Karmit EvenZur, mapa mito poético de la cuenca del río Barbate

Statement de Karmit:

From the cycles of tides to the sinusoidal flow of a river, from
the diurnal beat of light and dark to the annual input of the
seasons, the earth speaks to us in rhythms and patterns that
influence our behavior. In addition to that, beneath and
beyond the topographical landscape there is a wide range of
dowsable earth energies accessible to the faculties of inner
perceptions. Modern geomancy, as an art and a science, is
the field that studies the phenomena of these earth energies..
By fostering awareness to environmental rhythms and
patterns, we come into sacred communication with the
creative forces of life. Participation in this ever-flowing flux is a
creative act, that requires being awake in our senses and our
will forces.
I practice making a personal and cohesive relationship with
the land. I stand on, and the great ocean that laps up to the
shore. I stop and listen to the rocks that stand still, humming a
silent song, to the trees that teach me something about who I
am and didn’t quite remember. I get to know all of these as a
continuum of my own body, and enter into a dialogue with
them. I feel my way into a non-verbal way of communicating
with the elements and remember my real mother tongue by
observing relationships and patterns in nature. They point at
processes, interactions and attractions between every part of
the web of life, and this includes me in it. When I slow down,
when I stop and listen, I have perceptual access to the
complexity, the networks, and patterns of organization
inherent in living systems, and the intelligence that arises from
them. When I slow down and listen, I re-establish sensory
connections with my environment.
Conversations with nature /
Karmit EvenZur, September 2016

Previous work:

Karmit Eventzur_Eye see you_handmade felt and embroidery
Karmit Eventzur_Patterns and relations_handmade Felt
Karmit Eventzur_La Janda_Handmade felt and embroidery
Karmit Eventzur_Jondal_norway
Karmit Eventzur_La Muela_crayons on paper

Paul Devereux, en su libro Geografía Sagrada, habla de dos términos griegos que se usaban en la antigüedad para denominar a la tierra: Chora y Topos.

Chora es el más antiguo de los dos términos y era una referencia holística al lugar: el lugar como revelación, el lugar como guardián de la memoria y presencia mítica. Topos, por otro lado, significaba lugar en la forma en que lo vemos hoy en día – simple ubicación y objetivo, las características físicas de un lugar, o topografía“.

Muchas culturas indígenas todavía mantienen mapas de sus territorios en forma de cuentos e imágenes mentales. ¿Cómo sería un mapa de la Cuenca del río Barbate si imaginamos y representamos las cualidades de sus manantiales, acuíferos, cerros, sus ríos y marismas como seres mitológicos que representan la geografía totémica de su paisaje? 

Los mapas siempre han reflejado la comprensión de la humanidad y su relación con su entorno físico.  Los cartógrafos y geógrafos siempre han representado el conocimiento actual de su cultura y el sistema de creencias sobre las tierras que estaban trazando. Los mapas antiguos a menudo reflejaban aspectos del alma del lugar en forma de bestias y monstruos, vientos y manantiales sagrados, dioses y diosas.  La transición a mapas topográficos elaborados con precisión reflejaba la transición de nuestra conciencia de una relación multidimensional con el lugar a una topografía puramente física.

En este mapa nuestra intención es nombrar algunos de los aspectos cualitativos de la zona de la Janda, y exponer las historias de los lugares y la memoria a través del arte, con el fin de inspirar a los visitantes de la zona a valorar sus dones sagrados. 

Imaginemos el anima mundi como esa particular chispa del alma, esa imagen seminal, que se ofrece a través de cada cosa en su forma visible. Entonces el anima mundi indica las posibilidades animadas que presenta cada evento tal como es, su presentación sensual como un rostro que habla de su imagen interior – en resumen su disponibilidad a la imaginación, su presencia como una realidad psíquica.

James Hillman, El pensamiento del corazón y el alma del mundo

Mapa mito-poético de la cuenca del río Barbate
Mapa mito-poético de la cuenca del río Barbate

Who we are

Karmit‘s work focuses on developing sensitivity to living systems in nature – cultivating an awareness of the wild, the unseen, and the conscious aspects of the Earth. She facilitates courses at Earth Speaks and at the International School of Storytelling (UK). Her work history spans diverse experiences, interests and competences from the healing arts, and the arts & crafts world. Her unique skill-set provides a deep perspective for transformational work, and in working with soul searching questions. Her studies encompass human ecology and earth healing modalities as well as energy healing systems and shamanic practices.

For the past 8 years, she has been practicing natural beekeeping, keen to observe the integrity of their nature. In 2015 she planted the seed with natural beekeeping workshops in the area of Vejer de la Frontera which led to the creation of the natural beekeeping learning community, ‘Apijanda’, and the development of Bee Time Artist residencies.
www.earth-speaks.net

Mythology has been handed down to us from a time when natural phenomena inspired images and personification, a time when cultures co-evolved intimately with their habitat, and the stories that were told from one generation to the next were stories that were ‘overheard’ in the patterns and rhythms of an ensouled world. Folk tales, wonder tales, even biographical stories, are maps of inner and cultural landscapes. 

Stories are image sequences which often, like in a dream, contain an internal logic that is nonverbal and nonlinear, and reveals the interconnections between elements of a system. Stories invite us to shift our gaze beyond habitual perspectives and encounter the world looking through many eyes, human and non human. 

Throughout the ages, traditional storytellers have fostered social cohesion by bringing people together through live encounters, and were able to address a wide variety of social issues through metaphor and imagination. As Contemporary storytellers we hold this carrying stream and aim to play a role in revitalising community life.

Together with my colleagues from the School of Storytelling at Emerson College, we have been developing our approach to change-making and mytho-poetic activism using storytelling through various courses and programmes. We welcome you to find out more about these programmes and join us.

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