Clint Eastwood and David Lynch Teach 10,000 Veterans to Meditate with Operation Warrior Wellness
by Trent Gilliss, senior editor
The filmmaker David Lynch has been a vocal advocate of transcendental meditation for some time now. But I’m quite intrigued with the work that his foundation is doing with returning veterans. The national initiative they are calling “Operation Warrior Wellness” aims to “teach 10,000 veterans and their families a simple meditation practice for preventing and treating post-traumatic stress disorder (PTSD).”
Their kick-off event is this morning and they are streaming live video at 11 Eastern from the Paley Center for Media in New York. It looks like their will be a healthy line-up of celebrities (Clint Eastwood and David Lynch), scientific researchers, and war veterans who “will present evidence showing that Transcendental Meditation can be an effective aid for veterans suffering from combat stress and PTSD, including anxiety, depression, anger episodes, hypervigilance, insomnia, and substance abuse.”
While you wait, here’s a short video the David Lynch Foundation produced featuring veterans and their experiences with meditation:
If you watch this, I’d love to hear your thoughts and ideas about what they’re doing.
On Playing Soldier and Being a Soldier
by Trent Gilliss, senior editor
Benjamin Busch, a former Marine Corps infantry officer who served two combat tours in Iraq, writes a challenging essay for NPR on the nature of war games — with toy soldiers, in video games, on the battlefield:
"When I was a boy, I was given plastic army men. I arranged them in the sandbox behind our house, and I killed them. I voiced their commands and made the sounds of their suffering. I imagined their war — and I controlled it. But I lost those magical powers as a Marine in Iraq.
We know children are immersed in digital interactivity now, and the soldier of today has grown up on video games. It is becoming a new literacy of sorts. Playing and risking your life are different things. In the video war, there may be some manipulation of anxiety, some adrenaline to the heart, but absolutely nothing is at stake.
I honestly don’t like that Medal of Honor depicts the war in Afghanistan right now, because — even as fiction — it equates the war with the leisure of games. Changing the name of the enemy doesn’t change who it is.
But what nation or military has the right to govern fiction? Banning the representation of an enemy is imposing nationalism on entertainment. The game cannot train its players to be actual skilled special operations soldiers, nor is it likely to lure anyone into Islamic fundamentalism. It can grant neither heroism nor martyrdom. What it does do is make modern war into participatory cinema. That is its business.”
Photo courtesy of Benjamin Busch
He trusts God to keep him safe. And I’m here just in case that doesn’t work out.
—Religious Programs Specialist 2nd Class Philip Chute, a self-declared atheist who is charged with protecting Navy Chaplain Terry Moran, a Seventh-Day Adventist who is ministering to Marines in Afghanistan.
Michael M. Phillips’ Wall Street Journal article "A Chaplain and an Atheist Go to War" gives unexpected insight into some of the strange pairings of battle and the tension of war in all its humanness. Well worth a read.
by Trent Gilliss, senior editor
Gaza’s Steadfast Faces of Survival
by Trent Gilliss, senior editor
"This, I realized, was what I could add. Not the familiar scenes of destruction in Gaza but the steadfast faces of survival. To capture each intimate portrait required that I spend just a little more time with people, that I hear a bit more about their lives, look more deeply at them. And find the story of Gaza in their faces."
—Asim Rafiqui, photojournalist
The Virginia Quarterly Review has published Rafiqui’s stunning set of black-and-white portraits of Palestinians living through the ongoing struggle for Gaza. The photojournalist’s introduction to “Portraits of Survival” with its brief captions give the viewer an intimate glimpse into his subjects’ lives.
A point emphasized that resonated with me in several stories: stripping a person of the ability to offer hospitality to a guest is to strip one of his or her dignity.
What Stories Do We Tell?
by Pádraig Ó Tuama, guest contributor
Last year, while working with a primary school class here in Belfast, a child said:
"Pádraig, let me ask you a question. God loves us right?"
Avoiding the complexity of anthropomorphic projections of human experiences onto God, I answered, from the heart of me, with what I hope.
"Yes," I said.
"And God made us all didn’t he?" she continued.
I avoided discussions of “made” and “He” and said:
"Tell me this," she said, "why did God make Protestants?"
When I asked her why she was asking me this, she said:
"Well, they hate us and they hate Him."
I had been amused at the start. Now, I was not amused. I wondered what stories were educating this funny, witty, engaging, and lively child.
This child understood some human lessons and had learnt them well. They hate us. They hate our God. They are unknown, and the hollow story we tell is that they are also unknowable.
Another child that I was working with once drew a picture of a big boot, kicking a small figure. The boot was labeled “Catlichs” and the boot “Purdestints”. He could not yet spell, yet he knew the rules of the story he believed.
There is an Irish saying that I love: ar scáth a chéile a mhaireas na daoine. It translates as “it is in the shelter of each other that the people live”. Krista’s interview with John Paul Lederach reminds me of the intentionality we must incarnate when working with our lives to create avenues out of violent conflict. We must nurture unpredictable relationships. We must share shelter with people whose shelter we would rather not share. We must share stories with people whose stories we would rather not share. This may not be popular, but it may just save us.
Last week, I watched from my window as a band parade made its way from commemorations in the city northwest up the Crumlin Road. My flat is about 300 yards from the place where a sit-down protest was underway to stop those parading. The history of both groups, one mostly Catholic-Nationalist and one mostly Protestant-Unionist is important.
What is also important is that each was saying to the other “We belong here”.
“We belong here” has often been coupled with “And you don’t”, a point which we’ve proven in Ireland with grief and grieving. The slow, slow antidote to this story of not-belonging has always included something that is older than language — a positive encounter with a person who represents the thing that we think we should hate. There are stories from here that make me cry and hope every time I hear them — stories of bravery, honesty, truth-telling, sheltering, and embrace across every possible barrier to belonging.
Part of my work is facilitating discussions between people who are interested in building relationships with those who are perceived to be an “other”. Earlier this year, one group spoke of their neighbourhood’s trauma following a shooting on a Friday afternoon in the 1990s. Seven men left dead. One of the women said “and there’s many that died whose hearts kept beating”. She spoke of a Protestant paramedic who tended the bodies of Catholic dead who was so traumatised that he could never return to his work. While we speak of 3,700 people who lost their lives from our 30-year conflict, we all know someone who kept their life, but who felt like they’d lost it. There are stories within stories that are desperate to be heard, and when they’re heard, they bring us to the place of encounter and empathy, which is the essence of hope and humanity.
The riots that brought attention to Belfast last week are localised. This doesn’t mean that they are ignorable. They are not. They speak to a deep wound in our capacity to remember. A mostly-ignored government funded “Report on the Past” was published last year. Its recommendations are brave and I hope we can pay attention.
I am thinking now of Anaïs Nin who said: “We do not tell stories as they are. We tell them as we are.”
And who are we in this part of Ireland? We are people who all know stories of hurt, pain, division, separation, fury, and prejudice. We are people who have loved the land we live on. We are people who have done and spoken and created and given beautiful things and terrible things to each other. We must be educated by the stories that gave rise to last week’s events. We must engage in Lederach’s vision of the moral imagination to hear, include, and transcend these events.
And, we must tell different stories. Not necessarily new ones, but deeper ones — stories of remembering, belonging, safety, and shelter.
Pádraig Ó Tuama lives in Belfast, Northern Ireland where he works in reconciliation and chaplaincy initiatves, primarily with the Irish Peace Centres’ Faith in Positive Relations programmes. Part of his community work involves writing poetry to encapsulate some of the stories of living and dying in the context of the Irish conflict. He posts occasional poetry at Hold Your Self Together.
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Photo Caption: Nationalist protesters block the route of Loyalist Protestant Orangemen in the Ardoyne area of North Belfast, Northern Ireland as they return home from their traditional Twelfth of July celebrations in the city center on July 12, 2010. (photo: Stephen Wilson/AFP/Getty Images)
Memories of a New Associate Producer
Shubha Bala, associate producer
As the newest addition to Speaking of Faith, my first task has been to prepare the show "No More Taking Sides" for rebroadcast in a couple of weeks. Listening to Ali say “Nobody want to be honest. Everybody want to be right,” reminded me of working in Gujarat when "state-sanctioned" violence, torture, and rape broke out across the state, primarily with Hindus attacking Muslims.
Although Hindu by birth, I was working there for a non-denominational organization. I was 20. Under 24-hour curfew, the media were saturated with images of brutality happening just down the street. More importantly, the dialogue of friends and colleagues concentrated on “us” versus “them.”
Recently, a friend read my personal narrative and asked, “Didn’t the Hindus realize the irony that came with attaching terms of violence to the Muslims?” Well no. Not the Hindus that took a side. They felt they were right and all Muslims were wrong. As for me, in addition to coping with the sheer force of violence, I was equally faced with a personal crisis — the Hindus I met believed I was part of “them,” but I just wanted to be human and I wanted the brutality to stop.
Robi and Ali’s story makes me imagine that organizations like Parents Circle - Family Forum can break down the centuries of opposing sides that have persisted between Hindus and Muslims.
The problem was not a shortage of sincerity but an excess of zeal in which self-belief overrode objective judgment.
— —Jonathan Aitken, commenting in The Guardian on former UK Prime Minister Tony Blair and his role in the lead-up to, and the aftermath of, the Iraq war. Aitken says that “once the Chilcot inquiry establishes the truth about Iraq, we should be quick not to judge, but to forgive.”
Trent Gilliss, online editor
A Rare Chagall “Crucifixion” Painting Surfaces
Trent Gilliss, online editor
Saw this over the weekend in the London Times and thought it was worth sharing for those of you who missed it.
Quite some time ago, we chose Marc Chagall's "La Crucifixion Blanche" (1938) as the lead image for our program, “The Jewish Roots of the Christian Story” with our guest, Joel Marcus. “White Crucifixion” is the first in a series of Chagall’s major crucifixion paintings in which he focused on the persecution of his fellow Jews by Hitler and the Nazis through depictions of Jesus dying on the cross and his essential Jewish nature. (Ziva Amishai-Maisels’ exploration of Chagall’s painting is a good starting point for better understanding the nuanced detail and subtle narrative devices used in “White Crucifixion.”)
A previously unknown 1945 gouache painted by the French-Russian artist while living in New York surfaced in a recent auction in Paris. Keeping it on the down-low, the London Jewish Museum of Art purchased “Apocalypse in Lilac, Capriccio” for the relatively paltry sum of 30,000 euros, about $43,000. The small museum kept it quiet so that major museums and other collectors wouldn’t bid up the price.
And, now, after all these years in hiding, the painting will be displayed in London this coming week. What a treasure for the public to behold.
(“White Crucifixion” courtesy of The Art Institute of Chicago, a gift of Alfred S. Alschuler)