CHORUS REPEATS:
This time the dancer steps back on her right foot (the one that was extended in the ara- besque) and turns to face the downstage right corner and does the same movement as the first chorus.
VERSE 3
A. In the end is our beginning; B. In our time infinity;
A. in our doubt there is believing; B. in our life, eternity.
fig. 18
Moving in a circle, clockwise, and keeping the circle as large as possible, the dancer does waltz triplets (flat, toe, toe – right, left, right – left, right, left).
2 triplets occur on each “A” line. On the first triplet both arms are down toward the outside of the circle; on the second the right arm reaches high over head to the inside of the
circle. Fig. 18
fig. 19
On the “B” lines there is one regular triplet with the arms down again and then a turning
triplet with both arms swinging up and circling over head, the upper back arched. The swing of the arms causes the turn. Fig. 19
fig. 20
In our death a resurrection;
Facing forward, as near center as possible, the dancer does triplets in place and extends her arms as if hanging on a cross. Palms and head turn down on “death” and up on
“resurrection.” Fig. 20
at the last a victory,
fig. 21
The dancer does one more triplet with head and palms down on “last.” The feet stop and on “a victory” she stands, arms stretched and strong. Fig. 21
LAST CHORUS
fig. 22
Facing the cross, table or whatever is the focal point of the chancel, repeat the movement as before, but at the end, as the arms come down, the dancer kneels (back straight and head bowed only slightly so as not to look “decapitated” from the congre-
gation). Fig. 22
WORSHIP ARTS • JANUARY-FEBRUARY 2010
CHANGES TO MAKE FOR A GROUP:
VERSE 1
fig. 23
Dancers stand in a circle, facing out. The movement is the same, bending and opening, but there is no extension of the leg. The first time up on “flower,” all arms
overlap and form one large “flower.” Fig. 23 On the “apple tree” each dancer takes a different, asymmetrical arm position so that one “apple tree” is
formed. Fig. 24
fig. 24
On “co- coon” all
fig. 25
the dancers spin in place and then run counter-clockwise
on “butterflies. Fig. 25
The movement on “snow and cold of winter” is the same,
but all the dancers face into the circle and then all open out on
“spring.” Fig. 26
CHORUS
Same as solo, with all dancers facing the same direction and the arms moving in unison.
VERSE 2
All the movement for this verse is the same, except for the arabesque which becomes a lunge. Most chancels do not have room for all the legs, and unless the group is very proficient, it is hard to have every leg exactly alike.
CHORUS same as solo
VERSE 3
All the dancers form a circle and do the same movement as in the solo. Care must be taken when they turn to face front at the end that the taller dancers are in back and not blocking the shorter ones. All kneel at the end facing the cross. The dancers should move in as near unison as possible and their positions should be a clump (an irregular formation with no straight lines), If possible, the taller dancers should try to move themselves upstage, so as not to block the shorter ones. Be sure that the diagonals are clean. An odd number of dancers is more interesting. Three or five dancers make a nice- size group for this piece. This is a serious text, but the faces should be pleasant and radiant. Also, a good rule is that if the arms are up the head is up, too. Do not, however, raise only the eyes and not the chin.
fig. 26
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