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Same Ol’ Song and Dance

As I look back across my more musical times
of rhythmic reflections,
ceremonies and commemorations
of each dawn and dusk eremitic liturgies,
if that is not an oxymoron
of sound and sight,
song and dance,
tragically sad, yet also bilaterally bound with happier chance
of liturgical comedies
reflected upon together.

And as we look out through all our co-diva taoist days
like pages of leaves we have co-written,
we grow one primordial Tipping Point,
that we are each both tragic
and most abundantly comedic
when held together
through mutually revolutionary
Bodhisattva Warrior eco/ego-identity.

And,
with our ends held together,
what matters most
to and for and of all of us,
is when we have fed tragic
and where we have bled comedic
into the transparently naked (0)Remainder WinWin Othernest
as soon as therapeutically possible.

When was the last time
you turned to whomever, always present,
sitting next to your Leftsaid,
with at least one exclamation point,

That was totally Yang-awesome!

It might have been at the end of a song
heard for the first time
in a particularly deep and rich,
and possibly a bit also high,
way.

Or maybe during a dance
that was totally radical,
perfect to each beat
each lyrical swell and ebb
filled with athletic grace
of freakishly limber space
and centered
like a linear 4D pivot
we each potentially arcingly are
as we become this music’s dancing story,
beautifully
exquisitely reincarnating
us down
into your stage of life’s most recent crippling bow,
with tragic-comedy final statement,
tragedy of each end
with comedy of wonder
for each protagonist opera
in which our only antagonist
was perfect meeting of lyrically rhythmicizing here
with timeless now’s completely committed integrity
of ego/eco-consciousness
reweaving

Personal tragedy of missed integrity closes
to further comedies of dissonant clumsiness,
stumbles of feet and hands and mind
and pens
about dancing through life and death ourselves
as totally awesome
tragic-comedic ecopolitical choreography
with public sector lyrics
for what started out as a deeply personal
intimate
vulnerable liturgicalizing matriarchal-wombed life.

Or maybe Wow!
was when you were leaving church,
and mosque
and temple
and synagogue
and generic everyday BusinessAsUsual faith family,
smiling about
how to better dance
our mutual resonant opportunities,
to feed the juice
and starve the monoculturing weeds.

Wow! Totally awesome
love,
grace,
synergy,
creolization
Thanks for singing and dancing
and taking us to church
with you,
where we each belong
multiculturally YangHere with YinNow
bilateral balancing
and limber spiraling
together.

I awaken
to both the parent of special ecopolitical needs
and ecological opportunities,
but also the part-time Taoist hermit diva,
totally co-investing in WinWin liturgical planning,
each multiculturing day
within dawnspace harmonic singing Yang
through Yin dualdark
co-arising lyrics
with Bodhisattva EcoFeminist Warriors,
First Native International Cooperative Networks
each ego-anonymous
collegially remembering co-protagonists
of Earth’s tragic-comedic multiculturing sad despair
with silent democratic
solidarity
liturgically ecological matriotic
YangSong with WinWin dance,
here and also now
(0)Soul rhythms
of long slow stealthy blues as also green
balancing creolic outgoing choreography.

Antagonizing local people about their malingering protagonist rights,
their song as dance resources,
and their musically harmonic knowledge,
does not patriotically rest unchallenged.

Forest struggles
continue resisting buying and selling and renting of protagonist
song and dance forests,
including stories internal to India,
yet not in Asia alone.

Forest resacralizations resist secularizing diminishment
of forests for tragic exploitation
by patriarchalYang commodifying not (0)-interest profits,
and dipolar co-gravitating transubstantiation
from liturgically abundant ecological resources
for tragic song and comedic dance
back into a bad faith commodifying community.

Villagers sang and danced our tragic removal
demotion of rich ecoforests to mere positive productions
from notnot negatively dwindling reserves
asserting ego/eco-justice rights
to satisfy our basic
continuing together tragic-comedic needs.

Feeding critical tragedy for underdog lyrics
while bleeding sad danced systematic allegiances
against monocultural demands for fake-patriotistic choreographed events,
non-violent protests
were crushed by One Nation Don’t Mean First Nation,
cause I wasn’t born yesterday
or the day before that,
or before doing a really great job
of making more money
for some really good people
who just got caught up in the right place
in my best time
Trump,
among the USA evangelical faithful;
as crushed by British colonialism,
among Central Asian Bodhisattva ReForesters
and Eastern American First Nation PreForesters.

In the Himalayan mountain bioregion
the Chipko women’s movement
began liturgically embracing living MotherTrees
as their protectors,
their own source
of food
and fuel
and fiber
and fertile habitat.

The Onandaga First Nation School
reimagined how children might non-violently speak and move
their dawn hugged liturgies to remember alleged thanksgivings
for MotherTrees,
their hugs
hugging ours in music and danced liturgies
of Earth-allegiance gratitude,
basic positive cooperative
matriarchal song and dance
with Tipping Points
of taoist divas
dipolar co-arising
(0)-soul long slower bluesy terms
of jazz rhythmic
creolizing
song as dancing attitude.

As I look back across more musical times
of rhythmic reflection,
allegiance ceremonies and gratitude commemorations
of each dawn and dusk danced liturgy,
I look forward too.

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