Bruce Cockburn is probably my favourite songwriter. This is Pacing the Cage, a hymn for our times:
Sometimes the best maps will not guide you
You can’t see what’s round the bend
Sometimes the road leads through dark places
Sometimes the darkness is your friend
Over the past 15 years First Nations artists in Canada have taken to hip hop as a powerful storytelling method. First Nations hip hop is an incredible blend of traditional art forms, evocative imagery and raw and real exerpience relayed with a beat. It’s as if hip hop was built for indigenous expression – being story based, status informed, poetic and underscored with a heartbeat. I have a bunch of friends in this field including Skeena Reece, Jerrilynn Webster, Manik1derful, Rachel Oki, Wasaskwun Wuttunee and others.
Beat Nation was an exhibition of indigenous hip hop artists that closed in March 2010, but the site is still up and there is a great essay there from Tania Willard about the then current state of indigenous hip hop culture and one by Skeena Reece on hip hop in the indigenous context:
I think that a larger conversation needs to take place to really get to the root of what I am talking about here. We are now seeing on a grand scale, also due to the growing number of young Indigenous people coming of age, a massive documentation process and participation in mainstream culture. They are talking about their standards of living, their communities, their hopes and fears, and we need to listen. We need to open our eyes and really see what they are presenting and not just as a last resort to avoid any great catastrophes: we need to use it as a first resort for guidance in our roles as adults and guardians. Just as in any massive form of communication, there are going to be sentimental statements made, broad sweeping fears expressed and lots of ‘documentation’ to examine, but we should really consider ourselves lucky. Native youth, Native people, Indigenous people, hip hop people are presenting ideas, making connections, drawing conclusions and asking important questions. If we use this is as a basis of discussion, we can see that they’ve taken a lot of guesswork out of the equation and what we are left with is the essence of where they are at, exactly. As adults, educators, helpers, historians and just plain human beings we need to honour this subculture as much as we honour our own families. In doing this, we honour ourselves, our people and our humanity.
Just cool stuff.
All the best stuff I have learned about mentoring has been in the context of traditional culture, whether with indigenous Elders from Canada or in the traditional Irish music community. Traditional Irish music is played and kept alive in a structure called a “sessiun.” There is a repertoire of thousands of tunes, but most musicians who have played for a while will have a hundred or more in common, and that can easily make for a long evening of playing together. Sessiuns are hosted by the most experienced musicians (traditionally a Fir a Ti, or Ban a Ti; the man or woman of the house). These guys are responsible for inviting people in, inviting tunes, keeping a tempo that everyone can play with, resolving any conflicts”in short they are the hosts.
But the best ones are also the teachers and the mentors and they dispense wisdom, lessons, encouragement and direction during and between tune sets. If you are smart and you are learning you try to sit near them in the circle to pick up teachings.
With Irish music, the best mentors I ever had always did a few things well:
- They were better musicians themselves than I could ever imagine myself to be
- They created space for me to play with them and gave me increasingly more responsibility from starting tune sets to perhaps playing a solo air to eventually sitting in for them if they couldn’t make it out to host a sessiun. But they didn’t invite me to lead the session when I was just beginning.
- When they knew I had a set of tunes down they invited me to lead that set. If I had a slow air they knew I could play, they would invite me to play a solo.
- They pointed out things that I could DO, rather than things not to do, and if they played flute (my instrument) they showed me on their instrument what they meant. There was never any abstract conversations about the music or technique. If I was doing something wrong, they would suggest an alternative (indigenous Elders, and especially Anichinaabe elders are very good at this. There is something peculiar to traditional Anishinaabe culture that makes it very hard for an Elder to tell you NOT to do something. They always point to doing something else.)
- They protected me from “hot shots” who like to show off by playing tunes too fast for you to play with them.
- And when I was ready I got invited into more and more responsibility with the sessions and was eventually invited to perform with them. The day of becoming a colleague is a big deal, and I still feel that I can’t hold a candle to my teachers, even though they insist that we have moved into a co-mentoring relationship.
What was beautiful about all that was that, even when i became colleagues with my mentors I never lost the sense of gratitude of being able to play with them. Even today 20 years later, it is a treat for me to play with those who taught me.
Mentoring in the art of hosting, of leadership of working with groups is the same. It is a traditional practice.
I used to be a huge fan of Anthony Braxton back in the day. Braxton is an unapologetic free music practitioner, a brilliant composer and improviser and a disruptive influence in the world of American music, and jazz in particular.
Here is a a lovely piece from him talking about the difference in perception between white men and black men striving to express an individual voice in contemporary America. Beyond race, this also speaks to the marginalization of creative work in a world dominated by a mercantile world view:
FJ: Why is it that a white man striving for individuality is perceived as being liberal, but a Black man is termed radical or revolutionary?
ANTHONY BRAXTON: You put your finger right on it, Fred. I turn on the television set sometimes and they are talking about Silicon Valley. The guys are saying that they have these sessions where they just kind of get together and push ideas around and we’re changing these models, we’re doing this and we’re doing that. Suddenly they switch to Bill Gates or any of the visionaries who’ve become very successful. They talk about whatever they’ve come up with. Yes, it is always received on the level that it is intended in the sense that this is something that can be considered, accepted or rejected, but it is something that can be considered. For instance, when Lee Konitz in Wire magazine went to put me down, he didn’t say, “I don’t like what Braxton’s doing.” No, the first thing he made sure to do was undermine my credentials. “Oh, he isn’t qualified.” “Oh, he made a technical mistake.” So the question then is not what Braxton is doing, but suddenly I am operating from this deficit. This has been the game that has been played against guys like me from every sector. The Lincoln Center sector says, “Oh, well, he doesn’t play the blues.” What they are really saying is the he doesn’t have the kind of idiomatic psychology that we can see as playing ball in a way where this guy doesn’t have to be challenged, not to mention, what we have here is a profound myth understanding in my opinion of the whole blues tradition. I trace these understandings to Mr. Albert Murray and Stanley Crouch.
Last night in Vancouver listening to Le Vent du Nord, a terrific traditional band from Quebec. They put on one of the best live shows I have seen in a long time with outstanding musicianship combined with incredible energy. Listening to them and watching people dancing I had a deep experience of why we humans need art. It brings us into a joyful relationship which each other that we seem built to need – a kind of belonging that transcends each of our individual reservations, a sort of shared ecstasy. The cynic might say that such an attitude is decadent in a world of suffering, but I think it is clear that without these experiences of ourselves as joyful collectives, the serious work of living in our time is compromised by our own personal and private fears.
Lately I have been working with mainline Protestant churches and Christian communities a lot and I have appreciated being able to bring deep cultural and spiritual stories to our work together. The times they are all in are times n which the traditional forms of Church are dying and the new forms havent yet arrived. And while the leaders i have been with welcome the shift, many congregations are in grieving about the loss of an old way of doing things,
Last weekend in Atlanta, the group I was with picked the story of Ezekiel in the valley of dry bones to explore together. In that story, Ezekiel, who is a shaman, is carried into the spirit world where is comes across a valley of bones. Turns out that these are the bones of an army and God says to him “can these bones live?” Ezekiel does what all good shamans do when confronted with the awesome power of mystery and gives up any pretense of knowing the outcome. So together, God gives Ezekiel instructions and wakes up an army.
The armies of the old testament stories have always troubled me, because they are forever slaughtering and committing genocide because of God’s commands. But read as an allegory, suddenly this stuff becomes very powerful. For example, most spiritual paths have you confronting archetypal enemies on your pathway, such as greed or anger or the ego. To achieve enlightenment, to get to the promised land, means overcoming these enemies. And an army then seen in this context is a group of people that are greater than any one person’s fear.
So here is Ezekiel in the valley into which an army has been led and slaughtered, and he is being engaged in the work of waking up an army. Why? Well, once they have been woken up, God tells Ezekiel that they can go home. Home is the promised land, a place of freedom and kindness and relaxation and fearlessness. Coming home to oneself, finding home as a community.
To illustrate, another story I heard yesterday. One of the congregations I have been working with has been waking up to themselves in the work we have been doing together. When a group of people wakes up like that one has, all the dust and cobwebs come off them, and all of their beauty and warts are revealed. While we have designed and implemented many little projects in the Church, we have also awoken a little power struggle over a small but important issue. Typical of these kinds of issues, a small group has dug its heels in and doesn’t see its impact or connection to the larger community. Last night they all met and with some deliberate hosting, quickly discovered a common consensus on moving forward, one which I am led to believe takes each person outside of themselves and into a common centre of action.
In short, they had a different experience of themselves and each other, an experience that awakens the centre that Le Vent du Nord awakened last night. It is an experience that Christians can understand fully from their traditional teachings – Jesus constantly talks about love at the centre of the work of the world, and that community is the experience we are after. In the best forms of Christianity – including the form in which I was brought up! – the spiritual path is one of discovering kindness and a shared centre. From that place, transformation of community, family, organizations, and the world can be experienced and pursued. The hard work of dealing with power is made more human by acting from love and the beautiful work of cultivating relationship is put us to use by transforming power.
Last week I took an afternoon in Atlanta and went to visit Martin Luther King Jr’s Church where love and power awoke together in what King called “beloved community.”. These past months and years, I realize that this is what I am working for everywhere – in First Nations, organizations, communities, companies, churches and elsewhere. The beloved community draws us back home to our own humble humanity. It tempers the world’s harsh edges and it enables powerful structures to create beautiful outcomes.
And that experience is worth waking up for. Even an army.