Ancestral crime, generational curse.
Does not stop until there has been a ritual cleansing
Jessica Ullevålseter sept. 2021
We have come here to heal the broken bonds and our motherwound, as ancestral orphans. The high priestess was burned and her children scattered; symbolic order that establish reality. We are left on our own without understanding the identities we sustain. Father, what happened to mother?
Scientists' world view is dominant and the spiritual contexts of our political landscapes are fundamental.
We regard the many approaches to myth throughout history to have proven to be projections of the current moments paradigme. The mythological landscape sustained by the collective through various rites, ranging from the courtrooms to the temples, decides how we react to reality. We encounter dimensions such as the past, identity politics, health, nature and everything that interacts in culture through a specific lens conditioned by the dreamspell we sustain.
We normally identify the word ritual with spirituality, but in a broader sense, we call ritual anything that symbolically embodies an intention, through hierarchical structures that bring order and direction to itself.
The mythological landscape is the dreamspell we knit together rhizomatically and the space we performatively give reverence and signifier to through ritual. This is how ritual and myth belongs together.
Where are the mythogonies of today? There is a myth of separation and there are stories of pandemics. There are rituals of fear and there are ceremonies of war. There is a myth that the earth does not communicate. Another myth is that there is no invisible reality, even though human species are aware they cannot see the magnetic field or even the trees' growth. We are yet to know the mysteries of our own bodies. Many of these myths originated in the midst of a scientific search, expressed in reductionism.
The ancient Greeks coded myth into analogues and named it logic. As we approach life inductively, the union contains it all. Analogues braids the web of totality,- able to sustain polarity, cause and effect, even degradation and rot within life.
The illustration looked at myth through the peoples they called “savages” to try and understand the ancient mind. We could argue we live in a culture with deep roots in the illustration. Tables were turning as time and matter were seen differently. The famous quarrel of the moderns and the ancient was a call to question the ancients´ authority, whom through history have been praised and honoured. Allegories was now a childish character, while deduction triumphed.
The conclusion of the enlightenment was that of myths being childish absurdities. The ancient men of a golden past were reduced to children as other cultures were savage and folk medicine reduced to witchcraft.
The “savages” of the enlightenment could not only have been found in faraway cultures; the old pagan religion was still alive with its folkloric medicinal practice, word-magic and aetiological stories. But the holistic practitioners of Europe were killed and eliminated. A rhizomatic choir fomented the mythological landscape of the enlightenment: a self hatred that averted and violated one's own ancestral roots, in the name of the "correct truths".
The political landscape changed dramatically throughout Europe, after the release of the book the Witch Hammer,- a book that prophesied bonfires,torture and public executions, the very rite of passage that created the contemporary image of the witch. Only tortured does she exist.
The peoples of europe sustained her myth through rites of exorcism: embodying and performatively signifying diabolism - a refound image of the devil that would justify the natural woman's relation to nature as evil: a myth seeded from the church through missionary work with their detailed torture techniques that would provide "scientific proof" of pacts with the devil .
The mythological landscape conditions our ability to react. The deep structures of myth reveal codes; sociological, cosmological or nationalist and many more codes that condition our moral and guidance. How we react to the various challenges of today is dependent on the myths we sustain collectively.
The artist does not react to reality, but creates their own. Thus seeds new imaginaries into existence. Similarly, the healer does the same as she seeds an image of health onto the patient. As the collective sustains ritual that verifies the common myth, the artist and healer teaches rituals to embody the new paradigms. The make-real in the performatic act is the ritual that seeds new pathways.
The ancient Greeks called remembrance mnemonic art. To drink of the nectar, to acquire divine memory- opposed to drinking of the river of Lethe- of forgetfulness, such as forgetting one's history. Through mileena, the origin of time was sacred. Something shifted, as we rather look towards a promised future, we forget our birth and the womb, that becomes the motherwound.
How do we heal, mother? How do we heal mother?
And where do we look, to which trails and what archetypes can we lean on?
What myths will create new imaginaries towards the balance between the nature of things?
The analogue mind understands these new relations. The heart of the ritual. The ritual dimension sustains the myth of the archetypal beyond the present moment and beyond human.
Venn, hva, vann, hva vil du si ? Jeg kaller deg venn, vann.
Water, what, water, what way? Water I call you, warm, I call you, River-mother.
Has time matured to yet again consider sacred relations?
The ritual recreates an a-temporal dimension and reverence to the all-inclusive present moment.
The analogue mind traces back to its origin, like a geomantic pattern, that the shaman, the artist, the child and the natural man and woman can read.
The answers to today's problematic situations may not lie in a debate about risks of living or survival, but in an unrelated book, in a completely other way of Seeing Life.
There is only one sacred book, that of the ever expansive nature and its deeply embedded code of union, which is found within its inherent spiraled structures, for the one who can See.
We seek to see- through play with plants, prayer, circular techniques and archival research. With great care for the questions, the subtle and the symbolic reality in channeling new ways of communication. By no means we mean religion in the sense of its institutions. While the planet hunger for reunion, religion-reconnection should be used in its actual meaning.
The deeper code of the sacred space is union. As we construct our mythological landscape, we move through a common ground, a third space- elevated as a sacred mountain.
The ritual and the performative act is the make-real of the invisible mountain.
Together we initiate us into an ideal landscape, we baptize us in its waters. We reconstruct symbolic order with the intention of hacking the institutions that need profound cleansing and relational reordering. Cleansing is a subtle art and art is central in the psycho-magical act.
We have come here to heal the evil-eye onto pantheistic practice, the oneness of the ecosystem. We aspire a golden relation to existence, the legacy of a golden past; our birth. In memory of the water; a circular dimension, how we handle our past- is our future.
We have come here to weave new praxises for the sustenance of a new mythological landscape that sustains the code of oneness. Our universe is retracting as we become One planet by globalization.
The collective is only in the totality of all collectives; mineral, human, animal, spiritual, vegetal, the visible and the invisible. Our motherwound is healed by drawing the circle.
The choir is joining.We call them to us. We call you.