{"id":3553,"date":"2016-11-20T21:00:59","date_gmt":"2016-11-20T21:00:59","guid":{"rendered":"http:\/\/mmstudies.com\/about-us\/?page_id=3553"},"modified":"2018-01-05T22:57:06","modified_gmt":"2018-01-05T22:57:06","slug":"paintings","status":"publish","type":"page","link":"http:\/\/mmstudies.com\/about-us\/paintings\/","title":{"rendered":"Paintings & drawings"},"content":{"rendered":"

Modern Matriarchal Studies<\/strong><\/a><\/p>\n

Helheta \/ Gunilla Madeg\u00e5rd Website \/Blog<\/p>\n

A R T W O\u00a0R\u00a0K \u00a0 O F \u00a0 I S S A\u00a0<\/p>\n

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\n\t\t\t\t\"bildsju\"<\/p>\n

\u00a0M A T R I A R C H A L \u00a0 A E S T H E T I C S:<\/p>\n

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People inbedded in their environment and community<\/p>\n

Visions of the beauty inherit in the structures and patterns of life and nature<\/p>\n

Women and children making up a safe triad together with their male Heros \/ backups<\/p>\n

The guise of nature as the immanent Goddess of abundance and giftgiving<\/p>\n

Cultic dedication through making music, rythm, dance and movements<\/p>\n

Art made by organic material<\/p>\n

Art and rite in and by nature<\/p>\n

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M A T R I A R C H A L I S T;<\/p>\n

ROBERT VON RANKE GRAVES<\/p>\n

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APPOLONIAL VS DIONYSIAN APPROACH TO ART \/ AESTHETICS<\/p>\n

Thesis by Robert von Ranke Graves\u00a0<\/p>\n

 <\/p>\n

Robert von Ranke Graves<\/a>, 1895- 1985 was an English poet, novelist, critic, and classical scholar who carried on many of the formal traditions of English verse in a period of experimentation and eventually became a so called “matriarchalist” radicalist far beyond his time. In many senses his life and attitudes reminds of his contemporary \u00a0fellow academic: Robert Briffault, as both of them after having taken part in WW1 set out to look for alternative forms of societies \/ cultures to Western civilisation and didn’t\u00b4t hesitate to announce the matriarchal foundation to modern patriarchal society and history.<\/p>\n

 <\/p>\n

While serving as a British officer at the western front, Graves was severely marked by the horror of trench warfare, \u00a0and remained deeply troubled by his war experiences for at least a decade.<\/p>\n

 <\/p>\n

Before 1914 Graves was as a typical Georgian poet, but his war experiences and the difficulties of his personal life gave his later poetry a much deeper and more painful note, and as such he found much indspiration and an alternative in the matriarchies he, as well as other contemporaries and predecessors, \u00a0endeavoured in their historical \/archeological \/ anthropological investigations.<\/p>\n

 <\/p>\n

In \u00a0The White Goddess: A Historical Grammar of Poetic Myth<\/em>,\u00a01948, Graves\u2019s controversial and unorthodox theories of mythology, part invention and part based on his research into pre-Classical religions, shocked many because of their basic feminist premise. According to Graves, the White Goddess combines the powers of love and death, rebirthing and poetic inspiration. She ruled during a matriarchal period in the distant past before she was deposed by the patriarchal gods, who represent cold reason and logic.<\/p>\n

 <\/p>\n

It was at this point Graves claimed, that \u201cApollonian\u201d or academic poetry began to dominate. Graves further argued that the White Goddess was again in evidence during the Romantic era.
\nThe best poets\u2014the only ones really capable of writing poetry, according to Graves\u2014continue to worship her and are honoured with her gifts of poetic insight.<\/p>\n

 <\/p>\n

Thus; Here we are again; \u00a0Are there really such a thing as “matriarchal art or aesthetics” – something that differs from the appolonian controlled, \u00a0well mastered and balanced kind of art, and carriages a more \u00a0spontaneous \/ intuitive imaginative or dionysian and\/or \u00a0lyrical touch in the aesthetic expression?<\/p>\n

 <\/p>\n

It may seem farfetched – but might perhaps distinguish \u00a0the difference between individual – collective<\/p>\n

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Have a look at Issas imagery – he who is Son of Matriarchy would know \u00a0– and judge for yourself.<\/p>\n

I S S A\u00a0<\/p>\n

S O N \u00a0 O F \u00a0 M A T R I \u00a0A R C H Y\u00a0<\/p>\n

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T H E \u00a0 D A N C I N G \u00a0 G O D D E S S<\/p>\n

Heide G\u00f6ttner-Abendroth<\/p>\n

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T H E \u00a0 D A N C I NG \u00a0 G O D D E S S\u00a0<\/strong><\/a><\/p>\n

by Heide G\u00f6ttner Abendroth<\/p>\n

 <\/p>\n

Blending theory, criticism, and ritual, reveals the foundations of the ancient tradition of “matriarchal art,” and shows how that tradition flourishes in the works of major contemporary women artists and in contemporary women’s spirituality.<\/p>\n

 <\/p>\n

Heide Gottner-Abendroth is a researcher of matriarchal societies and in this spirit this book was written. She formulates concepts of a matriarchal art and aesthetic through going back to matriarchal ritual art. She defines this art as a process of \u00a0shaping and reshaping \u00a0life well integrated in our cultural and social experience as the center of this practice (in contrast to patriarchal art as fiction and formal technique).<\/p>\n

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M A T R I A R C H A L \u00a0 \u00a0A E S T H E T I C S<\/p>\n

 <\/p>\n

A text by Heide G\u00f6ttner Abendroth qouted from<\/p>\n

Aestethic Phase shift\u00a0<\/a><\/p>\n

Martha Senger at the\u00a0G2 institute for Integral Aesthetics<\/p>\n

 <\/p>\n

Matriarchal Aesthetics:\u00a0 <\/strong><\/p>\n

Heide Gottner-Abendroth\u2019s Art Utopia<\/p>\n

 <\/p>\n

“In an essay in Feminist Aesthetics, Heide Gottner-Abendroth develops a matriarchal art utopia based on the assumption that matriarchal mythology is the universal basic pattern of all mythologies from which all religions have developed; a structure of the imagination not complete in itself whose concrete forms are as varied as the regional, individual and social conditions of those who created them.\u00a0 Matriarchal art is therefore \u201cdiversity in unity, in which the unity is not dogmatic, the diversity not subjective.\u201d<\/p>\n

 <\/p>\n

As she explains, matriarchal art is not \u2018text\u2019, not is it limited to manufacturing art products.\u00a0 On the contrary, \u201cit is a process which gives a pre-exiting inner structure, found in the ritual of dance, external expression.\u00a0 It is a process in which all participate collectively to create this external expression; a process that demands the total commit-ment of all participants\u201d and in which all who participate \u201coperate simultaneously on\u00a0the levels of emotional identification, theoretical reflection and symbolic action, wedding together feeling, thinking and doing in the form of the concrete mythological image \u2013 a totality that releases true ecstasy in the participants\u2026a\u00a0 dynamic\u00a0 process characterized by ecstasy and with a positive impact on reality (magic).<\/p>\n

 <\/p>\n

Because it cannot be objectified, matriarchal art cannot be subdivided into genres, nor is there a division between art and non-art which\u00a0 serves to break down the barriers\u00a0 between art and theory.\u00a0 \u201cIn its ancient form\u201d she writes \u201cmatriarchal art merges with mythology and with the natural and social sciences.\u00a0 At the same time, it breaks down the barrier between art and life.\u201d The erotic is the dominant force and not work, discipline or renunciation.<\/p>\n

 <\/p>\n

Aestheticizing Society<\/strong><\/p>\n

 <\/p>\n

The social changes which matriarchal art brings about override the divisions in the aesthetic sphere. In patriarchal societies aesthetics is divided into a formalist, elitist, socially effective art on the one hand, and a popular, widespread but socially vilified and outcast art on the other. Overcoming this division would return to art its original public role, allowing it to emerge as the most important social activity and bringing about the aestheticisation of the whole of society. This was the reality of ancient matriarchal art, modern matriarchal art attempts to achieve it once again.<\/p>\n

 <\/p>\n

A New Web of Connections<\/strong><\/p>\n

 <\/p>\n

\u201cIt is a tremendous challenge,\u201d she concludes, \u201cto live by the values which patriarchal societies have banished to the ghetto of the unreal. Patriarchal societies will fight matriarchal art because it does not allow itself to be domesticated either formally or socially.\u00a0 And thus this art finds itself involuntarily at the scene of political action.\u00a0 Its form will be the very unusual one of political confrontation, a totally unexpected tactic for the opponent who has not experienced this form of resistance before. The battle will not be an exchange of hostilities but an incessant ebb and flow\/advance and retreat, an ungraspable symbolisation, the creation of a completely new web of connections in the centre of this fragmented, atomized world.<\/p>\n

 <\/p>\n

As a form of living, It is beauty but not a commodity.\u00a0 It seeks to dissolve the divisions within the aesthetic and aestheticise the whole of society.\u00a0 This means creating a meaningful social life together.\u00a0 Seen from this perspective, art is no longer a specialized technique, an exclusive know-how but the universal ability to shape a worthwhile life, both personally and socially.\u201d<\/p>\n

 <\/p>\n

What is a Matriarchy \u2013 Modern Matriarchal Studies<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

Due to the endeavour with Robert Graves work, Heide G\u00f6ttner-Abendroth<\/a> as a young student \u00a0was much inspired to continue the investigations of the omitted matriarchal past; its kind of “religious” mythopoetic approach to life and the phenomena.<\/p>\n

 <\/p>\n

Her extensive work is then presented in too different books; the first one considering the mere mythological issues: Die G\u00f6ttin und ihr Hero<\/em><\/a>, \u00a01982, (The Goddess and her Hero, , <\/em>and the\u00a0second\u00a0considering the special matriarchal view upon \u00a0the aesthetics that goes along with it: Die Tanzende G\u00f6ttin, 1982<\/em>\u00a0 \u00a0( The Dancing Goddess<\/a><\/em>, 1991)<\/p>\n

 <\/p>\n

Rather difficult rot understand.<\/p>\n

 <\/p>\n

You have to start with<\/p>\n

 <\/p>\n

I have had 20 years together with Issa to try to find out what\u00b4s going on in his mind, that seems so very special to me. And I have also thoroughly plunged HGA:S books<\/p>\n

 <\/p>\n

 <\/p>\n

Theorising by\u00a0Heide G\u00f6ttner Abendrothsin her work: \u00a0The dancing Goddess<\/p>\n

 <\/p>\n

As someone wrote in her review of Heide G\u00f6ttner Abendroths: The dancing Goddess<\/p>\n

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 <\/p>\n

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FIRST THESIS<\/p>\n

Matriarchal art transcends the fictionality principle, which confines art to \u201cbeautiful semblance\u201d and rids it of its relation to real life. Beyond the principle of fictionality art is magic.<\/p>\n

Magic art changes reality by enabling humans, with the aid of symbols, to act in accordance with the great terrestrial and cosmic cycles.<\/p>\n

F I\u00a0V E\u00a0 \u00a0T H E S I S \u00a0 A B O U T \u00a0 \u00a0M A T R I A R C H A L \u00a0 A E S T H E \u00a0T I C S\u00a0 \u00a0 \u00a0<\/p>\n

by Heide G\u00f6ttner-Abendroth<\/a><\/p>\n

FIRST THESIS<\/p>\n

 <\/p>\n

Matriarchal art transcends the fictionality principle, which confines art to \u201cbeautiful semblance\u201d and rids it of its relation to real life. Beyond the principle of fictionality art is magic.<\/p>\n

 <\/p>\n

Magic art changes reality by enabling humans, with the aid of symbols, to act in accordance with the great terrestrial and cosmic cycles.<\/p>\n

 <\/p>\n

SECOND THESIS<\/p>\n

Matriarchal art has an enduring, pre-existing framework: the cycle of the seasons of heaven and earth. These were celebrated in the great cultic festivals throughout the year, which are preserved in the patterns of traditional matriarchal mythologies.
\nIn this sense matriarchal art does not produce objects, but is a process shared by all participants.<\/p>\n

 <\/p>\n

THIRD THESIS
\nSince it does not produce objects, matriarchal art knows no separation of artistic genres.
\nThe cultic festivals are an indivisible union of music, song, poetry, dance, ornamentation, visual art, comedy, and tragedy; and everything serves the purpose of invoking, celebrating, and glorifying the Great Goddess in her many diverse aspects.<\/p>\n

 <\/p>\n

FOURTH THESIS<\/p>\n

Matriarchal art does away with the split in the aesthetic dimension. In patriarchal societies, the aesthetic dimension is split into a formalistic, elitistic, socially insignificant art and a popular, wide-spread, socially despised art.<\/p>\n

 <\/p>\n

The dissolution of that split would restore to art the entirely public character it once had. Art would then manifest itself as an alternative symbolic practice and, through its processes of social change, bring about the aestheticization of the entire society.<\/p>\n

 <\/p>\n

FIFTH THESIS
\nIn this sense art is not a special technical skill. But it is the ability to create, to nurture, to celebrate, and reshape life.
\nIn every patriarchy, the practice of matriarchal art is an opposing power with the possibility of gentle revolutionary change.\u201d<\/p>\n

\t\t\t\t\"IMG_0805\"<\/p>\n

SECOND THESIS<\/p>\n

 <\/p>\n

Matriarchal art has an enduring, pre-existing framework: the cycle of the seasons of heaven and earth. These were celebrated in the great cultic festivals throughout the year, which are preserved in the patterns of traditional matriarchal mythologies.
\nIn this sense matriarchal art does not produce objects, but is a process shared by all participants.<\/p>\n

\t\t\t\t\"424589_322382231133208_1501628963_n\"<\/p>\n

HEIDE G\u00d6TTNER-ABENDROTH\u00b4S FIVE THESIS ABOUT MATRIARCHAL AESTHETICS<\/p>\n

 <\/p>\n

FIRST THESIS<\/p>\n

Matriarchal art transcends the fictionality principle, which confines art to \u201cbeautiful semblance\u201d and rids it of its relation to real life. Beyond the principle of fictionality art is magic.
\n Magic art changes reality by enabling humans, with the aid of symbols, to act in accordance with the great terrestrial and cosmic cycles.<\/p>\n

 <\/p>\n

SECOND THESIS<\/p>\n

Matriarchal art has an enduring, pre-existing framework: the cycle of the seasons of heaven and earth. These were celebrated in the great cultic festivals throughout the year, which are preserved in the patterns of traditional matriarchal mythologies.
\n In this sense matriarchal art does not produce objects, but is a process shared by all participants.<\/p>\n

 <\/p>\n

THIRD THESIS
\n Since it does not produce objects, matriarchal art knows no separation of artistic genres.<\/p>\n

 <\/p>\n

The cultic festivals are an indivisible union of music, song, poetry, dance, ornamentation, visual art, comedy, and tragedy; and everything serves the purpose of invoking, celebrating, and glorifying the Great Goddess in her many diverse aspects.<\/p>\n

 <\/p>\n

FOURTH THESISMatriarchal art does away with the split in the aesthetic dimension. In patriarchal societies, the aesthetic dimension is split into a formalistic, elitistic, socially insignificant art and a popular, wide-spread, socially despised art.<\/p>\n

 <\/p>\n

The dissolution of that split would restore to art the entirely public character it once had. Art would then manifest itself as an alternative symbolic practice and, through its processes of social change, bring about the aestheticization of the entire society.<\/p>\n

 <\/p>\n

FIFTH THESIS
\n In this sense art is not a special technical skill. But it is the ability to create, to nurture, to celebrate, and reshape life.
\n In every patriarchy, the practice of matriarchal art is an opposing power with the possibility of gentle revolutionary change.\u201d<\/p>\n

 <\/p>\n

 <\/p>\n

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S C U L P T U R E S \u00a0 \u00a0B Y \u00a0 I S S A\u00a0\u00bb<\/a><\/p>\n

E M B R O D E R I E S \u00a0 B Y \u00a0 I S S A\u00a0\u00bb<\/a><\/p>\n

S A T I R\u00a0\u00a0E \u00a0 \u00a0B Y \u00a0 I \u00a0S S <\/a>A\u00a0\u00bb\u00a0<\/p>\n

Back to the homepage of Modern Matriarchal Studies\u00a0\u00bb<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Modern Matriarchal Studies Helheta \/ Gunilla Madeg\u00e5rd Website \/Blog A R T W O\u00a0R\u00a0K \u00a0 O F \u00a0 I S S A\u00a0 \u00a0M A T R I A R C H A L \u00a0 A E S T H E T I C S:   People inbedded in their environment and community Visions of the…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full-width-page.php","meta":{"footnotes":""},"class_list":["post-3553","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/pages\/3553","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/comments?post=3553"}],"version-history":[{"count":69,"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/pages\/3553\/revisions"}],"predecessor-version":[{"id":3926,"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/pages\/3553\/revisions\/3926"}],"wp:attachment":[{"href":"http:\/\/mmstudies.com\/about-us\/wp-json\/wp\/v2\/media?parent=3553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}