M.A.M.A. Issue n.40: Anna Perach and Jane Yolen

 

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 40th edition of this scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. #JoinMAMA #artandmotherhood

Feb 2020: Art by Anna Perach Words by Jane Yolen

Art by Anna Perach: Wearable Sculptures

 

Anna’s practice is informed by the dynamic between personal and cultural myths. She explores how our private narratives are deeply rooted in ancient storytelling and folklore and conversely how folklore has the ability to tell us intimate, confidential stories about ourselves. In her work She synthesises female mythic characters and retell their stories while placing them in the current climate. By doing so Anna creates an experience of eeriness, evoking a sense of both familiarity and distress.

Anna’s main medium of work is wearable sculpture and performance. She works in a technique called tufting, making hand-made carpet textile which she transforms into wearable sculptures. The sculpture functions as both a garment that is performed in as well as an independent sculpture. Through this choice of medium Anna is interested in exploring how elements associated with the domestic sphere operate as an extension of the self and reflect on one’s heritage and gender role. Her performances reverse this dynamic and exhibit the private domestic carpet as an external masquerade both exposing and hiding fragments of the self. 

https://www.annaperach.com/work

1. Alkonost, tufted yarn and hand embroidery, 80x130cm, 2019 2. Preety Lady (Kim), 190x80cm, Tufted yarn, beeds, metal and wood, 2020 3. Baba Yaga, machine tufted mask (portrait) 90x170cm, 2018 4.The Drunken Bride, tufted yarn & metal frame, 43x200cm, 2019

Words by Jane Yolen

Scars

I saw my mother undressed once.

There were ribbed scars on her back.

I rubbed my point finger

lightly over one of the ridges.

She shuddered at my touch.

I asked her if it hurt.

She said it was a reminder,

her voice almost cooing.

I was too young to understand.

Years later when they took my wings,

before I could even stretch them,

before the air had foiled around them,

I remembered that day. My daughter

and her daughters will never go

under that particular knife.

I will keep them safe, hidden

till the wind can lift them.

There is so much sky.

More About Jane

Jane Yolen will have published over 376 books by the end of 2018. She has worked in almost every genre possible. Her books include several NY Times bestselling children’s picture books, prize-winning short stories, and poems. Six colleges and universities have given her honorary doctorates. She was the first writer to win the New England Public Radio’s Arts & Humanities award. She’s mother of three (all in the book business) and grandmother of six.

“Scars” by Jane Yolen was previously published in Mom Egg Review Vol. 17, 2019.


Oxytocin Mothering the World 2020 Call for Performances

Image: live performance by Xie Rong, photo by Jamie Baker

Procreate Project is looking for new works to stage on the occasion of Oxytocin Mothering the World in May/June 2020 [Dates TBC].

Call for performance and live art responding to ‘Inclusive Mothering’, looking at gender, race, bodies, disabilities and sexualities. We would like to receive proposals for performance and live art artists who self identify as women, non-binary or Trans and have caring responsibilities.

Oxytocin is about mothers and carers. It creates a platform for critical art practices, intersectional feminist theories and maternity services.

Spread over 3 days, the event sees the staging of performances distributed across different vanues, discussion panels and group workshops. The Oxytocin 2020 curatorial approach will look to unpick urgent issues, still hardly discussed and represented in public contexts. 

The aim is to create a Community-driven project to evaluate the effectiveness and feasibility of an inclusive maternity care service as well as providing a platform to showcase the work of artists whose artistic practices and personal experiences are underrepresented and undersupported. 

We are seeking for contributions that address and explore ‘Inclusive Mothering’ practises and reproductive justice. 

Oxytocin Mothering the World 2020 is curated by Dyana Gravina, Procreate Project creative director, and Laura Godfrey Isaacs artist and midwife.

Deadline to apply is the 1st of February 2020 and we will do our best to send feedback to all the artists by the end of March 2020. Thank you in advance!

* Submissions are FREE. Subject to funding, every selected artist will be paid a performance fee.

* We accept submissions from artists based outside the UK, however we cannot guarantee that travel expenses can be covered.

* Childcare is provided for the lenght of the performance. If you have childcare requirements please specify this in your proposal

More information about the event and past programme can be found at www.oxytocinbirthingtheworld.co.uk

Here is the form to apply

Apply Here

Oxytocin Mothering the World March 2019 – King’s College London Guys Campus

More information are available here


M.A.M.A. Issue n.39: Jessica Lauren Elizabeth Taylor and Kimberly L. Becker

 

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 39th edition of this scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. #JoinMAMA #artandmotherhood

May 2019: Art by Jessica Lauren Elizabeth Taylor words by  Kimberly L. Becker 

Art by Jessica Lauren Elizabeth

Muttererde profiles conversations with five black femmes on the knowledge and non-knowledge of their mothers, grandmothers, great grandmothers and as far back as the knowledge carries them to create a rich and powerful archive on ancestry.  They explore themes of motherhood, migration, cultural differences, beauty standards, queerness, kinship, death and rebirth. Their stories, although from five different countries, intertwine to weave a tapestry of herstory through the African diaspora. Through their testimonies, the viewer discovers that ritual, memory and oral history can challenge the status quo.

This work, made in collaboration with filmmaker Astrid Gleichmann, features the stories of Camalo Gaskin, Tobi Ayedadjou, Niv Acosta, Natalie Anguezomo Mba Bikoro and Fannie Sosa. It has been supported by the Decentralized Cultural Work Tempelhof-Schöneberg, District Kunst und Kulturforderung Berlin and A Prima Vista Filmproduktion.

More about Jessica Lauren Elizabeth Taylor (b. 1984, Florida) is a multidisciplinary artist and community organizer. Her roots are in the Southern United States, born in Mississippi and raised in Florida. Taylor's work manifests through performance, text, dialogue, dance and community building for Black People and People of Colour. She is chiefly concerned with ways to dismantle oppressive institutions and the creation of racial equity in art and cultural institutions. She has performed and presented at the Barbican Centre of Art (London, UK); Chisenhale Gallery (London, UK); Hebbel Am Ufer (Berlin, Germany); Kunst-Werke Institute for Contemporary Art (Berlin, Germany); Sophiensaele Theater (Berlin, Germany);  The Astrup Fearnley Museum of Modern Art (Oslo, Norway); Rogaland Kunstsenter (Stavanger, Norway); and the Irish Museum for Modern Art (Dublin, Ireland). She is currently undergoing a Master of Art in Black British Literature at Goldsmiths University of London. 

* banner photo credit: Mayowa Lynette

Words by Kimberly L. Becker

LANGUAGE CLASS

(written on Qualla Boundary; for C.M.)

Little by little

we are reclaiming the words

Just as the land was once large,

so, too, our voice

Some words lost on the Trail

have been found

They lived hidden in baskets,

in pockets, in the very tassels of corn

(Selu, Selu)

Now the words live again

See? When I say nogwo it is now,

both the now of then and the now

of not yet

The words work secret medicine

and strong, forming us

from the inside out

Language is our Magic Lake--

we walk in limping with loss

and emerge wholly ourselves

When Cecilia speaks

she bears with her

the future of these sounds

Listen: her voice is soft, but sure

Originally published in The Mom Egg Vol. 8 Lessons, 2010