All Day Dance (a poem)

Thomas Devaney

Judson Church 1963

implacable in a chair

she sits in the only way she knows how
completely

then much later
a turn
or rather a push
into a place she looked headed

the sound of a clap hits everyone
a door is opened and remains so

and now
she’s leaning forward
                                           and is arched
                          towards the floor

her legs mark another space

she has moved

               the whole body has moved

shunting the body in this manner is difficult to do
or even to think about doing

it is strange
that this should not be stranger than it is

the chair you sit is not made for this
as the day stretches into one hell of a long night
but you let go or don’t hold on

there is someone else too
another person is moving more lightly more quickly
and maybe more wrongly

is this a duet
               or two solos

you can follow either or neither

he is all over the floor
covering and uncovering more
space revealing more area
though is perhaps but a marker
(holder) or something she is dreaming
                perhaps it’s he dreaming her
or us them or they us

***

and now
        an hour or more later
her feet
have found the floor

she hunches forward and is out
of the picture

her legs are gone
her head gone

silhouettes
as if this could be an ending

Share this article

Thomas Devaney

Thomas Devaney is a poet and the author of Getting to Philadelphia (Hanging Loose Press), You Are the Battery (Black Square Editions), The Picture that Remains with photographer Will Brown (The Print Center), and co-director of the film Bicentennial City (2020) with Greenhouse Media. His work is featured in Best American Poetry 2019 and the lit hub name Blue Stoop: A Home for Philly was adopted after his poem “The Blue Stoop.” He is a guest writer with thINKingDANCE.

PARTNER CONTENT

Keep Reading

There is Something Happening in the Basement of Judson Church

Rachel DeForrest Repinz

The relentless drive of Pink Fang’s “The Table.”

maura nguyễn donohue lunges forward onto one foot with her arms slicing outwards from her back. She wears a mustard yellow button-down shirt, navy blue coat, grey pants, and vibrant blue sneakers. She is framed by the grey-shirted backs of Shannon Yu and Rami Margron, and the darkness behind her.
Photo: Marcus Middleton

Transcendental Resistance: A Write Back Atcha

Emily “Lady Em” Culbreath

A collective reflection on Vince Johnson’s Original Scrap & First Floor Spectrum.

A spacious dance studio with a gray floor, mirrored walls, and colorful geometric murals is shown during a rehearsal for First Floor Spectrum. In the foreground, two people interact through expressive movement: one stands with an arm extended overhead while the other kneels and reaches upward toward the raised hand. Additional people are visible in the background practicing choreography, while another person stands near the right side of the room, directing. The studio contains chairs, exercise equipment, and a cluster of colorful balloons near the back wall. Natural light enters from windows along the left side of the space.
Photo: Bridgette Ivkovich