Do you hear the Tui call the Huia in the trees

In the weeks before she died my grandmother saw a Ruru in her room, an owl I believed this was a good omen a messenger.  My grandmother also saw lots of people come to visit her, people that most others didn't see.  But it was the Tuis heard by my sister around our grandmother's house and in the trees that seemed to have the clearest of messages. Waking before dawn still adjusting to a new time zone and re-awkening to an old world I too would hear them call.  Their song a melodic chorus reminded me of their visits to the Kowhai tree which grew outside my childhood home.  An iridescent blue black with a white tuff around its neck it is easy to see why the early european settlers called the Tui the Parson Bird.   The Tui though has much more to offer than religious platitudes.   My grandmother was going blind so hearing their dawn chorus must have been a comfort and a soothing sound to wake to.

The Tui is endemic to New Zealand.  Other native song-birds include the Kokako, the Piopio and the Huia the latter two both now extinct.   The story goes the Huia was the first to sing the dawn chorus.  Once it had called out to the rising sun the other birds would join in.   We can only imagine what the sound must have been like.   Today we hear a fraction of this song and it is the Tui which has taken the role the Huia once claimed.

My grandmother was impatient to die declaring that neither God nor the devil wanted her but she still had things to do and tasks to complete so she lingered longer than anyone imagined.   People from the past and present sought her company knowing that the old woman would soon be travelling on.  Before I returned to New Zealand she came to visit in my dreams.   In one she called out in fear of the dark but was soon comforted by a beautiful light and the arrival of a large ship.  In another we sat in my great grandmother Rongoheikume's wharenui while my grandmother sat reminiscing with my grandfather who had passed many years previously.  In the last she came just before I woke to say goodbye.

My grandmother was superstitious.  Once when we gathered in her dining room upon hearing of the death of a family member a Piwakawaka flew in and circled above us chatting before flitting out.   She didn't like this.  Nor did she like peacock feathers as she believed they brought bad luck.  And as she got older her home became a place of memories of people who had died and she became a little afraid.   Afraid of the dark.

The Tui's call at dawn must have been a heart warming sound for a woman whose world was becoming smaller and darker as her eyesight failed her.   Refusing to move out of her home, she dwelt in a place which must have felt desolate at times but for the blessing of her carer a devoted and loving woman and the visits of family and friends.   My grandmother persevered.

When I visited earlier in the year I could see she was getting ready to travel light.   Letting go of hurts and giving thanks for life my grandmother was ready to die.   Philosophical and with a wicked sense of humour  she had journeyed through a life at times  treacherous and dark but she carried on.   She was tough, her mind and heart ticking over with a steady beat.  Even close to death she requested she be woken if a visitor came to see her.  She loved people and in her last few months she had a steady stream of visitors.  I believe she also found the visits of the Ruru and Tui a blessing but more than anything it was the song of the Huia I hoped and imagined she  would wake to.  The song of a gatekeeper to the seventh heaven the Huia would be the guardian which when the time came would carry my grandmother up through the trees and beyond to a place where she would rest and laugh and be.

On an overcast day we gathered.   The women of the family carried her coffin out of the house and the men carried her into the chapel.    I stood before them as a priest and a grandson.  Family spoke and sang, cousins offered beautiful words and prayers in maori, a poem written by my brother  inspired and an Irish blessing was shared.   And as we lowered the coffin into the grave on the day that was also my birthday I imagined her, glint in eye with a glass of vodka in one hand regaling all with rude stories and naughty jokes and I smiled.

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BEANNACHT (Irish for blessing) by John O'Donohue 

On the day when The weight deadens On your shoulders And you stumble, May the clay dance To balance you. 

And when your eyes Freeze behind The grey window And the ghost of loss Gets into you, May a flock of colours, Indigo, red, greenAnd azure blue, Come to awaken in you A meadow of delight. 

When the canvas frays In the currach of thought And a stain of ocean Blackens beneath you, May there come across the waters A path of yellow moonlight To bring you safely home. 

May the nourishment of the earth be yours, May the clarity of light be yours, May the fluency of the ocean be yours, May the protection of the ancestors be yours. And so may a slow Wind work these words Of love around you, An invisible cloak To mind your life. 

Photo of Lake Taupo by Hana Ransfield.

"Do you hear the Tui call the Huia in the Trees"   Words from the Song "Reconnect" by Maisey Rika.

Wharenui - House

Piwakawaka - Faintail (type of bird)

Pilgrimage of the heart

Regan O'Callaghan altar, Gruenwald, Jesus, Colmar

Sometimes there is an artwork which stays  in your heart and mind.  The Isenheim Altar piece is for me one one such work.

My first degree was in Religious Studies and Art.  For my dissertation I studied the Isenheim Altarpiece attributed to Mathias Gruenwald and painted in 1506 - 1515. Originally painted for the Monastery of Saint Anthony in Isenheim it is now on display in the Unterlinden Museum in Colmar, France.  The monks at the monastery were known for their work with people with skin diseases and from the Altarpiece's tortured figure of Christ on the Cross you can see the artist had this in mind.

I don't have a copy of my dissertation but I certainly remember writing it.  It was during Lent 1996. I was staying in the house of a Franciscan Nun (third order) who was away.  In Dove Cottage there was no television and few disruptions so I could focus on the task at hand. For hours I meditated on the crucifixion and explored its symbolism, form and theological meaning and of course the house was full of other religious imagery. Deep stuff but also quite poignant as I was myself going through a period of grief and suffering.  I can remember stuffing the stove with wood to keep warm and huddling beside it giving thanks that I wasn't called to be a monk!  My suffering though was not caused by the cold but rather was an ailment of the heart.

I wrote of the arms of the crucified figure of Christ being stretched out to the cosmos distorted by the hatred of man.  Hands that had once been the hands of a carpenter, hands that created. I reflected on the feet of Jesus so disfigured and grotesque a large nail tearing them apart.  It was all very disturbing.  I wrote a letter to Sister Wendy Beckett a famous art critic to ask her thoughts about images of the crucifixion.  She very kindly wrote back saying she found it to painful to spend time meditating on such images.  I cherish this letter. Fifteen years later I travelled to Colmar to see for the first time in real life the Isenheim Altarpiece.  Travelling through beautiful countryside on the train from Paris I shared with a friend memories of my time in the cold little house of the Franciscan nun, my need for warmth and of my inner turmoil at the time.  Memories flooded back. I remembered a retreat to a Franciscan Monastery in Dorset not long after my stay at Dove Cottage. Sitting in the chapel I gazed at the Franciscan Cross. Unlike the Isenheim Triptych the Jesus on this cross is sleek and beautiful. For a moment I visualised him leaning over and surrounding me with his arms in a warm embrace followed by the cross which enveloped us both.  I felt a mixture of love and empathy mixed with a little fear. I wondered about the significance of this vision (if I can be allowed to call it that). Is love never experienced without suffering?

Standing in front of the Isenheim triptych I gave thanks for past lessons. Lessons learnt? Well thats another blog entry but I certainly stood as someone without regrets.  I was also pleased to see the altarpiece had been displayed so that all the panels could be seen. The beauty and vibrancy of Gruenwald's resurrection stood in stark contrast to his crucifixion.  Here Christ dances in the air in a flamboyant display of joy and victory swathed in beautiful colours and divine light.  Fifteen years is a long time to wait to see the resurrection but I was happy.

For the remainder of my time in France I stayed with my friend's uncle and aunt who showed wonderful hospitality.  I sat in their garden feeling the warmth of the sun, ate great food  and listened to my friend play the piano while we sang songs of love and memories. www.musee-unterlinden.com/isenheim-altarpiece.html

Deep in this heart

Regan O'Callaghan Altar, studio, sunset, incense

Deep in this heart this heart of stone............

In the dream I sat up high at the top of a great tree beside me a beautiful black raven.  The raven flew to the ground at the base of the tree and began to dig and scratch amongst the roots.  I  dropped down and joined in.  As I dug, a hole began to emerge between the roots.  The hole grew larger  until I was able to crawl through a tunnel and then down into a large cave underneath the tree.   It was a safe space a sacred place.  I walked around touching the walls of this mysterious place.  I felt something in the wall.  It seemed to be a small rock but as I scratched away at the dirt it became bigger until eventually a huge boulder was revealed in the wall of the cave.  “What is this?” I asked the raven.  “It is your heart”  the raven replied.

Regan O'Callaghan