12.31.2009

Tallahassee, Florida

The first omen we received upon arriving in Tallahassee begs the question bleak or beautiful? Maybe both like a funeral pyre. Regardless, Peter claimed dibs on it to name his new studio space: "Die in a Fire Productions". We also observed a bald eagle soar by the van on the Florida Turnpike....according to Sioux Medicine Man Lame Deer, a sign that we are the right path and aware of our "ghost self". gnarlitude. Now to take a healthy dose of the medicinals...



Torch Runner grinding out their nightly assault. Relentless hard lovin...





12.30.2009

Melbourne, Florida

Melbourne was a very decent stop for us. We arrived in a cozy atmosphere where we were greeted warmly by some great people who hold down an honest, intimate scene. Thank you so much everyone from Vessels of Energia, The Cassette's House, Worst Friends, and Smoke Signals! I observed a shooting star while loading out....what does it all mean? Perhaps, simply that traveling with your best friends in burning pursuit of the great mystery while living in the moment leaves the sky spirits smiling down on us....







12.28.2009

Roaming through Savannah...


Torch Runner and SYSTEMS by the Savannah River



Daniel and Spencer burning some holy tobacco: somewhereville, Georgia.



dudes in black under a bridge, lookin rad.

we had a day off today in savannah, so we roamed around seeking out ghosts. Found lots of hanging spanish moss and a fast moving river where we meditated on the currents for a while. Also had time to pay homage to the birth place of living legends Kylesa, Baroness, Circle Takes the Square. Anyway, on to Florida tomorrow to rip up the air waves with friends in Vessels of Energia. Stay tuned for more coverage. peace out!

12.27.2009

Winter Tour TwentyTen


So I've hit the road again with SYSTEMS and our good friends/tour mates in the band Torch Runner despite some initial setbacks provided by mother nature. No use resisting the will of the world, so I've adopted a calm contentment with the unfolding, putting trust in the karmic principle to bring us universal benevolence in return somewhere down the line. Snow and failed roadways led us to cancel our northern leg of this adventure, but we kicked things off in Charlotte a few days ago and are currently en route to Savannah for a day off to explore some ghostly haunts in a city fond to all our gothic-romantic leaning hearts. It feels great playing shows every night with Torch Runner, a band we have all loved and admired since first crossing paths last year. Needless to say, they bring the intensity like a falling hammer on concrete, or being in the center of a thunder cloud and the emotional performances have been brutal, challenging, and innovative each night. Photo documentation, video archives, and more written updates to follow soon as we make our way toward Texas, farther than we've ever carried our music in person before. Wish us luck as we make our way toward the wild west and see you on the other side of the portal into the next decade! Much Love and more chapters to come soon!

-cameron z

12.02.2009

Some Recent Mark Making

So these are a few images I've gathered over the last two years. I view them as my initial explorations into the use of mark making as means of meditation. These hours of contemplation provide a form of voice that relies on the improvised language of visual symbols encoded by the imagination to communicate with others. Each one of these works acts as a marker for lessons learned as I've stumbled upon them over time. I am currently finishing up my first illustration for a new focus and body of work entitled "Ghost Medicine" which chronicles my burgeoning discoveries in herbalism and ethnobotany. More information on that undertaking is available in my artist statement. Feel free to drop a line for any questions you might have. Thanks for stopping by to check out my blog!

"Fallow Fields" Pen and Ink 8.5"x11" 2007

"Ian Creath 1987-2007" Linoleum Cut and Water Color 28"x22" 1/12

"Lines and Cycles" (first pen drawing ever!) 8.5"x11" 2007

"Volumes" Reductive Charcoal Drawing 32"x24" 2007

"untitled" Pen and Ink. 8.5" x 11" 2008


"Insect Heart Logo" Pen and Ink 15"x12"

"The Desert EP " Serigraph. 24" x 16" 2008



"untitled" Pen and Ink. 32" x 30" 2008

8.16.2009

Sweat Lodge Ceremony, Thanks, and Final Dispatch to the CBR Headquarters


Thank you Phyllis, Jessa, AERA, the Navajo, Hopi, Havusupai and Hualapai for an amazing gift of a Summer!


Well I've found myself grounded back in the fertile hills of central North Carolina after what will surely be remembered for the rest of my days as my first transformative journey of self-discovery and community work with Native Americans in the deserts of the Southwest.

The last week and a half that I spent in Arizona seemed to intensify into the climax of the entire summer. The Havusupai Nation held a large rally out at the sacred point known as Red Butte which is some 30 miles south of the Grand Canyon. The event centered its focus on celebrating a victory against a uranium mining company that had interest in digging and destroying the base of Red Butte in order to harvest material. It was truly news to celebrate as the setting for the event was pristine and vivid, and I quickly understood what was meant by sacred. Our camp was surrounded by fields of wild sage-brush which seemed to fill the air with clean, dry scent that blanketed the entire weekend. John Densmore, the drummer from the band The Doors was there reading poems, speaking in solidarity, and playing with an all native band which was a pretty cosmic coincidence. But more importantly, this occasion provided rare, once-in-a-lifetime opportunities for me to talk extensively and quite personally with Havusupai and Navajo ceremonial leaders as I took part in two intensely life-changing purification ceremonies. For the sake of privacy and respect for those that held the ceremony, I feel like I can only really report back about the Havusupai Sweat Lodge I was able to partake in.

why do we need to mine this for uranium?


I. THE SWEAT LODGE

At the base of Red Butte the Havusupai and Navajo had set up a large teepee, a sacred fire, a stack of gamble oak logs to be cleaved for the fire, a stack of lava rocks, and a small dirt mound that would serve as the sweat lodge for the weekend. The Havusupai had been conducting sweats all weekend and offered open invitations to anyone wishing to participate so long as all participants would approach the sweat with pure intention and respect for the long tradition of the sweat lodge as a sacred purification ritual.

Check out the sage brush at Red Butte:



The opening of the sweat lodge always faces east to greet the sun and to symbolize a sense of new life/new day when you come out of each sweat session. Directly across from the entrance, a fire pit sits where lava rocks are heated up until it's time for the ceremony to begin. The lodge itself was ovular in shape on the inside and very small. The roof must have been four feet tall and the diameter of the space couldn't have been any more than 8 feet across. The structure is slightly beneath ground level, about two feet, and is supported by oak logs. The roof is insulated with dirt, sage branches, wool blankets, and tarp so that absolutely no light, air, or heat can enter or leave the sweat.

The sweat leader enters first and demonstrates the importance of crawling in backward as the act of entering the sweat is supposed to symbolize crawling back into an ancestral womb. Once I climbed in I was immediately aware of the dark heat surrounding me as ten or so adult bodies had been crammed into that tiny space. The air was heavily steeped with the smell of white sage smudges and felt thick, hot, and sweet, almost as if it were a tea. Blankets are then thrown over the entrance and then the sweat begins. The sweat leader instructed us to close our eyes as if we were actually back in the womb and started talking us through the initiation. His words were immediately hypnotic and I found myself quickly entranced by his poetic expressions and heartfelt intonations. The sweat leader was kind enough to translate some of his prayers into english. He then starts to pour and spit large amounts of water from a bucket onto lava rocks which had just been lain in the sweat. At this point, steam and unbearable amounts of heat assault the body, face, and lungs. Each breath felt like I was choking on fire, and in my first session, I actually began to panic, coughing and weeping for air. A young adult Navajo man next to me instructed me to put my head between my legs toward the earthen floor to block the the painful waves of steam.

The sweat leader was candidly praying for everyone in there, to give us strength as we faced our toxins and inner demons, allowing them to leave our forms through the act of intense perspiration and prayer. I began to feel a deep lake of calm sadness swell up inside me somewhere between poignancy and guilt which diverted my thoughts from the burning on my skin and face toward a more absolute conception of reality in which the reflex toward any pain afflicting my body shriveled and collapsed before the long history of suffering people on this planet have endured. I cannot describe the pain adequately enough because it was a complex feeling that extended beyond the physical into fluctuating emotional and spiritual dimensions and actually even to spaces in myself I have never accessed before. All I felt was pure, unfiltered sympathy. I remember one phrase distinctly; the sweat leader was sobbing effusively and saying "tame the twitching and twinkling of every little nerve, of that very vein that brings your heart its flood." His words seemed so close to the very core of it all, as if they had been manifested through some sort of collective consciousness flowing through the earth, the fire, my own body, and all the other bodies unified in the same holy moment.


I think the idea is to find some sort of spiritual calm and to transcend the physical discomfort of the sweat which requires eventually letting go of obsessive, panic-riddled thoughts that fixate on pain and suffering. Deep rhythmic chants help to deal with the intensity of the moment, and I found a great deal of comfort in doing this with others...each breath and chant seemed to be the release of an attachment that had been weighing me down. And actually after I could find a pocket of serenity in my headspace, I was overwhelmed with a warm rush of energy and pleasant feeling coursing through my veins. I began to feel really good yet still very sober as others were still weeping. It was clearly important to be absolutely reverent toward what others might be going through at all times in the ceremony. The experience was so powerful because it demonstrated the importance of healthy communal practice as a means of instilling those values into everyday life. After what seems like an eternity the sweat leader opens the entrance and everyone crawls out. I crawled out on hands and knees and collapsed by a juniper bush and lay myself in the cool dirt. I have never been so thankful for light and fresh air and the moderate environment so infinitely perfect for life that the earth gifts us all with. 95 degree Arizonian air no longer seemed hot at all, but rather the most hospitable, forgiving climate I could possibly imagine in comparison to the sweat. Everything felt overwhelmingly beautiful, every breath, everything in sight. And then I realized that the world at large always exists in this state as an entity much grander, older and more knowing than my existence and all of humanity for that matter; I only lose sight when I let attachments to ego and its myriad burdens blur out my vision. This is the struggle. To find and learn balance when one stumbles over so much imbalance in the current human condition.




In most traditions, it is required that you do at least four sweat sessions, each which lasts something like 20 minutes. Between each session you drink water and lay around cooling off, coming back into your senses for about half an hour. I really enjoyed the breaks because it gave me time to process the ceremony and hear stories that the Havusupai were sharing about their concerns of cultural assimilation, preservation of language culture and land, and other tales about lessons learned from the animal elders through oral tradition. I partook in all four sessions and then headed back to camp, deeply weary but somehow feeling fresh and anew.

II. Drawings from my First Season with AERA:



GHOST MEDICINE



GAMBLE OAK



MULE'S EAR



PENSTEMON AMBIGUUS



PENSTEMON LINARIOIDES

Above are the five illustrations that I finished over the course of the summer. Phyllis is working on a book called "The Hand that Faces the Sun" and it seems that some of my work is likely to appear in that book to provide illustrations to supplement the vast amounts of other information about native plants that Phyllis has worked on accumulating for many years. The book seems like it has several layers of significance. For one, it honors all of the teachers that Phyllis has learned from directly, and then all the teachers that taught those teachers and so on and so on. The importance of being aware of tradition and your ancestors was firmly pressed in my mind through all the teachings I learned this summer and seems to be one of many common threads woven among the different indigenous nations I worked with. Furthermore, the creation of her book plays a really important role in the preservation of a highly specific and ancient form of knowledge. Because most native traditions rely heavily on oral teaching, this book serves as a sort of bridge to help ensure that later generations will have a physical object to reference and help maintain that precious body of knowledge.

My plans from here are to continue to work with AERA, hopefully incorporating botanical illustration into my independent study in the art department for my senior year. I've heard tell of a botanical illustration program in Chapel Hill, and I think that would be the next step for continuing to sharpen my chops while also learning more about the plant world.


III. POST-DEPARTURE REFLECTIONS

I feel like my work this summer has permanently impacted my perspective and path. I came to love the communal priorities and importance of revering the natural world that imbued my experience with native american communities. The field of ethnobotany has totally pulled me into a new and exciting world of discovery and empowerment. The earth seems to provide all the food and medicine people could ever need to survive and live well. I feel a new sense of purpose that is pushing me to grow closer to the earth and to devote my life to becoming a healer for myself and others. That was another important lesson and piece of advice I received at Red Butte: I made a commitment to a Navajo medicine man to live on the right path, the healthy path and to make sure that I do all that is in my power to help those in need whenever we intersect. Never in my life have I had anything resound as loudly or pierce with as much significance. There is no alternative now to living a life with and for others since I have had my eyes and heart opened to the value and importance of community and the super-human strength that forms when many individuals come together to work as a collective whole....

Check out this GIGANTIC Saguaro! Saguaros are amazing cacti that only grow in the Sonoran desert. It takes 75 years for the stalks to even grow their first arm! Some of these plants are ancient and probably were there to see the first settlers coming west. It's mind-blowing how much they have lived through.



IV. Letter of Advice to the Next Generation of CBR-SURFERS


Dear whomever this may concern,

I would say before ever leaving, make sure you have done your research and that you have reliable contacts for the community you wish to assist and become a part of. Having a personal connection was the key that unlocked all my explorations this summer, so that seems like a vital first step.

Listen, Listen, Listen. I cannot stress enough how important it is to be aware and receptive of all the information other community members may be sending your way, especially if you are entering a community space as a new-comer. While we all might have our gifts, talents, and intentions to do well, part of working with a community involves reciprocity, meaning that you give and receive. I find this approach vital to any functional relationship, but especially to those where you are working with others who may live in a culture and social landscape vastly different from those which you are accustomed to.

Stay focused, work hard, and most importantly, follow what your heart and intuition is telling you. Find a good path to take that you truly believe in, but let the wind blow you accordingly when you land in your research setting. I wish you the best of luck and hope that you have an amazing experience to assure you that a life of community work with others is a great way to live and help affect change in our world.





-The Sun Rises in the East but Finally Settles in the West-



7.17.2009

Kachina Dancers on the Sunrise


















I just got back from visiting Pinon yesterday on the Navajo reservation with Phyllis and Jessa for a variety of workshops. We got to hear about some of the various projects that were being run out of the community space we visited.


Phyllis and Jessa demonstrated how to make pinon salve out of Pinon sap, olive oil, and beeswax. Pinon salve is a great topical treatment for skin wounds/dry skin and works as an antiseptic. In addition to this demo, we went out with the kids to gather lichen on a plant walk to make dye for wool.

Inside of the hooghan we visited, the women were busy preparing wool for weaving into blankets and other materials. Inside our wooden shelter hung 6 or so looms which the women were using to pass on the craft of weaving to younger Navajo girls. The blankets being made were beautifully colored and the patterns were incredible. It seems to be a patient, slow-rhythmed craft.

The Navajo men at Pinon primarily work out in the fields just outside the hooghan. We were given a quick tour of the community projects they are working on there such as a layered, permaculture field system that has been designed to make the most of a nearby watershed. There were several fields of different elevations that made use of stone walls, hand-dug ravines, and gravity to channel and direct water into the fields to make sure they are well irrigated to grow corn. It was amazing to learn that all of the buildings and technology employed out at Pinon all came directly from the local environment.

It was also fascinating to observe the harmony of this community from the division of their work to efficiency with which they were able to use resources from the earth to afford a sustainable lifestyle. Everyone and everything seemed to be in accord with each other and the surrounding environment. Furthermore, it was heartening to realize that life in this ancient way is not only still possible, but still thrives as a sustainable and meaningful way to exist off the land in our contemporary world.

Aside from that excursion, I have continued to work as a botanical illustrator and have completed several new drawings for Phyllis' book. Images of this will also be posted shortly.

I have also been steadily working as a volunteer at Taala Hooghan and have given several demos on screen-printing which were well attended. Next week I will be working there to help hand print some 3-color posters for the store to sell in an effort to help raise money to pay rent and keep the space open to the community. A few weeks ago I facilitated a discussion on race and class issues in America after we showed the dvd 'CRIPS AND BLOODS: Made in America'. Each month, the infoshop shows a film and then hosts community discussion. I mentioned that I had this film on race relations and there was a large group that wanted to view it. The discussion was very interesting as I was able to learn more about specific concerns related to those raised in the movie here in Flagstaff, though framed in a different context obviously.

Lastly, tomorrow I am heading back up to the Hopi reservation to observe the Hopi Kachina dances. I have been invited to go up at dawn for a once-in-a-lifetime opportunity of watching the Kachina Dancers come out of their Kiva at sunrise in full regalia to begin their ceremonies. Apparently they have been praying and preparing for days. I unfortunately do not have any more specific information about this ceremony, but I am sure I will have much more to write home about after experiencing tomorrow.

* I have returned from the Kachina dances now and can provide more information. The Kachinas are spiritual beings that the Hopi believe to reside in the Holy San Francisco Peaks (the peaks of course are called something else entirely different in Hopi). These spirits check in on the way the people are living and are considered to be responsible for influencing the conditions of mother earth. In an effort to please the Kachinas and demonstrate a village's balanced life in the right direction, Hopi men perform elaborate ceremonies dressed as Kachina Dancers. Part of this ceremony entails praying for days on end in underground Kivas, which is something like a holy place of sanctuary for meditation. Yesterday, these dancers came out at sunrise (5.30 am) dressed in ornate garb. They wore clay masks that were vibrantly painted turquoise, yellow, and red with large eagle feathers and corn blossoms extending from the top. These masks covered each dancer's entire head. The dancers came out shirtless but wore a tunic of some sort around their waste with a fox hide hanging out of the back in a way that resembled a tail. Their bodies were painted with a paste that looked like mud(perhaps to prevent sunburn in the immense heat of direct sunlight in July) and were painted in intricate patterns and shapes that marked their bodies. Around the tunic and around their necks, the dancers were decorated with various plants that looked like pine fronds. They also carried rattles and wore turtle shells on the back of their right calves which clicked in unison with their dance patterns. All day the dancers repeat a pattern of coming in and out of the kivas to dance, pray, and chant before the village. The Kachina dancers also presented copious offerings to the village such as fruit, corn, and other produce to indicate their role, mother earth's role, in supplying food and nurturing Hopi existence. This event was literally life-changing, and I have never seen anything like it. The dancers really appeared to me as spiritual creatures rather than humans and the feelings of this dream-like realization are impossible to transcribe into words.

Compared to my initial expectations, my CBR project has changed significantly given the unexpected manner in which opportunities became manifest upon my arrival in Arizona. My contacts have proven themselves to be extremely fruitful and excellent sources of guidance for finding my path out here. I think working with AERA has been the perfect niche for my research, my personal search, and community work. Phyllis and Jessa have opened up many doors for me here regarding local culture, native culture, and most importantly, ways to get involved and contribute to ongoing community efforts here as an artist. Before coming out I harbored some anxieties as to whether or not my presence would even be accepted or taken seriously; however, such uncertainties were quickly put right to rest, and I have truly had a meaningful, productive, and vastly informative journey with some beautiful, beautiful people while living here. I am so inspired that I feel like it has drastically impacted my lifestyle as a whole, and I look forward to following new paths once I get back to North Carolina. This summer seems to be the birthing of a new chapter of myself that allows me to feel more deeply connected to other individuals, communities, and environments. I have found an ideal solution for how to deal with concerns of isolation and selfish modes of thinking in America's contemporary art world as the pathways for being an artist that I have discovered here have more to do with respecting others and living to help others rather than seeking to excel only as an individual. I have been humbled, expanded, thrilled, and cared for while working out here and I feel that I have definitely grown as a person, artist, and social worker. I am so thankful to have had this experience and look forward to sharing some of what I have gathered with others once I get back to NC.

The most rewarding aspect of working with my community partners is that I feel accepted and appreciated as a part of intricate and balanced world of intersecting communities here in NE Arizona. I have made intimate friendships with many beautiful people and with native ways of approaching the world and as a result, I have truly cherished all of my interactions and feel like this trip has been exceptionally formative.


I haven't quite found the words for it yet, but all my various projects here seem to be revolving around some central issue or focus, and perhaps it's as simple as an inclination to live as natives do despite being raised in a 'non-native world'. What I mean is that I have busied myself with the exploration of not only how to preserve native ways of life and their human right to exist but also have explored what it means for myself to take an active part in the contemporary native way despite the fact that the social world I have been raised to live in appears much different, often antagonistic. In fact, defining the word NATIVE for myself seems to be the heart and pulse of the issue. So often in modern society, people still tend to overlook indigenous lifestyles, dismissing them as some defunct tale of some past life that once existed here on Earth; however, my summer has proved such a myth ill-founded and entirely naive as I have seen and felt how native culture continues to adapt, blossom and adhere to the rhythms of life as instructed by mother earth and all her various keepers. My point is this: native north american culture is far from dead though our high school textbooks teach us otherwise, and while many of the issues facing various native communities here still present horrifying realities of ecocide, racism, displacement and cultural intolerance, it is most important that we all begin to realize that natives and their respective ways of life are still here, they still thrive, and that there is a chance, for those willing, to completely revolutionize our relationships between what is native and what is not. I think the whole challenge of living in the hodgepodge of social landscapes that is America and finding a way to make it work is being able to simply listen to other perspectives that may at first seem strange and alien. Part of why that is so difficult for many of us is that we have been deceived into thinking that to be American is the natural way, the right way and, furthermore, that to to be anything else is foreign and undesirable or at least unneeded. This method of thinking seems to ironically imply a sense of native purpose, that to be American is to take part in a naturally ordained right that ought to be spread as far and as wide as possible. As a result, many of us often close off our ears and shun others before even giving them a chance to enter our hearts. As history has clearly illustrated, this manner of thinking/living becomes lethally dangerous for all those that fall outside of the narrow definition of the one right way to live. My last point to make in this reflection is that while changing our ways and perspectives as humans is direly crucial in order to prevent the certain destruction and ecological collapse of the world for us and all other living things, sometimes a reversion may be in order to make progress rather than chasing the idea of continual growth and production until we crash into walls we've made ourselves. By reversion I mean a return to older, wiser ways of being, especially when you have so much expert knowledge about how to achieve more balanced, meaningful lives growing and thriving across the entire globe in the form of native populations and other alternative lifestyles.