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For the album by The Creatures, see Anima Animus.
The anima and animus are described in Carl Jung's school of analytical psychology as part of his theory of the collective unconscious. Jung described the animus as the unconscious masculine side of a woman, and the anima as the unconscious feminine side of a man, each transcending the personal psyche. Jung's theory states that the anima and animus are the two primary anthropomorphic archetypes of the unconscious mind, as opposed to the theriomorphic and inferior function of the shadow archetypes. He believed they are the abstract symbol sets that formulate the archetype of the Self.
In Jung's theory, the anima makes up the totality of the unconscious feminine psychological qualities that a man possesses and the animus the masculine ones possessed by a woman. He did not believe they were an aggregate of father or mother, brothers, sisters, aunts, uncles, or teachers, though these aspects of the personal unconscious can influence a person's anima or animus.
Jung believed a male's sensitivity is often lesser or repressed, and therefore considered the anima one of the most significant autonomous complexes. Jung believed the anima and animus manifest themselves by appearing in dreams and influence a person's attitudes and interactions with the opposite sex. A natural understanding of another member of the opposite sex is instilled in individuals that stems from constant subjection to members of the opposite sex. This instilment leads to the development of the anima and animus.[1] Jung said that "the encounter with the shadow is the 'apprentice-piece' in the individual's development ... that with the anima is the 'masterpiece'".[2] Jung viewed the anima process as being one of the sources of creative ability. In his book The Invisible Partners, John A. Sanford said that the key to controlling one's anima/animus is to recognize it when it manifests and exercise our ability to discern the anima/animus from reality.[3]
Contents
1Origin
1.1Anima
1.2Animus
2Levels of anima development
2.1Eve - Object of desire, provider of nourishment, security and love
2.2Helen - Worldly achiever, intelligent and talented
2.3Mary - Righteous and a paragon of virtue
2.4Sophia - Wise and fully human, equal and not at all an object
3Levels of animus development
3.1Tarzan - Man of mere physical power
3.2Byron - Man of action or romance
3.3Lloyd George - Man as a professor, clergyman, orator
3.4Hermes - Man as a spiritual guide
4Anima and animus compared
5Jungian cautions
6References
7Further reading
8External links
Origin
Anima
Anima originated from Latin, and was originally used to describe ideas such as breath, soul, spirit or vital force. Jung began using the term in the early 1920s to describe the inner feminine side of men.[4]
Animus
Animus originated from Latin, where it was used to describe ideas such as the rational soul, life, mind, mental powers, courage or desire.[5] In the early nineteenth century, animus was used to mean "temper" and was typically used in a hostile sense. In 1923, it began being used as a term in Jungian psychology to describe the masculine side of women.[5]
Levels of anima development
Jung believed anima development has four distinct levels, which in "The psychology of the transference" he named Eve, Helen, Mary and Sophia. In broad terms, the entire process of anima development in a man is about the male subject opening up to emotionality, and in that way a broader spirituality, by creating a new conscious paradigm that includes intuitive processes, creativity and imagination, and psychic sensitivity towards himself and others where it might not have existed previously.[citation needed]
Eve - Object of desire, provider of nourishment, security and love
The first is Eve, named after the Genesis account of Adam and Eve. It deals with the emergence of a man's object of desire. The anima is completely tied up with woman as provider of nourishment, security and love.
The man at this anima level cannot function well without a woman, and is more likely to be controlled by her or, more likely, by his own imaginary construction of her. He is often impotent or has no sexual desire.[citation needed]
Helen - Worldly achiever, intelligent and talented
The second is Helen, an allusion to Helen of Troy in Greek mythology. In this phase, women are viewed as capable of worldly success and of being self-reliant, intelligent and insightful, even if not altogether virtuous. This second phase is meant to show a strong schism in external talents (cultivated business and conventional skills) with lacking internal qualities (inability for virtue, lacking faith or imagination).[citation needed]
Mary - Righteous and a paragon of virtue
The third phase is Mary, named after the Christian theological understanding of the Virgin Mary (Jesus' mother). At this level, women can now seem to possess virtue by the perceiving man (even if in an esoteric and dogmatic way), in as much as certain activities deemed consciously unvirtuous cannot be applied to her.[citation needed]
Sophia - Wise and fully human, equal and not at all an object
The fourth and final phase of anima development is Sophia, named after the Greek word for wisdom. Complete integration has now occurred, which allows women to be seen and related to as particular individuals who possess both positive and negative qualities. The most important aspect of this final level is that, as the personification "Wisdom" suggests, the anima is now developed enough that no single object can fully and permanently contain the images to which it is related.[citation needed]
Levels of animus development
Jung focused more on the man's anima and wrote less about the woman's animus. Jung believed that every woman has an analogous animus within her psyche, this being a set of unconscious masculine attributes and potentials. He viewed the animus as being more complex than the anima, postulating that women have a host of animus images whereas the male anima consists only of one dominant image.
Jung stated that there are four parallel levels of animus development in a woman.[6]
Tarzan - Man of mere physical power
The animus "first appears as a personification of mere physical power - for instance as an athletic champion or muscle man, such as 'the fictional jungle hero Tarzan'".[7]
Byron - Man of action or romance
In the next phase, the animus "possesses initiative and the capacity for planned action...the romantic man - the 19th century British poet Byron; or the man of action - America's Ernest Hemingway, war hero, hunter, etc."[8]
Lloyd George - Man as a professor, clergyman, orator
In the third phase "the animus becomes the word, often appearing as a professor or clergyman...the bearer of the word - Lloyd George, the great political orator".[8]
Hermes - Man as a spiritual guide
"Finally, in his fourth manifestation, the animus is the incarnation of meaning. On this highest level he becomes (like the anima) a mediator of...spiritual profundity".[9] Jung noted that "in mythology, this aspect of the animus appears as Hermes, messenger of the gods; in dreams he is a helpful guide." Like Sophia, this is the highest level of mediation between the unconscious and conscious mind.[citation needed] In the book The Invisible Partners, John A. Sanford said that the key to controlling one's anima/animus is to recognize it when it manifests and exercise our ability to discern the anima/animus from reality.[3]
Anima and animus compared
The four roles are not identical with genders reversed. Jung believed that while the anima tended to appear as a relatively singular female personality, the animus may consist of a conjunction of multiple male personalities: "in this way the unconscious symbolizes the fact that the animus represents a collective rather than a personal element".[10]
The process of animus development deals with cultivating an independent and non-socially subjugated idea of self by embodying a deeper word (as per a specific existential outlook) and manifesting this word. To clarify, this does not mean that a female subject becomes more set in her ways (as this word is steeped in emotionality, subjectivity, and a dynamism just as a well-developed anima is) but that she is more internally aware of what she believes and feels, and is more capable of expressing these beliefs and feelings. Thus the "animus in his most developed form sometimes...make[s] her even more receptive than a man to new creative ideas".[11]
Both final stages of animus and anima development have dynamic qualities (related to the motion and flux of this continual developmental process), open-ended qualities (there is no static perfected ideal or manifestation of the quality in question), and pluralistic qualities (which transcend the need for a singular image, as any subject or object can contain multiple archetypes or even seemingly antithetical roles). They also form bridges to the next archetypal figures to emerge, as "the unconscious again changes its dominant character and appears in a new symbolic form, representing the Self".[12]
Jung's theory of anima and animus draws from his theory of individuation. In order for a person to reach the goal of individuation is to engage in a series of intrapersonal dialogues which help the person understand how he or she relates to the world. This process requires men and women to become aware of their anima or animus respectively, in so doing the individual will learn how not to be controlled by their anima or animus. As individuals are made aware of their anima or animus, it allows them to overcome thoughts of who they ought to be and accept themselves for who they really are. According to Jung, individuals can discover a bridge to the collective unconscious through the development of their anima or animus. The anima and the animus represent the unconscious. The anima and animus are not gender specific and men and women can have both, however, more empirical research is required to determine whether both men and women do possess both archetypes. [13]
Jungian cautions
Jungians warned that "every personification of the unconscious - the shadow, the anima, the animus, and the Self - has both a light and a dark aspect....the anima and animus have dual aspects: They can bring life-giving development and creativeness to the personality, or they can cause petrification and physical death".[14]
One danger was of what Jung termed "invasion" of the conscious by the unconscious archetype - "Possession caused by the anima...bad taste: the anima surrounds herself with inferior people".[15] Jung insisted that "a state of anima possession...must be prevented. The anima is thereby forced into the inner world, where she functions as the medium between the ego and the unconscious, as does the persona between the ego and the environment".[16]
Alternatively, over-awareness of the anima or animus could provide a premature conclusion to the individuation process - "a kind of psychological short-circuit, to identify the animus at least provisionally with wholeness".[17] Instead of being "content with an intermediate position", the animus seeks to usurp "the self, with which the patient's animus identifies. This identification is a regular occurrence when the shadow, the dark side, has not been sufficiently realized".[17]
References
Ewen, Robert B. (2003). An Introduction to the Theories of Personality. Taylor & Francis. p. 66. ISBN 9780805843569.
Jung quoted in Anthony Stevens On Jung (London 1990) p. 206
Sandford, John A. The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships, 1980, Paulist Press, N.Y.
"The definition of anima". www.dictionary.com. Retrieved 2018-05-31.
"The definition of animus". www.dictionary.com. Retrieved 2018-05-31.
Jung, Carl. The Psychology of the Unconscious, Dvir Co., Ltd., Tel-Aviv, 1973 (originally 1917)
M.-L. von Franz, "The Process of Individuation" in Carl Jung ed., Man and his Symbols (London 1978) p. 205-6
von Franz, "Process" p. 205-6
von Franz, "Process" p. 206-7
von Franz, Process p. 206
von Franz, Process p. 207
von Franz, Process p. 207-8
K., Papadopoulos, Renos (2012). The Handbook of Jungian Psychology : Theory, Practice and Applications. Taylor and Francis. ISBN 978-1-135-48078-3. OCLC 817888854.
von Franz, "Process" in Jung, Symbols p. 234
C. G. Jung, The Archetypes and the Collective Unconscious (London 1996) p. 124
C. G. Jung, Alchemical Studies (London 1978) p. 180
Jung, Alchemical p. 268
Further reading
The Invisible Partners: How the Male and Female in Each of Us Affects Our Relationships by John A. Sanford (Paperback – Jan 1, 1979).
External links
Archive for Research in Archetypal Symbolism website
Sample image with scholarly commentary: Hall of the Bulls at Lascaux
Jung on the anima and animus
vte
Carl Jung
Theories
Analytical psychologyCognitive functionsInterpretation of religionPersonality typeSynchronicityTheory of neurosis
Concepts
The psyche
Anima and animusCollective unconsciousComplexElectra complexInner childPersonal unconsciousPersonaSelfShadow
Jungian archetypes
ApolloTricksterWise Old Man and Wise Old WomanWounded healer
Other
Active imaginationEnantiodromiaExtraversion and introversionIndividuationParticipation mystique
Publications
Early
Psychology of the Unconscious (1912)Psychological Types (1921)Modern Man in Search of a Soul (1933)
Later
Psychology and Alchemy (1944)Aion: Researches into the Phenomenology of the Self (1951)Answer to Job (1954)Mysterium Coniunctionis (1956)
Posthumous
Memories, Dreams, Reflections (1961)Man and His Symbols (1964)Red Book (2009) Seven Sermons to the Dead (1916)Black Books (2020)
The Collected Works
of C. G. Jung
Psychiatric Studies (1970)Experimental Researche (1973)Psychogenesis of Mental Disease (1960)Freud & Psychoanalysis (1961)Symbols of Transformation (1967, a revision of Psychology of the Unconscious, 1912)Psychological Types (1971)Two Essays on Analytical Psychology (1967)Structure & Dynamics of the Psyche (1969)Archetypes and the Collective Unconscious (1969)Aion: Researches into the Phenomenology of the Self (1969)Civilization in Transition (1970)Psychology and Religion (1970)Psychology and Alchemy (1944)Alchemical Studies (1968)Mysterium Coniunctionis (1970)Spirit in Man, Art, and Literature (1966)Practice of Psychotherapy (1966)Development of Personality (1954)The Symbolic Life (1977)General Bibliography (Revised Edition) (1990)General Index (1979)
People
Jungfrauen
Marie-Louise von FranzBarbara HannahJolande JacobiAniela JafféEmma JungToni Wolff
Colleagues
Sigmund FreudMaria MoltzerWolfgang PauliSabina SpielreinVictor WhiteRichard Wilhelm
Followers
Joseph CampbellJames HillmanErich NeumannMaud OakesJordan PetersonLaurens van der PostSonu ShamdasaniJune SingerAnthony Stevens
Houses
Bollingen TowerC. G. Jung House Museum
Organizations
Bollingen FoundationC. G. Jung Institute in ZürichEranosInt'l Assoc. for Analytical PsychologyInt'l Assoc. for Jungian StudiesJungian Society for Scholarly StudiesPhilemon FoundationPsychology Club Zürich
Popular culture
A Dangerous MethodSynchronicity (albumsong 12)Shadow ManThe Soul KeeperPersona (series)Soul
Other
Archetypal literary criticismArchetypal pedagogyBollingen PrizeBurghölzliI ChingThe Secret of the Golden Flower
Commons page CommonsWikiquote page WikiquoteWikisource page Wikisource texts
en.wikipedia.org/wiki/Anima_and_animus
Jung and the idea of androgyny in human beings
Like all archetypal Jungian representations the anima, in which Jung was interested before the animus, is so named because it emanates from an inner image, an image in the soul, unlike the persona which is a exterior image.
Jung, in The Roots of Consciousness (p. 42.) gives a biological explanation for the fact that there is some kind of residue of the character of the opposite sex:
“The image of the opposite sex resides, to some extent, in each sex, since biologically it is only the greater number of male genes that tips the scales in the choice of male sex. The smaller number of female genes appears to constitute a female trait which, however, usually remains unconscious due to its quantitative inferiority. "
It is on this presence of the two elements male and female that he bases his idea of the androgyny of the human being.
This idea of the androgyny of the human being is rooted in the biological and in the conscious-unconscious psychic totality. The unconscious would then have the coloring of the opposite sex. How to recognize and make accessible to experience the manifestations of this archetype?
This is one of the subjects on which Jung is least clear. However, with many digressions on the general functioning of the psyche, he gives us indications in several guide books of which we will retain Dialectics of the Self and the Unconscious, The Roots of Consciousness, Aion, and Transference Psychology.First coined by famous psychiatrist Carl Jung, the terms “Anima” and “Animus” refer to the indwelling masculine and feminine energies that we all possess. Specifically, the anima is thought to be the feminine part of a man’s soul, and the animus refers to the masculine part of a female’s soul. Both the anima and animus are ancient archetypes (or raw forms of energy) that every being contains.
Let’s explore these parts of us more in depth …
The Anima Explained
Derived from Latin meaning “a current of air, wind, breath, the vital principle, life, soul,” the Anima refers to the unconscious feminine dimension of a male which is often forgotten or repressed in daily life.
As it’s generally considered taboo to embrace the inner female side, men often fail to fully embody and embrace this fundamental energy. Sadly, if a male does embrace his Anima, he is often criticized as being “a wimp,” “a sissy,” “a fag,” and other horribly derogatory names.
However, in the perspective of psychology, in order to fully step into a mature masculine role, a man must go on a quest to explore this inner Divine Feminine energy. In other words, he must unite with the other half of his Soul.
Often, this quest results in some sort of projection, that is, trying to find the ideal lover or soul mate in the form of another idealized person. But we can never embody the Anima through another person – only through our own concerted effort. The key realization here is that we must find this force within us, rather than disown it onto another.
As described by Jungian Psychologist Dan Johnston, the man who has connected with his feminine Anima displays “tenderness, patience, consideration and compassion.” However, repression of the female element within males often results in a negative Anima that emerges as personality traits such as “vanity, moodiness, bitchiness, and sensitivity to hurt feelings.”
Indeed, a man who has failed to embody his Anima also tends to fall prey to emotional numbness and toxic masculine traits such as aggression, ruthlessness, coldness, and a purely rational approach to life.
The Animus Explained
The Animus, which is a Latin word that means “the rational soul; life; the mental powers, intelligence,” is the unconscious male dimension in the female psyche. Due to societal, parental, and cultural conditioning, the Animus, or male element within the woman, is often inhibited, restrained, and suppressed.
But the Animus isn’t always repressed – sometimes, it is actually over-emphasized and imposed upon women. Take Western society for example. Here is a culture that ruthlessly imposes masculine ideals such as stoicism, emotional numbness, and ruthlessness as ways to excel and succeed in life.
All of these external elements can contribute towards a negative Animus, which can reveal itself in a woman’s personality through argumentative tendencies, brutishness, destructiveness, and insensitivity. However, integrating a positive Animus into the female psyche can result in strength, assertiveness, levelheadedness, and rationality.
« (…) Ce sera moi, il faut continuer, je ne peux pas continuer, il faut continuer, je vais donc continuer, il faut dire des mots, tant qu’il y en a, il faut les dire, jusqu’à ce qu’ils me trouvent, jusqu’à ce qu’ils me disent, étrange peine, étrange faute, il faut continuer, c’est peut-être déjà fait, ils m’ont peut-être déjà dit, ils m’ont peut-être porté jusqu’au seuil de mon histoire, devant la porte qui s’ouvre sur mon histoire, ça m’étonnerait, si elle s’ouvre, ça va être moi, ça va être le silence, là où je suis, je ne sais pas, je ne le saurai jamais, dans le silence on ne sait pas, il faut continuer, je ne peux pas continuer, je vais continuer. » - Samuel Beckett, L'Innommable
"We cannot be contained within the limits of a rigid bye-nary. Our essence is fluid, it is beyond the two. It is all and none."
Inspired by Thou's transcending duality, amazing boundary shattering artists and creators
Futuristic Themed Event " HyDrA 2088 - A New World ! "
We will be transcending into the future !
So dress up in your new Sci-Fi or Futuristic Outfits and come on over & join us.
The club will look amazing all decorated for you to come on over & to and have some fun.
(SL Time)
10am - Miss Kitty-D
12pm - CoNoR;
1:30Pm - Miss Fredy
DJ WizZerD
So get ready for a night of fun!
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3' x 4' x 2"
Enamel on Birch
This is the piece I did for the Futurism 2.0 show at Blackall Studios, London
In the new Lahore lies buried Shah Husain and with him lies buried the myth of Lal Husain. Still, at least once a year we can hear the defused echoes of the myth. As the lights glimmer on the walls of Shalamar, the unsophisticated rhythms of swinging bodies and exulting voices curiously insist on being associated with Husain. This instance apparently defies explanation. But one is aware that an undertone of mockery pervades the air - released feet mocking the ancient sods of Shalamar and released voices mocking its ancient walls. Husain too, the myth tells us, danced a dance of mockery in the ancient streets of Lahore. Grandson of a convert weaver, he embarrassed every one by aspiring to the privilege of learning what he revered guardians of traditional knowledge claimed to teach.
Then again, fairly late in life, he embarrassed every one by refusing to believe in the knowledge he had received from others, and decided to know for himself. He plucked the forbidden fruit anew.
The myth of Lal Husain has lived a defused, half-conscious life in the annual Fare of Lights. The poetry of shah Husain which was born out of common songs of the people of the Punjab has kept itself alive by becoming a part of those very songs. In recent past, the myth of Madhu Lal Husain and the poetry of Husain have come to be connected. But the time for the myth to become really alive in our community is still to come.
Husain s poetry consists entirely of short poems known as "Kafis." A typical Husain Kafi contains a refrain and some rhymed lines. The number of rhymed lines is usually from four to ten. Only occasionally a more complete form is adopted. To the eye of a reader, the structure of a "Kafi" appears simple. But the "Kafis" of Husain are not intended for the eye. They are designed as musical compositions to be interpreted by the singing voice. The rhythm in the refrain and in the lines are so balanced and counterpointed as to bring about a varying, evolving musical pattern.
It may be asserted that poetry is often written to be sung. And all poetry carries, through manipulation of sound effects, some suggestion of music. Where then lies the point in noticing the music in the "Kafis" of Shah Husain? Precisely in this: Husain s music is deliberate - not in the sense that it is induced by verbal trickery but in the sense that it is the central factor in the poet s meaning.
The music that we have here is not the vague suggestion of melodiousness one commonly associates with the adjective "lyrical : it is the symbolic utterance of a living social tradition. The "Kafis" draw for their musical pattern on the Punjabi folk songs. The Punjabi folk songs embody and recall the emotional experience of the community. They record the reactions to the cycle of birth, blossoming, decay and death. They observe the play of human desire against the backdrop of this cycle, symbolizing through their rhythms the rhythms of despair and exultation, nostalgia and hope, questioning and faith. These songs comprehend the three dimensions of time - looking back into past and ahead into future and relating the present to both. Also, these songs record the individual s awareness of the various social institutions and affiliations and clinging to them at the same time - asserting his own separate identity and also seeking harmony with what is socially established.
Through this deliberate rhythmic design, Shah Husain evokes the symbolic music of the Punjabi folk songs. His "Kafis" live within this symbolic background and use it for evolving their own meaning.
By calling into life the voice of the folk-singer, Husain involves his listeners into the age-old tension which individual emotions have borne it its conflicts with the unchanging realities of Time and Society. But then, suddenly one is aware of a change. One hears another different voice also. It is the voice of Husain himself, apparently humanized with the voice of the folk-singer, and yet transcending it. The voice of the folk-singer has for ages protested against the bondage of the actual, but its fleeting sallies into the freedom of the possible have always been a torturing illusion. The voice of the folk-singer is dragged back to its bondage almost willingly, because it is aware of the illusory nature of its freedom and is reluctant run after a shade, fearing the complete loss of its identity. The voice of Shah Husain is transcending folk-singer s voice brings into being the dimension of freedom - rendering actual what had for long remained only possible:
Ni Mai menoon Kherian di gal naa aakh
Ranjhan mera, main Ranjhan di, Kherian noon koori jhak
Lok janey Heer kamli hoi, Heeray da wer chak
Do not talk of the Kheras to me,
O mother, do not.
I belong to Ranjha and he belongs to me.
And the Kheras dream idle dreams.
Let the people say, "Heer is crazy; she has given her-self to the cowherd." He alone knows what it all means.
O mother, he alone knows.
Please mother, do not talk to me of Kheras.
At first , the little "Kafi" deftly suggests the underlying folk-song patter. The usual figures in the marriage song - the girls, the mother, the perspective husband and the perspective in-laws are all there. And the refrain calls the plaintive marriage-song address of the girl to he mother on the eve of her departure from the parents house.
But the folk-song pattern remains at the level of an underlying suggestion. The mother and the daughter in the folk-song were both helpless votaries of an accepted convention, bowing before the acknowledged power of an unchanging order. Here in the "Kafi" the daughter assumes the power of choice and rejection. She stands outsides the cycles of time and society. The mother continues to represent the social order and the accepted attitudes according to her convictions, the Kheras offer the best possible future for her daughter because they assure mundane security and prestige, within a decaying order. But the daughter I snow determined to go beyond this order and seek further inner development. To her the Kheras, her unacceptable in-laws, represent the tyranny of the actual forced on the individual. To her, Ranjha, the socially condemned cowherd, represents the consummation of her revolt, promising a union which is the real inner fulfillment. The accepted attitudes are based on a superficial vision,
which takes appearance to be the only reality. Ranjha, who always hides his real self behind the shabby garb of a jogi or a cowherd can never be understood and can never be preferred to the wealthy Kheras. His real identity is a mystery that can be realized only in Heer s individual emotions. And for such a realization, a conscious break with the order of appearances is a prerequisite. Husain s triumph is achieved, not by evading the bondage s of the actual but by suffering them and finally transforming them. The mother remains a part of the daughter s consciousness - in addressing her she addresses herself. But this part of her consciousness is now subjected to more vital individual self. In the refrain:
Ni Mai menon Kherian di gal naa aakh
there is a tone of confidence - a mixture of earnest protestation and assured abandon.
Here is a "Kafi" presenting a different emotion:
Sujjen bin raatan hoiyan wadyan
Ranjha jogi, main jogiani, kamli kar kar sadian
Mass jhurey jhur pinjer hoyya, karken lagiyan hadyan
Main ayani niyoonh ki janan, birhoon tannawan gadiyan
Kahe Husain faqeer sain da, larr tairay main lagiyaan
Nights swell and merge into each other as I stand a wait for him.
Since the day Ranjha became jogi, I have scarcely been my old self and people every where call me crazy. My young flesh crept into creases leaving my young bones a creaking skeleton. I was too young to know the ways of love; and now as the nights swell and merge into each other, I play host to that unkind guest - separation.
The slower tempo of the refrain sets the mood of the "Kafi." The voice of the singer stretches in an ecstasy of suffering along the lengthening vowel sounds. The vowel sounds initiated by the refrain are taken up by rhythms and several other words.
The Heer-Ranjha motif is used here in a different emotional background. The intense loneliness here contrasts sharply with the confidence of fulfillment shown in the earlier "Kafi." Here people s preoccupation with appearances is not treated with indifference;
Ranjha jogi, main jogiani, kamli kar kar sadian
instead it adds to the plain. But in the notes of suffering, there is a strange quality of single-mindedness. One is not aware of any fidgety second thoughts. The plain does not evince any desperation: in fact there is an air of contemplative pose, born out of the awesome finality of commitment.
In another "Kafi" using the Heer-Ranjha motif, we are taken back to a still earlier stage of the poet s emotional Odyssey:
Main wi janan dhok Ranjhan di, naal mare koi challey
Pairan paindi, mintan kardi, janaan tan peya ukkaley
Neen wi dhoonghi, tilla purana, sheehan ney pattan malley
Ranjhan yaar tabeeb sadhendha, main tan dard awalley
Kahe Husain faqeer namana, sain senhurray ghalley
Travelers, I too have to go; I have to go to the solitary hut of Ranjha. Is there any one who will go with me? I have begged many to accompany me and now I set out alone. Travelers, is there no one who could go with me?
The River is deep and the shaky bridge creaks as people step on it. And the ferry is a known haunt of tigers. Will no one go with me to the lonely hut of Ranjha?
During long nights I have been tortured by my raw wounds. I have heard he in his lonely hut knows the sure remedy. Will no one come with me, travelers? <
The folk-song locale is present here in the shape of a river, a ferry and a batch of travelers. The travelers gather to set off to remote places for business, duty and other reasons. And there is the self conscious girl who comes daily to hear some chance gossip drop a word about her friend. The river for centuries has flowed between desire and fulfillment. No one knows where it goes; it has no beginning and no end. The river is ancient and unfathomable - holding mysterious dangers. It causes both life and death but shows a fascinating indifference that compels awed men and women to kneel and worship the river. There is another reason for this homage. The river bounds the village. It limits and defines the known and tried capacities of humanity. The girl s father has no possessions beyond the river. What she was born with lies placidly marked this side of the river. What is beyond, is vaguely threatening. But this hazardous unknown fascinates the girl and seeks to lure her out of the complacent peace she was born with.
But the girl in the "Kafi" differs from the girl in the folk-song in one vital respect. The girl in the folk-song has for ages, waited on this side of the river. She visits the ferry and moves among the travelers with questioning looks. But in her words and looks there lurks the knowledge of perpetual impossibility, the acknowledge that desire is never more than a wish is often less than it. The girl in the "Kafi" is prepared to bridge the gap between desire and attainment. She too is aware of the hazards of her ways but for her he imperative need to set out has become the supreme fact.
The image of a patient, desperately looking for a last remedy contains subtle implications. When Heer fakes illness in the house of her in-laws, Ranjha the fake jogi was approached for some magic cure. Heer was cured in a way the people did not foresee and her illness turned out to be of an unexpected nature. Those believing in appearances as the only reality were given a dramatic lesson. Here in the "Kafi", the metaphorical background is recreated. The girl earnestly wishes to align herself with ordinary motives and measures. But the uncommon purpose of her journey and the uncommon destination still stand out among the group of travelers. Her request for some one to accompany her only throws into stranger relief her unique loneliness.
The ecstatic rhythm brings to the refrain a tone of finality, a finality comparable to that of death. The journey across the river is a transition as radical as death. The two worlds of experience are as different from each other as the familiar life and the unknown beyond. (1959)
©PhotographyByMichiale. All images are copyright protected and cannot be used without my permission. Please visit me on Facebook, too! www.facebook.com/photographybymichiale
63 feet high, the "Transcending" sculpture in Downtown Detroit was created to help honor the contribution Labor Unions have made to Detroit. With a small gap in the top the sculpture (round, like a car gear ) the enclosure represents how far the Unions have come, and with the small gap at the top the fact that they will always have something to progress toward. The work of local sculptors David Barr and Sergio De Giusti, for more info please go here: www.thedetroiter.com/site/laborpage.html
See a couple different views of the Arc:
www.flickr.com/photos/annetteleduff/7930688546/in/photost...
www.flickr.com/photos/annetteleduff/6585698955/in/set-721...
Transcending is a composite sculpture by Artists David Barr & Sergio De Giusti
The Michigan Labor Legacy Landmark
Located within Philip Hart Plaza (downtown Detroit)
near the intersection of Woodward and Jefferson Avenues.
Two steel arcs stretch to 63 feet and large granite boulders with bronze reliefs and plaques.
Combined weight (arcs and granite boulders) is 30 tons.
In 2000, the Michigan Labor History Society established a non-profit endeavor to create a monument that would celebrate the state’s contributions to the labor movement. Funding was obtained from the United Auto Workers, for the Detroit are AFL-CIO and from a variety of other civic and labor organizations.
"Transcender"
Termas de La Hedionda.
Nuestro último viaje (con Gianella) empezó con termas y acabó con termas, como buscando el abrazo calentito de la Madre Tierra, en invierno.
Esto fue hace un par de semanas, antes de regresar a casa, en las termas de La Hedionda en Málaga, de las que ya hablé aquí. También dejé caer que estuvimos en las termas de Alhama de Granada, al comienzo del viaje, de las que alguna foto pondré.
En cuanto a esta foto, buscando siempre un punto de vista diferente, según voy sintiendo la energía del lugar. Muchas gracias Giane por tener "culpa" de ello.
Hacía mucho tiempo que no me desnudaba, literalmente, para una foto, como es conocido en mi. Menos conocido es, que más me desnudo cuanto más a gusto me siento (metáfora). Tengo otras fotos metido en esa poza, y solo se me ve la cabeza, pero hoy me siento "cómodo", para enseñar más, jajaja!
Pd: Una cosa está clara, La Hedionda transciende!! 😉
Y ahora, con el corazón en un puño, os dejo con el texto del video anterior...
"En el ser humano hay una problemática, no puede soportar tanta verdad.
En consecuencia, como el ser humano no puede soportar tanta verdad, el sistema mental se sitúa en una "zona de seguridad".
Los místicos tienen un gran problema, quieren saber la verdad.
Como quieren saber la verdad, están totalmente disociados de la sociedad, porque la sociedad no vive en la verdad, vive en una sistema tenebroso de seguridad.
En consecuencia el místico, es como un loco en la sociedad, no lo entiende nadie. Porque en realidad como la sociedad está loca, tiene que calificar de locos a los que están cuerdos en serio. Pero es la sociedad la que está loca, y desplaza la locura al que ve la realidad.
Si usted ve profundamente la realidad, usted está muy marginal en la sociedad.
El problema del místico es que llega a vivir una doble vida: está tan conectado con la esencia, que le parece que el mundo es todo mentira, y es mentira, pero tiene que vivir el mundo como si fuera verdad, por lo tanto es complicadísima la vida del místico, porque tiene que vivir una vida que sabe que es mentira, y tiene en el interior que vivir una verdad que no se la puede contar a nadie."
• Heya!
Transcended is my new release!
Tattoo
- Separate Levels
- Only BOM
- For ONLY
Lelutka Evo X
- 70/50 %
- Unisex
Music, being akin to ageless tintype treasures, holds whispers and surprises of hidden secrets. Secrets that are instantaneous and telepathic; the expanding universe of sound and rhythm,. Thus timeless - enfolding the past and present...steps into the beyond.
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“In the drowsy dark caves of the mind
dreams build their nest with fragments
dropped from day's caravan.”
―Rabindranath Tagore
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Contact/Listen
www.emusic.com/album/premik/mission-transcendence/10884302/
en.wikipedia.org/wiki/Premik_Russell_Tubbs
New music coming soon!
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Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
New music coming soon!
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YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980
Russel Tubbs, saxo
Devadip Santana, guitar
www.youtube.com/watch?v=lv_jsp_43h0
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Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
Sound Samples: www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"
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Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
imaginaryroadstudios.com/
*****
Premik plays on both of these albums
Winners in 2013
10th Annual ZMR Awards
Album: Masako
Artist: Masako M. Kumano
Award Category- Best New Artist
Premk with Masako: played wind synth on Secret Path to Point Reyes (track 3)
Album: Dreaming of Now Best
Artist: Shambhu
Award Category: Contemporary Instrumental Album
Premik with Shambhu: alto flute on Dreaming of Now (track 4) and wind synth on Jasmine (track 10)
www.zonemusicreporter.com/admin/2013award_finalists.asp
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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
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New Age / Ambient / World Top 100 Radio Chart
ZoneMusicReporter.com
Top 100 Radio Play - #1 Top Recordings for January 2014
Title: Call of the Mountains - Artist: Masako
www.zonemusicreporter.com/charts/top100.asp
Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".
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Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
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Premik and Uli Geissendoerfer released their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
www.flickr.com/photos/42514297@N04/15543396956/in/set-721...
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Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
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Premik’s ‘Journey To Light Ensemble’
Sound is East/West, jazz., a journey....
With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),
Dave Phelps (guitar),
Leigh Stuart (cello),
Nathan Peck (upright & electric bass),
www.alexskolnick.com/biography-nathan-peck/
Todd Isler (drums, percussion)
Naren Budakar (tabla)
www.sooryadance.com/html/Milan/naren.htm
Watch for a Journey To Light Ensemble album to be released in 2014
YouTube JTLE
www.youtube.com/watch?list=UU3hE8wtW3VeyOU17sQd2GQQ&v...
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TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
"Coal Again"
www.flickr.com/photos/42514297@N04/15447303643/
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Premik has performed in Rock for the Rainforest, a biennial benefit concert held by the Rainforest Foundation Fund and Rainforest Foundation US, hosted by the organizations' founders Sting and his wife Trudie Styler in 2008, 2010, 2012 and 2014.
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
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Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA
Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014
Watch/Listen
YouTubes
Premik solo with the London Royal Philharmonic performing "Apla Kathar."
The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.
www.youtube.com/watch?v=XbhReDbyIOY
High praise from Craig Pruess:
"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer
www.heaven-on-earth-music.co.uk/
www.youtube.com/watch?v=4euUuBNUzco
Song of the Ocean by Kristin Hoffmann
All performers of the evening take the stage with the London Royal Philharmonic Orchestra
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Premik will guest and record with the Five Toe Dragon
Premik Russell Tubbs with the Five Toed Dragon @ the BeanRunner Cafe 04/18/2014
YouTubes 4-18-2014
www.youtube.com/watch?v=spkxaVteX08 Set 2 0f 2
www.youtube.com/watch?v=JSI-ZwekM-Y Set 1 of 2
The sound of the Five Toed Dragon can be described as electro-acoustic featuring a distinctly original blend of styles from jazz, classical and ethnic music.
J. ERIC JOHNSON
F. CARTER HOODLESS
BRIAN LEE
Regular guest artists will include Charles Burnham/violin and Premik Russell Tubbs/ saxophones, fultes, wind synth
All are long time members Carman Moore ’s the Incredible Skyband and/or Skymusic Ensemble.
Carman Moore is a 2013 Guggenheim Fellowship winner.
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BeanRunner Cafe
A wonderful venue!
Owners Ted and Drew are true champions of the arts.
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Premik Russell Tubbs | The Music of Karl Jenkins | Carnegie Hall
MARTIN LUTHER KING DAY
Monday, January 19, 2015
Premik Russell Tubbs played "bansuri & ethnic flutes" in this concert. (Bansuri is an Indian bamboo flute).
nyconcertreview.com/reviews/distinguished-concerts-intern...
Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review
So since I moved a few months ago I really havent shot very much, In fact its been at least 4 or 5 months since I shot my last self portrait. I dont have a studio anymore and share a house with my brother and his gf so I really dont get the chance to shoot in the house. I have been wanting to shoot some photos in our living room for a while now because I liked how the natural light came through the windows and light up the room. So I decided to take it a little farther and light it entirely with strobes to somewhat mimic that natural light. All together this shot consisted of four strobes plus a reflector, shot at night, and took about an hour and a half from setup to final edited photo. Anyone know who's book that is on the coffee table? :)
Strobist Info:
1 Alienbee b1600 in beauty dish camera right slightly above eye level, with intention hot spot on my face so the light faded out the farther it gets from my face.
1 Alienbee b400 in 7 inch reflector outside of door to light the outside wall and shine some light on the lamp and inside wall.
1 Alienbee b400 in 7 inch reflector camera left in kitchen to add ambience type lighting from the kitchen.
1 Nikon sb 700 fired into wall in the hallway for added ambience in the background.
a 4 foot reflector camera left just out of frame to add slight fill light to myself.
Pour que le sphinx parvienne à la conscience de lui-même, pour qu’il sorte de son songe, il faut qu’il reconnaisse l’énigme de l’absolu, non dans la forme animale, que vénérait l’idolâtrie égyptienne, mais dans la forme humaine, qui est le temple de l’absolu et le sanctuaire de la pensée. C’est pourquoi l’énigme du sphinx porte sur la connaissance que l’homme a de lui-même. Tant que l’homme ne sait pas reconnaître dans le corps mourant et rampant qui est le sien la forme organique en laquelle l’esprit a établi sa résidence, et qui est le sanctuaire de l’infini, le sphinx demeurera dans le mutisme de l’énigme colossale qu’il était pour les Egyptiens. Mais quand les Grecs sauront résoudre l’énigme, et reconnaîtront en l’homme le vivant appelé à la dignité de la conscience de soi, de la connaissance de soi-même, alors l’énigme du sphinx sera résolue et dissoute dans la clarté de la réflexion, dans la lumière de la raison : « C’est dans ce sens que le Sphinx, dans le mythe grec, que nous pouvons expliquer symboliquement, apparaît comme le monstre qui pose des énigmes. Le Sphinx posait cette question énigmatique : Qui est-ce qui le matin marche sur quatre pieds, à midi sur deux, et le soir sur trois ? Œdipe trouva cette explication fort simple : c’est l’homme ; et il précipita le monstre du haut des rochers. L’explication du symbole se trouve dans la signification de l’absolu : dans l’esprit. C’est ainsi que la fameuse inscription grecque dit à l’homme : connais-toi toi-même. La lumière de la conscience est le flambeau qui laisse apercevoir clairement le contenu à travers sa forme sensible, et l’esprit se reconnaît lui-même dans sa manifestation extérieure » (468). Œdipe, qui incarne ici l’esprit grec, est ainsi celui qui apprend à l’homme à marcher, qui le libère de l’immobilité pétrifiée de la momie égyptienne. Par la connaissance de lui-même, par le mouvement réflexif de la conscience de soi, l’esprit acquiert l’autonomie et la liberté. Le colosse égyptien ne sent vivre en lui l’absolu que comme une énigme insoluble, un mystère qu’il ne fait que pressentir dans l’inconscience, et qu’il n’est donc pas en mesure d’intérioriser pleinement. C'est pourquoi l’esprit peut tout aussi bien lui apparaître comme une puissance extérieure à lui-même, à l’appel de laquelle il répond mécaniquement, sans que sa liberté n’ait à entrer en jeu, comme si le concept naissait dans l’esprit, non par l’esprit lui-même, mais par une puissance transcendante qui le gouverne et le commande. Ainsi le dormeur croit-il que son rêve lui est étranger et que sa source est en un autre. Tels sont, selon Hegel, les colosses de Memnon, deux statues géantes élevées par Amenotep III sur la rive occidentale de Thèbes, et dont une légende rapporte que, lorsque les premiers rayons du soleil frappaient les colosses, ceux-ci répondaient, comme pour saluer joyeusement le lever du dieu, par un son harmonieux (19) : « Ces Memnons, d’une grandeur colossale, sont très remarquables : immobiles, les bras et le corps enveloppés, les pieds comme scellés l’un contre l’autre, raides, fixes et sans vie, ils sont tournés vers le soleil, attendant le rayon qui doit les frapper, les animer et leur donner la voix » (465). Le Memnon est ainsi le paradigme de toute la statuaire égyptienne : son immobilité provient de ce que la figure humaine ne s’est pas encore approprié la vie de l’esprit, qu’elle reçoit servilement d’un Autre, et qu’elle est encore incapable de faire vivre en elle-même. C’est pourquoi il revient aux Grecs d’animer la statue égyptienne, de l’arracher à son immobilité somnambulique, de l’éveiller à la vie de l’esprit : « C’est à Dédale qu’est attribué l’art d’avoir, le premier, dégagé les bras et les pieds, et d’avoir donné le mouvement au corps » (467). On se souvient que dans l’Euthyphron (11 b-c), Socrate prétend descendre de Dédale : comme lui, il a libéré l’esprit de l’opinion qui le maintient dans une fixité somnambulique, pétrifiée par l’inconscience, et il a appris à l’esprit à mettre en marche l’argumentation, à enfanter le progrès dialectique. Mais ceci est une autre histoire, qui appartient à la Grèce et non plus à l’Egypte.
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I love the small adventures I have. I guess... with my condition, I'm often confined to my bedroom. I live for these excursions, whether they're to derelict places, new viewpoints for car light trails...
This trip was with my friend Jon, who I haven't been anywhere with for years. We took off to Boulogne in northern France. I went for the photography, my friend for the cheap wine. Good mix, I guess!
On the old town walls, I wandered past a sleeping Frenchman on a bench, and shaded myself from the sun under this tree. When I looked up, there was this wonderful symmetry above me; the tree on one side, the basilica on the other, and the plane going straight up between.
...Although, I did have to contort myself greatly for this photograph. Ow, my back.
Fishing trawler Transcend in Buckie Harbour. These boats sail from various Scottish fishing ports all year but can usually be found home in Buckie at Christmas.
Transcending
David Barr and Sergio de Giusti
Detroit, MI
Monument for the UAW or a broken Stargate. Or both.
Mamiya M645
Sekor C 35mm f/3.5
Adox CMS 20 II
'Transcending reality activating virtual environment responses through sensory enrichment'
- Led Lenser X21 torch - Nikon D90 - Tokina 116 -
As the 21st century dawned, an emerging generation of artists expanded the performance of self-fashioning, in which dress functions as a signifier of disidentification with the dominant social orders; their aim was to formulate modes of expression that affirm communal identity. In an age when issues of race, ethnicity, religion, gender, and sovereignty dominate national and geopolitical discourse, textiles, "as dense and multivalent sites of encryption," may, art historian Julia Bryan-Wilson argues, "alert others to our sense of self and signal our attempt to collectively belong."
In 2003 Liz Collins created "Pride Dress", in collaboration with designer Gary Graham, as part of a series of representations of the seven deadly sins. Today, the tattered gown with its torn and distressed flags precariously tacked together transcends its initial signification to reverberate with the roiling gender wars that rend the fabric of American society.
A blond beauty just sat in the street to teach the local how the smart phone works patiently and devotedly. It's such a lovely moment. It transcended race and colors.
Muhammad Ali, the magnificent heavyweight champion whose fast fists and irrepressible personality transcended sports and captivated the world, has died. He was 74.
hiiraan.com/news4/2016/Jun/105719/muhammad_ali_dead_at_74...