[VIDEO] In the Ruins
A man sits on the rubble—
not just in the rubble, but on the pile
of what remains. No people
in the bombed-out houses.
No dogs. No birds. Just ragged hunks
of concrete and loss. And on his perch
he is playing an instrument constructed
of what is left—an olive oil can, a broom handle,
a bowed stick and strings. It sounds
exactly as it is supposed to sound.
The instrument cries, but the man sings.
Because sometimes loss is deeper than tears.
Because sometimes grief is resistance.
Because, somewhere down the very long road,
music is stronger than bombs.
Dedicated to S.K.
VIDEO: “ت ناوازەیە” by Xendan
PHOTO: “Rubble litters the street in the main souk or market area of Maraat al-Numan, Syria” by Freedom House is licensed under CC BY 2.0
Never Turning Back
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What do you do when you need a little extra courage? You might take some deep breaths or talk with a friend, but sometimes a song is just the thing to get you in the right frame of mind to take on something that’s scary or overwhelming. “Never Turning Back” by Pat Humphries is one of those songs you might want to sing to yourself for courage. It’s the kind of song that’s easy to put in your own words for, so you could even change the words to fit your situation and sing something like “Gonna walk right past that bully, walk right past that bully, walk right past that bully. Never turning back, never turning back.”
Company at the Bedside
On a good night these days our Little Bean (aka, Little Night Owl) will unwind herself very, very slowly towards sleep, slowly-but-steadily, mostly on her own. We have always accompanied her as she falls asleep, and it’s neat now to see her, at 1-and-a-half, sometimes able to navigate the journey herself. Keeping her company while she’s unwinding and heading towards sleep has been reminding me lately of the field of music thanatology.
On a recent trip, our kid’s sleeping place, next to our own.
While I was a Chaplain Intern (for a summer) and then year-long Chaplain Resident at a hospital in Portland, Oregon, there was a music thanatologist on the staff. I was so inspired by her warm energy and dedication to her calling — to serve at the bedside of those going through the life-to-death transition, to provide gentle song and presence beyond words and conversation, particularly at that stage when conversation is no longer possible.
I tend to be a wordy person, one who wants to talk through things, so perhaps that’s one reason I find the field of music thanatology so mysteriously meaningful. Music can tune into our cycles of breath and ease our spirits in unmeasureable ways. And the presence of another person in the room is a palpable, energetic dynamic that is perhaps most notable when there is no one else there. I have sat in the rooms of dying people when there was no one else visiting them, and I will never forget the feeling of absence in those rooms, the visceral feeling of alone-ness surrounding some of those people. Not all, certainly — some were peaceful, content in the quiet. But some people ached to have someone else there in the room with them, I could see it in their eyes when I walked in, a sense of relief that there is someone else here now, someone else with me.
In a somewhat startlingly similar way that I’m surprised not to have noticed anyone else talking about, perhaps because it might seem morbid or ominous to some, babies and small children seem to me to be as unreceptive to conversation at their bedsides as the dying are. There is no rationalizing with a one-year-old about it being “bedtime,” or “past bedtime,” not really. I try anyway; I gently say to our Little Bean over-and-over again, some afternoons at naptime or evenings at bedtime: “it’s time for sleeping, sweetie.” I know that she hears me, and I also know that she has to unwind in her way, at her pace, roaming about the room for a bit, playing with her familiar toys, interacting with me a bit, having a book read to her, a song sung. Sometimes she wants a little more to eat, a little bit of water to drink. Gradually the distance that she is perambulating gets smaller and smaller, and then she is just sitting on her bed with her stuffed animals and her soft scarves. She may need to cry some. She might turn the light off on her own or want it left on. Then she’ll lie down and stare up at the ceiling or the shadows on the wall, and then, finally, she’ll close her eyes, and I’ll hear her breathing shift and deepen.
In all these subtle ways, there are parallels to the dying process that I notice. At the bedside of the dying, just as at my child’s bedside, it is a delicate art, keeping company without overstepping into her space. The transition happens on its own schedule, unrelated to whatever time might be glaring at me from the digital clock. I remind myself that my being there, physically in the room, matters enormously, on any number of conscious and unconscious levels.
One of the things I learned from the Music Thanatologist in Portland was to start out singing a song at one tempo and then, ever-so-gradually, slow it down. That can help relax the listener, help her to slow down her breath as well. I do this with our Little Bean almost every night and sometimes for her afternoon nap as well. Easing into sleep. Helping her learn to slow herself down.
There is a lot of time to stare at the walls and ponder things while keeping someone company at their bedside. This living, it’s all about savoring our days while acknowledging the inevitability of our dying, right? There is a common saying in the hospital chaplaincy world that “people die how they live” and I think about that sometimes. May all our transitions into sleep be gentle rehearsals for our dying, however it may happen, some long distant day far from now. And may we all practice being present with each other and with ourselves, as genuinely and tenderly as we can, each day and night until then. Wishing you good sleep. Peace.
A Whole Heart: Remembering Pete Seeger
For the last couple of days my Facebook feed has been full of tributes to the late, great Pete Seeger—as well it should be. A genuinely remarkable man, Seeger spent his long life seeking justice, fighting oppression, telling the truth as he understood it, even in situations where the truth was most unwelcome. (If you haven’t seen the transcript of when he was called before the House Un-American Activities Committee, do yourself a favor and read it.) He stood in front of the crowds to protest war, and he sailed up and down the Hudson River fighting pollution. But more than that, he had a gift for bringing people together, for turning a crowd into a community through the power of song.
He was extraordinary, but here’s what strikes me. Anybody who really wanted to could do what he did. Sure, he was a good musician, but there are lots of people with better voices—walk into any college conservatory in the country and you’ll find a singer with a rounder tone, a more operatic sound. Sure, he was good on the guitar and the banjo, but there are people in my personal acquaintance who are better. He wrote some wonderful songs, but they’re hardly models of musical sophistication. His talent was considerable, but not really anything amazing—maybe not even all that special.
What was so incredible about Pete Seeger was not any singular gift or talent. What we celebrate, what we remember, was not a man who could do things no other person could, but rather a man who spent his whole very long life walking with a whole heart toward what he believed in. Whether it was his 70-year relationship with his beloved wife Toshi or an afternoon’s connection with a crowd at a concert or a protest, Pete was fully present, fully engaged, ready to be connected. He was a man who knew the power of the people, and who used the considerable force of his personality not to draw attention to himself, but rather to engage people with each other, and with their ability to create positive change. He gave himself, and he kept giving—not as a martyr, but as someone who found great joy in the giving.
He had, in short, the power of the music. Not the power of musicianship; not the prodigy talents of a Mozart or a Yo-Yo Ma. No, Pete Seeger had the power of living in his music, living through his music. He knew the power of music to tell truths in ways that people could hear them. He knew the power of music to draw folks together through the interweaving of voices. He understood the power of music to raise energy, to call forth energy, to move people forward. He sang, and invited people to sing with him, because he understood the deep connection between music and love, and between love and justice.
And he just kept on doing it, decade after decade. We’ve lost a unique spirit this week, a man who put his whole heart into everything he did, a man who had a whole heart, unbroken by cynicism or despair. But I think what he would want us to know is that any of us could do what he did. Any of us could stand up to injustice, work for peace, speak our truth, sing out and keep singing. Any of us could be an instrument of freedom, of joy, of connection and the power of the gathered will of the people. Any of us could. Pete Seeger did.
Songs that Save Us
Emma’s Revolution came to New Orleans and offered a workshop focused on singing and songwriting for social justice last weekend. I am still reeling a bit from process. Yesterday I caught myself humming a song and wondered “whose song am I singing?” With a flash of wonder, I realized that it was mine.
It wasn’t until that moment that I realized how shut up/shut down the songs within me have been.
We are endlessly adaptable, us human beings. We can adapt to racism, to endless war, to drone strikes and wire taps, to fracking and mountain top mining…We can adapt to deformed seafood and boil water alerts, to a school to prison pipeline and senior citizens choosing between heat or healthcare.
“That’s just the way it is,” we say. We forget that we have the power to resist. We forget that there are unsung songs within us. We forget that adaptability is essential for survival, but there’s more to life than surviving.
We must refuse to adapt to that which dehumanizes us, destroys our habitats and our hearts. We who would be whole and holy – who would thrive together as beloved community – must remember the songs within us. Remember the songs within us and sing them out loud together.
