Burning incense

Incense (from Latin incendere "to burn")^[1] is composed of aromatic biotic materials, which release fragrant smoke when burned. The term incense refers to the substance itself, rather than to the odor that it produces. It is used in religious ceremonies, ritual purification,^[2][3] aromatherapy,^[4] meditation, for creating a spiritual atmosphere, and for masking unpleasant odors.

Incense is composed of aromatic plant materials, often combined with essential oils.^[5] The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing diversity in the reasons for burning it.^[6] Incense can generally be separated into two main types: "indirect-burning" and "direct-burning." Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases fragrance. Direct-burning incense comes in several forms, including incense sticks (or "joss sticks"), cones, and pyramids.

History[link]

Incense sticks at Po Lin Monastery, Hong Kong

Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties.^[7] The earliest recorded use of incense comes from the ancient Chinese, who used incense from herbs and plant products (such as cassia, cinnamon, styrax, sandalwood, amongst others) during the rites of formal ceremonies.^[8] Eventually, the Hindus adopted the use of incense from the Chinese, but they were the first to also use roots for incense.^[8]

Incense was used by the ancient Egyptians, not only to counteract unpleasant odours, but also to drive away demons and please the gods.^[4] They thought that Resin balls were found in many prehistoric Egyptian tombs in El Mahasna.^[9] The oldest incense burner found dates back the 5th dynasty.^[9] The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.^[10]

Some of the oldest references of incense appear to be within the Vedas (ancient Hindu texts) themselves, especially the Atharva Veda, indicating that the use of incense is quite old, dating back at least 3500 years and more likely closer to 6000 to 8500 years old at a minimum.^[11]

At around 2000 BC, Ancient China was the first civilization who began the use of incense in the religious sense, namely for worship.^[12]

The Babylonians used incense while offering prayers to divining oracles.^[13] Incense spread from there to Greece and Rome.

The Indus Civilization used incense burners.^[14] Evidence suggests oils were used mainly for their aroma.

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later.

In China, incense usage reached its peak during the Song Dynasty with numerous buildings erected specifically for incense ceremonies.^[7]

During the 14th century Shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whomever might take his head in battle). It wasn't until the Muromachi Era during the 15th and 16th century that incense appreciation (Kōdō) spread to the upper and middle classes of Japanese society.

Composition[link]

Some commonly used raw incense and incense-making materials (from top down, left to right) Makko powder (抹香; Machilus thunbergii), Borneol camphor (Dryobalanops aromatica), Sumatra Benzoin (Styrax benzoin), Omani frankincense (Boswellia sacra), Guggul (Commiphora wightii), Golden Frankincense (Boswellia papyrifera), the new world Tolu balsam (Myroxylon toluifera) from South America, Somali myrrh (Commiphora myrrha), Labdanum (Cistus villosus), Opoponax (Commiphora opoponax), and white Indian sandalwood powder (Santalum album)

Throughout history, a wide variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America.^[15] This was a preference, and ancient trading in incense materials from one area to another comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.^[16]

The same could be said for the techniques used to make incense. Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, among them clergy and physicians who were both familiar with incense arts.^[6]

Natural solid aromatics[link]

The following fragrance materials can be employed in either direct- or indirect-burning incense. They are commonly used in religious ceremonies, and many of them are considered quite valuable. Essential oils or other extracted fractions of these materials may also be isolated and used to make incense. The resulting incense is sometimes considered to lack the aromatic complexity or authenticity of incense made from raw materials not infused or fortified with extracts.

Combustible base[link]

A Räucherkerzchen - A charcoal-based incense cone

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

• Fuel and oxidizer mixtures: Charcoal or wood powder forms the fuel for the combustion. Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are combined into the base prior to formation as in the case of powdered incense materials or after formation as in the case of essential oils. The formula for the charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.
• Natural plant-based binders: Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. This includes:
  • Makko (抹香・末香 incense powder): made from the bark of various trees from the Persea such as Persea thunbergii (Jpn. 椨の木; たぶのき; Tabu-no-ki)
  • Xiangnan pi (香楠皮): made from the brak of Phoebe genus trees such as Phoebe nanmu (楠木), Persea zuihoensis (香楠).
  • Jigit: a resin based binder used in India
  • Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

Types[link]

Incense materials are available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types depending on use. Preference for one form or another varies with culture, tradition, and personal taste. Although the production of direct- and indirect-burning incense are both blended to produce a pleasant smell when burned, the two differ in their composition due to the former's requirement for even, stable, and sustained burning.

Indirect-burning Incense[link]

Indirect-burning frankincense on a hot coal

Indirect-burning incense, also called "non-combustible incense",^[17] is a combination of aromatic ingredients that are not prepared in any particular way or encouraged into any particular form, leaving it mostly unsuitable for direct combustion. The use of this class of incense requires a separate heat source since it does not generally kindle a fire capable of burning itself and may not ignite at all under normal conditions. This incense can vary in the duration of its burning with the texture of the material. Finer ingredients tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually as they have less total surface area. The heat is traditionally provided by charcoal or glowing embers.

In the West, the best known incense materials of this type are frankincense and myrrh, likely due to their numerous mentions in the Christian Bible. In fact, the word for "frankincense" in many European languages also alludes to any form of incense.

• Whole: The incense material is burned directly in its raw unprocessed form on top of coal embers.
• Powdered or granulated: The incense material is broken down into finer bits. This incense burns quickly and provides a short period of intense smells.
• Paste: The powdered or granulated incense material is mixed with a sticky and incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type (Bakhoor, actually refers to frankincense in both Lebanese and Arabic, and Japan has a history of kneaded incense, called nerikō or awasekō, using this method.^[18] Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

Production[link]

Drying cored stick incense, Vietnam

Indirect burning incense does not have any stringent requirements except for achieving a pleasant smell when lit. Mixture of incense materials can be combined by powdering the raw materials and then mixing them together with a binder to form pastes, which are then cut and dried into pellets.

Incense of the Athonite Orthodox Christian tradition are made using similar methods by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry.^[19][20] The product visually resemble cubes of Loukoum. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

Direct-burning Incense[link]

Incense coils hanging from the ceiling of an East Asian temple

Direct-burning incense also called "combustible incense",^[17] generally requires little preparation prior to its use. When lit directly by a flame (hence the appellation) and then fanned out, the glowing ember on the incense will continue to smoulder and burn away the rest of the incense without continued application of heat or flame from an outside source. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder.^[6] The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types of direct-burning incense are commonly encountered, though the material itself can take virtually any form, according to expediency or whimsy:

• Coil: Extruded and shaped into a coil without a core. This type of incense is able to burn for an extended period, from hours to days, and is commonly produced and used by Chinese culture
• Cone: Incense in this form burns relatively fast. Incense cones were invented in Japan in the 1800s.
• Cored stick: This form of stick incense has a supporting core of bamboo. Higher quality varieties of this form have fragrant sandalwood cores. The core is coated by a thick layer of incense material that burns away with the core. This type of incense is commonly produced in India and China. When used for worship in Chinese folk religion, cored incensed sticks are sometimes known as "joss sticks".
• Solid stick: This stick incense has no supporting core and is completely made of incense material. Easily broken into pieces, it allows one to determine the specific amount of incense they wish to burn. This is the most commonly produced form of incense in Japan and Tibet.
• Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. They are typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.
• Paper: Paper infused with incense, folded accordion style, lit and blown out. Examples are Carta d'Armenia and Papier d'Arménie.
• Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is highly transportable and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

Direct-burning incense of these forms is either extruded, pressed into forms, or coated onto a supporting material.

The disks of powdered mugwort called 'moxa' sold in Chinese shops and herbalists are used in Traditional Chinese medicine for moxibustion treatment. Moxa tablets are not incenses; the treatment relies on heat rather than fragrance.

Joss sticks[link]

Picture of joss sticks in a Chinese temple

Joss sticks are used for a variety of purposes associated with ritual and religious devotion in China and India. They are used in Chinese influenced East Asian and Southeast Asian countries, traditionally burned before the threshold of a home or business, before an image of a Chinese popular religion divinity or spirit of place, or in small and humble or large and elaborate shrine found at the main entrance to each and every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door, or open window as an offering to heaven, or devas. The Chinese word "joss" for Joss (god) is derived from the Latin deus (god) via Portuguese.^[21][22]

Big Dragon joss sticks.

Joss-stick burning is an everyday practice in traditional Chinese religion. There are many different types of joss sticks used for different purposes or on different festive days. Many of them are long and thin and are mostly colored yellow, red, and more rarely, black. Thick joss sticks are used for special ceremonies, such as funerals. Spiral joss sticks are also used on a regular basis, which are found hanging above temple ceilings, with burn times that are exceedingly long. In some states, such as Taiwan, Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon joss sticks are sometimes used. These generate such a massive amount of smoke and heat that they are only ever burned outside.

Chinese incense sticks for use in popular religion are generally without aroma or only the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of Cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Despite the fact that they contain no sandalwood at all, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

Highly scented Chinese incense sticks are only used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, aloeswood, or floral scents used. The Sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites such as belonging to Tzu Chi, Chung Tai Shan, Buddhism in Sri Lanka, Buddhism in Burma and Korean Buddhism do not use incense.^[23]

Production[link]

This unreferenced section requires citations to ensure verifiability.

Poor quality incense sticks are uneven in thickness and the supporting cores remain after combustion^{[citation needed]}

Production is quite the opposite for direct-burning incense. In addition to producing a pleasant scent when burnt, this type of incense must burn completely to a cool white ash^{[citation needed]} with a stable ember. Ideally the incense should burn slowly and evenly with no trace of the supporting core after burning.^{[citation needed]} In order to obtain these desired combustion qualities, attention has to be paid to certain proportions in direct burning incense mixtures:

• Oil content: Resinous materials such as myrrh and frankincense must not exceed the amount of dry materials in the mixture to such a degree that the incense will not smolder and burn.^{[citation needed]} The higher the oil content relative to the dry mass, the less likely the mixture is to burn effectively.^{[citation needed]} Typically the resinous or oily substances are balanced with "dry" materials such as wood, bark and leaf powders.
• Oxidizer quantity: The amount of chemical oxidizer in gum-bound incense must be carefully proportioned. If too little, the incense will not ignite, and if too much, the incense will burn too quickly and not produce fragrant smoke.^{[citation needed]}
• Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.^{[citation needed]}
• Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.^{[citation needed]}
• Binder: Water-soluble binders such as "makko" (抹香・末香) have to be used in the right proportion to ensure that the incense mixture does not crumble when dry but also that the binder does not take up too much of the mixture.^[6]

Some kinds of direct-burning incense are created from "incense blanks" made of unscented combustible dust immersed into any suitable kind of essential or fragrance oil. These are often sold in America by flea-market and sidewalk vendors who have developed their own styles. Such items are often known as "dipped" or "hand-dipped" incense. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia, then simply scented with essential oils.

Compressed forms[link]

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

Cored sticks[link]

Traditionally, the bamboo cores of cored stick incense is prepared by hand from the clums of Phyllostachys heterocycla cv. pubescens (茅竹,江南竹) since this species produces thick wood and easily burns to ashes in the incense stick.^[24] Through this process, known as "splitting the foot of the incense stick" (剖香腳), the bamboo is trimmed to length, soaked, peeled, and then continuously split in halves until thin sticks of bamboo with square cross sections of less than 3mm ^[25]This process has been largely been replaced by machines in modern incense production.^[26]

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

• Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.^[27]
• Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are then evenly separated, then dipped into a tray of incense powder, consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the stick while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks that are burned in temples of Chinese folk religion produced in this fashion can have a thickness between 2 to 4 millimeters.^[28][29]
• Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more commonly found due to the higher labor cost of producing powder-coated or paste-rolled sticks.

Burning incense[link]

For indirect-burning incense, pieces of the incense are burned by placing them directly on top of a heat source or on a hot metal plate in a censer or thurible.^[30]

In Japan a similar censer called a egōro (柄香炉^?) is used by several Buddhist sects. The egōro is usually made of brass with a long handle (柄, e^?)) and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as Sonae-kō (Religious Burning).^[31]

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. Flames on the incense are then fanned or blown out, with the incense continuing to burn flamelessly on its own.

Cultural variations[link]

Chinese incense[link]

Incense at a temple in Beijing, China

Incense burner in Wengchang Temple, Taiwan.

For over two thousand years, the Chinese have used incense (Chinese: 香; pinyin: xiāng; meaning "fragrance; aroma; perfume; spice; incense") in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life.

Agarwood (沈香; chénxiāng) and sandalwood (檀香; tánxiāng) are the two most important ingredients in Chinese incense.

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks (香鐘; xiāngzhōng; "incense clock"; or 香印; xiāngyìn; "incense seal").^[32] The poet Yu Jianwu 庾肩吾 (487-551) first recorded them: "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches."^[33] The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

It is incorrect to assume that the Chinese only burn incense in the home before the family shrine. In Taoist traditions, incense is inextricably associated with the 'yin' energies of the dead, temples, shrines, and ghosts. Therefore, Taoist Chinese believe burning undedicated incense in the home attracts the dreaded hungry ghosts, who consume the smoke and ruin the fortunes of the family.

However, since Neolithic times, the Chinese have evolved using incense not only for religious ceremonies, but also for personal and environmental aromatherapy. Although misrepresented until recent studies, Chinese incense art is now regarded as one of the esteemed Chinese art forms - next to calligraphy, tea, flower arrangements, antiquities, etc.

Indian incense[link]

Indian incense can be divided into two categories: masala and charcoal.

Masala incenses are made by blending several solid scented ingredients into a paste and then rolling that paste onto a bamboo core stick. These incenses usually contain little or no liquid scents (which can evaporate or diminish over time).

Charcoal incenses are made by dipping an unscented "blank" (non-perfume stick) into a mixture of perfumes and/or essential oils. These blanks usually contain a binding resin that holds the sticks' ingredients together. Most charcoal incenses are black in colour.

Jerusalem temple incense[link]

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus as a mixture of stacte, onycha, galbanum and frankincense.^[34]

Tibetan incense[link]

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, or sahi jeera.

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

Japanese incense[link]

Stacks of incense at a temple in Japan

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like Calligraphy, Ikebana, and Scroll Arrangement. However the art of incense appreciation or Koh-do, is generally practiced as a separate art form from the tea ceremony, however usually practiced within a tea room of traditional Zen design.

Agarwood (沈香　Jinkō) and sandalwood (白檀　Byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "Jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

Some terms used in Japanese incense culture include:

• Incense Arts: [香道, Kodo]
• Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.
• Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning
• Charcoal: [木炭] – only the odorless kind is used.
• Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

Uses of incense[link]

Incense, being an article familiar to humanity since the dawn of civilization, has meant different things to the different peoples who have come to use it. Given the wide diversity of such peoples and their practices, it would be impossible to form an all-inclusive list of the ways in which incense has come to be used, since the methods and purposes of employment are as diverse and nuanced as those who have employed it.

Practical use of incense[link]

Mosquito repellent are often manufactured in coil form and burned in a similar manner as incense.

Papier d'Armenie was used to disinfect.

Incense fragrances can be of such great strength that they obscure other, less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. Another example of this use, as well as of religious use is the giant Botafumeiro thurible which swings from the ceiling of the Cathedral of Santiago de Compostel. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.^[34]

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single, long handle on one side. It is important to note that the perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

The regular burning of direct combustion incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve and captivate several of the senses.^[35]

Incense made from materials such as citronella can repel mosquitoes and other aggravating, distracting or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellant incense is widely available in Asia.

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

Incense is also used often by people who smoke indoors, and do not want the scent to linger.

Aesthetic use of incense[link]

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the forgoing items can be produced or consumed solely for the contemplation or enjoyment of the refined sensory experience. This use is perhaps best exemplified in the kōdō (香道^?), where (frequently costly) raw incense materials such as agarwood are appreciated in a formalized setting.

Religious use of incense[link]

Incense burning at a temple in Taipei

Use of incense in religion is prevalent in many cultures and may have their roots in the practical and aesthetic uses considering that many religions with not much else in common all use incense. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship ^[34] and remains in use for example in the Roman Catholic, Anglican and Orthodox Churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense [to ancestors/gods]), etc.

Incense and health[link]

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NO_x), sulfur oxides (SO_x), volatile organic compounds (VOCs) [4–8], and absorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. The emission rate decreases in the row Indian sandalwood > Japanese aloeswood > Taiwanese aloeswood > smokeless sandalwood.^[36]

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.^[37]

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.^[38]

In contrast, a study by several Asian Cancer Research Centers showed: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified the findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."^[39]

Frankincense has been shown to cause antidepressive behavior in mice. It activated the poorly understood ion channels in the brain to alleviate anxiety and depression.^[40]

See also[link]

• Incense Road
• Kōdō, incense arts
• Kyphi
• Silk Road
• Smudge stick

References[link]

Further reading[link]

• Silvio A. Bedini. (1994). "The Trail of Time: Time Measurement with Incense in East Asia". Cambridge University Press. ISBN 0-521-37482-0

External links[link]

• Movie about making Tibetan Incense in Nepal

Wikimedia Commons has media related to: Incense

Erykah Badu
Hamburg/Germany 2002
Background information
Birth name	Erica Abi Wright
Also known as	Loretta Brown, Analog Girl in a Digital World, Fat Belly Bella, Medulla Oblongata
Born	(1971-02-26) February 26, 1971 (age 41) Dallas, Texas United States
Genres	R&B, neo soul, soul, funk, jazz, hip hop
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Instruments	Vocals, keyboards, guitar, drums, drum machine
Years active	1991–present
Labels	Kedar, Universal, Motown, Puppy Love, Control Freaq
Associated acts	Soulquarians, The Cannabinoids, Madlib, The Roots, 9th Wonder, The Flaming Lips, Macy Gray, Mark Ronson, Stephen Marley, Dead Prez, Lenny Kravitz, Queen Latifah, Joi, Bahamadia, Angie Stone
Website	ErykahBadu.com

Erica Abi Wright (born February 26, 1971),^[1] better known by her stage name Erykah Badu /ˈɛrɨkə bɑːˈduː/, is a Grammy Award-winning American singer-songwriter, record producer, activist and actress. Her work includes elements from R&B, hip hop and jazz.^[1] She is best known for her role in the rise of the neo soul sub-genre, and for her eccentric, cerebral musical stylings and sense of fashion. She is known as the "First Lady of Neo-Soul" or the "Queen of Neo-Soul".

Early in her career, Badu was recognizable for wearing very large and colorful headwraps. For her musical sensibilities, she has often been compared to jazz great Billie Holiday. She was a core member of the Soulquarians, and is also an actress having appeared in a number of films playing a range of supporting roles in movies such as Blues Brothers 2000, The Cider House Rules and House of D. She also speaks at length in the documentary Before the Music Dies.

Early life[link]

Erykah Badu was born Erica Abi Wright in Dallas, Texas, on February 26, 1971. Her mother raised her and her brother and sister alone; their father, William Wright, Jr., had deserted the family early in their lives. To provide for her family, the children's grandmother often helped looking after them while Erykah's mother, Kolleen Maria Gipson (Wright), performed as an actress in theatrical productions. Influenced by her mother, Erykah had her first taste of show business at the age of 4, singing and dancing with her mother at the Dallas Theatre Centre. Erykah Badu was the owner of Focal point in Dallas, Texas.

By the age of 14, Erykah was free-styling for a local radio station alongside such talent as Roy Hargrove. In her early youth, she decided to change the spelling of her name from Erica to Erykah, as she firmly believed her original name to be her slave name. The term 'kah' signifies the inner self. Badu is her favorite jazz scat sound and is also an African name for the 10th born child used for the Akan people in Ghana.^[2]

Upon graduating from Booker T. Washington High School for the Performing and Visual Arts, Badu went on to study theater at the historically black college Grambling State University. Concentrating on music full-time, she left the university in 1993 before graduating and took on several minimum wage jobs to support herself. She taught drama and dance to children at the South Dallas Cultural Center. Working and touring with her cousin, Robert "Free" Bradford, she recorded a 19-song demo, Country Cousins, which attracted the attention of Kedar Massenburg, who set Badu up to record a duet with D'Angelo, "Your Precious Love," and eventually signed her to a record deal with Universal Records.^[2]

Career[link]

Music[link]

Badu’s style is a prime illustration of Neo-Soul in that it focuses on the contemporary styles of the genres soul and hip hop and it sends out a deeper message as opposed to common R&B music. The songs in Badu’s album, “Baduizm” exemplifies her personal take on life. Her philosophy features ideologies from African influences, with fusions from the Nation of Islam and the Five Percent theologies, the complex views of the ancient Egyptians, and Southern African-American folk traditions. The majority of Badu’s music is greatly influenced by her beliefs of the NOI or the Nation of Islam and her African roots and heritage.^[3] Baduizm, Badu's highly acclaimed debut album, was released in early 1997 and debuted at #2 on the Billboard charts. Lead single "On & On" reached #12 on the singles charts in both the U.S. and UK. Badu received notice for her introspective lyrics and jazzy, bass-heavy sound, and was hailed as one of the leading lights of the burgeoning neo soul genre. Her particular style of singing drew many comparisons to Billie Holiday.^[4] Baduizm eventually went triple platinum and, along with "On & On," won Grammy Awards at the 1998 ceremonies.

Badu performing at the Jazz Reggae Festival, 2009

During that year, Badu became involved with rapper André 3000 of OutKast, with whom she had a child, Seven, who was born in 1997. Their relationship ended sometime in the late 90s. Badu recorded her first live album, Live, while pregnant with Seven, and the release of the recording coincided with the birth of her child.^[5] Live reached #4 on the Billboard charts, selling double platinum, and spawned another R&B hit single in "Tyrone", a song chiding a selfish, cheap, and inattentive boyfriend.^[6] Badu also collaborated with the Roots (who had previously handled production duties on a number of tracks on Baduizm) on their breakthrough 1999 release, Things Fall Apart. She was featured on the song "You Got Me", co-written by Jill Scott, which hit the top 40 and won a Grammy Award for Best Rap Performance by a Duo or Group.

After taking some time off to raise her child, Badu returned in 2000 with Mama's Gun, an album more organic in sound than her previous studio album, and primarily produced by the Soulquarians and noted bassist Pino Palladino. A remix of one of the album's songs, "Bag Lady", was issued as the first single and topped the R&B charts for seven weeks. The album was well-received, with the lyrical content winning notices from many publications who found some of her lyrics hard to decipher on her initial releases.^[7] Despite not charting as high as her first two albums, Mama's Gun was another platinum-selling success, and "Bag Lady" was nominated for a Grammy Award.

By 2000, Badu was in a romantic relationship with fellow Soulquarian Common, and "Love of My Life (An Ode to Hip-Hop)" was released as a collaboration between the two on the Brown Sugar soundtrack. "Love of My Life" hit #9 on the pop charts, topped the R&B listings, and Badu was awarded her fourth Grammy Award for the song in 2003.^[8]

After the release of Mama's Gun and "Love of My Life", Badu experienced writer's block.^[9] She hit the road throughout 2002 and much of 2003 on what she dubbed the "Frustrated Artist Tour", in search of inspiration to write and perform new material. The conclusion of the tour saw Badu head back to the studio with new material, and in September 2003, the Worldwide Underground album was released. More jam-oriented than any of her prior releases, Badu was quoted as saying that the release was designed to serve as one continuous groove.^[10] Worldwide Underground reached #3 on the Billboard charts and was certified gold not long after its release, and Badu received four further Grammy nominations for the album. Badu also contributed to Zap Mama's album Ancestry in Progress (2004), adding her vocals to the track "Bandy Bandy."

After almost four years and the birth of a daughter, Puma, it was revealed in 2007 that Badu had three albums in the works over the course of 2007 and 2008. "Honey", a new single produced by 9th Wonder, was leaked online in November 2007, and the new album, titled New Amerykah Part One (4th World War), was released on February 26, 2008. According to Nielsen Soundscan, New Amerykah Part One (4th World War) has sold 359,000 copies in the United States ^[11] Erykah Badu performed at the 10th annual Voodoo Experience in New Orleans the weekend before Halloween 2008.^[12]

Erykah Badu released her fifth studio album, New Amerykah Part Two (Return of the Ankh) on March 30, 2010.^[13]

An "Icon" CD series of Badu was released on August 31, 2010. It features 12 of the most favorable hits from different albums of Erykah Badu.

Badu is currently working on new material with Flying Lotus.^[14] Badu will also appear on the debut album by the supergroup, Rocketjuice and The Moon which is due for release in March 2012.^[15]

Controversy over "Window Seat" video[link]

Badu in 2008

On March 13, 2010,^[16] Badu filmed the video for her song "Window Seat", at Dealey Plaza in Dallas, Texas, which Badu wrote on her Twitter feed "was shot guerrilla style, no crew, 1 take, no closed set, no warning, 2 min., Downtown Dallas, then ran like hell."^[17] Without acquiring permission or permits from the city, Badu shed her clothes as she walked along a Dallas, Texas, sidewalk until she was nude at the site where President Kennedy was assassinated. A shot rang out as the song ended, and Badu's head jerked back and she fell to the ground. Children with their families could be seen nearby as Badu stripped.^[18] When asked about stripping nude in the presence of minors, Badu said, "I didn’t think about them until I saw them, and in my mind I tried to telepathically communicate my good intent to them. That’s all I could do, and I hoped they wouldn’t be traumatized."^[16] Badu also explained on The Wanda Sykes Show on April 3, 2010, that it was not her intention to insult the memory of the late President Kennedy, saying "My point was grossly misunderstood all over America. JFK is one of my heroes, one of the nation's heroes. John F. Kennedy was a revolutionary; he was not afraid to butt heads with America, and I was not afraid to show America my butt-naked truth."^[19] Coodie and Chike, directors of the Window Seat video, admitted they had bail money ready during filming if Badu was to be arrested.^[19] Badu said the video was a protest against “groupthink” and was inspired by Matt and Kim's music video Lessons Learned. Badu has also said she has "no regrets."^[16]

On Friday, April 2, 2010, Badu was charged with disorderly conduct, a class C misdemeanor, in relation to the music video. "Sgt. Warren Mitchell said Friday the decision to cite Badu for disorderly conduct — a misdemeanor punishable by a fine of up to $500 — came after witness Ida Espinosa, 32, of Vernon, offered a sworn statement to police Thursday [April 1]. Espinosa declined to comment to The Associated Press on Friday."^[20] On April 28, 2010, Badu challenged the disorderly conduct charge by pleading not guilty rather than paying the fee by mail.^[21][22] On Friday, August 13, she pleaded, deferred adjudication, meaning that the final judgment in the situation has been deferred until a later time and paid the $500 ticket.

Acting[link]

Badu appeared in the films Blues Brothers 2000, The Cider House Rules, House of D, Before the Music Dies, and Dave Chappelle's Block Party. She is reported to have a leading role alongside Mos Def in the upcoming indie film, Bobby Zero, which tells a story of a struggling couple who hit rock bottom after Mos Def's character gives up his dream of artistic aspirations to pursue an advertising corporate job to make ends meet.^[23] She also appeared in scenes of the music video of Miko Marks' 2006 recording "Mama" and Common's video for "The Light" as well as making a special appearance on the sitcom Girlfriends. She was named the latest muse to fashion designer Tom Ford in 2008 as the face of his White Patchouli fragrance. Ford, also longtime friends with Badu, considered her the best choice for the campaign. “I have always considered her a true beauty … she just fits”, says Ford.^[24]

Personal life[link]

backstage Hamburg/Germany 2002

Badu splits her time between Dallas and Brooklyn, NY in her Fort Greene apartment.^[25] Badu has three children. Her eldest child is a son named Seven Sirius Benjamin, born in 1997, with André 3000. Their relationship inspired André 3000 to write the song Ms. Jackson. From 2000 to 2002, she dated rapper Common. On July 5, 2004, Badu gave birth to a daughter, Puma Sabti Curry, in her Dallas home; Puma's father is West Coast rapper The D.O.C., who is originally from Dallas, Texas. On February 1, 2009, Badu gave birth to her third child at home, a girl named Mars Merkaba Thedford, with her boyfriend of five years, rapper Jay Electronica.^[26] In attendance were her two children, Puma and Seven.^[27]

After her performance at the 2010 Soul Train Awards, pregnancy rumors spread because of her heavier appearance and her concealing attire.^{[citation needed]} It was said that Badu was pregnant for a fourth time, now by the police officer that allegedly arrested her during the production of her Window Seat music video.^{[citation needed]} Badu quickly dispelled the rumors via her Twitter account December 1, 2010 as she proclaimed "everyone knows I was NEVER ARRESTED for the window seat VIDEO nor put on probation.I only got A TICKET in the mail. and I am NOT PREGNANT".^[28]

Badu also remains an activist in her hometown of South Dallas.^{[citation needed]} Her charity organization, Beautiful Love Incorporated Non Profit Development (B.L.I.N.D. 501c3), provides community-driven development for inner-city youth through music, dance, theater and visual arts.^{[citation needed]}

In the publication VegNews Magazine, July–August 2008, Ms. Badu stated: "Vegan food is soul food in its truest form. Soul food means to feed the soul. And to me, your soul is your intent. If your intent is pure, you are pure".^[29]

Discography[link]

Studio albums

• Baduizm (1997)
• Mama's Gun (2000)
• Worldwide Underground (2003)
• New Amerykah Part One (4th World War) (2008)
• New Amerykah Part Two (Return of the Ankh) (2010)

Live albums

• Live (1997)

Tours[link]

• Baduizm Tour (1997)
• Mama's Gun World Tour (2001)
• Frustrated Artist Tour (2003)
• Worldwide Underground Tour (2004)
• Sugar Water Festival Tour (2005)
• Summer Tour (2006)
• The Vortex World Tour (2008)
• Jam Tour (2009)
• Out My Mind, Just in Time World Tour (2010)

Filmography[link]

• All That (1997)
• Blues Brothers 2000 (1998)
• The Cider House Rules (1999)
• House of D (2004)
• Before the Music Dies (2006)
• Dave Chapelle's Block Party (2006)
• Yo Gabba Gabba! (2009)
• Re:Generation Music Project (2012)

See also[link]

Poetry portal

• List of awards and nominations received by Erykah Badu
• Neo soul
• Five Percent Nation
• Nation of Islam

References[link]

External links[link]

Wikimedia Commons has media related to: Erykah Badu

• Official website
• Erykah Badu at the Internet Movie Database
• Erykah Badu's page on Gigulate
• Erykah Badu video

Brooke Fraser
Background information
Birth name	Brooke Gabrielle Fraser
Born	(1983-12-15) 15 December 1983 (age 28) Wellington, New Zealand
Origin	Wellington, New Zealand
Genres	Pop, folk rock
Years active	2002–present
Labels	Sony Music, Wood + Bone
Associated acts	Hillsong
Website	www.brookefraser.com

Brooke Gabrielle Fraser Ligertwood, better known as Brooke Fraser (born 15 December 1983) is a New Zealand born award-winning folk-pop and Christian music^[1][2] artist. Her third studio album Flags has become the most successful album of her career, with the single "Something in the Water" reaching number one on the RIANZ singles chart in 2010.

Early life[link]

Fraser is the eldest of the three children born to former All Black Bernie Fraser,^[3] who was born in Lautoka, Fiji, and his wife Lynda Fraser.^[4] She grew up in Naenae, Lower Hutt and attended Dyer Street School, Naenae Intermediate School and Naenae College.^[5]

Fraser took piano lessons between the ages of seven and seventeen. She started writing songs at age twelve and taught herself the acoustic guitar at fifteen. Despite her skills as a singer she has never taken singing lessons.^[5]

She performed at Parachute, an annual New Zealand music festival in 2000 – including a special guest performance in 2007.^[5]

She began writing for the Soul Purpose magazine at age fifteen, and was later made editor in 2002. She gave up her job as editor shortly after moving to Auckland in late 2002 in order to pursue her music career.^[6]

Musical career[link]

In 2002, while Fraser was in Auckland, Scotty Pearson, the drummer for Elemeno P, organised a meeting with producer Matty J for her. Matty J became her manager, liaising with the major labels who had shown interest and compared their offers. Fraser had about five different labels offer her deals and chose to sign a multi-album deal with Sony Music at the age of 17.^[7]

[edit] What to Do With Daylight

Fraser's first album, What to Do with Daylight, was released in New Zealand in late 2003, debuting at number one and achieved gold status in the same week. The album eventually went seven times platinum,^[8] selling over 105,000 copies in New Zealand alone.^[9] It remained on the album charts for sixty-six weeks.^[10] All five singles from the album reached the top twenty in the New Zealand Singles Chart.^[11] Her album also topped the New Zealand Top 50 Albums of 2004.^[12]

Following the release of What to Do with Daylight, Fraser toured Australia and New Zealand with American artist John Mayer and then toured New Zealand with veteran U.K. rock artist David Bowie.^[13][14] Whilst on tour with John Mayer, she met with his guitarist and keyboardist Michael Chaves who, after recording Mayer's album Heavier Things, Fraser enlisted to play on her album and future concerts.^[15]

[edit] Albertine

In 2005, prior to writing and preparing her follow-up album, Fraser took a trip to Africa to immerse herself in Rwanda before visiting her sponsor children in Tanzania, as she is an advocate for child sponsorship. In this trip, she was so moved that she wrote the song Albertine about a young child (named Albertine), whom she met while in Rwanda. It was later decided to make this song the album's title track.^[16]

Fraser performing in Seattle, 8 December 2010

For the second album, Fraser decided to enlist a new band, primarily constructed from American musicians who'd worked with an array of notable artists, both live and recorded.^[17] In 2006, Fraser and the band went into the studio in Los Angeles to record the album. Later Fraser allowed her fans to listen to the album's first single Deciphering Me via her MySpace page. The single was later released initially to radio and ultimately to CD single, and achieved number four in the New Zealand single charts.

On 4 December 2006 Albertine was released in New Zealand, achieving double platinum status less than a month after its release and has remained, to date, in the top 20 every week since. The album was released in Australia and internationally on 31 March 2007. In Australia, it charted at number twenty-nine in its first week on 9 April and has thus far achieved Gold sales status.

On 6 April 2007, Fraser performed "Deciphering Me" for the Good Friday Appeal, an annual televised fundraising event to raise money for the Royal Children's Hospital in Melbourne.

In 2008, Fraser appeared on the Dave Barnes song "Believe" from his album Me + You + the World, performing backing vocals.

Albertine was also Fraser's U.S. debut, released 27 May 2008 and entered the Billboard 200 at number ninety on 19 July 2008. Her album propelled in success with online sales after being chosen as Editor's Choice on iTunes. On 4 July 2008 Fraser supported Canadian artist/U2 collaborator Daniel Lanois at the Montreal Jazz Festival. In August she toured the southern U.S.^[18] In September, she re-toured several major U.S. cities and completed the tour at the Shepherd's Bush Empire in London, UK.

[edit] Flags

Flags was recorded at East West Studios in Hollywood in the summer of 2010 ^[19] and released by Wood & Bone Records on 12 October 2010. Fraser celebrated with sold-out tours in the U.S., Australia and New Zealand. Flags reached the #1 spot on the New Zealand album chart,^[20] #3 in Australia,^[21] and entered at #59 on the Billboard 200 in the US,^[22] and climbed as high as #3 on the U.S iTunes album chart. "Flags" has been certified Gold in Australia and 3x Platinum in New Zealand where it was the 6th highest selling album of 2010.^[23] The first single, “Something in the Water,” has achieved extensive radio success across the globe, notably receiving BBC Radio 2 A-list rotation upon release.^[24] The single has gone on to achieve double platinum sales in NZ where it spent 21 weeks in the 2010 singles chart.^[25] The single has reached #2 in the Dutch airplay chart whilst residing in the top 5 singles chart for 6 consecutive weeks.^[26] The single has charted in Poland and Belgium at #15 and #23 respectively,^[27] as well as being certified Gold in both Germany and Italy.^[28] Flags was released in July 2011 in Germany, Austria and Switzerland and debuted in the following positions: #6 in Germany, #33 in Austria & #24 in Switzerland. One month on from release, "Flags" remained in the German top 20 at #13 and "Something in the Water" on the singles charts at #8. "Flags" was released in October 2011 in Hungary, reaching #15 on the national album chart by 2nd week of release.^[29] Flags is due to be released in Sweden, Norway, Denmark and Finland on 7 November 2011.^[27] Flags has received accolades from peers and press alike. Sara Bareilles announced to her 2 million followers on Twitter "If you don’t know her, you should. @brookefraser is a freakin gem. New album out now. Yay." and Women’s Wear Daily has called Brooke "The Kiwi Norah Jones."^[30][31]

In its review of Flags, Glide Magazine said: "Brooke Fraser’s third release, Flags, is a wonder. From the stunning lyrical imagery throughout to the impressive guest vocalists who join her (Cary Brothers, Jon Foreman and Aqualung among them), from Fraser’s ethereal and breathy performances to the wide-ranging soundscapes, this record is drenched in beauty and stands as one of the more remarkable achievements of 2010."^[32]

In support of "Flags" release in Switzerland, Brooke will be appearing in November 2011 at the “ENERGY STARS FOR FREE” event in Zurich alongside Lenny Kravitz and Snow Patrol.^[33]

Personal life[link]

After the success of her first album, Fraser moved to Sydney, where she has lived since 2004. On 17 March 2008 she married Scott Ligertwood, in Sydney, changing her name to Brooke Ligertwood.^[34] "Brooke Fraser" has remained her stage name for her activity as a Sony BMG recording/touring artist. She continues to write songs for Hillsong Church, now as "Brooke Ligertwood". Among her notable congregational songs are "Desert Song" and "Hosanna". After touring her second album Albertine for almost 4 years, Fraser returned home to Sydney. She took almost a year off from music-making. After attending the Coachella Valley Music and Arts Festival in the US and seeing Fleet Foxes ^[35] set she was inspired to work on her latest album Flags.^[36]

Fraser also runs a blog from her website where she comments on everything from touring, to fashion and food.^[37]

Philanthropy[link]

Fraser has enjoyed success in her career for many years, and she has always used her position to highlight many worthy causes and charity projects, and raising large amounts of money for them in the process. In late 2010 whilst on tour in the U.S. promoting her third album Flags, Fraser, in conjunction with charity: water ran a birthday campaign asking her fans to donate $27 in honor of her 27th birthday. The goal was to raise $50,000 to build clean water wells in Ethiopia.^[38] Joining the likes of Justin Bieber,^[39] Will Smith^[40] and Adam Lambert^[41] Fraser's birthday campaign was a success raising over $54,000. She has vowed to continue her work with charity: water on future projects.

Fraser has worked with World Vision as an Artist Associate since 2001. She has visited Cambodia and Tanzania with World Vision, the Philippines with Opportunity International and independently traveled to Rwanda in June 2005, in June 2006 as part of charity event "Hope Rwanda", and in May 2007 when she filmed the music video for the song "Albertine" off her second studio album of the same name. In 2006 she, along with Petra Bagust and Tau from Spacifix, appeared in an advertisement for the World Vision 40 Hour Famine; an event which raises funds for children in third world countries. She also sponsors eleven children through World Vision^[42] and makes child ways of contributing to the work of World Vision (i.e. fundraising t-shirts etc.).

Discography[link]

Studio albums

• What to Do with Daylight (2003)
• Albertine (2006)
• Flags (2010)

Awards and nominations[link]

APRA Awards

New Zealand Music Awards