RockOm

The dictionary definitions are not enough for those of us who are alive to the sense of the sacred which we find in so many unexpected places ... and are often disappointed not to find in so many expected places.

Perhaps a better question is: what is the sense of the sacred? What does this word mean to us in a universal sense, in the context of our contemporary world of pluralism and multiculturalism, a world in unprecedented evolutionary crisis?

It is my belief, based on travel, research, and the experience of performing sacred music for people of radically different worldviews and religions, that religious tolerance, like interfaith dialogue, is growing by leaps and bounds, far outstripping the old intolerances and insularities we are all too familiar with. The mass media might make it seem otherwise --- but as we know, they thrive on bad news, and are parsimonious in reporting the good news which is happening right under their noses.

The best short response to this question I've heard is from Pierre Rabhi, founder of agro-ecology, and author of the book As in the Heart, So in the Earth : "The sense of the sacred is a sense of humility, where gratitude, knowledge, wonder, respect, and mystery all come together to inspire and enlighten our actions."

This would have seemed pretty obvious to people of ancient times. Only in the last few centuries of modernism and postmodernism has it become fashionable to ignore and disdain the sacred, much as it has become fashionable to ignore and disdain beauty, and to revere irony.

But for those who will not allow this sense to wither in them, listening to sacred music can be a heart-opening experience, even when it comes from a tradition or a culture which is strange or bizarre to them, even if they disagree with certain doctrines of that tradition, even if they reject all religion, and even if the music itself has no formal connection to any sacred tradition.

The awakening of this sense, at least in listening to music, does not depend on having specific beliefs, or even on knowing the meaning of the texts that are being sung or chanted (though it can of course be infinitely deepened by knowing and studying their meaning).

Music can be an ambassador for peace where other embassies have failed. I first learned about this power of music over twenty-five years ago, when I participated in a two-day conference at an American university, which sought to bring Jewish, Christian, and Muslim (mostly Arab, but a few Persian) students together in dialogue concerning the Palestinian problem. This was in the days of the Carter administration, when such hopeful attempts were more common. I was part of a small student musical group (oud, santur, percussion, guitar, and a male and female vocalist) thrown together at the last minute, and our job was to offer a short concert of a mixture of Arab and Jewish songs at the close of each session. The first day was very difficult, because we had to play after a stormy session with several shouting matches, much anger in the air, and little if any real dialogue. On the second day, we asked the directors to let us open the program instead of closing it. We had to beg, then insist, and they reluctantly agreed. What a difference it made! Not only was there no shouting during that conference, people really listened to each other --- and there were even some friendships made! I can't attribute it to the quality of our music (my oud-playing was pretty amateurish in those days), but I did learn something important about the power of the intent of music. Whatever our shortcomings as an ad-hoc musical group with too little rehearsal together, our individual and collective intent was so strong on that second day, that it communicated a message of peace which words alone could not have done. Last, but far from least, our motivation, on that day at least, was for our music to serve --- to serve something higher than the usual desire to shine, to thrill, or entertain, that had previously motivated us.

This was also my first inkling that the influential modernist doctrine of l'art pour l'art --- art for art's sake --- is a fatuous dead end. From the earliest times of performance art, all the way back to its beginnings in shamanism, authentic performers have always known that they are at their best when their art serves something higher than art. Individually and collectively, we are beginning to rediscover this ancient truth, but in new and mysterious ways...

By Joseph Rowe
http://www.naturalchant.com

also, see my significant other's site:
http://www.myspace.com/catherinebraslavsky

and my memoir of my teacher, Hamza El Din:
http://www.naturalchant.com/hamza.htm

RockOm Round-up is a quick glance at what's going on around the world in the areas of music and spirituality...

• Leonard Cohen's Temple of Doom - "Yes, [musician Leonard] Cohen has just reached the pinnacle of stardom as a senior citizen who is in the midst of a vast world tour. It almost didn't happen, because the tower of song retired in his 60s to become a Buddhist monk. 'Religion is my favourite hobby,' he told Elena Comelli. 'It's deep and voluptuous -- a pure delight. Nothing is comparable to the delight you get from this activity. Apart, obviously, from courting. If you are a young man, that is the more amusing activity.'" (bookslut.com)
• Altz is Gott for Jewish rapper Eprhyme - "Here's what it's not about: cute Yiddish puns, bar mitzvah kitsch, Manischewitz cocktails, or the novelty of a Jewish 'insert unexpected form' (rap, reggae, whatever) star. Here's what it does seem to be about: post-sacred-cow radical pluralism, pantheism, religious consciousness fused with social action, and an uncompromising and unimpressed blend of urban forms and neo-Hasidic spirituality." (haaretz.com)
• Call of the Valley - Pandit Shivkumar Sharma says, "Indian classical music has a spiritual connect. Exploring ideas musically gives me a high. For example, my album ‘Zen’ owes itself to my reading of Osho’s philosophy..." (hindu.com)
• Music Speaks Louder Than Words - "Music is simply that which invites us to remember we are never separate or alone and that we have far more in common with our earth family than we have differences." (toacorn.com)

In RockOm's short existence on the web, we've posted a number of compelling articles and blog posts that have since found their way into the inner archives. There are many new readers and users since those "early days" (4 short months ago) and so occasionally we will pull out old posts for you to read (or re-read) and meditate upon. Here is an excellent article posted during RockOm's very first week by a musician in France named Joseph Rowe. Take a look and then head over to the forum to discuss.

The dictionary definitions are not enough for those of us who are alive to the sense of the sacred which we find in so many unexpected places ... and are often disappointed not to find in so many expected places.

Perhaps a better question is: what is the sense of the sacred? What does this word mean to us in a universal sense, in the context of our contemporary world of pluralism and multiculturalism, a world in unprecedented evolutionary crisis?

It is my belief, based on travel, research, and the experience of performing sacred music for people of radically different worldviews and religions, that religious tolerance, like interfaith dialogue, is growing by leaps and bounds, far outstripping the old intolerances and insularities we are all too familiar with. The mass media might make it seem otherwise --- but as we know, they thrive on bad news, and are parsimonious in reporting the good news which is happening right under their noses.

The best short response to this question I've heard is from Pierre Rabhi, founder of agro-ecology, and author of the book As in the Heart, So in the Earth : "The sense of the sacred is a sense of humility, where gratitude, knowledge, wonder, respect, and mystery all come together to inspire and enlighten our actions."

This would have seemed pretty obvious to people of ancient times. Only in the last few centuries of modernism and postmodernism has it become fashionable to ignore and disdain the sacred, much as it has become fashionable to ignore and disdain beauty, and to revere irony.

But for those who will not allow this sense to wither in them, listening to sacred music can be a heart-opening experience, even when it comes from a tradition or a culture which is strange or bizarre to them, even if they disagree with certain doctrines of that tradition, even if they reject all religion, and even if the music itself has no formal connection to any sacred tradition.

The awakening of this sense, at least in listening to music, does not depend on having specific beliefs, or even on knowing the meaning of the texts that are being sung or chanted (though it can of course be infinitely deepened by knowing and studying their meaning).

Music can be an ambassador for peace where other embassies have failed. I first learned about this power of music over twenty-five years ago, when I participated in a two-day conference at an American university, which sought to bring Jewish, Christian, and Muslim (mostly Arab, but a few Persian) students together in dialogue concerning the Palestinian problem. This was in the days of the Carter administration, when such hopeful attempts were more common. I was part of a small student musical group (oud, santur, percussion, guitar, and a male and female vocalist) thrown together at the last minute, and our job was to offer a short concert of a mixture of Arab and Jewish songs at the close of each session. The first day was very difficult, because we had to play after a stormy session with several shouting matches, much anger in the air, and little if any real dialogue. On the second day, we asked the directors to let us open the program instead of closing it. We had to beg, then insist, and they reluctantly agreed. What a difference it made! Not only was there no shouting during that conference, people really listened to each other --- and there were even some friendships made! I can't attribute it to the quality of our music (my oud-playing was pretty amateurish in those days), but I did learn something important about the power of the intent of music. Whatever our shortcomings as an ad-hoc musical group with too little rehearsal together, our individual and collective intent was so strong on that second day, that it communicated a message of peace which words alone could not have done. Last, but far from least, our motivation, on that day at least, was for our music to serve --- to serve something higher than the usual desire to shine, to thrill, or entertain, that had previously motivated us.

This was also my first inkling that the influential modernist doctrine of l'art pour l'art --- art for art's sake --- is a fatuous dead end. From the earliest times of performance art, all the way back to its beginnings in shamanism, authentic performers have always known that they are at their best when their art serves something higher than art. Individually and collectively, we are beginning to rediscover this ancient truth, but in new and mysterious ways...

By Joseph Rowe
http://www.naturalchant.com

also, see my significant other's site:
http://www.myspace.com/catherinebraslavsky

and my memoir of my teacher, Hamza El Din:
http://www.naturalchant.com/hamza.htm

Discuss this article

The dictionary definitions are not enough for those of us who are alive to the sense of the sacred which we find in so many unexpected places ... and are often disappointed not to find in so many expected places.

Perhaps a better question is: what is the sense of the sacred? What does this word mean to us in a universal sense, in the context of our contemporary world of pluralism and multiculturalism, a world in unprecedented evolutionary crisis?

It is my belief, based on travel, research, and the experience of performing sacred music for people of radically different worldviews and religions, that religious tolerance, like interfaith dialogue, is growing by leaps and bounds, far outstripping the old intolerances and insularities we are all too familiar with. The mass media might make it seem otherwise --- but as we know, they thrive on bad news, and are parsimonious in reporting the good news which is happening right under their noses.

The best short response to this question I've heard is from Pierre Rabhi, founder of agro-ecology, and author of the book As in the Heart, So in the Earth : "The sense of the sacred is a sense of humility, where gratitude, knowledge, wonder, respect, and mystery all come together to inspire and enlighten our actions."

This would have seemed pretty obvious to people of ancient times. Only in the last few centuries of modernism and postmodernism has it become fashionable to ignore and disdain the sacred, much as it has become fashionable to ignore and disdain beauty, and to revere irony.

But for those who will not allow this sense to wither in them, listening to sacred music can be a heart-opening experience, even when it comes from a tradition or a culture which is strange or bizarre to them, even if they disagree with certain doctrines of that tradition, even if they reject all religion, and even if the music itself has no formal connection to any sacred tradition.

The awakening of this sense, at least in listening to music, does not depend on having specific beliefs, or even on knowing the meaning of the texts that are being sung or chanted (though it can of course be infinitely deepened by knowing and studying their meaning).

Music can be an ambassador for peace where other embassies have failed. I first learned about this power of music over twenty-five years ago, when I participated in a two-day conference at an American university, which sought to bring Jewish, Christian, and Muslim (mostly Arab, but a few Persian) students together in dialogue concerning the Palestinian problem. This was in the days of the Carter administration, when such hopeful attempts were more common. I was part of a small student musical group (oud, santur, percussion, guitar, and a male and female vocalist) thrown together at the last minute, and our job was to offer a short concert of a mixture of Arab and Jewish songs at the close of each session. The first day was very difficult, because we had to play after a stormy session with several shouting matches, much anger in the air, and little if any real dialogue. On the second day, we asked the directors to let us open the program instead of closing it. We had to beg, then insist, and they reluctantly agreed. What a difference it made! Not only was there no shouting during that conference, people really listened to each other --- and there were even some friendships made! I can't attribute it to the quality of our music (my oud-playing was pretty amateurish in those days), but I did learn something important about the power of the intent of music. Whatever our shortcomings as an ad-hoc musical group with too little rehearsal together, our individual and collective intent was so strong on that second day, that it communicated a message of peace which words alone could not have done. Last, but far from least, our motivation, on that day at least, was for our music to serve --- to serve something higher than the usual desire to shine, to thrill, or entertain, that had previously motivated us.

This was also my first inkling that the influential modernist doctrine of l'art pour l'art --- art for art's sake --- is a fatuous dead end. From the earliest times of performance art, all the way back to its beginnings in shamanism, authentic performers have always known that they are at their best when their art serves something higher than art. Individually and collectively, we are beginning to rediscover this ancient truth, but in new and mysterious ways...

By Joseph Rowe

http://www.naturalchant.com

also, see my significant other's site:

http://www.myspace.com/catherinebraslavsky

and my memoir of my teacher, Hamza El Din:

http://www.naturalchant.com/hamza.htm