butterflies will soon be free!

With arms behind her, forming “wings,” the dancer runs in as large a circle as space permits, ending facing stage left near center. Fig. 5

In the cold and snow of winter

Standing in a wide 4th position, left foot front, the dancer pliés the right leg, stretching the left leg to the pointe. The weight is entirely on the right foot. The dancer bends forward at the hips, head down, so that the body forms a “V” sitting on its

side. Fig. 6

fig. 5 fig. 6 fig. 7

First the right arm and then the left are brought in almost a full circle back, up, over the head and down. Right arm on “cold,” left on “snow.”

Fig. 7

fig. 8

there’s a spring that waits to be,

While remaining in the plié in 4th, the dancer raises her arms up and over head and back into a back bend, arms open to the

side. Fig. 8

CHORUS

unrevealed until its season,

Each time the chorus happens the movement is basically the same, only the direction the dancer faces

fig. 9

changes. Facing diagonally stage left, the dancer lifts her left arm and, bending at the elbow, lays it over, but not touching, her head, then repeats the movement with her right arm going over the left. If the “cocoon” costume is worn, the entire face is covered at this point. Fig. 9

something God alone can see.

Both arms open up high and wide, face lifted, and then slowly come down to the dancer’s side. Fig. 10

fig. 15

seeking word and melody;

The dancer runs, or walks swiftly as before, to downstage left. While moving, her arms and hands “roll” over each other, starting waist high and coming up

fig. 13

over her head. She again stops, perched on half toe, arms reaching over head. Fig. 13

there’s a dawn in every darkness,

Dropping back on the right foot, in 4th position, the left toe

2

fig. 14

1

stretched, the dancer bends forward and with the right arm reaches

to the left ankle and comes up to standing, with a slight bend backwards, the right arm describ- ing a half circle (the sun coming up into the

sky). Fig. 14

bringing hope to you and me.

The dancer pivots to face downstage right and repeats the movement with the left arm

moving. Fig. 15

From the past will come the future;

fig. 10

32

VERSE 2 There’s a song in every silence,

The dancer runs, or walks swiftly, to downstage right and while moving does the sign for music: the left arm is held forward, shoulder height and curved, palm up. The right hand, palm down, moves back and forth just above the arm from wrist to shoulder and

back again. Fig. 11

On the word “silence” she stops, on half toe, and her right hand, palm facing out, sweeps across her mouth, with the elbow up. Fig. 12

fig. 11 fig. 12 fig. 16

The dancer runs to upstage right corner, back to congregation, arms reaching high on “past.” Then turns and runs to the downstage left corner, reaching out into space on “future.”

Fig. 16

what it holds a mystery,

The dancer, still facing downstage left, drops into an arabesque, with the right leg extended back. The left knee is bent and the body is low and flat; the head is down between the arms, which are extended forward. The fingers are spliced together and then turned backwards, so that the palms are pushing away from

the body. Fig. 17

fig. 17

JANUARY-FEBRUARY 2010 • WORSHIP ARTS

○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○

Resources Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36