Category Archives: Faith and Spirituality

Niicugni

Spring                                                                           Planting Moon

 

Still thinking about the performance last night.  The direct to the emotions connection with movement.  And the book  Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists.  In this book the author discusses the dynamic interaction between Cage’s elevation of sound, all sound, to music or at least potentially musical and the thoughts of choreographer/dancer Merce Cunningham who saw movement, all movement, as dance, or at least potentially dance.

In particular Cage wanted to decouple music from dance so that dance did not interpret music and music did not happen as background for dance.  This lead them to have concerts where music would happen, then dance, then music, then dance.  And, the music might be banging pots, someone reading the New York Times want ads or the scrape of a chair on the floor while the dance might be walking, running, jumping, embracing.

Last night I followed the movement of salmon upstream as Emily and Aretha lay on the floor and made sinuous, flowing motions with their whole bodies.  I cheered in my heart when they threw up their arms, cringed when they showed snarling faces and hoped when they shed their skins.

These links between their movement and my heart happened because my body felt their movements, all those mirror neurons firing, firing, firing sending me a message not from the dancers, but from my own body as stimulated by them.  This is not intellectual processing at all.  It’s kinesthetic.  By embracing silence throughout the work except in very episodic short monologues Emily’s work created niicugni, her people’s (Yu’pik) word for Pay Attention, Listen.

This work had great coherence with the lighting provided by the fish-skin lanterns, created in the traditional Yu’pik manner.  In a masterful lighting design the lanterns flickered, came on and off, featured this part of the stage or that through being hung at varying heights and lit separately.

Emily has topics in the first two elements of her trilogy that are close to my heart:  home and the land.  What is home?  Where is home?  Why is home?  Can we have more than one home?  Do we have more than one home?  How much relationship does home have to the land?

Land.  Mother earth or grandmother earth.  That without which we do not survive.  The womb from which we are born and the grave to which we return.  How do we remember the land?  Honor her lifegiving powers?  What does it mean to be connected to the land?

These are essential question, never minor or subsidiary, but at the heart of each persons, each animals, each plants life and its living.  It is a canard I know, but modern civilization does distance us from the idea of home and especially from the land itself.  It is always there, supporting us, feeding us, connecting us but so often we assume it, ignore it, abuse it, poison it.

Emily’s work is important.  Thanks Allison for introducing me to it.

 

Fish Skin Lanterns

Spring                                                                       Planting Moon

Kona’s temp is down and she’s resting comfortably.  I’ll pick her up in the am.

Went over to Cecil’s Deli in St. Paul for dinner with Joy and Ginny, two docent friends.  That was fun. Cecil’s is an old Highland Park hangout from our days on Edgcumbe.  It’s an authentic Jewish Deli and always a fun place to eat.  I had a pastrami omelette.

After the dinner, we went over to O’Shaugnessy on the University of St. Catherine’s campus to see Emily Johnson and her collaborators perform Niicugni. Niicugni is a Yu’pik word meaning Pay Attention, Listen.

This is the second part of a trilogy, the first one focused on home, what it is, how we know it and experience it.  This performance focuses on the land and our always relationship to it, yet how we can become distanced from it so easily.  Reminds me of the quotes I posted from Chief Luther Standing Bear just below.

Emily and her co-dancer and collaborator, Aretha, (one of 5 members of Catalyst) tried to imagine how they could be in two places at once on the land.  Much of the movement in the performance grew from improvisation based on that idea.  The idea behind it, the intention of the piece, was to memorialize the fact that at any one point in time the land beneath our feet is connected to some other land, all other land, yes, but in particular land that may hold special meaning for us, like home if we are not at home.

Much of the work had little to no narrative line and included collaborators from three groups:  urban farmers, (I forget right now.) and people who learned the Yu’pik art of fish lantern creation.

Allison, also a docent friend and a dancer, learned how to sew the fish skin lantern and made one that hung in the lobby of the auditorium.  Many of the some 50 fish skin lanterns were the main lighting for the entire hour long performance.  Salmon are a primary food source for the Yu’pik in Alaska, Emily’s people and her home.  To make the fish skin lanterns the sewers skin the fish, then scrape all that could rot off, a process that can take up to 16 hours for each skin and four are used in the making of the lanterns.  So, a lot of work and work related directly to living from mother earth.

The intriguing part of the performance with the collaborators from the three different groups is that she gathers different groups together each place she performs the piece and choreographs their involvement so it integrates with her work.

In case you’re interested here’s a video on making fish-skin lanterns.

Emily Johnson Makes a Fish Skin Lantern from Emily Johnson on Vimeo.

The God of War

Spring                                                                         Planting Moon

Gun control derailed two days after the Boston bombing.  Say again?  So violence wins.  Ares is the god of our time, not Yahweh, although in a fight Yahweh never put away the slingshot.

The god of war has built temples in many places over the long centuries, here is one located in Fairfax, Virginia.  NRA HQ.

It features a headquarters range with the following offerings:

The 15-position NRA Range is open to the public and offers:

  • Shooting Events and Activities!
  • Shooting Distances up to 50 yards!
  • Automatic target retrieval system that allows the shooter to edge and face the target for time intervals programmed by the shooter!
  • Wheelchair Accessible!
  • All pistol calibers and rifle up to .460 Weatherby Magnum!
  • A professional staff of NRA Certified Range Safety Officers!

Where does the propensity for violence leave us?  It leaves us with domestic cooking utensils, producers of pot roasts and swiss steak by my mother for example, as weapons of cruel destruction, ripping body and bone apart rather than building it at the supper table.

It leaves us with the twisted irony of the United States Senate turning away minimalist gun control legislation with the taste of cordite still in the air, with shrapnel still in victim’s bodies.

Wish I could dial up Zeus and tell him to call off his boy.  Tell him to stand down.  Enough.

 

An Old Idea Whose Time Has Come

Spring                                                                           Bloodroot Moon

In May some docent friends from the class of 2005, a rowdy class and proud of it, will go to
Chicago for a time with the arts scene there.  Like my visit to the National Gallery a couple of weeks ago this too will be an exercise in part in discovering how to keep the arts active and alive in my life.

One of us has decided to offer a mini-tour on an object at the Chicago Art Institute.  I decided I would do one, too.  My plan is to focus on methods of analysis, including the praxis idea I wrote about yesterday.

Ever since I got seriously interested in Ovid, my seminary education in biblical criticism has niggled at the back of my mind.  Why?  Well, biblical criticism, the higher criticism in particular, uses scholarly methodology for exegesis.  Exegesis tries first to get at the plain meaning of the text in its context.  It precedes the task of hermeneutics, that is, interpretation of the text for a contemporary audience.  What’s niggled at me is that neither exegesis nor hermeneutics is peculiar to the study of scripture.

In fact, exegetical method can be applied to other texts, whether in a foreign language or not, just as hermeneutics can be applied to the resulting exegesis.  As this thought persisted I kept wanting to create a method for using exegetical tools designed for literature in the service of art history.

Well, that day has arrived.  “Exegesis includes a wide range of critical disciplines: textual criticism is the investigation into the history and origins of the text, but exegesis may include the study of the historical and cultural backgrounds for the author, the text, and the original audience. Other analysis includes classification of the type of literary genres present in the text, and an analysis of grammatical and syntactical features in the text itself.” wikipedia article

Not sure yet whether I’ll venture into the realm of hermeneutics.  That may, in art, best be left to the viewer.

This also raises another profound idea I learned from the philosopher of religion, Paul Ricoeur, second naivete.  Ricoeur developed this idea to explain how a student of the higher criticism might use its critical methods on scripture, then return to the text later with a second naivete, one that includes the scholarly work, or incorporates it, while at the same time allowing the text to speak again as scripture.

My sense is that the idea applies to analysis of art as well.  That is, we can engage formal analysis, praxis analysis, style and methodological analysis, school, content analysis, then step back from all that and return to the piece with a second naivete which allows that work to enrich our immediate engagement with the work.  Anyhow, this is on my mind right now.

The Undiscover’d Country

Spring                                                                          Bloodroot Moon

At times my past bleeds into the present, creating small emotional events, upsetting my inner equilibrium.  Right now is one of those times.  Many of us are heir to understandings of ourselves as malformed in some way, not quite right.  I certainly am.

(Dante Gabriel Rossetti    Hamlet and Ophelia 1858 pen and ink drawing)

These irruptions come in the OMG I’m not doing enough form or OMG I have not done enough or OMG I’ll never do enough forms.  My anxious self underlines and bolds these self-declarations as my mind races back to find the not enoughs in the past–no graduate school, no published books, never made it to Washington, the not enoughs in the present–Missing not revised, Loki’s Children not started, no time for serious in-depth reading, not helping out enough at home or making enough time for friends and then uses both of these information streams to predict a dire future:  no books published ever, no friends, no concrete results of any kind, then, wink out.

If this line of thought continues, I’m going to have to visit my analyst, John Desteian.  In touch with him (and, now, Kate) I’ve been able to dispel these strong phantoms, learn to live with facts not illusion and get on with what is a good life.  This is, I think, as much due to faulty wiring as anything else, my family coming with a strong genetic pattern for bipolar disorder, though I don’t believe my issues rise to that level of dysfunction.  I know, not enough even there, eh?

Not long ago I re-read Hamlet’s speech in Scene I, a scene I had memorized long ago for a dramatic presentation contest.  It’s baldly existential view surprised me, even shocked me. A line from it came to me as I woke up this morning and it captures my feeling tone right now:   “…the native hue of resolution is sicklied o’er with the pale cast of thought.”  This exactly describes me when I get into these episodes.

In the lines just before this one Shakespeare refers to death as the undiscover’d country from which no traveler returns and identifies the dread of that journey as producing the pale cast of thought, thus rendering a person unable to act.  To be or not to be neatly summarizes all this.

 

Goin’ In, Fishin’ Around

Imbolc                                                                      Bloodroot Moon

“Things never were “the way they used to be.”
Things never will be “the way it’s going to be someday.”
Things are always just the way they are for the time being.
And the time being is always is motion.”

Alexander Xenopouloudakis

Warren, Frank, Bill, Mark, Scott and I gathered at Frank’s for the traditional St. Patrick’s dinner.  It was a light turnout for this always festive meal featuring tonight shamrock shaped ravioli.  This was a mixing of cultures, a bit of culinary diversity.  Otherwise it was the corned beef, cabbage, short bread and potatoes.  What I’ve always imagined as the peak meal in a year for poor Irish folk.  It sure tastes good to this one-half Celtic guy, with half of that coming from the auld sod.

We had an interesting evening discussing what I described as the mechanist versus the vitalist debate.  This is an oldy but goody from the 19th century, a debate very far from over and anyone who follows the neurobiological thinking about the brain will find it much alive in the third millennium.  Here’s a review of Ray Kurzweil’s (the Singularity guy) new book: How to Create a Mind: The Secret of Human Thought Revealed.  It focuses on this topic through careful thinking about the distinction between the brain and consciousness.

We also had a brief encounter over a topic dug into deep to my psyche, that of our solipsism.  We construct our own reality using sense data, organized and turned into information by the brain, then utilized as part of consciousness to define the world as we experience it.  This solipsism makes the existential argument that existence is prior to essence; that is, that our life is not being human; it is about being ourselves, a particular instance of human.

In a book I’m reading right now:   Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists by Kay Larson (reviewed at this link) the author describes the Zen idea of no permanent identity, no permanent reality, that is, we are what we are in this moment, then what we are in the next moment and so on.  It fits very well with this conversation, the uneasy, slippery grasp we have on who we are as individuals and what we’re experiencing at any one time.  In a sense Zen increases the degree of relativity created by our solipsistic situation to an infinite number of slices, not even necessarily threaded together by an identity.

If embraced, this is deeply disturbing.  It shakes the foundations, as Paul Tillich said.  In fact the earthquake is so severe that intellectual structures built over thousands of years come crashing to the ground and disappear.  We do not like this stripping away of the animal cunning that gives us the illusion of permanence.  What then is left?

Not very damned much.  If embraced, this is profoundly liberating.  Those structures fall to the ground and disappear.  Religion and tradition and politics and culture no longer have power to frame us, shape us, define us.  We are free.  Free in a radical, personal, cosmic sense.  Neither chained to the earth or to the past or to each other, not even to self.

The world moves through and in us, just as we float through and in it.  When I can bring this awareness to consciousness, when I experience it, at first I feel disoriented, tethered no longer.  At moments it seems I (the I of this aware moment) might split apart, shred into molecular portions and drift away.

 

 

 

 

 

Yet.

Imbolc                                                                   Bloodroot Moon

Snow came in the night.  Maybe 2 inches.  Freshened up the landscape, pushed back the melting time.  Last year today it was 73, ruining my vision of the north, turning it into a slushy Indiana/Ohio/Illinois.  Climate change stealing my home.  It disoriented me, made me feel like a stranger in a strange, yet strangely familiar, land.  Now.  30 degrees.  8 inches of snow.  Home again.

A book on my shelf, important to me:  Becoming Native to This Place.  The idea so powerful.  One so necessary for this nature starved moment, as the pace of the city as refuge lopes toward its own four minute mile.  Cities are energy, buzz, imagination criss-crossing, humans indulging, amplifying, renewing humanness but.  But.

All good.  Yes.  Yet.

That stream you used to walk along.  The meadow where the deer stood.  You remember.  The night the snow came down and you put on your snowshoes and you walked out the backdoor into the woods and walked quietly among the trees, listening to the great horned owl and the wind.  The great dog bounding behind you in the snow, standing on your snowshoes, making you fall over and laugh.  Remember that?

There was, too, that New Year’s Day.  Early morning with the temperature in the 20s below zero and another dog, the feral one, black and sleek, slung low to the ground, went with you on the frozen lake, investigating the ice-fishing shacks, all alone, everyone still in bed from the party the night before but you two walked, just you two and the cold.

Before I go, I also have to mention those potatoes.  The first year.  Reaching underneath the earth, scrabbling around with gloved fingers.  Finding a lump.  There.  Another.  And another.  And another.  The taste.  Straight from the soil.  With leeks and garlic.  Tomatoes, too, and beets.  Red fingers.  The collard greens.  Biscuits spread with honey from the hive.

Moving forward by taking no action

Imbolc                                                                   Valentine Moon

This last week was a bust as far as Latin or the book.  It was spent in the emotional and rigorous task of restoration, order to books, objets d’art, the new furnace.  Hardly wasted effort, but the effect on forward progress was substantial.

You may notice that I’ve added a quote by Lao-Tze over the weather.  In it he advises the way of wu wei, of non-action, or, better of going with the flow, following the path life offers rather than overburdening it with goals, timelines, projects.  It’s not a huge difference from the Dalai Lama’s notion that the world does not need more successful people.  This week I’ve allowed the pace of the week to set my pace.  The result has been less frustration, less impatience.

When the way opens again for work with Latin and the novels, I will be ready to do that.

Though.  There is that tiny, niggling fact that I have northern European roots, not Chinese. Wu wei to my Teutonic ancestors would not have made much sense.  Set the goal, plow ahead, damn the obstacles.  Blitzkrieg.  Dynamite. (Nobel) The onward rush of history, it’s progress through material reality.  These are not the thoughts or inventions of people who follow the Watercourse Way.

Nor, for that matter, is the other ethnic blood in my veins, Celtic.  Hot-blooded, quick to laugh, quick to anger.  Impatient with oppression.  Creative and dreamy.  Living in this world and the other world.  In one case the rational tank rolls over barriers; in the other the emotional maelstrom cooks up revolution and poetry and love.

Wu wei is a corrective, another way of being in the world.  And we need it.  It leavens our energetic attempts to mold the world with a willingness to listen to how the world might mold us.

It’s for another time, but the long run application of Taoist and even Confucian principles have produced a moral and ethical sink in contemporary China.  They are not the whole way.  We need each other.

 

It Takes Courage To Get To The Ancient Altar

Imbolc                                                                 Valentine Moon

“It takes courage to get to the ancient altar
of the moment where I create individual time…I am making it, my time visibly becoming me.”    “Individual Time,” Alice Notley

If I interpret her poem correctly, in it Alice Notley has commented on this author picture, arguing against those who would have had it prettied up.  And I get it.

When we talked about wrinkles and road map faces last night, I believe we were in her territory.  I wanted then to quote a favorite author Jorge Luis Borges, but the quote was longer than I could recall easily.  Here it is:

“Through the years, a man (sic) peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, tools, stars, horses and people. Shortly before his death, he discovers that the patient labyrinth of lines traces the image of his own face.” – Jorge Luis Borges

Combining the two we could say that it takes courage to get to the ancient altar of our own aged face.  And to follow Notley, why alter what it took courage to gain?

The Keaton side of my family, my Mom’s family, wrinkles early and the men go bald.  That means I look my age and then some.  I have no problem with that.  This face is what you get when you look at me; it’s the one I’ve earned and I’m glad to have it.  No amount of smoothing, lifting or making up will change what it is, the patient labyrinth of lines that trace my own image, the long journey to this ancient altar.