Riveted to the Sky

We said Your name again today,
and suddenly You arrived – You
slipping into our speech, our song, our silence;
You like seal sliding into sea, but no
– that’s not quite right – because
You are seal and sea both,
both speaking and hearing,
tongue and cochlea.

At the hearing of Your name
I’m riveted to the sky,
I’m nailed to the earth.
Mention of You and
my skin’s a horizon
with the setting sun
now You piercing me.

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Waves of You

I don’t know what to do
with this love. You
invade me and I collapse.
Words fall from my mouth as if
I have become a child bereft.
I feel waves of You in
Your absence. And
then You return. A
frazzled God, You
dazzle me in
proximity and my
head, my
heart spins. You
win me over yet again. You
begin in me differently. But
still I hurt. Still I weep
You in tears.

Music Communal and Mystic

Yesterday was an unusually rich day. After spending a morning working on a paper I’ll be giving next week I was off to Cambridge, Ontario, for a Bridging Communities Through Song concert. This is an annual event organized by Mino Ode Kwewak N’gamowak (Good Hearted Women’s Singers)- a drum group of Indigenous women who sing (mostly) traditional songs. They have partnered with the Waterloo Regional Police Male Chorus, an especially pertinent partnering given the fact that the police and First Nations have not usually had the best relationships, and certainly little trust. They were joined by the Rainbow Chorus, an LGBTQ+ chorus. The theme was care for water, and the program began with a prayer acknowledging the gifts the Creator has given us. The music was so very varied in genre: touching, fun and inspiring, and had the rich character of speaking from and to the community

After supper, my eldest and I drove to Toronto. She had bought me a ticket to a Toronto Symphony Orchestra concert. It was the first of a three concert series called “New Creations Festival.” For the series, composers were commissioned to produce new pieces. For last evening’s concert, four pieces were performed. One was a riff on “O Canada,” the second a Trauermarsch/Funeral March, the third a piece focussing on the ephemeral character of perception, and the fourth a piece attending to Missing and Murdered Indigenous Women. This latter had five movements reflecting Kubler-Ross’s five stages of grief: Denial, Anger, Bargaining, Depression and Acceptance. The piece included a score, some improvised orchestral music and improvised singing by Tanya Tagaq. This latter is an Inuit throat singer, who is quickly becoming rather famous in Canada, and abroad. For those who have never hear throat singing, it is hard to describe. The range of sounds is beyond description; for many new to its hearing, it delights, shocks, and intoxicates. But it isn’t about sound alone. Tagaq’s body contortions to her singing allow one to see what is heard.

As she sang, I first sensed the land suffering losses: I imagined northern terrain twisting in agony at the stunning grief of environmental decay. I then visualized communities facing days upon days without children in their midst, sent to residential schools for programmatic assimilation to European culture. I heard and saw her own pain. The sounds were so utterly primal. This throat singing comes from the earth, from life – like Adam/Land and Eve/Life – and so awakened in me a kind of primal ache. It was both beautiful and strange. Words fail me, in describing it, or I fail words, but still I try. I must.

Some experiences really evade description because they strike a core so fundamental to our being that these give birth to new language, to halting words. These experiences are so dear to us that we are driven to expressing them, if even in faulting words. Perhaps this is what the great mystics knew. I am not sure that this concert was a mystical experience, but I think it is about as close to it as I am going to get. I still am processing this experience, or perhaps it is processing me….