Cleave: Love and Prayer
Ruchy Fiedler2010Poetry[Poetry]
in zebra patterned bodysuits
the dancers slither apart
shimmy in circles,
in odd jumpy steps
across the yawning space
the choreographer calls it “Cleave.”
cleave: to split and to cling
an oxymoronic word
a paradoxical essence
white and black. a zebra
like a spittlebug, a leafhopper
the dancer’s legs and arms
cleave the trembling air
splice the whispery room
charge it with breaths of life
the choreographer: a priest.
cleave: devekut, clinging to god
in kabbalistic tradition, a perfect state
a sensuous mystical elevation
harmony. union with the divine
hand to hand as if chained
at the wrists the dancers
cleave to each other’s bodies
as the soulful Bach composition
breathes. each note a prayer.
Recovered from the Wayback Machine (copy of 2010-04-26). Original page in the Wayback Machine.
9 Responses
Ah! Pure Ba’al Shem Tov! yet,still so fresh.
My lips cleave to/fro each other savoring each verse… Sphatayim you-shock!
Nice. I like the paradox theme, of white and black, body and soul, and the opposite meanings of “cleave.”
Of course, it’s particularly fitting for this site, Unpious, which is frequented by those who’ve separated in some ways, but are still connected in others…
Keep up the good work!
Thank you, guys. I’m glad the poem resonated with you and am especially pleased that you find it fitting for this site. Just to give credit to its muse, my original inspiration was a dance called “Cleave,” choreographed by Douglas Dunn. I saw it at the St. Marks Church, a wonderful space; in fact, the dance played tribute to the space. The combination of the church setting, the artsy choreography and, of course, my own thoughts (which may very well be the reason for the poem’s apropos message to Unpious readers) inspired me to write this piece.
You went into a church??? Rachmoona l’tzlan…
Michael, to be mekayem “vehyisem nekiyim,” I want to point out that the space is not an actual place of worship, but a large room on the side made especially for art exhibitions and performances.
Wow, great poem! I’m a poet my self, to some extend, but still don’t understand yours. I guess I’ll have to learn a better english before reading/understanding your writings.
Bingo, your spell-checker does a great job. (Hint: if a word is wrongly spelled but is a word with a different meaning, your spell-checker won’t catch it.)
Though I’m not sure how seriously your 2nd comment re church was meant, but I identify with it. It took me quite some time to overcome my socio-culturally programmed ‘Cloister-phobia’. When I did finally get over it, oh! My God! Was I grateful to the God within me: my One n Only God, Amen!
You cursorily mentioned the issue of V’he-ye-tem n’kiyim… […ye shall be clear before God and before Israel –Numbers 32, ]. There’s an interesting halakhic response of the Chattam Sopher wherein he posits, with all deferential provisioning and so-to-speak speaking, that although the Gad and Reuven tribes per the biblical narrative seemingly fulfilled the commands given to them by Mosheh, but even so they didn’t stand clear before suspicions and accusations of Israel. Furthermore, he says, “Who more than Mosheh our master himself is so constantly and vehemently cast under the aspersions of Israel”. So he sums it with the Talmudic phrase, “All my days I am troubled by this verse”.
The poem itself is great; rich with philosophical, spiritual, and mystical images and echoes. I’d love to elaborate, but I see you’ve provided us with some fresh food for thought and I’m always hungry for such. So thank you again. Keep’em coming!
Cloister-phobia. Clever!