Archetypes of Transformation in Music, Myth, and Self-Development.

“The human psyche will agree with me when I say that it is one of the darkest and most mysterious regions of our experience”.

(Carl Jung 1944, p.4)

An archetype is the symbol that mediates between soul and ego (Jung 1944, p.11). It is the ideal image, a form in Plato’s terminology, a pattern of human nature that must be contemplated and penetrated in order to be comprehended. The archetypes emerge from the unconscious as ideas, concepts, images that seek comprehension and expression. They are capable of endless development, through time and culture, and represented as projected image and myth (Jung 1944, p.11). For an archetype to be potent and meaningful it must breach consciousness to be experienced first-hand, which is generally the goal of rituals and rites. With knowledge and experience of these inner forms a way is opened for greater knowledge and feeling (Jung 1944, p.15). Religion deals with the creator of these images, God, whereas science deals with the projections themselves- the imprints and symbols of unknown and incomprehensible content (Jung 1944, p.17).

One type of archetypal symbol is the self, which Jung (1944, p.18) describes as the “essence of human wholeness”, a superhuman ideal which is indefinite enough to portray its indescribable and indeterminable nature. It pertains partly to the unconscious and partly to the conscious, hence, we can’t fully know its wholeness until it is fully reached, if it ever is. Jung (1944, p.18) suggests that Christ and the Buddha are such representative symbols of the self- the ideal being. The combination of historical being, human personality, and divinity speaks to the nature of the self which infuses contradictory forces- uniqueness with eternity, and individuality with universality (Jung 1944, p.19). Hence, the self is a union of opposites, it is both thesis and antithesis, as well as synthesis. The archetype requires exploration of the unconscious in a process of bringing light to its unforeseen elements, a confrontation which is profound and dangerous through confronting contradictions in human nature. Represented in Christian theology as symbols of Christ and the Devil, light and dark, heaven and hell, the archetype embodies the experience of opposites that leads to truth and wholeness (Jung 1944, p.20).  Once we perceive the darkness we are left with no doubt as to the truth of goodness, which in turn, warrants its existence. Thus, perception of an archetype often occurs through darkness, what Kirkegaard (1941, p.44) referred to this as ‘demonic dread’, the experience of the negative pole that preludes the ascent towards wholeness.

“Without the experience of the opposites there is no experience of wholeness”

(Jung 1944, p.20)

The Hero Archetype

The hero archetype represents the journey towards the self, projected onto countless myths to portray confrontation with oppositions of light and darkness, appearing as battles between dragons and damsels, quests and prophecies, leading to transformation. Archetypal hero projections mirror underlying psychological structures which have wholeness as their goal (Jung 1944, p.27).  Both these symbols- the hero and the self- are symbols of unity that enable healing of the rift between negative and positive polarities, hence, there is always suffering and transformation at the root of their narratives.

When a person becomes possessed by these archetypal forces, they embody its energetic nature and become uniquely identified with the archetype and its goal. They start to reflect this force in their lives, which is the goal of rituals and rites of passage. Many famous heroes become great prophets and reformers, setting the example for those to come. We see hero narratives revered throughout various cultures and times, owing to their importance in our human journey towards psychological wholeness.  Examples exists in the story of Jesus, Ghandi, Martin Luther King, Shango, and the football player Maradona, each exalted through suffering into gods or god-like figures considered part human, part divine, and martyred.  Our innate psychological tendency to feel and intuit the activation of these archetypes leads us to revere them in myths, serving the purpose of inspiring and guiding us to the heights achieved by their protagonists.  The myths warn us of the perils of the journey and mark out its passage, so we know what to expect in overcoming its challenges and pitfalls. These archetypal myths are timeless portrayals of the paths towards human transformation.

These heroes and their tales depict the transformation of self, represented through unique stories that portray pathways through success, destruction, and eternal salvation. Redemption is achieved through direct experience and involves confrontation with the darkness of self and humanity. For example, Jesus was betrayed by his own disciple and peoples, crucified and humiliated, descended into Hell, and was resurrected to be seated at the right hand of the God; Martin Luther King and Ghandi were assassinated at the height of their popularity and resurrected into eternal martyrdom; Maradona was betrayed by the city that once loved him loved him, suffering the torments of that betrayal, and was exalted as a ‘god’ by his supporters;  the Nigerian king Shango was humiliated by his own people and hung himself on a tree, before becoming deified as a Yoruba god. These stories resonate with humanity because they represent the unconscious drive towards wholeness, a spiritual journey that requires the transformation of self through synthesis of positive and negative internal forces. Challenges typically present themselves before the development of a new personality, enabling the resurrected self to rise after integrating good and evil, and through this process, comes to understand its reality and develop wisdom (Jung 1944, p.41). This was the realisation of Viktor Frankel (1985), who through experiencing the horrors of a German concentration camp came to understand human depravity and was transformed into service to humanity.

Religions serve the purpose of providing avenues for revering and worshiping these heroes so that they may be imitated in our lives. They provide pathways for acting out our desire for transformation that would otherwise seek auxiliary sources, sometimes misguided and often dangerous. When we are called to undertake the journey of the hero-self, symbols start to appear and express themselves through intuitions, desires, interests, dreams, art, and through synchronicities in daily life. The images refer to this new centre of personality as it seeks to come into existence (Jung 1944, p.41). This occurs most powerfully during midlife when a new personality wants to emerge. Jung (Jung 1944, p.42) suggests the circle, or mandala, is a representation of the wholeness of self that makes its appearance during this stage. Art Therapy is a way to bring forth these inner archetypal images, used by Jung in his own life (see the Red Book) and throughout his works, where he includes artistic renditions of dreams, alchemy symbols, and the art of his patients. In Jung’s view, these images appear because the unconscious is an autonomous psychic entity beyond the reach of our conscious control, thus, we can listen but may not meddle in its messages. The arts provide some of the ways to ‘listen’ to its messages by tapping into this unconscious source which helps us through the path of development and alerts us of its progression.

Music and Symbols of Transformation.

In my PhD (Labra 2024), I suggest that music in religious rites often follows a transformational arc to support the ontological transformations occurring in initiates. These musical arcs are symbolised by the Hero myth- a mythological expression of an inner psychological dynamic objectified in music and ritual. Ritual music, acts, symbols, and myths are used to evoke transformation of a new personality during religious rites, reflecting the hero’s passage where the integration of positive and negative personality traits creates synthesis at a higher level. In transformation music, the integration of positive and negative poles appears symbolically within musical structure, through its form, texture, dynamics, sonic attributes, and performance styles. It follows the structure of transformative ritual processes as outlined by Arnold Van Gennep (1960) and later by Victor Turner (1966).  

Figure 1.1 Turner’s ritual model

Religious ritual initiations that seek transformation of the individual though permanent alteration of identity uses specific procedures which consists of three main stages. These stages include separation, liminality, and reintegration- a model that infuses ritual design, process, myth, music, and art. The three-stage model enables the presentation of the archetypal hero myth- the path towards a new and emergent self, and appears in hero myths from cultures around the world.  

In ritual design, this structure manifests through separation of a sacred ritual room, using alternate altars, or a secret sacred space, which is inhabited by a supernatural deity. Such designs enable physical movement between spaces- from the everyday normal world into a sacred mystical space- before returning transformed. 

Similarly, in transformation music a similar structure is used. We see this in the sonata, the break routine of Electronic Dance Music (EDM), or in the tratados of Afro-Cuban Santeria. Three distinct movements recreate the three-phase structure of separation, liminality, and reintegration to provide a musical journey that results in synthesis. It is both a symbol of psychological transformation, and simultaneously, the means for its evocation. I’ll go through these stages in more detail. 

First, the separation stage produces music that ‘puts one in a mood’. It separates the person from the everyday world through envelopment in sound which alters temperament and creates entrainment through synchronisation of brain and nervous system. This is often the longest section because it requires the audience to forgo the ego, to forget one’s previous troubles, thoughts, and secular life, and enter into the soundscape evoked by the music. It is a separation from one’s past, and from previous self-identity. The ritual space and context supports this shift, using immersive spaces and alleviating taboos to encourage freedom from constraints, as seen in nightclubs, festivals, secret initiations, and rites of passage.

Second, the liminal stage increases intensity and involves the creation of chaos as a symbol of sublimation of ego personality. Musical intensity is a key factor during this process, known to evoke emotional arousal and trance (See Becker 2004) and a core feature of African rituals (Nketia 1988). The liminal is an experimental phase where new elements are introduced to evoke a transformation of consciousness. Often monstrous figures are used, which are exemplified in music and art through fusion and hybridisation, showing an integration of old and new elements. Mystical figures of human/divine origin are typical, which have their musical equivalent in the fusion of opposites, such as machine and organic sounds, or in the EDM break routine where the high frequencies (heaven) contrast the bass heavy sound (underworld). While in Santeria tratados, the pace and intensity during the middle stage picks up dramatically, as new tempos, rhythms, chants, rhythmic sub-divisions, and metres are introduced. The increased intensity of the liminal phase has various functions which include: mimicking the dissolution of ego, merging old and new in expectation of a synthesis, and evoking the tension of possession by a new identity, leading to what Becker (2004, p.1) termed the trance self.

Finally, the reintegration stage provides a resolution to the climax of the liminal. This manifests as an altered groove containing elements of section one and two, a merging of old and new to symbolise the transformation of identity. This section may include a total transformation, as appears in through-composed music, where a totally new melodic, textural, and rhythmic form is introduced. This final phase resolves the previous section to symbolise the new self. In conjunction, the three-stage model embodies a transformation that portrays the psychological passage of the hero through a union of opposites.  

What this means for the Sound-Soul System?

The Sound-Soul system is an approach to music composition and performance that I developed through my 25-year research and career. It integrates knowledge of ritual, psychology, and performance technologies, within an ethos of performance, a fusion of philosophy and practical techniques for the purposes of creating transformation music. Transformation music seeks to use sound for self-development, health, social connection, and spirituality, an antidote against the secularisation and commodification of commercial music and practice.  It is inspired by ancient traditions that merge knowledge of music with development of spirit, but is made specifically for Western audiences living in modern times, a new approach to soul development using sound.  Furthermore, it treats music as part of a holistic system of ritual, and thus, is applicable to other artforms such as visual art, drama, and dance. It’s music and art at a higher level, one that seeks the evolution of the soul rather than as mere entertainment or commodity. It encourages the use of emerging technologies as new ways to create, perform, and distribute works locally and globally. 

Thus, the Sound-Soul system is a meta-system that uses an underlying philosophical and technical framework, a single engine of transformation experienced from different angles. It uses cutting-edge research in science, quantum physics, psychology, and medicine to support its theoretical and practical applications. Its main mission is to change the way we think about music, from entertainment to a technology for health, connection, and spiritual development. This has important implications for how we use music in culture, and offers a paradigm shift for musicians, therapists, educators, and audiences. 

References

Becker, J., (2004). Deep listeners: Music, emotion, and trancing (Vol. 2). Indiana University Press.

Frankl, V.E., (1985). Man's search for meaning. Simon and Schuster.

Jung, C.G., (1944). Psychology and alchemy. Collected Works of C. G. Jung, Taylor & Francis Ltd.1980

Jung, C.G., Shamdasani, S.E., Kyburz, M.T. and Peck, J.T., (2009). The Red book: Liber novus. WW Norton & Co.

Kierkegaard, S., (1941). The Sickness unto Death. Princeton University Press, New Jersey, USA

Labra, V. S. (2024) From Ritual music to Electronica: the transformation of traditional Santeria into electronic neo-Santeria, University of Newcastle. Available at: http://hdl.handle.net/1959.13/1511083

Nketia, J.K., (1988). ‘The Intensity Factor in African Music.’ Journal of Folklore Research, 23, pp.53-86.

Turner, V. W., (1966), The Ritual Process: structure and anti-structure, Cornell Paperbacks, Cornell University Press, NY.

Van Gennep, A., (1960), The rites of passage. Routledge, Oxfordshire, UK, 2013