Environmental Arts in Iran & Afghanistan

"As if to help us change our perspective on war, discoveries within quantum physics suggest that the belief that we can achieve a position of dominance in relation to nature, life or each other is, ultimately, an illusion. Each of us is an expression of a vast sea or field of creative consciousness - invisible, and as yet barely recognised by us. We are all connected to each other through our participation in a great living web of life. It would seem that we are, literally, "our brother's keeper".

Anne Baring, "The Web of Life"

I went to high school in Kabul, and although I have never been back to Afghanistan  or Iran, where I also spent time,  that part of the world is in my heart, and I try to keep informed. (AISK had a class reunion in 2003 - that would have been an experience!)

I felt like sharing some images about contemporary environmental art, and remembered a post in 2009. While surfing for "environmental art"  I found the above photograph created by participants in an environmental arts festival in Iran, in 2007 (Iranian Radio)  The story and images are also to be found at the Green Museum. I found the images so striking I wanted to share them again -  I take the liberty of re-copying here.**  And below, a show of  contemporary environmental arts in 2010 at the University of Kabul.  Amazingly, all participants are women, a stunning show of courage and creativity on their part. 

Color, Leaf, and Kavir:
Environmental Art Festival of Kerman

Nov 16, 2007

"The festival began in Vahdat Hall at Shahid Bahonar University in Kerman, with speeches and discussions on the concept of environmental arts.


On the third day of the festival artists gathered in Shahdad Kavir and presented their works in a kavir (desert) background. This area is one of the most attractive outlooks of Kavir because of its statue-like walls.  200 young artists and art teachers of Kerman Province joined the festival."

 

"The participants were mainly from Kerman province coming from various universities. The initiative was taken by the scientific association of the painting course of the Saba Arts and Architecture School of Shahid Bahonar University. Environmental art festivals have been held during the last few years in various parts of the country. The Pardiss international center has created seven festivals. " (www.iranianradio.com/forum/viewtopic.php?t=380)

 

Women and Modern Art in Afghanistan 

By MUJIB MASHAL

 

 

“Area Pollution,” by Arezo Waseq,  Center for Contemporary Arts, Kabul University.

August 6, 2010
KABUL, Afghanistan — For one week in June two auditoriums at Kabul University hosted a large exhibition on the themes of pollution and the environment.  The exhibition had two remarkable qualities: All 18 participating artists were women, and the genre was modern art, a rarity in Afghanistan. Even today Kabul and Herat are the only Afghan provinces — out of 34 — to have a faculty of fine arts in their universities.

 

A collaborative piece titled “Fall in Spring,” 

by Arefa Honryar, Zarghona Hotak, Sodaba Mehrayan, Sara Nabil and Arezo Waseq

In the 1990s came the Taliban. Music was banned, and art was limited to calligraphy and the drawing of immortal shapes........"When the Taliban left in 2001, we had seven professors and eight students in our department,” Professor Farhad said. "But in the past three years, the art scene has changed in terms of inclusiveness and creativity.  Today, I have 700 students  and close to 20 percent of them are girls. Quite often, I have to turn down students because we don’t have enough space for them,” Professor Farhad said, his eyes gleaming in triumph."

 

“Health and Fission,” by Manizha Ahwad

"In the first couple of years of President Hamid Karzai’s government, the appearance of women on television was frowned upon. Television channels broadcast only male singers and artists.  Gradually, the presence of women increased, but it cost the lives of several young women in the media to get there.  Zakia Zaki, Sanga Amach and Shaima Rezayee are among the many female artists and presenters who were killed for the crime of appearing on television and trying to widen the role of women. Some female artists continue to battle the stigma, while others have turned to single-sex art centers that are more socially acceptable.  The Center for Contemporary Arts — Afghanistan is one of these centers. Founded in 2004, it welcomed both male and female artists, but Mr. Omarzad soon realized that it was women who were most in need of a safe environment in which to work. For Environment Day, auditoriums at Kabul University were turned into galleries dedicated to the theme."

 

‘Scream’, by Marzia Nazary

** some other environmental arts sites :

ecologicalart.org (http://www.ecologicalart.org/)

ecoartspace blog
Environmental arts (Orion Magazine) http://arts.envirolink.org/
Art + Environment
CSPA Connect
Deep Craft
Ear to the Earth
Earth Artists NetworkSEEDS
The Art of Engagement

Dalai Lama's Quote

"The world will be saved by the Western woman" said the Dalai Lama during the September 2009 Vancouver Peace Summit.  Since then, many have been pondering what His Holiness meant by that statement, which also represents a "call" to women to take action.  For many, his comment highlighted the truth that women are emerging as leaders of the global change movement.

The "Return of the Goddess" indeed, which to me means, among many other things, Restoring the Balance to our divided collective human psyche.  

In a previous post, I also pondered  the term "Crone", and possible other ways of expressing the idea of a wise older woman as we emerge into the largest, most educated, and most long-lived, older population the world has ever known.  One of my favorites was "Saga", "she who speaks", the teller of a long story.  Discussing both the Dalai Lama's words, and reflecting on the meanings of "crone" as well, I found a great blog by  Canadian  writer and ecologist  Nina Munteanu,  and take the liberty here of quoting from her, since she says it much better than I could.

"Marianne Hughes, executive director of the Interaction Institute for Social Change (IISC), pondered the idea of the aging women as hag (originally a representation of feminine power) and how it relates to the Dalai Lama's statement on her blog.

“I'm not entirely sure what [the Dalai Lama] meant,” said Hughes, “But I am wondering if when he travels across the globe and sees so many of our sisters impoverished and repressed he sees western women of all ages in a position to speak out for justice and to take on the responsibilities of “the hag”... to take loving care of the planet and its people.”

The original meaning of the word “hag” in Gaelic referred to a saint with great powers who was responsible for the land, the waters and the people. The term had since been distorted through patriarchal propaganda; “the Hag” is currently being redefined as a strong, beautiful and ageless woman and has its similarities with “the Crone”, the third stage of a woman’s life and evolution from maiden to mother to crone."........"By the year 2008, postmenopausal women will comprise the largest demographic group in America. With our increased lifespan, the ancient tripartite divisions of Maiden, Mother, and Crone are more meaningful in women’s lives as the Crone stage occupies one third of our lifespan. Moreover, our current Crone generation (those born in the forties and fifties) is the first in the history of humankind that can claim (and HAS already claimed) economic autonomy and power."**

 

**Nina  Munteanu,  sfgirl-thealiennextdoor.blogspot.com

"The Transformative Mask" - Mask Making

The TRANSFORMATIVE  MASK

Working with Masks and  Myth

"Our work was not to re-enact the ancient myths, but to take those myths to their next level of evolutionary unfolding. Artists are the myth makers."

 Katherine Josten,  Founder,  THE GLOBAL ART PROJECT

Every mask is the beginning of a story, because each mask is inhabited by a being waiting to reveal itself, whether a universally recognizable archetype, or an eccentric,  very personal inner persona that can communicate in surprising ways.  Masks can heal by speaking with a voice that we can't, and masks can provide an opportunity for transpersonal experience as well, when we engage with sacred and universal archetypes.   In traditional cultures, such as Bali, sacred masks were viewed as a means for the divine - the gods, goddesses, ancestors and animal powers - to bless the living through ritual theatre.

Making a mask is a process, but it's only part of the process - those who will use the mask complete the journey.  And because the "spirits of the masks" come from the Mythic Realm, there is really no end to the journey at all.  Just a circle of new telling.

In my workshops, we learn to sculpt a theatrical mask from our faces, explore personally significant stories and symbols, and learn approaches to storytelling with masks, with discussion about community performance and ritual theatre.  I've found it's best to "invite the spirit of the mask" by beginning with a shared "Shrine".  Participants  bring objects that are personally  sacred and meaningful.  Our "Invocation" is sometimes a creative visualization exercise.    After we've created a "Circle" to work in, we "get plastered" in pairs as we take casts of our faces with plaster impregnated bandages. These will become plaster positives on which more durable leather masks can be then modelled.  

Plaster  casts can also be used to create masks and sculpture from clay and other media.  See below for a few examples from other students.

Preparing materials

Taking Face cast

Ready to remove

Casts of class members, Kripalu Institute

Modelling and shaping mask with Leather

  

Embellishing
(Courtesy Nancy Solomon)

Finished Wearable Leather Mask
(courtesy Barbara Gregson)

Casting Mask in Clay

Cast in Clay made into Personal Icon
(courtesy Lorraine LeConte)

Leather sculpture with Torso cast

 With gratitude to Nancy Solomon for the kind use of her photographs (copyright N.Solomon 2010)

Saga and Crone

 

“…the word saga has been translated out of its original meaning, which was ‘She-Who-Speaks,’ that is, an oracular priestess, such as were formerly associated with sacred poetry. The literal meaning of saga was ‘female sage.’ The written sagas of Scandinavia were originally sacred histories kept by female sagas or ‘sayers,’ who knew how to write them in runic script."

”Barbara G. Walker, The Crone: Woman of Age, Wisdom, and Power  **

I've never liked the term "Crone" as it's used to speak of women in the third phase of life, although I like, of course, the meanings that are currently re-associated with it (Maiden, Mother, Crone).  But part of my dislike of the word has to do with the meanings that were associated with it in the past.  

Here's what wikipedia has to say about the word:

"The crone is a stock character in folklore and fairy tale, an old woman who is usually disagreeable, malicious, or sinister in manner, often with magical or supernatural associations that can make her either helpful or obstructing. She is marginalized by her exclusion from the reproductive cycle, and her proximity to death places her in contact with occult wisdom. As a character type, the crone shares characteristics with the hag.  The word "crone" is a less common synonym for "old woman," and is more likely to appear in reference to traditional narratives than in contemporary everyday usage.The word became further specialized as the third aspect of the Triple Goddess popularized by Robert Graves and subsequently in some forms of neopaganism."  

Wikipedia/Crone

"Saga" is a Scandinavian word that means "a long, ancestral or heroic story".  I've been thinking that I prefer to use this word to "crone".  A long, wise story, woven into the threads of many stories.  I like that much better. 

According to mythologist Barbara Walker, Saga also means "She Who Speaks". Similar to the masculine "Sage", a Saga is a wise old woman, a female mentor and teacher. Similar, but not, to my mind, quite the same in it's meanings, and that is because of the context of "story" that imbues the word and its origins.   She-Who-Speaks is the potent teller of story, because she embodies a long, interwoven, generational, story - a Saga.  In pre-literate cultures, the Saga and the Sage held a thread that was woven through many lives into the past, and her/his long  memory was the precious gift that kept the stories and knowledge alive.  

So the next time I attend a 50th  birthday party for a woman, I'll say:  "You're becoming a Saga".   

**(Quote is taken from the website of The SAGA Centre for Studies in Autobiography, Gender, and Age, University of British Columbia )

Revisiting the Muse

 

I was going to delete this article from my website (I wrote it in 2005),  but just didn't have the heart to.  Recently I drove by where the Muse used to be, and as always, sigh.  Since it was torn down in 2005, and whatever deal was made fell through, ironically, it has remained a city block wide, fenced hole in the ground.  A big hole.  That kind of says it all.

 

 

REQUIEM FOR THE MUSE 

The former Muse Community Arts Center, where I used to have my studio, is fenced and empty, in preparation for her imminent demise. I've been told She stood empty some 7 or 8 years ago, the old YMCA building no one, except a few visionaries, wanted any more. I'm not writing about the history of the Muse, or the brave people who founded her, and why. I don't know if they feel saddened, or rewarded for their efforts, or just relieved to have the building sold and done with. I’m also not writing about those who are trying to relocate some part of her essence else where. I just want to remember the life, and death, of an urban Muse.

In those 7 or 8 years, a theatre developed, and classrooms opened. Reasonably priced studios filled with painters, sculptors, alternative healers, and non-profits. An occasional gallery hosted shows of professional artists, aspiring artists, and young people just learning to express their imaginations. Drummers drummed, dancers danced, actors created personae, students came and went with easels in hand. A reiki master and a new age minister held classes on Sundays, along with the Vineyard Church, who also provided donuts and coffee for the homeless as long as they sat through the service. A Buddhist lama taught for a weekend, and people in red and orange robes filled the halls. A month later, the Fetish Ball took over the Muse, and people in leather and tight corsets filled the halls. 

Kucinich gave a rally to an enthusiastic crowd, the Gay/Lesbian alliance held their Christmas party, and teenagers in tuxedos and pink chiffon held proms to loud rock and roll music. At 7:00 in the morning shoes were lined up outside the door of a classroom as the morning yoga class stretched and ohm’d. In the afternoon, high school kids made graffiti art in the parking lot, while pottery kilns shimmered their heat in the sun. At 7:00 in the evening, the building vibrated to the studded feet of a flamenco class. The Muse was more, so much more, than a building. She was alive, a celebration of Tucson's diversity, an engine and generator of creativity.

Sometimes residents fought with each other, and artists gossiped in the halls. Dirty dishes in the community kitchen were always a point of contention. Management came and went with various degrees of competency. But the Muse struggled along. Because, for all of it, the Muse was full of love, and human diversity. Her last year found her depressed, like someone with a terminal disease. People began leaving, doors stood open to empty studios, fighting among those who remained was more bitter than it had ever been before. And now the Muse is empty again. Haunted, and awaiting burial.

Who grieves for her? Certainly, I do. The Muse, who hosted so much vitality, who delighted in the sounds and colors of so many, now is abandoned on the corner of 5th and 6th, her parking lot empty, a chain link fence around her to keep out squatters. On her grave, I've been told, condo lofts will rise. I don't know the the corporate developers that bought her, and I don't care. They represent the forces of gentrification, "real" estate, and unquestioned "economic progress". In Tucson's so-called Historic Arts District they have imminent domain, and as downtown becomes more profitable, artist studios, galleries, and gathering spots, like the Muse, have become increasingly sparse.**

Artists are marginalized in America. I don't know if this is true elsewhere. Maybe it's easier to be an artist in Rome, or Paris. I’ve spent my life on this continent, and have observed that my peers spend considerable emotional energy trying to justify their endeavor in the face of a popular culture that, essentially, considers them superfluous. A few of my colleagues got famous; some landed jobs that made them middle class. Most of us didn't really care that much; we got by, and the rewards of a creative life were enough. But now, urban life is becoming expensive, even in Tucson. And rural enclaves, like Bisbee, and Sedona, and Jerome, have also become costly. 

The land the Muse was on is valuable, because the surrounding area has become interesting. Thanks to the artists, writers, cafes, bookstores, and clubs that have come to inhabit the area. For the past 10 years, people fleeing the cost of living in California are coming to Tucson, and developers are, from my perspective, barely able to contain their glee, by the proliferation of housing developments also blossoming like mushrooms in the surrounding, pristine desert. That most of these "McMansions" are inappropriate for their use of energy and water is another issue. 

There are many empty storefronts and warehouses now, with high rents, that undoubtedly await the advent of a Starbucks, or a Gap, or a Cost Plus. And meanwhile serve as a tax break.  In fact, there are precious few art spaces left in the "Historic Arts District". 

My question is, what is real value? In my book, the energy the Muse generated is "real value". If the city of Tucson really wants to encourage an arts district, why not give artists, and other social innovators, what they need: space. Inexpensive leases, rent control, protection, and respect for the energy they bring?The Muse was not derelict: it was full of tenants, a well insulated building. The waste of a creative community is a terrible loss to all of us. And I personally find the waste of the building as well is obscene. The roof could have been fixed, the air conditioner renovated. A few professional arts administrators could have been employed to keep it in the black. 

..............

Property speculation is intrinsic to our economic value system. But what about community goodwill speculation? Creativity speculation? What equity do the people who inhabited the Muse get for raising the monetary value of a neighborhood by, in essence, raising its energy? Real estate investors that buy up arts areas for gentrification are sometimes beneficial, but more often they are predatory, too often displacing the lively, and vital innovation of these areas with calculated, and expensive, formula. Without any motivation other than profit, they have no concern for the living organism that is a community. They are making money from the unpaid creative energy of people, well, like me. 

Recently I learned about a nonprofit in Phoenix called Arizona Citizens for the Arts. The organization is described in it's website as "the charitable arm of Arizona Action for the Arts (that) increases discussion and awareness of the importance and impact of the arts in achieving quality of life, educational excellence and economic health for all Arizonans and Arizona enterprises."

While I am glad such an organization exists, there is also something deeply disturbing to me about the notion that we need charities devoted to convincing Americans that art and creativity is something that can, just maybe, contribute to education and the quality of life. Is it possible it's no longer obvious? And, in the language of profit, I find it very depressing that the arts need to be justified because they can make money, providing "economic health" and accommodating, in some fashion, capital "enterprises". 

What is real value? Can we can no longer justify even the creative impulse, the masterful creation of beauty, and the healing depths of self-expression - unless we are convinced they can make money? What, then is "real value"? 

I'd like to affirm that the arts are the soul of any given community, and of any given civilization. They embody the conscience, the aesthetics, the history, and often, the future of an evolving culture. They celebrate what is best in the human experience, our highest aspirations and our complex human diversity. 

Farewell to the Muse. You will be missed. 

Copyright Lauren Raine 2005

**As i write, that's no longer seemingly so true.  The recession has been pretty good for artists, at least, art spaces seem to be re-appearing.

Cultural Creatives Movie - More Good News!

Illustration in 3-D of the actual domains and connections of the world wide web by  George Laughead

"The Internet is not a thing, a place, a single technology,

or a mode of governance. It is an agreement. "

  John Gage, Director of Science, Sun Microsystems, Inc.**

If you look at the image above (colors represent different domains and "threads" of the internet).....it could look like a web, or the nervous system of some kind of complex organism.

In most Hopi stories about the ending of the 3rd age, it is Grandmother Spider Woman, the  Creatrix Weaver,  who leads the people from chaos into the new world, the 4th World.  There are some legends that when the time has come, Spider Woman will return to show her children the way again.  Like the Mayan prophecies, the Hopi calendar is also ended, signalling the end of this age and the advent of a new era and the beginning of the "Fifth World".

I have often wondered if the World Wide Web just might be  Her latest appearance.

I recently viewed the new documentary by Cultural Creatives  through a related organization I subscribe to, the  Institute for the Emerging Wisdom Culture.   Speaking of Circles, and the weaving of worlds, of the rapid becoming of Integral (Circular) consciousness, speaking of possibilities instead of destruction, speaking of Spider Woman's shimmering web being re-woven, speaking of a new paradigm.......watch this film!  It's about hope - I'm so encouraged by seeing this!



**PS - did you notice the Pentangle in the image above?  Can't help but comment....

Incubating Circles

You have
noticed that everything
an Indian does is in a circle, and that
is because the Power of the World always
works in circles, and everything tries to be round. In
the old days when we were a strong and happy people, all
our power came to us from the sacred hoop of the nation, and
as long as the hoop was unbroken, the people flourished. The
flowering tree was the living center of the hoop and the circle of the
four quarters nourished it. The east gave peace and light, the south
gave warmth, the west gave rain, and the north with its cold and mighty
wind gave strength and endurance. Everything the Power of the World does
is in a circle. The sky is round and I have heard that the Earth is round like a
ball, and so are all the stars. The wind in its greatest power whirls.Birdsmake

their nests in circles. The sun comes forth and goes down again in a
circle. The moon does the same, and both are round. Even the seasons
form a great Circle in their changing, and always come back again
to where they were. The life of a man is a circle from childhood
to childhood, and so is everything where Power moves. Our
teepees were round like the nests of birds, and these were
always set in a circle, the nation's hoop, a nest of
many nests, where the Great Spirit meant
for us to hatch our children.
----Black Elk

Bird's Nest
by Keith Taylor