Shaky Ground

written Aug 31, 2008, during insomniatic wakening

There are layers.

My truth is only one view through a convoluted, rippled memory.

As a child, my experiences and observations came with no contextual identifiers.  Even reactions were downplayed and re-assigned in acquiescence to an elder's (church's) desires.

In what format does a child live?  One person's most tragic day could be another's fantasy castle.

Pastelsplitself_2 The fact of some tragedy (ies) does not rob a child of their memorial joy, but it does cast a long shadow on their psychological future.

Sensory triggers are psychoneuroimmunilogical and those re-wired synapses cannot be re-instated to their seminal semantics.

This time of personal archetype development can overrun the soul.  Souls become lost in the netherworld of loss.

While surrounded by birds chirping in the clear blue sky, this, my tattered soul, is grasping at slippery roots to regain a sense of solid footing.

Shall it come to pass?

In my life, moments glimmer with mica-glittered foundation stones, until a new tremor comes along - it is hard to stand on such shaky ground.

What are my "seismic" pre-tremor shocks?

- thick, twisty "devil" eyebrows

- greasy, slicked-back, receding hair

- fishhooks

- knobs turning under a porch awning

- jelly

- banana seat bikes

- flyswatters (especially if shaped like a butterfly)

- keys or money being jangled in a pocket

- creaky swings

- fish eggs pouring from a fresh fish

- black, glossy tarmac from the glare of the sun

- dirty fingernails

- vans with no back seats

- trailers

- pencils

- having my head pushed down

- "Good Girl"

- religion

- blankets too light to feel "safe"

- the urge to pee at night and the danger of going to the nearest bathroom

Raggedy_digital Images:

Image 1 - above - "Split Self", pastel on paper, 32"h x 24"w, 2006.

Image 2 - immediate left - "Your Story Begins At Home", Found Object/Altered Doll Sculpture, Self Portrait, 42" h x 16"w x 17"d, 2006.

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Integrating the Liberal Arts, Education, and Human Potential (Part III)

By representing oneself and one's creative outlet, it can be learned to respect others and their forms of expression.  Abuses against others, including animals and children, would be eradicated in general.  In addition, by each individual's ability to self-nurture and self-respect, instances of physical ailments and emotional neuroses will also diminish. These physical and emotional ailments can be directly related to repression and denials which can be expressed and embraced through practicing the arts.  Science has proved through the study of psycho-neuroimmunology that the mind and body are unequivocally connected.  Thosed emotional concerns, which are not dealt with and settled in the spirit, will adversely effect the physical health of the individual.  Conversely, if one is taught ways in which to EXpress them as opposed to REpress, we know that physical health and wellbing will be established and maintained.  Your body is an instrument that sends messages to your mind, illnesses are to be considered wake-up signs and warning signals of underlying emotional concerns. Friedrich Nietzche reminds us that "[t]he role or purpose of art is to enhance life . . . to increase . . . the concentration and force of the vital spirit" (Barzun 123).  By nurturing our creative consciousness, more meaningful and long-lasting solutions will be found for the world's ills.  "Through the arts we learn to see our environment more clearly; to sense its color, song, and dance; and to preserve its life and quality (Panel 3-4).  Our "pursuit of happiness" needs to include our relationships with others and the world in which we live.  The world does not revolve around any human individual; indeed, we evolve within our world. Through the integration of arts in our everyday lives, the world can be changed to one in which full human potential may be achieved.  A world in which every species has an equal opportunity to reach and fulfill their intrinsic purpose of being.  The arts are one form in which humans may be utilized as healers and teachers of the universe. Copyright 1999 by Sher Fick, all rights reserved. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ WORKS CITED AND REFERENCED Ackerman, Diane.  "Why We Need to Play", Parade, Daily News 25 April 1999:12-13. Barzun, Jacques.  The Use and Abuse of Art, (The A.W. Mellon Lectures in the Fine Arts, 1973), Princeton University Press, 1974. Carbonetti, Jeanne.  The Tao of Watercolor, A Revolutionary Approach to the Practice of Painting, Watson-Guptill Publications, New York, NY, 1998. Frida Kahlo.  Dir(s) E. Herson, R. Guerra and W. Von Bonin, RM Arts, 1983. Gaines, Susan.  "The Art of Living", Better Homes and Gardens, March 1999: 58-62. The Getty Center for Education in the Arts.  Arts for Life, videocassette copyright 1990, J. Paul Getty Trust. Mellencamp, John and Green, George M.  Your Life is Now, Compact Disc "John Mellencamp", Little B. Publishing/EMI April Music Incl, 1998. Offner, Rose.  Journal to the Soul, The Art of Sacred Journal Keeping, Gibbs-Smith Publisher, Salt Lake City, Utah, 1996. Otto Dix: The Painter is the Eyes of the World.  Dir. Reiner E. Moritz.  Poorhouse Productions, 1989. Panel, The Arts, Education and Americans.  Coming to Our Senses, The Significance of the Arts for American Eduction, McGraw-Hill Book Company, 1977. Williamson, Marianne.  A Return to Love, Reflections on The Principles of A Course in Miracles, Haper Paperbacks, New York, NY, 1994. http://vh1.com/insidevh1/savethemus/ . . . 4/19/1999.  Website of VH1 Registered.
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