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The Power of
Polyphony
By Ali Bailey
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Edisher Garakanidze teaching a workshop in the U.K.
[Photo
courtesy of Simon Richardson/Centre for Performance Research] |
Some forms of depression are caused by repressed emotions that stem from
trauma or unexpressed creativity. The unique energy of the individual's
inner being becomes blocked off and has no outlet. Years ago, while
struggling to survive as an unemployed actor in London, where community
relations bordered on the nonexistent, the sense that I didn't really
exist began to set in. During this depressed period I was given the
opportunity of attending a free Georgian polyphonic singing class for
actors.
Polyphonic singing is group or social singing where various interwoven
lines or harmonies are sung. With Georgian polyphony there are always
three parts, each given equal importance, and reflecting the Georgian
belief in the interconnectedness of life.
At the first class, it seemed I was not the only one feeling alienated
and depressed. Over the following months, simply by learning to sing
Georgian polyphonic songs together, the group underwent a
transformation, and conversations turned from angst-ridden fretting
about work to open exchanges about life, with a sense of vibrancy and
optimism in the air. Most of us were still unemployed, but we were no
longer defeated. The process of singing, of unblocking trapped emotions,
was described by the Georgian poet Ilia Chavchavadze, in 1880: "Song is
the same tear which appears when the heart is wrung by sorrow and also
when it is visited by great joy."
One of our teachers was the late great Georgian singer, teacher and
ethnomusicologist Edisher Garakanidze, who saw singing as a means to
maximize the vibrancy of life inherent in all people and as a tool for
building trust. For our group the relief of simply singing together
allowed out our creative, human side as we glimpsed an alternative
approach and purpose to making art. This kind of singing wasn't about
skill, being the best or even performing to an audience, but about
listening to each other, and forming human connections. Edisher says:
"Everybody without exception has the ability to sing just the same as to
laugh, cry, and run. . . . Many people sing only when they are alone,
because of shyness. But it is not even half the joy the music brings.
Singing together is completely different. Singing in common is an
opportunity to take the other person into consideration, to give him or
her something, but at the same time to find pleasure oneself. And my and
your pleasure together--is a happiness. . . . [The participants take] a
step towards working at internal obstacles and complexes and one step to
an internal freedom."
Creating Connection
There was also, our group agreed, something profound being communicated
through this music. The songs, some of which date back to the eighth
century, are passed down orally from generation to generation. They are
often sung at work and describe universal human situations and the highs
and lows of daily life. Clashing, discordant chords give way to
beautiful harmonies expressing both the harsh and miraculous faces of
reality. The songs had a cathartic effect on me, dispersing my dead
energy and connecting me to inner and outer life again.
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A Georgian feast
[Photo
courtesy of Simon Richardson/Centre for Performance
Research] |
Edisher described how Georgian culture with music at its center is
reflected in the tradition of "feasts," where whole communities would
gather to discuss life, and where polyphonic singing acts as a
reinforcement to philosophizing and political discussion. At a feast, a
series of "toasts" are given to "Peace!" or "Mothers!" or "Courage!",
"Friendship!" or "Justice!" Then songs are sung illustrating this topic,
often with freshly improvised lyrics. Discussion on the proposed subject
follows (accompanied by drink) until it is thoroughly dealt with, and
the next toast is made.
In traditional Georgia, if someone is physically ill, the family,
friends and neighbors of the sick person clean their house from top to
bottom, put fresh flowers in all the rooms, cook a special meal, and
finally sing them "healing songs." This custom is based on the belief
that many kinds of physical or mental sickness are caused by the absence
of "The Lords"--benevolent spirits--from the sick person's body, who
return when they hear singing.
This picture of collective human care delivered with such warmth and
imagination seems the antithesis of the isolation and alienation
experienced by many sufferers of depression in my own society.
Singer Madge Bray from Scotland has used Georgian polyphonic singing as
a means of treating traumatized children. She says the project, "Heart
of the Brave," aimed to relieve the sufferings of the most vulnerable
children and offer new explorations in healing through sound and
vibration--Georgian style. Georgians Ghia Razmandze and Leah Karkachis,
the leaders of the project, explain that the simple approach of going
for walks through the woods and singing all day together released the
emotional trauma in the children and they all made recoveries. "First
you have to look inside a child and see what the problem is. You can see
inside a child's soul. Look to see what the pain is. We have songs to
overcome fear," they said.
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Ali Bailey
is a London-based SGI member who works as a freelance theater
practitioner and drama teacher. She also runs community singing
workshops. |
The photos in
this article are from the book "99 Georgian Songs: A
Collection of Traditional Folk Church and Urban Songs from Georgia"
by Edisher Garakanidze, Joseph Jordania and Joan Mills, kindly provided
by the
Centre for Performance Research.
This book and an accompanying CD is available from the centre.
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