Times article 10/10/09
10/10/09 11:36
By John
Naish
In an era when religion is increasingly hijacked by intolerance and aggression, people of different faiths often have little chance to relax together and enjoy shared experiences. This is why an eclectic array of performers such as an Indian sitar-virtuoso, a Gypsy flamenco group, an anthemic choir and an Amazonian rainforest shaman are gathering in Brighton today for the start of the city’s ten-day Festival of World Sacred Music. It is the British arm of a global network dedicated to fostering interfaith understanding through something revered by all traditions: the magic of spiritual songs.
Music and religion have been entwined since the earliest days of civilisation. The fourth book of Genesis credits Jubal, the grandson of Adam, as “the father of all those who play the harp and flute”. In the ancient city of Ur, 4,500 years ago, hymns were dedicated to Nanna, the spirit of the moon. Now, in our globalised culture, the focus is increasingly on creating cross-cultural harmony. “Brighton alone has 19 different faith communities alongside each other – and that’s not counting all the sub-sects,” says Kate Whyman, the director of the nonprofit festival. “How do you bring together people from such different traditions, as well as humanists and atheists, if not through the universal appeal of music?”
Science is beginning to understand how sacred music can spark deep human affinities. Oliver Sacks, the neurologist and author of Musicophilia: Tales Of Music And The Brain, says that spiritual songs stimulate the right temporal lobes, which are also associated with mystical or religious feelings. “Music can allow us to express that which is otherwise inexpressible,” he explains. “In a religious context, all of these aspects of music come together.”
Dr Andrew Newberg a Pennsylvania University neuroscientist, has been brain-scanning nuns while they sing hymns to see what happens to their brain chemistry when they have a religious experience. He says that the breathing patterns used in singing can reduce the flow of blood to the brain’s “orientation area”, which controls one’s sense of self. The sense of being an individual ego falls away, to be replaced by a sense of being part of something much larger.
This process, called deafferentation, is cited by atheistic scientists as evidence that religious experience can be reduced to a brain state. Other neuro-theology researchers claim to have shown how different spiritual music evokes different mystical experiences. A Japanese study in 1997 showed that repetitive rhythms can drive the brain's hypothalamus, which may foster either serenity or arousal. Incantatory hymns can trigger a sense of spiritual tranquility, while the whirling of Sufi dervishes can create a hyper-aroused sense of channelling universal energy.
Such research evidence may be interpreted more spiritually, however. Sister Celeste Crine, one of the nuns scanned in Dr Newberg’s experiments, sees it all as part of Creation revealed: “To me it is pointing in the direction that God does exist. When I’m in touch with God, when my spirit and God’s spirit are one, we see that effect in part of the brain.”
Communal music can also create the sort of alluring high that strengthens group bonds. Manchester University scientists have found that the sacculus, a balance-regulating system in the inner ear that also responds to musical frequencies, is connected to the brain's pleasure centre. The sacculus is sensitive only to low-frequency, high-intensity sounds of the type produced when we sing together in groups. This harmonious response helps to explain why a study of 12,000 Swedes has found that those who sing in choirs live longer.
In pursuit of this sense of unity, the Dalai Lama has called for the creation of multi-faith sacred song festivals worldwide: “There is something in music that transcends and unites. This is evident in the sacred music of every community,” he says. “Such music expresses the universal yearning that is shared by people all over the globe.”
In the past few years, spiritual music’s community-building power has been harnessed by a number of events across the globe, such as the biennial Munajat Festival of Traditional Mediterranean Sacred Chants, launched in 2002 in Beirut to bring together a variety of traditions - including choral renderings of Byzantine hymns and sung recitations from the Koran. Munajat is part of both Lebanese Muslim and Christian tradition; it describes the verbal communion of man with God – in this case, collectively singing man’s love for God. Hisham Shaar, one of the organisers, says: “The goal behind this Munajat is to resolve a social issue through spirituality and music.”
The network of World Sacred Music festivals to which Brighton belongs has grown on similar foundations. The group now includes Fez in Morroco, Delhi, Quebec, Girona, Michigan and Washington State. “It’s not only the gathering of people to enjoy music together that helps to build communal bonds,” says Whyman. “The nature of the music itself helps people to explore each other’s faiths, which can only help to nurture mutual understanding.” The very nature of a faith is often reflected in the structure of its sacred music. For example, monotheistic religions such as Christianity tend to express a sense of unified order having notes that relate to a tonic, and which resolve to a tonic. Polytheistic traditions such as Hinduism are far more freeform in style, with the musicians reflecting their faith’s interwoven theisms through an individualistic approach more akin to Western jazz.
Such music does not only touch the religiously inclined. Dr Sacks, an avowed non-believer, says: “Music, particularly vocal religious music, such as Bach, sometimes transports me to spheres and states of consciousness which would not be accessible otherwise. I was overwhelmed when I went to Jonathan Miller’s St Matthew Passion. Miller is a very old friend of mine, and like myself is a Jewish atheist.”
Atheists, humanists and people without a defined spirituality are all just as welcome at the Brighton festival, says Whyman. “If you’re unmoved by the likes of African drumming, anthemic choral music or ecstatic Gypsy flamenco guitar, then sadly it’s not for you. But for the rest, all you need is a soul and an open mind.”
Brighton's World Sacred Music Festival
www.worldsacredmusic.org/
In an era when religion is increasingly hijacked by intolerance and aggression, people of different faiths often have little chance to relax together and enjoy shared experiences. This is why an eclectic array of performers such as an Indian sitar-virtuoso, a Gypsy flamenco group, an anthemic choir and an Amazonian rainforest shaman are gathering in Brighton today for the start of the city’s ten-day Festival of World Sacred Music. It is the British arm of a global network dedicated to fostering interfaith understanding through something revered by all traditions: the magic of spiritual songs.
Music and religion have been entwined since the earliest days of civilisation. The fourth book of Genesis credits Jubal, the grandson of Adam, as “the father of all those who play the harp and flute”. In the ancient city of Ur, 4,500 years ago, hymns were dedicated to Nanna, the spirit of the moon. Now, in our globalised culture, the focus is increasingly on creating cross-cultural harmony. “Brighton alone has 19 different faith communities alongside each other – and that’s not counting all the sub-sects,” says Kate Whyman, the director of the nonprofit festival. “How do you bring together people from such different traditions, as well as humanists and atheists, if not through the universal appeal of music?”
Science is beginning to understand how sacred music can spark deep human affinities. Oliver Sacks, the neurologist and author of Musicophilia: Tales Of Music And The Brain, says that spiritual songs stimulate the right temporal lobes, which are also associated with mystical or religious feelings. “Music can allow us to express that which is otherwise inexpressible,” he explains. “In a religious context, all of these aspects of music come together.”
Dr Andrew Newberg a Pennsylvania University neuroscientist, has been brain-scanning nuns while they sing hymns to see what happens to their brain chemistry when they have a religious experience. He says that the breathing patterns used in singing can reduce the flow of blood to the brain’s “orientation area”, which controls one’s sense of self. The sense of being an individual ego falls away, to be replaced by a sense of being part of something much larger.
This process, called deafferentation, is cited by atheistic scientists as evidence that religious experience can be reduced to a brain state. Other neuro-theology researchers claim to have shown how different spiritual music evokes different mystical experiences. A Japanese study in 1997 showed that repetitive rhythms can drive the brain's hypothalamus, which may foster either serenity or arousal. Incantatory hymns can trigger a sense of spiritual tranquility, while the whirling of Sufi dervishes can create a hyper-aroused sense of channelling universal energy.
Such research evidence may be interpreted more spiritually, however. Sister Celeste Crine, one of the nuns scanned in Dr Newberg’s experiments, sees it all as part of Creation revealed: “To me it is pointing in the direction that God does exist. When I’m in touch with God, when my spirit and God’s spirit are one, we see that effect in part of the brain.”
Communal music can also create the sort of alluring high that strengthens group bonds. Manchester University scientists have found that the sacculus, a balance-regulating system in the inner ear that also responds to musical frequencies, is connected to the brain's pleasure centre. The sacculus is sensitive only to low-frequency, high-intensity sounds of the type produced when we sing together in groups. This harmonious response helps to explain why a study of 12,000 Swedes has found that those who sing in choirs live longer.
In pursuit of this sense of unity, the Dalai Lama has called for the creation of multi-faith sacred song festivals worldwide: “There is something in music that transcends and unites. This is evident in the sacred music of every community,” he says. “Such music expresses the universal yearning that is shared by people all over the globe.”
In the past few years, spiritual music’s community-building power has been harnessed by a number of events across the globe, such as the biennial Munajat Festival of Traditional Mediterranean Sacred Chants, launched in 2002 in Beirut to bring together a variety of traditions - including choral renderings of Byzantine hymns and sung recitations from the Koran. Munajat is part of both Lebanese Muslim and Christian tradition; it describes the verbal communion of man with God – in this case, collectively singing man’s love for God. Hisham Shaar, one of the organisers, says: “The goal behind this Munajat is to resolve a social issue through spirituality and music.”
The network of World Sacred Music festivals to which Brighton belongs has grown on similar foundations. The group now includes Fez in Morroco, Delhi, Quebec, Girona, Michigan and Washington State. “It’s not only the gathering of people to enjoy music together that helps to build communal bonds,” says Whyman. “The nature of the music itself helps people to explore each other’s faiths, which can only help to nurture mutual understanding.” The very nature of a faith is often reflected in the structure of its sacred music. For example, monotheistic religions such as Christianity tend to express a sense of unified order having notes that relate to a tonic, and which resolve to a tonic. Polytheistic traditions such as Hinduism are far more freeform in style, with the musicians reflecting their faith’s interwoven theisms through an individualistic approach more akin to Western jazz.
Such music does not only touch the religiously inclined. Dr Sacks, an avowed non-believer, says: “Music, particularly vocal religious music, such as Bach, sometimes transports me to spheres and states of consciousness which would not be accessible otherwise. I was overwhelmed when I went to Jonathan Miller’s St Matthew Passion. Miller is a very old friend of mine, and like myself is a Jewish atheist.”
Atheists, humanists and people without a defined spirituality are all just as welcome at the Brighton festival, says Whyman. “If you’re unmoved by the likes of African drumming, anthemic choral music or ecstatic Gypsy flamenco guitar, then sadly it’s not for you. But for the rest, all you need is a soul and an open mind.”
Brighton's World Sacred Music Festival
www.worldsacredmusic.org/
Programme news
08/07/09 23:47
It's
July already, which means it's time to tell you about
the exciting programme we have lined up for this year's
World Sacred Music Festival, and to make a special
request for your support.
The 2009 Festival, which takes place 10-18 October, offers a feast of music on the theme ‘South’, with world-class musicians from Africa, India, Southern Europe and South America, and a strong thread of music from Gypsy, flamenco and indigenous traditions. Zimbabwean legend Stella Chiweshe, Indian sitar master Kartik Seshadri and Catalan Gyspy band Tekameli will be joined by Brazilian Marlui Miranda with songs from the Amazon, kora virtuoso Seckou Keita from Senegal and the UK’s own Jewish Sephardic group Los Desterrados.
However, for the first time we have had our application to Arts Council England turned down, due to fierce competition for funding in these straitened times. So we are making a special request for you to support us even more than you usually do, to ensure that the Festival can continue to bring together wonderful music – and audiences – from a wide range of beliefs and cultures.
Here are 3 simple ways you can help us:
1. Become a Friend of the Festival and reap the benefits
In addition to priority booking, from this year your Friends membership gives you access to exclusive ticket discounts. For the first time, Friends will receive a 10% discount on all tickets when purchased in advance by phone or over the counter at the Dome Box Office. Your membership also entitles you to an invitation to our launch event. Sign up online, for one year or two, at http://bit.ly/dnG9Z
2. Buy our fabulous new CD and enjoy highlights from the 2008 Festival
Inspirational music – mostly recorded live – from the London Bulgarian Choir, Sheikh Ahmad Dede, Mor Karbasi, Shichiseikai, Parvathy Baul, Nina Virdee, Cheng Yu, Polina Shepherd and more. Buy online at http://bit.ly/Rzyty. Just £10 plus p&p.
3. Make a donation online
Make a one-off gift, or a regular monthly donation. No amount is too small – or too big! It’s quick and easy at http://bit.ly/q1hiD
And finally...
The detailed programme and booking info will follow shortly. Please support as many events as you can, buy your tickets in advance, and tell all your friends about us.
THANK YOU for your help, and we look forward to seeing you very soon.
With all best wishes
Kate Whyman, Artistic Director
Razia Aziz, Chair
The 2009 Festival, which takes place 10-18 October, offers a feast of music on the theme ‘South’, with world-class musicians from Africa, India, Southern Europe and South America, and a strong thread of music from Gypsy, flamenco and indigenous traditions. Zimbabwean legend Stella Chiweshe, Indian sitar master Kartik Seshadri and Catalan Gyspy band Tekameli will be joined by Brazilian Marlui Miranda with songs from the Amazon, kora virtuoso Seckou Keita from Senegal and the UK’s own Jewish Sephardic group Los Desterrados.
However, for the first time we have had our application to Arts Council England turned down, due to fierce competition for funding in these straitened times. So we are making a special request for you to support us even more than you usually do, to ensure that the Festival can continue to bring together wonderful music – and audiences – from a wide range of beliefs and cultures.
Here are 3 simple ways you can help us:
1. Become a Friend of the Festival and reap the benefits
In addition to priority booking, from this year your Friends membership gives you access to exclusive ticket discounts. For the first time, Friends will receive a 10% discount on all tickets when purchased in advance by phone or over the counter at the Dome Box Office. Your membership also entitles you to an invitation to our launch event. Sign up online, for one year or two, at http://bit.ly/dnG9Z
2. Buy our fabulous new CD and enjoy highlights from the 2008 Festival
Inspirational music – mostly recorded live – from the London Bulgarian Choir, Sheikh Ahmad Dede, Mor Karbasi, Shichiseikai, Parvathy Baul, Nina Virdee, Cheng Yu, Polina Shepherd and more. Buy online at http://bit.ly/Rzyty. Just £10 plus p&p.
3. Make a donation online
Make a one-off gift, or a regular monthly donation. No amount is too small – or too big! It’s quick and easy at http://bit.ly/q1hiD
And finally...
The detailed programme and booking info will follow shortly. Please support as many events as you can, buy your tickets in advance, and tell all your friends about us.
THANK YOU for your help, and we look forward to seeing you very soon.
With all best wishes
Kate Whyman, Artistic Director
Razia Aziz, Chair
Juggling jelly
19/05/09 07:22
This is how I described programming the festival to a
fellow arts organiser last week. "I know what it's
like," she laughed. I've also heard the process
described as "trying to complete a jigsaw puzzle - with
all the pieces face down".
World Sacred Music is a small festival compared with most, which should make it easy to programme, you would think. Except that in a limited number of events, spread over just one week, we need to ensure that: all (or at least most) of the acts fit the theme (this year it's 'South'); we represent a spread of sacred traditions; there is a diverse range of nationalities and cultures; all the events are accessible and as inclusive as we can make them; we meet - or exceed - the expectations of our loyal audience and draw in new audiences; we maintain (or raise) standards throughout; we can fund it; we can sell it; and, most importantly, we hold true to the aims of the Festival.
Add to that that we are working with artists from different countries, from different musical genres (which each have their own cultures), and on a small budget. Plus we must work with the UK Border Agency to bring artists into the country; with the Foreign Entertainers Unit at the tax office; with PRS who collect royalties on behalf of artists; with agents and contracts; with the varying needs of the venues - and so on and so on.
I'm not complaining. It's a privilege to work with such inspiring and unique musicians and a great thrill to bring them to a wider audience, who otherwise might not get the chance to experience them or the style of music they perform.
It's just that juggling jelly might be easier.
World Sacred Music is a small festival compared with most, which should make it easy to programme, you would think. Except that in a limited number of events, spread over just one week, we need to ensure that: all (or at least most) of the acts fit the theme (this year it's 'South'); we represent a spread of sacred traditions; there is a diverse range of nationalities and cultures; all the events are accessible and as inclusive as we can make them; we meet - or exceed - the expectations of our loyal audience and draw in new audiences; we maintain (or raise) standards throughout; we can fund it; we can sell it; and, most importantly, we hold true to the aims of the Festival.
Add to that that we are working with artists from different countries, from different musical genres (which each have their own cultures), and on a small budget. Plus we must work with the UK Border Agency to bring artists into the country; with the Foreign Entertainers Unit at the tax office; with PRS who collect royalties on behalf of artists; with agents and contracts; with the varying needs of the venues - and so on and so on.
I'm not complaining. It's a privilege to work with such inspiring and unique musicians and a great thrill to bring them to a wider audience, who otherwise might not get the chance to experience them or the style of music they perform.
It's just that juggling jelly might be easier.
New CDs delivered - nearly
27/04/09 18:31
We almost got very excited here today. Our fabulous
first-ever CD 'EAST' was delivered ahead of schedule.
It looks - and sounds - great. Only problem is that
some of the booklets have been put in upside down and
the wrong way round. Which wouldn't be the end of the
world, except that they are shrink-wrapped. So we've
had to send all the boxes back to be checked and
re-packaged. Ho hum.
At least I've got my copy.
At least I've got my copy.
Welcome to our new blog
27/04/09 17:27
Welcome to the World Sacred Music blog. I'll be posting
news and views over the coming months as the Festival
progresses. Watch this space...
Kate
Kate