One Foot on the Ground, One Foot Moving

An introduction to the work of lVelfure State Intemaionsl

TONY COULT

'Welfare State International, founded in 1968, is one of the mostconsistently exciting theatre companies bom out of rhe cultuml andpolitical ferment of Bdtain in the late '6ot. Now, in rI€ eighties, it hasa€hieved intemational acclaim for its joyous blend of visual spectacle,popular theatre, and celebration. Its resources remain what they havebeen almost from the beginning - sculpture (using, as well as moreconventional materials, elements such as ice or fire), puppetry,landscape, food,fircworks, music, technology, dance, performance andweather. These resources and skills, shared by a large and growing bandof freelance artists root€d on a small core of permanent companymembers, have grown over the years in a conrext of both social andaesthetic experiment. This long-term process of rcseat€h-and-pracriceseeks to re-$tablish, away ftom the conventional building-basedmiddlebrcw/middle-class theatre, the popular theatr€ tnditions of theworking class, such as Carnival, the Feast of Fools) the fairground, themummers' plays, that vein of subversion-as-ente ainment that runs(hrough so much of folk theatre and song. Such a proiect is, ofcourse,fraught with contradictions, and mises the spectres of fake-primitivismand rootless, academic rcvivalism. lgelfarc State tackle these problemshead-on by creating new myths, new hybrid styles, and new celebrationson the matrix of the old, nther than simply reviving the old for irs quaintor arcane qualities.

The essence of ! elfare State's programme is stated by its founder,John Foxi 'Cullen(ly we live in a matedalistic society; religious beliefsare declining and there is no sEucture of myth. We try to find archerypesthat are universally sharcd, and present them in an idiom accessible ro abroad audience.' This seich for myth and its enactment, could becomeClite and intrcverted, and unrelated to the complex, messy culture tha!welivein. Welfare State,however,worksfromth€assumptionthatmythand archetype are functional operations of human consciousness. It isnot a word that would appeal lo many ofthe compeny perhaps, but theiruse of myth is rutional - not 'explainable' or 'reducible to a mechanical

\x/elfare State over aLmost a decade.arrre: Requiem for Kirk8.re Market, Bradford 1973.

l.l,',: Ulverston Csmival. Cumbria. rs8o.

ONE FOOT ON THE GROUND, ONE FOOT MOVING 3

logic', but based in the reasonable needs of human beings to sharc andcelebrate their humanity. The Greeks used myths to express rruths aboutbeing human, and told stories about fallible deiries who fought battles aswinners and losers, whomadelove, and made mistakes. In doing so, th€yenacted on the public stage and in the inner mind the conflicls berweenGood and Evil, colectiv€ and individual, male and female, ruler andruled, that were the daily matedal of everyday life.

Other societies have other myths, but common ro most developedsocieties has been a batde for ownership ofmyths. Rulers have claimedtheh myths as iustification for thei own rulingJ and the ruled in iheirtum, have clung to their interpretation ofthe myths as a defence againstthe rulen' opprcssions. So it is that one mythological structure, such asChristianreligion, can become a battleground of opposing inteDreration.Divine Righl of Kings, the State's system of law, the identiication ofState and Church, have all been sanctioned for Rulers, just as anopposing set ofimpulses such as the democEtic ideal ('all men are equalin the sighl of God') and tle moral superiority of the poor ('it is easier fora camel to go through the eye of a needle than for a rich man ro enret intothe kingdom of God') can be claimed by the ruled as sources of strength,both persoml and political. Working from an arrisric baseJ in amythological near-vacuum, Velfare Stare are setting about thereclaiming of myth and its theatrical enacrmenr for the wholecommudty. In a world where the shared culture of human beings isincrcasingly thrcatened by a largely imposed electronic culture, mythsand archetype have to be discovercd and re-made, not simply revived.To do this, li/elfare State rummage eclecrically through many differenrcultures (albeit wilh respect for them), in order to find new expressionsof common archetypes. ft is, indeed, policy 10 invite foreign artists asoften as possible to broaden the pool of mythological reference.

Most of the theatrc forms refe{ed to so far have been publicperformances. Of equal wbighr in the company's policy is the work ofmaking domesti€ ceremony - the Namings of children, \f'eddings andBetrcthals, and (yet to be fully researched) Funerals. These moments ofpersonal and social signmcance are usually marked by formalisedcelebmtion (or mourning) based on the prcvailing cufture. For most of usin Britain, that means the Church, although for most of us, rhe Churchmeans little. To mark moments of ceremony in ways thal would honourtheir importance, Welfarc State began, in 1969, to devise for particulargroups of people, new ceremonies, using rhe talents, personalities,images and ideas of the people for whom the ceremonies were made,These evmts have ritual elements, although they are not 'ritualistic' inthe sense that some theatre people understand th€m, thar is they are notdbout the inducing of trancelike states in which reflection, reason andawareness are suppressed or abandoned. On ihe contrary, these qualitiesare heightened. As Lois Lambert r€ports in Chapter V on the naming of

A! image in srone dd wood from rhe carden of ConremplationJ Srr/lrDnr,in Cumb.ir

ONE FOOT ON T}IE GROUND, ONE FOOT MOVING 5

h€rown childi 'Wehad confirmed and €elebrated our shared humanity,making a public celebration of our love, our hopes for our children.'Ihere had be€n nothing strange or mystical about the day. We had notbeen seeking for a powerful magic in which to lose ounelves.'

If most welfare State work swings b€tw€en public performance andprivaie cer€mony, with the re-crcation of myth as its pivot, there is athird,lesser-known, but in its own low-key way, equally important areaof work. This could be described as Landscape Gardening, and iscmbodied most remarkably inawood in the Cumbria hills, where Borisund Maggie Howarth have created a 'Garden of Contemplation' calledStillpoint. They have taken what is, in any case, a beautiful andintriguing site, and made a gentle enhancement of its every aspect. Byadding small sculptural effects, most in the woodi stone and greenery(har make up tlle wood itself, they have pointed up, with respect,humour and rhe occasional surprise, the Datural charactedsrics of thesite. The additions and modifrcadons to the site n€ver dominate, butsharyen the focus and quicken the appelite for what is already there.'Stillpoint' at first glance seems far away from the aggressive, anarchiccnergies of fte early Welfare State strcet theatre style.It may even seemro have little in common with an exploding, neon sigr-bedecked TowerofBabel. arcund which, one November 51h, Bncknell's bikers circledlike chariot-racers loose in a Fritz Lang 6lm. Yet both the yearlong'€venC in Cumbriaofthe changing wood, and the clima-r ofseveral weekswork in Bracknell's 'Scarccrow Zoo', are characteristic 'Welfare Stalework. They are animated by a need to express in human tems, themyfiical and th€ natural for a societywhich is becoming de-narured andde-humanised.

welfare State's work has always been the cr€ation of a collective ofartists under the leadership (sometimes acknowl€dged, sometimes not)of its founder John Fox and its associate director Boris Howarth. Fox, as

a librarian and lectur at Bradford College of Art, and later, in r 97 r, asSenior Lecturer in the Fine Art department of Leeds Polytechnic, wasable to draw on a pool of students and staff to collaborate on one-offevents. These included 'St. Valentin€'s Firestorm' (1968) in which apublic dance was hterupted by a re-creation of the Dresden bombing(teducing the audience to a kind of hysteria in a way I wouldnl do nowbecauseit was a formofaesthedc fascism'), and'The Tide is O.K. for the3oth', commissioned in 1968 by the B€aford Centre in Devon, ardcnacted on a nearby beach with Army DUKWS and fireworks. Like somuch else rhat emeryed from that Hydra-headed phenomenon, theso,called 'Alternative' culture, these events owed most to the Afi Schoolswhich had act€d as a ftrnnel into Britain for fte Performance Art,Happ€nings and multimedia events then active abroad, particularly inAmedca. 1968 also saw rhe take-over by students and staff of HomseyArt Collese, an event which slmbolised the irruption into political Me of

6 ENGINEERSOFTHEIMAGINATION

Art School energies. The breaking down of bariers between prcviouslydiscrete art-forms was echo€d in rhe active seeking by students ofinvolvement in social and political activity.

For many theatre groups looking ro integrate arr wirh ordinary life,street theatre performance offercd a natural form in which to work. Atthe other end of the spectrum were the larger-scale, one'off events inwhich iazz composer Mike V/estbrook collaborated as musical direcror.These were genuine multi"media events, involving image-makers, jazzand rock musicians, writers, sound and light technicians, and circusartists such as 6re-eaters, sword-swa.llowers and wirc-walkers.

Both the larye-scale work and the stree! thearre, and all the one-offevents in betweenr were part of a ferment of energy and expeiment thatexploded from lhe late sixties. Much of that ferment drew its strengthfrom a sense of being 'avanr'garde', of pushing backmusical, visual andtheatdcal bariers that were previously rigid ard otderly. Yer,paradoxically the essence of Welfare State's proiect was also conserva-tive, in that it was dedicated to the revitalising of traditional populartheatre forms. Although they operated within rhe then currenr utopianavant-gardism, they were also trying to uphold a tradition of popularentertainment against much of the mind-blown, 6litist experimenrarionof the time. Such a conrradicrion was bound to cause problems, and forJohn Fox, they were focused on a tour of 'The Sweet Misery of LifeShow' in r 97 r : 'It was basically a satirical critique, an allegory of Britain,about a variety show that broke up and €nded with a mock crucifixionand a talent competition. The main aim of that show was to get as manyboos as possible. I think the climax came for me when we did irsomewhere in South London, and we got all th€ trendies coming out tosee how well we pe orm€d) not lisr€D to what we were saying. It becamevery much fringe people performing to fringe people. It wasn't achievinganything ar all. I thinl I shouted at people and swore ar them. Actuallywe blew it because Oscar Lewinstein, from the Royal Court, was in to seeifhe wanted to commission us, and we iust stopped peforming. So thefollowing week, in the sam€ venue, we srarted the first of the LancelotQuail stories. V/e already had that kind of show in rhe bag, butit seemedlike overnighl we just iumped from one show ro rhe orher. It became apositivething, it wasnlaggressive, itwas about maldng the audience feelin some way better. And since then, the work's pursued a much morepoetic pattern.'

The appearance of Lancelot Quail in the company's lists marked adefrnile development in the work. Embodied only by one peformer,Jamie Proud, a pig-farmer turned performer and teacher, thisworking-class hero, whose full name finally grew to Lancelot IcarusHandyman Barrabas Quail, was an Everyman figure for the audience toidentify with as well as laugh at. He became a rough-h€wn comic cenrrearound whi€h extraordinary demons and spirits flew, tomenting him,

Lancelot Icarus Haqdyman Barrabas Quail, as seen inBumley, in r97?

3 ENCINEERS OF THE IMAOINATION

insptuing him, and finally being d€feated by his knotty human spirit. The1972 tour 'The Travels of Lancelot Quail', in which the travels wereenacted along a rcute from Glaslonbury to Lands End using a circus tenttoworkin, has become almost an icon ofits theatrical time, especiallyinRoger Perry's photographs. The tour ctrlminated in the disappearanceoff the Cornish coast of the entire company in a submarine, H.M.S.Andrew, a bizare instance of the milihry-artistic complex at work!

ONE FOOT ON THE GROUND. ONE FOOTMOVING

The company heads to its rendezvorls with H. M. Submari,ne Andttu iat972.

By 1972, Mid-Pennine Arts Association, in an act of exceptionalimagination, had invited \0elfare State to take up r€sidence in Buffiley astheatre fellow of the Association, and a new vein of work was opened up.This was based on skill-teaching, and rcsearch into the arts and thecommunity. As well as consciously regenerating the popular theatretradition, Fox had always wanted to work on the assumption that thecompany should teach people t}le skills ne€essary 1o make their owncelebrations, skills fast disappearing in a mechanised and de-skilledsociety. In this he was helped by the man later to become Welfare State'sco-director, Bods Howanh. Howarth had been involved in folk music,and in the pioneer conrmunity theatre work of John Arden andMaryarctta D'Arcy, as well as staghg conce s of music by John Cage('So arty', remembers Fox, that I thrcatened ro drive though the placewith a dumper truck.') By the late Sixties, Howarth and his wife Maggiewere running New Planet City, a community afis workshop in

Lancaster. From r97o, both were working on Welfare Starc events.

Howarth has proved an effective foil to Fox over fie yearsr bringing tothe latler's quixotic creatrve personality a more measurcd, classical

sensibility. In panicular he and Maggie Howarth had developed at New

Planet Ciry a rradition of slreet thealre based on percussion bandsplaying Laiin and Aftican rhythms. Howarth was also knowledgeableabout i"u"onat ce."*onials, and was regularly €reating sp€cial events

dround November 5th bonfires, for example. Together, th€y had begun

ro work withvoungpeople in Lancasrer. manyofwhom wereconsidered

'dil6cult or :delinquent'. lvith their ioint energies. lhe Fo\es and rhe

Howarths had, by the early '7o'sJ the essmtial elemenls which, refinedover the years by a wide variety of talented associates, still form the basis

of their work: a developed sculptural sense, a desire to levitalis€ populattheatre traditions, a commitmeDt to drawing in lo€al energies and leavingbehind a residue of skills aDd confidence after the company's

withdrawal, a set of musical techniques suited to the colour and energy ofrheir streer performance) and above all an ability to use eclecticallysrvles. influences and lechniques from almost any source.

vhile rhe Burnley retidency gave \welfare Slate lhe opportuniry Lo

consolidate and develop its work, itwasn't a completely unalloyed timeThev had a)sumed the role of'Civic Magicians . spending about a fiirdol lhe verr in Burnley providing large-scale rheatrical evenl" such as $e6rsr'Parliament in Flamei November sth bonfire. a" well as smallersculotural orece: like Christmas cribs. The resl of tle year was spent on

rour: in B;imin, and increasingly in Europe. There were. however.

oroblemr aboul relalions with tle community. One problem was pa(lyburnlev itself. I think, savs Fox, il s a repressed working-class town.more s; than many, I atso think we looked like a bunch of fieaks wholiv€d on a rubbish tip.' (The Council had rented them a disused quanvfor the burgeoning collection of Eailers, lorries, land_lovers and

caravans tharnow made up the Welfare State circus. ) 'People tlought we

were hippies and our image and fie kind ofwork we did was sometimes

verv di;atinq. r,J0e wore heavy make-up. we did very 'progressive'

oer'iormance'. we didr'r actuallygo abou( it irl dre right wav. Giventhecontinuing amount ot excidng work ploduced by the company year by

vear. ircludine: Burnlev'Parliament in Flames'that allracted close lo

ien thou"and ioecraron, rhar 'elf-criticism may be undulv harsh. bu( i(hiahlishts an;rher ev€nt lha( wa: of cruciai importalce for the

colmpa-nyh structure. ln spite of a somewhat hrppy-ish claim in an eallymanifesio that 'IJi/e fuse fin€ art, theatre and life-stvle', the life-style, ormore Drooerlv the work-st\le, was in facr lI) uneasy coalilion between

rhe idiair'of.ollecriviry and the pracdce of a director company model.

Fox had been the teaiher of many of the early company members, and

while he saw the t€acher/student lelationship being transformed intodirector/company, his students-turned-associates didn1. They wanted

IO ENCINEERS OFTHE IMAGINA'|ION

collective working on the company's products to be rcflecred in collectivecontrol of the company's prccesses. There were also fundamenraldisagreements from some members about fte point ot trymg to work rnthe community as teachers. The consequent clash of principles andpersonalities resultedhthe greater part of Welfare State leaving h 1976to form LO.U. (Independent Outlaw University) which has gone on tobecome one of the finest performance art companies in fte country.From that split, Velfare State took the basic company structure that nowobtains, of a two-man directorate, two full-time administrato$ and atechnical dircctor. All other workers arc freelan€e associates who join thecompany for specific projects, often being invited back time after time.kr the late Autumn of 1977, the company att€mpted a kind of s]'nrhesisof all the accumulated research and experience of the previous nineyears, in'The Loves, Lives and Murders of Lancelot Barabas Quail'.On Fulledge Recreation Ground in Burnley, in a complex of tentsarcund what looked lil(e a medieval jousting space, the audiencewandered amongst sid€shows and giant puppets befote entering a'cinema' to see a filjn about Quail and his bizarre early life. Aftet rhe film,there was opportunity to wander again, to buy tea and hot potatoes, toinvestigare rhe strange tableaux representing Quail's inner mind, tolisten to theband's music, oriust to keep warm by the glowing braziers.Finally the audience sat on either side of fie open space for the play of'Ballabas'. Giant pupp€t figures, and acting p€rformances to match,called to the performance space an array of marvellous images to terrodseand torment Quail. As the pedormanc€ drew to a close, two gross cooksdistributed spicy, steaming-hot bread to the audience. 'Barrabas' was asummation of so many of the elements gathered under the Welfare Statebanner in pr€€eding yean. Its basic story-shucture was bone-simple, aBirth, Death and Resurrcction sequence happening to an Every-manfigure. Its imagery was spectacular and beautiful precisely because itsstyle was rich, quirky and obviously handmade. Its music wasstrongly-flavoured, and acoustic. Its references ranged from Buddhistmetaphysics to TV soap opera. Most significandy for the company'sdevelopment perhaps, the audience were invited in, literally, by an M. C.character, and fguratively in the atr€ntion paid to their comfort andpleasure in all aspects ofthe perfomance (given, ofcourse, rhat it waslate October and mostly open lo the skyl)'Vith the company's deparfirre from Burnley in 1978, a new phasebegan. John and Sue Fox, wirh their children, went on a sabbatical visirto Austmlia and Bali, and Boris Howarth took over as direcrot ofresearch. During this period, more local, intimate slyl€s of work wetedeveloped. Events for seasonal occasions, such as Harvest andChdstmas, were created in small communiries with the activepartrcipation of local people, and the idea of the 'Feast' was elabomred.In this traditional form, food and drinl arc specially made for one plac€

ONE FOOT ON THE GROUND. ONB FOOT MOV1NG ll

The skeleton beadng Lancelot Quail is at open--Ba ttubas, Bunley, 197,1 .

and event, as at Digswell House, \felwyn Garden City in 1979 in 'WhenThe Pie lcas Opened'. Naming ceremonies, and the annual November5th'Parliament in Flames'became regular parts of the company's work,and the basis was laid for one ofthe most successfi and popular WelfareSlate crcations, the Bam Dance. The working principle by now was toseek rcsidencies in local communiti€s or arts centres sympathetic to theiropen-door (and usually open"air) policy. Such residen€ies were dulyundertaken in every$ing from the Cleveland village of Thorpe Thewlesto the islands off Toronto Harbour in Canada. By r98r, the finalsignificant piece of the present jigsaw was the use of a reconnaissanceteam, lodged on site for weeks, or even months, before the maincompany's arrival. The respect for a community's life - inner and outer -pays off in two ways. It allows local people to adjust to an input which,however good, is these days out-of-the-ordinary and potentiallydisrurbing, and it allows images from the landscape and from the storiesand experience of local people to filter back to the main arch.itects of theproi€€t, who will be planning the basic structure of imagery and story.

lfelfare Statet work is never perfect or finished or withoutcontradiction, which is to say that it is still vital, alive and in touch withthe culture rhat feeds it. As the state's economic base crumbles, andas agenteel and philistine fascism threatens its people, ir may seem

12 BNGINEERSOFTHEIMAGINATION

incongruous to celeblate, and downdght irresponsible to some to danceand create spectacular events, or quiet gardens of contemplation, Theproblem is nor evaded by the company. As Fox says in one interview:'ICs certainly the case in a lot of South American countries. whereCarnival i5 used as a way ofgiving people a day of freedom so rhat rheycalr be repressed the rest ofthe year. [r's also litenlly used as a way ofbumping people off . . . during the excesses of Carnival rherc arewell-reported events where the police go rcund in plain clothes killingpeople. There will always be rhis argument. Basically you are saying ,Is

this a time for art?'If the answer for 'Welfare State is yes, there remains the thorny

pmblem that rhe funcrion ofthe sharcd beliefs and myrhs on which rheybuild their work has genemlly been to reinforce the dominant politicsand culture. Public rirual is usually rhoughr of as essenrially sconservative) powet-reinforcing activity, such as the crowning of amonarch or a military funeral. In tribal societies, ir is arguable thar'official' riruals gave an organic coherence to living thar was $senrial rosurvival. In modefl technocratic states, at war wirhin themselvessocially and morally, communal images and myths are highty likely to beempty relics of pa$ organic culture, or stare propaganda designed rosubdue popular expression and acrion. The filling of that vacuum inhuman social needs is therefore lefr to artisrs, the ,unacknowledged

legislaton', and whether they fill that vacuum with more empty a orwith something rooted in society\ real needs ofren dep€nds on rheirawareness of the political nature ofart. By crearing its new myrhs andrituaisfoilimiredspanssndspecifi c spaces, rathe!rhanmakingproductsfor all time or posterity, Velfare State commit themselves to working in areal world. Thei work raises back into their proper places in the publicculture, areas of exp€dence that are under direcr rhrear fiom the om€ialculture- creativity, sensuality and communality. The company cannot,of itself, change society, nor could a hundred Velfare States, but ir canhelp to infom the inevitable large changes in society with kinds offeeling often neglected by conventional political art.

One of the (instincrive) ways rhat Velfare Srate avoid supportingreaction and the status quo is to work arcund thecoreconcepr ofChange.The very recurrence ofthe alchetypal Birth-Death-Rebirrh cvcle in thework implie: the concepts ot Change and Transformat ion.' The ideapermeates manylevels, ftom the commissioning stagerotheinnet life ofindividual images, For example, ice and fire, both elem€nrs in thecompany's armoury are self-evid€nt embodiers of changei the effect ofgiant puppets in the srreer forces an immediately pleasurable change ofperception in spe€taton. IDdividual arts are continually changed andtransformed. In music, for instance, you can catch the flavour of aiazzband or folkband, which have a Fifties resonance, while drawing onpopular music from the start of the century or €arlier. It isn,t long before

ONE FOOT ON THE GROUND, ONE FOOA MOVING 13

these are transfomed - by a South Amedcan bayonne rhythm, by Celticpipes, ska or South Afiican Hi-Life textures, by reggae or bysynthesiser. The new sounds do not replace the old ones, but colourrhem and move them on into new hybrid sryles. Predictably, visualimages are also subiect to the processes oftransformation, A black crcwbecomes a bomber, rhen a cross, A character is part Mad Angel, partB-movie lest pilot, part Ariel and palt clown. Tragedy and farce dancetogether, things die and new things are born. Even out of Death images,new images grow. The companyt work pattem, too, embodies the ideaof Change, with its shifti-ng personnel show-to-show, working indifferent venues, effecting transformarions and encouraging them tooccur after departure. There is little that is predictable in the work, forthe ov€mll vision mapped out by the two dircctors is subject totransformations wrought upon it by the colleclive ofartists employed foreach prciectj and once start€d, the making process olr site lends to have alife of its owrl. Thus, while Change in the work process might beunpredictable, it is not in fact random or arbitrary but based on pastexperience and shaped to sstisfy present needs.

The futurer we must accept, is fraught foi both the theatre and societyin g€neml. Britain, to say nothing of the wider world, is turbulent withthe crumbling ofold structures, and the struggles ofnew ones to comeinto being. To describe yourselves) as Welfare State do, as 'PathologicalOprimists' might seem like empty idealism, were it not for the vein ofsharp iro[y that runs thrcugh so much of the work, and coloun thatslogan -'You have to be mad io be an optimistl'There is also,I suspect,an a€t of will implied in it, echoing on€ of Brecht's favourite phrases

'Pessimism of the Intellect, Optimism of the will!' Also emblazoned onthe side of the company's Leyland truck is 'Engineers of theImaginadon', a label that suc€inctly reflects the combinarion ofrechnology, craft and a that the company deals in. It is the Imagination,above aI, that powers all the processes of rational and areative action thatmake up social living, and the transforming power of the imaginationthat makes change possible, \fithout it, there can be no learning and nomomlity. !0elfare State recognise that the creative irnagination is theenemy of the fragmenting and the dehumanised. In modern sociely, agreat deal of effori goes inLo keeping the lid on creative energy. usingeverything from outright oppression to the subtler ideologicalmachineries of the education and communications svstems. That is whyit is vital to mount, alongside a theatre of analysis and rationality, whatone €ompany associaie calls 'The Imagination Recovery Service'J not as a

diversion from, or substitute for, the active changrng ofthe wodd, but as

a vital partner and precondition of Change.In India, there is a word,'paramparar) whose rough transladon is

tradition'. It means literally 'one foot on the ground, one foot moving',and ir suggests something of the spirit of Welfare Statet work. The

ONE FOOT ON THE GROUND, ONE FOOT MOVINO T5

image descdbes a tension between opposites, between the still and themoving, between the fixed past and the changeable future. ft makes oftradition, not a static millstoDe around the neck, but a dynamic processwhich can be crcated as well as observed. Above all, it is an image ofpleasure, for 'one foot on the ground, one foot moving' is an image ofDancing.

The inuse ofDabcine-Ulvercron Carnnal I98o.