La Mariposa

 Here is a story I wrote a long time ago, at a time of great change.  I was in one of those liminal zones that can be so very transformative - I was living in a little trailer in the deserted grounds of the Arizona Renaissance Faire, months before it would open.  Just me, winter in the Sonoran Desert,  and my cat. And a few refugees from winter like myself, scattered throughout the ghostly Renaissance Faire village.   I had left my life in the East Coast, and had no idea, yet, where I would go next.  It had not revealed itself, the "direction of the road", and I was not ready to know yet anyway.  What I found that winter was the solitude and quietude I needed to open to a new life, and to bless and release the old one.   This little story came from that time..........

LA MARIPOSA 

by Lauren Raine (1998)

Once upon a time, in a dusty village like any other village, a village with three good wells, fields of blue and yellow corn, a white church, and a cantina, there lived a woman who was neither young, nor old. She was brown of skin, and eye, and her hair was as brown as the sandy earth, and her clothes were brown and gray as well.

She was neither beautiful nor ugly, neither tall nor small, and she walked with a long habit of watching her feet. 

One day, she saw a tree alight with migrating butterflies. Their velvet wings fluttered in the wind of their grace, and one circled her, coming to rest upon her open hand. She thought that her heart would break for the power of its fragile beauty, and she held her breath for fear of frightening it.  La Mariposa was as orange and brilliant as the setting sun falling between indigo mountains, as iridescent, as black and violet as the most fragrant midnight. 

 At last the butterfly lifted from her hand to rejoin its nomad tribe, and its wings seemed like a whisper that called to her: "Come with us, come with us..."

The next morning they were gone. She held her hand out to the empty tree, as if to wave farewell, and saw that where the butterfly had rested, there remained a dusting of color, yellow, like pollen, the kiss of a butterfly wing. And she thought something had changed. 

She went to the well to draw water, and saw her face reflected there. She was not the same - there were now minute lines, hairline cracks, along the sides of her face, at the corners of her eyes. Later, she noticed little webs of light beneath the sturdy brown skin of her hands, barely visible except in the dim twilight. This was a frightening thing. She drew her skirts more closely around herself, pulled her scarf over her eyes. But as time went on, there was something that kept emerging, something that would not be denied. She was peeling open. 

At first, it simply itched, like a rash, like pulling nettles.  But as weeks went by, what had been easily born, what could be endured, became painful, became an agony. Try as she might, as tightly as she wrapped herself in her cocoon of shawls and skin and silence, as tightly as she wrapped herself within the comforting routines of her life, still, colors emerged from her hands. Colors spilt from her mouth. Colors and tears, deep waters that seeped from within, washing away the dust of her life. 

Soon, sleep became impossible. Standing by her window one day, shivering, she shook with fear. "Please help me", she cried, "I'm not the same". 

Then she noticed a beam of sunlight that fell across the floor of her little room like honey. Motes of dust gathered in the golden light, becoming a flurry of butterflies. Butterflies, dancing through an open window, a window opening into a sky as blue and as vast as forever. 

And La Mariposa opened her arms, took the gift of wings, and rose. 

When her neighbor came to walk with her that evening, she found only a dusty shawl and an old brown skirt upon the floor, the early stars glimmering through an unshuttered window.

For Lughnasadh: "John Barleycorn"

                                    

Who was John Barleycorn?  Why was this ancient and ubiquitous myth such a lasting folklore and folk music theme? Why is it particularly important as we approach  Lughnasadh, a Gaelic festival and Pagan holy day that marks the first harvest season. Celebrated annually on August 1st, Lughnasadh is a time of gathering, feasting, and honoring the abundance of the earth, bringing in the sheaves of wheat and barley that will become the sustaining bread, as well as future sustaining beer.  John Barleycorn must die, like many other Pagan agricultural gods, when his time is come to be sacrificed.  But, like other Pagan gods, he is also endlessly reborn,  along with  the return of the sun at the Winter Solstice,  and the return of the barley and the corn and the wheat.  And like Opheus and Dionysis,  these Gods that dwell in the liminal zones of life and death, he becomes as well the source of ecstasy, be it beer, or wine, or music.  

John Barleycorn Must Die is a traditional English song - records of its origins go back as far as the 1300s, and it is probably much older than that.    Over time, many variations have arisen, and the Scottish poet Robert Burns wrote his own famous version of the story of John Barleycorn. In the 70's, John Renbourne, Traffic, and Steel eye Span popularized the song, along with many other folk artists. 

John Barleycorn is a very prime myth indeed  - the Great King who is sacrificed, dies and is reborn in the agricultural cycle.  The motif is found as the Sumarian Dumuzi, the Shepherd husband of the Goddess Inanna who goes into the underworld for part of the year, and returns to her in the Spring.  The same idea of the dying and reborn King is found with the Egyptian Osiris, who is reborn in the Sun God Horus.  "The King is dead:  Long live the King!"

John Barleycorn is the personification of the grain, and the life of the grain from planting to harvest, transformation into beer, and then sowing.  After Barleycorn’s first death he is buried, and laid within the ground.  In midsummer he grows a “long golden beard” and “becomes a man”.  

The song goes on to describe threshing and harvesting. Barleycorn is bailed and taken to the barn. And then the grain is parceled out. Some is taken to the miller to make flour for bread. And some is saved and brewed in a vat to make ale. And some is planted, so that the whole cycle can begin again.  It is likely that versions of John Barleycorn were sung in pre-Christian times, to accompany harvest rituals. Some of these rituals survive to this day in modified form, most famously the sacrifice of the wicker man. These rituals tell the story of the death and rebirth of the god of the grain.

  Photo with thanks to  Avalon Revisited

John Barleycorn is, in particular, also the God of Ecstasy - because he provides celebration and ecstasy as the barley becomes the source of beer and the beloved malt whiskey of the Highlands.  The malting and fermentation is also a part of his "life cycle" and divinity. Perhaps one of the most famous "ecstatic"  manifestations of the Wicker Man, his rituals of sacrifice, rebirth, and  celebration is Burning Man, the  festival that happens in Nevada every fall.  Originally associated with the burning of the Wicker Man at the Lammas Harvest Festival by neo-Pagans in the Bay Area, 

it's grown to become a fantastic festival and art event.  I'd be willing to bet however that  many

of the people who attend Burning Man don't know that it began with that in mind...........

Here's an excellent  quote I take from a Druid's Blog called "The Dance of Life" 

about the Wicker Man:

"In English folklore, the folksong representing John Barleycorn as the crop of barley corresponds to the same cyclic nature of planting, growing, harvesting, death and rebirth.  Sir James Frazer cites this tale of John Barleycorn in The Golden Bough as proof that there was a Pagan cult in England that worshiped a god of vegetation, who was then sacrificed to bring fertility to the fields.  It is tempting to see in this  echoes of human sacrifice as portrayed in The Wickerman film (1973), but that is not really what this time is about.  Whilst there was a Celtic ritual of weaving the last sheaf of corn to be harvested into a wicker-like man or woman, it was believed that the Sun 's spirit was trapped in the grain and needed to be set free by fire and so the effigy was burned........In other regions a corn dolly is made of plaited straw from this sheaf, carried to a place of honor at the celebrations and kept until the following spring for good luck."

It's interesting that in Robert Burn's poem, there are "three kings", similar to the kings from the east in the Nativity story.  Early Christians who came to the British Isles (and elsewhere) often absorbed native pagan mythologies and traditional rituals into Christian theology, and the evolution of the Story of Christ is full of such imagery in order to help the natives accept Christianity. Certainly John Barleycorn shares with the Christ Story the ancient, ubiquitous  theme of the death and rebirth of the sacrificed agricultural King. 

I am a great admirer of the wisdom traditions of Gnostic and esoteric Christianity, but I also believe it is necessary to separate the spiritual teachings of Christianity from  the mingling (and  literalization) of earlier  mythologies throughout  in the development of the Church.  For example, I believe the metaphor used to describe Jesus as the "Lamb of God" directly relates to Biblical practices prevalent in his lifetime  of sacrifice of lambs and goats to Yahwah (indeed, the sacrifice of animals was common

thoughout the Roman and Jewish world.)  The later development of  the doctrine that Christ   "died for our sins"   may have some of its origins in the important, and quite ancient,  Semitic Scapegoat Rituals,  wherein the "sins and tribulations" of the tribe were ritually placed on the back of a goat, which was then driven away from the village to literally "carry away the sins" into the desert.

Observing recently a Catholic "Communion" ritual ("This is my Body, This is my Blood") I was impressed by the many layers of mythologies and archaic cultures inherant in that ceremony, still important to so many people today.  And one of those threads may very well originate in the prime agricultural myth of  the dying and reborn God, a long tradition from which John Barleycorn arises re-born  every spring, and is finally "killed" in the fall. 

Ubiquitous indeed!  This same idea is found in variations throughout the Americas, this time with

the story of the Corn Mother (among the Cherokee, Selu) who is killed, dismembered, and reborn in 

the spring.

John Barleycorn
by Robert Burns

There was three kings into the east,
Three kings both great and high,
And they hae sworn a solemn oath
John Barleycorn should die.
They took a plough and plough'd him down,
Put clods upon his head,
And they hae sworn a solemn oath
John Barleycorn was dead. 

But the cheerful Spring came kindly on,
And show'rs began to fall;
John Barleycorn got up again,
And sore surpris'd them all.
The sultry suns of Summer came,
And he grew thick and strong,
His head weel arm'd wi' pointed spears,
That no one should him wrong.

The sober Autumn enter'd mild,
When he grew wan and pale;
His bending joints and drooping head
Show'd he began to fail.
His coulour sicken'd more and more,
He faded into age;
And then his enemies began
To show their deadly rage.
They've taen a weapon, long and sharp,
And cut him by the knee;
Then ty'd him fast upon a cart,
Like a rogue for forgerie.

They laid him down upon his back,
And cudgell'd him full sore;
They hung him up before the storm,
And turn'd him o'er and o'er.
They filled up a darksome pit
With water to the brim,
They heaved in John Barleycorn,
There let him sink or swim.
They laid him out upon the floor,
To work him farther woe,
And still, as signs of life appear'd,
They toss'd him to and fro.

They wasted, o'er a scorching flame,
The marrow of his bones;
But a Miller us'd him worst of all,
For he crush'd him between two stones.
And they hae taen his very heart's blood,
And drank it round and round;
And still the more and more they drank,
Their joy did more abound.

John Barleycorn was a hero bold,
Of noble enterprise,
For if you do but taste his blood,
'Twill make your courage rise.
'Twill make a man forget his woe;
'Twill heighten all his joy:
'Twill make the widow's heart to sing,
Tho' the tear were in her eye.
Then let us toast John Barleycorn,
Each man a glass in hand;
And may his great posterity
Ne'er fail in old Scotland!

** Here's a link to the song being sung in  a 1972 Concert by Traffic 

http://youtu.be/fsIdhSzyx8M

And here is wonderful Steeleye Span:

http://youtu.be/tlL9RCznuU8

An Irish Invocation to Bridgit

 A friend forwarded this beautiful Invocation, spoken in Gaelic and in English, and performed in Ireland.  So timely for me, as my mind is full now of the masks to make, and Invocational Ritual Theatre event to weave, for the upcoming Women and Spirituality Conference in October, at which I will be the Key Speaker.  The Administrators and I want to open the event with a community based ritual event invoking the Goddesses with the masks.  I am so excited, and so delighted to be given an opportunity once again to weave with others a Basket for the Goddess.  More about that in the next post.  Enjoy this true, deep, and moving Invocation of the Goddess Bridget.  

https://youtu.be/Vt_a-O7hWeM?si=zHU-i0-4sp2c3xJ_

A Poem for this This time

 

From the Pandemic........ 

But still a Poem to nourish in this time of Fear and Division

By Rev. Dr. Lynn Ungar, poet and minister for lifespan learning 

and editor of Quest for the Unitarian Universalist Church of the Larger Fellowship.

Pandemic
What if you thought of it
as the Jews consider the Sabbath—
the most sacred of times?

Cease from travel.
Cease from buying and selling.
Give up, just for now,
on trying to make the world
different than it is.

Sing. Pray. Touch only those
to whom you commit your life.
Center down.

And when your body has become still,
reach out with your heart.
Know that we are connected
in ways that are terrifying and beautiful.

(You could hardly deny it now.)
Know that our lives
are in one another’s hands.
(Surely, that has come clear.)

Do not reach out your hands.
Reach out your heart.
Reach out your words.
Reach out all the tendrils
of compassion that move, invisibly,
where we cannot touch.

Promise this world your love--
for better or for worse,
in sickness and in health,
so long as we all shall live.

"She Who Hears the Cries of the World" by Jennifer Berezan

Mana Youngbear performing White Tara at "Restoring the Balance",
the Muse Community Arts Center, Tucson, AZ (2004)

 Voice of "The Charge of the Goddess": Olympia Dukakis

'Charge of the Goddess' adapted from Doreen Valiente by Star Hawk and Colleagues 1979 Music Courtesy: Jennifer Berezen 'She Carries Me' Source: http://www.EdgeofWonder.com

https://youtu.be/Fnf3nBPs8_o?si=YdyyB8Tvru6D0rD2

The Summer Solstice 2024

 

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, 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.

Denise Levertov

I woke early, on this longest day:

the light rose among

 the green conversation 

of  trees, a fading star, exultant starlings,

  two grey squirrels 

performing their morning ritual

greeting the only God 

they know, 

the Sun

Lauren Raine

The Night Blooming Cereus

With wishes for fullness of life, nature, and friendship for all

 at this most potent of times.  

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.