Hildegard Von Bingham at Samhain...........

Years ago  I performed a ritual invocation at Samhain with this haunting, visionary rendition of Hildegard Von Bingham's  "O Successores Fortissimi Leonis" by the group Vox, recorded in the early 1990's.  The invocation was done at my "Rites of Passage" Gallery in Berkeley, California, in honor of the approach of Samhain, the last harvest festival, the time to homor the Beloved Dead, and also the time when "the veils between the Worlds are thin".  The Invocatioin was done with 4 women in a circle,  turning the circle with gestures of offering.  It was one of the most beautiful performances I've done, well remembered.

I recently  played the piece again and was delighted to find it had been uploaded on UTube.  Von Bingham's vision and prayers reach across the ages to touch me again, on the unimaginable Internet.  I just felt like sharing it again, here.

From "The Dinner Party" by Judy Chicago

Illumination from the Liber Scivias 

showing Hildegard  receiving a vision

 and dictating to her scribe and secretary

"Hildegarde of Bingen, also known as St. Hildegard and the Sybil of the Rhine, was an enormously influential and spiritual woman, who paved the way for other women to succeed in a number of fields from theology to music. She was a mystic writer, who completed three books of her visions. During a time when members of the Catholic Church accorded women little respect, Hildegarde was consulted by bishops and consorted with the Pope, exerting influence over them.

She wrote on topics ranging from philosophy to natural healing with a critical expertise praised by both German advice-seekers and the highest-ranking figure in the Church, Pope Eugenius III. An esteemed advocate for scientific research, Hildegarde was one of the earliest promoters of the use of herbal medicine to treat ailments. She wrote several books on medicine, including Physica, circa 1150, which was primarily concerned with the use of herbs in medicinal treatment.

Hildegarde may be best known as a composer. 

Stemming from the traditional incantations of Church music, Hildegarde’s compositions took the form of a single chant-like, melodic line. These compositions are called antiphons and are a single line of music sung before and after a psalm. Hildegarde combined all of her music into a cycle called Symphonia Armonie Celestium Revelationum, circa 1151, orThe Symphony of the Harmony of the Heavenly Revelations, which reflects her belief that music was the highest praise to God.

Hildegarde herself created a drawing, or illumination, in her manuscript Scivias (Know the Ways), circa 1140–50, of her defining vision, in which the great span of the universe revealed itself to her in a trance as “round and shadowy…pointed at the top, like an egg…its outermost layer of a bright fire.”**

https://youtu.be/-4H3o1cvh8I

** "The Dinner Party" by Judy Chicago, Brooklyn Museum of Art   https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/hildegarde_of_bingen

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

A House of Doors ~ open poems~

The deep parts of my life
pour onward,
as if the river shores
were opening out.

It seems as if things
are more like me now

that I can see farther into paintings

I feel closer
to what language can't reach.

Rainer Maria Rilke

















I feel enormously grateful to have finished  my 5th book, A HOUSE OF DOORS - my little collection of poems that span 40 years.   (update -  I have just made an EBook edition:  cost: $1.00)  (http://store.blurb.com/ebooks/360737-a-house-of-doors-open-poems)

Most of these poems are mine, but also included are "found poems", the collection of poetry by Joanna Brouk and Felicia Miller, with the illustrations I did for them back in the early '70's when we were young artists in Berkeley.

I have never been a prolific poet by any means...........I am a visual person first and foremost in my communicating and thinking processes. All of the poetry  worth sharing I put into this little book, and I'm well pleased, as I was to finally complete the MASKS OF THE GODDESS book. Honoring the Past, the Muse, the Friends, the Communities, Myself, and the Divine is what this 6 month writing project has been about, and with this book, I feel free to move on and give my attention to new projects.

 FOR THREE WEEKS

the cool moon
bound by occult cords
moves

through the houses
of memory and sleep

distills night in a bowl

But on the night 
of the full moon
what is mirrored

in a still pool?


Felicia Miller (1972)

AMAZONS IV.

At the river's edge

I laid my armor down

laid down my sword and bow

untied my hair

this I did for you

I approached you

lying in the grass

at the river's edge

your body brown

graceful as a tree

unshod

you waited for me

I approached you

with desire

O my enemy

Lauren Raine (1975)

                                                            light
                                                            light
                                                            light of morning

                                                            the fairest light,
                                                            the fairest light
                                                            has come
                                                            softly
                                                            gently
                                                            I feel its coming

                                                            night has given
                                                            night has given
                                                            a place to morning

                                                            breath returns
                                                            and moistens the grass
                                                            the bird's feather

                                                            no longer do I hide
                                                            no longer do I hide
                                                            gone into darkness

                                                            light has come

                                                          Joanna Brouk (1972)


  (5/2009)  As a footnote, because I published those poems on my website in 2006, Felicia found me on the Web, which resulted in us corresponding, and my finally going to Puerto Rico this August to meet her in person again. She's still a mermaid spinning stories about Undine, still the soul I remember well, still beautiful.)

(5/15/2015)  As a footnote to this footnote, I did indeed meet my friend Felicia again, near water as always (in Puerto Rico).  Felicia passed away  in 2010. I've written about her, and our meetings, in this Blog.   And I found Joanna again, in San Diego, in 2011, still beautiful, still making music and poetry, still a friend.  In fact here I sit at her kitchen table, visiting for the weekend.  Below is a pastel I did of her back in 1976.)