Wayne’s ambivalence about continuing on his path as a musician isn’t just down to some personal characteristic of laziness or apathy… the Kuranai system of mentorship for drummers is a rigid orthodoxy. There is one Jurai Sonsuraiun for each student, and if anything happens to disrupt that relationship and process, it’s regarded in a fatalistic way. There’s nothing to be done about it, because it is what was “meant to be.” Of course, as a musician, he has continued to learn just by playing music on his own and with other musicians, but he’s internalized the belief that, due to a cruel twist of fate, he can’t ever become a master musician – with capabilities equivalent to those of the Elder Musicians that Myra Fine referred to on the previous page. Nevertheless, from her perspective, Wayne is still capable of fully realizing his highest aims because he experienced the Djiurna as a visionary event and not just an ‘ordinary’ song. Myra herself is acting on intuition and insights gleaned from her own musical visionary experiences… although she herself hasn’t had the kind of guidance and support that she properly should have had (as she noted, “the passing down of this knowledge has been disrupted….”) she must have had glimpses of those timeless spaces within music and art where all wisdom is eternally present, all knowledge is accessible because there is no separation between the seeker and that which is sought. Of course, that’s the power and danger of all art, that it can reawaken all of us to who we truly are and what we are truly capable of doing. That’s the threat that it poses to socioeconomic, political and religious power structures that want to portion out tiny slivers of our own divine humanity to ourselves, re-sell lesser versions of ourselves to us. But if you can feel and experience powerful artistry, you can create it, no matter how long and trying a path to get there, to yourself.