On this site and elsewhere I write or speak from my own convictions and choose the words or symbols that arise to best serve the meanings that are presently felt.

My words do not intend to define but rather to sketch or point - such that your own inner knowing is activated - by your own willingness.

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About 'About me'

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Because we can gather so much information 'about' everything we can avoid ever finding out what anything actually is - for once we 'think we know' we cease to exercise any genuine curiosity.

In my exploratory Tweets (short postings on Twitter), I put for the Bio: "I used to think I was what I thought I was".

Though that may sound intellectual at first it is acknowledging that what actually is, is always more than I think it is.

I have orientated my life toward allowing more of what life actually is - to dawn on me. This could be pigeonholed as spirituality or awakening - but really it is simpler than any of this - because it doesn't rest on thought processes or efforting to Be Itself.

So I have a life that endeavours to honour a 'starting place' that is found in stillness, receptivity and relationship - despite the world's temptation to see things primarily in terms of 'what's in it for me?'

I write about this in one way or another in various places on this site and my blogs - but the essence is not of changing the world or others - but of releasing such intent or demand in myself so as to allow and invite a shared and joyous life now.

 

Brian

 

'About me' - Dance History

I first met Circle Dance at the Worstead Dance weekends in the late 80's. The experience facilitated an immediate inner recognition as a 'tool' or 'bridge' despite my then lack of integration or co-ordination!

I began teaching Circle Dance in the early 90’s in North Norfolk - and then hosted Teacher Gatherings at our home and Village Hall - as well as days and weekends at various venues over many years.

I have always felt shared dance to be a vehicle of integration and joy.

Though I have been a singer/guitarist since the late 70's, I did not often attempt live music - partly because I would almost always rather dance - and partly because I felt much of it beyond the reasonable compass of a voice and guitar. I have proved that much less true than I had thought.

I have always felt shared dance to be a vehicle of integration and joy.

We went to Dance Camp Wales in its 2nd year through to its 7th and I found a 'way in' as a new teacher with candle- lit sessions - (I was a candlemaker by trade from 1976 to 2007 ish). I missed the intimacy of our evenings groups in the then Big Camp Circles with live music that also didnt always express a dynamic relational feel.

Then I joined with Madelaine Lees and others in starting Dance Camp East as a more local Summer Dance Camp in Norfolk - and though initially it was her own essential mix and vision - we moved into being a cooperative core group over the years. Some of this movement coincided with some of us exploring Community Building Workshops, and we used variations of that in our core group. I ran or held the Circle dance at DCE during all of my involvement except my last year. Though I got to a couple of other DCW, they often clashed and I had to let it go.

Circle dance was given a minor role in DCE - especially relative to DCW - which had virtually grown out of the circle dance network. And as 'workshops' it had to compete with many exotic alternatives. But as a ritual or camp event it often drew large and heartfelt participation.

In some of these I began to use live music in the often leap of faith that other musicians would appear and join - and this miracle happened again and yet again - as my own solo repertoire then was limited!

I became creatively engaged in running smaller 'Mayflower' circle based camps for over a decade in which the 'being' and listening aspect was given priority and the 'program' arose out of trust and and willingness.

In practice this often meant that the whole camp joined daily through circle dance in live music and song - where rather than using it as a way to access a sense of community - it became a way of celebrating and expressing community.

This led to me bringing some live music into my groups at Gayton and Cambridge. At the time it felt a huge commitment to hold - as there were so many variables regarding who and what we played - and I was most concerned that what was played realy worked for dancing!

Our second daughter Emily has special needs, and we did not have extended support. Circle dance events tend to be weekend based and it was not feasible for me to pursue Dance events outside Camps. In the latter, our whole family could go and Emily found value and welcome.

In 1995 we lost our first born - Elanor - to sudden and unforeseen suicide. She was 16.

It also happened that the late 90's saw a dramatic decline in my candle craft business - mostly due to Chinese and cheap imports - but also a symptom of a loss of creative vision. A craft livelihood had declined from a heart-path of connection to survival mode of increasing isolation. Much of my earlier inspiration and aspiration had become blocked by the mentality of siege and conflict. And in those areas where life did express freely and fully it easily became loaded with a path of 'survival' rather than of rested and shared peace.

So my own need for creative renewal became paramount, and perhaps that is an underlying cause of final separation with Lynne in 2005. Yet these things are always more than the events by which they manifest.

Our separation, and a perceived conflict of interests within the camps led to releasing my involvement with running camps at all.

Yet in life with Cathi - now on the North Norfolk Coast - is founded on and cultivates a communion in life that we both held as the spirit of the Mayflower Camps; 'trust, listen, and join with the flow of being as it is discerned and moves in our heart.

I have ‘come out’ anew in holding a circle joining in dance with a deeper sense of the value of sharing; a large and growing heartfelt repertoire of dances that I sing, and dances that inspire me - including some I choreograph . My approach is inclusive and musical but clear in direction and purpose.

‘Dancing in the Heart’ is an indicator of both my approach and invitation, for the dances embody the qualities of our hearts - in which we may be touched and moved from within.

Brian Steere

 

(1st draft 27/7/09)