Cultural Resilience:
Catastrophes as turning points in the arts.
20-minute lecture presented by Maireid Sullivan
1st Global Irish Diaspora Congress,
University College Dublin, 15-19 August, 2017

An extended version was presented on 28 August, 2017, during Heritage Week, for the Bantry Historical Society -
in Maireid's home township of Bantry, Co. Cork.

Summary:
Arts practitioners have always presented the big ideas that take us beyond the surface of our troubles to the source of our joy and ingenuity, and resilience - our ability to heal and empower others. Art made us as a human species: the “neurochemicals of happiness”, endorphins, dopamine, serotonin and oxytocin, make us feel good. From the late 1980s, Irish government Cultural Tourism initiatives promoted that win-win vision, leading to an unprecedented flourishing of music, song, dance, and, of particular interest here, led to the emergence of many professional women musicians who inspired great international cross-genre collaborations. Many women musicians performing within the Celtic genre, including myself, enjoyed significant commercial success and made distinctive contributions as performing and recording artists with well-established profiles. During the ‘90s it seemed that there was a continuing place for these artists and the Celtic genre on the world stage, and both would take a strong role in defining the nature of an increasingly multicultural interest in music. However, something completely unforeseen unfolded with the happenings of 9/11.

On being free to "re-connect, collaborate, and co-create"[1]:
The roles and responsibilities of arts practitioners are defined in developing a sense of identity, both as individuals and as members of society, in galvanizing community engagement and participation on issues that impact the quality of life for everyone: Arts practitioners envision, design and present creative and imaginative propositions to the public realm, and are representatives of the historical and changing spirit of a culture.

My life continues to be energized by epiphanies[2] based on my cultural heritage. My parents and seven siblings were born in the Bantry Township, in West Cork. We all moved to San Francisco when I was 12, and at age 20, when I travelled to Australia on a holiday with my father, I stayed on.

While I’ve since lived in many places around the world, my memory of my childhood in idyllic rural West Cork is foremost in my sense of my ‘place’ in the world.

I survived a series of personal catastrophes by going ‘back to my roots’ with the help of insights gleaned from Australian Aboriginal heritage: In his 1987 bestseller "The Songlines" Bruce Chatwin[3] explained how Aboriginal language began as 'song' - that during the Dreamtime, the people ‘sang the land into existence’ - mapping their way from one place to another via songs, passed down through the generations, identifying geographical terrains when songs ‘graduated’ into the language of neighbouring tribal territories. For example, you know where you are when the song defines a particular geographic territory in the language of the local tribe. I remembered these insights in 1990/91, after I’d ‘gone back to singing’ and needed to ‘go deeper’ to access my visionary powers in order to write songs.

That renewed insight manifested for me with a question:

If I am able to glimpse the slightest insight on the reality of the Dreamtime visionary’s way of 'seeing' the world, can’t that degree of insight also help me ‘see into’ my own ancient cultural heritage?

Suffice it to say, I dove right in: Radical insights followed when my readings in ancient Irish and Celtic history yielded concepts such as Personal Sovereignty, Free Will, and Free Speech. Cambridge scholar Nora Chadwick, 1966, "The Druids"[4] illuminates the history of the ancient intellectual classes - scholars across all of the arts - liberal, performing, and visual.

Epiphany #1:

To come together in every experience:
To know the power and the glow of at-one-ment.
That is our goal - to be united in the centre of our being in love.

Almost a decade later, in 1999, I interviewed over 60 women musicians in the Celtic music genre, across the diaspora. The aim of this exercise was to attempt to capture the artists’ perception of what their work was doing for a wider audience, particularly in the United States, which is an important barometer of artistic acceptance (due to population size and cultural demographics).

Of these interviews, Volume 1 (of 2), 31 were published under the title 
Celtic Women in Music: A Celebration of Beauty and Sovereignty, in September 1999 (Sullivan, 1999)[5].  This collection seemed to capture the insights and artistic motivations of a generation of Celtic artists, and helped to reveal the genre’s underlying universal appeal to the spirit of the times. Little did I suspect that the perspectives contained in the book would become an important and unique historical record of the disjunctive change to the zeitgeist which the genre was about to pass through.

Following the success of this work, in September 2000, I received a private grant which allowed me to travel to Ireland with a film crew to interview 14 Irish women representing a wide cross-section of genres in Irish music, in order to develop the theme. However, shortly after editing a 10-minute documentary film preview[6], the September 11, 2001 catastrophe occurred. This was a profoundly shocking event, not only in the US but also across the world, and the resulting reverberations are even more deep-seated than were imagined at the time.

I am interested in exploring the unforeseen effects of this seemingly unrelated event on the world of Celtic artistry. I saw my first example of this effect on October 3, 2001, when Lifetime Television Director of Programming Rosemary Sykes told me that although the proposed Celtic Women in Music documentary was very attractive, since 9/11 the networks were now looking for “hard hitting” projects. And, the Canadian book publisher, Quarry Music Books, decided not to release Volume 2 of the original interview collection, again quoting reasons based upon market changes. It seemed that, post 9/11, many Americans remained in a state of shock for a very long time and the joyously reflective soundscapes of Celtic music which thrived on the optimism of Ireland’s expansive Cultural Tourism policies no longer resonated with the public mood or served to support public aspirations against the deluge of terrifying post-9/11 media exposure.

Somewhat disappointed with Lifetime Television’s reasons for rejecting the documentary film proposal, I talked with the women I’d interviewed for the film a year earlier, updating them on the outcome of my efforts with the project. What I found was profoundly disturbing - in personal communications across November 2001 every interviewee admitted that they personally felt their offerings had been submerged in the wake of 9/11. It seemed that the dramatic surge in the popularity of Celtic music throughout the 1990s, which was particularly remarkable for the emergence of many professional Irish women musicians who inspired great international cross-genre collaborations, had been swept away by traumatic responses to the 9/11 catastrophe.

Bewildering, disturbing, mystifying, this cultural conundrum continues to mystify me. For some time I have thought that I would like to try to revisit this time in an effort to determine what, at a deeper subconscious level perhaps, has happened to the music within the ‘inner world’ of the culture, the community, and the creative sensibilities of the individual artists. 

The arts made us as a human species:
The “neurochemicals of happiness”, endorphins, dopamine, serotonin and oxytocin, make us feel good. From the late 1980s, Irish government Cultural Tourism initiatives promoted that win-win vision, leading to an unprecedented flourishing of music, song, dance, and, of particular interest here, led to the emergence of many professional women musicians who inspired great international cross-genre collaborations. Many women musicians performing within the Celtic genre, including myself, enjoyed significant commercial success and made distinctive contributions as performing and recording artists with well-established profiles.

During the ‘90s it seemed that there was a continuing place for these artists and the Celtic genre on the world stage, and both would take a strong role in defining the nature of an increasingly multicultural interest in music.

However, something completely unforeseen unfolded with the happenings of 9/11. Amidst the horror and disruption that occurred on that day, lasting societal ramifications that are deeper than that which could have possibly been predicted have emerged.

To summarise, nobody was paying attention when the Kondratieff Wave hit Ireland, drowning the Celtic Tiger in the “Double Irish” conundrum. Australian economist Phillip J. Anderson, author of “The Secret Life of Banking and Real Estate” (2009)[7], believes "The current financial crisis proves the neo-classical economy is working - not failing. The present crash is NOT a market failure: it is actually proof that the monopoly capitalist system is working" - and is continuing to work well.

What has happened to Ireland's Sovereignty?[8]
When the GFC hit Ireland, Stephen Donnelly, TD[9] was a member of the Joint Oireachtas Committee on Finance, Public Expenditure and Reform. His expert forensic examination of the banking crisis on several fronts was an eye-opener. And, second to none, is Irish architect and Land Valuer and co-founder of Feasta.org, Emir O’Siochru’s[10] examination of the reasons for the Irish economy's collapse, as outlined in her 2013 talk for The International Union of Land Value Taxation, in London, when she quoted Professor Michael Hudson, "If you don't tax that value that attaches to land, arising from the general wealth of the economy, the banks get it."

Epiphany #2:

"Government 'of the people, by the people and for the people' requires public capture of the rent, the whole rent, and nothing but the rent."

What can you and I do?
We can rethink.
That rethinking is going on everywhere -
from the outer world to the inner world, we’re exploring "key concepts":

- CLASSICAL SYSTEMS THEORY - IMMUNE SYSTEM - DETOX - OXYGENATION
- GAMMA BRAINWAVES - COMMUNITIES OF TRILLIONS OF CELLS
- ECOLOGY - RESILIENCE - PERSONAL EMPOWERMENT - ECONOMIC RENT

Being prepared starts with a ‘whole system’ detox - on a new learning curve. And we’ll need to work hard to reap the benefits and the satisfaction.

Let’s begin with examining how Classical Systems Theory can help us understand the role of music in fostering resilience.
The study of music cognition covers every imaginable perspective and influence. In short, musical education can address many of societies systemic problems.

In addition, that independent musicians must reinvent themselves, over and over, throughout their careers is testament to the significance of the ‘whole system theory’ considered fundamental to survival, harking back to the 70s teachings of C. S. Holling (1973)[12], the Father of the Ecology movement.

“Mother Trees” - The hub of system networks spanning culture is an ideal system model for the role of the arts within a culture.
University of British Columbia Professor of Forestry Suzanne Simard (2012)[13] applies classical systems theory models in researching the roles played within forestry networks in an ecological model that can be related to the enhanced survivability associated with the roots of all older cultures. She says,

“These plants are really not individuals in the sense that Darwin thought they were individuals competing for survival of the fittest. In fact they're interacting with each other trying to help each other survive (Simard, 2012).” 

Simard’s systems theory model applies perfectly to the role of the arts within a culture: In other words, community resilience is dependent on conserving cultural links.

The role played by musicians in nurturing community resilience provides an excellent example of ‘symbiosis’ within community networks - across the diaspora - through their ability to actively encourage energetic reciprocal relationships.

Necessary marketing and networking activity is focused on expanding audience interconnectivity - with the established musicians serving as hubs where younger musicians can launch themselves within those networks that have been established by older musicians. Survival of younger musicians is greatly enhanced when they are linked into the network of the older established musicians.

SLEEP ON IT
Solutions will follow personal empowerment strategies.
At heart, humans are naturally happy creatures, but we are not happy when we are stressed, sick, or in pain. How we live is just as important as what we eat: in other words, relationships, career, spirituality and even getting a good night’s sleep can be just as important as nutrient-dense meals.

Researches at New York University Sleep Institute[14] tell us that 'learning' is processed in the same stage of sleep as healing and growth, only deeper. In other words, learning stimulates healing.

But the alpha brain wave state is the one to follow: The slowest conscious brain waves - and meditative. That’s the state where, when we wake up in the middle of the night, after 3 or 4 hours sleep, relaxed and comfortable, uninterrupted by the world, we come up with creative insights. That’s how it used to be before electricity extended daytime - pushing us into constant beta brain wave hyperactivity.

Over the last 30 years, a burst of research on the interaction between slow and fast brain waves has led to the discovery that Gamma brain waves - The Insight Wave, the fastest brain waves - are associated with breakthrough intuition, perception, and insight - sudden insights, subtle hunches, serendipitous associations - and high-level information processing.

In the midst of that research, in his exquisite 1998 masterpiece, The Alphabet vs The Goddess, the late Dr. Leonard Shlain[15], University of San Francisco Professor of Medicine specializing in blood-flow to the brain, explained the implications of breakthroughs in brain research: how the visual cortex’s holistic visionary capacity evolved before the process of learning alphabetic literacy rewired the human brain, and that literacy reinforced the brain's linear, abstract, predominantly masculine left hemisphere at the expense of the holistic, iconic feminine right one. He said,

“This shift upset the balance between men and women initiating the disappearance of goddesses, the abhorrence of images, and, in literacy's early stages, the decline of women's political status. Patriarchy and misogyny followed.”

But the good news is that he also described how we have developed our analytical capacity to the point where we can reengage our visionary capacity, with profound consequences for culture in that our evolving interdisciplinary capacity for visionary analytical thinking will be directed to finding 'holistic' solutions to our evolutionary needs.

Epiphany #3.

Everyone is meant to watch- most of all ourselves.

And in conclusion, Stanford’s pioneering cellular biologist Dr. Bruce Lipton (2005)[16] did us a great service in anthropomorphizing human cell life - gifting us with a more expansive paradigm for human culture: In his words,

“We perceive ourselves as single individual entities. The truth is we are actually comprised of upwards to 50 trillion individual living cells. Our body replaces 1 billion cells every hour. Everything we think, feel, do, and eat in an hour influences that cell replacement more than stem cell therapy. ... genes can be turned on and off by environmental signals from outside the cell, including thoughts, feelings and emotions. ...Each cell is a sentient being, so therefore each cell is like a citizen in a large community of 50 trillion entities in one population. So the body is not a single entity. It is a community. In the body, the shared vision that coordinates all the functions of the cell is what we call 'the mind'. The mind is like a government for the 50 trillion cells. But the moment you introduce fear into the system, that is the first thing that causes the community to break down. (Lipton, 2005).”

Epiphany #4.

I am longing to see the day when all people will embrace their heritage of joy![17]

Ultimately, given the right information and conditions, our immune system and our economic system can be 'fixed'. And our hearts will sing out to a whole new concept of ‘audience’. I believe we can realign with the wisdom of our cultural heritage; I’m convinced we can reclaim our personal sovereignty, especially when we understand why Eriu, goddess of sovereignty referred to our sacred connection to the land. My introduction to the history of "Economic Rent", The Law of Rent theorem, followed my interview with Canadian Green Party leader (1993-2009) Frank de Jong during his lecture tour of Australia in August 2007: He explained that understanding the theorem 'requires Ph.D.-level research focus - but it is simple'. Frank deJong's Economic Policy Resolution, 2010[18] 'definitions' are exquisitely rational - taking my earlier Celtophile studies to a whole new level in terms of potential practical application of the concept of "personal sovereignty".

I invite you to come along with me on this journey toward rethinking and maximizing our potential, as Joy continues to flourish in this troubled world.

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References

(All links open in a new tab.)

1. Global Arts Collective
<http://globalartscollective.org/about.htm>

2. Epiphany defined:
The word Epiphany is from Koine Greek, epiphánea, meaning manifestation or appearance. It is derived from the verb, phainein, meaning “to appear.”

3. Chatwin, Bruce, (1987), The Songlines, Franklin Press
<https://en.wikipedia.org/wiki/The_Songlines>

4. Chadwick, Nora K., (1966), The Druids, University of Chicago Press
<https://www.press.uchicago.edu/ucp/books/book/distributed/D/bo5533455.html>

5. Sullivan, Maireid, (1999), Celtic Women in Music: A Celebration of Beauty and Sovereignty, Quarry Music Books, Ontario, Canada <http://maireid.com/celtic_women.htm>

6. Lyrebird Media Channel, Celtic Women in Music - selected film previews
YouTube: <https://www.youtube.com/playlist?list=PL2696598AEFB0E7AC>

7. Anderson, Phillip J,. (2009), The Secret Life of Banking and Real Estate, Shepheard-Walwyn
<https://shepheard-walwyn.co.uk/product/the-secret-life-of-real-estate-banking/>

8. Sullivan, Maireid, (2012), What Has Happened to Ireland's Sovereignty?, Tintean
<http://maireid.com/what-has-happened-to-Irelands-sovereignty.htm>

9. Stephen Donnelly, TD, (2012), questions the Governor of the Central Bank, Patrick Honohan, on the issue of the Promissory Notes, Finance Committee conference, March 2012.
YouTube: <https://youtu.be/8i--mPRXsoM>
Full transcript: <http://globalartscollective.org/irish-government-debt.htm>

10. O'Siochru, Emir, (2013), Land Taxation in Ireland, The International Union of Land Value Taxation Conference, August 2013, London
YouTube: <https://youtu.be/-4TuWCG_BtA>
Partial transcript: <http://globalartscollective.org/emer-o-siochru.htm>

11. Klein, Naomi, (2017), ‘Irish leaders drank the Kool Aid’ Irish Times, July 31, 2017
<https://www.irishtimes.com/news/world/naomi-klein-irish-leaders-drank-the-kool-aid-1.3171476>

12. Holling, C. S., (1973), Resilience and stability of ecological systems, Institute of Resource Energy, University of British Columbia, JSTOR: Annual Review of Ecology and Systematics. 4, pp. 1-23.
PDF: <https://pdfs.semanticscholar.org/14a2/a17d7f4178eb96952da5a816dd1e958093d2.pdf>

13. Simard, S. W. & Durall, D. M., (2004), "Mycorrhizal networks: a review of their extent, function, and importance." Canadian Journal of Botany 82(8): p. 1140-1165.
YouTube: <https://youtu.be/iSGPNm3bFmQ>

14. New York University School of Medicine, Sleep Institute
<https://nyulangone.org/locations/sleep-disorders-program>
Notes: <http://globalartscollective.org/sleep_studies.htm>

15. Shlain, Leonard, (1998), The Alphabet vs The Goddess, Penguin
Notes: <http://globalartscollective.org/alphabet_vs_goddess_notes.htm>

16. Lipton, Bruce, (2005), The Biology of Belief: Unleashing the Power of Consciousness, Matter & Miracles, Hay House revised edition (2008). On the 10th anniversary, 2015, he gave away his book.
Download the FREE pdf:
<http://www.hhemarketing.com/special_offers/ebook_multi/books/lipton_biology-of-belief-10th-anniv.pdf>

17. Sullivan, Maireid, (2000), Filming in Ireland Diary: The Great Stone Circle of Grange, Limerick, Ireland
<http://maireid.com/Great_stone_circle_of_grange.htm>

18. DeJong, Frank, (2010), Economic Policy Resolution, Green Party of Canada Economic Forum, March 2010.
<http://globalartscollective.org/economic-rent-explained.htm>


Footnotes
- On "re-thinking" emerging "key concepts" - as mentioned above - additional notes and references can be found on Global ArtsCollective.org - indexed under "Health Matters" and "Economics Matters"


- Author Biography: Maireid Sullivan
<http://maireid.com/about.htm>