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ESCOM

Die groot duisternis.

Terwyl Escom die ons lewens in duisternis dompel weens totale onbevoegdheid en grypsug, doen die natuur sy eie ding daar buite, en word ons, sonder dat ons hoef te vra of daarop aan te dring, getrakteer op `n weergalose skouspel.

Die son sak skouspelagtig oor Kempton Park terwyl Afrika sukkel om moderne tegnologie baas te raak.

Daar is nog mooi en goed en reg daar buite ten spyte van politieke kwaadwilligheid en onvermoë, mens moet jouself maar net oopstel en kyk. Life is still good.

Frangipanies (?) in ons tuin

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THE FUJI DECLARATION

Awakening The Divine Spark In The Spirit Of Humanity

For a Civilization of Oneness with Diversity on Planet Earth

A new phase in the evolution of human civilization is on the horizon. With deepening states of crisis bringing unrest to all parts of the world, there is a growing need for change in our ways of thinking and acting. We now have the choice of either spiraling into deepening peril, or breaking through to a world of dignity and wellbeing for all.

Throughout its history, humanity has beenguided primarily by a aterial consciousness. Fearing scarcity, we have continued to pursue material gain beyond necessity, taking from others and depleting the Earth’s natural resources. If our aspirations continue to focus only on what is material and finite, our world will face inevitable destruction.

What is our true nature?

In order to make more enlightened choices and change the course of our history, we need to return to the basic question concerning human life. Each and every one of us must ask, “What is our true nature?” and seek a meaningful and responsible answer.

The great spiritual traditions of the world have always been telling us that, at its root, human life is inextricably linked to its universal source. Today, the latest advances in the physical and life sciences reaffirm this perennial insight. When we rediscover our connections to nature and the cosmos, we can re-align our life with the universal movement toward oneness and harmony in and through diversity. We can restore the divine spark in the human spirit and bring forth our innate love, compassion, wisdom, and joy to live a flourishing life. The time has come for every one of us to awaken the divine spark that resides in our heart.

 THE FUJI DECLARATION

Awakening The Divine Spark In The Spirit Of Humanity

For a Civilization of Oneness with Diversity on Planet Earth

 

What is the purpose of our existence?

We have been born at a critical juncture in history, in a world in transition, where it is possible to guide the advancement of humankind toward peace on Earth. Living peace and enabling peace to prevail on Earth is the ultimate purpose for all of us. We can and must embrace it in every sphere of our existence.

By living consciously and responsibly, we can draw upon our inherent freedom and power to shape our destiny and the destiny of umankind. Our task is to collaboratively create a world of dignity and compassion that unfolds the full potential of the human spirit—a world in which every individual gives expression to his or her highest self, in service to the human family and the whole web of life on the planet.

Toward a new civilization

It is imperative to bring together individuals from diverse fields—scientists, artists, politicians, business leaders, and others—to create a solid multidimensional foundation for catalyzing a timely shift in the course of history. The time has come for all people to become courageous pioneers—to venture beyond their personal, cultural, and national interests and beyond the boundaries of their discipline, and to come together in wisdom, spirit and intention for the benefit of all people in the human family. By so doing, we can overcome the hold of obsolete ideas and outdated behaviors in today’s unsustainable world and design a more harmonious and flourishing civilization for the coming generations.

The paradigm of the new civilization

The paradigm of the new civilization is a culture of oneness with respect for diversity. Just as the myriad cells and diverse organs of our body are interconnected by their oneness and work together in harmony for the purpose of sustaining our life, so each and every living thing is an intrinsic part of the larger symphony of life on this planet. With the conscious recognition that we are all a part of a living universe consisting of great diversity yet embracing unity, we will co-evolve with one another and with nature through a network of constructive and coherent relationships.

THE FUJI DECLARATION

  1. Affirming the Light of Consciousness Within All Beings

We affirm the divine spark in the heart and mind of every human being and intend to live by its light in every sphere of our existence.

2. Commitment to Creating Lasting Peace on Earth

We commit ourselves to fulfilling our shared mission of creating lasting peace on Earth through our ways of living and acting.

3. Intention to Live and Act on Behalf of all Life

We intend to live and act so as to enhance the quality of life and the well-being of all forms of life on the planet, recognizing that all living things in all their diversity are interconnected and are one.

4. Freeing the Human Spirit for Deep Creativity

We will continually strive to free the human spirit for deep creativity, and to nurture the transformation necessary to forge a new paradigm in all spheres of human activity, including economics, science, medicine, politics, business, education, religion, the arts, communications and the media.

5. Mission to Advance a Harmonious Human Civilization

We shall make it our mission to design, communicate and implement a more spiritual and harmonious civilization—a civilization that enables humankind to realize its inherent potential and advance to the next stage of its material, spiritual, and cultural evolution.

 

We can continue with the madness and kill each other, or we can sign this declaration, frame it and display it for the world to see, and then go out and live it to help make the world a better place for all.

Dated Clouds

Dated Clouds

Annie Dillard se “Dated Clouds” bly telkens by my opkom. Sy skryf in haar boek “For the Time Being” van John Constable se twee skilderye van Brighton Beach, een van 1824 toe sy vrou siek geword het, en die ander een van 1828 toe sy vrou dood is. Dan maak sy die opmerking dat John se twee skilderye nog met ons is, maar dat nie een van John of sy vrou nog met ons is nie.

Shoreham-Bay-Near-Brighton,-1824    The-Coast-At-Brighton-Stormy-Evening,-C.1828

Foto links is Brighton Beach 1924 en regs is 1928

Alles is verganklik, maar sommige goed is meer verganklik as ander?

Ons ry vroeg oggend af Laeveld toe op Woensdag 6 Maart 2019. Malelane is die eindbestemming. Net anderkant die eerste tolhek anderkant Witbank/Emma-hy-wil-nie-lê-nie of wat ook al, staan die verkeer dood stil. Dit is 07:19 en almal is ongeduldig. Voor in die pad is rooi ligte van ambulanse en `n brandweer of twee.

Toe ons uiteindelik verby die ongelukstoneel beweeg sien ons twee verfrommelde bakkies in die pad, en langs die pad, onder teen die wal van `n spruit `n groot verpletterde vragmotor en sleepwa en houtpale wat die wêreld vol lê, en `n baie plat, baie dooie jakkals lê langs die pad.

Volgens wat mens van die toneel kan aflei het die ongeluk soos volg verloop: Die (60 ton?) vragmotor kom met sy vrag houtpale teen `n redelik hoë spoed teen die afdraande af gery in die heel linkerkantse baan van die snelweg in `n oostelike rigting (m.a.w. in Pretoria se rigting). Skielik hardloop daar `n jakkals van links na regs oor die pad, die bestuurder skrik en swaai die vragmotor na regs om die jakkals nie te tref nie. Die jakkals skrik sy gat af en hou vir dood en lewe aan om die pad oor te steek. Die bestuurder verloor beheer oor die vragmotor, tref die jakkals en ry hom so plat soos `n Nando hoender.

Toe ploeg die vragmotor deur die grasbaan en kabel versperring tussen die twee rybane en tref die twee bakkies wat niks vermoedend in `n westelike rigting op pad was.

Ons weet nie of daar nog karre of bakkies saam met die vragmotor die dieptes in is nie. Ons weet ook nie hoeveel ander slagoffers daar was behalwe die jakkals nie. Dat mense baie seer gekry het is duidelik aan die aantal ambulanse wat aankom en weer wegry van die toneel af. Hoeveel dood is weet ons nie.

Nou wonder mens hoe toevallig so `n ongeluk nou was?

Ek onthou van `n soortgelyke voorval lank gelede naby Bethlehem in die Vrystaat (nie Dillard se Bethlehem in Israel nie). Daar was dit mense wat op pad see toe was vir vakansie. Net buite die dorp kry hulle vriende op pad en hulle hou stil om gou onder `n boom te sit en koffie drink, te bid vir `n voorspoedige reis en te groet voor hulle verder ry.

Terwyl hulle so sit en gesels kom `n vragmotor om die skerp draai ook so teen `n afdraande af. Die bestuurder verloor beheer oor die vragmotor en ry die wat daar onder die boom gesit en koffie drink het mors dood. Net een oorleef om die verhaal te vertel.

Dan onthou ek ook van ons bure, Rita en Raymond Cave. Iewers op pad in digte mis raak hulle motor onklaar. Hulle stuur die kinderoppasser en hulle drie klein kindertjies `n ent weg van die pad af die veld in om hulle veilig te hou terwyl hulle by die kar staan en wag op hulp. `n Groot vragmotor kom verby, raak die pad byster in die mis, jaag die veld in en ry al die kinders en die kinderoppasser dood.

Nou vra ek jou, hoeveel beplanning het so `n pynlik presies uitgewerkte ongeluk vooraf gegaan?

Tyd: moontlik presies 0700 uur die oggend van 6 Maart 2019. Plek: 5 kilometer anderkant die Tol Plaza. Oorsaak: Jakkals steek die pad oor. Betrokkenes: (Onskuldige) Vragmotor en bestuurder en twee bakkies en hulle insittendes (wat ons van weet).

Langtermyn beplanning.

Omtrent 13.8 biljoen jaar gelde gebeur die “Big Bang” en die kosmos begin te vorm.

Omtrent 1.6 biljoen jaar gelede slaan `n weerligstraal `n poel water of soutsuur raak en die eerste vorm van lewe (Mitokondria) ontstaan.

Min of meer 1.2 biljoen jaar gelede word die eerste organismes deur seks verwek (Bangiomorpha pubescens).

Omtrent 250,000 jaar gelede (na baie draaie as onder meer Homo erectus ens.) maak ons voorvaders, die Neandertal sy verskyning en toe volg ons as Homo sapiens in hulle spore.

Fast foreward na Woensdag 6 Maart 2019 … 13.8 biljoen jaar na die BB. Na baie seks en voortplanting en die oordra van bepaalde gene en DNA is `n paar individue, nasate van Miss Plet en Kro Magnon Man (en Adam en Eva ook nog iewers in die prentjie) op die N4 in teenoorgestelde rigtings op pad. Kilometer vir kilometer, en sekonde vir sekonde snel hulle na mekaar toe, en iewers langs die pad draf `n jakkals op pad na sy gat (en moontlik `n werpsel kleintjies) toe.

Word daar iewers dramatiese musiek gespeel terwyl die drama hom afspeel? Is daar werklik, volgens die ou paradigma “Iemand” wat gespanne sit en toekyk hoe die voertuie op hulle noodlotspad na mekaar toe snel? “Iemand” Alomteenwoordig, Alwetend, Almagtig daar “Bo” iewers wat saam met ons die donderende knal van vernietiging hoor?

“Nevertheless the dauntless spirit of science burns bright and clear in everyone who sees that to disappear as a particular thing is to reappear instantly as the No-thing that is the imperishable Home of all that perishes, and that to die now is to die never” Douglas E. Harding, Look for Yourself.

Die Jakkals hardloop, die vragmotor swaai … dit was fyn beplan oor biljoene jare.

Ons ry verder. Dit is `n oortrokke maar warm dag. Donderwolke begin opsteek in die ooste en mis hang oor die bergtoppe. Ons weet nie of ons dopgehou word nie, ons weet nie wat vir ons beplan word nie. Ons spoed voort, vertoef `n wyle op `n plaas anderkant Malelane en ry dan weer terug na Johannesburg en kom om 16:04 veilig by die huis.

Ons het nie `n skildery van die wolke soos hulle op 6 Maart 2019 oor die Laeveld gelyk het nie, maar ons het foto’s van die hulle. Die foto’s sal vir `n lang tyd in ons rekenaars gestoor word. Die jakkals en moontlik een of meer van die slagoffers van die ongeluk is nie meer met ons nie.

Dated clouds: 6 Maart 2019, nege minute oor twaalf op `n Woendag middag net anderkant Nelspruit

“It took me no time at all to notice that this nothing, this hole where a head should have been was no ordinary vacancy, no mere nothing. On the contrary, it was very much occupied. It was a vast emptiness vastly filled, a nothing that found room for everything – room for grass, trees, shadowy distant hills, and far above them snowpeaks like a row of angular clouds riding the blue sky. I had lost a head and gained a world.” Douglas Harding, On Having No Head: Seeing One’s Original Nature.

Woorde

Sagte woorde

Streel n moeë siel

Verenig in tyd

Wag sy

Elke dag tel sy

Ure soos n kind

Plak sy stere in haar hare

Skryf sy motte in die reen

Sy skilder haar hart

In die grond

En pland haar woorde

In die reen

Engele daans om haar

Sy hoor die ritsel van

Hulle drome

In die weerklank

Van haar stem

En sy wag hier

Waar aspoesterkie die

Prins verjaag het

Waar kersiebome bloei

Van eensaamheid

Hier wag sy

Vir blou skoenlappers

En rooi koeldrank

Kalmte in die malle gejaag

(mindfulness vir besige mense)

 Deur Johannes de Villiers

Daar is min boeke in Afrikaans oor meditasie, om die waarheid te sê het ek nog nooit voorheen een raakgeloop nie. Daar is wel baie oor politiek, en selfs `n hoop hygromans (glo erg eksplisiet) vir verveelde Afrikaanse huisvroutjies, en natuurlik berge daarvan oor godsdiens (ons is mos `n erg godsdienstige nasie en godsdiens en seks en politiek loop mos maar altyd hand aan hand).

Vir Johannes, Bertus de Villiers het ek lank gelede raakgeloop by sy wordpress.com blog ‘Die Piesang verkoper’. Daar was altyd baie interessante inskrywings op sy blog, nie die gewone twak waaroor mense gewoonlik op hulle werwe skryf nie.

Toe ek hoor dat hy `n boek geskryf het het ek geweet ek moet dit lees want dit sou nie jou gewone Afrikaanse speurverhaal of politieke intrige wees nie. En nou dat ek dit gelees het wens ek ek het die boek gelees toe ek 18 was. My lewe sou dan dalk heel anders verloop het, en daarom wens ek nou dat baie hedendaagse jong mense hierdie boek sal lees, veral nou dat jongmense voel dat die kerk hulle in die steek gelaat het (of dat die kerk nie meer relevant is nie) en die kerk in strome verlaat.

Ek is nie seker ek sou soos Johannes op 25 jarige ouderdom die moed gehad het om op `n vliegtuig te klim en Mianmar toe te vlieg om in die oerwoud op my bas te gaan sit en mediteer het nie, maar ek is seker daar sou ‘sagter’ opsies gewees het om die pad van meditasie te loop eerder as om op die spreekwoordelike hamster wiel te spring en verwoed te begin hardloop het soos die samelewing van jou verwag om te doen: Kry `n werk, kry `n vrou, kry `n kar, kry `n huis, en kry kinders.

Sommer in die eerste hoofstuk val Johannes met die spreekwoordelike deur in die huis: Jou kop raas, sê hy. Dit is ou nuus vir gesoute mediteerders, want dit is die eerste ding wat jy agterkom as jy op jou bas gaan sit om te mediteer. Jy kom baie gou agter daar is `n aap in jou kop wat onophoudelik raas. Hy raas aanmekaar van jy die oggend opstaan tot jy gaan slaap. Die vreemdste ding is, jy kom dit nooit agter nie … tot jy gaan sit en jou gedagtes probeer stil maak om te mediteer.

Hoofstuk twee sê: Word wakker. Word wakker en word bewus van die geraas in jou kop, en word sommer ook bewus van alles om jou en in jou. Wat jy dink, wat jy sê, wat ander vir jou sê. Kyk na jou omgewing, ruik die reën, die blomme. In kort, leef `n meer bewustelike lewe. Dit is iets wat ons almal behoort te doen vir `n beter, meer vreedsame lewe.

En so vat Johannes jou op `n nuwe pad, `n dieper, meer bewuste, `n dieper geestelike manier van lewe, `n lewe van omgee, van deernis en meegevoel. In kort, `n meer sinvolle lewe, weg van die malle gejaag.

As jy `n Christen is, wees gerus, Johannes gaan nie van jou `n Boeddhis probeer maak nie. Soos die ou Zen meester vir die Katolieke priester gesê het: Ek gaan nie van jou `n Boeddhis probeer maak nie, maar ek gaan van jou die beste Christen maak wat jy kan wees.

Hoofstuk 3: Sit op jou bas

Hoofstuk 4: Sit verder op jou bas.

Hoofstuk 14: Om solo te vlieg.

Hoofstuk 15: Jy is nodig.

Hoofstuk 16: Jy gaan doodgaan. (Maak vrede met jou sterflikheid)

Agter in die boek is `n handige gids vir waar in die land jy kan gaan vir klasse waar jy kan leer om te mediteer. Daar is baie Christelike kerke en sentrums waar jy kan gaan aanklop om hulp. Ook meeste van die belangrikste Boeddhiste sentrums se besonderhede is beskikbaar. Jy word ook verwys na boeke oor meditasie wat jy kan gaan lees.

My aanbeveling is; as jy `n beginner is, gaan lees ‘Kalmte in die malle gejaag’ dit lees maklik, jy voel nooit oorweldig deur die terminologie of die inhoud van die onderwerp nie en dit gee jou al die inligting oor meditasie wat jy nodig het. Daarna kan jy `n ingeligte besluit neem oor of jy wil begin mediteer en waar jy dit wil gaan doen.

Die boek is beslis `n “moet lees” vir almal wat “soek” en wat hulle spirituele lewe wil verdiep, maak nie saak of jy `n Christen, `n agnostikus of `n Zen aanhanger is en of jy net `n bietjie kalmte in jou malle lewe wat dalk so effens buite beheer geraak het, soek nie. Die boek sal vir jou van hulp wees … lees dit.

Josef Pieper on music

Terwyl jy hierdie briljante stukke skrywe lees kan jy gerus na Beethofen se Missa Solemnis luister, dit kan jou siel net goed doen.

How Bach Will Save Your Soul: German Philosopher Josef Pieper on the Hidden Source of Music’s Supreme Power

Maria Popova at “Brain Pickings”

Some of humanity’s greatest and most fertile minds — including Oliver Sacks, Walt Whitman, Virginia Woolf, Kurt Vonnegut, Susan Sontag, Aldous Huxley, and Friedrich Nietzsche — have contemplated the power of music, and yet the question of why music moves us so remains unanswered, and perhaps unanswerable. Why is it that music can permeate our deepest memories, help us grieve, and save our lives?

Four years after his increasingly timely case for shedding the culture-crushing shackles of workaholism, the German philosopher Josef Pieper (May 4, 1904–November 6, 1997) explored the abiding puzzlement of music’s power in a speech delivered during intermission at a Bach concert in 1952, later published under the title “Thoughts About Music” in his small, enormous posthumous essay collection Only the Lover Sings: Art and Contemplation (public library) — a set of reflections titled after Augustine’s beautiful assertion that “only he who loves can sing” (which Van Gogh echoed in his insistence that art and love are one), exploring what Pieper argues is the “hidden root” of the richness of all music, fine art, and poetry: contemplation.

(And it seems that very few people are indeed inclined towards a contemplative life. Which is perhaps the reason why so few can and do appreciate good classical music, poetry and art?)

Piper begins his Bach speech by examining our age-old preoccupation with pinning down the elusive source of music’s singular enchantment:

“Not only is music one of the most amazing and mysterious phenomena of all the world’s miranda, the things that make us wonder (and, therefore, the formal subject of any philosopher…) [but] music may be nothing but a secret philosophizing of the soul… yet, with the soul entirely oblivious, that philosophy, in fact, is happening here… Beyond that, and above all, music prompts the philosopher’s continued interest because it is by its nature so close to the fundamentals of human existence.”

Pieper considers the question of what we actually perceive when we listen to music. Surely, he points out, we perceive something greater and beyond the sum total of the specific sounds and words, something of additional intimacy and meaning, just as in poetry we “perceive more and something other than the factual, literal meaning of its words.” Echoing Aldous Huxley’s exquisite assertion that “after silence that which comes nearest to expressing the inexpressible is music,” Pieper writes:

“Music opens a path into the realm of silence. Music reveals the human soul in stark “nakedness,” as it were, without the customary linguistic draperies.”

With an eye to the canon of ideas about music in Western philosophy — including Schopenhauer, who believed that music is superior to all other arts for they “speak only of the shadow, but music of the essence,” and Nietzsche, who dramatized his monumental regard for music in the proclamation that “without music life would be a mistake” — Pieper summarizes the landscape of thought:

“The nature of music variously [has] been understood … as nonverbal articulation of weal and woe, as wordless expression of man’s intrinsic dynamism of self-realization, a process understood as man’s journey toward ethical personhood, as the manifestation of man’s will in its aspects, as love.”

All of these ideas, he suggests, can be summed up in a single formulation. A decade after the trailblazing philosopher Susanne Langer framed music as a laboratory for feeling and time, Pieper writes:

“Music articulates the inner dynamism of man’s existential self, which is music’s “prime matter” (so to speak), and both share a particular characteristic — both move in time.”

Much as the great Russian film director Andrei Tarkovsky would argue decades later that cinema is the art of “sculpting in time,” Pieper argues that this temporal element of music gives us a vital tool with which to sculpt our personhood:

“Since music articulates the immediacy of man’s basic existential dynamism in an immediate way, the listener as well is addressed and challenged on that profound level where man’s self-realization takes place. In this existential depth of the listener, far below the level of expressible judgments, there echoes — in identical immediacy — the same vibration articulated in the audible music.”

We now realize why and to what extent music plays a role in man’s formation and perfection… beyond any conscious efforts toward formation, teaching, or education.

In a passage of even more jarring pertinence to our own era of formulaic mass-produced mediocrity marketed as popular music, Pieper writes:

“If we now look at our society … we observe how much the most trivial and “light” music, the “happy sound,” has become the most common and pervasive phenomenon. By its sheer banality, this music expresses quite accurately the cheap self-deception that on the inner existential level all is fine… We observe how much attention is demanded by — and willingly given to — the rhythmic beat of a certain crude and orgiastic music… Both kinds of music, the “happy sound” as well as the numbing beat, claim legitimacy as “entertainment,” as means, that is, of satisfying, without success, the boredom and existential void that are caused and increased by each other and that equally have become a common and pervasive phenomenon. We further observe how music … is frequently selected and consumed as a means of personal enchantment, of escapism, of a certain pseudo-deliverance, and as a means to achieve delight that remains merely “skin-deep” (von aussen her, as Rilke said)… We observe all this with great alarm, aware that music lays bare man’s inner existential condition, removing veil and façade (and it cannot be otherwise), while this same inner condition receives from music the most discreet impulses, for better or for worse.”

(Hier kan mens jou voorstel dat Pieper, tot sy skande en skade blootgetsel was aan hedendaagse Afrikaanse musiek met sy dodelike, siellose gedoef-doef-doef wat mens teen die mure uit dryf!)

Pieper returns to the subject of his speech, extolling Bach as a timeless counterpoint to this debasement of the soul in music — a supreme example of the kind of music that ennobles our personhood by inviting existential contemplation:

“We observe and ponder all this and then are moved to rejoice as we become aware again and acknowledge anew that among all the various kinds of music today there still exists, also and especially, the music of Johann Sebastian Bach!”

Obviously, this implies a challenge to ourselves, a challenge not easily nor “automatically” satisfied. That we are willing to listen attentively to the essential message of this music and that we let this message find an echo, as if on reverberating strings, within the immediacy of our soul is decisive. This will lead to new and rekindled clarity, authenticity, and vigor of our inward existence; to the dissatisfaction with entertaining but hollow achievements; and to a sober and perceptive alertness that is not distracted from the realities of actual life by the promise of easy pleasure proffered in superficial harmonies. Above all, this will guide us to turn with resolve, constancy, courage, and hope toward the one and only Good by whose grace our inner existential yearning finds fulfilment; the one Good praised and exalted particularly in Bach’s music with such ever-present “wordless jubilation.”

Complement this particular portion of the wholly jubilant Only the Lover Sings with Franz Kafka on the power of music and the point of making art and Aldous Huxley on why music speaks to our souls, then revisit Pieper on the neglected seedbed of creative culture.

Die grafdief van Hai Phong

Opgewonde laat weet sus Cobie my daar uit die vreemde: Kyk wat het ek gekry. Dit lê hier op die ashoop. Daar is nog baie sulke mooi goed. Ek wonder hoekom mense sulke mooi goed weggooi. Ek gaan gou terug om nog te gaan haal.

Kyk net hierdie mooi raam, laat weet sy uitasem na `n rukkie. Daar is nog, ek gaan weer haal.

Kyk net hierdie mooi potte. Dis maklik 500 jaar oud en dit lê op die ashoop, vertel sy later weer.

En daar lê n pragtige mooi, gekerfde tafelblad uit soliede hout, maar dis te swaar vir my om te dra. Ek sal Johan vra om dit vanaand te gaan haal!

Ek het dit toe self gaan haal. Kyk net die handewerk. Dit gaan mooi lyk in my kombuis. Ek kan nie glo hulle gooi sulke mooi goed weg nie! jubel sy.

En toe: Oh fok, die manager het nou net alles kom haal. Dis alles vir dooie mense en dit is bad luck om dit in jou huis te hê. Sy het gesê ek kan darem die raam hou.

En so vyf minute later: Sy het pas ook die raam kom haal. Ek mag niks hou nie. Sy sal my volgende week vat na n plek waar ek nuwes kan koop. Sy hou vol die geeste van die dooies sal ons kom jaag as die goed in my huis staan.

Dit wil voorkom of dit n kulturele gebruik is om mooi goed daar naby die begrafplaas vir die afgestorwenes te laat. As die familie van die dooies haar die goed sien steel het sou sy diep in die moeilikheid gewees het!

Nou is my spoed sommer gebreek, sê die grafrower. My hart is seer oor die fotoraam, dit was so mooi. En hoekom gooi hulle die goed op die ashoop? Daar is ou stukkende meubels en ander gebreekte goed.

Ons besluit die mooi goed is daar vir die dooies waarvoor die mense baie life was. Die gebreekte goed is dalk op die hoop gegooi vir daardie ou heks van n skoonma, dronklap man of rondloper vrou.

Begrafplase is baie mooi plekke daar in Viëtnam. Dit is netjies en goed versorg. Ons sal nog by daardie fotos kom met n volgende inskrywing … as sy haar kan gedra daar in die vreemde en uit die tronk uit kan bly!

Die grafdief en n Vietnamese vrugteverkoopster

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