On a corner adjacent to a cantina, across the street from a home full of barefoot children running through open doorways, and a few houses down from a paleteria y fruteria in San Antonio, Texas, sits a bright white house dressed up in orange trimmings – Casa Coatlicue[1]. Before you walk through the gate you notice a raised bed of herbs, a garden, a large collection of potted succulents, and a metate[2] on the ground. Walking inside you can’t help but smell the sage, copal, and other herbs and incense that have left their smoky traces on the walls of the living room, the kitchen, and then the bedroom. As the house begins to introduce itself, you notice altars in corners and crevices of each room. Your curiosity begins to churn as you notice pictures and canvasses on the walls of ancient and present day cultural symbols, including one poster that reads “This land was Mexican once, and indigenous always,” and a large picture of Selena Quintanilla that captures her warm smile and beautiful black hair. As soon as you begin to take in the colors and ancient smells, the house is introduced to you by name, Casa Coatlicue, the home of four queer young healers, dreamers, lovers, artists, scholars, and spiritual activists who are reclaiming the life-giving traditions of their ancestors.
Community altar from workshop
Earlier this year, I was invited to a curanderismo workshop hosted at Casa Coatlicue. The word curanderismo had an air of secrecy, power, and nostalgia of home for me. I understood curanderismo as the medicine and magic of our grandmothers, and increasingly the forgotten inheritance of our communities. As I spoke with the residents of Casa Coatlicue, we began to identify the chronic erasure and appropriation of brown folks’ spiritual traditions, food, art, and customs by predominantly white, new age culture. Saddened by the loss and the historical disconnect of our people, we collectively affirmed the urgency and importance of relearning and reclaiming our own spiritual traditions not only to tap back into our cultural identity as native and mestizo people but also to tap into a powerful tool for the transformation of our current realities. In the midst of historic and present day manifestations of systemic violence against us – young brown bodies being gunned down in our streets, whole communities being persecuted, incarcerated, and displaced, as well as forced sterilization and assimilation- there is a critical need to tap into radical and sustainable ways to not only resist but to heal. Continue reading “Casa Coatlicue by Erica Granados De La Rosa”
An artist’s place in society is ambiguous and one not often discussed. Artist’s often have difficulty claiming themselves as ‘artist’ for fear of criticism and rejection both inside and outside the art world and from within. Historically, artists have had their work labeled as narcissistic, sexist, racist, classist, elitist, indulgent, hermetic…and the list goes on.
I have been on the end of some harsh criticism. Comments made by the board of Queensland’s most prestigious art school have stayed with me for over 15 years. “Impressive folio” they said, however, using images of indigenous persons is ‘cultural appropriation’ and ‘unacceptable’. They were referring to a series of pieces I had been encouraged to create under the mentorship of a fine, accredited artist Wim De Vos.Continue reading “Social Responsibility of the Artist by Jassy Watson”
My 2x great-grandparents Nathaniel Searing and Louisa Caroline Martin were pioneers who cleared the land and built a log cabin in Lyons, Michigan in 1840. They were descended from English Puritan Colonial settlers in New England. At least two of my ancestors are recognized by the Sons and Daughters of the American Revolutions. Other members of my family who were Quakers proudly refused to take part in the Revolutionary War.
My great-grandfather James Augustus married a woman of German descent, his daughter Lena Marie married a Swede, and my mother married a man who was German, Irish, and Scottish. As the descendants of Nathaniel Searing and Louisa Caroline Martin moved around the United States and married into the families of newer immigrants, the succeeding generations also lost touch with their history. Our family’s connections to the New England Colonists were not even mentioned at Thanksgiving! Continue reading “We Could Have Been Canadians and Other Thoughts about My New England Colonial Heritage by Carol P. Christ”
During the fifth week of the Rise Up and Call Her Name curriculum by Elizabeth Fisher, “We honor the Outraged Ancestral Mother and the belief that the sacred and secular are one.” When I priestessed this session for my women’s circle, I was caught by the idea of the Outraged Ancestral Mother and we spent some time discussing her and the degree to which humanity has hurt our planet. The next morning while I was practicing yoga, snippets of a poem came floating to my mind. I had the distinct feeling that the Outraged Ancestral Mother was ready to speak to me. I went down to the woods to listen to what she had to say.
Recently I traveled to Texas to receive the Kore Award from the Association of Women in Mythology for my dissertation in Women’s Spirituality at the California Institute of Integral Studies, “The Everyday Spirituality of Women in the Italian Alps: A Trentino American Woman’s Search for Spiritual Agency, Folk Wisdom, and Ancestral Values.”
Shortly after I had arrived in San Antonio, and met my younger sister and her daughter who were in town, we received word that my Mother was not well. Although Mom had been in precarious health throughout the last year, she had pulled through several times. That night in the hotel room, we hoped for the best. The next morning as I lay in my dream state, I felt someone come and lay beside me in bed, compressing the covers, which I have come to understand as a visitation from my Mother. Then the phone rang with the news that Mom had died peacefully that morning. It was comforting for me to be with my sister and niece, especially since we were away from home. Together, we made it through that long, rainy day.
Later that morning, my other siblings, who were gathered around my Mother’s kitchen table, called the hotel room where I was staying. They passed the phone around to each person, voicing their consensus that I should stay in Texas to attend the conference, give my presentation, and receive the award. There was nothing I could do in the next few days if I flew to Denver, they said. All the arrangements had already been made; the funeral wasn’t until the next week. So, reluctantly, I surrendered to their decision. My heart wanted to be with them. However, I stayed, unsure. . . . Continue reading “A Message From My Mother by Mary Beth Mosèr”
This piece titled, ‘Love Facing’ is a meditation on the intergenerational dynamics of family violence and our need to move beyond labels in order to understand the complexities of American violence. It begins with a narrative critic of spanking as a corrective measure and its propensity to escalate into other forms of violence. The poem continues with reflection on how male privilege and power impact the disempowerment of women and girls. It signals forgiveness as a possible means of understanding intergenerational trauma and stress, however. The piece advocates an understanding of male privilege and dynamics of power and control, as a means of empowering women and children, affected by family violence. Furthermore, it examines our societies failure to raise healthy men and boys, who are comfortable openly expressing their emotions. In the end, the poem signals our human need for unconditional love, respect, and honor and need for religious and spiritual practice imbued with compassion, mercy, and kindness, or feminine attributes of the Divine.
“When the power of love overcomes the love of power, the world will know peace.” ― Jimi Hendrix
My recent discovery of Marija Gimbutas on Youtube rekindled my admiration for her work. In her slide-lecture “The World of the Goddess” Marija Gimbutas allows us to follow the line of reasoning she used to decipher the “language of the Goddess” in Old Europe.
Careful attention to her lecture shows that Gimbutas did not close her eyes, dream, and then attach her own ideas and intuitions to the artifacts she later discussed. Rather, she catalogued groups of images with similar symbolism and used her knowledge of nature (what does a water bird or an owl look like?) and folklore (she collected thousands of songs connected to the agricultural and life cycles in her native Lithuania in the 1930s) to unlock the meaning of ancient symbols.
I suspect that most of the critics of Gimbutas lack the knowledge she gained through her wide curiosity about life. Do other archeologists as a group know what specific species of water birds or owls really look like? Do they have the same kind of knowledge of folklore and folk traditions that Gimbutas had? Continue reading “Curiosity About Everything and the Language of the Goddess by Carol P. Christ”
In September past I travelled to Zanzibar with a long time friend from Singapore. I intentionally planned to visit the places where other Africans, like my ancestors, were bought, sold, and held in waiting like fish in the fish market. The slave trade in east Africa is linked to this historical island, which was like a Fed Ex hub: a central location to facilitate the transfer of slaves—stolen, captured in war, kidnapped, or bought elsewhere to be traded, from there to parts of Persia and Arabia.
I explained to my friend, EVERY African-American identifies intimately with slavery. We talk as if it were only yesterday. We say “we,” as though speaking of relatives in another city or town. We also say “they” about slave masters and traders, about the over seers who beat us, the men who raped our foremothers and sold off their children, the few who taught us to read in secret, or turned a blind eye at our efforts to escape. Yet, I know of NO WHITE person who identifies with their history as slave masters.
My intention was to perform some simple ritual interface at the markets and holding cells. I had not planned any details, I had only reflected on the value of sacred expiation and the reality of living blood still flowing because my ancestors gave their blood, sweat, and tears. Perhaps my blood would mingle with the spirit of the blood of my ancestors. At least I hoped I could, through some selected prayers or liturgy, release anger, pain, and humiliation in exchange for a life of freedom. I owe my life to them and I wanted to consciously renew the bond and then, like Nelson Mandela’s walk to freedom, to LET it go. To honor my ancestors I must live fully and in freedom. Continue reading “Freedom and Faith by amina wadud”
Echoes of Mesopotamia small figures from ancient places ancient times and ancient faces ancient words and ancient wisdom still flowing in my veins
Clay in my hands clay in her hands running on the rivers of time spiraling in the mysteries of being spinning in the eddies and ripples of eternity…
I have a strong emotional connection to ancient Paleolithic and Neolithic goddess sculptures. I do not find that I feel as personally connected to later goddess imagery, but very ancient figures call to something deep and powerful within me. I have a sculpture of the Goddess of Willendorf at a central point on my altar. Sometimes I hold her and wonder and muse about who carved the original. I almost feel a thread that reaches out and continues to connect us to that nearly lost past—all the culture and society and how very much we don’t know about early human history. There is such a solid power to these early figures and to me they speak of the numinous, non-personified, Great Goddess weaving her way throughout time and space. Continue reading “Echoes of Mesopotamia by Molly”
Mary, Mary, quite contrary, how does your garden grow? With silver bells and cockle shells, and pretty little maids all in a row.
From the beginning of horticulture about 8000 BCE or earlier to the present day, weeding has been women’s work. Women, who were the gatherers and preparers of food in traditional nomadic societies, no doubt were the first to discover that seeds dropped at a campsite one year sometimes sprung up as plants the next year. When this discovery was systematized, agriculture was invented, and human beings began to settle down in the first villages and towns.
In the early days of horticulture (the name for the earliest stage of agriculture before the plow was developed), the cycles of planting and harvest and all the stages in between were understood to have been given to mothers by the Great Mother, the Source of Life. The secrets of planting, seed collection, harvest, and food preparation and preservation were all perceived to be “mysteries” connected to the ongoing cycles of birth, death, and regeneration in the universe.
My grandmother Lena Marie Searing who was born on a farm in Michigan must have learned agricultural secrets from her mother, for she not only created a beautiful garden, she also farmed an orchard and preserved its fruits in glass jars that lined her pantry. It was she who taught me and my brothers and cousins to love nature. My mother learned to garden from her mother, but she did not harvest food crops. I think of both of them whenever I work in my garden.
The past few days I have been weeding my garden after heavy rains that left the soil clumpy and moist. I have weeded before, but I have never enjoyed it so much. My garden has matured over the past seven years, and now the weeds are more “under control.” There aren’t so many of them, and as I have now been weeding them out over the years, their roots are shallow.
As I slide a trowel into the earth the weeds lift up and with my fingers I gently pull the plants with their roots from the soil. The weeds are familiar, though I don’t know all of their names. The “sticky weed” has many tough roots, the clover has many fine ones—both are hard to eradicate. Other weeds are easy to pull up and do not reappear again until the next year.
wild chamomile blooming among “weeds”
I am discovering that weeding is a delicate process. Sometimes the roots of plants I want in the garden are entangled with those of the weeds. I work carefully choosing the ones to save and the ones to discard.** I leave poppies, chamomile, yellow daisies, and marigolds where I find them, as I consider them to be wildflowers that will provide beauty in my garden when they bloom in spring. I also take care to “keep the soil in good heart” by not discarding too much of it along with the weeds.
As I weed, I think of the women in my village who harvest greens from the fields, feeling certain that some of the weeds I discard are edible. I marvel at all of the knowledge women have shared and passed down over the past 10,000 years and more, as I realize how little of it I know. My suspicion that some of my weeds could be food is validated when a friend and I order boiled “greens from the mountains” for lunch at a local taverna and are served one of the plants I had thrown into the garbage can.
As I weed, I am reminded of an essay called “Keeping the Soil in Good Heart: Women Weeders, the Environment, and Ecofeminism” by Candice Bradley which was published in Karen J. Warren’s Ecofeminism. Bradley writes that weeding is women’s work in almost all cultures. As I work, I understand that this is so because weeding is delicate work that requires concentration and patience and that must be repeated. Bradley says that in many cultures men disparage weeding as they disparage housework—not considering either to be “real” work.
Horticulture is the most environmentally friendly form of farming, according to Bradley, because it does the least harm to the soil, and because the weeds that are not eaten are burned or composted and turned back into the earth to replenish it.
While weeding by hand has been considered work for women and children, men have generally controlled the plow and its recent successor, the tractor. However, as Bradly states, the plow and the tractor do not eliminate the need for hand-weeding. In many cases they encourage the weeds to regenerate. Women and children still weed.
The chemical gardening and farming industry (“round it up”) is based on the premise that weeds can and must be eradicated. Rachel Carson warned us of the danger this approach to agriculture presents to human and all other forms of life. A by-product of chemical agriculture is that the careful work of women weeders is further discounted.
I do not use chemicals or pesticides in my garden, and I will be out there weeding on a regular basis in the next months. As I put my hands in the earth, I will think of all the women before me who have weeded and planted, weeded and harvested, and weeded again. Blessed be.
*The title of this essay is an homage to Elizabeth Wayland Barber’s Women’s Work: The First 20,000 Years which discusses and celebrates women and weaving.
**I am aware that no plant was born a “weed” and that the designation of some plants as weeds is a by-product of human digestive systems, human taste, agriculture, and the creation of gardens for the celebration of beauty.
On a corner adjacent to a cantina, across the street from a home full of barefoot children running through open doorways, and a few houses down from a paleteria y fruteria in San Antonio, Texas, sits a bright white house dressed up in orange trimmings – Casa Coatlicue[1]. Before you walk through the gate you notice a raised bed of herbs, a garden, a large collection of potted succulents, and a metate[2] on the ground. Walking inside you can’t help but smell the sage, copal, and other herbs and incense that have left their smoky traces on the walls of the living room, the kitchen, and then the bedroom. As the house begins to introduce itself, you notice altars in corners and crevices of each room. Your curiosity begins to churn as you notice pictures and canvasses on the walls of ancient and present day cultural symbols, including one poster that reads “This land was Mexican once, and indigenous always,” and a large picture of Selena Quintanilla that captures her warm smile and beautiful black hair. As soon as you begin to take in the colors and ancient smells, the house is introduced to you by name, Casa Coatlicue, the home of four queer young healers, dreamers, lovers, artists, scholars, and spiritual activists who are reclaiming the life-giving traditions of their ancestors.
During the fifth week of the 
