Podcast
Messianic Folklore
Hosted by Immersive theological reflections on embodied life and radical imagination · EN
Theological reflection and immersive sound art by musician, poet and writer David Benjamin Blower, on sacred text, embodied life and radical imagination.
davidbenjaminblower.substack.com
davidbenjaminblower.substack.com
9episodes
Episodes
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WE ARE ALL HERE SPECIAL
3w ago00:55:18Tap to summarizeIn this podcast, DBB and Lydia Catterall talk through the new album: We Are All Here. Find the album here, on vinyl, cd, and digital download.Here’s a link to Lydia’s Substack.And here’s her other podcast, Survival Songs, where she talks with people about the songs that go deep.There are also numerous mentions of Chris Donald who plays guitar on We Are All Here and did all the design. Listen to his hardcore band Ritemaker here. It’s a strong brew. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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We Are All Here: A Crowd-Funder
Oct 2300:01:38Tap to summarizeHello all, I’m here to tell you about the crowd-funder for my new album called We Are All Here. This album is really special to me. It was made in very challenging times and is the best of my writing, the best of my imagination, the best of my hope. and it carries a kind of odd clarity that I can only ever pray will happen.Sharing this album with friends has generated a lot of excitement. My friend, the designer Chris Donald, was so excited about it that he started recording all sorts of other parts and elevated the whole soundscape to something else… and took it upon himself to begin designing a beautiful lyrics book with multiple paper and card types and fold-outs and handwritten text and so on and so forth. It’s a beautiful piece of work in its own right. This album will not be on any streaming services. We’re making a limited run of CDs and vinyl, just 50 of each; although it will also be available to buy as a digital download. To get production up and running we need pre-orders. So this is your opportunity to order yourself a copy and to help bring this piece of work into the world.Many thanks All This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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KOINE CHANTS: XAIRETE!
Feb 12, 202500:02:38Tap to summarizeThey say that joy is an act of resistance. Although it's often cheaply said, I think it’s true. I think it's also an act of creative energy: a way of forming another world around its tenacious possibility. It becomes, in embryonic form, a reality held in the joy itself. It is an act of participation in what the early messianics called καινὴ κτίσις—new creation.Since the times are wearying, I’ll do what I rarely do when passing on these chants. I’ll hazard a little reflection: though, to be clear, the archaic words of this chant do not belong to me any more than to you or to anyone else who might care to dance to them.Rejoice in the Lord alwaysI say it againRejoiceXairete en kyrio pantotePalin eroXaireteΧαίρετε ἐν Κυρίῳ πάντοτεπάλιν ἐρῶχαίρετε(Phil 4.4)The Κυρίῳ (lord) in these words is a figure who holds a position of extremities: both ironic and serious. This figure is precisely the opposite of any Caesar in a grand white-pillared palace (and the Caesars were well-known as lord and saviour and son of god, and so on, before any messiah showed up). This Κυρίῳ was a peasant, murdered by the colonising powers that be; lived homeless among outcasts and died young. If you would like a social/economic/political location in mind to go with this chant, then you can know that the Κυρίῳ here speaks of the impoverished life, subjected to violent rule.I’ll hazard another reflection. Although not above throwing some tables where bullish economic systems were concerned, this peasant Κυρίῳ never raised a hand to harm anyone, nor any armies to conquer anyone. Sometimes, I confess, I wish it were otherwise, but this Κυρίῳ refused all business with violence. In seriousness, and not irony, he wished well to those who killed him. Even to enemies, then, the counter-chant is addressed:Grace to youAnd peaceXaris uminKai eireneΧάρις ὑμῖνκαὶ εἰρήνη(Rev 1.4) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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Allness
Feb 19, 202400:10:32Tap to summarizeEpisode Three of the Messianic Folklore Podcast: a meditation on Everything.Please do join my crowd funder to replace my poor old computer so I can keep making these podcasts.To join my course on Paul’s letter to the Romans, sign up as a paid subscriber here on Substack, or on Patreon, where, in either case, you will find all manner of other behind-the-scenes treasures.Show Notes:—On the Greek word ‘pas’—William Blake’s and Julien of Norwich on Allness—Messianism and ecology—Modernity and All Things—Everything is the subject of love—St Isaac of NinevehMy thanks to Epiphany for live musical accompaniment.Feel free to* Share this podcasts with someone who might like it.* Send your thoughts in a comment or an email.* Leave a handsome review on itunes.Grace & Peace Kith & Kin This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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Heaven & Nature Sing
Dec 19, 202300:07:42Tap to summarizeHere is an old thing from times gone by. In the late noughties I was gigging my way around Birmingham’s small venues and the whole thing was very dissatisfying. These little shows felt like the first stop on a pre-marked road toward the capitalist myth of musical success. This was the myth of ‘making it.’ Everywhere we played, it felt like there was an unspoken agreement between us and the audience. They were there because we wanted to ‘make it.’ This poisoned any possibility of a shared event, a connection, a common spiritual experience or any of the higher things that art might reach for. We didn't want to ‘make it.’ We wanted encounter. So we took a different approach. We formed a band called the Army of the Broken Hearted. We would play public spaces for no money. We were a junk instrument band with songs so crude that no one could ruin them, and so anyone could join in. We were carbon neutral. We were spiritualised and politicised. We had some good ideas and some bad ones. We were trying to interrupt the deadlock of public space which felt numb, controlled by its consumer capitalist messaging. We wanted to re-enchant public space and make it a space of happenings and meetings. This is the backstory to this recording. Sometimes when you try to break out of the norm, you find yourself doing something delightfully obvious and ordinary. Here we were, a decade and a half back, playing Christmas carols in the alleyway next to the Patrick Kavanagh pub. Extraordinarily, they, who still fill Moseley with the sound of drunken merriment, complained that we were too loud. The recording is scrappy and pitchy and full of sincere Christmas spirit.Let heaven and nature singFields and floods, rocks, hills and plainsRepeat the sounding JoyI'll be signing off to re-gather until January, when there will be a new series of writings and a new series of online gatherings and podcasts.Love and Mirth to you allDBB This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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MFP3: Medicine for Bad Power
Nov 20, 202300:13:34Tap to summarizeEpisode Three of the Messianic Folklore Podcast: a meditation on wilderness as medicine for power gone bad. This will the last podcast episode of 2023. I'll be spending December feasting and resting and gathering the embers. Thank you for listening and being part of the start of this little aural book of hours. Show Notes:—Daniel 3: the sentence of the watchers—A gentle sentence for a tyrant—The common desire to re-wild—Unmaking as the youth initiation that never happened—Good medicine for bad powerThis podcast runs on listener support. You can help by joining on Patreon, or becoming a paid subscriber on Substack, where, in either case, you will find all manner of behind-the-scenes treasure.As always, please feel free to:* Share this with someone who might like it.* Send your thoughts in a comment or an email.* Leave a handsome review on itunes.Grace & Peace Kith & Kin This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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MFP2: Deep Time Messianism
Oct 12, 202300:21:44Tap to summarizeEpisode Two of the Messianic Folklore Podcast: a meditation on messianism as folk culture.Show Notes:—A poem—Utopian thinking vs. power—Isaiah 40—Folk Culture: re-embedding the human story—Waiting as revolutionary patience—Finger in the windThis podcast runs on listener support. You can help by joining on Patreon, or becoming a paid subscriber on Substack, where, in either case, you will find all manner of behind-the-scenes treasure.As ever, please feel free to:* Share this with someone who might like it.* Send your thoughts in a comment or an email.* Leave a handsome review on itunes. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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MFP1: The Beginning & The End
Sep 11, 202300:15:49Tap to summarizeWell now, here's the beginning of a new thing. Here is the first episode of the Messianic Folklore Podcast. These are short immersive pieces; theological reflections and sound collages, on sacred text, embodied life and radical imagination. These’ll be monthly, to begin with at least.This is a free podcast, sustained by listener support. If you'd like to help, please consider becoming a paid subscriber on Substack or sign up to Patreon, wherein you'll gain access to monthly Zoom Moots, and exclusive writings, podcasts and music.Besides that, please feel free to:* Share this with someone who might like it.* Send me your thoughts in a comment or an email.* Leave a handsome review on itunes.I hope you enjoy it. Show notes are below.—The island of Patmos—Revelation 1—Margins, non-places, outlaw culture and exile—Europe’s open air prisons—The language of divinity and destitution—The religion of the oppressedHere’s a post from my friend Vanessa Chamberlin on her trip to Patmos.Here’s my friend Danielle Wilson talking about the camp at Lesvos.This podcast runs on listener support. You can help by joining on Patreon, or becoming a paid subscriber on Substack, where there is all manner of behind-the-scenes treasure. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidbenjaminblower.substack.com/subscribe
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Praying the Psalms in the Anthropocene
Aug 7, 202300:23:16Tap to summarizeGreetings Dear Readers,Earlier this year I released a record of songs and readings called The Book of Bare Life & Returns: Praying the Psalms in the Anthropocene. It comes with the essay below printed in a booklet. Since I’m rather caught up in August behaviour, I’m putting it here. It was written last summer, and there are already things I would like to qualify or say more about, but I’ll refrain for now. BlessingsDBBDavid Benjamin Blower is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Praying Psalms in the AnthropoceneReligious sorts have always been among the most industrious and madly possessed makers of home spun publications, zines, pamphlets and radical tracts. From the politically explosive to the wildly strange, I find myself always fascinated by these small stapled-together portals into the deeply held stories and ideas of eccentric micro-communities, each with their own bent on the tale to be told. Each written with the earnest conviction that it speaks with the weight of apocalyptic consequence. With some embarrassment and a wink, I suppose this is another one of those: a religious pamphlet. A tract! There could surely be no finer time to write one. We're all pamphleteers now anyway. Just try mashing together your last ten social media posts. The old meanings of everything are being shed like old skin these days. Farewell Holocene!Late July this year, 2022, scores of homes were burned down in London and Lincolnshire by spreading grass fires. It was over 40 degrees: the hottest temperature on record. I met a man from east Africa outside the dentist and he said it was just normal weather for him. My son asked if the heat was because of climate change. I found myself saying that it was hard to say if an individual event is the result of climate change, but an increase in such events certainly were. It sounded dull and removed. How do you talk about an apocalypse happening at the strange speed of the earth's climate systems? We're being thrown by an emergency into geological time.Sometimes a thing is not really understood until it is gone. I keep hearing people these days calling the Holocene the "garden of eden." They're mostly scientists. The Holocene was the geological epoch that began about 12,000 years ago after the last ice-age. It was what they call an interglacial; a period of temperate climate between one ice age and another. It came with the paradise-like conditions in which the living planet became what we know it can be.And then an amazing thing happened which has never happened before. The activities of one creature became so pronounced that the holocene epoch was interrupted and ended prematurely. The Anthropocene, like any geological epoch, can be seen in a layer of the earth's crust. The layer will be distinguished, to future observers, by its disrupted carbon and nitrogen cycles, evidence of the mass movement, or displacement, of humans, animals and plant species, manipulated landscapes, architecture, bomb tests, a fossil record dominated by chicken bones and plastics, and all the marks of a changing climate pushing beyond the Eden-like stability of the holocene.The Anthropocene - the human epoch - is yet to be enshrined in the official geological record, because that order has its own tradition of councils and synods and moots that must be observed, especially in such rude circumstances as we find today. That we have entered, or triggered rather, a new geological epoch, is generally accepted according to Prof Mark Maslin. The question is, from when to date the beginning of the Anthropocene?Three of the four dates suggested by Maslin and Lewis fall in the very recent time span of modernity: the European colonisation of the Americas, the industrial revolution and the Great Acceleration from 1945 into a global order of consumer capitalism. The fourth option they suggest falls a long time before these; thousands of years ago in fact, with the dawn of agricultural humanity.The Book of ExitsSee the aged siblings, Abram and Sarai, wandering together away from the place that had been their home; away from Ur of the Chaldees. See them wandering off from some ancient civilisation that had grown out of the fertile valleys of Mesopotamia and the ingenuity of the new agricultural age. It is said that the diet of the new agricultural humanity was much worse than that of the foraging hominids that preceded them. They had moved into nutritional monocultures. What they'd lost in food diversity, they gained in environmental control. They opted for the domesticated and predictable food source. This stability, made possible by the temperate climate of the holocene, gave rise to the need to keep and protect their harvested goods. There were storehouses and walls and small cities, kings and hierarchies, currencies and methods of notation, domesticated horses and armies to ride them to war. Here was civilisation.Abram and Sarai were called to leave it all and become nomadic. They were to birth a new generation into the counter-intuitive precarity of their nomadic way of life (they were only half-siblings and ancient tales should be allowed a little strangeness).This is one of a series of mythic exodus tales that come in succession. The tower of Babel was before it, and after is the story of Moses liberating the slaves from hard-hearted Pharaoh, a journey from pyramids to wilderness. In these stories, the dreamlike call of the Maker always draws people away from the vertical monocultures of agricultural civilisation, out into the horizontal complexity of All Things; out into wilder-spaces; away from those pioneering engines of the Anthropocene.The mythical narratives of the Book of Exits are painted in stark colours, set in times when the cities were young. The further the books run into history, the greyer everything becomes. Civilisation is, of course, not all bad. Or perhaps it's because the only way out is through? Or perhaps it's because the fall itself is somehow beautiful and must also be gathered up into the redemption? Whatever the case, the distant children of the wandering siblings cannot escape becoming part of the systems of kings and walls and chariots and horses that hold together agricultural civilisation, even if these were the very things the nomadic god had forbade them in the desert. The days of the tent dwellers, who recognised no kings, were a mythic memory. It is from this embedded and complex space that the psalms come to us; from deep amidst the forming plates of the anthropocene. They carry a kind of longing that runs like a river beneath awareness. A longing for a way out to the quieter complexity of the wild things of Edenic memory, and the lost epoch of the holocene.The Book of Bare LifeI’ve grown up with the Bible. I love it. I always have done. My favourite parts have been the myths and histories, the apocalyptic visions, and the poetic burn of the Prophets. These parts were less often bastardised in sermons and worship songs. They were too strange to make use of, so they were more or less left alone.Not so the Psalms. I would see selected snippets of them on posters of waterfalls. I would hear bits of them in sentimental praise songs. In these, the psalms were vehicles of introspective, individualistic and spiritualised self-soothing, but they read very differently on the page. On the page, it was all ancient politics and tribal warfare, ecological poesis, unabashed schadenfreude, moral perplexities and pining discontent. It took a while to undomesticate the tradition and let its earthier colours and shades emerge.One thing that recurs with striking regularity is the quietly widening abyss between nature and culture. The religious world of my youth had not the frame to even notice this constantly reappearing trope, let alone take any interest in it. In that world, nature was more or less understood as a metaphor for the spiritual peace that an individual might find in religious belonging. It had little or no intrinsic importance.The songs on this record are, of course, my own readings of a handful of these poems. Here, the psalms are sung and prayed in the context in which I find myself: in the Anthropocene, newly unmasked, which by some reckonings, had already begun long before the psalms were written. Tangled amidst the political intrigues of the ancient Jewish kingdoms, the psalms too are, I think, reaching for a way out of the violent, hierarchical, unjust and de-natured world that had emerged with the human fall into the agricultural age. Reading the poems on this common ground, it seems to me that we meet a character, over and over again: the god of wildness, who is juxtaposed as entirely other to the grasping political powers of states and kingdoms.Kings and rulers would often, rather anxiously and presumptuously, associate themselves with this god, but the feeling is not returned in kind. While kings wished, and still wish, to be found with the god of the psalms, the god of the psalms is ever to be found elsewhere: with the storm, the raging oceans, the thrashing of sea monsters and the trees in the wind; with hungry lions, with the sparrows, with the sun and the stars and the changing skies; with the quietly restoring stream and with the tree upon its banks. The Creator is found amidst the undomesticated complexity of wildness; of bare life. In the psalms, the ecological life of the living planet is not a metaphor. It is a generative m...
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