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by engaging our more
hidden selves, where
we are most profoundly touched by love."
The poetry of Kathleen Raine, coming from "the rich tradition of language carried by English Bards throughout history," is perfectly suited for eurythmy. Born in 1904, Raine has always been L something of a nature poet
and has been very much
responsible for modem
critical acceptance
and understanding of
the significance of the
English poet and
artist visionary,
William Blake. As her
work has matured the sense of nature as a theme in it has also matured into a sense of nature as a pervasive spiritual or cosmological principle in all things.
Her understanding of the individual and personal as intimately connected with the universal informs the temper of her poetic concerns with a concern for language identical with that found in eurythmy, a feeling for the spiritual power of language.
And in this ideal collaboration of the poet's words brought to life through eurythmy in the Okanis group performance, Amo Ergo Sum, we have the opportunity to participate in what amounts to an invocation of the work of high forces flowing into and working through us, in terms of "the nuance, beauty, pain and joy of our most commotr yet most exceptional reality, love."
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