Saturday, November 20, 2010

Just in case you missed it…



I know art is in the eyes of the beholder and is hugely subjective in nature—I’m remembering the large white canvass with a red square in the middle and a black dot within the square that drew attention when it was labeled art and hung in a museum. All forms of art, however, are creatively inspired. Someone had to have had a vision.

Jason de Caires Taylor’s underwater sculptures are truly inspired works of art. Part of their allure is watching the way the underwater environment works on them, how they age over time and become coral reefs. I don’t want to spoil the surprise for you, but I encourage you to Google him for more information on his process and a full gallery of his art.

I remember the first time my friends Joan and Trudy took me snorkeling and I was able to see for myself the wonders of the under-water world of fish and coral reefs, dolphins and eels, all manner of life. I’m sure anyone on the surface end of my snorkel would have chuckled at the oohs and aahs coming from the tube. Imagine swimming into a de Caires Taylor scene! Surely I would have inhaled the ocean.

Friday, November 12, 2010

Creative Abundance at CSLSR



November is my favorite time of year at the Center for Spiritual Living in Santa Rosa, CA; it is the month we celebrate creativity and the arts. Wildly talented, often completely unknown artists display their art forms, including short films. There’s a section for children as well.

There are gasps of recognition as people wander through the free-standing walls displaying oil and pastel paintings, found-object composition and installation art, photography, quilts and fabric art, jewelry, pottery—the list goes on. Overheard snippets of conversation: “Oh, she’s in the choir; I had no idea she quilted;” “He taught my Foundations class this year—who knew he was a photographer;” “I know her from the usher group—I didn’t know she did such beautiful jewelry.” This is creativity in community and it excites my heart to be part of it.

Our One Heart Choir is filled with quietly creative beings such as Cyndi Cunningham, whose first-time entry quilt hung proudly on the wall. From her story, I recognize the time/space distortion of complete immersion in your craft: “I get lost in the process,” she writes. “When I get started I have to set a timer, or the whole day will disappear and I will still be in my jammies in front of the machine.” Here is Cyndi’s story.

“My grandmother was a crafter, and my mother sewed garments. I seem to be somewhere in the middle, quilting—the clothes I make are not really fit to wear.

“I started when I was 28, taking classes at the new quilt shop down the street. I sew mostly because I love to make things, it give me a place to be creative, and the ability to give gifts to those I love is so special. It takes a lot of time which is a precious commodity.

“At this time, I have not sold anything because those I have finished have been gifts. I do have several quilt tops that need the attention of the long arm quilter to finish. They remain unfinished because they do not yet have future homes. The name of the quilt in the picture above is ‘buggy barn hearts.’

“In addition to quilting, I do several different crafts: jewelry, scrap-booking, and Japanese hand bound journals.

“My full-time job, up to 60 hours a week, is as a Unit Supervisor at the Developmental Center in Eldridge. The clients I serve are in many ways my family, and I love my job—most of the time. It is stressful work, and the ability to carve out some time at home to be creative really helps to keep my life in balance. It’s something that I give myself. Quilting is also a social outlet; I tend to be a homebody, and a bit of a loner. Taking classes, shopping for fabric, and going to retreats gets me out of the house and involved with other people.”

Have something you’re good at, or have just discovered you have a talent for? Send me a photo and your story so I can share it here (josrca@sonic.net).

Saturday, November 6, 2010

Creative Contributions


Happy November, a time to focus on thanksgiving for the abundance of good in our lives. A quick update--my song, Sundowner, was beautifully performed by the extraordinarily talented jazz singer, Claire Victor, at the 2010 Choir Showcase at CSLSR last month. The process of writing songs is a gift of creative endeavor in itself, but to hear that music brought to life in performance is another whole kind of experience. I am immersed in thanksgiving.

There are so many ways in which we can contribute in life that sometimes I get overwhelmed and do nothing. In days gone by, political activism was important to me. My focus has become more on creative expression at this point in my life. When someone makes it just plain simple and effortless to contribute in a meaningful and creative way, I just can’t pass it up.

I drink orange juice—every morning. I go through cartons of the stuff each month. When I found the following website from Tropicana, a way in which I could contribute to saving the rainforest with no more effort than typing in a ten letter/number combination found under the cap on the carton, it became a welcome ritual. To date, I’ve contributed to the care of close to 2,000 square feet of rainforest. Not a lot, but it’s a start. You can make a difference in the next three months. The program ends Feb. 28, 2011, so don’t delay. Here’s to good stewardship and the ecological health of our world.

Just cut and paste: http://juicyrewards.tropicana.com/login/home.aspx and then click on “Rescue the Rainforest”

Saturday, October 16, 2010

Is it just me, or does this bush look like a pig?


Sometimes creativity is inspired and spontaneous; sometimes it’s the result of hours of planning and intricate execution. Sometimes it’s just plain accidental and perhaps only in the eyes of the beholder. The pig took me by such surprise, I almost fell off my bicycle. Then again, I see pictures in clouds, so you decide: was this pig topiary or just shear accident?

I came across a video by Brenda Walker that explores the use of technology in the area of creativity. For those of you who know me, you’re probably laughing hysterically. I’m more or less known as a techno-dinosaur. It doesn’t mean I can’t appreciate those who have the skill. Check it out: http://www.youtube.com/ then type in Brenda Walker 2020, Creativity and Technology, Shaping Ideas.

The next couple of months are going to be crazy-busy. Instead of weekly blogs, I’m cutting back to a monthly entry for a little while. Please check back in November. May you enjoy the shift of seasons.

Saturday, October 9, 2010

Just Because You Don’t Know How


…is no excuse not to try. I’d be a rich woman if I had a dollar for every time I’ve heard someone say, “Oh, I’m not creative; I don’t really know how to do (this or that, fill in the blank).” Most of us didn’t have a clue how to walk when we were infants, but at some point the desire to get somewhere fast overcomes the fear or clumsiness or outright pain that often accompanies those first few steps. Most of us didn’t give up because we tumbled over the first few attempts we made.

If there’s something you’ve yearned to do, but lacked the support or courage to try, or feared looking ridiculous, or failing, this blog entry is for you.

I’m thinking back to the things I would have missed that have enriched my life if I’d given into the belief that I didn’t know how to do them. Have I done them all well? No, not all of them; but there was joy in the doing and in the walking through the “I can’t(s).” I’m thinking here of my first sewing project when I was pregnant. I come from a long line of quilters, tatters, knitters, crocheters—women who created family heirlooms that have been passed down and treasured through generations. Not being a real eye-hand kinda gal, it wasn’t until I was pregnant that the heirloom treasure bug bit. Not being in the possession of a sewing machine, I was determined to make a welcoming gown from the prettiest, girliest, softest flannel, by hand, for my daughter that would be passed down to her children, and their children, and so on. And I did it. Well, sort of. If she’d been born 18 lbs, maybe 26 inches long with a pin head, it would have fit her perfectly. We didn’t get a lot of use out of it, but I loved every stitch in that garment. Fortunately, she had twin boys.

The point is, I tried. I’d been looking for a way to sort my thoughts and share some things I was learning about altered states of reality back in my late forties. Friends said, “You should just write a book.” Write a book? Are you kidding? I don’t even have an MFA; I don’t even spell all that well. “That’s what editors are for,” they insisted. Editors? How do you find an editor? The task seemed daunting. What if I wrote a book and it didn’t sell? (Don’t get ANY writer started on that one) I figured out the structure by reading other books in that genre. I asked a million questions of other writers. I found out how to locate and work with (and pay) an editor, and the value of having someone in that role. I learned about query letters, synopses, marketing plans, agents, and how to receive rejection letters without disintegrating. I tried different genres: short stories, novellas, screenplays, non-fiction, blogging. It literally opened up a whole new world for me. After years of efforting and reams of paper, I’ve even been rewarded by having a few things published.

Then, songs started floating into my head—songs that were waiting to be written by me, it seemed. But I don’t know the first thing about composing songs, I complained. I read music, I sing, I play a little piano, but writing music is a whole different animal. I couldn’t possibly… People do it all the time, I rationalized; how hard could it be, really? Okay, so it’s hard. There’s a whole lot to it that I had to learn by trial and error and humiliation and feeling totally stupid. I asked a million questions of people who were doing what I wanted to be doing. I figured out how to use a music composition program on the computer that turned my creations into sheet music that could be printed out or played back on the computer. How cool is that? After more years of efforting, and reams of paper, I’ve actually had some of my songs performed by professional musicians. The reward of hearing something you’ve created brought to life by performance is mind-boggling.

A friend joked, “Is there anything you don’t do?” Widows, I replied. Then again, how hard can that be? Two final words of encouragement, just try. I’d love to hear about your experience.

Until then, here is some inspiration to hang onto—a moment in the life of someone who refused to believe she couldn’t: http://www.youtube.com/watch?v=DJIDr15dyzk&feature=related Enjoy.

Friday, October 1, 2010

Non-Ordinary Reality


A client recently recommend a book for my bookshelf called, Are You Getting Enlightened or Losing Your Mind? How To Master Everyday And Extraordinary Spiritual Experiences, by Dennis Gersten, M.D.

I thought this synchronistic because in my adolescence I was fascinated by the question, what’s the difference between psychic and psychotic, since they share so many features. In the book, Dr. Gersten says, “One of the only things that saints and schizophrenics have in common is the fear of being ridiculed and called ‘crazy’ for their visions.”

As an adult clinician, I’m uncomfortable using diagnostic terms to label a client’s symptoms or experiences. It often seems limiting, reductionistic, and hurtful. I have psychic friends and acquaintances. They’re not ‘crazy’; their lives work well for them. I also work with people who have experienced what is normally considered psychosis (a break with reality often accompanied by hallucinations), whose lives don’t work so well.

After all these years, I still dwell in the gray area. Is the difference really whether you can make it work for you or not? My first attempt at writing non-fiction was a book I called Raven Stories and Other Non-Ordinary Tales. Here are a couple of excerpts from that manuscript:


Sometimes we just don’t know how to file or make sense of experiences we have. Ours is a cognitive culture.

For several weeks, my friend Marsh called in alarm to report a recurring eerie, bone-chilling, dream. In the dream she experienced a particular event as if it were actually happening to her, yet she wasn’t in the dream itself. She recounted sensory perceptions in vivid detail, unique in all her experience. A month or so later I received another panicked call. She had just read in the newspaper an account of her ‘dream’ as having just happened to someone else.

“Sounds like you’ve had a cross-over experience,” I said, trying to sound calm and reasonable. “This is when you experience something in your body that is actually happening to another individual.”

“This just can’t be real!” she replied. I was sure she was shaking her head in disbelief on the other end of the line. “It doesn’t make sense, it can’t be proven,” she protested. Her grasp on what she defined as reality was being shaken.

“It’s real because it happened,” I said. Not much consolation for her, but the best I could do. I pulled out a quote for back-up: “Such vision is for those who see with the Soul’s sight—and at the vision will rejoice, and awe will fall upon them—for now they are moving in the realm of Truth.” Plotinus, Enneads


In a chapter called “A Child’s Way of Knowing,” I relay this story:

My daughter’s friend, twenty-two year old Alice, remembers her childhood guide, Almaden. She describes him as “a knowing, a presence” inside her head who spoke to her without words. She first became aware of him when she was eight years old, standing beneath a cedar tree in her Sierra Nevada mountain homeland. He guided her through the forest, told her how to find a creek, and to gather certain stones with holes to string for an amulet bracelet to keep her safe. One day she and her sister were playing in a circle of trees they called “the camp.” Books, bags of cookies, an old woolen blanket, and a woven basket of treasures gathered from earth (pine cones, rocks, bird feathers, etc.), were strewn about. Almaden told Alice that he would straighten up the camp while they were gone, and she passed the good news on to her sister. When they returned shortly, the camp was clean!

“It never occurred to me that I shouldn’t hear him,” Alice said. “He just sort of was—it never seemed like anything unusual or worth mentioning to anyone.”


As a child growing up in semi rural Iowa, my very own invisible playmate, Mary Ann, and I had wonderful conversations over my miniature china tea set in the playroom. My parents tolerated (the idea of) her until my father accidentally sat on her. I let out a blood-curdling shriek which catapulted my father from the couch and raised his blood pressure several notches. I don’t remember Mary Ann visiting much after that.

The world of children is rich with intuition and magic, though it appears so ordinary to them. As writer Anne Lamott says, “When we listened to our intuition when we were small and then told the grown-ups what we believed to be true, we were often either corrected, ridiculed, or punished. God forbid you should have your own opinions or perceptions—better to have head lice... So you may have gotten into the habit of doubting the voice that was telling you quite clearly what was really going on. It is essential that you get it back.”


I also remember walking through the redwood forest one autumn morning a few years ago. My pace quickened against the chill in the air. Suddenly, I had the experience of elongating, growing taller, longer of limb. I felt my arms swinging in time with my steps which had become slower and more rhythmic as if I’d fallen into a pattern over a long distance. I felt the earth beneath my bare feet (which in ‘real time’ were clad in tennis shoes) as I strode. I was in a male body, like one of the plains runners in Africa in a documentary I’d seen recently. I’d never before experienced the perspective of someone seven feet tall until that moment.

Dr. Gersten refers to this phenomenon as identity transformation, where the individual feels she has become someone or something else without the terror of losing her own personality. The experience lasted only minutes, and when I came back into my own body, my first thought was, “Well, that was rather unusual.”


Are these “real” altered state experiences or merely brain chemistry at work? I’m no closer to having formed an opinion about that than I was back in adolescence; but I’m still fascinated by the question.

Friday, September 24, 2010

Words-worth


I’m genetically predisposed to be a words person. My mother collected words that fascinated her by their sound or spelling or unusual length. She would repeat these words with reverence, carefully enunciating each syllable as if they were her personal mantra. Onomatopoeia, the formation of words by imitating their sound, like buzz; tintinnabulation, the ringing sound of bells; palindromes, words that are spelled the same or series of numbers that are the same whether you start from front or back, like mom and 103212301; anthropomorphize, the representation of objects as having human form or traits—the words would roll off her tongue and be absorbed by my hungry little ears.

She had an uncanny ability to tell you immediately how many syllables were in any word. It became a game to try and stump her—never happened. Elephantitis, we’d say; and she’d say five before we even finished the word. After she died, and my siblings and I were clearing out years of her life stored in boxes under her bed and crammed in closets, I came across several notebooks with pages of words that seemed unrelated except for this fascination she had with the words themselves.

One morning this week I awoke with the word anthropomorphize stuck in my head. You see a lot of this on television, especially in advertisements. Little squares of cereal dance about a child’s backpack excitedly celebrating the first day back at school; happy cows in California crack jokes about their bovine companions; crows cackle with mirth as a homeowner smacks into a sliding glass door that’s been cleaned to spotless transparency; M&Ms stand stubbornly on the shelf and refuse to jump in the snack bowl—the list goes on.

Not only do we ascribe traits to inanimate objects to sell products, but we use this tactic to teach morals. In my day, The Little Engine That Could taught me about fortitude, hanging in there (“I think I can; I think I can”), giving it your best and being greatly rewarded for your effort (“I thought I could; I thought I could”). There’s a character now called Sponge Bob Square Pants—I had to consult with my daughter about this one—a sponge that lives under the sea in a pineapple (?). He’s good natured, eager, and passionate about life. As do humans, he occasionally frustrates the heck out of his friends. Taking people as they are, perhaps developing tolerance and an appreciation for idiosyncrasies may (or may not) be the message in this cartoon. As you think back over your lifetime, I’m sure myriad examples come to mind.

What is this anthropomorphizing all about? Is it an extrapolation of Carl Jung’s writings on the animus mundi, or world mind? Is it a modern day example of the philosophy that we are all One, united in spirit? I have a feeling that a child in Africa, or China, or India would get a good chuckle at the antics of Snoopy or Woodstock, and would shed tears over Bambi losing his mother. Human traits we can relate to, ascribed to inanimate objects, brought forward by that wonderful word, allow us to connect in a greater community beyond the limitations of our daily lives. I guess that’s worth something.