From the Networks cyberforum:
“Like the choreography of a beautiful dance, the different ministries of God’s dance partners in the church are working together to bring God’s plan to fruition. God wants to dance with us.” (Brian Johnson – ‘Come Dance with Me’)
I think of myself as a dancer. I only began to dance in 1975, and only spontaneous, Spirit-led stuff, often to the Psalms album by the band ’11:59′.
Then in 1976 I went to the States and Canada for a few weeks with YWAM – for a combination of Montreal Olympics outreach, and witnessing at US bi-centennial events in Philadelphia and Boston. As part of that I received my first 3 repeatable choreographies: “I will sing, I will sing [a song unto the Lord]”, “Father, I adore You” and “We have come into this house”.
The first one I got in the open air in Philadelphia whilst teaching the song, and spontaneously dancing it, so everyone followed what I did – not knowing I didn’t know it either. The second I was led to do in a big school in Quebec during worship but couldn’t because a table was in the way. That evening the team from Basingstoke danced exactly what I was led to do, and I realised what I’d been given was a confirmation for their extant choreography. Then in New Ringgold we were introduced to Louis and Dana Montes de Oca, top soloists from a New York ballet company who’d also worked with Martha Graham’s company. They danced “Easter Song” and taught the original “I keep falling in love with Him” dance. It was so beautiful I couldn’t watch them for crying. The back of my hands were like windscreen wipers clearing my eyes.
That day we were waiting to march round the compound to claim/bless it and standing in the light rain while the guitarists decided whether to keep their instruments dry. One of the girls decided we’d do the dance I’d shown them in ‘Philly’ while we were waiting. She began to loudly sing and dance, “I will sing…” so there was no avoiding joining in and leading it. Dana watched open-mouthed as I taught the dance, their choreography move by move, and wanted to know where I’d learned it. In Boston I led “We have come into this house” but with eyes shut Louis and Dana would start spontaneously dancing all my moves untaught. Trained and untrained God used us side by side – though I couldn’t leap high and long enough to attempt “Easter Song” …
My choreography for “Here I stand” was danced by Ant and Clare Grimley at our wedding years later, and I’m constantly wondering what will be danced at my funeral. That’s the last performance here I really care about. I’ll be going to a place where the choreographic possibilities become endless, where grass sings, hills leap and mountains move when you tell them to.
The moments where it all comes together? I’ve seen a good few of those with ICDF sometimes as collaborations. In St Andrews [2009 ICDF Conference], Nick Breakspear threw Sodapop Jeanville and me into a slow-motion Via Dolorosa and crucifixion with other dancers. Since then I’ve joined Sodapop in Lyon for a danced “Stations of the Cross” and I have just been on Iona with Nick Breakspear as the steps of our life moved into a bigger pattern that Someone bigger than any of us is choreographing.
Does any of this make sense?