Interview with Kulcsar Attila was done in 2005.
:: For quite a time I was looking for some info about ACTUS, but unfortunately I have found not much. So, I'd like to start the interview from the very beginning. OK? As far as I know ACTUS is (or was) not a regular band, but a some kind of cultural organization or something like that. Is that correct? Could you tell me a bit about ACTUS' background and people behind it?
ACTUS exists for almost 18 years now, accompanied by considerably low interest from the media. Although the products available - thus far the film plus 4 albums - were created by a group of people (more or less intensively participating), the activities of ACTUS are centred around one man. It has to be stated that neither this person nor the other musicians, however important their performance may be, can be held as significant as the musical works themselves.
It was back in 1987 that my spiritual experiences made me start an artistic project. I intended to reach beyond the numerous presentations of the world crisis from different aspects. Our performances - presented in various forms with different members - were visited by only a small audience for quite a long time. Instrumental presentations, one-man piano nights, performances including dancers and the movie, or musical-alchemical experiments of magical mood all happened, before in 1989 a group of people joined forces who stayed and worked together - with surprising success - for a period of two years, during which we had multimedia performances in front of audiences of more than a 1000 people. The 1990 concept-release of ACTUS - A Way to the Empire of Strength and Order - gathered such works. Presence of Mind came next - the film, edited from the material used during the live performances, shortly became a syllabus in the faculty of New York's Anthology of Film Archives. After completing the film I decided on launching business activities to support free creative expression financially. Only in my free time could I pursue artistic interests from this time on. It took three years to make and another to release our second album Das Unbenennbare in 1995, to be presented live at a sole occasion in December the same year in Prague, which - due to the high professionalism of the promoter - became a most memorable night for all included. It was during this period that two issues of our self-edited magazine, NOE was published. Besides featuring musical content that we thought to be important, we also included essays on philosophy and related arts. However, the undertaking was terminated by a political misconception. In 1996 the recording process of Sacro Sanctum started, to culminate in one of the greatest ventures in the history of ACTUS: a celebration of the project's ten year existence in the form of a grand, almost three hour presentation of the songs in the church-hall of Kiscelli Castle in Budapest, June 7th, 1997. The EP, Again and Again came out that autumn, to be followed by the trilogy's closing chapter, Sacro Sanctum in early 1998 - and eventually seven years of silence.
:: This question continues the previous one. When and why you have started ACTUS?
My intention was to create something by artistic means that channels eternally applicable spiritual messages for those, who search a way out of the chaos surrounding all of us nowadays. Based on my readings and personal experience, I decided to focus my seeking on universal Tradition. I firmly believe analogies connect the traditions and beliefs of Hindu Vedic literature, Tibetan Lamaism, Taoist China, the shamans of middle-Asia and Siberia, the ancient Egyptians, the Vikings, the south-American Toltec and Mayas regardless of geographical borders. I always found these analogies whenever studying pre-Christian eras. I think we have to reach back to our fundaments when searching for the meaning of our existence. Basically, ACTUS converts these sacral qualities into a manner, which modern man can understand. Through all of the years my fellowmen and I hoped to construct works of art, whose validity lingers on long after their inventors have ceased to exist in physical form. All the more as the core is ACTUS itself, the persons behind it are secondary.
:: Could you tell me about concept and goals of ACTUS. Are they still the same today, after long period of silence?
It is obvious from the above answer that neither the concept, nor the goals were ever reformulated no matter how much time has passed. New challenges rise constantly, but ACTUS always wishes to give answers rooted in the Absolute.
:: As far as I know Sacro Sanctum was your last album. Now E&L plans to release a new one. It took quite a time for you to create a new CD. What happened? What has influenced such long period of silence?
It seems to be destined that seven years have passed between the two albums. I have had many things to do - most of them connected to everyday dealings, though none of them without the spiritual direction that is inalienably mine. Figure 7 means change, probably even those holding a materialistic worldview will admit it now, that medicine proved that human cells renew with each sever-year period. Pre-works of Mandala already began in 1998. Numerous drafts were formulated in the meantime, and when last year I dedicated myself completely to making the new album with my co-composer, we found that part of these would not fit in our current concept. Listeners will find parts on the album that were born within 24 hours just recently, while others were there from '98 in a completely different form and there is a theme that dates back to 1983, having been in the back of my head, just to be completed today. With the technical possibilities becoming available financially, these days we can finally create the music that lacks the compromises we were forced to make in the past two decades.
:: Could you tell me a bit about your new album? How different it is from your albums from XX century?
From the moment the project came to life it was clear to me that stylistically an ACTUS piece has to be uniquely and unmistakably characteristic, and without the typical formulas all repertoire-bands have. I would like to create albums (and films) that still generate new impulses after many listens. As the second album came as a surprise after the first one, so did the third and the fourth one with their approach, and no doubt, Mandala will come as a shock to many, as some of those who are already familiar with the new songs predicted it. This is a summary album. Seven years are seven years. Many things happened on the outside and so much more inside. To formulate musically the meaning of the ACTUS symbol is a monumental enterprise. I feel I am currently living the final moments of a monumental artwork. I can hear those electronic sounds, those rhythm sections I always wanted to, the acoustic instruments and the symphonic sounds have the quality I always wished them to have, and besides the coloratura soprano voice and three male voices we now have the possibility to work with a choir of 24 people. Stylistically this album is the apotheosis of universality - it is as massive and raw as light and witty. Ethereal vocals followed by industrial coldness, shaman drums, Tibetan percussion, metal riffs, liturgical vocals - all of this is Mandala. The amusing remark of some is that ACTUS is post-industrial music's Mozart. It might be true to the extent that some accused Amadeus in his time of using too many notes. Well, ACTUS songs regularly feature polyphonic and multi-layered parts. Personally I consider this as one of the main differences between ACTUS and most other musical works of our times. These later for the most part simplify the complex and many layered world that surrounds us. Some forms of techno use such simple structures that would even shock Polynesian tribal musicians living in complete isolation.
:: You and ACTUS come from Hungary, at the same time you take your inspiration from various traditions from all over the world: China, India and even Aztecs. Sometimes I ask myself why do so many white people from all over Europe need to look for inspiration everywhere but in our own Europe. Isn't history, culture and tradition of your own Hungary (Europe) doesn't have enough for inspiration? Don't we need to dig our on roots?
Right at the beginning of the answer I have to stress that Hungarian people - despite all misconceptions - are of Asian origin, merely living in Europe. Its origin is still subject to arguments, and only one thing seems to be sure: it was after the Hun tribes split, that the tribe viewed as the ancestors of Hungarians, choosing the Carpathian basin as their dwelling, came to being. The history of Hungary is truly turbulent, and weighty with inner and outer struggles. The foundation of the state itself was more of a coup d'?tat seemingly, rather than a sacral act, as Stephen according to antique chronicles, after adopting the Christian faith, purloined the crown from his kin and apparently the heir to the throne, and hence the rule. To demonstrate this, he quickly got the priest-magicians (shaman-like people naturally born with extrasensory knowledge, called 't?ltos' in Hungarian) of the tribe leaders' killed; who, legend says, cursed his descendants for 1000 years. Well, this is not a European tale.
Going back to the time of origination, I get to remember, that our ancestors practicing shaman faith lived together in Inner Asia, Mongolia and the Himalayas with those who, even at that early stage, had connections to Tibetan Lamaism. From this we could also initiate the spiritual attraction, which leads us towards cultures not having continental roots. What we are really talking about is that the spirit of Universal Tradition - except for those grandiose personalities who put this into the focal point of their works - has completely disappeared from the continent, which lives under the spell of consumption and accumulation of goods above its means.
We know that there is one crucial moment differentiating our Western and the Eastern culture. This instant we think of is the point when one in the West recognises that his personal freedom, the spectre of his choices is highly influenced by the size of personal property he owns. From this point on it is up to everyone's luck, appetite and moral standards, what he will become: simply a well-to-do Middle Ages craftsman, a rich nobleman or a Fugger directing a bygone bank empire on a daily basis. In simple terms this can be seen today as well, as the aim of advertisements are none other than focusing on the feeble feeling we call selfishness. If you can buy it, you are free.
This Davos culture broke away from all we may call Tradition. Let's not deceive ourselves! In Christmas or Easter we can trace the same methods of consumer acts as in the ridiculous ritual of 5 o'clock tea. Forms without meaning.
Of course we shall not trick ourselves with the bliss of the East, though one thing is for sure. While in the past few hundred years, European cultures could not realise their traditions even on an experimental level, the cultures you mentioned were potentially able to reserve the core of their cults with their isolation, and relative integrity.
:: 'Mandala' is the name for your upcoming opus. As far as I know Mandala is a picture of the world. Buddhists create them and some say mandalas have answers for all questions of this world. So, why did you choose such a name for you new album and what does it have common with 'picture of the world'?
Your question contains the answer. Mandala answers all the questions of the world. At least those for sure which you ask before you start listening. Seven years are extremely lengthy. A long way is behind us. We have suffered our losses and we became enormously strong.
The basis of the traditional mandala structure is foursome. Figure four is the number of wholeness. Four major eras, four directions, four seasons, four elements, four primary colours, four parts of the day. The picture of the world. The image that lives in you of the world. Building from inside.
On the other hand you can barely find symbols which are not of four parts. As a consequence, even though mandalas are made by Buddhists (and many others in the East) the basis of the structure can be traced in Christianity, as well, and at the Romans, the Egyptians, the Huns, or the Celts, too.
:: How do you look at your own activities - they are pure Art or they are propaganda of your views, tool to enlighten listeners, inspire them for greater deeds?
I believe that my activities better me. I believe that these works of art are signatures of holy moments. I believe there are moments, when these works of art let their listeners experience transcendental events. I believe that the world thus may become better, more pleasant. What people in the audience get out of this is their private affair, just as the ideas of their imagination. Propaganda can keep an artistic project alive for a while, or a political formation, but this is merely a question of form. Without meaning propaganda runs out of order.
:: I continue my previous question. What do you consider primary for ACTUS - it's beauty or it's strength?
The strength of beauty and the beauty of strength are accompanying each other on the same level on this journey that might lead to enlightenment. This could be the goal, but the goal is the way itself.
:: 'Against the modern world' - these words would perfectly describe goal of ACTUS, right? But do you believe that Tradition is still actual for our days? Don't you think that we experience Kali Yuga, final Dark Ages and no better future come after us? Do you see any signs that the fight still need to go on in this world?
This fight goes on on an individual level. In most cases, inside. The temptation is huge. We have traditions, and based on that we can create traditions. The normal, basic position itself is of crucial importance. What are the motivations?
The activities of ACTUS have never been in correspondence with expectations. It is as autonomous as the wind.
Will there be a brighter future?
We are facing great changes - as always. There will be surprises - as always. Those secrets, most people are so curious about, will never be revealed - they have never been in the past either. Those who cannot recognise that their personal will, intuition, diligence, love can make a more pleasant world are sentenced to death even on a middle run, I think. One has to comprehend, that the world as it is reached its efficiency. Just take the four elements: the Air is soiled, the Water is filthy, the Earth is poisoned. The Fire? Well, it is burning still. More and more places will witness the glow of the flames. There will be flames that carry spiritual light, keeping souls warm, but I am afraid there will be some which will scorch the Earth.
:: Let's talk about Traditionalism in music. It's pretty common among bands to mention Traditionalism, Evola, Genon.. then recall ancient Germanic gods, runes, Third Reich and in the end swastikas... it's kinda trend now. People seem to mention Traditionalism when they mean Nazi. I hardly name a couple of bands that really understand what they say. ACTUS for sure among them, cuz you have started long before all contemporary trends have started. What Traditionalism means to you? Why do we need it today, when computers and mobile phones rule this world? Shouldn't we look in future, not in the past?
Without past there is no real present, not to mention future.
To refer to Tradition and Nazism on the same platform is simply scandalous. Those who mix such phenomena lack the ability we call thinking. I wouldn't want to waste any thoughts on rubbish created by droids.
When I talk of Tradition, I mean the Universal Metaphysical Tradition. Obviously it can't be by accident that so many folks, people living undeniably far away from each other held the same worldview BC. It also seems unlikely that it is a coincidence that these Traditions all deal with solar self-consciousness and knowledge of it. And to continue along these lines, that the individual carries the divine principle, and that his actions are motivated by Light and against the dark. That is to fight evil within me, and to shine with positive spirituality. This is regardless of the position of the individual in society. A handmade item, a glass of wine, a grazing cow, a plantation, a factory, a publishing company, or a book can equally reveal a lot of the spiritual views of its possessor. Sadly, the world we live in now is about something else completely. As Guenon says: The Reign of Quantity and the Signs of the Times. Today economics is concerned with mass-production, and it uses special campaigns to sell the faultier and faultier goods in huge quantities. Though never said out loud, it is obvious that they build a new world order. Having the predator at the top of the nutritional chain, mainly from the Davos culture, and if not, at least the victims of the fetishes of this culture, and below them are readily smiling people, who by sacrificing their souls can produce the price of the goods they want to possess.
Still deeper below them are the even bigger mass of those who are living in uncertanity of existence, thus dissatisfied and whose number is growing. Currently the first two groups are having more and more morbid joys - if they fancy, they buy a traditional winegorowing area, take a walk in space, sail round the globe, buy a football group, keep a harem with eunuchs, make plastic surgery in every three months, change their sex. The important thing is to produce and to consume. This keeps the system going, and of course the mass of the poor people working with its own hands, and who are populary labeled by the media as the third world people.
I do not imagine my life within these coordinatas. On the one hand I feel this soulless and immoral world farther and farther away from myself, on the other hand logic and experience makes me say that this system will soon reach the limits of its efficiency. The welfare pension systems are about to collapse, as the active people living in the richer part of the world aren't having children for good, so in 20 years there will be noone to finance the system. Pollution of the environment is now reaching catasthrophical sizes. Energy prices will reach irrational heights.
A choice will have to be made: you either produce and consume as a droid, while losing contact not only with nature but even with yourself, or quit the game.
I see a possible future in small groups who take care of themselves, who organise themselves on spiritual basis and who can see and handle the limitations of their human productivity. Who can reduce their consumption and respect the aminals and plants living in their environment. There will be small cells, but there won't be a revolution shaking the whole world :-).
:: How a normal Hungarian guy who was born under pro-Soviet government have discovered Traditionalism? What has leaded you to it? Why?
I was a premature teen, aware of what is going on in Hungary at the time: something bred from wicked and wrathful minds of idiots. Despite the fact that we had limited information of the Western world, I also knew that crisis was general. We, under the rule of the communist regime have had extra disadvantages in that period, though today it is clear that we - this means only some of us - were able to collect a remarkable additional spirituality compared to our offspring and our Western contemporaries. I remember coming across 'Vil?gv?ls?g - World Crisis' by Hamvas B?la at the age of 18. He penned crystal clear all I suspected also: we can only find a way out of the Crisis of the World by means of Metaphysical Tradition.
:: Could you tell me about your most important interests beside music? Are there any?
"The world is only what is awaking in me." I don't explore myself part by part, nor the world: to me it is a complex organism. Thus my interests are manifold. I read literature just as I read books about the history of religion, philosophy or even about economic policy. Considering related arts, I am mainly interested in visual arts - paintings, sculptures, movies, buildings that carry the spiritual touch that can inspire me. Besides these gastronomy also plays an important part in my life. Tasting food I like very much, but more interestingly I like to take part in gastronomical happenings as a creator. A well-made original Hungarian dish can be as delightful and delicious as a Mediterranean or Muslim speciality. At the same time I respect great many excellent - mainly Hungarian - oenologists. Each month I take part in wine-tasting organised by my friends. I also like to travel, mostly near water. I am spellbound by Azores as much as by my favourite Balaton destination: Szigliget. During travelling one can gather a lot of knowledge on the outside world as well as on himself. I spend more and more time in nature.
:: Russian director Tarkovsky once said that Art is a way to share your Pain with others. In your music you seem to not care about ordinary feelings and your music is a manifesto of your views and beliefs. Am I right? Have you ever thought about writing romantic songs?
Self-expression as an act only in itself does not really interests me. I am in this for creating compound experiences that carry the possibility of catharsis and rising, something that is beyond the mirror-construction. All that is joyful and painful to me is strictly secondary and a private matter. There are way too many crazed, who share their frustrations and misleading ideas with the public.
:: This question I ask to every band in this issue. Let's imagine you can save any 5 albums you choose. All other music will be destroyed and future generations will never know it. What would you save? You can choose any 5 albums... your own, Britney Spears, Mozart....whatever!
Look, I think such an extreme situation would leave no chance to carry around anything. If this is a game, then I have to say it would be hard to choose five compositions from Bach alone. His concertos for organ, the fugues, the Goldberg-Variations - all are amazing. Beethoven's Symphony No. 5. & 7. - a perfect composition. Ritual recordings from Tibetan monasteries, traditional music of the Indian courts, Hungarian Folklore, shaman songs - all are very important. I gained so much from the progressive composers of the '70s, from new wave, and I can't imagine better guitarists than the geniuses of Jimmy Hendrix and Glenn Blanca. Last but not least, the five albums created by ACTUS are also of crucial importance.
|
