This is the website of Clement Jewitt, PhD: composer, writer, etc.

 

I decided at the end of 2009 that I no longer needed to pursue these music workshops.  This proved in some sense prophetic, as during 2010 I 'found' myself attending a series of courses on Metatronic Healing, and so becoming a trained practitoner at the end of the year.  Now, in 2011, I am gradually coming to an understanding of what way(s) I need to project this training out into the world.  Or not: during 2014 I came to the realisation that in some curious way the healing course properly belongs to my creative self - so, principally the music.
 

RECENT WORKSHOPS

April 2008. Seeking inner harmony through music

9th-13th April 2008, Holy Isle by Arran. This truly beautiful little island, run by the Samye Ling Holy Isle Project as a total ecologically pure environment, is host to an annual list of workshops and courses covering many topics (including of course Tibetan Buddhism) whose underlying commonality is grounded in respect for this earth we live on and all life which populates it. My improvisation course/workshop was the first specifically musical event to take place on the Isle as part of the courses schedule.

We used the lovely Peace Hall much of the time, experimenting and sharing with voices and instruments, but also went out on the Isle to gather sonic references (and just enjoy the warm and sunny spring weather). Each evening some of the working volunteers turned up for jam sessions, which in the end proved to be the heart of it all! One never knows what will happen with such work!

NOTE

The Holy Isle workshop was the first after a five year gap during which I focussed on finishing my PhD work - finishing The Night Sea in its final form and writing the thesis, and then recovering from that intense working period!

 

EARLIER WORKSHOPS

Comments were received on some of these; extracts:

"It was an inspiring day — led so sensitively, and yet with a brilliant capacity to enable a disparate group of people to unite in appreciation of music intentions, to listen and express deeply their feelings and dreams. … It was fun, uplifting and profound."   Gilly

"There was plenty of space to explore and express and I personally made full use of that and felt very comfortable in doing so, thanks Clement. There was a moment of real contact between myself and one of the other group members through the improvisation that moved us directly into the Transpersonal, and which has stayed with me ever since."  Russell.

“I enjoyed it very much… lovely atmosphere, supportive and open.”   Carlos

"I thoroughly enjoyed the 'open-ness' of everyone involved in the day ... all very positive, interesting and giving.  I did find the day very 'healing' "  Stella.

"Thanks for arranging a super day on Saturday, I really enjoyed myself, surprised myself too!  I was a little shy, as I've never done that sort of thing before ...  I really had a great time, with a super bunch of people." Sue.

Alchemical Dream Images improvisation.  A description from a participant of the first time I presented this (development of an idea by Rod Paton):

"Clement then took the theme of dreams into a new realm by introducing a process for taking dream images to provide a structure for an improvisation. He asked us to take one image from a dream and draw it [or write it, and, importantly, noting the associated emotion/feeling: CJ]. We then each talked about it. From what we said Clement linked it to a particular stage of an Alchemical sequence ..., related to psychic processes.
... Luckily we had dream images that corresponded to all the four stages and so four groups (including one group of one) for the improvisation were formed. Each group in turn according to the stages of the alchemical process improvised between themselves using the feelings and images of their dream images as a source of inspiration in playing and listening to the other. All the other groups coloured and supported the themes that were emerging. What was fascinating to see was how a point would come when the process of the improvisation was needing to move on into the next stage and a new theme would take shape led by that group. Having started with the repetitive theme of a leaden thump of beating drums, the improvisation moved through different moods to end in an energetic joyful climax. The whole piece had an amazing amount of energy in it and was distinctly different in quality from the earlier free improvisation."  Jenny Edwards