Del Arno Band i prijatelji

Snimak rege koncerta, koji su Del Arno Band i prijatelji priredili na otvorenim bazenima "25 maj" juna 1997. godine

Katarina Kiković Jović

valcer

Tražiš me po požutelim knjigama
kopaš po tudjim pesmama
po legendama po mitovim
muzama u oči zaviruješ
Ima li me tražiš me.

Tražiš po pustinjama
šarenim trgovima
miris moj po crnim kosama
bordo usne po snegovima.
Ima li me tražiš me.

I umornim mačem
Bodeš još piramide
nadajući se mom blagu
u nekoj skrivenoj odaji.
Bodeš po davno poharanim prostorijama
gde samo mumijama tudjih
ljubavi mačevi se klanjaju.
Ima li me tražiš me.


Rođen si na vreme za mene
U trenu pevanja moje prve pesme
i hram sam tvoj ovdašni
pre tebe stvoren samo za tebe
i ne podnose se žrtve
osim straha od
izmišljenog prokletstva.
Našao si me.

Zato ne boj se pred lažne bojeve
Ja to uradih već za oboje
Ne boj se uopšte
Jer već time obojih sebe i za tebe

Tu sam nađena
samo me oslušni.
Muzika mlečnog puta u zanosu valcera.
kraj vremena držiim
samo još dlan na dlan
znak na znak
i krećemo u krug.

Veži me za sebe čvrsto
odmotaćemo klupko
i njime se obmotati
vrteći se po kristalnoj dvorani.

Tu sam
oslušni me samo
i uđi u mene kao u muziku
kao u mlečni put prepušten zanosu valcera

LJUBAV I LUDOST- LOVE AND MADNESS~Praise of Folly

Pohvala ludosti

Jednom davno, sva ljudska osećanja i svi ljudski kvaliteti našli su se na jednom skrivenom mestu na Zemlji.

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Kada je Dosada zevnula treći put,Ludost je, uvek tako luda, predložila 

  "Hajde da se igramo žmurke!!!!!!!''  

Ko se najbolje sakrije, pobednik je medju osećanjima." Intriga je podigla desnu obrvu, a Radoznalost je, ne mogavši prećutati, zapitala: "Žmurke? Kakva je to igra?" "To je jedna igra", započela je objašnjavati Ludost, "u kojoj ja pokrijem oči i brojim do milion, dok se svi vi ne sakrijete. Kada završim sa brojanjem, polazim u potragu i koga ne pronadjem, taj je pobednik."

                                                                                                                                                                                        

Entuzijazam je zaplesao, sledilo ga je Oduševljenje. Sreća je toliko skakaa da je nagovorila Sumnju i Apatiju koju nikada ništa nije interesovalo. Ali nisu se svi hteli igrati. Istina je bila protiv skrivanja, a i zašto bi se skrivala? Ionako je uvek, na kraju, svi pronadju. Ponos je mislio da je to glupa ideja, iako ga je zapravo mučilo što on nije bio taj, koji se setio predložiti igru. Oprez nije hteo reskirati.

"Jedan, dva, tri." počela je brojati Ludost

Prva se sakrila Lenjost, koja se kao i uvek, samo bacila iza prvog kamena na putu

 Vera se popela na nebo,

Zavist se sakrila u senku

.

Uspeh se mučeći popeo na vrh najvišeg drveta.

Velikodušnost se nikako nije mogla odlučiti gde se sakriti jer joj se svako mesto činilo savršenim za jednog od njenih prijatelja.

 Lepota je uskočila u kristalno čisto jezero, a Sramežljivost je provirivala kroz pukotinu drveta.~~ Krasota je nasla svoje mesto u krilu leptira, a Sloboda u dahu vetra.

Sebičnost je pronašla skrovište, ali samo za sebe! 

Laž se sakrila na dno okeana (laže, na kraju duge), 

 Požuda i Strast u krater vulkana.

 Zaborav se zaboravio sakriti, ali to nije važno.

Kada je Ludost odbrojavala 999.999, Ljubav još nije pronašla skrovište jer je bilo sve zauzeto.

 Ugledavši ružičnjak, uskočila je, prekrivši se prekrasnim pupoljcima.

"Milion", povikala je Ludost i započela svoju potragu.

Prvu je pronašla Lenjost, iza najbližeg kamena.

Ubrzo je začula Veru kako raspravlja o teologiji s Bogom,a Strast i Požuda su iskočile iz kratera od straha. Slučajno se tu našla i Zavist, i naravno Uspeh,Sebičnost nije trebalo ni tražiti. Sama je izletela iz svog savršenog skrovišta koje se pokazalo pčelinjom košnicom.

 Od tolikog traženja Ludost je ožednela, i tako u kristalnom jezeru pronašla Lepotu. Sa Sumnjom joj je bilo još lakše jer se ona nije mogla odlučiti za skrovište pa je ostala sediti na obližnjem kamenu.

Tako je Ludost, malo po malo, pronašla gotovo sve. Talenat u zlatnom klasju žita,

 Teskobu u izgorenoj travi, 

Laž na kraju duge (laže, bila je na dnu okeana), 

 Zaborav je zaboravio da su se uopšte ičega igrali.

Samo Ljubav nije mogla nigde pronaći.

Pretražila je svaki grm i svaki vrh planine i kada je već bila besna, ugledala je ružičnjak. Ušla je medju ruže, uhvatila suvu granu i od besa i iznemoglosti počela je udarati po prekrasnim pupoljcima. Odjednom se začuo bolan krik. Ružino je trnje izgrebalo Ljubavi oči.

 Pronašla je pobednika, osećanje nad osećanjima, ali Ljubav je postala slepa

.Ludost nije znala šta učiniti.
Plakala je i molila Ljubav da joj oprosti i na kraju odlučila zauvek ostati uz Ljubav i pomagati joj.Tako je Ljubav ispala pobednik nad osećanjima, ali ostala slepa, a Ludost je prati gde god ide.“

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PRAISE OF FOLLY


Once upon a time, all human emotions and human qualities, all found themselves in a hidden place on Earth.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
When Boredom yawn third time, and madness is always so crazy, proposed
"Come to play peekaboo !!!!!!!''
Who is the best hide, the winner is among the feelings. "Scheme was raised right eyebrow, and curiosity could not pass over, asked:" peekaboo? What is this game? "" That's one game, started to explain the craziness, "in which I cover my eyes, and count to one million, while all you can hide. When you finish counting, I proceed to search and which is not found, this is a winner. "
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
First found laziness behind the nearest stone.
He soon heard about the Faith to discuss theology with God, and the passions and desires are stick out from the crater of fear. Incidentally there found and envy, and of course success, selfishness should not even ask. Izletela itself is a perfect refuge from his show that bee hives.
Since such an index is ožednela craziness, and so the crystal lake found beauty. With suspicion it was even easier because she could not opt for the shelter and the other sit on a nearby stone.
That is craziness, little by little, found almost everyone.
Talent in the golden ears of grain,
Anxiety in the grass,
Lie at the end of a long (lying, was at the bottom of the ocean),
Oblivion has forgotten that they ever played anything.

Only Love could not find anywhere

Searched every bush and every mountain and when he was already furious, saw the rosary. Entered among the roses, caught a dry branch and the rage and exhaustion began to knock the beautiful buds. Suddenly heard a painful cry. Rose's thorns scratch Love's eyes.

We found a winner, the feeling of feelings, but Love has become blind

Craziness did not know what to do.
Cried and begged her to love and forgive in the end decided to remain forever with the love and support her.
Love is relegated winner of feelings, but remained blind and foolish act is followed wherever she goes. "

PAUL KLEE (1879-1940)

Paul Klee
Self Portrait (1911), ink on paper
Born	18 December 1879 Münchenbuchsee bei Bern, Switzerland
Died	29 June 1940 (aged 60) Muralto, Switzerland
Nationality	German/Swiss
Field	Painting
Training	Academy of Fine Arts, Munich
Movement	Expressionism, Bauhaus,Surrealism
Works	more than 10,000 paintings, drawings, and etchings, includingThe Twittering Machine (1922),Fish Magic (1925), Viaducts Break Ranks (1937).

Paul Klee (German pronunciation: [kleː]; 18 December 1879 – 29 June 1940) was a Swisspainter of German nationality.^[a] His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. He was, as well, a student oforientalism.^[1] Klee was a natural draftsman who experimented with and eventually masteredcolor theory, and wrote extensively about it; his lectures on form and design theory, published in English as the Paul Klee Notebooks, are considered so important for modern art that are compared to the importance that Leonardo's A Treatise on Painting had forRenaissance.^[2][3][4] He and his colleague , the Russian painter Wassily Kandinsky, both taught at the German Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes child-like perspective, his personal moods and beliefs, and his musicality.

In his own words: "Ways of Studying Nature" by Paul Klee


"For the artist, dialogue with nature remains a conditio sine qua non. The artist is a man, himself nature and part of nature in natural space.


But the ways that this man pursues both in his production and in the related study of nature may vary, both in number and in kind, according to his view of his own position in the natural space.


The ways often seem very new, though fundamentally they may not be new at all. Only their combination is new, or else they are really new in comparison with the number and character of yesterday's ways. But to be new as against yesterday is still revolutionary, even if it does not shake the immense old world. There is no need to disparage the joy of novelty; though a clear view of history should save us from desperately searching for novelty at the cost of naturalness.


Yesterday's artistic creed and the related study of nature consisted, it seems safe to say, in a painfully precise investigation of appearance. I and you, the artist and his object sought to establish optical-physical relations across the invisible barrier between the "I" and the "you". In this way excellent pictures were obtained of the object's surface filtered by the air; the art of optical sight was developed, while the art of contemplating unoptical impressions and representations and of making them visible was neglected. Yet the investigation of appearance should not be underestimated; it ought merely to be amplified. Today this way does not meet our entire need any more than it did the day before yesterday. The artist of today is more than an improved camera; he is more complex, richer, an more spatial. He is a creature on the earth and a creature within the whole, that is to say, a creature on a star among stars.


Accordingly, a sense of totality has gradually entered into the artist's conception of the natural object, whether this object be plant, animal, or man whether it be situated in the space of the house, the landscape, or the world, and the first consequence is that a more spatial conception of the object as such is born.


The object grows beyond its appearance through our knowledge of its inner being, through the knowledge that the thing is more than its outward aspect suggests. Man dissects the thing and visualizes its inside with the help of plane sections; The character of the object is built up according to the number and kind of sections that are needed. This is visible penetration, to some extend that of a simple knife , to some extent helped by finer instruments which make the material structure or material function clear to us.


The sum of such experience enables the "I" to draw inferences about the inner object from the optic-physical phenomenon produces feelings which can transform outward impression into functional penetration more or less elaborately, according to their direction. Anatomy becomes physiology.


But there are other ways of looking into the object which go still farther, which lead to a humanization of the object and create, between the "I" and the object, a resonance surpassing all optical foundations. There is the non-optical way of intimate physical contact, earthbound, that reaches the eye of the artist from below, and there is the non-optical contact through the cosmic bond that descends from above. It must be emphasized that intensive study leads to experiences which concentrate and simplify the processes of which we have been speaking. For the sake of clarification I might add that the lower way leads through the realm of the static and produces static forms, while the upper way leads through the realm of the dynamic. Along the lower way, gravitating towards the centre of the earth, lie the problems of static equilibrium, that may be characterized by the words: "To stand despite all possibility of falling". We are led to the upper ways by yearning to free ourselves from earthly bonds; by swimming and flying, we free ourselves from constraint in pure mobility.


All ways meet in the eye and there, turned into form, lead to a synthesis of outward sight and inward vision. It is here that constructions are formed which, although deviating totally from the optical image of an object yet, from an overall point of view, do not contradict it.


Through the experience that he has gained in the different ways and translated into work, the student of Nature demonstrates the progress of his dialogue with the natural object. His growth in the vision and contemplation of nature enables him to rise towards a metaphysical view of the world and to form free abstract structures which surpass schematic intention and achieve a new naturalness, the naturalness of the work. Then he creates a work, or participates in the creation of works, that are the image of God's work. (in Paul Klee: The thinking Eye. The Notebooks of Paul Klee, Vol.I, ed. Jurg Spiller, London and New York, 1961, pp.63-67. Originally published as "Wege des Naturstudiums", Staatliches Bauhaus Verlag, Weimer/Munchen 1923."Paul Klee:Dialogue with Nature"ed.by Ernst-Gerhard Guse, Prestel-Verlag,1990
Selected Readings: "Klee's Dialogue with Nature" by Ernst-Gerhard Guse from "Paul Klee:Dialogue with Nature/Prestel-Verlag 1990) and "Klee and Nature" by Richard Verdi/London and New York 1984 (Botanical Imagery in the Art of Klee)