"What about us?" began as an impassioned response to the impact of fast fashion on humans and the more-than-human world. It grew to encompass a bigger picture of destructions and the possibility of healing and repair.
I write and I dance . . . they seem very different activities.
Until a rare confluence shows the depth of the connection.
In the image above we are dancing a once-poisoned river restored to life. It was profoundly felt. Many of the dancers and members of the audience shed a quiet tear.
Soon after this event I spent a week in silence and solitude camping by a river. I do this most years as a necessary complement to the intensity of being part of a major performance. We are (mostly) amateurs, in the true and original sense: "lovers of".
During my time alone the surface waters of intense activity cleared and I came to understand that we had danced "daylighting". This realisation brought me a tenderly painful species of joy.
My essay Landscape Manifest, was recently re-published in an Australian journal. Re-reading it reminded me of just how much daylighting matters.
Daylighting is the name given to the practice of liberating rivers or streams long ago buried and built over [. . .] I was heart struck hearing this. Having the impossible suddenly presented as possible showed me the depth of a grief about the world I had long buried and concreted over. It opened up hope. "
from Landscape Manifest