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Re-encouters ; How are we connected?

During the month of October, Polly Wood came to St. Petersburg, Florida to reflect, make art, and build a nest. More specifically, after ushering her daughter off to college, she realized there was an opportunity to commemorate this significant rite of passage. She came to MOM to build an empty nest.

On top of Polly’s many accomplishments, she is in the process of expanding her career as a musician and artist. She is also in the midst of searching for the threads of the next part of her journey. I didn’t realize the relevancy of the timing of her visit until she arrived on site. We were both engaged in creating big life changes. While I anticipated that I was doing her a kindness by offering her a residency, the opposite was actually true. Polly came with gifts.

The first time I met Polly she performed original music on drums and vocals at the academic ARM Conference in Canada in the early two thousands. I bonded with her instantly. Then, she participated in more performances at the MOM Conference in Manhattan, and I subsequently visited her at her childhood home in Ithaca, New York.

Polly’s first exhibition at MOM, over a dozen years ago, was an online presentation about the Sacred Feminine which launched our first Museum website. In it, she wrote about maternal labor, Goddesses, reproductive rights, and trees. Our relationship roots run deep.

In this online exhibit with the museum, Polly articulated the significance of trees within her own vision of the sacred feminine. She wrote: “Trees are symbolic, metaphoric and metaformic providing relationship, meaning and inspiration.  Cross-culturally, trees are associated with the feminine principle, as well as with knowledge, life, cycles, time, and the connecting matrix between earth, water and sky.”

She elaborated on the relationship between trees and the ways in which “trees are deeply embedded in human consciousness and, physiologically, embodied within the womb of pregnant mothers.”

Her descriptions of the manner in which the placenta is “the only organ in a human that grows when needed – in order to support, nourish and sustain a human life.” Images of the “umbilical cord representing the trunk, and the exposed blood vessels acting as branches,” were included in these early presentations.

When she made the commitment to visit recently, the synchronicity of her willingness to devote time and attention at the MOM Art Annex brought a beautiful focus to our own growing momentum, which includes a search for a new Executive Fundraising Board, as well as an ongoing fundraiser for purchasing Helen Hiebert’s Mother Tree for our permanent collection.

Over the course of the two weeks, we shared conversations, sourced materials, and made art. The affiliation I felt over what we have shared through the years, as well as the ways in which both of us have continued to grow, does indeed remind me of the unfolding branches of the intertwined sacred feminine, which I am fortuitous to witness within the walls of the museum, now flanked by one magical empty nest, crafted by this soul sister, Polly Wood (Pictured above and below this text).

There are stretches where time appears to inch forward incrementally. Movement can be difficult to perceive. This can be true for people, landscapes, and even plants. Tree and forest seedlings take anywhere between twenty and one hundred and fifty years to fully develop. Growth appears almost imperceptible. In the case of Polly and myself, so much has happened since our last encounter, but the last two weeks felt comfortably familiar. We picked up right where we left off.

The photos shared here, of the nest she built, the Mother Tree, and our own entwinement represent a personal celebration of life unfolding, our individual development, and maturation, as well as the manner in which we are inextricably linked through our art, womanhood, and our m/otherness. In each of these experiences, we are born anew. First in conception, then inception, then again and again in the counterpoint of connection. EnJOY! And, please consider joining MOM in some capacity or other, either by donating to the Mother Tree (Link below) or joining us in our ongoing efforts to expand.

Together we are strong. Together we are marvelous. Life is a circle. We are the trees. ~ Martha Joy Rose

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Mom Residency Highlights Actor, Singer-Songwriter-Drummer, Artist & Independent Scholar Polly Wood

Singer, Songwriter, Drummer, Artist & In, Actor & Independent Scholar Polly Wood

The most recent addition to our residency program has been Polly Wood, MFA, MA an accomplished singer, songwriter, drummer, artist, actor and independent scholar. In her various areas of expertise and representative media, Polly strives to focus on the “preservation of the sacred feminine.” Through her residency, you will come to see her passion for her art, her community, her love for family and her vivacious spirit. 

Polly began her artistic journey through fifteen years of dance training and performance in the styles of tap, jazz, ballet, acrobatics. Dance and youth theatre led her to study performing and visual arts in college, where her focus shifted towards Acting. Prior to graduating, she took a hiatus to grow as a musician and artist, gaining performance experience and inspiration from creative collaboration within her community. It was also during this time she explored her passion for the female experience of pregnancy and birth. Building up a career as a doula– a non-medical professional child-birth assistant- she provided support to women and families throughout their pregnancy, and the process of labor, delivery, and early post-childbirth experiences. She also led mother-baby movement classes, birth-art-workshops, artfully created plaster belly casts for over 50 beautiful pregnant bellies, and produced and choreographed A Birth Dance–a modern dance performance and community birth celebration.   

Almost a decade after dropping out of performing arts school, Polly returned to college with a toddler in tow to complete her Bachelor’s degree from the California Institute of Integral Studies. From there she earned a Master’s degree in Women’s Spirituality, and an M.F.A. in Creative Inquiry, both from New College of California. She focused on global economics & the sacred feminine; cross-cultural rites-of-passage; ritual performance and art as a sacred practice. Her master’s thesis The Menstrual Origins of Money was published in 2006. As a singer-songwriter-drummer Polly has performed her original music across the United States and bit in Canada. Much of her visual art over the years followed the themes of pregnancy, birth and the divine feminine in the embodiment of whom she calls Radwoman. 

Above are samples of Polly’s visual artistic works. From left to right: Radwoman Placenta Power (1), Radwoman Fire Songs (2), Radwoman Earth Mother (3), Miss River’s Moon (4), Birds of Change 2 (5), Into the Nest (6), Birds of Change (7), Tree of Life of Instillation (8 & 9).

As a multi-disciplinary artist, Polly’s creative work goes where she feels most lit up. Most recently her passions have come full circle to a creative pursuit of her youth: Acting. This past year offered her baby steps into entering the film & television industry. She is represented by the talent agency Phirgun Mair Worldwide. Feeling grateful for her agent and loving the auditions that come her way, she looks forward to booking future gigs. 

This is Polly’s third engagement with the Museum of Motherhood. In early 2010 she curated a 12-week Sacred Feminine exhibit online and later that year was a guest artist for the Mamapalooza/M.O.M. Conference in New York City. 

After nearly two decades of birth & postpartum work; visual/performing arts and scholarship focused on themes of mothering, the sacred feminine and rites-of-passage, Polly comes to the M.O.M residency to create What Is Left in an Empty Nest? 

Inspired by a recent phone conversation wherein she offered (both ‘good’ and embarrassingly, ‘bad’) advice to her daughter regarding one of her college assignments, Polly envisioned what would happen if she were able to take and apply her own advice as easily as it was for her to dish it out. The next step became evident, and applying for the M.O.M residency was a part of that. 

Polly is looking forward to being Artist-in-Residence at the M.O.M Art Annex, as well as experiencing what unfolds as she engages both her personal community and the Museum of Motherhood community in offering their ‘advice’ towards her creation. In addition to using this collective advice the help stitch and weave the nest together, Polly will be working with themes of grief, emptiness and expansion that can arise when children leave home -whether to spread their wings on their own, or to spend time with another parent- as well as the theme of invisibility that can accompany the gift of being in a step-parent role. Polly will be building an ‘empty nest’ for the Museum of Motherhood, both highlighting a common experience and as a personal rite-of-passage. 

We can’t wait to have Polly back as a returning resident artist and are so grateful to have her fantastic contribution to M.O.M.’s archives. 

To learn more about Polly, her amazing works, and any additional publications, please check out these links to her personal website, additional Resume, and projects: 

https://www.pollywood.ws

http://www.radwoman.com 

https://resumes.actorsaccess.com/PollyWood

Also be sure to follow her on Insta and FB for updates as well as more of her thoughts on our residency!

Instagram: @ms._polly_wood

Facebook: Polly Wood

If you are interested in applying for a residency here at MOM, please go to our website HERE: https://bit.ly/3uRgugm  to find out more. BE SURE TO HURRY! Spots have been filling FAST! We hope that future tours of the space will be available soon, but they are by appointment only in Artist Enclave Historic Kenwood: “where art lives.”

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M.A.M.A. Issue 45: Rubiane Maia

April 2021: Art and words by Rubiane Maia

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 45th edition of this scholarly discourse. Literature intersects with art 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

For the last three years, I have been investigating the concept of memory and its resonances in our way of existing. More specifically, focusing on the philosophy of Time proposed by Henri Bergson, which affirms memory as duration. In other words, it deals in depth with the subjective time that implies the continuous relationship between our consciousness and the world. This means that our consciousness (which is also memory) is not linear, as it is constituted on the indivisibility of past and present. In Bergson’s words, ‘duration is the continuous progress of the past that gnaws the future and swells as it progresses’. In my opinion, this sentence precisely confirms  the hypothesis that memory cannot be configured as a drawer where remembrances are saved, because as the past is preserved by itself as a virtuality that coexists with us, it accompanies us entirely: each one of us is the condensation of the history lived since birth – and even before it.

DISSOLUTIONS

our bodies inhabit landscapes

even on mainland, 

we follow the speed of the fish 

arms take the form of dorsal fins 

legs, tails

we are submerged, 

drunk with salt water, contradictions and algorithms 

our scaly skin burns, stings 

it is true that not all parts of the body fit together – – 

becoming-creature, becoming-noise, becoming-mud 

the ocean is full of mythologies 

hybrid beings,

bird fishes, jellyfishes, hammerhead sharks 

in the middle east, 

mermaids are goddesses of the sea, of vegetation and rain – – 

they smell of dew

in some places in Africa, 

they are stormy forces that mobilize the energy of creation

Mameto – Dandá – Kianda – –

Dandalunda, mãe-d’água, Odoyá! 

our bodies not only inhabit,

they breath the landscapes

turbulent waters,

urine – giant waves – undertow – –

my fins fold in different directions at the same time

unlike fish, i have lungs:

two spongy cones that I use  to filter the air

yes, i breathe,

i, us, the fishes and some other creatures

we breathe, even against our desire

involuntary act,

first and last movement of the life

vortex between birth and death

a gentle breeze comes in through the nostril,

fills the chest,

activates the diaphragm,

moves your tongue,

vibrates

thus, the voice is born

from voice to song, from song to word, from word to scream

our bodies not only breathe, 

they become landscapes

from each breath a mountain emerges, 

hills – dunes – stones  – – 

presence

organs are territories, 

complex systems, regions 

they make mazes and borders 

they form valleys, subtle surfaces, rivers and lakes

every mouth is an abyss, 

an endless hole

rough skin, dry leaf 

dark eyes, fissures 

anus, tunnel 

blood, current 

sweat, combustion. 

sneeze, storm 

feet, roots 

bones, architecture 

breath, gust of warm wind

body-landscape 

landscaped bodies

we inhale, suspend, count to five 

we exhale, suspend, count to four 

we inhale, suspend, count to three

silence 

we count to two, expand

one

i am breathing as someone that turn the key, 

shifting worlds to open and close the body

physical, mental, emotional,

rupture – interference – happening – – 

action that operates in the invisible, 

in a constant process of variation 

difference

breathing is to metabolize, 

dissolving all forms, segments, rules, institutions. 

breathing is channeling, 

an offer from you to you – sensitive laboratory – –

an unpredictable device

vivid dreams

sigh

* Photographs by Manuel Vason

More about Rubiane:

Rubiane Maia is a Brazilian visual artist based between Folkestone, UK and Vitoria, Brazil. She completed a degree in Visual Arts and a Master degree in Institutional Psychology at Federal University of Espírito Santo, Brazil. Her artwork is an hybrid practice across performance, video, installation and text, occasionally flirting with drawing and collage. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual. By doing so, she is constantly re-elaborating her personal notion of existential territories (spatial, temporal, cognitive, social and political). More recently, she has been researching the concept of memory and its relationship with language and the phenomena of incorporation [embodiment], often making use of personal narratives as a device for action and resilience.

In 2014/15 she received a scholarship at the Atelier in Visual Arts of the Secretary of Culture of Espírito Santo, she launched the book ‘Self Portrait in Footnotes’ and participated in the exhibition ‘Modos de Usar’ at the Museu de Arte of Espírito Santo. In 2015, she took part at the workshop ‘Cleaning the House’ with Marina Abramovic and participated at the exhibition ‘Terra Comunal – Marina Abramovic + MAI’, at SESC Pompéia, São Paulo with the long durational performance ‘The Garden’ (2 months). In the same year, she produced her first short film ‘EVO’ that premiered at the 26th Festival Internacional de São Paulo and 22nd Festival de Cinema de Vitória. In 2016, she worked on the project titled ‘Preparation for Aerial Exercise, the Desert and the Mountain’ which required her to travel to high landscapes of Uyuni (Bolivia), Pico da Bandeira (Espírito Santo/Minas Gerais, BRA) and Monte Roraima (Roraima, BRA/Santa Helena de Uyarén, VEN). In the same year she completed her second short film titled ‘ÁDITO’. Since 2018 she has been working on the creation of a ‘Book-Performance’, a series of actions devised in response to specific autobiographical texts particularly influenced by personal experiences of racism and misogyny.

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Me, We, Women – Online Exhibit Feature

A contemporary gaze into feminist art is both subjective and objective, either from female artists or social collective lenses. Lucy R. Lippard stated in 1980 that feminist art was ‘neither a style nor a movement but instead a value system, a revolutionary strategy, a way of life.” Staring with “ME” (the individual), and “WE” (the community), to “WOMEN” (the entire female as half the population), a sequential contemplation focusing on various perspectives and creativities from female artists worldwide is highlighted. Eleven female artists from different nations and cultural backgrounds bring us the reflection of how contemporary feminist art shapes life and art from diverse angles yet to reach a pluralistic interconnection. This project is a part of the MOM Internship Program with Li Yang.

Trish Morrissey, (born 1967 in Ireland; lives and works in London) graduated in photography at the University of the Arts in London in 2001. Her work mainly relies on photography by simulating a specifically constructed reality, playing on the binary pair: truth/ representation. Trish Morrissey’s photographs become an instrument to criticize and question family unity and its quintessential manifesto, the family portrait that displays similarities, proximities, hierarchies, and inner orders.

”Since 2012 I have been mostly working with archives and collections. I am passionate about stories of women that are often overlooked in history, in favour of male-centered narratives. I am excited by the small details of people and their lives, things that are often universal and ageless. I am drawn to stories of eccentricity and my way of sharing this is to get under the skin of places, and people. I develop and play characters that I hope are authentic and recognisable. They sometimes lie on the border between psychologically disturbing and a little bit funny. I have several projects happening right now, but the biggest one is a survey show opening in Serlachius Museum, Finland in February 2022. This exhibition will includephotographs and films from the last twenty years alongside new work inspired by my studies in the museum’s archive.”Her work is exhibited widely, most recently at Recent exhibitions are Group Shows: ‘Landscape, Portrait: Now and Then’ at Hestercombe Gallery 2021; ‘Who’s Looking at the family now?’ at London Art Fair 2019 and solo show ‘Trish Morrissey: A certain slant of light’ at Francesca Maffeo Gallery, 2018.

SEE OUR GALLERY ONLINE FOR THE FULL EXHIBIT

Her work is in the permanent collection of The Museum of Fine Art, Houston, Victoria and Albert Museum, London, The National Media Museum, Bradford and the Wilson Centre for Photography, London

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M.A.M.A. Issue 44: Exhibit March 2021: INTERNATIONAL WOMEN’S WEEK & Art by Alexis Soul-Gray, Poetry by Iris Jamahl Dunkle

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the M.A.M.A . 44th edition of this scholarly discourse. Literature intersects with art to explore the wonder and the challenges of motherhood. What better way to celebrate #InternationalWomensWeek than with Art and Words from around the world!

International Women’s Week starts on the 8th of March and while a day celebrating women has existed in some form for over 100 years it wasn’t until 1911 that a formal International Women’s Day took place in which Austria, Denmark Germany, and Switzerland took part. Since 1975 the UN has recognized International Women’s Day and Week. In 2011 Barack Obama introduced a Women’s History Month in March to coincide with the existing day and extend the celebration of women even further. 
Each year International Women’s Day has a theme; this year that theme is ‘Choose to Challenge”. Here at M.O.M challenge is a key concept; from challenging concepts of femininity and motherhood and even to the idea of what a museum can be.  #JoinMAMA #artandmotherhood

ABOUT M.A.M.A. 44 FEATURE: Alexis Soul-Gray’s practice is concerned with loss, memory, and grief. Speculative questioning about the memorial, memory, and commemoration brings together a conjecture of imagery taken from personal and public archival materials. Through painting, collage, and print the artist defaces and rearranges found images and objects. Soul-Gray explores themes of loss and grief with a particular focus on the trauma caused by the loss of the mother figure, questioning notions of domestic success and the cuteness inherent in memory, she uses destruction and abrasion to physically manipulate and alter found images in order to find new realities, a calm after a storm…a final resting place that cannot be reached. 

I work on canvas, linen, wood and paper. I have recently been drawn to salvaged found paper ephemera such as vintage embroidery transfers, bible pages, knitting patterns, objects of beauty and magazines/books that give advice/ instruction for domestic success. I often work in layers, deliberately interrupting images through overlap/obstruction as an attempt to create a visceral representation of the thought process. Abstraction and figuration hold equal significance. Images are continuously intersecting, abrasive, harmonious, removed…a tangible manifestation of a multi-layered interior state.

I am interested in the stillness found in studio shot images of children and women, floristry, knitting and antiques. Almost like puppets and dolls in play, I take them on a journey of change and exploration. These images were not designed to be used in paintings, their intended use was cheap printed instructional material and quickly forgotten books. Many of the images I work with date from the 1930’s-1980’s, they represent personal ancestry, collective histories, traditions and loss.

BIO: Alexis Soul-Gray is a visual artist based in Devon, UK. Her practice sits predominantly within painting, drawing, and printmaking but also includes assemblage, photography, and film. Alexis studied at Central Saint Martins and Camberwell College of Art has completed the postgraduate year at The Royal Drawing School and later this year will start her MA in Painting at The Royal College of Art after 10 years of primarily caring for her two daughters. Alexis has worked in Arts education for 17 years and currently holds a lecturing role in Devon. She has also worked as a curator, producing 3 large scale art events in unusual settings including an old village post office in rural Oxfordshire, the vaults of an Elizabethan mansion in Epping Forest, and an inner-city folly standing adrift, lost in Birmingham City Centre, built-in memory of the landowner’s deceased wife.

Poetry by Iris Jamahl Dunkle

Mother Song

Had I sky enough, had I sea, I’d pour
that blue back into you, my second hearts.
Each dawn brings a symphony of swallows mud-nested in the eaves. A reckoning:
what dulls can shine out, have you wings and lungs.

In this house of loss and shadow, we mass
the store of what we’ve learned: Even winter-
bare buckeyes will green and bloom out. Hawks
will nest in ribbons of air. The monarch
butterflies will shock our eyes with orange wing.

More about Iris:

Iris Jamahl Dunkle is the author of three poetry collections, including Interrupted Geographies (Trio House Press, 2017). Her biography about Charmian Kittredge London, Jack London’s wife was published by the University of Oklahoma Press in 2020. She was the Poet Laureate of Sonoma County from 2016-2018. She teaches at Napa Valley College and is the Poetry Director of the Napa Valley Writers’ Conference.

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Birth Through Women’s History Month -WARNING GRAPHIC CONTENT-

By: Violet Phillips

(Violet is a remote student intern, crafting literature and book reviews for MOM. In this creative piece, she envisions giving birth for new mother Lelani who must figure things out on her own)

Lelani felt pressure on her pelvis one day. She needed to pee really badly and felt her breath go short. She saw clumps of mucus in the toilet. Suddenly, she realized: her water was breaking. The big moment had arrived. She never thought she would do it all alone, but here she was.

Feeling an ungodly pain in her lower back and abdomen, she was more terrified than she’d ever been in her life. Somehow, despite her panic, she still remembered the list: photo ID, health insurance card, outfit for the next day, outfit for the baby. She called a cab to the hospital. It felt like the longest she’d ever waited for anything in her life, even though it actually couldn’t have been more than 20 minutes.

The driver stepped on the gas. “Sir, I think there’s a faster way you can go,” she sighed, irritated.

“No, ma’am, there’s no faster way,” he said.

Walking into the hospital, she saw a pile of paperwork she had to fill out. Why why why?

Once the nurse examined her and confirmed she was really about to give birth, she changed into a hospital gown.

“Are you doing an epidural or aiming for a natural birth?” The nurse asked.

“What do you think?”

“Epidural?”

“You bet.”

The nurse moved her to the bed. She wondered where her obstetrician was, but was too tense to ask.

Then, she began to feel the intense pain of contractions. She waited for them to end. They didn’t end. They started to get worse. The nurse started pushing her stomach. There was nothing but pain and pushing for hours.

Then, suddenly she heard a baby cry. It felt like magic washing over her.

“Here you go!” The nurse handed over her baby. Holding it in her arms, she wasn’t sure how she felt. Fear? Anticipation?

“When can I go?” She asked.

“A day or two,” the nurse said.

She fell back asleep. The next day was a blur of being handed food and liquids.

Then, she bundled the baby up and got a cab back to her apartment. Ready to enter the new world, all alone-with a new little stranger.

PHOTO CREDIT:

SOURCE: https://www.a3bs.com/noelle-birthing-simulator-with-birthing-and-resuscitation-baby-dark-1017860-w45111d-s550d,p_895_26234.html?utm_source=google&utm_campaign=gmc_feed&utm_medium=shop&gclid=Cj0KCQiAyoeCBhCTARIsAOfpKxjJPGQgkZvV0SMrD-7xZD1-M3u0xyW3krcnmG5OYo9oe-iCWTeTJiYaAsEnEALw_wcB

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New Directions in Museum Accessibility

Violet Phillips

This article attempts to address and confront a number of issues within existing museum structures. While the Museum of Motherhood aspires to be a leader in championing women’s studies in a family-friendly environment, there is still much work to be done.

Gail Andersen is a museum consultant who’s been the director of the Mexican Museum, vice-president of Museum Management Consultations, chair of the department of museum studies at John F. Kennedy University, and is now a private museum consultant.

In 2002, she founded Gail Anderson & Associates to help museum leaders further transform their effects on community and global leadership. Her book, Mission Matters: Relevance and Museums in the 21st Century, addresses the ways in which museums can be social change agents.

While museums exist to preserve society, they can also show problems, like racism or sexism, as they exist. Showing the intersection between what has been and what could be, is part of what inspires people to create meaningful change. [3]

Art Works for Change Was founded in 2008, out of a desire for more meaningful change and also aims to use art to address social issues. It focuses on “human rights, social justice, gender equity, environmental stewardship and sustainability” And partners with local organizations. The organization’s philosophy sees artists as storytellers, to both reflect on past experiences and pave the way for better experiences in the future. [4]

As “writer, trainer and consultant” Anna Fathery wrote for MuseumNext:

“At their core, stories make us care. They connect us with people and places, even stimulating the release of a hormone usually expressed during intense bonding experiences, like childbirth, breastfeeding, and sex. This emotional connection is the reason stories are so powerful. As any advertiser knows, stories drive people to take action, whether that’s buying a product, gifting a donation, or making a difference in the world. From a marketing perspective, stories can help museums raise funds, encourage visits, and trigger sales. For instance, when the Tenement Museum in New York wrote about former First Lady Eleanor Roosevelt in a fundraising mailing it told a story about Roosevelt’s work in the local area. By connecting the teenage Roosevelt’s story with the Museum’s education programs, the call to action was obvious: donate money and you could inspire a new generation of young Eleanor Roosevelts” [5]

However, the storytelling experience currently curated in museums can be difficult for those with physical disabilities to access. People in wheelchairs usually use public transit to get around, and museums can be difficult to find from a bus stop or train station. Many museums also don’t have wheelchair ramps to help people get inside. It also can be hard for someone in a wheelchair to reach the resources provided, such as brochures.

Some museums are also lacking in Braille or audio descriptions that would help blind people access the exhibits, as well as sign language interpreters that would help deaf people access the exhibits. [6]

Also, as of 2015, 84% of museum staffers were white, and those who weren’t were often security guards or janitors. As of 2019, 85% of artists exhibited in major museums were white, and 87% were male. Historical museums rarely show the history of anyone who wasn’t a white man. Curators tend to agree that museums are important and should continue to be part of society, but should also expand to represent a more diverse society. [7]

Children are also less likely to enjoy museums, due to lack of engagement. Of course, many families would like to visit museums and bring their young children, and it could be a way for families to explore and learn together. Children are generally only willing to go to museums with a lot of interactive features. [8]

However, if done properly, museums can encourage children’s critical thinking skills, curiosity and creativity. [9] There are no good reasons why museums can’t make themselves enjoyable to children, who have a lot to learn, unless there are size constraints.

As Gail Andersen insists, museums are one of the most impactful ways to make sense of the past and future. Museums should be made accessible to as many people as possible, so that everyone can absorb the lessons about The past and future.

The current location of the MOM Art Annex in Florida requires additional funding so that it can implement special exhibits that are accessible to all, including those with disabilities, and expand our current space so that children may enjoy engaging, playful, and educational experiences (as we did during our time in New York City). Additionally, we pride ourselves on exhibits from multicultural perspectives. We welcome those of all races, nationalities, and ages to join us as board members, interns, and exhibitors.

Works cited

[1] https://www.amazon.com/Reinventing-Museum-Historical-Contemporary-Perspectives/dp/0759101701

http://linkedin.com/in/gail-anderson-6710575

[2] 1000 museums : museum quality fine art prints & custom framing. “How museums can lead the way for social change.” June 23, 2021. Online. Accessed February 10, 2021.https://www.1000museums.com/museum-activism/

[3] https://www.artworksforchange.org/our-story/

[4] museum next. “Why do stories matter to museums and how can museums become better storytellers?” July 7, 2019. Anna faherty. Accessed February 13, 2021. Online.

[5] museum next. “Making museums accessible to those with disabilities.” January 22, 2020. Goabaone montsho. Accessed February 13, 2021. Online.

[6] vox. “If museums want to diversify, they’ll have to change. A lot.” Constance Grady. November 18, 2020. Accessed February 13, 2021. Online.

https://www.google.com/amp/s/www.vox.com/platform/amp/the-highlight/21542041/museums-diversity-guston-national-gallery-hiring

[7] “what do families with children need from a museum?” Kai-Lin wu. Accessed February 13, 2021. Online.

[8] world of illusions. “The educational benefits of taking kids to museums.” April 9, 2019. Accessed February 14, 2021. Online.

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LIBRARY FEATURES: The Big Let Down

By Violet Phillips

February is Black History Month! Here at MOM, we celebrate Black motherhood by kicking off our Library Features by highlighting the work of author and activist Kimberly  Seals Allers.

Kimberly is a graduate of Columbia  Graduate School of Journalism, executive director of Narrative Nation, inc., president and chief health communicator of  Shift Health Communication  Strategy and author Of “The Big Letdown—how Medicine, Business & Feminism Undermine Breastfeeding,” published in January 2017. [1] Recent accomplishments include a yelp-like app that fights racism from a public accountability perspective. Find out more here [LINK].

Kimberly Seals Allers is passionate about the ways motherhood intersects with race, class, and policy. [2] She had her first baby shortly after graduate school and was very anxious about birthing complications, that, as a black woman, she was statistically more likely to face. She felt her concerns were brushed off by the hospital workers, and then was inspired to invent strategies to improve birth and breastfeeding conditions in America.

 Since she kept hearing of more traumatic experiences from black and Latina women, she and her 13-year-old son decided to launch an app calledIrth , that helps people of color find prenatal doctors, birthing doctors, postpartum doctors and pediatricians, by showing reviews similar to Yelp. You can even search for reviews by the race, ethnicity, sexual orientation, gender identity, or income of the reviewer, allowing users to make sure the medical professionals will be inclusive of their needs. Although currently only available in New York City, New Orleans, Sacramento, Detroit, Washington, D.C., Maryland and Virginia, she hopes it will eventually be launched nationwide. She also hopes it will grow to include fertility specialists and breast cancer doctors, and that it will inspire white women to take allyship.[3]

She also wrote The Big Letdown about how breastfeeding is stigmatized in ways that promote unhealthy baby formulas,  and how it relates to oversights in feminism and public policy. [4]

By the logic she uses, breastfeeding babies for the first six months of their lives has been proven to benefit their physical and mental health in many ways, including decreasing chances of disease and obesity. It is also proven to benefit the breastfeeder by lowering chances of past-partrum depression, increasing confidence, self-esteem and calmness, improve sense of connection with the child, and lower chances of cancer, diabetes and endometriosis. [5]

However, as women now work more than ever before, many mothers, especially black mothers, have been convinced that baby formulas are better, because they don’t take time away from work. Health care, daycare, and maternity leave have gotten less attention now that women can feed their babies through pumps and don’t need the time to breastfeed. [6]

In addition to the scheduling preference for formulas, breastfeeding in public is typically shamed, as most people have noticed. Even though breasts are commonly shown in advertising and media for straight men’s sexual interest, many people are uncomfortable seeing breasts used for an essential action. The association with sexuality causes anxiety, embarrassment and confliction about breastfeeding in public.

Studies  have proven that social status, level of education, and especially, amount of support from friends and family, all improve chances of making healthy infant-feeding decisions;but, even the majority of women who breastfeed still believe it’s wrong to do in front of men.[7] even in Australia, where there is a law banning discrimination against breast-feeding,  formula feeding is still more popular due to lack of knowledge on how to breastfeed properly, pressure to return to work, conflicting medical advice, isolation and lack of support. [9] Many argue that it’s a personal choice whether you breastfeed or formula feed, but I’m not sure it’s an informed choice, when so many people are unaware of the benefits of breastfeeding.

Feminism and sociology aim to change this by promoting normalization of female/reproductive body functions. Professionals in this field have aimed to show how much women and breasts are seen as sexual objects, designed to tempt men and boys, [11], and create changes towards breasts being seen as a simple body part. As they might argue, the stigma against breastfeeding is part of the issue of women, transgender people and children being seen as less “natural” and suitable for public exposure.

As Allers herself argues “[t]asking about breastfeeding means talking about women’s bodies, feminism, policy gaps, commercial interests and physician education.” [12] She, and others in similar fields, aim for breastfeeding parents to have support from their partners, family and friends, and eventually, improve birthing conditions, children being treated equally and adequate muttering leaves. [Tap on the image below to read more about Kimberly].

This project is made possible through the MOM Internship Project. To find out more about Violet Phillips or to read about our interns, go to our Internship Page here at MOM [LINK].

Citations

[1] LinkedIn. “Kimberly seals allers.” https://www.linkedin.com/in/kimberlysealsallers

[2] the riveter. “Kimberly seals allers: contributor.” https://theriveter.co/voice/author/kimberly-seals-allers/

[3] New York family. “Kimberly seals allers: fighting to lower black and brown maternal mortality rates.” October 1. 2020. Donna Duarte-Ladd.

[4] Amazon. “The big letdown: how medicine, business, and feminism undermine breastfeeding.” https://www.amazon.com/Big-Letdown-Medicine-Undermine-Breastfeeding/dp/1250026962

[5] Cleveland Clinic. “The benefits of breastfeeding for baby & for mom.” https://my.clevelandclinic.org/health/articles/15274-the-benefits-of-breastfeeding-for-baby–for-mom

[6] the new republic. “The war over breastfeeding.” November 23, 2015. Kathryn Joyce.

https://newrepublic.com/article/124348/war-breastfeeding

[7] international breastfeeding journal. “It’s okay to breastfeed in public but….” June 11, 2019. Athena Sheehan, Karleen Gribble & Virginia Schmied.

[8] the pump. “A surprising number of people still find breastfeeding in public inappropriate, survey reveals.” June 2019. Stephanie grassullo.

https://www.google.com/amp/s/www.thebump.com/news/breastfeeding-in-public-aeroflow-survey/amp

[9] multicultural center for women’s health. “Why breastfeeding is a feminist issue.”

[10] feminist current. “Why are women being erased from breastfeeding advocacy?” August 21, 2019. Nicole Jameson.

[11] thought I. “Explaining cultural taboos on breastfeeding in public.” September 30,2018. Nicki Lisa cole, p.h.d.

https://www.thoughtco.com/why-breastfeeding-in-public-is-taboo-302623

[12] Facebook. “Kimberly seals allers.” November 8, 2018.

https://www.facebook.com/iamKSealsAllers

Photo credie: By Anton Nosik – TheKid, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=15481910

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Birth Blog Books breastfeeding Caregiving Classes Education Featured Feminism gender health History Media Medical motherhood Policy

Our Bodies Ourselves – The MOM Library

By Violet Phillips

Our Bodies, Ourselves was written by The Boston Women’s Health Collective in 1970, with the goal of promoting women and girl’s health, reproductive rights, and sexuality. The knowledge presented was radical for its day, illuminating topics as varied as masturbation and abortion.

To quote the Los Angeles Times, “Forty years ago, a copy of “OBOS” on the shelf signified you were a certain type of woman — curious, and unashamed of it. In control. You were not the high school junior who was clueless about sex and pregnancy and missed six months of classes due to “mono.”[1]

Three years after Our Bodies was published, abortion in America became legal with the passing of Roe Vs Wade.[2] Sex education programs in classrooms had been gaining in traction in schools since the 1960s.[3] However, controversy about girl’s bodies and who controls them has continued to be a topic of debate and public discourse.

Even in 2020, there is still growing pressure for women to get plastic surgery and sexual images shown on media pressure teenagers to engage in certain behaviors. While there have been many systemic changes, teenage girls’ vulnerability to STDs, ongoing pressure to have sex at a young age, and unrealistic beauty standards haven’t changed enough. Society continues to evolve, but when it comes to recognizing individual’s personal choices there is still room to be more inclusive.

Early versions of Our Bodies, Ouselves did not include information about transgender identities, environmental concerns, or mental health advice. However, the writers have since expanded their knowledge. In 2020, Our Bodies, Ourselves launched a website. Today, they give well-researched advice, on health, sexuality, and wellness for women, girls and also transgender people.

Throughout the years, The Boston Women’s Collective has inspired health care policies, research on women’s health, feminist activism, feminist studies, health care, and health activism. Prior to the publication of this seminal piece of literature, in many parts of the world, sexuality as well as reproductive rights had many negative associations.[4]

I have grown up in an era of increased knowledge. Gone are the early-day doctors who focused on women’s reproductive value, and used “hysteria” as a diagnosis, which minimized women’s emotional wellbeing and invalidated women’s experiences.[5] My grandmother nearly died from a botched illegal abortion in the early 60s. The original copy of Our Bodies, Ourselves in my bookcase was inherited from her. Because of the work of the Boston Women’s Collective, I am privileged to enjoy a more positive outlook than many women from my grandmother’s age.

Access to the internet in 2021 connects us at unprecedented levels. One recent novel titled, Conversations  Between Friends published in 2017, by Sally Rooney, discusses the topic of endometriosis. The main character gets diagnosed at 21 years old. The disease is often undiagnosed and rarely mentioned in the media, even though it’s been known to have serious effects on mental health, and even on education. Endometriosis is addressed on the new Our Bodies Ourselves website.[6]

Despite a prolific and sometimes superficial “wellness culture” that includes dubiously helpful information, there is a forty-year-plus history of Our Bodies Ourselves which gives people verified information that is dedicated to addressing topics as wide-ranging as motherhood, health, reproductive-control, and emotional well-being. That is a good thing!

CITATIONS


[1] https://www.thedailybeast.com/our-bodies-ourselves-turns-40-why-the-womens-sexual-health-book-still-matters. Our bodies, ourselves’ turns 40: why the women’s sexual health book still matters.” Jessica bennettt. Daily beast. September 30,  2011. Online. Accessed January 9,2021.

[2] https://www.history.com/topics/womens-rights/roe-v-wade#:~:text=Sources-,Roe%20v.,procedure%20across%20the%20United%20States.&text=Wade%2C%20abortion%20had%20been%20illegal,since%20the%20late%2019th%20century. Accessed January 11, 2021.

[3] https://www.plannedparenthood.org/uploads/filer_public/da/67/da67fd5d-631d-438a-85e8-a446d90fd1e3/20170209_sexed_d04_1.pdf. Planned Parenthood accessed January, 11, 2021

[4] The legacy of Our bodies, O

urselves– and how one book can change your entire life.” Laura lambert. Brightly. Online. Accessed January 9, 2021.

[5] The female problem: how male bias In medical trials ruined women’s health.” Gabrielle Jackson. The guardian. November 13, 2019. Online. Accessed January 8, 2021.

[6] https://www.ourbodiesourselves.org/book-excerpts/health-article/endometriosis/. Accessed January 11, 2021

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ABOUT

Meet our newest intern, English major Violet Phillips from Mills College, Oakland, CA. Read more about Violet on our Internship page. We look forward to her ongoing reports from the MOM Library, posted here throughout the next few months.

Categories
Art Digital Media Internships Education Featured Feminism History motherhood Policy Sociology Spiritual Motherhood

American Indians – A Time of Harvest & Hope?

By Carla Ferris

October is a harvesting celebration month. This October report describes some of my research and areas of interest on the topics of American Indians. Among them, are ethnobotany (in traditional acorn gathering) and Ecofeminism. Through my internship at MOM, I look forward to exploring the Indigenous lifestyles as I work toward the completion of my advanced degree in Public History at American Public University (full Bio online at Padlet). In particular, I also interested in the Chumash tribe, whose peoples populated central California until the establishment of the Spanish missions in the 1700s. Chumash tribe’s encounters are brief, the Indigenous information shared with Mother’s museum will come from extensive research.

My October report begins with a youtube video called, “A Conversation with Native Americans on Race”, which was suggested to me by museum director, Martha Joy Rose. This youtube video emphasizes American Indian identity and loss. The first interviewee remarked on how tribal populations were treated extremely poorly. Each of the interviewees had a slightly different perspective about terminology. But, based on the recommendations made, the term “American Indian” was preferred over Indigenous people. So, that is how I will henceforth make reference. According to his explanation, identity is valued, and “American Indian” refers to the culture (in general). Click on the image below if you would like to watch the video in its entirety.

Early attempts at Christian conversion aimed at removing the American Indian culture and identity have left deep scars. Further research about the California Chumash tribe and lifestyle provided historical depictions of life during the mission period. The Mission San Luis Obispo de Tolosa describes the missionary padres replacing the American Indian mother’s role as gathers. The padre’s lessons were instructions for farming and architecture building. Despite the padre’s efforts, the Chumash tribes continued their cultural traditions in festival celebrations and herbal trades. It is important to note, that American Indians have been disproportionately affected during COVID- with extremely high mortality rates.

In addition to the ongoing devastation of COVID, California (and now Colorado) wildfires have been burning at unprecedented levels. I accessed a segment about Native American cultural burns that historically encouraged diverse natural habitat and helped to control forest fires. I was also able to watch Kat Anderson’s “Tending the Wild”, a television documentary about the practice of motherhood acorn gathering traditions. The mothers’ role in the American Indian’s acorn gathering traditions is joyful.  As if to counter the great obstacles currently facing not only Native Americans but all Americans in 2000, Kat places emphasis on Indian gathering activity as a heartful participation in cultural mindfulness. Her contributions in “Tending the Wild” encourage this tradition as well as ecological knowledge. She states, “these practices are essential if we are to completely utilize the living sustainable challenge”.

This connects to Kim Anderson’s article “Giving Life to the People”, which describes the spiritual aspects of Motherhood. She describes Native American Mother’ beliefs in the ability to maintain life’s creations. Kim cites Paula Guen Allen’s scholarly, spiritual tradition descriptions, stating “There is a relationship between creative thinking and the power of mothering.” She continues, “Mothers are connected to the original creation and the work in progress for a sustainability aspect.” Kim highlights this concept with anthological and petrograph studies and evidence. The Native Americans truly believe the Earth is the Mother of all life. She writes” Therefore, Women’s power is viewed in the ability to create and nurture.” The book featuring Kim Anderson’s essay is available at the Museum of Motherhood library (Maternal Theory, Essential Readings, edited by Andrea O’Reilly).

Kathryn Mile’s “Ecofeminism” and Mary Mellor’s “Feminism & Ecology” articles provide Ecofeminism descriptions and views. Kathryn describes ecological feminism as a branch of feminism that examines the connections between women and nature. This is a world view that respects organic processes, holistic connections, and the merits of intuition and collaboration. These protectives illustrate ecofeminism connecting both a commitment to the environment and an awareness of the associations made between women and nature. Mary Mellor agrees with these Ecofeminism concepts. She highlights, “Ecofeminism brings together the feminist elements and green movements.” She continues, “Ecofeminism, a ‘new term for an ancient wisdom’s that arose from various feminist, peace and ecology movements”. In the early 1980s, Francoise D’Eaubonne first used the Ecofeminism term. This gained popularity in protests against environmental destruction.

During my eco-feminism and acorn research, I found Acorn Recipes, which are close to the Native American bread-making traditions. I would say many of these have been modernized and do not look authentic, but I would still like to experiment with the recipe sometime. Actual acorn flour can be quite bitter and requires several soakings before pounding the material into pulp. Here is a link to more information about how to do that [LINK].

Mix cornmeal with cold water, add boiling water and cook 2 minutes, stirring constantly. Add sale and butter and cool to lukewarm. Soften yeast in lukewarm water. Add remaining ingredients to corn mixture, along with yeast. Knead to a stiff dough. Dough will be sticky. Cover and let rise in warm place until doubled in bulk. Punch down, shape into two loaves, cover and let rise until doubled in bulk. Bake at 375 degrees for 45 minutes.

Bibliography

Acorn Recipes http://www.thepeoplespaths.net/NAIFood/acorns.htm

Anderson, M. Kat. “Tending the Wild: Native American Knowledge and the Management of California’s Natural Resources.” Berkeley, CA: University of California Press, 2006.

Kat Anderson. “Tending the Wild.” https://www.kcet.org/shows/tending-the-wild/episodes/cultural-burning

Anderson, Kim. “Giving Life to the People: An Indigenous Ideology of Motherhood.” In Maternal Theory: Essential Readings, edited by O’REILLY ANDREA, 761-81. BRADFORD, CANADA: Demeter Press, 2007.

California Oaks http://californiaoaks.org/

California Wildlife Foundation Newsletters. http://californiaoaks.org/take-action/

Chumash History. Website: https://www.santaynezchumash.org/chumash-history

Ethnobotany https://www.fs.fed.us/wildflowers/ethnobotany/index.shtml

Herb Article Ca. Poppy, Rebecca https://www.rebeccasherbs.com/pages/herb-article-br-california-poppy

Kathryn Miles. “Ecofeminism.” Encyclopedia Britannica, Inc. October 2018. https://www.britannica.com/topic/ecofeminism

Mission San Luis Obispo de Tolosa http://missionsanluisobispog1.weebly.com/tribes.html

Mission San Luis Obispo de Tolosa https://missionsanluisobispo.org/

Mellor, Mary. Introduction to “Feminism & Ecology.” New York University Press,1997, p.1

Youtube Video: A conversation with Native Americans on Race. https://www.youtube.com/watch?reload=9&v=siMal6QVblE

Women and Life on Earth website. http://www.wloe.org/Women-from-Planet-Diversi.556.0.html  

Featured photo credit: https://www.loc.gov/item/2013631567/