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Yaroslav Davydov
Yaroslav Davydov

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Ecstatic dance is a form of dance in which the dancers, sometimes without the need to follow specific steps, abandon themselves to the rhythm and move freely as the music takes them, leading to trance and a feeling of ecstasy. The effects of ecstatic dance begin with ecstasy itself, which may be experienced in differing degrees. Dancers are described as feeling connected to others, and to their own emotions. The dance serves as a form of meditation, helping people to cope with stress and to attain serenity.

Kroetsch's novels are strewn with figures who are in flight, literally and metaphorically, from confinement of all kinds. FromHornyak's madcap driving, through But We Are Exiles, to the ski-jumper in Gone Indian who crashes in his attempt to overachieve toRoger Dorck for whom Jeremy substitutes at the carnival, Kroetsch depicts characters who have to be tackled, subdued, brought backto earth as happened to Jeremy. Nevertheless, Jeremy moves indomitably away from the academic-domestic world of Binghamton andits other cloned outposts of culture. Rescued by Mr. and Mrs. Beaver, the Indians whom he had espied in Edmonton, Jeremy is givenand dressed in moccasins belonging to the Beavers. This further removes him from the persona he inhabited at the beginning of thenovel. Soon after, Jeremy has his dream of absorption into the figure of an Indian, and also into an anti-social Dionysian ecstasy ("Hedanced himself free .... dancing .... until the flesh .... tore free . . . ." (GI, p. 101). Apocalyptically, "he dreamed of the scalping ofEdmonton. The last city north. The Gateway" (GI, p. 103). Also he imagines his run backwards from civilization completed--"He mighthave been in a cave, the last Stone Age hunter at the end of the Great Hunt, dreaming his final prey. Thirty thousand years fromEurope" (GI, p. 103). Insistently comic as well as ironic, Kroetsch has Jeremy experience a final metamorphosis into a buffalo.

Dorf's atavistic longings are as compelling as Jeremy's. They find their avatar, not in Grey Owl, but in the smelly woman of theLaspi mudbaths, who along with other women at the spa who seek healing, provide him with his last orgasm, an ecstatic muddymasturbation in which Dorf sees himself as his own baptismal "fount. I cried out, no words, no names, only a pure cry of total joy andtotal pain" (p. 180). Circumventing language here, Dorf attains an ecstasy free of identity. Because Dorf's full name is WilliamWilliam Dorfen, (the patronym itself a short form of Dorfendoro)--a doubling troubling to Dorf who yearns throughout the novel for aunitary, a holistic sense of self and world, he is especially desirous of escape from language's leavings. He even foists one of his givennames on a stranger who says he has no name and then takes on "Billy." Not incidentally Dorf has moved into Billy's shack at the endof Alibi, trying to live, as it were namelessly. 041b061a72


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