Tag: monuments of the matriarchy

SEDONA: MONUMENTS

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SEDONA: RED ROCK MONUMENTS

“Carve out a place for yourself. Aspire to new plateaus.” llan Shamir

 

            If you’ve been reading this site for a while you’ll know I’ve stayed close to my original premise, which has been to honor statues of women and raise awareness to the paucity of monuments delegated to the matriarchy. But this month’s entry, I deviate and include other-worldly monuments found in nature, particularly those red rock spires or buttes found in Sedona, Arizona.

            On a recent trip with my husband to visit our niece in Arizona I became bewitched by the beautiful red rock formations that adorned Sedona. I’m not naïve to nature’s wonders, I’ve already experienced the beauty of the Grand Canyon and Niagara Falls, but they still didn’t prepare me for the intensity of enchantment I felt for Sedona and the stronghold it clamped upon my psyche. Simply put, I became entranced by the vortex, or spiraling energy that wheels and turns throughout the region, often eliciting a meditative aura and metaphysical state of euphoria. Before you roll your eyes, hear me out. Listen while I convince you why the red rock monuments at Sedona, or at least Cathedral Rock, should be included in my litany of monuments dedicated to the wonderfulness of women.

            Sedona, with its red rock vistas and vortex of spiritual energy, is often called “a museum without walls.” It’s easy to see why. The views are not only spectacular, the vivid colors are so striking they shine with luminosity, as if the gods had kept the best hues for themselves. Sedona, formed by the fracturing of the western edge of the Colorado plateau, is said to contain 4 distinct vortexes that channel an inflow and outflow of masculine and feminine energy. The first vortex we visited was the Sedona Airport, high atop a hill, where the electrical charge is said to strengthen masculine energy. The views were so amazing I wanted to proclaim myself King of the Hill, but none of us tingled or buzzed with newfound energy. Bell Rock, the second vortex we stopped at, proposes to enhance aspects of femininity and masculinity while prompting these opposing parts of the self into a more harmonious and balanced state. It’s a gorgeous formation carved to look like a bell and while we were bedazzled by the monument, none of us felt the earth move, pivot or rotate. Yet. After we left, I couldn’t help but marvel at the deep carvings, supposedly formed during an inhospitable time on earth. To be honest, Sedona’s entire vista looked as if the red rock formations were strategically placed or created by a higher power. PHEW! A few hours in Sedona and I’m envisioning a scenario that only one versed in New Age teachings, tarot cards or palm readings could fathom. Much to my surprise, Bell Rock had found a way to calm my inner turmoil with its sereneness and innate optimism.

            On a crunch for time, we skipped Boynton Canyon. Instead, we headed to Cathedral Rock, where we found the best view in the whole region. Once atop a steep rocky mountain outcrop where dozens of other red rock formations came into the forefront, we were treated to a 360-degree panoramic landscape. My husband, who suffers from vertigo, felt dizzy at the summit. My experience differed, possibly because Cathedral Rock is said to aid feminine aspects of the divine. Where my husband experienced nausea, I felt the whirl of the vortex spinning through me like a hypnotic tsunami. It was similar to the sensation you get when jumping on a trampoline, right before you plummet, when you’re still suspended in midair: light, buoyant and boundless. Helen Ready’s powerful lyrics, “I am Woman. Hear me Roar” soared through me. I reigned supreme.

            Did I experience an epiphany atop Cathedral Rock? Did the vortex infiltrate my inner sanctum?

            While my time at Sedona didn’t yield any long-lasting psychic healings, chakra alignments, karmic cleanings and I didn’t find my divine purpose, I still got caught up in an emotional blizzard of cosmic energy. There’s no denying that Sedona fills you with an undeniable magical essence. It’s as if the rock formations were created for the sole purpose of bringing beauty, spiritualty and enchantment to our world.

            I think the reason I felt the spark at Cathedral Rock was because I believe in the power of monuments, whether manmade or natural. All statues, carved or chiseled, are tributes to the Spectacular. They’re an homage to the Ones who are a cut above the rest, whether they sit on a pedestal or a rock; they dot the landscape with physical reminders that the world is luminous and the people in it are equally monumental. 

            Rock on, my friends and readers!

GERTRUDE STEIN (1874-1946)

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GERTRUDE STEIN (1874-1946)

“If you can’t say anything nice about someone- come sit next to me.”

 

            The first time I heard of Gertrude was after watching the 1960’s screwball comedy, “I love you, Alice B. Toklas.” I remember thinking that Gertrude Stein, with her avant-garde Buddha-like presence and quirky Alice had a story to tell; one that far beyond Peter Seller’s comedy and my own boring middle class suburban life.

            The statue installed in 1992 in Bryant park, NY, located next to the NY Public Library, is 225 lbs. of polished bronze and sits on a pedestal, displaying Ms. Stein in a seated position with the gravitas, given only to The Buddha himself. Apparently the Parisian sculpturer Jo Davidson had the same vision of Gertrude as I did- not only was she a trailblazing author, arts patron, literary salon facilitator but her gender-blending lifestyle allowed others to become comfortable in their own skin; a necessity artists must possess if they want to create true, unadulterated self-expression.

            A trust fund baby, Gertrude moved to Paris when she was 30. There she met Alice, her mustached unconventional life partner. As a fan of cubism and eclectic art, Gertrude purchased paintings of little-known artists and displayed their works on the walls of her Parisian apartment (Picasso, Matisse, Cezanne, Gaugin, Renoir Toulouse-Lautrec).  Soon the “almost famous” writers arrived (Sherwood Anderson, F. Scott Fitzgerald, Ezra Pound, T.S Eliot) and the Literary Salon was born. Gertrude’s apartment became a mecca where a community of writers networked, critiqued and inspired each other to greatness. Gertrude’s novel, “The Autobiography of Alice B. Toklas,” is, and was, considered a literary superstar (she created what is now known as the unreliable narrator and gave the literary world a new way to tell their own story by redefining the scope of autobiographies.)

            Then there’s the relationship between Gertrude and Alice that single-handedly reconstructed gender by questioning what it meant to be male/female; feminine /masculine; even husband and wife. We’re still questioning these terms decade later but it was her bravery that sparked the conversation. Yes, she affirmed, we can say that out loud.

            Gertrude lived her life as a work of art. She was a collection of diversity; a patron of the arts, author, philanthropist, cultivator of culture and defender of human rights. She was larger than life. Her memory, chiseled in bronze and set upon a pedestal, sits for all to see. When you visit her statute, sit next to her for a while. Think. Then ask yourself, what can I do to make the world a better place? If you think you can accomplish one iota of what Gertrude did, then you’re sitting pretty. Otherwise, you have work to do, my statue-loving friend. Lots of work.

           

THE YOUNGEST AMBASSADOR

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AMERICA’S YOUNGEST AMBASSADOR

Samantha Smith (1972-1985)

 

“God made the world for us to share and take care of. Not to fight over or have one group of people own it all.” S. Smith, 1982

 

            This is the second time I’ve gotten an idea about a statue from watching the CBS Sunday Morning Show with Jane Pauley (the first one was actually responsible for the birth of this blog) so I wanted to give this informative and highly entertaining show a shout out. If you’re not watching or streaming it,  you should be.

            Let’s meet our statue-of-the-month. Samantha Smith is, according to writer Elliot Holt, “One of them;”  a legendary girl like Joan of Arc, who despite her youth and short-lived years has made a lasting impression on our planet’s history. Her timeless message of hope and peace are just as important today as it was during the Cold War. Russia has often been called a “Sleeping Bear,” and Samantha at the tender age of ten, wasn’t afraid to get in the cave with it and confront nuclear devastation head on. And for that reason she deserves all that she was given: a bronze statue, stamps, books, and a designed school holiday.

            Here’s what you need to know about Samantha. In 1982, when she was in fifth grade and a student attending an elementary school in Manchester, Maine she wrote a letter to Yuri Andropov, the then leader of the Soviet Union, and asked him to think deeply before he embarked in war with the United States (https://alphahistory.com/coldwar/letters-samantha-smith-yuri-andropov-1983/. Bold on her part, but not unusual. Before the internet and social media, school kids wrote letters all the time to politicians, athletes, movie stars. But her letter differed in one respect; the leader of the Soviet Union responded. He not only wrote back but he invited Susan and her family to Russia on a mission of peace. And Susan with her engaging personality and good diplomatic instincts won over the Russian people. Samantha took her ambassador job very seriously and refused to be a political puppet on a string. Peace was her goal and comradery between two combative nations was her mission. A tall task for a girl without any formal negotiation training. But what Samantha lacked in resolution strategies, she more than made up for it with extras doses of tenacity.

            Then the naysayers arrived and claimed that she was being used by both sides. They said she was nothing more than pint-sized war propaganda machine. None of that deterred Samantha. She used her celebrity to write a book, become an actress and inspire children of all ages and cultures to speak out against nuclear war.  But sadly, at the age of thirteen, she and her father were killed in a plane crash. We can only wonder what she would’ve accomplished had she lived to adulthood.

            Here’s where you can pay tribute to such an amazing girl:

·       A bronze statue of Samantha Smith resides near the Maine Street Museum in Augusta

·       Visit a peace garden in Michigan along the St. Clair River

·       In Maine, the first Monday in June is designed as Samantha Smith Day

·       Her image is posted on a stamp

·       Read “America’s Youngest Ambassador: The Cold War Story of Samantha Smith’s Lasting Message of Peace” by Lena Nelson

·       Peruse “Journey to the Soviet Union” by Samantha Smith

·       Check out “You Are One of Them” by Elliot Holt

 

            Ms. Smith was able to accomplish all these things by age thirteen. Impressive. If she was born today she probably would’ve become an influencer and social media phenom. But even in the 1980’s she made quite a stir. Even though Samantha hadn’t yet turned eighteen, she still has a place among all our other monuments of the matriarchy. She rocks-and what a story she has to tell.

The Embrace (Martin Luther King and Coretta Scott King)

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In

THE EMBRACE

The hug—shared between Martin Luther King Jr. and his wife, Coretta Scott King , after he won the 1964 Nobel Peace prize – memorialized in a statue

“I come to say to you this afternoon, however difficult the moment, however frustrating the hour, it will not be long, because truth crushed to earth will rise again. How long? Not long because no lie can live forever.” MLK

 

“Women, if the soul of the nation is to be saved, I believe you must become its soul.” CSK

 

            I don’t usually write about a statue so soon after it’s been unveiled. But this particular statue with its hopeful message needs to be embraced now. The world needs a collective hug.

            Another note of importance. This is the second statue on this blog that features a man. The first one was “Embracing Peace,” another statue that not only uses the word embrace in the title but was also inspired by an iconic photo (‘the kiss’ between a soldier and a nurse on VJ Day). Sometimes I break my own rules. It doesn’t happen often, only if it serves the greater good. And since MLK spent his life in the pursuit of the greater good… I should rephrase.. lost his life fighting the good fight, I’ll make a spot for him. Anyone have a problem with that?

            “The Embrace,” a massive bronze statue which stands 20 feet high, 40 ft. wide and weighs 19 tons was sculptured by Hank Willis. It took him five years to complete. It’s much more than a statue, it’s a monumental work of art. Its origin is from a photo of a hug, which gives it an abstract contour, that allows for interpretation. If you look at it from a different vantage point, or if you use an alternate Point Of View, you might see something other than a hug. When I looked at it from a south-facing camera angel, I saw a heart. That’s the beauty of art. Here’s my interpretation: I saw the statue as a memorial for two people who advocate(d) for racial and economic justice. Their embrace was a tribute to their love. Watch as their weddings rings shine in unity. But I also see Martin, carrying the weight of his crusade on his shoulders. Then there’s Coretta, who also carries his legacy on her shoulders. To me, the hug is a symbol of holding fast, staying connected while leaning into the circle of inclusion, in a ‘we’re in this together’ message.

            The statue stands proud in Boston Commons, Massachusetts where Martin gave his “How Long? Not long” speech. The Kings have expressed their gratitude. They see the monument as a testament to their parents’ dual civil rights journey. What will you see? How will you interpret it?

            When an artist takes creative liberties and deviates from traditional models, some people raise up in arms. Don’t let them. This is a beautiful piece of art, a way to memorialize a brilliant man and his righteous wife. We need more monuments like this to dot our landscape with images of women, and yes, men too, that represent peace, equality, love, and unity. I’m all in favor of smashing the patriarchy, but this statue does just the opposite. It brings the woman into the fold as an equal partner and holds her tight.  

PERFORMANCE ART: Statues that aren’t really statues

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Little Amal and Marie Curie

 

          When I started this blog I focused on statues of women who had been memorialized in bronze, marble, glass, silver, or any other long-lasting material. I concentrated my efforts on raising the awareness to the disparity between the number of men who’d been chiseled when compared with the amount of women. Not surprisingly men statues outnumbered women by more than an 8:1 ratio. But recently I came across two other ways women can be memorialized, at least temporarily, as in the case of Living Art or with a bit more longevity as seen with the use of animatronic or extreme puppetry.

 

ANIMATRONIC PUPPETRY

          One example of extreme puppetry is Little Amal. She’s a 12 ft. tall giant specimen (Think War Horse) that’s used in a performance art program called, “The Walk.” Amal, which means hope in Arabic, symbolizes a 10-year-old girl who travels alone across the world in hopes that she can be re-united with her mother. Amal is a mobile representation of immigration; asylum seekers, marginalized and displaced people, often as a result of genocide, poverty, war, and outright hatred. Mostly, Amal’s been met with warm embraces but since mankind is not always kind nor tolerant of differences, instances of outrage have erupted. Such a shame.

          I use Amal as an example of re-thinking bronze statues as the only way to highlight women. Certainly, a 12-foot puppet gets people talking. One advantage is she’s able to come to you. The disadvantage is that she’s homeless. She roves, moving from one temporary home to another. She recently spent three weeks in NYC and landed at the United Nations. If you’re lucky enough to be in the area when she visits, make every effort to see her. You won’t be disappointed. Her “people” are planning future events for 2022-23.

          Amal is eye-catching and has a look of sincerity that draws spectators to her. Visitors say they can “feel” her strife and spirit. Some say they’re compelled to touch her, hold her hand, walk with her, and tell her how brave she is. She inspires tears of resilience and hope. Statues can do all these things too but for some reason we back off from revealing our emotions to them.

          Maybe we shouldn’t. Next time you visit the statue of a woman of substance, put your arm around her and tell her how wonderful, wise and remarkable you think she is. I like to think she’s listening.

 

LIVING ART: HUMAN STATUES

          Examples of human statues can be found in cities or special events. But at first glance, you might walk right pass them, especially if you’re not paying close attention.  I saw Marie Curie in Edinburgh on the Royal Mile just outside Edinburgh Castle. From afar, she appeared to be a bronze statue and even as I got closer, she still appeared to be lifeless. But when a man put some money at her feet, she slightly altered her position. She stayed that way until another person offered money. But if nobody offered her cash, she stood absolutely still. I got close enough to see that her face, neck and hands were covered in professional theater makeup that allowed her to appear bronzed, with a light green patina. Her clothing was also of professional quality- a costume, dyed and stiffened to look like metal. Further down the road, we saw King Henry V111and then while in Stratford-Upon-Avon, we discovered Shakespeare, covered in what looked like white marble. For a pound, he’d perform a line of one of Shakespeare’s more famous plays and then when the line ended, he went back to his lifeless shape.

          These human statues boggled my mind. I wanted to know how someone could transform themself from a living, breathing human into a lifeless block of stone. I watched a You Tube video and saw a woman transform herself into a statue. Still, how could she suspend motion and stay so still for so long? How are the costumes made and what kind of make-up was used (google YouTube videos and you can find out for yourself). But this Living Art medium got me thinking. First question, the performance artist could’ve selected any famous woman to turn into a living word of art, what made her choose Mare Curie? Secondly, can you imagine using this art form for the greater good of the matriarchy?

          First question: Why did the performance artist pick Marie Currie?

          Was it because she already had a statue in Poland and that made it easier to copy? Or did she close Marie because she was awesome. That would be my reason. Face facts, Marie inhibited a great scientific mind, extreme bravery under potentially fatal conditions, and had keen intellect; the stuff legends are made of.

          Here are a few tidbits about Marie. She was born in Warsaw, Poland in 1867 but left for Paris in 1934 to continue her scientific studies. She met Pierre, her Professor of Physics, and married him. They worked together, mostly in laboratories, where they handled radioactive materials, until his death in 1906. She then resumed his position at the Sorbonne.

          Marie participated in research that led to the discovery of radioactivity, radium and polonium. In 1903, she along with her husband and Henri Becquerel, received the Nobel Prize in Physics. She received the Nobel Prize again in 1911 (alone this time) for Chemistry. She died in 1934 of aplastic pernicious anemia, a condition often found with longtime exposure to radiation. Her achievement in radioactive materials led to cancer treatments that have saved millions of lives.

          “Nothing in life is to feared. It’s only to be understood.” Marie Curie

 

          Second question: Can you imagine using this art form for the greater good of the matriarchy?

          I can. Imagine all the exhibits and celebrations of women, alive and long-passed but still relevant, that could take place throughout the United States. As we speak there’s a campaign to create and erect a Women’s Suffragette Memorial on the National Mall. In the meantime, there could be a Living Art display of Susan B. Anthony, Madam C.J. Walker, Elizabeth Cady Stanton, Sojourner Truth, Harriet Stanton Blatch, Ida Wells and Alice Paul adorning the mall. Can you imagine the human statues, in their bronze finest, giving speeches and bringing the memorable women to life. I can almost hear the wonderful conversations they could have with each other.  

          To steal and then paraphrase a line from Field of Dreams, “if you build it, she will come.” Yes, we need plenty more monuments of the matriarchy to dot the landscape with women of substance, but for the short term, we could fill in the gap with animatronic puppets or Living Art.

          “If you build it. She will come.”

           We’re women, we can make this happen.

 

 

Harriet E. Wilson (1825-1900)

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          Harriet, or Hattie as she was known to her friends, is now considered to be the first African America woman to publish a novel in North America. Her novel, The Nig or Sketches from the Life of a Free Black was published (anonymously) in September 1859 by a publishing firm in Boston, Massachusetts. Harriet was smart, copyrighting her novel and then depositing a copy in the Office of the Clerk (Mass.) But unfortunately her novel remained wildly unknown and sat, mostly undiscovered and unread, for over a hundred years.

            But as luck would have it, a scholar, Henry Louis Gates, Jr. discovered her work in 1982 in the copyright archives. Immediately, academic arguments ensued claiming that Hattie’s book was more autobiographical than fiction, ruling it out as a true novel. These naysayers believed that a book by Julia Collins, The Curse of the Caste/Slave Bride, published in 1865, was the first authentic novel because it was not rooted in truth as Harriet’s book had been. However, counter arguments claimed that most novels at the time, specifically first novels, were autobiographical in nature (see Little Women).

            Harriet was born of mixed heritage; with Irish and Black roots and lived with her parents until orphaned. At that time, she became an indentured servant (as was often the case with free Blacks and Irish immigrants) where she was likely physically and mentally abused. Yet Harriet persevered and found a way into the public lecture circuit where she was paid to talk about her experiences. She only wrote one book, but that was enough to elevate her to literary fame.

            The life-sized bronze statue of Harriet, erected in 2006, can be found on the New Hampshire Women’s Heritage Trail. Harriet is also considered to be one of the “27  Influential Women in New Hampshire.”

            As a writer, I’m glad to report that Harriet finally got her due as an author. I’m sorry she didn’t live to see it. I know how hard it is to get published, and I can’t imagine how difficult it was for Harriet to overcome an industry that was not only rooted in sexism but racism as well. Kudos to this ass-kicking woman who not only smashed the glass ceiling but plowed through the racism hurdle. On another note, my son is planning on moving to New Hampshire in the near future. When he does, my second stop will be to visit Harriet’s statue. I can’t wait to grab a selfie with another one of our wonderful monuments of the matriarchy.

            Readers, please continue to be on the lookout for other women that have been memorialized in stone, bronze, silver, wood, or glass. Together we can dot the landscape with amazing women who rock.

 

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VIRGINIA WOMEN’S MONUMENT

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Voices From the Garden

            Seven statues of women who’ve shaped the Commonwealth of Virginia have been unveiled in October 2109 in Capital Square, Richmond, VA. There are also names of 230 other women of influence etched along the walls of the exhibit. Five more statues are in the works.

            This has been an on-going project that focused on collectively recognizing the voices of women who’ve not been given their due in mainstream America. These women, from the past 400 years, have been for the most part, overlooked. While many have been given a line or two in a few history books, it’s not enough. We need to amplify their voice. From all walks of life these are extraordinary women who’ve risen above stereotypes, prejudices, injustice, poverty, race and sexual discrimination, adversity and apathy to break barriers and smash glass ceilings. Their accomplishments are numerous, vast and impressive.

        The women exhibited haven’t been placed on a pedestal, riding a horse, or carrying a weapon; this way visitors can look them in the eye. Take a good look. These are the women whose shoulders we’ve been standing on for four hundred years. Listen to their narratives. It’s time to bring real women to the table. And what an amazing table it is.

            The Seven:

  1. Ann Burras Laydon (1595-?). Jamestown colonist. Records indicate she left England as an unmarried woman and arrived in Jamestown in 1608. She soon married and bore four daughters. Her oldest daughter was the first recoded child to be born of English parents. Ann was a homesteader and early member of what is now considered to be the first American settlement. She survived an Indian attack, when survival rates were low.
  2. Cockacoeske (1656-1686): Pamunkey Chieftain. Cocoacoeske was a Native American woman who was called “Queen” by the settlers when her husband died. She’s best known for signing the Articles of Peace, also referred to as the Treaty of Middle Plantation in 1677. She maintained a diplomatic relationship with other tribes, a feat which was difficult for most other tribal leaders to accomplish.
  3. Mary Draper Ingles (1732-1815): Frontierswoman. Mary was another early settler, who after surviving a capture by the Shawnee, escaped, and then found safe passage 600 miles home She went on to create Ingles Ferry with her husband. Mary was the subject of books, plays and movies (see the “Long Way Home” and “The Captives: Follow the River”).
  4. Elizabeth Keckley (1818-1907): Seamstress. Elizabeth was born a free black woman to parents who had once been enslaved. She was a seamstress as well as an author. In 1868 she wrote, “Behind the Scenes or 30 Years a Slave” also known as “From Slavery to the White House.” You see, Elizabeth became Mary Todd Lincoln’s dressmaker and confidant. Her memoir was considered scandalous at that time.  
  5. Laura Copenhaver (1868-1949). Textile entrepreneur. The daughter of a minister and the wife of a school administrator, Laura found her niche in writing, civic work and cooperative marketing. She started a business in her house where woman made hand-made blankets. Soon the demand for her product was so high she had to move into a factory. Rosemont, a textile industry, was then born, which is still in operation today (mainly bed linens).
  6. Virginia Randolph (1874-1958): Educator. Virginia was an African American woman who was born to previously enslaved parents in Richmond, VA. She was considered to be a pioneer in the area of industrial arts. Virginia believed that students learned better by doing. She taught classes like woodworking, sewing, gardening, and home design. She was the recipient of an award that allowed black rural schools to include the manual arts in their curriculum.
  7. Adele Clark (1882-1983): Suffragette. Adele was a founding member of the Equal Suffrage League of Virginia as well as an artist and art advocate. She fought to have the Nineteenth Amendment ratified, which didn’t happen in Virginia until 1957. Nonetheless, she worked tirelessly for women’s rights until the day she died. As an artist, her work has graced showrooms and private residences. Her lovely painting, “Sledding” reminds me of the lithographs found in the Currie & Ives printmakers book, one of childhood favorites.

 

Collectively, these women rock. I applaud the state of Virginia for stepping up to the plate and creating such a visual display of the accomplishments of women. Day by day, year in and year out, across decades, and centuries, these women worked to make their community a better place to live, often without notice or reward.  In doing so, they made the state fuller and richer. The country benefited too. They are true monuments of the matriarchy. But these woman are no different than most of us reading this site. Just like the statues, we come from all walks of life and bring a different set of skill sets. But if we put our collective heads together, we can build a better world. One statue at a time.