Welcome to George’s blog. I play keyboards in the Alice Syndrome, and I’m also very interested in psychology, spirituality and self-transcendence. Groovhead tends to write all our lyrics, which always touch on subjects that hit deep into my interests.
Haiku Priestess sings
Of love and loss and madness
In her broken voice
She paints with words and sounds
A world of dark and light
Where nothing is as it seems
She invites us to join her
In her twisted dreams and visions
Where we can find ourselves
Haiku Priestess knows
The secrets of the soul and the heart
She shares them with her art
Our track, “Haiku Priestess”, is a tribute to the Japanese art of haiku, a form of short poetry that captures the essence of a moment. The song explores themes such as nature, beauty, spirituality and death, using imagery and metaphors inspired by haiku.
The singer, Koshka Pravda, plays the role of a priestess who guides the listener through a journey of emotions and sensations, from the serene to the sublime. The marvellous Alex accompanies Koshka with tuneful background melodies.
The music matches the mood of the lyrics, with soft tunes, heavy riffs and atmospheric sounds.
The video that accompanies Haiku Priestess was put together by Jim and is a stunning visual representation of the song’s themes and mood. It uses a mix of animation and live-action footage to create a surreal and captivating atmosphere.
The song follows the journey of a woman trapped in a cycle of violence, pain, and rebirth. She encounters various symbolic elements, such as a snake, a flower, a gun, and a mask, that reflect her inner turmoil and transformation.
There are also references to Japanese culture and mythology, such as the haiku poems, the cherry blossoms, and the kitsune mask. It enhances the overall song by adding more layers of meaning and emotion to the lyrics and the music.
The Alice Syndrome – Haiku Priestess
Haiku Priestess explores the inner turmoil of a woman who is trapped in a cycle of self-destruction and despair. The lyrics suggest that she is suffering from a mental disorder that makes her perceive reality in a distorted way, such as seeing herself as a monster or feeling like she is drowning.
She also expresses a sense of loneliness, isolation and hopelessness, as she feels that no one can understand or save her from her pain. She compares herself to a haiku priestess, a poetic figure who writes short poems that capture the essence of nature and emotion, but also implies a sense of futility and resignation.
The song relates to the human condition by showing how some people struggle with their own demons and how they cope with their suffering through art and creativity. The song also raises questions about the meaning and purpose of life, as well as the role of faith and spirituality in healing. The song portrays potential great sadness, but is also beautiful and poignant, as it conveys a deep and complex emotion that will resonate with many listeners.
Haiku Priestess is a powerful expression of the struggle to heal from trauma. The lyrics could be interpreted as the singer, trying to do Jungian type shadow work, which is a process of confronting and integrating the repressed aspects of one’s psyche.
Shadow work is a psychological process of healing and integration. It is based on the idea that we all have parts of ourselves that we repress or deny due to negative or traumatic experiences, especially in childhood. These parts, called the shadow, are stored in the unconscious mind and affect our behaviour, emotions and relationships in ways that we are not aware of.
For instance, a child who suffers from abuse may develop anxiety and fear, and may reject the part of themselves that feels vulnerable and hurt. This part becomes a shadow that influences their self-esteem, trust and coping mechanisms throughout their life. They may resort to unhealthy habits, such as alcoholism, or other addiction, to escape from their pain and avoid facing their shadow.
Shadow work involves uncovering and confronting the shadow, and accepting it as a valid and valuable part of ourselves. By doing so, we can heal the wounds that caused us to split off from our wholeness, and reclaim the aspects of ourselves that we have lost or neglected. Shadow work can either be voluntary, where the individual consciously looks inside themselves to explore their unconscious selves, it can also be involuntary, when the shadows surface into the conscious mind, often in ways that threaten to overwhelm the person concerned.
Shadow work can help us to overcome our fears, insecurities and limiting beliefs, and to develop more self-awareness, compassion and authenticity. As Jung (1959) said, “One does not become enlightened by imagining figures of light, but by making the darkness conscious” (p. 326).
There are many methods and techniques for doing shadow work, such as journaling, meditation, dream analysis, art therapy, psychotherapy, and even by writing haiku’s. The goal is to create a safe and supportive space where we can explore our inner world and discover the hidden parts of ourselves that need our attention and acceptance. By doing so, we can integrate our shadow into our conscious personality, and achieve a more balanced and harmonious state of being.
Becoming overwhelmed
However, the singer finds that the feelings that are being uncovered are too overwhelming and painful to face. She feels like she is drowning in a sea of darkness and despair.
Becoming overwhelmed can be very dangerous for the individual, people can often lose their judgement and control when overwhelmed, leading to dramatic and desperate behaviour.
Shadow work can therefore be challenging and risky, depending on one’s level of resilience and the support available. In fact, it is this concept of resilience, is really quite critical to shadow work.
Resilience is the ability to cope with stress and adversity, and to bounce back from difficult situations (Southwick & Charney, 2012). It can be influenced by many factors, such as personality, genetics, environment, and life experiences.
One of the factors that can enhance resilience is one’s attitude towards the shadow work process. According to Rogers (1961), a person-centred approach that emphasizes compassion, acceptance, and understanding of oneself and one’s shadow can facilitate positive outcomes.
Rogers argued that when a person can accept all aspects of themselves, without judgement or denial, they can achieve a state of congruence, which is the alignment of one’s self-concept and one’s experience. It’s when an individual no longer denies their true self, and shadow work is the process of finding out this truth. Congruence can lead to greater self-esteem, creativity, and wellbeing.
However, not everyone has the same attitude or resources to engage in shadow work effectively. Sometimes, the environment can create additional challenges or barriers that limit one’s ability to cope with the shadow material.
For example, a person may face social stigma, discrimination, or oppression for expressing their shadow traits, or they may lack access to safe spaces, supportive relationships, or professional help. In these cases, shadow work can become overwhelming and harmful, rather than healing and empowering.
This is why it is often recommended that shadow work is done with the guidance and assistance of a counsellor or therapist, who can provide a caring and supportive environment for the person to explore their shadow (Johnson, 1993). A counsellor can also help the person identify and use their strengths and resources to overcome their challenges and achieve their goals.
One popular song that deals with Jungian shadow work is Billie Eilish’s “bury a friend” (2019). The song explores the dark side of the singer’s personality, as well as her fears, insecurities, and self-destructive impulses. The lyrics suggest that she is confronting her shadow, which Jung defined as “the ‘dark side’ of our personality because it consists chiefly of primitive, negative human emotions and impulses like rage, envy, greed, selfishness, desire, and the striving for power” (Awaken, 2022).
For example, she sings: “What do you want from me? Why don’t you run from me? What are you wondering? What do you know?” These questions imply that she is trying to understand and integrate her shadow, rather than deny or repress it. She also sings: “I wanna end me. I wanna end them. I wanna, I wanna, I wanna … end me.” These lines reveal her suicidal and homicidal tendencies, which are part of her shadow. She also references nightmares, monsters, and demons, which are symbolic expressions of her unconscious fears and conflicts.
According to Jungian analysts, shadow work is “a method called Shadow work is practised through active imagination with daydreaming and meditation —the experience is then mediated by dialectical interpretation through narrative and art” (Wikipedia, 2023).
By writing and performing this song, Eilish is engaging in a form of shadow work that allows her to express and transform her dark emotions through art. She is also inviting the listeners to reflect on their own shadows and to face them with courage and curiosity.
A common situation, where a person unwittingly enters into shadow work and finds it overwhelming, is when they find themselves taking psychedelics without proper preparation. For example, after having randomly taken them at a music festival. It’s funny how many people offering such diversions seem to have so little understanding of what they are potentially causing their “friend” to go through, and how little advice or after care they offer.
Psychedelics are substances that alter perception, cognition, mood, and sense of self, often inducing mystical or transcendent experiences (Nichols, 2016). However, these experiences can also be terrifying, confusing, or traumatic, especially if the person is not prepared for them or does not have a supportive environment or guidance.
This is because our shadows are not just lost and rejected aspects of our childhood selves. Jung spoke of the collective unconscious, and of the archetypes that dwell there and also influence us. Sometimes, those archetypes are the darkest of dark, and sometimes, during that “sweet trip”, it’s these that come forward.
Psychedelics can act as catalysts for shadow work, bringing to the surface the hidden or denied parts of oneself that need to be acknowledged and healed (Grof, 1985). However, this can also be overwhelming, as the person may face intense emotions, memories, fears, or fantasies that they are not ready to deal with.
Moreover, psychedelics can also tap into the collective unconscious, the shared psychic reservoir of humanity that contains the archetypes, symbols, myths, and patterns that shape our collective and individual psyche (Jung, 1959). These archetypes can be positive or negative, such as the hero, the mother, the trickster, or the shadow. The shadow archetype represents the dark side of human nature, the evil, immoral, or destructive impulses that we usually repress or deny (Jung, 1959). Sometimes, during a psychedelic trip, the person may encounter their own shadow or the collective shadow, which can be terrifying and disturbing.
Therefore, taking psychedelics without proper preparation can be a risky and dangerous endeavour. The person may not be aware of what they are getting into or what they may encounter during their trip. They may not have the psychological tools or resources to cope with the challenges or insights that arise. They may not have the support or guidance from someone who understands the nature and purpose of psychedelics and shadow work. Likewise, they may end up having a negative or harmful experience that leaves them traumatized, confused, or worse.
As one researcher put it: “Psychedelics are not for everyone. They’re not even for most people. They’re only for people who are willing to take a serious look at themselves and their lives” (Pollan, 2018).
Let us consider some examples of how shadow work can be done differently depending on one’s resilience and environment.
Suppose a person has a shadow trait of anger that they have repressed for a long time because they were taught that anger is bad and unacceptable. If this person has a high level of resilience and a supportive environment, they may be able to acknowledge and express their anger in healthy ways, such as through art, music, or physical activity. They may also be able to understand the root causes of their anger and address them constructively. They may see their anger as a source of energy and motivation, rather than as a problem or a threat.
On the other hand, if this person has a low level of resilience and an unsupportive environment, they may struggle to cope with their anger and may lash out at others or themselves in destructive ways. They may feel guilty, ashamed, or afraid of their anger and try to suppress it even more. They may see their anger as a sign of weakness or failure, rather than as an opportunity for growth.
Shadow work can be a beneficial or detrimental process depending on one’s level of resilience and the support available. Resilience can be enhanced by adopting a compassionate, accepting, and understanding attitude towards oneself and one’s shadow, as suggested by Rogers (1961). However, sometimes the environment can pose challenges or threats that make shadow work difficult or dangerous. In these cases, it is advisable to seek professional help from a counsellor who can provide a safe and supportive space for shadow work.
Awaken. (2022). A definitive guide to Jungian shadow work. Retrieved from https://awaken.com/2022/01/a-definitive-guide-to-jungian-shadow-work/
Eilish, B., & O’Connell, F. (2019). Bury a friend [Recorded by Billie Eilish]. On WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? [Album]. Darkroom/Interscope Records.
Grof, S. (1985). Beyond the brain: Birth, death and transcendence in psychotherapy. State University of New York Press.
Jung, C.G. (1959). The archetypes and the collective unconscious. Routledge & Kegan Paul.
Jung, C.G. (1958). The undiscovered self: Present and future. Routledge & Kegan Paul.
Johnson R.A. (1993). Owning your own shadow: Understanding the dark side of the psyche. HarperOne.
Nichols D.E. (2016). Psychedelics. Pharmacological Reviews 68(2):264-355.
Pollan M. (2018). How to change your mind: What the new science of psychedelics teaches us about consciousness, dying, addiction, depression, and transcendence. Penguin Press.
Rogers, C.R. (1961). On becoming a person: A therapist’s view of psychotherapy. Houghton Mifflin.
Southwick S.M., & Charney D.S. (2012). Resilience: The science of mastering life’s greatest challenges. Cambridge University Press.
Wikipedia. (2023). Shadow (psychology). Retrieved from https://en.wikipedia.org/wiki/Shadow_%28psychology%29
Dec 30
Welcome to George’s blog. I play keyboards in the Alice Syndrome, and I’m also very interested in psychology, spirituality and self-transcendence. Groovhead tends to write all our lyrics, which always touch on subjects that hit deep into my interests. Haiku Priestess Our track, “Haiku Priestess”, is a tribute to the Japanese art of haiku, a …
Welcome to George’s blog. I play keyboards in the Alice Syndrome, and I’m also very interested in psychology, spirituality and self-transcendence. Groovhead tends to write all our lyrics, which always touch on subjects that hit deep into my interests.
This is a difficult question to answer, but it is a common observation that many bands lose their way after reaching a peak of popularity and recognition. They stop growing artistically and creatively, and instead repeat the same formula that brought them success. Is this because of external pressure from their management or fans, or is it because of internal factors such as complacency or lack of inspiration? This question has been explored by some scholars and critics who have examined the relation between music and transcendence.
Transcendence is a term that can have different meanings, but in general, it refers to an experience that goes beyond the ordinary perception and reality, and connects one with something greater, mysterious, or spiritual. Music can be a powerful medium for inducing such experiences, as it can evoke emotions, memories, images, and sensations that transcend the mundane and rational. It can also be a way of expressing one’s identity, values, and beliefs, and of communicating with others who share them.
Music can lead to success by attracting audiences, generating revenues, creating opportunities, or influencing culture. However, success can also have a negative impact on music and transcendence. Success can create expectations and demands that limit the artistic freedom and experimentation of musicians.
The issue of success and transcendence is not a simple one, but rather a complex and nuanced one that depends on various factors and perspectives. Bands and musicians who achieve success often find themselves coming under various pressures, both internally and externally, for example:
For example, Bob Dylan faced backlash from his fans when he switched from acoustic to electric guitar in the mid-1960s, as they accused him of betraying his folk roots and selling out to the mainstream (Sounes, 2001).
Success can also make musicians lose touch with their original motivation and passion for making music, and instead focus on pleasing the market or maintaining their status. For instance, Kurt Cobain struggled with depression and addiction as he felt overwhelmed by the fame and pressure that came with being the leader of Nirvana, the most popular rock band of the early 1990s (Cross, 2001).
Success can also alienate musicians from their fans or peers, who may perceive them as sell-outs or traitors to their genre or culture. For example, Taylor Swift faced criticism from her country fans when she transitioned to pop music in the late 2010s, as they felt she abandoned her roots and authenticity for commercial success (Caramanica, 2019).
Therefore, success can be a double-edged sword for musicians who seek transcendence through music. While success can bring rewards and recognition, it can also pose challenges and risks that may compromise the quality and integrity of music. Musicians who aspire to achieve both success and transcendence need to balance their artistic vision and personal values with the demands and expectations of the industry and the audience.
Some examples of bands that have been accused of losing their transcendence after achieving success are U2, Metallica, Coldplay, and Radiohead. These bands have been criticized for changing their style, compromising their integrity, or becoming too mainstream or commercial. However, some of these bands have also defended their choices as artistic evolution, creative challenge, or social engagement. Therefore, the question of success and transcendence is not only a matter of musical quality, but also of personal taste, preference, and interpretation.
For instance, U2 have been accused of “selling out” by adopting a more pop-oriented sound in the 1990s and collaborating with producers such as Brian Eno and Daniel Lanois. However, the band’s lead singer Bono has argued that “we were trying to make music that was more relevant to the world we lived in” (Bono, 2006, p. 12).
Similarly, Metallica have faced backlash from some fans for experimenting with different genres and styles, such as alternative rock, symphonic metal, and country music. However, the band’s drummer Lars Ulrich has stated that “we’ve always followed our own path and done whatever we felt was right for us” (Ulrich, 2011, p. 45).
Coldplay and Radiohead have also been subject to criticism for changing their musical direction over time, but both bands have expressed their desire to explore new sounds and challenge themselves creatively. Coldplay’s frontman Chris Martin has said that “we don’t want to make the same record twice” (Martin, 2008, p. 67), while Radiohead’s guitarist Jonny Greenwood has explained that “we’re always looking for something that surprises us and makes us feel alive” (Greenwood, 2016, p. 34).
One possible explanation for why some bands lose their creative edge after achieving success is based on the concept of musical self-concept, which refers to how individuals perceive their musical abilities, skills and identity (Mawang et al., 2019).
According to this perspective, a band that works together in obscurity may develop a high level of musical self-concept, both individually and collectively, as they express their true selves through their music and achieve a state of flow, which is a psychological state of optimal engagement and enjoyment in an activity (Csikszentmihalyi, 1990). This may result in transcendent music that attracts public attention and recognition.
However, once the band becomes successful, they may face new challenges and expectations that affect their musical self-concept. For example, they may adopt a new label of “pop star” and feel pressured to conform to the norms and standards of the music industry, which may differ from their original vision and values. They may also experience self-doubt and insecurity about their musical abilities and identity, and start to imitate other successful artists rather than following their own intuition and creativity.
As a result, they may lose touch with their true selves and their inner musicians, and present a false self to the world, including their bandmates. This may lead to a decline in empathy, communication and collaboration among the band members, as well as a loss of musical creativity and originality. Instead of producing new and innovative music that reflects their authentic selves, they may resort to repeating old ideas or copying existing ones.
Therefore, this is one way of understanding how changes in musical self-concept can affect musical creativity in bands. Musical self-concept is influenced by various factors, such as feedback, social comparison, self-evaluation and motivation (Mawang et al., 2019). A positive musical self-concept can enhance musical creativity by fostering confidence, curiosity and intrinsic motivation, while a negative musical self-concept can hinder musical creativity by inducing anxiety, boredom and extrinsic motivation. Thus, it is important for musicians to maintain a positive musical self-concept that aligns with their true selves and their musical goals, regardless of their level of success or failure.
We can also look at another theory which looks at creativity in music. The Four-Stage Model of Creativity (Wallas, 1926) suggests that creative thinking involves four phases: preparation, incubation, illumination, and verification.
According to this model, a band that works together in obscurity may be engaged in the preparation phase, where they gather information and explore various musical possibilities. The incubation phase may occur when they take a break from their work and let their subconscious mind process the information.
The illumination phase may happen when they have a sudden insight or inspiration that leads them to create a novel and original musical product. The verification phase may involve testing and refining their product until they are satisfied with it.
However, when a band becomes successful and adopts a new label, “pop star”, they may face some challenges in maintaining their creative process. For instance, they may experience pressure from external sources, such as fans, critics, or producers, who have certain expectations or demands for their music. This pressure may interfere with their intrinsic motivation and enjoyment of music making, which are important factors for creativity (Amabile, 1996).
They may also experience anxiety or fear of failure or rejection, which may inhibit their willingness to take risks or experiment with new ideas (Barbot & Lubart, 2012). Moreover, they may develop a fixed mindset about their musical abilities, which may make them believe that they have a limited amount of talent or potential that cannot be improved (Dweck, 2006). This mindset may prevent them from seeking feedback or learning from their mistakes, which are essential for creativity (Ericsson et al., 2006).
To overcome these challenges and regain their transcendence, a band may need to adopt some strategies that can foster their creative thinking in music. For example, they can use the Systems Theory of Creativity (Csikszentmihalyi, 1999), which emphasizes the role of the social and cultural context in shaping and evaluating creativity.
According to this theory, a band can enhance their creativity by interacting with other musicians or artists who can provide them with support, inspiration, or collaboration. They can also expose themselves to different genres or styles of music that can broaden their musical horizons and stimulate their imagination. Furthermore, they can seek feedback from experts or peers, who can offer them constructive criticism or suggestions for improvement.
Another strategy that a band can use is to apply the Divergent Thinking approach to creativity (Guilford, 1967), which involves generating multiple possible solutions or alternatives for a given problem or task. By using divergent thinking, a band can increase their fluency, flexibility, originality, and elaboration of their musical ideas.
They can also use various techniques or tools that can facilitate divergent thinking, such as brainstorming, mind mapping, analogies, metaphors, or random stimuli. For example, a band can brainstorm different ways of expressing a certain emotion or theme through music.
They can also use mind maps to organize their ideas into categories or subcategories. Mind maps are a visual technique that can help with note-taking, revision, and brainstorming. They consist of a central topic or idea and branches that connect related concepts or information. Mind maps can show connections, provide an overview, and facilitate memory recall (The Open University, n.d.). To create a mind map, one can use software applications or draw by hand. To add references to mind map nodes, one can use the specification window and select the type of reference to insert (The Open University, n.d.).
They can also use analogies or metaphors to compare their music to something else that is unrelated but similar in some way. Furthermore, they can also use random stimuli, such as words, images, sounds, or objects, to trigger new associations or connections.
By using these strategies, a band can regain their transcendence and create more novel and original musical offerings that reflect their true self and musical intuition. They can also avoid copying others out of insecurity or conformity, and instead develop their own unique voice and identity as musicians.
As Ritter and Ferguson (2017) suggest, “listening to music can affect our cognitive abilities and creative cognition, and it is believed that this effect is caused by music’s impact on our mood” (p. 1). Therefore, by creating music that makes them happy, a band can also boost their creativity and wellbeing.
Success can have both positive and negative effects on musicians and their sense of transcendence, and the originality and passion they put into the music they make. Success can provide opportunities, resources, and recognition for musicians, but it can also impose constraints, pressures, and conflicts that can ultimately staunch their creative flow.
Amabile, T. M. (1996). Creativity in context: Update to the social psychology of creativity. Westview Press.
Barbot, B., & Lubart, T. (2012). Creative thinking in music: Its nature and assessment through musical exploratory behaviors. Psychology of Aesthetics, Creativity, and the Arts, 6(3), 231–242. https://doi.org/10.1037/a0027308
Becker J. (2004). Deep listeners: Music emotion and trancing. Indiana University Press.
Bono. (2006). U2 by U2. London: HarperCollins.
Caramanica, J. (2019). Taylor Swift’s ‘Lover’ feints toward feminism and politics. The New York Times. https://www.nytimes.com/2019/08/23/arts/music/taylor-swift-lover-review.html
Cross, C. (2001). Heavier than heaven: A biography of Kurt Cobain. Hyperion.
Gabrielsson, A. (2011). Music and transcendence. In Strong experiences with music: Music is much more than just music (pp. 159-170). Oxford University Press.
Csikszentmihalyi, M. (1999). Implications of a systems perspective for the study of creativity. In R. J. Sternberg (Ed.), Handbook of creativity (pp. 313–335). Cambridge University Press.
Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.
Dweck, C. S. (2006). Mindset: The new psychology of success. Random House.
Ericsson, K. A., Charness, N., Feltovich, P. J., & Hoffman, R. R. (Eds.). (2006). The Cambridge handbook of expertise and expert performance. Cambridge University Press.
Greenwood, J. (2016). Interview with Rolling Stone. Retrieved from https://www.rollingstone.com/music/music-news/radioheads-jonny-greenwood-on-the-making-of-a-moon-shaped-pool-106109/
Guilford, J. P. (1967). The nature of human intelligence. McGraw-Hill.
Martin, C. (2008). Interview with Q Magazine. Retrieved from https://www.qthemusic.com/articles/interviews/archive/2008/06/02/q272-coldplay
Mawang, L. L., Kigen, E. M., & Mutweleli, S. M. (2019). The relationship between musical self-concept and musical creativity among secondary school music students. International Journal of Music Education, 37(1), 78–90. https://doi.org/10.1177/0255761418798402
Ritter, S. M., & Ferguson, S. (2017). The effect of music on creative cognition. Cornerstone. https://www.cornerstonelondon.com/2020/11/01/the-effect-of-music-on-creative-cognition/
Sounes, H. (2001). Down the highway: The life of Bob Dylan. Grove Press.
The Open University. (n.d.). Note-taking techniques: Mind maps. Retrieved December 29, 2023, from https://help.open.ac.uk/notetaking-techniques/mind-maps
Visual Paradigm. (2018, May 2). Adding references to Mind Map nodes. https://circle.visual-paradigm.com/docs/mind-mapping/mind-mapping-diagram/reference-to-mind-map-nodes/
Waldron, J., & Cusick, S.G. (Eds.). (2016). Resounding transcendence: Transitions in music, religion and ritual. Oxford University Press.
Wallas, G. (1926). The art of thought. Harcourt Brace.
Ulrich, L. (2011). Interview with Metal Hammer. Retrieved from https://www.loudersound.com/features/lars-ulrich-the-10-albums-that-changed-my-life
Dec 29
Why do many bands and musicians seem to lose their way after achieving transcendent success? Let’s see if we can answer this question.
Welcome to George’s blog. I play keyboards in the Alice Syndrome, and I’m also very interested in psychology, spirituality and self-transcendence. Groovhead tends to write all our lyrics, which always touch on subjects that hit deep into my interests.
One of the most rewarding experiences for a musician is to achieve a state of self-transcendence, which is the state of being beyond the limits of the ego and the self. Self-transcendence can be described as a feeling of connection with something greater than oneself, such as a higher power, nature, humanity, or the universe. Self-transcendence can also be experienced as a sense of harmony, joy, peace, and creativity (Maslow, 1971).
However, many musicians struggle with self-doubt, anxiety, perfectionism, and fear of failure, that prevent them from reaching this state. How can musicians overcome these barriers and access their true potential as artists? In this article, I will explore how some concepts from Rogerian psychology and parts-working therapy can help musicians achieve self-transcendence through music.
According to Carl Rogers, one of the founders of humanistic psychology, every person has a true self and a false self. The true self is the authentic and spontaneous expression of one’s personality, values, and desires.
The false self is the distorted and defensive image of oneself that is shaped by external influences, such as social expectations, cultural norms, and parental messages. The false self often acts as a mask that hides the true self from others and from oneself.
Rogers believed that the main goal of psychotherapy is to help clients discover and accept their true selves, and to live in harmony with their inner nature. He proposed three core conditions for facilitating this process: empathy, unconditional positive regard, and congruence. Empathy is the ability to understand and share the feelings of another person without judgment or evaluation. Unconditional positive regard is the acceptance and appreciation of another person, regardless of their flaws or mistakes. Congruence is the consistency and honesty between one’s thoughts, feelings, and actions.
How does this apply to musicians? We can think of musicians as having three aspects of their musical identity: the true musician, the false musician, and the ideal musician. The true musician is the expression of one’s musical talent, passion, and creativity. The false musician is the manifestation of one’s fears, insecurities, and self-criticism. The ideal musician is the representation of one’s goals, aspirations, and standards.
The false musician often interferes with the true musician by creating negative thoughts and feelings about one’s musical abilities and performance. For example, the false musician may say things like “I have to play like Hendrix”, “I have to be perfect”, “I have to impress everyone”, “I have to be original”, “I’m not good enough”, “I can’t play this piece”, “I will make mistakes”, “I will disappoint my audience”, or “I will be rejected”. These thoughts create anxiety, stress, and frustration that hinder the musical flow and enjoyment.
The false musician is not authentic, but rather tries to conform to what others want or think is good. The false musician is also disconnected from the true musician, which is the part of the self that is aligned with the core values, passions, and talents of the individual. The true musician is not concerned with pleasing others or achieving fame or recognition, but rather enjoys making music for its own sake and for the benefit of others. The true musician is also in touch with the flow of self, which is the source of inspiration, intuition, and creativity (Schwartz & Sweezy, 2019).
The key to achieving self-transcendence as a musician is to align the ideal musician with the true musician, and to reduce the influence of the false musician. This can be done by using parts-working techniques that help musicians identify, understand, and communicate with their different parts. Parts-working is a form of therapy that views each person as a system of subpersonalities or parts that have their own feelings, thoughts, beliefs, and motivations. Parts-working helps clients integrate their parts into a coherent whole that supports their wellbeing and growth.
One way that musicians can overcome the false musician and access the true musician is by using parts-working concepts. This is a therapeutic approach that helps individuals identify and understand the different parts of their selves that have different needs, feelings, and goals. Parts-working also helps individuals communicate with their parts in a loving, supportive, and empathic way, and integrate them into a coherent and harmonious whole. Parts-working assumes that every part has a positive intention and a valuable role to play in the self-system (Schwartz & Sweezy, 2019).
One of the most common parts-working methods is called Internal Family Systems (IFS), developed by Richard Schwartz. IFS assumes that each person has a core self that is compassionate, curious, calm, and confident. The core self is the essence of who we are as human beings. IFS also assumes that each person has three types of parts: exiles, managers, and firefighters (Schwartz & Sweezy, 2019).
By applying parts-working to their musical practice, musicians can learn to recognize and appreciate their false musician parts, such as the critic, the perfectionist, the impostor, or the pleaser. These parts may have developed as a way of coping with past traumas, rejections, or failures, or as a way of seeking approval, validation, or acceptance from others.
However, these parts may also hinder the musical expression and development of the true musician by imposing unrealistic standards, creating anxiety and stress, or suppressing originality and spontaneity. By listening to these parts with curiosity and compassion, musicians can understand their underlying needs and fears, and negotiate with them to find a balance between striving for excellence and enjoying the process. Musicians can also invite these parts to join them in making music from a place of curiosity and experimentation rather than judgment and evaluation (Schwartz & Sweezy, 2019).
Musicians can also use parts-working to connect with their true musician parts, such as the artist, the innovator, the performer, or the collaborator. These parts are expressions of the true self, which is the essence of who they are as musicians. The true self is characterized by qualities such as confidence,
creativity, compassion, and courage.
The true self is also connected to the flow of self, which is the source of musical inspiration, intuition, and improvisation. By accessing the flow of self, musicians can transcend their ego and their self-consciousness, and become one with the music and the moment. By embracing their true musician parts, musicians can express their authentic voice and vision through music, and share their gifts and talents with others (Schwartz & Sweezy, 2019).
In addition, musicians can achieve self-transcendence is by forming bands that are based on Rogerian principles. As previously mentioned, Rogers (1951) proposed that there are three core conditions for facilitating personal growth and change: empathy, congruence, and unconditional positive regard. By applying these principles to their band interactions, musicians can create a safe, supportive, and stimulating environment for themselves and their bandmates.
They can listen to each other with empathy, express themselves with congruence, and respect each other with unconditional positive regard. They can also give and receive constructive feedback, encourage each other’s strengths and potentials, and celebrate each other’s achievements and contributions. By doing so, they can foster a sense of trust, cohesion, and belonging among themselves, and enhance their musical performance and creativity as a group. They can also experience self-transcendence as a band, by feeling connected to each other, to their audience, and to their musical purpose and mission (Rogers,
1951).
Many musicians have experienced transcendence through music. Music can be a powerful tool for accessing higher levels of consciousness, creativity, and spirituality. Here are some quotes and examples from famous musicians who have shared their transcendent experiences with music.
“My music fights against the system that teaches to live and die.” – Bob Marley (100 Music Quotes From The Best Musicians In The World, n.d.)
Marley was a reggae icon who used his music to challenge the oppression and injustice in his society. He also used his music to express his Rastafarian faith and his hope for a better world. He saw music as a weapon of resistance and liberation.
“Music comes from a place we don’t know.” – Chris Martin (100 Music Quotes From The Best Musicians In The World, n.d.)
Martin is the lead singer of Coldplay, a popular rock band that has created many hit songs with catchy melodies and meaningful lyrics. He admitted that he did not know where his musical inspiration came from, but he trusted his intuition and creativity.
“Music is the strongest form of magic.” – Marilyn Manson (100 Music Quotes From The Best Musicians In The World, n.d.)
Manson is a controversial rock star who has shocked and provoked audiences with his dark and provocative music and image. He claimed that music had the power to influence people’s emotions, thoughts, and actions in ways that other forms of art could not.
These are just some examples of musicians who have experienced transcendence through music. They show that music can be a source of joy, beauty, wisdom, rebellion, mystery, and magic for both the musicians and the listeners.
Maslow, A. H. (1971). The farther reaches of human nature. New York, NY: Viking Press.
Rogers, C. R. (1951). Client-centered therapy: Its current practice, implications and theory. London, UK: Constable.
Schwartz, R. C., & Sweezy, M. (2019). Internal family systems therapy (2nd ed.). New York, NY: Guilford Press.
The Power of Music: 30 Quotes from Famous Musicians. (2023). Retrieved from https://www.discoverwalks.com/blog/world/the-power-of-music-30-quotes-from-famous-musicians/
100 Music Quotes From The Best Musicians In The World. (n.d.). Retrieved from https://wisdomquotes.com/music-quotes/
Dec 25
One of the most rewarding experiences for a musician is to achieve a state of self-transcendence
Welcome to George’s blog. I play keyboards in the Alice Syndrome, and I’m also very interested in psychology, spirituality and self-transcendence. Groovhead tends to write all our lyrics, which always touch on subjects that hit deep into my interests.
Don’t be afraid to be selfish, to be selfish, as you need To fill your heart with love of your own being For only when you love yourself sincerely You can find joy in every moment of living Some people may condemn you for being self-centred But they are mistaken, and they don’t understand How love operates in this world That it requires self-love as the foundation So just be selfish, focus on yourself Until that love spills out of your soul Then you will naturally feel the urge To spread this love, and make others whole
Selfism is a term that refers to any philosophy, theory, doctrine, or tendency that upholds explicitly selfish principles as being desirable. It is usually used pejoratively and has been associated with various thinkers and movements, such as Ayn Rand, Objectivism, Satanism, and the New Age spirituality. However, some proponents of selfism argue that it is not a form of egotism or hedonism, but rather a way of cultivating self-love that leads to a love of all others. They claim that by concentrating on loving oneself, one can achieve a higher level of awareness, happiness, and harmony with the universe. They also assert that it is not possible to love others if one does not know love within oneself. One of the main arguments of selfism is that self-love is the foundation of all other forms of love. According to this view, one cannot give what one does not have. Therefore, if one does not love oneself, one cannot truly love others. Self-love is seen as a prerequisite for developing empathy, compassion, and altruism. Self-love is also considered to be a source of self-esteem, confidence, and authenticity. By loving oneself, one can accept oneself as one is, without needing external validation or approval. Self-love also enables one to overcome fear, insecurity, and negativity, and to pursue one’s true potential and purpose in life. However, self-love can be distorted by a false sense of ego, which, as Baumeister said, is “a psychological construct that represents one’s self-image, self-esteem, and self-concept“. Ego-based love is a conditional and superficial form of love that depends on external validation and comparison with others. Ego-based love can lead to insecurity, jealousy, envy, and resentment, as well as a lack of genuine connection and compassion. Therefore, it is crucial to distinguish between self-love and ego-based love, and to cultivate the former while avoiding the latter. As Fromm said, “Self-love is an affirmation of one’s own life, happiness, growth, freedom; it is the sine qua non of loving others”. Selfism is a controversial philosophy that advocates for self-love as the ultimate value and goal in life. It claims that by concentrating on loving oneself, one can also love others and the universe more deeply and authentically. It also argues that self-love is essential for personal growth, happiness, and spiritual enlightenment.
Dec
18
Selfism is a term that refers to any philosophy, theory, doctrine, or tendency that upholds explicitly selfish principles as being desirable
Welcome to George’s blog. I play keyboards in the Alice Syndrome, and I’m also very interested in psychology, spirituality and self-transcendence. Groovhead tends to write all our lyrics, which always touch on subjects that hit deep into my interests. The myth of origin When at last you have climbed the pinnacle And attained those giddy heights You will come to the void and nothing To your mythical beginning All came from nothing, says the myth And this is a new decision gate You can accept it and return to the world With this truth that you have heard But see what happens when you take time to think Another way appears, more fundamental than void It points to even more infinite origins The happy Society of the unified Who tell that the void is their initial dream state Whenever they go looking to create Themselves anew, to grow, expand Creating illusionary kingdoms and lands So nothing is still part of the illusion Something many have accepted as the end Yet for others there is this dimension Beyond nothing, which is actually, the only truth
The concept of the void, or the primordial nothingness that precedes creation, is a common motif in many mythologies around the world. Let’s compare and contrast how different cultures have imagined and represented the void in their cosmogenic narratives, and what implications it has for their world-view and cosmology. We can focus on seven examples: the ancient Egyptian myth of Atum and the Ogdoad, the Babylonian Enuma Elish, the Norse Gylfaginning, the Shinto creation myth, the void as seen by Buddhism, The void as seen by Christianity, and the Taoist Dao De Jing and contrast these with the Big-Bang theory. Ancient Egypt The ancient Egyptian myth of Atum and the Ogdoad describes the void as a dark and chaotic watery abyss called Nun, from which emerged a mound of earth where Atum, the self-created god, manifested himself. Atum then created the Ogdoad, a group of eight deities that represented the primal forces of nature: four male-female pairs of water, air, darkness, and infinity. The Ogdoad helped Atum to create the rest of the cosmos by separating the sky from the earth, and giving birth to the sun god Ra. The void in this myth is seen as both a source of potentiality and a threat of dissolution, as it contains both the seeds of life and the possibility of returning to chaos. Babylon The Babylonian Enuma Elish tells the story of how Marduk, the god of storm and order, defeated Tiamat, the goddess of salt water and chaos, and created the world from her corpse. Tiamat was part of a primordial pair with Apsu, the god of fresh water and wisdom, who together represented the void before creation. Apsu was killed by his offspring, the younger gods, who disturbed his sleep with their noise. Tiamat then decided to wage war against them, creating an army of monsters and choosing Kingu, her second husband, as her champion. Marduk volunteered to fight Tiamat on the condition that he would become the supreme ruler of the gods. He then split Tiamat in half, using one part to form the sky and the other to form the earth. He also captured Kingu and used his blood to create humans as servants for the gods. The void in this myth is portrayed as a hostile and chaotic force that must be subdued and controlled by a superior power. The Northern Traditions The Norse Gylfaginning recounts how Odin and his brothers Vili and Ve killed Ymir, the first giant, and created the world from his body parts. Ymir was born from the void called Ginnungagap, which was bordered by two realms: Niflheim, the land of ice and mist, and Muspelheim, the land of fire and light. From these realms came frost and fire giants, who mingled with Ymir’s sweat and produced more giants. Odin and his brothers were descendants of Burr, the first god, who was licked out of a salty ice block by a cow named Audhumla. They decided to kill Ymir and use his flesh to make the earth, his blood to make the sea, his bones to make the mountains, his teeth to make the rocks, his skull to make the sky, and his brains to make the clouds. They also took sparks from Muspelheim and made them into stars. The void in this myth is depicted as a neutral and empty space that allows for the emergence of opposites and contrasts. Shinto The concept of the void in the Shinto creation myth refers to the state of chaos and formlessness that existed before the heavens and the earth came into being. According to the Kojiki, the oldest surviving document written by the Japanese, there were two kinds of gods that emerged from this void: the Special Heavenly Gods, who were invisible and hidden, and the Seven Generations of Heavenly Gods, who were visible and active. The first two generations of the latter group were also genderless and had no mates, so they could not create anything. The third generation consisted of two gods, Izanagi and Izanami, who were given a jewelled spear by the other gods and asked to create a new land. They used the spear to stir the ocean, and when they lifted it up, drops of salt water fell from the tip and formed an island. This was the first of the eight islands that would become Japan. Izanagi and Izanami then descended to the island and performed a marriage ritual, which involved circling around a pillar in opposite directions. However, they made a mistake when Izanami spoke first when they met, which resulted in their first child being deformed. They repeated the ritual correctly, and then gave birth to many other gods and goddesses, including those of the sea, mountains, trees, and fire. The creation of fire caused Izanami’s death, as she was burned by its flames. Izanagi followed her to the underworld, but failed to bring her back. He then purified himself by washing in a river, and from his body parts sprang more gods and goddesses, including Amaterasu, the sun goddess, Tsukuyomi, the moon god, and Susanoo, the storm god. These three became the most important deities in Shinto mythology, and were regarded as the ancestors of the imperial family of Japan. Buddhism The concept of the void (śūnyatā) in is a philosophical idea that refers to the emptiness of all phenomena. It means that nothing has inherent existence, value, or identity, but rather depends on other conditions and causes. The void is not a negative or nihilistic notion, but rather a way of seeing reality as it is, without attachment, delusion, or discrimination. The void is also a state of mind that is free from ignorance, craving, and suffering. By realizing the voidness of oneself and all things, one can attain liberation and enlightenment. The concept of the void is found in various Buddhist traditions, such as Theravada, Mahayana, and Vajrayana. It is also expressed in different ways, such as the doctrine of dependent origination (pratītyasamutpāda), the two truths (samvṛti-satya and paramārtha-satya), the three marks of existence (anitya, duḥkha, anātman), and the four noble truths (duḥkha, samudaya, nirodha, mārga). The void is also related to other concepts, such as Buddha-nature (tathāgatagarbha), non-duality (advaya), and compassion (karuṇā). The concept of the void is not easy to understand or explain, as it goes beyond conventional language and logic. It can only be realized through direct experience and insight (prajñā). Christianity The concept of the void in Christianity is not clearly defined in the Bible, but it can be understood in different ways depending on the context and interpretation. Some possible meanings are: Some Christians believe that the void can be overcome by faith in Jesus Christ, who died and rose again to conquer death and sin. They believe that Jesus is the way, the truth and the life, who can fill the emptiness of the human heart with his love and presence. They also hope for the resurrection of the dead and the new creation, where there will be no more death, mourning, crying or pain (Revelation 21:4). The Dao De Jing The Taoist Dao De Jing describes the void as Dao, or the Way, which is the ultimate reality and principle behind all things. Dao is ineffable and transcendent, beyond words and concepts. It is also immanent and generative, giving rise to all phenomena without being exhausted or diminished. Dao is both being and non-being, both fullness and emptiness. It is also both active and passive, both creating and letting be. The Dao De Jing says that “Dao produces one; one produces two; two produces three; three produces all things” (chapter 42). This means that Dao manifests itself as a primal unity (one), which then differentiates into yin and yang (two), which then interact and harmonize with each other (three), which then generate all things in existence. The void in this myth is conceived as a mysterious and profound source of creativity and wisdom. The spiritual concept of creation from the void and the scientific theory of the big-bang are often seen as opposing views on the origin of the universe. However, some thinkers have suggested that they may not be mutually exclusive, but rather complementary ways of understanding the same reality. How do these creation myths relate to the scientific concept of the Big-Bang? The scientific theory of the big-bang is based on the observation that the universe is expanding and cooling from a hot and dense state that existed about 13.8 billion years ago. This state is called the singularity, and it is considered to be the beginning of space and time. The singularity was not a point in space, but a condition of infinite density and temperature that defied the laws of physics. The singularity exploded in a massive expansion that created all matter and energy in the universe. Some scholars have argued that this concept is not incompatible with spiritual understandings of a creation from the void, but rather different perspectives on the same mystery. They point out that both concepts imply that the universe came from a state that transcends our ordinary understanding of reality, and that both concepts involve a creative act that brought forth something from nothing. They also suggest that both concepts reflect the limitations of human language and cognition to grasp the ultimate nature of reality, and that both concepts are open to interpretation and revision based on new insights and discoveries. Therefore, it may be possible to reconcile the spiritual concept of creation from the void with the scientific theory of the big-bang, if we acknowledge that they are not literal descriptions of what happened, but symbolic expressions of our awe and wonder at the mystery of existence. They may be different ways of telling the same story, using different languages and metaphors. They may be complementary rather than contradictory ways of exploring the same question: where did we come from?
Dec
18
In this article, let’s compare and contrast how different cultures have imagined and represented the void in their cosmogenic narratives, and what implications it has for their world-view and cosmology.
Be Selfish
Selfism
George’s Blog: Be Selfish!
George’s Blog: The myth of origin
