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De leerstellingen van George Ivanovitch Gurdjieff worden zelfs bezongen - 2

Ditmaal is Kate Bush aan de beurt…
door Tsenne Kikke - zondag 12 juli 2020 20:21

Kate Bush, indien je ze graag hoort zingen, is volgens mij de enige moderne Engelstalige 'popster', die in haar liedjes zo nu en dan eens naar Gurdjieff verwijst. Voorbeelden daarvan zijn 'Kite', 'Them Heavy People' - en, 'The Man with the Child in his Eyes', zou over Gurdjieff zelf gaan. Dat is wat sommigen althans beweren... Daarin roept de briljante, maar eenvoudige pianobegeleiding de golven op die naar de kust rollen, terwijl ze over een man zingt die haar over de zee, over al zijn liefde tot in de eeuwigheid vertelt. Ze schreef dat lied toen ze 13 was en vertolkte het op haar zestiende. Later gaf ze toe dat ze reeds als kind tot oudere, en dus rijpere mannen was aangetrokken.

'The Man with the Child in his Eyes' begint met de woorden: "I hear him before I go to sleep and focus on the day that’s been," verwijzend naar een Gurdjieff-oefening, waarin hij ons aanraadde om vooraleer in te slapen de ganse dag te overlopen, bij bepaalde dingen stil te staan, correcties aan te brengen, en vast te stellen hoeveel maal je die dag effectief 'bewust' was.

Kate Bush heeft ook een eigen encyclopedie, 'Kate Bush Encyclopedia' genaamd. Over haar lied 'Kite', die ze uitbracht toen ze slechts 19 jaar jong was, beginnende met de woorden: "Beelzebub is aching in my belly-o", staat er, onder andere, het volgende op vermeld: "In the song, the character starts to feel that he is rooted to the ground, but there is a force pulling him up to the sky. A voice calls out, "Come up and be a kite", and he is drawn up to the sky and takes the form and texture of a kite. Suddenly he's flying "like a feather on the wind", and for a while he enjoys it; but the longing for home and the security of the ground overtake these feelings."

Kite
 
[Refrain]
Come up and be a kite

[Verse 1]
Beelzebub is aching in my belly-o
My feet are heavy and I'm rooted in my wellios
And I want to get away and go
I want to be
From all these mirror windows
I want to be home
I look at eye level, it isn't good enough
And then I find it out when I take a good look up
There's a hole in the sky with a big eyeball
There's a hole in the, there's a hole in the sky
Calling me

[Chorus]
Come up and be a kite
And fly a diamond night
A diamond kite, a diamond kite
Ooh, what a diamond!
A diamond kite on a diamond flight
Over the lights, under the moon
Over the lights, under the moon
Over the moon, over the moon
[Refrain]
Come up and be a kite

[Verse 2]
I feel a rush along my body, like a bullet
I'm 2D after a push-and-pull feeling
And I want to get back to safe home
I want to be
I love the homeland dome
I want to be home
I got no limbs, I'm like a feather on the wind
I'm not sure if I want to be up here at all
And I'd like to be back on the ground
I'd like to be, I'd like to be down
But I don't know how to get down-down-down

[Chorus]
Come up and be a kite
And fly a diamond night
A diamond kite, a diamond kite
Ooh, what a diamond!
A diamond kite on a diamond flight
Over the lights, under the moon
Over the lights, under the moon
Over the moon, over the moon
[Refrain]
Come up and be a kite
Come up and be a kite

En, daarin schreef ze over 'Them Heavy People'...

"The idea for 'Heavy People' came when I was just sitting one day in my parents' house. I heard the phrase "Rolling the ball" in my head, and I thought that it would be a good way to start a song, so I ran in to the piano and played it and got the chords down. I then worked on it from there. It has lots of different people and ideas and things like that in it, and they came to me amazingly easily - it was a bit like 'Oh England', because in a way so much of it was what was happening at home at the time. My brother and my father were very much involved in talking about Gurdjieff and whirling Dervishes, and I was really getting into it, too. It was just like plucking out a bit of that and putting it into something that rhymed. And it happened so easily - in a way, too easily. I say that because normally it's difficult to get it all to happen at once, but sometimes it does, and that can seem sort of wrong. Usually you have to work hard for things to happen, but it seems that the better you get at them the more likely you are to do something that is good without any effort. And because of that it's always a surprise when something comes easily. I thought it was important not to be narrow-minded just because we talked about Gurdjieff. I knew that I didn't mean his system was the only way, and that was why it was important to include whirling Dervishes and Jesus, because they are strong, too. Anyway, in the long run, although somebody might be into all of them, it's really you that does it - they're just the vehicle to get you there."

Over 'The Man With The Child In His Eyes'...

"The inspiration for 'The Man With the Child in His Eyes' was really just a particular thing that happened when I went to the piano. The piano just started speaking to me. It was a theory that I had had for a while that I just observed in most of the men that I know: the fact that they just are little boys inside and how wonderful it is that they manage to retain this magic. I, myself, am attracted to older men, I guess, but I think that's the same with every female. I think it's a very natural, basic instinct that you look continually for your father for the rest of your life, as do men continually look for their mother in the women that they meet. I don't think we're all aware of it, but I think it is basically true. You look for that security that the opposite sex in your parenthood gave you as a child."

"Vind mensen, die in zichzelf zowel de motivatie als de aangeboren drijfveer hebben om aan hun Innerlijke Zelf te werken, en we zullen hen gidsen."

- DIMschool vzw, gespecialiseerd in Zelfkennis, zijnde: het kennen van het Zelf -

(Interesse?... Laat je niet door jouw ego tegenhouden, indien jij je innerlijk geroepen voelt!)

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