From Half-attention to Complete Attention

Each child prepares him or herself differently for music, and their spiritual readiness depends upon many things such as tensions, tiredness, good or bad humour, a lurking sickness, and many unknown factors. For little ones who are beginners, the place to listen to music is the parent’s lap, in very close proximity to one dearly loved. Of course, this is best only if the loved adult rises to the level of complete attention. A parent with half-attention won’t provide safety. One needs safety in order to experience the beauty of setting oneself free within the music. I meet more and more parents, even young fathers, who, in the clear minutes of attention, embrace their children with moving devotion. Little ones dance also takes place around the parents, or with them, or the child may be dancing for them. 

These moments are precious gifts of immeasurable value. The free dance of children is always a revelation of themselves, if only for a glimpse. The child is looking for eyes, the eyes of his parent, while he is spinning around or flying in the far corner of the room. I could measure the strength of the parent-child relationship, if I had an instrument for that purpose.

Attention to music and attention to each other belong together and can’t be separated. Since we are in a group, we feel the others’ breaths even when we breathe with eyes closed. We never talk while listening to music, but everybody is free to move, make gestures, mime or dance. 

The face may communicate, initiate, and give instructions. In short, the face may speak. Experienced children usually listen to the first musical pieces with eyes closed, what is more, they often dance their solos with eyes closed. Friends profoundly accustomed to each other have composed dance duets with eyes closed.