Here in the city whose patron is St. Francis (more about that later), I keep thinking that the new pope of the same name might as well go ahead and canonize — or at least beatify — Georgia O’Keeffe.
Yes, there are some obstacles. For one, she was not Roman Catholic, not particularly Christian at all. But what a move to bring more of the bourgeois bohemians into the fold it would be!
Consider the devotion that she inspires.
Walking down Grant Street the other day, I could see little flocks of pilgrims (mostly female, mostly of a certain age) streaming off the streets around the plaza, headed for her shrine.
That shrine, meanwhile, is merely part of an entire O’Keeffe complex, where the pilgrim may enrich her life with programs and lectures on memoir-writing, “art & leadership for adults,” plein-air pastel drawing, “O’Keefe’s language of forms,” and many other sacred subjects.
Advanced initiates might seek a stipend in American modernism.
Many single women move to the little town of Aibquiu, a Santa Fe acquaintance tells me, where one may for a fee tour just part of O’Keeffe’s home there: the living room, kitchen, and pantry only, I am told. Have any of them experienced miracles? That would help the sainthood application clear a major hurdle.
While her cultus already provides an economic lift to the old provincial capital, beatification or canonization would certainly increase that even more.
Just tell the bishops to keep their distance. Otherwise, it’s a win-win situation. Are you listening, Holy Father?
P. Sufenas Virius Lupus wonders about how new gods are added to polytheist pantheons.
Something that will often happen, particularly with reconstructionist-based practitioners, is that further research into a particular deity and their connections leads to “new-to-me” or various other re-discovered deities that are then taken into one’s personal pantheon. Or, suddenly, a deity emerges in one’s experiences that one hadn’t paid attention to previously, or gets one’s attention in some fashion or other; whether they are readily identified or if it takes some study to figure out who they are, such encounters often occur that expand one’s personal network of divine relationships. . . .
What about the less-frequent (but nonetheless possible) reality of totally new deities, though? How does one deal with this issue when it arises? I have yet to see any modern Pagan or polytheist treatment of this matter, nor any conventional training and education on when and why it can occur, nor how to handle it when it does. And, while it might not be that frequent of an occurrence, I suspect that we are going to see a lot more of it in the near future as our community expands and the world continues to change.
He goes on to discuss how today’s Pagans might deal with the emergence of new gods, including an ancient oracular practice
The blog made me think, for example, of how the Santa Muerte cult has grown, moving even beyond people with roots in Mexico. The image has been around a long time—go into any folklore museum in New Mexico, for instance, and you will see the similar Doña Sebastiana in her cart, a relic of the old lay brotherhood of the Penitentes. Does that make La Santa Muerte a “new” goddess, or just an upgraded one?
Robert Cafazzo, antiques-and-art dealer in Ranchos de Taos, New Mexico, discusses the care and repair of kachina dolls, which can be simultaneously images of spiritual power and art objects made to be purchased by collectors.
(Disclaimer: I have bought a few small things at his shop, Two Graces, although not kachinas.)
He also gets into the collecting side and shares some of his “kachina kitsch.”
Then there are the doll carvings made by other Pueblo people. Zuni carvings are some of the best (in the store here they always sell rather quickly, recently I had one for all of 3 hours!), Acoma & Laguna carvings are the simplest and to some collectors extremely desirable but really not for everyone, basically they look like a short log with a stylized face, Jemez dolls tend to be confused with ‘Boy Scout’ carvings, those from Isleta are not common but do exist. San Juan carvings, which I carry are specific to the various Northern Pueblo Dances. As a rule I do not carry Navajo Kachinas, which I refer to as PowWow Dancer Dolls. These may look great on a coffee table featured in a photo essay for Architectural Digest or some other home interiors magazine, but they are some of the worst craftsmanship of curios in the marketplace today. Navajo carvers did make traditional Route 66 Yei Dolls, and there are some amazing Navajo traditional carvings out there. It’s my personal opinion that PowWow Dancer Dolls are not your best option. All of the Pueblos in New Mexico & Arizona have their own unique carvings, some do not offer them as crafts for sale and strictly forbid the sale of wooden deity carvings. When visiting a Pueblo ask for dolls or crafts—never ask for ‘Kachinas’.
In Two Graces, you will find both fine kachina dolls and kachina salt-and-pepper shakers—Robert likes it all.
On Friday morning, April 29, back from a early morning fire call (shed + trash + grasses at the edge of the prairie), I climbed the ridge behind the house and made an offering to Tlaloc, the god of rain.
(I think I need to make a lot more of them, given that it has not rained for a month.)
Later that day the Sand Gulch Fire exploded, forcing us to evacuate our house and spend the night in our pop-up camping trailer parked next to the fire station. But the next day it snowed four inches, helping to bring the fire under control.
The desert ecologist and nature writer Craig Childs got me thinking about Tlaloc a while ago with some evocative passages in his book House of Rain, which I reviewed on the other blog here (also referenced in this post).
At high, prominent springs or caves in Guatemala or the Yucatán, one is likely to find the head of a decapitated rooster (replacing the turkey, which was commonly used in the past) along with pools of melted wax from votive candles (365).
This post kicks off my discussion about being an American Eclectic Witch reviving the cult of Tlaloc on a household basis—no stepped pyramids here, just real mountains.
Both Aztec depictions of Tlaloc and Mayan depictions of the equivalent deity, Chaac (if you follow a sort of interpretatio azteca), leave me cold aesthetically, for all that they are richly symbolic. But one thing at a time—perhaps I can find one done in the style of pop-Mexican calendar art.
The worship of the gods can change over time—consider this “feast of St. Tlaloc.” We could do that!
More to come.
You hear different languages. There are French tourists, German tourists, and some guy in a Rasta tam. Another man looks like he came straight from the nearby Overland Sheepskin Co. store, pausing only to snip the tags off his coat.
I am not the only one in the artsy Anglo uniform of broad-brimmed hat, colorful muffler or scarf, and sunglasses. M. wears her leather jacket and dangling Hopi earrings—another Southwestern look. Scattered piles of ash from the bonfires of Christmas Eve, when they process the Virgin with fireworks and rifle shots.
The air smells of piñon pine smoke mixed with coal smoke. The Indian crafts shops on the ground floor of the old Taos Pueblo are doing a modest business. (Tribal members are required to spend part of each year in the old 13th-century buildings, sans indoor plumbing.)
Old Tony Reyna, a former Taos Pueblo governor, crosses the open ground, a red blanket around his shoulders, leaning on an ornate staff, and his elbow held by a younger man. He is a Bataan Death March survivor—so many of them were New Mexicans. (Jeez, he survived that.) But his appearance is not the signal.
Eventually, you see the phalanx of dancers pass by way up at the east end of the plaza. They pass behind the North House and . . . nothing happens.
Half an hour or so goes by. Then they appear between some houses and the church, and somehow people know to follow them to a little side area. There is a string band, El Abuelo and La Abuela, the little girl (La Malinche in some versions), El Monarca (the king, sometimes Moctezuma.)
No Cortés. El Toro (the bull) is a bison. This is Taos, after all.
The masked dancers wear veils—a curtain of black cords—and thin scarves wrapped to hide their lower faces, tied behind their heads. They carry small canister rattles wrapped in flowing scarves in one hand and a sort of small, decorated wooden trident in the other. Multicolor shawls cover their shoulders and streamers flow down their backs.
The dancers take direction from El Abuelo, the Grandfather. He wears an old man’s mask with a long beard and is dressed like an old-fashioned Hispano rancher: blue jeans, shirt and leather vest, straw hat, and bullwhip, which he snaps for punctuation. He shouts in Spanish His partner is La Abuela, Grandmother, definitely a man, in a head scarf and long skirt, carrying a capacious handbag, who takes special care of the little girl in the princess costume who might be La Malinche. Or maybe not.
El Toro and La Abuela bring out a pole, like a Maypole but with woven sashes tied end to end descending instead of ribbons. The musicians play, the Bull and and the Grandfather hold up the pole—I could go all structuralist here: Bull, Axis Mundi.
Everything means many things, I am sure, and the important thing is just to be there in your body, not to worry about “what it means.”
At the end, El Abuelo shouts, “Le gustan?” (“You like it?”). Everyone applauds, and the dancers go into a house. The crowd disperses, but some people in the know are walking towards the adobe church of San Geronimo.
Half a dozen old ladies, some in blankets, are lined up on the postage-stamp size stone-paved courtyard, surrounded by a low adobe wall. It is a good principle that where the old ladies are is where something will happen—and it will happen when they all get there.
Gradually people assemble around the outside of the wall. Half a dozen straight-backed chairs are brought out of the adobe church. Two at the church end of the court yard, two opposite, just inside the gate. A couple off to one side.
Waiting. My feet hurt. What about the feet of the old women standing on sandstone slabs? Our Taos friends leave to go tend to their dogs. We will see them later.
And then the dancers arrive again, processing through the courtyard gate. The fiddler and guitarist sit in the two chairs at the church end and resume their tune, while the dancers form two files and dance various twirling figures, cowboy boots clomping on the slabs, while El Abuelo snaps his bullwhip and shouts, “Vámanos” (“Let’s go!”), etc.
La Abuela guides the little girl, and at one point the she and the king sit in chairs at the gateway end. A middle aged blanket-wrapped Indian man occasionally calls instructions in a loud whisper: “She’s got to be behind him!” and so on. He must be the real master of ceremonies.
Low, weak sun. It is chilly in the shade. Lucky people with pueblo connections stand on flat roofs looking down into the courtyard. Occasionally a woman will step up to the line of dancers to straighten the streams on (her son’s?) headdress.
We are spiraling past the solstice, and the dancers keep turning and turning. Most headdresses are decorated with squash blossom necklaces and other tribal jewelry, but one displays two Bronze Stars and a Purple Heart, and when he turns I see that the ribbons down his back are green-gold-red like the Vietnam War service ribbon. Since the dancers appear to be young men, they must have been earned by his relatives?
The sun has well-passed its low zenith, and the dancers keep flowing as in a Virginia reel. At one point El Toro dances down between the two lines and makes a “pass” with each dancer individually. Then Abuelo and Abuela wrestle him comically to the ground and wave his (detachable) balls, which are offered to a woman standing in the church doorway, who smiles and hands them back. La Abuela puts them in her handbag.
Suddenly it’s over with a final series of weaving movements. M. has grown chilly standing in the shade of the church. We will drive back to our rented lodgings in town, pick up food and gifts, and drive a short way north of El Prado to our friends’ house for Christmas dinner. All is right.
It turns out that a Santa Fe-based writer, S.M. Stirling, has in fact been writing in that vein (heh). Here is his protagonist, hanging out in the Plaza, pondering an eternal Santa Fe question—shopping or museum-ing:
A homeless man was approaching, ready to ask for a handout; leathery skin and rank scent and layers of tattered cloth. She glared at him and found the weakness—a blood-vessel in the brain ready to rupture, weakened by drugs, bad feeding, alcohol and stress from the untreated chemical imbalances that rode him more savagely than even her kind could do. She pushed. The world shifted slightly as might-be switched to is, like a breath of cold air up the spine and a tightness that went click and released around the brows. The man collapsed.
Adrienne rose and stepped by him; it would probably be minutes before someone noticed it was more than the usual unconsciousness. She’d planned on spending the afternoon at the O’Keefe Museum, or possibly shopping for jewelry, but…
Sample chapters of the book, A Taint in the Blood, are available at his Web site. Stirling seems to have a fondness for superhuman characters who, we might say, clean out the weak, which fits with the literary-vampire ethos.
Santa Fe might be called the New Orleans of the West, only “earthy” in an elemental sense rather than “watery.”
It caters to tourists and offers them a good time. Tourist Santa Fe, selling High Culture (art and opera) to Texans (and others) co-exists with governmental Santa Fe just hundreds of yards away—after all, it has been a provincial capital since 1608.
But underneath . . . layers and layers. Ethnic balkanization and people cherishing hatreds and triumphs that go back centuries. Martyrs and massacres. Deep roots in the earth.
• The latest weird search query to bring a visitor to this blog: “Is New Mexico a polytheistic, monotheistic, or animistic religion?” Hello? New Mexico is a state. No wonder that for years New Mexico Magazine has had a standing column on geographical confusion called “One of Our 50 is Missing.”
• Christian apologist John Morehead interviews film scholar Carrol L. Fry, author of Cinema of the Occult: New Age, Satanism, Wicca, and Spiritualism in Film. An excerpt:
TheoFantastique [Morehead] : Cinema has also changed in its depiction of the witch. Are fairytale depictions as in Harry Potter, as well as those which depict the empowerment of the feminine perhaps the most common modes of expression in contemporary film?
Carrol Fry: Yes, the empowerment of the feminine is the most popular adaptation, whether the film is supportive of critical. I’m sure this has to do with attracting an audience for the film. But Pagans might well feel that Hollywood slights their spiritual paths by concentrating nearly exclusively on feminist Wicca, and then just on the most sensational elements. By the way, there’s a strong subtext of feminist Wicca in
that no one much notices, most obviously in Sophie’s (named for Sophia from the Gnostic tradition) blunders into a Wiccan ceremony in which her grandfather is “drawing down the moon” as a coven ceremony. There are a few other witch films that are not part of the culture wars, romantic films such as I Married a Witch
and Bell, Book and Candle that are neither the silly version of witches (that have nothing to do with Neo-Paganism[sic]) such as the Harry Potter novels and films nor adaptations of Wicca.
Looking back to the artists and writers of 1930s-40s Santa Fe and Taos, New Mexico writer Paul Horgan observed,
Between Santa Fe and Taos there was a sense of rival constituencies, and sensitive persons tended to be loyal to the powers, virtues, and dangers of one place or the other. Santa Fe was more worldly, more sophisticated. Taos believed itself to be animated by an energy that was actually occult.
Having lived briefly in Taos and having visited both places off and on since my teens, I think that Horgan’s distinction still applies.
Put me in the Taos group: Santa Fe’s Spanish-imperialist past still lingers.
I stop for coffee in Taos, and the guy at the next table is talking about how parallel universes influence ours. In Santa Fe, it’s where they came from and what glamorous destination awaits them next.
In fact, I became a capital-P Pagan in Taos. Actually, it was in the nearby village of Talpa–but still Taos County. (I see I said that once already. Where are the adobes of yesterday?)
Horgan is quoted in Barbara Harrelson’s Walks In Literary Sante Fe: A Guide to Landmarks, Legends and Lore which is itself an extended bibliographic essay-with-maps about the former provincial and current state capital.
The next time I visit, I want to follow some of her walks.