24/04/2025
I witnessed and partook in a ceremony like no other on the evening of what Christians call Good Friday in a Sussex woodland, about an hour’s train ride south of London.
A bunch of folks gathered around song collector and folk singer Sam Lee , Renaissance lute player Sara Salloum, and Shakespeare scholar and actress Debs Newbold to listen to Nightingales sing.
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Forever associated with love and longing throughout the world in poetry and prose, folklore, and songs, Sam says the complexities of their song have informed and shaped our oral and written traditions. Nightingales have interlaced with our cultural evolution and form an intrinsic part of who we are, of our inner mythology, and therefore of our ontology; how we sense ourselves, how we situate ourselves among the greater living on Earth.
(…)One of the few strongholds left where these beloved migrants can pause to sing and mate from April before heading back to Subsaharan Africa in the summer months. Did you know that Nightingales also mainly migrate at night?
We shared food and chatted, then were entertained by the exquisite sounds of the lute, which Sara told us, was mainly played by women to woo their husbands-to-be, just like unpaired Nightingales foreplaying from dark till dawn.
We walked in single file through the woodland in silence, without any light, until we heard them faintly answering each other in the distance. Walking further we heard just one bird that became louder and louder as we drew near so we carefully sat huddled together and listened, in complete abandon, spellbound by the utter beauty of this bird’s devotional creation, his song of love and longing. Hoping with him that he would find the mate he was calling forth with such brio.
Sam sang folk songs and what sounded like Bhakti chants. Sara played the lute. Debs voiced Shakespeare’s heptameters. All connected with the Nightingale’s song in the ether. Only once did the bird stop singing (and I stopped breathing), only to begin again with more gusto.
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