I've long been interested in dreams and visions of flight and space, something I experimented with a bit during the fantastic voyage of the Association of Autonomous Astronauts.
‘Nan Domi’, Mimerose P. Beaubrun’s deeply personal account of her ‘inititiate’s journey into Haitian Vodou’, is much concerned with visions, dreams and the means for moving between visible and invisible worlds. The title itself refers to what the author describes as ‘the second level of attention... a state that permits one to see abstract things unknown until then. A lucid dream state’.
Her mentor teaches her that she has three bodies- the physical body (kadav ko) supplemented by a ‘double’, the nannan - ‘our mystery side... that is conscious of the two states- the state of being awake, and the dreaming state’ - which ‘in Nan Domi... is enveloped in light and becomes light- the nannan-rev’. Her ‘Aunt’leads her on a visionary journey into space, ‘walking in the swarm of stars’.
Opening with the words ‘Ann ay monte Anwo. N apray palmannaze nan Lapousiye’ (‘Lets ascend towards ecstasy. We are going to walk in the Milky Way’), her singing and the sound of the tchatcha rattle help Mimerose to ‘drift into somnolence’and then become ‘conscious of walking in a place where everything was coloured mauve... At intervals, an abyss opened and then fell away. A prolonged movement like the swell of big waves broke into foam the colour of yellow saffron. The scenes before me came and went, fast and fascinating. I plunged into them as one plunges into the sea. The waves rocked me, and suddenly I saw myself as a baby. I watched my own birth’.
The author is lead singer and founding member of the Haitian band Boukman Eksperyan.
Thursday, November 22, 2018
Sunday, November 18, 2018
'Sound of police truncheon against body': David Peace's miners strike soundscape
I've written here before about music and the 1984/85 miners strike, including putting together a mix which you can find on mixcloud. But the day to day soundscape of the strike, and particulalry its picket line battles, was less about the bands playing benefit gigs than the sounds of crowds (including some songs and chants) and sounds of the police with their vehicles, horses and riot shields.
One of the things I like about 'GB84', David Peace's fictionalised ‘occult history’ of the strike, is his description of this. He writes of 'The noise of the battle... The shouts. The sirens' and of the 'Noise of it all. Boots and Stones. Flesh and bones... They beat them shields like they beat us... I heard them again - Them hooves, them boots'.
In his visceral, multi-sensory account the author invites the reader to recall or imagine the 'sound of body against Perspex shield', 'sound of rock hitting Perspex shield' and 'sound of police truncheon against body'.
These sounds are integral to the emotional landscape of the strike which Peace also conveys very well - anger, jubilation, pain, hope, powerlessness, despair, pride...
Peace himself grew up in Ossett in what was then the West Yorkshire coalfied, and as a 17 year old at the time of the strike played miners benefits gigs with his band.
One of the things I like about 'GB84', David Peace's fictionalised ‘occult history’ of the strike, is his description of this. He writes of 'The noise of the battle... The shouts. The sirens' and of the 'Noise of it all. Boots and Stones. Flesh and bones... They beat them shields like they beat us... I heard them again - Them hooves, them boots'.
In his visceral, multi-sensory account the author invites the reader to recall or imagine the 'sound of body against Perspex shield', 'sound of rock hitting Perspex shield' and 'sound of police truncheon against body'.
These sounds are integral to the emotional landscape of the strike which Peace also conveys very well - anger, jubilation, pain, hope, powerlessness, despair, pride...
Peace himself grew up in Ossett in what was then the West Yorkshire coalfied, and as a 17 year old at the time of the strike played miners benefits gigs with his band.
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