Showing posts with label Ibeyi. Show all posts
Showing posts with label Ibeyi. Show all posts

Saturday, 13 May 2017

Thoughts in Progress

I was listening to Thought for the Day the other day and the guest speaker said something very interesting. Thought for the Day is Radio Four’s religion-infused, regular section whose main aim is to reflect on contemporary issues from a faith-based perspective. The occasion was the celebration of Buddha’s Wakening or Enlightenment and the guest was Vishvapani , a member of the Buddhist Order.

On explaining how the Buddha’s new understanding of life challenged all the notions that he had had before, Vishvpavani  said that the Buddha had showed people “how to tap the mind's hidden capacities“. This phrase reminded me of an article I had read in the London Review of Books a few days before. The piece was about Noam Chomsky as a linguist and radical political figure. In the former role Noam revolutionised the field of linguistics. The academic position at the time was a distrust of “the ghost in the machine”, i.e., the human mind. Moreover, both philosophy and psychology followed this trend, preferring conventional wisdom to the prospect of having to deal with subjective experience. Chomsky, on the other hand, claimed that there were things we knew innately, even if they did not manifest themselves explicitly.

Having written a column on how to place adjectives correctly in a sentence in the English language more than a week ago and how this “problem” was hardly a problem for native speakers as they could “feel” what the right order was, I see myself in agreement with Chomsky. Knowledge, both the acquisition and possession of it, can be tacit and unconscious. Watch young children forming their own phrases, sometimes not even using the raw material they are given from birth. More than once when overhearing my own children talking when they were little, I caught myself thinking: “How do they know that?”

However, I do have certain doubts. If this knowledge is somehow innate, where does it come from originally? Not being religious at all, in fact, being an atheist, I reject the notion that it is planted in our brains by an external agent. Could this knowledge perhaps be a generational phenomenon? The instincts embedded throughout our evolutionary journey through planet Earth. When Chomsky talks about the difference between the I-language of internal, individual structures of meaning versus the E-language of external expression he is onto something. About the same time I read the LRB article, I was also preparing myself for an entry test to study the Online Celta course at International House London. For the last five years I have been looking at the possibility of returning to full-time language teaching. Here is now that opportunity. I have been accepted at IH for a September start.

As a young graduate I remember being really excited about lesson planning. It was a chance to put some of my wacky ideas into practice. One of them was based on maieutics. This was the method used by Socrates to elicit knowledge from the mind of a person by interrogation and insistence on close and logical reason. Whereas Socrates and his followers were more interested in critical thinking I used maieutics to unlock the linguistic power of my students. English being the unofficial lingua franca of the last seventy-odd years, exposure to it, even in socialist, Fidel-run Cuba, meant that many of pupils had already come across some of the expressions I was about to teach them, perhaps unconsciously.

The first answer of the foreign language adult learner is “I don’t know”. Self-consciousness is their worst enemy. That is why determining the context in which one wants to study is fundamental. That context includes using the knowledge acquired both by conscious and unconscious means. This is where Chomsky and Socrates come together, in my view. The former supports the mysterious “ghost in the machine”. This means that my students have the capacity to generate I-language, which at the same time underpins consciousness. Socrates comes in handy when we, teachers, need to unlock the hidden power of learning in adults. Understanding the linguistic complexities of a foreign lexicon is scary. In order to achieve this, I, the teacher, usually take the grown-up back to a childlike state of mind. Socrates was interested in critical thinking; my goal is to show the adult what they know and how much they know.

Are we humans born with an innate sense of knowledge about certain things? Or, is all knowledge acquired empirically? It seems to me that that “ghost” will continue to be debated for many years, even centuries, to come.


© 2017

Next Post: “Diary of an Inconsequential Being”, to be published on Wednesday 17th May at 6pm (GMT)

Wednesday, 13 May 2015

Killer Opening Songs (Oyá by Ibeyi)

Wrapped in aromatic minimalist sounds, suffused with palate-enhancing jazzy beats and carried on a platter of ground-breaking electronic melodies, Ibeyi, Cuban twin sisters Lisa Kaindé Díaz and Naomi Díaz’s debut album, is a musical feast.

It is only fair to talk about Ibeyi in culinary terms since it is such a succulent offering. At the centre of it, as usual, is the Killer Opening Song, Oyá. This track is a perfect introduction to the risk-taking approach to music the twins show throughout the entire record.

First of all, they dare to pare down a song dedicated to the most impetuous and violent of the orishas to the basics. For those of you who are not in the know, K.O.S is happy to inform you that Oya’s chants and dances are characterised by a non-stopping, high tempo and frantic rhythm. Oyá is the orisha who challenges the ever-philandering Changó (only to fall for his charms after). She is said to “own” the wind, storms, hurricanes and shooting stars. In this Killer Opening Song all that energy is kept to a minimum. Using this baseline as a starting point the twins then proceed to add layers and layers of vocal power. That such a short piece is so full of magical moments is a testament to the good production and musical arrangement, not only on Oyá, but also in the rest of the album.

K.O.S mentioned magic and two examples jump out: the batá drums break, more than a couple of minutes into the song, and the video. Starting with the latter and going back to Lisa and Naomi’s daring approach, it was a brave move to shoot the video in black and white. If something characterises Oyá is colour. Google up any performance to this orisha and you will see women in multi-coloured dresses. But by resorting to monochromatic tones the twins (Ibeyi translates as "twins" from Yoruba) highlight the other trait Oyá posseses: she “owns” the cemetery and is said to live at its gate. Hence the ghost-like, spectral feel of song and clip and the translucent images of both sisters (their lips do not even move, thus, rendering their appearance poltergeist-like). The break from vocals to batá drums is a masterstroke. It is not just the change in rhythm but also in language. Up until then the lyrics were in English, now it is the time for Yoruba, that ancient lexicon brought to Cuba by hundreds of thousands of slaves.

As a Killer Opening Song, Oyá is the key that unlocks a trove of musical treasures, each unique in their own way. Oshún-themed River has a gospel feel, Mama Says’ early lyricism contrasts beautifully with the Elegguá-inspired ending and Ghosts is full of the same eerie, other-worldly energy that permeates the album, this time with an exquisite tribute to the Giant of Ocha, Agayú.

For those who like their music the same way they like their food, made with love, Ibeyi is the perfect record. Especially for those long summer nights ahead. And once again, it is all down to the magic of the Killer Opening Son.




© 2015

Next Post: “Saturday Evenings: Stay In, Sit Up and Switch On”, to be published on Saturday 16th May at 6pm (GMT)

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