![]() But I couldn't remember the exact words in my waking state. Somehow I knew what the Lakota words meant in their essence. It had come in a dream as my song, but in the dream my Lakota friend was singing it to me. "Calling the Sacred", the opening song on this album is an example. As I began to learn more words and phrases to communicate, I was guided to use the language in my musical expression in a way that, to my knowledge has never been done: not only as a language but as tone and frequency. I have always thought that the Lakota language is a beautiful expression. My job is to sculpt frequencies and vibrations, given by Spirit, into a form that expresses that Spirit. I must say that for me, those moments are very humbling. It was only at that moment that I saw what it's form was meant to be. This theme is what would finally bring it all together. Only then did the inspiration come to make it a "theme" throughout the album. ![]() One day I finally came to realize that "Calling The Sacred" was really the intention and energy of the whole album. But as it all unfolded, the music began to show me what it's form was meant to be. Then I thought it would be called "Children of the Seventh Generation". Well, that song is now on a completely different album (Reikidama). That's when I came to understand my part in the greater creative process that happens through me.įor instance, many years ago, in the beginnings of "Calling The Sacred", I thought it would be called "Hands of Dancing Light". When I dedicated my life and my path to music for healing and nourishing the soul, the music changed, my voice changed, and the creative process itself changed and expanded. But at around 1989-1990, after facing some life or death challenges, I opened myself to Spirit in a way I never had before and Spirit responded profoundly! Then it was more an externalized writing process. Many years ago, when I was in Nashville, writing country/pop songs, the creative process was quite different. It is not my job so much to define what an album is going to be. At times reminiscent of Lisa Thiel, or even Eliza Gilkyson in her more shamanic moments, Denean has created an album of strong melodies and plenty of atmosphere, inspiring us to "spiral to the center of the light / where sacred dreams and visions do abide / awaken to the calling of Great Spirit / soaring with the winged ones of the sky.I figured out a long time ago that when I create, my job is simply to "show up". Opening and closing the album are two versions of "Passage to the Earth Mother" - a largely instrumental invocation featuring fire, water and insect sounds, Native flute and a "Hey Ah" chant, along with keyboards and percussion - while brief "Interludes" connect several of the tracks in a similar fashion. Half the pieces are chants sung only to the accompaniment of Native drums, rattles and sleigh bells, while the other tunes are songs based in the Western folk tradition, with piano and synthesizer added to sweeten the arrangements. Her strong clear voice sings of oneness with the earth and its creatures, of visions, sacred places, healing and light. Discovered by Dik Darnell, who produced and plays on her album Fire Prayer, Denean is a singer whose self-penned songs draw their inspiration from the nature-based spirituality of Native American tribal people.
0 Comments
Leave a Reply. |