Blog

HBAC Performance Manifesto by SLQS

The HBAC Performance Manifesto was written from my personal experience of being pregnant and not given access to home birth or the birthing centre. Having previously had a cesarean, I was labeled ‘high risk’ and was not being heard.

On 4th and 5th November 2018, over 25 hours, I performed the act of giving birth at home with the support of two independent midwives. The birth was documented as an act of everyday life in the domestic space, with cameras set up in my kitchen, my bedroom and my living room. The Manifesto declares my views on birth as an everyday performance and Home Birth After Cesarean (HBAC) as being a safe birth option. It was published by the Association for Improvements in the Maternity Services (AIMS) in 2020.

Independent midwifery supports choices for women by providing evidence-based information and continuity of care for women. Since 2020, due to their insurance product being annulled, their home birth practice is now prohibited, threatening an ancestral profession and restricting women’s birth rights. A group of independent midwives is taking action and fundraising to set up their own insurance product owned by women, with the long-term goal to set up a hardship fund. You can support their campaign here: Childbirth Choices Matters.

To the medicalised institutions, their medical staff and the health governmental bodies

ARE YOU LISTENING TO ME?

NO I am not high risk

NO I will not go to the labour ward

NO I will not be immobilised by continuous monitoring NO I will not labour under time pressure

NO I will not listen to you

NO I will not be given a trial of labour

I WILL LABOUR! 

Giving birth is an ancestral ritual which has been performed at home by women for centuries. An act which has ensured the survival of the human species.

Women and daughters have witnessed the act of giving birth for millennia. Women can perform the art of giving birth and every performance will be unique.

Giving birth is a creative act.

The ultimate act of transformation.

A HBAC (Home Birth After Cesarean) is a political act attempting to shift the power from an obstetrically-led medical institution to a woman-centred care approach.

Labour is a durational performance: starting spontaneously with an unexpected duration.

A HABC gives time to the performance of labour. There is no failure to progress, only failure to wait! Patience and respect for the process is practiced.

A HBAC requires participants to support the performer throughout the act of birth. Midwives, partners, family members, friends will be chosen in advance by the performer to participate in the event.

A HBAC enables the performer to control her birth. She is informed and capable of making the right decisions for herself and her baby. She rejects the politics of fear and failure institutionalised by hospital birth.

A HBAC should be available to all women without resistance. All women are eligible for care and should be in control of their choices without judgement.

I AM STRONG

I AM CAPABLE

I TRUST MY BODY I TRUST MY BABY

The performance of HBAC is not a medicalised event. It is a holistic act celebrating life itself. HBAC is performed without traditional medical props.

NO Forceps NO Ventouse NO CTG

NO Cannulas

NO Augmentation Drugs

NO Amniotomy

NO Epidural

The performance of HBAC challenges the current medical hierarchy of birth. Verticality is replaced by horizontality.

The performance of HBAC reframes birth as an event in a woman’s life in her domestic environment. There is no drama.

Giving birth is a woman’s right of passage into motherhood. A physical and mental journey leading to an act of transformation. Such a journey requires preparation and planning, knowing that unforeseen circumstances can change the course of actions.

A birth plan is a manifesto of personal preferences.

In the performance of HBAC, hospitals and obstetrics interventions are for emergencies only. Giving birth is an innate performance. A primal aptitude buried deep inside every woman.

The performance of HBAC redefines risk. Risk is not measured as a possible scar rupture but as avoiding another assisted birth and future mental trauma associated to this experience.

More about the artist:

SLQS is a Franco-Vietnamese artist living in East London. Her work is interdisciplinary and questions the politics of space and who is excluded from it. SLQS makes and holds space as a woman, a person of mixed heritage, a foreigner, a mother and an artist. She invites her audience to decolonise spatial orders from imperialist, sexist and racist structures. SLQS has presented work at Totally Thames, Spitalfields Music, Rich Mix, Procreate Project, the Live Art Development Agency, the Royal College of Art, the Brunel Museum, the Migration Museum and the Attenborough Art Centre. She is a board member of the Creative Think Tank for UK New Artists.

https://www.workbyslqs.com/                               @workbyslqs (instagram)

The Mother of Frankenstein’s Monster, 2021

The Mother of Frankenstein’s Monster (2021) researches the production of bodies and identities in relation to motherhood. ” My children were produced by and within my body”. Production continues after birth: children’s bodies grow and their identities develop. The identity of the mother is also born in relation to the child’s birth. This inquiry revolves around the idea of maternal “split subjectivity” and the child as an “unruly descendant” of the mother. It researches the conjunction of symbiosis and struggles present within a mother-child relationship.

The project includes an audio essay intended to be listened to at home. Listen to it while you are doing the dishes, or picking up toys from the living room floor. It departs from Mary Shelley’s famous novel Frankenstein or the Modern Prometheus (1818) and invites the listener to reflect upon maternal aspects present within their own lives, within their own homes.

Link to audio essay (10:24min) here.

THE MOTHER OF FRANKENSTEIN’S MONSTER, Essay by Clara Aldén

Are you familiar with the story about Frankenstein’s monster?

Direct your gaze upon your child, and listen to this:

Dr Frankenstein was just a student when he started the creation of his creature. He struggled for two years to conceive his baby; stealing bones from graveyards, and intestines from slaughterhouses and autopsies. To create human life was his greatest ambition.

Yet, when the creature opened his eyes the only thing Dr Frankenstein felt was fear.

Why was he frightened?

I think he could sense that he had lost control over his creation.

Have you ever felt that you have lost control over your creations?

I imagine that Doctor Frankenstein didn’t understand what he was getting himself into when he conceived his baby.

My children were materialized out of a moment of loss of control. We lost control for a second and they started existing. The first time it happened I wasn’t aware of it for several weeks. The second time I immediately felt a new presence within my body.

“The idea of two people occupying one body is bizarre and disturbing. And yet, we all began life inside the body of another human being—immersed in a systemic interchange, absorbing both nutrients from the maternal body and hormonal derivatives of her emotions, while pumping out refuse through her bodily orifices.“

My pregnancy felt parasitic. I struggled my entire life to become autonomous, and now I was slowly dividing into two. My body swelled and grew. Inside my body grew the body of another.

My insides were suddenly someone else’s outsides and I bumped my stomach on tables as I tried to navigate this universe.

“As I lean over in my chair to tie my shoe, I am surprised by the graze of this hard belly on my thigh. I do not anticipate my body touching itself, for my habits retain the old sense of my boundaries. In the ambiguity of bodily touch, I feel myself being touched and touching simultaneously, both on my knee and my belly. The belly is other since I did not expect it there, but since I feel the touch upon it, it is me.”

It is impossible to physically tell if a pregnant person is one or two people.

The subject of the pregnant is split.

Do you recognize the sensation of your mind being two places at once?

How many creatures do you have within your care?

Look around you: we’ve already established that there are children within your care. But apart from that? Any pets? Or old parents that need care? Any plants that need water? How many things would not survive if you just got up and walked away?

Like Dr Frankenstein did.

During pregnancy a body is created. But a person is not just a body. Dr Frankenstein created a body but abandoned it immediately after birth. He got scared and ran away. His monster was left to care for himself. He wandered around trying to find company, but everywhere he turned he got violently rejected. The only thing he craved was love and affection. When he realized that this was something he would never obtain, he turned to his creator:

“Remember that I am thy creature; I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Everywhere I see bliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend. Make me happy, and I shall be virtuous.”

My children are neither monsters nor fallen angels. But they are my unruly descendants.

Physically detached from me. Free to roam the world. It is impossible to understand where I end and they begin.

Look at your baby: think about the complexity of bones, arteries and blood cells, nerves that exist under their skin. Imagine the universe that inhabits their minds.

For the longest time I wasn’t able to face my children. I looked at them but did not see them. I was afraid that if I did, truly look at them, they would be pulled away from me like Eurydice was from Orpheus when he couldn’t keep himself from looking back at her on their way back up from the underworld.

I tried to make a drawing of my eldest, when he was just a couple of weeks old and realized that from now on, everything I produce, with hands, mind, voice, would stand in the shadow of the creativity of my womb.

Nothing could ever compete with these creations.

These creations also made it perfectly clear that they demanded my total focus and attention. No time for other artifacts.

What happens when the needs and wishes of your creations collide with your own?

Frankenstein’s monster started out as an idéa that grew into an obsession and then into a body. The movements of this newborn body revealed a free will, detached from the intentions of its creator.

“Sometimes words trigger off cataclysms, sometimes acts, sometimes physical conditions.“

The monster followed in the footsteps of his creator. But somewhere during this race across the globe the roles were shifted; the antagonist became the protagonist, and the creator started chasing his creation.

Text with full reference list can be found here.

More about Clara

Clara Aldén (b.1988) is a Swedish artist working and living in Gothenburg. She holds a BFA from Bergen Art Academy (UIB, NO) and a MFA from HDK-Valand (GU, SE), where she graduated in 2021. Her work has been displayed in Västerbottens Museum (SE), Göteborgs Konsthall (SE), Index (SE) and Bergen Kunsthall (NO) to name a few.

Clara works with sculpture, drawing and text-based art. Her work is situated within the private sphere, and she employs her immediate surroundings to research general societal structures. Since becoming a mother her work has mainly focused on domestic and maternal thematics. Within Clara’s artistic research, motherhood is considered a practice and not a state of being. Likewise, this practice is not considered to be limited by biological bounds. She is inspired by Donna Haraway’s thoughts on kin-making, and even if the maternal interest grew out of her biological motherhood, her thoughts and research stretch away from the immediate biological connotations and wishes to explore the practice of maternity in the expanded notion. The notion of care, regarding interruption and control loss as a positive force, and trying to work in a relational and non-autonomous manner are examples of maternal aspects important within her work.

The Mother Tree

I want to write about mothers and trees. Roots and families. Art and love.

Last year our world appeared to be on fire. Headlines captured devastating events around the globe. From politics to pandemics, the news cycle, as well as our personal lives, were upended in so many ways. In the midst of one of many California blazes, a story about a redwood matriarch dubbed the Mother of the Forest in Santa Cruz, California caught my attention.

Mother of the Forest is one of the tallest trees in Santa Cruz Park. A symbolic womb at her core forms an 8 x 13 foot room, or a hobbit hole, or a sacred space — depending on your perspective.

I have become obsessed with trees.

Trees are a testimony to patience and resilience. They offer shelter, contribute to healthy ecosystems, and fight climate change. Redwoods protect and support each other as well as other sapling growth by creating family circles sprouted from the roots of a parent tree. These families may or may not be genetically related. These lessons in cooperation can be a metaphor for humanity in its current fragmented state.

One month ago, I headed back to the MOM Art Annex in Florida after a prolonged absence. Ready to explore the next steps with our community and see to the ongoing growth of the Museum project, I arrived energized. Rising in the midst of display artifacts, art, and birthing objects, a new exhibit towers in the heart of the Annex. Artist Helen Hiebert’s Mother Tree is a brilliant illuminated sculpture made of paper and thread on loan to us for the year.

In preparation for the Mother Tree’s arrival, I pursued the book Finding the Mother Tree by Suzanne Simard, a deeply inspiring tale of scientific discovery and maternal care. I pondered our new directions with the Museum of Motherhood and gladly welcomed a guest artist residency proposal by Polly Wood, which included constructing an empty nest as a ceremonial acknowledgement of her daughter going off to college.

“A nest,” I exclaimed. “How timely for the Mother Tree’s arrival.”

Polly and I spent a glorious two weeks spinning magic. A blog about her residency is online at MOM. The next guest artist arrives in mid-December with work featuring among other things, landscapes and trees in gorgeous muted watercolors.

As the year winds down, I gratefully acknowledge the manner in which I’ve been able to spend time with emerging mother artists here in St. Petersburg, and also family as well. My son, his wife, and their baby have been on-site for the last six weeks, crowded into the MOM Art Annex’s tiny space– along with the exhibits, myself, and visiting guests. My one-year old granddaughter crawls around the carefully childproofed perimeter while I proudly chase after her.

In these accompanying photos, I introduce my granddaughter to a world of female sheroes, the art of motherhood, and a variety of messages aimed at empowering women and girls. The images for this MAMA exhibit also include my own self-portrait surrounded by the Mother Tree’s yarn roots in a symbolic gesture of rebirth, renewal, and generational connection.

Every major tree metaphor reminds me to trust in the slow, yet, steady growth of the museum project. Good things take time. Like a redwood, we want the museum to stand as a testament to the ages. We want to collaborate with our community and our surroundings. These things develop and deepen slowly. We are the connection. We are the women. We are the love. We are the trees.

If you would like to donate to our Mother Tree acquisitions campaign, please consider helping us purchase the Mother Tree in perpetuity by making a tax-deductible donation here.

In gratitude and perseverance, Martha Joy Rose

More about Martha and Helen

Martha Joy Rose: Martha Joy Rose is a community organizer and Museum of Motherhood founder. Her work has been published across blogs and academic journals and she has performed with her band Housewives On Prozac around the world. She is the NOW-NYC recipient of the Susan B. Anthony Award, her Mamapalooza Festival Series has been recognized as “Best in Girl-Power Events”, and her music has appeared on the Billboard Top 100 Dance Charts. She founded the Museum of Motherhood in 2003, created the Motherhood Foundation 501c3 non-profit in 2005, saw it flourish in NYC from 2011-2014, and then pop up at several academic institutions. After teaching Mother Studies at the college level, she moved to St. Petersburg, Florida. Her current live/workspace is devoted to the exploration of mother-labor & performance art while she oversees the continued growth of the Museum of Motherhood project.

Helen Hiebert: Helen Hiebert constructs installations, films, artists’ books and works in paper using handmade paper as her primary medium. Her sculpture Mother Tree serves as a symbol of the vulnerability, strength and sense of community she feels as a mother. The seven-foot tall handmade paper dress/tree features single strands of thread which extend from the bodice of the dress, representing mother’s milk, and cascade to the floor, transforming via crochet into roots which pile up, filling the surrounding space as a tree’s roots would fill the ground beneath it. The transformation from dress to tree and root to soil symbolizes the mother as a provider and nurturer throughout human development. Since her inception, hundreds of people have contributed to crocheting roots with messages of family, friendship, and affirmation.