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The Mystic Life
By Phyllis Parun
As a native
New Orleanian, I have enjoyed a rich cultural heritage. And I
have tried to be a contributor to the development of the New
Orleans community.
On Sept. 29 from 4-7PM
I am helping the Shoalin-Do Studio celebrate their 1st
Anniversary in New Orleans with an exhibit of ink paintings and
photography in which I integrate art, poetry, and Asian
philosophy. It is the kung-fu of art in both ancient and
pop settings. In traditional Taoist
and Buddhist philosophy, this type of work is considered to be
the joyful soul work, which is my current destination after six
decades of trying to live the creative process to my fullest.
In New Orleans art
circles, I am perhaps best known for my pioneering work in
developing the visual arts community. In 1976-79 as
the Visual Arts Coordinator of the Artists Information Bureau, I
was the creator of a monthly newsletter, the city's first artist
slide registry, and the city's first business seminars for
artists. During this same period, I founded the La.
Chapter for the Artists Equity Assn. and during my 3
year presidency this group of artist's first introduction
of the 1% for Arts Amendment to the City Council which was
later reintroduced by the Arts Council of New Orleans.
Others know me for
opening New Orleans' first fulltime fine and decorative arts
studio in the 1980's where I specialized in gilded objects
working on every major collection in the city over 12 year
period. Since I was also a creative visual artist, I was
able to cross over my conservation skills into the fine
arts. I began creating original works of art using gold
leaf. It was during this period that I revive 3 lost
gilded arts: Panel Painting, Verre Eglomise, and Gilded
Bas-Relief thereby, transforming the gilding arts into a fresh,
new contemporary art form.
Still some know me more
recently as a poet and journalist. Perhaps, others remember me
for my pioneering activities in the 1980's in the formation of
the healing arts community where I immersed myself in the living
philosophies of Asian through practicing shiatsu and
macrobiotics. And in the early 90's I gravitated to
qigong, a kind of Chinese moving meditation that
predates Taji(Tai Chi).
On Sept. 29th I bring
the healing arts and visual arts together in one exhibit titled
"The Mystic Life" in which I present the qigong of ink
painting, combining poetry, calligraphy, ink and miniature
painting.
In the ink paintings I
seek movement in emptiness. In Asian calligraphy the
spirit in a line which expresses energy is considered to be the
highest requirement of all art. Ink painting is not
a static art. To be considered good at it the artist my
must capture movement. The empty space must be
active. The line must embody the essence of the cycle of
nature, yin and yang strokes. In this type of energy-painting,
the artists' stance and breath control regulate the flow of
energy from her feet to her hand. It is the kung fu of
painting, the highest form of spiritual expression.
The art of ink painting
is also a healing art. Master calligrapher, Professor Wei
Xue Feng a scholar and art historian, from Chengdu, the
capital of Sichuan Province has said that "There is
no trick to living well to the age of at least one
hundred. All you have to do is practice
calligraphy." Prof. Feng is known for his use
of calligraphy to diagnose and treat manic depressive patients
in mental institutions.
In the photographs I
express stillness. They sit like a Buddha, out flowing the
rhythms of internal music like water rushing over a
waterfall. The works are intentionally empty and full
of the essence of life energy or Qi (Chinese ).
The exhibit is titled
"The Mystic Life" but it could just as well be titled,
"Empty and Full" or "The Kung Fu of
Art."
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Whatever
its title it represents the culmination of my creative energies and rich
cultural influences. Please join us for a joyous event on Sept.
29 from 4-7 at Burgundy and Spain in the Marigny. Sat., Sept. 29
Anniversary kung fu celebration followed by "The Mystic
Life" ink painting and photographs by Phyllis Parun.
Free self-defense lesson, artist's reception, refreshments.
Shaolin-Do studio(Burgundy corner of Spain.) 4-7PM Free.
Joseph Meissner tel: 314-1001 and phyllisbparun@aol.com
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Weep Not, Child
By
Ngugi wa Thiong'o
This is
a powerful, moving story that details the
effects of the infamous Mau Mau war, the
African nationalist revolt against colonial
oppression in Kenya, on the lives of
ordinary men and women, and on one family in
particular. Two brothers, Njoroge and Kamau,
stand on a rubbish heap and look into their
futures. Njoroge is excited; his family has
decided that he will attend school, while
Kamau will train to be a carpenter. Together
they will serve their country—the
teacher and the craftsman. But this is Kenya
and the times are against them. In the
forests, the Mau Mau is waging war against
the white government, and the two brothers
and their family need to decide where their
loyalties lie. For the practical Kamau the
choice is simple, but for Njoroge the
scholar, the dream of progress through
learning is a hard one to give up.—Penguin
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Sister Citizen: Shame, Stereotypes, and Black Women in
America
By Melissa V.
Harris-Perry
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.
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The White Masters of the
World
From
The World and Africa, 1965
By W. E. B. Du Bois
W. E. B. Du Bois’
Arraignment and Indictment of White Civilization
(Fletcher)
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Ancient African Nations
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Negro Digest /
Black World
Browse all issues
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Enjoy!
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The Death of Emmett Till by Bob Dylan
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The Lonesome Death of Hattie Carroll
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Only a Pawn in Their Game
Rev. Jesse Lee Peterson Thanks America for
Slavery /
George Jackson /
Hurricane Carter
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The Journal of Negro History issues at Project Gutenberg
The
Haitian Declaration of Independence 1804
/
January 1, 1804 -- The Founding of
Haiti
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April 2012
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