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	Dancing colors: Keriacs legacy

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Dancing colors:
Keriac's legacy

All that you can imagine, you also can create. I knew that. My biggest desire was it, to dance.

During my education to performance dancer by the pardoned dance teacher and choreographer

Keriac

, I had sufferded from an accident, which left me the following fifteen years always recurring half side paralysed. After three months I had been given up by school medicine. The paralysations were said to be of unknown origin and therapy resistant. Wheelchair and morphine would be my future, I was told. The faster I would accept this, the better.

Exactly this was, what I did not do. I wanted to dance again. And I knew, that I will be dancing again. Without any doubt.

I was on my own. While my body often was tied to bed for weeks, even for months, and I sufferd from unimaginable pain, I gave my mind wings. I imagined, how I was dancing.

The feeling of joy of life, happiness, strength, swiftness and unity, which I had enjoyed so much during my dance education, I called back to my memory. Almost each day. I saw myself dancing in my imagination.

During those periods, when I felt better, I was dancing with the pastel crayons on the paper. So I created my series

Venusdances

.

In just a few months arose those

Auraportraits

, as I also call them. Thirty, maybe forty workpieces included this series. Most of them are lost today, a whole lot where stolen at a burglary into my studio during the nineties.

The

Venusdances

were the beginning of my effective self therapy. What at that time nobody except myself believed and later was called a medical wonder, was in reality a combination of unflinching self esteem, trust in god, mental discipline, power of imagination and persistence.

All the happiness, all the joy, which I had felt while dancing, I projected now into my

Venusdances

. I visited this other reality, called memory, and recreated it again and again in my mind.

While painting, I gave myself fully into this feeling of actually dancing. Reality and imagination melted into one unity. Step by step, after countless setbacks, this reality manifested again for me, from the imagination became reality.

Today I am dancing again. Not only with the pastel crayons on paper. But also often while painting. Like Phoenix dancing out of flames.

This ability, to activate the self healing powers and reinforce them, I continued developping. Soon people came to me, who wanted to get their very own personal Venusdance, their own

Auraportrait

.

"Paint my pain away", one client brought it down to the point.

I knew all too good that fighting against the pain just made it stronger. Loving acceptance was the big magic - and then to transform it in the movement, in the color.

Some time it followed from this, that I shared my knowledge and my experience with interested parties. First for some years in a rehabilitation clinic; meanwhile I am giving exclusively individual lessons in

Potential-Development

.

My previous dance teacher

Keriac

, who is also known as

Frances Jean Lambert

and with whom I even after the unwanted end of my dance career remained connected in friendship, told me, the

Venusdances

were choreographic glyphs. Each painting was a dance of it's own.

I was surprised, because with the choreographic glyphs I never had concerned myself. How had I gotten to this knowlegde, especially, without intending it? Had I once again unlocked my Akasha potential, without even being aware of it?

Keriac

asked me to borrow some of my

Venusdances

. She wanted to convert these choreographic glyphs, dance them - and bring them on stage.

This was a big honor to me. Sure, I agreed immediately.

Keriac

selected a few art works, which she took along. And, totally being a dance teacher, she set conditions: I had to show the danced paintings during her performance. And after each dance, which she and her partner

Donna Perilli

had performed on stage, I had to show the audience, which one of my paintings had been performed. And I was not allowed, to even get close to her dancing studio until the day of performance. Especially not during training hours.

Keriac

knew, what she was doing.

Sure, I agreed. This was a challenging experiment. I was very excited.



As the day of the performance got closer, my excitement got into a serious stage fright. Would I recognize the dances correctly? Would I be able to assign my

Venusdances

properly? Or would I embarrasse myself in front of the audience of

Tanzbühne Köln

?

During my trip to Cologne, my stage fright increased from hour to hour. It became almost unbearable.

And there was still something else: Memories arose of the dance training with

Keriac

, her gifted way of training us eight hours per day, without anyone ever getting a muscle aching.

Keriac

's enourmous knowledge about body functions, her experience, her strictness, her humor and heartly laughter. The atmosphere of seriousness and at the same time joy of life, which drifted through her training lessons. The deep seated reviews of our work.

Keriac

's never ending encouragements.

Then the accident, which had completely changed my entire life situation in seconds. The movement restrictions. The pain. And all the other misery, which followed of that.

The dance performance, for which I had been training at that time, I had experienced it from the middle of the audience. Now I would sit again in the audience,

Keriac

and

Donna Perilli

on stage. And a part of myself. Some of my

Venusdances

.

My feelings were riding roller coaster, while I was driving towards Cologne. Arriving there, I was at the end with my nerves.

The tension vanished suddenly, as soon as

Keriac

began to dance. At an instant I knew, which one of my paintings she was performing. Without any doubt.

But then my breath stopped. I could not only recognize, which one of my

Venusdances

Keriac

was just bringing to life - yes, I even saw in which part of the painting

Keriac

was just moving.

Unbelievable, but true: She managed to give the color sun yellow an unmissibly expression in her movements, the pink, the lime green, the prussian blue. This even increased, when

Donna Perilli

entered the stage - or should I rather say: when

Donna Perilli

entered the painting - and the two great dance artists were interacting.

Keriac

's and

Donna Perilli

's precise expression, their clear body languages, short: their art of dancing didn't leave any doubt. The clarity of their expression was astounding me once again, as it had done so many times before at their performances.

Color and sound are anyway the same at different frequency levels. This is the reason why

Vassily Kandinsky

was able to give his students at the

Bauhaus

in

Dessau

jobs, such as: "Paint a picture in C sharp minor". Therein, of course, no sun-yellow could occur, but at most lemon-yellow, if at all.

And dance is sound brought into movement. In this respect it is a completely natural thing to dance pictures - especially for

Keriac

. After all,

Keriac

herself was a graduate sculptor and art educator, as well as a trained actress and theater director. Her broad training, her wealth of experience, all of which she channeled into her

Venusdances

.

The two dancers on the stage, their dancing, myself, my paintings

Venusdances

- everything blended quite naturally into a unity. It was a wonderfully happy experience for which I will always be grateful to

Keriac

. I hovered on cloud seven in old pink and lime green.

It was not until much later that I realized that this performance of my

Venusdances

at the

Tanzbühne Köln

was a milestone in my recovery.

And so

Keriac

continues to live in my memory, in my heart, in my art: as the great dancer, choreographer and dance pedagogue who she was. A truly great legacy.

Text and translation from German: Claudia Köhler
All rights reserved
2017/01/23

PS .: I wish I had a video of this performance that I could provide here.