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| SOW |
The Caillech
Friday, February 18, 2022
Monday, February 14, 2022
2014: A HYMN by Ursula K. Leguin
Our prophets lead our people on
Fast to the promised land,
And where we pass, the green of grass
Turns to bare brown sand.
So high our cities' towers soar
Above the deep-set fault,
Immense they rise into the skies,
Pillars of cloud and salt.
Impatient with the patient day,
We rush to gain tomorrow,
Our ships that plough the seas with nets
Leave a long and empty furrow
Our quick inventions spend our time
Faster and ever faster,
While kind and unforgiving Earth
Endures our brief disaster.
For all we do is nothing to
Her bright eons of days.
So let my dark tune turn and end
As all song should, in praise.
And in the hope of wisdom yet,
I’ll sing the hymn that praises
Earth’s greater life that gives us life,
The grace that still amazes.
Ursula Leguin,
from “Late in the Day” Poems 2010 to 2014
Thursday, February 10, 2022
Reflections on Sacred Places
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Avebury “There are no unsacred places; there are only sacred places and desecrated places.”― I've been rather saddened lately to realize that long distance or international travel may not be in the cards for me anymore. I had thought to go to England again this year, but with increasing chronic pain from arthritis and loss of mobility, I realize it's not feasible. I will at least go into the studio this summer, Goddess willing, and to that end I'm trying now to create a flow and a plan that will allow me to travel internally, if not externally.  I've been thinking about what my life long passions are, of what I could perhaps share that could contribute, return a bit to the gratitude I feel for the great gift of my own long life. I keep coming back to that deep sense of the living Earth, the sense of presence I have always felt when in nature, or in the garden, at hot springs or at the ocean......how magical those numinous moments of "communion" have been for me. Moments dowsing for "ley lines" or water. Moments spent walking on the land, random visions or insights that just occured and I was receptive to hearing, to remembering what I heard. Like hearing a voice at the Chalice Well say "Covenant Garden". Synchronicities, such as seeing a shimmering "green heart" in the grass, at just the right moment. The transformative power I have felt at sacred places I have visited, equally, the intimately transformative powers or presence I have felt in places no one thinks of as particularly sacred. And yet, they are. It may well be that our intention, or simply our love and friendliness, can make a place sacred. This experience of the Numinous, of "Spirit of Place", which ecologist and philosopher James Swan has written eloquently about, is something I know we, as a planetary civilization, need to regain in all of its diversity. Something we need to regain experientially through pilgrimage, and through the expressive and intuitive language of myth, poetry and art.   In 2018 I went to England to attend a Gatekeepers Conference called "Dreaming the Land: Working with the Consciousness of Nature" . I spent time again among the Stones of Avebury, the great prehistoric sacred landscape that includes Silbury Hill, and in all probability included the famous Stonehenge site as well. I re-visited the White Spring and Red Springs of Glastonbury, and renewed my aquaintance with the "genus loci" of the Chalice Garden there. I had hoped to bring that inspiration home, and speak about it and a presentation called EarthSpeak arose from it. Then Covid happened, and many other concerns, and I have not really followed through with my intentions to somehow create art works about those experiences, those insights, those visions. How does the Earth speaks to us? I have not really begun that endeavor yet. But others than myself have, many others! I remembered a conversation I had once in a coffee shop in Soho, in New York City, with an artist named Caroline Beasley Baker who so kindly agreed to allow me to interview her about her visionary art works. She spoke about the "Dreaming Earth": "I once had a wonderful dream. I dreamed I was riding across the Australian desert at night. I was on a bus, and everyone was asleep. I looked out, across the dark, and saw, rising up out of the desert floor, these incredibly beautiful murals, in huge caverns lit by firelight. I knew they had been made by some consciousness predating humanity, that they had been here for millennia. They had never been seen in the world before, and were now rising up to the surface of the Earth. Those paintings were more glorious than anything I've ever seen in my life! At the end of the dream, a voice said to me, "Caroline, that's the Earth dreaming". The Aborigines believe that everything rises from the Earth, everything rests in the Earth and emerges when its time. That's what my dream was about: the Earth dreaming and awakening."1. I felt like sharing here again an article by James Swan, who has written extensively about the intelligence of the land, and has been a continual inspiration to me over the years. Dr. Swan has published numerous books about the Spirit of Place. His book "The Power of Place" draws on 26 presentations drawn from the five year Spirit of Place symposium held in the US and Japan between 1988 and 1993. I wish the symposium was still happening, because its importance to changing consciousness is more vital than ever.  "If you have come upon a grove that is thick with ancient trees which rise far above their usual height and block the view of the sky with their cover of intertwining branches, then the loftiness of the forest and the seclusion of the place and the wonder of the unbroken shade in the midst of open space will create in you a feeling of a divine presence, a Numen.” ............Annaeus Seneca junior The Spirit of Place Symposiums: Seeking The Modern Relevance of Ancient Wisdom By James A. Swan, Ph.D ________________________________________ "Modern man will never find peace until he comes into harmony with the place where he lives." Carl Jung (Pantheon, 1964) ________________________________________ Introduction The ancient Greeks spoke of the "genus loci," or spirit of a place. They sited a shrine to honor the Earth Goddess Gaia at Delphi in Greece because the unique personality or spirit of that place was divined to be especially suited to Gaia residing there. Understanding the forces that drew the early Greeks to reach that decision may well be a concept that is at the very root of developing sustainable human societies on earth and creating tourism programs that maximize the unique values of each destination. Like trees, the human spirit needs roots, and a primary root of the psyche is in the land. Psychiatrist Carl Jung was an explorer of those deeper regions of the mind, the unconscious, where symbols and primal energies originate. Jung declared there were two types of unconscious: personal, which is unique to each person, and collective, which is shared by all humans, and seems to have loose boundaries with other objects and creatures (Dell, 1968). In our sleep, the unconscious comes to the forefront, and Jung observed that people tended to have dreams of a similar archetypal nature when sleeping at certain places. Jung called such place perception "psychic localization," and asserted that it was an important part of human nature. East Indian scholar Ananda Coomaraswamy agreed with Jung about the unique association between place and consciousness and noted that myths were frequently linked to certain places. He coined the phrase "land-nam," a term derived from the Icelandic tradition of claiming ownership of a place through weaving together a mythic metaphor of plants, animals and geography of a place into a unique mythic story (Luzac, 1935). The spirit of place plays a strong role in traditional societies, where it is commonly held that each place has a personality and some places are associated with spiritual sentiments. Ancient wisdom deserves respect and preservation, but what additional value may such concepts as the spirit of place have for modern society? The Spirit of Place Symposiums From 1988 to 1993 my wife Roberta and I produced a five-year series of annual symposiums -- The Spirit of Place: The Modern Relevance of An Ancient Concept -- seeking to help restore the wisdom of the past about the significance of place and explore its meaning to modern times. Each symposium was begun with an open call for papers, inviting people from all disciplines and cultural heritage backgrounds to share in a common quest for understanding the subtle power of place. Nearly 300 speakers participated in the programs, four of which were held in the United States -- University of California at Davis, Grace Cathedral, Mesa Verde National Park, and at the San Rafael, CA, Marin Civic Center designed by Frank Lloyd Wright -- and one was held in Sendai, Japan. Speakers represented disciplines as diverse as aerospace engineering, biophysics, psychology, architecture, biology, law, history, anthropology, music, dance and art. Members of 20 different American Indian tribes participated with speeches, music singing and dancing, along with others from Eskimo, African, Polynesian, and Oriental ethnic backgrounds. The rule that was used to organize such a diverse group was that they had to participate as peers, equal experts in whatever their profession. Thus panels blending a salmon fisherman with a physicist and an aerospace engineer with priest and a farmer became a common search for truth where many new alliances were forged. At each program, we concluded with a performance inspired by special places. Artists who performed included flutists Paul Horn and R. Carlos Nakai, dancer-choreographer Anna Halpern, keyboard artist Steven Halpern, Japanese recording artist Jun Hirose, and the rock-fusion band Earth Spirit. Lessons of The Spirit of Place In producing these programs our principle goal was to explore the modern validity of this ancient concept. We did not to try to start a spirit of place movement. Rather, we hope that what has taken place will set the stage for others to conduct programs that will advance our understanding of the power of places everywhere. In these five programs, listening to nearly 300 speakers, formally and informally, we heard common themes emerge. The following are some of these shared areas of agreement: 1)Among indigenous cultures all around the world, the belief in the existence of special places of power and spirit seems universal. It is commonly believed that some places have spiritual powers, and these places are normally seen as cornerstones of traditional cultural belief systems. Modern society has often not paid much attention to sacred places, which is a source of great concern to traditional cultures. Another concern is that modern cultures tend to see places as only having value to the past or to other cultures, rather than to society in general. 2) At each of the five Spirit of Place symposiums researchers and designers from many disciplines agreed that gaining a sense of place is a very important part of their work, yet there is very little research on this topic or professional organizations seriously investigating the topic. Modern people are often aware of the unique spirit of a place, but do not have a vocabulary to express their feelings, except through art. 3) A characteristic style of art seems to arise from a geographic region; it is a voice that speaks to us through indigenous art of the spirit of that place. Drawings, paintings, carving, sculpture, stories, songs, poetry and dances, are all fed by the spirit of a place. The artist's mind is not so encumbered by the constraints of intellectual reasoning and so it becomes a more clear channel for the unconscious to expressed. He or she gives voice and form to the spirit of the land. 4)The experience of place is multi-faceted and influenced by culture, personal uniqueness and modality of awareness. There may be many more sensory processes by which we perceive the earth and nature than modern science and psychology are willing to admit. Ancient traditions such as Chinese Feng Shui assert that we have at least 100 senses to perceive place. The needs of modern society for ecologically conscious design suggests that in the training of designers we should seek to cultivate the inner designer as well as training professional skills. 5) Each place has a unique quality which in turn influences what can best be done there. The built environment can serve as an amplifier of the powers of a place, or it can negate the influence of locality, yielding what Frank Lloyd Wright called "cash and carry architecture." Architecture and design that honors the spirit of place and gives it meaning and form expresses beauty and nourishes health and creativity. Architecture is ultimately a ritual in structural materials. 6)The act of making a pilgrimage to special places is among the oldest acts of human respect for nature and spirit, and one of the least understood and appreciated by modern society, despite the facts that we undertake pilgrimages by the millions each year. Psychology needs to better understand the value of pilgrimage to human life as it may be one of the most important ways that we can discover our meaning, find health, and be inspired, as well as build reverence for nature. 7)The lack of feeling connected to a place, especially a place where one lives and works, can be an important source of mental and physical stress. People need to feel peaceful where they are, and maintain a psychic connection with a place of natural beauty if they do not reside in one. Actor James Earl Jones, who gained his awareness of the power of place by growing up on a dirt farm in northern Michigan has observed: "I have always thought it quite wonderful and necessary to keep connected to nature, to a place in the country landscape where one can rest and muse and listen" (Chas. Scribner's Sons, 1993). 8) Geomancy is the spiritual parent of modern design. Many ancient geomancies understand the importance of the relationship between place and personal experience and take elaborate measures to insure people are harmonized with the spirit of a place. When principles of design from Feng Shui and other geomancies are applied to modern buildings and communities, positive results occur. We need to set aside our limiting beliefs and appreciate the power of such approaches in the same fashion that western science has acknowledged the healing values of acupuncture, even though modern science cannot prove the existence of the life force chi and other geomantic concepts. 9)Modern science is beginning to measure the subtle properties of place. We now know that air ions, electrical and electromagnetic fields do influence health and well-being. More research needs to be devoted to the study of subtle environmental fields. Documenting the existence and value of these fields, may well lead to a whole new art and science of design with modern science and ancient wisdom working together. 10) In a Spirit of Place keynote, psychologist Robert Sommer observed that people can become "a voice" for the spirit of that region as much as for a human community or a relationship. John Muir, for example, seemed to embody the spirit of Yosemite Valley. The Lakota holy man Black Elk was a voice for the Black Hills of South Dakota. Rachel Carson was inspired by Cape Cod to write about "the sense of wonder" in nature as well as the dangers of pesticides to ecological balance. Becoming a voice for the land creates a "psychic anchor" that seems to be important to mental health. 11) The spirit of place concept is less understood by modern society, and one result is that conflicts about the value of place can and do arise between traditional and modern cultures.It is easy to flame the fires of conflict in such situations, creating enemies to raise funds to wage wars that should never have to exist. This kind of self-righteous scapegoating is as exploitive as developers who wish to commercialize sacred places for the sake of pure profit. The more difficult task is to build bridges of respect and cooperation between traditional and modern cultures, but it is the only path that can lead us to greater harmony and understanding. 12) We need new laws and land-use categories that facilitate honoring the power of place, including recognition of sacred places. Creating the public policies that yield such laws will require cross-cultural communication, cooperation and understanding unprecedented in modern society. Conclusion The consensus among participants in the Spirit of Place Symposiums is that we must rediscover the wisdom about the power of place and turn it into practical concepts that will guide modern people to live in harmony with the earth, as well as show respect for ancient traditions. Learning to plan and design with respect for the unique spirit of each place is a touchstone of responsible eco-tourism that respects traditional cultures and provides important benefits to modern culture as well. ________________________________________ This paper is drawn from Dialogues With The Living Earth by James and Roberta Swan (1996) Bibliography Coomaraswamy, Ananda. 1935 Jones, James Earl. 1993 Voices and Silences. New York, NY: Chas. Scribner's Sons, p.358. Jung, Carl 1964 Civilization In Transition: Vol. 10 Collective Works of Carl Jung New York, NY: Pantheon. Jung, Carl 1968 Man and His Symbols New York, NY: Dell. Lawrence, D.H. 1923 Studies In Classical American Literature. New York, NY: Thomas Seltzer and Sons, p.8-9. Swan, James 1990 Sacred Places: How The Living Earth Seeks Our Friendship Santa Fe, NM: Bear and Company. Swan, James ed. 1991 The Power of Place Wheaton, IL: Quest Books. Swan, James and Swan, Roberta 1996 Dialogues With The Living Earth Wheaton, IL: Quest. |
Tuesday, February 1, 2022
A Few New Masks
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| Mermaid (2021) |
Still like to keep my hand in................thinking about opening an ETSY store in the Spring, so that I at least have a place to show new work. Tucson doesn't really have any galleries that would be interested in my work; maybe I should see if there are opportunities in Santa Fe? I wish I had people here to work with the masks and find their stories and their gestures. Too isolated these days...........
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| Quon Yin (2021) |
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| Ceres (2021) |
Sunday, January 30, 2022
"Sedna" and a syncronicity
Giorgio de Santillana and Hertha von Dechend, Hamlet's Mill "In the archaic universe all things are signs and signatures of each other. Inscribed in the hologram, to be divined subtly."
Every time I sit down to write, I always feel like it entails constructing articles complete with footnotes and addendum.......which is one of the reasons my articles have been not very inventive or prolific lately. Having said that, I'm going to loosen up, maybe make a few subjective statements and meandering surmises, and stop feeling I have to write as if I was defending my ideas at a podium.
Currently I belong to an online group that meets once a month to share and discuss synchronicities, or meaningful coincidences. Because of that, I've been wanting to collate or review some of the many synchronicities I archived in this Blog. Below is one from 2012 that involved a good friend of mine, the sculptor Georgia Stacy who lives in Nogal, New Mexico.
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| Erica Swadley as "Sedna's Shaman" in Restoring the Balance (2004) |
In 2009 I sent out an email about an article to be published in Coreopsis : A Journal of Myth and Theatre for their Summer/Autumn Issue of 2009. The theme for that edition was ironically themed "Mask, Mirror, and Muse". My article was about my ritual theatre event/performance at the former Muse Community Arts Center: "Restoring the Balance: the Mask of Sedna" .
I'm proud of that article. Restoring the Balance was the last event I personally directed using the Masks of the Goddess collection, although they did travel to other producers. It was also an event wholly infused with, for lack of a better word, a kind of numinous presence, and synchronicities abounded in it's production. I even found myself after the event with spirit photographs!
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| Katherine Josten as "Sedna" |
I have always felt I had a responsibility to document and share the stories participants created, told, or re-told with the masks. Not just the ever-evolving myths themselves, such as the "Story of Sedna", Inuit Mother Goddess of the Ocean, but also the stories of the rituals, the performances, the insights that arose for those who were involved in the productions. In the hope that those archives may inspire others to carry on the work. These were collective re-mythings: prayers and celebrations of the multi-cultural Divine Feminine through the medium of story, performed within the liminal landscapes of ritual, theatre and sacred space.
As members of the neo-pagan Collective Reclaiming used to say when a Circle was cast for ritual work:
"We are between the worlds now, and what happens between the worlds can change the world."
To be "between the worlds" is to be in that zone between the secular and the sacred, a circular "wholly" place that is fertile and imaginally fluid. ("Imaginal cells" is the actual scientific term for the cells that are responsible for transforming a caterpillar, immersed in its chrysalis, into a butterfly. They are alchemic agents of biological change.)
"I think many artists feel they are weaving some form of energy into their work. It's what psychometrists see when they "read" objects. There is an aesthetic psychometry each person does as they look at a work of art. Artworks are like batteries - if we're receptive, they can charge us. My idea of reality is that there are many, many interpenetrating dimensions." .....Alex Grey
"What happens between the worlds", fashioned with individual and collective intention, occuring with or without the form of conscious ritual or pilgrimage, is a generative place, ripe with syncronicities, because therein the boundaries lessen.
"Wind Borne" by Georgia Stacy
So, what this is leading to is an email I received, after forwarding my article about the Myth of Sedna, to Georgia in New Mexico. Recently, Georgia has begun to include whale flukes instead of wings in her wood sculptures. Here's a new piece from that series and an email she sent me back.
Lauren, This is more than a coincidence. I was reading the "Inuit Imagination". When I came to the sculpture carved for Sedna, with a whale fluke, I cried for the second time. I cried the first time I heard the story, many years ago. But, the clincher...right before I turned on the computer to find your email, a friend called and wanted to read me the story of Sedna, because I had just finished a sculpture with bones for arms. Life is so interesting.
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| SEDNA https://terragenesis.fandom.com/wiki/Sedna |
Interestingly (synchronistically) "Restoring the Balance" was produced at All Nations Hall at the Muse Community Arts Center on April 9th, 2004. I did not know it at the time, but just a few weeks before that NASA announced the discovery of a new planet beyond Pluto which astronomers named "Sedna". * (I learned about the new planet shortly after the event. It seemed, to my personal poetics, like a synchronistic and grand metaphor for the concerns of our time, and I thought of my fascination with another indigenous Goddess, the "midwife of the New Era", Spider Woman.**)
When we step inside the magic Circle "between the worlds", when we enter the "fissures", we find we are not alone. Here's another quote from Alex Grey, in an interview I did with him and Allyson in 1989:
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| Painting by Tyler Gore |
* "March 15, 2004: NASA-funded researchers have discovered the most distant object orbiting the sun. It's a mysterious planet-like body three times farther from Earth than Pluto.
"The sun appears so small from that distance that you could completely block it out with the head of a pin," said Dr. Mike Brown, California Institute of Technology (Caltech), Pasadena, Calif., associate professor of planetary astronomy and leader of the research team. The object, called Sedna for the Inuit goddess of the ocean, is 13 billion kilometers away. Sedna will come closer to Earth in the years ahead, but even at closest approach, about 72 years from now, Sedna is very far away. Then it will begin its 10,500-year trip back to the far reaches of the solar system. "The last time Sedna was this close to the sun, Earth was just coming out of the last ice age. The next time it comes back, the world might again be a completely different place," Brown said.
Mysterious Sedna: Astronomers have discovered a mysterious planet-like body in the distant reaches of the solar system.
https://science.nasa.gov/science-news/science-at-nasa/2004/16mar_sedna
** In some Pueblo mythologies Spider Woman (Tse Che Nako, the Thought Woman) is a Creatrix Goddess. She also is a Midwife to each new Age.
"The end of the Hopi calendar, and entry into the "5th World", is thus also about the "Return of Spider Woman", the cosmic weaver who is also, in the Pueblo mythological universe, the midwife who guides the "new people" through the Sipapu (or birth canal) in the sacred Kiva, offering a thread (or a ladder) to rise up into each "New World"...... I reflect that in the Circles I've participated in, there are 5 directions: North, South, East, West, and Center. The Center is that which unites everything, the breathe, the dark space, ecological interdependency, the Web. Integral."
The Spiritual Significance of 2012, 12/7/2012
"Every atom of your body is connected to every other atom in the universe, as it exchanges energy and information with the vacuum"...Nassim Haramein
Saturday, January 29, 2022
The Women are Coming!
Truly, so much change in my lifetime! This is what the "Return of the Goddess" means to me, the Arising of the feminine in every aspect of life from so many millenia of enslavement. This will and is changing the values and paradigm of a world that is in desperate need to deconstruct the death dealing values of patriarchy. Gives me hope indeed.
Tuesday, January 25, 2022
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