Make a place to sit down. Sit down. Be quiet. You must depend upon affection, reading, knowledge, skill — more of each than you have — inspiration, work, growing older, patience, for patience joins time to eternity. Any readers who like your work, doubt their judgment.
Breathe with unconditional breath the unconditioned air. Shun electric wire. Communicate slowly. Live a three-dimensioned life; stay away from screens. Stay away from anything that obscures the place it is in. There are no unsacred places; There are only sacred places And desecrated places.
In reflection to a prompt from last week’s theme in Way of the Monk, Path of the Artist – “Creative Work as Vocation and Holy Service” – a powerful memory was evoked of a group activity of deep listening and sensing into space and collective. Thirty or so of us standing in a room led by a famous percussionist were invited to make a brief improv musical composition using only six sounds, one of each assigned to each of us, to be used only once. Like the maestro, he signaled the start and as I listened, waiting for when to make my contribution with my sound, it became apparent that staying silent was most needed for the coherence of the emerging melody.
“Let me keep my mind on what matters, which is my work, which is mostly standing still and learning to be astonished.”
Mary Oliver, The Messenger
Over the years, calling back that visceral experience has always been a profound, astonishing even, lesson of the discernment and value of silence, stillness and spaciousness in works that matter.
Last week that memory gave me a fresh way into understanding my place right now. The waxing and waning between finally feeling – after several fallow and lost months of grieving my sudden, unexpected arrival at “retirement” – for the first time in my life, a deep contentment with not working, AND, too, missing the ways in which I had worked, been of service, made a living. Missing the known and felt meaning and value I gave and received for my work. Such missing occasionally “stings” as my circle of women friends are still so employed or creating their “encore” careers.
“Our daily work may rise out of our true calling in the world, or it may just pay the bills; either way, we each have a vocation. We each were given certain gifts to offer in service to others. Our calling is deeply connected to our creativity. The truths we long to express in the world and the way we feel moved to give form to beauty are signs of the Spirit at work in us. Vocation is a daily invitation to be fully who we are and to allow our lives to unfold in ways that are organic to this deepest identity.”
Christine Valters Paintner, The Artist’s Rule, 2011
So how, now in my autumn years, will this unfamiliar “non work” become my “love made visible” in counter-cultural, less obvious, silent, still and spacious ways? How, as I find myself living a long-held dream of having expanses of time and space, unfettered by plans and obligation (thanks in part to the pandemic), may creativity emerge as vocation, take form as holy service? How do I learn to be astonished?
A cursory inventory:
Shifting my perspective to give value to home care, meal preparation, dog walking as my labors of love.
Trusting that the beauty I notice and express, via written word and photograph – in my blog, on social media, in my practice of hand writing note cards sent to friends – are an offering of my life as poem and prayer.
Remembering my meditation and prayer, a lit candle, and passing thought for another, known or unknown, are silent weavings for healing and community.
Giving space for my holy grief, holy gratitude and holy love creates space for others to do so.
Sitting with the questions of my heart, in the tension of knowing a greater plan is at work, revealed only – word by word, brush stroke by brush stroke, action by action – in the ordinary living into each day.
Learning to “move at the pace of guidance,” heeding the wisdom of energies seen and unseen.
“We make what we make, we give a gift, not only through what we make or do, but in the way we feel as we do, and even, in the way others witness us in our feeling and doing, giving to them as they give to us…a work and an identity that holds both together, not only for an end, but for every step that shapes an onward way.”
“Keep it simple, keep it kind” to grease and ease passage through resistance into the Dance of Sacred Yes and Sacred No. Known and named resistance for one so facile with words – spoken and written – knows Body Knows and will slipstream with Her own Wisdom, shape shift to Truth.
“By the sacred yes or the sacred no I mean that affirmation or negation that comes from a deep place of wisdom and courage, even if it creates conflict or disagreement. The sacred yes is not willful or egocentric, but rather is willing and surrendered. The sacred no is not rebellion or refusal, but always the necessary protecting of boundaries.”
Richard Rohr, in The Artist’s Rule by Christine Valters Paintner
The Deal struck – leave words and utterances behind for Body in its silence to teach, with music of shaman’s dream to guide.
Kneel before the altar. Candle lit. Head bowed. Stilling, silencing, falling into the cave of the heart. Listening to a beat older than time. Imaginal images flutter through time and space.
SACRED YES sees ancient Sun Dancer, pierced with deer cord bound to Tree in Life Hoop’s center. Face to the sun, sweat and blood streaming. Is this not a Sacred Dance to the Sacred Yes of Life? Elephant Matriarch swinging her massive head and trunk, warning all to beware as she guides her family through danger. Arms suspended as Seaweed floating on the ocean’s surf. Then outstretched seeking surfer’s balance as he rides the Wave. Now bald Eagle silently soaring, high wide view of land and sky. Hold hair tight like Kali, Durga. Bounce and bound like Ape. Silent belly rumble and laugh. Inhale deep. Exhale deeper like bellows. Not a word. Not a sound. Felt Sense Flashes. All a truer expression of that commitment to Life through its ages, when all Bodies knew. Then rest, dream of YES, slip into Dream Time to bring it through, to be it, to be with it. No words needed. Body knows. Space surrounding Body holds vibration and emanation of this Dance to SACRED YES.
SACRED NO awakens to Tibetan bells. Flowing gentle melody instantly illumines Sacred No is always in service of Sacred Yes. In obedience bows to Life. Bending forward to purge the false yes, compliance, making small, resentments and envies – all taken as truth those lifetimes of lies. Rising up, strengthen arms and legs, back and front, shake head free of delusion, break free of an invisible bondage as concrete eggshell shatters. Drum beat evokes fierce warrior. Strike and chop and kick and stomp. Claim and proclaim. Power and empower. Swoon with sudden sick feeling as Ego slips in guised to taint and turn the Sacred against itself. BIG MEDICINE here. Stand still. Is not standing still on one’s ground like Mountain the Sacred Dance of the Sacred No? Then sway and soften into Life, like Tree who knows to withstand Storm he must give and bend. Be fluid, fluent like River flows. Dance SACRED NO as betrothed partner to SACRED YES. Shape shift through Ego’s seduction. Discern the step. Quiet presence, fierce with fight. When to be loud with silence, soft with strength.
“A thousand half-loves must be surrendered to take a whole heart home.”
For the past couple of months I’ve been participating in another Abbey of the Arts online program. “Way of the Monk, Path of the Artist,” a thirteen-week study into the archetypes of contemplative and creative – two of my deep affinities – was another of those intentional activities undertaken to flourish during these darkening, distanced days. Again, each week corresponds to a book chapter, this time, The Artist’s Rule, authored by abbess-host Christine Valters Paintner.
Too, each week follows a similar agenda. Monday is a live video session with a couple of hundred of us tuning in globally as Christine welcomes us into the week’s theme, guides us in meditative reflection and journaling, gives the week’s overview and invitations for creative process, and answers questions. Tuesday features a scriptural interpretation by Christine’s husband and theology teacher, John. Wednesday is devoted to the sacred practice of Lectio Divina, listening with the “ears of the heart” to a scripture or poem, pondering on a word or phrase that “shimmers.” Thursday and Friday are for creative expression via writing and or art making. Saturday for closing reflections and “catch up”; and Sunday for rest and integration – what I like to think of as the yogi’s savasana. Throughout we’re invited to share our reflections and comment to each other, with the proviso that no advice be given. Instead it’s the application throughout of what “shimmers.”
Last week – our seventh and midpoint – focused on “Inner Hospitality and Welcoming the Stranger.” Scripture, Rumi’s poem “The Guest House,” and Naomi Shihab Nye’s “Kindness” were frames for supporting the encounter with our inner strangers.
“Do not neglect to show hospitality to strangers, for by doing that some have entertained angels without knowing it.”
I’m struck how often synchronicity is at play, with the “unexpected” appearance of a poem, a podcast, a picture that deepens, resonates or brings a touch of humor. This favourite appeared on Facebook a few days before the week’s scripture:
Thursday’s creative expression was an exercise to get in touch with our inner strangers via “gush” painting. I welcomed this as an invitation to return to a practice I had left several years ago. I painted according to my teacher, Michele Cassou, and her intuitive process painting outlined in Life, Paint, and Passion: Reclaiming the Magic of Spontaneity.
I’ve written in other blogs about my experimentation in this process, but shared last week in the course, the “back story” of having bought Michele’s book for $2.00 where it sat on my shelf for a few years. That one summer, re-intrigued by the cover, I read it in one sitting. Mesmerized by the paintings, and knowing in my core she was writing truth, and that being sprinkled with Rumi, what was not to love? That I immediately searched online for a class and remarkably discovered there was a retreat being held in – of all places – an obscure little town where we lived before moving to Alberta. It took a few years before the stars and my schedule aligned, but I went for a week, for three consecutive years, to have the requisite hours to go to Taos, NM during my sabbatical year and study at Michele’s master class, where upon my return home, I hosted painting weekends – a life saver for me and those many who attended, mostly women from work – each of us coping with the dismantling of our department and huge work stress-uncertainties.
Too, I shared that consistent with the “gush” practice, and how I entered into this activity, it’s never about product, but about process: attempting to paint spontaneously, allowing the colour and image to come to guide, without meaning or interpretation, without choosing, but following that often, nearly mute impulse. Typically, not shared, as like pages from a journal, paintings often reveal truths and vulnerabilities that others, upon reading or seeing, or our own critical selves, might judge, and then frighten and subsequently inhibit ourselves from expressing. So, too, when a painting is acclaimed, perhaps even a more insidious trap.
Given it had been a few years since I’d last painted in this way, so long that my tempera paints had dried, I took a “practice run”…just to get back into feeling the brush on the paper, my body into gesture, my head out of the way.
A second painting emerged, attracted to colours and a style that have always evoked creativity, life, vitality, desire, the ooze of life and inner fire.
“This is your body, your greatest gift, pregnant with wisdom you do not hear, grief you thought was forgotten, and joy you have never known.”
Marion Woodman, Coming Home to Myself, 1998
The third felt the most unexpected, unbidden, honest. A self portrait. Evoked perhaps from the poem I’d shared earlier in the week describing the impact of getting Bells Palsy in 2013.
“We have lived our lives behind a mask. Sooner or later – if we are lucky – the mask will be smashed.”
Marion Woodman, Coming Home to Myself, 1998
A powerful depiction of the often felt, though less obvious to the outside world – unless I’m stressed or tired – lingering effects: the loss of facial symmetry, the odd tingly sensations and itchiness especially around my nose and cheek, my mouth that droops, my eye that dries or tears up. Not chewing as well, nor singing because of the loss of strength in my palate. Even speaking can be challenging some days. A shyness that developed, though perhaps it allowed for a truer introverted aspect of self to emerge. It certainly broke open my life –shattering the mask that paradoxically invited in a truer relationship to self, in my marriage and in my life. With a daily felt and seen reminder of how lucky I am.
And, in another stroke of lovely synchronicity, this, from the Vancouver poet, bentlily, appeared on Facebook, hours after painting:
“When I start to feel nervous about letting my creativity run free, it’s always because I am afraid of what people will think of what I create. And yet wanting the world to love what you make is not the problem. It’s natural (and financially, it’s very reasonable!). The problem is when I start thinking more about “you” than I do about me…But I still have to trust that if I write my poems for me, you will come. Because if I am too preoccupied with how and what to write for you, eventually, no poems will come at all because I will have lost the “me.”
bentlily by Samantha Reynolds, Facebook, October 23, 2020
Here’s to creativity off leash. Wild and messy and free.