bentenlaughing

White Tara

2012-02-09T21:46:00.000-08:00

This beautiful painting of White Tara is by my cousin, artist Oona Carter.

Oṃ Tāre Tuttāre Ture Mama Ayuḥ Punya Jñānā Puṣtiṃ Kuru Svāhā (Om Tare Tuttare Ture Mama Ayuh.

I have taken the liberty of including excerpts about White Tara from the Wikipedia link as below:

'Tara is a tantric meditation deity whose practice is used by practitioners of the Tibetan branch of Vajrayana Buddhism to develop certain inner qualities and understand outer, inner and secret teachings about compassion and emptiness. Tara is actually the generic name for a set of Buddhas or bodhisattvas of similar aspect. These may more properly be understood as different aspects of the same quality, as bodhisattvas are often considered metaphoric for Buddhist virtues.

White Tārā, also known for compassion, long life, healing and serenity; also known as The Wish-fulfilling Wheel, or Cintachakra

As one of the three deities of long life, White Tara/Sarasvati is associated with longevity. White Tara counteracts illness and thereby helps to bring about a long life. She embodies the motivation that is compassion and is said to be as white and radiant as the moon.

http://en.wikipedia.org/wiki/Tara_%28Buddhism%29

White Tara courtesy of & copyright of Oona Carter 201.

https://twitter.com/#!/OracleOOna

A beautiful video and new take on White Tara Mantra. I like it!

http://www.youtube.com/watch?v=rK2tHqqb28Y

ARTERIAL FLOW: INTERVIEW TONIGHT! 2ND FEB.

2012-02-01T20:11:00.000-08:00

For pals near & far...TUNE IN TONIGHT if you'd like to hear more about my collaborations with & for 'ARTERIAL FLOW'!

'Not to be forgetting - an on air chat this very evening with Janice Slater talking about her work with Arterial Flow and no doubt much more. 9pm Adelaide time / 9.30pm NSW. 93.7FM locally / www.threedradio.com elsewhere. :)

An Interview with Mose McCormack

2012-01-31T17:37:00.000-08:00

Jan.s: Mose...As I understand it, you're resident with your family in Santa Fe...but where did your musical journey begin?

Mose: Born in south Alabama on Dec. 31, 1949. My first musical memories were, my mother singing to me, and being dragged to the southern Baptist Church, where the white folks were were trying to sing "black" and they didn't even realize it. I didn't realize it either , at such an "innocent" age.

Jan.s: When did you begin playing?

Mose: It wasn't till my first band ,at age 15, did I acknowledge The Blue Eyed Soul Brother in me. All those folk songs my Mama used to sing me to sleep with, all had black roots. The "real" gospel singers were in the black churches. And here I was singing, Otis Redding, Wilson Pickett, Sam & Dave, Percy Sledge, and don't forget James Brown.

Jan.s: What was the name of that band...what was the lineup...where were you gigging?

Mose: One band was named "Sound of Six", another was"Brand X". My Brother Randy, played guitar. Mike Sisson on drums, Bill Moore-Bass, Bubba Carl Phillips- guitar, And the late Jimmy Edwards on keyboard. We played at local high schools and drunken, college fraternity parties. This was 1965-66. We were a real "Garage Band". We drifted from R&B to playing the "hip" west coast sound. Slightly psychedelic.

The reality of the uptight south made me flee at the age of 17. To much fear and loathing of different races, creeds, religions. All I could do was play guitar and I needed to do something with my life ,so I became a songwriter,lived in San Fransisco, played there and Northern California in small listening clubs and coffee houses.

Jan.s: Tell us about your jewellery making ...the stones you use...and the designs?

Mose: OOOKAY, San Francisco was great for music. Music everywhere. But moving on was in the plan and I found myself living in a ghost town in Arizona, on probation for bank robbery.(search Mose McCormack hard enough and you'll find the dirty truth) My probation officer said he didn't like me playing guitar in bars and such. Had to get a real job. So I asked a friend to show me a couple of things on making jewelry. I'd hang out with the Hopi and Navajo jewelers, learning traditional styles and methods.

I fell in love with Turquoise. I grind/shape all my settings.

Onward... I heard all about Santa Fe and how it was the third largest art market in the world. Great place to be a starving artist. When I was released from my probation, I moved to New Mexico.

http://www.newmexicosound.com/

http://www.skystonetrading.com/-c-20/mose-mccormack-royston-turquoise-tab-necklace

If you want to read a full interview with Mose...check the following link out!

http://www.nucountry.com.au/articles/diary/july2009/130709_mosemccormack.htm

All photos courtesy of & copyright of Mose McCormack unless otherwise stated:

Photo of guitar and bird. 'That's one of my many chickens. It's a bantam Mille Flur. A breed from Belgium.' Photo: Courtesy of & copyright of Jack Clift.

The Northern Beaches and the Nagas!

2012-01-20T19:19:00.000-08:00

I've just returned from a stay on the Northern Beaches of Sydney, (NSW) ...

This vast coastline & its inlets have always been a haven for surfers, musicians and visual artists ..

At present it seems to be overflowing with them...with brilliant photographers, fashion creatives and home designers opening stores which often combine cafes & flower stalls in glorious waterfront restaurants...

With the Year of the Dragon now underway ...here's to celebrating the world of the creatives who ride the waves of change! Those who dive into the realms of water where the aspect of Benten and the great Naga, serpentine energies lay ready to be awakened...

Here's to seeking & finding then riding those powerful energies of change ...to witness the Dragon and to respect it's powerful nature rather than fight or try to tame it...

Below is a most gorgeous image of Benten...link at end of post::

'WHO IS BENZAITEN. Female. A river goddess in Indian mythology. Her Sanskrit name "Sarasvatī" means "flowing water" and thus she represents everything that flows (e.g., music, words, speech, eloquence). Later adopted into the Buddhist and then Shinto pantheons of Japan. One of Japan's Seven Lucky Gods. Comes in two main forms: (1) with two arms holding a lute; (2) with eight arms holding martial implements to indicate her role as protector against disaster; this version is called Happi Benzaiten. In less-common forms she is depicted naked or as Uga Benzaiten (esoteric form). Her messenger is the snake, so she is sometimes shown mounted on a serpent or dragon. Goddess of Learning, Eloquence, Music, Poetry, Speech, Rhetoric, Wealth, Longevity; Protects against natural disaster; Inventor of Sanskrit; River Goddess'.

Taken from the following link:

http://www.onmarkproductions.com/html/benzaiten.shtml

The fabulous image of Benten was found on the following site but it does not say who it is attributed to:

http://3.bp.blogspot.com/_wnz0tiwfMVA/SydBFYPwc9I/AAAAAAAAAp0/NEEIwPfmxEw/s320/Benten+sea+goddess.jpg

http://www.japancollection.com/japanese-prints-uview/Keisei-Goddess-Benten-on-the-Mystical-Dragon.php?y=1&subid=50&pid=7113&pg=1&ppp=100

An Interview with Johh Currie

2012-01-05T16:32:00.000-08:00

Jan.s: John, would you tell us about your recent climb on Mt Cho Oyu?

John: Cho Oyo is the sixth highest mountain in the world, and is approached from the Tibet side. Base Camp is near a mountain pass called the Nangpa La, which has been used as a trading route between Nepal and Tibet for centuries by the local people. The climb is not technical but the standard route is long and cold, and once you get above 7000 meters you realize what a huge mountain Cho Oyo really is.

Unfortunately I was not travelling strong enough this trip to go beyond camp 2 at 7100 meters, but some members of my team pushed up to around 7700 meters. We always have a puja at base camp and bless each other and our equipment before climbing the mountain, our Nepalese Sherpa’s will not set foot on the mountain without this taking place. No one on my expedition summited this year, despite the best puja ever. Snow conditions were bad this climbing season, in that there was a lot of it, which made sections of the mountain avalanche prone and therefore very dangerous.

Jan.s: On the plains in Tibet you visited some villages....can you share some of your experience...

To cross the Nepal\Tibet border at Kodari, you must walk across the friendship bridge to the town of Zangmu and there pass through “Chinese” immigration control . Zangmu is a typically ugly border town, lots of concrete, there is an air of oppression which is tangible. After leaving Zangmu you climb relatively quickly to the vast brown Tibetan plateau. Initially there are more concrete towns, Nylam , (pronounced Neel am), but eventually there are small Tibetan settlements which can be seen in the distance and the last town before leaving the main road for the track to Cho Oyo is Tingri.

Tingri has a wild west feel about it, the local Tibetan people are shy compared to Nepal and often don’t like to have their picture taken. Maybe if I was approached by some rough looking, hairy, western mountaineers – I wouldn’t let them take my picture either. There are few amenities in Tingri and local life is hard, but like all of Tibet it is changing.

The Chinese are making massive investments in roads and bridges, I suppose there are both good and bad aspects of this development. Some local Tibetans followed us to base camp, in the hope of selling their wares. Local people are very colourful, with bright red cloth in their hair, and ornaments of yak bone. The women ware large silver belts, both sexes ware their hair long and usually braided in some fashion. There is a wildness about them. If you could bottle it I would drink some.

Tashi Delek John!

All photos courtesy of & (c) copyright of John Currie 2011.

Part Two: An Interview with Narelle Carter-Quinlan

2011-11-17T21:13:00.001-08:00

Jan.s: I invited Narelle to talk about perception and in her inimitable style here is what she wrote.....

Narelle: Lenses of Perception

My yoga teacher of many years, Alan Goode, used to say, "Yoga cleanses the lenses of perception". And indeed I experience it does; at least on the mat. My relationship with myself, my perception of what is possible, or how I might commune within or "do" an asana, continues to open out over these years of practice. My practice is an act of creation. I move myself toward asana, I enter it, I interact with it and with myself through it, and, as long as I am available to myself and to my direct experience, I Experience myself. Information comes in. If I don't filter this experience, or defend against it, it impacts me. There is space. Change happens. My active engagement with this, is an act of creation. Much of this, of course, I have also learnt from my Spiritual practice of meditation and of Transformation.

For me, "available" is the operative word here. My "perception" may be quite a different activity from my "being available". Available to myself, to my actual experienced experience. And if I am relating with another, available to the direct experience of myself in relationship with my Other, and with the All that Is; that is, myself, the Other in question, and the vibrating communion of What Is that surrounds, and permeates us in that moment. Available to What Is, in all its vibrating aliveness in the moment, becomes my action.

Hmmmm. Much like the experience of tasting what something is not, in order to know more of what it is, I have been experiencing (and perceiving!) much of "Perception" in its guise of an act of separation in my life of late; not with availability to anything at all. I notice that in this space, some things close down; most notable to me at this time, communication and compassion.

Recently, two major life experiences illuminated and continue to illuminate this for me. Piercingly so.

Last September, ten weeks ago, my mother died. It was not unexpected; she had been very ill for a long time. Nor, sadly, had we been very close. And yet we were, I discover now. In many ways we had much in common; two women, both mothers, who deeply, deeply love/d their children, even as adults.

I am my mother's only offspring, her only child. In her passing, there is my father. And his grief, the grief of saying farewell to one's partner of 57 years of marriage.

I was fearful to meet him that first day after Mum died. Would he be enraged with me? Would he be alive when I arrived at his house?

My lenses of fear. Possibly guilt. Yet he welcomed me, with unrestrained openness of arms and heart. And we wept. And as we talked, as my Dad showed me her things, as I felt my mother's presence over the next days and weeks, as I type this now, I realise/d that I had not really been available or seen my mother. I found her difficult. Demanding in ways I could not meet. But her quiet dignity, the gifts of the person, I did not see. Defence clouded and limited my lenses.

As I travelled overseas just nine days after her passing, my father discovered he needed surgery. Home I needed to come.

My own experience was one of being in New York City (a city I love dearly), anchor less. My family in tatters. My grief rose and washed through.

My friends away, or going away, or busy in the breathlessness that is this city. The small furry animal inside me needed as much to come hometo be in my own bed, in my own room, with my own cat, as much as my father, alone and frightened and grieving, needed his only well relative (he has an ill brother) to support him. His daughter. So home I came. Cancelling teaching commitments. Which felt awful and anxiety provoking.

What struck me, was this lens thing. Right there and then. As I lay on my bed in Manhattan, it was clear. As I heard responses from those around me of my decision, I became aware that each individual was viewing this reality (my mother's death, my fathers' surgery, my going home), through their own lenses. The response was mixed and polarised. It was curious to behold. The lenses of perception. Not necessarily matching my felt, direct experience of myself. What surgery did my father need? Cataracts. In both eyes. Neglected apparently, for years, as he nursed my mother, putting her care above his own. His lenses. One done, the other to go....Doesnt need his specs anymore!!

What do I Experience when I step myself beside myself, aside from my perception. Ahh, now that opens it up.....I experience Love. Great Love.

...When I was little girl, and I had been "naughty", or believed myself to have done something "wrong", I would apologise to my father, and ask forgiveness. He would look at me amused. Compassion and expansiveness filling his face and eyes. "Do you forgive me Dad", I'd ask, little, maybe 3-5 years old. "There's nothing to forgive", he'd say. It was a direct experience for me of standing in the Light. His eyes clear and blue. Lens-less.Creation. Thanks Dad!

Several years ago, I reminded him of this incident, this experience. He smiles again, "Oh. Good. I'm glad you got that one." His eyes catch mine and twinkle. I can see right through them.

http://sites.google.com/site/narelleyogascoliosis/home

http://www.yogaforscoliosis.com/teachers/NarelleCarterQuinlan.html

An Interview with Frank Hill

2011-11-13T16:06:00.001-08:00

Jan.s: Frank, when did your interest in the indigenous arts of the Americas begin?

Frank: My parents, JD and Grace came to Arizona in the 1930's and worked for the Santa Fe railroad along the mainline of the Santa Fe in Winslow and Holbrook, Arizona bordering the Navajo and Hopi reservations. So I grew up with Navajo weavings and jewelry in our house.

Gibson

They had moved to Glendale, Arizona by the time my brother Fred and I were born, but we had a pass to ride the Santa Fe and would visit Winslow, the Grand Canyon, and on to see my aunt Inez in Albuquerque.

They knew old cowboys and Navajos and western characters. From the time I was a kid, I've always loved the romance and history of the southwestern part of this country.

Starting in my early 20's, influenced by the environmentalists and the writer Ed Abbey, I began hiking, backpacking and mountain climbing as a hobby and have rarely left Arizona and New Mexico in my time.

In my youth I would rather go on a week's backpacking trip in the Grand Canyon and ended up never getting much of anywhere else. I just don't feel right without canyons, mesas and mountains and that big horizon and light that you get in this area.

Frank & Amy Hill...Grand Canyon 2011

In the late 1970's I was doing a reggae radio show in Phoenix on the NPR affiliate, KJZZ, which, because it was heard throughout the state of Arizona, meant I had a lot of Native American listeners, who related to the message and philosophy of that music.

A group of Hopi invited me to Hopiland to help with having reggae concerts there. On one of my first visits they invited me to the Kachina dance ceremonies. Watching that happen in the plaza, watching those dancers in the plazas of the ancient Hopi villages was the most powerful spiritual experience I had ever had.

My Hopi friend took me to see her father, who was a village elder, and I started buying Kachina dolls from him. Remembering the Navajo weavings and objects I had grown up with, I realized I preferred old things.

For me, there is just a charm and soul in these antique pieces that speaks to me.

Jan.s: Is there a particular piece or a collection that is of interest?

Pin Photo‏

Frank: For the last few years I have specialized in early Navajo and Pueblo jewelry, made before 1930. Jewelry, to the Navajos, was more than personal adornment, but part of their philosophy of "Walking in Beauty" and being in harmony with the cosmos.

Navajo Bracelets, 1900-1920

I like to think about when these pieces were made, horseback was the main form of transportation on the Navajo reservation, and silversmiths would make these incredible pieces of jewelry with a few simple tools, and primitive methods.

Jan.s: You are based in New Mexico...I'd love you to share with us something about the other work in your collection.

Photo from "Rugan, Hopi Katsina, circa 1910‏

Frank: I specialize in Hopi (who are in Arizona), Navajo (who are in both AZ and NM) and Zuni and art of the Rio Grande pueblos, which are in New Mexico. Also photographs and paintings by Native and Western artists.

I also deal in Mexican and Guatemalan folk art. I collect and deal in masks from Mexico, Guatemala, Africa and Asia.

Guadalupe, Retablo, Mexico, circa 1890

All photos copyright & courtesy of: Frank Hill 2011

Here is my website: www.frankhilltribalarts.com

Frank

Tigre Mask, Guatemala, circa 1880

An Interview with Miroslav Bukovsky

2011-11-02T00:29:00.000-07:00

Jan.s Miro, as both a player and composer you've remained a seminal figure in Australian Jazz now for several decades. Would you share with us is your ethos & inspiration behind your playing and writing....

Miro: I never think of myself as a composer really.True composers are a rare breed. They have an original musical imagination, developed sense of form, architecture, drama, texture and great skills of orchestration.

I think I am more of a faciltator of musical expression where my written ideas can be just a skeleton which invites the players to create their own version of the parts.That way the pieces will never sound the same and each performance is unique and no one really knows what is going to happen through the piece. I find that sense of adventure very satisfying. That varies to some degree depending on the band I’m writing for. I’d have to orchestrate much more accurately when I write for TPI.

My inspiration comes from all kinds of music I’ve played over the years. From European classical, folk, Cuban, Afro-Brazilian, Jazz, Funk, Pop, Rock, Arabic…Miles was always a big inspiration with his exploration as well as Ornette Coleman,Jon Hassel and a bunch of Hassell inspired players from Norway. Arve Henriksen, Niels Petter Molvaer, Jon Balke and others.

But I don’t like imitation. Only inspiration and then hopefully I can come up something that I feel is a part of my imagination.

Sometimes I just dream a sound and I wake up and write it down. Insomnia. If I like it in the morning I might keep it.

Jan.s: In 1980 I had the great good fortune of doing some study with the much revered trumpet teacher Carmine Caruoso in NY. I'd been attending workshops with Jamie Aebersold in Sydney and US trumpet player John McNeil suggested I do some work with Carmine to help me with my breathing! Naturally I was somewhat daunted at the idea ...but John assured me that working with Carmine would be of great benefit. It was! Carmine showed the greatest respect for the individuality of the student whilst at the same time guiding one to direct that 'wayward breath' (my quote)...with the utmost focus....! Miro, you're a teacher...can you share some aspects of your approach...

Miro: I had about 7 lessons with Carmine back in 1981 in his studio in west 46^th st. Very inspiring teacher who understood the coordination, breath flow and steadiness and timing in developing something reliable on such an unreliable instrument as trumpet.

Another fantastic teacher I spent 8 months with was William Adam at Indiana University. (Randy Brecker’s old teacher) He’s still playing in his 90’s now!

He had the most beautiful sound and he played with you in every lesson and you couldn’t avoid absorbing THAT sound.Playing became much easier,more relaxed through resonant sound with less effort and steady accelerated breath

He would make you sing and hear everything you played.So I use this in my teaching all the time. Bill Adam also had a great respect for the individual in each musician, the unique talent, and helped you to recognise it foster it.Total focus.

Miro & student Alex Rapauch

Miroslav Bukovsky, and students Alex Raupach,Pina Luzzi and Stephanie Badman

All photos copyright (C) & courtesy of Mirsolav Bukovsky unless otherwise stated.

http://www.rufusrecords.com.au/artists/wanderlust.html

http://www.wanderlust.com.au/

http://soundcloud.com/miroslav-bukovsky

Part Two of an interview with Chisayo Lewis

2011-11-01T22:28:00.000-07:00

Jan.s: Chisayo, in our last interview you mentioned the influence both your grandmother and mother had on you with your sewing...can you tell us more...

Chisayo: Janice, I don't know where to start...Let's try to remember my grand mother first ....My grand mother was born in 1912 in a wealthy Bushi (Samurai) family. My grand mother talked a lots of stories about her childhood but I thought they were all made up stories because many of them were so unreal in many ways such as Monsters,Ghost and trick animals... .

Her family adopted a few Sumo wrestlers. It was a big mistake of their family... They lost all their money at the end.

My grand mother and grand father were arranged married. They both married before and had a child each. My grand father was born in a rich Shoya (Village headman) family in Nara. He was well educated and good at various sports. Especially He lover the horse ridding.

After the WW2 my grandfather had a job as a calligrapher at one of famous Japanese "Ryo-tei (restaurant)" in Kyoto but pay wasn't enough to feed the family. My grand mother started sewing kimonos for support her family.

Many people started to wear Western style dress in 1950's but still a lot of kimonos need to be made so my grand mother was working 365days a year but it wasn't a good money job.

She was a very hard working woman. Every time I went to see my grand mother I sat next her and watched how she makes kimono. It was amazing to see. My grand mother often gave me a tiny scraps and taught me how to make bean bags, different kind of pouches and little kimono for my doll. She taught me Origami as well. I loved to make things with her.

My grand mother was very happy about I started learning kimono dress making.She made a beautiful special kimono for my Coming of age celebrations. She was pretty sick then but she said she wanted to make and she enjoyed to make it. This is the last photo with my grand mother.

Now I'm joining a Japan Tsunami & earthquake reconstruction sporting project called "Project Namonai Kizuna"

(http://youtu.be/MKrT7z9tdMA ). It's my friend's project.

An interview with Chisayo Lewis

2011-10-21T22:23:00.000-07:00

Jan.s: Chisayo, you create objects which are whimsical and yet vivid...so full of life! How & where did your interest for creating your art begin...?

Chisayo: My grand mother was a kimono dress maker. She gave me lots of off cuts and taught me how to make simple bags.

My mother loved sewing and knitting also.

I always watched them. It was amazing to see how a flat piece of material was turned into a bag, a dress, a flower, decorations...I started sewing when I was about 10. I learnt sewing at highschool then I went to kimono dress making school and learnt how to make Kimonos.

When I had my first child 10 years ago, I started making soft toys for my daughter.

One day, I made a felt cake for my daughter and she loved it very much and I was happy too, so I made another felt cake the very next day. Then I made a hamburger, a hot dog, sushi...and I kept making different things.

I especially love to work with felt because of the texture. It's easy to work with and I can ues all of my imagination in the creations.

One of my friends saw my creations and said to me that I should sell them. Then I started focusing on making things for the Art & Craft Markets.

HP http://handmadecraftcreations.weebly.com/index.html

FB page https://www.facebook.com/handmadeCC

PV http://youtu.be/HLp6uPoIUfY

An Interview with author Alwyn Lewis

2011-10-18T23:27:00.000-07:00

Jan.s: Alwyn, you write about the earth with such an immense feeling of belonging.

Alwyn: I guess I’ve always had the feeling that we belong to the earth, not the other way around.

Whenever I see those huge open cut mines I shudder at what we do to the earth for financial gain, even the weight of the cities man builds on her seem an imposition.

I remember being quite a small child in New Zealand and after an earthquake my father took me to see where the earth had opened in a great jagged scar and I wondered at that early age if the earth had cried out in pain.

Jan s: Your book “Call of the Currawong” begins with an aboriginal woman in a seemingly benign setting – but the story quickly unfolds to reveal cruel and devastating circumstances.

Where did the seed for this story germinate?

Alwyn: In talking with some aboriginal women it occurred to me that although their circumstances and the circumstances of my grandmother’s life were vastly different, their inner strengths were so similar.

My grandmother was placed in service at age 13, but like the aboriginal women I spoke with, she made the best of her life and added to the lives of people around her, much the way Pearl does unquestioningly in Currawong.

The saddest thing for me is that this generation of women never ever realised that they were our teachers or how valuable were the lessons they gave us in humility, caring, acceptance and just getting on with it.

We now take the opportunity for tertiary education as our due, but when some of these women were born there were no choices, no chance to move out of the situation life presented to them, and for the aboriginal women no chance to move away from the impositions life handed them, in spite of which it seemed to me that somewhere deep inside they still quietly held on to something “known”.

I wanted to say something about that. And of course something also had to be said about the devastating aspects of their lives.

Footnote:

From a Devonport with a very confused weather pattern. One minute it’s pouring and windy, the next the sun is shining – ah the vagaries of Spring.

Janice, At the moment I’m writing some poetry for a tour we hope to do around Tasmania next year with Tony Barry and me reading, George Golla, Howard Cairns and Laurie providing the musical backing

Photo: Courtesy of Devonport Jazz Festival

http://www.devonportjazz.com/

Ships in the Field. An Interview with Susanne Gervay

2011-07-11T19:27:00.000-07:00

Jan.s: Susanne, you're a powerhouse of a woman who writes about issues that matter! Bullying, burn victims, to name a few. Can you share with us what your currently writing ?

Susanne: Ships in the Field is my first picture book. It has been in my mind and heart for many years.

Writing it was an emotional journey that encapsulates my growing up from a refugee family. I wanted to give a voice to the children and families who have been through war and migration to find laughter, hope and home.

When award winning illustrator Anna Pignataro illustrated of Ships in the Field received the manuscript she said that ‘it’s my story.’ Her family came from Italy. It’s a gift that we were able to bring our own experiences to ‘Ships in the Field’.

It is to be published by Ford St on 1^st February 2012

Jan.s: Susanne: You have a working relationship with your daughter...I'd love to hear more!!!

Susanne: Even though I love my daughter Tory, writing the YA novel ‘That’s Why I Wrote This Song’ with her was a difficult process of collaboration. She was 17 and when she asked me teasingly to write a book inspired by her.

I looked around her room with its Eminem and Good Charlotte posters. Music was her lifeline during the emotional times of family breakdown and my illness. Eminem and the rock bands expressed her anger and eventually the courage she needed to take on life.

She wrote the songs ‘Psycho Dad’ and ‘I Wanna be Found’ and gave me those songs that would drive our book during turbulent times writing the truth of father-daughter relationships, friendships, search for meaning, love, our own relationship. It was hard writing the book, testing our relationship.

We had to be careful to respect each other's boundaries, while creating an honest creative work. There were many near disasters, but ultimately our mother-daughter relationship was the glue that kept us going.

‘That’s Why I Wrote This Song’ is about four girls connected through music. The music reflects their relationship with their fathers, each other as they move towards finding love, friendship, their future. They create their band Not Perfect. Not Perfect like them, like the world, like all relationships, as they move towards embracing their Not Perfect world.

Tory’s lyrics and music drive the narrative of the book and are integral to the characters. It was a great journey. You can hear/see her songs on youtube:-

Jan.s: Susanne, I look forward to hearing more of what you're up to...thanks so much for giving your time!

Psycho Dad -lyrics, music and vocals by Tory Gervay

www.youtube.com/watch?v=Ess-R0dHtX8

I Wanna Be Found – lyrics, music and vocals by Tory Gervay -

www.youtube.com/watch?v=Zw0JRQVht3E

www.sgervay.com

www.sgervay.com/blog

www.youtube.com/user/sgervay

http://www.monkeybaa.com.au/i-am-jack.html

www.literaturelive.net

The Hughenden www.thehughenden.com.au

Photos: copyright and courtesy of Susanne Gervay

An Interview with Kate Forsyth

2011-07-04T18:44:00.000-07:00

Jan: Kate, I was walking recently with a friend and her very bright 6 year old daughter. I observed that the young girl had what I would call 'that zoned out look' in her eyes. I mentioned it to the girl, saying that I remembered going into that zone in my childhood. That it was an interesting space to enter.

Being her bright little self. she tuned in and happily responded. I had the sense of her enjoying an adult's recognition of this as being important. As we approached a crossing I then said that it was equally important to tune back in to the present moment.

In a recent interview you stated that in the early stages of writing a novel you do a lot of daydreaming. Can you share with us what this process allows for you....

Kate: Oh, yes, I’m a big believer in the power of daydreaming. I was always getting into trouble for it as a child – I had one teacher who used to whack me over the head with a ruler and sneer, ‘are you with us, Kate?’ So it gives me great satisfaction to now be a professional daydreamer.

I can gaze out the window as much as I like and loftily explain ‘leave me be, I’m working’. And I AM working. Although my face has a vacant expression, my mind is busy. I am thinking, wondering, imagining, planning, plotting, making connections, asking and answering questions.

My best ideas come to me while I’m daydreaming – my mind will drift away, thoughts and memories will come unbidden, floating up from the very deepest part of my subconscious, and suddenly I will see the story illuminated and made clear.

I always advise aspiring writers to clear a space in their day for daydreaming as well as writing.

For me the best times are when I’m swimming up from or swimming down into sleep, or when I walk in the morning. Walking is like meditation in motion, and never fails to inspire me.

Jan: When I first met you at the The Sydney Children's Writers & Illustrators' Network at The Hugendon what struck me was your vibrancy and enthusiasm for literature and life!

I hadn't read any of your books then...but recently I completed reading your YA novel The Puzzle Ring. The Dedication you made to the women in your family, the Makenzie clan, prior to the story, is evident throughout your book...you sing them into being through Hannah's spirited adventures. Would you like to tell us a little more about one of these women?

Kate: I’d love to! My grandmother and great-aunts were the most fascinating women and shaped my love of stories and history more than any another influence in my life.

I was very lucky to be born into a storytelling family.

As a little girl growing up, I was told many stories of the past, quite a few of them the old tales of the Scottish Highlands – stories of kings and queens, seals that turned into beautiful girls, giants and loch-serpents and fairies.

These stories were passed down through the generations of my family, told to my grandmother, Joy Mackenzie-Wood, by her grandmother, Ellen Mackenzie, who was born in Scotland in 1840.

My grandmother, who we called Nonnie, and her two elder sisters, Aunty Clarice and Aunty Gwen, were wonderful storytellers, and knew great reams of poetry off by heart. They were all very well-read– one of them was one of the first women to get a university education in Australia. They used to tell us stories about our family, and about the past. We were thrilled by the story of the ghost who patrols Eilean Donan castle with his head under his arm, and how Robert the Bruce was saved by a spider, and Bonnie Prince Charlie by a brave young woman called Flora Macdonald (this was a favourite tale of ours since our other grandmother, our father’s mother, was born Jean Macdonald).

I can remember Nonnie – who was my mother’s mother - telling me how Mary, Queen of Scots, escaped her enemies several times, once dressed as a boy, once disguised as a laundress. Another time, a gang of men broke into the queen's private sitting room and murdered her Italian secretary.

Poor David Rizzio was stabbed fifty-six times - one stab by each of the conspirators. His blood flowed down and stained the floor where he fell, and can still be seen, four hundred and forty years later.

Mary, Queen of Scots was taken captive but she tricked her guards and escaped the palace that night, by climbing down from the windows on a rope made of knotted bedclothes. She was seven months pregnant with the future king of Scotland.

She rode back a week later at the head of an army, and defeated the rebels and avenged her friend. The story of the bloodstain that never fades and the queen’s escape down knotted bedclothes began my fascination with Mary, Queen of Scots.

I began to read everything I could about Scotland and its most tragic queen, and many of our family’s stories link back to her.

When I was a little girl, my mother taught me and my sister how to make marmalade from oranges we grew in our garden. She told me marmalade got its name when it was made for Mary, Queen of Scots, who was very seasick travelling from France to Scotland as a young woman (‘Marie malade’ is French for ‘Mary is ill’.) Apparently our family was even related to the royal Stuarts, though every aristocratic Scottish family can probably say the same.

Then, of course, there was the story of my grandmother’s grandmother, Ellen Mackenzie, just as romantic and tragic as any my grandmother told me.

Orphaned when only a girl, she and her sister Jane were sent to Australia in 1858 by her uncle, who took control of the family estate. My sister and I always thought this was most unfair, and used to dream about going back to Scotland and winning back Ellen’s home as our own.

In our imagination Ellen and Jane were wronged, the uncle was cruel, and her home was a beautiful old castle, on the shores of a loch, with all sorts of romantic secrets waiting to be discovered. We hoped that one day a mysterious letter would arrive, summoning us back to Scotland and our lost inheritance …

I wrote a novel with just that storyline in 1977, when I was eleven years old, called Far, Far Away, about a girl called Fiona who finds herself heir to a castle in Scotland, but will lose everything if she cannot find the lost Killarney Treasure. And then, thirty years later, I wrote it again, showing just how compelling are the tales of our childhood.

Jan.s: In The Puzzle Ring you explore a number of themes, a curse that effects several generations...the absence of a father, blossoming love, friendship, old age and the getting of wisdom.

Would you like to share your interest re the 'curse' and it's denouement for your protagonist Hannah?

Kate: I’ve always been interested in spells and curses and wishes as manifestations of the power of words. Many of my books have curses in them (as well as spells and wishes!) I’m also interested in the nature of fate, and whether we as individuals have the power to shape our destiny. The story of a girl who sets out to break a curse on her family was therefore always going to be interesting to me.

I had had the idea for a quest to find a broken puzzle ring for some time, but my problem was always why? Why would someone need to find a broken puzzle ring? Then I found ‘The Book of Curses’ in an old second-hand bookshop and read in it the story of the Seaforth Doom, a famous Scottish curse, and at once thought: a quest to break a curse!

The two ideas just seemed to click together, as if drawn by some irresistible magnetic force. I went home and began work on the Puzzle Ring that very afternoon. (You can read more about the inspirations behind ‘The Puzzle Ring’ here:

Jan.s: Where did your love of the mythical begin Kate?

Kate: I always loved fairy tales and myths as a child, and fantasy books were my favourite kind of fiction. My mother went back to university and studied anthropology when I was a teenager, and that fed my interest in myth and magic. I can’t tell you why – my imagination has always been drawn to that kind of tale.

http://www.kateforsyth.com.au

http://www.kateforsyth.com.au/inspiration/the-puzzle-ring-inspirations.htm

http://www.kateforsyth.com.au/index.htm

'Send the Wandering Girl Home': An Interview with Aurielle Sciorilli

2011-06-28T18:23:00.000-07:00

Jan.s: Aurielle, you're back in Australia for a short stint...and you've managed to do the miraculous!! Record and produce your own CD!! Tell us about it!!
.
Aurielle: It wasn't planned at all..it was all rather fortuitous. I just wanted to make a quick demo of my new material on my visit back to Australia and it turned into a full blown album! It all happened so effortlessly. It was perfect timing really, and emotionally I was ready to get those songs out of my head and into a product

Jan.s: How did you come to work with these particular musicians?

Aurielle:It started after talking to my dear friend Shawn O'Friel (guitarist/bass player) about my ideas and he introduced me to Matthew McLaren, who is an incredibly gifted blind pianist and producer...he listened to my songs and was so excited about the project. It just felt right.

So I went up to Newcastle for a few weeks and we got in some great musicians...I only played them my songs once and they picked up the vibe I wanted instantly. And those guys were so funny and chilled out!

I laughed myself silly, so much so I would be in the middle of recording and remember a joke and just start laughing. We ended up including one of those laughs in 'Big Lake'.

We got most of the songs down on the second or third take and recorded everything live, adding a few embellishments later.

Shawn O'Friel played guitars,ukelele,mandolin and bass. Matthew McLaren played keys. Scott Stronach, a brilliant young drummer (and Matthews business partner) played percussion. We got Jason Lowe in for some slide guitar; he is a wonderful young, Joni Mitchell loving, singer-songwriter who recently landed a recording contract with the ABC. We also had Craig Lembke play Sax on two of the Jazzy tracks, he is just gorgeous and an excellent player. Shawn and I did the backing vocal harmonies together. Then we had it mastered by renowned producer Parris MacLeod at Cloud Studios.

Jan.s: I've heard your tracks and am very impressed...not only with your voice, but the sense of 'rightness'of the choice of songs and the musicians you're working with. I particularly loved hearing your own compositions and also the one of your Grandfather's, sung in Italian!

Aurielle: Thanks Janny. Yes I'm more than happy with the way the musicians picked up on my sound and knew exactly what to do. I only sing songs that honestly reflect where I'm at in my life so for me singing and songwriting is kind of like therapy..once the songs have been recorded I can let those feelings go, so it was a cathartic experience really.

I wrote most of those songs over the last twelve months and of course Robyne Dunn's 'Spaceman' and 'Of all the Men' are such masterpieces..they make me cry each time I listen to them.I kept the accompaniment very simple in those songs as I wanted the focus to be on the emotion and the lyrics.

My grandfather Eros Sciorilli's song 'Sono Una Donna Non Sono Una Santa' (I'm a Woman I'm not a Saint) was such an amazing discovery for me. He wrote more than 500 songs over his career, which were performed by the most famous singers in Italy.

One of his songs 'Non Pensare a Me' won the Sanremo Festival and has been covered by countless artists ever since.

He also directed his own orchestra and owned a record label in Milan. He was a wonderful, talented man. I wanted to pay homage to him on this album. I love the title of this song, and I love the story; It is about waiting to get married before giving yourself to a man and asking him not to tempt you. Obviously nowadays that tradition is almost entirely gone, but it reflects a beautiful era of respect and commitment between a man and a woman which I wanted to sing about.

Jan.s: What's next Aurielle...?

Aurielle: I will be taking this album to Europe with me and looking for a distributor.

Lâle Teoman did some gorgeous ink paintings for the cover, it was great to finally get to collaborate with her!

I would also like to tour it next year.

Next, I'd love to do an album about the issues that face us on a global level.Songs about the true meaning of life...or at least the question.Uplifting songs, confronting songs, awakening songs, spiritual songs...without getting too sappy hopefully!

I have done enough love songs for a while...I've lived the roller-coaster of all that turmoil
and drama and I think I've grown up a lot.

Jan.s: Great to see all of this unfolding in such a positive way Aurielle. I wish you great success with your CD !

'Aurielle Sciorilli is an Australian/Italian singer-songwriter. The daughter of Italian singer Ettore Sciorilli and granddaughter of composer Eros Sciorilli, Aurielle was born with music flowing through her veins.

After studying Jazz at the Sydney Conservatorium of Music, she left Australia for Milan where she appeared in the Italian film 'il bene oscuro' singing her original song 'wanderlust'. She was then signed by Sony for the single 'solitary man'.

Her velvety voice has captured audiences across Australia and Europe singing her folk-blues songs that were penned by a girl who in her own words "has lived like a gypsy and loved like a fool".For one so young the depth of her experience that reflects in her lyrics is engulfing,whilst her vulnerability resounds with authenticity.

A writer of poetry first and music second, for Aurielle music is like storytelling where she likes to take listeners on a journey into the depths of her soul where they can suffer in sweet melancholy.

'Send the wandering girl home' is Aurielle's first self produced LP. Inspired by Joni Mitchell's 'blue' it is a collection of songs that take listeners on an emotional and painstakingly honest ride on her meandering's through love, loss and life.

A gorgeous acoustic blend of cool country-blues, dreamy folk and husky jazz this is an album that is as easy to listen to as it is heartbreaking and raw. With a seemingly limitless vocal range, she sings with sensual depth only to change key mid song and fly into almost operatic heights all the while remaining sweet and soothing to the ear. Included at the end of the album is a special bonus track, cover of the 1970's Italian hit 'sono una donna non sono una santa' written by her late grandfather'.

http://www.reverbnation.com/auriellesciorilli

Below, Aurielle's father, Ettore Sciorilli's hit Oayo Ayo 1976

http://www.youtube.com/watch?v=braQZv5Os1s

Also, Mireille Mathiue, one of many international artists who have recorded Aurielle's Grandfather's song 'Non Pensare A Me'. Mireill'es version is simply superb and sung in French.

http://www.youtube.com/watch?v=fB_tGNC1DRU&feature=related

Awakened State - Tibetan Mantras by Bruno Libert and Janice Slater

2011-06-06T19:52:00.000-07:00

Some years back, whilst confronting a major illness, I was introduced to Tibetan Buddhism, through a fortuitous & timely introduction to my teacher (the late) Gyalsey Tulku Rinpoche (Sakya lineage). I remain in gratitude.

In the lovely harbour side suburb of Balmain, Rinpoche would give teachings on Chenrezig practise. Chenrezig is the Buddha of Compassion.

I have to admit that I found the practise challenging, beautiful and obscure and a lot of other gradations in between! I was suffering the effects of illness and my stamina was almost non existent and we would recite the practise several times in Tibetan, finally completing it in English! Although I was eager to traverse the nuances of a language that was completely foreign to me, the practises were lengthy and tiring. Along with this the framework of the practise was outside anything I'd encountered. Here I was, ill with an uncertain future, being asked to develop a compassion that reached far beyond my own concerns along with developing ...'the perfection of body, voice and mind'. This seemed an impossibility along with an improbability!

Since those days I have received the Chenrezig empowerment a number of times. Now I understand that this is a life long practise. I can make no claims to comprehending and experiencing the many subtleties of this practise but I have experienced a sense of peace and well being.

My intention in developing the mantras for 'Awakened State' with my friend Bruno, was to give thanks and gratitude foremost to my teacher Gyalsey Tulku Rinpoche and to the many great and kind teachers who followed. Also to share with those who helped me through such difficult times.

I am indebted also to Bruno Elevteros Libert for his artistry, musical intelligence and guidance and to his partner, Diane Sutherland for her superb vocals as well as developing wonderful mandala drawings for our project. John Paul Gilius joined me in chanting a number of the mantras. Although he was unfamiliar with them at the time, he sang them with great good will and enthusiasm. Thank you JP!

I'd also like to share some thoughts written by Bruno .

'Janice and I got back in touch a couple of years ago, after having worked together in Esperanto Rock Orchestra...30 years ago. We started this Mantra "cyberspace" project via the internet between Australia and Belgium when Janice sent me her vocals/sound files by e-mail! I then put together and recorded the backing tracks in Brussels and Patmos. And here are the results of our collaboration. All "nature" sounds (some have been processed) like rain, wind, sea, birds songs etc..I used in the tracks were recorded in Patmos'. Bruno Elevteros Libert.

The collection is called: AWAKENED STATE: Chenrezig: The Buddha of Compassion

Chenrezig embodies crystalline awareness and limitless compassion.

The mantra of Chenrezig is:

Om Mani Padme Hum.

Homage to the Lotus Born

All of the wonderful mandala drawings developed for 'Awakened State': courtesy of & copyright of Diane Sutherland 2011

Buddh: (c) janice slater

You might like to visit his website on the link provided below and hear some of the mantras we co created along with the superb English soprano, Diane Sutherland, and quirky guest vocalist, Blue Mountains DJ and resident John Paul Gillius.

http://www.brunolibert.be/cms/h_universe_awakend.php

I've also added a link to Lama Zopa Rinpoche

http://www.youtube.com/watch?v=G4GYELDkLzw&feature=related

Part Two: An Interview with Jack Clift

2011-06-02T19:26:00.000-07:00

Jan.s: Jack, 'Pale Imperfect Diamond' the CD you and John Carter Cash co-wrote/produced for your first Cedar Hills Refugees project, was a standout. You brought together musicians from the USA and Uzbekistan and now I believe you've completed a second CD. Could you tell us a about it?

James Shelton (Ralph's guitarist and manager), Chuck Turner (engineer), Jack Clift, JCC, Dr. Ralph Stanley

Jack: I spent three months in Uzbekistan this past winter working on the material. I'm actually about halfway through the next -as yet untitled- Cedar Hill Refugees album. John brings a definite presence to the music. In addition to his wonderful crew of talented folks, he's also just a very sweet guy and I value his creative instincts.

We've co-written a new ballad that we're very proud of called Jayne Hill. We wrote it early in the year out at Mother Maybelle Carter's house, which JCC keeps up as a sort of writers retreat. It's a shoe-in for the, as yet untitled, Cedar Hill Refugees part two.

Jan.s: Are you following similar directions as 'Pale Imperfect Diamond'?

Jack: The new album is shaping up to be more than just an extension of our previous project. Though we do have many of the same players and singers -Ralph Stanley has given us a couple of really amazing performances and The Peasalls have done two songs.

Sarah, Hannah and Leah Peasall

We are bringing in a couple of new (for us) singers. Dave Evans from Kentucky and Elizabeth LaPrelle out of southwest Virginia are coming in for sessions next month.

Dave Evans, JC, JCC, Elizabeth LaPrelle

I'm just thrilled and extremely humbled to be a part of this. Some incendiary process occurs when these two musical traditions co-mingle. It's absolute magic to see how they illuminate each other from different angles.

Director, arranger and sound engineer Zakirjan Atabaev, Matrasul Matyoqubov (reeds), JNC

Utkur Kadirov (fiddle) Sayram Studio, Tashkent, Uzbekistan 2011

Jan.s: Jack, when you began the second CD you hoped that Roseanne Cash may come on board....can you tell us about that session...?

Jack: John Carter Cash and I have been doing a yearly pilgrimage out to Mother Maybelle Carter's home in SW Virginia.

http://en.wikipedia.org/wiki/Mother_Maybelle_Carter

It's a very remote locale and absolutely steeped in musical history. Generally we do some co-writing and brain-storming out there and the geography tends to really seep into our writing.

In February of 2010 we came up with a ballad called Jayne Hill, named after a local geologic feature. John had told me that his sister, Rosanne, had really liked our first project and had been a little miffed that we hadn't asked her to participate. So, we definitely had her in mind for this tune.

In June of last year John called me from New York where he was attending a publishing event and informed me that Rosanne had heard the song and wanted to sing it. In fact, she'd already reserved the studio for later that week so I had to hop on a plane the next day.

JC & Rosanne her songstress daughter, Chelsea Crowell and JCC. NYC 2010

This was a session I was not going to miss. I found her to be a truly sweet, deeply intelligent woman with a very cool attitude. It was such a thrill watching her develop and color the narrative. Sam Bush is playing mandolin on the track http://en.wikipedia.org/wiki/Sam_Bush and James Shelton (Ralph Stanley's guitarist and manger) is playing acoustic guitar.It was a great favorite in Tashkent this year.

Jan.s: Jack would you like to tell us about the most recent sessions in there? If you could share with us some of the history of the players you're working with and where the studio is located?

Jack: Last November I traveled to Simferopol, Ukraine to begin the transnational phase of production with guitar prodigy, Enver Izmaylov. http://en.wikipedia.org/wiki/Enver_%C4%B0zmaylov

In December I continued east to Tashkent, Uzbekistan to join with the members of Jadoo and complete that portion of operations. I spent the next two months in awe observing the batch of songs transform with the Mongol-Turkic influences of the Uzbek masters.

We recorded at Sayram Studio owned by famed Afghan singer/composer Amir Jan Sabori.

The recording engineer, Zakir Atabaev, is also a superb composer, arranger and conductor. It was my first time working with him and I must say, he was so inspiring on every level. Just a wonderful guy that brought out the best in all the crew. His contributions can not be overstated.

I wish I had a coherent list of the accomplishments of all the Uzbek players who contributed. It would fill a book.

Jan.s: .Jack, I appreciate you taking the time to share this part of your journey with us.

Jack: Thanks so much for your interest. I'd also like to plug our newly unveiled video, Keys To The Kindom. We've also got a video of the Peasall sisters, Wife of usher's Well in the final editing stage that will be released in the next week or so. Most importantly we are still seeking sponsorship[ for a concert documentary.

http://vimeo.com/9031852

In order to introduce you to the background to Jack Clift and John Carter Cash's project 'Cedar Hills Refugees'... I've taken the liberty of taking a quote from Jack's myspace page, link as below:

'When Jack Clift first heard traditional Uzbek music, it didn’t seem exotic or alien to him. Instead, it reminded him of the mountain music, blues and swing that he’s loved since childhood. The colorful costumes, tempos and emotional fervor of the Uzbek musicians and their audience brought to his mind old episodes of "The Buck Owens Ranch," a syndicated show that was taped in Clift’s hometown of Oklahoma City. Therefore, it only seemed natural to Clift to bring these sounds together. Working with John Carter Cash, son of Johnny and June Carter Cash, Clift and his Uzbek band Jadoo recorded musical backdrops for some of the finest talents in American country music, including internationally respected mountain singer Ralph Stanley (recipient of the 2006 National Medal of Arts), country music icon Marty Stuart, The Peasall Sisters (O Brother, Where Art Thou?, Down from the Mountain), Randy Scruggs, Ronnie McCoury, John Cowan, Greg Leisz, and Ron Miles. This wide array of talent formed the group Cedar Hill Refugees'.

www.myspace.com/cedarhillrefugees

www.effigyrecords.net/

www.myspace.com/jackclift

www.myspace.com/jadoo

Khandro Tsering Chödrön's passing...

2011-05-30T16:10:00.000-07:00

'One of the greatest women masters in the Tibetan tradition, Khandro Tsering Chödrön passed away on the 30th of May 2011 in Lerab Ling. Sogyal Rinpoche and Orgyen Tobgyal Rinpoche were both present at the moment of her passing where she showed all the signs of attaining the final accomplishment of a great Dzogchen practitioner'. Via dear Kristina Turner

Wall Photos

May she bless us all.

By: Dzongsar Jamyang Khyentse

Seven Line Prayer (Wyl. tshig bdun gsol 'debs) also known as The Seven Verses of the Vajra. The invocation by which Guru Rinpoche came into this world.

Hung!

In the north-west of the land of Oddiyana,

In the heart of a lotus flower,

Endowed with the most marvellous attainments,

You are renowned as the “Lotus Born”,

Surrounded by hosts of dakinis.

Following in your footsteps,

I pray to you: Come, inspire me with your blessing!

GURU PADMA SIDDHI HUNG

http://www.rigpawiki.org/index.php?title=Seven_Line_Prayer

Farewelling beautiful Michelle Fawdon...1947 - 2011

2011-05-24T22:56:00.000-07:00

Sadly, many of us are saying farewell to one of Australia's most gracious and gifted actor/singers, Michelle Fawdon....

Michell'es stellar performance as Mary Magdalene in Jim Sharman's 'Jesus Christ Superstar' (1972) will never be forgotten by those who saw her.

She received acclaim for roles in both film and television, including receiving two AFI Awards. Michelle was equally celebrated for her roles in Australian Theatre.

Photo: In friendship: janice slater, evie pikler & michelle fawdon (1980's )

Michelle played an important part in so many of our lives. Not only through sharing her artistry but through her beautiful qualities & friendship. She was a great advocate of the arts in Australia and directly influenced my own life through inviting me to participate in The Women & Theatre Project (1980).

We will never forget you Michelle.

Journey well...om mani padma hum om mani padma hum om mani padma hum...

The exuberance displayed by Michelle in this rehearsal performance for Superstar (link below) is so indicative of Michelle's spirit and joy for life!

http://www.youtube.com/watch?v=PPqLRpSSsNU&feature=related

The Encore link will take you to a page which has been dedicated to Michelle's passing where you can leave condolences..

http://www.encoremagazine.com.au/michele-fawdon-1947-2011-8597

http://www.youtube.com/watch?v=JdpAqGmux9U

http://www.youtube.com/watch?v=6XtTaISrPkU&feature=related

http://www.milesago.com/stage/superstar.htm

An Interview with Julia Day

2011-05-24T17:18:00.000-07:00

Jan.s: Julia...we've only met recently although we live in the same location. Your reputation, as a formidable drummer ...preceded that meeting... by a few years. I'm interested in knowing what lead you to living outside of Sydney?

Julia: Well there were a few reasons, I was feeling kind of burnt out from Sydney I guess and I'd lived in share houses and was completely over it! I decided like everyone else at the time eleven years ago to take advantage of low interest rates etc and buy land and build a house. That move to create my very own space was the beginning of a momentous stage in my life (the adult stage lol ! ), very challenging, overwhelming and very lonely at times, but of course that was all mixed in with the change that was occurring in me. Ultimately knowing people in the area was helpful and as you know, you and I live in a place rich in culture with lots of artists and eventually that became a great comfort to me.

Jan.s: Yes I agree. Julia, you've played with a number of Australian bands, across a variety of genres and I observe a great rapport with singer/songwriters. Your approach adds a unique ambiance on the tracks I've heard to date. Would you like to share a memorable moment or two?

Julia: Yes of course, I have a wonderful memory of Tania Bowra's album 'Place in the Sun'. Tania had put together three rhythm sections to play on the album, two of the sections recorded at the same studio over two days.

I was coupled with James Haselwood and Greg Royal and Hamish Stuart were the other section.

We decided to save time on the session and use Hamishs' drums, and I don't know whether I've ever mentioned this to you but Hamish Stuart is pretty much my hero !

So there i was playing his beautiful Gretsch drums, with him in the control room watching me do my takes.

It certainly lifted my game having him there, an unusual studio experience to say the least, but so rewarding on so many levels, and Hamish was so lovely to me and so encouraging.

The other experience which springs to mind was working on 'The John Moran Corperation', John approached me one day and asked me if I did sessions and whether or not I'd like to try playing on his thirteen minute track, I have to admit I was a little concerned when he told me that seven drummers had tried but nobody could 'fit the magic shoes' as he put it.

The other concern was there was no charts and no click track, and it was in five movements. John said 'Don't worry, I'll be in the control room conducting you'.

That was the beginning of a new stage for me, playing drums for a pre-recorded track of completely experimental synth music.

As it turned out, my first take was 'the one'... John couldn't believe it and neither could I.

That experience helped me realise the importance of my earlier jazz training, I was able to indulge in improvised musical conversations with no known beginning or end. I learned to trust the music, thereby relinquishing control, relaxing, and realising that ultimately, i'm just a channel for the music. That track is called 'Mystic Man' and it's from the album The 8th of May'

Photo: Murray Foote

Jan.s: Wonderful stories Julia! Now, can I ask you, where does your own musical drive come from?

Julia: I guess from the perspective of the onlooker it's drive, but to me it's more about 'need'. Playing the drums is part of me, I've played for love and for money, but mostly for love, (and like many artists will tell you), without music in my life I'd probably be dead by now. With regard to working with songwriters, 'the drive' in that sense is the joy of being part of the process that builds a song into a living/breathing entity from it's most skeletal form, I absolutely love it, and I feel enormous fulfillment from it.

Jan.s: Julia, I appreciate you sharing part of your journey with us. If you'd like to add any up and coming dates please do so.

By the way I've listening to your myspace tracks and they're nothing short of ...FABULOUS

Julia: Thanks so much Janice.

Here are Julia's upcoming shows:

With Bluehouse:

May 27, Cape Paterson Tavern Victoria
May 29, Northcote Social Club Melbourne Vic
June 2, Judith Wright Centre Brisbane QLD
June 3, The Loft Gold Coast QLD
June 5, The Clarendon Katoomba NSW
July 10, The Sydney Opera House Sydney NSW
July 14-17, California World Fest, Grass Valley California
July 19, Don Quixotes, Felton California
July 20, Constable Jacks, Newcastle California

*****Also on Sunday June 26 Julia's playing with 'The Field' at The Lawson pub in the Blue mountains, that's Bruce Reid, Lloyd Swanton, John Stuart. :)

http://www.myspace.com/juliadaydrummer

https://www.facebook.com/pages/Julia-Day/150725954994009

Service Dogs Make Dreams Possible! by Carol Willoughby

2011-05-13T23:07:00.000-07:00

“I wouldn’t change my life for anything now!” What would inspire a person living with a disability to say this? I've discovered a single powerful answer time and time again--a service dog.

A highly-trained devoted service dog makes all the difference. Each remarkable canine partner can transform differing abilities into possibilities. Service dogs are often trained to fetch everything from a leg brace, to the telephone, to a dropped pencil. Still, the most important thing they can bring their partner is self-confidence. New dreams--even those never considered before--suddenly seem entirely possible.

My own dream began more than fifteen years ago. It started with a simple yet profound question: "How can I bring other adults and children with disabilities the chance to realize their dreams?" Finding an answer became my passion. It was the single most important reason for establishing Saint Francis Service Dogs.

Behind it all was my first service dog, Booker. A privately trained golden retriever, Booker changed my life forever. He restored my confidence while teaching me many important life lessons in the process. As he performed daily tasks that helped to reduce my frustration and conserve my energy, Booker showed me that by working together as a team, anything was possible.

Today, my first-ever Saint Francis Service Dog, Midas, shares this same important message. I was officially introduced to the big fluffy golden boy, with his flouncy tail and perpetual puppy-like grin, in September at the Saint Francis Center. Midas quickly grabbed my heart and reeled me in. His huge black-rimmed eyes remained glued to mine throughout our meeting. He watched me intently even as he lay beneath the table near the feet of his trainer Connie Kniseley. Silently, I prayed fora sign, asking to know if Midas was to be the service dog for me. As I gazed into his luminous shining eyes, I knew.

One month earlier, my thirteen-year-old golden retriever, Griffin, had died of cancer. He was a rescue dog that bounded into my life at the age of eight. Looking at Midas now, with my heart asking . . . “Are you the one?”. . . I felt chills. I recognized a deep, ethereal look in the young dog's eyes. It was the same look my dear Griffin had given me months earlier when we’d had to say our final good- byes. Now, I felt as if my heart knew what Midas seemed to know as well--this partnership was meant to be.

During our partner training, Midas and I worked hard to sharpen our skills. We passed each test in a variety of public settings, just as numerous Saint Francis teams had done before us. And we did it all with the perfect mix of seriousness and humor.

That balance of hard work and laughter makes life much easier and so much more fun as Midas works by my side today. One of his favorite jobs requires him to bump the automated-door button at the mall. Standing upright on his back feet and placing his front paws gently on the wall, my service dog gives the button a swift tap with his nose. Midas always seems especially pleased with his own nose-power as the wide mall doors open immediately for us. Then his bright eyes gleam with satisfaction. Midas tilts his head sideways and flashes me a totally amazed grin, looking to me for approval--and maybe a treat too. Obeying my verbal cue of either Left or Right, Midas swings gracefully to the correct side of my wheelchair. As we enter the mall together, it's easy to see why he is the service dog of my dreams.

Yet Midas is more than that. For me, Midas brings the Saint Francis dream full-circle. I am immensely proud of the teamwork between our staff, the board of directors and hundreds of dedicated volunteers. Each of these individuals helps to carry the mission of Saint Francis Service Dogs into the future--ultimately, making a difference in the lives of many new dreamers.

http://www.saintfrancisdogs.org/

Celebrating all Mother Sentient Beings

2011-05-07T20:28:00.000-07:00

As we celebrate Mother's Day I am sending my wishes to honour all mother sentient beings that they too, are loved and nurtured in return.

I found this beautiful post and wish to share it with you...

'It is said that all beings have at one point in time been our mothers, having cared for us with selfless beauty and having made endless sacrifices, protected us, nurtured us, and also supported and enriched us. Through time immemorial, through the various combinations and permutations of the manifestations of karma, all beings have been, at any given point in time, our mother'.

http://karmachangchubthinley.wordpress.com/2011/04/14/mother-sentient-beings/

An Interview with NY choreographer Nathalie Matychak

2011-04-23T18:56:00.000-07:00

Jan.s: Nathalie, I met your father way back in the '70's when he was a sound engineer for the group 'Sha Na Na'. You are indirectly following in his footsteps ... having taken to the boards! Tell us about your training and your passion for dance....

Nathalie: Having a musical family has been an invaluable source for support and inspiration. I was always encouraged to express myself and think outside the box when it came to my interests and career path. I feel like a lot of my friends in the arts have had pressure from their parents to become doctors, lawyers, etc., but I never had that problem. You want to fingerpaint on Grandma's canvas? Okay! You want to record a song in Dad's recording studio? Cool! You want to move to Manhattan so you can pursue a career in dance? Let's do it! And that's exactly what happened when I was 15 years old. I had studied mostly ballet on Long Island, and had my sights on becoming a ballerina come high school. In an incredibly selfless act, my parents and I moved to New York City so I could attend LaGuardia Arts High School (the movie that “Fame” is based on). It was there that I discovered modern dance. I remember feeling like it was a good fit. I had always loved ballet, but longed for the creative freedom that came along with becoming a contemporary modern dancer. After I graduated from high school, I went on to attend New York University's Tisch School of the Arts as a dance major, where I fell in love with dance composition and choreography. After graduation, I knew that I had to start pursuing it – along with dancing professionally with a company. I know that I am rather young to be trying to establish myself as a choreographer, but I want to gain as much experience as possible.

Jan.s: It is rare to have the support you've described Nathalie. When you first arrived in New York, what were the first challenges you faced?

Nathalie: The biggest change for me was leaving everything I knew and everyone I loved on Long Island and starting fresh in the city. I was 15, and starting to feel like I was settling into the person I was going to be, but I knew that I would regret not at least trying to make it in Manhattan.

The move was an incredibly selfless act on my parents behalf, but some things were also made easier for them - my Dad worked just a few blocks away from our apartment, and my Mom got a job working for the New York City Ballet- so it all kind of worked out. I also was a little bit on the shy side. Although I craved it, I wasn't used to being around wildly eccentric, artistic types that I encountered at LaGuardia. It wasn't long before I found my niche in the dance department along with another incoming sophomore, Shonelle Collins, who is one of my best friends to this very day, and is also a member of BANGdance. I credit her as being one of my major influences when it comes to how I view and approach dance and choreography. Another big challenge was making the switch from ballet to modern. I had dreamed of becoming a ballerina, but by the time I was a junior in high school, I felt as if I longed for the more contemporary route.

Jan.s: Your dream lands you on the doorstep of the most feted academy of the arts to gain a worldwide public profile due to the '80's film FAME. Auspicious circumstances lead you to be accepted as a student. Would you share the audition process with us Nathalie?

Nathalie: I decided to audition for LaGuardia at the last minute. I believe school started just a few days before I auditioned. I remember that it was pouring rain and I had never been scared so badly in my entire life! Once the audition started, I began to feel a little bit more at ease, and by the time the solo round started, I felt great. The only thing I remember being upset about was that they cut me off during my solo right before I was about to do something I had worked really hard to get down just right -- typical! I got the call later that night, and started school a few days later. The entire situation was all very last minute and whirlwindy!

Jan.s: Whilst studying at NYU Tisch School of the Arts who were your major influences Nathalie?

Nathalie: Tisch was an incredible learning experience for me. I had classes with some highly notable figures in the dance world, and I wouldn't trade that for the world. Besides my introductory classes to dance composition at LaGuardia with director, Michelle Mathesius, and musician/composer, Steve Weinstock, which enabled me to see that I had a love for making dances, I felt that I learned a lot from my composition classes at Tisch with Gus Solomons, Jr. and Linda Tarnay. Both artists came from very different backgrounds and had very different techniques, but they really encouraged me to be brave.

When it came to composition, anything was possible as long as it was my own, and I followed my gut instinct about it. The evening length piece I am about to start creating now was inspired by a comment given to me by Linda Tarnay in my freshman composition class. I choreographed a 2-minute solo to a piece of music I had randomly heard a few years prior. "If I don't encourage you to keep up with this," Linda pulled me aside and told me after the solo was done, "I will think that I robbed the dance world of a potentially extraordinary choreographer." Aside from my teachers, I found constant inspiration in my peers. We all came from such different backgrounds

Jan.s: Where else do you find your inspiration? In fellow dancers, choreographers, along with music influences...

Nathalie: Choreographically speaking, my favorites are Aszure Barton, Andrea Miller (Gallim Dance), Mats Ek, Lar Lubovich, William Forsythe, Twyla Tharp, and Pina Bausch. Quirky, yet sensually intelligent and athletic movers with unique voices. They create pieces that arrest you, and leave you feeling like you just went on this intense journey.

I remember I knew that I wanted to make dance one day after seeing American Ballet Theatre perform Twyla Tharp's "In the Upper Room" when I was 11 years old. I had never seen anything like it, and I just totally and completely fell in love with it. I wanted to make dances like THAT! I am really inspired to choreograph to minimalistic music along the lines of Philip Glass, Steve Reich, and Nico Muhly, but it isn't unlike me to go for something totally different. It's a gut feeling for me when I know that a piece of music will make for a great dance, so regardless of what it is, I usually just go for it; however, when I begin to choreograph I look to the dancers I've chosen.

I watch their mannerisms, the way they react to improvisational sessions I sometimes give at the beginning of rehearsals, and the way they interact with each other. My grandmother, who was a sculptor, often said that the rock she used told her what it was going to be, and she just took it from there. I am never one to take a shape-- I focus on letting the shape take me.

Jan.s: Nathalie, this has been wonderful to hear of your personal journey and your training.I'm looking forward to continuing this dialogue ...I wish you and your company great success!

http://www.wix.com/bangdance/online

https://www.facebook.com/BANGdance

http://www.indiegogo.com/let's-throw-the-baby-in-the-cake

http://www.youtube.com/user/BANGdanceVideos

http://www.bangdance.blogspot.com

http://laguardiahs.org
http://www.tisch.nyu.edu/page/home.html

OM SARASIDDHI HRING HRING

2011-03-23T18:47:00.000-07:00

Prayers for Japan...for all beings effected by the earthquake and tsunami in Japan
we send you our love and prayers.

From the beautiful site of His EminenceTsem Rinpoche

http://tsemtulku.com/

'Her spiritual energy in the form of sound that helps to transform the mind (Mantra):'

OM SARASIDDHI HRING HRING

http://tsemtulku.com/resources/buddhas/saraswati/

That Chocolate Feast Art Prints by Janice Slater - Shop Canvas and Framed Wall Art Prints at Imagekind.com

2011-01-29T17:37:00.000-08:00

That Chocolate Feast Art Prints by Janice Slater - Shop Canvas and Framed Wall Art Prints at Imagekind.com Watercolour and pen. (50% of net sales will be given to a great organisation for teenagers living with cancer in Australia: http://www.canteen.org.au/. This is my small gesture to alleviate this disease and to add to the positive intention to make cancer history...)

Acharya Upendra Roy 1942-2006

2011-01-28T23:04:00.000-08:00

To acknowledge my teachers I wanted to talk about my first yoga teacher Acharya.

I was saddened to learn of his passing in 2006. I'd lost contact with Acharya many years ago when I moved out of the city.

I am pleased to find that his Yoga School still exists. Acharya began it in 1969 and it is still going strong!

Memories flooded back on reading Acharya Upendra Roy's obituary. The author describes the smell of incense and the Indian ragas which Acharya would have playing in his Pitt Street studio. My own include cups of tea and a sense of nervous anticipation when Acharya would invite us to read aloud, from the ancient Indian text the Bhagavad Gita.

No coercion , no expectations of following a Guru, although Aharya did introduce us to the meaning of Guru, he more so invited us to share any insights we might glean from our readings.

Acharya's presence embodied peace. He imparted the strengths gained from not only the physical yoga but the yoga of the mind.

Thank you Acharya Upendra Roy. for your selflessness, your deep wisdom and knowledge and for always sharing with an open heart

Om mani padma hums for countless aeons...'Homage to the Lotus Born'.

http://acharyasyoga.com.au/

http://acharyasyoga.com.au/about-yoga/remembering-acharya/

http://acharyasyoga.com.au/wp-content/uploads/2010/02/Upendra-Roy-Obituary.pdf