Below I’ve reprinted the Artist as… blog series (originally published in 2008 on Intent.com) to represent a perspective on art and creativity I know many who’ll read this already innately embody — that of the artist being a “mystic with a craft.” It is a preview of the material that will be in my book (May 2011).

In this series…
  The Artist as:
    Mystic
    Storyteller
    Healer
    Shaman
    Adventurer
    Child (epilogue)

Enjoy!

Manny Otto

The Artist as Mystic

Posted Sat, 10/04/2008 – 12 Comments

This post marks the first in a series I have planned addressing the need I believe our species and this planet has for creative people to evoke a spirit of sacred service within the arts. In doing so, I’ll be exploring principles that many highly accomplished artists draw upon as they embrace their vital roles as prime functionaries of an emerging global mythos… “mythos” being a term that refers to the overarching worldview or story a culture accepts about itself and its place in the universe.

I believe filmmakers, writers, musicians, poets, dancers, painters, actors — generally creatives and innovators of every type — serve as a kind of adhesive that binds human society, culture, and spirit together. In this context, the creative community possesses the power not simply to render an image of a “positive” future, but to serve as the actual architects of our future civilization.

We currently stand on the threshold of an important transition for our planet. It is perhaps as important as the emergence of life itself! That the essence of this shift is inner spiritual development and how artists can enable this for our species en masse will be one of the primary points of focus throughout my posts to come.

My first goal is to awaken a compelling context within each of you — a knowing of your purpose as a “creative” (if that isn’t alive and strong in you already). The goal following that is to explore the empowering information, experience, and techniques by which we can fulfill our distinct purposes intentionally and skillfully.

Furthermore, I’ll be placing an emphasis on understanding the greater system we live within on our planet, as well as on achieving a personally relevant understanding of humanity’s mythological heritage — i.e. the structuring narratives humans have devised to come into alignment with the natural order of the world. These fundamental areas of focus play an important role in supporting contemporary creatives’ natural mandate to optimize and heed our inner awareness and vision, leading ultimately to us radiating a clarified form of our insights towards the general global populace through the medium of film, music, books, interactive multi-media experiences, etc.

To illustrate what I mean by this idea of the relationship between the creative individual and inner awareness, I’d like to quote from one of the last books the American mythologist Joseph Campbell wrote before he passed away in 1987. The book is The Inner Reaches of Outer Space: Metaphor as Myth and as Religion. In Chapter 3, “The Way of Art,” Campbell writes, “My wife, Jean Erdman, who is a dancer, discussing one day the relevance of an appreciation of the psychological connotations of myth to the practice of an art, remarked: ‘The way of the mystic and the way of the artist are related, except that the mystic doesn’t have a craft.’”

This concept of the artist as a mystic with a craft is central to what will follow in this and all consequent posts.

“Gaia” — our planet as a living organism
The perspective from which I write is fundamentally grounded in the idea that the earth is a living, self-regulating organism in its own right. As most of us know, the ancient Greek goddess of the earth…that is the earth, is called Gaia. In his “conscious media” classic, The Global Brain, Peter Russell states:

We might then consider our days and nights to be like the heartbeat of Gaia; the seasons to be her breaths; the tropical rainforests resemble her lungs; the oceans act like the circulatory system. So, if the whole planet does behave as a huge living system, what then, might we ask, are we doing here? What is humanity’s function in this system?

Exploring humanity’s function is certainly a large task, but Peter Russell makes a very compelling case that we might regard the whole of humanity to function as a crucial element of a planetary nervous system, an element that is capable of either being occupied by malignant or benign activities in relationship to the health of the entire organism, known mythopoetically as “Gaia.”

In my next post I’ll delve deeper into the relationship between the artists/creatives of our species and the entirety of the species itself, addressing the role of the creative community in maintaining a healthy relationship to our Gaia.

The Artist as Storyteller

Posted Sat, 10/11/2008 – 4 Comments

This is the second post in a series addressing the need I believe our species and this planet have for creative people to bring back the spirit of sacred service to the arts. The previous post, The Artist as Mystic, promoted the idea that the creative community possesses the power not simply to render an image of a “positive” future, but to serve as the actual architects of our future civilization. A secure future for humanity requires a BIG shift, and the essence of this shift is inner spiritual development. Artists possess the responsibility and the means to enable this for our species.

According to Joseph Campbell, speaking in The Power of Myth,“Myth must be kept alive.  The people who can keep it alive are artists of one kind or another.  The function of the artist is the mythologization of the environment and the world.”

When I first heard Joseph Campbell speak this classic, definitive statement related to the role of art and artists within the context of humanity’s purpose on the planet, I was struck by the resolute tone in his voice. It is a statement that clearly requires qualification. Once understood, however, I believe it leads to an irrevocable realization that the creative community can have a profoundly consequential influence on the development and course of the human spirit.

Myths are the structuring narratives humans have devised to come into alignment with the natural order of the world.  They are the device we use to connect with our purpose within a greater system — i.e. “Gaia.” They encode insights into the mystery of existence in ways that human language, at its surface, could never render. They employ metaphors, the building blocks of poetic analogy, to communicate, as Ananda K. Coomaraswamy would say, “the representation of a reality on a certain level of reference by a corresponding reality on another.” (read in context)

Perhaps, however, a more appropriate term for artists to consider is “mythos” — similar in meaning to “myth,” but conjuring less archaic and irrelevant connotations. A mythos is the overarching worldview or story a culture accepts about itself and its place in the universe.  It is similar to an ideology with a very important distinction in that ideologies, such as Marxism, Socialism, Capitalism, the classical sciences, etc., reject the underlying and supportive dimension of mystery that serves as the foundation of all religions and contemplative philosophies.  In that sense, these ideologies are rootless in a context that transcends the narrow human experience of life in this universe.  It is interesting to note, however, that in our current era, quantum theory, stem cell research, and other newly emerging sciences are returning the scientific world to those roots in the mystery dimension.

In the sense that a mythos is a story we are telling ourselves, consider the artists, scientists, and innovators of all types to be the storytellers, regardless of the medium of expression.

What story do we want to tell ourselves as a species? Are we telling that story now? What is our mythos prognosis? More on that in the next post. In the meantime, I’d love to hear your thoughts on this.

The Artist as Healer

Posted Mon, 10/20/2008 – 2 Comments

This is the third post in a series addressing the need I believe our species and this planet has for creative people to return the spirit of sacred service to the arts. In the previous post, The Artist as Storyteller, I submitted that if a mythos is a story we are telling ourselves, consider the artists, scientists, and innovators of all types to be the storytellers, regardless of the medium of expression.

What story do we want to tell ourselves as a species? Are we telling that story now? What is our mythos prognosis?

Joseph Campbell often referred to the mythological state of our current times as being surrounded by a “terminal moraine” of mythic forms.  A terminal moraine is the ground up rocks and debris pushed forward by the movement of a glacier over mountain.  Campbell noted that many cultures throughout history have known relatively harmonious periods of time characterized by a deep relationship to the particular mythological system that governed every aspect of their existence. He furthermore insisted throughout his work that a living, effective, mythological system functions by putting the subject culture in accord with nature. When an individual or a group is living in accord with nature, nature yields its bounty. In our current era, however, our experience is of one culture bubble after another crashing and colliding into each other and now we live with the mythic forms of these cultures scattered like so much rubble at our feet.  Looking at our planet today, the mythos by which we live on a collective, global level is not placing us in accord with nature (let alone with each other). “Dysfunctional” or “ineffective” are arguably much more accurate descriptions of our current state of environmental harmony.

So what are the factors involved in transforming an ineffective mythos into one that is effective? That begins by regarding our biological lives — the series of events beginning with birth and ending with death. Throughout life, cycles of sleeping and waking occur. Joseph Campbell asserted that our dreams, fantasies, and visions — derived from the energetic dynamics of the organs in our bodies in conflict with one another — connect the unconscious wisdom experienced in sleeping or deeper brain wave states with the limited consciousness of our ordinary waking states. These dreams, fantasies, and visions are the primary source of the most elementary and universal themes of our myths. This realm of consciousness may also be proactively accessed by participating in meditation and contemplation practices. Furthermore, we can turn with confidence to these perennial themes of myth for solutions to some very difficult challenges in this time of global dysfunction — of being out of “accord with nature.”

Reflecting further on the concept of our planet as a living organism introduced in an earlier post, consider the metaphor of creative and spiritually inclined people to be our planet’s white blood cells. I was introduced to this simple but potent analogy by a teacher of spiritual principles called Eric Pepin. I’ve found it to be very helpful in understanding the role of people who feel called to a higher purpose in a world where most people are inclined to pray to the dieties of “health, wealth, and progeny” …what Campbell believed was the most common religion despite its many distinct names and forms.  These typically common human priorities are often considered by creative people to be somewhat secondary to the pursuit of Self-realization and Self-expression. As we all know, white blood cells are functionaries of the immune system — they are the body’s healers — while red blood cells contribute to maintaining general homeostasis.  In a similar manner, a certain breed of creative people find themselves inclined to consider themselves “in service” to others while surrounded on all sides by an “every man for himself” mythos. This analogy is not intended to support an elitist perspective on the part of artists, but to assist us in connecting more meaningfully to our roles as healers on this planetary being.

Artists, however, are a special kind of healer: a healer of errors in thinking and errors in being. They serve a role that has always been served by individuals specifically selected and trained to steward the welfare, not necessarily of the body, but of the spirit and soul of the community. More on that in my next post…

The Artist as Shaman

Posted Sat, 11/08/2008 – 2 Comments

This is the fourth post in a series addressing the need I believe our species and this planet has for creative people to return the spirit of sacred service to the arts. In the previous post, The Artist as Healer, I explored the idea that artists can be regarded as healers of errors in thinking and errors in being. They serve a role that has always been served by individuals specifically selected and trained to steward the welfare, not necessarily just of the body, but of the spirit and soul of the community.

To understand how artists can contribute to the well-being of the spiritual and soul life of our global community, it is important to have an understanding of the variety of purposes myth has served. In most of his lectures, Joseph Campbell would often present his Four Functions of Myth discourse on how myth connects us in a meaningful way to the developmental cycles and growth opportunities in life. In understanding how myth has served humanity in the past, we can turn to creating relevent relationships between humanity and our collective spirit on the contemporary scene.

The first “Psychological Function” of mythology is concerned with guiding the individual through the key stages of life beginning with birth and ending with death. The second “Sociological Function” concerns itself with preserving a social order that includes moral principles, civil discourse, social obligations, etc. The third “Cosmological Function” paints a broader stroke of the influence of a cultural mythos outward, as it seeks to saturate every element of the current cosmological image with mythological references. Finally, it is with the fourth “Mystical Function” that the individual is called to awaken to and maintain a sense of wonder and participation in the ultimate mystery of being.

Joseph Campbell often pointed out that throughout history it has been the duty of the great seers to perform the work of the Cosmological and the Mystical functions of mythology. In India they are known as “Rishis.” In Biblical terms they are known as “Prophets.” In primary cultures they are known as “Shamans.” In contemporary society they are known as “Poets” and “Artists.” Campbell also included the modern scientist as well. Just look at the impact the film What the Bleep Do We Know?! and the science that it exposes, has had on our culture and how we view the very fabric of “reality.”

Joseph Campbell understood that our culture has been largely preoccupied by a dominant mythos, specifically a literal interpretation of Judeo-Christian forms, that does not respond appropriately to the real environment we are currently occupying. As Campbell says in the Power of Myth, the commonly practiced Judeo-Christian worldview: “…comes from somewhere else, from the first millennium B.C.  It has not assimilated the qualities of our modern culture and the new things that are possible and the new vision of the universe.” One can only hope, given the recent collective expression of embracing change that is symbolized by the recent election of Barack Obama as President of the United States, that we are making the transition and that it will be less costly to human life and dignity than one might have anticipated even within a year prior to this writing.

A few exchanges after the one just above, Campbell states: “The mythmakers of earlier days were the counterparts of our artists.” In one of my favorite exchanges, Bill Moyers asks: “In these elementary cultures, as you call them, who would have been the equivalent of the poets today?” With barely a pause, Joseph Campbell responds: “The shamans. The shaman is the person, male or female, who in his late childhood or early youth has an overwhelming psychological experience that turns him totally inward.  It’s a kind of schizophrenic crack-up.  The whole unconscious opens up, and the shaman falls into it.”

Although perhaps in a form not quite so dramatic for some of us, and perhaps even more so for others, I’m sure many of us who consider ourselves to be artists and creatives have had the sense from early on that our lives were to be unique and expressive of deep healing. In connecting with and maintaining this idea that creatives serve as shamans — as healing and change agents for our culture — exactly what culture are we serving and what mythos are we creating? That will be the point of focus in my next post…

The Artist as Adventurer

Posted Wed, 11/12/2008 – 5 Comments

“…if a person has had a sense of the Call — the feeling that there’s an adventure for him — and if he doesn’t follow that, but remains in society because it’s safe and secure, then life dries up.”
—Joseph Campbell
   (read in context…)

This is the fifth and final post in a series addressing the need I believe our species and this planet has for creative people to return the spirit of sacred service to the arts. In the previous post, The Artist as Shaman, I concluded with the question: “In connecting with and maintaining this idea that creatives serve as shamans for our culture, exactly what culture are we serving and what mythos are we creating?”

Joseph Campbell did not believe we could predict or create a myth any more than we can predict or create the content of our dreams.  We can, however, engage in a way of life that enables us to be, like shamans, “hollow bones” through which pass deeper wisdom of a transcendent source to which we — supported by the techniques of our mystical craft — provide a temporal voice. In aligning ourselves with the greater energies of the earth and the universe, we can serve the emergence of a mythos for a global culture and community. In Campbell’s words from the Power of Myth:

“And what it will have to deal with will be exactly what all myths have dealt with — the maturation of the individual, from dependency through adulthood, through maturity, and then to the exit; and then how to relate to this society and how to relate this society to the world of nature and the cosmos. That’s what the myths have all talked about, and what this one’s got to talk about. But the society that it’s got to talk about is the society of the planet. And until that gets going, you don’t have anything.”

“…this is the ground of what the myth is to be. It’s already here: the eye of reason, not of my nationality; the eye of reason, not my religious community; the eye of reason, not my linguistic community.  And this would be the philosophy for the planet, not for this group, that group, or the other group.”

“When you see the earth from the moon, you don’t see any divisions there of nations or states.  This might be the symbol, really, for the new mythology to come. That is the country that we are going to be celebrating. And those are the people that we are one with.”

If you, the contemporary artist, poet, scientist or other such visionary, choose to embrace your role as a vehicle through which pours the current mythos for our global community, then I submit it is your responsibility to study the mythological foundations of your being: to come to a personally relevant understanding of the myths of the past; to deeply regard your dreams, visions and interior messages, and take personal guidance from them; and to share your insights with others through the medium most appropriate to your experience.

In what way might we creatives be contributing to the next major leap in the evolution of our species? This is a question to which we’ll never know the answers through mere speculation alone. Action is required. We have but to dream big enough and know that we are not alone.

“…For the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the hero-path. And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; where we had thought to be alone, we shall be with all the world.”
—Joseph Campbell, The Hero with a Thousand Faces

P.S. Even though this is the final post in this series outlining my basic approach to the subject of art, artists, and their purpose, I will be following up with a number of posts and interviews continuing this exploration. In my next post — an epilogue-like follow up to this series — I’ll elaborate on the scope of posts to come in more detail.

The Artist as Child (epilogue)

Posted Wed, 12/31/2008 – 2 Comments

Throughout the inhabited world, in all times and under every circumstance, myths of man have flourished; and they have been the living inspiration of whatever else may have appeared out of the activities of the human body and mind. It would not be too much to say that myth is the secret opening through which the inexhaustible energies of the cosmos pour into the human cultural manifestation. Religions, philosophies, arts, the social forms of primitive and historic man, prime discoveries in science and technology, the very dreams that blister sleep, boil up from the basic, magic ring of myth.
—Joseph Campbell, The Hero with a Thousand Faces

This last post of 2008 is to serve as an epilogue to The Artist as…, a blog micro-series that addresses the fundamental relationship between myth, art, and the future of our species. I will continue to post, focused primarily on the worldwide need that exists for creatives to return a spirit of sacred service to the arts during this time of global cultural transformation. I’ll also be interacting with several teachers uniquely qualified to address certain topics and will consequently share my experiences on this blog.

There are two broad categories under which future posts will fall: Establishing Context and Techniques of Creation. In Establishing Context, progressive sciences, mythology, art history, shamanism, mysticism, and other such topics will be investigated.

Techniques of Creation breaks out further:

• Receive—proactively accessing inspiration
• Realize—effective project manifestation
• Render—articulating through specific media; e.g. film, music, writing, etc.

Interwoven throughout is the notion of developing a Refined Holistic Perspective—the general pursuit of developing one’s mind, body, spirit, and psychology, essentially developing our human instrument to be of service to Creativity itself.

About technique…

Fundamental to arts education is receiving training in a complete technical skill set. In addition to the obvious requirements related to mastery over a given medium, it serves the artist to learn the technical skills in which a mystic or a shaman would be trained. This kind of training fosters mastery of passage into the mysterious world of the “inspired mind” or what Joseph Campbell called The Mythic Dimension.

Receive…

Meditation is a tool by which deep, rich sources of inspiration are made readily accessible to artists. Buddhist, shamanic journeying, and many others …each meets a fundamental set of needs; but they also each bring something different. Find the best one(s) for you to receive inspiration and engage with full intention in the seeking process until you’ve found what works for you.

Realize…

Alignment with principles of manifestation (Law of Attraction, et al.) exponentially increases the odds of the fulfillment of creative projects (including the BIG project: YOUR LIFE!). This is way beyond simple goal setting/achieving — “chance” becomes a slippery term to define! In order to be most effective, adhere to a meditation/contemplative practice and possess a moderate level awareness of the multiple and oftentimes conflicting impulses within the psyche.

I think Joseph Campbell articulated the spirit of the subject of manifestation as well as I’ve ever heard it when he advised his students to “Follow your bliss. If you follow your bliss, doors will open where there weren’t doors before and where there wouldn’t be doors for anyone else.”  Manifestation is ultimately about finding and settling into the flow of the life that you were intended to live.  When you realize that life, you’ve realized your bliss.

Closing note: The Artist as Child…

Your children are not your children.
They are the sons and daughters of Life’s longing for itself.
—Kahlil Gibran

Every moment to be approached fresh, almost a child once again. Experience is there for all who answer the call. Experience breeds opportunities for new creations …more diversity …transformation …rebirth. Be reborn with childlike wonder …embrace wild love … catalyze radical transformation …connect with soul and the Source of my most sacred intentions …to be of service to the highest good of life everywhere …and to joyfully create!

Manny

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Manny Otto provides curriculum development, training, and coaching in principles many highly accomplished artists and visionaries draw upon as they embrace their vital roles as prime functionaries of an emerging global mythos—i.e. the overarching worldview or “story” a culture accepts about itself and its place in the universe. More information at MythosForCreatives.com.