There were many wonderful workshops at the INAFA convention in Eau Claire, WI. From Frank “Anakwad” Montano, I learned about listening in silence to my surroundings, and from Ann Licater/Jeff Oster I learned about the art of improvisation. On the second morning of the convention, I awoke early and took a couple flutes to find a quiet place outside to play. I didn’t much feel like walking down to the Chippewa River, and settled instead for a nearby park bench beneath a pine tree. It wasn’t an ideal spot … apartments behind me, a road in front of me — though it was a pleasant, cool morning with a gentle breeze.
I thought to begin playing, then remembered the words of Anakwad … instead closed my eyes, centered myself, and just listened. Birds, wind blowing the leaves, traffic — a lot of traffic from a main highway about two blocks away. I remembered what Ann had said about conversing through the flute and began to talk to the birds, playing short phrases, listening carefully to their response, answering in turn. I began to lament the sounds of cars accelerating and stopping. Occasionally, one whooshed by in front of me, distracting me from my conversation. Though I was annoyed, the birds didn’t seem to care. They kept singing their beautiful music, three or four separate flocks of them and one lone voice that rose above the rest. I talked to them all and found that my mood was changing. We began to share the beauty and happiness of the song. We found communion, and the cars no longer mattered. When another one drove past, I simply played a happier melody.
When I opened my eyes, I happened to look down at my feet and saw an ant hill … but no ants. I had been playing a mid Fm from Colyn Petersen but now switched to a high Bm from Randy Stenzel. The birds, a thought, a voice … I don’t know, but something told me to play to the ants and call them forth from the earth. So I closed my eyes and played for awhile, then opened one eye … still no ants. I closed my eyes and played again, longer this time and with more heart, opened one eye … again no ants. I complained to the birds, but they just laughed and counseled patience. I kept playing and playing, then once more opened an eye … finally, lo and behold, a single ant poked its head out of the hole, followed by another and another. My music had called forth ants into the light of day!
My job was done, so I quickly packed up my flutes, headed back to the dorm, and reflected on my experience. I wondered for instance why I chose to play a mid Fm for the birds and a high Bm for the ants. If I had thought about it much, I would have reversed this and played the higher key for the birds, the lower one for the ants. Perhaps I was trying not only to sing the ants up out of the earth but also sing the birds down out of the trees. I was, in essence, calling them to me, perhaps to show them what I had learned.
But then something strange happened. My perspective began to shift. It occurred to me that the birds had lifted me up to their song, that they had taught me what I hadn’t yet learned about singing in traffic. The ants had brought me down to their level, taught me patience and how to emerge from my own dark hole into the light of day. Both the birds and the ants taught me something about de-centering the ego and communing with nature. Expectation has it that we try to imitate the birds with a higher key flute, or imitate the ants with a lower key. Turns out I wasn’t imitating either one, but speaking from my own stance. I was unconsciously “imitating” myself. In doing so, a separation between myself and the nature I was attempting to converse with was revealed, and only then — when I became aware of it — could I really begin to understand and communicate with birds and ants. As a result, I came to find peace with the traffic as I focused more on the beauty surrounding me … the pleasant morning, the birds and trees, the earth, a nearby fountain filled with water.
Some will argue that interpretations of experience are meaningless or relative, but I think they are crucial to self-discovery, transformation, and growth. Birds and ants, and all things — even traffic — are conduits for revelation if only we will listen.
Mnemosyne (Memory). Only later, in classical Greece, was she given a flute and associated with music and lyric poetry. We also learn that she became pregnant by the river god Strymon and bore him a son. His name was Rhesus who, Homer tells us in the Iliad, led a small army of Thracian soldiers into the Trojan War, where he was tragically killed by Diomedes.
How does a trained skeptic write about a “mythology” he doesn’t quite believe in or comprehend because he stands outside of the culture that produced it? I’m not just talking about Native American stories, either. In school, we often study stories as if they were lifeless insects impaled through the heart by long, sharp needles affixing them to a bed of white cotton. It isn’t often possible to immerse ourselves in living oral traditions we aren’t part of, and even if we could we’d always be outsiders to some degree, ethnographers rather than full participants. Still, we might learn something by exploring the ironies, the distance between illusions and reality … we might even lessen the gap a little among skeptics and believers—assuming this is a worthy goal, and I believe it is.
Journey of the Dragonfly 