Well, the Proost thing is continuing to grow. Thanks to Cameron, we now have a website, offering the sorts of community building functionality that we need, as well as offering a platform to start selling new and old Proost materials (although this is still in development.)
The Proost podcast continues, with plans to devlelop a new pod stream around poetry readings and discussion.
We have a partnership with some friends in Glasgow who will be hosting a Proost weekend later in the year – more to come on this.
One of the ways we are seeking to build community and make creative connections is through collaborative projects like our advent project. We loved this so much that we are seeking to repeat this throughout the season of lent.
We are looking for contributions to a daily post for each day of lent… Poems, videos, dance, moves, images, photographs, anything that might create a moment of pause and connection.
We will put these on the blog on our new website, as well as posting them on this page.
Drop us a message and we will include as much as we can!
(Incidentally, if you fancy becoming a proost member, you can sign up via our website.)
After a break, Proost is back with a new pod, this time with Cameron Preece.
In fact, there is a new website too, thanks to Cameron. It feels like a major step forward. We are slowly trying to put together the tools and on-line spaces that will allow us to make connections and build community for artists and creatives interested in exploring spirituality and social justice.
Cameron grew up in my home town attending the same school as my young people. In the pod, he talks about becoming a Christian via the youth work project run by our mututal friend, Paul Beautyman, then hitting a crisis of faith. Despite this, he went on to study for a theology degree, then masters degree. It is the subject of his masters degree research that we talk about most in this pod as it explores the connections between poetry and prayer.
The idea of poetry being used as a way to pray is not something I have heard discussed. Here on this blog, I have often described poetry as ‘spiritual’, but Cameron takes this deeper, into more specific territory.
A few months ago, I started a conversation with some people about indiginous spirituality. I had this itch that I wanted to scratch to do with how the Celtic tradition that I had found so deeply compelling might have some things in common with other indigenous spiritualities, so I reached out, looking for others who had connections and knowledge that I lacked.
Celtic idigenous traditions
My quest faced lots of problems. Firstly, reaching a definitive understanding of my own tradition is far from easy. The indigenous religion of the Celts stretches back thousands of years into myth and legend so it is hard enough to say much that is certain, and even harder to understand meanings that belong to a former culture and time. What little is known about the pre-Christian Celts mostly comes to us through highly questionable records of an occupying Roman Empire. Christianity came to these islands and first assimilated, then colonised the tradition, burying it under layers of ‘progress’. Some have tried to tell the Celtic story anew in order to make it meaningful – to me and others – but it can be hard to tease apart the facts from the fancy.
Perhaps this is part of the appeal to spiritual nomads and outsiders to institution like me. What we know as ‘the Celtic wisdom traditoin’ has a malleability that allows us to make it fit into whatever we want it to fit. It has subjective utility, but might be seen to lack authentic objectivity. In acknowledging this reality, it is then for each of us to decide whether the benefits outweigh the disadvantages.
For me, they most certainly do. Perhaps this is because I am a poet, more driven by spirituality of the mystical kind. Travelling in this tradition connects me with something visceral deep inside. It is a ‘feeling’ as much as an intellectual acceptance. I quite understand why friends of mine, more driven by systematic interpretation of scriptures might take a more cautious view.
Like all religious technologies, we must travel with a certain caution, looking around for other perspectives- paying particular attention to those that Empire has marginalised.
Celtic cross, Inner Hebrides, West Scotland
What do we mean when we talk about the ‘Celtic wisdom tradition’ then?
We have some tantalising clues in the form of stories and legends. Mostly these are survival traditions out on the fringes of the Celtic world- which like all cultures colonised by empire, retreated to the distant edge of its former hearlands – Atlantic coasts and islands or to rural Ireland and Wales.
We can also have some clues about the nature of this tradition from what is absent and outcast from mainstream religion. By this, I mean things that have been suppressed and persecuted that once belonged to ordinary believers. I have said more of this before, here for example. Many others have described and lamented what happened when indigenous, authentic and local spiritualities become subject to the priorities of institution and Empire.
Finally we know it as a deep ‘yes’ that we feel in our souls when we hear about ideas like ‘original goodness’ and hear how all things are connected and held together.
Colonialism and Christianity
Across the world, almost all indigenous cultures have been subjected to our colonial expansion – from St Kilda to Sarawak, through Australia and the Americas and so on. The Celtic experience might have begun earlier, but in many ways it was the same. Religion was an essential part of the ‘civilision’ of ‘native’ cultures – a conquest of the spirit alongside economic or geographical.
There is a problem here for followers of Jesus, in that Christianity has often been the religion of the worst and most oppressive forms of colonialism. I think however that the Celtic experience might heip us to decolonise Jesus from the religion that was made in his name. If we are right to describe Celtic Christianity as an assimilation of a the teachings of Jesus with pre-existing ideas, in such a way as to deepen and give further shape to the connections to earth and spirit, then we might conclude that this version of Christianity did not have at least some of the oppressive overtones that came later. Perhaps colonialism was done to Christianity as much as facilitated by it.
This does not get Chrsitianity off the hook. It remains a religion of the middle east, defined and propogated by the West, that grew and expanded because of the pursuit of Empire and profit.
Perhaps we should burn it all down and start again… but where do we start? How far back do we need to go? Whose teachings and example might be most helpful? Is there really a purer, less compromised, older and more true indigenous spirituality that we can still encounter?
This is still my quest, and it led to me reaching out towards some other people who were trying to make sense of the spirituality they were encountering via indigenous people in their parts of the world- two very different parts of Australis, Canada and Middle England. It has been an interesting journey so far… five white people, trying to make sense of black, brown and red religion.
Can we make connections with other indigenous cultures?
Part of my motivation fot this journey has been a desire to remake/rediscover a religious story that was more earth-connected, more able to provide us with a mass movement away from the damage we are doing to eco-systems. It was this ‘earth connectedness’ I felt in my Celtic roots that seemed to find echoes in other indigenous traditions – connections to land and place, to animals and holy mountains, to the spirit in other things. At least, this is what I had heard glimmerings of in films and books.
Perhaps there was more than this. I started to wonder if all the condemnation of ‘primative’ religion I had grown up with – which was characterised as animistic, or pagan, or pantheistic – had lost some things that really mattered. We were told of the foolishness of a belief that trees or rocks or lizards have spirits. How backwards to worship simple totems or forest spirits. After all, we have the wisdom of the Bible. Look where that got us.
I remembered well the simple goodness of Bob Randall’s Kanyini;
I first encountered Bob as a commentator on cultural breakdown, whilst I was working as a social worker amongst men and women in mental health services, within broken communities in the UK, not Australia. Back then, any implications for religion seemed secondary. Now they seem inseperable.
But in the face of so much variety, so much diversity, is it really possible to make any general statements about indigenous spirituality? Can we claim that it is more ‘earth connected’ or more authentically human? Is it ‘better’ than what we have have experienced in our religious institutions?
This is the conversation I have been having with my four friends from far away – more of this to come.
I will leave you with a quote from the First Nations Version New Testament. This is a book written in English by a first nations pastor in America, working first with prisoners, later with others trying to reconcile the words of the Bible with their own culture and it’s colonial history. Here are the beatitudes, through first nations eyes.
It is the same, but also very different.
BLESSINGS OF THE GOOD ROAD Matthew chapter 5
3“Creator’s blessing rests on the poor, the ones with broken spirits. The good road from above is theirs to walk.
4“Creator’s blessing rests on the ones who walk a trail of tears, for he will wipe the tears from their eyes and comfort them.
5“Creator’s blessing rests on the ones who walk softly and in a humble manner. The earth, land, and sky will welcome them and always be their home.
6“Creator’s blessing rests on the ones who hunger and thirst for wrongs to be made right again. They will eat and drink until they are full.
7“Creator’s blessing rests on the ones who are merciful and kind to others. Their kindness will find its way back to them—full circle.
8“Creator’s blessing rests on the pure of heart. They are the ones who will see the Great Spirit.
9“Creator’s blessing rests on the ones who make peace. It will be said of them, ‘They are the children of the Great Spirit!’
10“Creator’s blessing rests on the ones who are hunted down and mistreated for doing what is right, for they are walking the good road from above.
11“Others will lie about you, speak against you, and look down on you with scorn and contempt, all because you walk the road with me. This is a sign that Creator’s blessing is resting on you. 12So let your hearts be glad and jump for joy, for you will be honored in the spirit-world above. You are like the prophets of old, who were treated in the same way by your ancestors.
SALT AND LIGHT
13“As you walk the good road with me, you are the salt of the earth, bringing cleansing and healingto all. Salt is a good thing, but if it loses its saltiness, how will it get its flavor back? That kind of salt has no worth and is thrown out.
14“As you walk the road with me, you are a light shining in this dark world. A village built on a hill cannot be hidden. 15No one hides a torch under a basket. Instead it is lifted up high on a pole, so all who are in the house can see it. 16In the same way, let your light shine by doing what is good and right. When others see, they will give honor to your Father—the One Above Us All.
FULFILLING THE SACRED TEACHINGS
17“When you hear my words, you may think I have come to undo the Law given by Drawn from the Water (Moses) and the words of the prophets. But I have come to honor them and show everyone their true meaning. 18I speak from my heart, as long as there is a sky above and an earth below, not even the smallest thing they have said will fade away, until everything they have said has found its full meaning and purpose.
Over the past few years I have been grappling with a new craft. Even though we have run a business making pottery for about a decade, Michaela was the potter really whilst just worked around the edges, helping out with some of the donkey work. My areas of creativity were outside the use of actual clay. Then it all changed.
First, I began working with a different clay body- with much more ‘grog’ mixed in (ground down fired clay.) This was much more forgiving than the white stoneware clay that Michaela loves so much, more plastic and willing to hold shape – or at least I think so. Michaela might protest. These qualities of the grogged clay mean that building bigger vessels is that bit easier, but also this kind of clay also has the capacity to cope with so much more thermal shock, meaning that alternative firing methods are possible… so I started making big old pots and trying to fire them in pits dug in the garden, with mixed success!
Then I discovered raku.
Time for a short introduction to clay firing.
Most pottery is fired in kilns, either electic, gas or more rarely, wood fired. All three methods introduce variations to the process and to how the glazes in particular react, due to the conditions created, for example the degree of oxygen present during the firing.
Using a purpose build kilns allows careful control of thetemperature, which in the case of our electric kiln will step up around 100 degrees per hour, then cool down over a long period of time. This means that failures in the form of cracking (or even exploding) pots are minimised and colours from glazes are reliable and predictable.
There are other methods however, most of which require specialist clays. These include pit firing/barrel firing, saggar firing and most drramatic of all, raku firing.
Raku, meaning ‘easy” in Japanese, involves heating up a previously fired pot to 1000 degrees in an insulated container- typically a barrel or a dustbin – using a gas burner. The pot is then removed and placed in a sealed contained along with combustable materials. The oxides and glazes applied to the pot will then react in the oxygen depleted conditions to form bright colours, crackles and textures.
The thing is about this kind of pottery, it is always shifting, changing – it never quite arrives at a destination. It is art by experiementation and evolution. Perhaps all art is like this, but let me explain what I mean.
Functional pottery might be understood as the means to perfect a process in order to create a usable shape. As such, potters are developing their shapes and glazes to make their versions of archetypal forms. There is art and beauty in this that is beyond my skills. I look in wonder at many of the things that people are able to make. I hold their mugs in my hands as if they were grails. This is not what I am trying to do.
The pottery I am making is not really in puruit of shape or colour (even though both are essential elements) rather they are chasing after meaning. So when I make a pot, I am not asking if it is a ‘good’ pot, I am asking if it carrys any meaning for me. Has it told a story? Has it opened up a space or framed something that asks questions that I find important?
Let me tell you, this kind of art can drive you mad.
It is rarely sarisfied and never completed. There are no real reference points for comparison, other than whether someone is prepared to pay money for it.
The evolution thing I mentioned before suggests an ascendancy, in which we get ‘better’ and certainly I have learned through lots of mistakes and failures, so that I at least make different mistakes now rather than the same ones. I am also slightly more able to steer the chaos, but as I look back on some of the things I made previously, I wonder if I have gone in the wrong direction since. Perhaps I should have made more of the same?
But who am I kidding… this is not an option. The quest I am on is always after meaning, and so I have to search for these in new shapes, new ideas.
I have a secret weapon however, in that our pots use poetry. This alows me to set up an interplay between words, form and colour in such a way as to gather meaning more directly. In other words, I can cheat.
One last thing about this evolutionary quest- it is entirely addictive.
There may come a time when I am done with it – music was like this for me once – but for now, if a couple of days goes by without me spending significant amounts of time in pursuit of my clay meanings, I am anxious for a fix.
In the spirit of charity, it is possible you may be interested in helping out this addict in his continuing quest.
Much of our larger work is simply too big for us to make available through an on-line shop – It is not really ‘postable’ after all – these are more likely to be things we take to ceramics shows or place in galleries (and we work with some fantastic galleries!)
Perhaps the best way though might be to come and visit us. Drop us a line first and see what we have in our storage shed. There may well be a bargain or two to be had!
this fragile tent 