Assembled by Fayra Teeters

In this month’s Musings the SICA-USA Board would like to explore what it means to expand the definition of Subud Culture into a more inclusive outreach. We sometimes take the position that Culture (with a Capital C!) lives exclusively within the sphere of artists’ or writers’ creative outflows. What about the notion that anyone who is willing to take a deep dive into their inner awareness, allow their receiving to guide their thoughts and actions, then share their insights with the outside world – is an expression of true Culture?

Performing artists refer to the receiving state as “being in the zone”:  becoming one with a river of creativity that feels connected to God. When I shared this concept with a long-time trusted friend who is not in Subud, she responded with a knowing nod, “I often feel that when I’m teaching, trying to find ways for my students to open up to exploring new ideas.” As a teacher she definitely was “in the zone” – connected with her inner and releasing her receivings to positively improve the lives of her students.

In the SICA-USA Project Grant Information Sheet, we list a pantheon of pursuits that are not normally thought of as artistic: animal husbandry, social working, teaching and education reform, psychiatry, medicine and the healing arts, architecture and site construction. In other words, ALL of God’s children have a place in the choir!

Yours in Subud, Fayra Teeters, SICA-USA Chair

Earlier this week I was asked to describe my influences in relation to a specific piece of music which I had written, and every day/hour/minute, my response shifted. Eventually I responded, but then felt guilty as it seemed like a snarky non-answer. Happily, I had neglected to hit the send button and so it went to the drafts folder and a day later I was able to deliver a positive, purposeful response!

Today my sister Joyce sent an obit for a writer, Tom Spanbauer. Last night we heard Jenny Scheinman and her band.  These two events left big impressions, much to do with the creative process.

Tom Spanbauer practiced what he termed dangerous writing – a process involving a lot of honesty and introspection. He wrote one of the most disturbing books I have ever read, but one with much resonance. We both grew up in Idaho and his book referred to a fictional earlier Idaho that, given my youth, rang absolutely true.

Jenny Scheinman’s band, especially the amazing Carmen Staaf on piano, really demonstrated idiosyncratic high-level, dynamic, emotional playing. It was equally clear that none of them were particularly concerned with traditional norms and also that they were deeply immersed in the understanding of the past not only of jazz, but also a great many other traditions.

So, what does this have to do with the creative process, and with Subud?  To me, it is seeing how our past affects us and also informs us – and how the latihan helps us utilize our cumulative selves, rather than being burdened by our past. It is so beautiful to see people who are reaching toward a sincere true expression to give to others, one that is based on the cumulation of their life experiences.

Jim O’Halloran, SICA-USA Treasurer
MULTIPLE MEANS OF CULTURAL EXPRESSION

“Cultural Expression” often conjures up a limiting box: a lone artist, musician, or writer battling conventions, on the edge, to bring fire back to mortals.

However, if we broaden our perspective to examine the method of cultural expression, “creativity,” we recognize its presence across diverse fields.

Creativity can be laborious work and involve dismantling limiting boxes. It sometimes requires silencing external pressures and self-doubt. Then trusting and tuning in to the universal ether-net, sensing the frequency, and taking action. There is a unique thrill when the static dies off and the inner voice leads you through miles of unfamiliar mazes and uncharted territory toward an eureka moment.

The method is a type of motion – like a disc spiraling through time in more than one direction.
Although where it is now it won’t be in the future, it often weaves its trail to loop back forward.

Limiting the application of the method to a designated specialization can remove possibilities. For example, when you have audio art crossing over into psychology; or where art and technology combine to create works affecting multiple senses; or where you have inventions, such as photography and the telegraph, triggered by artistic and creative exploration. This scratches the surface of the importance of learning, implementing, and recognizing the importance of creativity and creative thinking, or cultural expression, with many people and through many forms of work.

Roberta Hoffman, SICA-USA Secretary

Excerpted from Lawrence Pevec’s Conversation with Hanna Baerrveldt, SICA Chairperson:

Hannah was the WSA Treasurer for six years and doesn’t know why she received to accept the nomination for SICA Chair. She thinks that SICA could be a stronger force in the Subud World and wants to develop new approaches and possibly a new identity. Hannah will act largely as a coordinator and facilitator and will rely heavily on SICA Board Members for ideas, views, and vision.

I share the belief that culture, and all it entails is the road to greater recognition of Subud in the world and we need to rethink how we present ourselves. Subud members don’t necessarily think of Subud events, publications and the latihan as part of an organizational culture. It is unique, interesting and effective in drawing members together. Can this drawing together extend beyond our membership? I think it can.

It seems to me that members still separate the Latihan from the rest of Subud Culture and from their everyday, regular lives. Subud Culture as vast and complex as it is, is an integrated and balanced whole. I’m happy to be working with Hannah and the other board members for the next four years developing SICA International.

Lawrence Pevec, SICA-USA Liaison to Subud International Cultural Association.

Now it’s your turn, dear reader – please add your thoughts and “musings” on expanding the definition of Subud Culture in the Comments Section below . . .