{"id":39,"date":"2025-12-16T23:36:06","date_gmt":"2025-12-16T23:36:06","guid":{"rendered":"https:\/\/tnf.ola.mybluehost.me\/coreopsis\/autumn-2025-issue\/?page_id=39"},"modified":"2026-01-28T23:39:08","modified_gmt":"2026-01-28T23:39:08","slug":"arabesque-3","status":"publish","type":"page","link":"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2025-issue\/arabesque-3\/","title":{"rendered":"Arabesque"},"content":{"rendered":"\n<link rel=\"preconnect\" href=\"https:\/\/fonts.googleapis.com\">\n<link rel=\"preconnect\" href=\"https:\/\/fonts.gstatic.com\" crossorigin>\n<link href=\"https:\/\/fonts.googleapis.com\/css2?family=Cinzel+Decorative:wght@400;700;900&#038;display=swap\" rel=\"stylesheet\">\n<style>\nbody {\n  background-color: white;\n}\nheader, footer {\nbackground-color: #f2f0ae;\n}\nfooter li {\n display: inline-block;\n margin-top: 12px;\n width: 33%;\n}\n.CoreopsisNav {\n  margin: 0px;\n  text-align: center;\n  width: 100%;\n}\n\n.CoreopsisNav ul {\n  padding: 16px 32px;\n}\n\nheader {\n  padding: 0px !important;\n}\n\nmain, footer {\n  margin-block-start: 0px !important;\n}\n\nnav {\n  width: 100%;\n}\n.wp-site-blocks {\n  padding: 0px;\n}\n.wp-block-navigation__submenu-container {\n  background-color: #f2f0ae !important;\n  border: 1px solid black;\n}\n.sfsi_widget {\n  float: unset !important;\n  padding: 32px;\n  width: 100%;\n  text-align: center;\n}\n\n.sfsi_wDiv {\n  text-align: center !important;\n  width: 100% !important;\n}\n\n.arabesque {\n background-image: URL(\"\/coreopsis\/autumn-2025-issue\/wp-content\/uploads\/2025\/12\/ArabesqueBackground.webp\");\n background-size: 100% auto;\n padding: 48px 32px;\n max-width: 1920px;\n}\n\n.article .credit {\n  text-align: center;\n  text-indent: 0px;\n}\n\n.article img {\n  display: block;\n  margin: auto;\n  max-width: 100%;\n}\n\n.article p {\n  text-indent: 32px;\n}\n\n.authorBio, .donate {\n  display: flex;\n  flex-wrap: nowrap;\n  margin-top: 24px;\n}\n\n.authorBio>img {\n  display: flex;\n  max-width: 80px;\n  padding-right: 32px;\n}\n.donate {\n  align-items: center;\n  justify-content: center;\n}\n\n.donate>a>img {\n  display: flex;\n  max-width: 240px;\n  padding-right: 32px;\n}\n\n.authorBio>p {\n  align-content: center;\n  display: flex;\n  flex-wrap: nowrap;\n}\n\n.donate>p {\n  align-content: center;\n  display: flex;\n  flex-wrap: nowrap;\n}\n\nblockquote {\n  margin-bottom: 32px;\n}\n\t.cinzel-decorative-bold {\n\t  font-family: \"Cinzel Decorative\", serif;\n\t  font-weight: 700;\n\t  font-style: normal;\n\t  padding: 0 32px;\n\t}\nh2 {\n  font-size: 32px;\n  margin-block-end: 14px;\n}\nh3 {\n  font-size: 24px;\n  margin-block-start: 14px;\n}\nh4 {\n  font-size: 21px;\n  margin-block-start: 48px;\n}\n\nh2, h3 {\n  text-align: center;\n}\n.illustratorCredit {\n  color: #474747;\n  font-size: 14px;\n  text-align: center;\n}\n.marginBottom {\n  margin-bottom: 32px;\n}\n.references p {\n  text-indent: 0px;\n}\n.semibold {\n\tfont-weight: 500;\n}\n\tp.stars {\n                font-weight: bold;\n\t\ttext-align: center;\n                text-indent: 0px;\n\t}\n\t.wp-block-post-title {\n         display: none;\n       }\n@media (max-width: 640px) {\n  .authorBio>img {\n    align-self: start;\n  }\n\n  .donate {\n    display: block;\n  }\n\n  .donate>a>img {\n    display: block;\n    margin: 16px auto;\n    padding: 0px;\n    width:100%;\n  }\n\n  .authorBio>p {\n    margin-block-start: 0px;\n  }\n\n  .donate>p {\n    display: block;\n    text-align: center;    \n  }\n\n  footer li {\n width: 100%;\n}\n\n  h2 {\n    font-size: 28px;\n  }\n}\n<\/style>\n\n<section class=\"arabesque\">\n\t<div class=\"container\">\n\t\t<div class=\"article\">\n\t\t\t<div>\n\t\t\t\t<h2>Arabesque | An Art of Connections, A Poetics of the Swerve<\/h2>\n\t\t\t\t<h3>L. Martina Young<\/h3>\n<p><i> Author&#8217;s Note: \u201cArabesque | an art of connections, a poetics of the swerve,\u201d is just the tip of the iceberg: <b>The Arabesque Project<\/b>, with its themes of \u2018unity\u2019 and the \u2018interdependency of life\u2019 is going global as a \u201cworld-making\u201d event. Garnering attention at the national and international community level, the work is poised for collaborative live reading by community residents\u2014 women, men, teens, elders, artists, dancers, actors, and civic leaders\u2014 including music artists who will riff off the original compositions by Reno Philharmonic bassist, Julie Machado. For more information please visit <a href=\"https:\/\/www.apoeticbody.com\">https:\/\/www.apoeticbody.com<\/a>\n <\/p><\/i>\n<h4>Abstract<\/h4>\n<p>Exploring the concept of the \u2018arabesque\u2019 through its origins in Persian aesthetics, somatic ways of knowing, Merleau-Ponty&#8217;s phenomenology, and David Bohm&#8217;s physics, this essay offers a timely response to poet and Humanities scholar Joan Retallack&#8217;s provocation, <i>\u201cHow can one frame a poetics of the swerve, a constructive preoccupation with what are unpredictable forms of change?\u201d<\/i> Weaving together these diverse fields with elements of poetry and memoir, the essay delves into the wisdom and beauty of \u2018unity.\u2019 This exploration frames a &#8216;poetics of the swerve,&#8217; addressing the unpredictable nature of change and its relevance to our contemporary socio-cultural landscape, positing \u2018unity\u2019 as a critical ethos for the 21st century.<\/p>\n\n<p><b>Keywords:<\/b> Cross-cultural Unity; Neurobiological Interdependency; Persian Ethics and Aesthetics; Dance; Spirituality<\/p>\n\n<p>This work is supported, in part, by the Nevada Arts Council, a state agency, which receives support from the National Endowment for the Arts, a federal agency, and the state of Nevada.<\/p>\n<p class=\"stars\">***<\/p>\n\t<blockquote>The ground\u2019s generosity takes in our compost\n\tand grows beauty. Try to be more\n\tlike the ground.<p><span class=\"semibold\">Jal\u0101l al-D\u012bn R\u016bm\u012b<\/span> (2003)<\/p><\/blockquote>\n            \n\t<blockquote>It is arbitrary to separate the intellectual aspects of\n\tmovement [from] its emotional [and] aesthetic aspects. \n\t[All] of them have to be seen as a single whole.<p><span class=\"semibold\">David Bohm<\/span> (2004)<\/p><\/blockquote>\n\t\t\t\n\t<blockquote>My most charming friends, <br>\n\tAnd am watching the palm tree <br>\n\tAs, like a dancer, she curves <br>\n\tAnd swerves and sways above her hips\u2014 <br>\n\tOne does too, if one watches long. <br>\n\tLike a dancer who, as it would seem to me, <br>\n\tHas stood too long, dangerously long <br>\n\tAlways, always only on one little leg. <br>\n\tShe has forgotten, it would seem to me, <br>\n\tThe other leg. \u2026 <br>\n\tIt is gone! <br>\n\tForever gone! <br>\n\tThe other leg! \u2026 <br>\n\tWhere may it be staying and mourning, forsaken? <br>\n\tThe lonely leg?<br> <p><i>Thus Spoke Zarathustra<\/i>,<span class=\"semibold\"> Friedrich Wilhelm Nietzsche<\/span> (1972)<\/p><\/blockquote>\t\n\n\n\t\t\t<blockquote>What is the subject of our thought? Experience! Nothing else! \n\t\t\tAnd if we lose the ground of experience then we get into all kinds of theories.<p><span class=\"semibold\">Hannah Arendt<\/span> (2018)<\/p><\/blockquote>\n              \t\t\t\t\t\t\t\t   \n\n<p><i>Step forward. Feel your foot planted firmly on the ground. Feel how it conspires with the Earth to support your weight. In this moment you are in an in-between place, your back foot stable by a single toe, like a kiss pausing on Earth\u2019s surface until alas, it leaves for higher ground. Your back leg rises, arcing upward as in a salutation; it levitates toward the warmth of another source. On a vertical curve through horizontal space, the airborne leg lilts the air like a caress, a wing\u2019d reverie. The more you succumb to the giving ground beneath you\u2014your inner arch curved like the dome atop the Taj Mahal through which the line of gravity surges both downward and upward\u2014the more you find yourself in the lift and the loft of the arabesque. Air entreats your arms to follow the arc of the leg. Bird-like and alert to the moment, the arc of ascent, you are poised at the center, the still point, where above and below meet. And as if Zephyr\u2019s gentle kiss desires to linger a little longer, you swoon your loveliest in the loft of the arabesque. It is an ancient skill. Eternal and temporal. A sublime beauty. A divine harmony.<\/i><\/p>\n\t\t\t\t\t \n\t\t\t\t<blockquote><i>For whereas speaking distracts, silence and work \n\t\t\t\tcollect the thoughts and strengthen the spirit.<\/i><p><span class=\"semibold\">St. John of the Cross<\/span> (The Apocrypha, 2001)<\/p><\/blockquote>\t\t\t\n\n<h4>In the Beginning<\/h4>\n\t<p>I had no words. In the beginning the world\u2019s cacophonies assaulted my ears, eyes, skin. Sounds and images ablaze\u2019d. The world out there crashed into an interior world trying to make sense of the wide open loudness, talking, always talking. Wording images, under and over, this way and that way. Shapes did not connect. Voracious masses consuming and consumed. There was no quiet. All was a display of greening life speechifying for every occasion and circumstance. The too-muchness seemed not to miss what could not compete. Diagonals, curves, angles, and rounds thrashed about, piercing a thin veil of atmosphere, a veil that barely separated all the goings-on, . . . of what? I could not name.<\/p>\n\n\t<p>The world seemed untouchable. I made of myself a roundabout amidst the whips and wails of the world\u2019s excesses. While few words came, something stirred me. A knowing. A felt knowing. An unseen felt knowing. Like contents inside an envelop, invisible things that can only be felt. In time, few words were necessary. Only the contents I felt for the world mattered. Contents within that resonated with the lifeforms out there. Then confluences as I began to reach from here to there without words. Like Captain Kangaroo\u2019s Dancing Bear: no words; just danced. And Buddha\u2019s Flower Sermon for which he held a single flower. By age six I knew the alphabet of American Sign Language I\u2019d learned from the diagrams in the Book of Knowledge. We learn languages long before we can speak. Especially as children.<\/p>\n\n\t<p>This body knew felt language. A language perceived through the porousness of the organs, through the nostrils, and by tips of the tongue. From the spaces between objects and from the gaping silences of our mineralized planet, absences that spoke of lack and encroaching miasmas. I heard the Earth moan.\u201cThe Earth is crying! The Earth is crying!\u201d I wailed to my parents in morning\u2019s half-light. These were the only sounds that made sense.<\/p>\n\n\t<p>I read the world\u2019s body like books,\u2014our bodies, yours and mine. Stories heard by heart. Poetries etched into faces. The downward turn of the mouth. Smiles tethered to cheekbones competing with shadows draped over shoulders. Rhythms in the gait. Hands gripped too tightly or cupped softly in communion with the undertow of the soul. Heads tilted this way or that way. Furtive looks. And eyes that lit up when a loved one was near, or sparkled determinedly against strains of blue with the promise of an unweighted sun.<\/p>\n\n\t<p>It has to do with weight. How weight is held. How we each hold the weight of the world. Like Atlas, the god who holds the whole of the universe at the nape of his neck with all the celestial bodies clenched between his shoulder blades. Feet planted firmly on Earth\u2019s body and knees duly bent, taut tensile thigh muscles betray the massive task. Atlas\u2019s curse. Our blessing. An invisible force that holds us all. This is a familiar language. Words are not necessary. There are no words. It is the failure of words; they collapse from the weight of it all. The Greeks call this condition catachresis. Here, language is forged by gravity and, with a feeling for how the universe must be held on high, levity. And there is never one without the other.<\/p>\n\n      \t\t\t\t<blockquote>Everything has a form, everything has culture and history.<p><span class=\"semibold\">Karim Keshavarz<\/span>, Storyteller | Writer (2025)<\/p><\/blockquote>\n\t\n\t\t\n<h4>Origins: From the Ground Up<\/h4>\n\t<p><i>Arabesque.<\/i> The word alludes to Arabic cultures. Its aesthetic origins, however, begin with Persian culture. Expressed in calligraphy, architecture, art, and dance, the arabesque is born of an imagination that traversed the southern margins of the European Steppe and reflects the migratory patterns of a nomadic people inhabiting terrain around the Amu Darya River. Intricate curves, swerves, diagonals, and rounds speak of a steadfast relationship to the myriad worlds of animal, plant, flower, and tree; to the world of sky, and the invisible force that unites them all. The arabesque is an embodiment of life&#8217;s interconnected tapestry,\u2014its order and the inherent unity found therein.\n\tIranian scholar, Laleh Bakhtiar, explains that the arabesque aesthetic <i>\u201cdeals with time and the infinite rhythms created by the encounter of objects in space within defined borders.\u201d<\/i> With its \u201cfull expressive range of geometrical form, it evokes a timeless quality allowing [integration] into every surface adornment\u201d (1976).<\/p>\n\n\t<p>Paul Kriwaczek\u2014historian and author of, <i>In Search of Zarathustra: The First Prophet and the Ideas That Changed the World<\/i>, and head of BBC\u2019s Central Asian Affairs from 1970-1995\u2014writes, \u201c[The] people belonged to an extensive ethnic group of many tribes and clans, trundling their [herds] across the steppe-land in ox-drawn carts, [living] in round felt-covered tents, [and] planting gardens of vegetables and grain. [Becoming] wealthy enough to support a craftsman class,\u201d Kriwaczek continues, \u201c[they] created an original art form: the \u2018animal style\u2019 of the steppe with its curls and tendrils, and an [elaboration] of realistic form into decorative distortion.\u201d The style would influence \u201cCeltic, Viking, and medieval design,\u201d asserts Kriwaczek, \u201c[and] resurface at the end of the nineteenth century under the title \u2018art nouveau\u2019 \u201d  (2003).<\/p>\n\n\t<p>What is instructive in both Kriwaczek and Laleh Bakhtiar\u2019s accounts are the images: <i>nomadic; river; round tents; infinite rhythms; ox-drawn carts; expressive geometrical form<\/i>; and <i>decorative distortion<\/i>. To be clear, the term \u2018distortion\u2019 in the New Oxford Thesaurus lists, \u2018curve,\u2019 \u2018bend,\u2019 \u2018twist,\u2019 and \u2018knot,\u2019 underscoring a perception of how worlds and peoples connect: in rounds and by continuous cycles. Living terrestrial geographies that mirror, that is, are in <i>sympathy with<\/i>, celestial fields. A <i>sympathaeia<\/i>. These images bespeak of us all, each trundling about from there to here with all our weight.<\/p>\n\n\t<p>Describing the interior surfaces of Granada\u2019s Alhambra Palace, art historian H.W. Janson notes, \u201cThe delicately colored [tiles] in a limitless variety of design, including bands of inscriptions, is disciplined by symmetry and rhythmic order\u201d (1969). The arabesque aesthetic.<\/p>\n\n\t<p>Within the Iranian cosmology of Zarvanitic tradition, religious scholar Mircea Eliade recounts that \u201cevery terrestrial phenomenon, abstract or concrete, corresponds to a celestial, transcendent invisible term, to an \u2018idea\u2019 in the Platonic sense.\u201d <i>As above, so below<\/i>. Eliade further adds, \u201c[Our] earth corresponds to a celestial earth. Each virtue practiced here [has] a celestial counterpart which represents true reality. [The] year, prayer, [all] creation [is] duplicated\u201d(1971).<\/p>\n\n\t<p>To recognize these correspondences is to perceive life in terms of circularity, wherein true reality is manifest as the unity <i>in<\/i> and <i>between<\/i> all things. An experience of timelessness is an apprehension of life\u2019s cyclical and corresponding repetition.<\/p>\n\n\t<p>Alighting on the theory of cycles, Eliade recalls the works of James Joyce and T. S. Eliot and how their writings are \u201csaturated with nostalgia for eternal repetition and [an] abolition of time.\u201d As a \u201cresistance to historical time, [freighted] as it is with human experience,\u201d their interest harbors an imagination that regards \u2018time\u2019 as \u201ccosmic, cyclical, and infinite.\u201d Friedrich Nietzsche, too, explores this idea in his innovative work, <i>Thus Spoke Zarathustra<\/i>.<\/p>\n\n \t<p>Translated as <i>Zoroaster<\/i>, Zarathustra is the Persian spiritual founder of Zoroastrianism and the poet-prophet of the Bah\u00e1\u2019i faith. Nietzsche converses with the wandering figure, Zarathustra, who stands to challenge moral idealists while advocating for clear-eyed truth-seeking. At the heart of the work is Nietzsche\u2019s own push-back to linear time. He correlates with the Persian worldview with what Eliade terms the \u201ceternal recurrence.\u201d Nietzsche stands on values that transmute the seemingly meaninglessness of life into meaningful acts that matter.<\/p>\n\n\t<p>In this light, the arabesque aesthetic cannot be separated from its philosophical or its spiritual underpinnings. It is a purview meant to incite a <i>re-membering<\/i> at the most rudimentary level, a primary principle abiding at our deepest core: Unity. A primary unity. Phenomenologist Maurice Merleau-Ponty calls this principle, \u201can intertwining\u2014the <i>chiasma<\/i>,\u201d (1968) predicating his thought on the \u2018crossing points\u2019 found at the neurobiological level of human life. Thus we are re-<i>minded<\/i> of our unity with all <i>Being<\/i>, correspondences that are felt in our sentient, sensible, and ensoul\u2019d bodies. This deep knowing tells us we are not disparate entities, but rather, expressive variants of the ontogenesis of Being. <i>\u201cE pluribus unum,\u201d<\/i> affirms the Wizard. Unity in variety. And \u201cvariety,&#8221; remarks Comparative Religion scholar Karen Armstrong, \u201cbenefits the whole world\u201d (2004).<\/p>\n\n\t<p>The arabesque aesthetic stirs this knowing, and by contemplating the <i>idea<\/i> and its <i>image<\/i>\u2014itself an ordinary exercise in unity\u2014this knowing comes to light. At once, the source and wisdom of our interconnections with all life is recalled and we are moved to alter and altar actions accordingly. The Sufis\u2014the mystic Islamic sect\u2014engage in this contemplative practice, embracing unity as a living fact. This <i>knowing wisdom<\/i> has been perceived across time, cultures, and generations, amidst diverse wanderings, wayward trajectories and, <i>with all the freight of human experience<\/i>.<\/p>\n\n\t        \t\t\t<blockquote><i>If on Earth there be a paradise of bliss  \n\t         \t\t\tIt is this    It is this    It is this.<\/i><p><span class=\"semibold\">Am\u012br Khusrau<\/span>, 13th C. Persian Poet (2013)<\/p><\/blockquote>\t\t    \n\n<h4>A Whirling Ecstatic<\/h4>\n\t<p>The Persian dance form practiced by the Sufis is known as an \u201cecstatic.\u201d A \u2018whirling\u2019 action performed as meditative practice, \u2018whirling\u2019 is one of the three modes of experiencing union with the Divine Presence. The other two are <i>dhikr<\/i>, remembrance of God through rhythmic repetition of the name of God (cf. Hasidic <i>davening<\/i>); and <i>sema<\/i>, spiritual listening through poetry, prayer, and meditation. While the word \u2018Sufi\u2019 is thought to come from the Arabic word, <i>s\u016bf\u012b<\/i>, meaning \u2018wool\u2019\u2014 denoting the Sufis\u2019 woolen dress\u2014tenth-century scholar Bir\u016bn\u012b asserts that the word is closer to the Greek transcription of <i>sophos<\/i>, meaning \u2018wise\u2019 and \u2018cultivated.\u2019 <i>Sufi<\/i> thus corresponds to what Iranologist Henry Corbin suggests is the ancient notion of the <i>sage<\/i>, specifically, the \u2018sage-prophet\u2019 (1997). Whirling is wise practice.<\/p>\n\n\t<p>Research shows that whirling induces changes in brain activity, heightening perception and self awareness. No wonder children become enchanted while twirling. According to Bakhtiar, whirling \u201creferences the circling of the spirit around the cycle of existing things.\u201d The body is the still point amidst the flux. \u201c[To] leap up,\u201d Bakhtiar adds, \u201cis to be drawn from the human station to the station of union.\u201d Whirling is thus a response to a calling, to \u201ca stirring within.\u201d<\/p>\n\n\t<p>For psychologist Havelock Ellis, dancing is \u201ca magical operation for attainment of real and important ends of every kind. \u201c[To] dance,\u201d Ellis asserts, \u201cis both to worship and to pray\u201d (1923) Arcing back in time one finds, \u201cThe Hymn of Jesus,\u201d in <i>Acts of John<\/i>. Enacted prior to Jesus\u2019s crucifixion, Religious Studies scholar Marvin Meyer cites it as, \u201cThe Round Dance of the Cross\u201d (1984):<\/p> \n\n<blockquote><i>Jesus told us to form a circle and hold each other&#8217;s hands, and he himself stood in the middle, and said \u201cRespond to me with \u2018Amen.\u2019 [Grace] dances.\u201cI will play the flute. Dance, everyone.\u201d \/ \u201cAmen.\u201d \/ \u201cI will mourn. Lament, everyone. \/ \u201cAmen.\u201d \/ \u201cA realm of eight sings with us.\u201d \/\u201cAmen.\u201d\/ \u201cThe twelfth number dances on high.\u201d\/ Amen.\u201d \/ \u201cThe whole universe takes part in dancing.\u201d \/ \u201cAmen.\u201cWhoever does not dance does not know what happens.\u201d \/ \u201cAmen.\u201d<\/i><\/blockquote>\n\n\t<blockquote><i>\u201cWhoever does not dance does not know what happens,\u201d<\/i>\u2014to be joined at a higher station. From the Sufis to the Apostles, the Round Dance to the arabesque, life oscillates through all: human and sky, flower and sea, thought and action, body and soul. The cyclical eternal dance forms a unified whole. The creativity of the arabesque is always at play. Breakage from this unity ushers <i>dis<\/i>-ease which impales us all, from within and from without, leading physicist David Bohm to warn: \u201c[When] thought and language focus [on] one thing [and] are regarded as independent from the broader context of the whole, [then] one is engaged in breaking the field of awareness [whose] deep unity can no longer be perceived\u201d (2004).<\/blockquote>\n\n\t<p>Rooted in the arabesque aesthetic, the Sufis ecstatic whirl attends to the connective tissue by which unity is sustained: one\u2019s stable being in relationship to an \u2018other.\u2019 Gestured in calligraphy and dance, art and architecture, all creativity \u201cwithin the Islamic tradition,\u201d reminds Iranian scholar Seyyed Nasr, \u201cis related to man\u2019s relationship with God. [The] human heart is the throne of Divine Compassion. [From] this center the creative \u00e9lan issues forth, the creative vitality. [The] work of art is not a center. [It] is man who, being centered, [disseminates] Qualities of the Divine in the world about him\u201d (Bakhtiar, 1976). When we body forth a single gesture of beauty, a divine quality is bestowed upon the world.<\/p>\n\n\t<p>Widening and deepening, grounded and elevated, the generative beauty of the arabesque connects us not only to ourselves but also to one another, no matter our individual station or seeming separate standing.<\/p>\n\t\n\n\t\t<blockquote><i>Make every act a meaningful act. [An] arabesque is a metaphor for an action.\t\n\t\t[With] its sheer elegance and physicality, [it] can be a metaphor for flight, for \t\t\t\toffering oneself to another, to baring one\u2019s vulnerability \u2026<\/i><p><span class=\"semibold\">Daniel Nagrin<\/span>, American Dance Artist (1997)<\/p><\/blockquote>\n\n\t\n<h4>The Classical Form<\/h4>\t\n\t<p>French choreographer, Pierre Beauchamp, established the \u2018arabesque\u2019 ballet position in the 17th century. Popularized by the Italian ballerina Marie Taglioni who inspired <i>point work<\/i>\u2014toe dancing\u2014the classical arabesque was used as a device during the Romantic Period for expressing themes of despair, ideal love, nature intermingled with a visionary imagination, and the human spirit in search of freedom and otherworldly beauty. By the 19th century, it was one of the most iconic of dance moves in the ballet vocabulary, gaining prominence through the work of choreographer Marius Petipa. Standing on one leg with the other leg elevated\u2014generally at a 90-degree angle\u2014the dancers\u2019 arms take their various positions from within the classical canon.<\/p>\n\n\t<p>Gail Grant, author of, <i>Technical Manual and Dictionary of Classical Ballet<\/i>, points to the arabesque\u2019s cultural genesis as \u201ca form of Moorish ornament.\u201d The term \u2018Moorish\u2019\u2014referencing \u201cMoors\u201d\u2014was a term used by the early Romans denoting persons from Mauretania, an ancient region of North Africa, now the northern part of Morocco and central Algeria. Referring specifically to Muslims, the term generally referred to persons of dark skin.<\/p>\n\n\t<p>In Lincoln Kirsten\u2019s, <i>The Classical Ballet | Basic Technique and Terminology<\/i>, elaborate illustrations on the arabesque are given in two of the most renown technical dance approaches: the Cecchetti Method, developed by 19th century Italian mime and dancer, Enrico Cecchetti; and the Vaganova Method, developed by 19th century Russian ballet dancer, Agrippina Vaganova. Each set of illustrations demonstrate the arm positions, <i>port du bras<\/i> (movement of the arms): First. Second. Third. Fourth, and Fifth. One diagram indicates the arabesque theory with a line spiraling out from the center of the torso and curving upward through the elevated back leg. From heart to foot, the line forms the shape of a crescent moon, like a smile cradled in space.<\/p>\n\t\n\t<p>What the diagram does not show, however, is the invisible line of gravity: the vertical force from above the head down through the supporting leg and into the earth. Architecturally known as the \u2018plumb-line,\u2019 this force must be felt or otherwise imagined. We are bound by this force not only to the earth, but also to the heavens, our bodies like make-weights forming the balance. Like the fiddlehead fern: stem earthbound, its feathery neck unfurls into arabesque splendor. And the nautilus shell, a symbol of renewal, its stature found in spirals and swirls.<\/p>\n\n\t<p>The arabesque\u2019s adornments abound all around. To witness it bids a contemplative walk through the world, greeting its contents with attention to the intertwining chiasma by which correspondences are perceived and an alchemy of consciousness occurs. It is aesthetic practice; poetic being. <i>Relational<\/i>. As poet Paul Val\u00e9ry writes, \u201c[To] recognize nothing [with] the eye but find a new object [as though] created by the EYE, for infinite contemplation of its own laws. [Whence] enthusiastic praise of the Arab imagination that invents the <i>Arabesque<\/i>. [Here] there is never any confusion [but] instead a possible communion with the profound springs of all life\u201d (<span class=\"semibold\">Hytier<\/span>, 1966).<\/p>\n\n\t\t\t\t\t<blockquote class=\"marginBottom\"><i>Everything round invites a caress.<\/i><p><span class=\"semibold\">Gaston Bachelard<\/span> (1994)<\/p><\/blockquote>  \t\t              \n\n<img decoding=\"async\" loading=\"lazy\" src=\"\/coreopsis\/autumn-2025-issue\/wp-content\/uploads\/2025\/12\/Arabesque.jpg\"\/>\n<p class=\"illustratorCredit\">Illustration provided by L. Martina Young, credit unknown. All Rights Reserved, 2025<\/p>\n\n<h4>The Art of Dialogue<\/h4>\t\t\t\t\t\t\t\n\t<p>Exemplifying the arabesque aesthetic in art\u2014one from the Persian imagination, the other Celtic, known as the Celtic Knot\u2014each image represents an archetype of connection, a lens and a thematic by which dialogic conversations are interwoven. Each embodies what is sacred beyond measure: the unity of all life.<\/p>\n\n\t<p>Contemplating its content, one enters a portal by which the eye is entreated to embark on a journey along moving involutions into-and-out-from a center. Beginnings and endings are undecipherable. And like conversations at their best, one is seamlessly transported into a rarified reverie while the unity of a central idea holds sway. The mind, body, and soul are refigured.<\/p>\n\n\t<p>As a conversation, the arabesque propels wonderment and a sense of expansion. It is a rapturous dialogue, a sacred kiss, where \u2018kiss\u2019 means <i>narrative<\/i>, stories that are bound together. Locating something of ourselves in the image\u2014an image within images\u2014a coherence occurs, an exquisite logos. We <i>feel<\/i> it. And by feeling it, we know it. A bloom of peace salves the soul. Bohm calls this, \u201cthe implicit order.\u201d Enthused, our bodies quiver, the workings of interconnected worlds revealed. It is tacit knowledge. Words are not necessary.<\/p>\n\n\t<p>Conversely, we know coherence by its opposite: incoherence. We know the havoc incoherence wreaks. <i>Erratic. Unstable. Inconsistent. Unintelligible. Senseless. Disruptive. Chaotic. Disordered. Turbulent. Confused.<\/i> Center cannot hold. One way to address incoherence is with tacit knowledge of that which coheres: a grounded step; one stable gesture. Each day. Every day. For oneself and for another. Both follow-through and initiative, the one coherent step shifts the aperture like a kaleidoscope, guided by an interior compass and with a steady hand. Bohm calls this gesture, <i>artemovement<\/i> (1998), \u201ca movement of universal fitting,\u201d <i>fitting<\/i> meaning, <i>harmony<\/i>, a responsive move that acts in relationship to a knowing of the interdependence of things and an attention to the \u2018world behind the world.\u2019 Artemovement reconnects the <i>felt<\/i> aspects of aesthetic perception to the mental apparatus of conceptualization.<i>Arabesque<\/i>: an inner dialogue; a quiet and sacred kiss.<\/p>\n\n\t<p>As every human being is always in a state of becoming, so too the whole of the universe and all its inhabitants. The individual and the collective are at once interrelated experiences to behold, each a possibility with hidden contents of numinous expansion beyond measure.<\/p>\n\n\t<p class=\"stars\">* * * * * * *<\/p>\n\t\t\t\n\t\t<blockquote><i><p>As it was, \/As it is, \/As it shall be \/ Evermore, \/ O Thou Triune Of Grace!<\/p>\n\t\t<p>With the flow, \/ O Thou Triune \/ Of Grace!<\/p> \n\t\t<p>With the ebb, \/ With the flow.<\/p><\/i><p><span class=\"semibold\">Scottish Invocation<\/span> (Celtic Wisdom, 2008)<\/p><\/blockquote>\t                \n\n\t<h4>Swerves and Curves<\/h4>\n\n\t<p>The 1966 film thriller, Arabesque, directed by American choreographer and director Stanley Donen, tantalizes the eye with its opening credits styled in the psychedelic graphics of  the time. Audiences would become familiar with this style through the early James Bond films as well as the television show, <i>Rowan &#038; Martin&#8217;s Laugh-In<\/i>, in which Goldie Hawn dons miniskirts fashioned in colorful swirls of flowers, stripes, and triangles. While the film has little to do with the arabesque aesthetic <i>per se<\/i>\u2014its opaque ins-and-outs of espionage and subterfuge driven by deviousness and chaos\u2014there is one telling scene that unwittingly echoes the \u2018animal-style\u2019 of the steppe-land. Protagonists Gregory Peck and Sophia Loren flee from the palatial home where the film\u2019s antagonists have taken up residence and make their way to the Zoological Gardens. With deft camera work\u2014a montage of high, low, and off-center\u2019d angles\u2014a menagerie is amplified therein: monkeys, llamas, alligators, and snakes. Lions, tigers, orangutans, and giraffes. Blue-green water tanks teem with an underworld of sea creatures: crab, eel, octopus, and piranha. Hinting at the arabesque\u2019s original craft, the movie has more to do with schemes of deceit than with the unitive forces of beauty. The film\u2019s working title, \u201cCrisscross,\u201d was later changed to \u201cCipher,\u201d the title of novelist Alex Gordon\u2019s book, before settling on Arabesqueon, Arabesque.<\/p>\n\n\t<p class=\"stars\"> * * *<\/p>\n \t\t\n\t<p>American dance artist, Daniel Nagrin, offers an illuminating thought on the arabesque in his book, <i>Six Questions<\/i>. Insisting that artists \u201c<i>do<\/i> something,\u201d that is, \u201cfill all motion with action\u2014an action from within,\u201d Nagrin\u2019s aesthetic is clear: <i>make every act a meaningful act<\/i>. \u201c[By] action,\u201d he asserts, \u201cI mean [recognizing] that an arabesque is a metaphor for an action. [The] sheer elegance and physicality of an arabesque is one of the many ways of seeing and experiencing [the arabesque]. It can be a metaphor for flight, for offering oneself to another, to baring one\u2019s vulnerability to others, or it can be an exquisite and awesome configuration\u201d(1997). Nagrin\u2019s dedication, his <i>r\u00e9ver\u00e9nce<\/i> to Helen Tamiris\u201420th century artist with whom he danced and to whom he was married\u2014is also significant: \u201cShe gave me [the] liberating insight that the art of dance and the art of acting were rivers waiting to be joined as one.\u201d <i>Rivers to be joined.<\/i> A meaningful act and an idea to which we must hold in uncertain times. <i>What joins us<\/i>, an \u2018us\u2019\u2014a you <i>and<\/i> a me.<\/p>\n\n\t<p>I had a delightful conversation with an Uber driver, Mahmud. Flowing from the car speakers were the rhythmic melodies of Persian music. I remarked on its beauty. \u201c<i>You like it<\/i>?\u201d Mahmud asked. \u201cOh yes!\u201d I responded, mentioning that I was a dancer, to which he cast a wide smile in the rear-view mirror. In time we found ourselves talking about art, culture, and the intermingling of both. I shared that I was writing on the arabesque dance form, understanding that the arabesque aesthetic originates with the Persian culture. Mahmud\u2019s eyes brightened. Arriving at our destination, Mahmud turned to me and said, \u201cThe three Persian virtues are: Good Thought; Good Word; Good Deed.\u201d<\/p>\n\n\t<p>I thanked him. We both smiled and wished each other a peaceful day.<\/p>       \n\t<h4>The Other Leg<\/h4>\n\t\t\t\t\t<blockquote><i>The other leg!<\/i> \n\t\t\t\t\t<i>Where may it be staying and mourning, forsaken?<\/i>\n\t\t\t\t\t<i>The lonely leg?<\/i><p><i>Thus Spoke Zarathustra<\/i>, <span class=\"semibold\">Nietzsche<\/span> (1972)<\/p><\/blockquote>\n\n\n\t<p>A practice the Greek philosophers advocated for is known as <i>ask\u00easis<\/i>. It\u2019s a term referencing the rigorous self-discipline of athletic training as well as spiritual development. And there is never one without the other. Demanding perseverance and endurance, ask\u00easis enlists resistance to the elements, to emotional upheaval, and in some cases, periodic abstinence from food and water in order to achieve a steady state of mind. For Nietzsche, it is a \u201cgymnastics of the will\u201d (Merton, 1999), one that employs restraint and a depth of perception for what\u2019s at stake.<\/p>\n\n\t<p>From the Greek, ask\u00eain, meaning, \u2018to prepare by labor,\u2019 \u2018to adorn,\u2019 and \u2018to become adept by exercise,\u2019 in ancient traditions ask\u00easis was applied to all dimensions of life: physical culture; moral aptitude; and the religious imagination. In other words, life lived at its most coherent: grounded and in proprioception to intrinsic harmony. No different than living an aesthetic life, ask\u00easis implaces radical spaciousness in thought and action and does away with needless distractions. Conscious No\u2019s imply emphatic Yes\u2019s, being centered on connection to a sense of expanded and relational reality. It\u2019s \u201cliving the life best suited to you,\u201d affirms Nietzsche (Merton), and by extension, <i>for<\/i> and <i>with<\/i> the world.<\/p>\n\n\t<p>Most notably, ask\u00easis entails a state of being for which author James Baldwin argues: \u201cbeing alone,\u201d (1985) a state of being by which all relations become clarified. Michel de Montaigne likewise writes, \u201cThe greatest thing in the world is to know how to belong to oneself\u201d (1947).<\/p>\n\n\t<p>While related to the ascetic\u2014its emphasis on denying oneself\u2014ask\u00easis, on the other hand, emphasizes <i>training<\/i> oneself, as with a life practice, an art. Ask\u00eates are known as the devoted athlete, the artist, the monk,\u2014each waking with morning-song and a listening heart.<\/p>\n\t\n\t<p>As the artist steps into the arabesque, attention is on the standing leg: the <i>other<\/i> leg. Trained to endure weight and the tension between opposites, center holds. The standing leg is the performative still point as all else gives way to flux. As the architect of the imaginative thrust, the imagination takes its flight toward the cosmos.<\/p>\n\n\t<p>Remembering this, one\u2019s worldly participation becomes clarified as the wholeness and unity of the arabesque comes to <i>be<\/i>. \u201cJust as in the dialectic of love,\u201d states Proclus, \u201cwe start from the sensuous beauties [until] we encounter the unique principle of all beauty and all ideas, so the adepts [take] as their starting point the things of appearance and the sympathies they manifest among themselves and [the] invisible powers. [All] things form a whole\u201d (<span class=\"semibold\">Huxley<\/span>, 1945).<\/p>\n\n\t<p>Jesuit philosopher, Teilhard de Chardin, concurs: \u201cMankind, the spirit of the earth, the synthesis of individuals and people, the paradoxical conciliation of the element with the whole, and of unity with multitude\u2014all these [are] thought Utopian, yet are biologically necessary. [For] them to be incarnated in the world [is] to imagine our power of loving developing until it embraces the total of [humankind] and [the] earth.\u201d<\/p>\n\n\t<p>Poet and potter M.C. Richards voices a resounding thought on wholeness: \u201cTo do the work of the earth and to build community are new priorities. [One] is a supportive daily and seasonal rhythm, connected with the stars and planets in a cosmic cycle. The other [a] glowworm lighting up the dark. Accepting [our] suffering, we may relate to others. [By] grace we may become free. [Best] of all, we may find our humor [expanded] in the warmth of our heart center, the deepest crossing point\u201d (1989). Merleau-Ponty\u2019s <i>intertwining chiasma<\/i>. Earthly and cosmic. Gravitas e levitas. Temporal and eternal. A whole universe in a grain of sand.<\/p>\n\n\n\t<h4>A Pause, a Breath<\/h4>\n\t\t\t\t\t<blockquote><i><p>Tread softly<\/p>\n\t\t\t\t\t<p>on the surface of the earth<\/p>\n\t\t\t\t\t<p>for you tread on the pretty faces of the fairy-born.<\/p><\/i> <p><span class=\"semibold\">Am\u012br Khusrau<\/span> (2013)<\/p><\/blockquote>\n\t\n\t<p>In the Introduction to <i>The Poethical Wager<\/i>, poet and Humanities scholar Joan Retallack writes, \u201cLife is subject to swerves\u2014sometimes gentle, often violent out-of-the-blue motions that cut obliquely across material and conceptual logics. [As] it is, they afford opportunities to usefully rethink habits of thought\u201d (2003). Reflecting on a post-September 11th culture, Retallack adds, \u201cWhat [times] like these have in common is an unsettling transfiguration of once-familiar terrain [producing] disorientation, even estrangement, by radically altering geometries of attention. [In] today\u2019s world politics a geometry of straight lines [is] obsolete. [The] fractal geometry of coastlines, with their ecologically dynamic [and] infinite detail may be a more productive model for the interrelationships of cultures.\u201d<\/p> \t\t\n\t<p>Published in 2003, Retallack\u2019s thoughts remain timely. Retallack questions, \u201cHow can one frame a poetics of the swerve, a constructive preoccupation with unpredictable forms of change?\u201d For my part, the arabesque aesthetic is a poetics of the swerve. It offers a <i>reminder<\/i> of how we inhabit our lives in the current and wayward world order, affording us a rethink of individual and collective acts in order to renew meaningful ways of being,\u2014with oneself and with one another. Facing you with the leg I stand on, we have the opportunity to reimagine the center together\u2014each of us a make-weight that forms the balance\u2014. Too many of us are being thrashed and consumed, flailing about in this upside-down orb and whipped by its ouroboros tail. This eternal return beckons recall of our faces <i>before<\/i> we were born and remembrance of the generative unity of our collective souls at the deepest levels of our being.<\/p>\n\n\t<p>At this hour, my concern is for the youngest among us. The world\u2019s breakage may be all they\u2019ll know, this blitz, this miasmic heart of darkness. This now is their beginning. To others I ask \u201cHow do we cultivate the other leg by which which their centers hold? How do we embrace this life pilgrimage such that the young ones regard how <i>they<\/i> inhabit their lives?\u201d \u2014to direct their eye toward an inner compass that points north, <i>true north<\/i>. To my mind, the spatial, rhythmic, and meandering flow of the arabesque, intwining worlds within worlds, proffers this relational compass. Day in. Day out.<\/p>\n\n\t<p>As I look on the <i>us<\/i>\u2019s in stride\u2014every face a possibility, each body a language\u2014the choice is clear: pause before alterity, for every one of us is an \u2018other\u2019 to someone and to some thing; marvel at a child enchanted by an interior world; follow the path of the pollinating oak and the scent of the withering rose. And know that every air-born, land-darting, water-frolicking creature exhibits a way of being in a realm of unpredictability, vast imaginations venturing beyond the surface.<\/p>\n\n\t<p>My wager is this: live each day with attention to the lifetime given us, with courage, commitment, and courtesy. Walk with a \u2018Yes\u2019 in every step. Feel true north from the ground up. As things fall apart, be accountable for practices of <i>presence<\/i> with hope that clarity may dapple through. Be devoted to meaningful work that fosters constructive creativity and a curious intellect. Resist mass culture\u2019s flatlining attention strategies through network ecologies. And be a caregiving agent of restoration. What does this mean?<\/p>\n\t\n\t<p>It means living with a <i>concept of the human<\/i>. Live a <i>poethical<\/i> life\u2014relational, reciprocal, and responsive\u2014attentive to tangible and intangible beauties that appear mostly in slow motion, like the slow-dancing <i>Kiwa Puravida<\/i> crab.Gaze at stars and wonder how those lights light our own on this celestial ground. Know that, <i>this is an imagination of how our centers will hold<\/i>, yours and mine.<\/p>\n\n\t<h4>References<\/h4>\n        <div class=\"references\">\n\t<p>Arendt, Hannah. <i>Thinking Without a Bannister<\/i> | <i>Essays in Understanding<\/i>. Ed. Jerome Kohn. New York: Schocken Books, 2018.<\/p> \n\n\t<p>Armstrong, Karen. <i>Islam<\/i> | <i>A Short History<\/i>. London: Phoenix Press, 2004.<\/p>\n\t<p>Arrien, Angeles. <i>The Nine Muses: A Mythological Path to Creativity<\/i>. New York: Tarcher, 2000.<\/p>\n\t<p>The Apocrypha. The New Oxford Annotated Bible. New Revised Standard Version. 3rd ed. Oxford: Oxford UP, 2001.<\/p>\n\t \n\t<p>Bachelard, Gaston. <i>The Poetics of Space<\/i>. Trans. Maria Jolas. Boston: Beacon Press, 1994.<\/p>\n\n\t<p>Bakhtiar, Laleh. <i>Sufi: Expressions of the Mystic Quest<\/i>. New York: Thames &#038; Hudson, 1976.<\/p>\n\n\t<p>Baldwin, James. \u201cThe Creative Process.\u201d <i>The Price of the Ticket: Collected Nonfiction 1948-1985<\/i>. New York: St. Martin\u2019s \/ Marek, 1985.<\/p>\n\n\t<p>Bohm, David. <i>On Creativity<\/i>. Ed. Lee Nichols. New York: Routledge, 2004.<\/p>\n\n\t<p><i>On Dialogue<\/i>. Ed. Lee Nichols. New York: Routledge, 1998.<\/p>\n\n\t<p>Celtic Wisdom | <i>The Poetry and Prose of a Mystic Tradition<\/i>. Ed. Gerald Benedict. London: Watkins Publishing, 2008.<\/p>\n\n\t<p>Corbin, Henry. <i>Alone with the Alone: Creative Imagination in the Sufism of Ibn \u2018Arab\u012b<\/i>. Bollingen Series XCI. New Jersey: Princeton U P, 1997.<\/p>\n\n\t<p>de Chardin, Teilhard. <i>The Phenomenon of Man<\/i>. NewYork: Harper &#038; Row, 1959.<\/p>\n\n\t<p>Eliade, Mircea. <i>The Myth of the Eternal Return<\/i>. Trans. Willard R. Trask. Bollingen Series XLVI. Princeton: Princeton U P, 1971.<\/p>\n\n\t<p>Ellis, Havelock. <i>The Dance of Life<\/i>. New York: Houghton Mifflin Company, 1923.<\/p>\n\n\t<p><i>Essential Sufism<\/i>. Ed. James Fadiman &#038; Robert Frager. New York: HarperCollins, 1997.<\/p>\n\n\t<p>Grant, Gail. <i>Technical Manual and Dictionary of Classical Ballet<\/i>. New York: Dover \t\t\t\tPublications, 1967.<\/p>\n\n\t<p>Hahn, Thich Nhat. <i>Old Path White Clouds<\/i>. Trans. Mobi Ho. Berkeley: Parallax Press, 1991.<\/p>\n\t<p>Huxley, Aldous. <i>The Perennial Philosophy<\/i>. New York: Harper &#038; Brothers Publishers, 1945.<\/p>\n\n\t<p>Hytier, Jean. <i>The Poetics of Paul Val\u00e9ry<\/i>. Trans. Richard Howard. Doubleday &#038; Company, 1966.<\/p>\n\n\t<p>Janson, H. W. <i>History of Art<\/i> | <i>A Survey of the Major Visual Arts from the Dawn of History to the Present Day<\/i>. Ed. Milton S. Fox. New York: Harry N.Abrams, Inc., 1969.<\/p>\n\n\t<p>Kashavarz, Karim. <a href=\"https:\/\/artebox.org\/arte-pedia\/keshavarz-01\/\">https:\/\/artebox.org\/arte-pedia\/keshavarz-01\/<\/a> . Accessed 1 March 2025.<\/p>\n\t\t\t   \n\t<p>Kirsten, Lincoln. <i>The Classical Ballet<\/i> | <i>Basic Technique and Terminology<\/i>. New York: Knopf, \t\t\t1979.<\/p>\n\n\t<p>Kriwaczek, Paul. <i>In Search of Zarathustra: The First Prophet and the Ideas That Changed the \t\t\tWorld<\/i>. New York: Knopf, 2003.<\/p>\n\n\t<p>Khusrau, Am\u012br. <i>In the Bazaar of Love<\/i> | <i>The Selected Poetry of Am\u012br Khusrau<\/i>. Trans. Paul E. \t\t\tLosensky and Sunil Sharma. India: Penguin Books, 2013.<\/p>\n\n\t<p>Merleau-Ponty, Maurice. <i>The Visible and the Invisible<\/i>. Ed. Claude Lefort. Trans. Alphonso \t\t\tLingus. Evanston: Northwestern U P, 1968.<\/p>\n\n\t<p>Meyer, Marvin. <i>The Secret Teachings of Jesus: Four Gnostic Gospels<\/i>. New York: Random, 1984.<\/p> \n\n\t<p>Montaigne, Michel de. <i>Essays of Michel de Montaigne<\/i>. Trans. Charles Cotton. New York: Doubleday &#038; Company, 1947.<\/p>\n\n\t<p>Nagrin, Daniel. <i>The Six Questions<\/i> | <i>Acting Technique for Dance Performance<\/i>. Pittsburg: \t\t\t\tPittsburgh U P, 1997.<\/p>\n\n\t<p>Nietzsche, Friedrich. <i>Thus Spoke Zarathustra<\/i>. Trans. Walter Kaufmann. Princeton: Princeton U P, 1972.<\/p>\n\n\t<p>Retallack, Joan. <i>The Poethical Wager<\/i>. Berkeley: University of California Press, 2003.<\/p>\n\n\t<p>Richards, M.C. <i>Centering<\/i> | <i>In Pottery, Poetry, and the Person<\/i>. Middletown: Wesleyan U P, 1989.<\/p>\n\n\t<p>Rumi, <i>The Book of Love<\/i> | <i>poems of ecstasy and longing<\/i>. Trans. Coleman Barks. San Francisco: HarperCollinsPublishers, 2003.<\/p>\n\n\t<p><i>The Inner Journey<\/i> | <i>Views from the Islamic Tradition<\/i>. Ed. William C. Chittick. <i>Parabola Anthology Series<\/i>. Ed. Ravi Ravindra. Sandpoint: Morning Light Press, 2007.<\/p>\n        <\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<div class=\"authorBio\">\n\t\t\t<img decoding=\"async\" loading=\"lazy\" src=\"\/coreopsis\/autumn-2025-issue\/wp-content\/uploads\/2025\/11\/Young.jpg\"\/>\n\t\t\t\t<p>Born in Los Angeles into a multicultural family, Martina languages a depth of perception rooted in a poetic, phenomenological, and humanist worldview, while translating insights informed by a lifelong discipline as a dance artist. Tending a daily writing ritual from 6 AM to 9 AM following her 5 AM contemplative movement practice\u2014all punctuated by morning-song\u2014these activities bring her immeasurable joy.<\/p>\n\t\t<\/div>\n\t\t<div class=\"donate\">\n\t\t\t<a href=\"https:\/\/ko-fi.com\/rwfiction\">\n\t\t\t\t<img decoding=\"async\" loading=\"lazy\" src=\"\/coreopsis\/autumn-2025-issue\/wp-content\/uploads\/2026\/01\/buy-us-a-cuppa1-lo-res.jpg\"\/>\n\t\t\t<\/a>\n\t\t\t<p>Like what we do? &nbsp; <a href=\"https:\/\/ko-fi.com\/rwfiction\">Buy us a Cup of Coffee!<\/a><\/p>\n\t\t<\/div>\n\n\t<\/div>\n<\/section>\n\n\n<div class=\"sfsi_widget sfsi_shortcode_container\"><div class=\"norm_row sfsi_wDiv \"  style=\"width:225px;text-align:left;\"><div style='width:40px; height:40px;margin-left:5px;margin-bottom:5px; ' class='sfsi_wicons shuffeldiv ' ><div class='inerCnt'><a class=' sficn' data-effect='' target='_blank' rel='noopener'  href='https:\/\/societyforritualarts.com\/coreopsis\/autumn-2025-issue\/feed\/' id='sfsiid_rss_icon' style='width:40px;height:40px;opacity:1;'  ><img data-recalc-dims=\"1\" data-pin-nopin='true' alt='RSS' title='RSS' src=\"https:\/\/i0.wp.com\/societyforritualarts.com\/coreopsis\/autumn-2025-issue\/wp-content\/plugins\/ultimate-social-media-icons\/images\/icons_theme\/default\/default_rss.png?resize=40%2C40&#038;ssl=1\" width=\"40\" height=\"40\" style='' class='sfcm sfsi_wicon ' data-effect=''   \/><\/a><\/div><\/div><div style='width:40px; 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Martina Young Author&#8217;s Note: \u201cArabesque | an art of connections, a poetics of the swerve,\u201d is just the tip of the iceberg: The Arabesque Project, with its themes of \u2018unity\u2019 and the \u2018interdependency of life\u2019 is going global as a \u201cworld-making\u201d event. Garnering [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-39","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Arabesque - Coreopsis Autumn 2025<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2025-issue\/arabesque-3\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arabesque - Coreopsis Autumn 2025\" \/>\n<meta property=\"og:description\" content=\"Arabesque | An Art of Connections, A Poetics of the Swerve L. 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