Transformations within the Gap:
Liminality and Principles of Vedic Language Theory in Performance
Anna Bonshek, Ph.D.
Still from This and That
Dancers: Lucia Rich and Jenna Riegal
Akshara Productions 2000
The word "liminal" is used to refer to a transformative place, space, and sense of identity within cultural and ritual processes; it denotes a gap or threshold realm. Understood as a gap, the liminal implies a stage of transformation from which another stage, or new forms of identity or relationship, are born. Vedic language theory also identifies a principle of transformation or gap, but on an unmanifest level of sound that structures perception and experience, identity and language. According to Vedic language theory, in the transition from the expression of one sound to another, a series of dynamic transformations occur. As a sound dissolves, the process of dissolution leads to a state of silence and dynamism. These two values in a constant, infinite interplay, generate a new sound and the sequential emergence of innumerable sounds or frequencies. These unmanifest frequencies are the fundamental building blocks of performance structure, transformations and transformative experience.
This paper examines the multi-fold layering or levels involved in the process of transformation within the gap identified by Vedic language theory by discussing four stages of the gap, eight levels of transformation, and eighteen variations or aspects of the self-referral move in this process. These various sets or levels of transformation can be considered as activity or processes within the liminal state since they present details of a threshold realm/experience—a state of all possibilities that is neither "in" or "out", both transcendental and immanent, looking both ways simultaneously. In this context, this paper concludes with a discussion of the video This and That—a collaboration between multi-media artist, Anna Bonshek, composer, Corrina Bonshek, Danza.Da Improvisational Dance/Theater (Director, Juliette Daley, and dancers, Jenna Riegel and Lucia Rich), photographer and video artist, James Meyer, and film-maker, Roland Wells. Using text, sound and performance, This and That is a preliminary work, and part of an extended investigation entitled Reverie (Akshara Productions, 2000), which examines notions of the gap posited by Vedic theory.
In order to discuss the concept of transformation introduced above, the fundamental assumptions of Vedic theory should first be introduced. In Vedic language theory, as described by Rhoda Orme-Johnson (1987) and William Haney (1989), sound is held to be the basis of form, perception and experience; sound structures form. Furthermore, it is consciousness that is the source of sound, of thought, and all linguistic expression, performance, relationships and structures. "Consciousness" in its unmanifest state is synonymous with "infinity", "all possibilities", "awareness". In being aware, consciousness knows itself and distinguishes differentiated values within its inherently undifferentiated structure. Sound emerges from the interplay between these two aspects of consciousness. In the process of consciousness knowing itself, three values—subject, object, and their relationship—are located. Subject is the knower, object is the known, and the relationship between subject and object corresponds to the process of knowing; all three are "shades" or aspects of consciousness, within consciousness. This understanding of consciousness is described by Maharishi Mahesh Yogi, whose insights into Vedic knowledge provide the foundation for this discussion:
Consciousness is that which is conscious of itself. Being conscious of itself, consciousness is the knower of itself. Being the knower of itself, consciousness is both the knower and the known. Being both the knower and the known, consciousness is also the process of knowing. Thus consciousness has three qualities within its self-referral singularity—the qualities of knower, knowing and known—the three qualities of "subject" (knower), "object" (known), and the relationship between the subject and object (process of knowing). Wherever there is subject-object relatedness; wherever subject is related to object; wherever subject is experiencing object; wherever subject (knower) is knowing object, these three together are indications of the existence of consciousness. (Maharishi Vedic University, 1994: 64)
The interactions between the three values, and their undivided nature as the "singularity" of consciousness, provides the ground for all possible relationships:
In that pure consciousness we have three values—observed, observer and observation—and we have one unified state of the three. Here we have one and three at the same time. When we have one and three together in that self-referral state of pure consciousness, there is that infinite contraction for remaining one and there is that quick expansion to become three. When they are simultaneously three and one there is infinite dynamism. (Maharishi Mahesh Yogi, 1985: 65)
This three-in-one dynamic of consciousness, is the basis for all possible transformations—giving rise to sound and form. In Vedic language theory, sound is called Mantra; the gaps between sounds are called Sandhi or Brahmana. Sound at this level, as mentioned previously, is unmanifest but is "heard" by seers or Rishis within their own transcendental, self-referral consciousness. These sounds are held to correspond to ancient Vedic texts recited and maintained via oral tradition in India. While pure consciousness is a singular, infinite field of silence, it is also pure potentiality, containing within it infinite dynamism. In this sense, silence and dynamism are unified or can be thought of as defining a threshold realm where there is no "inside" or "outside"—where inside and outside are simultaneously illuminated. As Maharishi explains:
Now that state of Being [pure consciousness] is both ways at the same time. Outside lighted, inside lighted, but what do we mean by in and out in that state? In and out is the reality of dynamism and silence. On that level both are the same. Dynamism and silence, dynamism and silence. But if we take it to be in and out then it's with infinite speed in and out. It's a straight line representing silence and dynamism only when the dynamism is of infinite frequency—when at no time is it out or in; it is in and out at the same time. (in Bonshek, in press, 72-73)
There is no "in" or "out", or rather, "in" and "out" represent the infinite frequency of an infinite dynamism, where silence and dynamism remain unified. This principle is referred to as the "lamp-at-the door" or Jyotish-Mati-Pragya, all-knowing intelligence. The multi-layered dimension to the transformation of sounds represents another principle of Vedic theory. With a microscope, the eye can detect the inner workings of a cell, the cell nucleus, etc.; similarly, when investigating further into the mechanics within the gap, multiple levels of transformation can be identified.
Elaborated Values of Transformation Within the Gap. In the unfoldment of sound and gaps in Vedic language theory, at least three themes are evident: 1) the location of four stages of transformation from one unmanifest sound to another; 2) eight levels of transformation: a) within the collapse of sound into silence; and b) in the emergence of sound (and three elaborations of these eight levels, making 24 values); and 3) 18 aspects of self-referral consciousness, also involved in the transformative process.
Theme One: The Four Stages of the Gap. In the progression of one sound transforming into another sound at the unmanifest level, there are four fundamental stages: 1) the dissolution of sound (called pradhwamsabhava); 2) the state of silence, (referred to as atyantabhava); 3) the state of dynamism (anyonyabhava); and 4) the emergence of a new syllable or sound (pragabhava). These fours stages represent Dissolution, Silence, Dynamism, and Emergence. Within the gap, the states of silence and dynamism are totally unified, despite being diametrically opposed in nature. It is the reverberation at this level that is said to generate an infinite frequency and unmanifest sounds. Located in the gap, in between, is the coexistence of complete opposites—silence and dynamism—the potential for all possibilities.
In the study of culture and change, Victor Turner (1986, 1992) suggests that in the liminal condition, an individual abandons their old identity to experience a threshold state of ambiguity, openness and indeterminacy. "By virtue of experiencing this state or process, the individual can then enter into new forms of identity, relationship, and the everyday life of his/her culture. The liminal is a point of transition, a state entered into temporarily, a transformative realm leading to something else." Terms like "non-identity" and "self forgetfulness" are used to describe this experience. However, the liminal may also become a permanent dwelling place. Writers speak of the necessity of maintaining this as a site for creative practice.
It should be noted that in Vedic theory, the gap not only refers to a transformative process between sounds but also the experience of a transcendental state—a state beyond the relative states of waking, dreaming and sleeping. The term "gap" is used to denote a transition point between relative states where the transcendent may be accessible. Any new identity or sense of self resulting from the experience of the gap would be one of infinite status and all possibilities—unconfined by changing concepts of individual selfhood. Self forgetfulness, in this context, could describe an experience of the transcendental value of selfhood—when the individual sense of self or ego is transcended, "forgotten" or retired from. The ego/self identifies with its infinite, rather than localized, status. This experience, which may be fleeting or temporary, can become a permanent feature of daily life—when the transcendent is lived along with the relative states. This state is referred to as cosmic consciousness since the individual permanently experiences his or her "cosmic" status. The gap, in this context, can refer to the gap between the three relative states (the experience of the transcendent), or the gap between the transcendent and the relative phases of consciousness. The nature of transcendental consciousness is self-referral; due to the inherent wakefulness of consciousness, it knows itself and differentiates values within itself. Singularity, as if, becomes diversity; sounds and gaps emerge. From this perspective, these sounds and gaps are reverberations of individual consciousness in its expanded state.
In further considering the dynamics of the development of sound and experience, in Vedic theory the three differentiated aspects of consciousness are found to be involved in the transformations within the gap. In the dissolution and emergence of sound, consciousness identifies itself as knower, process of knowing and known in a self-referral move or a self-referral loop. With this understanding, there are, in total, six values of consciousness: 1) knower; 2) process of knowing; and 3) known in the phase of dissolution, and 4) known; 5) process of knowing; and 6) knower in the phase of emergence. The value of knower apparently becomes the process of knowing and the known—subject becomes relationship and object. Then, through the self-referral loop, the known or object becomes knower or subject. Although this dynamic indicates a return in the six-fold loop, the "new" knower represents another differentiated shade of consciousness.
Theme Two: The Eight Prakritis as Further Levels in the Collapse and Expansion of Infinity into the Gap. In addition to these basic dynamics within the gap, Vedic language theory also describes eight stages of collapse in the dissolution of a sound and eight stages of emergence in the creation of a new sound. These eight stages are called the eight Prakritis and include: 1) ego (ahamkara); 2) intellect (buddhi); 3) mind (manas); 4) space (akasha); 5) air (vayu); 6) fire (agni); 7) water (jala); and 8) earth (prithivi). The term prakriti is generally translated as referring to the material side of matter and consciousness and is a common term in many of the Vedic texts.
Prakriti is that which is in its own form, the first, the original, the basis, the natural state. Prakriti is the material cause, that from which something is born or comes to be, the basis from which innumerable forms are produced. Prakriti means also the natural, common, and normal, and therefore the innate, as in the nature or character of the individual. The term expresses a naturalistic tendency. That is perhaps why it is used extensively in the sciences: medicine, phonology, grammar, politics, ritual theory, and in the science of liberation of Samkhya and Yoga. (Bettina Baumer, 1996: 7-8)
In this paper, the term prakriti applies to the specific values in the transformations of consciousness within the gap—the mechanics through which sound, processes, performance and form are structured. In the dissolving of a sound into the gap, there is an eight-fold collapse. Similarly, in the emergence of another sound from the gap there is an eight-fold expansion (Nader, 1993: 12-13). Nader (1993) states that these eight-fold dynamics can also be located within the functioning of the nervous system:
The emergence of each syllable, one after another...happens through the gaps between two consecutive syllables. In this, there is a process of collapse of the 1st syllable (Pradhvamsabhava), into a point value (Atyantabhava) from which is elaborated the process (Anyonyabhava) which leads to the emergence of the next syllable (Pragabhava). These four aspects of the gap correspond to the synapse between two consecutive steps of signal transmission in the nervous system...Pradhvamsabhava corresponds to the pre-synaptic gap junction which structures the collapse of the signal into the gap junction (Atyantabhava)...Anyonyabhava elaborates the process of what happens in the gap and leads to the emergence of the new syllable.
At each of the individual gaps between cells, there are eight factors which determine the accuracy and completeness of the transmission through the gap. These factors apply to the pre-synaptic, synaptic and post-synaptic process and therefore explain why every one of the steps leading to the collapse, interpretation, elaboration, or emergence of a syllable happens in eight elaborations. (Nader, 1993: 40-41)
Nader goes on to explain in some detail the nature and processes of the synaptic gap. Thus, the mechanics by which consciousness is expressed as sound are considered to be the same mechanics that operate on the level of physiological/ synaptic processes. The transformative process is located on the level of consciousness, sound, and biological information or material structure.
Further insights into these dynamics can be gained by considering how some verses from the actual text of Rk Veda (also written as Rig Veda or Rg Veda) demonstrate these principles. Considered by Vedic scholars to one of the first Indian philosophical texts (Coward, 1990: 4-5) and made up of hymns (Griffith, 1995), Rig Veda or Rk Veda is described here as the unfoldment of consciousness in terms of sound and gaps as discussed above (Bonshek, in press: 131-132; Nader, 1993: 12-13). A detailed discussion of Rk Veda is given in Nader's analysis of the first through tenth Mandalas or chapters of this, the first of the four Vedas (Rk Veda, Sama Veda, Yajur Veda and Atharva Veda) (Nader, 1993: 7-18). Without going into the meaning of the words, sentences and chapters, it is worth delving deeper into how the syllables and gaps relate to one another in terms of the mechanics, or transformations, of consciousness.