the wisdom of “it needn’t be correct”
when you wander through life utterly certain that there are volumes you’ve yet to learn, a certain thing happens. a wonderful thing. you wake up every morning with your eyes, and your ears, and your heart at full alert. you are the ever-scanner, knowing that at any minute, from any crevice, the light might seep in. might flash in. the wisdom, gosh darn it, will come.
by day’s end, by the time you plop that cheek back onto the pillow, by the time you snuggle the sheets up by your chin, tucked back in for one more round of dreams, you’ll have — perhaps — learned a thing or two. gotten just a wee bit wiser. all because the teacher appeared, and you, the eternal student, were ready.
so it was the other afternoon as i was listening along in poetry class, when all of a sudden a fellow, a dancer with the new york city ballet, said something that shocked right through me, that slipped in through the crack, just off to the edge of the frame.
the subject, allegedly, was poetry. emily dickinson’s poetry, specifically. but in this wonderful class that i can’t stop inhaling, all sorts of wise souls wander onto the scene and peel back the layers of emily, of poetry, in ways i’ve not before known.
the discussion at hand was emily’s poem, “i cannot dance opon my toes,” the last poem of the four-week class taught by my beloved professor elisa new. she’d invited damian woetzel, a retired principal dancer with the new york city ballet, and now director of the aspen institute arts programs, to parse emily’s poem. as is professor new’s knack for unlikely pairings in the parsing of poetry, woetzel, a classically-trained ballet dancer, was joined in conversation by charles “l’il buck” riley, a practitioner of a street-dance form known as memphis jookin’ (think breakdance; it’s otherwise known as “gangsta walking”).
as street dance and ballet twirled in conversational tango, woetzel suddenly said this: “when i go to see people dance, it’s not to see them do it correctly. i’m not that interested in correct. i want to be moved. i want to cry. i want — (his voice faded away). i want to find voice, essentially.”
now, this was nothing short of revolutionary to my little mind. i felt the shock of a chill run through me. (my brilliant friend amy, by the way, just yesterday afternoon defined “chill” to me in this way: “a chill is a current of truth that runs through your body,” when you see beauty, she said, or when you hear flat-out wisdom in a way you’ve never thought it before, i’d add.)
“i’m not that interested in correct.”
i felt the ties that bind snap loose. i felt myself freed from the tethers that, long as i can remember, have bound me. do it right, do it correctly, or don’t even try. that was pretty much the lesson i grew up believing. and while it didn’t stop me from trying, it set a nearly impossible bar. “get it right.” or else.
but here was a brilliant dancer, here was the director of aspen institute arts, for crying out loud, telling me it needn’t be correct. needn’t be perfect. stumbles are okay. bumps and bruises are beautiful.
your whole imperfect self is the most ravishingly beautiful self imaginable.
because it’s about something much deeper. it’s about opening up and saying, “this wobbly old soul, this soul that tries and tries, and sometimes makes it and more often stumbles, this is me.
“and you’re here for the likely chance that our two stumbling fumbling selves will find communion — not in our perfect pirouettes, but in the moments when i trip and you catch me. you brush me off and set me back upon the path, and you point the way forward. or better yet, you take me by the hand. you walk together with me. and you laugh, besides, at the way the two of us, we so often nearly fall off the stage.”
it’s a whole new paradigm: the paradigm of imperfection as aim. because what matters lies deep therein.
“i’m not that interested in correct. i want to be moved. i want to cry. i want to find voice, essentially.”
and voice we all have. and, yes, sometimes it warbles. and sometimes it cracks. but it’s a voice and it’s ours. and it’s how we put words to what rustles around deep inside. it’s where our breath resides. it’s the topography that puts height and depth and nooks and crannies — glorious texture — to all that air flowing in and out of our lungs, air keeping us alive.
all of this is all the more immediately essential because this sunday i am doing something i’ve never done before. something that might have scared me out of my behoozies. i am walking onto a stage, and i am sitting down beside a cellist and a pianist. it’s a spoken word concert, inspired by one that a beloved friend and editor of mine once saw in japan.
i am, for the first time ever, invited into conversations about lighting and stage set, and in the faintest of ways, costume. i’m immersed in the full dimensionality of theatre. and i am discovering what happens when words are lifted from the page. when words are set soaring by the power of cello strings and piano keys, and the alchemies of audible, ephemeral creation.
and, as is my natural inclination, i was scared silly. until two things happened: until damian woetzel taught me that it’s not about correct; correct holds little interest, little tension, scant transparency.
and the other thing that happened is i stepped into the music during rehearsals, and i felt the most astounding flight: cello and piano, cellist and pianist, dove into conversation with the words i was unfurling. and then this, which i’ll preface by saying that many a writer’s whispered prayer is that, in between and through the words, music might come for those reading or listening. and, suddenly, there in the light-filled rehearsal room, i heard it, i felt it. the music did come, did lift and vault and carry the words to places and heights they’d not otherwise have ascended. it comes, the music does, i discovered, when you step onto a stage, and sit down beside a cellist and a pianist who’ve spent their lives deepening their knowledge of the landscape that’s theirs. the power of music, i’ve realized, is the safety net to my trapeze. is what holds me aloft, shooshes away my perpetual fears, is a medium that suddenly felt like coming home, a place where i, at long last, belong. how utterly unlikely.
so sunday afternoon at 1, at the midwest buddhist temple in chicago’s old town, i will be walking out from behind a curtain, all in black with a wrap of fuchsia. i’ll be sitting down in a japanese armchair, a bowl of oranges beside me, a vase spilling with springtime white. the cellist will pick up her bow. the pianist will strike a key. and i will put breath, put voice, to my words.
and i will remember that the wise ones in the room aren’t there to hear “correct,” they’re there to be moved, to cry, to find a voice, essentially.
and that is a truth that sets me soaring.
do you, like me, spend far too many hours of life being worried you won’t get it right? and thus binding yourself in ways that demand houdini-like tricks to set you free?
that said, here’s an invitation: if you’re near chicago sunday afternoon, find your way to the temple, and plop yourself in a chair. cellist sophie webber and pianist soo young lee, both of fused muse ensemble, will take you places that might take your breath away…..
a few things:
1.) emily’s poem
I cannot dance opon my Toes –
No Man instructed me –
But oftentimes, among my mind,
A Glee possesseth me,
That had I Ballet Knowledge –
Would put itself abroad
In Pirouette to blanch a Troupe –
Or lay a Prima, mad,
And though I had no Gown of Gauze –
No Ringlet, to my Hair,
Nor hopped for Audiences – like Birds –
One Claw opon the air –
Nor tossed my shape in Eider Balls,
Nor rolled on wheels of snow
Till I was out of sight, in sound,
The House encore me so –
Nor any know I know the Art
I mention – easy – Here –
Nor any Placard boast me –
It’s full as Opera –
2.) the program for sunday’s “interludes on mindfulness: words and music for slowing time”
and a post-script:
it’s sunday night, the interludes have ended. it’s quiet now and i’m breathing again. a dear friend snapped this moment of the concert. and i’m enchanted by what appear to be fairy lights wafting across the stage. the cellist is sophie webber, the pianist is soo young lee, both have PhDs in music. both are beautiful. sophie founded fuse muse ensemble, a collective of musicians who dedicate themselves to social causes as well as beautiful music in all forms. i hope this is only a beginning for us….here’s a peek at the magic of “interludes on mindfulness: words and music for slowing time.” thank you, from the bottom of my heart….