Wednesday, February 24, 2021

Spider Woman's Signature: the "Cosmic Spider"


"Spider and Cross", ubiquitous symbol of the prehistoric Mississippian culture

In 2007 I was an Aldon B. Dow Fellow at Northwood University, in Midland Michigan, for the summer, and was pursuing my fascination, indeed, obsession with, myths and symbols related to the Native American Spider Woman, but as She appears in my life, and in our contemporary world as well..  In time my obsession led me to travel across the country, to have many synchronicities
(one of those synchronicities led me to this building, which,
 now that I revisit it, very much looks like being under a giant Spider Web!)

and to create a community arts project I called "Spider Woman's Hands".  



The Project was continued at the Creative Spirit Center the following year (2008). As participants created "Icons" using casts of their faces, their hands (mind and creativity in manifestation), along with symbols of personal sanctity or significance to each participant, they wove a "thread" that unified all of their stories.  In each show that "thread" was "held" by each hand in each Icon, and ran right out the door.  
I look back at that time, following the "threads" that Spider Woman cast me as an artist and a person, as infused with magic and guidance.  I do not know if I have fulfilled that quest yet, but I do know that the symbols of the Spider, the Cross representing the union of all directions, and the Great Web are profoundly important symbols not just from the buried past, but for our time now.
Lately I've been feeling the "hand" of Spider Woman weaving in my life again.  I do not know where She might lead me...........

So thinking about this I re-discovered a Blog post from 2015 I found fascinating, information kindly sent me from a gentleman named Eddie Bailey in the U.K. in which he pointed out that the Earth's  magnetic field in its appearance is very similar to the prehistoric spider and cross  symbol found among the Mississippian people of  ancient America (one that, interestingly enough, also occured in 2005 as a crop circle in Wiltshire, England.  I do not see that many people in Southern England, hoaxers or not, would even know about this symbol, and personally feel this is a genuine crop circle.

 The "Cosmic Spider".....a  motif, for me, that embodies the concept of Spider Woman as, once again, midwife for a New Age.  

http://geomag.usgs.gov/about.php

As Mr. Bailey pointed out, 

 "The truth will cease to be stranger than fiction when we get used to it."........ "I realise symbols work on many levels or fractally.  It is said matter is condensed light, and Light is an electro-magnetic wave or particle.  The electric field and the magnetic field are ALWAYS perpendicular to each other - like a Cross on a certain level."

2005 crop circle of ancient American spider motif, Wiltshire, England




He also kindly shared comments by Laid Scrantonwho believes that the "primitive people" of Africa, the Dogon people, not unlike  the similarity between the  "cosmic spider" of ancient America and the Earth's magnetic field in relationiship to our sun, seem to have created or intuited a complex symbol language as well: 

"The Dogon symbols and concepts relating to atomic structure so thoroughly mimic their scientific counterparts that, if our purpose was to refute their basis in science, we would first need to explain in some believable way the following extraordinary similarities:

• The po, which is defined in terms similar to those that describe the atom
• Sene seeds, which are described in form and behavior as being similar to protons, neutrons, and electrons and whose "nesting" is recognizable as an electron orbit
• The germination of the sene, whose drawn images are a match for the four types of quantum spin particles
• The spider of the sene whose threads weave the 266 seeds of Amma, much as string theory tells us all matter is woven from strings. 
Likewise, there seems to be a relationship between Dogon cosmological drawings and the shapes of various Egyptian glyphs, yet among the Dogon, these drawings have never taken on the status of an actual written language.
Dada, the Dogon spider who weaves matter and whose name means "mother" in the Dogon language, exhibits many of the classical attributes of the Egyptian (and Amazigh) goddess Neith.  In fact, other ancient goddesses, like Athena, who are traditionally associated with Neith also are associated with spider symbolism similar to that found in Dogon cosmology. Such consistencies suggest that the Dogon system of myth could represent an early incarnation of the Egyptian myths."

Tuesday, February 16, 2021

A PAGAN ICON: "Asherah"


 

I've been interested in Catholic Icons for a long time, as well as Hindu and Buddhist Icons.......so I thought, since I'm having a lot of fun experimenting with painting again after so many years of not touching the scary gessoed  surface...........that I'd make some Icons of my own.  This one, dedicated to Asherah, or the "World Tree", is my first attempt, although I've done this image so many times in the past, the woman who is rooted in the Earth, the Tree of  Life, the great primeval Mother Earth.  But it was fun doing this because I could just paint from my imagination, unconstrained by the sometimes tedious process of being skillful, realistic, commercially viable, etc.  I look forward to doing more, these Icons for just myself!

Concerning Asherah, I copy below from a previous post:

                              Asherah and the Tree of Life







 Asherah  was often represented as a tree, among them the ubiquitous  "Asherah poles" (ashirim)  associated with Her worship in early (pre-monotheistic) Judaism. *** There is evidence that these wooden icons, and possibly, actual trees intentionally planted as icons or shrines)  were meant to be representations of Asherah.  Asherah is  sometimes  referred to as the wife of Yahweh,  whose name became something that could not be uttered, only represented as "the Lord".  The Asherah poles, and eventually the name of Asherah, were banned from worship as Judaism became monotheistic and established the sole deity as male.

Interestingly, with the early advent of Gnostic Christianity, Asherah is perhaps re-born in the form of Sophia, the feminine face of deity, often called the "mother" or sometimes "wife" of Yaweh.  The emblem for Sophia was often a dove.   

I never would have associated the Tree of Life archetype,  which has been a part of my spiritual vocabulary for more years than I remember,  with  Asherah had I not investigated just recently  because of a visionary experience during a healing session.  

I had some energy work done last week with an alternative  healer. Not unlike Reiki practitioners, although her system had a different name, she worked with me for over an hour, helping me to enter into an altered state of consciousness, kind of like a meditation, while she, in channelling energy to work with me, also entered into an open, meditative  state.   As I closed my eyes, the session began for me with the appearance of a white dove that visually manifested right  before my (closed) eyes.  But not a literal kind of bird, more like a sacred emblem, what one might see in a church.   I immediately thought of the "Dove of Sophia",  which is of course associated with  Peace to this day. And as a Christian icon representing the Holy Spirit, it may very well be that the origins of the Dove go all the way back to Gnosticism and Sophia. 

Who, like Asherah, was removed from patriarchal monotheistic theology, Her symbols often co-opted to support the later mythos of a strictly male deity without a wife, mother, or, for that matter, a daughter either.

The healer, after the session was over, told me that she clearly saw a Goddess form present during the healing.   The healer, who is not much familiar with Goddess archetypes,  said that the name she got was "Ashara".  She also mentioned that somehow trees or wood were associated.  I couldn't think of what that meant, until I looked it up on the Internet later, and then (of course!) discovered the Hebrew Goddess  "Asherah".   

Visions, like dreams, have multiple layers of meaning, and like dreams, exist outside of time.  In my experience Spirit communicates in visionary, symbolic, mythic ways, often from the great "library" of  human archetypes.  This visioning was a blessing for me, and something I will continue to contemplate and ask to understand.  


"Asherah" (Artist unknown)


*ASHERAH POLE
From Wikipedia, the free encyclopedia   *** https://en.wikipedia.org/wiki/Asherah_pole

An "Asherah pole" is a sacred tree or pole that stood near Canaanite religious locations to honor the Ugaritic mother-goddess Asherah, consort of El. The relation of the literary references to an asherah and archaeological finds of Judaean pillar-figurines has engendered a literature of debate.  The asherim were  objects related to the worship of the fertility goddess Asherah, the consort of either Ba'al or, as inscriptions from Kuntillet ‘Ajrud and Khirbet el-Qom attest, Yahweh, and thus objects of contention among competing cults. 

In translations that render the Hebrew asherim into English as "Asherah poles," the insertion of "pole" begs the question by setting up unwarranted expectations for such a wooden object: "we are never told exactly what it was", observes John Day.[4] 

Though there was certainly a movement against goddess-worship at the Jerusalem Temple in the time of King Josiah, (2 Chronicles 34:3) it did not long survive his reign, as the following four kings "did what was evil in the eyes of Yahweh" (2 Kings 23:32, 37; 24:9, 19)[citation needed]. Further exhortations came from Jeremiah. The traditional interpretation of the Biblical text is that the Israelites imported pagan elements such as the Asherah poles from the surrounding Canaanites. In light of archeological finds, however, modern scholars now theorize that the Israelite folk religion was Canaanite in its inception and always polytheistic, and it was the prophets and priests who denounced the Asherah poles who were the innovators (of monotheism with an exclusive male god).

Asherim are mentioned in the Hebrew Bible in the books of Exodus, Deuteronomy, Judges, the Books of Kings, the second Book of Chronicles, and the books of Isaiah, Jeremiah, and Micah. The term often appears as merely אשרה, (Asherah) referred to as "groves" in the King James Version, which follows the Septuagint rendering as ἄλσος, pl. ἄλση, and the Vulgate lucus, and "poles" in the New Revised Standard Version; no word that may be translated as "poles" appears in the text. Scholars have indicated, however, that the plural use of the term (English "Asherahs", translating Hebrew Asherim or Asherot) provides ample evidence that reference is being made to objects of worship rather than a transcendent figure.

The Hebrew Bible suggests that the poles were made of wood. In the sixth chapter of the Book of Judges, God is recorded as instructing the Israelite judge Gideon to cut down an Asherah pole that was next to an altar to Baal. The wood was to be used for a burnt offering.

Deuteronomy 16:21 states that YHWH (rendered as "the Lord") hated Asherim whether rendered as poles: "Do not set up any [wooden] Asherah [pole] beside the altar you build to the Lord your God" or as living trees: "You shall not plant any tree as an Asherah beside the altar of the Lord your God which you shall make". That Asherahs were not always living trees is shown in 1 Kings 14:23: "their asherim, beside every luxuriant tree".  However, the record indicates that the Jewish people often departed from this ideal. For example, King Manasseh placed an Asherah pole in the Holy Temple (2 Kings 21:7). King Josiah's reforms in the late 7th century BC included the destruction of many Asherah poles (2 Kings 23:14).

Exodus 34:13 states: "Break down their altars, smash their sacred stones and cut down their Asherim [Asherah poles]."  Some biblical archaeologists have suggested that until the 6th century BC the Israelite peoples had household shrines, or at least figurines, of Asherah, which are strikingly common in the archaeological remains.

Raphael Patai identified the pillar figurines with Asherah in The Hebrew Goddess.

Saturday, January 23, 2021

Four Years Ago: Remembering the Women's March!

 



The March in Tucson - "Sophia", "Quon Yin", and "Spider Woman"

"6,000 years of patriarchy, and the best you can come up with is Donald Trump?"



Oakland, California - thanks to Annie Waters and Friends


And elsewhere:  New York, Los Angeles, Chicago, and all around the World.

 (All photos below from  The New York Times)















Tuesday, January 19, 2021

"Joanna Hearing Music"

"Joanna Hearing Music" (2021)

 

My continuing efforts to "get my hand back" - I'm  pleased with this painting, as it has been in my mind for a long time.  I wanted to make a painting to honor my friend the Composer  Joanna Brouk, who passed away in 2017.  She used to tell me that she "heard the music" first, and often her composing happened afterwards.  She was one of the most extraordinary and brilliant people I have ever known, and hardly a day goes by that I don't miss her.  

Wherever you are, Joanna, I hope you like this painting.

"I still see shapes when I hear music
It was never my desire to be “out there”
It was just my joy to do it
I hear music still
I write every day.
The writing and the music come from the same place.
There’s a lot of stuff coming through still
Last night I was awoken by Goddess dreams
And that happens a lot."

Joanna Brouk 
as told to Douglas Mcgowan, August, 2015



Thursday, January 14, 2021

Silly Paintngs


I can think of nothing profound today to note in my Blog (well, there is so much profound going on all around me that, in truth, I am speechless)..........so I'm just going to post a couple of my experiments.  I'm trying to find my way back to painting,  braving the blank faces of all these canvases I've collected.  Wow, I am rusty.  So I've just been making silly paintings, and not worrying about whether they are good or not or have any "meaning".  But here's a few I find I like anyway.  

It is good to find my friendship with paint again!  I have so many old paintings that have either been destroyed, lost, mostly given away, or sit in a dusty closet...............I think I shall review them and make their aquaintance again.

Painting is the most challenging art to me, and those who master it are truly remarkable people.  It's also very sad that art in general is not valued, and particularly now painting is a doomed end for most people who do it.   People only value paintings if they end up in some kind of museum or gallery that says "they have value", and reduce the aesthetic experience to a dollar sign instead of a window into another world................... I think, to honor my "lost children" my next post will be all the paintings I've done  and have a record of that were destroyed or lost.  


Friday, January 8, 2021

Reincarnation Reflections

 


An onion,  that's it. 

All those layers. 

Just when you think you can name yourself,

you discover new layers, you’re forming a new skin,

a new ring.  But there's a core.

And where does that core start?


 I've been reading Beyond Reincarnation by Joe Slate Ph.D.   I'm a fan of the work of Dr. Slate, a psychologist, teacher,  and researcher into the paranormal and spiritual, who developed group as well as self-hypnotic methodologies to explore consciousness that are highly effective.

In the 80's I was fascinated with reincarnation, underwent some life regressions through both group  and individual process, and I continue to  be fascinated, although I no longer pursue regression experiences.  I suspect  because, at 71, I'm close enough to having to summarize  and wrap up this incarnation to worry much about previous ones!  

I do believe that the research, and better, experience of "life regression" is so important, because it can experientially as well as conceptually  free people from the fear of death.  My experiences of past life regression, along with my many encounters with spirit communication and friendships shared with mediums I have known, as well as listening to those who have had near death experiences, has done so for me.  Negative religious propaganda, like "eternal punishment in hell",  or "suffering because you have bad karma", etc.  has created so very much personal and social trauma.  "Carne" is Latin  for "flesh" or "meat".  "Re-incarnate" - to become physical, carnal.   How extraordinary the hypnotic experience was,  to discover there are  "other people" within "you".  As the Buddhists say, in light of such visionary experience, "where is the 'I'?"

"Old Masks" (2018)

I think that the deepest, most timeless moments I remember  (outside of  the  intimacies and conflicts and  discourses of relationships that "grow a soul")....are those  visionary moments I have been privileged to experience, some spontaneous, most voluntary.   In the realms of visioning  many-layered possibilities and truths reveal themselves in ways that cannot always be understood in  a concrete, "in-carnated" sort of way.   Or even in a temporal way.......one cannot think of visioning as structured in a time progressive way, any more than one can understand a dream as occuring in "time".  There  is no time in dreams. 

In the 80's I belonged to a group that met weekly to explore spiritual exercises, meditation, and past lives.   I  also worked with a counselor  who did past life regression.  Our group used tapes from  Robert Monroe (the Monroe Institute)  tapes.  I read anything I could get my hands on, from Edgar Cayce to Roger Woolger*** and others.  The most meaningful discoveries I made on that subject  I have  continued to learn from, again as one learns from dreams - they  return throughout one's life.  Dreams exist outside of time or space as we understand it in our waking lives, and I believe  the structured experience of time  is much of what the   "in-carnate" experience is about.  Time is different in dis-embodied experience (a medium told me this is one of the reasons "earthbound spirits" hang around houses - they have no sense of time as we do).  

I find that my visioning experiences  remain for me as vivid and lucid in memory now as they were 30 years ago or longer.  They are footnotes on the unfolding story of my experience.   Their meaning unravels to reveal patterns as the story unwinds, the story being my life.

What made  reincarnation work striking for me  was how very mundane what surfaced usually was.  I have an excellent imagination as a trained artist, but alas, I never turned up a lifetime as Cleopatra, or a priestess of lost Atlantis, or a great Renaissance artist.  I would have enjoyed that!   What came up were scenes  of  impoverished lifetimes, short lifetimes, and lifetimes in which I was a servant, slave, or otherwise indentured to a group or individuals. As well as a  more primitive tribal lifetime, in which I had more status, possibly as a kind of shaman or a herbal healer.

untitled drawing (1975)

Which, when you think about it, is basically what most human lives are and have  been.   Only a few elite have ever had the freedom  to define their own lives and/or  the lives of others in powerful or creative ways, and if you were a woman or a minority of some kind, your chances were even less so.   Perhaps, I might add, consensus and egalitarianism was more so in tribal societies, or pre-patriarchal societies.  But certainly,  for what little we know of history and the advance of civilizations, for the commoner, life was pretty constrained, and it was always framed by hunger.

I remember very clearly, for example, a regression to a lifetime as, apparently, a young foot soldier. By the way, the regression process, for me, was always like having little glimpses into particular segments of a life, segments that had particular meaning.  In this case, the regressionist  asked that I look at my legs, and I saw that   I wore some kind of knee length tunic, had sandals and brown skinned, hairy legs.

When  I was asked to go to an important event, I found myself at a rough table in some kind of smoky,  dark room.  I was with a group of young men, all dark eyed and black haired.  We were drinking some kind of beer, and were joined by an older man with a beard (he actually could have only been about 30 or so, but I was in awe of him).  I was completely delighted that this person of authority would join us.  

Later in the regression, I saw myself killed by a spear at about the age of 17.  I hadn't done anything in that short life really,  and it says something that apparently the most exciting, treasured  thing that  ever happened  was I got to drink beer with a Captain.  Now that is a lot more convincing than had I seen myself on a throne surrounded with gold.  And there were other regressions along those lines with very little self-determination, and much hunger.  

I sound grim, I suppose, remembering this subject.  But actually I think the lives that surfaced in doing that work, and at a time when I was getting my Master's Degree, were important to the empowerment and sense of self I sought as I struggled to become a professional artist and teacher.  It was as if Divine Wisdom needed me to look at those particular lifetimes to heal them in this lifetime of so much more freedom, wealth and privilege.  Which brings one to the idea that we need to balance or heal traumas not only from this life, but from others as well, that there are  patterns that persist within the integral "story" of our souls.

"Form Is Empty" (2008) 

There was a very intense regressive process that occurred with a psychic we worked with as a group in Sedona.  She took each of us into a trance state separately, and in my case, I found myself a young girl of about 16 in what seemed to be  17th century France (it's interesting that I've always been in love with the French language, and pronunciation comes easily to me).  Essentially,  the girl was a peasant in a country estate, and was taken to the manor house by  a youngish aristocrat to become  his servant and occasional mistress, of whom he quickly tired.  She didn't have many choices about the situation, and was placid and resigned.  He was married, and the girl (me) became a nanny to his children.   There was a fire on the estate, the wife was killed, and the aristocrat and family, along with servants, apparently were moved to a city, where I continued my life as a servant in his home.

Eventually he found another wife, a young woman I felt great affection and sympathy for, as he was both negligent and abusive to her.  When carried to the time of death, I was apparently in my 50's, alone and exhausted in a grey room.  I felt "grey".  And interestingly, that sense of being "grey" is my first conscious memory from childhood, until one day I looked down and saw that I was wearing a dress, had little feet, and came to the rather adult realization that I was a little girl!  After that, the "grey" went away, and I became  involved with the experience of growing up.  I do not know if that "grey" pertained to that lifetime in France, I just remember it as a sadness or resignation that I identified as a color somehow.

I remember that the therapist called that an "unclaimed life", that I had cared for other people's husband, other people's children, lived in a house that was not mine, and  had no value to much of anyone other than as a servant.   She said it came up because I needed to understand what it would be like to have "my own" life now, to claim "my own" power, to make my own choices.  This was a theme in these sessions, and now, with the perspective of a long life, I see that it has been a theme running through the life of Lauren Raine.    And the lives of many others, of course.  

There were some surprising regressions that I still ponder over.  In 1987 I began working with crystals, and making crystal jewelry.  One regression that I did with our group (we would share our experiences after trancing) was entirely inexplicable, and yet, still strikes me as lovely.  I seemed to be an old person who was a kind of village shaman or herbalist.  I was so old, or perhaps so on the periphery of the tribe I lived with, that my sex didn't even matter, I couldn't tell if I was male or female in the visioning.  I seemed to live alone  in a hut of some kind that had lots of herbs and bones and rocks I had gathered.  

There was a woman who came to us, a teacher.  She was so different from us, racially and in other ways.  She was from a much more sophisticated culture.  She had fair skin, was tall with dark hair, and wore black, and I was completely in awe of her.  She taught me that everything I believed was wrong, was naive.  One of the things I saw her do was to sit before a big crystal, and placing her hands on it.  As she concentrated,  she "dematerialized" - she and the crystal just disappeared.  And then she came back!

"The Heart Sutra" (2008)

I still have that vision clearly in my mind, and the deep reverence "I" felt for this person.  The last part of that regression concerned me watching her die.  I was with a lot of people, and we were gathered around her, and strangely, I could hear what she was thinking.  Which must mean that I was not incarnate myself!  She was very frustrated to be dying!  She keep thinking that her work wasn't finished, while a multitude of souls were gathered around her in love and in respect.  

I still think on this priestess or whatever she was, and wonder.  Was she from Atlantis?  Was there an Atlantis?  Did people know how to "dematerialize" with crystals?  Was it all just from my imagination, since I was working with crystals at the time?  One of those elegant mysteries.

I do feel that when we seek "vision" through various practices, such as my own experiences of working with healers, psychics, or through guided meditations, or we have significant dreams, or have a spontaneous visionary experience (often brought on by trauma) they are providing information needed for the particular time they occur.  I had my "tribal shaman" meditation while being fascinated with crystals in the 80's, and at that time I was making amulets with crystals. 

"Skin Shedder Mandala" (1987)

I accessed my lifetime as an ignored and exploited servant in France while I was in a short but very abusive relationship with a man that took me a while to heal from.  Ironically, I entered into that relationship just as I was completing my MFA, and receiving attention and praise for my artwork,  and preparing to go into the field of teaching as a professional artist.  I grew up in a family with a father who was both neglectful and abusive to my mother, and as is common in such households, I proceeded in my 20's to have a number of abusive relationships.  I look back at that time, and cannot help but feel that I made myself a "victim" immediately after achieving success and acclaim because success and acclaim was either something I felt unworthy of, or a responsibility I could not endure.  Being a victim, being ignored and neglected  (I call this my "cleaning lady persona") can, in a way, be a miserable yet comfortable place to be, devoid of personal responsibility, familiar and predictable.   In fairness to myself, I was also, in this lifetime as well as perhaps others, taught that my work was not important or worthy - thus I have often found myself denigating or dismissing what was really the best of my talents and efforts.

Throughout my life this has been an issue I have had to deal with, as women especially have to deal with this externalized as well as internalized reality.  I think my experience of seeing a lifetime as a French servant was showing me a deep pattern, with feminist significance as well as personal,  I was working on shifting in this lifetime.  It may well be that the abusive and arrogant man I had that brief but miserable relationship with was the same "aristocrat" I glimpsed in that past lifetime.   If so,  as a "realist of a larger reality", he was my benefactor by playing that role so that I could perceive the pattern.  To grow and learn, and also, to perhaps aid others with that understanding.

"Open" (2010)

***Roger Woolger was a psychologist, therapist, and researcher into Past Lives Therapy, Buddhism, and metaphysics.  His many articles and books are well worth reading.  He also collaborated with his former wife, Jennifer Barker Woolger, in one of my favorite books about the Goddess and Goddess Archetypes, a book that had deep significance for me and which I used in my workshops.  And there is a story I could tell about Jennifer Barker Woolger that concerns synchronicity and the Goddess.

But I'll tell that later.

Front Cover