THE MYTH MAKERS
What is the reality of wealth and success in the current world system? It seems to my mind, the acquisition of more things and an accumulation of more debt. In this way people feel completely inundated with their material property, actually drowning so-to-speak in what they do have or drowning in the desires for what they don’t have. All of this swept away by the sea of death that renders all such desires, worthless at the end of the day. No matter how much one seems to acquire, somehow it’s not enough and one may feel completely un- whole in their souls. This belief is so acute that there exist possibilities for murder and mayhem even between family members as a result. In fact, this appears to suffer a soul sickness of sort at the root of many social and material addictions, personality disorders and other ill mental affects. This spiritual disorder seems to manifest itself in rich and poor alike. The end result is a murderous competition of a culture of more in direct proportion to one’s ability to acquire more.
The rich and powerful destroy in their activities to gain more. The poor and displaced destroy in their activities to gain more. It is a highly competitive systemic society motion where sports arenas are the focal point of mass angst displayed and expressed in this culturally approved phenomenon of winning the prize—more. The wealthy class may own twenty cars. The middle class may own two cars and the poor may own one car, but no one has enough cars. In this system of things one must have more. Is this a mindset carryover from the developmental hunter/gatherer periods of human existence? Only more sophisticated now in our attainments; now that we have engaged a social contract of arrogant and stubborn naïveté in consideration of a mythic order termed sovereign governance and national states, grouping into sphere of interest and power.
There still appears no matter how modern or primitive a society, there exists a tribal mindset despite the idealized complexity or simplicity of that state and its society. In this social constellation of societal sets, the social grouping into larger tribal associations create social, national and international antagonisms; hence, the NATO alliance or the assignation of so-called Third World countries. These systems can also be categorized or assembled on the basis of race, economic or social stratifications or in any combinations of these elemental (resources) units making up the whole. The elements not available become the desired and sought after parts in the pursuit of acquisition of more. Once having gained the parts sought after, the search is on for more parts in the pursuit of progress. This process is mindful of the never ending jungle existence of the hungry animal’s search for food and shelter; only, it’s a search not as a result of instinctual drives. But rather by sentient beings, with complex psychological issues of creature comfort; usually directed by concealed mental trauma, real or artificially induced by social engineering and political mechanizations.
The role and existence of the so-called African-American or Black person is a critical one in this hierarchy of systemic desires in currently the most powerful nation state in human history, America. The so-called Black man and woman are in a socially designed state of attenuated psychological manipulation in a mythic matrix of conflicting desires that can never be satiated in a carrot on a stick diversion from the really important issues of existence. The first of these diversionary issues is one of “identity.” The racial group as a result of trauma based mind control programming, has is hard drive completely erased; and a new program installed in which the subject has no direct involvement in its choice of motive inclinations. As a result of this mental operation, this particular group has no control over its individual or group destiny. They remain in constant controversy and flux, concerning its approval ratings, by a system of ranking they lack the power of input and adjustment. Instead, entrapped in a never ending circle of frustrating false starts that usually leads to a dead-end social climbing experience whose consequences more often then not, devolves into a complete detachment into the upper reaches of a societal system which demands compete devotion to its ideals or a level of hopeless poverty dependent upon the graciousness of the entitlement systems of the dole; this condition, typically perpetuates a life of indolence and indulgence. The end product is a social dis-connect between the communal strata of universally shared life. This mental condition of identity loss is a generational discourse and emotional fiat that prevents a true organizational proviso for corrective actions by those personally and collectively affected.
Is there a solution to this problem and its attendant issues? Yes.
It must first be understood that “our “ Identity is myth, manufactured by Myth Makers, that the so-called Blacks living in America are uniquely different from Africans and other so-called Blacks in the World’s Diaspora. This position concerning the issue of identity must be a critical understand and awareness; for without it, there can be no useful metaphases at the cellular level and forward movement from the mind control system employed in the self-perpetuating management of our irrational milieu and its auto-response to the external stimuli of the New World Social Order under a One World Government. This process is coming as a result of immutable conditions as part of a universal progression. However, this does not mean it is something to be feared. Why? Because, all governments are systems of order out of chaos; the difference for those who wish to make personal choices is deeply rooted in the awareness and understanding that we are mis-informed as to the nature of ourselves.
The first step in altering the cerebral connections of our psychic connection to the Patriarchal Matrix of left brain thinking; it is necessary to reduce and finally, eliminate the cycles of psychological, emotional and physical stress brought about by attempting to function by the standards of the conventional thinking of the current world order.
If we understand that we were once aboriginal natives who were lawful captives by a society composed of the most advanced genetic scientist in the history of the world. These scientists rearranged our major DNA program structure through a very formalistic system of mind control programming, generally called “institutionalized slavery.” We were designed and named just as easily as a chemical product is developed in a manufacturers’ laboratory and production plant. As a result we have about as much consciousness as a box of spaghetti that is opened, emptied into a pot of boiling water, cooked and then eaten by someone. A complete cycle of function has been achieved. The superficial purpose is a function of a product. The product has been rendered obsolete by the Industrial Revolution and results in the product being placed on the sidelines. However, there is a Higher Purpose that Supersedes the lower functions of the current settings. What makes this a situation of transmutation (as opposed to a static box of pasta) is the capacity for a conversation of possibility. There is in what is generally regarded as an End Time a major inter-galactic transformation, time warp change, historical transference, intuitional recalibration, spiritual awareness, planetary shift and social meaning as metaphor for living. This process will overcome all evil as currently construed. The power relationships will re-organize themselves in a manner that is honest and loving despite the outward appearances of terror, war and destitution.
What does this mean?
Meditation is very important to the stability of the mind’s perception and ability to improve the electromagnetic field of her or his environment(s). This is a very important point. The need to slow down the cellular and protoplasmic layers of existence in a fast changing world that will otherwise seem destructive, dangerous and damaging. The greatest obstacle to what is currently happening and coming is FEAR and feelings of hopelessness and helplessness.
We cannot afford fear anymore to govern our emotional and intellectual comprehension of the world that resonates around us. We must positively and resolutely grasp the truth that racial and ethnic identity is a falsehood useful only for the separation of things from the unifying bond of love. To seek these kinds of identity is to engage an endless trap from which there can be no escape. It is a black box theater creating dramas of enmity and conflicts between opposing entities that can never be resolved by intellectual models of species, race and ethnicity. This historical condition inhibits the confluence of true freedom, justice and equality in a world gone mad with its compartmentalized sense of self.
The most important first step is to LISTEN and ask QUESTIONS based on two principles: LOVE all living things and the DECISION made upon the harmony of knowing that substance is to be shared in harmony by all beings animate and inanimate. To choose any other path is to continue down the road of self-destruction and that mistaken direction taken by others. To allow others to insist on race based identity is to pay Pimps to do a job that cannot be completed successfully while paying them salaries in the coinage of our future. The evils and hurt of the past centuries are weighted on all societies who at one time or another engaged in mandated bondage or slavery. All have committed this evil. Now is the time for a clear understanding and unconfused declaration: There is but one race, the human race.
Mankind cannot expect to solve the immense problems of its existence or reach the stars as separate and distinct racial sets. But as a federation of concerted human efforts, these issues can be addressed and usefully unraveled. There is a new Age approaching of Harmonious Inclusion where all things are possible.
More to be revealed.
Owa
Bronx, NY
August 24, 2011
What role did theatre and the arts play in your childhood and upbringing?
My mother was very influential in my creative development. She loved to work with her hands sewing, doing hair and arts and crafts, but would always take time to read to me and my brothers. We would gather on her bed and listen to her read fairy tales, Aesop’s Fables and more. She also took us to the Municipal Opera (“The Muny”), an outdoor summer theatre in Forest Park (site of the 1904 World’s Fair). Every summer we saw many of the popular musicals of the day – together, as a family.
Several things stand out in my theatre development. Once, we went to Tijuana and my mother bought me two puppets. I loved those puppets and played with the constantly. I would make up elaborate stories of heroes, villains, and damsels in distress. Puppetry certainly enhanced my wild imagination! My fourth-grade teacher also was very influential to my creative development. He brought classical music and opera to our inner city classroom for us to experience. Most of my classmates were bored, but the music enthralled me. It was the first time I heard the Opera “Carmen”, by Bizet. It was amazing.
Tell us about your own evolution as an artist.
I've always taken the approach to writing that says the more you know about other artistic disciplines; the better you will understand your chosen discipline. I've pursued formal training in dance, photography, music, painting and theatre; and, these various artistic disciplines have broadened me as a playwright.
I wrote my first play in junior high school. It was the typical droll example of the adolescent mind striking out at the injustices of the world at large. In high school, I was peripherally involved in theatre. My father frowned on the arts; he thought being in the theatre was for sissies. When I decided I was going to major in theatre, he gave me an ultimatum: find a practical career or he wouldn’t pay for college. I defied his wishes, and went on to major in theatre at the University of Missouri in Kansas City. There I studied theatre; began dance classes (and fell in love with ballet) and pursued a dance career with great zeal. I dreamed of one day dancing with the New York City ballet. After graduation, I packed by bags and moved to New York. I was going to be an overnight sensation; instead, I was schooled in life and hard knocks. I struggled and I starved. I continued taking dance classes, did some cattle calls, and got involved in all sorts of diversions. No matter how far I strayed from theatre, though, it always seemed to call me back. I eventually returned to writing by collaborating on a children’s musical. I wrote the book and lyrics and a friend/composer wrote the music. Over the years the small children's musical has morphed into the full-length musical “Starfest.” During this same period, I wrote another musical based on the life of “Joan of Arc.” The process of writing two musicals taught me persistence, the art of collaboration, and the beauty and power of dramatic structure.
My restless heart has taken me from New York City, to San Diego, across the ocean to London and now I’m firmly rooted in St. Louis again. Someone once said the best way to be an artist is to go out and live life. I’ve done just that, and my life has ended up on the pages of “Life Among the Trees,” “The Last Day's of Cafe Cafe”, “The Seamstress of St. Francis Street,” “Icarus Wing,” "The Healing of Joey Padowaski” and “You Know I Can’t Eat Buffalo Meat When There’s a Terrorist on the Loose.”
I’ve discovered over the many years of writing plays, and numerous other artistic projects, that I’m always chasing after that transcending moment when magic happens on stage; the dark shadows of life are illuminated, we’re able to laugh at the foibles of others we see in ourselves, and soar on the joy of being transported to another world. I strive to create these moments whenever I tackle a new project.
Tell us about the founding and the mission of The St. Louis Writers Group.
One day, I realized the St. Louis Writers’ Group had a life of its own and needed legitimacy. First Run Theatre, is a local theatre company where I was closely involved and I approached them with the idea of becoming part of their organization. They agreed and the St. Louis Writers’ Group is now under the umbrella of First Run Theatre and has been going strong for the past six years.
During our short history, hundreds of writers, actor, directors, and other theatre professionals, have participated in our script developmental process. Many of the plays developed at the St. Louis Writers’ Group have gone on to full productions in St. Louis and across the country. One of our plays was produced in Ghana, Africa. The St. Louis Writers’ Group meets twice a month. The first Monday of the month we read complete scripts, and we workshop script in various stages of development on the third Monday of the month.
What are your thoughts on St. Louis as a theatre town?
There is a very large and diverse theatre scene happening in St. Louis. Although I don’t see nearly as much theatre as I would like, much of what I see is good and professionally executed. My only pet peeve with St. Louis theatre is there is so little original theatre done in the town.
To learn about Mario and his work, please click the post's title to visit his website.
Jaz Dorsey
Nothing has ever come along to illustrate this thesis better than Valerie S. Hart's thought provoking new play RISING & FALLING, the current offering of Rhubarb Theater Company at The Darkhorse Theatre, directed by Trish Crist. As we approach the 10th anniversary of 9/11, Hart looks back at the role that a work of art played in the commemoration and controversy of the aftermath of the attack on The World Trade Center. At the center of the play is a bronze nude statue of a young girl falling backwards, representing those people who jumped and/or fell from the burning towers. The actual statue, by artist Eric Fischl, was placed in Rockefeller Center, but was shortly draped over and then removed because some found it offensive and felt that the artist was capitalizing on the tragedy. Hart fictionalizes this piece of history with her own work of art in which the emotional impact of the statue and it's controversy resonates in the lives of three characters - the artist who creates the statue, a mother who believes that the statue is of her daughter who died in the destruction, and a Native American construction worker who was one of the workers who built the Towers -which he and his co-workers thought were indestructible and which he refers to as "American Pyramids" - forgetting and realizing that pyramids were tombs. As the statue moves into the realm of its own mythology, Hart reaches back through the centuries to two other iconic female figures whose stories of sacrifice have endured through the ages, but raising the question - can we view the lives lost in 9/11 as sacrifice and as examples of heroism? How do we remember 9/11? What, if anything, did it mean and, above all, what role will art play in keeping 9/11 locked in the DNA spiral of species memory? Looking to understand what inspired the author to write this play, I asked Valerie to share with us something about herself and the inspiration behind RISING & FALLING. This is what she has to say: 
