January 15, 2008
Hospitality is a word that has been on my mind a lot in the last ten days as I have travelled in
A few days ago we had two encounters in the morning that pushed me to really think about the notion of hospitality. Late in the morning we listened to a lecture on globalization and its negative effects on the poorest of the poor. As part of the presentation, the speaker showed us a video that portrayed the
In many ways, this seemed like inhospitality – mocking ones guests – with little or no discussion of the piece amongst us. Yet in other ways it struck me as a deeply honest act, a willingness to let us see how we are viewed by many around the globe. The action has sparked a lot of thoughtful discussion amongst the group – some people upset at the simplistic portrayal, others pointing out that our own news media regularly portray people in other nations in simplistic, stereotyped ways. While I wouldn’t classify the act as “hospitality,” I definitely appreciate the courage of the speaker.
This session followed upon the most amazing experience of the journey for me. We met that morning with the retired metropolitan of the
He shared with us that he had eaten the prasad that his personal assistant, a Hindu, had brought back from a pilgrimage. He had been criticized by some in the church for this. Did God love this Hindu as much as he loves Christians? Does God love the person in jail as much as he loves Wesley Ariarajah? With these and many other questions he probed at the issues with which our students have been grappling. Occasionally he gave answers (“God doesn’t love anyone more than anyone else”) but more often he drew out reflections by posing questions.
We had met a real guru, a truly holy man, with a playful sense of humor and a deep understanding of the spiritual issues raised for Christian seminarians. He too them seriously and engaged them at a deep level. He told parables to elicit responses. This is true hospitality – to enter into deep dialogue with another and to share from the soul.
As we crowded around to take pictures afterwards, I knew that I was not alone in hoping that the picture will remind me of his powerful spiritual presence.
Jim and I got into the taxi and handed our taxi driver yet another name of an obscure location for a Carnatic music concert. We headed off to the right section of Chennai with the driver still mumbling the name of the hall as if constant incantation of the name would make it materialize. (Of course, two days earlier, he had deposited us at the wrong hall and then had to find the right one!) As we approached the appropriate section of the city, he pulled the cab over, avoiding puddles left by the heavy rain earlier in the day, and summoned a bystander. Brandishing the notecard with the name YGP Auditorium on it, he asked for more directions. The bystander looked blank but took the card over to ask yet more people. Receiving their collective wisdom, without ever getting out of the car himself, the driver grunted and headed further down the street. We had successfully arrived!
This event was the final Carnatic music concert of our visit to Chennai. The artist Sowmya was performing as part of the annual music festival. We first met Sowmya several years ago at Drew when my colleague Karen Pechilis sponsored her in concert. We were looking forward to hearing her perform again.
The world of Carnatic music, the venerable classical tradition of South India, has had an appeal for me ever since I first learned about it as part of a course I taught on "Music of the Whole Earth." On a visit to Chennai in 1996 I had succeeded in turning Jim into a fan also. Now 12 years and several concerts in New Jersey later, we were back in Chennai for a few days of "the season" where one can spend all day, everyday, going to concerts. Sowmya was our sixth artist in the last four days.
I had spent time during the day reading reviews in the local newspapers of concerts we hadn't heard. I read about the performers who lacked the right spirit of bhakti (devotion), the ones whose voices weren't good in the upper register, the ones who had beautifully negotiated the svaras, etc. The reviews had only reminded me of how ignorant I really am about this vast tradition. The music is both composed and improvised, essentially devotional and vocal although also performed instrumentally, traditional yet always changing, bound by complex rules yet open to the creative spark. The repertoire is handed down from guru to student, much of it in Telugu, not the language of this region which is Tamil. The music is an integral part of the Hindu devotional tradition. The concert stage is both performing venue and sacred worship space.
As Sowmya started her first piece, humming a few key notes of the raga to tune to the electronic drone and moved to explore the raga (scale) of the piece, I reflected on the variety of meanings in music. Due to the nature of music, it is hard to pin down specific meanings - that is the beauty of the art form! But that doesn't mean that we all understand it equally well. I've listened to just enough Carnatic music by now to know that without detailed study and a knowledge of the texts I am grasping only a small portion of the meaning of this performance.
There is no written program at a Carnatic music concert. The performer just sings and the cognoscenti happily turn in their little books to find the piece if they don't already know it. Sometimes the performer will make a verbal announcement of the title, raga and tala (rhythmic pattern) but that is more the exception than the rule. You are just supposed to know!
Each raga comprises a part of the world view - more than just a set of notes, it implies a particular mood or emotion and a complex set of musical figurations. My ear is too untutored to identify the raga but I nevertheless thoroughly enjoy the exploration of the raga that can be as short as a few seconds or as long as 15 minutes in the performance of a piece. Sowmya and her accompanying violinist explorerd the raga, starting low in the range, working up through the important notes to the highest notes and then descending to the very lowest notes before settling back on the fundamental tone. Through this process she conveys to the audience the complex synergy of devotional feeling and musical expertise.
You may wonder just what draws me to this music that I only dimly understand. I love the different ragas. I love the way in which the performers shape a concert experience. The same piece can last for five minutes, if played straight through as composed, or for forty-five if the performers insert all of the types of improvisation. The mridangam (double-headed drum) offers an amazing rhythmic counterpoint to the basic tala pattern that performer and audience members "keep" with hand clapping and waving. While many of the pieces are in the 8-beat "adi" tala, three, five and seven note talas are also part of the repertoire, lending some wonderful assymetry to the rhythms. The musicians often come together just for the concert. They rely on their own knowledge of the shared repertoire to create something new when they come together. And the sounds are wonderful.
Music - a universal language? Not really. While I can imbue the music with my own understanding, steeped in years of the European classical tradition, I am aware that when it comes to understanding Carnatic music I'm at the basic linguistic datge of "buenos dias" and "que paso?"! I am humbled by the beauty of this tradition and the integrity of its practitioners. I am ever more grateful for the variety of musical languages that allow for the compelx expression of unique cultures around the globe.
Twelve years ago I slipped out of our hotel room in Chennai at six am, unable to sleep any longer. As I walked through the neighborhood near the hotel I was drawn by the sounds of music near a temple. There, processing through the streets, was a small group of bhajan singers making their way through the neighborhood. I had my video camera with me and captured their singing of these Hindu devotional hymns in the early morning hours.
This morning Jim and I left the hotel at 5:50am to revisit the same area. Wes topped at one of the neighborhood temples which had recorded music playing, took off our sandals, and entered into the temple precincts. We were warmly greeted and invited to walk among the shrines. People entered in increasing numbers over the next hour, walking clockwise around each shrine. Where a priest was present, people surged forward to receive a blessing. As we watched, the darkness grew lighter and the vibrant colors of the statues emerged.
As we left the temple we stood outside taking pictures of the temples, of the beautiful kolama on the pavements, and of the awakening street life. (Kolama are geometric patterns made of rice flowers which Indians make outside their homes in the morning to ward off evil spirits) Still looking for our bhajan singers, we asked a man on the street if any groups would be singing. His face lit up and he cordially invited us to follow him into an open room. Here a group of about eight men and women were already seated, singing bhajans. We sat on mats on the floor joining where possible in call and response sections of the singing.
After about ten minutes, the group rose to head out into the streets singing. We were invite to come along, leaving our sandals behind and heading out barefoot into the streets. Others joined us including a man we both recognized from our video of 1996. As we walked along singing people (mainly women) came out from their houses and apartments to make an offering for the poor. They poured rice into a bag carried by the leader, then walked all around the group of singers back to the leader to receive a small amount of something (coconut?) that he gave them in return. Sometimes they also offered money which he handed back to another singer to take care of.
People shared greetings as we walked along - clearly they knew each other and looked forward to this ritual. Meanwhile the singing continued throughout, the lead passing from one singer to another in no discernible order. The "sruti box" provided an electronic drone pitch and one singer also played the finger cymbals. Of course bicycles, motorbikese, and cars honked and passed, the group grudingly moving over just enough for the vehicle to drive by. We stopped at three different temples in the neighborhood, chanting as we moved forward to touch the fire, and to receive ghee, coconut milk, herbs and red powder. We were clearly welcome, almost obligated to participate.
After an hour of wending our way around the block, we re-entered the hall and sta ourselves in front of the shrine. One of the singers, a priest, offered puja as the singing continued. Then the group shared a hot steaming drink (coffee and coconut milk?) and prasad, the food offering.
We were of course mindful of all the advice to westerners traveling in India and tried to accept the warm hospitality without actually ingesting anything. When the priest pours any of the liquids into the hands of people, they drink some and then put the rest on their hair. We tried to lift it to our lips but not drink and then dump it on our hair. (I did this successfully enough that Jim thought I had actually drunk some but I hadn't!) We returned to the hotel around 9am, our foreheads smudged with red powder and grayish powder, our hair filled with ghee and our feet filthy. The new year has clearly gotten off to an auspicious start!
December 30, 2007
The sights and sounds were a veritable feast for the senses - a pavilion decked with garlands of flowers, women in their finest saris, the sounds of a priest chanting in Sanskrit, the double-reed nagaswaram and the drum blasting
For an observer, the ritual actions carried most of the meaning of the ceremony. The vows -- in Sanskrit -- could only be heard by those in the wedding party. But visually one could see the parents blessing each other; one could see the great variety of ritual actions uniting Sharon and Madhu; one could see other family members come forward. And throughout one heard the loud sounds of the
But the real beauty of this ceremony was in the love displayed by both Madhu's and Sharon's parents through their participation in the ceremony. Many young people are not so lucky when they announce that they are marrying outside of their religious group. Some parents cut off communications entirely. But Sharon and Madhu are lucky - their parents allowed their love of their children to overcome the societal boundaries that separated them.
Sharon's parents were as unfamiliar with this Hindu ritual as we were. Yet they participated fully in the ceremony as invited by the priest. Her dad donned the traditional dhoti for the occasion. They put aside their own disappointment that Sharon didn't marry a Christian. They have put off telling the relatives until after the fact, knowing that they are apt to set off a firestorm of criticism.
For Madhu's parents it surely must have been equally agonizing. Bramins are the highest of the caste groups. Intermarriage with a lower caste usually means that the couple is considered to be of the lower caste. Christians are "outside" of the caste structure but such marriages are frowned upon. Yet Madhu's parents also put aside their pride to support their son. They were the epitome of graciousness and hospitality.
My ears and eyes and heart carry a wonderful vision of how love can overcome the barriers that we create in the name of religion. Madhu and Sharon - may you love each other so well that your lives will be a testimony to the generosity of spirit shown by your parents. They have loved you well.
- my parents for their wise counsel and amazing love
- my husband for his love and support and wonderful sense of humor
- my siblings who understand what it means to be “a Bagnall”
- my children who have taught me so much about life, learning, and love
- deeply satisfying work and smart, articulate colleagues
- music in its myriad forms and styles
- the variety and beauty of the universe
- friends old and new
- those who disagree with me and challenge me to grow
All creatures short and squat,
All things rude and nasty,
The Lord God made the lot.
Each little snake that poisons,
Each little wasp that stings,
He made their brutish venom,
He made their horrid wings
All week I had been looking forward to a chance for a long bike ride. Perfect weather was in the forecast. I had spent long, long hours at work orienting new students. And then Saturday morning dawned. It was a perfect day. But as the time came to get ready to ride, my body and mind were a bit reluctant. Wouldn’t it be more relaxing to stay at home? To do nothing? It is a bit the way I feel about the beginning of a new school semester – I plan for it and look forward to it but then there is some real inertia to overcome as it gets started! Fortunately, I pushed ahead and by 8:10 am Jim and I were on the road for one of our favorite rides.
Heading out of We saw an oak tree with leaves already turned bright red. I like to say that my bike riding combines the worst of the tortoise and the hare – I am slow and I stop a lot! Jim and I have several places that we usually stop on this ride for various reasons. One of those places is next to the Presbyterian Church in New Vernon, a historic frame church dating from 1834. The road is uphill leading to the church and continues on to the first significant hill of the ride.
One of the things I’ve learned about bike riding is that it is not necessarily easier to ride over flat terrain than hilly terrain. Of course riding up the hill is hard work, even when I crank it down to the lowest gear, but the exhilarating thrill of riding down the hill more than compensates. When the terrain is flat, you always have to pedal – no coasting! Perhaps that’s not a bad metaphor for life as well. The tough times often lead us through to times of wonderful new self-knowledge and then we can be really grateful for some “flat” time when we just absorb the changes.
And indeed, after climbing the hill in New Vernon, one gets to do a lot of coasting towards Basking Ridge, through beautiful countryside. We love to stop at the
The next stopping place? A bridge over the There is so much beauty in this wildlife refuge, a place saved through the hard work of many people who banded together in the 1960’s to save it from being turned into an airport. What a gift to the rest of us! It’s a place that rewards sitting quietly and just watching nature unfold at its pace before you.
From there it is about another 7 miles home through more of the swamp, New Vernon, and back up
I couldn’t help reflecting on the way in which our semester is a bit like this bike ride. The excitement starting out as we meet new people and are exposed to new ideas. The uphill stretches as the work gets tougher and mid-terms loom. The chance to take a bit of a breather during reading week comes just about the point in the semester that Basking in Java comes in the ride! Then the sort of flat part of the semester, the part where sometimes it all seems a bit routine until all of a sudden Thanksgiving is here like the blue heron. More ups and downs until the end of the semester. Riding up a hill it is easy to start thinking that you will never get to the top. But if you can just focus on moving forward, even if it means getting off the bike and walking, you do eventually get to the top with new vistas spreading before you.
For an academic, September really is the beginning of the year. So Happy New Year and enjoy the ride. Stop and watch for the frogs in the swamp or the wildflowers along the way.
