(Personal) Black Holes, Choreography and being in the Zone

"Choreography is the art or practice of designing sequences of movements of physical bodies in which motion, form, or both are specified. Choreography may also refer to the design itself. A choreographer is one who creates choreographies by practicing the art of choreography, a process known as choreographing." Wikipedia

Pete and I were having a rousing conversation. Unexpected chaos disturbed the darkness. Early morning. The Robins interjected; starting their job of bringing the day by singing. We were hashing out the importance of scientists 'discovering' the truth about black holes. Pete was excited and hopeful the discover would have positive lessons for humanity now. So necessary to turn things around! "It's a visual story. Not just an oral story."

I'm not convinced the telescopes are necessary, or beneficial, given the costs (to Earth) to build and install them so we humans could have a synthesized interpretation.

We hashed at the topic. Pete went back to sleep. I was hungry, climbed out of bed, got dressed, walked to the car, hunted for the brown rice, measured enough to made a pot, washed the rice, measured water (yup for this I did measure), set the rice to boil. This pot requires lots of tending to cook good rice. I had begun to ku'i (string together) this story; it needed attention, too. Between making pot rice and finding the threads for story, the day has truly begun to reveal itself.

Paying attention to the cooking (while writing) the rice was ono. With gomosaio and seaweed, a thick slice of butter and honey and a dollop of thick coconut milk? I am satisfied, and fueled.

For me, the answer to the question of black holes begins, at the beginning, with the Kumulipo.

The Kumulipo is the Hawaiian creation chant, and if you click on the link above you can read the English translation done by Hawaii's last monarch, Queen Liliuokalani. If I was fluent in Mother Tongue I would understand the interchange of thoughts and answers between this kumu (teacher) and the haumana as they dig into the values of knowing what the Kumulipo feeds them.

The discussion in the video above is happening in a language that I comprehend as I 'comprehend' pollen. The lessons and meanings stick to me leaving marks, rash, and reasons to be aware of life. My understanding of the language is subliminal, and non-specific. The children in this classroom, on an island, where 'Olelo Hawaii, is now more frequent wasn't common or 'legal' when I was the age these children are.

The answer to whether exploring the Universe using telescopes and tools of advanced science begins with my entangled history with American colonizers who stole the 'aina (the land that fed) my Mother's people, introduced disease to de-populate my Ancestors, 'declared' 'olelo Hawaii illegal (until the late 1980's) and systematically impregnated me with a virus that has continued to steal from me though that virus is not alive.

There, in those italicized words, is a major health and ecological imbalance calling for remedy. In choreographing a dance, an art form that is just as Kekuhi Kanahele expounds on in her interview opening this post ... I breathe in the kaona (along with pollens) and the words ku'i into this mo'okuauhau (genealogy).  Listen carefully to the bombastic expression in the YouTube interview with Kumu hula Kekuhi Kanahele, find a place to flow with her as she proposes "dancing with the PELE (the goddess, the energy of connectivity) every time."

Kanahele is talking about hula, and she would be a voice and image to speak of hula. But. In the greater picture the answer for any and all of us is in the choreography. The art of making a life, curating a life, that begins by knowing who you, and me, are/is and linking with our relationships (lineage) to not only our human ancestors (your mother, my mother, your grandfather, my great-grand mother) but also the connection with fresh water, ocean water, limu (seaweed), and the depths of ocean that have names .... and on and on it goes ... connecting, connecting, connection.

It's about 'all the -ologies going on with each of us, inside.

Confused? The answer to why I am not convinced telescopes are essential is in the mystery. Slip into it. It's the only way through. IN not out. Still confused? Now you glimpse the reality of what I, and hundreds of thousands of Kanaka and other indigenous Ancestors experience every time.

The black holes, our personal holes, and those of the collective human race has an opportunity to intimately explore the mystery. IN not out. An amazing option for lock-down and personal quarantine as the Virsus 2020 teaches: what is not alive, steals. But. It can be disrupted. Perhaps, this moment in human history opens up an opportunity in each of us to ask:

What language do we live, and speak? Does that language reflect intimate interconnection to/with the relationship with our Earth home? Where are the personal holes in our beliefs that could be differently choreographed?

Every time I come to the page and ku'i a story that weaves a truth that was stolen from me and my Ancestors the black holes inform me with connection. I harmonize a bit more. I am the Robin calling the start of the day. I am dancing with Pele.

In a few days, (APRIL 22, 2020 is EARTH DAY) a global choreographed dance with the place that feeds us ('aina) would be quite the movement. We, all of us humans alive at this moment in history, could be 'in the zone.' Dance that with everybody! Whoa what a hula.

OLA KAKOU! Share this mana'o let it go viral.


RELATED POSTS & LINKS
"Curate a life"
"Bigger Cloth, Post-ZOOM and Black Moon Lilith"
"Genealogizing Colonial and Indigenous Translations and Publications of the Kumulipo," Brandy Nalani McDougall in Oceanic Archives, Indigenous Epistemologies ...
Braiding Sweetgrass, Robin Wall Kimmerer