In this detail from a recent collage, a kimono-clad woman bows to a circle of people. She reminds me that my work is a ceremony, an offering of just the right Medicine. The words around her: Inspiring Life's Journey and Respectful Exchange. She is close to the earth, grounded. She is ready to serve.
Perhaps she is an Ancestor called home by my creative fire, the sparks I'm fanning into flame.
In o-bon, the Japanese Ancestor ceremony, it is bonfires that guide the Ancestors home. Family clans gather in mid-late summer to clean up graves, give thanks to the Ancestors, feast, sing and dance. After a good long visit, people float lit candles on the water to send the Ancestors back until the next year. Both the quick and the dead are renewed.
I remember as a young girl stringing leis with my grandmother in Hawaii, preparing for an aunt and uncle arriving late for o-bon. We walked in the dark, following the sounds of celebration to the neighbor's luau, bearing long white strands of starry blossoms. We kids called it the 'bone dance' and watched the old ladies make their careful steps with sweeping arms and moon fans. They wore their light summer robes and sandals. I remember fire and night.
I haven't celebrated o-bon in many many years. But every time I write or make art, it seems as if the creative fire itself invites the Ancestors in. They help me and I hope that I help them in carrying forward this spark of life.
Being in the body means giving ourselves up to gravity and touching earth. Sitting in meditation, we root ourselves through our sit bones. Our feet, legs, and bottom meeting the ground give us great stability, out of which our spine and consciousness can rise naturally. A sprout reaching for the sun.
Grounding allows us to first be here, then rise up, reach out, and connect with others. Without grounding we can be floaty and a little too untethered, not productive.
In one of my recent Collage Circles*, one participant had abundant fiery energy wanting more focus. I encouraged her to pay attention to the ground of the paper she would work on and the edges that would contain her process. Being aware of containment offers safety and can actually create more space for what wants to happen.
She made a two-sided collage, with lots of movement and images transcending the board. One corner was a pop-up section with a plant stalk or snaky thing coming out and up from the flat surface, then connecting back down to the board.
A revelation: energy can go up and out AND can also feed back into the source. This was very moving to her, that her process could be inherently regenerating, rather than scattering and exhausting. All that energy could move, but she could stay here in ground.
Sculptor Martin Puryear often uses the form of some heavy solid thing with an upraised arm. The ground and anchor allows extension, suspension, lift and creates a great dynamic tension, a wonderful feeling of aliveness and presence.
http://mckeegallery.com/nggallery/page-219/page/163/
If you'd like to explore this more, contact me for embodied practices to connect to ground and movement in your life.
*Next Collage Circle 4/25: www.wildimagination.org/calendar.htm
