Wednesday, May 10, 2023

Telling the World in a Time of Drought: Artists as Myth Makers

 

                             
An article I wrote shortly after the election of Trump.  Felt like re-visiting it as I continue reflections  on the (endangered) role of the artist in our world, and extending that, the role of all of us as visionaries and story weavers.  


Recently I travelled cross country, joining conversations that always seemed to end with a question. Since many of my friends are artists, and I include writers, performers, ritualists, dancers, storytellers, and a number of shamans in the category as well, the question seemed to come down to “what do we do now?”

How do we, in a time that seems bent on eliminating or diminishing education, free speech, environmental preservation, social ethics, women's rights and possibly even any kind of consensual truth? As practitioners of the arts, increasingly marginalized by society and now "redefined" by AI, how do we find meaningful identity?

My own response is that I believe it’s vital for artists to remember that we are myth makers. Throughout history, artists of all kinds have possessed the imaginal tools to invent and re-invent the myths that were the cultural underpinnings for their time. They have also, from a shamanic stance, often been those who could "walk between the worlds" and return to speak or illustrate what was learned there.   I believe this is a sacred calling. 
Phil Cousineau, author of  Once and Future Myths: The Power of Ancient Stories in Our Lives (2001) cautioned that if we don’t become aware of both our personal and our cultural myths which “act like gravitational forces on us”  we risk becoming overpowered, overshadowed, and controlled by them. Myths are in many ways the templates of how we compose our societal and personal values, as well as how people organize their religions. As Cousineau commented further, “the stories we tell of ourselves determine who we become, who we are, and what we believe.” 

 “We give our mythic side scant attention these days and so a great deal escapes us and we no longer understand our own actions.  In most cultures, theatre and dance are considered holy rituals, but in the United States, these arts have become strangely secular.”
Leslie  Saxon West,  Choreographer, METAMORPHOSES (The myths of Ovid)
The human mind has a unique ability to abstract. A stone is not always a stone – sometimes it becomes a symbol of something, a manifestation of a deity, or it can also become intentionally invisible, even when it stubs our toes. An interpretation of  God is something that whole nations have lived or died for.  And depending on the aesthetics of a particular culture, foot binding, skull extension, or hair sprayed bouffant hairdos can be experienced as erotic beauty. If the worlds we know are, indeed, experienced through the lens of the stories we tell about them, then how are those stories serving or not serving the crucial time we live in?

          "The World is made of stories, not atoms"
            Muriel Rukeyzer
A renunciate myth of the Earth as  just a "resource" to be exploited, as something "not real", or as a place of sin and suffering to endure until one achieves one's "heavenly reward"...........does not serve the environmental crisis facing a global humanity.  Deeply embedded patriarchal stories that make women lesser  and subservient beings are not only unjust, but also represent an enormous loss to the common well-being of humanity, because they  do not release the vitally needed creative brain power of half the human race. A cultural mythos that celebrates violence and competition, that makes guns a symbol of power,  do not contribute to the nurturance, cooperation,  and sustainability we will need if we are to survive into the future as we confront Climate Change.  Stories of “rugged individualism” may not be as useful in a time when science, sociology, ecology, theology, and even physics are demonstrating that all things are interdependent
  "What is the new mythology to be,  the mythology of this unified earth as of one      harmonious being?"
 Joseph Campbell
So what are the new stories arising that can help us to evolve into a wiser, sustainable world? And further, how can they be brought fully alive in comprehensive ways that have vitality and impact?  This, I affirm again, is the ancient sacred calling of the artist, the poet, the storyteller, the ritualist.  


I remember years ago participating in a week long intensive with the Earth Spirit Community of New England. The event took place in October, in celebration of the closing of the year, the time of  going into the darkness of winter. The closing ritual occurred at twilight. Bearing candles, different groups wove through the woods toward a distant lodge from which the sound of heartbeat drums issued. Slowly the lodge filled, illuminated with candles.
As we sat on the floor, lights gradually went out, we were blindfolded and the drums abruptly stopped. We felt bodies rush by us as hands turned us. The sounds of wind, and half understood voices, someone calling, someone crying, or a bit of music came from all directions. As we lost any sense of direction or time we became uncomfortable, frightened and disoriented. I felt as if I was in a vast chamber, the very halls of Hades, listening to echoing voices of the lost. And when it felt like the formless dark would never stop: silence. And the quiet sound of the heartbeat drum returned, re-connecting us to the heart of the Earth. As blindfolds were removed I found myself in a room warmly illuminated with candles. On a central platform sat a woman enthroned in brilliant white, illuminated with candles and flowers. At her feet were baskets of bread. Slowly we rose, took bread and fruit, and left the  Temple. And as we left, on each side of the entrance, stood a figure in a black cape. Each had a mirror over his or her face – mirror masks, reflecting our own faces. 
Now that was a potent ritual telling of the myth! We had entered mythic space, we had participated together in the Great Round of death and return to the light – and none of us would ever forget it.

People think that stories are shaped by people.

 

In fact, it’s the other way around.  — Terry Pratchett

I am here suggesting that artists, troubled as my friends and I have been, step away for a while from the complex questions of identity so beloved by the art world, cast aside as well the dismissiveness, even hostility, of the current anti-intellectual environment.  Instead, let us view ourselves as engaged in a sacred profession, "midwives" (that includes men) who are bringing in the new stories, the new myths that are needed now.

We are pollinators of the imagination,  holding  threads in  a great weaving of myth, threads that extend into a time yet to come, and far back into a barely glimpsed past. If as the poet Muriel Rukeyser famously said, “the world is made of stories, not atoms” (Rukeyser, 1978) the only real question for us now is:  What kinds of stories are we weaving?  

Lauren Raine (2017)



REFERENCES:
Keller, Catherine.  From a Broken Web: Separation, Sexism and Self,  Beacon Press  (1988)
Baring, Anne.  A New Vision of Reality” from her website
Cousineau, Phil. Once and Future Myths: The Power of Ancient Stories in Modern Times,  Conori Press (2001)
The Earthspirit CommunityTwilight Covening (1993)
Rukeyser, Muriel.  The Collected Poems of Muriel Rukeyser McGraw (1978)

SOJOURNS IN THE PARALLEL WORLD

 

by Denise Levertov


We live our lives of human passions,

cruelties, dreams, concepts,

crimes and the exercise of virtue

in and beside a world

devoid of our preoccupations, free

from apprehension—though affected,

certainly, by our actions.

A world parallel to our own though overlapping.


We call it “Nature”; only reluctantly

admitting ourselves to be “Nature” too.


Whenever we lose track of our own obsessions,

our self-concerns, because we drift for a minute,

an hour even, of pure (almost pure)

response to that insouciant life:


cloud, bird, fox, the flow of light, the dancing

pilgrimage of water home to Ocean, 

vast stillness of spellbound ephemerae on a lit windowpane,

animal voices, mineral hum, wind

conversing with rain, ocean with rock, 

stuttering of fire to coal—then something tethered

in us, hobbled like a donkey on its patch

of gnawed grass and thistles, 

breaks free.


No one discovers

just where we’ve been, 

when we’re caught up again

into our own sphere (where we must

return, indeed, to evolve our destinies)


—but we have changed, a little.

Sunday, May 7, 2023

THE PRIESTESS: Patricia Ballentine


 I'm very pleased with this new Icon in my "Our Lady of the Shards" series.

It is called "The Priestess" because the model was Patricia Ballentine, who has been a wise, accomplished, devoted, and much loved Priestess of the Goddess and Earth Based Religion for many years.  She is the Founder of the Temple of the Creative Flame, which was founded in 1999, and is based in Mesa, Arizona. Patricia is also a wonderful artist, who among many other gifts, has created her own Oracle Deck.  Here is Patricia's  own  Sigil,  which is the emblem for the Temple, the Elemental Cross.


It was important that I put "flames" in her hands.   The "offered flame"  "ignites" creativity, imagination, inspiration, and hope.  I think that is what a true Priestess can do.  I remember that years ago I painted an image of a woman emerging from the darkness, bearing a flame in her hand - The Flame of Creativity can illuminate a Path in the dark as well. 

The Temple of the Creative Flame   is a temple of the Goddess serving the greater Pagan community. We are a temple for thinkers and lovers of life, building bridges through ceremony, ritual and dialogue within safe and sacred space.  All are  are welcome who come with open minds and open hearts. WE SERVE through a unified alignment with courageous hearts and compassionate minds. 

That's why I put "flames" in her hands.   The "offered flame" is very important to me - the flame that "ignites" creativity, imagination, inspiration, and hope.  Years ago I produced an image of a woman emerging from the darkness, bearing a flame in her hand - it was the same idea.  The Flame of Creativity can illuminate a Path in the dark as well. 

As an Archetypal Icon,  it is my hope that this sculpture is both personal, and collective, honoring Patricia and the work she and her colleagues have done in the world, and also the emergence now, the very important emergence, of the PRIESTESSES OF THE GODDESS, bringing  Her back into the world to heal the wounds of patriarchy, and the 11th hour of  ecological disaster.  There are many I have been privileged to know - Annie, Macha, Mana, Celestine, Selena, Angie, Starhawk, Kathy,  Constance, Lena, Prema, Vajra, Ava,, Elizabeth, Gloria, Judy,  Valerianna, Xia, Lydia, Max........and many others who serve Her.  Some of you may not call yourselves Priestesses - but you are.  You have all brought the Goddess, the Divine Feminine, back into a world that needs Her.    This is for all of you.  THANK YOU.

"She Changes Everything She Touches, and Everything She Touches Changes"


"Being a Priestess in the world today is messy. It seems that the longer we are on the path, the less obvious the path may be. Yet, we see it more clearly because we intuitively know where to step and how to work. This is especially true in the places where we are least welcomed. We continue to uncover and revitalize the Goddess through our individual and collective Priestess Presence."          

Patricia Ballentine


I am a Priestess of the Goddess

 

My sacred work draws me

Down raw dark corridors

Thru jagged doorways

Into seething vessels

Overflowing with the potential

For transformation only found

In the deepest depths of dysfunction and pain.

 

I am a Priestess of the Goddess

 

My regalia is frayed at the seams

With unrepaired snags and tattered cuffs

From the constant clawing

Of resistant illusions

So deeply engrained

In destructive beliefs and habits

Ripe for the harvest to good.

 

I am a Priestess of the Goddess

 

I walk in rugged boots

With soles worn thin

From the shards of broken hopes and dreams

That litter the pathway

Sometimes bringing me to my knees

In order to see more clearly

The remnant of the passion still present.

 

I am a Priestess of the Goddess

 

I am an unlikely servant

In an inhospitable environment

That incubates the most courageous beings

On the threshold of quantum healing

Through courageous acts of self reclamation

Compassion for others

And the elimination of the shackles of fear. 


Patricia Ballentine

www.PatriciaBallentine.com






Sunday, April 30, 2023

May Day! BELTAINE!

 

From the Edinburgh Beltane Festival
https://beltane.org/2014/10/12/welcome-to-beltane-org/


Happy May Day to all!

(Some great photos from the Edinburgh Beltaine Festival!


 Some good words about this sacred day from Celestial Elf Blog:

The Beltane Festival

Beltane or Beltane is the Gaelic name for the festival that begins on April the 30th or Beltane's eve and continues on 1st May and is a celebration of purification and fertility. The name originates from the Celtic god, Bel - the 'bright one', and the Gaelic word 'teine' meaning fire, giving the name 'bealttainn', meaning 'bright fire'. Marking the beginning of the Summer season with the lighting of two great bon-fires on Beltane's eve signifies a time of purification and transition, these fires may be made of the nine sacred woods, Alder, Ash, Birch, Hawthorn, Hazel, Holly, Oak, Rowan and Willow.

Heralding in the season in the hope of a good harvest later in the year, Beltane festivals were accompanied with ritual acts to protect the people from any harm by Otherworldly spirits.

Significantly, as the Goddess (Brigid) moves through her various phases, Beltane sees the womanly aspect of the Summer Goddess banish the Old Crone aspect of the Winter Goddess in readiness for the maternal time and the fruits of nature to follow.

As this is one of the magic turning points of the Sacred Seasons, the veil between worlds is thought to be especially thin, and as a result many of the Fairy Host, the Sidhe and the Tuatha De Danann may be seen crossing between the worlds.  Particularly, the Faery Queen is thought to travel about on this night and if you gaze too long on her enchanted beauty she may whisk you away to live in her Other realms outside of time for an eternity.  The Faery Queen also represents the May Queen, although in practice the honor is usually carried out by young women who are soon to be married.

 

Greenman mask from Starwood Festival, Brushwood Folklore Center (1997) 

For the May Day is the great day, 

Sung along the old straight track. 

And those who ancient lines did ley 

Will heed this song that calls them back.

........Ian Anderson of Jethro Tull.

https://beltane.org/2014/10/12/welcome-to-beltane-org/

 The May Queen at Beltane

Along with her May King, mythically a Jack in The Green, the Green Man or Horned God, is to take part in the Great Rite and so Open the way for the Summer. This is the Sacred Marriage of the God and Goddess, often reenacted by a symbolic union during which the Athame (magical knife symbolizing male energy) is placed by the King of May into the Chalice (Sacred Cup symbolizing female energy) held by the Queen of the May.  For a more detailed account of how this ritual was enacted in earlier time, I refer the reader to Marrion Zimmer Bradley's moving account in her fiction The Mists of Avalon.

Following this union which serves to Open the way to the Summer Lands, festivities ensue, particularly that of dancing around the May Pole. The May Pole itself is a symbol of the union of the God and the Goddess, as the red ribbons represent the fertility of the Goddess, the white represent the fertility of the God. Men begin the weaving by dancing under the upheld ribbon of the first women facing them, accompanied by music, drums beating or chanting. The dancers move forward, stepping alternately over and under each person who’s dancing toward them. The dance continues until the Maypole is completely wrapped, then the ribbons are tied off and the wreath from the top is tossed to the earth to bring its gathered power into the ground.

Whilst such public festivals are not as widespread as they once were, famously at Padstow in Cornwall there still is held an annual 'Obby-Oss' day, which is believed to be one of the oldest surviving fertility rites in the United Kingdom.   St. Ives and Penzance in Cornwall are now also seeing a revival of similar public festivities.

Beltane Lore

During Medieval times, a man might also propose marriage by leaving a hawthorn branch at the door of his beloved on the first day of May. If the branch was allowed to remain at her door, it was a signal that the proposal was accepted. 

If it was replaced with a cauliflower, the proposal was turned down.

The Celtic Moon month of Hawthorn is the time for lovers to attend to matters of the heart, as the Celtic fire festival of Beltane heralds the start of summer.  Crosses of birch and rowan twigs were hung over doors on the May morning as a blessing and protection, and left until next May day.

The dew on the May day morning is believed to have a magical potency - wash your face and body in it and you will remain fair all year.

Going 'A-Maying' meant staying out all night to gather flowering hawthorn, watching the sunrise and making love in the woods, also known as a 'greenwood marriage'

                               "Oh, do not tell the Priest our plight,

Or he would call it a sin;  

But we have been out in the woods all night, 

A-conjuring Summer in!"