Moving into the Infinite

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Story: "a young women is been thrown out of the innocence of her childhood. She sets off for her pilgrimage home. Following the longing in her heart, she encounters her karmic wound and the mission which is connected to that: to be dancing for god. She dances in different countries, traditions and religions in order to meet with people and the viewer of the film in the smallest house of god, the human heart. She invites us to look at things with the heart in order to "see God" and to establish a relationship with "that which is beyond all coming and going ( the nature of this physical world of phenomena)."

 

The danceritual and its four phases (Invocation, Evolution, Encounter and Celebration) runs over the entire length of the film. Different themes weave into that flow of movements colorfully:

Biographical milestones mark the "rights of passage" which every soul has to encounter at some point, initiating deeper spiritual understanding. Illustrated in a dream-like atmosphere they serve the film´s dramaturgy as a red thread.

Projects, like dancing in different houses of god, emphasize the interreligious aspect. The journey around the world points towards That, which connects all of mankind.

Everything circles around the one center. Poetry of great masters such as Rumi, Hafiz and Buddha appear as pearls in this weaving and likewise point towards that center.

The story told by a mystic and storyteller and the interplay with time and space lead into a trance-like atmosphere. One looses the grip of rational understanding, which enables awareness to open up to a more associative intutive experience of the perceived, gradually leading towards the transcendent.

Of great importance is also the feminine topic of Devadasi and the romantic love for the divine. This mood ( =bhava in Sanskrit, indicating a state of consciousness of a certain flavour ) is one I share with people from different religious backgrounds. Throughout my travels to different countries, cultures and climate zones I have encountered (extra-)ordinary people. In interviews, they have contributed what moves them in their lives.

On the pilgrimage we collect "drops of consciousness". They appear mostly in the context of transitions: light and shadow, time and timelessness, movement and stillness, duality and unity, everything and nothing. This metaphor stands for glimpses of insight, when we become aware or greater contexts of life and begin to "see" 
( =darshan in Sanskrit ).

The Whirling ( = spinning around the one axis, a danceform which became famous mostly through the practice of Dervishes in Sufi traditions ), also used in a metaphoric way, comes to its full blossom in the end of the film. It seems to go on and on, endlessly. It once again points towards recognizing and experiencing the intangible, and circles around it in a compelling way.