The Veil Lifts

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There are times when the veil lifts,
You have been here, but not like this.
Treading softly into seasons’ tenderness,
The whole world to touch, nothing less.

-tt

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I am Home.

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I am home, just woken.

I’ve done my morning ablutions,

and take my first sip

of steaming coffee.

I put off the vacuuming for

another day,

I wonder what to do with

all the fresh mint, how to cook

with sesame leaf.

There is indigo dye

to experiment with,

the grey sky is readying for rain.

Last weekend,

when we went to the mountains

in a mountainous prefecture,

it was another sky, cerulean,

allowing the dazzle of sun through

so that everything, including

ourselves, glittered

like jewels.

We came upon a pond,

on one side of which

a gaggle of retired men

with the longest camera lenses

I’ve seen were at attention, silent

and stealthy, waiting

for a kingfisher to appear.

On the far end of the pond

was a house in the traditional style,

large and cavernous, gaping holes

on the roof, and it was hard to

imagine, on this sunny day

how wet and cold it would be

would be most days of the year,

if it were still inhabited.

Today, the house was flanked by

trees of every kind and colour,

like the four seasons decided

to hold congress in the

fractal rays of this one afternoon,

so that we could delight in

this fold in time and its

embrace of all our bleeding

emotions and sun-drying experiences,

as if to give every single one of

us visitors the warmth and

liberty to say it loud:

I am home.

Expansion

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i can imagine
the circle breathing
taking that sweet
inhalation to allow
even more if its
beautiful, rounded
shape to fill
space.
who knows
what has always
been in the
circle, that
will reveal itself
on the wings
of such
expansion.
i breathe in
and imagine
each cell a
full, fluid
vibrant circle
growing, as
i allow myself
to have
presence,
allow for the
splendor of
my being,
and for the
endless
possibility
of discovering
the magic
in each
and every part. – TS

Happiness and Miracles

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We talk about happiness

The way we do miracles,

The pots of gold at the

end of the rainbow.

Do you remember

your first rainbow?

I had just come home

from seeing E.T.

and was already feeling

otherworldly,

and there it was,

right outside my

bedroom window,

all the hues of life.

I was already looking

at the pot of gold,

and couldn’t imagine

anything more magical

than indigo,

and I can’t imagine

anything happier

than discovering

what is already

here. – TS

A Beautiful Farewell to Albert Maysles, Pioneer Filmmaker.

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“There are daily acts of generosity and kindness and love that should be represented on film.” – Albert Maysles

Albert Maysles, one of the pioneers of the cinema-verite movement in the United States, has passed away at 88.

Cinema-verite, versions of which emerged nearly simultaneously in Canada, the USA and France, amounted to a revolution in the way documentary films were being made. Filmmakers were longing for greater freedom of movement in order to go out and explore the world, and by the early 1960s (way, way before the reality TV craze that owes its legacy to Maysles and his peers),  new  portable, 16mm cameras and syncronized sound capabilities were finally allowing to go out into the streets and attempt to capture life as it was.

A new kind of observational-style film, quickly dubbed “cinema-verite”, or “film-reality”, was born.

Much debate ensued over the years: is it naive to believe a camera can capture reality, free and unhinged from the subjective perspectives of the filmmakers and their potential biases?

I’ve thought and written a lot about cinema-verite, which became a passion of mind when I chose it as a focal point of my graduate studies in film. I can summarize my views in a very concise way, though, as I’ve come to believe that we can exhaust ourselves talking about biases and subjectivities and how there is no “reality” to capture, uncover or make sense of.

The point, I believe, lies less in a semantic debate about reality and more in the intention of the visionary artists and filmmakers of that time (the early 60s), and this intention amounted to a desire to peel back various overt layers of artifice and approach the world in a spirit of observation. Of course the cameras were angled in a certain way, and decisions about what to shoot and then edit were made. However, looking at the films themselves – “observations” of such subjects as a presidential race, music sensations, a salesman – one is continually struck by the sense of wonder and captivation with the world on the other side of the lens, something that almost amounts to a reverence, and a plea with audiences to regard the world beyond the footage the way the filmmakers did – in the spirit of observation and discovery.

When we approach the world with this kind of wonder and adventurous spirit, and allow our tools and media to follow suit, there are endless things that can be discovered, and an entire universe of awe and magic to behold.

Information about Maysles and the films he made with his brother can be found here – I highly recommend these brilliant films!Some Maysles quotes that I love:

“We get crushes and we get crushed from almost all the subjects that we film.”

“The film is sort of the the beginning of a love affair between the filmmakers and the subjects. Some filmmakers make targets of the subjects they film; that’s not our way.”

“The natural disposition of the camera is to seek out reality.”

“I think my training taught me above all to be unprejudiced. Psychology was social science and so in a way my work has always combined a kind of scientific approach with art.”

“People are people. We’re out to discover what is going on behind the scenes and get as close as we can to what is happening.”

“I have no difficulty in getting access or establishing rapport. Usually, it’s just from the first moment of meeting someone. I think it’s the way I look at them and establish trust right away. There’s nothing in my method that is subversive or hurtful and I think people get a sense of trust right away.”

*

I focused on Canadian films being made at that time in a similar, observational style, so I’d like to share an article I wrote on the Paul Anka observational film “Lonely Boy” (Wolf Koenig and Roman Kroitor, 1961), which began as a longer essay but was published in this form in Dairy River last year. Hopefully my passion for this style of filmmaking, which captures such a fascination with the people and places of the world, will inspire you to check out the films! I’ll provide a link to “Lonely Boy” at the end of the article:

The Sound of Art: Lonely Boy

by Tammy T. Stone

What is needed, first, is more attention to form in art … Equally valuable would be acts of criticism which would supply a really accurate, sharp, loving description of the appearance of a work of art …
-Susan Sontag

This article is an unabashed love letter to a film that many of you may not have seen, but which forever changed the way I look at movies. And since I’ve long believed that we can learn much about how we construct the world around us from the way we watch movies, it’s fair to say this film changed the way I look at the world too.

The movie is called Lonely Boy, a half-hour documentary made by Canada’s National Film Board in 1962, at the zenith of its artistic and technological innovative prowess. Using then-new synchronized sound technology, directors Wolf Koenig and Roman Kroitor (one of the key inventors of IMAX a few years later) created a brilliant gem of a film, doing – in my humble opinion – unbelievably sophisticated and resoundingly philosophical things with the raw yet profound material that is sound. I should also mention here that Lonely Boy was sound-recorded by Marcel Carriere and edited by Kathleen Shannon, two of the Film Board’s regular posse of gifted artists.

So what is this little film all about? First of all, it was made during a very exciting time in cinema’s history – and the greater cultural history at large. Koenig and Kroitor had just made a series of documentaries as part of a collective, Unit B, at the Film Board. Called Candid Eye, the films used a purely observational style to examine topics like tobacco farming, the Salvation Army and Montreal’s wintry days leading up to Christmas, all with a sense of ironic detachment that became emblematic of Canadian filmmaking in general. At this time, no small thanks to the Film Board itself, it was now possible to synchronize recorded sounds with the images being shot with 16mm Arriflex cameras. As documentary filmmakers, Koenig, Kroitor and their peers were ever-seeking ways to get closer to a more directly experienced and immediate ‘reality’, and more authentic ways of transcribing witnessed actualities as they were happening before them. The ability to record sounds and images simultaneously rather than use recorded interviews and found sound (like road traffic and music) over images – as was the tradition until then in documentary film – would prove to be an instrumental achievement in fulfilment of this goal.

Everything was pointing in the right direction, then, when they decided upon a subject for their final film of the series. They got word that Paul Anka, a native of Ottawa, Ontario and then 19 years-old, was going to be doing a few performances in Atlantic City. Anka was rapidly becoming a superstar in the era that eventually saw the likes of The Beatles causing girls to faint at the mere thought of them – but Anka did it first.

Anka-mania preceded the Beatles 1964 invasion of America by about three years, which means Lonely Boy, the little movie that could, is in effect the first film to capture a music idol sensation in all his glory on film. One could even say it’s the predecessor to the now-famed genre of the rockumentary.

What better way to use synchronized sound, you may think, than to go to a few concerts and record the footage of an apparently very likeable star? Anka does, in the film, sing his legendary hits like Put Your Head on My Shoulder, Diana and the song that became to film’s title, Lonely Boy, and watching a teenaged Anka do so is startling and impactful. And we also get interviews with Anka about his artistic and fame-oriented goals, as well as a few scenes of him schmoozing with his manager and preparing future songs. But this is no mere canned portrait of the artist (or celebrity) – the filmmakers have a much more complex and even obtuse interpretation of what they found before them during the shoot. The best moments of the film, I think, occur when the filmmakers deviated from their standard mode of using pure observation to record events, and manipulate the sound and image juxtapositions to paint a multi-faceted picture of a young, ambitious performer.

In one scene, Anka performs at the Copacabana club to an older, more sophisticated crowd than the nubile ones screaming and swooning at his concerts. Anka’s manager, Irvin Feld, has earlier commented in an interview that if Anka could corner this older market his success would be guaranteed. As he performs, the viewer can see that Anka is engaging his audience. The camera shoots Anka from behind so that he appears in the frame alongside the white-cloth tables and metropolitan couples. The sequence also cuts to medium shots of Anka with the microphone in his hand, arms flailing and thrashing about, lips moving in song, and to close-ups of the smiling, calmly-enraptured faces of those being entertained.

But here’s the trick: throughout the sequence, we can hear not one note of the song he’s singing. Instead, we get Anka speaking in voiceover about his having been given a gift to sing and entertain. On one level, this particular commentary is appropriate since the visual images are of Anka performing to a pleased audience. But there’s something eerie about hearing Anka proclaim he has a gift, and then seeing him sing with no voice, move his arms to a rhythm that those in the Copacabana were privy to but is entirely absent to the viewer of the film. It is as though the filmmakers are commenting on the fragility and incomprehensibility of stardom, on the question of what it is, exactly, that audiences are attracted to; they add a great sense of irony by inserting a voiceover discussing Anka’s musical gift and simultaneously stripping him of the very element that gives him this gift, emphasizing persona over performance. But the enthralment of the audience does emanate through the close-ups, culminating in a wave of applause that starts off in silence (again an eerie phenomenon) and reaching a thunderous sound that is also the only synchronized sound in the sequence. The entire film, which never really delves into Anka’s personal life, is about the construction of stardom (45 years before Bieber!). Here, Anka is literally constructed in the editing room out of silent body parts, an off screen voice, and faces of the audience upon which his image depends.

The filmmakers’ vision of Anka here is at once satirical and slightly disturbing. They use the same sound technique in another scene, however, to create a more sympathetic picture of Anka. This scene occurs near the end of the film, as Anka sits at a piano and tries to play a new song for Irvin Feld with some of the crew hanging out nearby. The cutaways to the others in the room enforce, by sheer observation on the part of the camera, an overall atmosphere of melancholy which would have been abundantly clear by presenting the scene exactly as recorded with with sync-sound. The filmmakers go one step further, however, by fading down the piano-playing/singing and bringing in a voiceover of manager Feld speaking in his fast-talk, glibly confident way about Anka’s talent. The film seems to be telling us that Anka’s entourage surrounds him not out of respect for his talent, but for the money. The filmmakers have used editing to literally fade down, or drown out, Anka’s music and his voice.

The girls, however, are always listening. In a time when sync-sound was still a new innovation, the possibilities of which were still being explored in film, it seems paradoxical and ingenious that Koenig and Kroitor used manipulated sound/image pairings to achieve an immediate viewing experience in which we feel we’ve plunged right into the already canned life of Anka, aged 19. Performances shown earlier in the film took advantage of sync-sound to simultaneously present a performer and the sound of his fans – a performer so successful his music was being overpowered by all of the cheering and screaming. The editing of the last performance of Lonely Boy, however, combines long shots of close-ups on girls’ faces with a muting of their screaming mouths to comment not only on Anka’s looming presence but on the girls’ lives, which are portrayed as having become completely devoted to the worship of a star. Tears stream down their cheeks, hands clutch their faces and mouths silently (to the viewer) contort their faces into claims of “I love you Paul!” Nothing can be heard but the song “Put Your Head on my Shoulders”, although the crowd must have been deafening. The final impact of Anka’s godly musical presence hovering over such riveted, lively yet silent faces transcends any discussion of message, intent and underlying philosophy of this film or any other, heading right into the terrain of the ineffable, even the mystical, reminding us why life is such a grand mystery.

And in this case, the sublime has been achieved with sound, and its equally towering other half, silence. When I think of Lonely Boy, how brilliant it is now as then and how affected I can be watching it over and over again, I remember how possible it is to create our own worlds into the fantasies of our making while remaining truthful to our experiences and to life.

See Lonely Boy here!

The Work of a Healer. {There’s No War in World}

Tammy T. Stone

Tammy T. Stone

The Work of a Healer

(Thailand)

Do you ever wonder about the hidden memories that form us?

I was just going through thousands of travel photos looking for a particular image for a story I’m working on.

Along the way, I came across this image, above, and it just arrested me.

I’d completely forgotten about it, but now, I can remember it in vivid detail as such an important piece of what was to come into my life.

Soon after I lost my job (over five years ago now, I can hardly believe it!) I started travelling on my own through Southeast Asia. I ended up falling in love with Thailand’s Northeast, called “Isaan”. It was here that I spent a lot of time working toward healing many wounds, and where I would eventually find a path toward becoming a healing practitioner myself.

But the beginning of that journey was still months down the line. For now, I was bumping along in local buses, traipsing around from village to village, stopping where I felt I needed to be. I was working on letting my intuition guide me, and this hot, arid land was pulling me in.

Nakhon Phanom is a tiny town along the Mekhong River with Laos on the other side and Hanoi not far away. Of historical interest is the fact that during the Vietnam War, some U.S. forces were stationed at an air force base there.

But this is just context; once in the town, the rest of Thailand, let alone the world, falls away into the deep recesses of the imagination. In my memory, the sun is always shining, the people smiling, the days lingering, the river a breezy, pleasant backdrop to the town, and you can easily go days without spotting another foreigner.

I found a strange, charming place to say, a large, rather imperial looking hotel that may once have hosted dignitaries but was now barren and spare, though clean. I was referred there when I asked locals where I might find somewhere to stay, and the older couple running the place seemed really nice. I got a room on fourth floor for reasons I still don’t quite know, and felt like the little girl in the fairy tale who closes her eyes one day and ends up a princess in her own castle, a little isolated by bedazzled nonetheless.

I spent days whiling away time at the Internet shop across the street, trying to discover the movie showtimes at an old Soviet-styled, one-cinema movie theater in town, and embarking on a 4km odyssey in unimaginable heat to visit a house Ho Chi Minh once hid out in. I ate street food, and spent evenings writing in my journal, staring at a clear black sky and feeling unbelievably solaced.

Then, one morning, I was heading out in the morning after paying for another night at the hotel, and I saw what you can see now, in the photo. A woman – a wife? A friend, or neighbor? – treating a man who sat, quiet, eyes-closed, in a gentle act of receiving.

It took my breath away. Something stirred inside of me I honestly didn’t have a language for. I don’t know if it was the selflessness, the kindness, the power of human touch or the dawning knowledge that a combination of love and attunement with universe – with self – could make balance in a wounded being …

For a fleeting moment, I became vividly embodied, somehow brought back to myself for what felt like the first time.

Then I quietly walked away, had my breakfast, and by the time I returned, they were gone.

A couple of months after that, this image and all it stood for long out of my mind, I found myself drawn to a place where I was introduced to Reiki, where I had some profound experiences involving the woundedness in myself, and began a powerful and ongoing journey of and with healing.

As I take the photo in, I have to wonder about that healing session in Nakhon Phanom, a magical little jewel lighting up a path I’m still on today, arrived at by a series of movements – choices, instincts, stumblings-upon – that defy anything the logical mind could produce, and yet are still, gloriously, majestically there.

I couldn’t be happier for that, or more grateful to these two beautiful human beings who stepped out onto the sidewalk that morning in a gentle riverside town to share their beauty and harmony with the world. May they be at peace.