We invite you share your most passionate works expressing kindness and human connection and the ways that together we might heal the degradation and devastation of wars and genocides; the heartbreak of refugees living in limbo; the desolation of hunger and famine and environmental catastrophes; the insanity of extrajudicial murders; and the disappointing growth in the West of racial and religious tensions and efforts by various administrations to chill dissent.
Please take this opportunity to join hands and hearts in peace and love: TEAM WITH US for The BeZine 100TPC online “live” event this September 30th (our 6th year) to address peace, sustainability, and social justice through poetry, music (videos), art and anything artistic that can be posted online and accessed through a url link or by responding in the comments section of the event post. The BeZine 100TPC is one of hundreds of events that will be held around the…
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It’s time again for 100 Thousand Poets for Change. Don’t we need it.
100 Thousand Poets for Change is a global grassroots movement to celebrate the arts, social justice, nonviolent resistance, peace, and environmental sustainability. SUNY Adirondack will host a reading/performance including local published poets at 2:30 and Paul Pines (poet/multi-genre writer) and Dan Berggren (singer-songwriter) at 4:00 p.m. Free of charge; all are welcome.
Queensbury, NY 12804
Sharing this from the highly talented multi-genre writer Paul Pines:
Composer Catherine Reid’s setting of eight of my poems will be presented at the Wood Theater on September 23 @ 7:00 PM. The program, an oratorio, “Last Call”, will alternate my reading with the musical settings performed by vocalists and ensemble as follows–Singers: Gisella Montenez Case -Soprano, Barbara Zanoni – Mezzo, Debbie Gecewicz – Alto, Camille West- Alto, Zack Bissell – Tenor/spoken word, John Alecci – tenor John Anthime Miller – Baritone, Mark Collier – Bass. Inst: Catherine Reid – Piano, Jonathan Greene – saxophone/Clarinet, John Anthime Miller – Cello, John Alecci – Synthesizer
This includes an exhibit of original art work in response to the poems. Spread the word!
Watching Nat Geo gets my engine going with its brilliant animations and explanations of the processes that go on beneath our feet in the bowels and heart of the planet. Millions of years ago uncountable blankets of dead plankton settled into the bed of a dried-up antediluvian sea, descended far into the earth, were superheated by the oven-engine beneath them and tossed about like ashes in a hurricane, then settled into the sandstone deep down between crust and core and, after much pressure and slow tectonic shifts, became the black sludge that powers cars, computers, cities, universities, nations. We jack-hammered hundreds of miles down and pumped up this blackness, this foulness, this richness, this pure potential, the energy required for the engine of modernity to chug to life. While it’s far past the time we should be weaned from our oil diet in every city and town, hard drilling is how we started to create and share power.
What struck me most is how similar evolution must happen in our psyches and our nations before we can become a world where peace is even possible. The hard labor of breaking up the stone that surrounds our inner core must happen before we can discover the richness that makes such ecological and psychological trauma an unnecessary, outmoded process of the past. We must destroy the old illusions that we are separate, that there is no deep core of potential in our antagonists, that we can persist in oblivion upon the crust of social systems whose magma is about to erupt from beneath our dancing feet.
So we must do with our being: bore into the hard stone inside us, break it up, pump up the rich energy it releases. Carefully. That superheated heart has been known to blow off the tops of mountains and level whole towns in rains of fire.
When it is relieved of pressure intentionally we find power; when the pressure is relieved by nature itself we find the land blanketed with lava that can melt our shoes, but that becomes, when it cools, the most fertile of fields. Love. Forgiveness. Will to give ourselves to art and to each other.
If you have not yet done so, read Conflict Resolution for Holy Beings by Joy Harjo. Recommend it to your elected officials. Before you write your next poem, read her prose poem “Transformations” from In Mad Love and War.
As difficult as it is now to imagine, as I child I was beyond timid. While in my imagination I could make things that were beautiful to my child-eyes, swim all day without tiring, ride a pony into the sunset, speak my mind without shaking, in actuality I was frequently frustrated by art that didn’t match the intricate mandalas I could see in my head before I knew what a mandala was, a pony so stubborn she wouldn’t take a step without cajoling, a body so terrified of deep water that I’d rather tremble at the edge of the pool than jump in (and the ocean?–for toes only), a voice that shook and hands that sweated so badly I’d have to wipe them multiple times during any test. Now, I’m deeply grateful and certainly not complaining about what was, all told, an idyllic beginning on this planet. But the felt gap between the desire to get “out there” artistically, physically, intellectually and my perception of my ability to embody this free, artistic person I longed to be was, at times and for decades, crippling. It’s been, shall we say, a theme for me.
I blame only myself for this. It’s like knowing you’re so far from your longing that you see only a corner of it through a telescope whose eyepiece has been blacked out. You think the lens is very, very small until you realize that if you clean the eyepiece, you can see; the irony is that you were just so darn close to the eyepiece that you couldn’t see it, really, at all, much less fix it–and where you can see, one day you can go. But until the voice telling me to go for it was my own, until I could feel in my body that failure is more a possibility I can learn from than a death trap–only then could I get out of my little self in little ways and keep pushing outward from a center that knows that the extent of what is possible only grows.
Now, in a season of change when rock-solid friends are dying young and my list of must-dos seems to lengthen with every breath, I realize I’m again at the edge of the water, frustrated that my Crayola art looks little like the Sistine Chapel, that Taffy the dark, dappled Welsh pony with the gorgeous flaxen mane is snorting, stock-still. She used to keep that up for so long (it seemed like fifteen minutes but was probably more like three) that I would give up, dismount, and walk her back to the shed. My friends that said you have to get back on after any buck or disappointment didn’t understand that my ride just wouldn’t move.
(Wikipedia, “Welsh Pony and Cob”)
So here I am again, not that different, I suppose, from anyone else, wondering what’s next and how to reach it. The difference for me from my younger self is the richness I’ve found inside myself. (You can be brought up in the church and still take a rather long time to reach this point, I’ve learned.) The Source of all goodness is source for everyone (I’m not talking about creeds here)–I feel this in my core. It is that love I seek to embody, that that gets me out of bed. Breathing it in, filling with it feeds, resurrects. The mindfulness we now agree is transformative (in homes, in schools, in artists) is a moment-to-moment invitation. I find myself wondering, instead of whether I will evolve as an artist, how, which of several projects to prioritize artistically.
What does it mean to be in the present and still be a thinking person? (I won’t even touch Alfred North Whitehead’s paradox–or more recently, Deepak Chopra’s–that none of us is the same person in any sense that we were at some undefinable point in the past; most of our bodies’ thirty-seven trillion cells would be unfamiliar to the children we were, and yet we feel some I-ness that grows far more slowly.) Then the present, I suppose, is not limited by space and time and current perceived actuality; reality is comprised of a richer, sourced, psychological and spiritual landscape enriched by the thoughts of all those I can access in the Information Age, in my memory, in the stream-of-consciousness within my head, in the wild imaginings of the heart. The earth is present and so is the beyond when heart and mind synchronize, when we breathe/imagine/write from a single light-filled breath that widens and widens, selects, illumines, includes until limitations fall away and worlds like sci fi, telephathy, poetry, the unwritten history of a people, the unscored music of the spheres take on a body, a shape, a color, a stream in the senses that renders them as real as if they were being seen, published, written, sung, recited, read, experienced in the present moment. This is a space no longer limited by dogma, acculturation, doubt, or fear. We are liberated in the act of creating.
Yet there is always more work to do, a process with one’s own mind, with the heart, with the mind several more times, with one’s peers, with the experts before it ever reaches the public, or some sliver of the public (my writer-friends are fond of saying we must each find our “tribe”) in form of publication or performance. But the enrichment of the artist’s soul is an essential precedent to any contribution to one’s own life, teaching, family, dreams, self-actualization, philosophy, spirituality, technology, medicine, politics, artistic creation, self-healing, healing of others, and innovation in the world.
At this point, dear reader, please take a moment to read Denise Levertov’s poem “The Secret.”
Now a rare airplane buzzes over our house; locust leaves waft slightly, brooding, waiting for rain; the cat sits tucked and patient for my lap to be free of books and computers. Taffy’s stopped snorting; her right foreleg is actually lifting from the hard ground.
May your water be safe, your pony trudge forward, your art pour onto the canvas or the page in vivid color.