Pan & Syrinx re-visited
As I was preparing for recent interview with William Bennett re “Syrinx” by Debussy, I felt a familiar stirring of the internal waters! "I wonder what is going to come of this", I muttered to myself!! It began in the way many things do for me, as a fire - a fire of social injustice, of suffering. Pacing around the kitchen island ensues, as does journalling, and private podcasts! When I'm ready, I lean into trusted friends, and sift through really complicated feelings and thoughts that bubble up. I feel vulnerable, uncomfortable, procrastinate, set goals again, coach myself, and finally get down to it!
This one was big - patriarchy, process, paradox, and classical music culture! So here goes!
The Myth and the characters:
In classical Greek mythology, Syrinx /ˈsɪrɪŋks/ (Greek Σύριγξ) was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous god Pan (Man-Goat), she ran to a river's edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. Pan cut the reeds to fashion the first set of pan pipes, which were thenceforth known as syrinx. (from wikipedia - good enough).
The Process:
My first go at this was through resistance and resentment re the patriarchy! I'm so tired of it. Really, again?? The female archetype defined once again as "only" chaste, beautiful, a muse to be used, to be chased, to be taken? Arg!!! I can hear the ducking and weaving in the music, the hope of escape (turning self into reeds), the capture, the pleading, the taking, the death. Her lingering voice being "played" by Pan. Arg! yes I can still work myself up - her "voice" heard only when played by a Man(goat). Her beauty, mystery is to be taken...is to be fuel for Predator Pan - for his longing, unabashed sexual, musical creativity. Her death transforms his life, and gives a voice to his own artistic soul. Where was the consent??? ROAR!
When the fire simmered down a little, I began to reflect on our Classical music culture and traditions. How does the Pan/Syrinx archetypal relationship apply? How many composers, musicians in the past and present have "taken" in the name of great artistry and musicianship. In fuelling their creative passion at the expense of others? How many of us have accepted that as ok? How many times have we unconsciously and consciously accepted the harmful behaviour - especially if there is a whiff of genius about them - can almost smell the goat (!), What am I willing to do about it? What will am I willing to lose? Where is my privilege and bias in this? Not easy questions at all!
As I sat in those questions, I also noticed the warm embers of compassion. For Syrinx of course, and surprisingly, for Pan - for his limited artistic supply, his lack of faith, lack of patience and limited capacity, meeting his needs at all costs. His yearning for what he could not have, and could not find on his own - even after he took it from Syrinx. Compassion is tricky, it's the sparkle within the grey, a little messy, and it's not.
When we don't allow compassion a voice, or if we disappear and hide from the mess, we swirl around in limited beliefs, and pre-conditioned responses. We become stagnant, righteous, hopeless and rigid. Acceptance of all our humanity eludes us, and we're stuck once again, wounded, and rattling in a cage. In our attempts to free ourselves, we are willing to cause harm, to take, and to keep, in the name of Artistry.
Compassion does not excuse Pan, or excuse me from acting, and at the same time, it allows me to perceive beyond my safe, righteous, dualistic mind, and I land smack in the middle of another paradox.
Paradox of both Pan and Syrinx within.
We have both the cool beauty, the mysterious Hagia wisdom, and we have the hot, focused creative passion. Both light and shadow. Both Victim and Villain.
And
We seek meaning and purpose in the pain, in the necessary losses.
We seek to belong to something greater than ourselves.
Our soul yearns for beauty.
We recognize elements of this in ourselves, the freedom, love, and beauty, as well as the frustrating limits, the desperation and loneliness. All of it is in the Archetypal Stories we tell of humanity in the myths, and in the music.
We search for the lines, the rules, sequences, patterns, and form in order to ease the pain and make sense of it all. And at the same time, if we're really quiet, really still, we may notice Syrinx dancing on the periphery, in all of her transparency. Our passionate hot selves meet the cool muse and if we don't grasp at it, they dance together in our resonant heart, we evolve, and our creative artistic soul expands.
Through compassion & courage, practice, process, and paradox, we become what we seek. The veil unfurls, as does loving, kind action.
As I was preparing for recent interview with William Bennett re “Syrinx” by Debussy, I felt a familiar stirring of the internal waters! "I wonder what is going to come of this", I muttered to myself!! It began in the way many things do for me, as a fire - a fire of social injustice, of suffering. Pacing around the kitchen island ensues, as does journalling, and private podcasts! When I'm ready, I lean into trusted friends, and sift through really complicated feelings and thoughts that bubble up. I feel vulnerable, uncomfortable, procrastinate, set goals again, coach myself, and finally get down to it!
This one was big - patriarchy, process, paradox, and classical music culture! So here goes!
The Myth and the characters:
In classical Greek mythology, Syrinx /ˈsɪrɪŋks/ (Greek Σύριγξ) was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous god Pan (Man-Goat), she ran to a river's edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. Pan cut the reeds to fashion the first set of pan pipes, which were thenceforth known as syrinx. (from wikipedia - good enough).
The Process:
My first go at this was through resistance and resentment re the patriarchy! I'm so tired of it. Really, again?? The female archetype defined once again as "only" chaste, beautiful, a muse to be used, to be chased, to be taken? Arg!!! I can hear the ducking and weaving in the music, the hope of escape (turning self into reeds), the capture, the pleading, the taking, the death. Her lingering voice being "played" by Pan. Arg! yes I can still work myself up - her "voice" heard only when played by a Man(goat). Her beauty, mystery is to be taken...is to be fuel for Predator Pan - for his longing, unabashed sexual, musical creativity. Her death transforms his life, and gives a voice to his own artistic soul. Where was the consent??? ROAR!
When the fire simmered down a little, I began to reflect on our Classical music culture and traditions. How does the Pan/Syrinx archetypal relationship apply? How many composers, musicians in the past and present have "taken" in the name of great artistry and musicianship. In fuelling their creative passion at the expense of others? How many of us have accepted that as ok? How many times have we unconsciously and consciously accepted the harmful behaviour - especially if there is a whiff of genius about them - can almost smell the goat (!), What am I willing to do about it? What will am I willing to lose? Where is my privilege and bias in this? Not easy questions at all!
As I sat in those questions, I also noticed the warm embers of compassion. For Syrinx of course, and surprisingly, for Pan - for his limited artistic supply, his lack of faith, lack of patience and limited capacity, meeting his needs at all costs. His yearning for what he could not have, and could not find on his own - even after he took it from Syrinx. Compassion is tricky, it's the sparkle within the grey, a little messy, and it's not.
When we don't allow compassion a voice, or if we disappear and hide from the mess, we swirl around in limited beliefs, and pre-conditioned responses. We become stagnant, righteous, hopeless and rigid. Acceptance of all our humanity eludes us, and we're stuck once again, wounded, and rattling in a cage. In our attempts to free ourselves, we are willing to cause harm, to take, and to keep, in the name of Artistry.
Compassion does not excuse Pan, or excuse me from acting, and at the same time, it allows me to perceive beyond my safe, righteous, dualistic mind, and I land smack in the middle of another paradox.
Paradox of both Pan and Syrinx within.
We have both the cool beauty, the mysterious Hagia wisdom, and we have the hot, focused creative passion. Both light and shadow. Both Victim and Villain.
And
We seek meaning and purpose in the pain, in the necessary losses.
We seek to belong to something greater than ourselves.
Our soul yearns for beauty.
We recognize elements of this in ourselves, the freedom, love, and beauty, as well as the frustrating limits, the desperation and loneliness. All of it is in the Archetypal Stories we tell of humanity in the myths, and in the music.
We search for the lines, the rules, sequences, patterns, and form in order to ease the pain and make sense of it all. And at the same time, if we're really quiet, really still, we may notice Syrinx dancing on the periphery, in all of her transparency. Our passionate hot selves meet the cool muse and if we don't grasp at it, they dance together in our resonant heart, we evolve, and our creative artistic soul expands.
Through compassion & courage, practice, process, and paradox, we become what we seek. The veil unfurls, as does loving, kind action.
