In other spheres of my life, I have innovated and developed a movement art, of many forms and series, that I call Mythosomatic Movement. This is an art of sensitivity and mythopoetry—stories or theaters of extremely conscious movement that unify one with one's inmost energetic resonance. Animals—and certainly horses—live their sensitivity as their consciousness. It is no coincidence, therefore, that I established these Mythosomatic Movement choreographies and innovations as a creative vocation at the same time that I deepened and extended my work with horses. In fact, I chose these two vocations, horses and Mythosomatic Movement, ultimately for the same reason: to justify, abide, and thrive within my heightened sensitivity—a sensitivity that I am sure I share with many deep lovers of horses. Life is challenging; it is often harsh, bewildering, and injurious. These forms are the ways in which I have made it possible to remain fragile while hopefully palpating some form of inalienable strength and joy.

Horses have always been underneath the creation of the Mythosomatic Movements, as if the spirit of the horse, with its seamless blend of Yin and Yang qualities, was a kind of hidden template my creativity was following in order to draw the human closer to the animal. In the horse, I saw a potential for an atmosphere of being that human beings rarely showed me. Equestrian Mythosomatic Movement draws the human being closely toward the sensorium of the horse, where a superabundant sensitivity means a potential for connection and belonging. The Equus Series can, I believe, be a profound bridge to interspecies communication. And it seems to me that at this very late moment in human history, interspecies communication is one of the few noble paths left to us, if we would restore dignity to the experiment of being human.

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