JEJU RENAISSANCE (PART TWO): A MYSTERIOUS STRANGER

During my years in high school, I had come across Mark Twain's The Mysterious Stranger. The discovery of this posthumous novel was a revelation as it seemed to address my own crises during those years. Twain wrote multiple versions of this novel, and one critic's claim that Twain's issues and questions have become irrelevant is an example of such critical hubris with regard to this serious dimension of Twain.  He wrote a number of versions of this final novel which was pieced together by scholars after his death. Little did I realize then, that just as his book had served as my mysterious stranger, I would encounter a similar visitor more than 60 years later.

As I prepared for my final summer at New York University and our final articulation of the international multimedia workshop IMPACT, I remained inspired but somewhat fatigued from 50 years of commitment to to a process of implementing a vision for the future that served to pioneer new programs. I would soon begin a terminal sabbatical, but I couldn't see beyond that. The world terminal loomed ominously.

But in May 2017, I encountered a stranger, a mysterious stranger...mysterious because the stranger came from out of nowhere but appeared to know everything about me, including a sense of future fortune. It was almost as though the stranger had come from my remote past, perhaps a previous lifetime that was now vividly present.

The stranger was magical, playing to my sense of fate and entanglement, turning the present into a series of transforming moments by embarking on a journey to new terrain, uncovering destinies I somehow had neglected. "Who are you?" I asked. The stranger smiled and shrugged, gesturing toward an evolving entity that began to take shape.

"I was hoping you might remember..." The stranger pointed to mountains on an island by conjuring images of lush terrain, waterfalls, volcanoes that had given the island a sacred presence, of Seobul, a Chinese emissary, who had visited this island seeking the source of life and well-being more than two-thousand years ago. I could feel the magic spell of the island.

I recalled that I had been told of this island before, and had felt drawn to the magic of its location bounded by the Pacific Ocean and the Yellow Sea.. I remembered my story for a film that had begun to emerge of an older man who was on a quest to find the love of his youth and travelled the world, following clues that eventually led him to the isle of Jeju.

As I dwelt upon these incantations of the future, the stranger conjured a marvelous odyssey that led me to Jeju. In that deep mysterious enclave, I felt the immense presence of Mount Halla (Hallasan), the volcano that gave final shape Jeju as it erupted into existence 100,000 years ago. It can be seen from everywhere on Jeju as among the tallest mountains of Asia. Jeju island is just 25 miles across (north/south axis) at its widest point and some 45 miles long from west to east. Initially, the island was formed by volcanic activity two million years ago. I stood on the seacoast rock near Mount SanBangSan on this part of the island that stretched back to two million years. It is a wild and raw terrain, with winds so fierce at times that I could lean against the wind and be held upright. I walked up Seongsan Ilchulbong (Sunrise Peak), the volcano that is the signature image of Jeju.

In Jeju, I found such wonders, and a sense of spiritual renewal. Anyone would be stunned by the richness of the plants and vegetation, the abundance of fish from such varied oceans, and the majestic skies defining the more than 300 volcanoes and tremendous forests that are the habitat of an array of birds and wild life, including the 60,000 wild horses on Mount Halla.

Of all the renaissances that have renewed my spirit, nothing has touched me as deeply as this quest to this island of antiquity that has long been a destination for spiritual renewal, healing, and well-being. In many ways this new quest wiped away impediments structured by a mindset developed over the years, and at 81, I seemed catapulted back to myself at 18, perhaps an historic palindrome. Suddenly I felt the surge of energy in the midst of an island serving as an icon for spiritual well-being and freedom.

The stranger, reading my mindset, created a new panorama and then just as unexpectedly as appearing, vanished.

I was alone.

JEJU RENAISSANCE (Part One)

Wednesday night emerged as an epiphany as I attempted to deal with the challenges of a profound   transformation that began prior to and during my time on Jeju Island,  a magical isle off the coast of Korea that has been s source for recovery and well-being for more than a thousand years.  A major area in the west and south of the island, along the Pacific Ocean side is an area known as Seogwipo, named for Seobul, an emissary of the Emperor of China, who was sent to Jeju to find plants that could bestow well-being and eternal life. The Emperor was Qin Shi Huang who unified the Chinese Continent (BC 221-BC206).

It would be fascinating to to understand how Seobul's presence transformed Jeju and Korea during his visit. Not only is Seogwipo (gwipo refers to eternal life/healing/well-being) named for him, but the capital Seoul is derived from Seobul. His impact was pervasive and metaphysical. His journey to Jeju brought this remarkable Island to the attention of the world as a pristine paradise favored by divinity. His quest had such impact that his name continues to enrich the manifestation of a spiritual presence in Jeju that remains palpable.

A year ago, I knew nothing of Jeju except that one of my graduate students was studying at NYU on leave of absence from her school in Jeju, where she had been teaching for several years.  The year of 2017 was a year of change, it was to be my last year of teaching at NYU as I would go on sabbatical in my final year.  It would also be the final year for EXPANDED MUSIC and IMPACT, our international workshop which had just passed a decade of collaborative new multimedia creative work of international participants.

I wondered what I should do on a sabbatical as an octogenarian. The end of my sabbatical would mark 50 years of involvement with NYU Steinhardt Music and Performing Arts Professions that began with some exploratory discussions with Jerrold Ross in 1968. Leaping back to 1968, when my multimedia opera ROTATION premiered, I had made a commitment to education as a life pursuit, even though I would continue to make music through students by exploring and  sharing the collaborative process in a number of settings. But as I break from academia in my final year at NYU, all options are open, if only I knew what they might be.

As I approached my final year of IMPACT,  I was already exhausted from the academic year and anticipating moving out of my office and removing the accumulation of half a century. In many ways 2017 was IMPACT's most ambitious year, but the framework was more intimate. Several colleagues who had helped found IMPACT were no longer involved.  But we had a creative new staff on the IMPACT Team, including a brilliant young man who had started as an IMPACT participant and risen over the years to visual director. From the first time I met him at IMPACT, I regarded him as a child of the new century, a true multimedia artist. This final year he returned as production coordinator. As it turned out, it may have been an even more inspiring experience than our tenth-year celebration.

Yet, as we prepared for IMPACT during May 2017,  I had no sense of where I should be or what I should do during a terminal sabbatical. Clearly I sensed then, and continue to anticipate a turning point. Structurally it was to be a crucial juncture mandated by academic procedure. Spiritually it may require yet another renaissance...

How many renaissances . . .
How many times
Will the silence invite me
To the feast?
I toast to festivals of years. . .
Here's to the painful isolation,
Here's to the innocence
Now lost. . .
Here's to the quiet wonder
Here's to the mystery of awe
To chaos on the edge of order . . .
Too soon
The days of opportunity dissolve,
The inward possibilities remain inert,
And all that might be and might have been
Is gone.

Yet, what is emerging is not like the past... the days of opportunity are not dissolving. The inward possibilities are bubbling up from the depths and taking shape. "What might be" is evolving into a vivid presence. But none of this would be happening had it not been for an encounter with an unexpected stranger.

ARTS RECOVERY COLLABORATION: WELL BEING

Soon I will have completed about 50 years of contact, planning, and implementing a new idea for an academic structure. My work shifted from composer to creating curricula anticipating the media and technology explosion that began around 1968. Now, in September of 2018 that chapter of my life at New York University will come to a close.

I am somewhat surprised to still be here, because in my fantasies, I always thought I would have been gone from this existence by now.  I speculated over time when the end would come. In my teens, my heroes were Gershwin and Mozart. Both died at 35. I said to myself, "Fine, I will live passionately and when I'm 35, I'll be gone.

But when I turned 35, I was surprised to see I was still around. What should I do? Plan my life for retirement? But frankly at 35, I was in the maelstom of sweeping academic and administrative changes at the university. In addition, I was in the midst of sponsoring an on-campus festival and symposium in collaboration with Keyboard Magazine that introduced to the world the new breed of low-cost synthesizers that led to the revolution of musical practices and styles of the 70s. We turned the entire Education Building and Student Union into rooms that hosted manufacturers and their equipment, and artists in special workshops, with performances by luminaries, in what was later named Loewe Theatre, each evening of the three-day extravaganza.

Since I was sill around, I thought maybe the end woud come at 50, then at 60, and then surely at 70, so I never really planned for retirement. But as 80 approached, I began to realize maybe I wasn't going to die in the job.  Is there life after 80?

One of the joys of working in such a dynamic department where we had managed to attract so many energetic and visionary faculty was my relationship with the Music Therapy Program when I served as Chair. I had helped the former Chair in setting up the new program, and we brought in a talented and visionary person to lead the program. As consistent with our other programs, our Music Therapy departed from the prevailing model in Academia, so much so that we left the existing association and created a new one. This was through the initiative of my mentor and Chair, Dr. Jerrold Ross who had been responsible for bringing me to the department to develop new and innovative programs.

During my tenure as Chair, Barbara Hesser, our new Music Therapy Program Director initiated retreats in the Catskill Mountains on Panther Mountain near Phonecia, New York. My first experience with the retreat was so memorable that I composed an interactive ensemble piece based on the happening of that week together with so many creative artists.

I travelled to the retreat with colleague and philosopher, David Burrows, whose book Time and the Warm Body, remains one of the most original treatments of Time that I have encountered. I remember him saying, "John, these people know something about making music that most of us do not know or understand."

The Panther mountain facility was beautifully designed and we lived in dorm style rooms. We could make our own meals or purchase simply-prepared snacks or meals. We had to clean up after ourselves, and there were many rooms where we could separate in various configurations as needed and congregate together as a group. There was no set agenda, except to share and to have conversations and mini-sessions that were like informal workshops.

Deep in the forest was a Sanctuary shaped somewhat like a teepee. A large circular building narrowed like a funnel as you looked upward, culminating in an opening at the top where you could see the sky, or stars at night.

On the first night we gathered in the sanctuary. Those of us that had instruments brought them and put them in the center. We gathered into a large circle so that everyone could see each other and the instruments in front of us.

In the sanctuary, in the middle of the forest, underneath a starry sky, we sat in deep silence. After a while, Time became irrelevant. We no longer sat in silence... we communed in silence and communed with silence. I became deeply aware of our breathing. It was almost as though we were all drawing the same breath. After more than an hour I could hear a low voice intoning a sound as though breath had discovered tone. Gradually everyone joined.  Toning began to follow contours, and then melody emerged, almost as though this communion had summoned the power of music. For the next two hours there wonderful textures, melodies, emotions created as an ensemble, but punctuated with solos, duos, trios, and other configurations expressing full joy and utter despair, pain and gladness, anguish, and delight. The improvisation created its own form and after about two hours, it returned to silence. We sat again in the circle, silent, but somehow wholly fulfilled. After a few moments we began to talk and share our experience.

The retreat was all about making music together spontaneously and then sharing our work from the past year.  Everyone was exhausted from the demands of rigorous programs in the different parts of the world, so as we shared and interacted, we found that the process we were undergoing Became a profound healing experience.

From this experience, the idea of ARC (ARTS RECOVERY COLLABORATION) occurred to me as a possible focus for what I might implement in the future. An Arc is a symbol of connecting. Maybe it is ARTS RENAISSANCE COLLABORATIVE, or ARTS RENEWAL COLLABORATION... but the idea of reaching out and connecting with colleagues in the arts at the end of the year to celebrate and recover seems like something worthwhile to do, taking my inspiration from what I encountered in Phonecia almost 40 years ago.

DEEP INTO THE NORTH COUNTRY WITH BASHŌ

From the first moment I learned of Haiku, I felt a connection with Matsuo Bashō, one of Japan's greatest authors. This Christmas I received a volume of Bashō's middle and late periods, if one can call them that, since it appears that his progression toward his rich mature style was steady and uninterrupted, even though it came at great personal sacrifice. The volume is The Narrow Road to the Deep North and Other Travel Sketches.

As was the practice of the time, a poet's work was created on journeys undertaken for the sake of creating.. I felt a parallel with the volume I received and Robert Pirsig's Zen in the Art of Motorcycle Maintenance.  This sensitive and thoughtful translation is by Nobuyuki Yuasa, and covers the major three journeys of Bashō.

Perhaps it is the notion of the journey that most attracted me, because I had not realized the context of Bashō's poetry before. From this reading I understand also that poetry was often a collaborative process. Disciples accompanying the master would contribute poems and often suggest lines to the master. But also there are deliberate sacrifices that must be made to undertake such journeys into a wilderness... usually by foot, but at times the terrain could be so challenging a horse would be necessary.

In my journeys, I have been aware of the spiritual quest that has always defined the issues of awareness and noticing. Listening and noticing---intimate encounters with being that provides glimpses into the nature of existence as we embrace appearances masquerading as reality.

In following Bashō's journey, I became aware that the haiku and at that time hokku, was an evolving form, and the 5-7-5 syllable form was not the only syllable structure prevalent. Nobuyuki Yuasa prefers the four-line form which seems to better fit the poems as written by Bashō. Especially since poems always appear in the context of prose passages.  Scholar and translator Yuasa comments:

First, the language of haiku, ...is based on colloquialism, and in my opinion, the closest approximation of natural conversational rhythm can be achieved in English by a four-line stanza rather than a constrained three-line stanza.

Bashō took his name from the tree of that name after one of his disciples presented him with a stock of a Bashō tree. A Bashō is a species of banana tree. Bashō remarked "I love the tree for its very uselessness."

As many who know me have observed I have given much thought to issues of madness, and making moments tangible and retrievable through poetry. Poetry is the essence of intense noticing. This seems to be confirmed by Bashō:

What is important is to keep our mind high in the world of true understanding, and returning to the world of our daily experience to seek therein the truth of beauty. No matter what we may be doing at a given moment, we must not forget that it has a bearing upon our everlasting self which is poetry.

In The Narrow Road to the Deep North, Bashō  undertakes a journey to what is regarded as the unknown forces of the universe in order to be the poetry that makes the world profoundly eloquent. Having composed a song this summer, "If This Be Madness", I wrote:

If this be madness,
It sets me free,
From all the sadness
That once was me.
But is it madness
To look with love
Beyond the limits
That we’re made of?
We each have madness
Somewhere inside…
 A touch of genius
From which we hide
Perhaps its madness
Or just naive
To want to live my life
As I believe…
And even now I hear
A distant song
I know it’s somewhere near
Where I belong
And even now I see
That I must go
There’s a different me
And there are worlds
I’ve yet to know!

What a revelation it was to come upon this poem by Bashō:

With a bit of madness in me,
Which is poetry... 

And so I seem to have come full circle as I continue my journey of 81 years, remembering that as a child, the essence of the world was its poetic presence.