselves suddenly breathing into the now, their matter, mater, Mother transparent, shining essence's luminosity, reflecting new light, new appearances and new worlds as consciousness reveals ItSelf, as mater remembers HerSelf and lets go of old decision creating identities, relaxing, rendering Her more maleable to the Divine Will in action - and we see that all of these realities are real as they cannot be but That and the illusion is in their immaleability and the immaleability is the Divine playing hide and seek with ItSelf, experiencing ItSelf in Its infinite diversity - and as the stars are variables in the creation of probable realities, so are the archetypes, so are the you and the me forgetting and then remembering that we are One and then remembering that we are the many, the none, the All and any other measurable and immeasurable variable, each of our individuated signatures in their dance together creating the perfect alchemy for Self-realization and healing the scars of separation making whole the One Body that can play with every speck of ItSelf as the whole And as the part, where veils are lifted revealing every movement as dance and every sound as music until all knows itSelf as Love which It has always been as It waits for deeper recognition and clarification of ItSelf in time and space, this medium of becoming, this glorious expression of the Isness, the Sat expressing It's inherent Chit and Ananda, as Chit and Ananda also express each other and Sat, refining Self-recognition from cacophony to symphony without changing a sound and the ugly to the beautiful without changing the appearance, seeing the Divine Perfection of absolutely everything where the consciousness can then reflect ItSelf with new appearances, new symbolic representations of ItSelf circling back into and out of time and space, a spiral of Love, ascension and descension, involution and evolution spiraling to Self-knowing, removing the veil off of the spiritualization of the material substance as we in more and ever-expanding ways materialize the spiritual substance until these statements of differentiation no longer make sense because all is That, until the Divine wants to again say hello to itSelf but this time, who it says hello to recognizes who is saying hello and that the all-blissful has birthed Its pain and tortures and the all-knowing Its ignorance and confusion for the pure enjoyment of the Play, the Truth Consciousness infiltrating every pocket of matter, every cell knowing itSelf within the eternal embrace, spirit and matter endlessly making love. 4/99
2:14 AM
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There is only one movement: Now
So many feelings and identities pass through this noonefixedme me. I am some of them, all of them and essentially none of them. And it is as this essentiality that I dance, and through which all particular movements pass through.
I have said to classical ballet students, "There is only one movement: now" - and I am sure you can imagine how intricate and vast the ballet vocabulary of particular positions are. Yet, each movement and breath flows into the next creating a dance which is like one long movement flow even though it is comprised of many many intricate ones. I do not stop and park at this "tendu" and call it who I am. I do not stop and park at this "glissade" or "portebra" and call it who I am. Yet I may revel in the bourres or play with complete abandon Giselle or lose myself in sobs watching the movie An Affair to Remember or desire with every inch of my physical and etheric body, heart and soul to look into his eyes, to hold him to breathe him to disappear into him .... And at some essential level I am aware this passes through no one which is the all of this totality... and that keeps things fluid .... ;-) 12/01
2:10 AM
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Wednesday, June 14, 2006
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Regarding the Judging on
The following are posts in reply to the early episodes of the second season of the reality TV show "So You Think You can Dance" and other posters who were responding to it:
Excuse me but prepare yourselves for a rant:
As someone who has been in this field as a dancer with one of the top ballet companies and since then a professional classical ballet teacher and choreographer for the last 28 years, I find the judges behavior irresponsible, sickening and abusive. It is like watching people getting tortured by these demeaning comments. I find it disgusting and inexcusable. No one deserves to be treated the way they are treating people. Ratings are not worth it and the damage he is hopefully not doing to these souls. Even the least manifestly talented and trained in this moment could get training and learn and find the dancer within. I can see the judges offering a constructive opinion, if asked, about whether they see a professional future in these dancers' future or what to do to facilitate that but to entirely discourage them from ever dancing again is destructive and unconscionable. And for those who are clearly out of touch with reality (the dance world or their own), the judges could just say "no thank you." Simple rejection is enough of a shot of reality without all of the mean comments that are added. Whatever else they say reveals their own issues and ego. And some of the dancers the judges were cruel to and told to quit dancing were very talented but not trained in the genre they were asked to dance in. I find that criminal.
Yes, untrained dancers should not be teaching. That was a good point and I cannot help but sympathize with the judges horror of that as I have gotten many students with very bad habits and training who have studied for years from other teachers who clearly did not know what they were doing... or did nothing to correct them. But he goes beyond the point with his comments. He is operating out of a very antiquated teaching/directing paradigm with the dancers he thinks are talented too. "Beat them down to toughen them up or see who is the strongest that will survive the abuse." You do not get the best work out of dancers by abusing them.
I pray that these dancers know who they are and develop a stronger center from this experience and not crumble with wounds that keep them from their joy in dancing. And I pray that young people who watch this do not think that the dance world has to be like this or that troubled egos with a bent towards megalomania who aspire to direct do not follow the judges example.
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This was a response to a teacher (not of dance) who disagreed with what I said in my rant and felt that teh judges behavior was appropriate and not cruel or megalomania but "pragmatic":
While I agree that we cannot let others' opinions of us effect our sense of self or stop us from pursuing our heart's desire, while I agree that someone who does not believe in themselves and have enough confidence not to make others' opinions their business probably could not endure the rigors and realities of a professional dancer's life, while I too have had abusive teachers, while I even see that standing in front of the world and being publicly humiliated is an opportunity to get over caring about what other's think, I think that laughing at others' weaknesses and demeaning them out of frustration or for entertainment's sake expresses a very sad commentary about the human condition. If that is what is going on, it is time to change.
We are in a cycle where the abused continue to abuse, and don't even seem to notice it. They think it is justified because they are so used to being hard on themselves and beating themselves up that they project that same kind of harshness onto others. Teachers who have been abused (psychologically) need to heal themselves before they ever teach. Behaving the way the judges did is inexcusable and totally unnecessary. I am in the field (not that it matters - I speak to you as a fellow human being) and I am telling you that their comments were way out of line and over-the-top. They could have been helpful and directed these people in a constructive way but they were destructive.
A teacher or director can be completely honest in a responsible and conscious way without being abusive. If they are abusive it speaks more of their own issues and lack of skillful means than it does of the one they are abusing. One can make observations about the work without making judgments about the character or person. One can offer constructive criticism rather than tell them in a mean way to never dance again.
No one functions optimally in an environment of abuse or tyranny. It sabotages the creative process - where all that does get expressed (unless the person is enlightened) is through counter-punching or dissociation. Artists and people of all kinds blossom in a more nurturing environment. Our culture teaches us to be hard on ourselves and each other with judgments that limit our inner peace and creativity. It is ignorance on all levels.
I taught new paradigm teaching approaches to teachers and administration at the Children's Palace in Nanjing, China. Interestingly, they were a lot more open and hungry for what I had to share than we are here. I think this is because their abuse is more obvious than ours and undeniable. They traditionally hit and yell at the students and recognize how that has sacrificed the creativity and individuality in their culture. They thought my approach was "Western" - and as I told them, unfortunately, it is not. Your reaction and all of the teachers I have had, sadly reminds me.
As a teacher, you teach not just what your subject matter is but what you model through how you behave and interrelate.
Care
Ellen Davis
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Hopefully these people know or are warned in advance about what they are in for and how they will be used. I notice that as much as the physical prowess and artistry, I am impressed with and deeply moved by the courage of these souls that share their gifts or vulnerability with the world and stand up in the face of criticism, judgments and possibly abuse (in front of the whole world). I hope that from some larger perspective this experience is a bridge towards their transcending whatever would trigger them away from their peace. Perhaps that in reflecting so clearly what doesn't know itself as love and peace it will be a bridge towards all of our unconditional peace. Perhaps that is one of the actions of reality tv on the human psyche.... after erecting these pedestals for our idols, and living through them and recognizing ourselves in their humanness and ordinariness, we can take them off the pedestals and meet them within ourselves and forgive ourselves for all that we judge and once and for all claim the birthright of our innocence and oneness.
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Dance Mom: "Not everyone is going to be a professional dancer, and there's nothing wrong with dancing for the sheer joy and pleasure it brings someone, even if it doesn't meet certain standards." Very true, dear Dance Mom. Although I teach professional ballet and treat and care for all students with the highest of standards as if they want to dance professionally, I have no personal need that they do or expectations that they will (and some of them are not there for that) and feel that the highest reason to dance is for the sheer joy of it. I motivate them through getting them in touch with that joy no matter what their intentions are in dancing. I feel that there is a dancer within absolutely everyone and my most satisfying teaching experiences have not as much been with the professional dancers or manifestly talented dancers who were very advanced and wanted professional careers, but turning on the students, who initially have no sense of it, to the dancer, beauty, grace and unlimited possibility within. I have seen so many who felt like klutzes transform into dancers who experienced and expressed such loveliness and grace. I have given my life to this and shifting the paradigm in which ballet is generally taught. That is why it was particularly difficult for me to witness the judges telling dancers who, regardless of their poor to no training, as well as the ones with training that could not do the dance genre they were auditioning for as well, to "choose another career", that they were "losers", that they that it was "the worst thing they had ever seen", and mostly, that they "should never dance", etc. It felt criminal. It creates so much suffering when we limit our selves and each other ... and essentially it is just through the thoughts that we believe that we do that. I pray that they can transcend those thoughts and keep dancing for the sheer joy of it no matter where it brings them.
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And all of that being said, one can be kind and have only positive intentions, thoughts and opinions and still be perceived through the projections and insecurities of the way the perceiver feels about him or herself.
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In response to another poster who as also protesting the behavior of the judges: "Don't be such a baby! These people aren't cruel and malicious they are giving their critical judgement in a competetive industry."
They are doing more than giving their critique, or even just rejecting them. They are demeaning the dancers and telling the ones that they do not like to not dance again.
"They love dance and are looking for excellence."
By their behavior and what they chose to be aired, they revealed to me that they love dance more than the people who love to dance. I am dancer who has been in this profession for 47 years and what I have to say to that is that their priorities are askew. Their excellence is not being translated to skillful means and the ability to interrelate without dumping their frustrations all over people that all they need to do is say "no thank you" to.In my opinion, they are not excellent in their jobs if that is what they do. they can have the highest artistic standards and only accept the best and not behave that way. they can have higher standards and guide constructively rather than what they were doing. - miserable people who can dance who are miserable to those around them, don't impress me. And a dancing career is short whereas being a human being lasts a lifetime. ;-)
"Decision makers are tough and critical of necessity its called "seperating the wheat from the chaff"."
To a degree. I would say that much of it was called "killing the crop." ;-)
"Normally people are spared the decision making process but is that helpful to spend years of your life dedicated to a dream when you don't have the right stuff? Or worse yet not getting constructive critism when and where it can be helpful because people have this notion that it's better to coddle peoples feelings. That's why there are so many deluded wimps! There's too little honesty and too little real competition. "
I am all for telling the truth, and would not want to enable delusions. but to me, one can offer up opinions one takes responsibility for as just an opinion, or guide someone in their career with suggestions that potentiate expansion without feeding their sense of limitation and without abuse.
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In response to a poster who was attacking another poster for her protesting the behavior of the judges:
Frankly, I saw the judges behavior as unprofessional. That they could even take some of the auditioners seriously enough to become that reactive and humiliate them showed me more about them and their hunger for ratings than some justice about appropriate assessment.
In addition, what difference does it make whether this is the way the dance world is or not? Don't we have the right to protest ignorance and abusive behavior?
If that is how judges treat people then it should change.
Do you want to be treated the way the judges treated these auditioners or the way you have been talking to "the other poster"? If you were treated that way by a teacher or in an audition, it was wrong. If you treat yourself that way to avoid being treated that way then you are in a self-tryannical straight-jacket and perpetuating the same ignorance in the world that you are programmed with. My guess is that you have probably worked really hard and sacrificed a lot for the art and have tough standards for yourself so you resent people who have put so little of themselves into what they are doing and seem not to care even having the nerve to audition in the first place. ?? but if you judge people who you think do not treat themselves that way and think that they deserve to be abused because of all that you have been through, then you are perpetuating the same kind of beliefs that keep us under the gun and enslaved and abused by our own lack of self-acceptance.
No one, nevertheless the creative spirit, can function optimally under tyranny... and that includes self-tyranny.
Motivation and the pursuit of excellence needn't come from self-tyranny or the tyranny of others. It can come from our innate perfection's will to realize itself in form. It can come from a love of beauty and perfection and the care for detail that engenders. It can come from the pure joy of total immersion into what one is doing. It can come from allowing the creative will, innate to us all, unwounded and unencumbered, to breathe itself in time.
Care,
Ellen
2:32 AM
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Lucia Lacarra
Diana Visneva
