Showing posts with label Shamanism. Show all posts
Showing posts with label Shamanism. Show all posts

Sunday, June 16, 2024

Gloria's Call - A Wonderful Video about the Very Wonderful Gloria Orenstein

 

While my life has had its challenging moments and I have traversed many a dark woods in my quest for knowledge, I am fulfilled by the wondrous journeys I have made to the realms of the Marvelous, the Magical, the Great Goddess and the Shamanic Mysteries, and I will be forever grateful to the teachers who inspired me and to the feminist activists on whose strong shoulders we now stand as we welcome new generations of visionaries expanding our feminist legacy into the new millennium.  

 -Gloria Feman Orenstein

It was my pleasure to meet Gloria Feman Orenstein when I was pursuing a book on spiritual art and the Goddess in 1989.  She very generously agreed to meet with me, and I remember sitting in a cafe in Venice California, not far from the beach, utterly enthralled by the power of her personality, and the stories she told me about her journeys into Samiland, shamanism, and ecofeminism, as well as her scholarly  insights into surrealism, magic, and feminism in contemporary art.  Much later, she kindly let me post an important   article of hers about Shamanism on  this Blog.    

Gloria F. Orenstein is Professor Emerita in Comparative Literature and Gender Studies from the University of Southern California. Her areas of research have ranged from Surrealism, contemporary feminist literature and the arts to Ecofeminism and Shamanism.

Her first book The Theater Of The Marvelous: Surrealism And The Contemporary Stage paved the way for her pioneering work on The Women of Surrealism. Leonora Carrington had been a friend and remained a major source of her inspiration in research and scholarship since 1971. Her book The Reflowering Of The Goddess offers a feminist analysis of the movement in the contemporary arts that reclaimed the Goddess as the symbol of a paradigm shift toward a more gynocentric mythos and ethos as women artists forged a link to the pre-patriarchal civilization of the ancient Goddess cultures, referencing them as their source of spiritual inspiration.

Gloria's Call is an award winning  2019 film by Cheri Gaulke and Colleagues.  Director Cheri Gaulke was presented, among other awards, with the "Women Transforming Media" Award for her film.  

"Blending animation, interviews and a trippy soundscape, this is a fitting look at the life of radical academic and writer Gloria Feman Orenstein’s serendipitous life. She vividly conjures an alternative history of art, surrealism and eco-feminism in the 20th century, with lively anecdotes about Leonora Carrington, Meret Oppenheim and Jane Graverol, to name a few."

~Eileen Arandiga, Canadian International Documentary Festival

 

  https://youtu.be/mLhY9pGFjFQ?si=8AE7oiCTvxqhXlxD




In 1971, graduate student Gloria Orenstein received a call from Surrealist artist Leonora Carrington that sparked a lifelong journey into art, ecofeminism and shamanism. The short film, Gloria’s Call, uses art, animation and storytelling to celebrate this wild adventure. Now more than 40 years later, award-winning Dr. Gloria Feman Orenstein is a feminist art critic and pioneer scholar of women in Surrealism and ecofeminism in the arts. Her delightful tale brings alive an often unseen history of women in the arts.

Runtime: 17 minutes
Copyright 2018 ACCCA Productions

CREW
Directed, written and edited by Cheri Gaulke
Produced by Cheryl Bookout, Anne Gauldin, Cheri Gaulke, Sue Maberry and Christine Papalexis
Writer Anne Gauldin
Music by Miriam Cutler

FESTIVALS & AWARDS
Gloria's Call has screened in 40+ film festivals internationally and won awards including Best Documentary at the Ann Arbor Film Festival, Audience Award at Nevada City Film Festival, Audience Award runner-up at HotDocs in Toronto, and the Women Transforming Media Award from MY HERO International Film Festival.




Sunday, October 15, 2017

The Power of Shamanic Art

 

My friend Denita is an artist, teacher, and psychologist who specializes in helping others access their deep creativity.  She wrote this article for  AY Atelier Art  and Art 4 All People, and gave me permission to reprint her article here.  You can have a look at her  art as well  here.   All  artworks in this article are copyright Denita Benyshek.

Shamans were the first
Einsteins, bicyclists, and blue ribbon apple pie bakers.
 
Shamans receive their calling from blackberries and
commune with disembodied spirits through apples.

Shamans journey to the spirit world and bring back moon rocks, 
postcards of the Eiffel Tower, and empty bottles of tequila. 

Shamans work for the benefit of their communities,
plug in their electric guitars and collect the garbage.  

During times of disbelief or persecution,
shamans secretly do their work standing
in lines, in banks, in grocery stores,
along the branches of family trees. 

When you are waiting for your turn at the high dive,
there is always a shaman somewhere in line behind you, 
beating a drum,
beating a drum.


Denita M. Benyshek,   © March 1, 2010





The Transformative Power of Shamanic Art 

by Denita Benyshek, PhD


Several years ago, I participated in a shamanic drum ceremony given by the anthropologist, Dr. Ruth-Inge Heinze. Her powerful, sustained drumming gave me a vivid, astounding, and meaningful series of visions. The progression of the visions and the symbolic conent of the visions were similar to what I experienced during artistic creativity. As I learned more about the calling, training, initiation, and practices of shamans, I recognized more and more similarities to my own artistic way of being. In shamanism, I found a model of how and why I make art.
Although I am formally trained as an artist (with both a BFA and an MFA in painting), I was so fascinated by the multiple relationships between artists and shamans, including the intent to heal, that I pursued a graduate certificate in the psychology of creativity, a masters degree in marriage and family therapy, and then a doctoral degree in humanistic and transpersonal psychology.





What is a Shamanic Artist?
My research (Benyshek, 2013a, 2013b, 2013c, 2013d) demonstrated how contemporary artists serve as shamans. Shamanic artists are socially designated spiritual practitioners who voluntarily regulate their attention for the purpose of obtaining information generally unavailable to their community, which is used for the benefit of communities and individual members of those communities.  All of these properties must be fulfilled for an artist to fully qualify as a shaman.

Artists might have some, but not all, of the shamanic properties. These artists can be thought of as having family resemblances to shamans. Like sisters who resemble their mother in certain ways, some artists are similar to, and also different than, shamans.

There are many different ways in which artists fulfill shamanic properties, such as dreams, prayer, ritual, purported psi experiences including divination and relationships with spirits, interaction with the Zeitgeist, genetic influences, neurological functions,  personality types, androgyny, learning to see, mastering craft, a symbolic kind of dismemberment and disintegration that is followed by reintegration and rebirth, relationships with nature, alternate states of consciousness, intent to heal, and much more! If you want additional information about artists and shamans, you may read some of my publications online.

For myself, formally studying artists as shamans confirmed my way of creating art and provided meaningful support. The model of shamanism “understood” how my psi experiences and dreams relate to my artistic creativity, how many ways of being and many realms and different times and memories and insights and immediacies are integrated into one work of art. In my paintings, poems, and performances, I represent a kind of visual/mythic/symbolic stream of consciousness, those seemingly disparate elements that are intimately associated in the imagination. I realized that I could perform my work, whether making art or conducting research, as a spiritual practice for the purpose of providing beauty, knowledge, meaning, and healing.


The Benefits of Art: 
Have You Taken Your Dose of Art Today?

Contemporary artists are most likely to fulfill the shamanic property related to providing benefits to their communities. These benefits are found in statements made by many artists as well as studies on the benefits provided by the arts. Art can provide for psychological, social, physiological, and/or spiritual needs of individuals and communities.
There are many studies showing positive effects result from art engagement.

The visual arts can provide topics for conversation that strengthen relationships and form community (see Wikström, Theorell, and Sandström, 1992). Novels like Black Beauty (Sewell, 1907), Uncle Tom’s Cabin (Stowe, 1852)and The Heroic Slave (Douglass, 1853/1975) contributed to major social changes. Artists today work to create beauty amidst despair, provide spiritual experiences to a materialistic society, build bridges between different ethnicities, help folks form deeper relationships with their own souls, and much more.

An artwork can provide a screen onto which an individual can project internal conflicts or emotions, safely experiencing dissociated emotions in an externalized form, for a limited time, within a beautiful container. Ecstatic catharsis can result, with greater insight resulting, and then these insights can be intergrated into an individual’s sense of self.

Listening to music resulted in surgical patients needing less anesthesia (Ayoub, Rizk, Yaacoub, Gaal, & Kain, 2005), reduced pain, anxiety, depression (Guétin et al., 2011), lowered heart rate and blood pressure in cardiology patients (Bradt, 2009), decreased anxiety from pressures to excel in gifted students (Cadwallader & Campbell, 2007),  positively effected intelligence, mental health, and immunity (Avanzini et al., 2006), and improved fluency, ease of movement, and levels of antibodies, while also decreasing levels of stress hormones in people with Parkinson disease (Enk, 2008).

When surgeons listen to their favorite music during surgery, their surgical skills improve. For two weeks, seniors listened to music from their youth. At the end of that time, they stood straighter, grew in height, were happier, and had improved physical signs of health. Amazing!
At a certain neurological level, the brains of people reading novels respond to stories as though the readers were really, physically part of the story. In the mind of the reader, fiction becomes reality. Is this a form of magic?

During receipt of benefits from spiritual, healing art, art audiences are partly functioning as shamanistic (shamanlike) communities. A contemporary audience might not label individual artists as shamans. Nonetheless, when an art audience receives benefits from a work of art, the work’s artist is implicitly designated as a shaman.

When an individual is engaged with art (as an artist, member of the audience, or collector), art can evoke memories, make new connections, heighten awareness, discharge repressed emotions, halt patterns of repression, lead to self-discovery, create empathy with individuals or cultures, remind society of social ills needing attention, and lead to individual and societal healing.


Audience members utilize their own creative processes during art engagement. The efficacy of shamanic art is quite dependent upon the talents (inborn) and skills (learned and developed) of individual art audience members. I believe that audience members and collectors will benefit even more from art as they learn how to invite, engage, undergo, and accept the transformative benefits offered by art.


The Role of Art Collectors

Art collectors play a critical role in the artist-artwork-audience-society system, providing a type of social support and acceptance to shamanic, healing artists that is unavailable elsewhere. Collectors give themselves opportunities to develop deeper  ongoing relationships with works of art, through repeated encounters and a prolonged, appreciative gaze. The artist has thrown the ball. The collector catches the ball. Both roles are important!

I’ve always found it fascinating that whenever I meet someone who owns my art, we are immediately elated and enjoy a deep sense of connection. It is a special relationship that continues no matter how far apart we are. Collectors purchase art that is personally expressive of who they are. Thus, my collectors and I have some quality, experience, memory, dream, some phenomena in common. Somewhere in the Venn diagram of spirituality, our souls overlap and unite.

Surrounding one’s self with art can strengthen one’s self knowledge and contribute to self actualization. Buying art is an unabashed act of personal strength, expressing individuality and freedom: This is what I like. This is what I choose to live with every day. This is who I am!

                                   



Sources of Inspiration, Doorways to Soul

If I find myself mentally thinking of some tune, I begin whistling or singing that tune, to bring it further out into the physical, sensate world. Moving my body with the tune strengthens the kind and level of integration with self. Sometimes such movements feed ideas for my works of art.  In my studio, I listen to music to establish mood, sustain creative flow, and facilitate entry into light creative trance. Listening to Joni Mitchell and Laura Nyro over and over and over supported me in making art that was profoundly personal, feminine, honest, strong, and caring. I also learned all of their songs and can sing every word of their lyrics, copying the singer’s inflections and expressions. But, when I play piano and sing Joni Mitchell’s songs, or sing Laura Nyro a cappella as a birthday gift for a friend, I offer my own interpretations and the songs are transformed into different shapes and colors.

When I was at the Ucross Art Foundation in Wyoming, I decided to paint spontaneously. Yet, while working on the oil painting, Woman and Man: The Human Animal, I realized I had dreamt about this painting – and my studio at the Ucross Foundation – months before I arrived. In the realm of dreams, I already knew what the art studio looked like.

In the graphite drawing, Prelude to Confluence, multiple sources of inspiration are present: wilderness and culture, male and female, growth and harvest, dream and fulfillment. Shamanically, I am bringing together phenomena considered opposite. In my drawing, the opposites dance in a conjunctio oppositorum, making love and creating beauty.   The large collage, Sonata in Joy Major, was created in response to works made by other artists that were dark, desultory, destructive, aggressive, or victimized. I wanted to make a work of art that was enlivened by color, movement, nature, that would give viewers a sense of joy. The watercolor Thanks Giving is a quiet and mystical celebration of the natural qualities of fecundity, pregnancy, possibility, birth, growth, and fruition. The Sacred Ladder of Light, engraved and collaged glass with embroidery, celebrates the spiritual, creative power of women.

My paintings can be seen as acts of celebration, wisdom, insight, and healing self-expression that are also intended to move and heal viewers, communities, and society, even relationships with nature. Many works, such as the drawing Beginning of a Long Journey, depict the journey of individuation or stages in the hero’s journey.


Invitation

I invite you to slow down and linger, gaze meditatively at my artwork. You can  discover your source of inspiration within the reality of my artwork. Enter through the painted door, cross the collaged threshold into a living realm of beauty, meaning, knowledge, experience, and reality of self, where you can meet your self and embrace your soul.
Many blessings,

Dr. Denita M. Benyshek
January 19, 2013, Snoqualmie Valley,
Washington


Biography

Dr. Denita Benyshek is a professional visionary artist, an internationally recognized researcher on contemporary artists as shamans, and a psychologist who provides psychotherapy and coaching services to artists and creative individuals. The artist-researcher-healer’s education includes a BFA and MFA in painting, training in dance and theatre, study at Pilchuck Glass School, a graduate certificate in the psychology of creativity, an MA in psychology – marriage and family therapy, and a Ph.D. in humanistic and transpersonal psychology.  
Dr. Benyshek’s conference presentations integrate scholarship, visual art, poetry, dance, and theatre. Articles, chapters, and PowerPoint presentations by Dr. Benyshek can be read and downloaded online.  

A recent study (Cardeña, Iribas-Rudin, & Reijman, 2012) entitled “Art and Psi,” published in The Journal of Parapsychology, described some of Dr. Benyshek’s precognitive and remote viewing experiences as part of the discussion about artists and paranormal phenomena.

  © 2013, Denita Benyshek

Art: http://www.denitabenyshek.com
References:

Avanzini, G., Besta, C., Lopez, L., Litta, E., Koelsch, S., & Majno, M. (Eds.). (2006). The neurosciences and music II: From perception to performance (Vol. II). New York, NY: New York Academy of Sciences.
Ayoub, C. M., Rizk, L. B., Yaacoub, C. I., Gaal, D., & Kain, Z. N. (2005). Music and ambient operating room noise in patients undergoing spinal anesthesia. Anesthesia and analgesia, 5, 1316-1319.
Benyshek, D. (2013a). An archival exploration comparing contemporary artists and shamans. PhD, Saybrook University, San Francisco, CA.
Benyshek, D. (2013b). Art audience as shamanic community: How art meets psychological, social, and spiritual needs (Wang, Trans.). In G. Shuyun, W. Weibo & Q. Fang (Eds.), Modern artists and shamanism (Vol. II of Encyclopedia of shamanism). Beijing: 商務印書館 (The Commercial Press). Retrieved from Art Audience as Shamanic Community: How Art Meets Psychological Needs.
Benyshek, D. (2013c). An Overview of Western Ideas regarding the Artist as Shaman (Wang, Trans.). In G. Shuyun, W. Weibo & Q. Fang (Eds.), Modern artists and shamanism (Vol. II of Encyclopedia of shamanism). Beijing: 商務印書館 (The Commercial Press).
Benyshek, D. (2013d). The artist as shaman. ReVision, a Journal of Consciousness and Transformation, 32(2), 54-60.
Bradt, J. A. (2009). Music for stress and anxiety reduction in coronary heart disease patients Cochrane Database of Systematic Reviews (Vol. 2). New York, NY: John Wiley.
Cadwallader, S., & Campbell, J. (2007). Gifted students beat the blues with heavy metal. Coventry, England: University of Warwick.
Cardeña , E., Iribas-Rudin, A., & Reijman, S. (2012). Art and psi. Journal of Parapsychology, 76(1), 3-23.
Douglass, F. H. (1879). The heroic slave. In J. Griffiths (Ed.), Autographs for freedom. Boston, MA: John P. Jewett
Enk, R., Franzke, P., Offermanns, K., Hohenadel, M., & Koelsch, S. (2008). Music and the immune system. Paper presented at the meeting of the 14th World Congress of Psychophysiology – The Olympics of the Brain, St. Petersburg, Russia. Retrieved  from http://pubman.mpdl.mpg.de
Guétin, S., Giniès, P., Siou, D. K., Picot, M. C., Pommié, C., Guldner, E., . . . Touchon, J. (2011). The effects of music intervention in the management of chronic pain: A single-blind, randomized, controlled trial. Clinical Journal of Pain. Retrieved from http://www.prohealth.com/ibs/library
Sewell, A. (1922). Black Beauty: The autobiography of a horse. Garden City, NY: Doubleday, Page, & Company.
Stowe, H. B. (1852). Uncle Tom’s cabin or life among the lowly (Vol. I & II). Boston, MA: John P. Jewett & Company.
Wikström, B.-M., Theorell, T., & Sandström, S. (1992). Psychophysiological effects of stimulation with pictures of works of art in old age. International Journal of Psychosomatics, 39(4), 68-75.

Thursday, August 1, 2013

Syncronicities,and Touchstones............

 
To me, synchronicities are touchstones, they point the way in the forest, usually indicating that I’m on the right path. I’ve never “followed” a synchronicity and ended up bored or in unfortunate circumstances. Instead they seem to reveal or emphasize what is most beautiful, meaningful, or helpful. I was honored when writers Trish and Rob MacGregor shared this story below on their wonderful Blog about Synchronicity a few days ago, and take the liberty of re-printing it below. 
 
ImageI began this summer's long wandering back to the East Coast, and re-visiting places and people that have been very important to me, as a kind of "soul retrieval", asking all along the highway "what should I be doing now, at this phase of my life?".  I've been richly, richly answered even as I continue to wind up and down the asphalt (currently enroute to Shutesbury, Mass. to visit a  shamanic healer, and old friend, Jewel at The Source , her Center for Earth based spirituality and healing.....in many ways I feel I'm driving "full circle" indeed. Ironic that I should read the article below just as I finish my coffee at a hotel, and prepare to visit another Shaman, one who has been very important to me, and who I haven't seen in 17 years......more on this later.  This is a summer of synchronicity, ever since I got on the road, and it's a pleasure to share here the MacGregor's insights.

********************

 When Arizona sculptor and artist Lauren Raines was going through a divorce, she heard about a shamanic practitioner in Crownsville, Maryland, who had studied with Sandra Ingerman and was also an energy healer and herbalist. She was at a point in her life when she was “very open to anything,” and went to him for a soul retrieval.

This shamanic practice helps regain a soul that has become trapped, disconnected, or lost through some sort of trauma. Depending on the circumstances, a divorce can certainly qualify as a trauma.

“He was very business-like,  and without knowing anything about me, put on his drums tape and headset, had me lie down next to him, and we tranced together. At the end of the session he blew soul fragments back into my body, and we talked about what he ‘saw.’ We talked about cutting the cords from my ex-husband and my former community (I had moved away). He concluded the session by telling me: You’ll know it’s all over when you see a magenta flower that looks like a cosmos, and a terra cotta angel.

 Eight months later, Lauren crossed the country with her cat and all her possessions loaded into her van. She was determined to move back to Berkeley, California, and start a new life. She had decided she would sleep in her van if necessary until she found somewhere to live. “I began my adventure as soon as I arrived with a visit to a coffee house I last visited 20 years earlier. Almost immediately I was greeted by a long ago friend, Joji Yokoi, who recognized me, and bought me a cup of coffee, and offered me a place to stay. I didn’t have to spend a single night in my van. When I walked into his living room, there was a huge photograph of a magenta cosmos flower hanging above his fireplace!”

A few months after that, Lauren answered an ad for a roommate. “I walked into a house with an altar – and in the center was a terra cotta angel. Judy Foster was one of the founding members of Reclaiming and a colleague of my heroine, Starhawk, whose writings were the foundation of my MFA thesis more than a decade earlier. Needless to say, just like that, my new life began and I ended up working with the very people I most wanted to work with, never having had to even try! The shaman was right in his prediction.”
The shaman gave Lauren two very specific bits of information about markers that would signal her transition period was finished – the magenta cosmos flower and the terra cotta angel. How was he able to see something so precise, for a woman he had just met?

“Shamans are inspired visionaries who are able to access information through their invisible allies for the benefit of  themselves, their families, and their communities. This process is known as divination, and it is usually accomplished through ceremony and ritual,” wrote Sandra Ingerman and Hank Wesselman in Awakening to the Spirit World.  “Through their relationship with these transpersonal forces, shamans are able to retrieve lost power and restore it to its original owners…”  So through the trance state that the shaman and Lauren entered together, he was able to retrieve power that Lauren had lost and was allowed to see the most probable path her future would take.


Tuesday, August 28, 2012

Gloria Orenstein: Toward an Eco-feminist Ethic of Shamanism and the Sacred .

(1993) ( This Illustration was inspired by the art of Catherine Nash)

For years I've been wanting to share this article by one of the most eloquent Eco-feminist writers I know, Gloria Femen Orenstein.  The article is  extracted from Toward an Ecofeminist Ethic of Shamanism and the Sacred .

I heard Dr. Orenstein speak in 1989 at the Symposium for Art and the Invisible Reality, produced by Dr. Rafael Montanez Ortiz, at Rutgers University.   She was accompanied by her teacher, and friend, Ellen Maret Gaup-Dungeld who was a traditional Sami shaman.  I remember well how powerfully Ellen Maret cleared and raised the energy of the auditorium she spoke in by 'singing the yoik'.  More information about Gloria Feman Orenstein is available at the bottom of this post.

Toward an Eco feminist Ethic of Shamanism and the Sacred .

The shamanic worldview considers all of creation to be both spiritual and sacred. This dimension is as sacred as the spirit world. Thus, what happens to us while alive and awake, although interconnected with what is taking place in the spirit world, is also of great importance shamanically, and, of course, is also sacred.

Through the spiritual journey Shamans pick up vital information from other realms, in much the same way that we get our news from abroad via satellite and TV. By the same token, one could not characterize the human experience by the "core" activity of tuning into the news from abroad, even though this is a necessary part of our daily lives. Naturally, when Shamans work in the here and now, they are calling upon forces that reconfigure our ordinary concepts of space an time. Whatever their powers for certain kinds of work, they are not necessarily journeying out of the body, but they are expanding our concept of what a body is and relating to the body as an energy field composed both of spirit and matter.

Once again, from my own experience in Samiland, I know that I was always waiting to meet my "power animal," and my Shaman teacher was always taking me to the real reindeer, the real birds, the real mosquitoes. It wasn't until she communicated with birds, brought them to us, talked with them, and sent them away, or until she "psyched out" the problem of a lost reindeer, that I began to understand how the neo-shamanic narrative from contemporary workshops had actually blinded me to the fact that real animals are also spirit and power, and, at least to my Shaman teacher, they were every bit as important, or even more so, than her owl spirit guide who had appeared to her in childhood.

Sometimes I used to feel that I had a more "shamanic" perspective than she did, because I was always coming up with sophisticated symbolic interpretations of dreams and I was always looking for "power animals," while she seemed to be more interested in the real animals and she understood the figures in dreams to represent the spirits of real people. The truth is that she made less of a distinction than we do between real and spirit people or animals. To her, all was real, all was spirit, and all was sacred, simultaneously. There was no contradiction in that.

IGNORANCE OF GEO-COSMIC REALITIES

Through our education in the scientific worldview of the Enlightenment, we have become alienated from the earth and have forgotten that the earth is also a heavenly body. We have ceased to take into consideration the powers of the forces and the knowledge of the cycles that govern our lives. We hardly ever give a second thought to gravity, for example, without which we would all be floating off into space, and we certainly never think about the real magnetic force of the North and South poles. We also take for granted the amount of light and dark we experience each day. But what if an that were to change? What if we were suddenly plunged into a world in which the sun never set or never rose? What if we were to go to live at the magnetic North Pole? 

Then we would begin to experience syndromes similar to jet lag, and we would take seriously the implications of the revolutions of the earth on its axis around the sun. In Samiland during most of the fall and winter, the sun sets very early in the morning. During the summer, the sun doesn't set until well after midnight. The rituals women have begun to perform in the feminist spirituality (Goddess) movement have begun to put us back in touch with an awareness of the solstices, the equinoxes, and the lunar cycles. But how does this all relate to ecofeminist ethics and to Shamanism? Because of our geo-cosmic ignorance and amnesia, we fail to take into consideration the fact that certain powers can only be obtained and put into practice in certain places on the earth and at certain times during the year or during the larger cosmic cycles.

 It is interesting that when it comes to sacred herbs, we recognize that they grow in certain places and that people who cannot obtain certain herbs cannot experience their effects. However, herbs are portable, and this suits our purposes, for we can transport the products of the Amazon jungle to California via plane. However, we can never transport the magnetism of the North Pole to California. Nor can we manifest the effects of the Arctic midnight sun in Los Angeles. 

When I travelled to Samiland, I became aware of the effect that the magnetic North Pole was having upon me. It was causing me to enter a deep trance state when I slept, and it was when I was in such a deep trance that I was able to hear the voices of the ancestral spirits. As I ate Sami food, I noticed that my hair and skin began to take on other characteristics. This might have been due to the purity of the air, the water, and the food, as well as to the intensity of the earth's magnetic field in which the food was grown. We have noted that people are sensitive to light deprivation and that they become depressed when they do not receive enough light. Have we thought about what an overabundance of light might do to a person or how light might affect one's consciousness? In Samiland in the summer, when the sun sets well after midnight, sometimes as late as 3:00 Am., one enters altered states, highs, and expansive states of consciousness.

Westerners always want to bring Shamans to the United States, put them on American TV talk shows, and have them perform miracles on our turf to prove their powers. When a Shaman from Samiland insists that you must travel to the North Pole in order to study Sami Shamanism, an American may tend to balk and dismiss the Shaman as a phoney. I brought my Shaman teacher to the United States to participate in a number of conferences (such as Ecofeminist Perspectives: Culture, Nature, Theory-held at U.S.C. in the Spring of 1987), but she always insisted that my real training would not take place in the United States, but in Samiland.

She was right, because my progress was intensified as soon as I came into the magnetic field of the North Pole. The results of culture shock and jet lag, when combined with the magnetism of the North Pole and the surplus of light in summer, catapulted me immediately into a shamanic state that was intensified by the presence of two powerful Shamans. It is important for us to honor the geo-cosmic realities of shamanic cultures and to realize that certain things cannot be transported elsewhere.

One of the main features of summer in Samiland is that suddenly the marshes become swamped with mosquitoes. The Sami love their mosquitos, because they realize that "the white man" cannot stand them, and so the mosquitoes have, in some sense, kept their land from being taken by outsiders. Most people cannot bear to live with those mosquitoes. As I mentioned before, Sami Shamans communicate with their mosquitoes, and they understand that they can be messengers, guides, and protectors.


 Ultimately, as we come to respect the geo-cosmic specificities of particular cultures and as we realize that there are things that cannot be bought, sold, commercialized, and commodified, such as magnetic fields and sunsets, (whereas people have already commercialized sacred waters and herbs), we must develop an ethics and a politics that will protect the earth and the cultures that reside not only in "places of power" or in places where we can obtain special products, but everywhere on our planet, for we must remember that the specificity of each location has its own potency. In this way, by raising our consciousness about the geo-cosmic specificities of gravity, light, magnetism, solstices, equinoxes, lunar cycles, indigenous plants, animals, climate, and so forth, we may come to value the variety of diverse cultures and regions whose multiple knowledges all serve to enhance life everywhere on our planet in an astonishing number of ways. Most of these geo-cosmic teachings can only be acquired in the particular region in which they originated.

Finally, if we are to awaken our own shamanic abilities, perhaps lost in the mist of time for some but founded in the traditions of the Early European Tribes for others, then we must attune ourselves to precisely those same forces as they manifest in our own bio-regions. In some cases this may require us to learn about our region from the indigenous tribes in our area; in other cases we must set about discovering the power of the places in which we live on our own. This is our challenge, if we want to save the earth. We must not run away to other "exotic' cultures, but we must begin by exploring our own backyards.

THE DE-POLITICIZATION OF THE SHAMANIC VISION

By universalizing and essentializing a "core" concept of Shamanism, we tend to ignore the practical and political use to which shamanic powers can also be put. When Ellen Maret Gaup-Dungeld led a contingent of women from the reindeer ranches of Samiland to stage a sit-in in the Norwegian parliament in order to protest the hydroelectric power plant that the Norwegians were planning to erect over the Alta-Kautokeino River on the day that Prime Minister Gro Bruntland stepped into office, she used visions to create her political itinerary. 

When the new prime minister did not return to hear the Sami women (after twenty-four hours, as she had promised), Ellen Maret asked the women present to relate their dreams. Some had dreamed of flying to Rome, so she requested an audience with the Pope at the Vatican (in order to obtain publicity for their cause); another dreamed of flying over large cities, so she planned a strategic visit to the United Nations in New York. Ellen Maret did not make the kind of separation that we, in the West, would make between those dream-inspired journeys to Rome and New York and other dream-inspired journeys to the spirit world. Nor did she consider the dream to be an inferior means of establishing a political itinerary. Being a political leader was being a spiritual leader, and vice versa.

Because Shamans from indigenous peoples do not separate spirit from matter and do not privilege a "core" shamanic experience over a this-worldly journey
, knowing that both are sacred, both are real, and both are spiritual, focusing exclusively on lower, middle, and upper world shamanic cosmology in our courses excludes the important political function that shamanic vision often serves. Furthermore, she took the visions of women to be as relevant as those of a Shaman. She did not establish a hierarchy among women as visionaries. These women from the reindeer ranches were considered to be the very people whose dreams (spirit-world contacts) would help the Sami to save their land and protect the earth. Here is ecofeminism in action.

CONCLUSION: NEW DIRECTIONS

In conclusion, I would Like to suggest that we begin to take the shamanic means of obtaining knowledge seriously in our culture. First we must begin to return the various shamanic practices to their specific cultures. We must not be reductive, but must see the complexities posed by the diversity of shamanic practices around the world. This will be enriching to our understanding of what Shamanism is, in the long run. Then we must set about creating a shamanic practice that is indigenous to our part of the world and our culture. However, we must revise many of our own cultural assumptions from an ecofeminist perspective. 

White Westerners must cease to project their white Western fantasies of the exotic, the glamorous, and the romantic onto other cultures. We must always assume diversity, and not make assumptions about being the same all over the world just because some aspects of them may appear similar to us. We must also resist thinking in a dualistic manner. We must remember that in Shamanism, spirit resides in matter, and all that exists is sacred. We must also resist thinking in hierarchies, privileging the spirit world and its entities over the material world and its inhabitants. Nor must we engage in elitist assumptions about whose visions have the most wisdom. We must respect the folk of every culture, remembering that their experience contains wisdom, and we must seek out women teachers whenever possible, for they have generally been the guardians of earth wisdom (because of women's socially constructed roles, and not because of any inherent or "essential" characteristics).

We must also learn the folklore of the cultures we visit and remember that what we consider to be "lore" and "legend" may have actually taken place in that culture and that these stories often contain real lessons for us that we would do well to heed. We must remember to seek spiritual protection, and we must become aware of the risks involved in shamanic practices, as well as the dangers incurred when working with people of power. They are also very human, and like non-Shamans, they may be tempted to abuse their power. 

Above all, we must cease to trivialize the spirit world. We must begin to take seriously the reality of spirit-especially those of us who engage in spirituality rituals. We should practice these rituals believing that the rituals we engage in are real events that do communicate with the spirit world. As we are taught in anthropology and folklore courses, we must not exploit the sacred ways or appropriate the sacred objects of other people-especially not for commercial purposes. 

One of the first things I was taught was that you must replace everything you take. Rather than stripping a foreign culture of its material and spiritual possessions, we should begin to contribute to its survival. We must begin to set standards for the practice of Shamanism, in order to protect the population from charlatans and new age dilettantes who know nothing about the spirit world and less about human consciousness and psychology. A new age neo-Shaman might easily jettison an ardent Shaman student into a state of severe mental or physical injury, simply due to the kind of ignorance, arrogance, and lack of responsibility that typifies much of the dabbling that takes place in this movement. We must remember that Shamanism is just as serious as surgery. Would we like to have our brains operated on by someone who had not been trained in medical school?

From the eco-feminist perspective on ethics, we must never lose sight of the fact that it is the misogyny and dualism at the root of white Western civilization that have caused the exploitation of both women and nature. On the other hand, we must not guilt-trip ourselves to the point of endangering our lives. Somehow we must come up with a balance in which we honor both non-Western cultures and ourselves for all that is beneficent, while constantly maintaining a critical position toward all forms of abuse of power.

If we take the lessons of Shamanism seriously, and  revise our cosmology in time, if we practice eco-feminist ethics while honoring both the material and the spiritual realms, then, I believe, there is real hope for us to heal the earth, our homeland.



Gloria Feman Orenstein is Professor Emeritus in Comparative literature and the Program for the Study of Women in Society at the University of Southern California. She is the author of The Theater of the Marvellous. Surrealism and the Contemporary Stage, The Reflowering of the Goddess and co-editor of Reweaving the World: The Emergence of Ecofeminism.   I  highly recommend her book The Reflowering of the Goddess, (1990), published by Pergamon Press, New York. (ISBN 0-08-035178-6).  
For more information:   Gloria Feman Orenstein



Tuesday, January 31, 2012

Corn Mother and Collaboration

"Cornmother" mask worn by Kathy Huhtahluta in "Restoring the Balance", 2004

"Indigenous people have always known corn metaphorically in two or more of the four senses, mother, enabler, transformer, healer; that I use throughout this weaving. Although early European settlers took the grain only, there is evidence in America today that the Corn-Mother has taken barriers of culture and language in stride and intimated her spirit to those who will listen, even if they don't know her story or call her by name."

Marilou Awiakta, "The Corn-Mother Incognito. Or Is She?"
from SELU - Seeking the Corn-Mother's Wisdom
 A friend of mine is writing her dissertation on art and shamanism, and wanted to use my story about Corn Mother's Mask.  Since I'm now working with my proposal to create a new collection of Masks of the Goddess, I wanted to share again this story, although I know I published it before a few years ago.  I think it's a story worth re-telling.

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I remember a documentary about a famous Hopi potter, who said that she saw patterns and motifs when she went walking in the morning, and they just wouldn't leave her alone until she "wrote" them into her pots. I wondered what it meant to be an artist whose work was attuned to a long tradition of transmission - a purposeful thread woven into the fabric of daily life, not just for one's assertion of individuality, but in service to the tribe, the ancestors, the goddesses and gods..........perhaps not unlike the Icon painters I learned about at Wesley, or the traditional mask makers of Bali, the work is a meditation, a prayer,  a devotional activity. 

This morning I thought about "the greater collaboration", not just among colleagues, but also with what Bill Moyers called "invisible support", the synchronicities that engage others in the creative process.  This story happened when I was working with the Masks of the Goddess collection in 2002.

"Myth comes alive as it enters the cauldron of evolution, 
itself drawing energy from the storytellers who shape it." 
Elizabeth Fuller, The Independent Eye Theatre

"Corn Mother" has many names throughout the Americas - She is the ubiquitious and generous sustainer, the "Demeter" of this continent. The Cherokee Corn Mother is called Selu, and her story is one of sacrifice and renewal, with compassion for her children, who through fear and ignorance  attempt to  destroy the very source that sustains them. It is a myth with significance for our time.

In 2002, I had given the collection of masks to choreographer Mana Youngbear, who was directing a performance in Oakland. I had no idea of what she was creating,  but planned to attend the show. About a month before her event, I attended an unrelated event at the University of Creation Spirituality (now the Naropa Institute) in Oakland.  Organized by Evelie Posche, and supported by theologian Matthew Fox, the ritual event was dedicated to the Divine Feminine, and included a long and  moving meditation about the wounding of the Feminine in Western religions, led by a woman minister. She spoke of the tragedy of the Inquisition, the Burning Times. I sat cross-legged on the floor, surrounded in the darkness by people.

Yet when I closed my eyes, I vividly saw something that had nothing to do with the ceremony I was participating in. I saw a Native American woman, wearing a deerskin costume, dancing with an ear of corn in each hand. I opened my eyes - and there were 300 people, most of them weeping.  Closed my eyes, and there was the corn dancer.  This continued throughout the meditation, and was so strange and vivid to me that I decided to make a mask about her. I placed ears of corn on each side of the face, and as I worked, it occurred to me to paint a rainbow on the mask's forehead, a hopeful symbol of  the "Rainbow Tribe" our world was becoming.

A week before the performance, Mana told me there was one dancer in her cast, Christy Salo, who had no mask. Christy had wanted to create a dance to honor the Cherokee legend of Selu.   Now, it seemed,  she had her mask! And when Christy danced at Mana's performance,  she blessed the audience with corn meal, completing the circle for all of us.***

Here's the interview I taped with Christy after the performance.

Christy as "Selu", (2002)
"I made a bouquet of corn for Mana and Stephen's wedding, with a necklace of rainbow beads on it I bought at a garage sale, the same bouquet I used later to dance Green Corn Woman at our performance. The wedding was at a retreat in California, and after the ceremony, I met a woman walking about the property. She told me she really didn't know why she was there! She had been heading to Oakland, and felt an urge to turn off the road. When she drove by the sign for the center, she impulsively pulled in. And there she was, in a lovely place with a wedding in progress. As we talked, I realized she was the woman I bought the rainbow beads from, the same beads that were decorating Manna's bouquet, even as we spoke! I like to think she was a touchstone on my journey to Cornmother.


Mana is part Cherokee, so perhaps that was why she asked me if I wanted to dance Cornmother when she cast her show. We didn't have a mask for the Corn Goddess, but I was inspired to create a dance anyway. I knew very little about Her, and meant to do some research at the library, but a friend turned up with a wonderful book called BROTHER CROW, SISTER CORN full of indigenous corn legends. I also stopped at a used bookstore, and opening a rather esoteric book at random, discovered I was looking at an article about the Corn Maiden. I was stunned to learn it was illustrated by Vera Louise Drysdale, the first woman I met, years ago, when I lived in Sedona. With that, I sensed I was ready to begin.


I felt I was following an invisible, mythic thread - and the feeling of familiarity continued as I created a costume. I looked for materials associated with Corn Mother, and within a few days, Manna had left me a message. "Christy" she said, "There's a Hopi woman at Isis Oasis you need to meet! She gave me some 300 year old corn meal to give to you!" I felt the spirit of Corn Woman encouraging me indeed!


Corn Mother's story represents the wealth that comes from the hard work of forgiveness. How can we be fed, how can we create peace, if we cannot learn the lessons of forgiveness, if we cannot learn tolerance for our differences? That is the beginning place we will need in order to evolve into a peaceful Rainbow Nation. To me, the Rainbow as actually a circle. Half the rainbow disappears into the ground, into an underworld realm, where it exists beneath the Earth, hidden, but at the foundation never the less. Like the Corn Mother. We're all Her children, especially in America, with our mixed bloodlines. We have "rainbow blood".


We received the new mask at the time of the lunar eclipse, in May of 2002, and decided at that auspicious time to consecrate it with some dried corn. As we did, a flash of light went off in the room! At first we thought it was a light bulb, but looking around, realized there were no electric lights on in that room. We looked at each other amazed, and we felt the presence of Corn Mother."

** Elizabeth Fuller, Conrad Bishop, "The Independent Eye" Theatre

*** There's a funny postscript - in the summer of 2010 I went to Willits to visit Mana, who was having a big yard sale with Christy.  As I walked up to visit, Christy was behind her table selling a tray to someone that was decorated throughout with a corn motif. I guess that's the weaving of our connection to each other!