Green Corn Moon

Green Corn Moon Event --Grapevine Museums

Below are the details of the event, I have planned (with the help of our Native American friend in Historic Preservation).
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The event will present the spiritual side of the stars for the science exhibit we are hosting from the Smithsonian, Evolving Universe.

It will be August 16th  3-5pm in the Museum Galleries.

Here is the draft for our signage --the background color will change from blue to turquoise fading to green.

Press Release for Green Corn Moon

A CELEBRATION OF THE GREEN CORN MOON

WILL FEATURE AMERICAN INDIAN

STORIES, INFORMATION, DOLL MAKING AND MUSIC

ON AUGUST 16, 2014, 3 P.M. TO 5 P.M.

THE GALLERY TOWER, 636 S. MAIN, GRAPEVINE -- FREE

 

 

​​Grapevine, TX, July 21, 2014 --- "The Evolving Universe," a Smithsonian Traveling Exhibition, on display at Grapevine's Tower Gallery, 636 S. Main St., July 25 - September 30, 2014, will include a special look at the lunar cycles and the full moon in August called the “Green Corn Moon” by many  American Indian tribes.    Sallie Cotter Andrews, citizen of the Wyandotte Nation, will tell about the Wyandotte/Huron Green Corn celebration,traditional stories and history during a program on Saturday, August 16, 2014, from 3 p.m. until 5 p.m.  The Bear Claw singers, citizens of theComanche/Kiowa/Apache nations who comprise thenationally-known drum group, will perform songs with thedrum that are the physical expression of the Earth's good heart and theirs.  Grapevine resident Mary Margaret Red Fox Emery, granddaughter of Chief William Red Fox (Oglala Sioux), will tell about her grandfather’s long life and his experience with the Buffalo Bill Wild West Show.  

“We invite everyone to come hear wonderful music,learn about the famous Red Fox family, learn some Indian language, sing a thanksgiving song, make a corn husk doll, hear traditional American Indian stories about the Corn Boy, the Turtle’s back and more.  This will be a great event for the whole family,” says Andrews.  Andrews served on the Cultural and Historical Committee of the Wyandotte Nation based in northeastern Oklahoma for 25 years.   She is a past Pow Wow honoree and is one of theleaders in the Wandat Yanọhšetsih (traditional longhouse). 

 

Based in Dallas, the members of the Bear Claw Drum Group have been performing for more than 12 years, while also being active Indian community leaders .  Those close to Bear Claw are familiar with the hours of practice and dedication that go into all their work. In keeping with their traditional values, Bear Claw knows that their singing is a powerful gift from God and are most truly at home when drumming and singing. They always respect the drum's living spirit and provide an offering of special tobacco and prayers for the drum and to the Creator before they begin, asking for His help to spread healing, love and blessings to others. They never allow anything but good thoughts and feelings inside their circle.  

“The drum is like the heartbeat of our people," said Sonny Blackbear, head singer of the Bear Claw drum group from Dallas. "This drum is a blessing to our people. We treat it with respect when we sit around this drum. The longer you sing with [the drum] and the more powwows you go to and the more dances you go to, the more medicine - blessings - come with the drum," said SonnyBlackbear.  “This is a very old drum.  We call it 'Grandpa.'  The drum beat tempo mimics a heart beat.  For slower songs, the beat is steady.  For fancy war songs, the beat races like a warrior in battle.  After sitting around this drum, we become brothers at this drum. We all become in sync with each other. Over the years, we become real tight with each other.  Now, when we swing our stick, it sounds like one stick.  When we sing with our voices, it sounds like one voice," says Blackbear.  Bear Claw has performed in Grapevine during past Main Street Days festivals and on other occasions.

“The Green Corn celebration, called ‘Komaskwema’a’ in the Wyandotte language, is a time of giving thanks to the Creator for all our blessings.  It is also a time when babies and others are named and friendships are renewed.  Dancing, eating and camping together create a family-reunion type atmosphere that, for us in the traditional longhouse, are the best two days of the entire year,” says Andrews.  “We want to share that good feeling in Grapevine at this gathering,” she says.

For more information about the free Green Corn Moon program, "The Evolving Universe," a Smithsonian Traveling Exhibition, the Bear Claw Singers, or any of the attractions and events in Grapevine, please contact Leigh Lyons at 817-410-3185, or visit www.grapevinetexasusa.com.

Chief Red Fox

Chief Red a Fox was part of Buffalo Bill's Wild West Show

He was Oglala. 

His grand daughter will be speaking at the green corn moon.

Examples of corn husk dolls made for event

Steps for Corn Husk Dolls

The Exhibit: Smithsonian's Evolving Universe, Green Corn Moon Event will celebrate the spiritual side of the stars

Story of the Corn Husk Dolls

Story of the Corn Husk Doll

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This legend is told by Mrs. Snow,
a talented Seneca craftswoman. Many, many years ago, the corn, one of the Three Sisters, (corn, beans, squash) wanted to make something different. She made the moccasin and the salt boxes, the mats, and the face. She wanted to do something different so the Great Spirit gave her permission. So she made the little people out of corn husk and they were to roam the earth so that they would bring brotherhood and contentment to the Iroquois tribe. But she made one that was very, very beautiful. This beautiful corn person, you might call her, went into the woods and saw herself in a pool. She saw how beautiful she was and she became very vain and naughty. That began to make the people very unhappy and so the Great Spirit decided that wasn't what she was to do. She didn't pay attention to his warning, so the last time the messenger came and told her that she was going to have her punishment. Her punishment would be that she'd have no face, she would not converse with the Senecas or the birds or the animals. She'd roam the earth forever, looking for something to do to gain her face back again. So that's why we don't put any faces on the husk dolls.
From: Our Mother Corn Mather/Fernandes/Brescia 1981



 

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Moon and Stars

People have been making meaning about the nature of humankind since the dawn of time.  I thought it would be a great compliment to the Smithsonian's Evolving Universe, which is an exhibition about  the science of stars.  I wanted to give stars a soul.  Who better to remind us of our connection to the earth and sky than people who have continued that link through their ceremonial practices.  The Green Corn moon is a thanksgiving and a reminder of harvest.

Bear Claw Native American Drummers

Bear Claw will perform as part of the Green Corn Moon Celebration.

The Green Corn Moon Ceremony: a brief History of Maize

Corn or Maize was a staple crop for many of the Native Americans.  Maize was originally cultivated from a Central American wild grass called, Teosinte. As the indigenous American peoples, began to create maize as we know it, many tribes began to move from hunting and gathering into an agrarian way of life.  Maize took on religious significance as one of the 3 sisters-- maize, beans and squash.  As staples of the Native American diet-it began to signify life giving forces.  Many religious ceremonies incorporate corn (maize) as part of the ritual. 

Green Corn Moon Ceremony Event

I am enhancing  the educating artisan blog with information about creating a green corn moon ceremony event 

My project is the flip book posted earlier this semester

St Augustine, Detail and Legend

St Augustine Water Temple, Columbia

On a Painted Ocean

Day after day, day after day,

We stuck, nor breath nor motion;

As idle as a painted ship

Upon a painted ocean.

Water, water, every where,

And all the boards did shrink;

Water, water, every where,

Nor any drop to drink.

The Rime of the Ancient Mariner (text of 1834)

SAMUEL TAYLOR COLERIDGE

I always felt a kinship to Coleridge, a funky romantic poet.  The perfection of his rime scheme lead many scholars to believe Coleridge lied about the drug-induced stupor he professed produced Kubla Khan. Maybe I felt the kinship because of the quirky 80’s “Frankie Goes to Hollywood” Album Welcome to the Pleasure Dome, a Coleridge allusion or maybe it was because my Dad could and did (often) recite, in full, the Rime of the Ancient Mariner.  Whatever the original inspiration, Coleridge, with his strange connections of the natural and spiritual world, reminded me of the Greeks with events on earth often having dramatic implications in heaven and consequently on Mankind. Coleridge has been my life long friend, giving words to pictures in my head.

It’s only natural that my research about water, as an artistic project, would begin with words from the poet Coleridge.

Water, water everywhere but not a drop to drink.

For my personal project, I began researching water issues in the United States. From the earliest readings in our class, I felt a resonance with the artists working in focusing on water. 

I began my creative process with a few questions to answer:

How long can we go without things necessary for life?

What are the spiritual implications of our treatment of the natural world?

What happens when we fear what we need most?

Back to Coleridge

In the Rime of the Ancient Mariner, the mariner, someone who lives on the water, kills an albatross. This bird has served as a guide and has led his ship out of danger.  With that deed, the ship becomes idle on the water. The natural world ceases to aid the ship or the mariners in any way. The winds die and the ship stalls.  The other sailors tie the dead albatross around the mariner’s neck.  Then, all but the ancient mariner die of thirst—because although they are in the middle of a large body of water, none is fit to drink.  But that's not all; the spiritual realm also punishes the mariner.  The ship is haunted with specters and ghosts. Only when the mariner makes peace with the natural world, does his curse lift.  The albatross drops from around his neck and angels help guide him to shore.

Are we as a society committing acts against Nature so that the natural world and the Spiritual world are looking for restoration?

Although Coleridge offers so many levels which to discuss this, I am going to focus on the issue of water. 

I asked more questions:

What do we do when we are afraid of water, afraid to get in it, afraid to drink it?

How do we move off of our “painted ship on a painted ocean”?

How do we begin to move again and begin to remedy with the natural world?

Who owns water?  What do we do next?

A search for answers

According to Live Science, “If you're ever stuck out in the wilderness, remember what survival experts call 'the Rule of Threes'.

You can live 3 minutes without air, though we don't recommend trying. In a harsh environment — it's snowing, say — you have 3 hours to survive without shelter. After 3 days, you need water or you'll perish. You can make it 3 weeks without food, though we promise you that won't be fun.” (Binns)

            What if we can no longer drink water?  We can go weeks without food before we die.  We can go only 48 hours without water before our bodies begin to shut down. 

“Water flows through the blood, carrying oxygen and nutrients to cells and flushing wastes out of our bodies. It cushions our joints and soft tissues. Without water as a routine part of our intake, we cannot digest or absorb food. “(Binns)

Given this information my fundamental question is: What happens when we begin to fear something that is essential to our life?

 

A little history of society and water

Since the beginnings of our western culture, for agriculture to thrive, for industry to thrive, water was essential.  From the earliest days of using river floods for irrigation, water was elemental to farming.  Even later, as we moved to the Industrial Age, factories were built by rivers, in order to have hydro energy, as in a mill or a dumping sewer, as with many of our 19^th century factories.  Now, water rights are becoming as important in the sale of the land as the mineral rights.  Strangely, through the oil industries use of fracking to push oil out of the ground, water rights and water quality begin to merge as joint concerns.

 

Who owns the water?

According to the Texas Water Rites website through Texas ATM University, “In Texas, water rights depend on whether the water is groundwater or surface water.

Generally, Texas groundwater belongs to the landowner. Groundwater is governed by the rule of capture, which grants landowners the right to capture the water beneath their property. The landowners do not own the water but have a right only to pump and capture whatever water is available, regardless of the effects of that pumping on neighboring wells.

Surface water, on the other hand, belongs to the state of Texas. It can be used by a landowner only with the state's permission.” (Texas Water Rites) Surface water exists as rivers and streams.

 How is water part of creation?

Water is elemental, primordial part of creation.  Even in the religious text of Genesis, God moves over the water before he asks for light.

As part of my inspiration, I began thinking about my personal experience with water as a form of creation and expression.

First, I thought of water in relationship to art and to sculpture.  Rivers sculpt the landscape.

Water sculpts internal caverns in aquifers. We use a medium which is water based in watercolor paints.

But more personally and artistically, one of my artistic influences was a very old Columbian sculptor, Luis Alfonso Valderama Sanchez.  In the era when Machu Picchu was first discovered, many archeologists, artists and adventurers turned their interest to the Andean mountains. In these mountains, a water temple was discovered in the early 1920's. On the expedition to explore the temple, called St. Augustine, was an American archeologist and several other importantly skilled persons.  Sanchez was one of the expedition members and was to draw the way things were found, the pottery and to interpret the whole site in drawings.

I have one of the few copies of the book detailing this dig. The fold-out pictures of the temple are drawn by Sanchez. The temple was quite amazingly engineered. Water was let out of an aqueduct and would flow around monumental sculptures of frogs and lizards.  As the water flowed around them, these sculptural animals would appear to be resting in the water. These sculptures were monoliths carved from giant pieces of stone.  In the St Augustine complex, water was elemental. The water temple, like Coleridge’s Rime , highlights the need for unity in the natural and spiritual world.  In many ways, water is that unifier.

When thinking about Sanchez’s book, as a source of inspiration.  I wanted to use a book as a foundation for my project; a book about water as fundamental.  Another question arose.  How then, could I make a book to show the fear of water? Could the book illustrate fear; someone afraid to drink the water and afraid to bathe in the water?  I wanted to make a book were every symbol would count.  Iconographically, it would resonate.  What could I rely on to make a connection with my viewers? How could I get the viewer involved? —To move us out of the painted ocean into real life. How could I begin to show a need for unity in the Natural and spiritual world?

            As I began considering these small things, I thought through water symbolism. I found myself thinking about my children, my two sons, as well as the children who come through the museums, and my responsibility to them. Through this research, I formed my ideas about the symbols I wanted to use for my personal project.

What is the Project?

The concept: to layer meanings

To merge new and old processes

To engage the viewer in active participation rather than simply passive on looking

To create a collage using a mix of print media and double-entendres

The Binding (Map Book):

By using a government document, I wanted to connect water issues with federal agencies.  I used and aerial flight map of Florida for several reasons.

First, I wanted to get a bird’s eye view of the topic- to connect to water from a different perspective.   Second, the aerial map book’s proper name is U.S. Terminal Procedures Publication. Figuratively, Industry and policy combine to create an environment where our cultural practices with water is, in fact a “terminal procedure”. Without intervention our waterways and the life dependent on the waterways will be at great risk.  In many regards, our environmental water policy is a terminal procedure.

Third, Miami is often cited as one of the most vulnerable cities with regards to water issues.  It is victim to many hurricanes and its water table can easily get flooded with salt water—affecting the drinking water. The Everglades, which is technically a low wide river, is at risk.  Finally, the map is from 2012. This is 110 years from the film I deconstructed.

The paper is similar to the paper used in the St Augustine book.

Deconstruction and Content:

I wanted to deconstruct a film and create an old flip book—something that instead of just watching a film, you have to put your hands on to make it work.  The viewer has to participate or there will no longer be anything to view. The picture stops.  To work the flipbook, is an imperfect act.  Similarly, there are unexpected pauses in the less than perfect work we do. It can be slow.  It can stop but we need to see the storyline to the end.

I deconstructed an early film of Hawaii 1902.  Children are diving from a pier. As they frolic in the water, boats pass by them in the harbor.  Industry and people using clean water together.  There is one hesitant boy.  He won’t jump.  He is too frightened to participate. All the other children have entered the water.  They pass the boy, as he stands nervously on the edge, afraid to enter the water. In the last frame, he jumps.  

This wordless story line symbolizes my view on the need for participation and harmony.  This parallels my perception of the need for actual hands on work to rehabilitate our water and waterways.  If we do not put our hands to working with policy and pollutions, there will be nothing left to see. And in the end, we all must get into the water.

http://educatingartisan.blogspot.com/2014/03/terminal-procedures-dive-in-take-2.html

http://educatingartisan.blogspot.com/2014/03/blog-post.html

http://educatingartisan.blogspot.com/2014/03/details-terminal-procedures-dive-in.html

Where will water take me?

The importance of water quality, reminded me of a 2012 50th anniversary of Rachel Carson’s pivotal book The Silent Spring (1962). Although Rachel Carson was discussing pesticides and other harmful chemicals, she could have been talking about the chemicals used in fracking or in our industries today when she said, “I contend, furthermore we have allowed these chemicals to be used with little or no advance investigation of their effect on soil, water, wildlife, and man himself. Future generations are unlikely to condone our lack of prudent concern for the integrity of natural world that supports all life”. (Carson, 1962, pg. 130.)

With great wisdom, Carson understood the need for conscientious dealing with nature because ultimately our deeds will stay with us.  We are all connected to the natural world and we need to nurture that relationship. To the end of a “prudent concern for the integrity of the natural world,” we must ask ourselves the questions implicit Carson’s statements. How are we connected to the natural world? How do we support that natural world which supports all life? Are we wiser in our dealings today?

My work in this area is not finished.  I will continue to look at maps and layer meaning on them.  As I research, I hope that I am wiser each morning and that I am unifying the natural and spiritual world.  I will start with the issue of water.

He went like one that hath been stunned,

And is of sense forlorn:

A sadder and a wiser man,

He rose the morrow morn.

The Rime of the Ancient Mariner (text of 1834)SAMUEL TAYLOR COLERIDGE

References:

Adams, T. (2007, March 10). Natural talent. The Guardian,  DOI: http://www.theguardian.com/artanddesign/2007/mar/11/art.features3

Binns, C. (2012, November 30). How Long Can a Person Survive Without Water?. LiveScience. Retrieved May 3, 2014, from http://www.livescience.com/32320-how-long-can-a-person-survive-without-water.html

Brophy, S. & Wylie, E. (2014, March). Sea change. Museum, 93(2), 35-41.

Carson, R. (1962). The Silent Spring. Houghton Mifflin Harcourt.

Coleridge, S. (n.d.). The Rime of the Ancient Mariner (text of 1834). Poetry Foundation. Retrieved May 3, 2014, from http://www.poetryfoundation.org/poem/173253

de Barralas, J. P. (1936). Aqueologia Agustiniana. : Bibilioteca de Cultura Colombiana.

Harold. (2014, March 18). Interview by L. Rushton. Weatherford.

Goldsworthy , A. (n.d.). Good reads. Retrieved from https://www.goodreads.com/author/quotes/34070.Andy_Goldsworthy

Loftis, R. L. (2010, January 13). Trinity river among the most polluted waters in Texas. The Dallas Morning News, Retrieved from http://www.dallasnews.com/news/state/headlines/20100113-Trinity-River-among-most-polluted-waters-3200.ece

Muir, J. (1918). A Thousand Mile Walk to the Gulf. Mariner.

Plushnick-Masti, R. (2013, January 13). Epa backed off weatherford water contamination. The Dallas Morning News, Retrieved from http://www.dallasnews.com/news/state/headlines/20130116-epa-backed-off-weatherford-water-contamination-probe-after-gas-drilling-company-protested.ece

Smith, S. (2012, March 22). Texas waterways are nation’s fourth most polluted, Texas Monthly, Retrieved from http://www.texasmonthly.com/story/texas-waterways-are-nation’s-fourth-most-polluted

Texas commission on the environmental quality. (2013). Retrieved from http://www.tceq.state.tx.us 2013.

Please View the Blog as a Whole Piece

Connection to Water

“We often forget that WE ARE NATURE. Nature is not something separate from us. So when we say that we have lost our connection to nature, we’ve lost our connection to ourselves.”

― Andy Goldsworthy

As I look at Goldsworthy’s quote that we are not separated from nature, but connected, I begin to wonder how am I nature. And my thoughts turn to water. How much of me is water?

There is a unity in water. The earth is 70% water. I am made up of 70% water. I am told to convert the number of my weight in pounds to ounces and drink that many ounces of water every day.  I watch women pass up the coffee to fill water jugs every morning.  In the kitchen, folks opt for filling “to go” 32-ounce Barbeque restaurant gimme cups with water in lieu of brimming coffee mugs. I consider the importance of water and my connection to it on a celluar level  Throughout this spring, I have been reminded of the importance of water.  From Water emerges Love, if you are Greek, or the proto-human if you are an evolutionist. In many cultures, to emerge from water is a symbolism of new life.

What happens when we emerge from our culture's water?  Are we reborn? Or are we closer to death?

Fracking is a concern for many Texans. Pollution of our ground water and in our streams often hits front-page headlines. Pollution in large ports and from industry and agriculture come in both seemingly benign forms of fertilizer and cattle or poultry off-waste and in recognizably dangerous forms.  All of the forms play a part in pollution of Texans water and waterways. 

In 2012, Texas Monthly cited Texas waterways as the 4^th most polluted in the United States (Smith 2012).

What is my connection to water? I return to this. I spent my life around water.  I grew up with a creek in the backyard of my childhood home. There were frogs and fish and snakes:  it was a wild place for a young girl. I was a swimmer, and now, my eldest boy is a swimmer. I swam in lakes and rivers and pools.  Today, those same locations are installing pools because kids will not swim the lakes or rivers.  And honestly, there might be good reason.

As I began the readings and research,  I think back to my days of  “the swimming of the innocent.”

I consider those who had connections to nature particularly water, that Goldsworthy indicates.  First on my research list were people who worked with water or whose livelihood was dependent on water.

It brought to mind Weatherford, Texas, a charming West Texas town, near Fort Worth. Weatherford has been in the news for its water. To the unhappy residences, tap water fizzing and catching on fire is a visible health risk. Drilling in nearby Ranger County appears to be responsible for the dramatic change in the water.

In 2013 the Associated Press reported that Weatherford water had set off a series of inquiries from the State and EPA. 

“WEATHERFORD — When a man in a Fort Worth suburb reported his family’s drinking water had begun 'bubbling' like champagne, the federal government sounded an alarm: An oil company may have tainted their wells while drilling for natural gas.

At first, the Environmental Protection Agency believed the situation was so serious that it issued a rare emergency order in late 2010 that said at least two homeowners were in immediate danger from a well saturated with flammable methane. More than a year later, the agency rescinded its mandate and refused to explain why.

Now a confidential report obtained by The Associated Press and interviews with company representatives show that the EPA had scientific evidence against the driller, Range Resources, but changed course after the company threatened not to cooperate with a national study into a common form of drilling called hydraulic fracturing. Regulators set aside an analysis that concluded the drilling could have been to blame for the contamination.” (Plushnick-Masti, 2013)

As of January of 2014, a new report appears to have fostered enough interest to prompt the EPA to reopen the case.

Interested in the report, I recently visited Weatherford, meeting with museum and tourism professionals. It was easy to learn about the issues because water comes up frequently in conversation. It’s like talking about the weather. In several unrelated conversations—we were talking about Museum operations and fund raising, the topic of water kept surfacing. I asked “How is the community connected to water?”

The director of the Museum of the Americas said, “We don’t like to talk about the big oil companies here in Weatherford.” Another local resident discussed her livelihood as a peach farmer.  She is dependent on water for her crop.  And on another note, I was told that Texas lakes are several feet below normal levels all over the state. My community is concerned about its relationship to water. Necessary for farming and sustaining healthful living, water quality must be preserved.

The importance of water quality, reminded me of a 2012 50^th anniversary of Rachel Carson’s pivotal book The Silent Stream (1962). Although Rachel Carson was discussing pesticides and other harmful chemicals, she could have been talking about the chemicals used in fracking when she said, “I contend, furthermore we have allowed these chemicals to be used with little or no advance investigation of their effect on soil, water, wildlife, and man himself. Future generations are unlikely to condone our lack of prudent concern for the integrity of natural world that supports all life”  (Carson, 1962, pg. 130.)

With great prescience, Carson understood what Goldsworthy explained years later.  We are all connected to the natural world and we need to nurture that relationship. To the end of a “prudent concern for the integrity of the natural world,” we must ask ourselves the questions implicit in both Goldsworthy’s and Carson’s statements. How are we connected to the natural world? How do we support that natural world which supports all life?

Details (Terminal Procedures Dive In)