Kathleen Carr 7/18/91

Kathleen Carr: "Inward spiritual, outward optical"

THE WISDOM OF THE ANGELS—Carr's photo "Eleven Monarch Butterflies: Big Sur, California.'

KATHLEEN CARR: "I learned you could use photography as a vehicle for metaphor."

BY MAUREEN HURLEY

It was an idea whose time had finally come," says Kathleen Thormod Carr of To Honor the Earth: Reflections on Living in Harmony with Nature, the Graton artist's photographic environmental essay of nature—the spirits of the natural world. The 110-page book, with 57 color photographs and accompanying text by Findhorn co-founder Dorothy Maclean, is the result of 15 years worth of nature photos Carr took during her travels around the world from 1972 to 1979. The book features close-up views
of pIant, and vast landscapes—the elements at work—photographs of Scotland, Indonesia, Peru, Greece, Norway, Mexico, Alaska and California. Also included are more recent shots of Sonoma County, where Carr has made her home for the past three years.

According to Carr, To Honor the Earth (HarperSanFrancisco) explores the central relationship we have with the living earth. "The realization of our interconnectedness with all life becomes particularly crucial at this time when the entirety of the web of life on this planet is threatened. These communications awaken the awareness in us that nature has intelligence and a spiritual dimension we can all share," says Carr, a free-lance and fine-art photographer, whose work has appeared in numerous periodicals among them Esquire, Yoga Journal, Psychology Today, New Age Journal, and Cosmopolitan.

Her photos have also been published in several books, including An Open Life: Joseph Campbell in Conversation with Michael Toms, and The Upstart Spring: Esalen, and the American Awakening. She has exhibited work in both the United States and Scotland. Her "Stone and Pool" was one of 2OO prints selected out of 13,000 submissions to be published in 10,000 Eyes, a 150-year retrospective of photography by the American Society of Magazine Photographers (forthcoming). Carr is a member of the ASMP and has two businesses: Carr Classics Card Company, and EARTHLIGHT Nature Images Company.

The eminent mythologist Joseph Campbell, whom Carr first met at the, Esalen Institute in Big Sur, California, described Carr's photos as opening "to the beauty of the natural world by way of an inward spiritual, as well as outward optical, awakening of the mind's interest." To Honor the Earth explores some important questions: What is our responsibility in maintaining a balanced ecology? What does proper stewardship of the earth entail? What can we, as individuals, do to cooperate with nature?

In his introduction to the book, New Age philosopher David Spangler reminds us of what we've forgotten. "It reaffirms the existence of the community of nature, of which we are a part, a community of mind and spint as much as of ecology. Also, it shows us that we do have a power of consciousness, of outreach and communion, that can connect us with that community."

Carr, who received her B.F.A. in photography from Ohio University in 1970, said there are two primary influences in her work: One was studying privately with fine-arts photographer Minor White in Massachusetts. "I learned you can use photography as a vehicle for spiritual work." Interested in the idea of photography as a metaphor, she found she could express many levels of awareness and realization through her work.

The second influence was Findhorn itself—an experimental community in northeastern Scotland that made global headlines in the early '70s when vegetables of enormous size and vigor were grown in nothing but sand dunes. "What began as an experiment to see how well humans could co-create with the spirit kingdoms in growing vegetables and flowers became a show-place of spiritual law in action," wrote P.M.H. Atwater in Runes.

In 1975, Carr collaborated with Dorothy Maclean on The Findhorn Garden, a pioneering work of cooperation with the spirits of the natural world, which attracted international attention. They also produced Faces of Findhorn and The Findhorn Family Cookbook. Maclean, who divides her time between Seattle and Toronto, is a lecturer and author of several books, including To Hear the Angels Sing. and leads workshops throughout the world on interspecies communications.

Carr says that when she got to Findhorn in the early '70s, her job was to photograph nature to do a slide show; the focus was on nature and the spiritual essence of all forms. "I'd always been drawn to nature, I felt connectedness with it. Through photography I began to look more closely at nature. I started to feel the essence.... I am fascinated by the energy I sense within the forms I am photographing. Using a variety of techniques, I attempt to express this presence more tangibly. When I take the time to really see, I am filled with wonder at the mystery and perfection in nature and in people. I photograph to communicate these feelings ... to reconnect to the beauty and inner radiance in everything."

When Findhorn Garden came out in 1975, Carr received "a lot of feedback" from readers who said how the book changed their lives. "I realized I wanted to dedicate some of my photographic expression to work that would have a transformational effect on people's consciousness and awareness about the earth and caring for nature."

When Carr was selecting the text and slides for the manuscript of To Honor the Earth, she had an idea of the types of photos she wanted to use. "The messages came from the photos themselves." said Carr, who also designed the book layout. The book is divided into four chapters. The first chapter is designed to introduce people to the concept of intelligence behind nature—likc British biologist James Lovelock who coined the idea of Gaia, the earth as a single living entity.

When I questioned Carr about that chapter's title, "The Wisdom of Angcls," she hastened to explain, "The word 'angel" is not accurate," referring me back to the book's preface. "What Dorothy Maclean experienced at Findhorn was a force field with no form, shape or color. She used the word 'dcva.' Sanskrit for 'shining one," the word 'angel" is too loaded.

Carr referred to the experience of "devas" as more akin to plant biologist Rupert Sheldrake's "morphogenic force fields." These M-fields direct the shape, development. and basic behavior of all living species and systems, functioning as invisible blueprints. or connecting memories.

Chapter 2 deals with the elements, moving into matter. Said Carr, "When we move into our center, we are connected to everything on a spiritual level. This chapter is to remind us what we already know. How can we stop war if we don't have peace within us?" Going back to the self to affect inner change affects outer change.

Chapter 3 is on the, call of the trees—the only urgent series of messages Maclean received from the am dates back 25 years. "Trees are like the skin of the earth. If more than one third of the skin dies, the being dies." The fourth and final chapter focuses on cooperation—to present the idea of cooperating directly with nature in order to clean up some of our messes.

So far, the book has been well received and sold over 6000 copies in the fust month of release. Carr has given over 30 lectures and workshops in Hawaii and the Bay Area since April 21, many with Dorothy Maclean. She said every event has been filled to capticity—standing room only. Carr said the choice of gift/ coffee table formal for the book was deliberate because they wanted to reach a wider audience; they wanted people to be drawn into the photography—then to read the text.

The photographs featured in To Honor the Earth are not necessarily indicative of Carr's work as a fine art photographer. When I questioned heron some of the clichéd images used in the book, Carr agreed. "I personally felt divided—I consider this my 'service work,' caring for the earth, and I wanted to use my photography to inspire and touch people's hearts—to reach a wider audience." She said the style of a photo (what sells) can be in conflict with how she sees herself as a growing artist. She exclaimed, "My repertoire is more broad-based: I do black and white photography, nudes, abstracts...I had to make a choice."

The multiple-exposure shots of a rowan tree in Scotland and maples in Sonoma, with their experimental format, demonstrate a new direction in Carr's work. "I've communicated an energy, aliveness. a juiciness of nature—which is not present in most nature photography," she says, referring to a tight closeup of a sensuous folded poppy bud.

Making the book was not an easy prospect for Carr, who, in the middle of production, discovered she had cancer and was forced to take time to heal herself. It too became a metaphor. "The balance of taking care of myself and fulfilling rcsponsibilities and commitments became a major challenge. My focus had to shift to taking care of myself, To take the time to go inside; any act from that place has more power. If we want to create balance in the world, first we need to create it within."


Carr's work is on exhibit at the Q Gallery, 140 Stony Point Road, Santa Rosa. through July 3l. Some of her work will also be on view at the East West Cafe in downtown Sebastopol throughout August.



THE WEST SONOMA COUNTY PAPER, JULY 18-31, 1991 page 21

Food for Though, Joan Marler, KPFA, Marija Gimbutas, The Paper, Oct 4, 1990

JOAN MARLER/FOOD FOR THOUGHT  10/4/90

Hunger is a primary motivator, whether it’s corporeal or intellectual, and if you listen hard enough, you can hear corn grow. Radio personality Joan Marler stumbled into the art of the interview because as a dancer and an artist, she felt isolated. “I was frustrated I couldn’t see what I had accomplished. As I worked on stained glass in my studio and listened to KPFA, I found I was mute.” Eight years ago, she asked herself what the most challenging position she could put herself into “to see if I could think straight.” Food for thought. The answer came in loud and clear on the airwaves. Marler volunteered at KPFA fm in Berkeley, and eventually became a producer of interviews, lectures and documentaries for public radio.

Joan Marler lives with her husband Dan Smith, and daughter Sorrel, in an octagonal handmade house, and several studios tucked under the oaks in the Sebastopol hills. A fifth generation Californian, she grew up in Fort Bragg, Mendocino. “As a child, I was literally starving, until the first artists moved to Mendocino in the ‘60s. I remember the beginning of my life, the invitation into my creative life. There was a storefront window with musical instruments. All I did was see the outside of the door and it was as if I was hit with a thunderbolt.” She was 13. “It’s important for me to work in a variety of fields simultaneously,” said Marler--and she does--in dance, the visual arts, interviewing, writing, and editing.

Her latest food-for-thought weekly edition, program which began in June, “Brainstorm,” a which airs Tuesdays from noon to 1 p.m., covers a broad spectrum of the universe. Marler, who was KPFA’s former poetry editor, described it as a series of lectures, interviews and live pieces that focus on ideas, philosophy, mythology, women’s spirituality, humanities, the arts and sciences.”

Asking: “What are the sources of our hidden impulses,” she delves into repressed material, “uncovering the hidden assumptions that create the blueprint for our individual, and collective lives and attitudes, bringing them into consciousness.” 

She explained, “I drive down to Berkeley to broadcast a show, and my voice comes back to the community via the radio.” Programming on KPFA affects whole communities of listeners, it’s a circulation of ideas. She likens ideas to food. “As a child I was starving for information. I’ve gained tremendous experience through this work. I’m concentrating nutrients and transmitting them to others.” 

Marler has interviewed and produced lectures by many notable luminaries including the late Joseph Campbell, Phil Cousineau, Alan Watts, psychologist Carl Rogers, Riane Eisler, who wrote “The Chalice and the Blade,” and Marija Gimbutas, whose book, “The Language of the Goddess” has challenged the concept of patriarchal belief systems.

A motivating factor in Marler’s work is the exploration of women’s spirituality, and how it relates to the modern world. On Oct. 6th, she will host a special 12 hour women’s spirituality marathon, focusing on the inseparability of politics and spirituality, on KPFA fm. Marler wrote an essay entitled, “Women’s Spirituality” for the KPFA “Folio,” “This listening to the deepest interior voice, past all rigid systems and laws, is at the heart of women’s spirituality. Beyond this, there is no organized theology, no dogma, no centralized system of worship or practice, no governing spiritual body or leader. Instead, there is a multiplicity of traditional and evolving forms of ritual, celebration, and sacred inquiry, practiced alone and in community with others, found in every culture in the world.”

“As the Chinese saying goes, ‘If we do not change the direction in which we are going, we are bound to head up where we are headed.’ The necessity of examining the myths by which we are operating, which gives rise to our attitudes and actions, has never been greater. Women’s spirituality, therefore, is not a form of escapism, but is a practice of clarity and inner alignment by which individual integrity and responsibility for ourselves, our communities, and the planet are being fostered. In this view, the spiritual and the political are profoundly intertwined,” wrote Marler.

She dragged a large box across the floor of her studio, and showed me the results of two year’s worth of hard work, a 500 page book she’d edited: “The Civilization of the Goddess: Neolithic Europe before the Patriarchy.” This manuscript is a companion volume to the groundbreaking book, “The Language of the Goddess” by Lithuanian anthro-mythologist, Dr. Marija Gimbutas. The professor of European archaeology at UCLA is author of 20 books and over 200 articles concerning European prehistory, mythology and the origins of the Indo-Europeans.

In “Women of Power,” Marler wrote: “The significance of Marija’s work on the Goddess cultures of Europe... (and) pioneering scholarship has influenced an entire generation of artists, mythologists, archaeologists, and feminist writers.... Marija contends that old Europe, which was peaceful, art-loving, matrilineal, and egalitarian in social structure, was overrun by patriarchal horsemen from the Eurasian steppes who brought the technologies of war. This was a collision of two entirely different world-views, one which celebrated life in the form of the Goddess, and the other which worshipped power through domination.”

“Doing interviews for KPFA brought me to Maria’s work from that of Campbell’s,” said Marler, who has written for many national magazines including “Yoga Journal,” and “New Age Journal.” Her interview of Joseph Campbell was one of three indepth magazine articles on the great mythologist to be published in his lifetime.

Marler’s most consistent interest is that of mythology, and of “matristic” cultures. “Matristic” is a word coined by Marija Gimbutas. Marler explains that the word matriarchal implies the opposite of patriarchal, which is another division. Marler noted that Gimbutas’s work profoundly influenced mythologist Joseph Campbell’s later work. She said “Marija’s work updated his work and brought it into focus. 

In an interview, Marler asked Gimbutas; I know that Joseph Campbell drew a great deal from your work; in fact he spoke of you often in your public lectures. Gimbutas replied: I heard indirectly that he was mentioning my name, and this was such a pleasant surprise. When he received the manuscript of my last work, called the “Language of the Goddess,” he responded with such warmth and enthusiasm... He wrote a foreword to my book which I appreciate very much. Joseph Campbell made mythology alive.” 

Marler recounted the manuscript for Gimbutas’s latest book was carried to Lithuania, chapter by chapter, and translated into Lithuanian, though it’s not yet published in the states. Gimbutas’s family is considered to be the keeper of information on Lithuanian culture supressed under Soviet rule. Marler’s next project is to write a biography of Marija Gimbutas.

(And now for some missing text—damned ASCII code. I guess I should be grateful I've salvaged this much, but what a mess!!!)

...and editing.


The multi-talented Marler has been teaching folk and ethnic dance for 15 years through SRJC, using the aesthetics gleaned from Marija’s work. She described the ancient dances as formulas for the evocation of certain states of communal and individual experiences. I first met Marler as she led a spiral dance at the memorial ceremony for her father-in-law, and poet-activist, the late Ralph Smith. As the spiral wove in and out of the garden, we were transported beyond the framework of late afternoon, fall verging on winter, to something more ancient and primal. We dropped the isolated barriers of our 20th century trappings, and, for a few moments, we came together as a tribe.

“I love dancing with my students, making the ancient formulas together so a field of vitality is set up, we’re connected with the earth and communicating. Dance is primary, transcendent; it’s the physical embodiment. The ancient formulaes are exacting; dance cuts across time and space.” Marler commented that when her daughter Sorrel was learning to walk, she fell down and got up again. “It’s not one but two movements.” How we are living inside our bodies is important as well. She added, communal experience is so alien to our culture. “Through music and dance we have to learn how to move together to a rhythm beyond the cerebral. To get students to blend with each other, it’s important to learn to move in communal manner. In my dance classes it all converges: the study of myth, sociology and literature--all these things are combined in the process of teaching and performance.” Her dance teacher Don Frye focused on how to receive the impulse from the earth and transform it--spiritual food manifested physically. Marler also studied with a Balkan dance teacher, Dick Crum, and with Jana Nierenberger.

Marler received her degree in modern dance at Mills College in Oakland, and traveled to Japan. In New York, she read “Hero with a Thousand Faces,” gave everything away, bought a tent, and taught dance in Mendocino. A self-professed student of Campbells for 20 years, Marler explained, “I use Campbell’s text as a basis for my classes. What I’m about is finding the sacred ground. What is the path to the sacred, the ground of your own being?” She said students must find it within themselves. Again, Marler left Mendocino to study ballet, and ended up marrying her former sweetheart, Dan, in Sonoma County, and began teaching folk dance and modern dance instead.

She discussed the importance of the natural beauty of the physical world and the balance between intense work and environment. “I feel bonded to northern California. This is my garden of choice. The primary connections with nature are my first teachers. Our human expression is to give voice to our connection with nature, to celebrate being alive is a part of nature,” this, in contrast to the concept of exile in the West.

A self-proscribed member of the global community, Marler has traveled to most of the continents, and after a visit to China in January, she noted, “It’s a privilege the access we have to the media. We need to have continued access to knowledge. As a radio programmer, I’m in charge to do this. I don’t think I can take anything for granted, especially after waht happened in China,” said Marler, referring to the role of the media--especially the crucial role of the fax machine during the Tiannenmen Square massacre. Marler said she honors the privileges afforded by this culture, and of living on the western edge of the continent “where Oriental cultures and the pioneer spirit merge. There is always a new, internal frontier before us,” she explained. “The job of the artist is to continually rediscover the moment. We’re all part of the interconnected mystery. That’s what the dance, visual arts and intellectual arts are all about. You can only find balance by letting go of the paradox.”

We sat in the garden under a great oak tree, where the cat patiently waited on the path for someone to pet him. “Creativity is the essence of it all, and that means being courageous, discovering uncharted territories. Creative, not imitative,” she mused. “It means seeing through your own eyes, being as fully present in the moment as possible, and challenging old assumptions.” She pointed to her abundent garden by way of example: “This process of turning over the ground, what we know to be true; what is alive, worth keeping, is a vital composting. There’s noting we can hold onto anyway.” And with that, she handed me a yellow squash, as gleaming as the sun. The scent of apples perfumed the air with promise. I recalled some lines from one of her poems, “Women’s Spirituality”: “Breathing/ Taking the slow inward trek/ past the inevitable shattering/ where the listening can begin// Listening/ inside the incessant howl/ (so quiet and still)// What is Born and what is Dying/ circles in this place.”