True DaDA is Na~Da
NADAISM NOW
A Short History of Nadaism, Nihilism and Anti-Art
by George Kasey
Sent: Sunday, January 07, 2007 2:58 PM
Subject: Re.: The
Progressive "Nadaism" of George Kasey - for deposite to National Gallery of
Canada
http://epe.lac-bac.gc.ca/100/201/300/media_free/v31n02/Talk Show/no_dada.html
F.Y.I.
See Also: http://meditationwalk.com
We have written in Media Free Times v.31n.2 that, “…George Kasey resolved DADA to NADA...
http://epe.lac-bac.gc.ca/100/201/300/media_free/v31n02/Talk Show/no_dada.html
…authored the Nadaist Manifesto (in MFT v.1n.2 audio 1972
http://amicus.collectionscanada.ca/aaweb-bin/aamain/itemdisp?sessionKey=999999999_142&l=0&d=2&v=0&lvl=1&itm=20615210
… immediately we expect that there will be “the experts” that will disagree,
stating that , as is in the cc. here from Wikipedia that
|
Nadaism (Nadaísmo in Spanish) was a Colombian literary
movement that developed from 1960 to 1965. Nadaism was a countercultural movement
with roots in Dadaism and Surrealism. It expressed a
protest against the traditional institutions of society and culture,
a protest that is philosophically nihilist. It was formed mainly by young,
irreverent Colombians who, with the motto of "no faith will be left
untouched nor any idol in its place," took the lead of the local poetry
of those times. Although it happened at the same time than some other
manifestations of Latin American literature, it is one of the few purely
countercultural movements fully rooted in the region. Representative figures of the movement
include Gonzalo Arango, its founder,
writer of De la Nada al Nadaísmo,
and Fanny
Buitrago. |
…actually we
were making NADA …squeezing fist into clay … in Art class in 1965 and getting
failed for it.
But that is
not the point …first of all it needs to be clarified that true NADA is very ancient, as described
below, in terms of a Sonic Theology of the Uncreated Sound, or the equivalent
Taoist concept of The Uncut Block and the Nada of Buddhism …all these came
as rejection of imperial religiosity.
To Say then that NADA was an Anti-Art moment that started in the sixties is
not correct if we look at the history of “rebellion against”
the traditional
institutions of society.
To label NADA as nihilistic in
the sense of having no history thus is inappropriate. In fact also to the
Anarcho Syndicalist of Spain at the turn of the century “Nada” in terms of a “nihilism” verses
the status quo was a common term, but this is not to imply that these Anarchists
were violent debauched amoral or otherwise …on the contrary, mystics of all centuries of the highest
metal, like St.John of the Cross- heretical to the corrupt dehumanizing systems
of the day- have found NADA, to be benign an sacrosanct. :
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|
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http://www.svbf.org/sringeri/journal/vol1no2/nada.html Worship of Nada Brahman |
000
However
although “nihilism” is denounced, as per article from: http://www.betterbuddha.com/Buddhism_Zen_and_Taoism.htm
we see that there is a clear
iconoclastic intent in Buddhism / Taoism “..a breaking away from ritual…doctrine
and dogma “. That, is pure NADA :
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===================================================================================================================: Buddhism
arose out of, and in many ways in rebellion against, India's Hinduism
which many perceived to have gradually declined throughout its long
history, traceable at least as far back as its ancient scriptures, the
Upanishads. Buddhism is based on the
teaching of Siddhartha
Gautama, the historical Buddha, who was
born around 563 B.C. in what is now §
the
questioning of the need for spiritual
authority (himself included), each individual being capable of perceiving
the self-evident truth of existence for him or herself
§
a
breaking
away from ritual, tradition and other irrational, encumbered aspects
of doctrine and dogma §
the
rejection, or at least de-emphasis, of the supernatural
§
a
non-theistic, systematic exploration of one's self and surroundings
through meditation
and quietude §
a
rejection of asceticism and other extreme practices of self-denial and
nihilism ==================================================================================================== |
also we see this denunciation of “Nihilism” in:
|
http://www.nembutsu.info/hsrbudd1.htm Buddhism and Nihilism
The Buddhist technical term Shunyata, like
its Taoist counterpart Non-Being, has long given rise to misunderstanding
among Westerners, who erroneously construe such negative words to mean
nothingness, the absence, deprivation, or extinction of Being. This
produces a righteous repugnance to what is wrongly believed to be a
nihilist doctrine, despite the Buddha's express warning to the contrary,
for he condemned both extremes of absolutism and nihilism as contrary
to his ==================================================================================================================== |
|
...NADA
is not new, it is The Eternal NOW !!!
888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888888
Worship of Nada Brahman The real aim of Indian
music has always been to attain self-realization and through music practiced
as Nadopasana, this is achieved much sooner. Music ranks as the highest of the fine
arts; as the one which, more than any other ministers to human welfare.
Even Westerners feel that "music is more intimately connected, than
any other art, with the hidden soul in us; the incognisable
part of our minds which it stirs into activity that at once fills us
with delight and passes understanding." A Hindu philosopher would have
applied this description for what is known as Brahmanubhava. Although,
in the West, music was not considered as an Upasana to attain the Supreme, music
and devotion to God went hand in hand. Composers like Bach were intensely
religious men and the bulk of their work was church music. Bach’s music
has a serenity which comes from confidence in God and eternal salvation.
This common feature between the master composers of Western and Indian
music is remarkable. Music
was never looked upon in Origin Traced to "Vedas" The
origin of Indian music is traced to the Sama Veda and music itself is styled as the
Gandharva Veda, one of the Upa Vedas. From time immemorial, God has been
conceived as Nada Brahman
(embodiment of sound) and the practice of music as spiritual sadhana, as
Nada Vidya or Nada
Upasana (Worship of God through
sound). In one of his kritis Tyagaraja
calls it Sangita Upasana (worship
through music). The
Yajnavalkya Smriti is perhaps the oldest treatise
which mentions that a mere votary of absolute music viz. music without
words, attains salvation. Another
verse equally oft-quoted in this context is attributed to Lord Narayana Himself: "Naaham vasaami Vaikunthe na yogi hridaye ravau Madbhaktaah yatra gaayanti tatra tishthami Naarada". "I
dwell not in Vaikuntha nor in the hearts of
yogins, nor in the Sun (but) where my devotees sing, there
I be." Even
before Sarangadeva wrote his ‘Sangita Ratnakara’ (13th
Century) devotees like the Alwars and Nayanmars of the Tamil country, several of whom were qualified
vocalists and instrumentalists, conceived of God as the embodiment as
well as the fruit of music (Isaiyay, Isaippayanay). Voice of God In
the very first sloka of his monumental work, Sarangadeva pays homage to Lord Sankara as ‘Nada Tanu,’ i.e. ‘one
whose body is sound’. This led to music itself being described as ‘Brahmanaada’ or the voice of God. Sarangadeva later proceeds to give a long list of gods and
goddesses who were votaries of music and adds "Saama
Vedaadidam gitam
samjagraaha Pitaamahah" (Brahma
created this music from the Sama Veda). Nada
Vidya or Nadopasana is the worship of Nada
which is not mere sound but musical sound. The whole subject of music
relates to Nada. Nada gives rise to srutis which
give rise to svaras and they in turn become the
source of ragas. Nada
admits of the division of Ahata and Anahata, the
former being the sound produced by the conscious effort of man and the
latter, the nada that is heard without conscious effort like the music
of the spheres. Anahata Nada includes the Nada emanating from the
Muladhara part of the human body.
Tyagaraja, the greatest Nada Yogi of recent times, refers to the
Muladhara Nada in his kriti "Svara raga sudha". The Anahata Nada, being devoid of aesthetic beauty,
does not afford pleasure to the mind. Hence Ahata Nada alone is studied and meditated upon
by humans. Emanation of Nada An
interesting description of how Nada is caused in the human body is furnished
by Sarangadeva and other writers. The Atma or soul,
desiring to speak or sing, stirs the mind; the mind strikes the fire
abiding in the body; the fire strikes the wind; the wind abiding in
Brahmagranthi, rising along the upward
path, manifests sound in the navel, the heart, the throat, the head
and the mouth. Nada
is thus produced by the combination of Prana and Anala. This
description may appear somewhat fanciful to moderns but Tyagaraja, who must have experienced the emanation of Nada
in this form, describes the process graphically in his kritis ‘Mokshamu galada’ and ‘Sobhillu saptasvara.’ The
supreme aim of music is to realize the essence that shines behind music.
So, the ragas have been
conceived as the media for the realization of that essence which is
the source of all knowledge, all intelligence and all bliss. Tyagaraja
describes it as "Sangita jnnanamanu
brahmananda sagaramu" (the ocean
of supreme bliss called musical knowledge). Tonal Forms Deified The
seers of music felt within themselves the necessity for animating the
material structures of the ragas.
They conceived the idea of the tonal forms possessed of flesh and blood
like human beings and thus deified the ragas. Then the invisible ragas
became visible in material forms. This idea is developed in a poetic
manner by Tyagaraja in his kriti "Naada sudha rasambilanu". "The
ambrosia of sound has assumed a human form", he exclaims: "It is the
basis of Vedas, Puranas, Agamas
and Sastras. The
seven notes are the bells of His bow, the Kodanda, which is none other than
raga. Sarangadeva’s Thesis Highly
abstruse descriptions of the source and the nature of sound are found
in Matanga’s Brihaddesi (5th
- 6th Century),
in Yoga treatises and Tantra works. Sarangadeva, who synthesizes all these doctrines in his Sangita Ratnakara, has
elaborately discussed the divine nature of the causal sound. He says
that when the causal sound manifests at the level of the heart, it is
known as Mandra; at
the level of the throat as Madhya
and at the base of the tongue as Taara. The three levels are known
as Brahma, Vishnu and Mahesvara. Such descriptions
have a deep meaning and spiritual significance. The philosophical foundation
of music rests upon the solid rock of the realization of the immortal
soul of music, namely Nada. According
to the philosophy of music, the divine psyche or Atman is the foundation (Adishthana)
of music. The psyche sings eternally the immortal song of absolute music,
which is formless and colorless in essence and yet represents the infinite.
The feeling distilled in sound becomes itself an independent object.
It assumes a tune form which is definite but a meaning which is indefinite. Spiritual "Sadhana" Thus
music is looked upon as a spiritual sadhana which elevates and animates
the level of man’s consciousness and kindles in the cave of his heart
the perpetual light of divine knowledge. The intuitive authors of the
music of Among
the composers of Karnataka sangita, Tyagaraja alone has composed a group of 15 kritis exclusively
dealing with the art and science of music and prescribing it as a sadhana
to attain the Supreme. Other composers like Purandara
Dasa and Dikshitar
have, no doubt, made passing references to music like ten gamakas, 22 srutis, etc.,
but have not devoted an entire group of kritis to music as Tyagaraja has done. A
scrutiny of these songs shows that Tyagaraja
was a confirmed votary of absolute music and his object of composing
these kritis was
to impress upon mankind that Nadopasana was spiritual sadhana. He
presents his ideas in beautiful musical garb. He first pays homage to
the divine sage Narada whom he describes as
the "bee that hovers round the lotus called Nada" (Nada
sarasiruha bhringa).
He calls the seven notes as ‘beautiful deities’ who shine in the Vedas like Rik
and Sama, in the Gayatri Mantra and in the hearts of gods and Brahmins.
He asks his mind to drink the deep nectar of raga and get edified. To him, ragas are not mere groups of notes but have
an ethos and to those who do sangita upasana, ‘they
assume the most pleasing forms and dance before them with their anklets
jingling’ ("Sripapriya"). Role of Bhakti The
question might be asked why if sound (Nada) alone can constitute music
and ensure salvation, have we thousands of
musical compositions with sahitya in almost every Indian Language.
Why has Bhajana or Sankirtana
or Hari Kirtana, as it
is called in different parts of PRINCIPAL NOTE Hindu
mythology says: The seven principal notes are associated with the cries
of animals and birds, and are classified as follows: Shadja (Sa), the cry of peacock; Rishaba (Ri),
the sound made by the cow when calling her calf; Gandhara (Ga), the bleat
of the goat; Madhyama (Ma), the cry of the heron and the tonic
of nature; Panchama (Pa), the note of the Cuckoo or Kokila, the Indian nightingale; Dhaivata (Dha), the neighing
of the horse; Nishada (Ni), the trumpeting of an elephant. - T. S. Parthasarathy is a musicologist and scholar. - Tattvaloka :
X( 3) Aug/Sep ’87, 999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999999 |
See Also Anahata Nada – Uncreated Sound on
|
http://www.hinduism.co.za/anahata.htm where it is stated
: INTRODUCTION
One
of the koans of Zen asks, "What is the sound
of one hand clapping?". This sound is known
in the Sanskrit tradition as "Anahata Nada,"
the "Unmade Sound". This means a sound not made in the way we know of
– it is the "sound" of the universe, the primal sound of energy itself.
Ancient
tradition says that the audible sound which most resembles this unmade
sound is the sound of "AUM" ( Aum
is not, in itself, the un-struck sound, but leads one to it. The mantra
is composed of four elements. Three are vocal sounds: A, U, and M, while
the fourth element is the silence which begins and ends the audible
sound, the silence which supports it. …. |
DR. Swami Sri Dada Nada AKA Baba Nada
(c) '06 photo of Qiao Zhi by Xiao Hong
... NADA
is not new, it is The Eternal NOW !!!
