Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Wednesday, June 16, 2010

As I Stand Here Damned.

"No man, who puts his hand to the plough and looks back is fit for service in the Kingdom."  
 
 

I always look back. 

As I stand here damned I lean on my hoe. Hawks and buzzards circle overhead. Worms crawl through the soil under my feet. The wind edges through the leafless branches of the creek's trees, walks through my weedy onion patch and brushes lightly past me.  Still, I stand still. 

The tool I lean on is a "eye" hoe, with a handle nearly as thick as a softball bat, with a broad U shape to the cast iron head. It is called an "eye" hoe because the handle slips through the "eye" of the metal piece.  The wood handle flairs at the end, jamming the head into place. 

I grew up on a farm in Kansas, got a BS degree in Agriculture, worked several years for the Department of Agriculture, truck farmed for 5 years, then discovered - - what a good hoe was. I was 37. 

A 16 year old boy told me, Rafael, from Guatemala, my sort-of-son. I didn't believe him of course. What could he know.  But to be polite, and in spite of my doubts, I tried a friends eye hoe. I bought my own the next week at the hardware store downtown. 

It took me 37 years to discover what a good hoe was, and since no one ever told me I assume that none of my family or teachers or university professors knew what a good hoe was either, or never thought it  important enough to pass on. 

Rafael knew because he grew up in the mountains of Guatemala and used one, farming the steep slopes of the mountains, growing potatoes, wheat, corn and beans with his family. They ate what they could grow. Rafael grew up like most of the world's farmers, poor and largely un-schooled, valuing and using the body's labor to live, appreciating the balance and heft of a good tool if lucky enough to have access to one. 

Leaning on my eye hoe I think of the other farmers around the world leaning on theirs. When I work with it the motions of my body are a dance I share with a majority of the worlds men and women farmers. I am an oddity in the U.S., but in the world I am among the common folk. 
 
I appreciate a sharp tool, such as this hoe. A sharp edge brings delicacy and finesse to an otherwise heavy and coarse tool. This eye hoe is sold in pieces, the metal head and wooden handle separate. The head of my eye hoe is from Australia. But this eye-hoe-head, brought into my hands from half way round the world, leaves me with a question. Do the makers of this tool not know how it is used? 

They put the bevel on the wrong side of the blade. The beveled edge should be on the outside edge. The manufactured bevel is on the inside edge! It took me a long time to file off that angle and get it to work properly. 

Rafael once told me of growing and harvesting wheat in his village. The reasons for doing every part of the work particularly, he said, is to " please the grain - so it won't run away." 

At planting time the farmer broadcasts the grain over the plot of ground. Then he takes his hoe and "roughs up" the soil. If a rain shower should come and the farmer leave the field before he has finished this service for the grain it will become displeased and "run away". You may find that the grain, after the rain, has "run away" to the bottom of the hill.  

After the work of planting and growing the wheat, the work of harvest is shared by the family, and select friends or neighbors.  Traditionally no one bathes until the harvest is complete. 

The grain is cut by hand and tied in bundles. The bundles are piled into ricks. The ricks are hand carried or loaded onto the back of donkeys or horses. 

Generally, two or more farmers use the same patch of packed earth on which to hand thresh the grain. Donkeys and horses are brought in to help thresh by walking over the grain straw. 

Some animals are lazy and simply go to the center and turn round-and-round, so a post is generally placed in the center, or someone stands there until the grain starts piling up forcing the animals to walk around on the grain stalks where they do some good. 

An expert winnower tosses the beaten stems and grain into the air and the wind separates the grain from the chaff. The cleaned grain slowly rises up in a pile in the center while the animals continue walking around in the grain stems and chaff. 

When  the grain is clean the winnowing is complete. A rope is brought in and carefully layed around the toe of the pile of fresh grain. Again "so the grain will not run away". 

A ceremonial cross is stuck carefully into the top of the pile of grain and candles are placed in the grain around it. The men then call to service a young local woman (preferably pregnant). The woman  lights the candles and walks around the pile of grain three times, saying a blessing to the harvest. 

All this "pleases the grain". 
 
With a measure, the men finally divide out each person's share.  Only when all the grain is divided and the farmer's share carried to his family's kitchen can the farmer and his helpers go bathe, eat, drink, party, and rest. 

An article a few years ago by a young woman who returned from a tour with the Peace Corps described how the women of the village she had been assigned to would daily grind their grain for the day's cooking. 

The women ground a few handfuls at a time in a deep bowl. Two or three women would stand around the container, each with a slender log. Rhythmically they would lift and, in turn, heave the blunt end into the grinding bowl, thumping the kernels into flower and meal. Their timing had to be perfect because the pot was only large enough for one post at a time. The work was hard and would take an hour's labor or more of every able bodied woman every day. 

But this young woman also mentioned how wonderful it was to watch these village women do this work together, the beauty and effortless grace of their bodies and arms throwing the poles into the grain in the bowl.  When she tried it herself, the people jumped back laughing, afraid they would get hurt at her hearty, clumsy attempt. 

Imagine a family eating bread made from grain grown, harvested and milled in such a rich and carefully connected manner.  Such food demands remembrance and celebration again and again through the stories and jokes shared while preparing, eating and digesting that day's food. It is nutrition on many levels. 

How much would we be willing to pay for the rich tradition and community quality required to grow, harvest, and mill such flour? How anemic can our culture become before we begin to recognize our basic need for  food of such high quality?  This is nutrition we today lack. This is the food we need to make room for, in our gardens, neighborhoods, towns, and cities.

Before the Peace Corps woman ended her tour of duty, she presented her assigned village with a self-powered grain mill, "relieving the women of this tedious chore." 
 
I wonder what now will the women of that village come together over? How much less will their work be valued? What task will challenge them to the graceful cooperative exertion of their bodies? How long will it be before they can buy Jane Fonda Workout tapes (from the shelves of Salvation Army stores), learn aerobic excercise,  or take "folk dancing lessons" to learn to appreciate through pantomime the "traditional work" of their grandmothers? 

If  humans truly  have the ability to tame the wildly rocketing technologies that so dominate our modern "culture" how far it is that we must go when one of our world's most basic, simple, straight forward tools comes into my hands from the other side of the planet, with the edge beveled on the wrong side?

But then: I've been wrong before . . . 

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Tuesday, June 15, 2010

Up from Within: Portrait of an Artist as a Young Woman

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No one  anticipated the release of Karisha Longaker's debut cd “Up from Within” more impatiently than I. Her collection of songs in this cd is a coming of age celebration and ritual announcing the presence of a new young artist. Though intensely personal, it is also upliftingly mythological and practically rooted on solid earth.

Understand first,  “Up from Within” is a piece of Folk Art.

Second, her guitar and vocals were captured live by two mikes and burnt onto cd disk.

That’s it.

No layered harmonies or instrumentation. She has stripped everything down. There is no fluff, and her voice, rhythm and guitar plucking are delivered all relaxed and raw at the same time.

For at least the last 7 years previous to the release of Up from Within Karisha crafted her art as a welcomed contributor with other local performers adding her layers of harmonies and flourishes to collaborative work. Since release of this personal first CD she has moved on, joined forces to form MaMuse "One Voice Divided". with Sarah Nutting. But here she offers herself up - alone.

Karisha  digested those collaborative experiences, taken much that is recognizable from them, and here - made them elementary her own. 

Here is one example.

In the second song:

Breeze blows in on off the water
Lift me up!
I am your HOLY daughter!

Her hero’s assumed claim “ I am your HOLY  daughter” slips by almost unnoticed. Karisha slices the first syllable of “holy” into about 7 odd descending pieces with rhythmic and fluted vocals. So, we are carried into a hero’s journey in the arms of a breeze. Listen to the guitar intro and vocal clip here. 


Taken together, these songs present a personal inventory of a hero's journey, what a sense of self is based on, who is owed, the nature of the gifts to be conjured, and where Karisha herself intends to go. The songs lead us through an interlocking series of assessments, thanksgivings, purification rituals, prayers, battles and battle cries, rallies, and ends with a benediction.

The journey she takes us on is intimately personal and evokes mythos appealing to deep commitments and sacrifice, with character enough both worldly, earthy & self-aware enough to be immediately useful.



Author and teacher, Joseph Campbell, lamented toward the end of his life that:

We are living in a period I regard as a period of the terminal moraine of mythology. It is a lot of mythologic rubbish all around. Mythologies that have built civilizations are no longer working that way (and) just in ruble all around us.


But Karisha, with her lyrics is pulling those pieces of rubble back together, refashoning them. The very first song begins exactly where it should: “Still, perfectly still/ and open”. Then we listen as the voice inside her hero coaxes;

You’re unraveling your stories
You are moving back inside
You are gathering these bones and this body
Weaving them into present time. 

Taken individually there are a couple great songs, like the ode to friendship “Miss Avalanche” and the passionate “Living Love”. But the great strength of this cd is the collection of songs, songs that together take us on this mythic hero’s journey, for the whole is more than a simple sum of the parts.

Essential to this journey is the song “Up from Within” which takes us into battle, and taking the offensive, repeatedly asks the same question over and over again, “Aren’t you glad to be living?” Our unspoken answer flips the great abyss from “No!” to “Yes!”

But this divide between “No” and “Yes” is both this work’s center focus and greatest weakness. It is a span too great to be crossed by any artist or person. It is the great question of the album – and of the human culture it informs. We live on a planet finite and mortal, and perhaps humans are to answer that question on behalf of the planet - in this generation.
In her own way, Karisha is actively assembling for us, from old mythic ruble and her generous and meticulously personal accounting, a little holy gold-winged scarab-beetle  - that flies in todays world.  Accounting the cost and knowing the risks, all her songs bravely beg the question,"Aren't you glad to be living?"

In so asking she demonstrates herself a gifted musician, composer, poet, songwriter, singer and story teller; perhaps like Bob Dylan, a working American singer and dancer . Whatever surprises she prepares for us during the coming years as a performing artist it should not come to us a shock, for she has recorded here, for those of us going that way, an informed demonstration of personal talents, and available resources, and delivers us both inspiration and a useful and practical beacon for sustained effort, direction and intent.
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Still . . . I've been wrong before . . . 

The cd “Up from Within” can be ordered on line at www.karisha.info.
MaMuse’s debut album All The Way and BRAND NEW Release Strange and Wonderful are available for purchase locally in Chico California at: Lyon’s Books, Made in Chico, The Chico Peace and Justice Center and Bustolini’s Deli, or ordered on line from their website,
or from cdbaby by clicking below.

 All The Way
MaMuse: All The Way

 Strange and Wonderful

MaMuse: Strange & Wonderful