Rape, Control of Women, War and....Art

 

"Judith Slaying Holofernes" by Artemisia Gentilachi

 

"Control of female sexuality is fundamental to the patriarchal system.  This explains why there is so much controversy about the “simple matter” of access to birth control and abortion and so much anger directed at single mothers. "

~Carol Christ

I never cease to be amazed that the contemporary versions of Biblical Patriarchs continue to fight for control of  the bodies and lives  of the female population, even as they attempt to remove virtually all infrastructure to support or assist poor and single mothers.  Or the "right to rape" that is  so much in evidence in the power structure of our society.  I reflect on Donald Trump, the former President of the United States, bragging about his career as a "pussy grabber" as he virtually celebrated his sexual predations publicly.  I also remember marching in the Women's March with thousands of equally offended women.

As a long time student of art and mythology, the celebration of rape and war is to be found everywhere. The rape of young women is a prime theme in contemporary television drama, over and over and over.  How we seem to love our sadistic serial killers.   And if you look back at the his-story of Western art, it's all over the place as well.  In fact, much of it is on plain view in our most distinguished institutions of art and culture such as the Metropolitan Museum or the Smithsonian.  High Art, High Rape, rarely examined for the message under all those pretty colors and plump, seemingly  acquiescent women, who never seem to be wearing any clothes.*

I remember all those paintings, for example, of the rape of various mortal women  by those manly, if naughty, Greek gods, because the Masters were constantly forced on me as a young art student.  I tried to like them, but something I couldn't articulate bothered me.  Later I began to see them as a perfect  co-option of myth, often turned religion, used to justify the voyeuristic violence of men:  i.e.,  the gods rape  just the same as ordinary men do, with the head god, Zeus, leading the pack.  

In a popular  Renaissance theme like the painting below, "The Rape of Europa"  by Luca Giordano, the  abduction of a young girl is positively a party for all!   

"The Rape of Europa" by Luca Giordano

Or the "Rape of the Sabine Women", or the "Rape of the Trojan Women", or "the Rape of Persephone" or so on............it was  only years later, after all that Classic Arts Education, that  I finally understood that those paintings amounted to pornography for wealthy men of the time.  As well as propaganda.  

"Rape of the Sabine Women" by Sebastiano Ricci

Above we have a huge, and famous, Renaissance painting with a popular theme of rape, each man carrying off his prize.  I wonder how many women sat beneath this expensive painting at expensive dinner parties and felt a tad queasy without exactly knowing why?

Here's a more recent painting from the end of the 19th Century:  our proud warrior sits atop his "loot" - lots of gold, spoils, and several passive, helpless  women as "loot" too, one appropriately nude with a good pair of breasts exposed.  Oh, and we have a weeping, but worthless,  old woman on the side, just to show the artist's recognition that there is a bit of suffering in war.  

And then there is Atemisia Gentileschi"s "Judith Slaying Holofernes".  The daughter of a famous painter who was raped herself  as a young girl and publicly humiliated, I somehow don't think she found the subject at all sexy.   Her brilliant, honest,  and disturbing painting of a powerful Judith and her maid servant severing the head of Holofernes strikes a cord in the heart of any woman who has known the suffering of sexual assault.  

"Judith Slaying Holofernes" by Artemisia Gentilachi

I decided to take the liberty of sharing a  brilliant article (2013) from  Feminism and Religion  by the marvelously articulate feminist scholar, writer,  and theologian  Carol Christ that takes a long look at the issue, so deeply embedded in the violence of our world, and so very crucial to understand if there is ever to be change.  Thank you to Dr. Christ for her words, once again.* And thank you to Susan Brownmiller and her book Against Our Will (1975) which I have not read in many years, yet still stands as an important voice for the unspeakable.

And I also share, below, an image of what rape really looks like in war.  Because we need to remember.

  Patriarchy as a System of Male Dominance Created at the Intersection 

  of the Control of Women, Private Property, and War 

 (Part 2), February 25, 2013

by Carol P. Christ

Patriarchy is a system of male dominance, rooted in the ethos of war which legitimates violence, sanctified by religious symbols, in which men dominate women through the control of female sexuality, with the intent of passing property to male heirs, and in which men who are heroes of war are told to kill men, and are permitted to rape women, to seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people.*

In last week’s blog, I explained patriarchy as a system in which men dominate women through the control of female sexuality with the intent of passing property to male heirs.

 How did a system that identifies a man’s essence with his property and the ability to pass it on to sons come about? I suggest that the answer to this question is war and the confiscation of “property” by warriors in war. Patriarchy is rooted in the ethos of war which legitimates violence, and in which men who are heroes of war are told to kill men, and are permitted to rape women, seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people.

My argument is that the origin of “private” property, defined as property owned by a single (male) individual, and as that which defines the “essence” of that individual, is the “spoils” of war, which are divided up by victorious warriors.  The “spoils” of war are the tangible treasures “looted” or taken by the victors from the conquered, such as jewelry and sacred objects.  The “spoils” of war include land “taken” as the result of warfare, along with the right to exploit resources, directly or through taxes and levies. The “spoils” of war also includes the right to “take” the women of the defeated enemy and to confirm ownership of them (and humiliate their fathers or husbands) by raping them.  The “spoils” of war also include the right to “take” these raped women and their young children home to serve as slaves and concubines.

Though many people were surprised when the rape victims of the recent war in Bosnia began to speak out about the use of rape as a tool of war by Serbian soldiers, in fact, rape has always been an “ordinary” part of war. In the “great” epic known as The Iliad which is said to be the foundation of western culture,  Achilles and Agamemnon are fighting over which of them has the right to rape a “captured” woman named Briseis.  The term “spear captive” is used to mask the reality that Briseis and other women like her were “rape victims” and that the “heroes” being celebrated were their “rapists” and “jailers.” I believe that the institution of rape and the (twisted) notion that men have a right to rape (certain kinds or types of) women originated with war.

The institution of slavery also originated in war. Both the Bible and the Greek epics testify to the ancient custom of enslaving the women and children of the enemy.  Slave women in every culture, like the slave women on plantations in the Americas, are at the mercy of their owners and his sons, who can rape them if they felt like it. The “custom” of taking slaves from the enemy and the “custom” of also taking enemy women sexually, is deeply intertwined with the history of war.  The Africans who sold other Africans into slavery in the Americas were selling Africans they had taken as the spoils of war.If we entertain the hypothesis that earlier matriarchal clan systems existed, then we can see that the notion of individual powerful men’s peri-ousia being defined as the treasures, land, and people they “stole” and then claimed to “own” would have involved a massive cultural shift.  The shift to defining men by the property they owned required that men would also ”own” and absolutely control their wives and daughters, who had previously been free.  Such a cultural shift could only have been instituted and maintained through violence.

Patriarchy is a system of male domination, rooted in the ethos of war which legitimates violence. Warriors who have learned the methods of violent domination of other human beings—not only other soldiers, but also the women and children of the people they conquer—bring the methods of violence home.  Violence and the threat of violence can then be used to control “one’s” wife or wives, in order to ensure that “one’s” children really are “one’s” own. Violence and the threat of violence can be used to ensure that “one’s” daughters are virgins who can be “given” to other men to perpetuate the system of patriarchal inheritance.  Violence and the threat of violence can be used to hold enslaved people “in line.”  In addition, violence and the threat of violence can be used to subdue those within one’s own culture who are unwilling to go along with the new system. Women who refuse to let men control their sexuality can be killed with impunity by their male relatives or stoned by communities as a whole.

How does such a violent system legitimate itself?  By religious symbols.  In Greece, warriors were “in the image” of the “warrior God” Zeus whose rape of Goddesses and nymphs was celebrated.  In Israel, the power of warriors is mirrored in a male God who is called “Lord” and “King” and who achieves his will through violence and destruction. Sadly, this is not an exclusively western problem. In all of the so-called “highly developed” cultures defined by patriarchy and war, symbols of divine warriors justify the violence of men.  Laws said to have a divine source enshrine men’s control the sexuality of their wives, permit some men to rape some women, and allow some people to own other people as slaves.

Patriarchy is not simply the domination of women by men. Patriarchy is an integral system in which men’s control of women’s sexuality, private property, violence, war, and the institutions of conquest, rape, slavery arise and thrive together. The different elements are so intertwined that it is impossible to separate one as the cause of the others.  Patriarchy is an integral system of interlocking oppressions, enforced through violence.  The whole of the patriarchal system is legitimated by patriarchal religions.  This is why changing religious symbols is necessary if we hope to create alternatives to patriarchal systems.

The model of patriarchy I have proposed argues that control of female sexuality is fundamental to the patriarchal system.  This explains why there is so much controversy about the “simple matter” of access to birth control and abortion and so much anger directed at single mothers.  The model of patriarchy as an intergral system can help us to see that in order to end male domination we must also end war–and violence, rape, conquest, and slavery which are sanctioned as part of war.  We must also end the unequal distribution of wealth inherent in the notion of ”private” property, much of it the “spoils” of war, which led to the concept of patriarchal inheritance, which in turn required the control of female sexuality.  As feminists in religion we must identify and challenge the complex interlocking set of religious symbols which have sanctified the integral system of patriarchy–these include but are not limited to the image of God as male.  Ending patriarchy is no small task!

*I am offering a functional definition of patriarchy that does not address the separate question of why it originated.  I will be publishing an expanded version of this dicussion in the future.

This Article is from Feminism and Religion, February, 2013 

Carol P. Christ 

_______________________________________________________________

* I am deeply saddened to note that Dr. Carol Christ passed away this summer of 2021.  She is profoundly missed. Among her important books:  She Who Changes and Rebirth of the Goddess and the widely used anthologies Womanspirit Rising and Weaving the Visions. 

**"Rape in warfare is not bound by definitions of which wars are “just” or “unjust.” Rape was a weapon of terror as the German Hun marched through Belgium in World War I. Rape was a weapon of revenge as the Russian Army marched to Berlin in World War II. Rape got out of hand when the Pakistani Army battled Bangladesh. Rape reared its head as American GI’s searched and destroyed in the highland of Vietnam. Rape flourishes in warfare irrespective of nationality or geographic location. Rape was outlawed as a criminal act under the international rules of war. Yet rape persists as a common act of war.

Men who rape in war are ordinary Joes, made unordinary by the entry into the most exclusive male-only club in the world. Victory in arms brings group power undreamed of in civilian life. The unreal situation of a world without women becomes the prime reality. To take a life looms more significant than to make life, and the gun in the hand is power. The sickness of warfare feeds on itself. A certain number of soldiers must prove their newly won superiority – prove it to a woman, to themselves, to other men. In the name of victory and the power of the gun, war provides men with a tacit license to rape. In the act and in the excuse, rape in war reveals the male psyche in its boldest form, without the veneer of ”chivalry” or civilization."

......Against Our Will by Susan Brownmiller, 1975, Excerpts

Control of Female Sexuality, Rape, War and Art

"Judith Slaying Holofernes" by Artemisia Gentilachi

"Control of female sexuality is fundamental to the patriarchal system.  This explains why there is so much controversy about the “simple matter” of access to birth control and abortion and so much anger directed at single mothers. "

~Carol Christ

I never cease to be amazed that the contemporary versions of Biblical Patriarchs continue to fight for control the bodies and lives  of the female population, even as they attempt to remove virtually all infrastructure to support or assist poor and single mothers.  Or the "right to rape" that is  so much in evidence in the power structure of our society, especially now with the so called President and his cronies  virtually celebrating their  sexual predations publicly. 

As a long time student of art and literature, the celebration of rape and war is found everywhere. The rape of young women is a prime theme in contemporary television drama, over and over and over.  And if you look back at the history of Western art, it's all over the place as well.  In fact, much of it is on plain view in our most distinguished institutions of art and culture such as the Metropolitan Museum or the Smithsonian.  High Art, High Rape, rarely examined for the message under all those pretty colors and plump, seemingly  acquiescent women.*

I remember all those paintings, for example, of the rape of various mortal women  by those manly, if naughty, Greek gods.  A perfect  co-option of myth turned religion  to justify the violence of men - the gods rape  just the same as they do, with the head god, Zeus, leading the pack.  In a popular  Renaissance theme like the painting below, "The Rape of Europa"  by Luca Giordano, the  abduction of a young girl is positively a party for all!   

"The Rape of Europa" by Luca Giordano

Or the "Rape of the Sabine Women", or the "Rape of the Trojan Women", or "the Rape of Persephone" or so on............it was  only years later, after all that Classic Arts Education, that  I finally understood that those paintings amounted to pornography for wealthy men of the time.  As well as propaganda.  

Here's a more recent painting from the end of the 19th Century:  our proud warrior sits atop his "loot" - lots of gold, spoils, and several passive, helpless  women as "loot" too, one appropriately nude with a good pair of breasts exposed.  Oh, and we have a weeping, but worthless,  old woman on the side, just to show the artist's recognition that there is a bit of suffering in war.

And then there is Atemisia Gentileschi"s "Judith Slaying Holofernes".  The daughter of a famous painter who was raped herself  as a young girl and publicly humiliated, I somehow don't think she found the subject at all sexy.   Her brilliant and disturbing painting of a powerful Judith and her maid servant severing the head of Holofernes strikes a cord in the heart of any woman who has known the suffering of sexual assault.  

"Judith Slaying Holofernes" by Artemisia Gentilachi

I decided to take the liberty of sharing a  brilliant article (2013) from  Feminism and Religion  by the marvelously articulate feminist scholar, writer,  and theologian  Carol Christ that takes a long look at the issue, so deeply embedded in the violence of our world, and so very crucial to understand if there is ever to be change.  Thank you to Dr. Christ for her words, once again.

And I also share, below, an image of what rape really looks like in war.  Because we need to remember.

  Patriarchy as a System of Male Dominance Created at the Intersection 

  of the Control of Women, Private Property, and War 

 (Part 2), February 25, 2013

by Carol P. Christ

Patriarchy is a system of male dominance, rooted in the ethos of war which legitimates violence, sanctified by religious symbols, in which men dominate women through the control of female sexuality, with the intent of passing property to male heirs, and in which men who are heroes of war are told to kill men, and are permitted to rape women, to seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people.*

In last week’s blog, I explained patriarchy as a system in which men dominate women through the control of female sexuality with the intent of passing property to male heirs.

 How did a system that identifies a man’s essence with his property and the ability to pass it on to sons come about? I suggest that the answer to this question is war and the confiscation of “property” by warriors in war. Patriarchy is rooted in the ethos of war which legitimates violence, and in which men who are heroes of war are told to kill men, and are permitted to rape women, seize land and treasures, to exploit resources, and to own or otherwise dominate conquered people.

My argument is that the origin of “private” property, defined as property owned by a single (male) individual, and as that which defines the “essence” of that individual, is the “spoils” of war, which are divided up by victorious warriors.  The “spoils” of war are the tangible treasures “looted” or taken by the victors from the conquered, such as jewelry and sacred objects.  The “spoils” of war include land “taken” as the result of warfare, along with the right to exploit resources, directly or through taxes and levies. The “spoils” of war also includes the right to “take” the women of the defeated enemy and to confirm ownership of them (and humiliate their fathers or husbands) by raping them.  The “spoils” of war also include the right to “take” these raped women and their young children home to serve as slaves and concubines.

Though many people were surprised when the rape victims of the recent war in Bosnia began to speak out about the use of rape as a tool of war by Serbian soldiers, in fact, rape has always been an “ordinary” part of war. In the “great” epic known as The Iliad which is said to be the foundation of western culture,  Achilles and Agamemnon are fighting over which of them has the right to rape a “captured” woman named Briseis.  The term “spear captive” is used to mask the reality that Briseis and other women like her were “rape victims” and that the “heroes” being celebrated were their “rapists” and “jailers.” I believe that the institution of rape and the (twisted) notion that men have a right to rape (certain kinds or types of) women originated with war.

The institution of slavery also originated in war. Both the Bible and the Greek epics testify to the ancient custom of enslaving the women and children of the enemy.  Slave women in every culture, like the slave women on plantations in the Americas, are at the mercy of their owners and his sons, who can rape them if they felt like it. The “custom” of taking slaves from the enemy and the “custom” of also taking enemy women sexually, is deeply intertwined with the history of war.  The Africans who sold other Africans into slavery in the Americas were selling Africans they had taken as the spoils of war.If we entertain the hypothesis that earlier matriarchal clan systems existed, then we can see that the notion of individual powerful men’s peri-ousia being defined as the treasures, land, and people they “stole” and then claimed to “own” would have involved a massive cultural shift.  The shift to defining men by the property they owned required that men would also ”own” and absolutely control their wives and daughters, who had previously been free.  Such a cultural shift could only have been instituted and maintained through violence.

Patriarchy is a system of male domination, rooted in the ethos of war which legitimates violence. Warriors who have learned the methods of violent domination of other human beings—not only other soldiers, but also the women and children of the people they conquer—bring the methods of violence home.  Violence and the threat of violence can then be used to control “one’s” wife or wives, in order to ensure that “one’s” children really are “one’s” own. Violence and the threat of violence can be used to ensure that “one’s” daughters are virgins who can be “given” to other men to perpetuate the system of patriarchal inheritance.  Violence and the threat of violence can be used to hold enslaved people “in line.”  In addition, violence and the threat of violence can be used to subdue those within one’s own culture who are unwilling to go along with the new system. Women who refuse to let men control their sexuality can be killed with impunity by their male relatives or stoned by communities as a whole.

How does such a violent system legitimate itself?  By religious symbols.  In Greece, warriors were “in the image” of the “warrior God” Zeus whose rape of Goddesses and nymphs was celebrated.  In Israel, the power of warriors is mirrored in a male God who is called “Lord” and “King” and who achieves his will through violence and destruction. Sadly, this is not an exclusively western problem. In all of the so-called “highly developed” cultures defined by patriarchy and war, symbols of divine warriors justify the violence of men.  Laws said to have a divine source enshrine men’s control the sexuality of their wives, permit some men to rape some women, and allow some people to own other people as slaves.

Patriarchy is not simply the domination of women by men. Patriarchy is an integral system in which men’s control of women’s sexuality, private property, violence, war, and the institutions of conquest, rape, slavery arise and thrive together. The different elements are so intertwined that it is impossible to separate one as the cause of the others.  Patriarchy is an integral system of interlocking oppressions, enforced through violence.  The whole of the patriarchal system is legitimated by patriarchal religions.  This is why changing religious symbols is necessary if we hope to create alternatives to patriarchal systems.

The model of patriarchy I have proposed argues that control of female sexuality is fundamental to the patriarchal system.  This explains why there is so much controversy about the “simple matter” of access to birth control and abortion and so much anger directed at single mothers.  The model of patriarchy as an intergral system can help us to see that in order to end male domination we must also end war–and violence, rape, conquest, and slavery which are sanctioned as part of war.  We must also end the unequal distribution of wealth inherent in the notion of ”private” property, much of it the “spoils” of war, which led to the concept of patriarchal inheritance, which in turn required the control of female sexuality.  As feminists in religion we must identify and challenge the complex interlocking set of religious symbols which have sanctified the integral system of patriarchy–these include but are not limited to the image of God as male.  Ending patriarchy is no small task!

*I am offering a functional definition of patriarchy that does not address the separate question of why it originated.  I will be publishing an expanded version of this dicussion in the future.

This Article is from Feminism and Religion, February, 2013 

Carol P. Christ will be leading life-transforming Goddess Pilgrimages to Crete.  Join her and learn more about prepatriarchal woman-honoring Goddess cultures.   Her books include She Who Changes and Rebirth of the Goddess and the widely used anthologies Womanspirit Rising and Weaving the Visions. 

_______________________________________________________________

*"Rape in warfare is not bound by definitions of which wars are “just” or “unjust.” Rape was a weapon of terror as the German Hun marched through Belgium in World War I. Rape was a weapon of revenge as the Russian Army marched to Berlin in World War II. Rape got out of hand when the Pakistani Army battled Bangladesh. Raped reared its head as American GI’s searched and destroyed in the highland of Vietnam. Rape flourishes in warfare irrespective of nationality or geographic location. Rape was outlawed as a criminal act under the international rules of war. Yet rape persists as a common act of war.

Men who rape in war are ordinary Joes, made unordinary by the entry into the most exclusive male-only club in the world. Victory in arms brings group power undreamed of in civilian life. The unreal situation of a world without women becomes the prime reality. To take a life looms more significant than to make life, and the gun in the hand is power. The sickness of warfare feeds on itself. A certain number of soldiers must prove their newly won superiority – prove it to a woman, to themselves, to other men. In the name of victory and the power of the gun, war provides men with a tacit license to rape. In the act and in the excuse, rape in war reveals the male psyche in its boldest form, without the veneer of ”chivalry” or civilization."

......Against Our Will by Susan Brownmiller, 1975, Excerpts

Sai Baba, Spiritual Authoritarianism, and Gurus in General.........

I recently watched the documentary below about Sai Baba, the Indian Guru who had a massive following throughout India as well as in other countries, and who we now know was a pedophile who sexually abused many young boys, which was covered up.  Fascinating how followers of Sai Baba (at least, at the time of this  documentary) were immune to any criticism or allegations of their guru.  "To them it was just another test of their faith". That same "faith" can be seen in the faces of those who cheered on Adolph Hitler - he too became an idealized "Father" ("Der Fuerer"), and another  "God Man".  I reflect on the ways "faith" has become a pseudonym for all kinds of abuse, regardless of the form it takes, and this unyielding "faith" is, in its essence, related to the hierarchy and authoritarianism intrinsic to patriarchal culture, whether it occurs in India, Texas, or Germany. 

  Joel Kramer and Diana Alstad   are heroes of mine, because their writings so deeply embody true "new paradigm" thinking.  They coined the term "renunciate religions", used to describe doctrines in  religious systems that, hidden or blatant, teach us to renounce  nature, the body, sex and material existence as either not sacred, not heavenly, or "not real".  Since woman is the source of birth, all of these aspects of being alive on the Earth are usually associated with the untrustworthy feminine.   In patriarchal religions from ancient Greece on forward, sexual  "purity" is highly valued,  and women are scapegoated and distrusted, one way or another,  for inspiring sexual desire. 

In their book THE GURU PAPERS they so elegantly "unmask" these deeply embedded  aspects of contemporary religion and mysticism.  And as they point out, "renunciate" and authoritarian  systems of religious thought are a profound disaster for contemporary times, for the environmental crisis, because they are so very inappropriate for the environment, for a global society, and for women.***  

As they point out as well, the emphasis on "purity", whether a Hindu Guru or a Catholic  priest, usually results in abuse of power and its denial.

"Lying about sex is so rampant in every culture that structures what is sexually permitted it is commonplace to be inured to it and accept such lying as a given. But it is the lie, not the sex, that's the real issue.  The lie indicates the guru’s entire persona is a lie, that his image as selfless and being beyond ego is a core deception.  Many think that though a guru lies about his personal behavior, his message is still essentially true. Lying here as elsewhere is done to cover up self-interest.  If  the guru’s message is that purity without self-interest is the ultimate achievement, not only did he not achieve it,but he does not even know if it is achievable.  If being self-centered is an unavoidable aspect of being human, then any ideology that denies this will necessarily corrupt its promoters and believers.This why images of "purity"are always corrupt." **


http://youtu.be/hOjk2NpKMFM

 

**The Guru Papers:  Masks of Authoritarian Power 

          by Joel Kramer and Diana Alstad

The Guru Papers demonstrates with uncompromising clarity that authoritarian control, which once held societies together, is now at the core of personal, social, and planetary problems, and thus a key factor in social disintegration. It illustrates how authoritarianism is embedded in the way people think, hiding in culture, values, daily life, and in the very ideals people try to live by. Thus our basic problems are not the inevitable outcome of human nature, but rather are shown to stem from deep authoritarian implants. This offers new grounds for hope. The Guru Papers powerfully attests that unmasking and decoding hidden authoritarianism can disempower it, increasing the range of human freedom and possibility. The book also elegantly argues that this process is essential for human survival.

 

 ***  Witness the strange relationship conservative Christians and evangelicals make between Biblical thinking and the denial of climate change.

Avatar thoughts

Hollywood, Gaia, and the Shadow?

I saw the movie Avatar last night, and of course, walked out amazed by the state of the art technology and beautiful artistry displayed within this movie. The creation of the imaginary planet Pandora, with it's amazing attention to detail, including a whole botany of phosphorescent, glowing night plants, was fantastic. The colors and patterns of the life forms of "Pandora" were in harsh contrast to the grey machine world of the human invaders. From a mythic perspective, one hopes the "Pandora's box" unleashed within this film are actually the angels of a paradigm shift.

Having spent so much of my life learning about indigenous (and contemporary) Earth-based spirituality, shamanism, and myth, I loved the tribal forest people and their World Tree, their Axis Mundi. I also loved the inclusion of the idea that these people could "speak with the ancestors", and with Tewa, the collective being of their world. Gaia theory is invoked in this fantasy creation of an "indigenous people" who live in recognition and attunement to the universal organism of their planet. "All energy is borrowed" the hero learns, "and eventually you have to give it back".

They even had enough anthropological understanding to include the hunter who prays over the body of the fallen prey, offering thanks for the gift of its meat - this is, indeed, what native peoples universally did in both myth and in practice, recognizing and honoring that the animal has sacrificed its life to sustain the life of the tribe. Most Americans do not equate the hamburger they buy with an animal that has lost its life, let alone do they comprehend a spiritual system that respects the exchange of life force and energy that has taken place. What a wonderful concept to introduce to the young people who watched the movie.

Avatar also includes a Rambo, one-dimensional military commander, who is bound to destroy everything, being unable to "see" the value of the world around him other than a product to be exploited. We also learn that Earth has been devastated, "there's no green at home", and it's suggested that the invaders represent a culture that has long ago forgotten how to "see the green world". What the Navi "see" is a "green vision" of inter-connectedness, the "synapse between the trees" that Sigourney Weaver's character seeks to study.

As someone who once wrote a novel (with my former husband, Duncan Eagleson: The Song of Medusa ** about an ancient sibyl of Old Europe who could "talk with the Earth Goddess" by going into sacred underground caves, I especially loved the part where the blue people connected to "Tewa", the world soul or "the Mother", at their "tree of souls".

Great mythos here, re-invented and re-told by hugely ambitious storytellers.

Hollywood has been talking about the conflict between the technological/corporate/patriarchal/ paradigm and an emerging paradigm of a Gaian, wholistic consciousness for a long time. I've complained about the violence, vulgarity, and propaganda machine of Hollywood, but now offer applause as well. The not-so-independent film industry has been making the Shadow of our world visible for a while.

In the computer animated science fiction film of 2001 Final Fantasy: The Spirits Within the world was besieged by the ghosts of a planet destroyed by war; the protagonists desperately strive to heal the "Gaia - World Soul" of that world while trying to protect the "Gaia" of their own from another military commander. I think of the "heart of the elder elves", the tree city of Lothlorian in the Lord of the Rings trilogy. There the wise guardians of Middle Earth live in gigantic trees and confront a Dark Lord whose minions lay the world to waste. In the 80's Emerald Forest, an Amazon tribe steals away an American child to save him from the "Termite People" who are clear cutting the rain forests.

I actually had a Big Box Theatre revelation while recovering from this film extravaganza, and I'm somewhat at a loss to write about it. I'll try.

Viggo Mortensen is a brilliant actor, so I next visited The Road, currently showing. Here was another "road warrior" imagined future where society has broken down, and Mortensen's character travels with his son through a horrific world of rape and cannibalism. I reflected, leaving this truly grim film, on how this motif of a world survived only by the violent (and almost exclusively, violent men).........has occurred over and over and over, and offers a desperately nihilistic view of the human capacity for compassion and for cooperation.

"How I hate the scribblers, who only write of war,
and leave the true glory of the past all unsung."

......Robin Williamson

The patriarchal paradigm is based upon competition and hierarchy, and founded upon preoccupation with military might. This is our overwhelmingly predominant cultural mythos, reinforced again and again and again by endless variations on the same theme.

History is taught from the vantage point of wars fought and lost. Events like the development of art, philosophy, agriculture, religion, architecture, and medicine are almost noted as a sideline, secondary peripheral events that managed to occur between wars of conquest and defense, in spite of the rise and fall of empires. This view of history reflects an inability to see that the developments of creation and nurture, of peacemaking and trade, of sharing and cooperation, are more truly the true wealth and foundation of a civilization than the forces that destroy. Notions of violence are so universal that it is utterly underwritten in our cultural mythos. War is regarded as inevitable and even desirable: how else can one be a "warrior" without a war?

Even in the realm of new age spirituality I find myself struck with the popular idea of the "spiritual warrior". How about "spiritual peacemaker"? A teenage friend recently told me it was kind of a wimpy* sounding word. But why do we need to bring the concept of war even into the concept of creating peace?

Guns and swords are virtual talismens in our culture. We have a vast military complex in the United States, an atomic arsenal that is as terrible as any science fiction writer could have dreamed up. Even in the midst of economic meltdown and urgent news about climate change, our goverment continues to pour huge resources into a futile war. And although I grew up with the specter of nuclear annihilation, there is still no "Department of Peace" . Young people flood to careers in the military, careers that encourage enlistment with the ultimate idealism, pomp, and mythos of the noble warrior - yet, to the best of my knowledge, there are no specific career tracks for "peacemakers", "consensus makers", and "conflict resolvers".

Last March I stumbled serendipitously (and literally) into the dark vision of a movie (soon to be released) called "The Book of Eli". It was a synchronicity for me, because I went to Corrizozo, New Mexico, to visit a friend who was working on a forthcoming group show. As it turned out, the entire main street of little Corrizozo, N.M. had been rented, and made into a dark, post-apocalyptic movie set. Complete with ruined buildings and overturned buses, chain gangs of "slave" extras listlessly strode by, black smoke spewed from armored cars, and the sounds of snipers came from set windows. It was fun to watch the filming, and the detail was astounding.

The irony was that, after the movie was shot, the desolate veneer of the set was gradually peeled away by the crew, to reveal again the old street with its art galleries and studios. And when all was renewed in the spring light of April, my friends had their show, about the return of the Goddess, appropriately titled "The Return of the Mother". I like to think it was a good omen, that the dark future of war lords and slave masters, killing each other over (ultimate irony - the "book of Eli is the Bible)...........should be vanish like a film set or a dissolving water color, to reveal beneath the surface the bright hope of The Return of the Mother.

Now that is a living metaphor; what author Paulo Coelho calls "a sign"; I like to think it is a hope for the future.

--------------------------------------
* "Wimp" is an old English word that originally meant "young woman". "Wimpy" means cowardly, weak - there's a whole his-story of disrespect for the feminine right there, if you stop to think about it.

**

Order On-Line through: Infinity Publishing

the "Book of Eli"

The Goddess and the Book of Eli (1) (photo by Georgia Stacy)

Corrisozo, N.M., set of "The Book of Eli", filming 3-2009. (Photo by Georgia Stacy)

I had a wonderful 4 day adventure into the "outback" of New Mexico, visiting a group of women artists who will be putting on a group show in Carrizozo, New Mexico called "The Return of the Mother". It will be opening on April 11th at Gallery 408 in Carrizozo. It was such a pleasure to meet these amazing women, among them sculptor Georgia Stacy, and fabric artist Karen Smith, who is creating a Sanctuary for the Divine Feminine called Kindred Spirits Sanctuary in the mountains of her beautiful home (she also has a labyrinth!).

"The Black Madonna and the Book of Eli"
(composite photo with G. Stacy)

Inanna Champagne had been invited to speak to groups in the area about her work, and I was also invited to bring along my dvd about the Masks of the Goddess project. As we sat having coffee in prior to departure, Inanna and I both noticed that (this is the honest to goodness truth!) a tiny spider had slowly come down on its thread to hang eye level between us. We observed it move up a bit, and then down a bit, and then up a bit......back and forth for over an hour. At last, when we were ready to leave, I took it by the thread and placed the latest envoy of Spider Woman on my altar. We felt well aspected and blessed on our journey, and indeed, so we were! I may talk about a "webbed vision" in the abstract, but when these kinds of little syncronicities happen, well........the mystery of the divine has a great sense of humor. And our lives are always full of everyday Milagros.

Arriving at Carrizozo, which is a small town in central New Mexico, one drives through vast reaches of blond Georgia O'Keefe landscapes with brooding blue mountains in the distance. We saw that we were in time for the town's major attraction - the filming of a motion picture starring Gary Oldman and Denzel Washington. An entire downtown street (where the Gallery my friends' show will be) had been converted into a post-apocalyptic, "Road Warrior" type set, complete with rusting automobiles, foam core burned out buildings, and sad little "cubby holes" where, presumably, desperate children of the apocalypse lived. Dirty, dread-locked young people (extras) milled about, while armored cars raced up and down the street, and the sounds of "snipers" guns echoed in the crisp, windy New Mexico air.

Joyce, a local visionary, was our tour guide. She had been there since the beginning of the town's transformation, watching the sets being built over facades of the existing buildings. They took 2 months to create, and next week it will all come down, revealing again the gallery where "The Return of the Mother" will be in April, after the foam core and plaster is peeled away.

There is a splendid metaphor in here! It was weird to see this contemporary nightmare made so vivid that I could actually walk around in it. Life and art are sometimes seamless.

To read about the movie see THE BOOK OF ELI . I don't think they have a trailer yet......... Try also this link: Book of Eli, which describes the movie as:

"A post-apocalyptic Western, in which a lone man fights his way across America in order to protect a sacred book that holds the secrets to saving humankind."

It's interesting that there are two post apocalyptic movies scheduled for release ( the other is The Road, with Viggo Mortenson) within the next year. Like the "Road Warrior" of the '80's, our world has a fascination with images of a future in which all that remains of our civilization is a grim landscape of warlords shooting it out with each other, grimly pre-occupied with power, guns, and unceasing violence. That's the mythos of a dominator, hierarchy culture.

Yet in reality, many people right here in New Mexico live in a world of enormous cooperation and generosity. That is also a part of the human spirit, the future's challenge and potential. I know many, many communities all over this country who participate in a "webbed" life-serving consciousness, envisioning sustainable futures. Cooperation, negotiation, and a collective means is actually the basis of any civilization.

We are capable of enormous violence, yes. Perhaps, the ultimate violence. But we are also capable of enormous, vast, cooperation. As we approach 2012, we approach the next evolutionary step for humanity, wherein we must understand and participate in the larger life of our planet, of Gaia the Mother, or we will face the possibility of extinction.

I am saddened to think so many are conditioned by the media to think that a violent world is our only possibility. How poorly what Gloria Steinam has called the "Cult of Masculinity" prepares us for the real challenges of the future. Because our survival can only be achieved through cooperation. But I doubt we'll see a movie about the "end of days" wherein heroic people get together to vision quest where the best place is to settle might be, or gather to share their food supplies, or figure out a way to dig a new community well, or for that matter, hold healing rituals and prayer circles. And yet, that is what people do together, all over the place.

So, I am pleased (and amused) by the synchronicity of a show called The Return of the Great Mother rising from the ashes of the movie set, a bright alternative to the current paradigm's dark vision. Georgia saw a Goddess shape in one of her photos of the Book of Eli set, and I couldn't help but play with the images myself a bit. Artists are myth makers.

We're weaving the future with the stories we tell. So what are they?