creative writing school
Module 10: Text & Performance Art
structure
Introduction
History & theory:
Toolbox
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History & theory:
- The jazz influence: new rhythms, new voices
- Latin dance and the expansion of percussion in the 1930s
- Varèse’s Ionisation: the birth of pure percussion
- Non-European choreographers and the roots of ancestral rhythm
- Akram Khan’s Gnosis: subtlety in percussion and movement
- Germaine Acogny’s Waxtaan: percussion as political voice
- Contemporary crossovers: dance, music, and theatre
- Anne Teresa de Keersmaeker's Drumming (1998)
- Germaine Acogny’s Fagaala (2004)
Toolbox
Stay grounded & motivated
Share your text with us
introduction
In this course, we delve into the intricate dance between text and rhythm, exploring how the rhythmic qualities of language can be harnessed as powerfully as music. Just as a composer arranges notes to evoke emotion and narrative, so too can a writer orchestrate words to resonate with rhythmic intensity. We will examine the rhythmical potential of texts, drawing parallels between the structured cadence of musical composition and the fluidity of written expression.
Our journey is anchored in the rhythmic art of drumming as demonstrated by Anne Teresa De Keersmaeker and the profound repertoire of Germaine Acogny. Keersmaeker’s exploration of rhythm in her choreography and Acogny’s fusion of traditional African rhythms with contemporary dance provide compelling insights into how repetition and tempo shape artistic experience.
Repetition, a cornerstone in both music and writing, serves as a powerful tool in evoking memory and guiding us into trance states. In music, repetitive drumming can invoke a hypnotic rhythm that leads the listener into deep introspection or collective ritual. Similarly, in writing, repetition can anchor a narrative, create a lyrical quality, and evoke powerful emotional responses.
We will investigate how these rhythmic structures in text can function like rituals and ceremonies, crafting experiences that echo the transformative potential found in musical practices. By embracing the rhythm of language, we not only enhance the expressiveness of our writing but also connect more deeply with the readers' own rhythms and memories.
As we explore these concepts, consider how rhythm and repetition in your work can not only shape your text but also resonate on a deeper, almost primal level. Allow your writing to become a rhythmical journey, a trance-like exploration of the spaces between words, where memory and meaning intertwine.
Our journey is anchored in the rhythmic art of drumming as demonstrated by Anne Teresa De Keersmaeker and the profound repertoire of Germaine Acogny. Keersmaeker’s exploration of rhythm in her choreography and Acogny’s fusion of traditional African rhythms with contemporary dance provide compelling insights into how repetition and tempo shape artistic experience.
Repetition, a cornerstone in both music and writing, serves as a powerful tool in evoking memory and guiding us into trance states. In music, repetitive drumming can invoke a hypnotic rhythm that leads the listener into deep introspection or collective ritual. Similarly, in writing, repetition can anchor a narrative, create a lyrical quality, and evoke powerful emotional responses.
We will investigate how these rhythmic structures in text can function like rituals and ceremonies, crafting experiences that echo the transformative potential found in musical practices. By embracing the rhythm of language, we not only enhance the expressiveness of our writing but also connect more deeply with the readers' own rhythms and memories.
As we explore these concepts, consider how rhythm and repetition in your work can not only shape your text but also resonate on a deeper, almost primal level. Allow your writing to become a rhythmical journey, a trance-like exploration of the spaces between words, where memory and meaning intertwine.
history & theory
This chapter provides a theoretical and historical overview of the evolution of rhythm, percussion, and dance, from the influence of jazz and Latin dance to groundbreaking works by Varèse, Acogny, Khan, and beyond. It emphasizes how percussion has transformed the landscape of dance and performance, serving not only as accompaniment but as a central, driving force in the creation of new artistic identities and narratives.
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1. The jazz influence: new rhythms, new voices
During the First World War, Europe was introduced to the vibrant world of jazz, brought over by African American musicians and dancers. Jazz's impact on European art was immediate and profound, influencing everything from classical music to dance. Composers such as Igor Stravinsky, Darius Milhaud, and Maurice Ravel found themselves captivated by jazz rhythms and timbres, incorporating them into their own compositions. Stravinsky’s Ragtime (1918) and Milhaud’s La création du monde (1923) are notable examples, where syncopation, swing, and polyrhythms offered a fresh, dynamic approach to rhythm that disrupted the traditional Western musical framework.
Central to this new musical landscape was the jazz drum kit, which introduced a revolutionary concept: a single instrumentalist could now produce a diverse range of timbres simultaneously. This innovation in percussion would ripple through music and dance, influencing choreographers who sought to integrate the fluidity and spontaneity of jazz into their work. The drum kit, with its snare, bass drum, cymbals, and tom-toms, became a symbol of modernity, rhythm, and improvisation—a perfect partner for the energy and dynamism of jazz dance.
2. Latin dance and the expansion of percussion in the 1930s
The rise of Latin dance in the 1930s brought with it a new wave of percussive instruments that enriched both the music and the dance forms. Instruments such as the congas, bongos, maracas, and claves became essential in Latin genres like salsa, rumba, and mambo, which quickly spread across the globe. The complex rhythms and percussive textures of Latin dance introduced a new layer of rhythmic complexity to Western music and dance, further expanding the possibilities for percussion in performance.
These instruments brought with them a sense of celebration and community, with the rhythms often originating from African and indigenous traditions. The cross-cultural exchange between Latin America and the rest of the world added richness to the global rhythmic vocabulary, and choreographers began to explore the potential of these new sounds in creating dance that was as rhythmically driven as the music itself.
During the First World War, Europe was introduced to the vibrant world of jazz, brought over by African American musicians and dancers. Jazz's impact on European art was immediate and profound, influencing everything from classical music to dance. Composers such as Igor Stravinsky, Darius Milhaud, and Maurice Ravel found themselves captivated by jazz rhythms and timbres, incorporating them into their own compositions. Stravinsky’s Ragtime (1918) and Milhaud’s La création du monde (1923) are notable examples, where syncopation, swing, and polyrhythms offered a fresh, dynamic approach to rhythm that disrupted the traditional Western musical framework.
Central to this new musical landscape was the jazz drum kit, which introduced a revolutionary concept: a single instrumentalist could now produce a diverse range of timbres simultaneously. This innovation in percussion would ripple through music and dance, influencing choreographers who sought to integrate the fluidity and spontaneity of jazz into their work. The drum kit, with its snare, bass drum, cymbals, and tom-toms, became a symbol of modernity, rhythm, and improvisation—a perfect partner for the energy and dynamism of jazz dance.
2. Latin dance and the expansion of percussion in the 1930s
The rise of Latin dance in the 1930s brought with it a new wave of percussive instruments that enriched both the music and the dance forms. Instruments such as the congas, bongos, maracas, and claves became essential in Latin genres like salsa, rumba, and mambo, which quickly spread across the globe. The complex rhythms and percussive textures of Latin dance introduced a new layer of rhythmic complexity to Western music and dance, further expanding the possibilities for percussion in performance.
These instruments brought with them a sense of celebration and community, with the rhythms often originating from African and indigenous traditions. The cross-cultural exchange between Latin America and the rest of the world added richness to the global rhythmic vocabulary, and choreographers began to explore the potential of these new sounds in creating dance that was as rhythmically driven as the music itself.
3. Varèse’s Ionisation: the birth of pure percussion
In 1930, Edgard Varèse composed Ionisation, a groundbreaking piece that redefined the role of percussion in music. This was the first composition written exclusively for percussion instruments, featuring 13 performers playing 37 different instruments. The sheer diversity of sounds—from sirens to anvils to bass drums—challenged conventional ideas of melody and harmony, shifting the focus entirely to rhythm and texture.
Varèse’s work marked a turning point in both music and dance, as it underscored the potential of percussion to stand on its own as a primary expressive force. The experimental nature of Ionisation opened the door for choreographers to engage with rhythm in a more abstract and innovative way, moving beyond traditional accompaniment and exploring percussion as the main narrative force in their work.
In 1930, Edgard Varèse composed Ionisation, a groundbreaking piece that redefined the role of percussion in music. This was the first composition written exclusively for percussion instruments, featuring 13 performers playing 37 different instruments. The sheer diversity of sounds—from sirens to anvils to bass drums—challenged conventional ideas of melody and harmony, shifting the focus entirely to rhythm and texture.
Varèse’s work marked a turning point in both music and dance, as it underscored the potential of percussion to stand on its own as a primary expressive force. The experimental nature of Ionisation opened the door for choreographers to engage with rhythm in a more abstract and innovative way, moving beyond traditional accompaniment and exploring percussion as the main narrative force in their work.
4. Non-European choreographers and the roots of ancestral rhythm
While European composers and choreographers were exploring new percussive landscapes, non-European artists were drawing from the deep roots of their ancestral cultures and folklores, forging innovative artistic identities that were simultaneously rooted in tradition and radically forward-looking.
The ChangMu Dance Company from Korea exemplifies this blend of tradition and innovation. Their performances, such as Chum, Ku Shinmyung, display complete mastery of all aspects of Korean traditional dance, including shamanic, Buddhist, and folk dances. Percussion plays a critical role in these performances, with the use of four key instruments—janggu (hourglass drum), buk (barrel drum), jing (large gong), and kkwaenggwari (small gong)—creating the rhythmic backbone of the performances. The interplay of percussion with the movements of the dancers evokes a sense of ritual and ceremony, linking the performance to Korea’s cultural heritage while simultaneously transforming it for contemporary audiences.
While European composers and choreographers were exploring new percussive landscapes, non-European artists were drawing from the deep roots of their ancestral cultures and folklores, forging innovative artistic identities that were simultaneously rooted in tradition and radically forward-looking.
The ChangMu Dance Company from Korea exemplifies this blend of tradition and innovation. Their performances, such as Chum, Ku Shinmyung, display complete mastery of all aspects of Korean traditional dance, including shamanic, Buddhist, and folk dances. Percussion plays a critical role in these performances, with the use of four key instruments—janggu (hourglass drum), buk (barrel drum), jing (large gong), and kkwaenggwari (small gong)—creating the rhythmic backbone of the performances. The interplay of percussion with the movements of the dancers evokes a sense of ritual and ceremony, linking the performance to Korea’s cultural heritage while simultaneously transforming it for contemporary audiences.
5. Akram Khan’s Gnosis: subtlety in percussion and movement
Akram Khan’s Gnosis represents another fusion of tradition and modernity, where the interplay of percussion and dance takes on a delicate, intricate form. In this work, Khan draws on his classical Kathak training and blends it with contemporary dance. The music, performed live, features the sarod (a plucked string instrument), cello, and snare drum, creating a subtle but powerful rhythmic dialogue between the instruments and the dancer.
The snare drum, with its crisp, sharp sound, contrasts with the fluidity of the sarod and the deep resonance of the cello, creating a dynamic rhythmic landscape that guides Khan’s movement. The precision of his footwork and the expressiveness of his gestures are in constant dialogue with the percussion, revealing the potential for subtlety and nuance in the relationship between rhythm and dance.
6. Germaine Acogny’s Waxtaan: percussion as political voice
In Germaine Acogny’s Waxtaan (2004), percussion is not merely an accompaniment to the dance—it is an integral part of the narrative and political message of the piece. The title Waxtaan is a Wolof word meaning “palaver” or “discussion,” and the piece reflects a search for origins that is both deeply personal and profoundly political. On stage, eight exceptional African dancers are accompanied by live music from five percussionists from the Ecole des Sables, playing djembes, doum-doums, and other small percussion instruments.
Acogny’s choreography uses repetition and rhythm to evoke a sense of ritual, but without nostalgia for the past. Instead, she uses these elements to look forward, using the rhythms of the drums to ground the dancers in the present while also pushing them toward a future that is still in the process of being created. The drums in Waxtaan are not just instruments of sound but are voices in the conversation, each beat a statement, each rhythm a part of the ongoing dialogue about identity, memory, and resistance.
7. Contemporary crossovers: dance, music, and theatre
From the end of the 20th century into the present, choreographic projects have continued to appear with multiple influences, showcasing the crossovers between dance, music, and even theatre. One such example is Aphasiadisiac by Les Ballets C. de la B., which combines the energy of Slavic melodies with the rhythms of bossa nova. Supported by a highly effective soundtrack that mixes pop, classical, and traditional Czech music, this performance illustrates how contemporary dance continues to draw from a diverse range of rhythmic influences to create new and exciting works.
Akram Khan’s Gnosis represents another fusion of tradition and modernity, where the interplay of percussion and dance takes on a delicate, intricate form. In this work, Khan draws on his classical Kathak training and blends it with contemporary dance. The music, performed live, features the sarod (a plucked string instrument), cello, and snare drum, creating a subtle but powerful rhythmic dialogue between the instruments and the dancer.
The snare drum, with its crisp, sharp sound, contrasts with the fluidity of the sarod and the deep resonance of the cello, creating a dynamic rhythmic landscape that guides Khan’s movement. The precision of his footwork and the expressiveness of his gestures are in constant dialogue with the percussion, revealing the potential for subtlety and nuance in the relationship between rhythm and dance.
6. Germaine Acogny’s Waxtaan: percussion as political voice
In Germaine Acogny’s Waxtaan (2004), percussion is not merely an accompaniment to the dance—it is an integral part of the narrative and political message of the piece. The title Waxtaan is a Wolof word meaning “palaver” or “discussion,” and the piece reflects a search for origins that is both deeply personal and profoundly political. On stage, eight exceptional African dancers are accompanied by live music from five percussionists from the Ecole des Sables, playing djembes, doum-doums, and other small percussion instruments.
Acogny’s choreography uses repetition and rhythm to evoke a sense of ritual, but without nostalgia for the past. Instead, she uses these elements to look forward, using the rhythms of the drums to ground the dancers in the present while also pushing them toward a future that is still in the process of being created. The drums in Waxtaan are not just instruments of sound but are voices in the conversation, each beat a statement, each rhythm a part of the ongoing dialogue about identity, memory, and resistance.
7. Contemporary crossovers: dance, music, and theatre
From the end of the 20th century into the present, choreographic projects have continued to appear with multiple influences, showcasing the crossovers between dance, music, and even theatre. One such example is Aphasiadisiac by Les Ballets C. de la B., which combines the energy of Slavic melodies with the rhythms of bossa nova. Supported by a highly effective soundtrack that mixes pop, classical, and traditional Czech music, this performance illustrates how contemporary dance continues to draw from a diverse range of rhythmic influences to create new and exciting works.
Another example is Barroco by Association Woo, a performance that thrives on the interplay between extremely precise choreographic writing and improvisation. In Barroco, the rhythm defines the relationship to time and space, guiding the dancers through intervals and suspensions that keep the audience in a state of anticipation. The rhythm here becomes a force of tension and release, creating an atmosphere that is both sensual and chaotic, offering a glimpse into the boundless possibilities that emerge when dance and percussion come together.
inspiration
At the heart of rhythmic creation lies the concept of pulse, an innate beat that connects the physical and the ephemeral, the body and the spirit. In this chapter, we explore how rhythm, expressed through movement, transcends mere technique to become a medium for transformation, memory, and ritual. We focus on two monumental works: Anne Teresa De Keersmaeker's Drumming (1998) and Germaine Acogny’s Fagaala (2004), which offers a poignant reflection on the rhythmic embodiment of history and memory.
1. Anne Teresa De Keersmaeker's Drumming (1998)
Drumming, one of De Keersmaeker’s most acclaimed works, offers a profound exploration of rhythm through the interplay of repetition, movement, and sound. Set to the minimalist music of Steve Reich, the choreography unravels as a complex tapestry where the body becomes an instrument, intricately aligned with the pulsating score. The dancers' movements mirror the persistent beats, creating a trance-like quality that draws the audience into the relentless drive of the performance.
Repetition here is not merely a structural tool; it becomes a portal into altered states of consciousness. The continual re-articulation of movement phrases over the shifting layers of Reich’s composition invites the dancers—and by extension, the audience—into a meditative state where the boundaries between time, space, and body dissolve. Repetition is used to explore variation and depth, as subtle changes in the dancers' alignment and dynamics emerge from the consistency of their motion.
We can view Drumming as a form of rhythmic writing—a choreography that unfolds like a musical score or a poetic refrain. Each repeated gesture deepens its significance, like words revisited in a poem that accumulate new meanings with every iteration. The body, here, acts as both the writer and the written, inscribing rhythm into the space and into the memory of those who witness it.
Repetition here is not merely a structural tool; it becomes a portal into altered states of consciousness. The continual re-articulation of movement phrases over the shifting layers of Reich’s composition invites the dancers—and by extension, the audience—into a meditative state where the boundaries between time, space, and body dissolve. Repetition is used to explore variation and depth, as subtle changes in the dancers' alignment and dynamics emerge from the consistency of their motion.
We can view Drumming as a form of rhythmic writing—a choreography that unfolds like a musical score or a poetic refrain. Each repeated gesture deepens its significance, like words revisited in a poem that accumulate new meanings with every iteration. The body, here, acts as both the writer and the written, inscribing rhythm into the space and into the memory of those who witness it.
2. Germaine Acogny’s Fagaala (2004)
Germaine Acogny’s Fagaala is a striking choreography that directly engages with rhythm as a vehicle for memory and resistance. Co-created with Pierre Doussaint, Fagaala is a powerful response to the Rwandan genocide, weaving together elements of traditional African dance with contemporary movement to evoke the horrors of the event and the resilience of those who endured it.
In Fagaala, rhythm is not only present in the drumming and percussive sounds that accompany the dance but also in the bodies of the performers themselves. The choreography is built on repetitive movements that mirror the cyclical nature of violence and trauma, as well as the efforts to heal and rebuild. The dancers' bodies move through cycles of tension and release, mimicking the rhythms of grief and survival.
Repetition in Fagaala takes on a ritualistic quality, reflecting the collective memory of suffering and the need to bear witness. The repetitive gestures—whether through the pounding of feet, the undulating of torsos, or the recurring motifs of reaching and falling—become acts of remembrance, ensuring that the stories of those lost are not forgotten. The rhythm in this work connects the dancers to the earth, grounding them in the reality of the atrocities they are depicting while simultaneously lifting them into a space of transcendence and communal healing.
In Fagaala, rhythm is not only present in the drumming and percussive sounds that accompany the dance but also in the bodies of the performers themselves. The choreography is built on repetitive movements that mirror the cyclical nature of violence and trauma, as well as the efforts to heal and rebuild. The dancers' bodies move through cycles of tension and release, mimicking the rhythms of grief and survival.
Repetition in Fagaala takes on a ritualistic quality, reflecting the collective memory of suffering and the need to bear witness. The repetitive gestures—whether through the pounding of feet, the undulating of torsos, or the recurring motifs of reaching and falling—become acts of remembrance, ensuring that the stories of those lost are not forgotten. The rhythm in this work connects the dancers to the earth, grounding them in the reality of the atrocities they are depicting while simultaneously lifting them into a space of transcendence and communal healing.
creative writing exercise
Prompt:
Drawing inspiration from Anne Teresa De Keersmaeker's Drumming and Germaine Acogny's Waxtaan, write a piece that explores the rhythmicality of text and the power of repetition. Your writing should mimic the cadence and pulse of a drumbeat, incorporating repetition as a central tool to evoke memory, ritual, or transformation.
Approach:
Optional inspirations:
Goal:
Create a piece that immerses the reader in the rhythmic potential of language, where repetition and rhythm are not just literary devices but the heartbeat of your narrative.
Drawing inspiration from Anne Teresa De Keersmaeker's Drumming and Germaine Acogny's Waxtaan, write a piece that explores the rhythmicality of text and the power of repetition. Your writing should mimic the cadence and pulse of a drumbeat, incorporating repetition as a central tool to evoke memory, ritual, or transformation.
Approach:
- Rhythm and repetition: Choose a word, phrase, or image that resonates with you, and repeat it throughout your piece, allowing it to evolve, transform, and gain new meaning with each repetition. Let the rhythm of your text guide the reader, much like a drumbeat guides a dancer.
- Memory and ritual: Consider how rhythm and repetition can evoke memories or a sense of ritual. How does the act of repeating words or phrases create a trance-like state in your writing? How does it bring you closer to a past or future self?
- Dialogue with the drum: Imagine your text as a conversation with a drum. Each sentence, phrase, or stanza is a beat. Write as though your words are echoing across a performance space, in dialogue with the rhythmic pulse of a djembé or the percussive footwork of a dancer.
Optional inspirations:
- Use imagery from nature, where rhythms repeat (waves, wind, heartbeats), to ground your piece.
- Integrate elements of your own cultural background, much like Acogny’s connection to Wolof traditions, or explore how rhythm ties you to your ancestors or future generations.
Goal:
Create a piece that immerses the reader in the rhythmic potential of language, where repetition and rhythm are not just literary devices but the heartbeat of your narrative.
toolbox
This toolbox will guide you through the process of creating a rhythmically charged piece of writing, inspired by the works of Anne Teresa De Keersmaeker and Germaine Acogny. Below are practical tools, tips, and exercises to help you translate rhythm, repetition, and the pulse of percussion into your writing.
LEARN MORE...
1. The rhythm of words
2. Repetition as a device
3. Writing as percussion
4. Evoking memory and ritual
5. Echoing the dance
6. Incorporating cultural rhythms
7. Mimicking the pulse of life
- Exercise: Choose a passage of writing (your own or another’s) and read it aloud. Identify the natural rhythm of the sentences—where do the pauses occur? Where is there a faster pace?
- Tool: Break long sentences into shorter, staccato-like phrases, or combine brief sentences into longer, flowing passages to mimic rhythmic variations found in drumming or dance.
- Tip: Experiment with sentence length to control the pacing of your writing. Short sentences can create tension or urgency, while longer ones may evoke fluidity or contemplation.
2. Repetition as a device
- Exercise: Pick a word, phrase, or image that feels significant to your piece. Repeat it throughout your writing, each time with a slight variation in context, meaning, or tone. Observe how the repetition evolves.
- Tool: Use repetition to create a hypnotic effect, similar to a mantra or chant. Think of how repeated beats in a drum sequence can build intensity or induce trance-like states. Do the same with your text.
- Tip: Repetition can also function as a refrain, grounding your piece like a recurring motif in music. Let it anchor your narrative and give your readers something familiar to return to.
3. Writing as percussion
- Exercise: Write a paragraph or poem while imagining your words as beats on a drum. Focus on the percussive quality of language. How does the sound of certain words add to the rhythm?
- Tool: Play with alliteration, assonance, and consonance to create a sense of beat within your text. For example, repeating “s” sounds might evoke the soft, rolling rhythm of a snare drum, while sharp, plosive consonants can mimic the strike of a djembe.
- Tip: Silence can be as powerful as sound. In your writing, use white space or punctuation as “rests” to create pauses in the rhythm, much like rests in music.
4. Evoking memory and ritual
- Exercise: Write about a ritual from your life (personal, cultural, or imaginary) using repetition to mirror the structure of the ritual. How does repetition give the ritual meaning? How does it transform with each repetition?
- Tool: Rituals often involve repetitive actions—think of the cyclical nature of ceremonies or traditions. Use this repetition to evoke a sense of time, memory, or transformation in your piece.
- Tip: Just as drumming can evoke ancestral memories, let the repetition in your writing connect your reader to something deeper—whether it’s personal history, cultural heritage, or universal experience.
5. Echoing the dance
- Exercise: Watch a video of Anne Teresa De Keersmaeker’s Drumming or Germaine Acogny’s Waxtaan. Notice the dancers’ movements in response to the rhythm of the drums. Write a passage that mirrors these movements in your writing, using repetition and rhythm to echo the dance.
- Tool: Movement and rhythm go hand in hand. Think of your writing as a choreography of words. How do your sentences move across the page? How does the rhythm of your text mirror the rhythm of dance?
- Tip: Use verbs and active language to give your writing a sense of motion. Let the rhythm propel your narrative forward, just as it drives a dancer’s movements.
6. Incorporating cultural rhythms
- Exercise: Research a traditional dance or music style from your own or another culture. Write a piece that incorporates the rhythms, rituals, or themes of this tradition.
- Tool: Be specific about the cultural references in your writing. Whether you’re drawing from your own heritage or exploring another culture’s rhythms, give your readers a vivid sense of the traditions you’re writing about.
- Tip: Remember, rhythm is universal but culturally specific. Honor the traditions you explore by being mindful of their history and significance.
7. Mimicking the pulse of life
- Exercise: Write a piece that follows the rhythm of a natural phenomenon, such as a heartbeat, ocean waves, or a storm. Let the rhythm of this phenomenon guide the structure and pacing of your writing.
- Tool: Use imagery and metaphor to connect your writing to the natural world. Just as rhythms in nature repeat and evolve, allow your writing to do the same. The cyclical patterns of nature can serve as a powerful template for rhythm in your text.
- Tip: Nature’s rhythms are often irregular or unpredictable. Don’t be afraid to disrupt your repetition or vary your rhythm, mirroring the unexpected turns found in nature.
stay grounded and motivated
"As you close this chapter, I want to speak to you directly—not as a teacher or guide, but as someone who has walked this path of creating, failing, and rising again. Writing, like rhythm, is raw and imperfect. It’s not about always getting it right; it’s about feeling the pulse beneath your words, the heartbeat that keeps you connected to your truth. There will be moments of fragility, where your voice feels small, unsure. That’s when you are most powerful. Vulnerability is not weakness—it’s the core of creation. It’s where we are stripped of pretense and speak from a place that’s real.
Let your writing be alive, full of contradictions. Let it breathe, stumble, break apart, and come back together. You’re not here to impress or to be perfect. You’re here to dig deep, to feel your own pulse, and to share that with the world. Even in your most fragile moments, you are making something that matters. Embrace that fragility—it’s where the strongest, most honest voices come from. You have the power to create something that moves not just others, but yourself. And that is everything."
—Anna Ádám
Founder of the School of Disobedience
Let your writing be alive, full of contradictions. Let it breathe, stumble, break apart, and come back together. You’re not here to impress or to be perfect. You’re here to dig deep, to feel your own pulse, and to share that with the world. Even in your most fragile moments, you are making something that matters. Embrace that fragility—it’s where the strongest, most honest voices come from. You have the power to create something that moves not just others, but yourself. And that is everything."
—Anna Ádám
Founder of the School of Disobedience
Photo: At the same time / Robyn Orlin