Showing posts with label corn mother. Show all posts
Showing posts with label corn mother. Show all posts

Wednesday, April 22, 2026

The Corn Comes Down from the Stars: A Story of Corn Mother


I feel very privileged to share this wonderful story and the mask she made at our recent workshop.  Thank you, Alicia.  Beautiful, and Sacred.
 

A Story for the People


A couple of weeks ago, over Easter weekend, I had the privilege of participating in The Masks of the Goddess workshop offered by Lauren Raine. Thanks to Lauren’s artistic brilliance and soulful generosity, the being pictured above emerged over the course of two and a half days. At first she was just layers of dark colors, then she requested stardust, a crown of multicolored maize seeds, and a blue corn sprout at her third eye. As she took shape, I imagined she was likely connected to the story I’d heard Jade Wah’oo Grigori offer about the Seven Sisters of the Pleiades and the Blue Corn maidens. But there was something else about her; she was familiar to me in a different way. I couldn’t quite place her, but it’s as if my cells could recognize her on the tip of my senses.

Who are you?

The evening before our closing circle, Lauren sent us off to dialogue with our beings. I couldn’t stay overnight with the rest of the group, so I returned to the familiar chaos of my home, tending my daughter, getting her to sleep. As usually happens, by the time the household was settled, I was too tired to do anything. I went to bed with the lingering echoes of this being, hoping she might tell me more in my dreams.

At 5 AM I bolted up in bed.

That’s who you are!

I snuck out of the bedroom, threw open my laptop and tried to remember where I had saved the story that had dropped into me two years earlier while I was lying in a MRI tunnel listening to the trills and clanging of the machine. The story had arrived so clear and crisp into my awareness that as soon as my scan was over, I raced to a café where I typed everything out over breakfast burritos and coffee.

Hello again.

My body recognized the sensory signature of this being behind the mask.

You are the story.


Today, in the wake of the Super New Moon in Aries and the dramatic dance of the celestial bodies this week, I offer this story again, now delivered anew with the goddess of the mask.

Just to set the scene a bit, this is a different kind of writing than I usually share here on Substack. This comes from my collection of soul stories, which are tellings that don’t map onto ordinary reality. This telling comes through a familiar duo in my medicine world: Nana Coyo is an old crone spirit I often sense here in my Sonoran Desert home. Her name is derived from the Mexica moon goddess, Coyolxauhqui. Lázaro is a presence who often comes to talk to me about the wounded masculine seeking the care of a healing crone. They have a lot to say, these two, and they deeply love each other.

And with no further ado…

The Pleiades as seen from Mt. Lemmon, AZ SkyCenter. WikiCommons Media.

The Corn Comes Down from the Stars: A Story for the People

Nana Coyo never sleeps on the night before the day of remembering. As soon as the sun has dropped with certainty behind the western mountains, she arranges herself on a folding chair outside in her backyard. She places her feet on a hot water bottle and wraps a rebozo around her shoulders. At her side is the thermos of steaming atole with piloncillo and chocolate for wakefulness. There is nowhere she’d rather be.

This year, the cycles of Earth and Cosmos arrange for the Moon to be wearing her darkest cloak. Nana Coyo hums and mutters. She sings as the sky reveals what people nowadays call secret knowledge. Nana Coyo knows better; these are simply memories retained. This is what she tells her adoptive son Lázaro.

When Lázaro was younger, he’d furrow his brow and complain about Nana Coyo and her odd ways of explaining things.

“Why can’t you just talk like a normal person?” he’d say.

She would laugh and tug at his ear.

“Te estoy entrenando a los oídos, hijo mío. One day you will know how to listen.”

Now that Lázaro’s hair is greying and Nana Coyo is practically old enough to join the stars, he feels a longing in his bones to sit outside with her. He walks out into the dark. He can barely make out Nana Coyo’s silhouette against the blackness of the night. He follows the sound of her voice, a trail of vocalizations beyond any language he recognizes. Clicks and trills. Hoots and whistles. Murmurs like the wings of hummingbirds. As his eyes adjust to the dark, he sees her huddled figure outlined by starlight.

Without a word, Lázaro sets up his folding chair next to Nana Coyo. She pats his knee. He feels a smile in the warmth of her hand, and she pours him a cup of atole. He breathes in the smells of roasted corn ground into flour, boiled in water, and whisked into a frothy beverage. As he raises the cup to his mouth, he can almost taste the hints of cinnamon and chocolate, but Nana Coyo’s bony fingers gently intervene, pulling back his cup before he can take a sip.

“Antes de todo, una pruebadita para Madrecita.”

As if she is assisting a child, Nana Coyo holds Lázaro’s hands in her own. She guides them down to the ground, where she tips the cup and spills out a taste of atole onto the cool desert floor beneath their feet.

She whispers to the ground and sighs with satisfaction.

“Ahora sí, mi amor. Drink up.”

And he does.

They sit for hours. Nana Coyo sings. She stretches her legs. She claps her hands. She stomps her feet. She settles into a chorus of sounds that only tall grasses know how to make in the wind.

Together, they drink the atole.

Without even intending it, Lázaro turns over his consciousness to the dark sky. He forgets that he is awake, staring into the starry abyss, with only the smell of corn and the tug of gravity to remind him that he is still a terrestrial creature. At some point during the night, he realizes that he can understand the meanings of the strange sounds being spoken by Nana Coyo. He surrenders to the warming spread of awareness through his body.

The Corn Mothers came to us long ago. They seeded themselves into us, generation after generation. Beings as big as the stars became morsels of nourishment. In Madre Maíz, they came as clusters of constellations, all the colors of light, the energy of nuclear fusion—the glow of blue, yellow, red, orange, white, and every glimmer in between. They joined with the stones and made their way into our bones, our cells, the spiraling ladders of the fabric of our being. They fed us with the food of remembering because they knew a different kind of darkness would descend on the land. It is not the blackness of the night but the disease of forgetfulness. They knew there would come a day when we would eat and never be satiated. Ravenous, we would devour everything in our path, as if we had no memories.

Nana Coyo pours the last of the atole into Lázaro’s cup.

The Mothers are as close to you as your body. On this night before the day of remembering, drink and eat, mi amor. See them adorned in starlight and radiating with power. Receive their ripened bellies. Be filled by them.

With that Nano Coyo cups Lázaro’s head in her hands. She turns his gaze toward the Eastern sky. Against the mountains, the horizon begins to define itself as the night softens. A shard of light pierces through the worlds and illuminates the shoulders of the mountains.

In that moment, Lázaro’s heart cleaves open. His body spills to the ground. In heaving sobs, he wraps himself around Nana Coyo’s feet. He cries like a baby.

When he eventually comes to stillness, Nana Coyo pulls out her left foot and gently rests it on the small of his back. She applies the slightest pressure and rocks him gently. He breathes in deeply, as if reacquainting himself with air.

They rest this way, the two of them—together at the precipice between worlds.

They greet the day of remembering.

Wearing the mask of the goddess. Photo by author.

Last night, I wear the mask for the first time, gazing out from behind her dark splendor. I light the candle and offer the smoke of the copal to the night. I rattle and read the story of Lázaro and Nana Coyo aloud to the cosmos. I record it, but the audio isn’t great and doesn’t seem to want to be shared. Nonetheless, here is an image of us together. There is a sense in me that this Blue-Seeded Mother will be joining with Corn Mother in her basket. Who knows where our journeys will take us.

The Corn comes down from the Stars, and She grows up from the Earth.

As above, so below.

May the Corn Mothers remind us who we are as a People.

In these times, may it be so.

 https://open.substack.com/pub/offeringsforcornmother/p/the-corn-comes-down-from-the-stars?utm_campaign=post-expanded-share&utm_medium=web

Tuesday, August 26, 2014

Corn Mother Mask



"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

"Native American Indian legends tell of The Corn Mother sacrificing herself so that her people could have life. According to her instructions, in one legend, she was to be killed, her dead body dismembered, strun among the fields and planted.  In harvest ceremony after harvest ceremony the last sheaf of corn was gathered together and dressed in women’s clothing.  This Corn Mother doll was referred to as The Old Woman, The Old Grandmother, Old Wife or even The Great Mother. To assure a plentiful harvest The Old Corn Mother was given to a family for safe keeping until the next growing season began and the cycle of birth, growth, death and rebirth continued. As I looked further into what I had learned about the archetype of the old woman, I realized that the power of the “Old Woman” is her ability to embrace change, her willingness to give birth to her Old Self, to make friends with her death and trust in rebirth."


Sondra Fields



Painting Courtesy http://www.returnofthecornmothers.com/

I recently made a new Corn Mother mask, which I'm taking with me on my travels (my brother's funeral in California, then a trip up the coast).  She wanted to come with me, and I will be taking the masks to show my friends Mana and Annie in Willits, to receive a blessing for it.  The story of the previous Corn Mother mask was quite wonderful, and although I've shared it before, I felt like re-posting it here.  Corn Mother is the Sustainer of the Americas, sacred in virtually all native American traditions.  I hope this mask will find new Dancers to share Her ever evolving stories.

"And where corn is the Corn-Mother is also.‘This thing they call corn is I
'."
Marilou Awiakta


Corn Mother has many names, and among the Cherokee she is called "Selu".  

The story is that Selu fed her family with delicious grain, but no one knew where it came from.  Finally her sons saw her shaking corn from her body, discovering her secret.  They had witnessed a mystery they could not understand. Being young, fearful, and ignorant, they resolved to kill their mother, calling her a witch, and  making  disastrous assumptions about her power. Knowing she could not  give them wisdom, nor teach them the ways of nature, Selu told them to bury her body in the earth.  Thus, She is born again each year, nourishing her children in a continuing act of sacrifice.  Selu does not punish - in loving generosity, She offers her children a chance to return to good relationship.  

My own relationship with Selu began in 2002.  

I had given masks to choreographer Mana Youngbear to work with in a ritual performance she was organizing at the Black Box Theatre in Oakland.  I was living in Arizona at the time, and I didn't know what her program was going to be, but I looked forward to returning to California to attend the performance. 

Several weeks before her event, I attended an unrelated event at the Ritual Center in Oakland, founded by Matthew Fox.   A guided meditation by a woman minister was central to this ritual event, which was dedicated to the return of the Divine Feminine.  The meditation was about the need to heal the damage done to the feminine in the past, and she spoke of the Inquisition, the Burning Times.  As I sat on the floor in a darkened room with some 300 people, I could hear the sound of many people weeping. 

 And yet I  found myself absorbed by a vision. When I closed my eyes I immediately saw a Native American woman dancing. I opened my eyes, and closed my eyes again, and still she danced before me.  Dressed in a traditional fringed costume, she had ears of multi-colored corn in her hands as she danced, and this vision continued until the end of the meditation.  

It was so vivid that when I returned to my studio, I decided to make a mask for Corn Mother.  I bought an ear of corn, cast it so I could duplicate it in leather, and made a mask with corn on each side of the face.  


I had been reading about Black Elk, the great Lakota shaman. As a young boy, he foresaw the destruction of his people, what he called the "hoop" of the Lakota nation. But he also prophesied a "hoop of the nations": a great circle, composed of many interlocking circles, that would someday come to be. A "Rainbow Tribe".  So I painted a rainbow on the mask's forehead, because the children of America are now of all colors. 

"When I held up an ear of calico corn we would think about this wisdom of the Corn Mother. How the different kernels are ranged around the cob, no one more important than the other. How each kernel respects the space of those on either side, yet remains itself - red, black, white, yellow or combinations of those colors. How the Corn-Mother, in Her physical being, exemplifies unity in diversity." ..........Cherokee poet Marilou Awiakta

Just before her performance, I spoke with Mana, and learned there was one dancer in Manna's cast who had no mask, Christy.  Christy had felt inspired to dance "Green Corn Woman" because of her deep affinity with the Corn Mother, and had created her costume for the performance.   Now it seemed she had her mask.  

Here is the story Christy told me when we finally met, and the new mask was delivered.
Christy Salo as "Green Corn Woman" 
Cornmother's Gift
by Christy Salo
(2002)

I made a bouquet of corn for Manna's wedding, with a necklace of rainbow beads I bought at a garage sale. I later used this same bouquet I to dance Green Corn Woman. Manna is part Cherokee, and when she cast her show, she asked if I wanted to dance Corn Mother. We didn't have a mask for her, but I was inspired to dance anyway. 

I knew very little about the Native American Corn Mother, about Selu, who is Cornmother to the Cherokee.  I planned on doing some research. Along the way, I remember stopping at a used bookstore. Opening a rather esoteric book at random, I discovered I was looking at an article about the Corn Maiden. I was further stunned to find it illustrated by Vera Louise Drysdale. Vera was my friend, years ago, when I lived in Sedona.

And so, without any further urging, I was ready to begin. The feeling of familiarity continued as I created a costume. I was looking for materials I would need, and within a few days, Manna left a message. "Christy" she said, "There is a Hopi woman visiting Isis Oasis Retreat Center, and you need to meet her! She gave me some 300 year old corn meal to give to you!"

Once again, I felt Selu encouraging me! I thought about what She meant to me personally. To me, Selu is about the wealth that comes from the work of forgiveness. How can we be fed and sustained, how can we create peace, if we cannot practice the lessons of forgiveness, if we cannot learn tolerance and compassion for our differences? That is the beginning place for the cooperation we will need in order to evolve into a global family. In America, we have mixed bloodlines, "rainbow blood". Especially as Americans, our challenge is to understand our true relationship to each other. I've always conceived of the Rainbow as actually being a circle. Half of the rainbow disappears into the ground, into an underworld realm, where it exists beneath the Earth, hidden, but present. Like the Corn Mother. Aren't we all Her children? Perhaps, what she gives us now is the means to seed a rainbow vision.

We received the new mask at the time of the lunar eclipse, in May of 2002, and decided it was an auspicious time to consecrate it with our dried corn. As we did, a flash of light went off in the room! At first we thought it was a light bulb that blew out. But no electric lights had been turned on in that room. We looked at each other amazed, and felt the presence of Corn Mother.


References:

http://www.returnofthecornmothers.com/