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" "In , Rollo May recounts an experience he had with a Cézanne painting, contending that the painting was “mythic” because it encompassed “near and far, past, present and future, conscious and unconscious in one immediate totality of our relationship to the world.” In this way, myth acts as a lens through which we can discover the reality that exists beyond the limits of simple linear perception; it is an image, a verbal construct, that allows truth to emerge into direct consciousness. In this way, myth allows us to rediscover ourselves in our most human and ennobling dimensions. Through it we are allowed to see our own transcendent powers triumphant; we know, experientially, our true identity and our human capacity that is beyond behaviorism, history, and the machine.
Paula Gunn Allen (October 24, 1939 – May 29, 2008) was an American poet, literary critic, activist, professor, and novelist. Of mixed-race European-American, Native American, and Arab-American descent, she identified with her mother's people, the Laguna Pueblo and childhood years. She drew from its oral traditions for her fiction poetry and also wrote numerous essays on its themes. She edited four collections of Native American traditional stories and contemporary works and wrote two biographies of Native American women. In addition to her literary work, in 1986 she published a major study on the role of women in American Indian traditions, arguing that Europeans had de-emphasized the role of women in their accounts of native life because of their own patriarchal societies. It stimulated other scholarly work by feminist and Native American writers.
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A man who has had a vision is a fully functioning adult, possessing an identity that is of both ritual and practical significance to himself and his peers. [...] Until he has a vision the youth is not an adult, that is, a ritually acknowledged member of his community. He has no adult name, a circumstance that marks him as a “child” who cannot take on his adult responsibilities in the community.
The tribes seek—through song, ceremony, legend, sacred stories (myths), and tales—to embody, articulate, and share reality, to bring the isolated, private self into harmony and balance with this reality, to verbalize the sense of the majesty and reverent mystery of all things, and to actualize, in language, those truths that give to humanity its greatest significance and dignity. To a large extent, ceremonial literature serves to redirect private emotion and integrate the energy generated by emotion within a cosmic framework. The artistry of the tribes is married to the essence of language itself, for through language one can share one’s singular being with that of the community and know within oneself the communal knowledge of the tribe. In this art, the greater self and all-that-is are blended into a balanced whole, and in this way the concept of being that is the fundamental and sacred spring of life is given voice and being for all.
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The planet, our mother, Grandmother Earth, is physical and therefore a spiritual, mental, and emotional being. Planets are alive, as are all their by-products or expressions, such as animals, vegetables, minerals, climatic and meteorological phenomena. Believing that our mother, the beloved earth, is inert matter is destructive to yourself. (There's little you can do to her, believe it or not.) Such beliefs point to a dangerously diseased physicality. Being good, holy, and/or politically responsible means being able to accept whatever life brings and that includes just about everything you usually think of as unacceptable, like disease, death, and violence. Walking in balance, in harmony, and in a sacred manner requires staying in your body, accepting its discomforts, decayings, witherings, and blossomings and respecting them. Your body is also a planet, replete with creatures that live in and on it.