Dancing with Friedel Kloke- Eibl

I have just returned from a dance weekend with Friedel Kloke- Eibl - a Sacred Dance Teacher who as a young ballet dancer trained with Bernard Wosien - who brought Sacred Circle Dance to Findhorn Community 32 years ago from where it has spread internationally. Friedel exemplifies the dance as an art and as a path of initiation - not merely an outer form that is acquired, mimicked, traded or collected.

I felt that Freidel communicated a warm and clear presence of no nonsense and in grounded but natural discipline. It was we who were expected to embody the willingness to bring attention present to what she offered. Her expression is of a directly felt conscious response to music and life and she held faith in us as dancers in process of discovery and awakening.

Freidel’s demeanour throughout the process was calm, present and considered in the light of her clear sense of purpose. Her joy was evident in her love of dance, her patience was acceptance of where we as students were currently at, but always inviting, a greater involvement than that which the current mindset or approach of the student allowed. So she was also willing to ‘trick’ of tease of drop the dancers into the deep end - or experiences of chaoticness - but she herself held and communicated a calm and connected composure and expressed confidence in all that she undertook even when we did not feel it in ourselves.

Circle dancers who are used to accessibility, exhaustive step maps in advance and motherly inclusion, as well as dancers used to being fed exciting and challenging dances had to let go of that expectation of habit - or be disappointed. Freidel used many simple movements as exercise for stilling and centering as well as using them as basic components of a more elaborate dance forms later in the session. Yet many of the dances she shared - most of which she herself choreographs - were precise in their intent and used hand and arm and gesture that was ‘just so’. This was challenging in a different way as it was really something to open to and allow or discover - rather than something to impose upon. Though Friedel would often comment on where some or all of us were not getting it or were asleep to the actuality, she never acted in any way that demeaned the dancer or worked to undermine their trust - though she was quite capable of simply not supporting a dancer’s expectations or demands and obliging them to take self responsibility.

Freidel would usually give a brief demonstration of the dance with an also brief and not very voluble description of sequence and then drop us - the dancers in it. I sense that she does this according to her sense of our capacity and not as an act of indifference. Although she would often answer questions with a warmth and patience that felt very loving and encouraging - she would often do so in ways that indicated that she wanted a greater trust from us for ourselves and her, and her composure discouraged casual questions or indeed acquaintance. but also she would repeat the dances many times and at each time we would be given further help or instruction as to our readiness.

Because of her approach we would often experience shortcoming and even chaos - which brought us into the arena of control and the lack of it but also of where the control is coming from. For the attempt to control life must yield to the heart if the dance is to become presently embodied and alive. In this and so many other ways she gave maximal opportunity to awaken to and from from our mental patternings and their interference with the dance. The manner and the art of travelling was emphasised as the dance and not the getting there - yet not with adding decoration or embellishment but rather of expressing innate qualities.

The workshop overall was rooted in and from a poised appreciation of one’s own relationship with ground and above - our vertical, and from there opening relation with others. Many of the dances were danced without hands joined - often to facilitate less distraction when learning and more freedom of movement. The social element was economized throughout the event excepting during breaks or outside the hours of practice. Yet Freidel would often express humour - particularly in her demonstrations and exaggerations of what not to do! She also took a few opportunities to read poems or talk about the dance. Being a large group in a large hall made active listening essential but even so we could not often hear as we may have wished. We did receive copies of the poems though.

Her sense of honouring the dancer was tangible and she worked with many at various times without showing either partiality or any lack of care to any - yet also she was spontaneously present in many moments of gesture , look or touch. In being so clearly the centre of our attention she also deliberately also made herself absent from being a replacement for our own responsibility - often leaving the circle - even before the dance began. her manner outside the circle was never one of scrutiny such as to intimidate but of a happenstance meeting with general attention to us on many levels and some periods of having her back to us so that we were not in the emotional dynamic of being seen or exposed to being seen. Yet she was also acutely open to opportunity for supporting her dancers and would not hesitate to engage directly in the most understated but direct expression of approval or a very subtle disappointment that itself seemed not to matter for what was gone but invited ongoing willingness to persist in the process of mastering the form in the heart such as to meet her in the spirit in which she teaches.
Whereas in circle dance we may often be used to a menu of dances whose intent is to be a journey of self fulfilment often using ‘known’ steps that we may exercise in boiler plate fashion, Freidel’s dances were more aimed at grounding and awakening us to aspects of where and what we truly are via the journey through what is obscuring that expression. The degree to which we are able to be willing and accepting-expressing truth is simply where we each and all are at any moment, but her willingness to serve and grow in willingness for such work was tangible. Her choreography extended and attuned the movements of dance but also returned again and again to the most basic stances or positions - as in classical ballet.

For a collector of dances Freidel’s workshop may have had a gem or a few such - but the experience was much more that of deepening one’s own dance and growing more present as the movement consciously expressing. This is not merely about dance - but speaks of life itself.

As such Freidel is not merely a dance teacher of professed sacred forms or notions but is in service and mastery as a demonstration and relationship in spiritual practice - a spiritual teacher or catalyst and invitation to wake up to Life. As with the dance, there are levels to pass through in uncovering and embodying a spirit unalloyed, and Freidel is accepting of these as with dance as stages that we pass through and not marks of status or specialness. Her teaching is expressed in dance and not as mental constructs to be asserted, refuted or chosen from.

My impressions here are my own. They may not resonate with others but they do express my experience. As my first meeting in dance with Freidel I am gladdened and encouraged to find such capacity and willingness at work in the world and I trust that something of what has occurred continues to be nurtured and grow through my own living and dancing.

Many look at Freidel and see a form that they could never hope to match - but this misses the point. The outer form is an expression of an integration of heart, mind and Spirit that will express uniquely and appropriately through us as we allow and discover the same within ourselves. A perceived or believed lack of self-worthiness is an obstacle that would bar the gate against grace being allowed expression through our very self. But if such thinking is put aside and the experience is embraced and allowed in, then we will discover more of ourselves than we could have ever found within the bound of such thought.