The myth of progress

Flying on a magic carpet.
Flying on a magic carpet.

By Sharon St Joan

It’s not that there’s no such thing as progress. Indeed there is.

If I want to travel around the world, I’ll take a plane. I won’t set out walking, or take a sailing ship, or sit by the roadside waiting for a magic carpet to appear out of the clouds.

If I fall down the stairs and break a leg, I will go to the hospital because waiting for it to get better by itself is not going to work well.

If I want to go into town I will use a car, not a horse and buggy.

All this being said, there is a very large aspect of the way we think about progress in the modern world that is illusory. It is not true.

Really, there are two ways of viewing history — the cyclical view and the linear view.

In the cyclical view, there are several ages, following each other, until eventually, the whole complete world cycle ends and begins anew.

If we’ve grown up in the west or if we’ve been heavily influenced by western culture, then we are going to lean towards the linear view of world history. It’s imprinted inside our heads, and, without our being conscious of it, it colors most of our perceptions and expectations.

According to the western worldview, history is linear. First there is prehistory and then there is an ascending line on an upwards trajectory, which is called “progress.” It is a basic part of our thinking. If we look far enough back into the past, we see hunter/gatherers, the introduction of farming, the invention of the wheel, the beginnings of civilization. Pretty soon along come the Greeks and the Romans. Then there are the middle ages, the renaissance, the industrial revolution, then along come lots of inventions, like central heating, TV, computers, and sending a man to the moon. (As you can see, this is all very Eurocentric.) It all goes upward and ever upward, as we humans progress to higher levels of technology and “better” lives.

But this is not the only way to view the past and the present. For many cultures throughout the world, there has traditionally been another model of history. In India, and also among many other peoples, including Native Americans in both North and South America, history has been seen as cyclical. Even the Greeks and the Romans believed in a succession of ages, and there is a reference to this view also in the Bible, in the Book of Daniel.

The Greek poet, Homer.
The Greek poet, Homer.

One of the key differences between these two views is that, from the cyclical worldview, “progress” isn’t necessarily progress, and our “inevitable” evolution upwards to grander and grander heights is very much in doubt.

In other word, things may not inevitably be getting better and better, and our common sense tends to agree with this observation. It may be that, all this time, the human race has been de-volving instead of e-volving.

Let’s look at it this way for a moment. There is a good chance, since you are reading this, that you live a fairly comfortable existence. This is not necessarily true, and there can be exceptions, but most likely, you are not living in a hut made of old tires and rusty hubcaps, on the banks of what used to be a river, but is now a creek filled with garbage. Instead, you have a nice home. In your home there is most likely central heating, air conditioning, a TV, computers – it is a place with modern conveniences.

We enjoy our central heating because it keeps us warm, and we wouldn’t have been happy in the European middle ages, where even aristocrats lived in cold castles – and peasants lived in squalid huts. We may say to ourselves that whatever view of history may be true (and whatever personal problems we might currently have), things are far better now in the modern world than they used to be hundreds of years ago. If we say this, then what we are expressing is a western/modern perspective; and whatever country we may live in, this is a middle or upper class view.

Suppose for a moment that instead of being you or me, living in our comfortable surroundings, we are a poor child in a developing country who lives on a giant mound of garbage which she picks through from morning to night to make a few cents a day. Suppose we are one of the billions of people who have no clean water to drink. Or one of the billions who live in horrible slums. Suppose we live in a war-torn region of central Africa, where there is hardly even a memory of any security or safety?

You and I are exceptions, and though we all do have our own problems and difficulties, (which may from time to time seem insurmountable), generally speaking, we are blessed to live in fairly decent or even very comfortable circumstances.

This means that, unless we stop to think and look around us, we may not notice that most people in the world live in conditions far worse than they would have lived in hundreds or thousands of years ago. Is it really true that the average person in the world is better off now? No, it really isn’t.

The great bath at Mohenjo Daro.
The great bath at Mohenjo Daro.

If we had lived around the year 2300 BCE in the city of Mohenjo Daro, part of the ancient Indian Indus Valley civilization, now in modern Pakistan, we might well have lived in a two story house, with a plumbing system, a furnace, and an inner courtyard lined with trees. We would have lived in clean, comfortable surroundings in a well-designed, beautiful city.

If we had lived around 1500 BCE in the Minoan city Knossos on the island of Crete, we would have lived in a city that delivered clean water through pipes into the homes of around 100,000 people and had an advanced plumbing and sewage system. We would have been surrounded by a vibrant culture that produced beautiful art, which can still be seen in murals on the walls of Knossos.

The Throne Room at Knossos.
The Throne Room at Knossos.

I can hear a voice saying, but wait – these two examples are not typical! Okay, that may be true; if these two advanced societies might be considered exceptions on the world stage, then what about life in a tribal society?

To be continued in part two…

To read part two, click here.

 

Photos:

Top photo: Author (artist): Viktor M. Vasnetsov (1848–1926) / Wikimedia Commons /”This is a faithful photographic reproduction of a two-dimensional, public domain work of art. Such reproductions are in the public domain in the United States.”

Second photo: “This work has been released into the public domain by its author, JW1805 at the wikipedia project. This applies worldwide.” / Wikimedia Commons / A bust of Homer in the British Museum, London.

Third photo: Wikimedia Commons / “This file is licensed under Creative Commons ShareAlike 1.0 License.” / Original uploader was M.Imran at en.wikipedia / The great bath at Mohenjo Daro.

Fourth photo: “This Wikipedia and Wikimedia Commons image is from the user Chris 73 and is freely available at http://commons.wikimedia.org/wiki/File:Throne_Hall_Knossos.jpg under the creative commons cc-by-sa 3.0 license.”

 

 © Sharon St Joan, 2013

To find Sharon’s ebook, Glimpses of Kanchi, on Amazon, click here.

 

 

 

Nelson Mandela

 

Nelson_Mandela,_2000_(4)

 

Without the leadership of Nelson Mandela, there is no doubt that South Africa would have descended into chaos. He turned the looming prospect of turmoil and upheaval into a beacon of light for the nations.

 

The amazing courage he exemplified in his lifetime, together with his great spirit, which enabled him to embrace his enemies — made him one of the greatest men in history — leading the way forward to peace and justice.

 

He was born into a tribal royal family, but spent his early years tending sheep in the hills. He became a boxer, then a lawyer.

 

He started the armed wing of the ANC, launching a course of armed struggle. He spent 27 years in brutal prisonment.

 

Upon his release from prison, he set South Africa not on a course of vengeance, but instead on a course of reconciliation. The Truth and Reconciliation hearings that he initiated allowed the truth of profound injustice to be exposed, and to be followed not by violence and recrimination, but by peace.

 

His road from prisoner to president exemplified far more than a mere personal victory. It was a victory of truth, love, wisdom, and the power of unity over the forces of hatred and chaos.

 

How many short-sighted, devastating wars, how many millions of deaths and injuries, and how many injustices that plague today’s world might have been prevented had there been more Nelson Mandelas – more voices of clarity, vision, and compassion?

 

Having led a life of immense grace and dignity, Nelson Mandela has gone on to the peace of eternity.

 

May we find the courage to follow in his footsteps. May we also take up the spiritual power of positivity, of grace, unity, and transformation.

 

 

Photo: from Wikimedia Commons / Author: Library of the London School of Economics and Political Science / “This image, originally posted to Flickr, was reviewed on May 29, 2011 by the administrator or reviewer File Upload Bot (Magnus Manske), who confirmed that it was available on Flickr under the stated license on that date.” 

Ganesha

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Making his way among the rained-on, green leaves and brush, the great elephant walks through the forest, clearing a path for all the other forest animals as he goes.  He pushes aside obstacles with ease. A being of immense power and strength, he never uses force to oppress others.  Indeed, he is kind and beneficent, a protective power.  Among the gentlest and wisest of beings, he is a vegetarian, though it must be admitted that he does gobble down a huge quantity of plants – sometimes nearly half a ton each day.

 

Ganesha, the beloved and most popular God of the Hindu people, is an elephant God, with an elephant’s head.

 

There are many variations of stories told to explain how Ganesha has the head of an elephant – some of the stories are a bit bizarre and depict other Gods behaving rather badly – chopping off Ganesha’s head when he was a young boy, and then finding another one to replace it. However, they are allegories, not meant to be taken literally, and they reflect deeper cosmic realities.

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In whatever way Ganesha obtained it, his new head worked out really well, and he couldn’t have asked for a more propitious head. It was endowed with the wonderful natural qualities of the elephant – gentleness and strength, great wisdom and intelligence, a keen enjoyment of life, along with overflowing generosity that  bestows good fortune, peace, blessings, and success on all who seek his help.

 

His huge elephant ears signify his willingness to listen to all those seeking his help.

 

All Hindu prayers begin with an invocation to Ganesha, who is never too far away and is always within reach of the person who prays.

 

The celebration of Ganesh Chaturthi, which marks the birth or re-birth of Ganesha, lasts for several days and takes place during the lunar month of Bhadrapada  (mid-August to mid-September). In 2013 the celebration runs from September 9 through September 18.

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Traditionally, as part of the festival, large clay statues of Ganesha were made out of mud or clay, carried through the streets and then ritually immersed in bodies of water.  In recent years however, the practice grew up of making these statues out of plaster of Paris, a harmful substance that pollutes streams and lakes.  Now there are efforts to return to the original practice of using natural clay instead, which does not harm the environment or the birds, animals, and fish in the water.

 

Sadly, over time, people have tended to forget that wild animals, including elephants, should not be taken out of the wild, where they are meant to be and where they are happiest.  Today there are elephants kept captive in many temples in India. Worshippers who pass by ask blessings of the temple elephant, never thinking that it is uncomfortable for her to be standing on the hard pavement hour after hour.

 

In honor of Ganesha, it is to be hoped that soon temples can set aside some acres of land, covered in grass and trees, with a pond – to be a sanctuary for elephants. Though these sanctuaries wouldn’t be the same as being in the wild, they would nonetheless offer a comfortable shady spot, a quiet place for the elephant and her elephant friends to rest and be at peace, where they can still bless devotees from a distance.  Their blessings, given from a place of comfort, will no doubt be all the more effective and auspicious.

 

Ganesha is not only a God of great power, he is also warm, jovial, and friendly. He is the God of knowledge, well-being, and success — in short, of positivity. Depicted as a plump, rather roly-poly being who loves life; he is often shown playing the flute or dancing. In Hindu homes and temples, he graces people’s lives with his presence. The vehicle that he rides on is an animal without pretentions of grandeur — his vahana is a simple mouse.

 

Early on, around two thousand years ago, the worship of Ganesha spread from Hinduism to Jainism and to Buddhism. When Buddhism was carried from India by missionaries, worship of Ganesha took hold in Japan, Tibet, China, and throughout southeast Asia.

 

According to a system of worship formalized by the saint Adi Shankar, in the eighth century CE, Ganesha is one of the five primary deities of Hinduism. The others are Shiva, Vishnu, Devi, and Surya.  There are many thousands more deities too, and each one may have thousands of names, so it is quite complicated.

442px-Ganesha_Basohli_miniature_circa_1730_Dubost_p73

 

Ganesha’s elephant head symbolizes the soul, while his human body signifies the earthly existence of human beings. His trunk represents the syllable om, the eternal sound of cosmic reality.

 

Ganesha is a scribe, and he wrote down the whole epic poem, the Mahabharata, as it was being dictated to him by the sage Vyasa.  It is 18 volumes long, so it took a lot of writing.  Ganesha was using a quill pen, but at one point it broke.  He didn’t want to stop, so he broke off one of his own tusks to use as a pen, so he could continue to write.  Now he is always shown with only one complete tusk, and the other one is broken.  His one tusk has another meaning too.  It stands for Advaita Vedanta, which is the predominant, non-dualistic form of Hinduism. It recognizes the soul and all beings as being part of God and returning to God. In other words, there is One Eternal Power in the universe, not two competing ones. Evil does exist, but it is not permanent and has no ultimate reality.

 

Many volumes have been written, and many more could be written, about the beloved Ganesha. So this is only the briefest of introductions.

 

In prayers and rituals, Ganesha is addressed first before other Gods because he opens the way for the soul on its journey towards the divine; he provides the bridge between earth and heaven – and also the pathway from heaven to earth, by which blessings descend.

To learn more about Ganesha, these books are available at Amazon.com:

 

Ganesha: The Auspicious…The Beginning by Nanditha Krishna and Shakunthala Jagannathan  To view this book on Amazon.com, click here

 

Sacred Animals of India by Nanditha Krishna  To view this book on Amazon.com, click here.

 

Photos:

Top photo: Author: Quadell / Wikimedia Commons / “This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.” / “Seated Ganesha 12th-13th century Hoysala dynasty Chloritic schist, Halebid, Karnataka, India This sculpture displays the ornate carving and exuberant decoration characteristic of art created under the Hoysala dynasty (1042–1346). The decorated floral arch surrounding the sculpture suggests that it once occupied a cell or niche in a temple. Housed in the Arthur M. Sackler Gallery in the Smithsonian, Washington, D.C.[1]”

 

Second photo: Sharon St Joan / Elephant on the wall “Descent of the Ganges” at Mahabalipuram

 

Third photo:  Sharon St Joan / On the first day of the holiday Ganesh Chaturthi in 2010, these elephants lined up on the river that runs through Samburu in Kenya, as if to wish Ganesha Happy Birthday.

 

Fourth photo: Wikimedia Commons / “This image… is in the public domain because its copyright has expired. This applies to Australia, the European Union and those countries with a copyright term of life of the author plus 70 years…You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.”/ “Basohli miniature, circa 1730. National Museum, New Delhi” / “Original uploader was Buddhipriya at en.wikipedia” / “Ganesha getting ready to throw his lotus.”

KENYA: Daphne Sheldrick’s “Love, Life, and Elephants”

rowofelesphShKenya2010SamburucroppedDSC04011

In an interview by Jim Fleming on Wisconsin Public Radio’s “To the best of our knowledge,” Daphne Sheldrick talks about her book, Love, Life, and Elephants.

She had known Eleanor since she was a two year old orphan and had successfully rehabilitated her back into a wild herd.  Occasionally, she went to visit Eleanor, who would come over, greeting her affectionately.  They would spend a few moments together, and then Eleanor would go back to her herd.  One day Daphne Sheldrick wanted to introduce Eleanor to one of her human friends.  They set off to find her, and thought they had spotted her by a waterhole.  She didn’t look quite the same, but she was standing there quite unafraid, so it had to be Eleanor.  When called, she came over.  Daphne Sheldrick stood next to her and put her hand up to touch her behind the ear, as she always did with Eleanor.

It was then that she realized her mistake.  The elephant was startled and lashed out, using the same amount of force she would have used with another elephant, sending Daphne Sheldrick sprawling on the ground.  A moment later she felt the elephant trying to pick her up with her tusks.  With her knowledge of elephants, she knew the elephant would already have killed her if that was her intention.  Instead, she was trying to help her.  Daphne Sheldrick had a broken leg.  The elephant gently touched her with her trunk, trying to help, but seeing that there was nothing she could do, after a few minutes, she turned and walked away.

Daphne Sheldrick discovered later that this elephant, who she called Kathryn, was Eleanor’s best friend, and apparently the two must have had a talk with each other about Daphne Sheldrick, because Kathryn, a wild elephant, had immediately trusted her and even came when called. Kathryn only lashed out when she was unexpectedly startled, and then she was sorry, not having intended to cause any harm.

Daphne Sheldrick’s book, Love, Life, and Elephants recounts stories of a lifetime of profound experiences with elephants and other wild animals.  Of the elephants, she says they are very similar emotionally to humans.  She is convinced that they communicate telepathically, citing the story of Eleanor and Kathryn, but says that they are “very much nicer than humans.”

David Sheldrick, when he was alive was the founder warden of Tsavo National Park, which is the size of Michigan and which holds the largest population of wild elephants in Kenya.  Daphne Sheldrick worked in the park with her husband, and together they began to care for and rehabilitate orphaned wildlife.  After David Sheldrick’s death in 1977, she continued this work and founded The David Sheldrick Wildlife Trust, in memory of her husband.  Courtesy of the Kenyan government, she has lived and worked in the Nairobi National Park since that time, caring for wildlife, with a dedicated staff, at the Orphan’s Nursery.

To hear this Wisconsin Public Radio interview with Daphne Shelton online, click here.

 

To visit the website of the David Sheldrick Wildlife Trust, click here.

 

Photo:  Sharon St Joan / wild elephants at Samburu National Park in Kenya

The music of Dhevdhas Nair, in his own words, part four

 

ancient trees, river walk, Chagford,resized

By Elizabeth Doyle

 

Dhevdhas Nair is a musician you really have to hear to believe. (You can sample or buy an album here:  https://www.dhevdhasnair.com/audio 

 

This is Part Four of a four-part interview.

 

To start at the beginning with Part One, click here

 

Me: I know that there’s an interesting inspiration behind your album, “Inbetween and passing” related to a small community in South America. I read the album cover, so I’ve cheated. But for everyone else, can you tell us about that and how the tracks on the album relate to it?

 

He: The track “Gaviotas” on my album was written as a celebration of and in dedication to the people of the town of the same name in Colombia who have shown the world that it is possible to take a region and a people who have been ravaged by the violence and barbarism of the modern world, and turn them round to face the possibility of a humane, sustainable future, meeting the needs that all people everywhere have always had; bread, freedom, dignity, and social justice. They have planted millions of trees, farm organically and use wind and solar power. Every family enjoys free housing, community meals and schooling. There are no weapons, no police, no jail. There is no mayor. The United Nations named the village a model of sustainable development. All this in an area that had all but been destroyed by logging and mining, and where many of the inhabitants had come from drug and violent gang-related conflict situations. I learnt about the place through a friend of mine, the writer Terri Windling, who lives in my village on Dartmoor. She had a visitor from the U.S. one day, Alan Weisman, who had written a book about Gaviotas, and as he described what they had done, I knew that it was important to celebrate their achievements and pass the word on that another world is possible.

 

temple proc trivandrum boys,resized

 

Me: Now, these questions are a little more dull in some ways, but I think that everyone likes to know a little basic biographical information about artists they appreciate. So can you tell us a little bit about your background and how you got started playing music?

 

He: I started piano lessons at the age of 8 by accident! My mum was struggling to survive in London on her own with two children and took advantage of a government funded place for me and my brother at two different boarding schools. After my first term, I came home and said to her, “thanks for the piano lessons!” And she said “what piano lessons?” Apparently I had been given a terms lessons that were meant for someone else! Anyway I carried on. And when I got a Beatles songbook, I found that I could read the music and play just like on the records I knew so well. That was really exciting. By the age of 14 I was playing with bands in North London, rehearsing in a room above Susan’s Music Shop in Chapel Market, at the Angel, Islington. I knew even at that stage that I wanted to play music and I wasn’t really interested in being at school, since it was only slowing my career down. At 18, I left England with a Sudanese bass player friend of mine and lived in Khartoum for a year where my real apprenticeship took place, playing every night in the Blue Nile Club with a fantastic band, “The Heavy Ducks” (!!) We also played for many weddings and functions in the desert around Khartoum, in Omdurman, and Port Sudan on the Red Sea Coast.

 

Dartmoor mist,resized

 

I’ve been a full time player ever since. My career as a performer has divided roughly into three phases, African music, Indian music, and Jazz. These days I’m on the road a little less, doing more writing and recording and a bit of teaching piano. I taught on the jazz degree course at Exeter University for four years, and am currently visiting jazz piano teacher at Wells Cathedral School in Somerset, and at Hampton School in Twickenham. I toured with African bands all over Europe and in East and Southern Africa. For two years I lived and worked in Paris, where there was, and still is a thriving African music scene. After studying Indian music I toured with Indian musicians and dance and theatre companies in India and Europe. When I settled in the West Country, I began playing jazz and this took me all over the UK and Europe again, with several radio and TV appearances and participation on an album “Limbic System” with the amazing saxophone player Harry Fulcher, which reached the top ten jazz albums in the UK in 2004.

 

I have had the good fortune to have grown up with one foot in England, where my father was from, and where I was born, and the other hovering over India and South East Asia, where my mother comes from. I’ve been many times to India and love being there. I’m hoping to spend a lot more time there in the future. It means that I have always had a wider perspective on the world, a chance to see things from many angles, and not get stuck in a Western-centred viewpoint.

 

 

To order the album “Inbetween and Passing” by Dhevdhas Nair, if you live outside the UK, go to http://www.cdbaby.com/

 

In the UK, click here.

 

UPDATE (March 11, 2018): To listen to Dhevdhas Nair’s beautiful music, go to https://www.dhevdhasnair.com/audio

 

Photos: © Dhevdhas Nair

Top photo: Ancient trees, river walk, at Chagford, a little town on the edge of Dartmoor

Second photo: Boys in a temple procession, Trivandrum, Kerala, India

Third photo: View of Dartmoor, early morning

 

 

 

The music of Dhevdhas Nair, in his own words, part three

across the hill from the studio resized

By Elizabeth Doyle

Dhevdhas Nair is a musician you really have to hear to believe. (You can sample or buy an album here:  http://www.dhevdhasnair.com/id9.html

To read Part One first, click here


Me: Are you a spiritual person? Does religion or spirituality play any role in your compositions?

He: Not in a formal sense. Although I have been on several Buddhist retreats from various traditions and teachers, I don’t see myself as belonging to any particular religion. If anything, the Deer Park near my home on Dartmoor, with its magnificent trees is my cathedral. Having said that, when I create music, I feel such a sense of ……how do I describe it? Love, emotion, reverence. Every time I listen back to the compositions, I get the same supercharged feelings of the importance of creating beauty in the world and it moves me very strongly. And I feel that same charge while I am working on the music. I guess you could call it a spiritual state of mind.

Me: I know that you borrow musical traditions from different parts of the globe. Can you tell us a little bit about that and what you feel some of the musical strengths of different corners of the world are?

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He: My father had an amazing music collection, from Bach, Mozart, Beethoven, Wagner (not so much my cup of tea!) and Indian classical music, to the Beatles. Early on, I discovered jazz, and fell completely in love with North Indian classical music, initially ragas and folk and light classical music played on the flute. Its hard to say what moves me about music from different parts of the world. I seem to go through different phases as I pass through my own different phases of life.

When I was about 14 I found a cassette in my local library of a field recording made in the 1930s of a group of Australian Aboriginal men singing. It had a profound effect on me. Here was music that spoke of a world so utterly different from my own, yet which had universal qualities of a delicate, achingly beautiful humanity that reached across the ages and opened my eyes and ears to a timeless, eternal song of life.

Mumbai NCPA in Mumbai, taken by Tao Issaroresized

As a teenager and young man, I got into African music, mostly West African hi-life. I found it expressed so well the sheer exuberance and joy of life, and was so danceable. I played with various African bands for many years, in Europe and Africa. I was in a band called Sankomota that had a number one album in the black music charts in South Africa before the end of Apartheid. We were actually banned in the country, but our album went to number one and eventually the ban was lifted and we went to play to 25,000 people in Jabulani Stadium in Soweto. I used to love it that people danced when we played. Then I spent time studying Indian music and turned to the more contemplative, poetic side of music – music that paints pictures of stillness, beauty in nature, and the delicacies and vulnerabilities of human emotions. Next I developed skills in the language of jazz which fortuitously had the capacity to absorb and contain all the previous musical strands of my life. Within the freedom of jazz I found I could draw upon those influences from India, Africa, Europe, and South East Asia.

In today’s super connected world, we can hear music from anywhere and everywhere, all clothed in the various colours of their respective cultures, but all pointing to the same truth, that music is as essential to human beings as food, water and shelter.

To be continued…

To go to part four, click here.

To order the album Inbetween and Passing by Dhevdhas Nair, if you live outside the UK, go to  http://www.cdbaby.com/

 

In the UK, click here.

 

Top photo: © Dhevdhas Nair / Across the hill from the studio

Second photo: © Dhevdhas Nair / Street musician family in Mumbai

Third photo: © Tao Issaro / 

Dhevdhas Nair at the National Centre for the Performing Arts in Mumbai

The music of Dhevdhas Nair, in his own words, part two

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By Elizabeth Doyle

Dhevdhas Nair is a musician you really have to hear to believe. (You can sample or buy an album here:  http://www.dhevdhasnair.com/id9.html)

In Part One, Dhevdhas describes a remarkable moment when he is playing with a band in the Sudan. To read Part One first, click here.

He: It was a huge open plan studio and they had just finished reading the news at the other side – and the place erupted, cameramen, technicians, newsreader, everyone started cheering and dancing, there were big smiles everywhere, and we all knew something very special was happening. Afterwards the band stumbled out somewhat dazed, to sit under a tree and recover. It was wonderful but a little unnerving too. And I knew then just what live music was capable of and I definitely wanted more! I think that is really why people go to concerts. Because every now and then, this amazing thing happens and off we all go on a journey together which is so fulfilling and nourishing, and if I can play a part in making it happen, I consider it a good night’s work.

It’s a slightly different process sitting alone in the studio, at the piano, composing, but really I think the source is same – from somewhere in the depths of a collective consciousness, stories emerge that speak to a common experience of being alive, and although the message is universal, the medium has to be culturally specific in order to be communicated. Specific in the sense of using a mutually intelligible language to share the story, in my case the musical language made up of my cultural influences, living in this place at this time in history.

Me: You play several instruments, I know, including the piano and dulcimer. Which instrument is your true love?

He: Actually, I think that the process itself is my true love, rather than any individual instrument… the way that music flows through if you open the right doors. I certainly get the same sense of freedom and abandonment when that mysterious energy takes over, whether I’m playing piano, dulcimer, or an old dustbin lid!

Me: Set the stage for me of what it looks like when you’re composing music. Are you sitting in a room by yourself with a pen and paper? Are you fooling around on your piano? Walking in the woods? Listening to an album?

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He: I’m in my studio. I have a wonderful old converted barn with views over Dartmoor, a wilderness region in the South West of England. Its full of instruments, my Bechstein grand piano, dulcimer, lots of drums and percussion, piano accordion, harmonium, oud (arabic lute), as well as all the techie stuff you need to record with.

ancient trees 2, resized

Usually, pieces start as improvisations on the piano. The most productive time is when I have just come in from a walk on the moors. Dartmoor has quite a varied topography; there are high bleak moors, deep wooded valleys, and rushing, pure rivers strewn with granite boulders. There is an elemental energy in the landscape that seems to translate directly into musical energy as soon as I sit down. Often, the very first thing I play contains the basic idea for a piece. I need to repeat it quickly and write it down, or record it, or I’m likely to lose it in the ongoing flow of ideas. It almost seems as if I’m taking or absorbing that wilderness energy, turning it round, and sending it back to people who live in cities so that they can at least taste a little of it through the music. I remember when I was writing the first track, mudra mix, looking out of the window across the hills, with one hand over the dulcimer, and the other over the recording button, being filled with a huge sense of fulfilment and gratitude – I suddenly realised that after so many years of working and aiming for a goal of creativity and musicianship, here I was…. in this beautiful place, letting this beautiful music come through, actually doing what I had always imagined I wanted to do.

To be continued…

To go to part three, click here.

To order the album Inbetween and Passing by Dhevdhas Nair, if you live outside the UK, go to  http://www.cdbaby.com.

In the UK, click here.  

Photos: © Dhevdhas Nair

Top photo: Dhevdhas Nair with a santoor

Second photo: View from Eaglehurst in Dartmoor, in the UK

Third photo: An ancient tree

The music of Dhevdhas Nair, in his own words, part one

800px-Hammered_dulcimer

By Elizabeth Doyle

Dhevdhas Nair is a musician you really have to hear to believe. (You can sample or buy an album here:  http://www.dhevdhasnair.com/id9.html)

His music isn’t quite describable, but I would say that it’s a mixture of thoughts, translated into notes that are trickled over an emotional baseline expressed in a musical background.

It would be easy to say something like he combines classical Indian with African music and American Jazz. But really, he just makes his own music, and different traditions from around the world feed into his musical vocabulary as he goes along. That’s how it seems to me.  And what’s most important about what he does isn’t the tribute he’s paying to a particular style, but the experience he’s trying to give the listener – in that way that each of us has a message that no one else can share.

I got the chance to ask Dhevdhas some questions about his music, to give us a “musical appreciation” course on his work.  And this is what he said:

Me:  I’ve never heard arrangements like yours before. Sometimes, a new melody or a new instrument will enter the music that seems almost like a non-sequitur. And for a moment, I feel like it’s not going to work, and then it does. Do you know what I’m talking about? Is this a conscious decision? Are you intentionally layering “thoughts” on top of moods that don’t instantly seem related?

800px-View_to_Sharpitor_from_Meavy

He:  I’m aware that I sometimes put different sections up against each other which don’t have an immediate or obvious connection. I don’t stop too long to think about it – it comes out that way, and I tend to go with the order that ideas appear. I trust in the process, which sometimes doesn’t always seem to make sense at the time. I sort of hear in my head what needs to come next, I open to it, and out it comes from my fingers onto the instrument, the piano, dulcimer or percussion, accordion, or whatever.

Me: What are you usually trying to “show” us with your music? Is it something you sense that you can’t describe but want to share? Is it something you know about mentally and emotionally that you’re trying to share in a creative way? What’s driving you to want to communicate with me and everyone else through sound?

He: One of my jobs as a musician is to enable and encourage an experience of celebration, reflection and self exploration, and to accompany an audience on a journey that takes place in the realm of the inner life, but curiously is initiated by a shared external stimulus – organised sound. I suppose all forms of art and expression have this core function, the awakening of each individual to their own inner landscape which is often buried under layers of thought and the noise of our everyday minds. Music does have a way of getting through where language sometimes gets stuck. And there is a mysterious energy in there which, if you’re lucky, sometimes leaps right out into the room and transports everyone, the musicians and the audience into a rich experience.

Jebel_barkal_rock

Quite early in my career, when I was 18 years old, I was living and working with a band in Khartoum, in the Sudan. It was a great band, the most modern, cool band in Khartoum at the time, playing a blend of American-inspired jazz funk and African dance music. One day we were setting up in the main television studios to do a live broadcast, and while still tuning and getting ready we gradually fell into a completely unrehearsed improvisation, each member joining in until the whole band was playing. And something very strange began to happen. Somehow, I knew exactly what the guitarist was going to play before he played it, so I was able to play the same chords, notes and rhythm with him. It was an uncanny kind of telepathy. I distinctly remember looking down at my hands playing the keyboard and thinking “I’m not doing this, they’re just playing themselves”, and looking up to see that everyone in the band was having the same experience. We were staring at each other with the same bewildered expression on our faces, like…what is going on here? It was exactly as if someone or something was playing through us, and our individual identities disappeared as we blended into one perfect voice. It was the best piece of music we ever did, even though we had no idea what we were playing (and of course it didn’t get recorded!)

To be continued…

To go to part two, click here.

 

To order the album Inbetween and Passing by Dhevdhas Nair, if you live outside the UK, go to http://www.cdbaby.com.

In the UK, click here.

Top photo: “Photo of a hammered dulcimer, taken in Portland OR by Dvortygirl, 7/17/05” / Wikimedia Commons / “I, the copyright holder of this work, release this work into the public domain…”

 

Second photo: Author: Maarten van Beek (wiki@maartenvanbeek.nl) / Wikimedia Commons / “The copyright holder of this file allows anyone to use it for any purpose, provided that the author Maarten van Beek and the website http://www.maartenvanbeek.nl are properly attributed.” / “Jebel Barkal near Karima, Sudan, site of the ancient Kush capital of Napata.” 

Third photo: Author: Herby talk thyme / “Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License” / Wikimedia Commons / “View towards Sharpitor & Leather Tor down the valley of the river Meavy. The river Meavy is in the foregound. The forestry plantation is just above Burrator reservoir.” 

Gone

 

Gone,

Into the pale

Sun,

The barque,

Gliding on the blue,

The oarsman

Leaning on his willow

Pole, the fish, the ancient, glimmering

Fish of the Nile, all gone,

And none

Will awaken

Here again.

Gone

To where the Great Ones sail

Over the misted hills of gladness,

Climbing for awhile on the sparkling

Wind, after the rain,

In the stillness,

The Great Ones,

Ask not who they are,

Nor from where they arise,

For they have always been,

Only follow the dawn-

Bright

Trail

Of their wings across the skies.

Only follow,

Ever remembering though

To journey

First through

The far,

Dark

Country

Of the masked ones, beginning

At the call of the mystical rail

On the shores of the silver-lapping night.

 

Written in 2006

 

Photo: Stevepleydell / Dreamstime.com

 

Music: Nusrat Fateh Ali Khan, Tinariwen, and Yanni

 

By Elizabeth Doyle

Whirling dervishes, traditional Sufi dancers

Nusrat Fateh Ali Khan — Some people say that this man, with his six-octave vocal range was the best singer of all time.  Of all time!  I’m not quite ready to go that far, but he is incredible. He was a Pakistani who sang primarily Sufi songs.  Apparently, his family had a 600-year tradition of singing these songs, and Nusrat brought them all to new levels of fame, even recording soundtracks for major motion pictures. Tragically, he only lived to age 48. It was his liver or his heart or something; I’m not quite sure. But he certainly made an impact!  Click here.

 

 

 

Rock formations from Tambori, Mali

Tinariwen – If you liked the Sahara desert music from last week, here’s another band from the region. The Tuareg leader of the band comes from a refugee camp (Homelands of nomadic tribes of the Sahara have frequently been annexed by surrounding Saharan countries, which has resulted in refugee camps.) The band has a large cast of changing members, and they’ve really built their reputation through word of mouth around northern Africa. Many of the young men in the band have been soldiers, and they’ve used music to give a voice to the people of the desert. They’ve gained real international recognition for their exceptional work, they’re becoming surprisingly influential, musically speaking, and they’re definitely worth knowing about. Click here

 

Yanni

Yanni – OK, a lot of people make fun of Yanni. I think it’s the hair. Maybe the moustache. But Yanni is really talented. And Greece has every right to be as proud of him as it is! Back in Greece, Yanni taught himself how to play every instrument he knows, beginning at age six. He began writing his own music as a child. And he had no musical education of any kind. When he began making albums, he didn’t make anything that he had any reason to think would sell well. Instead, he made what he wanted to make. For a while, PBS (Public Broadcasting) was one of the only places you could see or hear his music. But he was so good, that he became famous anyway. He’s put a lot of the world’s music in the spotlight during his concerts, he’s known to be a genuine philanthropist who cares deeply about the plight of nature. In this video, he takes a moment to put the spotlight on a gentleman who can play a 3,000 year old Armenian instrument. Click here.

 

Top photo: diaz /Wikimedia Commons / This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license. / Whirling dervishes or Darveshes, Rumi Fest 2007.

Second photo:  Timm Guenther (Timm Busshaus) / Wikimedia Commons / This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. / Rock formation near Hombori, Mali

Third photo: Public domain press photo / Yanni