Saturday, October 12, 2024

The Entheogenic Art of Alex Grey (revisited)


entheogen |enˈthēəˌjen; -jən|
noun - a chemical substance, typically of plant origin, that is ingested to produce a nonordinary state of consciousness for religious or spiritual purposes.

entheogenic |enˌthēəˈjenik| adjective - ORIGIN 1970s: from Greek, literally ‘becoming divine within’; coined by an informal committee studying the inebriants of shamans.

Alex Grey was born in Columbus, Ohio on November 29, 1953 (Sagittarius), the middle child of a gentle middle-class couple. His father was a graphic designer and encouraged his son's drawing ability. Young Alex would collect insects and dead animals from the suburban neighborhood and bury them in the back yard. The themes of death and transcendence weave throughout his artworks, from the earliest drawings to later performances, paintings and sculpture. He went to the Columbus College of Art and Design for two years (1971-73), then dropped out and painted billboards in Ohio for a year (73-74). Grey then attended the Boston Museum School for one year, to study with the conceptual artist, Jay Jaroslav.


At the Boston Museum School he met his wife, the artist, Allyson Rymland Grey. During this period he had a series of entheogenically induced mystical experiences that transformed his agnostic existentialism to a radical transcendentalism. The Grey couple would trip together on LSD. Alex then spent five years at Harvard Medical School working in the Anatomy department studying the body and preparing cadavers for dissection.


He also worked at Harvard's department of Mind/Body Medicine with Dr. Herbert Benson and Dr. Joan Borysenko conducting scientific experiments to investigate subtle healing energies. Alex's anatomical training prepared him for painting the Sacred Mirrors (explained below) and for doing medical illustration. When doctors saw his Sacred Mirrors, they asked him to do illustration work.

Grey was an instructor in Artistic Anatomy and Figure Sculpture for ten years at New York University, and now teaches courses in Visionary Art with Allyson at The Open Center in New York City, Naropa Institute in Boulder, Colorado, the California Institute of Integral Studies and Omega Institute in Rhinebeck, New York.

In 1972 Grey began a series of art actions that bear resemblance to rites of passage, in that they present stages of a developing psyche. The approximately fifty performance rites, conducted over the last thirty years move through transformations from an egocentric to more sociocentric and increasingly worldcentric and theocentric identity. The most recent performance was WorldSpirit, a spoken word and musical collaboration with Kenji Williams which was released in 2004 as a DVD.

Grey's unique series of 21 life-sized paintings, the Sacred Mirrors, take the viewer on a journey toward their own divine nature by examining, in detail, the body, mind, and spirit. The Sacred Mirrors, present the physical and subtle anatomy of an individual in the context of cosmic, biological and technological evolution. Begun in 1979, the series took a period of ten years to complete.


It was during this period that he developed his depictions of the human body that "x-ray" the multiple layers of reality, and reveal the interplay of anatomical and spiritual forces. After painting the Sacred Mirrors, he applied this multidimensional perspective to such archetypal human experiences as praying, meditation, kissing, copulating, pregnancy, birth, nursing and dying. Grey’s recent work has explored the subject of consciousness from the perspective of “universal beings” whose bodies are grids of fire, eyes and infinite galactic swirls.


Renowned healers Olga Worral and Rosalyn Bruyere have expressed appreciation for the skillful portrayal of clairvoyant vision his paintings of translucent glowing bodies. Grey's paintings have been featured in venues as diverse as the album art of TOOL, SCI, the Beastie Boys and Nirvana, Newsweek magazine, the Discovery Channel, Rave flyers and sheets of blotter acid. His work has been exhibited worldwide, including Feature Inc., Tibet House, Stux Gallery, P.S. 1, The Outsider Art Fair and the New Museum in NYC, the Grand Palais in Paris, the Sao Paulo Biennial in Brazil. Alex has been a keynote speaker at conferences all over the world including Tokyo, Amsterdam, Basel, Barcelona and Manaus. The international psychedelic community has embraced Grey as an important mapmaker and spokesman for the visionary realm.

A large installation called Heart Net by Alex and his wife, Allyson, was displayed at Baltimore's American Visionary Art Museum in 1998-99. A mid-career retrospective of Grey's works was exhibited at the Museum of Contemporary Art, San Diego in 1999. The large format art book, Sacred Mirrors: The Visionary Art of Alex Grey has been translated into five languages and has sold over one hundred thousand copies, unusual for an art book. His inspirational book, The Mission of Art, traces the evolution of human consciousness through art history, exploring the role of an artist's intention and conscience, and reflecting on the creative process as a spiritual path.


Transfigurations is Alex's second large format monograph containing over 300 color and black & white images of Grey's work. Sounds True has released The Visionary Artist, a CD of Grey's reflections on art as a spiritual practice. ARTmind is the artist's recent video exploring the healing potential of Sacred Art. Grey co-edited the book, Zig Zag Zen: Buddhism and Psychedelics (Chronicle Books, 2002). The Chapel of Sacred Mirrors, CoSM, a long-term exhibition of fifty works of transformative art by Grey has opened (Fall 2004) in New York City. He lives in New York City with his wife, the painter, Allyson Grey and their daughter, the actress, Zena Grey.

Cosmic Christ
The Alex Grey Guitar

[With special thanks to Melissa Lin for introducing me to Alex Grey! First published 23 December 2008, reposted 27 )ctober 2013]


Wednesday, October 9, 2024

TESTOSTERONAL OVERDRIVE, TERRITORIALITY... AND THE MALAY MALE (revisited)

Self-portrait @ sixteen
I was only 16 when I met Azizah at a "grownup" party where couples were slow-dancing and drinking alcoholic beverages. My classmate Suhaimi had invited Johnny Khoo and me to the party. As a fifth form student in Batu Pahat High School I was still a Walt Disney kid and as naïve as Dumbo the Flying Elephant. 

[Note: When I wrote this essay in May 2009, I was blissfully unaware of Walt Disney's secret life as an initiate of the Cabal; only found out after 2016 when Donald Trump declared war on the global pedophile network and came under relentless attack by the Mockingbird/Talkingturd media!]

One afternoon I saw Suhaimi sitting alone in the school canteen, busy rolling a balut (reefer). "What's that you're smoking?" I asked. Suhaimi winked and said conspiratorially: "We call this ganja." I had no idea what he was talking about so Suhaimi explained that in English it was known as marijuana. He pronounced it "mari-jew-anna."

I was horrified. "Suhaimi, you're my buddy and I care about you, so please listen to me and stop this dangerous habit before it destroys your life."

Suhaimi grinned and nodded amicably but didn't bother arguing with me. Nor did he offer me a toke on his glowing reefer. Two years later when I had my first joint I thought back to this early encounter with "illegal substances" and felt like a complete twit. What a namby-pamby twirp Suhaimi must have thought I was! But he was kind enough not to mock me and I'm still grateful for that.

Gaia by Sabrine
But I digress. Coming back to the party where I met Azizah: I remember her grabbing me by the hand and dragging me to the dance floor. Though I felt awkward and shy I managed to pretend to be cool and sophisticated. I was on cloud nine dancing with the vivacious and extremely friendly Azizah. To top it all she was very pretty too. Before we parted she told me she lived in the Gunung Soga government quarters. She even gave me her address and invited me to visit anytime.

About a week later I found myself driving around the Gunung Soga area with Johnny in tow. My dad, bless his soul, trusted me with his car even though I was too young to possess a driver's licence.

"Hey, let's see if we can find Azizah," Johnny suggested. It only took a couple of turns around the neighborhood to locate her house. We walked up to the front door and boldly knocked. Azizah opened it and broke into a big smile when she saw us. She began chatting with us but made no move to invite us in. A moment later we understood why.

A heavyset bloke sporting a policeman-style mustache suddenly emerged from a bedroom and sauntered to the front door. Azizah appeared a tad nervous as she introduced her fiancé Azlan to us.

Azlan gestured to Azizah and she gave us a weak smile as she disappeared into the kitchen, as if to fetch us some drinks. Her fiancé's hunky body blocked the entrance. "How do you know Azizah?" he asked curtly.

"Oh, we met at a party and she invited us to visit," I began... but Azlan wasn't listening. He took a step forward and kneed Johnny in the groin.

Johnny reflexively got into fighting stance but I put a hand on his shoulder to calm him down. "Let's leave. I don't think we're welcome here."

That was my first experience of testosteronal overdrive, territoriality and the Malay male. It was such a rude and unpleasant shock I quickly blotted the incident from memory.



Thirty-three years later I was reminded of Azizah and her possessive lover Azlan when I saw Huzir Sulaiman's dramatic monologue, Election Day, wherein he played three housemates named Francis, Dedric and Fozi. The narrator is Francis (a freelance copywriter who could be either Indian or Eurasian) and the plot revolves around "the beautiful and enigmatic Natasha" (a rich girl who is neither seen nor heard at any point but for whose affections all three housemates end up vying). Dedric is a Taiwan-educated Tian Chua type human rights activist and Fozi is a fashionably bohemian architect and one-time PAS member in Perak.

At the start of the play Natasha is Fozi's girlfriend and she has just left the house after a spat with him. The action takes place on Election Day, 29 November 1999. As the drama unfolds we discover that Dedric has a crush on Natasha and thinks Fozi isn't worthy of her. Cleverly interweaving acerbic sociopolitical commentary into his narrative, Huzir concludes his one-hour neo-existentialist drama with a chilling revelation: one of the three housemates is actually a Special Branch officer who manages to set up the other two guys for arrest and detention without trial so he can get the girl - and possibly a promotion for services rendered towards the maintenance of the status quo.

Natasha in Election Day represents the ultimate reward: the land itself, a trophy bride to show off to the whole world and in whose fecund and erotic soil the conquering hero can plant his seeds.

Was Huzir Sulaiman cynically implying that the old adage - all's fair in love and war - holds true and that only the completely amoral stand a chance of winning the game?

Anyway, as I began to recall that long-forgotten run-in with Azizah's jealous fiancé Azlan, many complex issues emerged for me to ponder. First of all, why did Azizah invite me to her house? Okay, assuming she found me rather cute and was keen to befriend me, why didn't she warn me about Azlan? Those were the days before cellphones and SMSes, so it would have been a bit harder to plan secret trysts, even if she had passed me her home phone number. Yet Azizah struck me as a free-spirited, fun-loving girl who enjoyed a wide circle of friends and didn't see anything wrong with befriending other guys even if she already had a steady boyfriend or fiancé.

Perhaps Azlan and Azizah had very different views on this subject. I wonder if she eventually married the fellow - and whether she would have been happy being under the thumb of such a control freak who obviously believed it was fine for him to have four wives, but strictly a no-no for a woman to have four husbands.

I made an effort to imagine myself as someone like Azlan, who would shoot first and talk later if he felt his boundaries threatened. A man of action rather than contemplation who probably dismissed people like me as lily-livered bleeding hearts just because we're capable of a measure of empathy - and are therefore more likely to welcome the unexpected rather than barricade ourselves against the unknown.

If I were Azlan and one day found a couple of strange men at the door asking to see my girlfriend, what would my response be? First, I'd ask her if she knew these guys and whether she wanted to see them. If she acknowledged them as friends and was happy to welcome them to the house, I'd probably regard them as my friends too. They'd be served tea and cakes and after a bit of conversation I might find I enjoyed their company and vice versa. Even if they initially had plans to date her, they would probably be glad just to be accepted as family friends.

After all, if I'm fortunate enough to have a really hot girlfriend or spouse, she's bound to be a big hit with almost every guy she meets and they would all wish they could make out with her. And if I didn't attempt to put her on a short leash and respected her sovereignty as a conscious and mature individual, I'd trust her to always be honest with me.

It's absurd to force your partner to vow NEVER to be attracted to any other. However, it's not difficult at all to swear eternal love to somebody - as long as it's not exclusive, since one never knows what inner changes one will undergo over an extended period.

For instance, you may believe you're absolutely besotted with somebody when you're 17 years old, only to realize four or five years down the line - or perhaps even after four or five months - that it was a purely superficial attraction, and that it's time to move on. Even so, one must always be grateful for love and good times shared. It's a very positive thing to continue loving the ones you have mentally and emotionally outgrown or detached from - like your own parents or former teachers, for example.

Do you see what I'm getting at? Azlan is a metaphor for Umno's values of pseudo-nationalism, ultra-ethnocentrism, and erotophobic bi-polarity manifesting as an obsession with sex and power. Azizah symbolizes Malaysia.

As a traditional, patriarchally programmed Malay male, Azlan/Umno believes it is his God-given right to possess and control Azizah/Malaysia. The thought of somebody else - what more a pork-eating Chink? - wanting a share of his prized possession Azizah is enough to trigger a violent knee-jerk reaction.

All very basic, really: without wasting his breath by going into a discussion about the matter, Azlan instinctively knew what Johnny and I were after - his girl! - and since he was a much more mature guy than either of us fifth-formers, he simply turned into a bully-boy to dissuade us from ever approaching Azizah again. Just protecting his own interests, that's all. Nothing personal.



But there's the rub. Azlan saw Azizah as his property - not as a living, thinking, feeling, evolving, autonomous entity. Johnny wanted to punch Azlan in the face but I felt it was prudent to just walk away from an unnecessary fight. It wasn't as if either of us was seriously in love with Azizah. We only wanted to explore the possibilities of befriending this feisty, friendly girl. All very innocuous stuff, really, and it was stupid of Azlan to react so brutishly.

By obeying his own primitive, unthinking, territorial imperatives he had shown himself to be merely a humanoid biped not much more evolved than a gorilla equipped with basic linguistic circuitry. If he had had the good sense to break into a broad grin and quip: "So you guys want to chat with Azizah? Well, I'm her manager and it's going to cost you 50 bucks an hour... each! Actually, I'm engaged to be married to Azizah in three months and if you turn out to be nice fellas, we'll invite you to the wedding."



Well, such an approach might easily have won Azlan two new friends. Instead, he left me with a permanent bad taste about unwarranted jealousy, petty-mindedness and the sheer stupidity of being a habitual control freak. Indeed, I'm convinced that people like Azlan - unless they mature and mellow rapidly enough - won't qualify for admission into the heavenly realms, because we can't have such coarse and loutish souls clogging up the free flow of good feelings in those rarefied frequencies.

Nevertheless, Azlan's violent behavior was undeniably effective. I never attempted again to contact Azizah, though for me she will always represent the beauty, nubility, hospitality and infinite promise my country holds for me - and everyone else who regards her as home. And ever since that time the name Azizah has always held a mysterious appeal for me.

Azizah would be past 60 by now, probably a grandmother several times over. I fervently hope she wised up and dumped that reactionary Umnoish boyfriend of hers and married a Mat Salleh instead. In any case, I wouldn't be at all surprised if one of these days a vibrant, vivacious and extremely attractive young woman named Zamila added me as her Facebook friend, and I later discovered her paternal grandma Azizah was born in Batu Pahat and lived for many years in the Gunung Soga government quarters...


FOR THE SAKE OF SCIENTIFIC ACCURACY ~
 IF NOT POLITICAL CORRECTNESS
Halfway through writing this post it occurred to me that the syndrome I've been discussing is certainly not defined by ethnicity or nationality, nor does it entirely apply to the male gender. It so happened that in this early encounter with "the territorial imperative" the antagonist happened to be a Malay male. He could also have been Italian, Mexican, Japanese, Albanian, Filipino, Zimbabwean, Chinese or Portuguese. Possessiveness is a fairly common trait amongst females too.

Ego insecurity and jealousy are hardwired into our reptilian brains - the most basic, most ancient and primitive component of vertebrate cerebrospinal neural circuitry. In most species the territorial imperative serves the long-range objectives of specific genetic programs in a Darwinian selective process.

Stands to reason that under the harsh, hostile conditions of a prolonged Dark Age, the masculine, warlike qualities would become prominent survival features. However, in an Enlightened Age, this truculent, hooliganistic, shoot-first-talk-later behavior swiftly becomes countersurvival.

Brain supersedes brawn and heart overrides gonads as sentient beings evolve. In effect, the Azlan syndrome is really a residual behavior accumulated over thousands of years when physical might improved procreative odds. In an era when metaphysical vision becomes more relevant and significant as modifiers of human evolution, the gorillaman faces abrupt extinction as the godman takes his place as prime progenitive preference.

Just as Umno has yet to integrate the deeper existential implications of its massive losses during the 8 March 2008 election, a large portion of humanity has yet to acquire the more advanced software that will enable us to constantly be aware of the Big Picture - the larger context of our interactions with other aspects of our constantly expanding selves. Those able to swiftly redefine themselves and their own ego boundaries may be classified as "Cultural Creatives" or civilizing agents. 
Now here comes the good news: according to sociologist Paul H. Ray and psychologist Sherry Ruth Anderson, who co-authored The Cultural Creatives: How 50 Million People Are Changing the World  (published in 2000), at least 25% of the world's human population now qualify as civilizing agents. I'd call that a critical mass! 
[Firs published 9 May 2009, reposted 2 October 2013 & 6 October 2021]




Sunday, October 6, 2024

We’re off to off the wizard, the wonderful Wizard of Oz!

Who among us has not been amused and delighted by the extraordinary spectacle of Munchkins bursting into song and dance in celebration of the Wicked Witch’s demise?

Have we not wondered, at different moments in our life, if we were more like the brainless Scarecrow, the heartless Tin Man, or the Cowardly Lion?

And, just like Dorothy, have we never come to the conclusion, after a surfeit of incredible adventures, that there’s no place like Home?

When MGM released in 1939 the Hollywood version of what had already achieved cult status as a stage musical, L. Frank Baum’s immortal classic The Wizard of Oz  swiftly won the hearts of a worldwide audience.

I don’t remember how old I was the first time I caught the movie in my hometown but it certainly left many vivid images imprinted in my impressionable young mind. So when The Wizard of Oz was restaged between April and May 2012 at KLPAC by Pan Productions – a young and vigorous outfit helmed by the highly talented Nell Ng, Peter Ong and Alizakri Alias – I looked forward greatly to catching it.

Radhi Khalid as the Tin Man, Stephanie Van Driesen as Dorothy Gale, Peter Ong as The Scarecrow,
and special guest star Wolfgang as Toto

I wasn’t disappointed. It was as wonderful a production of a time-tested favorite as any you’re likely to see in any major city. Director-choreographer Nell Ng opted to stick close to the general tone and flavor of the Hollywood version and found herself the perfect Dorothy Gale in Stephanie Van Driesen (who even bears a passing resemblance to the young Judy Garland and, more importantly, is a well-rounded talent in terms of acting, dancing and singing).

Tria Aziz: a magnificently malevolent
Wicked Witch of the West
 
Another outstanding casting choice was Tria Aziz as Almira Gultch and the Wicked Witch of the West whose iridescent green makeup and powerful singing voice made her a candidate for the best supporting actress award. But, then, many other key players were equally impressive – particularly Peter Ong (Hunk/Scarecrow), Radhi Khalid (Hickory/Tin Man), and Zalila Lee (Zeke/Cowardly Lion). Special mention must be made of Wolfgang the terrific terrier who took on the challenge of playing Toto.

The multimedia effects by a digital projection outfit called Dam Interactive were, in a word, wizardly. They played a significant role in the success of the production, convincingly conjuring a wide range of atmospheres - from a violent tornado to enchanted forests, spooky castles, and an Emerald Palace fit for a Wonderful Wizard. Musical director Eric Carter Hah deserves a standing ovation for bringing the fairly complex score to life with such effortless ease I initially thought I was hearing a pre-recorded soundtrack. Then I realized there was an 11-piece orchestra hidden backstage.

Seeing The Wizard of Oz as a stage musical for the first time in my life was most definitely a treat. Even more so since many of the talented and charming cast happen to be dear old friends. As a treat for all the senses, Nell Ng’s Wizard  left little to be desired – and, as I told her afterwards, my only complaint was that the air-conditioning in KLPAC was so cold I found myself sitting on my hands between rounds of hearty applause.

Suhaili Michelline as the good Witch of the North

L. Frank Baum in 1911
I decided to do a bit of research on the man who created the Land of Oz - that colorful character named Lyman Frank Baum (15 May 1856 ~ 6 May 1919) and found him to be way too complex to summarize. In his youth he got hold of a simple printing press and became an editor-journalist-publisher. Then he got into poultry breeding and traded in fireworks. At the same time he was infatuated with the theater and squandered a large portion of his wealth investing in unsuccessful plays. He took on a great many roles, using stage names like Louis F. Baum and George Brooks.

In 1880 Baum’s father built him a theater in Richburg, New York, and he wasted no time writing, producing, directing and acting in plays – even composing songs and conducting workshops in stagecraft . Just as he was beginning to reap some acclaim, a fire destroyed his theater, along with his costume collection and the only copies of his playscripts.

Failure and ill fortune continued to dog L. Frank Baum until his 44th birthday – when his collaboration with illustrator W.W. Denslow yielded a best-selling children’s book, The Wonderful Wizard of Oz. Thereafter Baum began churning out a stream of children’s books based on his Oz characters.

Five years later he announced a grand plan to buy an island off the California coast where he would build a gigantic theme park named “The Marvelous Land of Oz – a fairy paradise for children.” Eleven-year-old Dorothy Talbot of San Francisco was to be crowned Queen of Oz and the park was to be administered by a committee of child advisors. Baum himself intended to relocate to the island where he would presumably assume the role of a real-life wizard.

Alas, the theme park project was abandoned after another theatrical venture, The Woggle-Bug, failed at the box office. Baum even founded a film company in 1914 called The Oz Film Manufacturing Company but lost a lot of money on the venture. One gets the distinct feeling that L. Frank Baum was born just a wee bit too early. It took another visionary entrepreneur, a fellow named Walter Elias Disney – born shortly after The Wonderful Wizard of Oz became a runaway best-seller – to realize all of L. Frank Baum’s fantastic dreams.

Among the interesting details I unearthed about L. Frank Baum, the fact that he had the tendency to look askance at religion caught my attention. Although raised as a Methodist, Baum expressed a great deal of skepticism about orthodox dogmas. At one point he joined the Episcopal Church – but mainly for the purpose of participating in community theatricals.

In 1897 - influenced by Matilda Joslyn Gage, Baum’s feminist mother-in-law - Baum and his wife became Theosophists. The Theosophical Society had been established in 1875 by Henry Steel Olcott (a military investigator, journalist and lawyer) and the famous Russian mystic, Helena Petrovna Blavatsky. Theosophists hold that “there is no religion higher than truth.”

In the light of this, can any traces of L. Frank Baum’s metaphysical inclinations be found in The Wizard of Oz? Considering that the Wizard presides like a deity - inspiring awe, reverence and not a little fear - over the inhabitants of Oz, isn’t it delightful that it takes a fearless and innocent little girl named Dorothy to gain entry to the Emerald Palace and penetrate the Wizard’s high-tech public relations apparatus, so that the Great Wizard of Oz is ultimately exposed as an eccentric "extraterrestrial" trickster, a master illusionist, a professional thaumaturge - albeit a disarmingly benign one?


It doesn’t require too much of a stretch of the imagination to draw a few parallels with The Matrix movies - wherein the Archons or Fates appear as a funky assortment of complex metaprograms running the holographic pseudo-reality from which Thomas Anderson aka Neo the hacker escapes (after he swallows the Red Pill offered by Morpheous) and fulfills his destiny as “The One.”

Indeed, I would venture the opinion that The Wizard of Oz qualifies as a forerunner of The Matrix. It’s easy enough to replace the Wicked Witch of the West with Agent Smith. Now I’m seriously looking forward to the musical version of The Matrix.

Does this constitute political commentary?

[First posted 6 November 2012]