Archives for August 2009

It seems to me that a great deal of 18th- and 19th-century English literature has to do with matronly women persuading eligible young men to invite eligible young women (and some not so eligible) to dance. Think of Darcy (popularized now in the PBS television series and also in film), that arrogant aristocrat so deftly imagined by Jane Austen in her classic Pride and Prejudice. When Darcy, at a country dance, is asked to comment on the local beauties, particularly Miss Elizabeth Bennet, he haughtily replied that she is “passable.” Not a great start—later in the story, he asks her to dance, only to learn the “passable” young woman had overheard his judgment!

Having been raised in a conservative religious background that frowned on social dancing, I have no personal history with this kind of social invitation. However, since literature, film (think of Dirty Dancing) and stage (this summer we saw Bernstein’s musical, West Side Story, and loved the scene where a well-meaning community organizer brought opposing gangs together on the theory that if they danced together they wouldn’t fight with each other), I think I understand that dancing with someone else is all in who is doing the inviting and how the invitation is given.

Perhaps it would be good to remind ourselves of some of these scenes in the vast body of creative work that chronicles all these invitations to dance. Perhaps it would be good to think about the last person to invite you to dance who you wanted to invite you to dance.
Then, think about the invitation that God is extending to those humans with whom He is choosing to partner:Shall we dance?

Perhaps this poem might help your meditation. Who is it who is inviting you to dance…?

When He invites you to dance, what will you say to His outstretched hand?

Karen Mains

Other projects involving Karen right now are: Working with teams of Christian women to design Retreats of Silence, in both 24-hours and three-days formats, through the aegis of Hungry Souls. Developing hospitality initiatives that train Christian men and women how to use their own homes in caring outreaches through the Open Heart, Open Home ministries. Launching the Global Bag Project, a worldwide effort that markets sustainable cloth shopping bags to provide sustainable incomes for bag-makers in developing nations. Researching the impact of listening groups while overseeing some 240 small groups over the last three years. Experimenting with teleconference mentoring for Wannabe (Better) Writers. Designing the Tales of the Kingdom Web site.

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In a conversation with some Greek Orthodox friends, one of the women, a theology student used this phrase to describe the nature of the Trinity. “Ah, yes,” she said, knowingly. “Perichoresis koinonia.” Perichoresis koinonia? … I had never heard of this. My Reformation, Protestant, Anabaptist background had obviously left me with some holes in my theological understanding.

A word-search explained things. Peri- is from the Greek word for “around,” and is also the root for the English word “perimeter.” The English word “choreography” (literally, “dance-writing”) is from the Greek choreia and graphe. It is also related to the Greek choresis, which means “dancing.” Koinonia is the Greek word meaning “fellowship.” The whole phrase—perichoresis koinonia—means, literally, “dancing around.”

In a sense, the Holy Trinity is the first dance troupe! More amazingly, we humans are invited to step into that sacred dance, to keep step with the Holy Three as they are in step with one another.

I believe we humans long subliminally to enter that joyful circle—to be part of an encircling embrace in which we feel (at last) that we truly belong.

So how do we get to that place where we begin to understand that we are “dancing around” (in step finally) with God—with the Father, the Son and the Holy Spirit?

Here are a few of the rules I am trying to learn in my own daily ‘dance’ practice.

Those who learn to dance with God must understand these basic dancing concepts:

1. A dancer must want to learn to love being a part of the holy dance.
2. A dancer must learn to accept the invitation (in daily and weekly practice) to the dance.
3. A dancer must understand that there will always be missteps, that as far as holy dancing is concerned, we are all novices.3
4. All must work at becoming proficient at stepping in time.
5. Good dancers must learn to let go and follow.
6. It is important to realize and continually remember that this is not solo dancing; it is a tandem exercise.
7. Eventually all great dancers learn to let the dance take over.
8. In time the dancer becomes the dance; and the dance becomes the dancer.

Just to give you an idea, here are a few of the “dance” steps I have practiced already this day: When I wake in the middle of the night, I turn my spirit, gently and quietly, to prayer. This is a quiet soft-shoe step that reminds me that God is not sleeping, that His love is nearby, and that my concerns are His concerns. This morning, early, I read a chapter in the devotional book I am reading. I wrote, as I do often twice a day, in my prayer journal—I placed all the activities and plans of my day in his hands. All of this took place before 5:30 in the morning.

A whole day stretches forth in which to keep step with Him—this day and the next and the day after that.

But first, do you want to join the perichoresis koinonia? Do you want to step in time with the Ones who are beyond time?

Karen Mains

Other projects involving Karen right now are: Working with teams of Christian women to design Retreats of Silence, in both 24-hours and three-days formats, through the aegis of Hungry Souls. Developing hospitality initiatives that train Christian men and women how to use their own homes in caring outreaches through the Open Heart, Open Home ministries. Launching the Global Bag Project, a worldwide effort that markets sustainable cloth shopping bags to provide sustainable incomes for bag-makers in developing nations. Researching the impact of listening groups while overseeing some 240 small groups over the last three years. Experimenting with teleconference mentoring for Wannabe (Better) Writers. Designing the Tales of the Kingdom Web site.

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Much of my life has been spent in the publishing and communication industries. I’ve written about 24 books (actually, somewhere along the line I stopped counting. I keep thinking of that sardonic comment by Francis Bacon—was it Francis Bacon?—“of the making of books there is no end”). If I haven’t been writing my own books, I’ve been party to the making of published materials. I’ve discovered that there is a cycle in publishing that has driven me, frustrated me, disciplined me and helped me. Well, I’ve known this cycle exists—I just never have thought about it in terms of one of those rhythms that is integral to what I do.

Probably every profession has a similar rhythm that is party to its unique essentiality—but this is the rhythm with which I am most familiar. Let’s look at it for a moment; let’s think of it as a way of “dancing with books.”

• First, someone comes up with what they hope is a great idea.
• Second, a proposal is ventured.
• Some publishing committee looks over the proposal and decides if this is a good project to print.
• The author is notified.
• If the green light is given, the author begins to gather more ideas, to organize the patterns of this book for its future published life.
• Creative ennui comes calling. (It’s a really big project and hard to start!)
• The editor phones, sends an e-mail, writes a note: “How’s the book going?”
• Time to get serious: now the hard work begins. (Would hate to have to return the advance; it’s spent already.)
• Writing and rewriting—two chapters, four chapters—oh, halfway there. (Why did I ever start this? When will it be over?)
• Finally, the manuscript is done and sent in with pride in accomplishment.
• Agonizing silence from the publishing end. (Maybe a postcard that says, “Manuscript in house. Will be in touch.”)
• That dreaded bibliography still needs doing.
• Revision: oh, agony. More work!
• Finally, the revisions are completed. A CD is sent or an attachment via e-mail.
• Waiting during the copyeditor’s interim.
• Finally! Cover designs and back copy to check, pages from the copy editor, editorial proofs (bluelines; hopefully with no changes).
• Then months of silence.
• At last! A box or package lands at your door. There it is!
• The book.

This is a sophisticated rhythm that happens almost identically (with a few variations) every time I put a book out into the world. Indeed, at every point of the “book waltz,” I find I am dependent upon God to help me step in time to the project well. All work routines can be transformed into rhythms; that is part of what I mean by “dancing with God.”

Why not try to list the rhythms in your life? Is there a rhythm in the seasons (not just the passing of days but the celebrations, work habits, and activities of the seasons)? Are there rhythms in your family gatherings? Do you know how routines can be transformed by God? What steps can you take to make that happen?

Karen Mains

Other projects involving Karen right now are: Working with teams of Christian women to design Retreats of Silence, in both 24-hours and three-days formats, through the aegis of Hungry Souls. Developing hospitality initiatives that train Christian men and women how to use their own homes in caring outreaches through the Open Heart, Open Home ministries. Launching the Global Bag Project, a worldwide effort that markets sustainable cloth shopping bags to provide sustainable incomes for bag-makers in developing nations. Researching the impact of listening groups while overseeing some 240 small groups over the last three years. Experimenting with teleconference mentoring for Wannabe (Better) Writers. Designing the Tales of the Kingdom Web site.

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