On May 12th families will gather together in the United States to celebrate another Mother’s Day. This is a good time to reflect on mothers, motherhood and why we take a day to celebrate our mothers.
As a composer and poet, I’m interested in cultural perceptions and assumptions that influence beliefs. In monotheistic religions as well in some types of more recent spiritual thought, the assumption has been to equate Darkness with evil and Light with good. “Love and light!” we hear often, or maybe “I’m surrounding you in light.” But this assumption feeds a form of prejudice that infuses all of society. The mind hears “darkness” and associates it negatively with Earth, female, skin color, dirt.
Continue reading “The Darkness by Annelinde Metzner”Moderator’s Note: We here at FAR have been so fortunate to work along side Carol Christ for many years. She died from cancer in July, 2021. To honor her legacy, as well as allow as many people as possible to read her thought-provoking and important blogs, we are pleased to offer this new column to highlight her work. We will be picking out special blogs for reposting. This blog was originally posted March 26, 2012. You can read it long with its original comments here. Carol mentions a book she was writing with Judith Plaskow at the time with the working title: God After Feminism. The book was published in 2016 under the title of Goddess and God in the World: Conversations in Embedded Theology. You can find it here.
Many women’s dreams have not been realized. How do we come to terms with this thealogically?
Although I am as neurotic as the next person, I am also really wonderful—intelligent, emotionally available, beautiful (if I do say so myself), sweet, caring, and bold. I love to dance, swim, and think about the meaning of life. I passionately wanted to find someone with whom to share my life. I did everything I could to make that happen—including years of therapy and even giving up my job and moving half way around the world when I felt I had exhausted the possibilities at home.
For much of my adult life I have asked myself: What is wrong with me? Why can’t I find what everybody else has? Even though I knew that there were a lot of other really great women in my generation in my position and even though I knew that many of my friends were with men I wouldn’t chose to be with, I still asked: What is wrong with me?
Continue reading “Carol P. Christ’s Legacy: ON NOT GETTING WHAT WE WANT AND LEARNING TO BE GRATEFUL FOR WHAT WE HAVE”
In a recent interview about my current published paper and my life’s-work, Sawbonna, which is a model of both social and restorative justice, I was struck by how being locked down due to this global pandemic not only rips us to the core of our fears and forebodings; but, as well, invites us, if challenges us, to witness with and for each other, as we come to see the depth of resilience that has been a kindred companion throughout the ages. From time immemorial, Gaia delights by firing our hearts of justice with creativity. With love.
My interview took place over Zoom, a virtual bridge of connection and connecting. In this instance, that bridge stretched between Toronto, Canada and Cork, Ireland, where activist and researcher Jane Mulcahy and I spoke about Sawbonna, which is contextualized in the crucible of shared-humanity and human-rights. We discussed therapeutic writing, voice, trauma, poetry. Our conversation [which will be on Jane’s SoundCloud platform later this year] was infused with a crystal clear knowing that trauma and grief are in symbiotic sisterhood with resilience and voice. Continue reading “Gaia Delights: Sawbonna Resilience and the Pandemic by Margot Van Sluytman/Raven Speaks”
The term ‘PaGaian’, which became the title of my work, was conceived in at least two places on the planet and in the opposite hemispheres within a year of each other, without either inventor being aware of the other’s new expression. It was some time before they found each other … one party in Australia, myself having published a book with PaGaian in the title; and the other party, Rob Blake – in the UK having registered the domain pagaian.org as the term seemed to him to express a cosmology constellating in his mind. The term PaGaian was actually conceived by my partner Taffy Seaborne in late 2003, enabling the book to manifest: heretofore the body of work developed there took six lines to express.
This reaching for a new word, was the reaching for a language, which is a power; to bring together an Earth-based – ‘Pagan’ – spiritual practice indigenous to Western Europe, with recent Western scientific understandings of the planet as a whole living organism – ‘Gaia’ as it has been named, and which by its name acknowledged resonance with ancient Mother Goddess understandings of our Habitat, as an alive sentient being. So, the term ‘PaGaian’ splices together Pagan and Gaian, and it may express a new autochthonic/native context in which humans find themselves: that is, the term may express for some (as it did and does) an indigeneity, a nativity, in these times, of belonging to this Earth, this Cosmos. For myself, the new expression consciously included and centralised female metaphor for sacred practice: that is, practice of relationship with the sacred whole in which we are, and whom I desired to call Mother, and imagine as the Great She. Continue reading “Reaching for New Language for the Sacred by Glenys Livingstone”
I’m giving you a twofer this month: a poem and a ritual. I’m writing this a few days after the latest mass shooting in Texas by a crazy white man and a few days before the next debate by Democratic candidates. But you know what? I’m getting real tired of politics and…well, what’s going on around us. Tweets. Bullets. Fires. I’m a liberal, but I’m deciding that there must be a better definition of “conservative,” one that has nothing to do with politics. The OED defines “conservation” as “the action of conserving; preservation from destructive influences, decay, or waste.” Further down: “conservative: a preserving agent or principle.”
Back in the late 80s and into the 90s, I taught a class I called Practicing the Presence of the Goddess, which evolved into a ritual circle. As far as I know, most of the women in the class are still spiritual feminists (though the term hadn’t been invented then), a couple have died (cancer is an awful thing), and one is fading into dementia (but she still remembers our class). Among other assignments, I asked them to read Carol Christ’s splendid book Laughter of Aphrodite (1987), and once we went as a group to hear Marija Gimbutas speak on her newest book The Civilization of the Goddess (1991).
Continue reading “Let Us Now Practice Her Presence by Barbara Ardinger”
Rosemary Radford Ruether wrote a classic text: “Gaia and God: An Ecofeminist Theology of Earth Healing.” Ever since I laid eyes on this amazing book and was convinced of the genius Ruether offered within these pages, I adored images of Gaia.
The great goddess is usually pictured holding the world as her womb, a loving representation of compassionately pulling all the hurt and agony to her abdomen for healing.
Ruether says in “Classical Western cultural traditions” of which “Christianity is a major expression,” we “have justified and sacralized” notions of God and domination (3). Such ideas teach us that domination is “the ‘natural order'” and “the will of God” for the “male monotheistic God” and his followers (3).
But Gaia is so much more and challenges these patriarchical messages in today’s culture. To imagine the divine with this motherly image helps with “ecological healing” (as Ruether says), and, being able to picture a “personified being” in the feminine (4). Gaia is truly special.
The solar eclipse has had me sensing deep alignment with earth, sea, and sky, with my sisters and brothers and Self. This, then, from my 1995 journal of my first Goddess Pilgrimage to Crete with Carol Christ, a trip still engraved in my heart:
June 3 – Yesterday, anointing us with rose, lavender, or olive oil, Jana said, “Your journey has begun.” But for me it is this morning, with the purchase of this journal at the biblio on the square across from the hotel, where I sit now in the lobby, traffic noise outside, our group gathering, preparing for our journey . . . happy to be here . . .
Bleeding at the home of the Panagia, the all holy, the sacred mother, sacred myrtle, ancient tree of Aphrodite, Mary, black-bent nuns: we tie ribbons to the tree, sing, “all manner of things shall be well. Blessed be, walk in beauty.” And I am utterly in tears as I walk on the grounds of this ancient place, the birds singing everywhere, yet there is quiet, stillness, an ancient peace . . . A pilgrimage, a shrine, a very holy place.
Continue reading “Notes from A Goddess Pilgrimage by Joyce Zonana”
If Gaia is a living body, why are we painting her blue? Whether it is public parks or residential lawns, when there is that special odor in the air, I know to look down and there it is, an endless dye job on the grass indicating treatment. My city is concrete and blue dye for miles. Furthermore, I have sales people knocking at my door monthly asking if I want to spray pesticide around the house to decimate wasps, ants and spiders.
Many religious texts encourage us to mindfully consider the earth. The Jain Acaranga sutra, for instance, says, “a wise [person] should not act sinfully toward plants” (I.1.5.7). One way we sin against the earth so casually is by these mindless manipulations of our lawns, if we have them. (Technically, I do not have a lawn, but my roommate does, and I try to protect it). I do not think most people think about researching what they allow into the earth. Continue reading “The Blue No Gaia Wants: Protecting the Sacred through our Lawns by Elisabeth Schilling”
I have spoken about the Social Responsibility of the Artist on numerous occasions. This blog approaches similar subject matter, but in relation to using art as a potent tool for change and as a platform for raising awareness of important environmental and ecological issues that all of humanity is currently faced with.
All forms of art have the potential to be tools for healing. I believe that through the creative process the relationship with self and the environment can be transformed. Why? Because when creative work is approached from a place of passion and purpose and art is brought to life with intention, great shifts can occur. Not only for the artist, but also for the viewer. I believe wholeheartedly that I can approach the canvas and paint intentionally to heal the earth and deepen my connection to it, and in doing so inspire others to deepen and honour a connection to the earth creatively.
There are many contemporary artists who are agents of environmental change and who are using their creative gifts and talents to build awareness and provoke thought through their work and process. Many artists, such as myself are working with transformative approaches and processes towards a new vision that is ecological and participates with the living cycles of nature. Many topics are approached such as oceans, climate change, water quality, recycling, water purification, natural disasters, de-forestation, endangered species and more.
Artists today are finding all sorts of inventive ways to call attention to the problems facing our environment, as corporate greed and profit impose destruction on our planet. While each artist works very differently and explores diverse territories, they share awareness about the critical loss of natural resources and a desire to save the planet from human destruction.
Take the words of Nigerian painter Jerry Buhari:
“Today the talk of the world is about an endangered Earth. One often wonders how much of the talk is backed with genuine concern and the will to take positive steps. But it should not surprise the world that artists are in the forefront of the discussion on the environment.”
Eco-feminist artist Ann T. Rosenthal and activist artist Steffi Domike have been collaborating on environmental installations for years. Their wall installation, Watermark: Wood, Coal, Oil, Gas (2011) consists of four panels that illustrate an evolutionary timeline of energy resources—wood, coal, oil and natural gas.
Dominique Mazeau is a poet and artist from Santa Fe, New Mexico. She has made an exquisite journal of poems and drawings of cleaning up the Rio Grande River over many years. She has made sculptures from the trash and she teaches school children about the river with her poems and her art.
There are many more Eco-feminist and Environmentalist/Activist artists such as Charla Puryear and Helene Aylon using their art to raise awareness of ecological issues. These few examples alone demonstrate that art, in its myriad of forms, has the capacity to effect positive change on the earth and its environments.
Artists are catalysts for change, and this “change” takes place when we feel deeply for a precious cause. I feel deeply for the state of the earth and feel that it is largely humanity’s spiritual disconnection from the earth and from the earth as sentient that has contributed to the current state of not only the health of the earth body, but also the health of our bodies.
Coming up in October I will be presenting an exhibition ‘Voices for the Earth’ in Bundaberg, QLD Australia. This exhibition will feature the works of select regional artists who are using their art to speak for the earth. It is held in conjunction with RONA-16 an Earth Arts Festival as part of the The Rights of Nature Tribunal that is taking place the same month. Artists of all genres from around Australia are participating in creative activities to raise awareness of the urgency required to make the necessary changes so that ways can be found to make the health of our planet an absolute priority.
I know that more has to be done, and some might see ‘art’ as a hedonist, self absorbed way to attempt to bring about change – but the power of image should NEVER be underestimated.
I am Painting for the eARTh.
This Earth is my sister
I love her daily grace
Her silent daring
And how loved I am.
How we admire this strength in each other
All that we have lost
All that we have found
We are stunned by this beauty,
And I do not forget
What She is to me
And what I am to Her.
(from Susan Griffin, Woman and Nature – The Roaring Inside Her, p.219, caps added).
Jassy Watson, who lives on the sub-tropical coast of Queensland Australia, is a Mother of four, passionate organic gardener, Intuitive/Visionary & Community Artist, Teacher, Intentional Creativity Coach and a student of Ancient History and Religion at Macquarie University, Sydney. She is the Creatress of Earth Circle Studios; a school for the Sacred Creative Arts. Jassy teaches regular painting workshops in person, nationally and internationally, and online based around themes that explore myth, history and our connection to the earth.
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