Wednesday, March 25, 2015

Interview with Coreopsis Magazine 2015

Vol 4 No. 1 Winter/Spring 2015
Earth Tales: The Challenge Ahead
 
Interview: Lauren Raine – Visionary
Profiled Artist
 
 
CJMT: What is the link to your site? Where can we see your work?
www.laurenraine.com as well as my blog
CJMT: What do you want the world to know about your work?
 I guess I would feel that I’ve succeeded if in some small way my work helps in the greater work of bringing reverence to the Earth, and to the arising of the Divine Feminine.
 
CJMT: Who – or what – do you see as your main influences?
 Early on I became influenced by the writings of Kandinsky (“Concerning the Spiritual in Art”) and others, and rejected what I saw as an aesthetic that disregarded spirituality and mysticism as being outside of “high art”. I find it ironic that spirituality was a significant impulse in the early development of Modernism. Theosophy, the Golden Dawn, Anthroposophy, as well as Einstein’s new physics, enormously inspired the work of such innovators as Mondrian, Kupka, Kandinsky, Arthur Dove, and others.
Later I discovered Joan Halifax (“Journey of the Wounded Healer”), met Alex and Allyson Grey (“The Sacred Mirrors”) and others, and began to think of art process in new terms. Art for healing, art for transformation of consciousness, art as a bridge between dimensions. During the 80’s I was involved with a group called the Transformative Arts Movement, and I even wrote a book based on interviews I did with visionary artists.
 Rachel Rosenthal developed a form of contemporary “shamanic theatre” that I found profound. I saw her perform Pangaian Dreams in 1987, and every hair on my body stood up. Sometimes, like a Sami shaman making the “yoik” she would allow sounds to come through her that were absolutely electric, sounds and words that charged the room. The Earth Spirit Community’s Twilight Covening introduced me to participatory ritual theatre and I made the Masks of the Goddess” collection for the Reclaiming Collective’s 20thAnnual Spiral Dance. I have great admiration for what these two groups have developed as ritual process.
 
CJMT: Much of what you do seems to tell a story – even the single, stand-alone pieces. Where do you think that comes from?
 The poet Muriel Rukeyser famously commented that “the Universe is made of stories, not atoms”.
 
I believe Native American mythology – and perhaps contemporary quantum physics – would agree with her. My patron Goddess is surely Spider Woman, the ubiquitous Weaver found throughout the Americas in one mysterious manifestation or another. Among the Pueblo peoples of the Southwest she was also called “Thought Woman” (Tse Che Nako). As a Creatrix she brought the world into being with the stories she told about it.
 
Myths and religions are stories, some more glorified, archetypal, literalized or contemporary than others. I think it is so important for artists of all kinds to recognize that we are weavers of the stories of our time, we are holding threads that recede behind us and extend beyond us into the future. We’re never weaving alone. So – what kind of stories are we shaping, collaborating with, how do we understand the gift of “telling the world” that Spider Woman has bestowed on us?
 
CJMT:  How would you describe your art…? (influences, history, school-of-art, your aesthetic) 
 
Perhaps “Cross disciplinary”? I seem to jump around a lot, from sculpture to ritual theatre to painting to…………….whatever seems to be the best medium of expression at the time. Different “languages”. I guess I could say that my art-making is my spiritual practice, whether it is done with community (as in theatre and ritual) or alone in my studio.
 
CJMT: What did you learn from working in theatre?
 
Being a visual artist is solitary, and I’ve always wanted art forms that were participatory, collaborative. Masks lead right into theatre, and questions about the traditional uses of masks as well. Masks are such metaphors – you can’t look at a mask, really look, without it suggesting some kind of being that wants to manifest through it. They are vessels for all kinds of stories.
 My colleagues (among them Macha Nightmare, Ann Waters, Mana Youngbear, Diane Darling) and I have developed some wonderful ways of working with masks and community theatre/ritual. In early Greek theatre a performance had three components – the musicians, the narrators or Chorus, and the masked performers, who would pantomime and dance the characters. We’ve often used that approach, particularly with a Theatre in the Round, a Circle.
 Because the masks are dedicated to the Goddess, we’ve brought neo-Pagan sensibilities to the ways we designed our performances. This can include creating a ritual entranceway so the audience enters a magical space, adding audience participatory components to the performances, calling the elemental Quarters and/or casting a Circle in theatrical ways, and concluding all performances with some kind of energy raising activity with the audience. In Wicca that’s called “raising the Cone of Power” and by so doing the blessing or overall intention is “released to do its work”, finishing with “de-vocation”, which is often a great conclusion with humor, or everyone gets up and dances, etc.
 
It’s actually very effective, and can be integrated as good theatre. For example, in “Restoring the Balance” (2004) we concluded with “Spider Woman”. While the music played and the narrators told the tale, “Spider Woman” wove invisible threads. With a rising crescendo of assistants, she wove a web with the entire audience. And indeed, for that moment of breathless intensity everyone in the theatre was literally connected, holding onto a thread “from the Great Web” with everyone else. The “Blessing” was experienced as part of the performance.
CJMT:  What would you like to say to other artists (of any genre)?

“Our job was not to just re-tell the ancient myths,
but to re-invent them for today. Artists are the myth makers.”
Katherine Josten,   The Global Art Project
 I agree entirely with Katherine Josten, who founded the Global Art Project in Tucson, Arizona – we are the myth makers of our time. So, what kind of myths are we disseminating? What are the new stories, how are the old stories still important – or not?
 We have become a global society, with a global crisis. I may sound like I’m preaching, but personally, I don’t want to experience any more art forms that are self-indulgent, nihilistic, violent forms that don’t further evolution into empathy in some way.
I’m not entirely comfortable when people speak of contemporary artists as “shamans” as I have too much respect for the long traditions of indigenous shamans, which have evolved within their particular cultures for thousands of years. But I do know artists can participate in healing and vision, and can find new contexts for creating new forms of what might be called contemporary shamanism.
 
I’d like to quote from a 1989 interview I did with the early performance artist, Rafael Montanez Ortiz. In the 80’s he studied energy healing, as well as working with some native shamans in the U.S. and South America. Raphael was also a great influence for me. In the conversation I recorded and transcribed, we were talking about what an “art of empathy” might be, and he spoke about his studies in native Shamanism:
 
“You feel what you do……….Within the participatory traditions found in (indigenous) art, there is no passive audience. That’s a recent idea, which is part of the compromise, the tears and breaks from art’s original intentions. Ancient art process was a transformative process; it wasn’t a show, it wasn’t entertainment.  We need to see ourselves again as part of a brilliant, shimmering web of life. An artist at some point has to face that issue. Is the art connecting us and others in some way, or is the art disconnecting us and others? I think it is not enough to just realign ourselves personally either – as we evolve, our art should also do that for others, and further happen outside of the abstract. It must be a process that in its form and content joins us with the life force in ourselves, and in others.” (1989)
 
CJMT:  Do you feel that the questions of the spirit influence what you do?
 
I think Spirit influences much of what I do, and I’m not alone in that by any means! There’s a many-layered conversation going on all the time when you open creative channels.
 
Working in the collective process of ritual theatre is always amazing. When you make a strong, vibrant container with performance that is alive and meaningful for the participants, then dreams and synchronicities abound, the “container” of the developing work becomes charged. “If you build it, they will come”.
 
I remember in Joseph Campbell’s “Power of Myth” interviews with Bill Moyers, he spoke about “invisible means of support”. I think we’re supported by quite mysterious sources all the time, and when an artist finds her or his “burning point”, or for that matter a group shares it, doors do seem to open where we did not think they would. 
CJMT:  Would you like to tackle your relationship to the fines artes?
 
Oh, I get a headache when I think about “the art world”! But I did get an MFA, I have been a part of it, and I’m probably unfair in my allergic reaction. It’s just that I think the premise of the “art world”, as it reflects capitalism, is way off from the original functions of art.
 
Of course artists need to be supported by their communities. But when art becomes an “investment” and value is determined as a financial commodity (witness some of those Sotheby Parke Bernet auctions) you enter into a form of “soul loss”. Within this construct there is no acknowledgement of the transformative dimension of art. The conversation is corrupted. People are taught to appreciate a work of art because it is hanging in a museum, or worse, it is “worth millions”.
 
I always cringe inwardly when I hear someone talk about a painting they have in terms of what they paid for it, or what they hope it may be “worth”. The real “worth” should be what pleasure, insight, meaning, and questions they derive from being in the presence of a work of art, from being able to live with it in some way.
 
I had a real revelation in Bali, where they really don’t have an understanding of what we call “being an artist” at all, let alone the rather “macho” myth of the alienated “great artist”. When I lived there, I found that virtually everyone made some kind of art, whether dance, offerings, music, etc., and virtually all of it was “dedicated to the Gods”. It all had a ceremonial/ritual purpose. Art to the Balinese is a way to pray.
They obviously make many things for money, including masks. But the “special masks”, the sacred masks, are kept in the Temples, commissioned and repaired by traditional Brahman mask makers. They are not made available for tourists except as they may be seen in performances of the traditional dramas such as the battle between light and dark represented by the dragon/lion Barong and the witch Rangda; after such uses they are “purified” with holy water before being returned to the Temple.
 
This revelation became an inspiration to create a contemporary, multi-cultural collection of “Temple Masks”.
 
That’s how I conceived of “The Masks of the Goddess” – as special masks dedicated to the Divine Feminine throughout world mythologies. 
 
CJMT:  A Couple of technical questions: 
a)   What is the process you undergo in creating a mask?
 
For the face masks I find a person with a face I like. Then I take a plaster impregnated bandage cast that becomes a plaster positive cast, and then I form the mask over that cast with a thin, flexible leather. The technique is very similar to the old Italian “del Arte” mask technique.
 
b)    How did you find *your* media and materials in the very beginning?
 
I’d like to think the masks found me. But I’m somewhat embarrassed to admit that in the very beginning I started making masks because I was broke. I was a jeweler at the Renaissance Faires and business was bad, so I started making masks hoping they would sell better. They did, and very soon they began to introduce me to a whole new world.
 
CJMT: What do you think the state of visionary art is today? 
 
There are some great visionary artists out there. Film in particular, with special effects technology, is quite astounding. Think about AVATAR – what an incredible feat, to create an entire cosmos in that way. The Life of Pi – astounding.
 
Ritual Theatre is an art form that is literally “visionary”, and I wish it was more widely experienced in mature, effective ways for audiences other than groups that are generally esoteric. As Americans, many feel we’ve lost our rituals by and large, or the ones we have don’t have much energy left in them. People are hungry for potent events that offer rites of passage, mythic enactment and immersion, and shared transpersonal, visionary experiences. It’s really a very ancient human heritage continually renewed.
 
I was thinking of a ritual I experienced with the Earth Spirit Community years ago close to Samhain, All Souls Day. We processed in the twilight through a field with candles into the ritual hall, accompanied by the distant sound of drums.
The final segment of the ritual involved everyone being seated on the cold floor, in a large dark room, and blindfolded. For what seemed like forever we heard distant voices, people brushed by us, hands moved us around, strange music was heard. It was powerfully disorienting, suggestive, and frightening. Then at last our blindfolds were removed, and we found ourselves in a room beautifully illuminated with candles. In the center of the room was a woman in white, surrounded with light, flowers, fruits, water – the Goddess herself, the “return of the light”. Finally, as we left we were greeted by figures with mirrors for faces: we beheld our own reflections.
 
I’ll tell you, you felt that experience! We had truly been “between the worlds”. When we left the ritual and gathered for food and drink, every one of us felt love for each other and joy for being alive.
 
CJMT:  Any final words? 
 
Here’s a quote I love:
 
“Stories are not abstractions from life but how we engage with it. We make stories and those stories make us human. We awaken into stories as we awaken into language, which is there before and after us. The question is not so much “What do I learn from stories” as it is “What stories do I want to live?” Insofar as I’m non-dual with my narratives, that question is just as much, “What stories want to come to life through me?
David R. Loy, “The World is Made of Stories


Coreopsis


Saturday, March 21, 2015

The Equinox


Here is my prayer and blessing  on this Auspicious Day:
May each and every one of us be Butterfly People, Pollinators of the heart, imagination, and mind - for all those who need us, and for all those who are yet to come.


EQUINOX

We dance our oppositions
into legends of hate and love,
light and dark, good and evil.
Both choiceless
and willful,
we return to a deeper need:

Balance,

rites of reconciliation
with self, soil, 
friend and foe

the Labyrinth.

And at the center,  labrys
the butterfly's shape.

Whole, winged,
allways going home.


Lauren Raine (1999)

Saturday, March 14, 2015

Goodbye to Terry Pratchett

Terry Pratchett

I think the world will be a lot less interesting without Terry in it. Like Mark Twain or Bernard Shaw before him, he was one of the world's greatest wits.   Thank you, Sir Terry Pratchett, for so many adventures!

from The Guardian
http://www.theguardian.com/books/booksblog/2015/mar/12/terry-pratchett-in-quotes-15-of-the-best


 Terry Pratchett in quotes: 15 of the best

As the literary world mourns the death of the Discworld creator, here are some of his most inspiring and memorable quotes. 

--The whole of life is just like watching a film. Only it’s as though you always get in ten minutes after the big picture has started, and no-one will tell you the plot, so you have to work it out all yourself from the clues. 

--Real stupidity beats artificial intelligence every time.
--I’d rather be a rising ape than a falling angel.
--It’s not worth doing something unless someone, somewhere, would much rather you weren’t doing it. 
--Stories of imagination tend to upset those without one.
--Fantasy is an exercise bicycle for the mind. It might not take you anywhere, but it tones up the muscles that can.
--The presence of those seeking the truth is infinitely to be preferred to the presence of those who think they’ve found it. 
--It’s still magic even if you know how it’s done. 
--There are times in life when people must know when not to let go. Balloons are designed to teach small children this.
--If you don’t turn your life into a story, you just become a part of someone else’s story. 
--The truth may be out there, but the lies are inside your head.
--Goodness is about what you do. Not who you pray to. 
--I have no use for people who have learned the limits of the possible.


--So much universe, and so little time.--


from The Guardian
http://www.theguardian.com/books/booksblog/2015/mar/12/terry-pratchett-in-quotes-15-of-the-best

Thursday, March 5, 2015

Unknowing................



I have been trying to write lately, but my heart just isn't in it, to be honest.  I've spent a lot of years being a caretaker for my mother and brother, and feel disoriented now, not sure of what is next.  Everything I've been doing mostly concerns, well, being a caretaker in one way or another.  Now in a short time my brother is gone and now my mother.  I am disoriented.


It's been said by many before me, but here I am saying it as well - "what now?"   Which is, from one perspective, a fortunate state of being, that state of "not knowing".   I wish I could put on a backpack (like my friend Zoe at 68 did this past summer) and just go off on a walking pilgrimage, allowing World to open me again and take me much further.   My feet, I know, would lead me where I need to go, each day, each present moment.  Well, maybe that will happen sooner than I think. 

It is difficult to re-invent oneself at 65, but that's what we're continually being called upon to do.  Maybe it's hard at any age, but in ones 60's one senses the precipitation of calcification, and not just in ones bones.   I jolly well know what I have to do -  walk into the future and not the past, be grateful for - well - absolutely everything. 

I think of that quote from Picasso when he was in his 90's.  An interviewer asked him, after such a long and successful career, what he thought was his best work.  He thought for a minute and then responded:  "The next one."

"I, the Song.  I walk here."

......Lakota Poem


En route to L.A. I stopped at a place I've enjoyed over the years, a hot spring campground in the desert west of Phoenix called Tonopah.  I have always revered the healing powers of hot springs,  as all early peoples before me have as well.  Franklin Roosevelt once visited the springs at Tonopah to help his polio.  This visit I learned that they were trying to sell the place, as the land on the other side of the hot springs (a matter of maybe 40 feet) had been sold to a corporation involved with chicken farming, which meant, of course, inevitable pollution of the waters, stink, trucks moving in and out, not to mention the suffering of thousands of caged birds.

How is it possible that I live in a world where people even think of doing such a thing 40 feet from a healing hot spring?  Where beauty, healing, community, not to mention the spirits of place.........have no meaning at all, just destruction and profit?  I can't fathom it.


So......something better than to close with that.  We are never alone, and I just opened yesterday a book that for some reason I hauled along with me, a book I bought at the Native American museum at the Smithsoninan 5 years ago........to the exact quote and page below.  The Author is speaking of the Navajo people.  Spider Woman speaks.................*

".............If you "borrow" (a horse, land, a place) do you inherently bless (it) , or do you impose?  Most communication by white society has seemed more like imposition than blessing. In this light, it is interesting to note that while westerners closely associate communication with "freedom" the Dine associate it with "responsibility" or "accountability".

"If you lie, the gods will know" one elder told me, "so why lie?" .  As we discussed the matter further, she explained that one was responsible to the gods for what was said.  Responsibility and accountability are virtues to be modeled in living and in the arts.

Given this full time responsibility, there is no separation between art and life.  Both bear the responsibility of sustaining a divine rhythm and message.  So art is not made to be enjoyed later, as in a gallery or recording.  Rather the responsibility to be fulfilled,  and to be made divine through art,  is realized  within the act of creation.

In Witherspoon's words, "Beauty is not to be preserved, but to be constantly renewed in one's self and expressed in one's daily life and activitiesTo contribute to and be a part of this universal ho'zho' is both man's special blessing and his ultimate destiny." 



**
Cooper, Thomas W., A TIME BEFORE DECEPTION - Truth in Communication, Culture, and Ethics,  Clear Light Publishers, Santa Fe, N.M. (1998), p.148

Sunday, March 1, 2015


For all my preparation, metaphysical insights and study, I have to say, when people actually die, and they are no longer here.............it's so lonely sometimes.  I was cleaning out, and was ready to give away my brothers favorite chair, and my mother's wheelchair (Glenn passed away this summer).  Instead I found myself putting them in their favorite spot in the garden, where they would both sit and watch the sunset.  I think I'll just leave them there for a while, the remembrance seems peaceful, a way to honor them.


Sunday, February 22, 2015

Florence Greene 6/27/1917 ~~ 2/22/2015



Mother, Social Worker, Opera Singer, World Traveller, Gardener, Humanitarian, lover and protector of all animals...............
 
Good by Mom, journey home.  I will miss you.

Do not stand at my grave and weep
I am not there. I do not sleep.
I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn rain.
When you awaken in the morning's hush
I am the swift uplifting rush
Of quiet birds in circled flight.
I am the soft stars that shine at night.
Do not stand at my grave and cry;
I am not there. I did not die. 


 Mary Elizabeth Frye





Girl and Horse, 1928

You are younger than I am, you are
Someone I never knew, you stand
Under a tree, your face half-shadowed,
Holding the horse by its bridle.

Why do you smile?  Can’t you
See the apple blossoms falling around
You, snow, sun, snow,
listen, the tree dries
and is being burnt,  the wind

Is bending your body, your face
Ripples like water
Where did you go
But no, you stand there exactly
The same, you can’t hear me, forty

Years ago you were caught by light
And fixed in that secret
Place where we live, where we believe
Nothing can change, grow older.

(On the other side
of the picture, the instant
is over, the shadow
of the tree has moved.  You wave,

then turn and ride
out of sight through the vanished
orchard, still smiling
as though you do not notice)

Margaret Atwood