I’m in the middle of a conversation with a friend, who is a writer, about “good” and “bad.” Good and bad what, you ask? Good and bad writing. Good and bad singing. Good and bad cooking.
Photo by Ben White on Unsplash
The subject caught my attention because it evokes strong feelings, but I’ve been struggling for several days now to begin exploring it in writing with any kind of coherence. It seems ridiculously complicated, which is interesting and makes me even more determined to tackle it.
Sometimes the only thing I can do is start peeling the onion and see what happens, so here goes.
“Good” and “bad” are subjective descriptors. According to Oxford Online Dictionary, good is variously defined as “to be desired or approved of,” and “giving pleasure, enjoyable or satisfying.” Bad is “of poor quality or a low standard,” “not such as to be hoped for or desired; unpleasant or unwelcome.”
It seems to me “good” and “bad” are like “success.” Either we retain our power and define them for ourselves, in spite of external pressure, expectations, criticism or judgment, or we allow others to tell us what “good” and “bad” are. In the case of creative expression, like writing, singing and cooking, it’s impossible to please all the people all the time. Sometimes it’s impossible to please anyone.
Is that a goal of an artist, to please others? Certainly, up to a point. If I can’t interest an agent in my writing, it’s unlikely I’ll be published. If my writing is not deemed marketable, no agent will take me on.
Is marketable the same as “good?” Is popular the same as “good?”
Photo by Syd Wachs on Unsplash
Emphatically, no. I’ve read bestsellers I thought were trash. I’m absolutely certain great writing exists that will never be discovered by the world. Some of my favorite authors are heavily criticized as being poor writers.
It seems to me “good” and “bad” boil down to opinion or preference. It might be an educated opinion, a well-respected opinion, or just a I-know-nothing-about-art-but-I-know-what-I-like opinion, but an opinion, even a majority opinion, is not a universal law.
Creative artists work from a mix of skills and inspiration. Some artists have the resources and access to become formally trained in the use of writing skills, musical skills or culinary skills, especially if they recognize their interest and/or aptitude for a particular artistic expression early in their lives.
Photo by Senjuti Kundu on Unsplash
Many others, including myself, may lack the resources, access or interest in such formal education and training, or may come to their art later in life. These artists are frequently autodidacts (self-taught people) who simply practice their art, whatever it is, because they must. Their creations may or may not be as refined and elegant as those who obtain years of education and training, but they feel a passion or obsession for artistic expression that won’t be denied.
This mix of skill and inspiration is part of what makes the whole issue of “good” and “bad” so complicated. Skill is the ability to do something well. The definition implies someone decides what doing well means. Who decides that? Am I in charge of that, as the reader, concert-goer or diner, or are the writer, singer and chef the ones who define their artistic expression as well done?
As we create art, what are we focused on? Do we want to earn a living? Are we focused on competition — do we want to be number one? Are we determined to be famous? Rich? Successful? Influential? Professional? Validated? Perhaps, on the other hand, we have no expectation of living by our art, but artistic expression is a private joy, a sacred healing, an exercise in authenticity that keeps us rooted and grounded. Art is our prayer, our act of gratitude and hope, an expression of love for those around us, our love letter to life.
Photo by Brandon Wilson on Unsplash
As we consume art (read, listen, eat), what are we focused on? Perhaps we are collectors who are intent on investment and monetary value. Perhaps we love art because it inspires us; opens our hearts, minds and imaginations; or helps us manage our feelings. Maybe we’re avid readers, lovers of music, or lovers of fine cuisine. We may think of ourselves as “professional” or “successful” artists and thus feel qualified to judge and compare the work of others.
Calling a piece of writing, a song or a meal “good” or “bad” strictly in terms of a demonstration of skill, however, leaves out the heart and soul of creativity. Passion, inspiration and obsession cannot be taught. We might enjoy and admire the skill underpinning a technically perfect book or song or meal, but we’re not robots. Compelling art is not made from skill alone.
Photo by Quino Al on Unsplash
Art, at its best, breaks us open. It haunts us. It companions us. It provokes, challenges, explores, dares, admits, stuns, shocks, amuses, comforts, excites and enlarges us. “Good” and “bad” are far too unsophisticated and limited to describe the central power of creative expression. The skill of the artist might add to that power, but skill without the animating spirit of passion is merely a well-learned series of maneuvers.
What is art worth? What is the value of joy, of authenticity, of artistic expression reflecting a piece of our soul? Art, for me, is about an expression of human experience, inherently valuable, even sacred, in its truth and vulnerability. I’m not qualified to judge another’s expression of experience. I wouldn’t presume to do so. I wouldn’t dare.
In the end, I can only circle back around to my own power, my own intentions and integrity, and my own limitations. I’m not a formally trained writer. As a creator, I’m compelled to create. I know it’s part of what I’m here to do. It’s humbling and gratifying when others find value in my work, but even when I have no indication of that, I value it.
Writing provides me with a vehicle for managing feelings, deep healing, a bridge for connection, and an irresistible and fascinating personal challenge. How can I increase my skill? What can I learn? How can I become a better writer with every blog post and every page of my manuscript? How can I increase my confidence, courage and authenticity through writing? What’s the best I can contribute?
I don’t frame my creative work as “good” or “bad.” I do think about how to make it better. To that end, I gladly solicit and receive feedback from others, and several people in my life have made huge contributions to my skill, but at the end of the day I consider my own opinion of its value first, and I take neither praise nor criticism personally.
To create art is to be fully present. A piece of art is an invitation to be intimate with the artist and ourselves, an invitation to increase our empathy, respect and compassion, to reach out and clasp the experience of another human being.
Photo by David Hofmann on Unsplash
I’ve written before about the cultural pressure to make ourselves small in a myriad of ways. How many natural artists (every child) have been criticized, shamed, derided or otherwise amputated from their artistic expression, particularly if it’s in any way sensual? How many people walk around with soul hunger to create poetry; to dance, to make music and sing songs; to be artists, but deny themselves because they don’t think they’re good enough? How many people have made a creative offering or expression and been rejected, mocked or dismissed?
I believe if we want a better, healthier culture, those who want to play with words must play with words, those who want to play with paint must play with paint, every shower must have a singer, every piece of music a dancer, and every instrument an explorer.
Skill matters, depending on the artist’s intention and the audience’s perception. I suppose we can describe our perceptions of skills as “good” or “bad,” although I think we could come up with less subjective standards of measurement and recognize skill level as only a part of artistic expression.
Jiddu Krishnamurti said, “It is no measure of health to be well-adjusted to a profoundly sick society.”
I first heard that quote five years ago. It gave me comfort, because it allowed the possibility that my feeling of isolation and alienation at the time was a normal response. The problem, I find, with taking too much responsibility is one stops excavating interpersonal challenges. Instead, we assume it’s all our fault because we know we’re broken. This attitude effectively blocks further inquiry into what the people around us are up to. If we can be taught or manipulated into believing we’re the core of the problem in social interaction, our shame and guilt give those around us a free pass to behave however they like and treat us however they wish. No matter what happens, they can count on us to blame ourselves.
A friend of mine recently pointed out a lot of social media buzz about normalizing obesity. As I am not on social media, I did some research into memes and articles about this issue, and everything I saw made me think of the Krishnamurti quote.
Here again I see sloppy language. Almost every source agrees carrying too much weight on our frame is unhealthy. Unhealthy, as in bad for one’s health. Not ugly, stupid, lazy, lacking self-control, or a whole host of other slurs, taunts and unkind criticisms many overweight people have endured their whole lives.
Obesity is unhealthy. The fact that we have so many people struggling with obesity in this country doesn’t change unhealthy to healthy because it’s so common. A growing population of obese people signals a profoundly unhealthy society. Normal, as in usual, typical or expected, does not imply useful, healthy, functional or positive.
Is normal a goal, or is it merely a cop-out? Is normal something we aspire to because it makes us bigger, or is it something we have to make ourselves smaller in order to fit into? Who gets to decide what is usual, typical or expected? What are the consequences of choosing not to be usual, typical or expected?
Photo by whoislimos on Unsplash
I can answer that one. Consequences include tribal shaming, deplatforming, silencing and other violent, destructive and coercive responses.
Normal is one of those words we define ourselves. Normal describes something not aberrant or abnormal. Abnormal is the absence of normal. That distinction can be useful, but in a limited way. Conflating normality with Good and abnormality or different with Bad (or vice versa) is mindless, black-and-white groupthink, the kind of ideology driving genocide, religious persecution and racism.
Our culture and context help us define normal, but if our society is profoundly sick, to be well-adjusted and “normal” within it is to be profoundly sick.
This is particularly true when I look at money. I’m noticing an ever-widening gap between money and value in my own life and in the lives around me. Until recently, I thought of all resource as money, and a life without some magical amount of money I never defined and could never access would be a safe, successful life.
Photo by Evan Kirby on Unsplash
But money is only one kind of resource, and for me it’s the weakest kind. This thinking is definitely not normal by our cultural standards, but I believe it’s becoming more common. Minimalism is a growing trend, and those of us who explore and practice it are very clear about the relative value of money, time, contribution, experience, relationships, creativity, relaxation and joy. If earning money burns up all our other resources, we can’t replace them. Money won’t buy them back for us. A tree, an afternoon in the sun, a lap full of a child, the arms of a friend, the ability to lend someone a helping hand, are all beyond the power of money.
I don’t say money is bad or useless. I am dismayed, however, at what a God we’ve made out of it in this culture. During my lifetime the middle class has disappeared and the chasm between those very few who have significant financial resource and the billions of us who don’t seems likely to tear the planet apart.
A lot of sad people out there think money is power. It’s not. Our power is in our intelligence, our hearts, and our souls, not in our bank accounts. We have to make ourselves increasingly small and, ironically, impoverished, in order to adjust well to our deteriorating and unsustainable capitalist consumer culture.
In this house, we’re frequently in need of money to pay bills, buy groceries, keep up with car costs, buy a new pair of swim goggles, and buy a new fan for the furnace (our old one is beginning to sound like an airplane falling out of the sky when it kicks on). Most of the time, we don’t have money when we want it, but we manage to have what we need when it’s essential.
I used to feel terrified, ashamed, and like a failure because of my lack of financial resource. My relationship with money ruled my life. My hunger for more was never satisfied. When I had more I caught up with all my expenses and then I was broke again. It was a game I could never win.
I see now it’s a gameno one ever wins, yet we all go on compulsively playing it, chasing the lie that enough money will provide us with love, success, healing, healthy relationships, confidence, power, and a sense of purpose and meaning. We’re so busy playing the game we have no time to recognize or welcome into our lives the things that do have the power to give us what we want.
Ultimately, accumulating money for its own sake is an expression of impotence. What’s more sterile and pointless than a lot of digits sitting in an account? The tool of money is useless unless we put it to work. If (when) the economy crashes, a piece of paper with our account information on it will be of less use than toilet paper.
Photo by Gabriel Jimenez on Unsplash
What will matter is our ability to form loving, compassionate connections with others and our willingness to collaborate sustainably with Planet Earth. Our ability to both teach and learn will be important. Our skills and integrity will be important. Our laughter and creativity will be essential. If we can translate whatever financial resource we have into these things, we’ve made good use of our money. We’ve invested in sustainability and resilience, real resource for real life.
Frequent readers know how much I enjoy playing with frames. If we feel rebellious, noncompliant, alienated and crazy, perhaps the problem is not us at all. Perhaps the problem is we’re trying to fit into a profoundly sick society, and the fact that we can’t means we’re retaining some measure of health, even in the face of tremendous social pressure.
Those rebellious, noncompliant, alienated and I-feel-crazy ones are the people I’m writing for. Those are my people. Their courage, compassion and generosity are the wind beneath my wings. Our shared truths, tears, scars, love and broken places shape a womb where a healthier life for all can be nurtured.
I’ve been sitting in the breakdown lane this weekend, watching traffic pass me by, (all their cars work!) and wondering why my car, which has been just fine, has suddenly stopped functioning.
We’ve probably all done this at least once, literally speaking. Metaphorically speaking, we’ve all done it many times. We go along in our small world, and as far as we know everything is status quo and just what we expect, and then, suddenly, it isn’t. Things go off the rails and all we can think is WTF?
Sometimes I’m the one who has suddenly gone off the rails. Except, looking back, I realize it wasn’t sudden at all. Sometimes the breakdown was years in the making, but I wasn’t present enough with myself and my feelings to notice the gradual fraying and come up with a plan. Grimly, I hung on, hoping, waiting, hurting myself, arguing with what was, denying my experience, trying harder, drowning in shame, crippled by fear, until I absolutely could not hang on any longer and my last fingernail tore out.
Then I let go, after it was far too late to problem solve or help myself or anyone else involved.
I still regret I have not always had the support or resources to make different choices. I hurt myself, and I hurt others. I take responsibility for my behavior and clean up what I can, but some things just can’t be fixed — and perhaps shouldn’t be in any case.
Photo by Chris Barbalis on Unsplash
I think a lot about these sudden moments where things fall apart, either within us or between us. The breakdown lane is like a time out, an enforced pause. In a moment or two, the whole aspect of the day, the future, and my plans have changed. I realize I’m not in control. All I have is an unpleasant snarl of disappointed expectations, thwarted intentions, frustration, anger and a need to blame someone or something, including myself.
A broken car or piece of equipment is one thing. An interpersonal breakdown is another.
Few things are more painful than feeling unloved, unwanted or rejected by someone we care about. Hell, it’s painful when we feel those things from someone we don’t care about. Imagine being an immigrant in this country right now.
I have felt unloved, unwanted and rejected. I’ve also had loved ones tell me they feel unloved, unwanted or rejected by me. As I know that’s not how I feel about them, I question my certainty that others feel that way about me. If they’re misinterpreting my actions, words and choices, perhaps I’m doing the same thing.
Our feelings are real. The stories we make up about them may not be. In other words, I might feel rejected when the person I’m interacting with has no intention of sending that message. The way I express love and affection may be so different from someone else’s idea of how to express it that it’s lost in translation.
Photo by Evan Kirby on Unsplash
That doesn’t mean it’s not present.
I focus a great deal on language in this blog. I do that because words matter. They have layers of meaning. It seems to me nearly every interpersonal breakdown can be traced to a misunderstanding over a definition of terms. Getting at the bottom-line meaning of a word is as easy as looking it up:
Friend: “A person whom one knows and with whom one has a bond of mutual affection, typically exclusive of sexual or family relations.” (Oxford online dictionary)
Pretty simple, right? We all know what it means to be a friend and have a friend.
Except we don’t. We might agree on that basic definition, but I suspect we each assign a whole world of additional personal meaning to the word friend, and that world contains longings, memories, hopes and fears, expectations, deep needs, beliefs, and old scars and wounds.
I’ve been thinking about that. When I talk about, think about and participate in friendship, what does that mean to me? What is a friend, besides someone I know and with whom I have a bond of mutual affection?
It’s a great question. I wish I could ask everyone I know. I won’t, because for some reason this kind of question seems to make most people uncomfortable, but feel free to volunteer an answer!
At this point in my life, I’m not interested in constructing relationships out of expectations and an attachment to outcomes. I’ve always operated in a framework of both of those in my relationships, and it’s never worked. In the last four years I’ve taken a clear, cold look at my previously unconscious expectations of self and others and the myriad ways in which I’ve sabotaged myself and others with attachment to certain agendas and outcomes.
What I do instead (and a joyous, fascinating, loving process it is) is observe with curiosity and interest as relationships form and change. Viewed from this perspective, it’s like nurturing a child, a garden where we’ve planted seeds, an animal, or a piece of land. Freed from my extremely limited and limiting expectations and agenda, I can watch and appreciate all the unexpected, magnificent ways we are — and life is.
It’s the difference between saying: “This is who I (or the other) must or must not be,” and “Who are you?” or, even better, “I want everything you are and nothing you’re not.” Say that (and mean it) to yourself or someone you love every day and I guarantee your relationships will change for the better.
So, now, what do I mean by a friend?
A friend is someone with whom I can laugh, explore new information and ideas, excavate less-than-useful beliefs and patterns, learn and unlearn. A friend is someone with whom I engage in a contest of generosity. I want to ask questions, pull things out from under the bed and let the cat sniff at them, be wrong, problem solve, consider options. I want to practice boundaries, tolerance, respect and being real. I want to allow and be allowed. I want relationships that make my life bigger. I want to share reading, movies, music, memories, silence, work, nature, my truths. I want someone who says, “make yourself big!” while pursuing that same goal themselves.
(Not coincidentally, this is the kind of friend I strive to be to others.)
When I consider the above paragraph, and imagine each of us could write an equally long but different paragraph, the concept of friend goes rapidly from a simple one-sentence definition to something much more complicated and personal. This wouldn’t be so problematic if we were aware of it, but we’re not. We say friend, knowing exactly what we mean, and never considering the person we’re talking to, who’s also using the word, means something different.
Photo by Alex Iby on Unsplash
Then, one day, these two invisible sets of definitions, expectations and desired outcomes collide and we experience hurt, outrage, betrayal, anger, disappointment, rejection, fear, and disconnection.
I admit I have no fix for this ubiquitous problem. Even being aware of how differently we define terms doesn’t save me from ending up sitting in the breakdown lane. It would be good if the problematic words in any given relationship had a tag warning us of problems ahead if we aren’t careful to understand one another from the beginning.
On the other hand, that would take out the part where we sit in the breakdown lane trying to understand what just happened, how and if to fix it, and how our choices led to it. Uncomfortable as it is, I value that opportunity.
Sitting in the breakdown lane with my heartbeat and breath. Feeling my feelings. Curious about what will happen next. Confident that when it’s time to move on I’ll know it and do so. Considering what I might learn in this space. Getting bigger. Getting bigger. Getting bigger.
Working in a fitness/rehabilitation center in January makes our cultural and personal obsession with our bodies and looks inescapable. All day long I hear conversations about health, pain, weight loss, exercise and fitness goals and diet. There’s something inescapably seductive about the idea of making a fresh and successful start in a brand new year.
At home, in my peaceful attic where the winter light steals in, poet David Whyte suggests making ourselves big for loss; if we have a healthy interior landscape, we are better able to absorb painful experiences.
Whyte’s inside-out wisdom, which has caught my attention before, provides a new frame I’ve been playing with as I live my life. It seems everywhere I turn I find this idea of loss and how we manage it. I’ve been reading a memoir entitled “This Life is in Your Hands” by Melissa Coleman. It’s about her childhood with her family on the coast of Maine during the 70s as part of the back-to-the-land movement. It’s a fascinating story encompassing all kinds of ideas, beliefs and discoveries about what it takes to leave much of modern life and wrest a living from the land. It’s also a story about a gradually unraveling family, doing their best to create a life they believe in but ultimately defeated by their ideals and the death of a child.
Coleman writes, “There were no gardeners of grief in our community.”
What a poignant, beautiful line that is. Gardeners of grief. There it is again, I thought when I read it, the idea of making intentional space, even a large space, for a feeling we typically avoid, deny or refuse to deal with.
Photo by NeONBRAND on Unsplash
I wondered yesterday, sitting on the lifeguard stand watching the pool during a water aerobics class, how it would be if we focused New Year goals and intentions on our interior landscape rather than our external appearance. Would more people be more successful in making the changes they say they want? Would support and action in addressing our interior terrain naturally lead to the kinds of external changes so many of us seek?
Loss. What can we say about it? Some loss is so long and drawn out it’s almost chronic, and we become numb to it, though it shadows our lives. Other losses are shockingly abrupt and traumatic, and others still somewhere in between. Loss is painful in itself, but our feelings about who or what is lost can add significantly to our pain, especially if we don’t manage them properly.
Photo by Aaron Burden on Unsplash
I’ve had two catastrophic losses in my life, though I feel foolish revealing them. The first was the loss of a diner. It was a little ramshackle shack with a spongy floor that dipped and swayed as you walked across it, room for about seven tables with mismatched and broken chairs, and a grease-saturated kitchen. It was less than a five-minute walk from my old house in a tiny Colorado mountain town, and for years I ate breakfast and/or lunch there at least once a week. I was working at the local public school while the diner was in business, so I knew all the high schoolers who bussed, waited, washed dishes and cooked. My own sons worked there in their turn. In the decade after my boys left and I was alone, the diner became like a second home to me. I was often the first customer of the morning, waiting patiently for the door to be unlocked with my travel cup of tea steaming in my hand and a book or notebook and pen under my arm. They made my breakfast without asking, as I always had the same thing, and Amy, the owner, would sit with me, sipping a cup of coffee, while we exchanged desultory early morning talk or were just quiet together.
I always felt welcomed at the diner. I loved it, and those who worked there, and they at least tolerated me with friendliness and kindness. I felt seen. One day Amy told me, with some reluctance, she was closing it down. The endless grind of owning and operating a restaurant had become too much, and it was getting harder and harder to avoid problems with licensing and inspection as the building deteriorated. She had dreaded telling me. We sat across from one another and wept.
Photo by Madison Grooms on Unsplash
The second loss happened just a few weeks later, when the dearest companion of my life, a crippled long-haired orange cat, died quietly at home,
These two losses left me maimed and feeling unable to go on. I no longer recognized my life in that place, though I’d lived there for 20 years, raised children, worked, volunteered, danced and told stories. Strange, to realize the diner and Ranger as the only two pillars holding up my life. Why were these losses so much more terrible than my sons outgrowing the town, the school and me, and leaving? That was extraordinarily difficult and painful, and I thought I’d never recover or fill the hole they left in my days, but I still recognized myself and my life. I wasn’t completely undone. I knew we were all making the right choice to part ways and I would go on.
Remembering, it occurs to me my internal landscape had shriveled and withered without my noticing. Ranger and the diner had provided me with warmth, companionship, acceptance, love and belonging. In those two aspects of my life I was completely honest and authentic. When they were gone I was left with a grueling job that just barely supported me and was highly stressful, a home I loved and had worked hard to create but which was empty and desolate without Ranger, and the feeling that I was little more than a burden and a disappointment to nearly everyone in my life (including myself) and the town in general (with a couple of notable exceptions). I was nothing and had nothing anybody wanted or needed, and my life felt like a lie.
Photo by Louis Maniquet on Unsplash
When I think now about intentionally building an internal landscape, a bountiful landscape with lots of space, I realize the interior wasteland I was trying to live with before. A greasy spoon hole-in-the-wall diner and a cat were the only two things tying me firmly to life. I was not big enough to absorb their loss. I was always busy, but I wasn’t big. All my attention was on trying to please others and get loved.
Is getting a life, being in a life, creating a life about being busy and having things to do, or is it about building an interior landscape? Scientists are beginning to realize how important complexity is in living systems. Perhaps complexity is not about externals, such as how long our to-do lists are or our New Year resolutions, but about the interior ground of our lives. What if we were each able to build a complex interior terrain with not just room but welcome for all our feelings and needs, an interior system that could elegantly break down, absorb and transform loss, rage and fear? What if we nurtured several kinds of healthy relationships, contributed our experience and skills in more than one way and found a variety of creative outlets and activities to enjoy? What if we invited and allowed both loss and gain, joy and despair to dwell in our interior landscape? Would a more varied, complex and honest inner life allow us to find relief and respite from the inevitable losses and changes we experience?
Photo by Ivan Jevtic on Unsplash
It seems to me the answer can only be yes.
Furthermore, if we choose to successfully build and maintain a complex interior landscape, will all the outward things we worry so much about either seem less important or more easily managed? If we’re more physically active and heal our relationship with food because we’re cleaning up and creating our interior landscape rather than because we want to lose weight, will the re-focus of our intention mean less resistance and failure?
All my life I’ve tried to hold back my feelings because I’m afraid of being overwhelmed by them, or of what others will say or think of me. The problem is I can’t pick and choose which feelings to allow and which to exclude. If I’m going to love wholeheartedly, I’m also wide open to the pain of loss. The idea of creating an internal landscape spacious enough to allow every feeling and experience unlimited depth and width is an interesting contrast to my impulse to recoil, withdraw and barricade myself into a small stone cave for the rest of my life.
Photo by Henry Be on Unsplash
Now and then I need that internal cave, certainly. A bolt hole is essential to me. But surely there’s a whole interior world I can build outside the cave when I’m ready to step out of it again, a world with gardens and orchards of feelings and possibility, a world of connections and people to love and learn from, a complex inner terrain in which to get lost and find myself again. Best of all, my interior landscape is solely my own creation. In it, I can be utterly naked and free from concern about what others think of me. I can be fully authentic and honest without fear or shame. I can feel what I feel and have what I need.
Gardening for loss, for fear and for pain. Landscaping for joy, confidence and healing. Welcoming complexity and delving beneath the surface of life and of myself. Making myself big for the hard stuff.
This week I’m exploring the idea of cultural appropriation. In the linked article, cultural appropriation is defined as “Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission. This can include unauthorized use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.” This definition provides a useful starting point, but it begs a couple of important questions.
I approach cultural appropriation from two different directions. I begin with a story I wrote years ago for oral telling. The story was inspired by the wonderful children’s author and illustrator Eric Carle . He wrote several books, among them Draw Me a Star. As a parent and librarian, I’ve bought, recommended and read aloud his books hundreds of times. You can look at ‘Draw Me a Star’ here .
The Artist
“Sing me a star …” And the Artist sang a star. It was a shining star. “Color me a sun,” said the star. And the Artist colored a glowing sun, a golden lion, a hillside of orange poppies, a burning fire, and a feather. It was a red feather. “Weave me a tree,” said the feather. And the Artist wove branches and leaves and pieces of sky into a tree, and She wove fields and forests and deep, invisible roots, and a spider’s web. “Build me a fence,” said the spider. And the Artist built a fence and sculpted rocks and ice and sand and snow into a world. It was a glorious world. “Tell me a story,” said the world. And the Artist began, “Once upon a time …” It was a wonderful story. “Tell me some more!” So the Artist made all kinds of people to share all kinds of stories. They were strong people. The people said, “Teach us what love is.” And the Artist said, “Sing me a star …”
Photo by Leon Liu on Unsplash
Now set your burdens down for an hour and dance with me. Here’s the sound track I made for our community dance last Monday evening.
“Symphony of the Forest and Mysterious Island,” by Kitaro a Japanese artist.
“Maryam,” by Hamza Shakkur, from the soundtrack to the movie Bab’ Aziz , a Tunisian foreign film.
“Aye Lon Lon Vadjro,” by Angelique Kidjo , an African artist.
“Kozuma,” by Professor Trance and the Energizers, who perform multicultural Trance Dance music.
“Stars Align,” by Lindsey Stirling, an American violinist.
“Mwari,” from the album World of Rhythm.
“Pinguli Pinguli Giuvaccinu,” by Savina Yannatou , a Greek artist.
“Barcelona Nights” by Ottmar Liebert, a German guitarist.
“Symphony of Dreams and A Drop of Silence” by Kitaro.
I wouldn’t steal a pencil or a nickel. It’s easy to make a distinction between concrete objects belonging to me and those that don’t. Trying to define intellectual and cultural property, however, is another thing. Part of my integrity as a storyteller includes rigorously reporting the origins of my material to my audience. Part of my integrity as a librarian and a researcher includes investigating roots and versions of old stories and communicating that information to my audience so they get a glimpse of the amazing historical journey of human creativity and experience. Part of my integrity as a writer is to be open to the world of human beings around me in all its rich history, language, symbol, tradition, spirituality, expression, art, ideas and feelings.
Anyone who creates art or delves into old oral traditions realizes cultures are not so easy to distinguish from one another, and the farther back we trace certain artifacts, oral material, symbols and traditions, the more blurred the boundaries between cultures become. Part of my motivation in becoming a storyteller is to become a link in a long, long chain of humanity that reanimates old stories. Oral tradition survives because it speaks to the culture of human beings. Themes of love, birth, death, war, change and power engage everyone. The repeating horrors of colonization, genocide, slavery, plague and pestilence, massacre and religious persecution are embedded in the history of every culture on every continent.
Photo by NASA on Unsplash
It would be convenient to simplify the history of mankind into good/bad, victim/oppressor and black/white literally, as well as figuratively, but that’s an intellectually lazy and ignorant point of view. Science teaches us life is a complex, nonlinear, dynamic, holistic system, and every culture changes every other culture just by existing. Every species impacts every other species. Every organism impacts every other organism. It’s inescapable.
Culture is defined geographically, ethnically, politically, by religious belief, by shared history, by language and by physical types. All these factors and many others weave cultural definition. I define some of my cultural aspects and others also define me, sometimes accurately, sometimes ridiculously. Defining culture is like trying to catch fish with your bare hands.
Who is authorized to speak for their culture, and what gives them that authority? Who controls the sharing or withholding of cultural information? At what point do we qualify for inclusion in a culture? My own ancestry is a polyglot of Irish, Norwegian and German, at least. Am I Irish enough to be allowed to tell an Irish traditional tale? Does the fact that my skin is white prohibit me from dancing to African music and introducing others to artists like Anquelique Kidjo?
We have ample evidence that cultural purity is a fast track to cultural death. It doesn’t work in breeding animals, it doesn’t work in the plant world and it doesn’t work any better with humans. Life is not about maintaining divisions and isolated islands of purity. It never has been about that. Successful life is about biodiversity, cooperation, adaptation and hybridization. The attempt to maintain cultural purity is an attempt to restrain change, which is an attempt to harness life itself. Human beings, thank all the manifestations of divinity, are not that powerful.
Photo by Lukas Budimaier on Unsplash
What human beings are is creative. We are sensual. We thrive on expression and ritual. We hunger for spiritual nourishment. At our best, we’re observers, recorders, problem solvers, explorers and synthesists. We’re curious. As in the old stories, we go out into the world and seek our fortunes, our mates, our place, our families, our passion, our destinies and ourselves. Yes, there are plenty of madmen/women, megalomaniacs, destroyers and other pitiless, power-hungry, dangerous, destructive people out there. Entire human cultures have disappeared, leaving behind nothing but artifacts and fragments of language. Many, many other kinds of life have vanished as well, and many more are at risk. Yes, there are people who steal real property as well as intellectual property. There are people who would gladly wipe out whole groups of humans and other life, given the power. It’s happened before and it will no doubt happen again.
Photo by Jazmin Quaynor on Unsplash
Have you noticed, though? Life — human, animal, plant — goes on. No one can really steal our heritage or our identity, because those things reside within us. Plagiarism and duplication are sterile things. Culture persists. It might go underground for generations in order to survive, but it persists and eventually shows itself to the world again. Stories, music, traditional arts and crafts, religious rites, dance, clothing, jewelry, language and tools are all seeds of culture. When someone with cultural seeds in their pockets reaches across boundaries to another culture, powerful, life-sustaining, magnificent collaboration happens, the kind of collaboration that allows an ordinary person like me to create a multicultural dance track and lead a small group of people (all kinds of people) in dance, which is a human cultural tradition from the dawn of man/womankind. The mingling of cultures creates new cultures, as well as sustaining the original parent cultures. If one person reading this discovers new music to add to their lives and pass on, a long history of cultural tradition goes with it and is preserved. I’ve succeeded as a link in the chain going right back to the first humans.
Eric Carle has had a hand in shaping my life, along with hundreds of other authors and illustrators. His books were read to me when I was a child, and in turn I read him to other children, including my own. He’s a unique and beautiful artist. My appreciation for his work inspired my own creativity. I was also inspired by my brother, who is a gifted musician, and I dedicate ‘The Artist’ to him, out loud, every time I tell it. I take my copy of Draw Me a Star to every telling to pass around. I’ve told ‘The Artist’ dozens and dozens of times to all kinds of audiences, children as well as adults.
Photo by Quino Al on Unsplash
The story tells my truth. The act of creation is an act of love, appreciation and respect. Creation never happens in isolation. It’s never pure. It’s always a maelstrom of conscious and unconscious influence, memory, and inspiration from things seen, heard, read, felt and experienced. Culture is not static. It adapts, adjusts, persists, learns, discards, incorporates, borrows and contributes, or it dies.
Last week I wrote about making ourselves small. Cultural eradication makes the family of man smaller. Plagiarism kills creativity. Appropriation shrivels our souls. The threat of tribal shaming limits our joy in discovery and exploration outside our cultural boundaries. Choosing rigidity, hoarding and withholding our beautiful languages, our nourishing spiritual wisdom, our rapturous music, our skills and traditions, impoverishes us. Refusing to experience, explore and appreciate other cultures and their richness also impoverishes us. Sterility and isolation in, sterility and isolation out.
The greatest honor I can give the countless musicians, authors, artists, dancers, storytellers, photographers, sculptors, weavers, gardeners, mystics, filmmakers and other creators who grace the world is to see, to listen, to be touched, to weep, to laugh, to dance, to receive, to learn from, to be inspired by, and to add my own work to the dynamic, ever-changing culture of humanity.
