Essay by Su Zi: Voluntary Service

 

Voluntary Service

There is a place we sleep, and often we call that place home.

The physical area around our home is our community; although we also can have communities of interest that are not as tied to walking distance, that can be just as foundational to our lives as a safe place to sleep.

Just as the quality of our sleep-nest affects us, so do the qualities of our communities; however, just as there are ways we can make more pleasant our homes, there are also ways we can make our communities more pleasant as well, by the occasional lending of a hand.

Ecological disasters do bring forth any neighbor who is adept with a chainsaw, but we need not wait to meet the neighbors until the fourth day of no power.

Yes, everyone is beleaguered with worries, and there are some people who are stymied, who might circle and snort or yowl and cause tonal chaos, or worse; however, humanity has virtues, and to this, we seek solace.

In the memory of our deepest comforts, there is pleasure. Perhaps we kept that pleasure alive through hobby. Perhaps we read up on it some. Perhaps we attended events and were immersed in a group of other people who too are there to enjoy.  We gain energization, and we carry that into our next days, sharing that happiness: we had a good time.

The adage to do what you love requires economic commitment, but

what if it was just the time of day

a day

given

It might be that you arise in the dark and first light finds you at a local park, perhaps. You cannot help but see the first of the day’s rays greet the trees, and you get to stand there a minute, however long you can hold still and watch the glow. Of course, there’s the event office, and whatever you have signed up to do, whatever equipment the event coordinator is required to provide for the day’s use: a clipboard, maybe. Every event held outside relies on volunteers, and the list of local events is not difficult to locate—festivals and exhibitions, sporting events and inter-species events such as dog trials, agricultural festivals and horse shows.

I have been a volunteer since the 20^th century, since childhood when mamma allowed me to work a shift at Barb Sielaff’s recycling center. It is what one does.

 For the past few decades, I have given of myself to those magnificent, much beleaguered beasts that city folk call horsie stuff. Over time, I have become increasingly fascinated with the influence of horses on humanity, on the best of ourselves, our humanity. We shared our lives with horses—as many of us continue to do with dogs and cats and birds and aquatics. And yes, it’s true that I, too, have been down the centerline—there are trophies and ribbons and photos and certificates—but the joy of it is more than recorded service to the sport.

It might be that

On a February morning that has been now a February morning for well-nigh thirty years, you again pass through well-known gates and great your hostess, now an acquaintance after all this time, all these shared years here.

It might be that

There is, in the glowing morning, a one hundred- and fifty-year-old run about, made of trees that no longer exist, and stunningly slender and elegant of line, the original wood a soft patina in the last of dawn.    

It might be that

You take your hat and drive through the dark, and whoever is there at the gate, you still take your spot under a certain tree. Maybe there are tents and golf carts, plastic tables and urns of coffee, a t shirt with the event logo. The layout always puts the arena on a prepared hill, carefully constructed for level footing, There are international flags, there are international languages; best of all, there are horses: a Shetland and Chincoteague and a Fjord pony, Morgans and not only the big Dutch harness horses, but teams of them—a song in percussion of hooves and earth.

It might be that

You see someone you know, have known. That the years were or were not kind matters not because here you are now, seeing them, bumping shoulders, How the hell are ya?, your hats allowing a moment’s glimpse into each other’s eye; yes, we are still here

It might be that

Here comes someone you know, early for the in-gate, circling the trees in figure eights. You remember a moment decades ago, maybe before the almost gown son on the back of the carriage was out of swaddle, and you speak a sly joke, maybe and there’s a smile. Yes, we are still here, we have seen some things, and how wonderful to see you now.

And thus, go forth: lend a hand to that which is joy, which flowers from your open heart.

    Su Zi is a writer, poet and essayist who produces a handmade chapbook series called Red Mare. She has been a contributor to GAS from back when it was called Gypsy Art Show, more than a decade ago. Check out her author page on Amazon.

The Last Tattoo by Su Zi

 

The Last Tattoo

It might be that some of us have scars—surgical or experiential—as souvenirs of where we have been. Certainly, as children, some of us might have been privy to those intimate histories of where the scar was born, how it came into existence, how we grow around it if we are lucky enough to become old trees.

It also might be that some of us have tattoos—one or many, faded or still fresh—and these too ride shotgun to every moment ever after. For those you have considered, but yet to have encountered the tattoo experience: it is intimate. For those with a few tattoos, we know of what sense of resonance we must have with the totem to choose it.

And also, it might be that there are a few tattoo collectors—people who have many tattoos. Sometimes we might see a sleeve—an entire arm—in a swirl of markings, some intricate, some boldly graphic, a personal totem of the body.

I have many tattoos. Some of them I can only see with multiple mirrors, or in photographs. There are some in places few people will see ever, although there are photographs. As a tattooed person, you will be photographed—first by the artist who takes a picture for their portfolio, which is only of your fresh tattoo prior to bandaging. It might be that you attend events specifically for tattooing, and these have a history unto themselves, as all ritual events do. At one point, there was a convention of women tattoo artists only: Marked for Life. At such conventions, there are photographers. Some of the photographers exhibit through galleries and publication. I am told that I, as a tattooed person—in addition to specific tattoos—have appeared, perpetual apparition, me—in Italy, a place I shall never see.

Eventually, it might be that some of us grow into health issues. It might be that a surgeon scars a tattoo, or that life scars a tattoo. When we wear a tattoo for years and years, it is no longer a totem on our skin, it is our skin. While archeologists have found tattooed bones, our eventual future, we are still in our skins.

But, it might be that the rigors of that intimate ritual are eventually beyond us—perhaps there is only skin on bone now.

No more new tattoos.

And so, what of what is now the last one—

For me, it is a shared tattoo with someone no longer in my life

For me, it is a mark made in grief for a life lost

It is a standard flash broken heart that can only be seen if I am warm enough to wear short sleeves. We were walk-ins right before closing, in pre-plague times when every shop had to smell of green soap. The tattoo is on my forearm, right between the elbow and the crook with visible blue veins. I cannot remember the name of the artist. The shop is now closed.

But the tattoo rides with me in everything I do—because the grief it totemized rides with me in everything I do. People might see it riding my arm between Kimo’s forearm rose and the upper sleeve done long ago by Patty Kelley; there’s rich history in all the arts, and this includes tattoos and their artists. 

And while there are many opportunities for remembrance in our ordinary days, some ritual holidays might echo deeper for our own personal ghosts. We all honor our own histories in our own ways; for some of us, we wear them as well.

Su Zi is a writer, poet and essayist who produces a handmade chapbook series called Red Mare. She has been a contributor to GAS from back when it was called Gypsy Art Show, more than a decade ago.

                     

Check out her author page on Amazon.

Live Review of ABBA by Andrew Darlington

 Ensorcelled by the September 1955 mystical vinyl codex ‘a-wop-bop-a-loo-bop-a-lop-bam-boom’ at age eight, Andrew Darlington embarked on a lifetime quest to decipher the magical incantation’s profundity, traipsing in not entirely straight lines of zigzag wandering across decades of enchantment, yet is still no closer to the true enlightenment revelation must bring. As of now, the seeking continues across a proliferation of platforms, including EIGHT MILES HIGHER .

‘THERE WAS SOMETHING 

IN THE AIR THAT NIGHT…’

Live Review Of:

ABBA: VOYAGE

at the ABBA Arena, 

Pudding Mill Lane, London E15

Wham! is playing in the toilets, which seems to be not actually catching the spirit of the event.

But there’s birdsong in the Swedish snowfall forest as the audience file in. And a glowing figure half-glimpsed moving between the tree’s relentless verticals… a girl? A stag?... someone suggests an ostrich!

Back in 1976 we were drunk on fighting the Punk wars, as intense and as ground-zero serious as breathing, as sharp as a Stanley-knife cut. ABBA were the despised mainstream Radio Two fluff, they were Mom & Dad fodder. Later, when style-bible NME was defining the ‘perfect Pop’ of ABC or Haircut 100 they neglect to mention that ABBA have already been juggling those equations for quite some time. Except they have global hits too.

Kraftwerk, with immaculate credibility, had nudged transhumanism through robotics and cyber-extensions, but here in the ABBA Arena, they’ve gone way beyond that. While the real group members are somewhere back in Sweden listening to the sweet sound of profits piling up, their avatars – ABBAtars, are performing to a full house – the audience that Benny calls ‘the fifth part of ABBA’, the dance-zone crammed too tight to gyrate little more than a sway and wave their arms. Some dressed in Xmas-tree suits of glitterlights.

This is Bjorn Again, recreated just as they were in 1979, through the good graces of Industrial Light & Magic. Playing sold-out concerts in this purpose-built arena since 27 May 2022. Opening with ‘The Visitors’, title-track of from their 1981 eighth studio album, which also turned out to be their final album of the twentieth century

‘Gimme! Gimme! Gimme!’ stays intact despite the Madonna sample, and the gender-bending TV sit-com.

‘Knowing Me, Knowing You’ rises above Alan Partridge, and touchingly, despite the pain and bitterness of divorce and separation, their images are embracing here.

You wonder what you’re actually applauding. They’re not here! You applaud the memories, the spectacle… and there is a ten-piece live band to add authenticity, the band who do ‘Does Your Mother Know’ without ABBA’s participation, with Cleopatra Rey, Carlene Graham and Kara-Ami McCreanor sharing vocals.

There are two numbers from the 2021 Voyage come-back studio album, ‘Don’t Shut Me Down’ and ‘I Still Have Faith In You’, in which they became their own tribute band, bookended by the ‘Rora’ video animation that Anime’s Roger Dean’s cosmic Tolkienesque choreography between ‘Eagle’ and ‘Voulez-Vous’, which solidifies into four godlike ABBA statue-faces. While each ABBA member steps out to deliver a humanising to-camera solo conversational interlude. Even though, of course, they’re not really here.

‘Chiquitita’ features a slow eclipse effect behind the four group-images, and Anni-Frid sings against the galactic swirl of stars for ‘Fernando’. They wear their piped Avatar motion-capture suits for ‘Lay All Your Love For Me’ which segues into ‘Summer Night City’. ‘Waterloo’ uses genuine old video clips, with Benny pointing out that the UK Eurovision judges awarded it nul-points! And the audience erupts for the clumsily-phrased ‘Dancing Queen’ which became the group’s only American no.1 hit. You can’t go wrong with a Dance-track in the USA.

As someone points out, if Benny & Bjorn had been called Sid & Dick, the group would have been called ASDA.

The apparent lyrical naivety of ‘Thank You For The Music’ – ‘I’ve often wondered, how did it all start? who found out that nothing can capture a heart like a melody can?’ is rescued by the throwaway quip ‘well, whoever it was, I’m a fan.’ Featured on their fifth studio The Album and the flawed 1977 ABBA: The Movie, there are now suspected traces of AI fabrication in Agnetha’s facial close-ups. Or maybe I’m being too scrupulous? We all had a secret crush on the blonde one from ABBA, even during the Punk wars! While if the pain of divorce lies behind ‘The Winner Takes It All’ – saved as the encore, it might just take their lyrics, ‘the gods may throw a dice, their minds as cold as ice, and someone way down here, loses someone dear’ into a kind of universality. Yes, that surely touches even the coldest hearts.

The four group members appear as they are today in a final cameo, although you suspect there’s been a little digital massaging even here. As Bjorn points out, it’s a time-travelling Tardis event, pleasingly mangling credibility and temporal continuity into a nonsense.

Comfort Music (Marvin Gaye’s “Mercy, Mercy”): Essay by Su Zi

GAS: Poetry, Art and Music welcomes Su Zi as a monthly columnist!

Zoeglossia Fellow 2023

Poet-writer, artist, equestrian

Creates Red Mare, an eco-feminist, poetry chapbook series that is handmade (each cover is a numbered block print, each copy is bound by hand sewing, editions limited to under 50, publishes at summer and winter solstice).

Publications in zines as well as full titles in poetry, essay, art – Multiple contributions to Unlikely Stories, automachination, GAS.

Titles from various publishers include: Danke, Flux , Chirp, Sister Woman, Solstice Epistles, Three Days, Chicago Poems, Pillar of Salt, Lit, The Tissue of Language , Building Community, Transgression in Motion,Tropical Depression, #100TPC

 Comfort Music (Marvin Gaye’s “Mercy, Mercy”)

In the social unsettlements of spring, we might find ourselves spiritually beleaguered. For those for whom the old ways of community interaction are no longer viable, there’s respite in archival music. While current times see archives themselves as being under a bit of a barbaric threat, it’s our history—the embers we pass forward as our legacy. 

If we consider the span of time for a generation to be around the half-century mark, we may find the influences of our forebearers upon our current culture. In the case of music, many automated playlists will routinely include music composed at a different time. Of all the arts, music has become the most accessible form, for while it might be some privilege or risk to attend live music performances, recorded music allows for a timeless and global experience.

In the case of plundered libraries, archival activism exists to ensure preservation and often these are curated from private collections; in music, these collections might include the holdings of a broadcast company, or someone’s private collection, and a variety of swap meets. Of course, there’s the accessibility of cyber download, from songs to the entirety of an artist’s work, and for the reason of accessibility, let us consider a widely disseminated work as viable for general social solace.

A half century ago, a single musical work that was widely disseminated was a hit, a cultural moment; as our culture has staggered into our current era, how hot is that once hit tune? While the complete works of this artist are indubitably influential, for our needs for solace, allow a listen to Marvin Gaye’s “Mercy, Mercy”, which has an Apple AI falsely cheerful introduction that includes “the revelation is that political music [...] can be inviting” and an odd reference to hippies.

A cautionary note for this-century listeners: this is analog music. There’s an orchestra playing every line of sounds on this recording—the credits list some twenty-five musicians, including two groups for additional vocals, and two people playing violin. The production team—those who published this work a half a century ago, number just under a dozen. This vintage work, an auditory composition of just over three minutes—a work of art with minimal physical existence—was the collaborative effort of dozens of people.

The piece itself begins with multiple instruments, including a piano, playing a chord twice, followed by two chords a half step higher on the scale, and then the initial vocals, which begin with the song’s chorus, it’s thesis “things ain’t what they used to be”, the repeated refrain occurring four times in the song’s three minutes. Gaye sings the single, seven syllables within the four beat bars as ditrochaic, emphasizing the “Things/What/Used /Be” and sometimes using a more trochee rhythm to stretch his tenor on the vocals for the following line. The song’s lyrics are two-line stanzas that may or may not employ end rhyme or consistent meter; instead, they read like koans, although they are structured as three citations of evidence with a fourth being conclusionary. This conclusionary stanza poses the still unanswered rhetorical question:

“What about this overcrowded land? /How much more abuse from man can she stand?”

Gaye sings the multiple syllable word as a ditrochee, speeding up his enunciation in a manner that was (and still is) a demonstration of technical ability, but which both matches the timing of the song’s general tempo. 

In counterpoint to Gaye’s smooth vocals is a saxophone solo that comes at about a minute, and after the lyrics conclude with a five-line supplication that is a change from the four, two-line lyric stanzas that support the song’s thesis.  The saxophone plays for six bars that climax with the blues squeal famous from that instrument.  It is here that the tempo’s emphasis on the third stress is most audible, and listeners often find this opportune for dancing—for interaction with the work. The final minute of the piece engages additional vocals for six bars, and a kind of denouement of instruments, a soprano voice.

Despite the remove of time, Gaye’s lyrics are unfortunately relevant still, and, in certain lights, the use of the pronoun “she” to reference the planet might still be controversial. Indeed, the song itself might be seen as controversial, since the thesis is one that asks for compassion for our obviously distraught planet. Nonetheless, the song’s elegant orchestration, still-relevant thesis, and Gaye’s sensitive tenor are still a rich offering of musical food for our soul.

Su Zi's Essay/Interview with Chester Weber

Chester Weber

There are endeavors which transcend culture, which transcend time, which have centuries of esoteric skills, and which ever lie under threat of extinction.  Sometimes, those practices have been memorialized in museums, visited in a hush; sometimes, those practices have modern play -- a common enough notion when considering theater. That which is lost we rue. Unfortunately, modern culture encourages an agoraphobia that has progressed to a bomb shelter mindset; children meet cartoon creatures and rarely pet a real rabbit. Eventually, some of us sense this loss of felt fur and become seekers: we begin to look to our most ancient lore, our most revered traditions and lost arts. Eventually, there will be a habit we can add to our lives that brings us that ancient comfort, be it birdwatching or the herbal garden; however, we cannot be true to history without eventually remembering the horses.

When one practices a skilled endeavor, there is craft involved, there is history. We walk where our ancestors once did. So too did horses. Our history is built with their strength: our roads and vehicles based upon the width of a hitched pair of horses and is thus the measure of what we build to house those vehicles since. Horses are our heritage; yet, they have been forgotten too often, and what they have to teach us is being lost.

Horses require land, and it is the land itself being taxed and stressed these days—a veritable tumult in atmosphere. With the human sprawl thoughtlessly ejaculating concrete into agricultural lands, those of us in areas of human density might feel only the need for food without care of where it comes from: the core of disposability. Yet it is the land which tells the air here is glowing green life, or here is a smelter of poison. Yet, we still revere that ancient lost green. Our language includes a horse pasture as an homage to natural beauty; our iconography includes horses in a variety of ways—yet some cities resent even a two-mile loop for a leisurely carriage ride welcoming visitors. This amputation of horses from human life parallels the untethering of human concern from the very planet upon which we live.

Perhaps it’s a matter of if we see ourselves as transient, or rooted, mused Chester Weber, in a recent (20 February 2024) interview. Weber was born in the community in which he resides, is raising his children there as well, and says that “My family has been here in the horse business since the roads were dirt. We were raised with the values of stewardship of the land.” He thinks that people feel when “it really is your home” that they are “rooted there, are people who care about the community and land.” Weber himself is a competing equestrian, having had “some luck in the sport of carriage driving”. While the history of carriage driving extends to before that of written language, Weber says that “there’s a lot of tradition in horse sport by its own nature. It became a joy, a hobby, a sport. Horse sport grows in popularity because of these magical creatures, the horses and this energy that is very open and pure”.  

It might seem impossible to remember when the arts and the sciences, the loftiest doings of humanity were all seen as that of craft. It does us well to remember the musical arts, a revered history that involves collaboration. So too does it happen that a dance with a horse becomes its own ballet. “Driving horses is a lot about harmony. The art of it is the ability to connect. I am proud when I train, and I make the most beautiful music. Horses have taught me about life and people. Horses communicate in nonverbal ways; they communicate in energy. Horses are these magical creatures. That ability to create harmony has to do with creating synergy.” It is this energy, this joy of feeling, that draws us to the arts, all and any of them. We seek to remember what we don’t know we have forgotten.

As we stride forward, seeking solace, it is our most ancient wisdoms which resonant with us. We search beyond the sterile for that which frees us. We are required to halt and squarely consider our position. Let us remember and honor more ancient practices, as we can; but we must always honor in the now as the then, our debt to the horse.

Su Zi is a writer, poet and essayist who produces a handmade chapbook series called Red Mare. She has been a contributor to GAS from back when it was called Gypsy Art Show, more than a decade ago.

                     

Check out her author page on Amazon.