A Soundscape by David P. Crews
[Total run time: 1:17:00]
Ayahuasca–Rain Passage is a visionary sound experience by award-winning musician David Crews, centered on a recording made on his second venture into the Peruvian Upper Amazon to work with the most renowned and respected whole-plant spirit medicine in the world, called ayahuasca–the Vine of the Soul. A jungle rainstorm arrived to guide the ayahuasca ceremony with the energy of Yacumama, the Water Spirit of the rivers and forest, bringing power and depth to the intense visions received from Madre Ayahuasca herself.
About the Music:
“This is a minimalist and immersive ambient soundscape. I designed this to be a deliberately slow and long work to suggest to the listener the mental and spiritual space one enters when working with ayahuasca in traditional ancient nighttime ceremony (which normally lasts from four to six hours). It is based on a 24 bit digital recording, made on location, of the natural sounds environment at SpiritQuest Sanctuary on the Rio Momón, a tributary of the Amazon. It includes the evening chorus of animals and insects, a large tropical downpour, and the post-rain night chorus. This is blended with the spirit songs of the shaman and my original deep electronic music ambient elements.
“Ayahuasca is best encountered when one is surrounded by and embedded into the vast living being that is the Amazon forest. My intention was to make a long-form piece centered on that rainstorm that, while containing creative electronic musical elements, remains an experiential ambient work. Great care has been taken to blend and guide the slowly evolving moods. In ayahuasca, each participant’s specific visions are unique, so I have presented a kind of impressionistic portrayal of the vision experience, very much centered in the entraining of the mind by the rhythms and white noise of the traditional songs, the leaf rattles, and the rain. At 1 hour, 17 minutes in length, this contiguous piece is best listened to in one sitting, when one is ready for an immersive meditational and transforming experience. It also works well as a low-volume truly ambient environment.
“The icaros (spirit songs) heard in this work were also recorded on location, during actual ceremony. They are the songs of don Rober Jarama, the highly esteemed banco ayahuascuero shaman associated with SpiritQuest. I have worked with don Rober over a seven-year period. He is completely authentic and simply amazing in his dedication to traditional mestizo and tribal shamanism in the Amazon. You will hear him whistle his opening Arcana to place spiritual protection on the participants, and also some of his sung icaros that help guide the ceremony throughout the night. Also prominent are the rhythmic sounds of the schacapa, a dry-leaf rattle that helps entrain the mind as the visions progress.
“The musical elements were created with LogicPro X on a Macintosh system and include timbres created in Alchemy, Air Xpand!2, ESX-24, EWQL Symphony samples, and other instruments and modules. Performance, production, and mastering completed at JaguarFeather Studios, Austin, Texas.
“My thanks and love to maestros don Rober Jarama and don Howard Lawler, and the staff and friends of SpiritQuest in Peru.
“I hope you find this journey into the incomparable vision space of ayahuasca to be useful, sublime, and amazing. Blessings and Light!”
-David P. Crews
“A prophet is not without honor except in his own country. . .”
An observation about reintegration and sharing one’s non-ordinary experiences for good or for ill.
Anyone who has worked authentically with Ayahuasca, gaining sight and knowledge, healing and wisdom, is partaking in the mythic Hero’s Journey. He or she is a legitimate explorer–one who travels to dangerous places, passing barrier guardians, personally encountering the divine Spirit or Spirits, and willingly undergoing tests and challenges that are often terrifying and that threaten survival. When the exploration ends, we who have so ventured return to our mundane world once again, full and overflowing with what has been taken in and we are electrically charged with it. It is a boon for ourselves (this is why we took on the challenge). We wish it to be one for our friends, our family, our tribe: those who did not and would not ever cross the border we crossed; those who would or could not face the challenges and return with the great wealth.
One of the most challenging parts of the Hero’s Journey then, is the return: the reintegration into the “normal” everyday world and trying to fulfill our role as conveyors of the treasures we found and the discoveries we made during our dangerous endeavor. It does not always work, this re-entry into our old world and it can redound to our discomfiture in our relationships with others. Joseph Campbell put it this way:
“[Prior to the Hero’s return from] the mystic realm into the land of common day. Whether rescued from without, driven from within, or gently carried along by the guiding divinities, he has yet to re-enter with his boon the long-forgotten atmosphere where men who are fractions imagine themselves to be complete. He has yet to confront society with his ego-shattering, life-redeeming elixir, and take the return blow of reasonable queries, hard resentment, and good people at a loss to comprehend. . . .
. . . As dreams that were momentous by night may seem simply silly in the light of day, so the poet and prophet can discover themselves playing the idiot before a jury of sober eyes.
. . . How to render back into light-world language the speech-defying pronouncements of the dark? How represent on a two-dimensional surface a three-dimensional form, or in a three-dimensional image a multi-dimensional meaning? How translate into terms of ‘yes’ and ‘no’ revelations that shatter into meaninglessness every attempt to define the pairs of opposites? How communicate to people who insist on the exclusive evidence of their senses the message of the all-generating void?”
This, Campbell says, is “the hero’s ultimate difficult task.”
–Joseph Campbell “The Hero with a Thousand Faces” (New Jersey, Princeton University Press, 1949–Second Edition, 1968), pp 216-218.
After my first, most powerful and transformative foray into the realms of the Other, I naively presented my journey’s logs and observations to those who are close to me. The reaction was something like that one described by Campbell–the semantic and ontological challenges the very same as he outlined. Sometimes, I wonder if I should have done it, for he also wrote of the hero who might be tempted to “commit the whole community to the devil and retire again into the heavenly rock-dwelling, close the door, and make it fast. But if (an obstruction to his retreat has been placed), then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided.”
[ibid, p. 218]
And, so I continue to share what I have experienced. I do so in diverse ways, including (especially) in this blog.
Excellent video podcast with Amber Lyon of reset.me, in an engaging and fascinating interview with my dear friend and shaman maestro of the Amazon, don Howard Lawler, aka. Choque Chinchay. This is a wonderfully long in-depth discussion about Ayahuasca–what it is and isn’t and how it is properly (and improperly) approached and worked with in its native Amazon setting. Howard is a superb teacher as well as shaman and it is always a blessing to listen to his knowledge and wisdom about the great teacher plants, especially Ayahuasca. This was shot on location at the SpiritQuest Sanctuary in the Upper Amazon where I’ve twice been fortunate to travel and to engage with the great plant teachers under the care and compassion of don Howard and don Rober.
I’ve spent many hours listening to don Howard, asking my questions and having in-depth discussions about the medicine. When you listen to him, you are hearing long and deep experience from one of the most authentic of the Amazon’s medicine men, and probably the best communicator in English for and about Ayahuasca. Enjoy.
Today, I’m presenting a virtual getaway, especially for anyone stuck in this year’s snowy winter. I’m pleased to offer you my short (7 min.) nature film I shot in November on location in the beautiful country of Costa Rica.
I love waterfalls, and Costa Rica has many lovely ones, both small and very large. All are situated in rain forest settings that invoke images of a lost, green, wild world.
This film also features my original symphonic music score. Be sure to go full screen and volume up.
I hope you enjoy “Costa Rica Waterfalls”!
My posting frequency on this blog has slowed recently due to my becoming deeply involved in writing my first novel. The book, an epic science-fiction/fantasy series, is approaching completion and I will update this blog as I can, but I thought that for now I’d post some recent thoughts in the forms of a poem and a digital image or two.
Often, I find myself simultaneously holding different visions of my humanity. On one hand, I sense the melancholy (which is not the same as sadness or hopelessness) of our situation here in this physical reality. It is the conundrum of Ralph Waldo Emerson’s metaphor of the Stairs that I’ve spoken of several times in these pages. Upon those stairs, we awake and know not whence we came, nor where we are bound. It is an authentic and enduring melancholy for every person–a melancholy borne of that mystery.
On the other hand, I feel a strong imperative to constantly and consciously create real happiness and fulfillment for myself within the time I exist upon those mysterious stairs. I do so by being a creator and I live that role right now. This is the only way to be in this life that brings me (or, I will maintain, anyone else) true joy. It is what Casteneda called a “Path with Heart,” and it brings unexpected delights and challenges to us, while each of us also remains involuntarily bound to that mysterious river of time that leads us to an unknown destination.
Those two visions emerged into two different creations recently, and I thought I’d share them here while I may be away from more regular blog posts for a while.
The Melancholy observation is represented by a poem that is my take on Emerson’s Stairs. It came fully formed out of sleep and the spirit realm of dream last night. The accompanying image (above) is my digital art alteration or enhancement of a detail from one of my favorite painters, Thomas Cole. (It’s from his four panel “Voyage of Life” series from 1842.) His paintings include some directly religious elements, but I believe the idea of guidance from “outside” of ourselves is possible in many shapes and forms that cannot be empirically measured. We are, in any case, on the boat and in motion to an unseen destination.
The Creative/happiness/joy/challenge observation is an original saying and a digital artwork rendered on a moonrise photograph I took along the Caribbean coast in Costa Rica a few months ago.
May we all continue to look, wonder, and choose to make our time upon the waters of life worthwhile by creating joy.
In fragile boats
Clad with skin.
We make no stops–
Frail vessels that
Set no anchor.
The wind blows
Our measured course
Fades in mists
[David P. Crews, 2015]
[Click any image for full size.]
As a follow-up for the summer photography in my last post, I’m pleased to present a six minute film titled “Big Bend–The Scale of Time.” This is a short preview for my upcoming reflective landscape film about Big Bend National Park in Texas. I am in the process of re-shooting footage in high definition to entirely update and replace the imagery from an older film, while retaining the music track and eventually the incidental poetic script and narration elements. This HD film is hosted on Vimeo and is best seen full-screen.
The cinematography and photography in this short version all come from a brief three-day visit to the park in June, 2014. I plan to return at least twice in the coming months (for longer stays) and obtain much more footage to fill out the main feature. What imagery will I get on my next trip? In June, I didn’t expect to get caught in that dramatic lightning storm or see a cloudy, no-sunrise morning suddenly erupt into an amazing spotlit fan of golden light. Big Bend always surprises me with unexpected scenes of wild and gentle beauty that translate so very well into visual art.
I hope you enjoy my film.
A note about the music: This is my original composition and performance excerpted from the longer film. It won the Calypso Award from the Moondance International Film Festival in 2006, and also a prestigious Silver Telly Award in that same year.
I have just returned from a short visit to the wonderful Big Bend National Park in southwestern Texas, USA. I’ve been traveling here off and on since the spring of 1962, taking photos and video, hiking and camping, and doing inner work and vision quests. With some extensive new photography equipment in hand including a Nikon D5300 and a computerized slider, I’m setting out to shoot new cinematography and photography of the park in multiple seasons. This is to remake an artistic film I created some years ago using standard definition video. Now, I can remake it in full HD with professional rigging for camera moves.
I’ll post more of the video elements later, but for now, here are some of the still photographs I made this week, accompanied by some script excerpts from the original film.
I hope you enjoy them!
I urge you to click through to the larger images for much higher quality!
In Big Bend
The scale of time is different from
our time – the observers, ourselves – who come.
It is a different scale of time and of movement than
our time – our movement.
We are too fast to see it.
We cannot slow down.
There is an enchanted doorway –
a wonder and a sign.
A Temple of water
And walls of determination.
We briefly enter – and return again.
There is nothing between this sand and that yonder star
but empty space and a thin breath of blistered air.
A Weight Bears Down.
We cannot escape.
Our branches grow tough – and dark.
Our water, our blood, our thoughts
Dwindle . . . down.
The white light sears our flesh into dust,
and there is no wind to blow it away.
The desert does not sleep.
It is an endless movement – the motion of survival.
We look and listen . . . and there is
You can see it move if you are slow enough.
You can feel it, anyway,
if you are still enough.
Do not listen for it or watch for it.
This desert is young. This desert is old.
It depends on your speed, you see.
Some have come to change this land.
Some have changed it – some.
All who have come
Have Been Changed.
Some have gone now.
A fragrance lingers in secret places.
Their song echoes lightly on adobe and wood and stone.
The mesa shrugs, and it is gone.
She is clothed in riches. Bejewelled in green and yellow and brown.
An extravagance on this plate of rock – standing up, tasting the water.
Big Bend is not barren.
LIFE is everywhere in this Desert –
this Living Land.
Raising faces – arms to the air,
feeling deeply down for the lifeblood –
a watery current within.
Knowing how to keep that – and to hold it.
The desert is a mirror.
The desert is a portal.
It reflects our souls back at us,
and then offers a Way
into another Realm.
We are opened up
and slowed down.
The soft voices of the Plants can be heard.
The wordless brotherhood of the Animals is known.
The marvel of the Eternal Moment can be felt
In our very ground.
Big Bend is a Heart Land.
A place of shifting Shapes.
It is a healer of the Spirit.
A photography post for this hot summer’s day.
Here are some of my images from my last journey into an amazing landscape in southeastern Utah. Please click on any photo for a larger, better view.
I will be heading back into this area this fall to do some more photography and cinematography and I will look forward to sharing some of that with you then.
Here is a manifestly magical landscape where, as the ancients said, “There are more rocks standing up than lying down.”
Entering this land, we feel like we have stumbled into a giant, ancient, Atlantisian cityscape – thousands of massive buildings, scatter far over the rolling hills and loom profoundly next to our tiny forms. They are frozen in time as the wind and sun slowly melt the magnificent masonry into curious shapes. Long, inspiring parks of green and orange still echo the aesthetic design of a masterful and artistic urban planner. It is a scene that seems populated or that seems it should be – filled with milling crowds. When the black raven caws and the wind sighs around the rocks, however, we realize that it is too quiet for such crowds. There are few humans here. The rock pillars themselves form the sense of mass congregation.
Perhaps it is all mere sand and wind. Perhaps.
As we stand, dwarfed, by a reddened wall topped with curious minarets and colorful balanced spires, we may sense that this primordial cityscape was designed this very way by spirit beings or unknowable men and women of mystic vision, serving some need of the soul and heart that still resonates in us today. We feel the rocks ringing and singing their long songs, gazing ever into eternity.
Spirit hand prints of the Ancestral Puebloans who passed this way some 500 to 900 years ago. With time so long and slow in this magical land, it seems that the red paint should still be wet to the touch.
You can hear Time pass by in a soft and curious breeze between the painted walls.
[Click any photo for a larger view.]
Meet K’ak’ Tiliw Chan Yopaat, or in our best interpretation of his name: Kawak Sky.
Time for a travel post and photos.
Whenever I’m not focused primarily on landscapes and scenery, travel for me often involves ancient cultures and archeological sites. I’ve been scanning some of my older photo collections, and these images from the Mayan site called Quiriguá came up today. Quiriguá (our modern name for it) is a modest Mayan site in terms of architecture, but its collection of carved stelae and zoomorph stones are amazing.
Quiriguá lies in southern Guatemala, not far from its large rival city, Copán, just across the modern border to Honduras. It was declared a UNESCO World Heritage Site in 1981. Quiriguá was the first Mayan site I had the privilege to visit, and it was a good introduction to the Mayan world.
Kawak Sky was the “k’ul ahaw,” or “Holy Lord” of Quiriguá. This small city was active during the Maya Classic Period from about 200 to 900 AD, and is noted now for its important carved stone monuments. These represent the most dense collection of Mayan hieroglyphic stone stelae known to exist in one site, and the tallest freestanding stone monuments in the Americas. Stela E stands 35 feet high. The local red sandstone is solid and clear of fractures, which allowed the Mayan artisans to carve deeply and in large format.
Quiriguá was a subservient city to the much larger and more powerful Copán until Kawak Sky managed to ambush the elder king of Copán and haul him back to Quiriguá for a ritual execution. This occurred in 738 AD, establishing the independence of Quiriguá from that time forward and making Kawak Sky the most celebrated of its rulers.
It was fascinating to walk for my first time among ancient Mayan carvings and see a real ball court. At that time, I was recently married and we enjoyed climbing the carved stone steps of the central acropolis and listening to the forest birds as we soaked in the strange air of this place. It’s history, often very violent, was so different from our own culture. Yet here it lies, surprisingly close in physical distance to my own home in Texas. I’ve been to a number of other Mayan sites since this, but I never tire of the sense of wonder and history one experiences when actually walking these old cities and monuments.
In the early 1930s, author Aldous Huxley visited Quiriguá. He was also impressed by the stelae, writing:
“And there they still stood, obscurely commemorating man’s triumph over time and matter and the triumph of time and matter over man.”
Huxley, Aldous (1950) [©1934]. Beyond the Mexique Bay: A Traveller’s Journal (Reprint ed.). London: Chatto & Windus.