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Art Birth Books Conferences Featured motherhood

Schedule Your Visit to MOM in January 2018 [Click]

VISIT MOM: Help us celebrate ONE YEAR at our new location in St. Pete! The M.O.M. Art Annex has enjoyed visitors from all over the country. To schedule a visit with us in January 2018 sign up online here or write us: info@MOMmuseum.org

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By checking the above box, I agree that I am participating in a tour offered by Motherhood Foundation Inc. at the Museum of Motherhood (MOM) Art Annex at 538 28th St. N. in St. Petersburg, Florida during which I receive information and instruction about mothers, fathers, and families from an interdisciplinary perspective. I recognize that with any activity, unexpected physical injury can occur, and I am fully aware of these kinds of risks and hazards. I agree to assume full responsibility for any risks, injuries or damages, known or unknown, which I might incur as a result of participating on the premises of MOM. I knowingly, voluntarily and expressly waive any claim I may have against owners, volunteers, other participants, and the non-profit Motherhood Foundation Inc. for injury or damages that I may sustain as a result of participating in activities at MOM. I agree that Motherhood Foundation Inc. at the Museum of Motherhood (MOM) Art Annex and its agents may use any image, photograph, voice or likeness, in its promotional materials and publicity efforts without additional compensation. I further understand that by participating in the photography or filming, I release Motherhood Foundation Inc. at the Museum of Motherhood (MOM) Art Annex and its representatives, licensees, employees, photographers, and their designees from any and all liability for any violation of any privacy or proprietary rights. I have read the above release waiver of liability and fully understand its contents. I voluntarily agree to its contents. I voluntarily agree to the terms and conditions stated above.

CONFERENCE: Our second “I ❤ MOM” Conference” takes place on February 16-17th in collaboration with the USF Women’s and Gender Studies Dept. and made possible by a ResearchOne grant. We hope you’ll join us. The event is open to the public through pre-registration. We are excited to feature keynote speaker Andrea O’Reilly and a book launch of the new edited collection, Music of Motherhood by M. Joy Rose, Lynda Ross, and Jennifer Hartman on Friday evening Feb. 16th. Write us at info@MOMmuseum.org.

COMMUNITY: The local Historic Kenwood Artist Enclave has been busy organizing community events, including the Arts Walk coming in March. The new enclave motto “where art lives” is particularly salient considering we really do live and work at the museum.

RESIDENCIES: Thus far, M.O.M. has hosted three residencies. In January, artist and activist, Christen Clifford arrived as our first guest and spent two weeks editing her latest work. She returned again in July. Also, we saw the first summer Spirited Woman Residency with Dawn Louise Parker who has been hard at work on her manuscript titled Forty-Seven Days of Love. In October, we welcomed Hannah Brockbank who joined us for a two week residency. Hannah is a poet hailing from Sussex, England. Her pamphlet Bloodlines will be published by Indigo Dreams in 2017 and she is a Kate Bett’s Award winner (2016). Read more about our residencies here [LINK]

LIBRARY: MOM is proud to announce that it now has the complete Demeter Library onsite!!

EXHIBITS: Try on a pregnancy vest, view anatomically correct dolls, see art from around the world, and experience a new historical display about women’s work in the home.

INTERNSHIPS: We currently have several calls out to local college students for internships for the spring of 2018. Our high school intern, Andres’ has been with us since the spring and is a St. Pete High School senior. He is hard at work cataloging our library and creating a new student exhibit for January 2018. We welcome one new intern in January as well. We’re looking forward to introducing you to her.

ONLINE: In July of 2017, according to our google report 4,239 conducted searches and found us online. We are happy and proud that people are thinking about us. We hope that we can continue to expand in our new location. If you have ideas or want to get on board, please write Museum Director: Martha Joy Rose at MarthaJoyRose@gmail.com Introduction to Mother Studies classes will re-launch with a new partnership sometime within the next six months – stay tuned.

Categories
Birth Featured History International

History, Foundling Wheels, and Experiments in Public Health

During the years that M.O.M operated out of Manhattan’s Upper East Side, posters adorned each of the 2,500 square space’s pillars. These posters focused on quirky and sometimes tragic facts spanning ten centuries of childbirth. One of the most curious posters, and the one that most often elicited conversation from students was the photo and description of the foundling wheel of The Ospedale degli Innocenti in Italy.

Interior courtyard of Ospedale degli Innocenti

This hospital, cum orphanage, history tells us, was an experiment in social welfare and public health fifteenth century-style.

Completed in 1445, the institution received its first abandoned infant ten days later. What the text books tell us differs a great deal from what research anthropologist Sarah Blaffer Hrdy discovered and wrote in her provocative book Mother Nature. While I am not at my desk as I write this blog (travels continue to take me through Italy and the surrounding regions), my memory of her book and scholar Jocelyn Fenton Stitt’s 2014 online MSU course on Motherhood Studies stands out. Challenging romanticized notions of caring mothers fawning over their newborns, the foundling hospital tells a different story.

Artifacts left behind along with abandoned newborns were catalogued & curated

Of all the places on our scheduled visit through Italy this summer, this was the destination I was most excited about. According to Hrdy, hundreds of thousands of abandoned newborns died behind these walls, victims of illness, starvation, and a vast population of women, who through circumstance for a great number of reasons were unable to care for their infants. Challenging the assumption that all mothers can or will care for their babies, most of these children born illigitimately, during times of social unrest, during plagues, amidst starvation, and for so many other complex and wide-ranging reasons, were abandoned in the middle of the night and left to fate.

The hospital was envisioned as a charitable institution six hundred years ago and continues to operate as a museum and advocate for youth through various programs. The museum today tells the story of its abandoned children through artifacts left along with the newborns who had to be tiny enough to squeeze through the grated entrance, pictured below.

The author, M. Joy Rose pictured in front of the foundling wheel gate

Once abandoned, a bell would ring, awakening attendants who would then feed and care for the children. For many reasons, Hrdy tells us, the vast majority of these stories end in death. There simply was no baby formula available (it wasn’t invented until the middle 1800s), and there were not enough wet nurses to go around.
The notion of abandoning a newborn, while repugnant to most, is actually evidence for the ongoing argument that women need to be able to choose when and if they will get pregnant and give birth. Baby boxes and other legitimate contemporary options continue to be available to mothers unwilling or unable to care for their newborns in the U.S. and around the world. The Ospedale degli Innocenti stands as testimate to the social history and personal stories of countless children and their families.

Wet nurses hired to feed and care for the babies

Join me by checking in at my personal blog as I spend the next several weeks traveling Europe ~ MOM Founder, Director, M. Joy Rose

Categories
Art Birth Conferences Featured Feminism MAMA Media motherhood

OXYTOCIN – Birthing the world: A Symposium On M/otherhood [LINK]

EVENT INFORMATION
Royal College of Art, London – 3rd June 2017
Oxytocin is a one-day symposium and programme of performances about mothers, mother art, maternal health & wellbeing.Supported by LADA and under the umbrella of theProCreate Project, the event is curated together with Dyana Gravina form the Procreate Project, Martha Joy Rose from the Museum of Motherhood (USA), Laura Godfrey-Isaacs, artist, midwife and founder of Home Live Art, Sara Paiola, researcher in Law and Human Rights from the School of Law, Birkbeck University and Sarah Dufayard, artist and producer.Oxytocin is an international research and community event focused on mothers and carers. The panels will analyse current critical practices pushing for new strategies aimed at increasing the visibility and representation of women and mothers in society.The symposium will highlight new ideas whereby infrastructures and creative programs can support and facilitate healthy families thus challenging attitudes towards motherhood, female sexuality, birth, depression and human rights. Oxytocin will encourage conversation and exchange between medical, academic and art sectors with the aim to facilitate collaborations between them and increase awareness on women’s rights, mental, emotional and physical needs during pregnancy, labour and postnatal adaptation.The event opens a community discussion aimed at spotlighting the connection between much-needed support for mothers and new approaches that are designed to encourage mothers’ and childrens’ optimum health, professional and artistic development, ongoing education, and continuing connection.The event will consist of panel discussions lead by three sectors (Artists & Academy, Midwifery, Mental Health and human rights) fused with a day programme of performances, installations and live art.
Contact:
Email info@procreateproject.com
Website:  https://www.oxytocinbirthingtheworld.co.uk 

Special Panel: Saturday, June 3rd 10:30AM Royal College of Art

Making Mother Studies Matter: Academics Advocate Fiercely for Art, Maternal Health, and a Lasting Legacy
The self-identified Mother Movement started roughly 20 years ago. In its early years, American bands began singing about motherhood while Canadian scholars began writing about it. The year was 1997. Roughly eight years before that, a few scholars published books examining the subject of motherhood. Sarah Ruddick wrote Maternal Thinking. Barbara Katz Rothman wrote Recreating Motherhood, and these Western works were preceded by Adrienne Rich, Of Woman Born. The texts examined a society based on patriarchal constructions that constrained and oppressed women who were mothers, as well as their offspring.
It has been said that in order to change the future we must understand the past. Likewise, by studying the rising wave of mother-identity-art-making and scholarly texts, this panel aims to explore the legitimacy of mother studies, advocate for it to be levied within academic institutions, and share some of the ways current academics and artists are championing this legacy for future generations.

Martha Joy Rose: Martha Joy Rose is a musician, concert promoter, museum founder, and fine artist. Her work has been published across blogs and academic journals and she has performed with her band Housewives On Prozac on Good Morning America, CNN, and the Oakland Art & Soul Festival to name a few. 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” in New York, 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. In 2015, she received a Masters in Mother Studies from CUNY, The Graduate Center of New York. This is believed to be the first individualized MALS Degree in this specialty. She then taught Sociology of Family at Manhattan College before moving to her current live/work space in Kenwood St. Petersburg, Florida, which is devoted to the exploration of mother-labor as performance art. She is a contributing author the The Encyclopedia of Motherhood (Sage Press, 2011), The Twentieth Century Motherhood Movement (Demeter Press, 2011), New Maternalisms (Demeter Press, 2015), and the forthcoming book, Music of Motherhood (Demeter Press, 2017).

Sarah Black -In 2016 a presentation by Sarah Black called “Mother As Curator” at the Annual Academic M.O.M. Conference described her home environment as a video, art, installation, and inter-generational family experience. Her treatise declared that as an artist, she “blurs the boundaries of art, and the personal, family and audience, narrative and auto-biographic practices.” She states that as a “performance maker, she explores the home as both a physical and a metaphysical structure to house the work.” In this way, spaces are informed and co-created by those who participate in its interiors, but similarly, its interiors also hold a template for studying the things it contains from a distance.

Paula Chambers – Paula Chambers has exhibited widely, with a back catalogue of solo shows including most recently “Transcendental Housework” at Stockport Art Gallery, and “Domestic Pirate” at Show Space, London. Paula studied under Griselda Pollock at the University of Leeds for the MA Feminist History, Theory, Criticism and Practice in the Visual Arts. Paula is Principal Lecturer (Sculpture) on BA Fine Art, at Leeds College of Art. She is undertaking a practice‐led PhD at Middlesex University.

Rosiland Howell – Rosalind Howell is a Registered Dance Movement Psychotherapist with the Association of Dance Movement Psychotherapy UK (ADMPUK) with a particular interest in Maternal Subjectivity and Perinatal Mental Health. Her recent publications include: Writing Maternal Ambivalence (and how we love to hate it). MaMSIE.org/blog 2016 A Chorus, a Gaggle, or a Consternation of Mothers. Mommuseum.org 2015 The Loneliness of Parenting Decisions. Juno Parenting Magazine 2014, Love and Hate in Childbirth. MaMSIE.org/blog 2015.

Roberta Garrett – Roberta Garrett is a senior lecturer in the School of Arts and Digital Industries at the University of East London. She has published widely on gender representation in film and literature. She is the author of Postmodern Chick-Flicks: The Return of the Woman’s Film (Palgrave, 2007). Other publications include ‘Female Fantasy and Post-Feminist Politics in Nora Ephron’s Screenplays’ Journal of Screenwriting, 2011, and the forthcoming ‘Gendering the Post 9/11 Movie: Love, Loss and Regeneration in Julie and Julia’, in Mary Harrod (ed.) Women and Genre (University of Illinois Press, 2016). She is currently working on popular representations of the neo-liberal family in literature and film, and has published: ‘Novels and Children: “Mum’s Lit” and the Public Mother/Author’, Journal of Maternal Studies, 2013; and ‘We Need to Talk About Kevin: The Monstrous Child as Feminist and Anti-American Allegory’, in Peter Childs, Sebastian Groes and Claire Colbrook (eds.) Women’s Writing Post 9/11 (Lexington Press, 2014). Her essay, ‘ Cavorting in the Ruins? Truth, Myth and Resistance in Contemporary Mumoirs’, appears in Roberta Garrett, Tracey Jensen and Angela Voela (eds.) We Need to Talk about Family: Essays on Neoliberalism, The Family and Popular Culture (Cambridge Scholars, forthcoming 2016). She is also writing a monograph entitled Writing the Modern Family: Neoliberalism and Representation of Parenting in Contemporary Novels and Memoirs.

Categories
Art Birth International MAMA Residency

Residency At The Annex [Christen Clifford]

Here at M.O.M., residencies offer an opportunity for an intensive focus on your writing, art, research, or special project. M.O.M. accepts one residency per time period and we are pleased to announce our first opportunity beginning January 1st, for two weeks, with artist, performer, and academic Christen Clifford. Find out more about the requirements to participate here and access our online calendar.

The M.O.M. Art Annex Residency Program is currently open to students, artists, and scholars engaged in the study of women, mothers, fathers, and families. This live/work space in the heart of downtown St. Petersburg, Fl is an opportunity for those wishing to focus for an extended period of time on research, writing, or art-making in a quiet setting, close to amenities, in a supportive environment. If the residency doesn’t work for you, but you want to visit, then you can plan a trip on AirBnB  as well [Link].

M.O.M. has a long relationship with universities and art organizations around the world including: Materials for the Arts (NYC), St Petersburg Arts Alliance (FL), The Mom Egg Literary Review (NY), Procreate Project (London), The Artist Parent Index (Virginia), The Mamapalooza Festival, Demeter Press (Canada), M/other Voices (Rotterdam), Columbia U (NYC), Teachers College (NYC), Manhattan College (NYC), Marymount Manhattan College (NYC), Eckerd College (FL), and more.

About Christen

Christen Clifford, a feminist writer, feminist performance artist, curator, professor, actor, and  mother artist whose performances and writing use her experiences of maternal sexuality, menstruation, rape, and the female body as material, is launching a new project called Pussy Bow.

The Pussy Bow is silky blouse with a long, floppy bow attached to the neck. Currently a popular fashion item, Clifford reimagines it as a feminist action disguised as a fashion accessory. Hers is real pussy bow, printed with images of her own pussy.

Last September, as part of a performance hosted by the dance group AUNTS at New York’s Ace Hotel, Clifford used the wireless internal-camera vibrator Siime Eye to broadcast photos directly onto the walls of the hotel (and to remote viewers through Periscope) from inside her vagina. She took these images and created a pattern that she then printed onto silk and fashioned into a long, thin, stylish scarf. Clifford will donate 10% of each Pussy Bow purchase to Planned Parenthood.

The Huffington Post writes, “there’s an entirely new way to wear genitals,” and Style Mic proclaims the Pussy Bow is “making waves,” and “capping off the biggest fashion trend of 2015.” The Daily Dot lists ideal Pussy Bow models: “Donald Trump. Also: Michelle Obama, Lena Dunham, Cecile Richards [President of Planned Parenthood Federation of America.] Anyone who loves pussy, anyone who loves equality and style.”

We will be updating you as the new Art Annex continues its mission in the new year.

cc_birth
Christen Clifford Live Performance

Featured image on homepage by http://www.anyaliftig.com/

Categories
Art Birth Blog International Literature MAMA Media motherhood

New Exhibits Are Up In St. Pete. Space Opens By Appointment Only Thurs., Fri., Sat., January 1, 2017

Welcome All –

The M.O.M. Museum Art Annex is poised to open its doors on January 1, 2017. The new hours are by appointment only. You must call ahead or e-mail: PH: 207.504.3001/MOMmuseum@gmail.com. Visitors may also opt to “Spend A Night At The Museum,” Thurs-Sat. More info coming on Air B & B.

Our new Live/Work space is pioneered by M. Joy Rose. Over the last year or two, an explosion in mother-making-art has taken place across England and America. Most recently, The Mother House (a summer experiment by Dyana Gravina and the Procreate Project, Nicola Smith and We Are Resident, as well as others, have inspired and connected art, motherhood, and the greater cultural community.

In 2016 a presentation by Sarah Black called “Mother As Curator” at the Annual Academic M.O.M. Conference described her home environment as a video, art, installation, and inter-generational family experience. Her treatise declared that as an artist, she “blurs the boundaries of art, and the personal, family and audience, narrative and auto-biographic practices.” She states that as a “performance maker, she explores the home as both a physical and a metaphysical structure to house the work.” In this way, spaces are informed and co-created by those who participate in its interiors, but similarly, its interiors also hold a template for studying the things it contains from a distance.

As part of The Arts Enclave of Historic Kenwood, in the city of St. Petersburg, this new location aspires to be several things: an ongoing place to study motherhood, fatherhood, and family; an arts annex, preserving and interpreting objects for public consumption; a place of learning; a place to gather; and mostly, a template for all the possibilities to come, as M.O.M. continues to grow and thrive. (read more below slide show)

The current exhibit features: Mother The Job, Moms of Rock, African Body Mask, Helen Hiebert, Pro Create Project Archive, Norman Gardner, Capucine Bourcart, Noa Shay, Ella Dreyfus, Helen Knowles, Anna Rose, Vee Malnar, Flavia Testa, Isabel Czerwenka-Wenkstetten, Christen Clifford, our library, including the Andrea O’Reilly Reading Room with the complete Demeter Press works, DVD Collection, CDs and more. Visitors may also enjoy trying on the Pregnancy Simulator Vest or exploring our “Science of Reproduction” exhibit. In addition, I will be using this space to continue to explore mother-labor as performance-art and to teach small groups of students. Here is my very brief bio. I look forward to meeting you soon.

M. Joy Rose holds a BFA in Theater and a Master of Liberal Studies in Women’s and Gender Studies with a focus on Mother Studies. She is a musician, concert promoter, museum founder, and fine artist. Her work has been published across blogs and academic journals, and she has performed with her band Housewives On Prozac on Good Morning America, CNN, and the Oakland Art & Soul Festival to name a few. 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” in New York, and her music has appeared on the Billboard Top 100 Dance Charts.

Categories
Art Birth MAMA motherhood

M.A.M.A. ~ Birth & SONOGRAM (Art); [LINK]

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. 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 creative, 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. Download the Press Release here or read aboutupdated initiatives. #JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg @TheMotherMag

PicsArt_1469570239975

Birth, 2016
by, Megan Wynne

My three year old daughter and I collaborated to reenact her birth, while standing in the foyer of my parent’s house. I grew up in that house, and I am also raising my daughter there. She is being born into the complex and conflicted legacy of motherhood that I inherited and which is embodied in that house. As I give birth to my daughter I pass it on to her, and through her it will continue, from generation to generation. In this ritualistic exercise we act out our intertwined and mirrored identities. We symbiotically define each other, and the line between us is blurred. The flipped image depicts a parallel inverse experience of the same act. My daughter grows up and out of me, as she gives birth to me as a mother. She grows from me and I become her roots, always attached to her, never erased from her identity.

SONOGRAM
by, Susan Vespoli

When my daughter was a toddler
she stroked my cheek like it was the silk
edge of a blanket and pressed
the nipple-ends of soft balloons
into the plastic mouths of dolls

and when she grew breasts
boys flocked around her
like birds to our backyard
come to pluck seeds
from the center of a sunflower
and then her hands gained skill
to text friends, flick cigarettes
from the back porch, play Bad Fish
on guitar strings, and flip her middle
finger into the air like a slim bomb

until it finally folded back up, resting
in the cupped palm of the woman
who smiles at me from an exam table
with her eyes as bright as a camera flash
at the blip, blip, blip of a lit star that will be Molly.

(Originally published in Mom Egg Review Vol. 14 “Change”).

Susan Vespoli lives in Phoenix where she teaches English at a downtown community college, rides her bike along the canals, and walks her 3-legged dog Jack. Her poetry and prose have been published online and in various print anthologies and journals.

Categories
Birth Books Conferences Featured

New Keynote Announcement for M.O.M. Conference

Announcing our newest morning keynote of the Annual Academic M.O.M. Conference, Kimberly Seals Allers on Saturday, May 7th at 9:30AM.

Kimberly Seals Allers
Kimberly Seals Allers

Kimberly is an award-winning journalist, author and a nationally recognized media commentator, speaker, consultant and advocate for infant health. A former senior editor at ESSENCE and writer at FORTUNE magazine, Kimberly is widely considered a leading voice in the counterculture movement in infant feeding. Last year, her online commentaries on the social, structural and racial complexities of maternal and child health issues received over 10 million page views. Kimberly’s fifth book, The Big Let Down—How Medicine, Big Business and Feminism Undermine Breastfeeding will be published by St. Martin’s Press this summer.

Kimberly is currently the director of The First Food Friendly Community Initiative (3FCI), a W.K. Kellogg Foundation-funded pilot project in Detroit and Philadelphia to create a national accreditation process for breastfeeding-friendly communities while addressing local social stressors and economic strengthening for families. In 2011, Kimberly was named an IATP Food and Community Fellow focused on reframing breastfeeding disparities as a food systems issue, where she pioneered the concept of “first food deserts”—communities that severely lack accessible resources to support mothers who choose to breastfeed. As a communication specialist, she works with non-profits, hospitals and public health organizations to develop impactful messaging strategies for communities of color.

Kimberly has appeared on Good Morning America, CNN, Anderson Cooper, the Tom Joyner Morning Show and in various international and national media outlets. Kimberly is a graduate of New York University and the Columbia University Graduate School of Journalism. A divorced mother of two, she lives in Long Island, NY with her children. Learn more at http://www.KimberlySealsAllers.com.

Follow her on Twitter @iamKSealsAllers

More about the Conference this year [LINK].

 

 

 

Categories
Birth Featured

Why Jenny Wants To Be A Birth Doula

 This blog contribution is by MOM Social Media Intern, Jenny Nigro

I have been on a path toward pursuing a doula certification for some time now.  The beauty of the timeline for certification is that it is a go-at-your-own-pace kind of thing.  As it turns out, this also happens to be a curse for me.  Admittedly, it’s taken me longer than it should to keep up.  Part of the reason, though, is that without any real rhyme or reason, I convinced myself that I should be a birth doula.  A birth doula is someone who attends the birth and offers support to the laboring mama in any way that is needed — in offering kind words, in reminding parents of breathing techniques, in running any water/ice chips that are needed, in massaging sore parts of the mother’s body, in taking photos or video of the birth so that other labor partners can be more actively involved, or in communicating aspects of the labor plan to medical personnel on the mother’s behalf if requested.  Even as I write this list, I am filled with a sense of caring and warmth in thinking about the role that this plays in a birth.  Perhaps this is what initially drew me to the field.  But the deeper I went into fulfilling a certification, the more I realized that what I truly wanted to do was become a postpartum doula rather than a birth doula.

Doula_StoryAs the name suggests, postpartum doulas become involved in a family’s life post-Baby.  The doula offers support to the family in a variety of ways — they may offer insight into breastfeeding technique, offer general breastfeeding or parenting support, maintain the household while parents and Baby rest/spend time bonding, cook healthy and nutritious meals for the family, or assist in care-giving to other children in the household so that the parents may have time to bond with their baby individually.  A huge part of why I wanted to become a doula is because of the outcome of most safe, healthy deliveries: the welcoming of new life into a family.  As a birth doula, I would only get to witness a small piece of that process.  But as a postpartum doula, I could assist in the most crucial moments of that baby’s growth and development: as they bond with their family, expand their awareness, perform life’s first milestones, and interact with their environment.  And for the family, I could ensure that the time that they have with their baby following delivery is precious and undivided by mitigating the demands of everyday life so that they can focus on the new member of their family.  As a nanny, I perform many of these duties already: I cook nutritious meals for the family, I engage in light housekeeping duties, and I help supervise, instruct, and engage the children in the home to help the household run smoothly.  It would be a natural transition, I feel.

As part of my postpartum doula certification requirements, I am expected to read several books about “mothering the new mother,” breastfeeding, and infant care.  In one of my required reading books, I came across a quote/concept that sealed my decision to shift from birth to postpartum doula-ing.  Deep down, I suspect that I’ve felt this way all along, but seeing it in print was sort of an awakening.  The book quotes Suzanne Arms, holistic birth and parenting advocate, who once asked, “Is ours not a strange culture that focuses so much attention on childbirth — virtually all of it based on anxiety and fear — and so little on the crucial time after birth, where patterns are established that will affect the individual and the family for decades?” (Mohrbacher & Kendall Tackett: 2010, 106).  The book also cites a cross-cultural review of postpartum practices which found that postpartum depression is virtually nonexistent in societies where families had a reserved time set aside for spending time alone with their baby, where mothers were cared for and allowed to rest in privacy, where parents were relieved of their household duties during this time, and where women’s status new mothers was recognized (2010, 106-107).  In Rigoberta Menchu’s memoir, I Rigoberta Menchu, she devotes a section to describing the postpartum practices of the Quiche, where this sort of designation for new mothers is honored.  She describes this as one of very few times in women’s lives when they are exempt from labor so that they may remain with their babies in seclusion for these important moments of their lives.

This feels so inherently different from the way we treat new mothers in our society.  We shower expecting moms with attention — literally and figuratively — by throwing them parties, buying them everything they need for their babies before they come, and catering to their aches/pains/cravings while they are carrying.  But once the baby comes, new mothers are somewhat forgotten.  While some thoughtful friends and neighbors may contribute a dish or two and grandparents may come to stay with the family for a short while, once that time ends, new moms are expected to 1) automatically “get it” — get the hang of everything that taking care of a newborn entails, 2) bounce back from their pregnancy and any trauma inflicted on their bodies in terms of medical interventions used in birth, 3) not ask for anything and instead give everything to their newborn.  Any attention offered the new family is more in adoration of the new baby.  Brises, christenings, and naming ceremonies all celebrate the child.

I’m not saying that this attention and focus on the new baby is misplaced.  But imagine a society in which the time followed the birth of new baby is cherished and sacred.  Think about the ease of transitioning for the family if friends, family members, and neighbors eased the burden of normal household routines so that the new parents could have the first two weeks with their babies, chore-free to simply enjoy getting to know their little one.  Picture a world in which a family’s decision to engage the services of a postpartum doula is expected, not a rarity.  It is conceivable to think that a culture of postpartum depression or baby blues could be alleviated, even just a little bit.  If this were the norm, perhaps our entire construction of maternity/paternity leave would shift.  In reality, the way we do maternity and paternity leave in America reflects the reality that we simply do not value the time following births.  Policies that do not include paid parental leave or offer inadequate time periods of full or partial pay speak to this idea that we expect parents to immediately bounce back from giving birth.  Parents are expected to return to work in tip-top shape, despite having gone through a major life change.  They are criticized when they fall short and admonished for taking additional time off.  But if we were to reserve special time for families following the birth of a new baby, undoubtedly we would begin to see parental leave policies that respect this convention.

And that is a world that I would like to raise a child in.

Categories
Art Birth MAMA

Reflections Of A Multicultural Mom

Art by Louise Camrass
Art by Louise Camrass

By Margaret Rapp

From Mom Egg Review Vol. 13

On my son’s third birthday, he got chicken pox. We cancelled his party, but I still gave him the present he most wanted – a Barbie doll. Although I am a “modern” Mom, I was a little uncomfortable giving him a Barbie, so I gave him a Barbie and Ken; and, since he is an inter-racial child and I wanted to be politically correct, I gave him a black Barbie and Ken (although Barbie did have a blonde streak in her hair). My son loved his gift and I can still see him, sitting in front of his cake with a birthday hat on, his face speckled with pox marks, holding up his Barbie (Ken had already been relegated to the unused toy box).

For the next two weeks, while he was recuperating, Barbie was his constant companion. When he went back to daycare, he wanted to take his Barbie for show and tell. While I had my misgivings on how the other children would react –would they make fun of him—I stuck to my feminist principles and didn’t discourage him. That afternoon when he came home, he threw his Barbie angrily in the corner. My first thought was that he had been teased or called a sissy. Then he tearfully said the words that are still imprinted in my mind. “I want a white Barbie.” He had never used the word white to refer to a person before. Years later, I learned that it was actually Jessie, a black girl who lived down the block, that had taunted him about his “black” Barbie.

I hate the word “bi”. Like in I am the mother of a biracial child. I keep expecting to see a child that is painted black on one side and white on the other like those mimes you see in the park standing like statues. It comes from that puritanical Calvinism where everything in America is bifurcated, cut in half, polarized. Like either/or, good/evil, black/white. And you are always expected to come down on one side or the other.

Murphy Brown was very big on TV when my son was small. After his Dad took off, I played the Murphy Brown role – the fast talking, independent woman who raised a child on her own. It worked very well until they found out I had a mixed race child. Even then, it could work if they thought he was adopted. Once they found out I had him the old fashioned way, I was relegated to the welfare Mom role –the woman who was too stupid to keep her legs together and was dumped when she got pregnant.

I know that my son has spent much of his childhood longing for some traditional nuclear family that he will never have (as do many children from both black and white homes). But our society is much more multicultural now than it was when my son was born twenty-six years ago. These days he self identifies as a German Haitian Dominican Jew. And we do have a “biracial” President.

My son is grown now – a muscled young man with light golden skin, deep dark eyes and the somewhat rounded features that compliment his dimpled smile. His dark curly hair is slowly turning into male patterned baldness — a trait which I find attractive but I suspect he is embarrassed by as he has taken to wearing a hat. He lives with a friend in Harlem and writes lyrics for a pop singer that plays the small downtown clubs. Like most starving artists, he walks dogs to pay the rent, It is hard to believe that he is actually a grown man who has to lean down to hug me instead of looking up at me. So why am I still so worried?

Sunday afternoon a couple of years ago, my son called me from the police station. He was picked up at 6am in Harlem in front of his house. When he protested that he had rights, he was arrested. After two days he was released. He spent two days in jail, lost two days work for which he was not paid, his only good winter jacket was torn when he was roughed up and he saw a homeless man beaten down by police while he was in the holding cell.

The particulars of why he was arrested aren’t important. The charges were dropped, the judge apologized. His legal aid attorney told him he should file charges for false arrest. He made some halfhearted noises about filing charges, but never followed through. He seemed defeated by the whole experience. When I told people what happened, indignant at my son’s mistreatment, the first question they asked was what did he do wrong? After a while, I kept quiet about it, ashamed that he had been arrested. I began to believe he had done something wrong. And I wondered if he would have been arrested if he had been white.

Two months ago he told me he was frisked again in the same neighborhood on his way to work. This time, when the arresting officer “copped an attitude” when he tried to find out the reason he was stopped, he didn’t say anything and let her frisk him because he didn’t want to be late for work. I didn’t know if I was more relieved that he had chosen the pragmatic approach to stay out of jail or saddened that he had learned the lesson society expected him to learn – that he is a second class citizen who knows enough to shut-up and keep his head down. And he was still late for work.

Recently my son told me he was glad that he had been raised in an “alternative” family. He felt that it gave him a more worldly and tolerant outlook on life. What I learned is what it feels like to worry every time my son walks out the door.

About the Author: Margaret Rapp–My life time commitment to feminism and feminist writing is a direct result of my experiences living as a single mom in New York City. I have met many interesting and diverse women I would not have met except for this one commonality and their stories are reflected in my writing. I continue to write short stories and plays for various reading venues in New York, blog on DailyKos and hopefully will get my novel “After the Music Died” published this year. Read more about MER/ Link is HERE

About the Artist: Louise Camrass — Louise was born in London in 1969 and is an artist using paint, charcoal, film/video, clay and performance. Her work charts the human experience. Sex, death, the poetry of our lives. Always responding to the people, places, atmospheres around her, she works with whatever medium suits the moment.
She is currently painting, inspired by the colour and atmosphere of Venice, of memory and times past.
This is also reflected in recent video which expresses the pathos of moving between past and present, the non linear nature of time. Read more at ProCreate Project/ Link is HERE

On becoming a mother from www.louisecamrass.com on Vimeo.

Categories
Art Birth Featured

The Art of Motherhood

Since immersing myself in the motherworld in 1989 I have observed the rise in the visibility of humans engaged in the practice of birth and caregiving. This visibility has translated into music, scholarship, literature, theater, and most recently a rise in fine artists lending their passion to making video, photography, paintings, and performance. I am thrilled by this because making the labor, love, and struggles of motherhood visible lends itself to introspection, observation, and contemplation of mother-work, mother-identity, and the ties that bind. Indeed, I feel blessed to have been born exactly at this time and to have been an active participant in this process. As Alana Ruben Free said to me the other day after an especially tedious and frustrating week, “at least we changed the world.” Martha Joy Rose

Please enjoy the beautiful work of Ana Alvarez-Errecalde here [CLICK}

“Birth of My Daughter”

Ana Alvarez-Errecalde
Ana Alvarez-Errecalde