Primarily a writing exercise, this dream journal-inspired blog is a quiet introspective sojourn into the process that we traverse in going from private dream to public art. I see our dreaming as an internalized mythmaking. As I philosophize and expressively exhibit dreams, both private and public, I encourage and delight in creative language as a way to practice experiential metaphors through a “public dreaming." Writing Theory: Creative Dream Fiction

Monday, 17 June 2013

The Poetics of Resistance: Myths of India and Freedom

"Let us arm every song with dreams, in the time of war..." written by Kabir Kala Manch, in support of all artists silenced by imprisonment, poverty and ignorance in India and throughout the World

"Watch carefully,
Poetry burns quickly
Spreading like a forest fire.
Watch more carefully,
Poetry can stir people..."

excerpt from Telugu resistance poet, Varavara Rao, written while in solitary confinement in Secunderabad Jail 1985-89 - republished in Towards a New Dawn

Poetic practice, as a creative tradition in the life of a poet, opens the doorway to perennial creativity through which one may pass towards great, unseen and yet mysteriously innate gifts of passion and truth, gifts of fulfillment and love. SoJourn(al) is truly and essentially about one affirmation, that it is RIGHT to dream and that Dreaming is a Universal Right of not only humans, but of all beings. In the technocratic & plutocratic society of demonic habitual tendencies, towards the mechanization of action, thought and identity, the human qualities of patience, wisdom and devotion are best revealed in the outrageously uncommercial activity of pure poetic invention. Yet, as in the base & fleshly example of sleep, still the metaphor endures, let sleep sleep & dream dream! 

Become dream while the dream is dreamt & known & felt & seen & causing one to rise with the memory of desire & unrest, that the earthly facade of waking is insufficient to fulfill the ecstasy of creative imagination and the waning birth of intuitive creativity, instinctual and whole. Living & ecological self-awareness is the birthright of each human being, as a holistic affirmation attuned to the entire life of all creation, and including all of Earth, in one breath, where especially clear today, as in the interconnected & interdependent worldly techno-communing of peoples globally careers through timeless instantaneity. 

So, each and every life is equally without circumference as with omnipotent centre, as it has been throughout time. In the archaic sphere of psychic knowledge accessed through inborn trust and the sacred flesh of entheogenic presence, all are to be encouraged and passed through the body of the dreamer. Eyeless and seen through self-enacted visions of trust in the inward journeying of mind as matter, experience is simply the wave-form space of sensation in the subtle & internal creative nature of all manifest and unmanifest. The dreamer embraces the nameless mystery of sound & light in its pure & transcendent non-duality of formless emptiness, still forming the pathless direction of each individual stepping on self-made ground. In Algonquin, Sakahàn, to light a fire

Continue reading SoJourn(al) for an upcoming article with Unsettling America on the work of Japanese-Samoan artist Shigeyuki Kihara, currently showing artwork at the National Gallery of Canada's "Sakahàn: International Indigenous Art" exhibition, "Fa'aFafine: In a Manner of a Woman" co-written by the Dream Author with Vi An Diep, who shares perspectives on immigrant narratives in relation to indigenous art, theatre-music composition and notes on life as lived by a wildly independent, self-sustaining and vibrant artist of sound, art and love. 

Emerging from the subterranean byways and thoroughfares of New York, City of Time and Sleepless Courage, Island of All That Is on the shores of America’s worldwide seduction and misplaced trust. The earth howls with tramcars funneling like the charnel trains that veer off and into the silent womb of industry. I walk, heavy with longing, through the unsteady street-side core.

Bird's Eye View of New York City and Environs by John Bachmann
A tidy man notices my ponderous walk, and gifts advice. “To the cafes and hearts,” he moans, irascible with derelict gravity. So, into the consumption I fade with stories of words, with the blank gush of pages unruffled by eyeing hands that stop and see. Yet, the nonplussed wires of change dissipate in the hammered trespass of independence and freedom. I, artist of days and nights spent afraid of death, linger in wallowing holes of unmentionable fortuity as the stares of reason and being break open the head of belonging.

Portrait of artist Karnakoski by Aalto, Ilmari
I cower, defeated into the dark, abysmal aftermath of slavery. The unwelcoming hordes brush past through fissures of smiles and skeletal eyes that careen past my deepest trench. Wavering in the thinning light, I angle around a bent door. The quality of my flesh sinks and curdles with undiminished emotion, with unparalleled fear. I move my hand to the knob, and it opens to opacity, pitch as the darkest matter of universal night. And in I walk, careful to the point of careless.

Death's Door by William Blake
A soundless and gentle presence invites, lowering my knees to the imprisoned, peopled earth. I move with a silenced throaty pause of recognition. Before me sits an extended family of Cree and Blackfoot Canadian First Nations: a lost band of Indian people. Condemned to an underground home, they offer a homely cup of sweet-grass tea. At first sip, steeped in incredulity, my tongue quakes with repose. I speak. “Thank you, Creator.” They bow, and with an opened palm, reddened and browned by the ruddy dearth of light. An elderly woman offers a gift from the people, her smile and dress more brilliant than the gift of sunlight. She hands a wooden sculpture of an ancient elder, with eagle feathers, bundle and headdress, draped in the glory of the Buffalo.

The Indian in his Solitude by N.C. Wyeth
Emerging again from the subterranean underpass, like waking with the memory of a dream, once so displaced with sorrow, now right with order and mind. I eagerly and joyfully share the vision of a totem, materialized in the palm of my hand as a brilliant sculpture, as a wish-fulfilling boon of the People of the Creator. And above-ground, even in the lush awe of the sun, isolated fragments of individuals and nations bleed with the blood of the First People an ignorance, a deathly drowning from within. The soft, modest and lightweight presence of the wooden holy man is nothing to their clouding eyes, to their opaque suits and flushed skins. I am ignored, and so return, only to find the once-known Native shelter, bare of all humanity.

Cave Painting - Bhimbetika (India) - Jumping Horse by Nikhil2789
Alone, with totem in hand, do I rise again to stand in the midst of such delusional darkness as above-ground, in the sky of a damned and cruel society? The uncivilized wade in the laughter of innocence and fame. All the while, the First Peoples dive deeper into inhuman insanity, into eternal retreat in this night of eternal war, while the paradigms of hate move ashore with quickened pace, and the First Peoples burrow, entrenched ever more in the quicksand fate of a lowly paradox. And the wooden man cries, as my palm rests on the burying earth.  

the forthcoming album "Evocations: district.Columbia" is an experimental narrative sound art exploration into the text of the collection, "district.Columbia" releasing the first single, "New America" to incite the forthcoming album on the inaugural day of Aboriginal Awareness Week in Canada is auspicious and serendipitous in its symbolic import as an album whose narrations were triggered by an inner voice of resistance while in Washington D.C. where I began to dedicate myself to the literary vocation in light of my own personal development in the commission of truth, as in the social justice of 9/11 and Truth and Reconciliation truth commissions addressing political and historical-religious misinformation.

my creative work is in keeping with a lifelong demonstration to voice silenced histories, in honour and recognition of the atrocities committed against first peoples of the land, whose history, while older and more enduring, while land-based and unfathomably rich, is snuffed out by the dominant settler narratives of media and education that continue to ride the oppressive waves of war, colonization and assimilation in the ongoing struggle for american freedom that continues to this day.

"Evocations: district.Columbia" is a sounding directly from the heart, unmediated by the delusional independence of exclusive american identity, for an end to the war on freedom

a narrative of resistance. re-writing the language of american history, to translate the poetics of protest into the harmony of life. here, "New America" is a sound art exploration on the theme of visioning an "exit strategy" in the war for America, in de-institutionalizing and reclaiming the name of the land through the act of breath and proclamation.

using two frame drums (16 & 14 inch diameters) i recall the great conundrum of american life through the sound of modern frame drumming techniques together with a evocation, vocal sounding, on the re-history of colonial ecology into an awareness of self and environment, recognizing, respecting and regarding the singular devastations of american disunity in the wake of 500 years of ongoing struggle.

resistance is often most deeply traversed by artists, creative voices, purified in the air of one new proclamation of independence yet to be heard apparent on the pages of dominant history, and it will not be written, but vocalized, orated, and beaten from the face of a drum.

The chapbook, "Realizing our OBJECTION" is a selection of the first five poems from the larger collection, "district.Columbia". These pieces are reflections on the initial invocation by Percy Bysshe Shelley from Queen Mab, which reads, "For when the power of imparting joy / Is equal to the will, the human soul / Requires no other heaven."

In the context of Realizing our OBJECTION, the meaning is that the artist essentially promulgates the DIY spirit of heartened resistance as the shared co-unity of meaning for all people who identify as "people" and not the maelstrom of mechanized and monetized identities that waver in the brush as the incendiary & violent pages of human history, aflame in the eye of the seer who rewrites self as the self of all kind. "Realizing our OBJECTION" is a critical literary effulgence of a truth, that to be human in today's world is the central coin of resistance art.

No comments:

Post a Comment