Wendy K. Laidlaw

I'm not a judge of it.

Well, yeah.

And this idea that it comes from really deep places.

And that was the point.

I mean, I wish everybody who does art to have successful gallery shows, but that's not what it's about.

All of the arts were in service of the divine.

They all were.

And I saw this in Edinburgh once.

And I saw it in Dublin too.

The Celts had the idea, they have an unaccompanied voice or songs also unaccompanied, but they will often, the singer will face the wall back to the audience.

And sing with the back to the audience to make it clear that this is not performance.

And this is not for applause.

This is to allow the duende to come into the situation.

And so they actually understood it just the way it was understood in the flamenco tradition in Spain and the same way it was understood in ancient India.

where the one of the forms is kirtan which is can be accompanied or unaccompanied but the idea is not to sing perfectly well the idea is to intone the the voice of the divine and be present with it and so we're also in a point where everything is falling apart and the institutions are not holding energy and so on

We're at the edge of the recreation of the world.

It's not just the end.

The end is always the beginning.

That's what mythology says.

We're at the point where we can reimagine the world, which means we could bring the duende back.