In Persian mystical philosophy there is a concept referring to spiritual topography: na koja abad. Literally it means a 'no place'. One who searches for it with their outward senses searches in vain, for it is situated 'within', on the threshold between the sensible world and its invisible support. It is the inward world of the Soul (itself referred to as a barzakh). There, time and distance are not measured objectively, and every colour and shape, every sound and smell, takes on a spiritual significance, because it is the 'visual expression of the invisible'_x0014_ the mirror of the Unseen. It is towards this universe that Kashkul seeks to humbly orient itself. Reflecting its own unique situation and circumstances it simultaneously seeks to 'reflect' the unseen through the medium of music and poetry. Led by composer and tar player Behnoosh Aryanpad, Kashkul performs traditional Persian instrumental and original vocal compositions woven against classical and contemporary Persian poetry. The divine voice of Shiva evokes the song of a mystical temple, the rhythmic tar (a 6-stringed infinity symbol of carved mulberry wood) suggests the luxury of a Persian palace. The Daf (a frame drum with chains) builds an irrepressible percussive foundation over which floats the Ney (an end-blown cane flute), and the Kamanche (a spike-fiddle). The members of Kashkul, who include both Iranians and Australians, have studied with instrumental and vocal masters in both Australia and Iran. The group has performed around Australia and have developed a talent for introducing the uninitiated ear to the delights of Persian culture.
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