They gave up trying to teach a monkey to type the next Shakespeare play. But since music supposedly calms the savage, they taught him to play a tiny guitar instead. It made sense after all – he could play tunes to calm himself down, rather than a researcher having to do it. Once he had access to the guitar and finally understood that it was for making music and not for hitting people or other monkeys over the head, he calmed down dramatically. Just being able to express himself had the desired effect.
They’d tried to teach Abe how to sign but he wasn’t having it. It didn’t make sense to him – this gesture meant what? It was too abstract for him. Why make a sign with his hand, when he could grunt or scream at them? They eventually figured out what he wanted. Meanwhile, he enjoyed screaming. It was fun and made his keepers (his jailers) so anxious. It was funny to watch, to see how he could make them so upset and nervous.
But then they brought the guitar to him. The jailer played it at first and the tones were different, weren’t like their voices. The jailer even sang – and his voice was different, was kinder. If only they could always speak to him like that!
Abe thought that maybe they could learn how to talk with music, so these dimwits could finally get him what he wanted faster. The amusement of their confusion was wearing off. He wanted to deal with them as little as possible. Even fighting was getting old.
Finally, after nearly a year of practice, he was ready for his first public performance. He was no longer in his cage – the audience would be shocked to think of how he been imprisoned. Most thought of it as a zoo, and either forgot or overlooked the fact that he didn’t choose to be there. He wasn’t asked when he was taken from his home. It wasn’t voluntary. He didn’t want to be an example of his kind.
Many thought of the zoo as an educational opportunity, a chance for people to learn about animals in a safe and clean environment. They also thought they were doing the animals a favor. The same “safe and clean environment” was so much better than a wilderness home, the people told themselves. They pointed out how the animals lived so much longer in captivity. They didn’t understand that quantity wasn’t the same as quality. Longer wasn’t necessarily better.
Abe was supposed to play a nursery song, one that was easy and would show off his talents. Nothing too complicated or he’d fumble and the audience would stare or laugh. It was important to get this right.
The audience wasn’t just any old audience. They were benefactors, donors, patrons of the arts. It was their generosity that made the “Music for Monkeys” program possible. If this failed, the whole program would end. It was all riding on Abe, but he had not been told this.
Yet he played better than expected, and more. He played flawlessly, with real feeling, for the first 20 minutes. Perhaps something took over then, some deep down part of him, because that feeling came up and out and over and suddenly he was playing a new song, a sad song. A song sadder than standing on the platform as the last train leaves for the evening. A song sadder than the end of summer break. A song so sad that the audience caught the feeling tied up inside it without words, and they understood the pain of imprisonment in the name of “education” or “rescue”. They heard within the notes his longing for a home he would never see again, a family he would never again embrace. It didn’t matter if they might no longer be alive because of disease or poachers. They had lived as monkeys, not as exhibits, as specimens, as one-off examples of their kind, meant to be on display to any and all, young and old, as the epitome of “monkey” to these rubes, these ticket holding members of this permanent circus that is a zoo (sometimes euphemistically termed a “wildlife park” for much the same reason cemeteries are now memorial gardens).
The audience felt through Abe’s new music the joy of waking up with the sunrise, embraced by the arms of a tree, with leaves as a blanket. It felt the joy of wandering every day to see new places and other animals, every night a new bed in a new tree. Every day was the first day for Abe’s kind – a new adventure and excuse to discover. No worries about a car or mortgage or clothes, so no worries about a job or reputation either.
The people thought they were safe because of all they owned but now they understood that it owned them. They had become chained themselves, slowly, but surely. They had put themselves into a zoo of their own making. They had forgotten their own wildness, their own true nature, in their striving to be civilized. Abe, with his monkey music, reminded them of who they really were, and who they could become again.
There wasn’t a dry eye in the audience. When the music finally stopped, when the guitar strings stilled, they all sat in silence for what seemed like forever. Finally a child spoke, and asked Abe what his real name was, the one before his capture. What was the sound his family, blood and otherwise, called him? And he didn’t know. It was lost to him, trained out of him for so many years. So the child gave him a new name, a snippet of that song that awoke them all, as a reminder of who he truly was.
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