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antoinette nora claypoole

 
PART 1

PART II

 

 

 

 

 

 

 

 

 

 

 

 

Old Times.  Mabel Dodge Luhan, Tony Luhan, Frank Waters and others

 

But besides who is IN the project, it might help to understand the raison d'etre. So. I'll  share with you some history of the project and also the impulse behind it.  

How we live our lives in these tsunamied times will determine our realities.

If we do our vision work we'll make a leap all together keep life
resonating peace.  We will survive.

Creating kisses of bliss,   One way or the other.

Kinda like a hippie revival down at the Hondo hot springs .....

Lately people seem to  have a perpetual  wondering
about how  to  take the best of where we came from and get to where we need to be.

That is, with pressing end times rhetoric creating
erratic frequencies within our psyche a random reader or veteran of any war might ask.....

 

 

why create a collection of art, stories, interviews and poems about a small town of Taosenos in Northern New Mexico??

About People living around Taos Pueblo, talking about "the mountain" and reminiscing about the plaza  and paseo when they were  still unpaved??"

And I reply.....

Because
the winded wings of butterflies and hummingbirds

in Arroyo Seco, New Mexico

can create reunions of lost relatives in Salandra, Italia. I mean it.


But, okay, still....what does a Gail  Russell photo of an old blue pick up truck on a dusty road have to offer the high tech world reeling from
 

 

 

©  Lisa Law  "Janis Joplin and Tommy"

 

 

© Gail Russell  "It was just one of those days" 

 


the devastation of tsunamis, real and prophetic?? What does the rant of John Nichols regarding Guatemala in the 1960's have to bear on a new generation of digital debutantes?? When does Sam Hamill's poetic "curse on Carson"  undo corporate contracts defying South American rainforests?  How does the HorseFly newspaper hat photographed by Jaap Vanderplas impact an oil spill near Monterey Bay??

How does Robert Mirabal's 1960's Grandpa  story etch a portal which reflects entrance into the butterfly  effect?? When do the lighthearted memories of Alex Blackburn and  Nita Murphy, the artwork of Anita Rodriguez tame the wrath of  imprisoned Iraqi children?? How does Frank Water's "lost work"  revive the senses f a toxic wasteland?

Will Barbara Waters love and  philosophy of living on El Salto Road & John Nizalowski's journaling  cure any nations' bankrupt conscience??

 

These are easier questions to answer than imagined. In a time when we are being called to remain awake.  In a world of increasing closed eyes.  These are easier questions to answer than imagined. How?

Here.     Art.

la Puerta, Taos   the Art of Fetching Sky

defies the drought of any nation.  Truly.

As art transforms what the soul cannot recycle.

Art a paranormal experience, of sorts.

JL: Is this Taos project mostly poetry and photography. Or does it also include paintings and sculpture?
 
antoinette nora claypoole: La Puerta, Taos the art of fetching sky is a fusion of varied artforms.  It includes images from various Taos artists who were part of a collection of work compiled by the Harwood Museum in Taos, an anniversary event, CA/T back in 2003.  

 

 

© Artwork by Anita Rodriguez  "Lowrider Heaven"

 

 
 

© Megan Bowers "Stations of the Cross"

 

 

There are various other local artists, past and contemporary fused with interviews, poems, short stories and previously unpublished non-fiction by Alex Blackburn and Frank Waters (1902-1995).  So, yes paintings, sculpture images, photo/art stories all of it.

la Puerta, Taos intends to call upon the art of place to do the sorcery from which it arrives. Take human existence and heal the dark holes of fear.   Which plague our gourds of ashes sight. Divining antidotes essential.  Lessons in the art of fetching sky beckon. Wandering through la Puerta, Taos the dream is that you weave a place to live where life is. Marriage. Of Earth and Sky, Taos.  One of those rare places where people are unafraid to see themselves. Inside the land that holds them.

Asking about the Taos project, what it entails, brings to my mind a quote from Daniel Pinchbeck, one which I read stumbled into soon after I met him a few years back.  He explains "If art provides a 'saving power, it is not in the atomized artworks produced by individual subjects, but in a deeper collective vision that sees the world as a work of art."
 

 

In my heart this sentiment is truly one which is reflected in this Taos artists and writers project. We come together as people and in the collecting of our visions an emergent reality reifies art.

As some of us tally time, we know it  is now scant few years before 2012, a date the Mayan calendar ends. To some this suggests humans may disappear. Others of us believe we will make a collective leap into love and peace realities. Something like a non stop Woodstock replay.

Taos and the varied artists and writers are collected. Not through one singular genre,  art form or media.  Rather, the book/project is like intergalactic offerings of a random, collective wilderness. For this is all. About Love.   Of land.   Of stories. Of magic and legends, cowboys and yes Indians.  Conquistadores and trappers, women and hippies.   Macramé dreams and men slipping from "reality".  From myth into what feels like an endless arroyo of Spring high mountain snow packed melt transposed from the Northwest to Northern New Mexico.  Art via Taos is mythical and seductive. Doctoring, divine and a dust-devilled legacy.

 

© Gail Russell "Gorman and Warhol"

 
 

Louise Bryant

 

 

JL: What else are you working on?

antoinette nora claypoole: Most exciting for me now is a recent fellowship from Oregon Literary Arts that I received.  It is for my work in non-fiction and supports research I am doing at the Yale Library Archives.  There lives the "lost works" of Louise Bryant (1885-1936), writings she did that until 2 years ago were stowed away like a starving mother in the berth of a leaking ship.  Much like the one she road overseas to find her husband and love, John Reed (1887-1920) with whom she witnessed the Russian Revolution of 1917. Together they both wrote books of that  pivotal moment for workers worldwide. An impulse, quite honestly, which is carried forward today, revived via Chavez.

Though Ms. Bryant's  two books survived her life, various plays, poems and correspondences had been lost to her previous biographers and my intention is to create a trilogy of her work, Watersongs.  There will be a "collected works" volume of previously  unseen writings by Ms. Bryant. A  play (my virgin sojourn in that genre and an experimental photo/art cha cha. ) All the pieces of Watersongs will be  holding as focal point her nearly buried --entombed (by the wrath of an estranged, 3rd husband, William Bullitt--  journalistic legacy.
 

 

 

The hope is that a new generation of activists becomes inspired by the risks Louise Bryant  took, the world leaders she interviewed (including Mussolini and Lenin) and the fearless way she presented Socialism as a necessary mainfest of existence.  That is,  The Watersongs Project is something which will  bring  to page/theater  the myriad ways another person's life can inspire our current perplexing world stage nearly 100 years later.  That is, a tribute to the
reality that time is an illusion which keeps us from the propensity of the human psyche to traverse and reshape landscapes of freedom.

Louise Bryant's description of Jack Reed as he was dying in Moscow, Oct. 19, 1920---he is the only American buried at the Kremlin--is a resonate image of poetic potentiality...."He would tell me the water he drank was full of songs".  This image informs  my sojourn through Ms. Bryant's work, becoming   an elixir to the collective mist within  which we,  so many,  are enveloped.

JL:  Can you tell me about your book rivers in her eyes and where the inspiration came from to write this?
 
antoinette nora claypoole: Rivers in her Eyes is an historical fiction I wrote, based on the struggles at Big Mountain, Az. It contains many things for many people, a post-colonial story which intends to inform, enliven and revive a collective Earth based existence.

If one searches a memory back  far enough there is the truth that all people were once tribal--honoring woman, mother, goddess as the source of all life. All of us, regardless of skin color, can find our roots in tribal cultures. That is,  we all have an essential connection to Earth-based life, be it Celtic, Gypsy, African, the People of First Nations (named "American Indian" by the colonizers).  In this way we are all related and in this way  many people were like Indians and Celts who once freely held ceremony, sang with a drum, honored the kiss and hum of winged ones, four-leggeds becoming totems, Sun and Moon honored as magical deities.
 

Poem by Louise Bryant

 

 

 

Roberta Blackgoat

 
 

 

However, nowadays, few of any nation remember with clarity these old ways-- the conquerors have been busy trying to make us forget what we already remember. For a very long time. Threatened by tribal people and our inherent resistance to become slaves, property owned, or power-over oppressors,  colonizers throughout the centuries have attempted destruction of woman/Earth centered life. Colonizers destroyed libraries of woman's literature and art in ancient Egypt's Alexandria, burned over one million women at the stake for things like making a man sexually attracted to her, hunted and tortured European men who practiced prayer at a forest altar outside the confines of the "Holy Mother Church",  massacred Indians on the "Great Plains" under the guise of manifest destiny. All of this in an attempt to deny the religion, life and culture of land-based people.

The Dine' struggle to keep their homeland, their way of life, their religion, because they believe what happens at Big Mountain happens to the entire human race.  

Despite these desperate death walks, there is that rare exception of tribal ways surviving, as can be seen through the knowing of people like the Traditional Dine' (Navajo) who live near Big Mountain, Arizona. They remember what many have forgotten.  Just as in old European tribal cultures, sacredness of the land lies at the heart of Dine' life. The Dine' pray and make offerings everyday to one of the four sacred mountains,  and this is what keeps the People, Dine', alive.  This land is their Altar and it is said  no one will survive, destruction of life as we know it will occur,  if this Altar is  disturbed. That is what the prophecies say.   No one will survive. Not the Red people, the White, Yellow or Black.

Dine'  are part of a tribal people  who continue to carry the prayer and life-style of Earth based realities and are threatened with destruction of their way of life.  For those age old ATTEMPTS  to colonize and conquer "heathens" continues on into the 21st century--in the form of corporate exploitation of and desire to own  natural resources  which often lie under Indian reservations in the United States. For even today there are federal jurisdictions which are interfering with Traditional Dine'  way of life. Over the years several laws have been passed which demand Traditional Dine' move from Big Mountain and many Dine' have resisted this attempt at forced relocation.   Several years back the U.S. Supreme Court refused to hear a lawsuit fourteen years in the making, a Freedom of Religion petition (Manybeads vs. U.S. April 2001)  which would have allowed Traditional Dine' to stay on their homeland and pray. This most recent decision has paved the way for Hopi Tribal Council urged by energy corporations to make plans for the mining of uranium and coal from the Altar, Big Mountain, Black Mesa,  a desire which has been in the making and the courts since the mid 1950's.
 

 

Here is a warning I write in the author's notes:

" Yet a warning. Reader of any nation. Go gently and without icon mentality into the spheres of Indian reality. Seek out an inner sensitivity and connection to your own genetic ancestry ... while listening with and knowing of People of First Nations.  For while I have spent nearly twenty years living, praying and working with Indian people, I have wondered at how there is medicine in our togetherness. And though I have been doctored by ceremony and honored to pray with strong Elders, I have been likewise proud to share with my Indian friends the pieces of my Irish/Italian ancestry which are mutually useful for our survival. Saying it straight,  I am proud to represent ALL the nations which reside inside of me. And in this way  I believe we all come to break the pattern of missionary mentality.  There is no one to save.  No one to rescue. No one riding a white steed a holy cross around his neck. Simply families remembering a patch of moss. A way of life. A mountain altar. A desert wind. Bringing  each the other breath.  Of life.  As owl and her sight. As mourning dove in pinon. There is a song.  Of night sky.  Of morning dawn. Of  fires burning and star passages.  Of children born and old ones gone. "

The dream is that RIVERS IN HER EYES helps something shift in the way a reader, a nation, a world,  creates our  relationship to Earth-- and to each other. A redefining of sacredness of life for ALL nations. In the dream our stories and lives can survive the ravages of time. In that place there is no more slaying  wo/man, mother, goddess, Earth. In the dream we breath together like lovers in the dawn.  We are the heartbeat and the fusion. The milk of Life. Again. And again. And again.  

The dreams are where we really live.

 

 

Navajo healing mandala

 

 

 
 

Fore more info visit

www.wildembers.com

 

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