Samurai Over Serbia is the second full-length album by Fishtank Ensemble. It was independently released by the band in 2007. Traditional eastern European, gypsy jazz, klezmer and original tunes are arranged to fit the ensemble’s unconventional, imaginative sound.
Directed by Jean Rollin
Starring Marie-Pierre Castel, Mireille Dargent, Philippe Gasté, Dominique, Louise Dhour
Music by Pierre Raph
Watch the full film HERE (French, with Spanish subtitles, but there’s very little dialogue).
I am supposed to tell you some of the words I heard deep down in the sea where there is so much silence and so much happens. I cut my way through the objects and objections of reality and stood before the sea’s mirror surface. I had to wait until it burst open and allowed me to enter the huge crystal of the inner world. With the large lower star of disconsolate explorers shining above me, I followed Edgar Jené beneath his paintings.
Though I had known the journey would be strenuous, I worried when I had to enter one of the roads alone, without a guide. One of the roads! There were innumerable, all inviting, all offering me different new eyes to look at the beautiful wilderness on the other, deeper side of existence. No wonder that, in this moment when I still had my own stubborn old eyes, I tried to make comparisons in order to be able to choose. My mouth, however, placed higher than my eyes and bolder for having often spoken in my sleep, had moved ahead and mocked me: ‘Well, old identity monger, what did you see and recognize, you brave doctor of tautology? What could you recognize, tell me, along this unfamiliar road? An also-tree or almost-tree, right? And now you are mustering your Latin for a letter to old Linnaeus? You had better haul up a pair of eyes from the bottom of your soul and put them on your chest: then you’ll find out what is happening here.’
Now I am a person who likes simple words. It is true, I had realised long before this journey that there was much evil and injustice in the world I had now left, but I had believed I could shake the foundations if I called things by their proper names. I knew such an enterprise meant returning to absolute naïveté. This naïveté I considered as a primal vision purified of the slag of centuries of hoary lies about the world. I remember a conversation with a friend about Kleist’s Marionette Theatre. How could one regain that original grace, which would become the heading of the last and, I suppose, loftiest chapter in the history of mankind?
It was, my friend held, by letting reason purify our unconscious inner life that we could recapture the immediacy of the beginning – which would in the end give meaning to our life and make it worth living. In this view, beginning and end were one, and a note of mourning for original sin was struck. The wall which separates today from tomorrow must be torn down so that tomorrow could again be yesterday. But what must we actually do now, in our own time, to reach timelessness, eternity, the marriage of tomorrow-and-yesterday? Reason, he said, must prevail. A bath in the aqua regia of intelligence must give their true (primitive) meaning back to words, hence to things, beings, occurrences. A tree must again be a tree, and its branch, on which the rebels of a hundred wars have been hanged, must again flower in spring.
Here my first objection came up. It was simply this: I knew that anything that happened was more than an addition to the given, more than an attribute, more or less difficult to remove from the essence, that it changed the essence in its very being and thus cleared the way for ceaseless transformation.
My friend was stubborn. He claimed that even in the stream of human evolution he could distinguish the constants of the soul, know the limits of the unconscious. All we needed was for reason to go down into the deep and haul the water of the dark well up to the surface. This well, like any other, had a bottom one could reach, and if only the surface were ready to receive the water from the deep, the sun of justice shining, the job would be done. But how can we ever succeed, he said, if you and people like you never come out of the deep, never stop communing with the dark springs?
I saw that this reproach was aimed at my professing that, since we know the world and its institutions are a prison for man and his spirit, we must do all we can to tear down its walls. At the same time, I saw which course this knowledge prescribed. I realised that man was not only languishing in the chains of external life, but was also gagged and unable to speak – and by speaking I mean the entire sphere of human expression – because his words (gestures, movements) groaned under an age-old load of false and distorted sincerity. What could be more dishonest than to claim that words had somehow, at bottom, remained the same! I could not help seeing that the ashes of burned-out meanings (and not only of those) had covered what had, since time immemorial, been striving for expression in man’s inner most soul.
How could something new and pure issue from this? It may be from the remotest regions of the spirit that words and figures will come, images and gestures, veiled and unveiled as in a dream. When they meet in their heady course, and the spark of the wonderful is born from the marriage of strange and most strange, then I will know I am facing the new radiance. It will give me a dubious look because, even though I have conjured it up, it exists beyond the concepts of my wakeful thinking; its light is not daylight; it is inhabited by figures which I do not recognise, but know at first sight. Its weight has a different heaviness, its colour speaks to the new eyes which my closed lids have given one another; my hearing has wandered into my fingertips and learns to see; my heart, now that it lives behind my forehead, tastes the laws of a new, unceasing, free motion. I follow my wandering senses into this new world of the spirit and come to know freedom. Here, where I am free, I can see what nasty lies the other side told me. Continue reading
Just dropped today! From the album Lest We Forget What We Came Here To Do, released 25 September on Naim Jazz Records.
Just dreamed I was working at a mattress abattoir/factory in some long ago time and place. The mattresses were somehow living organisms. I had to use a guillotine and also sometimes a huge cleaver, if the guillotine didn’t slice all the way through, and chop them cleanly and very systematically, blood pooling on the rushes underfoot. Every blow I dealt nauseated me to tears. There was a foreman forcing me to speed up all the time. There was nothing else to the dream but this enforced, repetitive violence, and all I could do to try to make it better was to do the awful hacking with more precision.
But what does it mean?
Myself, I think it has to do with being inescapably forced to inhabit the violent, corporate machine of colonialism… I’m working on knowledge production about Africa by missionaries and scientists, through looking at archival objects, which are objects but also subjects, violently wrenched from their contexts. The mattress here symbolises something… maybe related to peace of mind, restfulness, not being awake or aware… I don’t know. Whatever it is, it is being violently ruptured. I think this could be about being forced to make one’s bed to lie in, as a researcher and writer inserted into the chain of murderous history, unable to escape perpetuating it even as I try to undo it, still half asleep.