Tuesday, August 30, 2016

Hymn to Inanna by D'vorah

Inanna by John Singer Sargent 
 Inanna-Ishtar-Lilith-Shekhinah

She of all knowing, dark wisdom....She of the deep abyss, snake’s descent, owl’s knowing...woman of the dark, the light:  We praise you, we stand in awe marveling at the myriad surprises you hold in store for us.  Your power, your mystery.

Lilith-Ishtar-Shekhinah, we worship you, in all your aspects; we sing your name.

Walk with us as we yearn to understand you... Never let us forget your presence in, around and through us, as we seek to proclaim and praise you in every corner of the world, in your many guises, by every name.

Walk with us as we love you, when we are angered by you, when we fail to comprehend you and when we renew our resolve to serve...

Be patient with us as we must be with ourselves, and each other... holding your presence even when we doubt or despair. Let us continue to walk in this new millennium as healers, casting new roles for ourselves and others, weaving new threads of oneness and wonder Ishtar-Lilith-Shekhinah, keeper of the mystery:



Be with us through ecstasy and harmony through death and destruction

And You, Inanna, who were given the setting up of lamentations, the care of children, the rejoicing of the heart, the giving of judgments,  the stirring of sexuality, the making of decisions.

In the eye of this wisdom, rising forth from the power of your being, your foresight, your intent...how is it we ever got lost, taken over, subsumed?

How did we ever become convinced we were not worthy to serve you, that you were the god/not the goddess? How did you, or we, allow ourselves to be 

sidetracked
trampled
silenced
and burned?

As we build a new world, allow us always to remember our inner strengths, to come from a place of understanding and compassion.  Yet let us not be swayed from our goals, and never let our kindness become weakness.  Help us to remember the lessons of our strongest foremothers and so defend ourselves when necessary, without apology,

speak for what we believe in,
take unpopular action, 
take what is rightfully ours with or without “permission.”

Work with us, inspire us, protect us as we weave your work - our work.


Help us, sweet dark lady of the night, holy winged figure of the light—rageful, wise judge, warmest heart, soulful visionary... highest priestess of the Temples to whom every knee must bend and every tongue give homage.

It is your word we write now upon the doorpost of our house and upon our gates…
Your word, acts, images and thoughts we share, rage at, weep with and learn from.
For It is You who makes rise our greatest laughter and love, happiness and peace, passion, tenderness and compassion.

You who sees and gives us our greatest anger and storm, temper and venom, jealousy and vengefulness; You from whom and with whom we learn to combine these things in the best ways possible...  as we embody and become You, in Our divine selves.

Sweet, dark Goddess/es of the earth and sky, river and mountain, night and day, Heaven and  Hell.

We seek to embody your passion, your wisdom, your strength.

Be with us now.




D’vorah bat Rita  2008
   
           (Adapted from a liturgy written in 1999)

Thursday, August 25, 2016

The Secret Life of Things: Honoring the objects we live with

Long may you run
Although these changes have come
 
With your chrome heart shining
in the sun
 Long may you run
.....Neil Young

A few years back I was going to sell my "$3,500.00 Home" ("Lucy" cost me that), a 1989 motorhome I lived in when I was in New Mexico.  I wanted to find someone who would appreciate her as I have, but I never did, so I ended up putting Lucy onto my property and she became my "guest house".  

There is a lot of talk about tiny houses, and I'm somewhat amazed at the prices being asked for them.......but before tiny houses, there were trailers and motorhomes.  At least when standing, Lucy cost me very little - no mortgage, no property taxes, and if I didn't like the neighborhood, I moved.  I realize motor home housing is not that good for people living in cold climates, but for people in the Southwest, and particularly seniors on a low budget, it's a real solution.  And since Lucy and I have had such a good relationship, our friendship continues.

Why should we not think of the objects that serve us, that make our lives easier, pleasurable, and beautiful.........as friends?  We are such a disposible society, hardly  anyone understands my thinking in this way.  And yet, "things" have a kind of life as well, and deserve honor for the service they've given.   Whether a house, or a car, a teapot or a beloved dress, things are infused with the energy of those who have owned and used them.  A fortunately enjoyed item can emanate peace, or comfort, or pleasure.........you want to touch it, sit in it, sleep in it, eat off of it, look at it.  It just feels good and you don't know why, and that "mana" one feels goes beyond design.

The disposibility of our culture has not only caused environmental destruction, but it's also caused us to lose this sensibility, a kind of "6th sense" that tuned us to the "secret life of things".

For example, people used to inherit collections of precious china, cups and saucers that were proudly brought out to serve tea to guests.  Those teacups (and I have a few of my own) are infused with the ancient aroma of ancestral tea leaves, and the hands and lips of people long gone.


 Yet a lineage remains in some way, something that enters into the almost forgotten ceremony of hospitable tea offering (which can include cakes as well).   Imagine people sitting to tea, eating their cakes and enjoying the lovely patterns of flowers on the cup in their hand, colors emerging from the amber liquid of the tea?  As a child I used to play with those fragile little cups and imagine their use and history.

Or how about my 75 year old sewing machine, which still works?  Think of the women who cherished this precious machine, kept it oiled and replaced the belts over the years, the changing fashions that were constructed for parties and work under that needle?

So, I write to honore my old mobile home, my friend.  Thank you for years of shelter and good dreams, for meals cooked and roads wandered.  Thank you to the many things  and machines and momentoes that have travelled in boxes or trucks or suitcases with me over the years.  

Long may you run.




Wednesday, August 24, 2016

Oshun and Luisah Teish


I've been a fan of Luisah Teish, priestess, activisit,  and storyteller,  for many years, and remember hearing her telling numerous times of sacred stories from the Yoruba traditions of Western Africa.  Here she tells us a tale of Oshun, the Goddess of love, beauty, and sweet water, and why a world without Oshun would not be a world worth living in.  

She will also be featured in the upcoming film  "Changing of the Gods" coming late 2017.


https://youtu.be/OU_QkhxfZjs


https://youtu.be/pM5MOS6_SEw

Sunday, August 21, 2016

The End of Democracy and the TPP - GREAT Australian video!



I would call this a brilliant satire, if it wasn't so tragically true.  Like he says, we may not have much in the way of global democracy any more, and our tax dollars will soon be going a lot more into the pockets of corporations, and say goodbye to anything like environmental protection, anywhere.......but heck, at least we have ranch dressing.

https://youtu.be/M4-mlGRPmkU

Friday, August 19, 2016

La Mariposa


I've told this story before, but it seems like a good day to tell it again, because I made a new  mask for her.



LA  MARIPOSA

Once upon a time, in a dusty village like any other village, a  village with  three good wells,  fields of blue and yellow corn,  a white church, and a cantina, there lived a woman who was neither young, nor old.  She was brown of skin, and eye, and her hair was as brown as the sandy earth, and her clothes were  brown and gray as well. She was neither beautiful nor ugly, neither tall nor small, and she walked with a long habit of  watching her feet.

One day, she saw a tree alight with migrating butterflies.   Their velvet wings fluttered in the wind of their grace, and one circled her, coming to rest upon her open hand.  She thought that her heart would break for the power of  its fragile beauty, and she held her breath for fear of frightening it.  La Mariposa  was as orange and brilliant as the setting sun falling between indigo  mountains, as iridescent, as black and violet as the most  fragrant midnight.  At last the butterfly lifted from her hand to rejoin its nomad tribe, and its wings seemed like a whisper,  "Come with us, come with us..."

The next morning they were gone.  She held her hand out to the empty tree, as if to wave farewell, and saw that where the butterfly had rested, there remained a dusting of color, yellow, like pollen, the kiss of a butterfly wing.  And she thought  something had changed.

She went to the well to draw water, and saw her face reflected there.  She was not the same -  there were now minute lines, hairline cracks, along the sides of her face, at the corners of her eyes.  Later, she noticed  little webs of  light beneath the sturdy brown skin of her hands,  barely visible except in the dim  twilight.

This was a frightening thing.  She drew her  skirts more closely around herself, pulled her scarf over her eyes.  But as time went on,  there was something that kept emerging, something that would not be denied.  She was peeling open.  At first, it simply itched, like a rash, like pulling nettles.  As  weeks went by,  what had been easily born, could be endured,  became painful,  became an agony.  Try as she might, as tightly as she wrapped herself in her cocoon of shawls and skin and silence,  the comforting  routines of her life,  colors emerged from her hands, spilt from her mouth, colors and tears, deep waters that seeped from within,  washing away the dust of her life.

Soon, sleep became impossible.  Standing by her window one day, shivering,  she shook  with fear.   "Please help me", she cried, "I'm not the same".  

Then she noticed a beam of sunlight that fell across the floor of her little room like honey.  Motes of dust gathered in the golden light, becoming  a flurry of butterflies dancing through an open window into a sky as blue and vast as forever.   

And La Mariposa  opened her arms, took the gift of wings, and rose.


When her neighbor came to walk with her that evening, she found only a dusty shawl and an old brown skirt upon the floor, the early stars glimmering through an unshuttered window.

Saturday, August 13, 2016

Reflections on the End of the World

Newsweek, 2014

Scientific evidence for warming of the climate system is unequivocal.

- Intergovernmental Panel on Climate Change

I've always had an  apocalypse problem.  

I  grew up with THE BOMB in the 50's, and I remember the mini bomb shelter my father built, with its barrels of water and shelves full of cans of beans and tuna  fish.  It seems so hopeful, naive, and sad in retrospect,  to think that such a stock would help a family survive a nuclear war.

But like all unimaginable horrors it was, ultimately..... unimaginable.  How can humans actually live with something like that?

Later I encountered literary and film variations on an atomic "End of the World".  Like the poignant  movie  "On the Beach" with Gregory Peck ("Waltzing Matilda" still evokes that heart-breaking image of lines of people waiting for  their euthenasia pills as a radioactive cloud slowly approaches the shores of Australia, the song playing in the background).  Or "Fail Safe", or Ray Bradbury's Martian Chronicles , which envisioned an inevitable  nuclear war that exterminated what Bradbury seemingly   considered a hopelessly violent and destructive  humanity.
Gregory Peck in The Martian Chronicles (1979)

Being a native Californian,   I also grew up with the San Andreas Fault hanging over  our free-wheeling, hedonistic culture  (actually under us) with an omnipresent End Times inevitability as well.  Fueled by Hollywood and various New Age prophets "The Big One" with its visions of L.A. skyscrapers collapsing and the San Francisco Bay splitting off as the Continental Plates shifted were always underfoot.  But considering the Fukushima disaster of Japan, which will continue to impact the people of Japan, and the entire Pacific ocean, for many, many  generations.........what happened there could very well happen in California.  

In fact, the high stakes End Times has informed me and my generation, provoking  post-apocalyptic artforms, utopian communes and survivalist camps, dark Gothic   philosophies and Ascendance cults, as well as massive denial.  For me it has always been a kind of mythic backdrop to a life lived, as well, among astounding wonders and miracles. 

What an era to be alive.  I also came of age in the optimistic, activist 60's, a child of the wealthiest, largest, best educated generation the world has ever seen.  A time of huge possibility and creativity. 

As a child I watched black and white tv (with tv dinners on tv trays) while I tried to understand images on the news about the  struggle to integrate the schools. I remember well the terrified faces of those black children........fifty years later I watched a black president dance with his beautiful black First Lady at the inaugeral ball.  I've seen  the re-birth of feminism, marched for women's rights, and joined the emergence of a spiritual paradigm devoted to the  Goddess.  I've seen the development of ecology.  And gay rights.  I've seen a man walk on the moon (on another black and white tv).  I've watched computers appear  into the common market,  and just when it became possible to actually own one of the amazing  things, I watched the Internet appear to  change the world and human culture with stunning rapidity. 
A movie poster displays industrial smoke stacks whose emissions form a hurricane eyewall
I don't know if the New Age we so fervently believed in in the 70's will include the arising of Atlantis  and a global Golden Age, but I do sometimes think we're beginning to get the  possibility for the language and technology for  it.    If we can survive our adolescence, if we can survive human greed.
  
Earth balance.jpgI remember in 1994, when we were attempting to form the Taliesin Community, leading discussions about Al Gore's EARTH IN THE BALANCE (and what a different America I believe it would have been if Gore had rightfully been President).  Later, when  a movie was made about Al Gore's work to wake up America to the ecological crisis, AN INCONVENIENT TRUTH..........I thought, YES!  Now things will change, now the real priority will take precedence.  It's been ten years since then, and this is not what the presidential candidates are speaking about. This is not what people in Congress are speaking about.

But it is what scientists are speaking about.

 Here it is, accelarating  between the cracks of our so-busy lives.  Streaming away on Facebook between the cat videos and the latest warning of what not to eat because it will make you obese or give you cancer. Looming like a shadow over the kids sitting lost over their cellphones on the bus.   As I enjoy movies at the touch of a fingertip, or explore the greatest library the world has ever known, also, literally, at the touch of a fingertip.  As I plan a trip to the other side of the continent, a trip that will take me a day, and took my great grandmother a month.  Or go shopping for new shoes invariably made by exploited labor in China or Bangladesh.   

Or notice  a magazine, found ironically at the checkout counter (see above), next to the latest about Bruce Jenner's sex change or Brad and Angie's marriage problems.  "Places to see before they're gone".  Think about it.  At the checkout counter.

The end of the world.   

Not the end of Gaia, Her evolution and experiments, which for all our cleverness and all the gods we've invented and called upon......includes us.  But not the end of humanity either, although there will surely be a lot less humans on the planet in 100 years.  But surely the end of so much, so many other species, so many beautiful places, so many lives that will never fulfill their promise.  Our magnificent civilization,  our expanding, insatiable, unsustainable,  global civilization, in its infancy, really.    How do you, really, deal with that?  
It’s 3:23 in the morning and I’m awake… 
because my great great grand children
won’t let me sleep.
My great great grandchildren ask me in dreams
What did you do?
(Excerpts from Hieroglyphic Stairway,  by Drew Dellinger)

I used to feel self-rightous when I pulled out my shopping bag, or recycled my paper, I would sneer at people in SUV's, feeling "appropriate" in my little mini car.  But now.....I don't.  We're all in this together  and the world my grandson will inherit, and all of those yet to come............will have to know it so much more than I.  

How do we deal with this?  How do we live with this?  What do we do, in our small and daily lives?  Where is the wailing wall, the support groups, the encounter groups, the consciousness raising groups, the "sitting Shiva", the "climate change meditation rooms"......that might bring about dialogue, that could shake us out of our denial, our complacency?  And yet.........every day, in truth, there is a laundry list, there are the hopes and duties of living a life in the face of the storm clouds in the distance.   It is simply too vast and too terrible and too seemingly distant to encompass.




Many people vividly recall from childhood unexpected moments of perceiving the grand unity.  Some experience the grace of inter-being on extended trips into the deep silence of wilderness. Some know a version of it in the postorgasmic state.  Some have reported that such "altered" consciousness occurs suddenly in mundane circumstances.  It seems to persist even through our deeply ingrained habits of seeing only separateness and fragmentation.
Charlene Spretnak, States of Grace:  The Recovery of Meaning in the Postmodern Age
I can cast no judgement on others, or myself, for needing to turn away from this, for needing to make my plans, plant my gardens.  This is not an essay in which I have answers, in which I can somehow conclude with a hopeful closure or self-help cliche.  Yes, we all should be getting solar panels, recycling our gray water, eliminating plastic waste, driving the smallest cars we can get.........but we are all still part of the problem. 

Perhaps the only place to begin, each day, is a spiritual place.   The point in the center of the mandala, remembering that we are each a part of the planet, and each other.  From that place.  Today, that is the only answer I have.


          


http://www.rollingstone.com/politics/news/the-point-of-no-return-climate-change-nightmares-are-already-here-20150805

  












The Perfect Storm: Food, energy, water security and climate change: Sir John Beddington


https://youtu.be/LEDARAfXqtg

Thursday, August 11, 2016

Quan Yin Mosaic



I seem to be fascinated with Quan Yin this summer, and have made several pieces.  In this one I managed to get in Quan Yin's vase with the healing waters, and a blooming tree at her other hand.  They aren't yet where I want, because my vision of Quan Yin, who could also be White Tara, or the Virgin of Guadaloupe, or any other manifestations of divine compassion...........has to do with radient blessings streaming forth from the Being.  

In the one below  I saw those Blessings manifesting as flower petals.  It seems to me that a Great Soul, a Boddhissatva, would be like a light house, emanating light, warmth, beauty and healing.  A fountain.  Like a vision*** I had at a painful time in my life, a vision of "White Tara" that I never forgot..........



Of course, no one can match the matchless mosaic art of Ginny Moss Rothwell, who lives here in Tucson.  That below is, unbelievably, a mosaic icon.  

"Quan Yin and the Dragon King"

And here is her Quan Yin again, as a contemporary woman:

"Quan Yin and the Dragon" by Ginny Moss Rothwell

***
WHITE TARA

This vision came with help from a teacher of mine, Jewel. Jewel is a shaman, who lives on her land  THE SOURCE, in Shutesbury, Massachusetts. When I met Jewell I was living in Brattleboro, Vermont. I was divorcing from my former husband and was full of the grief, anger, and remorse that comes with the ending of a marriage.  I went to see Jewell for an energy healing. When she put me on her table, she said prayers from The 21 Praises to Tara before she began.  I didn't know about these  prayers to the Goddess Tara at the time, although they became important to me later.

I slipped into a trance state - it seemed as if I was watching short clips from movies, without any sound. I saw African men drumming around a fire, then the body of an emaciated black woman lying on a bed, I saw a ceremonial room of some kind with thousands of orange marigolds, and  a white man, balding and heavyset with glasses, and many more brief images. 

At some point, I felt I was pulled backward, given some distance, so that these "movie clips" became like a vibrant patchwork quilt, all occurring at once. I remember thinking how beautiful they were from that perspective.

Suddenly, a Great Being arrived. I cannot actually describe that presence, because there was no form - she was composed of light. The only identification I felt I could make was that she was female. She didn't speak to me, only radiated the most intense compassion I have ever felt. She also radiated a profound sense of humor! It was as if she was saying, "Look Lauren, take a good look at this. It's going to be alright. You'll meet again. Don't take on so."
I shall never forget the power of that radiant being.  As with all true visions, the image is very clear in my mind, it doesn't slip away.  I later learned that Jewell always  begins her sessions with prayers to the Goddess Tara. And to me, that was the Goddess White Tara; which is why I have prayed to her and tried to honor her with my masks ever since.   

And, come to think of it. I've been very fortunate in that way!
Om Tare Tu Tare Tare Soha

Monday, August 8, 2016

Coreopsis Interview revisited........

"Spider Woman" - Ritual Event "Restoring the Balance" at the Muse Community Theatre (2004)
In 2014 I did an interview for Coreopsis Journal of Myth and  Theatre, a wonderful online magazine.  I really enjoyed answering the questions, and ran across it again this week in the course of answering new questions for an interview.  Felt like sharing it again, and especial thanks again to Lezlie A. Kinyon, Ph.D for her faith in me.


Interview questions:

1.  Where can we see your work?

2. What do you want the world to know about your work?

I guess I would feel that I’ve succeeded if in some small way my work helps in the greater work of bringing reverence to the Earth, and to the arising of the Divine Feminine.

3. Who – or what - do you see as your main influences?

Early on I became influenced by the writings of Kandinsky (“Concerning the Spiritual in Art”) and others, and rejected what I saw as an aesthetic that disregarded spirituality and mysticism as being outside of “high art”. I find it ironic that spirituality was a significant impulse in the early development of Modernism. Theosophy, the Golden Dawn, Anthroposophy, as well as Einstein's new physics, enormously inspired the work of such innovators as Mondrian, Kupka, Kandinsky, Arthur Dove, and others.

Later I discovered Joan Halifax (“Journey of the Wounded Healer”), met Alex and Allyson Grey (“The Sacred Mirrors”) and others, and began to think of art process in new terms. Art for healing, art for transformation of consciousness, art as a bridge between dimensions. During the 80’s I was involved with a group called the Transformative Arts Movement, and I even wrote a book based on interviews I did with visionary artists.

Rachel Rosenthal developed a form of contemporary “shamanic theatre” that I found profound. I saw her perform Pangaian Dreams in 1987, and every hair on my body stood up. Sometimes, like a Sami shaman making the “yoik” she would allow sounds to come through her that were absolutely electric, sounds and words that charged the room. The Earth Spirit Community’s Twilight Covening  introduced me to participatory ritual theatre and I made the Masks of the Goddesscollection for the Reclaiming Collective’s 20th Annual Spiral Dance. I have great admiration for what these two groups have developed as ritual process.


3.     Much of what you do seems to tell a story – even the single, stand-alone pieces. Where do you think that comes from?

The poet Muriel Rukeyser famously commented that “the Universe is made of stories, not atoms”.

I believe Native American mythology - and perhaps contemporary quantum physics - would agree with her. My patron Goddess is surely Spider Woman, the ubiquitous Weaver found throughout the Americas in one mysterious manifestation or another.  Among the Pueblo peoples of the Southwest she was also called “Thought Woman” (Tse Che Nako). As a Creatrix she brought the world into being with the stories she told about it. 

Myths and religions are stories, some more glorified, archetypal, literalized or contemporary than others. I think it is so important for artists of all kinds to recognize that we are weavers of the stories of our time, we are holding threads that recede behind us and extend beyond us into the future. We’re never weaving alone. So - what kind of stories are we shaping, collaborating with, how do we understand the gift of “telling the world” that Spider Woman has bestowed on us?  

"Tse Che Nako, Thought Woman Weave the World" (2007)


5. How would you describe your art...? (influences, history, school-of-art, your aesthetic) 

Perhaps “Cross disciplinary”? I seem to jump around a lot, from sculpture to ritual theatre to painting to…………….whatever seems to be the best medium of expression at the time. Different “languages”.  I guess I could say that my art-making is my spiritual practice, whether it is done with community (as in theatre and ritual) or alone in my studio.

6. What did you learn from working in theatre?

Being a visual artist is solitary, and I’ve always wanted art forms that were participatory, collaborative. Masks lead right into theatre, and questions about the traditional uses of masks as well. Masks are such metaphors – you can’t look at a mask, really look, without it suggesting some kind of being that wants to manifest through it.  They are vessels for all kinds of stories.

My colleagues (among them Macha Nightmare, Ann Waters, Mana Youngbear, Diane Darling) and I have developed some wonderful ways of working with masks and community theatre/ritual. In early Greek theatre a performance had three components – the musicians, the narrators or Chorus, and the masked performers, who would pantomime and dance the characters. We’ve often used that approach, particularly with a Theatre in the Round, a Circle.

Because the masks are dedicated to the Goddess, we’ve brought neo-Pagan sensibilities to the ways we designed our performances. This can include creating a ritual entranceway so the audience enters a magical space, adding audience participatory components to the performances, calling the elemental Quarters and/or casting a Circle  in theatrical ways, and concluding all performances with some kind of energy raising activity with the audience. In Wicca that’s called “raising the Cone of Power” and by so doing the blessing or overall intention is “released to do its work”, finishing with “de-vocation”, which is often a great conclusion with humor, or everyone gets up and dances, etc.

It’s actually very effective, and can be integrated as good theatre. For example, in “Restoring the Balance” (2004) we concluded with “Spider Woman”. While the music played and the narrators told the tale, “Spider Woman” wove invisible threads. With a rising crescendo of assistants, she wove a web with the entire audience. And indeed, for  that moment of breathless intensity everyone in the theatre was literally connected, holding onto a thread “from the Great Web” with everyone else. The “Blessing” was  experienced as part of the performance. 

7. What would you like to say to other artists (of any genre)?

"Our job was not to just re-tell the ancient myths,
but to re-invent them for today. Artists are the myth makers."

Katherine Josten, The Global Art Project

I agree entirely with Katherine Josten, who founded the Global Art Project in Tucson, Arizona – we are the myth makers of our time.  So, what kind of myths are we disseminating?  What are the new stories, how are the old stories still important - or not? 

We have become a global society, with a global crisis. I may sound like I’m preaching, but personally, I don’t want to experience any more art forms that are self-indulgent, nihilistic, violent forms that don’t further evolution into empathy in some way.
I’m not entirely comfortable when people speak of contemporary artists as “shamans” as I have too much respect for the long traditions of indigenous shamans, which have evolved within their particular cultures for thousands of years. But I do know artists can participate in healing and vision, and can find new contexts for creating new forms of what might be called contemporary shamanism.

I’d like to quote from a 1989 interview I did with the early performance artist, Rafael Montanez Ortiz. In the 80’s he studied  energy healing , as well as working with some native shamans in the U.S. and South America. Raphael was also a great influence for me. In the conversation I recorded and transcribed, we were talking about what an “art of empathy” might be, and he spoke about his studies in native Shamanism:

“You feel what you do……….Within the participatory traditions found in (indigenous) art, there is no passive audience. That's a recent idea, which is part of the compromise, the tears and breaks from arts original intentions. Ancient art process was a transformative process; it wasn't a show, it wasn't entertainment.

We need to see ourselves again as part of a brilliant, shimmering web of life. An artist at some point has to face that issue. Is the art connecting us and others in some way, or is the art disconnecting us and others? I think it is not enough to just realign ourselves personally either – as we evolve, our art should also do that for others, and further happen outside of the abstract. It must be a process that in its form and content joins us with the life force in ourselves, and in others.”


8. Do you feel that the questions of the spirit influence what you do?

I think Spirit influences much of what I do, and I’m not alone in that by any means!  There’s a many-layered conversation going on all the time when you open creative channels.  

Working in the collective process of ritual theatre is always amazing. When you make a strong, vibrant container with performance that is alive and meaningful for the participants, then dreams and synchronicities abound, the “container” of the developing work becomes charged. “If you build it, they will come””.

I remember in Joseph Campbell’s “Power of Myth” interviews with Bill Moyers, he spoke about “invisible means of support”. I think we’re supported by quite mysterious sources all the time, and when an artist finds her or his “burning point”, or for that matter a group shares it, doors do seem to open where we did not think they would.

9. Would you like to tackle your relationship to the fines artes?

Oh, I get a headache when I think about “the art world”! But I did get an MFA, I have been a part of it, and I’m probably unfair in my allergic reaction. It’s just that I think the premise of the “art world”, as it reflects capitalism, is way off from the original functions of art. 

Of course artists need to be supported by their communities. But when art becomes an “investment” and value is determined as a financial commodity (witness some of those Sotheby Parke Bernet auctions) you enter into a form of  “soul loss”. Within this construct there is no acknowledgement of the transformative dimension of art. The conversation is corrupted. People are taught to appreciate a work of art because it is hanging in a museum, or worse, it is “worth millions”. 

I always cringe inwardly when I hear someone talk about a painting they have in terms of what they paid for it, or what they hope it may be “worth”. The real “worth” should be what pleasure, insight, meaning, and questions they derive from being in the presence of a work of art, from being able to live with it in some way. 

I had a real revelation in Bali, where they really don’t have an understanding of what we call “being an artist” at all, let alone the rather “macho” myth of the alienated “great artist”. When I lived there, I found that virtually everyone made some kind of art, whether dance, offerings, music, etc., and virtually all of it was “dedicated to the Gods”.  It all had a ceremonial/ritual purpose. Art to the Balinese is a way to pray. 

They obviously make many things for money, including masks. But the “special masks”, the sacred masks, are kept in the Temples, commissioned and repaired by traditional Brahman mask makers. They are not made available for tourists except as they may be seen in performances of the traditional dramas such as the battle between light and dark represented by the dragon/lion Barong and the witch Rangda; after such uses they are “purified” with holy water before being returned to the Temple.. 

This revelation became an inspiration to create a contemporary, multi-cultural collection of “Temple Masks”. That’s how I conceived of “The Masks of the Goddess”,  as special masks dedicated to the Divine Feminine throughout world mythologies.  




10. A Couple of technical questions: 

a) what is the process you undergo in creating a mask?

For the face masks I find a person with a face I like. Then I take a plaster impregnated bandage cast that becomes a plaster positive cast, and then I form the mask over that cast with a thin, flexible leather. The technique is very similar to the old Italian “del Arte” mask technique.

b) how did you find *your* media and materials in the very beginning?

I’d like to think the masks found me. But I’m somewhat embarrassed to admit that in the very beginning I started making masks because I was broke. I was a jeweler at the Renaissance Faires and business was bad, so I started making masks hoping they would sell better. They did, and very soon they began to introduce me to a whole new world.

11. What do you think the state of visionary art is today? 

There are some great visionary artists out there. Film in particular, with special effects technology, is quite astounding. Think about AVATAR – what an incredible feat, to create an entire cosmos in that way. The Life of Pi  - astounding. 

Ritual Theatre is an art form that is literally “visionary”, and I wish it was more widely experienced in mature, effective ways for audiences other than  groups that are generally esoteric. As Americans, many feel we’ve lost our rituals by and large, or the ones we have don’t have much energy left in them. People are hungry for  potent events that offer rites of passage, mythic enactment and immersion, and shared transpersonal, visionary experiences. It’s really a very ancient human heritage continually renewed. 

I was thinking of a ritual I experienced with the Earth Spirit Community years ago close to Samhain, All Souls Day. We processed in the twilight through a field with candles into the ritual hall, accompanied by the distant sound of drums.

The final segment of the ritual involved everyone being seated on the cold floor, in a large dark room, and blindfolded. For what seemed like forever we heard distant voices, people brushed by us, hands moved us around, strange music was heard. It was powerfully disorienting, suggestive, and frightening. Then at last our blindfolds were removed, and we found ourselves in a room beautifully illuminated with candles. In the center of the room was a woman in white, surrounded with light, flowers, fruits, water – the Goddess herself, the “return of the light”. Finally, as we left we were greeted by figures with mirrors for faces: we beheld our own reflections.

I’ll tell you, you felt that experience! We had truly been “between the worlds”. When we left the ritual and gathered for food and drink, every one of us felt love for each other and joy for being alive.

12. Any final words? 

Here’s a quote I love by the Buddhist philosopher David Loy:

"Stories are not abstractions from life but how we engage with it. We make stories and those stories make us human. We awaken into stories as we awaken into language, which is there before and after us. The question is not so much "What do I learn from stories" as it is "What stories do I want to live?" Insofar as I'm non-dual with my narratives, that question is just as much, "What stories want to come to life through me?"


"Dream Weaver" (2009)


References:

David R. Loy, "The World is Made of Stories" (1999)
Ortiz, Raphael Montanez Ph.d, "Interveiw with Lauren Raine" (1989)
Josten, Katherine, "Interview with Lauren Raine", the Global Art Project (2004)