Thursday, December 22, 2011, Murwillumbah, Australia.
Remembering Her Grace Srimati Yamuna Devi Dasi
→ Mukunda Goswami Sanga
Thursday, December 22, 2011, Murwillumbah, Australia.
Websites from the ISKCON Universe
I’m getting ready to go up to Hudson to paint a mural at Sadhana Yoga. I’ve only done a few murals so I’m a little nervous, but excited too. Any large canvas is a freeing experience to create on, and walls are as good as any. Body parts even better!
The theme of the mural is the sacred grafitti found in the holy town of Vrindavan. The divine names of Radha and Krishna are painted there on almost every wall, tree trunk, lamp post and rickshaw hood. For many renunciates that spend their days there, the main service that they perform is to paint and repaint these names with coarse brushes and a small steel tiffin of paint. Sometimes they are painted in English, more often in Sanskrit.
In Hudson, I’ve been asked to paint them in Sanskrit, even though most people that see it won’t be able to read it. Sanskrit is written in a script called Devanagari, said to originate in the heavens. For this reason, the lines themselves are considered to be purifying to look at, even if they are nothing but pretty curves to the beholder. A sacred word, like ‘om’ is considered to be the same in quality, whether written, heard, spoken or just seen.
Aside from divine names, I’m also planning to incorporate another touch of Vrindavan – green parrots! These beautiful birds used to be present everywhere there – screeching and twittering on every branch and phone line. I remember a book I used to read as a little girl – ‘But Where Is Green Parrot?’ These days they hide in real life too, but you can still see the telltale flashes of of electric lime in the trees in the less inhabited areas of Vrindavan. In the stories of Radha and Krishna, they often act as messengers, carrying secrets between friends and lovers or acting as confidantes.
Parrots have the wonderful ability to remember language and repeat it, something that is both celebrated and looked down upon in bhakti yoga teachings. Sukadeva (literally, best of the parrots), the reciter of one of the most important bhakti texts, the Srimad Bhagavatam, is praised for his feat of speaking the text for seven days and nights continuously, imparting the wisdom just as he received it from his teachers. But the same teachings also warn us not to become parrot-like and repeat things that we hear without deeply understanding and internalising them.
I’m getting ready to go up to Hudson to paint a mural at Sadhana Yoga. I’ve only done a few murals so I’m a little nervous, but excited too. Any large canvas is a freeing experience to create on, and walls are as good as any. Body parts even better!
The theme of the mural is the sacred grafitti found in the holy town of Vrindavan. The divine names of Radha and Krishna are painted there on almost every wall, tree trunk, lamp post and rickshaw hood. For many renunciates that spend their days there, the main service that they perform is to paint and repaint these names with coarse brushes and a small steel tiffin of paint. Sometimes they are painted in English, more often in Sanskrit.
In Hudson, I’ve been asked to paint them in Sanskrit, even though most people that see it won’t be able to read it. Sanskrit is written in a script called Devanagari, said to originate in the heavens. For this reason, the lines themselves are considered to be purifying to look at, even if they are nothing but pretty curves to the beholder. A sacred word, like ‘om’ is considered to be the same in quality, whether written, heard, spoken or just seen.
Aside from divine names, I’m also planning to incorporate another touch of Vrindavan – green parrots! These beautiful birds used to be present everywhere there – screeching and twittering on every branch and phone line. I remember a book I used to read as a little girl – ‘But Where Is Green Parrot?’ These days they hide in real life too, but you can still see the telltale flashes of of electric lime in the trees in the less inhabited areas of Vrindavan. In the stories of Radha and Krishna, they often act as messengers, carrying secrets between friends and lovers or acting as confidantes.
Parrots have the wonderful ability to remember language and repeat it, something that is both celebrated and looked down upon in bhakti yoga teachings. Sukadeva (literally, best of the parrots), the reciter of one of the most important bhakti texts, the Srimad Bhagavatam, is praised for his feat of speaking the text for seven days and nights continuously, imparting the wisdom just as he received it from his teachers. But the same teachings also warn us not to become parrot-like and repeat things that we hear without deeply understanding and internalising them.
"...the nonpermanent appearance of happiness and distress, and their disappearance in due course, are like the appearance and disappearance of winter and summer seasons...and one must learn to tolerate them without being disturbed."
"...the nonpermanent appearance of happiness and distress, and their disappearance in due course, are like the appearance and disappearance of winter and summer seasons...and one must learn to tolerate them without being disturbed."
Date: 19th November 2011
Rajashree Behera performed Oddissi Cultural Dance at Bhakti Centre. She explained each item before the performing the Ganesh Tandava and the Nine Moods of Human as in the Ramayan. The local Devotees enjoyed the wonderful performance and her dance expressions.
Rajashree Chintak Behera is one of the brilliant exponents of the Odissi dance. Rajashree’s dance is marked by gaiety, lyricism and beauty. She is trained under Guru Durga Charan Ranbir and Guru Harihar Mohanty in the Odissi style of Late Guru Durga Debaprasad Das. She is a holder of Bisarada Purna in Odissi Dance from Akhila Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai, as well as a Master in Economics from Utkal University, Bhubaneswar.
Accolades
Widely acclaimed Solo Danseuse
Recognized as “A” grade Dancer by Orissa Sangeet Natak Akademi
An ‘A’ grade artiste in DoorDarshan
Recipient of Govt. of India Scholarship (Junior and Senior), Department of Culture
Govt. of India Junior Fellowship in Classical Dance, 1993-1995
My friend Jennifer Mazzucco just sent me this beautiful video about Tashi Mannox, an English calligraphy artist. I loved hearing his eloquent thoughts on creating devotional art that doesn’t preach, but just tries to communicate philosophy and ideas that will uplift people. Tashi said that he feels the responsibility of an artist or musician is to uplift everyone they come in contact with.
Jennifer and I are creating a devotional art workshop together that we’ll be presenting for the first time at the Kripalu centre this winter. Our aim is to explore the process of creating devotional art – how getting creative opens us up to a deeper sense of connection with the soul and the Divine, and how this act of creation can teach us so much about the joy of focus and detachment.
In other news, I’m in DC right now spending time in the recording studio with Gaura Vani. We’re working on new music that encompasses both kirtan and Sanskrit mantras, as well as original English lyrics. It’s a fun process, but very new to me also. Music can be so spontaneous and free flowing, and this suits the organic, immediate nature of prayer so well. In crafting something and attempting to capture it, it can be hard to retain the original feeling. Throughout, we must constantly remember that imperfection is inevitable – the creative spark that flares into a small, bright flame is only a tiny speck of divine beauty, and we are fortunate if we can hold it for even a moment.
Date: 30th October 2011
Bhakti Centre Gold Coast purchased a Clay Mrdanga to be used for the Mayapuris Tour during the Northern Programs of their Australian Tour. Due to popular demand the Gold Coast program were performed at the following venues, explosion of spiritual dance and music :
Wednesday 26th October 6.30pm - Bhakti Centre Gold Coast, Surfers Paradise Thursday 27th October 6.00pm - Surf Life Savings Club, Broadbeach Sunday 30th October 10.30am – Harinama in Burleigh Heads Sunday 30th October 1.00pm – Centre Stage, Caville Ave, Surfers Paradise Sunday 30th October 6.30pm – Peace Yoga Centre, Burleigh Heads All door donations at this Event was donated by Peace Yoga to their wonderful community work in IndiaThe Mayapuris 2011 Tour Teaser
The Mayapuris have crash-landed into the kirtan/chant genre, quickly becoming the most talked-about group in this growing scene of exotic world music. Their story starts in the quiet backcountry of North Central Florida, Alachua, a small village-esque town known to some as the capital of the underground grassroots-kirtan movement in the West. India 2001: The Mayapuris were teenagers fresh out of international boarding school where they trained in kirtan, a musical art form that has existed for thousands of years. They wanted the sound of their thunderous mridanga drums to shake the globe. Naming their group after the holy village of Mayapur, where the kirtan movement started, The Mayapuris traveled the world enthusing crowds with their dynamic drum dances and kirtan performances. In the summer of 2009, Mantralogy, a division of Equal Vision Records, signed The Mayapuris and placed them in the studio with kirtan producer Gaura Vani (As Kindred Spirits, Prema Hara, Ramya). Their debut album Mridanga (June 22, 2010/Mantralogy) brings a youthful and hip new energy to kirtan. “Rhythm is a universal language,” explains the Mayapuri drummer, Bali, “It transcends all external barriers. Everything. Race, religion, tongue, creed, culture. It’s the heartbeat of the universe.” The Mayapuris are unique in that they all originally were drummers before they became kirtan multi-instrumentalists. Their music is driven by rhythm. It’s the language they speak best. The Mayapuris are travelers, kirtan gypsies, the breed of performers who stop keeping count of how many countries they’ve performed in. They hit six continents in 2009, and that was before they had a CD to call their own. After their first album drops, who knows? “There is a small village in India, about an hour outside of Mayapur that holds this prophecy. It’s about two hundred years old,” the lead singer Vish explains, “It says that the thunder of the mridanga drum will resonate throughout the entire world. We want to be a part of that.” The Mayapuris named their album after their shared love, the mridanga, and it is the heartbeat of their sound. Joined to its rhythm is the stirring musicianship that evolved after years of training, classical instrumentation mixed with the spontaneity of fiery vocals, a place where funk meets math and melody to produce beautiful music. Gaura Vani, accomplished producer and recording artist, captured their unique and powerful sound in the studio. “We couldn’t have had a better person to work with, “Kish, the group’s flute player says, “We’ve been doing music with Gaura since we were teens. He knows us, he gets us. He has a great ear and his arrangements are deep and tasteful. Gaura is the kind of producer who really brings the best out of the people he works with.” This is not saying that the production was an easy job. The Mayapuris come from a musical background that is as varied as it is unexpected. Vish was in a Boston hardcore punk band after returning from India. When Kish isn’t studying classical Hindustani flute he’s grooving to reggae. Bali was the front man and lyricist for a hip hop group while immersing himself in South Indian Carnatic drumming. And Vrinda cites Michael Jackson as one of the greatest musical/dance influences in her life (this coming from someone who studied in the ‘Ivy League’ of South Indian classical dance). Together they invoke the influence of an international community of musical spirit: Nusrat Fateh Ali Khan meets a 21st century group of musical upstarts. “The great thing about world music is its accessibility.” Vrinda says, “It doesn’t matter where you come from, what language you speak, your cultural background. This kind of music speaks to everyone. Our goal was to make an album that reaches into that common bond the citizens of earth all share, a love for beautiful sound.” “Our music is the hybrid offspring of our upbringing,” Bali adds, “Mridanga grooves, it builds, it’s an ancient tradition with a fresh spirit.” This is more than a kirtan album, it’s a life story broken up into chapters. It represents the Mayapuris; who they are and what kind of sound they embody. “Our music is infused with emotion, with passion, love, playfulness. We’ve grown up with it. We live it,” says Kish, “The band, the album, the shows…they are an offering. We love making music. We love being Mayapuris.”It’s that time of year again. Today is Govardhan Puja, when we remember Sri Krishna’s incredible lifting of a sacred mountain in Vrindavan. In the Vaishnava calendar there are so many festivals and as the years go by they stack on top of one another like layers of sediment. I imagine my life so far as a rock – each layer a testament to the moments that I spent thinking about Krishna – the thick, densely packed areas, or not – those are the crumbling parts.
I can remember so many distinct Govardhan pujas – many spent in the soggy English October, inside a white marquee, huddling in front of blow heaters while we listened to narrations of the amazing story. As children one of our favourite parts of the day was the creation of ‘the hill’. This is a giant mound of sweets, dressed to mimic Govardhan Hill – usually complete with ponds of honey, boulders made of milk sweets and bright green shredded coconut for grass. The hill would be covered with plastic animals – deer, birds and lots of cows. After everyone had performed the puja of walking around the hill three times, the sweets would start to be handed out, and along with them, the plastic animals. My toy cupboards at home were full of the most prized- the cows. My small herd grew each year, and I would eagerly look forward to each year’s festival, when I would wait with hands outstretched as a priest plucked animals off the mound and dropped them into the reaching palms of all the kids.
So why build a hill of sweets? It’s definitely fun, but deeper than that, it’s just one way to remember the miraculous activities of Krishna, and help our love for him to grow. It’s also a beautiful way to celebrate Govardhan Hill, also known as Giriraj – the king of mountains. In Krishna’s world, everyone has personality – nothing is just stone, or just a tree. Everything is full of life, full of love, full of desire to serve. Giriraj is considered to be one of the greatest servants of Krishna, since he limitlessly gives the bounty of his forests, waterfalls, minerals and more to the villagers of Vrindavan.
Last year I spent Govardhan Puja in Vrindavan, where it is extra special, since the real Govardhan Hill is only miles away. In the central courtyard of the Krishna Balaram temple, I stood on a raised platform with six other girls, scooping handfuls of scorching, fragrant halava and pressing them onto the plastic covered frame of the hill. Our hands quickly became tender, burnt by the steam, and we slid about as the hot ghee oozed from the mound around our feet. In the meantime, raucous, joyful kirtan thundered away. The following week, I was staying at the foot of Govardhan itself. It was one of the most sacred, deep experiences of my life. Each day I would wake and watch the sun light pass over the rocky face of the hill, and after a day absorbed in chanting and hearing about Krishna, I would sit in a small grove of trees and listen to the night songs of the crickets. I never believed I would really feel that a hill was a person, but after seven days, I felt his deep presence, blessing all who came near him to pray.
At the end of my time there, I built a tiny house of stones. Some people do this to pray to Giriraj for a safe, happy home to live in, but I prayed that however long it took, I may one day live there in that sacred place. These days I stay in Manhattan on the 21st floor. Outside my windows the tops of towering buildings remind me of his ridges and peaks, and I realise that whether here or there, his blessings are near.
In the fifth century, Champasak was thought to be the centre of the Laotian universe. Today it’s a drowsy one-car village clutching the western bank of the Mekong River in southern Laos and home to the tiny Hindu-built Vat Phou, which some archaeologists believe may have been the first Angkor temple ever built.
At a glance, Vat Phou doesn’t seem like the kind of structure that would initiate an empire. A tiny prayer hall at the top of a precarious stone stairway, with two reception halls on the plains below, Vat Phou lacks the jaw-dropping awesomeness of temples in Cambodia’s Angkor Archaeological Park. But as with the Angkor temples, its symbolism is extraordinary.
Tucked under the phallic-shaped mountain peak of Phu Kao – thought to represent Mount Meru, the sacred mountain at the centre of the Hindu cosmology – Vat Phou was worshipped as the embodiment of Shiva. The spring nearby was associated with Shiva’s wife, the goddess Parvati. Water runs underground from Phu Kao’s peak, rising through Parvati. From here, passing a series of barays (man-made dams) and linga (phallic statues), water flows into the Mekong, blessing everything on its journey south.
UNDER THREAT: The ruins of Vat Phou in southern Laos hold secrets that are being destroyed by development.
In the fifth century, Champasak was thought to be the centre of the Laotian universe. Today it’s a drowsy one-car village clutching the western bank of the Mekong River in southern Laos and home to the tiny Hindu-built Vat Phou, which some archaeologists believe may have been the first Angkor temple ever built.
At a glance, Vat Phou doesn’t seem like the kind of structure that would initiate an empire. A tiny prayer hall at the top of a precarious stone stairway, with two reception halls on the plains below, Vat Phou lacks the jaw-dropping awesomeness of temples in Cambodia’s Angkor Archaeological Park. But as with the Angkor temples, its symbolism is extraordinary.
Tucked under the phallic-shaped mountain peak of Phu Kao – thought to represent Mount Meru, the sacred mountain at the centre of the Hindu cosmology – Vat Phou was worshipped as the embodiment of Shiva. The spring nearby was associated with Shiva’s wife, the goddess Parvati. Water runs underground from Phu Kao’s peak, rising through Parvati. From here, passing a series of barays (man-made dams) and linga (phallic statues), water flows into the Mekong, blessing everything on its journey south.
I learn this while poring over a satellite map with Daniel Davenport, an articulate but debated Australian archaeologist working in Champasak and author of the Vat Phou Guide: Following in the Footsteps of Angkor’s Pilgrims, a tourist compendium on the area that Davenport is self publishing.
“Vat Phou could quite well have been the first, the pre-eminent, Angkor temple,” he says, explaining that early worshippers took a piece of Vat Phou stone and placed it under every subsequent temple they built.
On the map, Davenport points out a well-defined line leading from one of the reception halls at Vat Phou to the temple of Angkor Wat. “This used to be a pilgrims’ road during the Khmer Empire,” he says, referring to the kingdom that reigned over much of south-east Asia between the ninth and thirteenth centuries and used the Angkor Archaelogical Park as the capital. “They had roadhouses every six miles (nine kilometres) with accommodation, food, shelter for the animals and hospitals; six miles being the average distance a bullock cart could travel in a day.”
However, archaeologists at Vat Phou know a lot less than they would like to. “We have excavated about 5 per cent of the area,” says Laurent Delfour, a French architect who has been working with UNESCO to manage the site for the past three-and-a-half years. “That translates as 5 per cent knowledge on the area. We believe that Vat Phou marked the beginning of the Angkor Empire but nothing is certain.”
What is certain is the race against time Champasak’s hidden treasures face. A new highway linking the town with the regional capital of Pakse and the Thai border post of Chong Mek, has already disturbed six ancient temples beneath the ground. Champasak was designated a World Heritage zone in 2001; building without assessments, and approval, is not permitted.
“The Laos Ministry of Information and Culture did a little research into the area where the road was going,” says a long-term Champasak resident who requested anonymity. “But the findings were just pushed aside and work on the road accelerated.”
The local government is hoping the road, which will extend to the Cambodian border, will bring in busloads of tourists. Full story here.
http://bharatkalyan97.blogspot.com/2011/10/vat-phou-temples-ancient-history.html
I am writing without really knowing why. Sometimes writing is motivated by a new understanding, a ‘realisation’. But what realisation do I have? You can realise something, as in understand it, but surely to truly realise something means to ‘bring it into reality’, to live it. So to truly have a realisation means to understand something and then apply it every day.
So what have I realised lately? In small ways, like gathering scraps and snippets and threads, I have begun to understand that the things I thought were important – security, companionship, money – are not as important as they seem. Sometimes it seems like we are all living a great misunderstanding. We need so little, and the smallest things are the greatest treasures. To sing, to love, to dance. To smile as we fall asleep and as we wake. We can choose to do these things, or choose not to.
I have begun to glimpse that life is like a symphony of beauty and pain in equal measures. The music plays on, and each of us must decide how to play. We can choose to play with grace and humility. We can choose to play in such a way as to always push ourselves beyond our perceived limits. We can choose that if we trip up on a few notes, we smile and play on, no problem. We can choose to look up from the safety of our sheet music at the conductor, and feel safety and guidance in the movement of his hands. We can choose to play alone, and sometimes that is how the music is supposed to go. But at other times we are surrounded by a full orchestra, and we can feel the joy of harmony, the thrill of delicious syncopation.
Or if we are feeling insecure, we can watch the hands and faces of our fellow musicians and feel strength in togetherness. We can sing a painful song together. Or we can even fall silent. In times when our voices will not sing and our hands will not play, we can just listen to the music that washes within and without, steady like a timeless tide.
This beautiful lino cut was recently created by one of my old teachers, Nicola Barsaleau, a true inspiration.
Posted 10/25/2011
The Löwenmensch (meaning lion-man in English) is a puzzle. The provenance of this figure is derived from the 1870s. Markedly
Significant is the discovery of the Löwenmensch — a German term meaning “lion-person” — as a larger Löwenmensch sculpture was found in 1939 at the Hohlenstein-Stadel site in a neighbouring valley. Both works carry similar features and have been dated to the Aurignacian period between 31,000 and 33,000 years ago.
Dr.Nicholas Conard added: “The occupants of Hohle Fels in the Ach Valley and Hohlenstein-Stadel in the Lone Valley must have been members of the same cultural group and shared beliefs and practices connected with therianthropic (half-man, half-animal) images of felids (cats) and humans. The discovery lends support to the hypothesis that Aurignacian people practised a form of shamanism.”
The second site at Hohle Fels is a large cave site with Middle and Upper Paleolithic occupations, located in the Swabian Jura of southwestern Germany, some 20 kilometers southwest of the town of Ulm.
The cave deposits include a low density Middle Paleolithic site and a long Upper Paleolithic sequence with separate Aurignacian, Gravettian and Magdalenian occupations. Radiocarbon dates for the UP components range between 29,000 and 36,000 years bp.
Hohle Fels is best known for the recent recovery of three pieces of carved ivory from the Aurignacian period, which make up some of the earliest portable art in the world.
The three figurines are of a horse’s head (or possibly a bear), a water bird of some sort possibly in flight, and a “Lowenmensch”, a half lion/half human figurine. Previously, a similar lion/human sculpture (although much larger) was found at the Hohlenstein-Stadel site, an Aurignacian period site in the Lone Valley of Germany. The horse’s head at Hohle Fels came from a level dated about 30,000 years old; the other two are from an older occupation in the cave, ca. 31-33,000 years ago.
Hohle Fels was discovered in the 1870s and first excavated in the late 1950s, when undisturbed Paleolithic sediments were found. Excavations have been ongoing since the 1970s, led first by Joachim Hahn and beginning in the 1990s by Nicholas Conard. (via Hohle Fels (Germany).
These items, especially the two Löwenmensch seemed ‘polished from heavy handling, suggesting that rather than sitting on a shelf as an artifact to be admired’.
The importance of being the Löwenmensch
These ivory artifacts are vital to the European historical narrative being developed over the last 20 years – based on these finds.
Dr.Conard in another paper claims, ‘The ivory figurines from Swabia represent one of the earliest artistic traditions worldwide”. A related academic paper on this period goes on to say,
Indeed, how can we not see, in the numerous and varied ornaments, sculpted stone blocks, ivory statuettes or bone, antler and ivory spear points, evidence of a significant and abrupt mutation in the long history of human evolution?’.
Figurines apart, there are the odd musical instruments, which too are of ivory. Musical instruments made and used more than 30,000 years ago – in what is called as the Aurignacian period.
These incredible finds must have a credible theory behind it.
More can be read about it at: http://2ndlook.wordpress.com/2011/06/04/lowenmensch-puzzle-am-i-missing-something/
I went to a talk today at the Lincoln Center called Soul Music – a discussion on the nature of the soul, and how it relates to the experience of music. What makes music soulful, and what transforms an ‘ordinary’ musical experience into something transcendent?
The panelists were mostly unknown to me – a well known archaeologist -Alison Brooks, and a philosopher – David Chalmers. The one I did know was Philip Glass, whose career as a composer has been quite prolific and varied.
The talk began with a performance of shape note singing by a group called Sacred Harp. I had never heard of it before, and was surprised twice – when my first reaction to the sound was not so positive – there was an earthiness, a very human imperfection in their harmonies and exuberance which felt somehow jarring for a moment. Then all of a sudden the sound hit my heart and tears sprang to my eyes. It was quite powerfully beautiful. The songs they sang were composed in the 17th and 18th centuries by American Christian settlers and were designed to be sung by everyone in a congregation, whether musically literate or not – hence the term ‘shape note’ – the notation was written in shapes like squares and triangles instead of in the more traditional way,to make it all the more easy for anyone to read the music by sight. Listening, I suddenly got goosebumps all over – there was such joy and devotion in their song, and their harmonies were unusual and almost otherwordly. Here’s an example.
There is just something so deeply moving about unaccompanied voices. In that moment the body is used an instrument, literally and figuratively, and when done in community, I think it has the power to change the world, from the inside, out. I could see this yesterday during the monthly 6 hour kirtan at the Bhakti Center. Such a diversity of people came – it was incredible. At one point I was dancing and noticed a young woman who had just come in mouth incredulously to her friend, ‘Everyone looks so happy!’ She nodded, amazed. It’s true, we were. Though we all have a myriad of trialling circumstances to return to when it’s all over, kirtan, sacred call and response singing, connects us deeply with one another and with a timeless divinity that brings a feeling of profound happiness. The leader of the Sacred Harp group today said something beautiful about the spirituality of their music, that the singing is ‘communal property – people are drawn to it because the sound of these voices together is not ours, just as our soul is not ours.’
So it was quite interesting to hear the panelists grappling with the deeper philosophy behind why we feel this way. Of course for me, coming from a spiritual tradition that can totally explain the nature of the soul and the context that it sits within, it is always fascinating to hear others working over the discussion. Each of them stated that they had little insight into it, but attempted to examine it from different angles. Philip Glass talked about his experience of composing, being totally mysterious. He said that he can never actually remember composing anything, and feels the sense of ‘a witness’ who watches and remembers what he does, who takes over in those moments, leaving him unable to explain why he created in the way he did. It sounds to me like ‘Paramatma’ the divine within who witnesses our every moment, but of course it can be justified in many ways.
So much to write about on this topic – so much to explore! For now, here’s a logo I’ve been designing for the newly founded Call and Response Foundation – set up to bring kirtan and creative communal experiences into schools, prisons, hospitals and more. It’s a work in progress.
I went to a talk today at the Lincoln Center called Soul Music – a discussion on the nature of the soul, and how it relates to the experience of music. What makes music soulful, and what transforms an ‘ordinary’ musical experience into something transcendent?
The panelists were mostly unknown to me – a well known archaeologist -Alison Brooks, and a philosopher – David Chalmers. The one I did know was Philip Glass, whose career as a composer has been quite prolific and varied.
The talk began with a performance of shape note singing by a group called Sacred Harp. I had never heard of it before, and was surprised twice – when my first reaction to the sound was not so positive – there was an earthiness, a very human imperfection in their harmonies and exuberance which felt somehow jarring for a moment. Then all of a sudden the sound hit my heart and tears sprang to my eyes. It was quite powerfully beautiful. The songs they sang were composed in the 17th and 18th centuries by American Christian settlers and were designed to be sung by everyone in a congregation, whether musically literate or not – hence the term ‘shape note’ – the notation was written in shapes like squares and triangles instead of in the more traditional way,to make it all the more easy for anyone to read the music by sight. Listening, I suddenly got goosebumps all over – there was such joy and devotion in their song, and their harmonies were unusual and almost otherwordly. Here’s an example.
There is just something so deeply moving about unaccompanied voices. In that moment the body is used an instrument, literally and figuratively, and when done in community, I think it has the power to change the world, from the inside, out. I could see this yesterday during the monthly 6 hour kirtan at the Bhakti Center. Such a diversity of people came – it was incredible. At one point I was dancing and noticed a young woman who had just come in mouth incredulously to her friend, ‘Everyone looks so happy!’ She nodded, amazed. It’s true, we were. Though we all have a myriad of trialling circumstances to return to when it’s all over, kirtan, sacred call and response singing, connects us deeply with one another and with a timeless divinity that brings a feeling of profound happiness. The leader of the Sacred Harp group today said something beautiful about the spirituality of their music, that the singing is ‘communal property – people are drawn to it because the sound of these voices together is not ours, just as our soul is not ours.’
So it was quite interesting to hear the panelists grappling with the deeper philosophy behind why we feel this way. Of course for me, coming from a spiritual tradition that can totally explain the nature of the soul and the context that it sits within, it is always fascinating to hear others working over the discussion. Each of them stated that they had little insight into it, but attempted to examine it from different angles. Philip Glass talked about his experience of composing, being totally mysterious. He said that he can never actually remember composing anything, and feels the sense of ‘a witness’ who watches and remembers what he does, who takes over in those moments, leaving him unable to explain why he created in the way he did. It sounds to me like ‘Paramatma’ the divine within who witnesses our every moment, but of course it can be justified in many ways.
So much to write about on this topic – so much to explore! For now, here’s a logo I’ve been designing for the newly founded Call and Response Foundation – set up to bring kirtan and creative communal experiences into schools, prisons, hospitals and more. It’s a work in progress.