December 17, 2022 • 40 mins
This is a two-episode series exploring the legacy of Daisaku Ikeda and the practice of dialogue through interconnectedness and a human revolution of courage, wisdom, and compassion. In this episode, we explore the legacy and history of Johan Galtung, Ikeda, Toda, Makiguchi, and Oliver Urbain’s groundbreaking work to explore music and peacebuilding. Exploring histories and models of violence, we come to a clearer, interdependent understanding of how direct, structural, and cultural violence are enacted within modern contexts.
The Music & Peacebuilding Podcast is hosted by Kevin Shorner-Johnson at Elizabethtown College. Join our professional development network at www.musicpeacebuilding.com - thinking deeply we reclaim space for connection and care.
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Olivier Urbain (00:00):
the interconnectedness of all human
(00:03):
beings and all living beingsdoesn't really have a center.
The centers are everywhere.
Everybody is the center of theentire interconnectedness of the
world. Which means your history,your village, your town, your
music, your background is themost important thing that we
need to preserve and honor.
Kevin Shorner-Johnson (00:25):
You are listening to season three of the
music and peacebuilding podcast,a professional development
network at musicpeacebuilding.com Exploring
intersections of peacebuilding,sacredness, community,
creativity and imaginationthrough research and story.
This is a two episode seriesexploring dialogue and a Human
(00:48):
Revolution of courage, wisdomand compassion. In this first
episode, we explore the legacyof Galtung Ikeda and Olivia
Urbain's groundbreaking work andmusic and peacebuilding. Born in
1961 and Tournay, Belgium, Dr.
Olivier Urbain obtained academicdegrees in Belgium, the US and
the UK, with PhDs and literatureat USC and Peace Studies at the
(01:11):
University of Bradford OlivierUrbain, is on the board of
directors of the InternationalPeace Research Association
Foundation, and is the founderand former convener of the arts
and Peace Commission of theInternational Peace Research
Association. He currently servesas the Director of the Min on
Research Institute, and asadjunct lecturer at Soka
(01:34):
University Japan, at theGraduate School of International
Peace Studies. And as a visitingresearch professor at Queen's
University Belfast in NorthernIreland. As a founding scholar
who I have long admired Urbainfocuses on preventive
peacebuilding and violenceprevention at all levels. Today,
he explores the potential ofmusicking to enhance
(01:58):
conviviality and social skillsin Japanese high schools and
other institutions and settings.
I first asked Dr. Urbain abouthis role at the Min on Research
Institute, and concertassociation.
Unknown (02:18):
So I'm the Director of a Music Research Institute,
called the Min on Music ResearchInstitute in Japan. And it's
pretty unique because it doesn'tcome from a university, it comes
from a concert association. SoMin on was established in 1963.
(02:41):
As a concert Association, theyorganize lots of concerts invite
people from all over the worldto perform in Japan. They also
have a music museum withfantastic collections of pianos
and many other instruments. Andthey also organize a conductors'
competition, and many of thoseconductors then start a new
(03:06):
career worldwide, from fromthere. And after 50 years of
organizing concerts with thegoal and intent of getting
people to know each other betterto get along better, you know,
across nationalities, acrosscontinents. They thought, what
what else can we do after 50years? And why not establish a
(03:30):
research institute? So that wasin 2014. And so Min on means the
music of the people. And it'skind of a flexible translation,
but it could be music of thepeople, by the people and for
the people.
Kevin Shorner-Johnson (03:55):
Yeah, I want to journey back to this
moment when you start to becomea peace studies scholar. So as I
read your book, I understandthat you were teaching modern
languages, Soka, and then youhad this moment that seems to be
inspired by your wife, where youencountered Galtung and always
changed. So if we talk abouttransformation, I want to know
(04:18):
about this moment of yourtransformation. And what led you
to be a peace studies scholar.
Unknown (04:24):
Oh, yes, that's a wonderful question. So I moved
to Japan in 1991, and started toteach French English modern
languages. And then in 1996, aguest was invited to teach on
campus for two months, becauseSoka University has, always has
(04:47):
lots of guests coming to campus.
And that time, it was JohanGaltung, one of one of the
founders of peace studies. And Iwas very busy establishing
programs for students. So Ididn't really have time to pay
attention. But my my wife wasasked was invited to translate
(05:08):
for him for two months. So hereis, you know, one of the
founders of peace studiessharing very, very complicated
theories in English. And then infront of you, you have 1300
students, Japanese students, whodon't understand what he's
(05:28):
saying. And my wife was incharge of translating
everything. So so I thought theleast I can do is to at least
attend the very first class tosupport her. So I did attend,
and after half an hour, I washooked. I found it absolutely
fascinating. The very firstlesson if you want, I attended
(05:53):
Galtung started to make littlegraphs on the board. And showing
that when people are inconflict, there are five
different types of outcomes. Andone can win the other one can
lose that one outcome, but bothcan decide to lose. That's, for
example, war, nobody wins in awar at the end. It's a lose lose
(06:16):
outcome. You can compromise.
Like, you know, you get halfwhat you want, the others get
half what they want. So far, sogood. And then he showed what he
calls the Transcend point, theTranscend point is almost
impossible to explain. But it'sa point where you get everything
(06:39):
you wanted from, you know,trying to solve the conflict,
but the other parties to bothwin, it's like a complete win
win. Now, of course, it soundsimpossible. But it's an ideal
point, kind of a lighthouse,where you believe it's going to
happen, that it's possible forme to get everything in for you
(07:02):
to get everything. And ofcourse, the only way to get
there is really extensive andintense dialogues to reframe
what you want to understand whatyour wants, etc, etc. I'm not
going to reproduce the wholehalf hour. But I thought, Oh, we
can actually think about peaceand peacebuilding in a
(07:24):
scientific way. And use graphsand math, which, you know, as a
White, Western European, thatwas really the only thing I
could do at the time. So I wentto see him in his office, and
basically I became a privatestudent for about 10 years.
Kevin Shorner-Johnson (07:44):
Galtung transformed peace studies with
new conceptual models ofviolence and peace, Gatung's
conflict, triangle modeled theorigins and interconnected types
of violence as direct violence,structural violence, and
cultural violence. In his book,Urbain cites a profound dialogue
(08:05):
between Ikeda and Galtung, wherehe gently asked I'll tone about
connections between personalhistory and the origins of peace
work. Ikeda (08:14):
I have heard that seeing your beloved father, Dr.
August Galtung, a former DeputyMayor of Oslo and a physician
taken away to a concentrationcamp by the Nazis when you were
only 13 years old, motivated youto devote yourself to
humanitarianism and peace.
Galtung (08:33):
my motivations were twofold. On the private level, I
was influenced by the violentmadness that afflicted Norway in
general, and our own smallfamily in particular, during
World War Two. I wanted to findout how all that horror might
have been avoided, how the karmaof all Europe might have been
(08:56):
improved and in honest personalterms, how we could have kept
father at home with usso 10 years with like the
founder of peace studies, Ihaven't had an opportunity to
(09:20):
talk with somebody who's knownGaltung so you know, as I came
into contact with Galtung I, youknow, I came into contact with
the triangle. And I think theaha moment for me there was I
think the way in which he spokeabout the the importance of
peace culture setting up butyeah, so what, what rubbed off
(09:42):
on you from all that time youspent with Galtung? Like what
are some of the ways in whichthat time has affected you the
deepest?
Olivier Urbain (09:53):
Yes, you mentioned triangles. I love
triangles anyway, and Galtunghas lots of them that helped me
and I think has helped lots ofpeople to flesh out what's going
on, for example, the DSCtriangle the the direct
structural cultural violence.
So, for Galtung, and I think formost people today, we understand
(10:17):
that conflicts, disagreement,that's not the problem. Because
life is complicated. And wecannot all want the same thing.
At the same time, in perfectharmony, that's not realistic.
So we have conflict in ourlives. But how do we handle
them? With or without violence?
That's that's the real question.
So the problem of peace buildingis violence, not conflict. And
(10:42):
so that was already a revelationat the time. But in addition,
when we see people gettingkilled, people getting bombed,
people are getting tortured,that we want to stop that, but
it's only the tip of theiceberg. It's called direct
violence, we can see it, we canfeel it, it's horrible. We want
(11:03):
to stop it. But there is a hugeiceberg underneath. And Galtung
calls it structural violence,which is one of his greatest
discoveries, if you want, Imean, it's always been there. So
it's not a discovery, but he puta label on it. And that's all
the injustice that people haveto endure, because of bad laws,
(11:29):
bad traditions, structures thatare inadequate, invisible power
structures that make it that youknow, a woman works 20 years
exactly like a man, but hersalary is going to be 1/3. And
she's not going to be promoted.
Where does that come from? Youknow, it's called structural
(11:52):
violence. And then there isanother iceberg underneath that
one. And it's called, that's thecultural violence, cultural
violence is, it happens in ourheads. And that's where we
think, well, it's totally okayfor some people to have to go to
jail for any little thing,because I think they are
(12:14):
inferior, that's in our head.
And that's, that's culturalviolence. It's, you know,
racism, sexism, all kinds ofdiscrimination is in our heads.
But the problem is that once weget together and organize our
communities and our societies,those prejudices transform into
rules and habits and traditions,that's structural violence, and
(12:34):
that pushes people to suffer somuch that at some point, we have
to stand up and revolt and rebeland use violence, direct
violence. So it's like a wholepackage. And I'm not very good
that like combat sports. Sodirect violence, I can't do much
about it. I haven't studied lawor economics very well. So
(12:58):
structural violence, I'd bepretty useless. But cultural
violence, I felt that hadsomething to say. I thought, Oh,
wow. If one fight we can pick,you know, in the huge battle for
a better world. Maybe I can pickthat one I can look into - Where
(13:18):
does cultural violence comefrom? Prejudice, privilege, all
those things? And where is it inme first? And how can we change
that for the better? And ofcourse, music was a natural fit
for that.
Kevin Shorner-Johnson (13:38):
In his chapter for music and conflict
transformation, Galtung writes,quote, maybe there also has to
be an element of disharmony inthe harmony, of contradiction in
the transformation of theconflict. Peace is life.
Something needs to be leftunresolved. Good art is like
(13:58):
good peace. Always challenging.
We turn to a piece titled faraway. This song is a result of a
collaboration between the NGOBeyond Skin in Northern Ireland
and MOMRI in Japan. The two coproducers are Darren Ferguson of
Beyond Skin and Olivier Urbainof Min on. The song was created
by students of two schools, GlenHigh in Ireland and the C&S
(14:22):
music school in Japan. Music byYuta Hihara Lyrics by students
of Glen High at that time, andmusic performed by students of
the C&S Music School [music]And before we get to Ikeda, I
(15:18):
want to just hear about thestory of the music and Conflict
Transformation book. You know, Ithink I would want to note just
how important that book has beenone of the very first books to
look at this, that music has arole to play here. And I
remember very on in my ownformation, like picking up the
(15:38):
book off one of the shelves inthe library and opening it and
saying this looks interesting.
And just the way in which I,it's the chapter on empathy that
first hooked me, but the way inwhich that book changed me. And
so I want to know the story ofthis book, like, how did where
did you get this, this ideaabout? Maybe we should write
(15:58):
this book on music and conflicttransformation?
Olivier Urbain (16:02):
Oh, wow, thank you. Well, thank you for picking
that book, among so many others.
On the shelf that day. So in 96,I decided to learn directly from
Galtung. And after three years,we met in in Kyoto, actually,
the four of us, his wife, mywife, and the two of us, because
our both our wives are Japanese.
(16:23):
So of course, you know, a lot ofgreat communication there. And
Galtung was establishing his ownonline university called
Transcend Peace University. Andso we had a very long brunch.
And in the conversation, hementioned that he would love me
(16:44):
to teach something. Butsomething original, something
nobody had done before, becausecolleagues of Galtung had
already established a peaceeconomics or peace sociology, or
even peace mathematics. Youknow, peace ecology. So,
immediately, I thought, well,I've never heard of, you know, a
(17:05):
course on music and peace. Andhe said, That's it. That's what
you have to do. So from there, Istarted to prepare the course,
started to have some ideas onwhat would work. And little by
little, I started to writepapers, published articles,
(17:26):
attend conferences, discuss withpeople, my very first paper was
called Jazz and social justice.
If you remember there's thisfabulous series by Ken Burns,
about jazz, so I watched it veryslowly, and took notes. And
(17:46):
there is so much material inthere about music and
peacebuilding, about how, howjazz can came from the blues and
how the blues was born at alland everything it means for the
people who, you know, expressthemselves through the Blues of
the very beginning. And whatjazz has become today. This
(18:07):
whole adventure was my veryfirst attempt to link music and
peacebuilding. So then in 2004,an Institute actually, I was not
aware of I knew I knew the nameToda, but I didn't know there
was a Toda Peace Institute. Anda friend of mine told me, Well,
you know, you're into music andpeacebuilding, why not apply for
(18:29):
a, you know, funding for aproject because the Toda Peace
Institute is organizingsomething about arts and peace.
So I applied, it was accepted.
And I had this fabulousopportunity thanks to the Toda
Peace Institute of creating ateam of about 10 people. And we
(18:55):
all went to the conference inMadrid in 2005. And so we were
able to discuss and share for afew days in Madrid. And each one
decided to write a very specialchapter. And so the book after a
lot of work, teamwork waspublished in in 2008. So as you
(19:20):
mentioned, one of the writerswas Felicity Laurence, who wrote
on empathy. Really fantasticchapter. And then you have
Cynthia Cohen very well knownalso in the field of art and
peace. She is very careful aboutsaying that music is universal,
(19:40):
everybody feels the same waywith the same music. Well, maybe
not at all. Maybe we have to bevery careful about that. You
have Galtung himself wrote hisfirst chapter ever on music. You
have Rick Palieri, who is abanjo player and singer, a
disciple of Pete Seeger, whowent to meet Pete and have a
(20:01):
original interview of Pete forthe book. So that's in his
chapter. So, I didn't know butit was the very first academic
book on the topic. And rightafter that music and conflict,
just cutting the transformationpart of music and conflict was
published by ethnomusicologist areally excellent book and then
(20:24):
from there, you have like,literally hundreds of research
projects and now we have entirebooks, entire associations on
music and peacebuilding.
Kevin Shorner-Johnson (20:39):
In Felicity Laurence's profound
chapter on empathy, she notesthat within Eurocentric
languages, the word empathy hasa relatively young history,
introduced in 1873 is Einfulung.
This German word meant somethingdifferent from sympathy, and was
a word to describe the feelinginto that often accompanied
(21:00):
experiences with art. Laurencedraws upon Edith Stein's
writings to caution that empathycan easily and falsely become a
moment when we lose our sense ofself, to the arousal of a group.
The Holocaust into which Steinperished is just such a moment
when the arousal of hatredwithin one group caused
(21:24):
unthinkable acts within others.
All right, well, let's lean intothe story of three humans that
you talk about and that you'vegiven so much of your thought
and life to in working in peaceeducation, peace advocacy. So
(21:49):
Makiguchi, Toda and Ikeda. Firstin the spirit of dialogue, I
wanted to note to you like howbeautifully I thought that you
wrote about the way in whicheach one informed and change the
next like that in and of itselfis like a history of dialogue
about how each one is changing.
I wondered if we could startwith Makiguchi and his
(22:10):
groundbreaking philosophies ofeducation. I see that here's
someone who built notions offree school lunches. Here's
someone who believed in thelatent potential within children
and children's ability to beadvocates for peace. So can you
start with the story of howMakiguchi builds models of
education as an act of buildingpeace.
Olivier Urbain (22:35):
So, Makiguchi was was born in the 19th
century. And by the time he wasin his 40s, he was a well
established teacher andeducator, not only through his
actions in the classroom,
Kevin Shorner-Johnson (22:54):
Makiguchi demonstrated his care for the
inner potential of children inmany ways including a system of
free lunches. Makiguchi preparedand delivered lunches to
students.
Olivier Urbain (23:10):
But he was forced to change schools all the
time, because the authorities inJapan, really didn't like that
at all. They wanted to create astrong Japan that could resist
the, you know, invasions of theWest. So Japan had to be ready
not to be colonized. And youneed discipline and all those
(23:31):
things. So Makiguchi, inspiredby the type of teachings, but
that, for example, John Dewey,would, you know, share the time,
he thought, well, education isuseless if you don't really
treasure the person in front ofyou, and really believe in the
potential and give them theskills to develop their
(23:53):
potential. That's what educationis all about. So, he always got
in trouble with authorities fordoing that, but nobody could
ever change his mind. So then,when he was around 49 This young
man came from Hokkaido, a young,20 year old young man who also
(24:14):
had experience teaching and Todacoming from Hokkaido came to the
big city, Tokyo, and he knew heneeded a mentor an established
teacher and theorist, pedagogistwho could help him and he was
able to meet Makiguchi andbecame his disciple. So then
(24:36):
then this dynamic of beingtogether, Makiguchi and toda
then accelerated the emergenceof this type of education, which
is called value creatingeducation. In Japanese, it's
Soka means, you know, valuecreating, and so it's about it
(25:00):
The fact that if you believe inthat type of education, you
believe that people, eachindividual has the potential to
become totally happy, fulfilled,have wonderful relationships
contribute to the world and ofcourse contribute to a better
world and contribute to peace.
They don't need, not a transferfrom you. You don't have to
throw any logic.. knowledge atthem, but what you need to do as
(25:22):
a teacher is to bring out theirlatent potential and provide
them with skills.
Kevin Shorner-Johnson (25:31):
Olivier Urbain spoke of value creation
as a kind of constructiveframing of what we experience in
Victor Frankl's 1964. Book Man'sSearch for Meaning. Frankl
explores how our imaginations offuture and purpose construct our
well being in the here and now.
Frankl's thoughts and writingswere formed during his time as a
(25:53):
concentration camp survivor.
Urbain reads from a quote byFrankl
Olivier Urbain (26:00):
saying yes to life, in spite of everything
presupposes that life ispotentially meaningful under any
conditions, even those which aremost miserable. And this, in
turn presupposes the humancapacity to creatively turn
(26:22):
life's negative aspects intosomething positive, or
constructive. In other words,what matters is to make the best
of any given situation. So inother words, what matters is to
make the best of any givensituation, for me that that's
the major part of value creatingeducation.
Kevin Shorner-Johnson (26:45):
Urbain shared a recent story from his
classroom as a Ukrainian studentmade meaning of her studies and
place in the wake ofgeopolitical violence.
Olivier Urbain (26:55):
And then the girl from Ukraine raised her
hand and she said, This is how Isurvive with everything that's
happening in my country, to myfamily, to my friends, and you
know, but I'm here in Japan, I'malive, I can I can study. But
how can I not be totally out ofit? And you know, how can I
(27:18):
live? Well, because I've decidedthat what matters is to make the
best of any given situation. Andbased on that she's able to
study to move forward and, andto imagine a future that one day
in the future, she'll be able todo something for her country,
(27:40):
for other countries, for peoplein general for world peace. But
you can imagine the kind oftremendous courage and hope it
takes from from one young persongoing through that. So all that,
for me, is value creation.
Kevin Shorner-Johnson (27:59):
I think what I get from that is that
there can be such a feeling ofoverwhelmed from the bigness of
problems. And I think thatthere's both in this approach,
there is a, there's a beauty inthe smallness and the power of
just one single person. That'ssomething that I heard time and
time again, from your book onIkeda, about the value, the
(28:22):
difference that one person canmake.
As 20th century Japan made readyfor war, it laid frameworks of
cultural and structuralviolence. The military
government enacted the 1925piece preservation law to end
processes of dissent, as itmobilized for war. In 1943. This
(28:45):
law was used to arrest andimprison Toda and Makiguchi for
their refusal to conform toreligious requirements. On
January 8 1945, Toda wasinformed that Makiguchi had
passed away some two monthsprior in a separate prison cell.
Toda was engaged in his ownsolitary struggle of survival,
(29:09):
and turned to the embrace ofawakenings and revelations from
the Lotus Sutra, Urbain writes,quote, Toda seem to be free of
fear for the rest of his life.
This first revelation gave himtremendous courage to overcome
all obstacles. It also made himaware of how precious life is,
and of the importance of thedignity of each individual. It
(29:32):
confirmed his attitude andconviction as an educator, that
each human being is precious andworthy of respect. Urbain speaks
of Toda's awakening, to a senseof interconnectedness.
Olivier Urbain (29:52):
And to make it simple in my own interpretation,
is that each human being canhave many different missions and
functions and roles andcontributions, but one of them
can be to wake up to the factthat we are all parts of the web
of life. We all have lifewithin. And we have a mission to
(30:16):
share that with others, and letthem know that they also are
part of the web of life and theyhave tremendous courage, wisdom
and compassion inside of them,in a way it sounds like value
creation from India from, youknow, around 2000 years ago, he
was already there, right? Itwas, of course, in other
(30:37):
teachings. So then the two verystrong awakenings, revelations
that Toda had was that the mostimportant is life itself, the
fact that we are alive that wecan breathe, and from there
everything flows, and the factthat we each have a mission to
(30:58):
make life better for others, notto charity, but by awakening
them to the fact that their lifeis precious.
Kevin Shorner-Johnson (31:07):
After Toda was released from prison,
he seemed to move with a"clarity of purpose" as he
invested in the realization ofSoka Gakkai. And on August 14
1947, Toda met quote, "a frailyoung man of 19, suffering from
tuberculosis," by the name ofDaisaku Ikeda, Urbain rewinds,
(31:31):
the story to introduce DaisakuIkeda,
Olivier Urbain (31:34):
Ikeda was born in 1928. So Japan was already on
the way to full scale war, theyhad already attacked and
colonized, what is now Okinawaand Taiwan and Korea, and they
were building their own littleempire and growing empire. So
(31:56):
Ikeda was born in the middle ofthat in 1928. And it was really
not a good time to live. He hadtuberculosis, but not many means
to be taken care of properly. Sohe was suffering a lot from
tuberculosis, he was he was veryweak, but still at age 14, had
(32:16):
to work in a factory in a ArmsFactory, because basically,
every kid had to do that inJapan. And then he saw that his
brothers were sent to war, hehad four elder brothers, and
they were all sent to war, oneafter another. And especially
(32:37):
his elder brother, was wasreally close to him, his name
was Kiichi. And then somethinghappened that really changed
Ikeda forever, that in July1941, Kiichi was allowed to come
home and stay home for a fewmonths. And he was changed. And
(33:01):
he was horrified. And at somepoint, he said very clearly and
with with rage, that what theJapanese, the atrocities the
Japanese are committing inChina, are absolutely horrible
and unbearable. So it was a bigshock. Because, you know, the
(33:22):
family thought, well, we'resending our sons to serve the
country for to liberate Asia,from the evil Westerners. But
the reality is completelydifferent. So then that brother
had to go back to war in 1942.
And then no news from him. Andthen the war is over. And in
1945, and then throughout 1946,the other brothers come back,
(33:46):
brother number 1-2-3. Still noKiichi. And then it's finally in
1947 that the news game thatKiichi was killed, he had been
killed in 1945 in Burma, whichis now Myanmar. So Ikeda saw his
mother breaking down becomingvery old very quickly and his
(34:11):
father too. So this wholeexperience of having to work at
an early age, having to domilitary drills all the time,
being lied to by the entirecountry, realizing everything
was a lie, was was a tremendousshock for the entire nation
including Ikeda. So then we arenow in 1961. Ikeda has adopted
(34:36):
the philosophy of valuecreation, through through a form
of Buddhism, but from Makiguchiand Toda, and he visits Asia and
he goes to India. You know whereBuddhism started, and then he
stops by Burma, Myanmar. Anddefinitely honors the memory of
(34:59):
Kiichi, his elder brother, andthen on the plane from Myanmar
to Thailand. He had this veryclear idea, like, I don't want
anybody's elder brother to bekilled like this anymore. You
know, we really have to dosomething that we there's so
much music and art andcreativity in the world. Why
don't we use that energy to makesure this kind of senseless
(35:23):
killings and massacres neverhappen again. So when he landed
in Thailand, it was it was, Minon was built in his mind. He was
already there. And he sharedwith friends that he met there
though, you know, what we reallyneed to create to establish some
(35:44):
kind of organization, some kindof institution that promotes
friendship, understandingcultural exchanges, through
music, and about two yearslater, that became Min-on
Kevin Shorner-Johnson (35:59):
the concert master of the NHK
Symphony Orchestra. ShinozakiFuminori known as Maro notes,
"music is different, it issomething you feel it spreads
among individuals. Music isabout connecting people. I think
this is the factor that can leadto world peace. This is the
(36:20):
mission of musicians. Thisreally could be the mission of
music. We turn to a performanceof Maro playing Mahler's
adagietto from Symphony NumberFive as an elegy to the loss of
war, and those affected by the2011 earthquake and tsunami, and
those who have passed due toCOVID 19. This recording is from
(36:45):
the fourth episode of the sharemusic day series produced by the
Min-on Research Institute in2022. The video is freely
available on YouTube andprovided with generous
permission by the Min-on MusicResearch Institute.[music]
(37:30):
May we find revolutions withinlegacies of dialogue and mentors
within the blooms of the lotusflower, finding the beauty and
the potential within, holdingdisharmony within harmony as a
creative energy to transform, togrow, bringing out the best
(37:52):
versions of our community.
(38:39):
Olivier Urbain's books, DaisakuIkeda's Philosophy of Peace and
Music and ConflictTransformation are published by
IB Taurus press, an imprint ofBloomsbury publishing. The
website of the Min-on concertassociation can be found at WWW
dot min hyphen on.org. This isthe music and peacebuilding
(39:02):
podcast hosted by KevinShorner-Johnson at Elizabethtown
College. Stay tuned for our nextepisode, as we continue our
journey to explore revolutionarypractices of dialogue.[music]
the interconnectedness of all human
(00:03):
beings and all living beingsdoesn't really have a center.
The centers are everywhere.
Everybody is the center of theentire interconnectedness of the
world. Which means your history,your village, your town, your
music, your background is themost important thing that we
need to preserve and honor.
Kevin Shorner-Johnson (00:25):
You are listening to season three of the
music and peacebuilding podcast,a professional development
network at musicpeacebuilding.com Exploring
intersections of peacebuilding,sacredness, community,
creativity and imaginationthrough research and story.
This is a two episode seriesexploring dialogue and a Human
(00:48):
Revolution of courage, wisdomand compassion. In this first
episode, we explore the legacyof Galtung Ikeda and Olivia
Urbain's groundbreaking work andmusic and peacebuilding. Born in
1961 and Tournay, Belgium, Dr.
Olivier Urbain obtained academicdegrees in Belgium, the US and
the UK, with PhDs and literatureat USC and Peace Studies at the
(01:11):
University of Bradford OlivierUrbain, is on the board of
directors of the InternationalPeace Research Association
Foundation, and is the founderand former convener of the arts
and Peace Commission of theInternational Peace Research
Association. He currently servesas the Director of the Min on
Research Institute, and asadjunct lecturer at Soka
(01:34):
University Japan, at theGraduate School of International
Peace Studies. And as a visitingresearch professor at Queen's
University Belfast in NorthernIreland. As a founding scholar
who I have long admired Urbainfocuses on preventive
peacebuilding and violenceprevention at all levels. Today,
he explores the potential ofmusicking to enhance
(01:58):
conviviality and social skillsin Japanese high schools and
other institutions and settings.
I first asked Dr. Urbain abouthis role at the Min on Research
Institute, and concertassociation.
Unknown (02:18):
So I'm the Director of a Music Research Institute,
called the Min on Music ResearchInstitute in Japan. And it's
pretty unique because it doesn'tcome from a university, it comes
from a concert association. SoMin on was established in 1963.
(02:41):
As a concert Association, theyorganize lots of concerts invite
people from all over the worldto perform in Japan. They also
have a music museum withfantastic collections of pianos
and many other instruments. Andthey also organize a conductors'
competition, and many of thoseconductors then start a new
(03:06):
career worldwide, from fromthere. And after 50 years of
organizing concerts with thegoal and intent of getting
people to know each other betterto get along better, you know,
across nationalities, acrosscontinents. They thought, what
what else can we do after 50years? And why not establish a
(03:30):
research institute? So that wasin 2014. And so Min on means the
music of the people. And it'skind of a flexible translation,
but it could be music of thepeople, by the people and for
the people.
Kevin Shorner-Johnson (03:55):
Yeah, I want to journey back to this
moment when you start to becomea peace studies scholar. So as I
read your book, I understandthat you were teaching modern
languages, Soka, and then youhad this moment that seems to be
inspired by your wife, where youencountered Galtung and always
changed. So if we talk abouttransformation, I want to know
(04:18):
about this moment of yourtransformation. And what led you
to be a peace studies scholar.
Unknown (04:24):
Oh, yes, that's a wonderful question. So I moved
to Japan in 1991, and started toteach French English modern
languages. And then in 1996, aguest was invited to teach on
campus for two months, becauseSoka University has, always has
(04:47):
lots of guests coming to campus.
And that time, it was JohanGaltung, one of one of the
founders of peace studies. And Iwas very busy establishing
programs for students. So Ididn't really have time to pay
attention. But my my wife wasasked was invited to translate
(05:08):
for him for two months. So hereis, you know, one of the
founders of peace studiessharing very, very complicated
theories in English. And then infront of you, you have 1300
students, Japanese students, whodon't understand what he's
(05:28):
saying. And my wife was incharge of translating
everything. So so I thought theleast I can do is to at least
attend the very first class tosupport her. So I did attend,
and after half an hour, I washooked. I found it absolutely
fascinating. The very firstlesson if you want, I attended
(05:53):
Galtung started to make littlegraphs on the board. And showing
that when people are inconflict, there are five
different types of outcomes. Andone can win the other one can
lose that one outcome, but bothcan decide to lose. That's, for
example, war, nobody wins in awar at the end. It's a lose lose
(06:16):
outcome. You can compromise.
Like, you know, you get halfwhat you want, the others get
half what they want. So far, sogood. And then he showed what he
calls the Transcend point, theTranscend point is almost
impossible to explain. But it'sa point where you get everything
(06:39):
you wanted from, you know,trying to solve the conflict,
but the other parties to bothwin, it's like a complete win
win. Now, of course, it soundsimpossible. But it's an ideal
point, kind of a lighthouse,where you believe it's going to
happen, that it's possible forme to get everything in for you
(07:02):
to get everything. And ofcourse, the only way to get
there is really extensive andintense dialogues to reframe
what you want to understand whatyour wants, etc, etc. I'm not
going to reproduce the wholehalf hour. But I thought, Oh, we
can actually think about peaceand peacebuilding in a
(07:24):
scientific way. And use graphsand math, which, you know, as a
White, Western European, thatwas really the only thing I
could do at the time. So I wentto see him in his office, and
basically I became a privatestudent for about 10 years.
Kevin Shorner-Johnson (07:44):
Galtung transformed peace studies with
new conceptual models ofviolence and peace, Gatung's
conflict, triangle modeled theorigins and interconnected types
of violence as direct violence,structural violence, and
cultural violence. In his book,Urbain cites a profound dialogue
(08:05):
between Ikeda and Galtung, wherehe gently asked I'll tone about
connections between personalhistory and the origins of peace
work. Ikeda (08:14):
I have heard that seeing your beloved father, Dr.
August Galtung, a former DeputyMayor of Oslo and a physician
taken away to a concentrationcamp by the Nazis when you were
only 13 years old, motivated youto devote yourself to
humanitarianism and peace.
Galtung (08:33):
my motivations were twofold. On the private level, I
was influenced by the violentmadness that afflicted Norway in
general, and our own smallfamily in particular, during
World War Two. I wanted to findout how all that horror might
have been avoided, how the karmaof all Europe might have been
(08:56):
improved and in honest personalterms, how we could have kept
father at home with usso 10 years with like the
founder of peace studies, Ihaven't had an opportunity to
(09:20):
talk with somebody who's knownGaltung so you know, as I came
into contact with Galtung I, youknow, I came into contact with
the triangle. And I think theaha moment for me there was I
think the way in which he spokeabout the the importance of
peace culture setting up butyeah, so what, what rubbed off
(09:42):
on you from all that time youspent with Galtung? Like what
are some of the ways in whichthat time has affected you the
deepest?
Olivier Urbain (09:53):
Yes, you mentioned triangles. I love
triangles anyway, and Galtunghas lots of them that helped me
and I think has helped lots ofpeople to flesh out what's going
on, for example, the DSCtriangle the the direct
structural cultural violence.
So, for Galtung, and I think formost people today, we understand
(10:17):
that conflicts, disagreement,that's not the problem. Because
life is complicated. And wecannot all want the same thing.
At the same time, in perfectharmony, that's not realistic.
So we have conflict in ourlives. But how do we handle
them? With or without violence?
That's that's the real question.
So the problem of peace buildingis violence, not conflict. And
(10:42):
so that was already a revelationat the time. But in addition,
when we see people gettingkilled, people getting bombed,
people are getting tortured,that we want to stop that, but
it's only the tip of theiceberg. It's called direct
violence, we can see it, we canfeel it, it's horrible. We want
(11:03):
to stop it. But there is a hugeiceberg underneath. And Galtung
calls it structural violence,which is one of his greatest
discoveries, if you want, Imean, it's always been there. So
it's not a discovery, but he puta label on it. And that's all
the injustice that people haveto endure, because of bad laws,
(11:29):
bad traditions, structures thatare inadequate, invisible power
structures that make it that youknow, a woman works 20 years
exactly like a man, but hersalary is going to be 1/3. And
she's not going to be promoted.
Where does that come from? Youknow, it's called structural
(11:52):
violence. And then there isanother iceberg underneath that
one. And it's called, that's thecultural violence, cultural
violence is, it happens in ourheads. And that's where we
think, well, it's totally okayfor some people to have to go to
jail for any little thing,because I think they are
(12:14):
inferior, that's in our head.
And that's, that's culturalviolence. It's, you know,
racism, sexism, all kinds ofdiscrimination is in our heads.
But the problem is that once weget together and organize our
communities and our societies,those prejudices transform into
rules and habits and traditions,that's structural violence, and
(12:34):
that pushes people to suffer somuch that at some point, we have
to stand up and revolt and rebeland use violence, direct
violence. So it's like a wholepackage. And I'm not very good
that like combat sports. Sodirect violence, I can't do much
about it. I haven't studied lawor economics very well. So
(12:58):
structural violence, I'd bepretty useless. But cultural
violence, I felt that hadsomething to say. I thought, Oh,
wow. If one fight we can pick,you know, in the huge battle for
a better world. Maybe I can pickthat one I can look into - Where
(13:18):
does cultural violence comefrom? Prejudice, privilege, all
those things? And where is it inme first? And how can we change
that for the better? And ofcourse, music was a natural fit
for that.
Kevin Shorner-Johnson (13:38):
In his chapter for music and conflict
transformation, Galtung writes,quote, maybe there also has to
be an element of disharmony inthe harmony, of contradiction in
the transformation of theconflict. Peace is life.
Something needs to be leftunresolved. Good art is like
(13:58):
good peace. Always challenging.
We turn to a piece titled faraway. This song is a result of a
collaboration between the NGOBeyond Skin in Northern Ireland
and MOMRI in Japan. The two coproducers are Darren Ferguson of
Beyond Skin and Olivier Urbainof Min on. The song was created
by students of two schools, GlenHigh in Ireland and the C&S
(14:22):
music school in Japan. Music byYuta Hihara Lyrics by students
of Glen High at that time, andmusic performed by students of
the C&S Music School [music]And before we get to Ikeda, I
(15:18):
want to just hear about thestory of the music and Conflict
Transformation book. You know, Ithink I would want to note just
how important that book has beenone of the very first books to
look at this, that music has arole to play here. And I
remember very on in my ownformation, like picking up the
(15:38):
book off one of the shelves inthe library and opening it and
saying this looks interesting.
And just the way in which I,it's the chapter on empathy that
first hooked me, but the way inwhich that book changed me. And
so I want to know the story ofthis book, like, how did where
did you get this, this ideaabout? Maybe we should write
(15:58):
this book on music and conflicttransformation?
Olivier Urbain (16:02):
Oh, wow, thank you. Well, thank you for picking
that book, among so many others.
On the shelf that day. So in 96,I decided to learn directly from
Galtung. And after three years,we met in in Kyoto, actually,
the four of us, his wife, mywife, and the two of us, because
our both our wives are Japanese.
(16:23):
So of course, you know, a lot ofgreat communication there. And
Galtung was establishing his ownonline university called
Transcend Peace University. Andso we had a very long brunch.
And in the conversation, hementioned that he would love me
(16:44):
to teach something. Butsomething original, something
nobody had done before, becausecolleagues of Galtung had
already established a peaceeconomics or peace sociology, or
even peace mathematics. Youknow, peace ecology. So,
immediately, I thought, well,I've never heard of, you know, a
(17:05):
course on music and peace. Andhe said, That's it. That's what
you have to do. So from there, Istarted to prepare the course,
started to have some ideas onwhat would work. And little by
little, I started to writepapers, published articles,
(17:26):
attend conferences, discuss withpeople, my very first paper was
called Jazz and social justice.
If you remember there's thisfabulous series by Ken Burns,
about jazz, so I watched it veryslowly, and took notes. And
(17:46):
there is so much material inthere about music and
peacebuilding, about how, howjazz can came from the blues and
how the blues was born at alland everything it means for the
people who, you know, expressthemselves through the Blues of
the very beginning. And whatjazz has become today. This
(18:07):
whole adventure was my veryfirst attempt to link music and
peacebuilding. So then in 2004,an Institute actually, I was not
aware of I knew I knew the nameToda, but I didn't know there
was a Toda Peace Institute. Anda friend of mine told me, Well,
you know, you're into music andpeacebuilding, why not apply for
(18:29):
a, you know, funding for aproject because the Toda Peace
Institute is organizingsomething about arts and peace.
So I applied, it was accepted.
And I had this fabulousopportunity thanks to the Toda
Peace Institute of creating ateam of about 10 people. And we
(18:55):
all went to the conference inMadrid in 2005. And so we were
able to discuss and share for afew days in Madrid. And each one
decided to write a very specialchapter. And so the book after a
lot of work, teamwork waspublished in in 2008. So as you
(19:20):
mentioned, one of the writerswas Felicity Laurence, who wrote
on empathy. Really fantasticchapter. And then you have
Cynthia Cohen very well knownalso in the field of art and
peace. She is very careful aboutsaying that music is universal,
(19:40):
everybody feels the same waywith the same music. Well, maybe
not at all. Maybe we have to bevery careful about that. You
have Galtung himself wrote hisfirst chapter ever on music. You
have Rick Palieri, who is abanjo player and singer, a
disciple of Pete Seeger, whowent to meet Pete and have a
(20:01):
original interview of Pete forthe book. So that's in his
chapter. So, I didn't know butit was the very first academic
book on the topic. And rightafter that music and conflict,
just cutting the transformationpart of music and conflict was
published by ethnomusicologist areally excellent book and then
(20:24):
from there, you have like,literally hundreds of research
projects and now we have entirebooks, entire associations on
music and peacebuilding.
Kevin Shorner-Johnson (20:39):
In Felicity Laurence's profound
chapter on empathy, she notesthat within Eurocentric
languages, the word empathy hasa relatively young history,
introduced in 1873 is Einfulung.
This German word meant somethingdifferent from sympathy, and was
a word to describe the feelinginto that often accompanied
(21:00):
experiences with art. Laurencedraws upon Edith Stein's
writings to caution that empathycan easily and falsely become a
moment when we lose our sense ofself, to the arousal of a group.
The Holocaust into which Steinperished is just such a moment
when the arousal of hatredwithin one group caused
(21:24):
unthinkable acts within others.
All right, well, let's lean intothe story of three humans that
you talk about and that you'vegiven so much of your thought
and life to in working in peaceeducation, peace advocacy. So
(21:49):
Makiguchi, Toda and Ikeda. Firstin the spirit of dialogue, I
wanted to note to you like howbeautifully I thought that you
wrote about the way in whicheach one informed and change the
next like that in and of itselfis like a history of dialogue
about how each one is changing.
I wondered if we could startwith Makiguchi and his
(22:10):
groundbreaking philosophies ofeducation. I see that here's
someone who built notions offree school lunches. Here's
someone who believed in thelatent potential within children
and children's ability to beadvocates for peace. So can you
start with the story of howMakiguchi builds models of
education as an act of buildingpeace.
Olivier Urbain (22:35):
So, Makiguchi was was born in the 19th
century. And by the time he wasin his 40s, he was a well
established teacher andeducator, not only through his
actions in the classroom,
Kevin Shorner-Johnson (22:54):
Makiguchi demonstrated his care for the
inner potential of children inmany ways including a system of
free lunches. Makiguchi preparedand delivered lunches to
students.
Olivier Urbain (23:10):
But he was forced to change schools all the
time, because the authorities inJapan, really didn't like that
at all. They wanted to create astrong Japan that could resist
the, you know, invasions of theWest. So Japan had to be ready
not to be colonized. And youneed discipline and all those
(23:31):
things. So Makiguchi, inspiredby the type of teachings, but
that, for example, John Dewey,would, you know, share the time,
he thought, well, education isuseless if you don't really
treasure the person in front ofyou, and really believe in the
potential and give them theskills to develop their
(23:53):
potential. That's what educationis all about. So, he always got
in trouble with authorities fordoing that, but nobody could
ever change his mind. So then,when he was around 49 This young
man came from Hokkaido, a young,20 year old young man who also
(24:14):
had experience teaching and Todacoming from Hokkaido came to the
big city, Tokyo, and he knew heneeded a mentor an established
teacher and theorist, pedagogistwho could help him and he was
able to meet Makiguchi andbecame his disciple. So then
(24:36):
then this dynamic of beingtogether, Makiguchi and toda
then accelerated the emergenceof this type of education, which
is called value creatingeducation. In Japanese, it's
Soka means, you know, valuecreating, and so it's about it
(25:00):
The fact that if you believe inthat type of education, you
believe that people, eachindividual has the potential to
become totally happy, fulfilled,have wonderful relationships
contribute to the world and ofcourse contribute to a better
world and contribute to peace.
They don't need, not a transferfrom you. You don't have to
throw any logic.. knowledge atthem, but what you need to do as
(25:22):
a teacher is to bring out theirlatent potential and provide
them with skills.
Kevin Shorner-Johnson (25:31):
Olivier Urbain spoke of value creation
as a kind of constructiveframing of what we experience in
Victor Frankl's 1964. Book Man'sSearch for Meaning. Frankl
explores how our imaginations offuture and purpose construct our
well being in the here and now.
Frankl's thoughts and writingswere formed during his time as a
(25:53):
concentration camp survivor.
Urbain reads from a quote byFrankl
Olivier Urbain (26:00):
saying yes to life, in spite of everything
presupposes that life ispotentially meaningful under any
conditions, even those which aremost miserable. And this, in
turn presupposes the humancapacity to creatively turn
(26:22):
life's negative aspects intosomething positive, or
constructive. In other words,what matters is to make the best
of any given situation. So inother words, what matters is to
make the best of any givensituation, for me that that's
the major part of value creatingeducation.
Kevin Shorner-Johnson (26:45):
Urbain shared a recent story from his
classroom as a Ukrainian studentmade meaning of her studies and
place in the wake ofgeopolitical violence.
Olivier Urbain (26:55):
And then the girl from Ukraine raised her
hand and she said, This is how Isurvive with everything that's
happening in my country, to myfamily, to my friends, and you
know, but I'm here in Japan, I'malive, I can I can study. But
how can I not be totally out ofit? And you know, how can I
(27:18):
live? Well, because I've decidedthat what matters is to make the
best of any given situation. Andbased on that she's able to
study to move forward and, andto imagine a future that one day
in the future, she'll be able todo something for her country,
(27:40):
for other countries, for peoplein general for world peace. But
you can imagine the kind oftremendous courage and hope it
takes from from one young persongoing through that. So all that,
for me, is value creation.
Kevin Shorner-Johnson (27:59):
I think what I get from that is that
there can be such a feeling ofoverwhelmed from the bigness of
problems. And I think thatthere's both in this approach,
there is a, there's a beauty inthe smallness and the power of
just one single person. That'ssomething that I heard time and
time again, from your book onIkeda, about the value, the
(28:22):
difference that one person canmake.
As 20th century Japan made readyfor war, it laid frameworks of
cultural and structuralviolence. The military
government enacted the 1925piece preservation law to end
processes of dissent, as itmobilized for war. In 1943. This
(28:45):
law was used to arrest andimprison Toda and Makiguchi for
their refusal to conform toreligious requirements. On
January 8 1945, Toda wasinformed that Makiguchi had
passed away some two monthsprior in a separate prison cell.
Toda was engaged in his ownsolitary struggle of survival,
(29:09):
and turned to the embrace ofawakenings and revelations from
the Lotus Sutra, Urbain writes,quote, Toda seem to be free of
fear for the rest of his life.
This first revelation gave himtremendous courage to overcome
all obstacles. It also made himaware of how precious life is,
and of the importance of thedignity of each individual. It
(29:32):
confirmed his attitude andconviction as an educator, that
each human being is precious andworthy of respect. Urbain speaks
of Toda's awakening, to a senseof interconnectedness.
Olivier Urbain (29:52):
And to make it simple in my own interpretation,
is that each human being canhave many different missions and
functions and roles andcontributions, but one of them
can be to wake up to the factthat we are all parts of the web
of life. We all have lifewithin. And we have a mission to
(30:16):
share that with others, and letthem know that they also are
part of the web of life and theyhave tremendous courage, wisdom
and compassion inside of them,in a way it sounds like value
creation from India from, youknow, around 2000 years ago, he
was already there, right? Itwas, of course, in other
(30:37):
teachings. So then the two verystrong awakenings, revelations
that Toda had was that the mostimportant is life itself, the
fact that we are alive that wecan breathe, and from there
everything flows, and the factthat we each have a mission to
(30:58):
make life better for others, notto charity, but by awakening
them to the fact that their lifeis precious.
Kevin Shorner-Johnson (31:07):
After Toda was released from prison,
he seemed to move with a"clarity of purpose" as he
invested in the realization ofSoka Gakkai. And on August 14
1947, Toda met quote, "a frailyoung man of 19, suffering from
tuberculosis," by the name ofDaisaku Ikeda, Urbain rewinds,
(31:31):
the story to introduce DaisakuIkeda,
Olivier Urbain (31:34):
Ikeda was born in 1928. So Japan was already on
the way to full scale war, theyhad already attacked and
colonized, what is now Okinawaand Taiwan and Korea, and they
were building their own littleempire and growing empire. So
(31:56):
Ikeda was born in the middle ofthat in 1928. And it was really
not a good time to live. He hadtuberculosis, but not many means
to be taken care of properly. Sohe was suffering a lot from
tuberculosis, he was he was veryweak, but still at age 14, had
(32:16):
to work in a factory in a ArmsFactory, because basically,
every kid had to do that inJapan. And then he saw that his
brothers were sent to war, hehad four elder brothers, and
they were all sent to war, oneafter another. And especially
(32:37):
his elder brother, was wasreally close to him, his name
was Kiichi. And then somethinghappened that really changed
Ikeda forever, that in July1941, Kiichi was allowed to come
home and stay home for a fewmonths. And he was changed. And
(33:01):
he was horrified. And at somepoint, he said very clearly and
with with rage, that what theJapanese, the atrocities the
Japanese are committing inChina, are absolutely horrible
and unbearable. So it was a bigshock. Because, you know, the
(33:22):
family thought, well, we'resending our sons to serve the
country for to liberate Asia,from the evil Westerners. But
the reality is completelydifferent. So then that brother
had to go back to war in 1942.
And then no news from him. Andthen the war is over. And in
1945, and then throughout 1946,the other brothers come back,
(33:46):
brother number 1-2-3. Still noKiichi. And then it's finally in
1947 that the news game thatKiichi was killed, he had been
killed in 1945 in Burma, whichis now Myanmar. So Ikeda saw his
mother breaking down becomingvery old very quickly and his
(34:11):
father too. So this wholeexperience of having to work at
an early age, having to domilitary drills all the time,
being lied to by the entirecountry, realizing everything
was a lie, was was a tremendousshock for the entire nation
including Ikeda. So then we arenow in 1961. Ikeda has adopted
(34:36):
the philosophy of valuecreation, through through a form
of Buddhism, but from Makiguchiand Toda, and he visits Asia and
he goes to India. You know whereBuddhism started, and then he
stops by Burma, Myanmar. Anddefinitely honors the memory of
(34:59):
Kiichi, his elder brother, andthen on the plane from Myanmar
to Thailand. He had this veryclear idea, like, I don't want
anybody's elder brother to bekilled like this anymore. You
know, we really have to dosomething that we there's so
much music and art andcreativity in the world. Why
don't we use that energy to makesure this kind of senseless
(35:23):
killings and massacres neverhappen again. So when he landed
in Thailand, it was it was, Minon was built in his mind. He was
already there. And he sharedwith friends that he met there
though, you know, what we reallyneed to create to establish some
(35:44):
kind of organization, some kindof institution that promotes
friendship, understandingcultural exchanges, through
music, and about two yearslater, that became Min-on
Kevin Shorner-Johnson (35:59):
the concert master of the NHK
Symphony Orchestra. ShinozakiFuminori known as Maro notes,
"music is different, it issomething you feel it spreads
among individuals. Music isabout connecting people. I think
this is the factor that can leadto world peace. This is the
(36:20):
mission of musicians. Thisreally could be the mission of
music. We turn to a performanceof Maro playing Mahler's
adagietto from Symphony NumberFive as an elegy to the loss of
war, and those affected by the2011 earthquake and tsunami, and
those who have passed due toCOVID 19. This recording is from
(36:45):
the fourth episode of the sharemusic day series produced by the
Min-on Research Institute in2022. The video is freely
available on YouTube andprovided with generous
permission by the Min-on MusicResearch Institute.[music]
(37:30):
May we find revolutions withinlegacies of dialogue and mentors
within the blooms of the lotusflower, finding the beauty and
the potential within, holdingdisharmony within harmony as a
creative energy to transform, togrow, bringing out the best
(37:52):
versions of our community.
(38:39):
Olivier Urbain's books, DaisakuIkeda's Philosophy of Peace and
Music and ConflictTransformation are published by
IB Taurus press, an imprint ofBloomsbury publishing. The
website of the Min-on concertassociation can be found at WWW
dot min hyphen on.org. This isthe music and peacebuilding
(39:02):
podcast hosted by KevinShorner-Johnson at Elizabethtown
College. Stay tuned for our nextepisode, as we continue our
journey to explore revolutionarypractices of dialogue.[music]
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