#2870 - Friday, July 13, 2007 - Editor: Jerry Katz
- #2870 - Friday, July 13, 2007 - Editor: Jerry Katz
The Nondual Highlights - http://groups.yahoo.com/group/NDhighlightsOne: Essential Writings on Nonduality: http://tinyurl.com/2blmhyGabriel Rosenstock contributes the material for today's issue.
Spring with a thousand clichés
Spring with a thousand clichés has arrived
Hafiz puts each one to work as though never employed before
Those swallows, for instance, he is their loopy flight
(Though ostensibly holding up a corner, eyes half closed)
Peach blossoms? He has taken on their scent
Oozing, literally, from every pore
All this without willing it to be so
Spring with a thousand clichés has arrived
And Hafiz, friskier than a kid goat, dozes outside a half-door
Lengthening days; he stretches his feet
Light trickles into the world. More more!
Somebody gives him a well-aimed kick. ‘Drunken useless poet!’
The heart of Hafiz bursts open, a rose
Without willing it to be so
Until there is no cliché left. Not a sight. Not a sound.
No doves moan
A breeze from the desert comes suddenly to a halt
A stork tidies her nest. Could that be -? Is that
Hafiz again, helping out with her annual chore?
All this, all this without willing it to be so
Solas an Gheimhridh
Haiku by Cathal Ó Searcaigh (Ireland) together with Janak Sapkota (Nepal)
Irish translation: Gabriel Rosenstock
In the darkening rain
lights up the morning
faoin mbáisteach dhorcha
grandfather’s fading photo
casts its shadow
scáil ó ghrianghraf tréigthe
this cold night –
on the mountaintop, even the silence
is fuar í an oíche seo –
mullach an tsléibhe
an tost féin ina oighear
downpour of rain
then a mist through the village –
the reek of goats
is ceo ar fud an tsráidbhaile –
bréantas na ngabhar
early morning sun –
a shadow walks
grian na mochdhála –
scáil ag fálróid
Dharmasong Publications is dedicated to Buddhism, music, and the relationship between them. Our first project is a series of pamphlets, in electronic PDF format, called the Buddhist Musicianship Series. And the first pamphlet in the series is Listening, by Phil Nyokai James.
From the Introduction to Listening:
Twenty-five hundred years ago the Buddha discovered a method for living life more freely and compassionately. His method was empirical rather than religious: instead of theological concepts and devotional commitments, he outlined a set of practical techniques his followers could try out for themselves.
The Buddha rarely mentioned music, and yet much of what he taught can be applied directly to what I call Buddhist musicianship. Buddhist musicianship is a radical return to the basics of working with sound, emphasizing concentration, mindfulness, personal discipline, attentive listening, breathing, community, and compassion.
This Buddhist Musicianship series of pamphlets is about becoming a musician or, for those who are already musicians, about revisiting the foundations of the craft and discovering new approaches, using the Buddha’s teaching as a framework. By “musician” I don’t necessarily mean a professional musician – I mean somebody who is creatively engaged with the world of sound.
For music to exist in the world, one of the most basic requirements is attentive listening. What a simple idea, but one that is often ignored because it seems so obvious. That’s why the first pamphlet in the Buddhist Musicainship series delves deeply into the practice of listening, drawing parallels with Buddhist methods and offering exercises that bridge the gap between art and meditation.
Do you have to become a Buddhist to learn Buddhist musicianship? Absolutely not. Though this pamphlet casually draws on many of the Buddha’s insights along the way, it does not require a commitment to his overall approach. I avoid highly technical explications of Buddhist thought, emphasizing instead those features of Buddhism that help illuminate the musical path.
I hope that through the Buddhist Musicianship series, and through this individual pamphlet, you will develop a sense of the world of music that is at once broader and more precise than you thought possible. I hope you will begin to see yourself as an active, creative, and self-assured participant in that world. I hope, too, that the Buddhist approach to musical expression enriches other areas of your life.
Read more at http://dharmasong.com/