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"I mean someone who can be separate while still remaining connected, and therefore can maintain a modifying, non-anxious, and sometimes challenging presence. I mean someone who can manage his or her own reactivity to the automatic reactivity of others, and therefore be able to take stands at the risk of displeasing.”After all, if you're all caught up in other people's anxiety you aren't really being present for them. On the other hand, if you're detached, aloof, or dismissive, that's not being present either.
Badger confronted Raven after an early morning of zazen and asked, "What is the purpose of your practice?"Verse
Raven said, "Having fun.
Badger said, "Having fun? You work hard and teach from morning to night. You never take a vacation."
Raven said, "Vacate."
I learned early from Hop on Pop:
The opposite of "play" is "fight" --
Though Suess was not explicit about that,
And children's play and fighting
Are often indistinguishable --
Grown-ups' too.
Another theory has it:
The opposite of "play" is "work."
This is a fleeting doctrine,
Untenable to anyone observing or remembering
Sparrows or squirrels, trees or grass.
Even ants, so presumed to be at labor,
Are simply doing what, for an ant, is fun.
There do exist in the seasons of time
Coercion and duress, pain and threat of pain,
Fear, addiction, and shame.
These are the opposites that clarify.
When they recede, our fights and work and even these afflictions themselves
Romp in the playground of laughter.
The quest for musical meaning in spontaneous improvisational
acts seems to underly Claude Debussy’s 24 Preludes for piano. The “prelude”
evokes a tradition of improvised solo performances as a means of introducing
something larger, more ordered, and more structured. Tellingly, Debussy
reserves titles for his “Preludes”
until each piece’s conclusion: sense and meaning are distilled from the chaos
of the creative act. Read on for programming details, and stay tuned for spoken
introductions and a performance from CUUC’s own Creighton Cray!
Gathering Music: Adam Kent, piano
Bruyères from Préludes, Book II
La cathédrale engloutie from Préludes, Book I
Claude Debussy
Opening Music:
La Puerta del vino from Préludes, Book II
Debussy
Musical Meditation:
La fille aux cheveux de lin from Préludes, Book I
Debussy
Offertory: Creighton Cray and Adam Kent, duo-pianists
Sonata in D Major for Piano Duet, Op. 6
Allegro
Ludwig van Beethoven
Postlude:
“Golliwogg’s Cakewalk”
Debussy