She Who Hears the Cries of the World

Mana Youngbear as "White Tara" in Restoring the Balance (2004)

SOUND POEM BY LAUREN RAINE (2019)

to listen:  

    https://soundcloud.com/user-972033003/white-tara-by-lauren-raine

White Tara is the manifestation of complete Compassion, She is the Bodlhissatva who will assist the suffering of the world, assist us to move through the suffering to love, and the reealization that we are not alone, that we all belong to the great Circle.  Quon Yin, Tara, Mother Mary.............. all manifestations or archetypes of the Divine Mother, and the expansion of unconditional compassion and love.  I wrote this spoken word poem in 1997, when I was going through  loss of a home/dream/community that eventually led me to create a new life on the other side of the continent.  

I reflect, as I try to recall the experience from which this poem arose, that the opening of the heart that grief and loss can bring can also be a path into profound evolutionary change, but in my experience, to grow one must first go through it, one must experience the pain and the loss.

Which is something very fearful to do, and can take a long time to do.  Because the heart does not know or reason in sequential time like the intellect does! Having just lost a beloved cat, I am experiencing this right now.  The emotional body, it seems to me, suffers all the losses at once as each loss arises.  And the heart also partakes in a greater  Mystery that somehow knows all beings are One, remembering all experiences of  love and belonging within the Circle dance of life.  Grief can be a great teacher.

 "I went to meet that savage creature I have run from,  lifetime after lifetime,

 the shape within the shadows, huge, a creature of smoke and bared fangs. "

This line arose from a dream I had many times, in which I was being pursued by a vampire.  Always it almost got me, or was a shadowy presence just behind me, and I would wake up. I suppose Jungians would call this the "denial of the shadow" or some such.    I was always too afraid to confront the creature that pursued me in those dreams, because I was sure it would kill me.  Finally I had a dream in which I became tired of running, and a I stopped to face the pursuing monster.   And when, at last, the horror embraced me it turned into a young boy,  vulnerable, with tears in his eyes. 

   

A Transformative Vision of Tara

  Om Tare, Tu Tare,

  even in the darkest prisons,   you offer your hand:

  Your touch cools hatred and grief.

  From you, the demons of delusion fly

 Praise Tara, whose fingers adorn her heart

 Light radiates from a wheel in Your hand.

It is an irony that the most profound and meaningful things in my life I, by and large,  I cannot talk about.  I share  my visionary or intuitive experiences  hesitantly, if at all, because ours is not a culture that accepts visionary experiences as true or meaningful, let alone open for discussion and interpretation.   And yet, for me, and I believe many others, they are true touchstones as we navigate the passages ebbing and flowing throughout our lives.     

The other reason is because these experiences, which are so important to me in forming my worldview, belong to "the Mystery".  "Mystery" is derived from a Greek word that means "that which cannot be spoken", and probably relates to the ritual Mysteries of ancient Greece.  Participants were forbidden to speak of them, and to this day we do not know what actually occurred at the great, once in a lifetime Elusinian Mysteries although we do know they were about the triple Goddess Persephone/Demeter/Hecate.  And indeed, some experiences seem to be too profound to speak of.  Doing so diminishes them.  Perhaps the spaciousness of poetry is best, because the Poem has wide spaces for the imagination to roam.

I've been re-reading "Journey of Souls" and other books by Michael Newton Ph.D.  and others from his  Newton Institute recently.  Newton, and later his students, used hypnosis to bring thousands of people into altered states of consciousness, wherein they would consistently, even if they did not particularly "believe" in past lives, describe past life events and, more importantly as far as Newton's research was concerned, "between life experiences".  The work is fascinating to read about, and there is no doubt that Newton devoted his life to it, ever seeking to understand (sometimes in very dry, academic ways) what his patients and clients revealed.

Because of re-reading his books, I felt like sharing a very important vision  I had in 1997, a vision that helped me to begin a new life, to  release the past, and a vision that  became the inspiration for the many masks I made dedicated to the Goddess Tara. I also created a spoken word performance dedicated to Tara as well.   I've come to the conclusion that such visions, such experiences, are personal Blessings.  And they also are universal, and as such, I believe I  should share them.   It was a profound gift.

White Tara Performance, "Goddess Alive", 2002,
conceived and directed by Macha NightMare

In 1997 I was getting divorced, and all ties were severing between us.  The ending of the marriage,  did not bring out the best in me, and I felt a great deal of remorse, emotional confusion, and grief.  In my effort at healing and self-growth that summer, I went to a well known energy healer, a Shaman,  in Massachusetts,  Jewell.   After a brief relaxation exercise, she put me on her table, and I went immediately into a trance state.

I found myself standing before what looked like many television screens, and each one was playing what seemed like  "clips"  from  movies.  Each scene was rapidly replaced by another scene.  I still remember some of  those "clips" quite vividly:  a ceremonial room decorated with  orange marigolds;  an emaciated old black woman lying on a dirty bed;  a heavyset white man with glasses, bundled up in a kind of fur parka;  African drummers, drumming with passion around a fire, and more.  Gradually,  I felt myself "pulled back", so that I seemed to be watching these scenes from a greater distance, as if they formed a patch-work quilt of moving images.  I remember thinking how incredibly beautiful it all was from that perspective, like a great, colorful work of art.

White Tara at the Parliament of World Religions (2015)

Then I became aware of an immense energy - an enormously powerful being that radiated (there's no other way to describe it) tremendous compassion and love.   

She had no form, just intense white light.  The only thing that seemed identifiable was that I felt the Being was female.  And  she communicated something like "Don't take on so, Lauren - look at all of this.  You'll meet again.  You can move on now."  

I might add that she also radiated an equally huge sense of humor!  I felt  like a little child getting a loving pat on the head from a Goddess.   If that makes any sense........

Then I was infused again with compassion, and She left.


When I came to on Jewell's table, I described my experience to Jewell.  I learned that Jewell  began her sessions with a prayer from the 21 Praises to Tara, a  series of Tibetan prayers to the  21 Manifestations of the Goddess Tara.  To me, that visitation was White Tara, Goddess of Compassion, manifesting to help me move forward to a new stage of life. 

I've revered Her ever since, made a number of masks for Her.  And indeed, shortly after that Vision, the divorce came through.  I packed up my car, and moved to a new home, a new community, and a new life in California, even as my former husband found a new partner and a new life as well.  I believe this was done with Tara's Blessing.

 Mana Youngbear as "White Tara" (2004)

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

Dancing the Goddess: Masks for the 21 Praises to Tara

It is with the purpose of bringing benefit to beings in this world of chaos and confusion that the Mandala Dance of the Twenty-One Praises of Tara is offered.

It is in respect and gratitude to the Lineage holders of the various Tibetan Buddhist traditions who have maintained and embellished the ancient teaching of chanting the Praises of Tara.

It is in unity with the people of Tibet who universally call out to Tara, who chant Her Praises from childhood and who recognize in Her the Universal Mother and Protector.

It is in order to acknowledge the dignity and capability of women to accomplish the highest spiritual attainments that this Mandala Dance of the 21 Praises of Tara is offered.

May All Who See These Praises Danced Or Who Hear These Praises Sung Be Inspired To Attain The Highest Expression Of Humanity To Be Themselves The Embodiment Of Compassion And Wisdom.

Earlier this summer I was asked to consider creating a collection of masks for Tara Dhatu.  The magnitude of the project, which will entail going to Bali in the next year and working with Balinese mask artists in Mas, has been a bit daunting, along with trying to understand the specific ideas, images, and context for each Manifestation of Tara within the lineage, as well as personal style, Prema Dasara  has developed with her community.  So I recently created a new Blog to document (and invite feedback) the course of the Project.   Here's the link if anyone is interested:

http://taramasks.blogspot.com/

The Blog will pursue a collaborative work in progress.  Composed of  sketches, comments, descriptions, and quotations, these materials will become a series of masks dedicated to the 21 Praises to Tara, the wonderful sacred  Mandela dances created by Prema Dasara, as well as  a book archiving the Project.  The masks will be used in devotional dance in June of 2015 at a Conference at the famous Buddhist Temple of  Borobodur.  Dating from the 8th and 9th centuries, the Temple compound is located in central Java, and  is a UNESCO World Heritage site.   It will be a great privilege to participate in this Project.

It is also my privilege to make, in this collaborative way, my own offering to Tara, who I know only in the most personal of ways, and to whom I shall always feel blessed by.  Here's my own story. 

 

Tara Dhatu’s Web Page

Tara Dhatu Facebook

Video:  http://youtu.be/5uRdPepeuws

What a wonderful journey this will be!   Some recent notes........................

This is a mask devoted to White Tara I had made to my design in Bali in 2000.  It belongs now to Lena Grace in Portland.  It was a successful collaboration with the carvers of Mas - beautifully carved, serene expression, and made big enough to be comfortable on most Western faces.

Stern Tara

I like this stern face.   Prema noted that she would prefer the Lightning Bolts are horizontal, which could be easily done in the course of painting the mask.

Serene Tara

This face derives from a sample mask I made for Prema in 2010.  She looks very Balinese to me, and very "vegetal", a face that belongs to the Lotus gardens.

 Moon Face

One of the Taras is specifically related to the Moon, and so this round, serene face would belong to Her.

Laughing Tara
 

This collage is actually derived from a mask I had made in Mas for the Japanese Sun Goddess Amaterasu.  The Balinese are familiar with this oriental, laughing face, and would have no problem doing it well - the odd nose on this mask is the result of my insistence that, when carving the mask, they make it big enough to fit a large Caucasian nose.  They had a tough time with that idea, but managed............

.

 Wrathful "Black Tara"

 

The images I have seen of Wrathful Tara are very similar, and no doubt reflect the same roots, to images of Kali - the skulls in the headpiece, extended "fang" teeth.  For that reason, this image is similar to "Kali", and I'm reticent to make the image prettier.......ferocity, and the banishing of demons, does not seem like it belongs to an attractive face............

Kali Performance 2010 (Photo courtesy Lena Grace)

White Tara (2)

Om Tare, Tu Tare,
even in the darkest prisons, you offer your hand
Your touch cools hatred and grief.
From you, the demons of delusion fly
Praise Tara, whose fingers adorn her heart
Light radiates from a wheel in Your hand.

Valerianna mentioned Jewell in her recent comment, which is magical, as I had just written this entry which talks about energy work Jewell facilitated.   I've been reading "Journey of Souls" by Michael Newton recently, and I felt like sharing a very important vision I had in 1997, a vision that became the inspiration for all the masks I made dedicated to the Goddess Tara.  It was a profound gift.

In 1997 I was finally divorced, and all ties were severed between us.  The ending of the marriage did not bring out the best in either of us, and I felt a great deal of remorse, emotional confusion, and grief.  In my effort at growth that summer, I went to a well known energy healer in Massachusetts,  Jewell.  She put me on her table, and I went almost immediately into a trance state.

I found myself watching what seemed like a "clip"  from a movie - each scene was rapidly replaced by another scene.  I still remember some of these "vignettes" vividly - a ceremonial room decorated with thousands of orange marigolds;  an emaciated old black woman lying on a dirty bed;  a heavyset white man with glasses, bundled up in a kind of fur parka;  African drummers, drumming with passiona around a fire, and more.  Gradually,  I felt myself "pulled back", so that I seemed to be watching these scenes from a greater distance, as if they formed a patch-work quilt.  I remember thinking how incredibly beautiful it all was from that perspective, a work of art.

Then I became aware of an immense energy - a being that radiated (there's no other way to describe it) tremendous compassion.   She had no form, just white light.  The only thing that seemed identifiable was that I felt the Being was female;  and I felt she was communicating something like "Don't take on so, Lauren, look at all of this.  You'll meet again.  You can move on now."  I might add that she also radiated an equally huge sense of humor;  I felt  like a child getting a hug from an angel.  If that makes any sense........

And then I came to on Jewell's table.  After we spoke, I learned that Jewell often began her sessions with a prayer from the 21 Praises to Tara, a Tibetan prayer to the Goddess Tara.  To me, that visitation was White Tara, Goddess of Compassion, manifesting to help me move forward to a new stage of life.  I've revered her ever since.

Manna Youngbear as "White Tara" (2004)

White Tara

           
           WHITE TARA

            I went to meet that savage creature
            I have run from, lifetime after lifetime
            the shape within the shadows
            a creature of smoke and bared fangs.

            I went to meet it at last

            It took me into its vast arms,
            and I kissed its terrible face.

            And I thought I would die.
            I thought I would be swallowed,
            but I was not swallowed.

            For that creature I thought
            would devour me
            returned my embrace.

            I looked into eyes
            soft and liquid, filled with tears
            the eyes of a lonely child,
            my own lost child,
            my brother, my sister,
            my lover, my mother.

            And with great tenderness
            Fear lay upon my breast, and slept.

            What bound me for so long
            flowed out of me,
            my heart expanded,
            and I found I could hold

            the world entire
            in my open arms.

            I will make my arms a circle
            I will make my heart a circle

            I will walk all my sorrows,
            all my fears Home.

            I will walk
            circles around them
            until at last I find
            that bright and spacious center

            Come with me. Take my hand.
            We will do it together

            We will walk Home.

                         (1997)

White Tara Mask finished

"The 21 Praises to Tara" celebrates the Bodhissatva Goddess of Tibet's many aspects. Among them, Red Tara, Green Tara, wrathful Black Tara, and White Tara are all manifestations to assist those who call on Her for help. White Tara is "She Who Hears the Cries of the World", the embodiment of unconditional love. Tara sees beyond all veils, all dualities, to the ultimate unity, the perfection within all Beings. With infinate compassion, Tara as Bodhissatva abides to ease the world's suffering. She bears a lotus blossum, the flower that symbolizes perfected mind, rising from the murky depths of illusion, to bloom in transcendant beauty.

This was a poem I wrote in 1997 about White Tara. It was actually based upon a dream that "pursued me" for several years........a dream in which I was relentlessly pursued by a terrifying, smoky, amorphous creature. Finally, being exhausted with running, I turned to face the monster, no longer caring what the outcome might be. From the fire and smoke emerged a young boy, who quietly came forward and lay down with his head on my lap.

WHITE TARA

I went to meet that savage creature I have run from,
lifetime after lifetime,
the shape within the shadows,
a creature of smoke and bared fangs.

I went to meet it at last,
and I let it take me in its vast arms,
and I kissed its terrible face.

And I thought I would die
but I did not die.
I thought I would be swallowed
but I was not swallowed.

Because that creature
I thought would devour me
returned my embrace
I looked into eyes
that became soft and liquid,
and filled with tears.

The eyes of a lonely child,
my own lost child,
my brother, my sister,
my lover, my mother.
And with great tenderness
Fear lay upon my breast, and slept.

And what bound me for so long
flowed out of me,
and my heart expanded,
and I found I could hold
the entire world
in my open arms.

I will make my arms a circle
I will make my heart a circle

I will walk my sorrows, my fears Home.
I will walk circles around them
until at last I find
that bright and spacious center

Come with me. Take my hand.
We will do it together

We will walk Home.


Lauren Raine, 1997

Reflections on Visioning

"Spider Woman's Hands" - 2007 (Alden Dow Fellowship)

Back in Truth or Consequences for a little while, I find grief, and a feeling of lack of purpose are my frank companions. I miss my brother. There are many things I wish I could have said to him, when I had the chance.

I'm about as psychic as a brick these days (and perhaps that is unfair to bricks, since I have never actually had an intimate conversation with one.) But that is why I was pleased when a bit of magic happened this morning.

"Spider Woman's Hands" - Mississippian Gorget, ca 1300 ad.

I was in my studio trying to finish up the paper I will be reading at the Claremont Conference on Pagan Studies soon - it's on Spider Woman, of course. Last night I was up late trying to find out (unsuccessfully) who or from where the "prophecy of the return of the Spider Woman" came from. I confess, writing academic papers is frustrating to me, and so I wander around the vicinity of the typewriter, taking every chance to get distracted. So I bent down to check on the heater, and (I swear!) a tiny little brown spider fell down on it's web seemingly from the top of my head! I carefully positioned a plate under my nose to catch it, and then moved it to the window to watch it. Once again, a little spider (I would be alarmed, were it ever a large one) has dropped down from my head or my hat right before my nose. Spiders have done some pretty interesting things around me in the past few months.........

I like to think it's Spider Woman's way of saying "hello".

I've been thinking about visions. There was a time when I was blessed with several significant visions (by visions, I mean visionary experiences had while in a conscious or voluntary trance state, and not while asleep) that have very much informed my life and my art.

I'd like to say that visions are Grace, divine gifts. Among the Lakota, long preparations were made for the Vision Quest, in order to invite visions, and when a vision occurred it was shared collectively, discussed, and determined if it had prophetic or ceremonial significance for not only the individual recipient, but for the entire tribe. This is something we have entirely lost, and indeed, we cannot differentiate between someone who has had a true vision (which, in native wisdom, would be considered a gift), and a schizophrenic.

(I think of the great visions of St. Teresa, or the works of Hildegaard Von Bingham. I do not think they would fare so well in today's world.)

"The Universal Mind Lattice", Alex Grey

I remember a conversation years ago in Brooklyn with Alex and Allyson Grey about the shared vision they had while taking LSD. Their need to communicate that vision resulted in "THE SACRED MIRRORS". The need to understand it set them on their spiritual path (by the way, they have recently bought a retreat center in upstate NY where they are planning on housing the Sacred Mirrors and developing a center for sacred arts. Visit the link above to learn more.)

Here's the point - true visionary experience is meant to be shared. Art is one way, ceremony or ritual is another. To be given true vision, which is archetypal, collective, and exists on multiple layers of meaning, and then deny it's value, is an enormous waste. So here I am this morning (and I just noticed a single shining transparent spider thread stretching from my window pane to some infinite point into the air..........well, I've been feeling lately that these gifts I need to share, communicate. A blog is a good place to start; maybe someday I can produce a few paintings as well.

PATTERNS

This occurred in 1989. I was driving on an interstate in Virginia heading north. I became very tired, and pulled off the road. Almost immediately, I fell into a half-sleeping, half-trance state.

My little red Toyota pick up began to fly! It seemed as if it could fly not only through distance but perhaps through time as well. I looked down and I was over a green landscape, green and misty. Below I saw patterns of dolmens laid out in a spiral. There were lines of people who were coming up a hill toward that spiral pattern, reverently, as if in a ceremonial procession.
Then I was in a Southwestern landscape. I found myself contemplating petroglyphs on a cliff - spirals, figures, circles, layers of petroglyphs that receded into the rock face. And then I was flying over Los Angeles! I saw freeways making vast, snakelike patterns across the land, culminating in a figure eight infinity sign. What this means to me is that the living Earth, Gaia, speaks through the land, and through us, across the ages - even now, unseen, ever present.

And then I opened my eyes to a soft Virginia morning. In the "Song of Medusa" (with the voice of my character "Sibyl") I described that vision, from the imaginary perspective of a Neolithic shaman):

"I do not know the meaning of such a vision; perhaps it belongs to some distant past or a future beyond imagining. But I do believe this: the Song of Her purposes is written upon the land in all places, and in all times."

THE SONG OF MEDUSA, Lauren Raine & Duncan Eagleson

WHITE TARA

This vision came with help from a teacher of mine, Jewel. Jewel is a true shaman, who lives on her land which she has developed as a teaching center, THE SOURCE, in Shutesbury, Massachusetts. When I met Jewell I was living in Brattleboro, Vermont. I was divorcing from my former husband, Duncan, 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 before she began.

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, a ceremonial room of some kind with thousands of orange marigolds, a white man, balding and heavyset with glasses, and many more.

At some point, I felt I was pulled backward, given some distance, so that these "movie clips" became like a 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. I later learned that Jewell 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

Mana Youngbear as "Tara", 2004