Earth Sound Publications presents:

I would first like to express my most sincere thanks for your support of Tree Weaver Sound.   Your contribution to a work of literature produced in a more sustainable way makes for a positive economical impact on the environment.  Because hemp is the Earth’s premier source of fibre, it is my goal to eventually publish this entire novel on hemp paper, using organic inks. 

The purpose of this foreword is to address the cultural appropriation issue surrounding the Tree Weaver Sound series, the didgeridoo, and the fact that I am not an Aboriginal person from Australia.  The didgeridoo originated from the Aboriginal people of Arnhem Land, Northern Australia.  All across Australia, Aboriginal cultures are rapidly dwindling as the global human tribe stomps down its current chosen path.  The Aboriginal people managed to live in isolation from the rest of the world for possibly as long as 60 000 years, yet caused relatively little change to or impact on their environment.  As I understand it, many of their ways involved a deep respect for and understanding of living in balance and harmony with their land.  In contrast, the culture from which I come, in as little as 500 years, has devastated natural landscapes on a global scale, destroyed most of its virgin forests, depleted and polluted its freshwater, and pillaged the oceans.  Regardless of where I come from, and what my culture has done to the Earth, as a human I share many things with the Aboriginal people.  My primary connection with the Aboriginal people is the didgeridoo, an instrument that found me, and has taught me about what it means to feel connected and at peace with the Earth, and what it means to be a human being.

According to my research, the didgeridoo plays an important role in the connection between the Aboriginal people and their land. Tree Weaver Sound in a way reflects the Aboriginal culture because these stories revolve around didgeridoo, but I would like to make clear that as of the original print date of Thread, I have never met an Aboriginal person, nor set foot on the Australian continent.  The ideas in this book are my own, and I do not mean to speak for the Aboriginal people.    The didgeridoo came to me in spite of my physical disconnection from its historical origins, and has become something that I value greatly. The Aboriginal culture has spread its fingers around the Earth, reaching out to many people through its own avenues of globalization.  From my experiences, I understand that one extension of Australian Aboriginal culture has been via the didgeridoo highway.  However it has traveled, the didgeridoo has made its way around the planet, giving people of all cultures a window into the culture that created this great instrument.  Having jumped onto this roadway of learning and experience through music far removed from its source, my only connection with the Aboriginal culture has been an energetic connection, through didgeridoo.  With very little influence from its original creators, I have been able to create my own understanding of didgeridoo based on the ongoing daily lessons that it offers.  Self-discovery of the didgeridoo and its valuable lessons on the energetic aspects of life, and the connection we have to the Earth as human beings is something that I have come to hold in high regard, and is a theme in my books.

For those readers who are looking for a proper historical and cultural perspective of didgeridoo, you’ll never get it from me, as I am not an Aboriginal.  To the extent that I am “culturally appropriating” the didgeridoo, I ask my readers to trust that I am doing so with the purest of intentions, as befits the deep, energetic, ancient wisdom of the instrument. 

I would like to thank about a million people for their contributions to my life and the materialization of this dream, beginning with my parents, family and friends at home.  Especially Peter, Michelle, and Lamb… You all let me be.  Richard Blades for lending me your didge, Rick for stoking me to write, and Paula for encouraging me to never stop.  Thanks to the entire crew from Guelph, where the seed of Tree Weaver was sown amongst some of the most incredible people on this planet.  The Fernie crew, especially Jody Parker - your love helped Tree Weaver grow.  Thank you Nick from Still Eagle. Jones and Moseley, thanks for getting me back to the Earth.  All my writing/mental editors and great friends, including hemp brother Mouji,  T-dog, Peter Fraser, and Zach.  Special thanks to my great staff of crazies, who helped see this through – Brent and sarahmaya, forever thanks for your belief in and dedication to Tree Weaver.  Huge thanks and hugs to my Japanese friends and family, amidst whom this book has materialized.  I thank you all so deeply: Kita-ko, Nishi-ko, Minami-ko, and Kogyou staff and students.    Mana my didge brother, OtoNami will sound waves forever.  MaiBon,  Los Condors, Bari-Bari Radio, Miyoshi-sensei, Shintaro, and I-News.  Infinite love and thanks to Chica and Niji.  Our love will forever create.  Peace everyone, and thanks for your help.  I love you all.  To the reader, thanks again.  I hope you enjoy your ride on the didgeridoo highway. 

                         R.Janůtka