BANQUET OF BLESSINGS (UK) 2018 - Kundalini Yoga & Raw Food Retreat

Make a cup of tea, sit back and take in this interview. In it, I play my Native American Love Flute and answer questions (posed by friend and raw food coach, Gabriela Lerner) about the upcoming Kundalini Yoga & Raw Food Retreat: 

"Banquet of Blessings", in Dorset, UK, 11-13 May 2018. 

Click here to find out more about the retreat and register before end of January 2018 for the early bird special (10% off). 

Sat nam.

INTERVIEW WITH ELSPETH DUNCAN

The following interview is one of a series of interviews with the sixteen authors of the anthology of stories—'16' . . . to be launched on Monday 25 April 2016 at Kaiso Blues Café, Woodford Street, POS, Trinidad.

 

Author: Elspeth Duncan
Story: Sending Letters

1. WHEN DID YOU WRITE YOUR STORY?
I wrote 'Sending Letters' when I was attending a 3-week Cropper writers' retreat on the Balandra coast in 2008. At that time I was a raw foodist and had recently met a 'kindred spirit' who lived abroad. It was one of those connections that is sudden, intense and meaningful. We communicated with each other a lot in various ways . . . hence the title of my story ('Sending Letters') and the trip to the post office that started the whole adventure.

2. YOU WROTE THE STORY EIGHT YEARS AGO. HOW DO YOU FEEL ABOUT IT NOW?
It is a true story, with events and conversations recounted as they had unfolded . . . so nothing in it is 'made up'. Now it's like reading a diary entry and remembering the experience and the feelings of that time. My current emotional connection to it is not what it was then, so I see that part with more objectivity, but still with fondness for the memories. Had the same thing happened now I don't think events would have proceeded as far as they did. We were very trusting, but others on the retreat (participants and facilitators) who didn't accompany us into the forest thought we were crazy. In fact, we found out after that they had been very worried about us.

3. WHEN WRITING DO YOU GET AN IDEA AND LET IT EVOLVE NATURALLY—OR DO YOU WRITE FROM A PRECONCEIVED PLAN?
I don't have a plan. Stream of consciousness and allowing words to flow naturally without much 'interference' from me is how I approach writing—or any form of creativity—or even life. Maybe because I'm also a musician, there is a rhythm I get into with words and that moves me along. If I'm writing about something that really happened, it feels like painting—the subject is recognisable, but my treatment of it may be slightly abstract, shifting the perspective on the 'real' to magnify the 'magical'.

5. WHAT DO YOU LIKE/DISLIKE ABOUT YOUR CHARACTERS?
I like my characters because they are us. No one is/was fictional—yet it could seem that way to a reader who didn't know otherwise.

6. WHAT DO YOU WANT THE READER TO FEEL?
I want each reader to feel whatever he or she feels naturally. The intention in writing this story wasn't to make people feel anything specific . . . although it could remind people about the beauty of simplicity and trust.

7. PLEASE SHARE A BRIEF EXCERPT FROM YOUR STORY.

Excerpt from 'Sending Letters' by Elspeth Duncan

“That will be $3.75, dear,” says the woman at the post office/restaurant/bar/grocery. All are rolled into one in this coastal village, so small that its name is miles longer than the dot that marks it on the map I am sending. Rampanalgas. Not as long as Rumpelstiltskin, but almost as sleepy.
“This will go out tomorrow when the mailman comes,” the woman says of the stamped letter. All enveloped in her hands now, pieces of me and things from the sea to go by air to you: to have, to hold, to touch, to smell—secrets enclosed until you open.
“I think I’m going to write a letter, too,” B pipes. She recalls floral paper, fountain pens, scented envelopes, intimate sentiments—when she was my age and penned epistles often. She has a homesick friend, N, who would love a letter now, more than the bills and bank statements that stuff her red winter mailbox.
Letters. Faraway places on pieces of paper. Things of the past until we make them presents, with time taken to gather the paper, pick up the pen, handwriting shaking to be steady because it hasn’t been used since computers were invented. Part the envelope, slip inside, lick the sugar, seal the moment, away to the post office, count the money, purchase the stamps, admire the images on those sticky little pieces being submitted for this traveling exhibition—flora, fauna, faces, landscapes, architecture, abstracts.

8. IN CLOSING, IS THERE ANYTHING YOU WOULD LIKE TO SAY ABOUT YOUR BEING A PART OF THE ANTHOLOGY: 16?
I knew one or two of the other authors before, but most of them I met when we all attended a UTT writing workshop with Professor Elizabeth Nunez (2008). During the workshop we decided it would be a good idea to create an anthology. I'm not really someone to conform to 'rules' for a creative process and had never been to a writers' workshop before. However, I do appreciate that 'rules' exist and can be of benefit. One thing that remained with me was Elizabeth Nunez telling us that what authors first write is like 'vomit' . . . and that we need to go back and clean it up. Since I mainly write in stream of consciousness, what I produce is what comes out at the first go. I never used to spend time reworking, because I liked the raw output. However, I learned (especially subsequently with editor Jeanne Mason who helped subtly refine my first novel 'Daisy Chain' without changing the essence and flow of the original stream of consciousness output) that refining can sharpen and tighten and give more power. Elizabeth Nunez also introduced us to a South African writer called J.M. Coetzee (through one of his novels: "Disgrace"). I was impressed by his sparse, precise language—his ability to capture in a few exact words what someone else would try to say in a paragraph. He writes in the present tense (which I also prefer to do) and this, accompanied by the brevity of his sentences, compelled me. Over the years since then, when I write something, I like going back over it and cutting out as much as I can to make it more sharp and powerful.

In closing, I want to highlight Jeanne Mason, the editor of '16', who worked with full heart and soul on this project—to finally make it happen eight years later. Whenever someone is writing a book and they ask me if I know a good editor, I unhesitatingly recommend Jeanne for her knowledge, professionalism, passion and commitment. The publishing of the anthology was made possible by Jeanne and the local publishing house, Royards, who also put/are putting a lot into the process—both the book and the upcoming launch on Monday 25 April 2016 at Kaiso Blues Cafe, POS.

Interview with actress Patti-Anne Ali re "The Perfect Place"

(Photo of Patti-Anne Ali by Elspeth Duncan)

Interview with Patti-Anne Ali, who plays Margot in the play "The Perfect Place" - written by Elspeth Duncan, directed by Timmia Hearn Feldman. Now showing at Trinidad Theatre Workshop, Belmont.

Q. Who is Margot?
A. A rare pearl trying to find her way out of an oyster

Q. What have you learned (for your own life) from playing Margot? Has playing this role transformed 'Patti' the person in any way?
A. The actress has learned more about the intricacies of the craft and the woman has learned more about the complexities of being

Q. As a professional actress who has been acting for the past 20 years, what are the challenges of this role?
A. I've never played a character like this before - I've played a wide range of women struggling to find and/or free themselves in all manner of situations, but never one in this particular set of circumstances, and with this unique personality

Q. How have you experienced the evolution of the play since opening night?
A. It's interesting... the Director commented that this is the kind of play that actually gets harder as opposed to easier each time it is done. She's right. Most plays have a rhythm that you can settle into, once the run has begun, and you keep working to make it better, but there is an established rhythmic infrastructure that you can sense, even as the work continues. This play however, is so filled with subtle nuances and complexities, that each night, it feels different. It requires a full commitment to honesty from the two actors, to themselves, to the piece, the the moment - and that means, it takes a different shape each night. It is quite a challenge.

Q. How does the character Annabelle impact upon your portrayal of Margot—and does this impact change nightly?
A. The character Annabelle appears to be the polar opposite of Margot - young, adventurous, in charge of her life, but as the story progresses, we realise that Annabelle too, is trapped in her own oyster. Her impact on Margot is huge, as is hopefully, Margot's impact on Annabelle. They remind each other of what they have each lost and what it might be possible to regain. The young actress - Genie Lemo - portraying the role of Annabelle, does a great job of staying honest to Annabelle's complexities, to staying present to the moment and to her interactions with Margot.
For a young actress, she has displayed significant focus and considerable talent.

Q. What, in your opinion, is the overriding message of the play?
A. Carpe Diem.

Q. Any last words?
A. This has been a seminal piece for me as an actress. As an older actress with twenty years behind me, I am not interested in moving backwards. I want to keep challenging myself and this is exactly the kind of role that an older actress would welcome with open arms. Thank you Elspeth for writing such a thoughtful, moving piece and for not being afraid to step out of the box to do so.

This has also been my first time working with Timmia Hearn Feldman and it has been wonderful working with a Director who has the creative intelligence and depth of vision to make the most of a script and the sensitivity to still allow the piece to breathe.

 

****

 

When. Where. What time. Booking Tickets.
The plays run for the next two weekends: Th, F, Sat at 8:00pm and Sun at 6:00pm at Trinidad Theatre Workshop in Belmont. Call 6248502 or email trinidadtheatre@gmail.com to reserve tickets.  

Link to online radio interview (archived episode)

This is the link to the online radio episode done yesterday . I was interviewed via Skype by IndiesinMotion/Rick Mizuna, LA, mainly about Daisy Chain.

The show opens with some music, then my interview, followed by an interview with musician, Bob Helfant.

http://gvbradio.com/player2/?file=Indies-073012.mp3&title=Indies+in+Motion+07%2F30%2F12

Tune in: live Daisy Chain online radio interview Monday 30 July 2012

Daisy Chain book signing at Sept 2011 launch at NALIS, Trinidad

This Monday I am scheduled to be on the Indies in Motion Radio Show, being interviewed by Rick Mizuno about my novel Daisy Chain.

TUNE IN TIME: Monday 30 July, Live at 1pm PST on Ch1 of www.GVBRadio.com
(For those in Trinidad, that will be 5 p.m.)

In case you miss it, the show will also be uploaded for 24/7 access at www.GVBRadio.com/indies-in-motion

And on the next day (Tuesday) FREE iTunes downloads of the show will be available ( keyword: Indies in Motion w/Rick Mizuno)

Daisy Chain in today's Newsday Newspaper

Laptop streaming the event globally

Multimedia creator Elspeth Duncan treated global and London audiences to a techno-interactive reading from her novel Daisy Chain. Duncan, together with actresses Renée Castle, Catherine Hammond, Silvana Montaya and Doraly Rosa, with technical support by Liam Rezende, magically transformed an upstairs room of the Old China Hand Pub in Clerkenwell, London, into a performance space ... (continued in Newsday)
 
 Please click here to visit the Trinidad Newsday and read the latest on Daisy Chain. 

 

For more insight into the creation of and inspiration behind Daisy Chain, please click here to listen to this UWI podcast in which I was interviewed by award-winning writer, Barbara Jenkins.

Daisy Chain is available at amazon.com in print and e-book formats. Please click here to make your purchase.

Raven speaks of Spirit, Flow

Open publication - Free publishing - More art

Last week one of my online peers, Raven, sent me a copy of her new book—a photographic prayer entitled Spirit, Flow. Interesting concept and important message, worth sharing.

Learn more about the artist and her work in the below interview, which I conducted with her via email late last week.

What personal space were you in when the inspiration for this project came to you?

January has been an immensely creative month for me. My epic poem, "Chrysalis" finally wrapped after 10 years of carrying it around -- and I published that on my website. I also finished an extensive greeting card project for Pyramid Wellness and was "full of color", so to speak. Yet where I was headed next artistically was a huge question mark. I've been having an ongoing dialogue with my Muse -- which is basically, "Okay, what's next, let's get going, I'm ready..." -- and as I drove home last week from town blasting the radio, the words "Spirit, flow" started to repeat in my head. I saw the images and words flow together and I'm sure the river running parallel to the road largely had an influence.

It was so simple, that phrase -- but I saw the book and rushed home so I wouldn't forget any of the lines. I finished a rough version that day. Talk about flow!

Prayer has always been a part of my life -- though I'm not a steady "pray-er" myself -- and Nature has always been my friend and guide. It was important for me to start the year in gratitude and thanks to the Divine Artist. "Spirit, Flow" was a natural offering of that desire. A prayer.

 Beyond traditional dictionary definitions—what is your personal definition of prayer?

Prayer is connecting to our innermost being -- which is an extension of a wiser self that is beyond this form. Or to make it even simpler, in the words of Meister Eckhart: "If the only prayer you ever say in your whole life is "thank you," that would suffice."

As a reader of Tarot, you work with images and intuition to bring messages to your clients. What part does intuition play in the process of creating your own (photographic) images?  

The two are a similar process using different tools. When I take a picture, I "see" the image I want to capture within the image. Often I have to coax it out of the original -- crop, add contrast, enhance the color a bit -- for the greatest beauty to emerge. Certainly beauty can be found everywhere once you know how to recognize it -- but the particular expression I wish to share can be elusive. I like the challenge. If I'm patient enough, she'll come to me.

I don't stress photography the way I do my writing (but I'm getting better at that). I just snap photos when I feel so inclined or have a running theme in my head that I want to marry with color. It's the same with Tarot and my clients. It's so important for me to keep my head & heart balanced so that the message can be as clear as possible. With this work and my connection to the Divine, it's not about trying hard. It's being in a space of openness and what I call the "expectation of kindness". As I heal, they heal. And vice-versa. The same goes for my photography. There's healing in the images themselves -- just like observing a Tarot spread. For example, I guarantee that if a client sat long enough with the cards and me not saying a word, they'd have a pretty good idea without my interpretation. That's the power of symbols and color. I just help them go beyond the initial image and "see" other possibilities.

Imagine that this book, Spirit, Flow, is a seed. What grows from the seed? What is the biggest destiny you can envision for this photo-prayer?

As far as the winds will take it. The effect of "Spirit, Flow" is immense because the images and words work their magic in the viewer. And who doesn't love a good prayer? I also don't pray to a particular diety. Just "Spirit" -- because that was the voice of the river as the book came to me. I have a convoluted relationship with my past-life as an evangelical Christian, but I've never lost my faith. Faith in the life-force, faith in the incredible beauty all around us (which I believe is heaven in disguise). I think many people can relate to that.

I see "Spirit, Flow" mass distributed as a coffee-table book. (I'm old-school like that), as well as the digital version spreading far and wide. I'm working on a Spanish translation at the moment and will move onto other languages in the future. Of course, the book is also a walking portfolio for me in terms of media exposure and other outlets.

But in the end, it all comes back to: I love what I do. Producing work like this thrills me -- because it's where I stop and say, "Whoa. There's more than just me at work here." If it can help heal others and bring ease, then it's an even greater gift.

"Spirit, Flow" can be found on Raven's Bookshop page

http://shivayawellness.com/ebooks

***

Raven Mardirosian is a self-taught healer who believes that everyone is blessed with the gift of intuition. Her passion is empowering women and her specialty is “healing the healer”. She privately mentors those who have decided to offer their intuitive gifts in service to others.  Raven lives in southern VT and happily offers sessions to US and international clients. LGBT welcome. Contact Raven to schedule an appointment. Sessions live, by phone or Skype.

Healing Through Creativity interview

Last Tuesday I was interviewed by Dr. Desirée Cox on her programme "Healing Through Creativity". Those who missed it can click here to listen to the episode. It's about an hour long.

During the course of the interview I share the Lovebirds Meditation and how to do it. It's an interactive experience I have shared when performing my music publicly.

Those who would like to try the Lovebirds Meditation on their own can find the music track here http://tinyurl.com/yjpa9oj

TUNE IN ... in two ways

In this blog post, TUNE IN has two meanings.

TUNE IN to this online radio programme on Thursday 12 August, 2011

In 2008, I met the mystical and magical Desirée (Dr. Desirée Cox) when we were both one of a few writers at the unforgettable three-week Croppers coastal writers' retreat in Balandra. We have kept in touch since then.

Recently she asked me if I would be the featured guest on her online radio show "Healing Through Creativity". The interview will be aired live on http://voiceamerica.com at 12 midday (EST) on Thursday 12 August, 2010.

Closer to the time I will post a reminder. If you are able to tune in, please do.

TUNE IN for a positively life-changing experience
Kundalini Yoga Teacher Certification in TT 2011

Balandra—location of the three 3-week residential immersion sessions

Before we begin a Kundalini Yoga class or individual session, we tune in by chanting two mantras:
ONG NAMO GURU DEV NAMO (I call on Infinite Creative Consciousness, I call on Divine Wisdom) - used to open our sacred channel and tune us to the frequency of our Inner Teacher, who guides us through the process.

This is followed by:
AAD GURAY NAMEH JUGAAD GURAY NAMEH SAT GURAY NAMEH SIRI GURU DEVAY NAMEH (The Mangala Charn mantra which surrounds the magnetic field with a protective light). It means " I bow to the primal Guru (guiding consciousness who takes us to God-realization), I bow to the wisdom through the ages, I bow to the True Wisdom, I bow to the Great, Unseen Wisdom."

Trinidad & Tobago's first ever Kundalini Yoga Teacher Certification course will be held here in Trinidad in 2011, led by Senior Trainers from the USA. This powerful immersion experience, which promises to be positively life-changing, is open to local, regional and international participants.

Please visit the blog for more information (http://kundaliniyogatt.blogspot.com/) and share the link with friends and associates who may be interested in deepening their general yoga practice, expanding their consciousness, increasing knowledge of Kundalini Yoga and/or becoming certified Kundalini Yoga teachers (IKYTA/KRI).

Only now, as I am writing this, do I realise that Camp Balandra (where the three 3-week Kundalini Yoga Teacher Certification residentials will take place) was also the location for the writers' retreat mentioned above.

Interview with Carole Anne Ferris, photographer

Photographer Carole Anne Ferris
*

A few days ago I featured an interview with Irukandji about his new album, Beauty In Destruction and the upcoming launch party (end of July 2010 - stay tuned for details). The launch will feature:
(i) A soul-stirring opening electronica set from DJ Kasaya
(ii) Special Irukandji DJ set featuring tracks from the long-awaited Beauty In Destruction
(iii) The screening of the video I created for You Are Calling (one of the tracks on the album)
(iv) A slide show of behind-the-scenes production stills from Carole Anne Ferris who was present on the first of the three video shoots - aka "The Magic Shoot" (although they all were magic)

Having interviews with some of the people who were involved is just another way of promoting the event and giving those who are interested some more insight into thoughts behind the scenes. The short interview I did with Carole Anne (below) gives a glimmer of insight into her involvement:

1) Tell us about the kind of work you do as a photographer.
Photography is just one medium to create imagery that draws my attention and to somehow reflect whatever that moment inspires. I also do illustration/art/graphic work and initially, that was where I began using photography, as a visual database. I love the immediacy of photography and the way we now have all the facilities of a darkroom at hand. I also see the moving image as an extension of this and that the two disciplines are and will be very much intertwined as technology now can give us an opportunity to switch between the two. The still image and the moving image combination is something I find very interesting.

2) How did you become involved as the photographer for the "You Are Calling" video shoot?
From the publicity you sent regarding participation in the shoot I just thought it would be a lovely opportunity to take stills and work with you.

3) How does the phrase "You Are Calling" translate for you personally?
You are Calling - to me implies a desire to communicate and be heard.

4) What moved you to shoot the images you shot on the day of the first part of the shoot?
I am not sure I even think about this - in fact apart from deciding on some angles and light and possible settings I pretty much have to stop thinking too much. Every now and then a thought will arise to try something and I just follow that.

5) Anything else you'd like to add re this particular project?
I enjoyed the ambiance, the people involved, the merging of creativity of the music, the dancers and your inspired visual sense inspired me also.

Stay tuned for details on the launch of Irukandji's Beauty In Destruction
COMING SOON

Interview with IRUKANDJI: Beauty in Destruction

Lately I have been working on a video for a song from Irukandji's soon-to-be-released album: Beauty In Destruction. The video, You Are Calling, will be screened at the CD launch later in July.

My first collaboration with Irukandji took place last year when he contributed to my song Raindrops on Skin, which I half created in Toronto and half in Trinidad. Working with Irukandji is always a pleasure. In addition to totally trusting me and what I do creatively, as a person/artiste, he's cool, laid back, talented and serious about what he does, giving his best and stopping at nothing short of high quality.

Below is my interview with the man himself.

1. What's special about this new album, Beauty In Destruction?
It's special to me because it signifies a period of change in my life both artistically and personally. It is also special because electronic music and its creation hold a place in my heart like nothing else can.

2. What inspired the music?
The music is inspired by living. Living every day with the ups, downs, disappointments and wonderful experiences alike. As parts of us are destroyed, parts of us are newly created. The music came out of a lot of destruction and re-creation in my life. I believe this process in inherently beautiful.

3. Tell us a bit about the hardware and software you used to create the music.
Hardware and software: I use whatever sounds good and comes across the way I want it. Ableton Live is my main software platform along with too many software instruments to mention. And, there is always place for the electric bass and guitar in there, sometimes though not instantly recognizable due to severe electronic processing.

4. How do you see your work fitting into the Trinidad & Tobago musical landscape?
This question is an interesting one ... This type of music in T&T is in its infancy, if even. My goal is always to educate, to show people the possibilities of electronic music. Globally, electronic music is not only classified as "Techno", as it in known erroneously in T&T, but it is a valid form of art. This is where my music would probably fit into our landscape.. Art, pieces of sonic sculpture. I enjoy the club and dance style of electronic music (EDM), Dj'ing it brings me great pleasure, but that is not all what electronic music is about. To the artistic-minded, my music has a place here among all our other local creations.

5. Ideal scenario: what do you see happening for this album?
I would like to see this album touch people in the way it moved me during it's creation. To bring a smile to a face. Other than that, I think the music is well suited for film or other theatrical performances. I would also like to promote it abroad, where there is a market for this type of electronic music.

6. Where will the album be available for purchase?
The album will be available both in digital and physical CD formats, at the launch event (to be announced), and shortly after that, online at various online stores.

7. Any words of guidance from Irukandji to electronica hopefuls?
Create, Create, Create. Do not be discouraged. Do not be competitive. Create from your heart. Create with whatever you have. Electronic music has no parameters, use this to your advantage.

8. What is the process of music creation like for you?
It varies a lot, I may wake up at 3AM with a melody or rhythm in my head, and go into the studio and put it down. I may start with nothing at all and build a whole song around an ambient texture from a software instrument. Creating a song can take hours, or months, depending on how I feel or whatever else I'm doing. But I only work on one song at any point in time, that particular piece always gets my absolute focus. I master my own music, so that once I'm satisfied with the mix, the mastering then gets done.

9. How long did it take you to make this album?
Eight, probably nearly nine, months.

10. Tell us a bit about the video created for one of the tracks: "You Are Calling?" Why that song in particular?
"You are calling" came from a dream, and that song had something "special" to it. The decision to make a video for that song was mostly done by you! I thought it was a great idea, and everything happened from there. I think "You Are Calling" has a special significance to both of us.

11. Do you have a 'favourite' song on the album? If yes, which one and why?
If I have to pick my "favourite" then it would be "Petal". This was the first song written on the album, and the emotions associated with the song come across strongly. The album got its context from "Petal".

12. How did you go about naming the songs?
My songs have no "song" lyrics, so it's all about what I was feeling when they were being written. They could be about the beauty of nature : "Petal", the power of the Female : "Ribbons" or me just being light-hearted and whimsical : "Fluting Debris".

13. IRUKANDJI. What does it mean and what inspired you to choose it as your name?
The Irukandji is a tiny, transparent, jellyfish found off the coast of Australia. It's responsible for a few previously unexplainable deaths of swimmers. I saw it on a National Geographic Documentary and was intrigued by the fact that something so tiny and invisible could be so powerful. So that became my DJ name: DJ Irukandji. I'm not only a DJ though, so now I'm just Irukandji.

Miss December

Craft Queen, Artist and Friend, Kris (aka Moka), has been interviewing various creative souls on her blog. I was her Miss December 2009. You can read the interview here.

Now we are in January 2010. I thank each of you for being here and wish you all that you need to grow and prosper as your greatest self.

Any Questions?

Source of image

It's been a long time since I've done Sunday Scribblings.

This week the theme is Interview.

I invite you to interview me in the comments section.

Full three segments of my interview with C'eabn Riddums TV

Yesterday I didn't realise that I'd only posted the first clip of my recent interview with Adrian Simmons of Caribbean Riddums (westindianculture.com), an online cultural 'TV' station. This morning I'm posting the full interview in its hree segments. It gives more insight into my creative past, present and future ... and other little tidbits and some performances with guitar/voice ... plus a special magical closing piece with my drum, Dandelion.

Enjoy.

PART 2 OF THE INTERVIEW


PART 3 OF THE INTERVIEW

My interview with Caribbean Riddums Internet TV

Recently I was interviewed by Adrian Simmons of Caribbean Riddums (westindianculture.com), an online cultural 'TV' station. The interview gives some insight into my creative past, present and future ... and other little tidbits.

Enjoy.