Serenity Cafe Magazine Issue 2

S erenity C afé

$17.50 #BeTheChange

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The Local Magazine with a Universal Heart Winter 2021 Issue 1.2

Dragonfly Like a dragonfly clings the dewey grass stem, I cling to you. The fire of God lights gently, shifting breeze, liquid fluttering landing — the wind that blows the storm forward, that rattles the leaves from branches, screams out ground-shaking thunder this fierce torrent too is God Manifest — not like those commercials promising ease of life, bowers of riches ...

Lover, did souls like ours ever fall into that candy-trap of non-meaning?

No, we are

warriors, gypsies, song-writers, the songs singing themselves into a deaf-eared void

Wild-fire hearts of lava rock Deep darkest suffocating oceans We are the brave meat-needing hawk The frantic-fearful mouse of prey We are the roiling turmoil of boiling water The heat and hiss of steam.

We are the self-same dragonfly with fragile gossamer wings That deep green swaying stalk grass A gentle breeze carrying flowerscent The dark-sky storm winds lashing rain.

and then

Sometimes, God is milk in the dish a sweet treat meal for the cat.

Othertimes, God is the cat — Devouring.

Starving

we have swallowed half the world

and all it offers between us,

always roaming table to table,

feast to feast, deprivation to deprivation.

Your kiss — hungry, needful, yearning — I have missed being kissed most of all.

Lips meeting, souls opening, take this breath mix it with your breath — bittersweet communion— It is not a thirsting lust that drives us, but the need to eat and be eaten — chewed deeply — wholly swallowed up in the mouth of God.

∞ Marissa Mullins May 2021

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Serenity Café E D I TO R & P UBLI S HE R ... M . C o l l e e n M u l l i n s AS S I S TANT E D I TO R ... B r a n d i C a n t r e l l S TAF F ADVI S O R ... B r a n d y O v e r m e y e r G RAP H I C DESIGNER ... M . C o l l e e n M u l l i n s SP ECIAL G UE S T COLUMNIST ... D r . J a c k T h o mp s o n Special A ppreciation to: Mickey Bu rles on , Jim Ur b a n, an d Ku rt Jarvis .

W E B S I TE : w w w.s e re n it yc afe .o r g CONTAC T U S : s c m e dia6 2 0 @ g m a i l . co m Serenity Café (ISSN 2694-5428) is published quarterly

by SC Media, LLC. Serenity Café/SC Media, LLC, 1603 Capitol Ave, Ste 310 A603, Cheyenne, WY 82001.

Subscription rates: $45.00 per year domestic; $55.00 per year foreign. Address all correspondence, submissions, and advertising requests to: scmedia620@gmail.com.

Submission guidelines and advertising information can be found at www.serenitycafe.org. All Rights Reserved. No part of this periodical may be copied or reprinted without written permission from the publisher. Serenity Café is an independent, nonsectarian, nonpartisan publication. The views expressed herein are representative of their authors and are not necessarily the views of the editor, Serenity Café or SC Media, LLC. Copyright 2021 SC Media, LLC.

We are seeking personal narratives; interviews with artists, poets, activists, and interesting people; personal essays, poetry, experimental works, discussions and dialogues on Consciousness.

We run several COLUMNS open to freelancers in each issue.

Travelogue is a travel or “day trip” column that features your firstperson account of a place or a specific location. We request 4 to 7 high resolution photos along with your narrative and travel information on the location. Origins is a column that looks into the origin or beginnings of something (a place, a time, an art form, a way of thinking, or from a broader perspective of human life and planetary origins). Personal Experience is a first-person essay about a life-changing or uncommon experience you’ve had that left a long-term impression or created a specific impact. Our SHOWCASE SERIES features an interview and photo layout of a Poet & Artist in each issue. If you know someone you’d like to see featured, or if you are an artist or poet and would like to be considered, please contact us.

We are a highly visual publication with over 40% of the page content of each issue being art and photography. We welcome submissions of both in contact sheet or jpeg format. All art and photography accepted for publication will need to be provided as high resolution images on acceptance.

Submissions to Serenity Café are accepted on an ongoing basis. We usually reply within one month. Lead time for publication ranges from one to six months, byline is given, and contributor copy, cash payment, link to your site, etc. is offered. For a more detailed

listing of our guidelines, needs, and pay rates, please email us at Scmedia620@gmail.com or visit our website at www. serenitycafe.org. #BeTheChange

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TRAVELOGUE: LAHORE, PAKISTAN By Jaffar Ali

Inside The Café...

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PALMETTO LOVING: WHEN THE DIRT TURNS OVER

THE FABRIC OF SOCIETY: A HIDDEN HISTORY OF THE WORLD THROUGH PATTERNS

By Joshua Kochis

By Luke Owain Boult

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FINDING OUR WAY HOME

ORIGIN: MYTH IN INDIAN CULTURE

By M. Colleen Mullins

By Urvi Chheda 06

COFFEE WITH THE EDITOR - ANYTHING IS POSSIBLE

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CONTRIBUTOR LISTING

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COLUMN: THE ART OF HEALING ... Dr. Joseph Camilli, DC

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CARRIE IRENE CROSBY: WE ARE ALL ART

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ART FOR AUTISM

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COLUMN: OUT ON ASSIGNMENT ... Dr. Jack Thompson, PhD

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IN THE CENTER OF THE ARCH ... Jim Urban

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KURT JARVIS INTERVIEW LOVE & ART FOR CHILDREN EVERYWHERE

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SHOWCASE ARTIST: KEVON DOOLEY

SHOWCASE POET: AMANDA LEE serenitycafe.org

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Anything Is Possible

Photo Credits: Above “Becoming Alice” ©Oksana Kukuruza stock.adobe.co. Facing Page “Lovely in Pink” ©Victoria Brordinova pexels.com

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watch a 5-year-old child playing is to witness the interplay of imagination becoming creativity in its most endearing form of action. In the multidimensional world of children a different reality emerges: the pet cat becomes a princess in need of a new party dress; water and dirt are not a mixture of mud but magic pancake batter to be cooked and shared with Amy’s dollies; an old bicycle transforms into a beautiful white stallion that Johnny gallops off on to Egypt; and the generic toy car becomes a 1920’s Roadster that the dashing hero drives on the Autobahn. This innocent, imaginative, open view of the world through a child’s eyes is flexible and mutable. Life and play are the same process of imagination and creativity flowing into the limitless freedom of being.

Young children live in these merging realms of imagination and physical reality. Theirs is a world of existence minus the limiting boundaries of disconnection. No gates or borders separate these 6

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two realms. Rather, they sit together, melding and flowing in and out of one another, a multifaceted existence in the same space of Being called Life.

Sadly, as we grow older, this open and imaginative view of the world diminishes. Our thought patterns grow more rigid as do our attitudes towards ourselves and others. We become more immersed in the solid reality of the physical world and our patterns of processing it. Society, government, and other forms of structure lay a framework of appropriate beliefs, behavior, and life choices that we often adhere to without question.

The childhood world of connectedness and multifaceted reality becomes separated by what we know or believe to be true. We are taught rules, boundaries, and expectations in such a way as to delineate the one as true and the other as false. We are taught to differentiate between the

If the arts are “the branches of creativity,” then imagination is the tree, and possibility the ground, from which these branches grow. imagination inside of us and the reality outside of us. Life becomes a precarious dance of opposing forces.

The curious “I don’t know, but I want to” of childhood is replaced with adult certitude and concretized lines. Our life and world begin to shrink incrementally until we are boxed in. We become locked in a cage version of reality we hope will keep us safe and solid. But it more often leads us to a sense of suffocation, depression, and isolated despair.

So, what about our capacity for change?

What about the human potential for growth, discovery, and originality? What about the child self that still whispers to us that anything is possible? Is that inner self strong enough to lead us past our fears and into a more open life experience?

Can we find again the freedom and joy of childhood hours in our adult years?

H uman existence, society, and life as we know it turn on the constantly flowing process of imagination and creativity. If we look closely at the world around us we may just find that anything is possible and that the miraculous and amazing is constantly happening every day!

We do live in a multilayered, multifaceted universal existence whether we recognize it or not. We lose touch with that as we grow into adulthood, but that is more as a result of perception than truth. And perception is a changeable facet of our awareness.

The Covid-19 Pandemic is a good example of the interconnected, invisible reality in which we all live and participate. The simplicity of the food chain is another. A seed becomes a plant and then becomes dinner — sustenance and life for us.

Or, consider the cooperative process of breathing between humans and trees and the unseen flowing exchange of oxygen with carbon dioxide that keeps us alive.

We may feel a sense of isolation and fear. We may psychologically believe we are independent and alone. We may see ourselves as lost in a cruel and hostile world, but the truth of our childhood innocence and understanding is confirmed in the simplicity of unity and coexistence with the planet. Our capacity to openheartedly and willingly shift perspective, to change our perception and

attitudes, is the key to renewed discovery and creative expansion.

If we can step back from the normal dichotomy, put our judgements on the shelf for a few minutes, and give up our need for duality then a different world reveals itself to us. A world filled with amazing creativity and unlimited potential and possibility.

Every item we use on a daily basis, every road we travel, each building we enter, the television or phone we watch, the games, the toys, the cars and bars ... all of these were once an image in someone’s mind. An image that flowed with the internal action of imagination, moved into the internal action of creativity, transformed into the external action of creativity; and, finally, became manifest as the external action of something real in the world. Each and every thing we know was once a possibility, an imaginative intention in another person’s mind. If the arts are “the branches of creativity,” then imagination is the tree, and possibility the ground, from which these branches grow.

This issue of Serenity Café explores the realms of Imagination and Possibility. We meet some amazing people whose lives have been transformed by both. We share their journeys and learn how they are utilizing that transformation to gift others in their communities and the world.

Artist Joshua Kochis returns with an examination of the South Carolina arts & clutural scene, highlighting the works of several prominent artists, in Palmetto Loving: When The Dirt Turns Over.

In The Fabric of Society: A Hidden History of the World through Patterns, Welsh writer and author, Luke Owain Boult, joins us with an insightful and surprising investigation into the simple, everyday fabric patterns we take for granted.

In the lyric essay, Finding Our Way Home, we look at what it means to find our way back to our true self, and how art and interaction with others helps facilitate that homecoming.

We dig deeply into personal journeys in this issue, featuring interviews with Kurt Jarvis and Carrie Irene Crosby, two artists who have made it their mission in life to spread love and help others. Each of them reaching out to help others in unique ways.

Jaffar Ali takes us on a beautiful tour of his beloved hometown in Travelogue: LaHore, Pakistan, providing a very different view of Pakistan than the one often depicted on US television news. And we welcome Urvi Chheda, from Mumbai, India to this issue as she enlightens us about India’s mythological traditions and practices in Origins: Myth in Indian Culture.

On the local front, Jack Thompson joins us with his first Out on Assignment column as we look at his latest exhibition, Change on the Horizon, 1968. And we’re pleased to debut a new wellness column, The Art of Healing, by Dr. Joseph Camilli.

Our Personal Experience essay this month comes from Jim Urban as he shares the power of a national landmark and his experience with us In the Center of the Arch.

We meet fresh, young talent in our Showcase series with Showcase Poet, Amanda Lee, and Showcase Artist, Kevon Dooley.

Also, be sure to check out our Art for Autism photo essay beginning on page 72 to see the children and artwork from our Summer program! And look for the miscellaneous poems, photos, and other creative tidbits sprinkled throughout this issue.

We hope you enjoy your time here and are happy you stopped by. We invite you to join the table and share in the conversation.

We welcome your feedback! You may reach us at Scmedia620@gmail.com. A very special Thank You and Welcome to our readers and new subscribers!

M. Colleen Mullins Editor & Publisher

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CONTRIBUTORS

JAFFAR ALI is a communications professional, based in LaHore, Pakistan, with more than a 7-year stint within the media and communications sector, and an added background in Journalism.

Jaffar likes to dabble in writing, learning new languages, traveling, and scaling peaks. When not indulging in the above, he can be found learning a new skill, reading, or designing.

Email:jafferdar41@gmail.com

LUKE OWAIN BOULT is a Welsh writer, editor, and translator. He studied for a BA in Japanese and Spanish at Cardiff University in Wales and has also studied at Valencia University, Spain, and Chuo University in Tokyo, Japan. After graduating, Luke became the awardwinning editor of Buzz Magazine, Wales’ largest arts and culture magazine in 2015. Luke has a passion for the arts, language, writing, food, and travel and left Buzz to become a freelance writer, editor, and translator in 2017, following a digital nomad lifestyle with his fiancěe.

He has since travelled extensively throughout Europe and Japan while translating books and games. Luke has written two novels and is currently working on his third.

Email:lukeowain@gmail.com

URVI CHHEDA is an independent artist and art researcher based in Mumbai, India. She has a Master in Visual Art from the Faculty of Fine Art, MS University, Vadodara, India. She graduated from Sir JJ School of Art in 2010 and pursued a Post Graduate Diploma in Comparitive Mythology from Mumbai University. Recently, she finished a certificate course in Folklore and Intangible Cultural Heritage from IGNCA, New Delhi. Currently, she is working on several texts for national and international magazines, including dailyartmagazine-Poland, Serenity Cafě-USA, Art Journal MagazineMumbai, and Art and Deal-New Dehli.

Urvi is a motivated learner and has completed mountaineering and skiing courses in Northen India and is now training in Kalaripayattu, an ancient martial art form based in Kerela, and enjoys participating in improv jams and marathons.

Email: haikucnic@gmail.com Instagram: @haikucnic

AMANDA LEE grew up in McDonough, GA, and currently resides in Gainesville, Fl with her fiancěe. She is currently working on her BA in Psychology, and in her free time, she enjoys reading, writing, painting, and walking in nature. When she doesn’t have a pen or a book in her hand, Amanda can usually be found somewhere outdoors.

She loves to discover and explore new nature parks, and her fondness for the natural world is often reflected in her poetry. In the near future, she is hoping to publish her first chapbook.

Email: leeamanda8864@gmail.com

CARRIE IRENE CROSBY is an artist, life coach, influencer, and innovator. Visit her at www.atbaimpactgroup.com to find out more. You can also find Carrie on Facebook at @atbaimpactgroup and on YouTube at ATBA Impact.

Email: atbaimpactgroup@gmail.com

DR. JOSEPH CAMILLI, D.C. is a provider and lecturer. He received his Doctor of Chiropractic degree from Pennsylvania College of Chiropractic in 1987. He practiced in Philadelphia, PA until 2012.

He is currently in private practice at Camilli Chirporactic in Myrtle Beach, SC. Contact: www.camillichiro.com

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JOSHUA KOCHIS grew up in the suburban forests of Southeast Michigan. He has always had busy hands. He received his BFA from the Penny Stamps School of Art & Design at the University of Michaigan in 2015, where he focused in painting, sculpture, printmaking, installation, and creative writing. He is inspired by the forms and textures of nature and can be found wandering in the woods, climbing trees and digging things up from the ground.

His practice is focused on creating images, objects, and installations in collaboration with the natural world. Joshua is currently living and working in Detroit, MI.

KEVON DOOLEY grew up in the foster care system of Florida from age 7 till age 19. He has advocated on behalf of foster children for schooling, counseling, and extended living since leaving the system. Kevon is an artist, actor, and a young entrepreneur now living in Atlanta, GA. He hopes” his story can show others that no matter what happens, if you keep your head high and keep working hard, you can succeed and the future is yours.”

Instagram: @princekevonthegoatt Email: Dooley.kevon@gmail.com

Email: jakvista1@gmail.com

JACK THOMPSON began taking pictures of Myrtle Beach, SC in 1951 when he was 13.

He is considered the keeper of the Grand Strand’s photographic history. Jack grew up in Greenville, SC and graduated with honors from Myrtle Beach High School in 1954. He founded the first magazine in Myrtle Beach, Insight Into the Grand Strand, followed by its first golf magazine.

He has participated in numerous book projects, chaired local committees and been involved in the arts in Horry County for over 40 years. His most recent book, Memories of Myrtle Beach, provides a sampling of his photographic work through the years. More work may be found at his studio on 9th Avenue North in downtown Myrtle Beach, SC. Email:Jackthompson1936studio@gmail. com

Would you like to be featured in Serenity Café?

JIM URBAN is a writer, life adventurer, and a licensed Independent Humana Agent. He lives in Myrtle Beach, SC and can often be found hosting the occasional neighbrohood party when not traveling around the globe. For more of his writing, please visit his website at www.JimUrban.Life.

Instagram: @jimurban.life Email: Jimurban.life@gmail.com

MARISSA MULLINS (M. Colleen Mullins) is a poet, writer, graphic designer, and photographer. She is the editor and publisher of Serenity Cafě magazine.

Her writing has appeared nationally in numerous publications since the early 1990’s. She is a photographer for Neighbors of Market Common Magazine.

She works a “day job” in and is a twentyyear veteran in the automotive industry.

Marissa lives in Myrtle Beach, SC with her dog Mocha, a pet turtle, and two pet parakeets.

Email:Scmedia620@gmail.com

Visit us at WWW.SerenityCafe.org to find out how to become a contributor!

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final truth 1998 ~re: the previous wife

her name is Enigma and you know she won’t let you — escape because She has a choice in the matter—and You don’t listen as she says that he didn’t mean anything to her to You he meant the world had fallen from the universe and god immediately died the Truth is always more than you want after Betrayal.

~Marissa Mullins

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Trinkets When I was very young, I collected trinkets: small animal figurines that fit in the palm of my hand, seashells, buttons, marbles, and glass bottles filled with sand. There were also photographs, posters, music boxes, dolls, even a lava lamp. And then, one day, it was gone. All of it. What hadn’t disappeared was left shattered on the floor, unrecognizable remnants of things that could never have been truly mine.

The years that followed consisted of bare walls and white-washed memories of a life I no longer knew and no longer claimed. I floated through towns and drifted past faces, always with a suitcase at hand. I slept on couches and blow-up mattresses. Bought no furniture, no picture frames. I prided myself on minimalism, and made myself plain. I no longer cared to collect things that could not be kept.

But now there are colors on my walls and shelves lined with books. There’s a box full of records, a case full of collectibles, and a closet full of keepsakes. There are trinkets on my dresser. Sitting in a neat little row, all shiny and proud, placed with the utmost care. They are beautiful. And I am uneasy. Because I know that trinkets can’t always be kept. And beautiful things can be broken.

~Amanda Lee

In Our Next Issue . . .

WINTER COMFORT BOOK REVIEWS

PAINTED PEOPLE: BODY AS CANVAS

CUISINE TO COPE: A GUIDE TO JAPANESE KAISEKI

SHOWCASE POET: NIGERIAN POET OJO TAIYE

TRAVELOGUE: SPARTANBURG, SOUTH CAROLINA

SHOWCASE ARTIST: NIGERIAN ARTIST NIKE OKUNDAYE

EXPLORING PAKISTAN TRUCK ART

+POETRY, ESSAYS, ARTWORK AND MUCH MORE!

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Poet Amanda Lee at Barnes & Noble in Myrtle Beach, SC ©2020, Marissa Mullins.

Showcase Poet Amanda Lee For me, the objective of writing is just to celebrate living. My poems are all a direct reflection of my personal experiences, and by sharing these experiences, I feel more connected to myself and to others.

Interviewer: At what age did you start writing poetry and what inspired you?

find the serenity of being outdoors to be a great time for me to organize my thoughts and reflect upon life.

Amanda Lee: I started writing poetry at the age of 16 as a creative way for me to journal my thoughts. As a teenager, I was full of angst, and I found writing to be really therapeutic. It was a healthy outlet that allowed me to cope with my chaotic home life, and gave me a sense of control during a time in which I felt like I had little stability.

What do you hope to accomplish or achieve through poetry? Is there an objective?

What three poets or writers have influenced you the most and why?

The first poet whom I truly felt inspired by was Kahlil Gibran. I discovered The Prophet, one day, when rummaging through my grandfather’s library, and was awestruck. I’ll admit that I didn’t read much poetry, growing up, however I thoroughly enjoyed anything philosophical, psychological, or simply thoughtprovoking. Influenced by my grandfather, I also discovered that I was very fond of fantasy, adventure, and science fiction. At a young age, I was introduced to books by authors such as Edgar Rice Burroughs, Damon Knight, H.G. Wells, and Ray Bradbury.

When you think of the word “poetry” what does it conjure in your thoughts and emotions?

Poetry, like any art form, allows for unique perspective, and aides in capturing the essence of humanity. For me, writing poetry is a way to appreciate every aspect of living, from the mundane to the extraordinary. It is a method of celebrating what it is to be human.

What areas of interest inform your poetry?

For me, the objective of writing is just to celebrate living. My poems are all a direct reflection of my personal experiences, and by sharing these experiences, I feel more connected to myself and to others. With this form of self-expression, I feel like I have given myself permission to be transparent, and I am discovering that this kind of honesty allows more room for relatability. I think that the more we embrace our own stories and who we are, the more we can find common ground amongst others, regardless of our backgrounds.

What are your thoughts on the current poetry scene and the place of poetry in our society?

In recent years, a new style of poetry seems to have emerged, particularly through social media platforms such as Instagram. While “Instapoetry” has received criticism from some traditionalists, I think that any new and healthy form of creative expression should be welcomed.

What does the term “poetry in everyday life” mean to you?

To truly appreciate poetry, is to be inspired by ordinary, everyday living. Poetry occurs when we learn to fall in love with the human experience.p

I am definitely a lover of nature. I often spend my free time walking trails and discovering new parks. This is reflected in my poetry, as I often write about my observations while walking through wooded areas. I

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velvet daydreams poised in pearls and purple pleasure i slip into pink velvet enveloped in pillow talk and a heady perfume that smells like patchouli but tastes like bosc pears or raspberry pastries that flake and fall onto my pretty pastels as I lie awake tracing printed patterns the lace left on my skin I’m illuminated by a warm butterscotch glow from a nearby lamp who casts her crown upon my decorative daydreams

why are all the benches shaded?

I took a walk in the park alone on a day in which I was free to roam down wooden paths not far from home where time is still and thoughts are faded delighted by the warmth of noon day I sought a spot to sit and stay but I looked around and to my dismay thought, “Why are all the benches shaded?” so I hid away from the sight of the sun near a jungle gym intended for fun but the slides were closed, and the swings undone forgotten grounds that had yet to be reinstated but the birds still sang, and the families still gathered and the moms gave chase to toddlers that blathered as they realized their picnic plans were haphazard due to lack of help, for the dads were jaded here I stifled a sigh and picked up my book as I minded my own in my well-hidden nook but the wind began blowing and the trees they shook for their trunks were weary and emaciated sullen and chilly, I stood with a shiver and wandered away to walk by the river soaking in warmth that the sun did deliver at ease and once again acclimated

~Amanda lee

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e h t f o y r o t s i H s n n e r d e t d t a P A Hi h g u o r h T d l r Wo Boult n i a w ke O

By Lu

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and think for a moment what it may say about you.

Maybe you’re telling the world you’re confident, interesting, smart, and funny (which I’m sure is all very true) but you might be telling a more interesting story than you give yourself credit for.

Now think for a moment what your outfit might say about humanity and its story, and how the patterns that adorn your shirt, skirt, or socks got there in the first place, and what they may have signified for millions of people throughout history.

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hile patterns themselves may only change a little over time, their meanings can change drastically as new associations are made for them. This is a phenomenon we see constantly with the meanings of identical patterns changing with associations. Take for example the Celtic cross, which has been an important symbol in Christian Celtic cultures for well over a thousand years and is still commonly seen today in Celtic countries. However, it, like many other symbols, has become appropriated by movements that most would rather not be associated with, in this case bgeing popularly used by the Ku Klux Klan and being listed by the ADL as a hate symbol.

This is a natural evolution that we see in many symbols, including the ones we wear, which often hide darker or more interesting associations than we might initially imagine.

From Persia to Paisley: The Journey of a Pattern

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here is perhaps no better example that demonstrates the radical journeys patterns make than paisley. The timeframe of the origins of the pear-shaped design is disputed, with some saying it began in ancient Iran during the Sassanid Dynasty (2,200 BCE – 300 CE) while others maintain it began as a Zoroastrian symbol in around the 5th century BCE. Originally known as buta (meaning shrub or bush in Persian), this motif is believed to perhaps be a cypress tree, which is a Zoroastrian symbol for life. As Persian, Zoroastrian, and subsequently Islamic culture spread over the millennia, so too did buta, which began to appear in mosques, as well as in designs in Greece and Egypt in the 15th century. When Persian culture spread into India in the 16th century with the expansion of the Mughal Empire, many Persian cultural elements such as the sacred buta motif were introduced into the Indian subcontinent.

As European powers started to trade ,ore with India, the buta motif spread once again, taking on exotic associations for Europeans eager to buy fashionable Indian shawls strating in the 17th century.

Seen as an auspicious and exotic symbol throughout Europe, as the fascination with Indian goods increased, so too did the desire for Indian fabrics and designs, none more so than buta. So great was the clamor for buta designs in Europe that Indian importers could no longer meet demands and and production began throughout Europe, chiefly in the United Kingdom and France. serenitycafe.org

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expansion of the Persian Empire and culture, Indo-European trade, the Industrial Revolution, and the 1960s’ obsession with Indian designs, resulting in an enduring exotic legacy that remains popular to this day.

The Devil Wears Stripes Faced with huge demand, the European textile factories began to create shawls of their own featuring the buta pattern and at the cusp of the Industrial Revolution, they were able to cheaply manufacture the patterns instead of weaving them.

Most famous of these factories, producing buta designs in a wide range of colors for increasingly affluent customers, was the factory in Paisley, Scotland. The town became so well-known for its designs that it eventually became synonymous with the pine-coneshaped motif.

The pattern remained popular in much of Europe until the late 19th century when it started to fall out of fashion in favor of newer designs. However, for European audiences, it remained a symbol of the exotic orient, a fascination that would be revived in the 1960s with Beatlemania and the new-found appreciation of Indian cultural exports.

To this day, the pattern remains an exotic motif for European and North American audiences, and a symbol of lingering importance for the Zoroastrian faith, not to mention Persian and Indian cultures. This is for good reason, considering the pattern’s long history and its tale of a journey from a symbol of one of the world’s oldest religions, to the 18

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espite being used in fashion for thousands of years, throughout much of European history, horizontal stripes were once thought of as sinister, with medieval Europeans finding the inability to tell background from foreground disturbing. Some believe that this disdain for stripes was also due to the Bible banning people from wearing “a garment made of two kinds of material.” Stripes were consequently used to identify outcasts in medieval society, those ostracized and villainized by the majority.

While the Breton shirt today may be inseparable from our stereotypes of French fashion, in the same country hundreds of years earlier, such black-and-white-striped garments were once only typically worn by the untouchables, the criminals, the hangmen, prostitutes, prisoners and, yes, even the clowns.

While it may sound amusing to modern ears, stripes were often no laughing matter at the time.

After Pope Boniface VIII banned striped clothing of any sort in 1295, in France, a country that would become famous for its striped shirts, a cobbler was even sentenced to death in 1310 for wearing stripes.

These villainous associations with stripes continued throughout

much of European and American history, with prisoners throughout the Western world traditionally being dressed in striped clothing to mark them as criminals. Think of the stereotypical robber dressed in stripes to indicate their unpleasant status, with mariners at the margins of society wearing them too, perhaps even leading to the modern association between striped clothing and seafaring.

As with paisley and all the other patterns mentioned in this piece, the meanings and symbols of stripes changed. While it is true that the surprisingly negative associations with stripes are evident in the modern world, most notably perhaps in prison uniforms, they are still a popular design in fashion.

By the 16th century, the hatred of stripes began to fade, and they took on a new meaning, one of freedom, revolution, and republicanism.

Take a good look at the flags of the world and you will notice just how many countries use a tricolor. This association with revolutionary liberty dates back to the Dutch in 1579, when they declared independence from Spain, founding the Dutch Republic. This led to subsequent adoptions of similar tricolor flags all over the world.

Of course, stripes have always also been used for attracting attention. From the warning stripes of wasps, snakes, and poisonous fish, to the beautiful plumage of birds of paradise, stripes play an important role in nature and it is no surprise that humans all around the world have learnt to copy them and at times even be superstitious of them.

The Trouble with Tartan

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artan, sometimes mistakenly known as plaid, is an iconic pattern that tells a story surrounded by misunderstanding and myth. Even the name tartan tells a confusing story, and while the pattern we so associate with Scotland is known in Scottish Gaelic as breacan, tartan

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likely comes from the French word tartarin, meaning “Tartar cloth.”

This is ironic considering that paisley, a pattern that originated in the Middle East, is named after a town in Scotland, while tartan is potentially named after a group of people living in the Middle East. In fact, while tartan today refers to a crisscross pattern, it once referred to an unpatterned plain fabric. And that’s not the end of the surprisingly polemic design’s naming issues. Plaid, as tartan is sometimes referred to, actually refers to the tartan cloth rather than the pattern itself, coming from the Scottish Gaelic word plaide, meaning blanket. These large blankets were worn as the traditional male dress in the Gaelic Highlands of Scotland, similar to a toga.

While today many think of tartan patterns being based on clan, traditionally the colors and patterns used depended on availability of materials and mainly personal taste, with the idea of clan tartans being a more modern invention of a romanticized Scottish past. Indeed, much of what we associate with tartan is romanticized, including the kilt.

The short kilts of today, akin to a skirt, that have come to be a Scottish stereotype are actually not Scottish in origin at all. In the 1720s, an Englishman had the idea of separating the skirt of the traditional garment, which then spread in popularity throughout Scotland as a much more liberating alternative.

The early 18th century was a tumultuous time in Scotland, faced with uprisings to replace the king on

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the British throne, with much of the support coming from the kilt-clad Highlanders. In 1746, following a rebellion, such “Highland dress” was banned in Scotland. This coincided with the Highland clearances, where Gaelic Highland tenants were forcibly removed and sent to cities.

By the time the ban was lifted in 1782, Gaelic culture in the Scottish Highlands had been devastated, while cementing the kilt and tartan as symbols of Scottish pride, tradition, and resistance.

It was at this point that tartan became the national dress for all of Scotland, which grew incredibly popular after Scotland’s national bard Walter Scott organized King George IV’s visit to the country, the first king to do so in two centuries. Tartan was notably included as a Scottish symbol, with even the king wearing a tartan kilt.

In the 1840s, two English brothers claiming to be the heirs to the Scottish throne published books on the traditional tartans worn by different clans, making what are believed to be largely invented claims. These “traditional tartans,” however, came to be widely used in the tartan industry, with tartan sellers to this day listing them as official tartans for clans.

Wrapped up in romance, myth, and pageantry, official tartans were adopted by more families and organizations, including official tartans for the British royal family and military regiments. This tradition has continued to spread and, today, everyone from the New York Jets to the Papua New Guinean government has official tartans.

Plagues and Polka Dots

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ike stripes, dots are a deceptively simple pattern with a unique story to tell that reveals a fascinating perspective into the development of superstitions and fashions. Dots are commonly used in cultures around the world, and from the bindi dots in India to Aboriginal Australian paintings of the Dreamtime, they are associated with a powerful sense of spiritualism.

Throughout much of European history, however, dots were taboo, linked with impurity and disease, understandably considering the dotlike pattern of illnesses like smallpox that ravaged medieval Europe. Oddly though, in the middle of the 19th century, dots underwent a revolution in Europe and as polka music swept the world, so too did polka dots.

So what exactly are polka dots?

What have they got to do with polka?

As with the most interesting topics in life, there isn’t one established answer and, to this day, etymologists argue about the origin of polka. Most theories about the etymology of polka dot seem to be related to polka music, which spread throughout the world in the 1840s as a dance and music craze.

Polka music originated from Bohemia, which is part of modern-day Czechia, with půlka meaning “half” in Czech, perhaps a reference to the half steps taken in polka dance or half-tempo of the music.

Some etymologists argue that as the polka craze spread, polka became a word synonymous with “fun” and so polka dots simply meant fun dots.

Considering the dotted pattern’s popularity in Central and Eastern Europe and this being the origin of the polka dance and music craze, it is possible that they were called polka dots to note that they were Central or Eastern European dots.

The “fun” qualities of the pattern led to it having somewhat childish associations, being commonly used in toys. The Industrial Revolution of the mid-19th century also resulted in it being possible to easily manufacture clothing featuring the polka dot pattern. While it remained popular over the years to come, the polka dot and polka music underwent a wave of popularity during and following the Second World War, possibly due to the influx of Central European migrants into North America. Polka spread again throughout the USA and naturally so too did the polka dot, and as Frank Sinatra sang his first hit Polka Dots and Moonbeams in 1940, the pattern started to be incorporated by French designers like Christian Dior.

Over the 20th century, polka dots found themselves on the clothes of everyone from Marilyn Monroe to Minnie Mouse. Since then, the pattern seems to have acquired vintage characteristics for modern consumers, along with connotations of fun and innocence. This transformation of the pattern is a world apart from its original connotations in much of Europe Cultural Appropriation and the Power of Patterns

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s our associations with patterns have changed over the years, transforming from immoral to fashionable, sacred to vintage, banned to celebrated, this leads to the question of how our associations

with patterns are going to change in the future. A fairly modern example of the changing perception of a pattern is shown through the Arabian keffiyeh headdress. Initially a style of headdress dating back to the Babylonians, in the 1930s, it became a symbol of Palestinian nationalism.

As a result, it took on political connotations, with supporters of Palestine around the world wearing them as a symbol of unity. The keffiyeh and its pattern then became fashionable everywhere from Japan to Europe as a statement of rebellion.

This popularity of the keffiyeh is one of many instances where accusations of cultural appropriation have been made. This is an issue that many seem to be becoming increasingly aware of and, considering the subject matter of this article, it raises interesting questions. Did Idi Amin culturally appropriate Scottish culture by wearing tartan?

Did Kashmiris culturally appropriate Zoroastrianism by using paisley in their designs? Or are these signs of respect for the beauty and power that patterns have?

Meanings of patterns and symbols change as people and places change, along with what we value, what we want to express and which groups or movements co-opt them. Walk around Japan and you’ll notice swastikas being used as a symbol of Buddhist temples, yet in much of Europe, the swastika is completely banned for understandable reasons. The Japanese association with the swastika is one of an auspicious symbol linked to good luck, while in Germany, it is a dark reminder of some of the worst days in human history.

This article’s exploration of the evolution and interweaving of patterns is by no means exhaustive.

From chintz to chinoiserie and patterned ponchos to leopard print, patterns around the world tell a story of struggle, morality, and change that unites us as people, while showing the majesty of everyday objects that risk being overlooked. ∆

Palmetto Loving: When the dirt turns over

By Joshua Kochis

Mutant Forest (Installation detail), Flavia Lovatelli, 2020

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he state of South Carolina has a lot of ground to cover. On the surface we might think of clean white beaches that line miles of coast, or bright green golf courses all over the place.

It is graced by many historic districts with Victorian homes and pillared buildings surrounded by fields first cultivated in 1776. It also features some lesser known cultural, historic, and natural marvels. The world’s largest collection of outdoor sculpture resides at Brookgreen Gardens in Murrells Inlet. A mysterious assemblage on Edisto Island makes use of random objects hanging from a log to create a constantly rotating curation of oddities with a life of its own. The Angel Oak on John’s Island is thought to be the oldest living thing east of the Mississippi River, outdating the founding of the state by some 1,200 years. onversely, South Carolina was the first to put boots on the ground in seceding from the Union, and was known for some time as the slave capital of the United States. It’s a place that was built and maintained

by Black hands for generations, while landowners and politicians silenced these communities even after their emancipation.

This is an ongoing injustice that remains present in the spines of these magnificent structures, stamped into the layers of tired plots of earth they sit upon.

But coming up now and on the horizon, a new genesis of artists, musicians, curators, directors, and performers have tilled the dry dirt of this history to plant their seeds of creative expression in the land that was kept from anyone but white men for so long.

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Beneath

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the warm sand and immaculate fairways, the Palmetto State is home to an active and diverse cultural scene.

t operates on a set of inclusive values, the core of which is the empowerment of historically oppressed voices to uplift the skills, stories, and practices of a people who left their mark all over the map. A handful of city- and statewide organizations have made it their mission to encourage both young emerging artists and folk artists who have been around a while, along with traditional and experimental musicians, performers, and craftspeople of all kinds to claim space and exercise agency in the way their stories are written moving forward.

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nnual festivals like Arts on the Beach showcase performing, visual, and literary arts, highlighting the native Gullah language, songs and cultural practices.

Charleston’s Regional Alliance for the Arts funds and supports thriving creative communities, and the Spoleto Festival blasts opera, jazz, and symphonic music from historic churches, theatres, and outdoor spaces across the city. The Artist Guild Gallery of Greenville gives local artists across any media the opportunity to show and sell their work in a large communal space that leans more towards lively public market than quiet exclusive gallery. he Palmetto Curatorial Exchange is a burgeoning organization cut from this same cloth.

Founded and directed by Cecilia Stucker, PCE pairs art students across participating

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Mutant Forest Installation Flavia Lovatello 2020

Mutant Forest (Installation detail), Flavia Lovatelli, 2020

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Harbor Island I, Kathleen Robbins, 2018 26

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universities with local businesses, galleries, and museums to foster inclusion and wider reach in a creative culture built from the ground up. Through its mindful facilitation, students and emerging artists gain exhibition experience and professional development. At the same time, areas and communities that don’t usually have access to things like art shows or performances get to participate in the development of their own creative culture. These exhibitions and educational events take place in historic sites, rural areas, and protected landscapes that don’t normally see much traffic, where visitors can come for the art and stay for the history lesson or breath of fresh air. The goal of the Palmetto Curatorial Exchange is to “educate and activate artists to engage in their own region, and in doing so, fight exclusion down to its historic route”. he first exhibition launched by PCE took place in May 2016 at the Historic Columbia Foundation’s Mann-Simons Site. It was titled Route to (Re)settlement and showcased the “multifaceted heritage of the black diaspora throughout America and beyond, focusing on South Carolina as a state which has served as the major gateway between Africa and African-American”. The sprawling show existed as a series of group exhibitions and site-specific installations of African American and African artists. Its participants considered modes of storytelling, the composition of histories, and ritual or physical manifestations of heritage as dominant themes. In the process of exploring this literal and figurative landscape, the collection documented the impact of social, political, economic, and spiritual activities of Black communities across the American South, but particularly here in these recontextualized historic spaces. Participating artists in this maiden voyage included Rashid Johnson, Michi Meko, Henry Taylor, Victoria-Idongesit Udondian, and Fletcher Williams III. ast forward to the Sustainable Economics exhibition, sponsored

by South Carolina Educational Television, which ran from December 2019 through June 2020. Six South Carolina artists whose material choices and artistic processes center around agrarian and industrial economies were invited to participate. These themes were considered as they relate to the landscape of South Carolina, acting as a set of channels to examine the conflicting values given to these trades, as well as their lasting effects on the

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land. These statements ultimately lead to issues of national and global sustainability, in a time where climate change becomes more apparent with every passing year. The artists showcased in Sustainable Economics were Jim Arendt, Brant Barrett, Chostani Elaine Dean, Naomi J. Falk, Flavia Lovatelli, Kathleen Robbins, and Rob Shaw. wo of the artists who participated in these dynamic and rich exhibitions exemplify the goals and ideals of the Palmetto Curatorial Exchange and its partners as a whole.

Fletcher Williams III uses wood and sheet metal left over from local Black artisans and farmers as an entry point to explore their intimate relationships with the landscape. Flavia Lovatelli transforms scraps of industrially fabricated objects into a new kind of currency, detached from the consumerist system they were made to serve.

On a larger scale, their works represent some of the most defining features that emerge from this recent movement of artists: to recontextualize the past and reassign value to physical materials. From here, we focus on their individual practices as a way to access one branch of the visual art scene in South Carolina. letcher Williams III was born in 1987 and received his BFA from the Cooper Union in 2010. An interdisciplinary artist operating in Charleston, SC, his work is based in vernacular art and architecture, particularly those unique to the Lowcountry. Of his practice, Fletcher describes wandering around, getting to know communities with roots in the area that are “representative of African American entrepreneurship and ingenuity”.

In his Homestead sculptures, the element of a generic picket fence is repeated as the foundation of a simplified house or shed, the fence turned upside-down to raise the structure up above the ground, the whole heavy thing appearing to float on the tapered ends of connected posts. The purpose of this material disruption is to “critique and subvert a distinctly American symbol” that is so central to the elusive ideal of manifest destiny. The rusted scrap metal sheets that make up the structure’s exterior are salvaged from multi-use barns, accented by rebar hooks reminiscent of the ones used by Black farmers to butcher livestock. The work draws its arresting intensity from the nuanced reference of formal, material, and utilitarian techniques to “bolster the creative practices that have allowed black communities to

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This Page: Homestead, Fletcher Williams III, 2018. Facing Page, Top: 2019 Gullah Festival, Beaufort, SC. Facing Page, Bottom: Enslaved African Male, Babette Bloch, 2006.

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thrive, independent of proprietary ideas of prosperity and liberty”. illiams a l s o d r a w s upon the history of local c r a f t artisans and horticultural practices in his work titled Gift for a Gardener, which features Palmetto reeds woven onto a quilted grid and fashioned into a field of roses with a pathway through the center. Female black artisans made and sold these iconic emblems as decoration at markets, developing a meaningful commodity sourced directly from their immediate landscape. The sculpture, sitting on a platform constructed from humble bricks and bare plywood, exists as a testament to the ingenuity of these communities that were excluded from mainstream pathways to economic success. Through Williams’ diligent interpretation of this meticulous process employed by the Flower Ladies, the iconic Palmetto Rose “reclaims its status as an unregulated cultural asset”. lavia Lovetelli was born in 1960 and raised in Northern Italy before relocating to the United States in 1979. She is currently based in Columbia, South Carolina, and uses upcycled materials to transform the recognizable aspects of our consumer culture into blooming organic forms that take on a new life force. Her Mutant Forest installation, completed in 2020, is an environmental artwork speaking to the impact of our wasteful tendencies on the natural world, and considers the distorted forms that nature might take in response to this exploitative relationship. Processed materials like plastic and metal scraps are combined with organic materials such as grass, sticks, and reeds that she harvested herself, resulting in “a place where nature intersects with human waste”. erhaps the most impressive quality of Lovatelli’s forest of assemblage sculpture is the delicate attention that is paid to weaving these natural and fabricated elements together.

Keurig cups are individually painted into small pools of gold, while flexible grasses are

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intricately woven through recycled paper and around the sturdy support branches that give each piece the appearance of growing right there out of the ground.

Even considered through the unsettling context of a new nature that coalesces with our inescapable mountains of waste, there is a strange beauty in the potential for making something productive from the materials of our most ubiquitous and damaging legacy. here is no burying the past.

Whether or not we make the effort to dig them up, there are powerful narratives written between geological layers beneath our feet. There must be a conscious effort to turn over this arid land we stand upon and unearth these stories that have been hidden there all along.

This process is not unlike the farmer’s tilling of their soil, acutely aware of the various inconsistencies that turn up from last year or a decade ago, and what that means for the upcoming season. hese artists and organizations have planted their flags on the side of the solution by confronting uncomfortable truths of the past with simultaneous creativity, joy, and respect.

They lean into the discussion of historical relevance by amplifying voices and narratives that have been systematically buried since the settlement of this Palmetto State and the nation it belongs

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to. In each of their works at various levels of scale and organization, there is a brave refusal to forget what can’t be changed and instead to use this prior experience as the foundation of a new society. This cultural landscape can’t be left fallow for the wind and rain to enrich on their own. Our new green field and clean crop grows from the ingenuity and persistence of those individuals and communities who came before us. As above so below, unless we take a spade to this ground that is there for the breaking. p

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the ART of HEALING with Dr. Joseph Camilli, D.C. Serenity Cafě is pleased to Welcome Dr. Joseph Camilli to our pages as a regular columnist. This month, in The Art of Healing, Dr. Camilli discusses stress and provides a proactive strategy for handling chronic stress and creating greater wellbeing in our lives.

Top Photo Credit: ©Nikki Zalewski - stock.adobe.com.

Right: Courtesy of Dr. Joseph Camilli

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Chronic Stress

“

“

Understanding & Conquering

Photo Credit: ©Nikki Zalewski - stock.adobe.com.

Y

our body has an innate capacity to heal. The art of

cared for countless patients that have said to me “both of

healing manifests from your ability to avoid that

my parents had bad backs, so I must have a bad back” or

which adversely stresses your body, and also your

whatever malady they believe they inherited. As it relates

ability to assuage the stimuli that has placed your body in

to stress, it is important to disregard the suggestion that

a stress reaction. Many people accept the commonly held

your response to stress will mimic your parents or siblings

belief that they do not possess the capacity to prevent or

responses. You will not have to, nor should you absorb or

repair from illness. They are often convinced that their

carry anyone else’s burden.

genetic make-up limits these capabilities. Of course, as they say these days, this is not supported by the “science”. In fact, that infection fighting, stress managing machine that we call the “body” is constantly working to do just that and to do it efficiently. Stanford University Professor and foremost authority on the physiology of stress, Robert M. Sapolski stated in his book Why Zebras Don’t Get Ulcers that “genes

Much of the scientific research about stress and stress response proves that exposure to stress will not inevitably result in ill health. In fact, we need minor intermittent stress to help us learn and better navigate our environment and our relationships. Some stressors like challenges in sport, education and performance can enrich us and give us joy.

The problem comes from chronic, unrelenting and persistent

are really not about inevitability, especially when it comes to

stressors, big and small, that wear down our abilities to cope

humans, the brain, or behavior. They are about vulnerability,

and can even contribute to a decline in one’s health. In the

propensities and tendencies”.

documentary film, Stress: Portrait of a Killer, Dr. Sapulski

We can take this concept a bit further to say that understanding

your

vulnerabilities,

propensities

and

tendencies is a good first step in being able to manage your own health and your response to stressful events. I have

stated that “stress is not a state of mind…it’s measurable, and dangerous, and humans can’t seem to find their off switch”.

So let us take this opportunity to discuss some pathways to that “off switch”.

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A conservative/non-invasive approach is most favorable

the circumstances accept it and view it from a different

to both understanding stress and managing stress related

perspective.

illness. One approach that is very helpful is espoused by Cognitive Behavioral Therapists. This approach is the “Four A’s of Stress Management”: Avoid, Alter, Accept, or Adapt.

Adapt: Remember Darwin did not suggest that species endured because they were the strongest. Rather he espouses “survival” of the most adaptable. It is wise to adopt a habit of adaptability. You must not be bogged down in small details,

THE FOUR A'S OF STRESS MANAGEMENT

instead seek the bigger picture. Follow a steady maxim for your own life, but don’t expect that anyone else will live their lives for your aspirations. You are not asked to practice

Avoid: Avoidance is not simply running away, save that technique for wild animals and political discussions. To avoid

avoidance just to attempt to reframe those perspectives that cause conflict in your mind and in your interactions.

in this instance means that you should utilize four primary

Obviously, we accept that stressors exist, but a strategy

approaches. It is always important to prioritize your tasks

to confront the complications of stress related illness is

follow an order of what is most important to you. You should

essential. A strategy that takes into consideration the

also seek to control your environment. This means seek the

issues we previously identified is a good place to begin your

most comfortable situation for yourself, following the old

conquest of chronic stress. p

adage to not paint yourself into a corner. It also important to learn to say “no”. People pleasers are usually the first folks to visit the medicine cabinet. Don’t promise what you don’t wish to provide. And most of all, avoid or minimize exposure to toxic people. No matter how hard you try you will not persuade, improve or rehabilitate them.

DR. JOSEPH CAMILLI, D.C. is a provider and lecturer. He received his Doctor of Chiropractic degree from Pennsylvania College of Chiropractic in 1987. He practiced in Philadelphia, PA until 2012. He is currently in private practice at Camilli Chiropractic in Myrtle Beach, SC. You can reach Dr. Camilli via his website at: www.camillichiro.com

Alter: Obviously things have to change if you are constantly stressed. This will likely require changes that you must make.

First, communicate your feelings and needs to others in a calm and undemanding manner. Next, identify your limits, both to yourself and to others with whom you interact.

Resources mentioned in this column: The book, Why Zebras Don't Get Ulcers, by Robert M. Saplosky is available through Amazon.com.

Finally, attempt to manage your time, essentially give

The documentary movie, Stress: Portrait of a Killer, can be

yourself the time you need.

seen free on YouTube at the following address: https://www.

Accept: This is the essence of wisdom. Practice positivity,

youtube.com/watch?v=AYFZAYenR20

forgiveness, modesty and reliance. If you can’t change

I want to see you be brave We are seeking personal narratives; interviews with artists, poets, activists, and interesting people; personal essays, poetry, experimental works, discussions and dialogues on Consciousness.

We run several COLUMNS open to freelancers in each issue. Travelogue is a travel or “day trip” column that features your first-person account of a place or a specific location. We request 4 to 7 high resolution photos along with your narrative and travel information on the location. Origins is a column that looks into the origin or beginnings of something (a place, a time, an art form, a way of thinking, or from a broader perspective of human life and planetary origins). Personal Experience is a first-person essay about a life-changing or uncommon experience you’ve had that left a longterm impression or created a specific impact. Our SHOWCASE SERIES features an interview and photo layout of a Poet & Artist in each issue. If you know someone you’d like to see featured, or if you are an artist or poet and would like to be considered, please contact us.

We are a highly visual publication with over 40% of the page content of each issue being art and photography. We welcome submissions of both in contact sheet or jpeg format. All art and photography accepted for publication will need to be provided as high resolution images on acceptance.

Submissions to Serenity Café are accepted on an ongoing basis. We usually reply within one month.

Lead time for publication ranges from one to six months, byline is given, and contributor copy, cash payment, link to your site, etc. is offered.

For a more detailed listing of our guidelines, needs, and pay rates, please email us at Scmedia620@gmail. com or visit our website at www.serenitycafe.org. #BeTheChange

Kevon Dooley

All photos shot on location at The Ritz-Carlton Atlanta “Kevon Dooley Series” ©2020 Marissa Mullins 34

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Artist Kevon Dooley sat down with us at The Ritz-Carlton Atlanta in October 2020, at the height of the first COVID-19 Lockdown, to talk about the American Foster Care System, his work encouraging and advocating for children, and his artistic Urban Wear clothing line.

Colleen M ullins You’re currently an up-andcoming artist living near Atlanta. You have a successful Instagram account and followers, and a new sports car. But there’s a lot more to your story. Tell us a little about your background.

Kevon D ooley Okay. I’m originally from Tampa, Florida. I was born in Hillsborough County and went into the foster care system at about 7 years old. I was from a broken family and going into foster care was heartbreaking for me. My birth mom is deceased and I don’t really talk to my birth father. A lot of kids go into the system and become victims of it. Right now, I’m focused on trying to stay positive and to motivate younger people to understand that you can still be successful, no matter what your background is. I’m currently doing fashion design and I enjoy painting. I want to do photography, and I want to get into acting soon.

CM Give us an overview of your experience with the foster care system.

KD The system has its pro’s and cons’. It’s all about you and your personal needs. You can have a kid that comes into the system and falls victim to it. What I mean by that is sometimes the system ruins their life. Then, you can have a kid like me, comes into the system, has his head on straight. I don’t let it take away from what I want to be in life.

When I first went in to the system I went and stayed with my Auntie. But she had to move out of town and Florida wouldn’t let me go with her unless she adopted me. She wasn’t ready for that yet, so I went back into the system. I was moved every couple of months, to over 20 homes total, different foster homes and group homes. I went to ten high schools, 8 to 10 middle schools. There was a lot of moving around.

CM Why did they move you so often? Do you know?

KD Only because they always move kids

in foster care.

We stay in group homes and stuff happens — say someone steals your stuff or there are fights—other kids pick on you and bully you, and take your stuff. So they always have to move you somewhere that will be good for you at that moment in time.

CM That’s tough! It has to be a struggle to make friends and find stability amidst so much constant change. Was it only you in most of the homes or where there other children?

KD Yeah, it’s really hard. A foster home is basically several kids living with a set of foster parents. There are usually a couple of kids in each home. A group home has like 40 kids living together. We’re sleeping in a building and every kid has their own mattress. The state hires people to come check on us basically.

I’ve lived in both types.

CM I think many of us when thinking of foster care have an image that is similar to adoption —we have the idea that a child finds a permanent home with one set of parents at some point. Did that happen for you?

KD When I turned 18, I was living with a lady named Miss Lola. On my birthday, the social workers came and got me from her house and I went to live with the parents I’m staying with right now. My foster parents, Mr. & Mrs. David Wilkerson, they took me in. They treated me really well and made sure I graduated school, made sure I did the right things, and made sure I was able to be successful.

KD I turned 18 then, and I aged out of foster care. You’re considered an adult then. If you have family, you can go live with them. If you don’t, sorry, you have to go find a shelter to live in. So, it was when I turned 18 that I finally settled with my foster parents. They started

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Based on recent data, 17% of all children in the United States — nearly 12 million kids total — are living in poverty. ~AECF.ORG

helping me, taking care of me, and helping me to grow. They didn’t want to see me in the streets, so they took me in.

I became an advocate for foster care then. I traveled to Washington, DC and I spoke to Senators.

If you look me up on Google, you’ll find information about the Bill called, “Extended Foster Care,” that we got passed.

A lot of kids, when they reached 18, were thrown into the streets with no help. There was no one to pay for school or help you get a start in life.

My caseworker and I were tired of seeing kids thrown in the streets, so we came up with a plan. We wrote letters to senators and advocated for change to the system. We wanted to make sure that if a kid turns 18 and is working or in college that there was help so they could make it and have a chance to live.

CM I think it’s wonderful that you found a set of parents to settle with and that you had the desire and willpower to advocate and help others. Your foster 36

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parents are your parents to you now?

KD Yeah, they’re my parents to me. It doesn’t matter if people are part of your bloodline. Whoever takes care of you and makes sure you’re okay, feeds you, provides a roof over your head, and loves you, that’s your parents. It doesn’t matter about the blood.

CM I totally agree with you. I spent a lot of time with my grandparents as a child. They were like parents to me. I’m very grateful for that. It’s difficult to imagine what it’s like to switch homes and families so often, to live in group homes and feel so alone and disconnected from others. What caused you to enter foster care?

KD It’s hard. It was hard for me. All of us grow differently. None of us asked to be in that situation.

You know what I’m saying? All the moving around and no one solid in your life, you tend not to get attached to people.

I was put in the system because my mom was on drugs. Then she passed away. My father didn’t want

anything to do with us —I have seven brothers and sisters. I was split up from them. Then, after all this time, it’s like I don’t even know my real brothers and sisters. I keep in contact with two or three of them.

Other than that, it’s like we didn’t grow up together, so we don’t know each other, we just know we came from the same parents. It’s like we’re strangers.

CM We’ve had several phone conversations prior to this interview, and one of the things about you that impresses me most is your upbeat, optimistic attitude about life. You’ve also made the point that you don’t use your background as an excuse not to be successful. Tell me a little about how that mind-set came into play? We all experience anger, frustration, and fear —and I’m sure you’ve experienced those emotions a great deal in your life. How did you move through those emotions to the mind-set and attitude you have today? You’ve told me you want everyone to understand they can make it?

KD Yes, Ma’am. That’s really true. The background

I came from had struggles. Of course it made me really angry with my family and parents because they let me go to foster care. I have family in Florida.

They allowed me to go into the system. They could have kept me, but they didn’t want to deal with another person’s kid, I guess.

But eventually, I started to realizing that being successful isn’t based on where you came from in life, it’s about where you want to go in life.

There are some people who come from a messed up background but made it, and I look at those people as inspiration and understand it doesn’t matter where any of us came from, it just matters where we’re going. Of course, you can’t forget your past and you can’t use it as an excuse. You have to learn to understand that. Once I started to realize that, I started making my Street Wear jackets and I started getting attention for them.

CM That’s wonderful! Tell us more about that.

KD I can tell you a story. One day I was walking serenitycafe.org

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in the mall, and I had one of my jackets. I was 17 then and had on one of my jackets. I was walking through the mall and this big guy came up to me. He was like, “Hey, dude, where did you get that jacket from?” I told him I made it and he asked for my number so he could get one from me.

I didn’t know who he was. He called me up a few days later and asked if I could come to his house and make him one. He Ubers me to his house and when I asked what he did, he was like “I play in the NFL.” I was in a mansion talking to an NFL player! His name was Noah Spence and he played for the Buccaneers!

I realized that day that God works in mysterious ways. What was the likelihood of this man finding me, just some kid walking through the mall, and having me make him a jacket? Then, he gave me the opportunity to be on his Instagram platform. He gave me the opportunity to meet other players, and then, after that, I started making friends with NFL players and different types of people.

That’s when something clicked in my brain. I said to myself, my past doesn’t matter. It doesn’t matter at all. It’s about where I’m going, and about me wanting to be successful. It’s about me motivating other kids to understand that it’s not where you came from. It’s about where you’re trying to be.

CM That really is true. What an amazing and wonderful story!

KD For everyone out there that is struggling—whether they’re in foster care, living in poverty, or going through other rough times, I just want you to know that you can still be successful in life. Chase your dreams! Motivate yourself to be successful— there’s plenty of success out there and you can make it if you keep faith in God and get up every morning being productive.

Don’t dwell on the past. That’s the main thing I want to say.

CM That’s excellent, and I agree with you completely. Can you share with us about your creative efforts? What are you doing right now?

KD Right now, I’m working on my clothing line. It’s called Canvas Your World by Kevon Dooley. It’s about originality. I do painting. I do photography. I moved to Atlanta because I want to pursue acting. I’m currently working on marketing the new line.

I’d like to open a few clothing stores around the world.

CM Where can our readers find your jackets and clothing line?

KD They’re available at the store, Fly, in the International Mall in Florida, or they can contact me directly through my Instagram account at @princekevonthegoat.

CM Tell us a little about the creative side of making clothing?

KD My birth mom was an artist. She was talented and I got my artistic side from her. I always wanted to be a fashion designer. I do stitching, embroidery, and I paint on the jackets.

I stitched the jacket [shows the white jacket]. I sewed it placed the patches. It’s called Urban Wear or Street Wear.

Street Wear is something you wear in the fall, a nice cover up jacket with some denim jeans, and maybe some boots. Each one is custom made and no two are exactly alike. So, they’re really unique.

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Our gratitude to the Ritz-Carlton Atlanta for a wonderful stay and for allowing us to use the location for our photo shoot with Kevon.

For more information or reservations: Ritz-Carlton Atlanta 181 Peachtree St NE Atlanta, GA 30303 Ph: (404)-659-0400 www.RitzCarlton.com

CM They’re cool, fun. I like them.

KD Thank you, I appreciate that.

CM We really appreciate you sharing your time and your story with us. Any last thoughts you’d like to add for our readers?

KD I have my down days, we all do. I’m not perfect.

Sometimes, when I’m not happy, I try to make sure that I’m still spreading positivity. The world can be a dark place and what it needs most right now is love.

Just believe you can make it and keep spreading love.

Instagram @Princekevonthegoat For more information on Extended Foster Care, please visit www.aecf.org serenitycafe.org

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Postscript: We set up outside the Ritz-Carlton Atlanta valet parking area, on a side road off Peachtree Street, for our second photo shoot of the day. Our goal - to capture the feel of Urban Wear on the Atlanta streets. We immediately attracted onlookers interested in Kevon’s work. The two men above watched, and participated, in the shoot while asking questions and exchanging phone numbers with Kevon in order to purchase jackets from him.

Kevon’s determination, creativity, perseverance...and his loving heart have brought him out of a tragic childhood into a new phase of life as a young artist that seeks to help others find their way. An inspiring young man to watch!

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Husband

Trilogy 2016 - 2020

I live you breathe you love you, but seldom write poems about you.

surreal

~for JMM 2011

The sun shines without being written.

The air moves, invisible life, never spoken.

You are the flow of these necessities through me.

You are soil holding my roots in place, nourishment written in your name.

Your face my memory.

Your arms my home.

Otherwise, my spirit filled with gypsy blood too crazy, too unorthodox for the masses burns.

You are all the deep-true things that carry me. I thought it was time to write a poem for you — So this is yours, husband.

There is a surreal quality to the day everything has flipped upside down and I am feeling like a pancake being cooked by life, more than a person living it.

I am going to leave you and you are going to let me.

unsayable In 22 years of marraige I could barely write you No matter how often I tried.

My love and emotion were Too big —we were unsayable— Too immense for words.

Funny How divorce and ending Are small enough for the one word Goodbye.

smoke Every solemn promise we ever made to one another — no more than wisps of smoke off the ends of our cigarettes.

—Marissa Mullins

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Addendum FEATURES: Amanda Lee—Showcase Poet, Interview with poetry, pages 11-15. For more information, please contact Amanda at leeamanda8864@gmail.com Luke Owain Boult—The Fabric of Society: A Hidden History of the World through Patterns, pages 16-21. For more information, please contact Luke at lukeowain@gmail.com Joshua Kochis—Palmetto Loving: When the Dirt Turns Over, pages 22-29. For more information, please contact Joshua at jakvista1@gmail.com Dr. Joseph Camilli, D.C.—Column: The Art of Healing: Understanding & Conquering Chronic Stress, pages 30-32. For more information, please visit Dr. Camilli’s website at: www. camillichiro.com Kevon Dooley—Showcase Artist, Interview & photo spread, pages 34-41. For more information, please contact Kevon at Dooley.kevon@gmail.com or follow him on Instagram @ princekevonthegoat@princekevonthegoatt Jaffar Ali—Travelogue: LaHore, Pakistan, pages 44-57. For more information, please contact Jaffar at jafferdar41@ gmail.com Marissa Mullins — Finding Our Way Home, pages 58-61; Poetry, interior front cover and pages 42 & 43; Photography on various pages as credited. For more poetry by Marissa, please visit her website at www.MarissaMullins.com. Email: Scmedia520@gmail.com Kurt Jarvis—Interview: Love & Art for Children Everywhere, pages 62-69. For more information, please contact Kurt at Kurt@biblestoryofgod.org. Kurt’s books ( Safari Adventures, Low Country Adventures, The Artist’s Bible & Story Art, The Kids’ Artist’s Bible & Story Art, and Crash Course - Storying Through the Bible) are available by contacting the author/artist at: Kurt Jarvis, 20127 Silver Spring Lane, Myrtle Beach, SC 29577. Or call (801)-884-7440 Carrie Irene Crosby—We Are All Art, pages 70-73. For more information, please contact carrie at www.atbaimpactgroup. com or atbaimpactgroup@gmail.com Art for Autism ̶ − Photo Essay, pages 72-77. For more information of participating, volunteering, or sponsoring our 2022 program, please contact us at scmedia620@gmail.com Jack Thompson—Out on Assignment Column: Change on the Horizon 1968, pages 78-83. Visit Jack’s Studio at 503 9th Avenue in downtown Myrtle Beach, SC or email him at JackThompson1936Studio@gmail.com or call (843)-4503555. Jack’s book, Memories of Myrtle Beach, is available for $125.

Letter Serenity Café is an active form of creative love.

This is our art. And we, like the artists we profile, are seeking to express and examine, to imagine and create a new thing. To envision a new way of seeing that we can share with others.

Art is difficult. It often takes on a movement, scale, and flow of its own. Sometimes it behaves strangely and refuses to come together as the artist desires. At other times, unexpected complications arise from the external world and force the art to shift and reshape.

This issue of Serenity Café reaches subscribers and bookstores behind schedule. The delay included an array of complications and confusions: changing printers mid-publication due to Covid-19 limitations, revamping the entire magazine and going to press a second time due to the termination of a partnership with another company; and several more delays related to family deaths and staff sickeness with Covid-19. It’s been a test of our resolve. It’s been a serious challenge to our vision, tenacity, and determination.

And yet, finally, we head to press for the last time with joyful hearts — we’ve made it through the trials and will have the printed issue in our hands within the week. The second issue of Serenity Café will soon be in subscribers mailboxes, on bookstore shelves, and mailed out to contributors. It was worth the struggle.

It arrives in perfect timing as does all art. We’re pleased with the final version of this issue and hope you will be too. Moving through challenges, overcoming struggles, continuing on with the creative endeavor despite obstacles—THIS is what it means to be an artist, to be working toward greater Consciousness, to be a Creative.

We extend our deepest gratitude to our subscribers and advertisers for their patience and understanding during this time of reorganization. We are deeply grateful for all of our readers and supporters and we hope you enjoy this issue of Serenity Café!

The Editor & Staff of Serenity Cafe

Jim Urban—Personal Experience Essay: In The Center of the arch, pages 86-87. For more information, please visit Jim’s website at www.JimUrban.Life Urvi Chheda—Origins: Myths in Indian Culture, pages 8891. For more information, please contact Urvi at haikucnic@ gmail.com or follow her on Instagram @hataikucnic ADDITIONAL PHOTOGRAPHY CREDITS: Front Cover: Woman in Red © Inara Prusakova at stock.adobe.com. Inside Front Cover: White Hallway, © Miriam Espacio at pexels.com. Woman in Red © Inara Prusakova, at stock.adobe.com. Back Cover: Pakistan Lady in Red ©Asad Malik Photography at Pexels.com. Page 4: Lahore, Pakistan © Nicolas Jaballah Photographie at stock.adobe.com. Page 5: Audrey poses with her copy of Serenity Cafe ©Marissa Mullins Photography; Blonde Model © Luiz Fernando at pexels.com; Jack Thompson ©Jack Thompson Photography; Jim Urban ©Jim Urban; Home on the ocean ©David Hutchinson at stockadobe.com; K-cups Mutant Forest ©Flavia Lovatello; Goddess Kali ©chutima at stock.adobe.com; Dr. Joseph Camilli ©Joseph Camilli; Carrie Irene Crosby ©Marissa Mullins Photography; Savannah ©Marissa Mullins Photography; Kevon Dooley ©Marissa Mullins Photography; Amanda Lee ©Marissa Mullins Photography; Kurt Jarvis ©Kurt Jarvis. Pages 6/7: Becoming Alice ©Oksana Kukukurza at stock.adobe.com; Lovely in Pink ©Victoria Brordinova at Pexels.com Pages 10/11: Close-up of Pakistan Truck Art©Jaffar Ali; Poet Ojo Taiye ©Ojo Taiye; Japanese Food ©2019 norikko/Shutterstock.com; Bright Beautiful Girl ©Mike Orlov - stock.adobe.com; ©Nike Okundaye; Roses ©2014 bofotolux/Shutterstock; Crumbling Alarm Clock © ©Pixel-Shot - stock.adobe.com.Page 12-15: Colors Splotches ©Alexandar Ant at Pexels.com. Page 16/17: Fashion Girl ©Luiz Fernandez at Pexels.com; Dress ©Pavil Danyluk at Pexels.com SERENITY CAFÉ

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LAHORE, PAKISTAN TRAVELOGUE

BY Jaffar Ali

T

here’s something special about this city—a type of sorcery that casts a spell on you as soon as you enter the boundaries, keeping you bewitched and enthralled for a time. Lahore—as infectiously irresistible as the name sounds—is home to a community of 13 million warm, lively and resilient people.

Lahoris, or Lahorites, are famous for their love for food, their welcoming nature, displaying warmth toward every aspect of life, and their hospitality and happy-golucky attitude. Come whatever may, you’ll always see a fixed grin like a Cheshire cat on a typical Lahori’s face, the reason why they’re referred to as “Zinda Dilan-eLahore”, literally meaning “Alive hearted/Lively” Lahoris.

Legend has it that the city was named after two brothers Lahu and Kasu, whereas another narrative sits around a Hindu Mythological character Lawa/ Lava. Nothing can be said for sure about the word’s origin; however, the name carries a mthical historical significance, being one of the oldest cities in Pakistan.

Located on the bank of River Ravi, at the crossroads of Iran, Afghanistan, the Middle East, Central Asia, and present day India, Lahore has been the centre of attention and activity over the centuries. Owing to its geo-strategic location, it was conquered and ruled by several dynasties, and was also the breeding ground for some great Sufi saints and mystics, namely Ali Hajvery (popularly known as the one who bestows treasure), Madhu Laal Hussain

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and Shah Jamal. There’s this famous saying about Lahore in Punjabi that translates into English as, “You are not born yet, if you haven’t seen Lahore.

Sa’ad Mohamed, a mountaineer and visual story teller haling form Lahore, reminisces about his childhood in Lahore saying, “I still remember that the soil, mud and dust of Lahore had a certain sweet and sad aroma to it. Lahore has always had an inherent charm for me probably because both my maternal and paternal relatives belong to this gem of a city.”

He adds, “It’s only when I grew up, that I ventured more into the old walled city, mostly on group cycle rides with the local chapter of the Critical Mass.”

The city is an amalgamation of both history and culture, and despite opening up to western influence in the previous decades, it has managed to retain the true Lahori essence; the traditional eateries, and the architectural marvels by the Mughal emperors. Besides being the capital of the most populous province of Pakistan—Punjab— it’s also the cultural lifeline of the country.

Numerous dynasties including the Ghaznavids, Mongols, Mughals, Sikhs, and finally the British ,ruled over Lahore, leaving their marks on Lahore’s history and culture. However, the Mughal

Empire lasted for more than 200 years, and left the greatest indelible impressions on the history, culture and architecture of the subcontinent (present day India, Pakistan), including Lahore.

The architectural wonders, spread throughout the city and its suburbs, stand tall despite the passing of several centuries; paying homage to the aesthetic prowess of the Mughals. Renowned masterpieces of Mughal architecture in Lahore, that are touted as the ‘jewels of Lahore’ include: ◊ The Badshahi (Royal) Mosque ◊ Lahore Fort ◊ Shalamar gardens ◊ Wazir Khan Mosque ◊ Shahi Hamam (The Royal bath) ◊ Jehangir’s Tomb ◊ Chauburji ◊ “The Walled City” (decorated by 13 gates of ancient Lahore) Badshahi Mosque is a colossal structure that rises in the distnace as you enter Lahore; a sight that enthralls and thrills. It’s uniquely located adjacent to a few famous monuments linked with Pakistan’s independence movement, including the Greater Iqbal Park, where the vertical ‘Minaret of Pakistan’ (Minare-Pakistan) is located. The Mosque is housed opposite

Mughal Emperor Jehangir’s grave © Zeeshan Naveed serenitycafe.org

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Hallway in Lahore Mosque ©lichtmeister - stock.adobe.com 46

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Located on the bank of the River Ravi, at the crossroads of Iran, Afghanistan, the Middle East, Central Asia, and present day India, Lahore has been a centre of attention and activity over the centuries. the Lahore Fort’s Alamgiri gate in a big complex that also contains the mausoleum of the National Poet and Philosopher, Dr. Allama Muhammad Iqbal, who proposed the idea of Pakistan.

The construction work of Badshahi Mosque; carried out in 1671 by Mughal Emperor Aurangzeb Alamgir (son of Emperor Shah Jehan) deserves full adulation.

Usage of red sandstone; a prominent feature in many other Mughal era buildings throughout the subcontinent is also visible in this Mosque. It is also one of the largest mosques in the world, having the capacity to accommodate 100,000 worshippers at a time. All Mosques from this era have similar characteristics such as an arched entry gate, a

spacious courtyard, minarets accompanying one big dome and several smaller domes, and a central ‘hauz’ (pond) to perform ablutions.

The surrounding spaces still have the aroma of the past centuries and transport the visitors to another time, letting them envision the time when a Mughal emperor, mounted on an elephant, used to come out with his entourage for a stroll. The feeling of this place is just magnificent and strong enough to stir the imagination.

Lahore Fort and Shalamar Gardens were collectively classified as UNESCO World Heritage Sites in 1981.

Both structures represent the epitome of human

Interior of Wazir Khan Mosque ©lichtmeister - stock.adobe.com serenitycafe.org

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Mo blabore pratis tatquae denis

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Lahore, Pakistan © Nicolas Jaballah Photographie Serenity Cafė

aesthetics and artistic expression; reflected in the amazing construction, intricate design and remarkable artwork by the artisans. The design and construction was initiated in the Mughal era, during Emperor Akbar’s time, however, per historians, the premises is even older, stretching back thousands of years.

The Mughal Empire lasted for more than 200 years, and left indelible impressions on the history, culture and architecture of present day

India and Pakistan.

Lahore Fort’s construction commenced in 1542, however, several additional buildings such as the Sheesh Mahal, Deewan-e-Khaas, Khwab gah-e-Jahangiri were added later, by Akbar’s successors. It wasn’t until 1630, during Shah Jahan’s reign, that the iconic landmark achieved its current shape. Precious marble and materials were used during the construction; imported from different parts of the world, and skilled artisans were invited from outside India to assist in making it a flawless marvel of construction.

Similarly, Shalamar Gardens which spreads over an area covering 16 hectares was constructed by Mughal emperor Shah Jahan in 1642. The garden is divided into three layers with elaborate walk ways, beautiful fountains and pools. This Mughal marvel, besides providing a sense of calmness and respite from the outside hustle and bustle, also quickly opens up a window to the past, delivering a matchless feeling of royalty, which is impossible to convey in words.

Wazir Khan Mosque and the nearby Shahi Hamam (Royal bath), are two incredible pieces of architecture, constructed during Shah Jehan’s period and located near the famous Delhi gate. Similar to other Mughal era structures, the Mosque built in 1634, is adorned with precious materials and tile work. As you enter the courtyard through an arched doorway, you get to witness the same fine craftsmanship and grandeur present in the other Mughal constructions throughout the city.

The main prayer hall is an exemplary personification of the Mughal Empire’s superior taste in construction and design.

Similarly, the Shahi Hammam (Royal Bath), inspired by the Persians, was introduced by the Mughals and

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One of LaHore’s most critical and busiest thoroughfares, The Mall, is lined on both sides with buildings, reminiscent of the colonial era, oozing grandeur. built under the patronage of Shah Jehan, by the then Governor of Lahore (Ilm ud Din Ansari) in 1635. It had three main areas; the changing room, the warm bath and the hot bath, with a partition for both genders.

During the British era, the bath lost its attraction, and was in a poor state for quite some time, until it was fully restored a few years back.

Emperor Jehangir’s Tomb is located in the Shahdara area within the premises of the Dilkusha garden (built by his wife Nur Jahan), on the outskirts of Lahore. It is a

a status it still retains to quite an extent. As for the 13 gates, a few have managed to pass the test of time and still exist, albeit in a rough shape. However, restoration efforts are underway, and gradually all dilapidated buildings, including the gates are being restored to their former glory. Another interesting fact about the Walled City is that a number of the historical buildings are either located within the Walled City or in very close proximity to that area.

The area is a universe within itself; containing a network of interconnected narrow alleyways, giving the impression of a giant maze, and providing ample opportunity for one to become lost; both mentally and physically. The sights and sounds of the Walled City are unique; so are the culture, language and cuisines.

It also holds a major chunk of the city’s entire history.

So, after setting foot in the area, one becomes caught between the past and the present.

Despite the decline of the Mughal Empire, Lahore retained its key position during the British rule (18571947) as well. During that period, the Brits made important contributions towards Lahore’s architecture.

One of Lahore’s most critical and busiest thoroughfares, The Mall, is lined on both sides with buildings, reminiscent of the colonial era, oozing grandeur.

four cornered single story building with four minarets on each corner, sans a dome. Like the earlier Mughal sites, red sand stone was chiefly deployed during the construction work of this building as well. The inside, including walls, are filled with beautiful fresco artwork that leave visitors spellbound. To the east lies the tomb of Asif Khan, and the Akbari Sirai (Akbar’s motel).

Chauburji meaning ‘four-towers’, is another remarkable remnant of Mughal architecture, that was constructed during Shah Jehan’s rule, as an entrance to a garden for the royals. Sadly, the garden ceased to exist a long time ago and, currently, only the Chauburji landmark exists.

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The buildings include the much celebrated Aitchison College (1886), the Governor House (1853), Faletti’s Hotel (1880), Punjab Assembly (1938), The Cathedral School (1880), St. Anthony’s High School (1892), Lahore Cathedral (1889), General Post Office- GPO (1887), Lahore High Court (1882), Lahore Museum (1865), National College of Arts (1875), Punjab UniversityOld Campus (1882), Sir Ganga Ram Hospital (1921), Government College University (1861). Other than these, there are countless other Victorian and Gothic styled buildings including Schools, Colleges, and Hospitals that speak volumes about the city’s glorious past.

One can’t help but notice influences from different cultures and civilizations in the Mughal architecture including Islamic, Persian and even Indian culture, which is also visible in these structures. It’s simply an awe-inspiring perfect blend for the art lover, leaving one mesmerized, providing an out of the world experience.

Despite witnessing its fair share of ups and downs, Lahore’s allure and charisma hasn’t diminished, in fact it has further grown. The magical attraction draws crowds from all over the country; for its culture, history and warmth. It casts a spell on you, and once you choose to settle here, it’s just impossible to leave and settle elsewhere.

Last but not the least, ‘The Walled City’; constructed to keep invaders at bay during that era, was the centre of all the hustle and bustle during the Mughal reign,

The modern bustling metropolis sits right at the border with India, with the closest Indian city, Amritsar being just 50 kilometers away. The ceremonious “Wahga”

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Wazir Khan Mosque, Main Prayer Hall ©Jaffar Ali

border is a spectacle in itself, where the Pakistan Rangers and Indian BSF (Border Security Force) personnel regularly put up a show of mettle and guts during the flag changing ceremony that takes place every day before sunset. With patriotic songs playing in the backdrop, charged crowds on both sides chant patriotic slogans to buck up their respective men in uniform, the extravaganza is a not-to-be-missed sight for visitors.

Since religion plays an important role in the life of majority of Lahorites, religious festivals are observed with fervor during the Islamic months.

Similarly, Lahoris are avid foodies; the love of food is in the blood of a born-and-bred Lahorite, to the extent that if you were born here and have somewhat different eating habits, or on the ‘lighter side’, you’ll probably end up becoming a laughing stock among your peers.

Great food is part and parcel of an average Lahori’s life, to the point that great tasting food joints, initiated from shanties, make it big in no time.

Some delicacies are specific to Lahore including Chick peas with crispy bread, fried local freshwater Rahu fish (marinated in Chickpea flour), Halwa Puri, Siri Paaye (goat’s head and feet). The one’s initiating these have made fortunes out of their businesses, to the point that their future generations are also pursuing the business, and doing really well.

Sa’ad, sharing his experience with Lahore’s cuisines says, “I’m totally in love with the food culture of Lahore; the Spicy Tawa Chicken on the roof top restaurants of Heera Mandi overlooking the Badshahi Mosque, the Butt Karrahi at Lakshmi Chowk, and the authentic naan chanay & halwa pooree of androon, and other hot-spots over the ever expanding and sprawling metropolis are finger-licking good.”

These delicacies are abundantly available throughout the city, however, for a truly enriching experience, travelling to the Walled City is highly recommended.

There one can have the real taste of local food in the areas of Gawalmandi and the food street beside Badshahi Mosque.

The city’s weather is pleasant throughout the year, and all the seasons are worth experiencing! However, the

summers are a bit harsh (Jun-Aug), when the sun shines with its entire splendor. The temperature starts to cool down a bit during the onset of monsoon, which is filled with heavy downpours followed by humidity. Amid the scorching summers, adventure seeking youth take to the main canal, that flows through the city, for a dip during the afternoon hours; a must experience exposition.

The trees turn lush green to announce the arrival of spring, and the overall atmosphere is pretty festive, while the weather is very pleasant. The winters bring along chilly temperatures, fog, and an overall mellow and romantic atmosphere.

Lahore has all the ‘right’ ingredients for an outsider to fall in love with it; tender and warm-hearted people, great tasting food that is enough to instil a deep affection for the city, tolerance and respect for other cultures and religions, four beautiful seasons, an inexpensive and world class transport system to explore the city, the overall jovial temperament of the people and last but not the least, the city’s overall ambiance, that stands out from the rest of the country. ◈

Delicious Brunch ©Aleksanders Muiznieks/Shutterstock.

Lahore carries a jubilant vibe that’s in-line with the matchless disposition of the inhabitants. Festivities are observed throughout the year and the onset of spring brings the much cherished “Jashn-e-Bahaaran’’ or Spring Festival, that compliments the spring bloom.

Woman in Pakistan © Tariq Wazir Gulbi/Pexels.com 52

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Man in Pakistan © Tariq Wazir Gulbi/Pexels.com serenitycafe.org

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Pakistan Girls ©2019 SkycopterFilms Archives/Shutterstock.

For more information on visiting Pakistan, please see: Pakistan Tourism Development Corporation at https://tourism.gov.pk/ Lonely Planet at https://www.lonelyplanet.com/pakistan

Twelve Amazing Reasons Why You Should Travel to Pakistan https://www.thebrokebackpacker.com/travel-to-pakistan/

Gulmit Village, Pakistan ©2016 khlongwangchao/Shutterstock.

Badshahi Mosque Courtyard ©2020 Jaffar Ali

Prayer Badshahi Mosque ©2020 Aadil/Pexels.com

Derawar Fort at Sunset Photo Credit: © syed hasan mehdi—pexels.com

Finding Our Way

H O

Hands, Held, Hug, Honesty, Holy, Honor, Hope, Heart.

Organic, Origin, Observe, Obstinate, Oracle, Obscure, Obdurate, Overcome.

M E

Meals, Mornings, Maternal, Me, Memory, Mistakes, Mortal, Melange.

Enjoy, Evenings, Explain, Envision, Endure, Escape, Envelope, Entertain.

Home

as a state of being more than a place. As a realm within us of deep union and connection.

A R T

Adulation, Angel, Acceptance, Anger, Anonymity, Answer.

Reticence, Remember, Regress, Review.

Transform, Truth, Trials, Tragedy, Transcend.

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Art

as creativity, imagination, an act of making, ordering, and giving meaning to. As a pathway, a method, a treasure map. As a vehicle of movement, a form of action.

This is an

exercise in art. This is an essay about finding our way home; or, more specifically, finding out what that strange word “home” actually means to us. Are we talking about a house, a town, or a region we grew up in? Is it about the parents, the culture, the place? Or, perhaps the home of “now” with a spouse and a child and the nexus of Center that holds us? Is it about returning to a mode of completeness that seems lacking, seeking our innocent child self, transforming again into that being less encumbered and fearful, the one who saw life as a great adventure rather than a prison of endless drudgery?

Does it

matter what answers we find to these questions, or is it in the bringing-out and

By M. Colleen Mullins

Photo Credit ©david hutchinson - stock.adobe.com

playing with these questions, the turning them over in our heart and head that gives us a deeper joy? The seeking of the answer is often more exciting and beautiful, more an intense joyful exercise, than finding our answer.

This

essay does not offer solutions. It is lost, it does not know its way home.

alter in a church in Prague thinks of poetry, decides to write a poem to the wife who died of Covid last month. She loved poetry. He misses her. The pain and love are too big too carry. He needs to put it somewhere...A poem?

A little girl

in Nigeria sits in a small, quiet room and writes a story about a lonely woman sitting alone in a quiet room in Nigeria. It is a question she asks: Does anyone else understand?

is trying to find a way out of the violence in her family and neighborhood on the East Side. She doesn’t think she’s very pretty or smart, no special talents. She draws doll pictures in her journal. She likes to cut out dresses from construction paper and glue them to her picture dolls. She wonders, could she make dresses in the real world?

A young boy

This essay is

A woman

👣

standing in the weeds, in Oklahoma, is painting graffiti on the side of an old barn. He writes his name. Draws pictures of aliens in black paint. It is his question: Does anyone see me?

An old man

sitting near the

a few random words on paper, vowels and nouns, images and ideas. It has no answer to your confusion and cannot heal your feelings of homesickness. It is not quite art, but it is movement toward art, it is A Making of sorts. That’s the best it can offer you.

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This

essay started out as a different idea. It planned to discuss the ways in which art helps us grow into, or turn toward, the truest part of our self...the Self that is Divine, the Self that is Love. Well, even an essay can have an identity crisies it seems.

still, so to speak, for formality and ernest seriousness. Too boring, it said. Rather, let me dance my own amazing dance of uneven paragraphs, broken sentence structure, word groupings, and those twisting-twirling delights of imbalance, mistakes, not quite pretty, no real deeper meaning...

So,

Please,

this essay

Let me be

the essay turned around and jumped ground —it wanted to play, and who could blame it! I just let it romp and wonder, and wander, and seek and become, and laugh and joke, and say what it wanted to say, and be what it wanted to be—and that is why you have...

that is more like a badly behaved puppy, or a silly-cranky child, or a flight of fancy and nonsense —more all or any of that than a serious essay about a serious subject that, if intentionally written and better behaved, could have been a form of meritous artistic effort.

As it is,

it is a form of twisting, gyrating, acrobatic movement. It would not sit

it begged, as only a tempermental essay can. Please, just let me explore what it means to be me, let me look for the meaning of Home and Art and Life and Love in my own unique way. Let me be messy and imperfect, slightly off-kilter and stumbling.

courageous and undaunted, let me speak my truth even if it’s nonsense and craziness to everyone who hears it.

Allow me to

search myself, to figure out what these words and connotations truly mean to ME. Please just let me find my own way through it all and come up with answers I know are true...for ME.

And so,

this is how the essay won it’s battle for independence and autonomy from the writer. This honesty of being is how it wished to speak to you, to present it’s understanding of Home and Art—and how those two words and their meanings are so intrinsically tied together and grounded in the search for an authentic self amidst all the voices, plans, ideas, and forced goals of the surrounding world.

Home

is where it is okay and wonderful to be you, just as you are, without the need to be more, less, or other. A Center deep within us always knows this, but we

Pregnant Woman ©Zffoto - stock.adobe.com

often journey through many stories and places before we recognize this truth in ourselves.

Home is the

place we start from, the journey we take, and the place we’ve never left that we return to. It often shares mirror images and emotions with the homes, towns, places, parents, siblings, school chums, people, and all the rest of life we meet along the way—each a glimpse of light refracting a truth we already know...WE are the Home we are seeking. WE are the Home we return to as the long hours of journeying come to an end.

Art

is a pathway many of us take. It is a way of pushing through the briars and brambles of pain and tragedy, a way of making sense of it all—re-framing the experiences in a way that we can understand them, share it with others, find a unity with others who’ve travelled similar paths.

Art is

a way of screaming for help and offering help to others. It is the voice of a child crying alone in the dark, and just as much the voice of a child standing tall and strong on top of a mountain of dirt proclaiming victory.

Art is the

sword we use to vanquish the monsters that threaten to devour us. It is the pulsing heart that loves and refuses to become cold and hard in the face of loss and tragedy.

Art

is the ray of sunlight that breaks through a dense sky on cloudy days. It is the stench of vomit and death in the room of the dying. It is our greatest fear and our greatest love. It is the way we color our experiences and draw the lines that lead us forward.

Art is the way

we speak our humanity in marks and colors as we reach into a void looking for the others called Human. It is a way we transcend the barriers between us and find our way Home. ‡

Your Light ©Wings of Freedom - Pexels.com

HOME I ran until I met the ocean met God, face-to-face in the sand, water, horizon, whispering—welcome home.

Here is my place of roots permanent in ebb and flow living into dying into living at the water’s edge.

Here, anonymity and identity circle, merge, transcend become the water, become the sand— the wet mess of living finally makes sense.

I am this dank, deep sand.

I am this foam crusted water.

I am found in churn and flow, the waves nebulous gyration dancing particles speaking eternity. ~Marissa Mullins

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w e i v ter

In

A J RT

KU

This page: Children at a mall talent show in South Africa with Kurt and the youth of New Roads Missions. Facing page: Kurt and his team in Lephalale, South Africa in 2018 providing programs at the government schools — Bible stories, skits, and singing for over a thousand students. After two hours of performance, the children begged them not to leave.

Some of these students come from the most impoverished areas in outlying regaions. Photo Credits: Courtesy of ©Kurt Jarvis.

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S I RV

N E R ILD

H C R O F T R A E R & E H E W V Y R LO E eV

Colleen Mullins Welcome to our pages and thank you for talking with us! Let’s start with a little about your life, your family, and your current location.

Kurt Jarvis We’ve been in Myrtle Beach for seven years now. My wife, Judy, and I have been married 58 years and we’ve discovered a world of exciting adventures and activities, as well as phenomenal people and new friends here.

KJ Judy and I met in high school. We both attended Asbury College in Kentucky, and we married after college. We have four children~our eldest son is a church pastor, our eldest daughter is a nurse, our second daughter and her husband are police officers, and our youngest son is a construction worker and church worship team guitarist. We have eight grandchildren.

We utilize FaceTime and trips to stay connected, and we are still a very close family.

CM Wonderful! Myrtle Beach is a lovely retirement destination for a lot of folks! Sounds like you’re enjoying it! Where are you from originally?

KJ I’m originally from southern New Jersey. My childhood was spent in the city of Camden, NJ and I’m from a blue-collar family. My father was a milkman with his own business, and, who in those days, did home delivery. My mother was a stay-at-home mom, raising me and my two brothers until I was in high school, then she went to work as a secretary. I was the middle son, and, of course, the favored, or at least I always thought so!

My parents had us in church from the start and I found my spiritual foundation around age seven. I think my life calling began at age 13 when a few church friends and I organized and

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KURT AND JUDY JARVIS WITH KURT’S RECENT BOOKS, SAFARI ADVENTURES AND LOW COUNTRY ADVENTURES, DURING HIS EXHIBITION AT BROOKGREEN GARDENS IN THE SUMMER OF 2021.

Kurt, with his latest book in hand, beside the flowers at Brookgreen Gardens. Summer 2021 Photo Credits: This page ©Marissa Mullins 2021, “Kurt Jarvis Series,”

Books by Kurt Jarvis Safari Adventures, Low Country Adventures, The Artist’s Bible & Story Art, The Kids’ Artist’s Bible & Story Art, and Crash Course - Storying Through the Bible.

For more information and pricing, or to order, please contact Kurt Jarvis, 20127 Silver Spring Lane, Myrtle Beach, SC 29577. Or call (801)-884-7440 or via email at kurt@biblestoryofgod.org 64

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led a Saturday Morning Bible Club for “kids,” not realizing we were also kids at that time! We met every Saturday morning and acted out and taught Bible stories, captivating the younger kids with our easy made costumes and overly dramatic skits. That began a life career of leadership for me.

CM That’s a wonderful start in life! You and Judy were both active with teaching children from a young age—can you tell us a little about that?

KJ I received my master’s degree from Rowan University in New Jersey was involved as an educational social worker in New Jersey.

Judy, pre and post home child rearing years, was a teacher.

In summer months, as a family, we served in directing roles at a Christian residential camp for the disabled and in regular children’s residential camp programs in the US and Canada. We also worked in other international children’s programs. To date, I’ve served in active leadership-training roles for leadership and volunteer training in over 50 countries, with Judy serving beside me in about 20 of those projects.

I worked as a summer adjunct professor teaching undergraduate and graduate level courses in Children’s Ministry Leadership at Cairn University in Pennsylvania, Miller College of Bible at Saskatchewan, Canada, the Nazarene Seminary in the Philippines, and at the Bible College of Malaysia.

During and after our college days, Judy and I were both involved in The Salvation Army Church in Kentucky, New Jersey, and Pennsylvania. I was the Program Director for The Salvation Army Day Care Center in Center City, PA for two of those years.

CM That’s an amazing history of ministry and working with children! It’s obvious you and Judy were dedicated to serving

Top Left: This real giraffe at the Safari Ranch outside of Lephalale, South Africa is one of the animals that inspired the contents of the book, Safari Adventures. ©Kurt Jarvis Top Right: Kurt and Judy in front of his Summer 2021 exhibition at Brookgreen Botanical Gardens, Low Country Center. ©Marissa Mullins.

others. How did that turn toward the creativity of personal artistic endeavors?

KJ I was interested in the Creator and creative projects as a young child. I’ve enjoyed exploring numerous arts and crafts through the years: photography, ceramics, porcelain clay wildlife sculpting, woodcarving, and various other handcrafts.

I’ve tried rug weaving on a loom, hand made Native American moccasins, and recently acrylic and watercolor painting. I have also enjoyed dramatic activities as a storyteller since a young age. I offer storytelling programs for churches, libraries, schools, and community organizations free of charge.

CM That’s a very busy creative scehdule! Tell us about your newest endeavors as an author and illustrator. How did the book, Safari Adventures, come about?

KJ In March, 2020, our Christian education project to Malaysia was abruptly aborted en route to the San Francisco airport due to a Covid outbreak. Our small team returned to their respective home states and entered lockdown.

Jim and Tammy Walter, the directors of New Roads Mission (a New Jersey based non-profit seeking to help the more impoverished children in South Africa) approached me with an idea they had to establish a book-of-the-month club to raise funds for the publishing and distribution of thousands of books to children in South Africa via a sponsorship program. They had the idea for the books, but not the stories.

Jim asked me if I’d be interested in writing for them. I soon came up with the idea of a series of stories based on African animals that taught Christian morals and character values.

I started writing in April of 2020 and developed 12 stories for the first book. My head was still spinning with possible animal stories, so I completed another 12 stories—two years worth— for Jim and Tammy at NRM. But, there were still stories in my head, so I wrote another 12. A total of 36 stories, three years worth, for the book-of-the-month program, in about three months!

My sister-in-law, Martha Jarvis, a former English teacher, edited the manuscripts. I learned that there is a major difference in how you tell a story verbally and how you tell it on paper! We serenitycafe.org

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These porcelain sculptures are only one of the many artistic mediums Kurt has attempted and excelled in through the years.©Kurt Jarvis.

had the manuscripts ready in six months!

Next came the illustrations. Jim and Tammy knew of my artwork and suggested I also do the illustrations, but that was NOT the type of artwork I typically did then. Still, I agreed to give it a try. It was an arduous task, and challenging for me as an artist, but in four months I’d completed the 250 illustrations needed for the books. We formatted the manuscripts and had them printed. Jim and Tammy were thrilled with the outcome.

CM You used your Covid lockdown time amazingly well! Is that when you started the Low Country Adventures book?

KJ Yes. We were still dealing with Covid and I decided to do another set of stories, with animals and art like the first, but with this one centered around the coast of South Carolina. Three months later—another 150 art illustrations— and we went to print with another collection.

In May-June 2021, Brookgreen Botanical Gardens Low Country Center in Murrells Inlet invited me to display three of the stories and artwork as part of their Worldwide Endangered Animals exhibit.

In the Spring of 2022, the Pawley’s Island Library will be displaying several of the story art illustrations and books. New Roads Mission is moving forward with their project soon and will be printing and distributing the books overseas.

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CM What other books or projects are you working on?

KJ I’ve recently finished a fun collaborative poetry book effort with my sister-in-law, Anna. I continue to create and teach watercolor painting; and my works are displayed in several local galleries.

CM What are some “turning points” on your journey that brought you to where you are today? And how were they crucial in your life?

KJ My parents started me off on a life path where I had a solid moral compass, and they demonstrated a compassion for people from all walks of life. They both modeled extending kindness to everyone they met each day.

My father was hard working, but not well-educated; yet, he was an example of that kindness in his milk business— often forgiving milk bills, or taking the financial hit himself for those who were near destitute. My mother was a social butterfly and modeled an acceptance of all people everywhere for me.

The years Judy and I spent working with The Salvation Army gave us lasting lifelong friendships with people from all walks of life that share the same desire to help others without any monetary return.

My lifelong desire to know and attempt new things has opened more doors of opportunity than I could have imagined.

I was always eager to know and do. That

Kurt with the children from the summer camp program at Alliance Redwoods Christian Conference Center on Lake Nicaragua, 2018. ©Kurt Jarvis

desire for adventure, and my wife joining me in the never-ending life opportunities, has led us to 49 of the 50 states and to over 50 foreign countries.

CM What person or mentor do you consider to have been a major influence in your life?

KJ My Sunday school teacher, when I was seven years old, she helped set me on the right moral path. My parents always fully supported whatever I wanted to try and accomplish. They were both my greatest cheerleaders. My wife has enabled me not only to fulfill my dreams, but she’s been a willing partner with me in most of my pursuits. My worldwide colleagues of mission minded and ministry serving partners have taught me and helped me fulfill God’s purpose for my life. And recently, my art buddies at the Myrtle Beach Recreation center; and my sister-in-law, Ana. CM I’m going to give you some words and you tell me your thoughts and what they signify for you (Purpose, Creativity,

Service, Community, and Consciousness).

KJ Purpose: Life purpose for me can be summed up in a saying from years ago when we were with The Salvation Army, “Heart to God, hand to man.” Seek God first in the written Word that He has provided and you will find the direction needed to fulfill His purpose for you.

KJ Creativity: You have no idea what you CAN do unless you try. I love the line from Yoda in Star Wars, “there is no try, there is only do.” Many people sit on the sidelines of life outside their jobs and never get fully engaged in the game. Get engaged.

KJ Service: There are more service opportunities than any one person can do. While service to others is needed, and should be done by everyone, there also must be balance in life. One can do service and neglect marriage, children, family, and friends. One can do service to the detriment of one’s own health and well-being. We should look for opportunities to serve, but also keep a healthy balance in life.

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Kurt with children at The Fold orphanage and school in South Africa. ©Kurt Jarvis

Kurt, in 2017, with teens from the camp in Nicaragua. ©Kurt Jarvis

KJ Community: Truly no man or woman is an island. We are all connected to each other like one large family in the human race. In our micro community or tribe of those with common connections, we also need each other. Be there for others and let others be there for you.

KJ Consciousness: There is a tendency for man to seek wisdom from many sources, but many of those sources lead to dead ends. I fully believe that there is a truth that is available to us all. As God’s Word, the Bible states, if you seek the truth, you will find it. Be wary of the great sounding philosophies and test them before you buy into them. Nine hundred people followed the theology and philosophy of charismatic Jim Jones to their deaths. Before you drink the Kool Aid, find out what’s in it.

CM One last question. What does the term passion mean to you? And what would you say is your deepest passion in life?

KJ Passion is a deep inner desire to do or accomplish in this life. That can be manifested in many ways, through service to others, selfexpression in art, creative works, or in other endeavors that are not self-serving.

My deepest passion is to tell the Story of God, following Jesus’s last command to “go into all the world and teach others...” What He taught His followers. To live out that command through art, storytelling, service, or just plain human kindness is a worthy goal for anyone. ‡

Malissa Bell knew she had to have Kurt’s folk art piece, “Goin to Church,” the minute she saw it. Kurt poses with Malissa and the painting at Serenity on Broadway Gallery before she heads home with it! ©2021 Marissa Mullins. Facing Page: It’s all about love Copyright (c) 2019 Oxy M/Shutterstock.com

Children of the Safari farm worker come to visit Kurt during a school break in Lephalale, South Africa. ©Kurt Jarvis

n y is a an b s o r and ne C k ie Ire ife coach r to tal r r a e C l h a of et, ked , a po y Café as e concept t s i t r a th nit . Sere r take on e. Here’s r o t a rc t he innov ing fo ... abou d s n u e c w i t h s a t ra n s to say d a h she art a what

If my employees had a dream, vision, or idea, I was their biggest cheerleader!

For 20 years that skill worked against me until I decided to allow it to work in my favor. I made the decision to become an ICF Certified Life Coach. That has now grown into a worldwide community movement that helps everyone, regardless of their surroundings or circumstances, to always dream...And to dream big!

C

arri

e n e e Ir

W

E R A E

y b s Cro

AR L L A

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was in retail management for over 30 years and eventually realized a pattern with my employees. I was coaching all of my best people out of their positions.

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I have often heard that art transcends age, race, and culture and I have always wholeheartedly agreed. But what does that have to do with me? What does it mean to the me sitting here at the kitchen table writing? This cliche concept found me at a time in my life when I am aware of words and how powerful they can be.

Speaking of words...I have been devouring the words of Michael A. Singer recently. The first book of his that I fell in love with was The Untethered Soul. Since discovering him, I’ve reached out to his publishing company to gain permission to have a Masterclass based on the principle in the third book of his that I read, Living from a Place of Surrender: The Untethered Soul in Action.

These books heightened my self awareness in such a way that I realized I had been living most of my life trying to add things to myself in order to make me happy, whole or complete.

Michael A. Singer takes the reader through a vivid journey of his own releasing of all the things in life that had him blocked. After releasing the expectations of others, we must continue to release the habit expectations we have of ourselves. Singer went on to let go of even what he wanted using the Art of Surrender. When we surrender to life itself, we honor the Divine Creation in its wholeness and allow it to provide for us as it does the trees, the birds, the rivers, bugs, clouds, lakes...get my drift?

“Unitiled Wood 2” ©Carrie Irene Crosby 2021

Now, I’m not talking about vain things. I’m talking about elevated things. I was in a season of what I deemed elevated...I was eating healthier, performing more coaching duties, adding healthier people to my life, and I was adding more empowerment to my life.

I was creating boundaries and sticking to them. But, I realized, all of the things that I was adding to my life were blocking me in.

And that brings me to another cliche topic, The Art of Being. The process of surrendering truly taught me what this meant. I experienced first-hand what it felt like to simply BE. Some people think this sounds lazy, but it is quite the opposite. Instead of using your energy to figure things out, you invest it in enjoying every moment that presents itself. In this way, via the Law of Attraction, you are creating your own life.

No outside expectations, no internal expectations; simply staying in the present moment with love.

Have you ever heard a painter, carver, singer, composer or other artists say, “I didn’t know what it was going to be until it was finished.” It’s the same with the words I’m writing now. Just like the blade of grass that just poked its head out of the ground on the first day of Autumn. Like the next masterpiece, the next photograph, the next recipe, the next event you create —it is a brand new creation that cannot be predicted, it can only be created.

So, what does art transcending age, race, and culture mean? It’s a Universal question. My thought is that the creation of one’s self is a universal creation. Through the experiences we have, keep, or let go of, we create ourselves...every single day. Yet, the Creation has nothing to do with building, but everything to do with letting go. You find yourself coming back to your self, and you have found your way home. We are all Art. ◈

Email: atbaimpactgroup@gmail.com www.atbaimpactgroup.com

“Unitiled Painting 1 & 2” and “Untitled Wood 1” ©Carrie Irene Crosby 2021 serenitycafe.org

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ART FOR AUTISM 2021

Artist Kitt Allen poses with Savannah Mariotti and Marc Garrod to show off their completed projects. Photo ©2021 Marissa Mullins.

T

he Art for Autism 2021 program, a cooperative effort between SC Media, LLC/Serenity Café and Serenity on Broadway Gallery, was a wonderful success. The program was held monthly, June— September 2021, and offered free art classes to children on the spectrum. A selected artist led each class, teachers helped students work on their projects, and parents watched. Lunch and shared time for everyone involved was part of the program. Great fun for all our young creatives! ‡

Above: Ethan works on his birdhouse project as his mom, Bethany, watches. Right: Artist Scipio leads the class in a painted birdhouse project. All Photos ©2021 Marissa Mullins.

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bove: Art for Autism 2021 3rd session students with artists, teachers, parents and family. Front Row L to R: Artist Demonshay Scipio, Teacher Brandi Cantrell, Teacher Brandy Miller-Overmeyer, Marc Garrod and Savannah Mariotti. Second Row: L to R: Anthony and Logan Housand, Matthew Wallace, Ethan Myers-McGill, and Richard Highsmith. Back Row R to L: Artist Carrie Irene Crosby of ATBA Impact Group, Artist Anjulique Johnson, participants parents and family members.

B

elow: Artists and teachers with the 3rd session students of Art for Autism 2021. Left to Right: Artists Demonshay Scipio, Matthew Wallace, Artist Anjulique Johnson, Richard Highsmith, Logan Housand, Artist Carrie Irene Crosby, Ethan Myers-McGill, Savannah Mariotti, Teacher Brandi Cantrell, Anthony Housand, Marc Garrod, and Teacher Brandy Miller-Overmyer. All Photos ©2021 Marissa Mullins

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bove: The 1st session kicked-off in June at JR’s Heart Ranch! L to R: Teacher Brandy Miller-Overmeyer, Marc Garrod, Anthony and Logan Housand, Teacher Brandi Cantrell, Savanah Mariotti, and Artist Demonshay Scipio after the first session.

F Above: Free copies of the debut issue of Serenity Cafė were given to all participants and families. ©2021 Marissa Mullins

acing Page: Anthony Housand works intently on his painted canvas project; Teacher Brandi Cantrell watches Richard Highsmith as he works on his birdhouse project; Artist Anjulique Johnson checks out Richard’s completed birdhouse; Group photo of the first session students at work on their projects; and Matthew Wallace shows off his birdhouse for the camera.

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ight: Students each received supplies needed for the class project and supplies and goodies to take home with them.

Children and parents were provided with lunch and a conversation hour — wonderful fun and fellowship for all of us!

They were also allowed to tour JR’s Heart Ranch after class and check out the paddock, stables and horses!

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M

arc holding up his collage day project...smiles on the paper and we know he’s smiling behind it!

S

avannah is smiling too!

She attended all four sessions and made some amazing art!

R

ichard is all smiles as he shows us his collage day project!

C

olleen Mullins shares her smile with the camera after teaching the 3rd session class!

O

ur deepest appreciation to the folks at JR’s Heart Ranch for hosting three of our sessions and allowing the children to tour the grounds! For more information on JR’s Heart Ranch, check them out on Facebook at Heart Ranch or give them a call at (843)-222-6688.

T

hank you to all the volunteers, artists, and teachers that participated and helped make this possible! Thank you to all the parents and children who attended and participated! We look forward to seeing you next year at Art for Autism 2022!

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bove: Colleen Mullins leads the class in a collage day project. L to R: Richard Highsmith, Teacher Colleen Mullins, Marc Garrod, Addrienne Highsmith, Teacher Brandy Miller-Overmyer, and Matthew Wallace.

elow: Anthony Housand discusses one of Scipio’s artworks with the artist before the session begins. All photos ©2021 Marissa Mullins

Out on Assignment with Jack Thompson The “Change on the Horizon 1968” exhibit at Serenity on Broadway Gallery brings photographer Jack Thompson back to the stage while bringing back fond memories for families. was a normal fall morning in 1968 when the call came in. The fish were running. A.C. Sessions was taking a group of men down to the beach for a fishing trip. Jack grabbed his camera bag and then asked his dad, Jimmie Thompson, if he’d like to go with him. They arrived at the beach just before sunup. A.C. Sessions had a crew of friends and family with him. Among them were his son Jimmy, his dad, and David Carr. Jack and Jimmie Thompson talked with the guys. The men loaded the boat, worked the nets, and brought in the fish as Jimmie Thompson and A.C. Sessions talked about the catch.

Jack was busy taking photographs.

“Change on the Horizon 1968,” featuring the photographic works of Jack Thompson, marks the return of Myrtle Beach’s legendary photographer to a gallery showing (after a more than 5 year absence) and to his beloved “public talks.” The exhibit (running November-December, 2021) showcases the close friendship between different races as they spend the day fishing together on the beach. It also highlights the national events and chaos during that era.

The opening reception garnered a full house; and locals, young and old alike, attend the exhibits group talks to hear Jack Thompson tell stories about the “good old days” of Myrtle Beach during the 1950—1960’s. ‡

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Above: David Carr looks out over the ocean at the horizon, 1968. ©Jack Thompson/Jack Thompson Photographic Trust. ALL RIGHTS RESERVED. Left: Exhibit Program for Change on the Horizon 1968. ©SC Media, LLC. Facing Page: Jack poses with a signed copy of his book, “Memories of Myrtle Beach,” at the exhibition, 2021. ©Marissa Mullins.

Above: The men of the fishing trip: the Carr and Sessions family, among others. ©Jack Thompson/Jack Thompson Photographic Trust. ALL RIGHTS RESERVED. Right: Pulling in the net. ©Jack Thompson/Jack Thompson Photographic Trust. ALL RIGHTS RESERVED

Jimmy Sessions didn’t know what he was walking into when he came to hear Jack Thompson speak at Serenity on Broadway Gallery — having forgotten the time, he was late and Jack was gone.

He’d have to come back for the next scheduled evening...but he decided to take a look around— That’s when he walked into the exhibit room and saw...himself, his Dad, and his Grandpa in the photographs. Tears filled his eyes and he agreed to let us snap this photo (Right) as he recounted that day and explained that it was the only fishing trip that he and his Grandpa had both been on.

The young, skinny kid on the left is Jimmy about age 17 standing next to his Grandpa. He told us about David Carr and the other men — the many fishing trips, hours shared, and the friendship between all the men of the group.

Jimmy came back to the next talk Jack gave, bringing most of the Sessions family with him! It was a great night sharing memories together — looking at those Jack Thompson photographs and the moments he’d captured for the Sessions and Carr families... and for the future generations of our city. ‡

Jack Thompson talks with members of the Sessions family (Jimmy Sessions, front right) and the general public at his “Change on the Horizon 1968” exhibit at Serenity on Broadway Gallery in November 2021. ©Marissa Mullins Below: Jack poses beside photographs from his exhibit; in the photograph beside him, A.C. Sessions talks with Jack’s dad, Jimmie Thompson, and points out over the ocean to the fish. ©Marissa Mullins Facing Page: Jack looks up at his photograph of David Carr and the men unloading the net. ©Marissa Mullins

Photo: © 2019 Sean Pavone/Shutterstock.

IN THE CENTER OF THE ARCH

// I’VE WALKED WAY TO FAR IN THE HOT, LATE AFTERNOON SUN. I AM SWEATING BEYOND COMFORT AND MY FEET HURT, BUT I FEEL LIKE I NEED TO VISIT THE ARCH SINCE I’M IN FAMOUS ST LOUIS.

PERSONAL EXPERIENCE BY Jim Urban

I wait my turn to go through security with lines of people jamming the turnstiles

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for tickets and then another 45 minutes to get in the car to ride to the top of the arch. I’m only in this confined place for a few minutes, with crowds of people everywhere, when I know it isn’t for me. I decide to leave and can’t get out fast enough.

Sweat is still pouring out of me from the long, hot walk — it doesn’t get any better when I go from inside to outside.

There it is, the heat hits me again! I walk toward the center of the arch in the grassy area, the mighty Mississippi River to my left, finally reaching what seems like the middle of the Arch. I feel a breeze blowing from the east. I sit down cross-legged in the grass, facing the river and the breeze. I close my eyes with my hands resting on my knees. The sweat seeps from the pores of my skin, sweaty hands atop sweaty knees, an indescribable energy flows through me from this connection.

All I can hear are people talking, traffic racing by, and sirens from the nearby downtown. I relax my entire body, I let my intentions go and ask for relief and for me to know my purpose in this place. As I feel relaxation move through me, I can tell the noise is beginning to fade into the constant ringing in my ears. Only this

SUDDENLY IT SEEMED NO ONE ELSE WAS THERE — ONLY ME. IN MY MIND THE HUGE ARCH HAD NARROWED WITH ME IN THE CENTER BRINGING THAT BREEZE FROM FAR AWAY—ONLY FOR ME. time it is welcomed that I cannot hear. I continue into

is as invisible as the carpet that carries me. No more

relaxation and can feel the wind blowing on my face

sweat, no more sound, no more hurting feet, just sus-

and body, coming from across and over the river. The

pended bliss with no weight and certainly no intentions.

ringing in my ears is so intense it dulls the voices in

At this moment I couldn’t comprehend the realization I

my head. It is so constant that I hear it as music.

was having, nor could I discern if I was stationary and

I continue to relax and can feel the wind blowing

the wind was coming at me or if the physical plain was

on my face and body as if coming from the across the

stationary and I was moving forward at a rapid yet gen-

river and through the magnificent arch only for me.

tle pace.

Suddenly it seemed no one else was there — only me.

Where I had arrived I didn’t want to leave. I was in a

In my mind the huge arch had narrowed with me in

space that seemed to have all the answers, which were

the center bringing that breeze from far away — only

none, and none were necessary. I didn’t want my irritat-

for me. With my eyes continually still closed, I realize

ing intentions back — I was content.

my feet don’t hurt anymore and I can’t feel my hands

Now, the breeze began to lighten. The colors were

resting on my knees. I can’t hear and the breeze

different as if only a strong yellow. The heat began to

seems like it has all of me. I feel as if I am suspended.

return. I could feel my shirt, only it was now dry. My

I think, who said you can’t see the wind?

skin felt sensitive from the air. Now my feet began to

I could certainly see it at this very moment in

feel tired as they had before. I felt as if I had been on

my mind with my eyes closed. I could see it in viv-

a journey and been gone all afternoon. As I opened my

id yet variegated colors of yellow, green, blue and

eyes I was in the exact same sitting position as I had

many combinations, indescribable mixes. I could

been a bit earlier. The yellow light was still present, it

see the trees blowing in my direction, the ripples of

was the sun and hot as ever. I felt a fantastic love and

water coming my way as well. As my eyes remained

cleared of any worries. Seemed as all was going to be

closed, I could see microscopic particles of the trees,

the way it is intended to be, as it always is. And for me,

grass and all living things blowing in the streams

my journey had allowed the realization that its ok to

and swirls of color coming directly at my suspended

just be. Intentions are not always necessary. Just let

self. The breeze seemed to be so gentle, yet so direct

life unfold. I smiled really big and started my walk back

toward me through the arch, and it began to blow

to the hotel with my hurting feet. I continued to smile

more precise as all of my physical being seemed to

and it seemed ok that my feet hurt, its ok. Just be! ◊

be swept away. Now only my center self is left and

(www.JimUrban.Life)

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P

erhaps it is correct to opine that consumerism has engulfed our senses.

Or maybe we are destined to become slaves of technological progress. Maybe we all are in same boat of emotive tumult! Proposing an answer through mythology, liberation from the perpetual bickering can be possible if mankind reads the signs concealed in ancient Indian archives.

Characteristics of Indian Myth

J

Myths in Indian Culture

By Urvi Chheda

oseph Campbell, a noted mythologist, coined the term, ‘mono myth’, describing common styles of narrative regardless of national identity. Consequently, myth as a prop of the human psyche serves as a catalyst in connecting civilizations of the world. Myths in India are living traditions where you may find iconic motifs at every juncture in a variety of art forms and customary practice.

Indian myth projects an abstract infrastructure of the society, which plays a multicultural role mobilized by the framework of inter-regional phenomena. Sustenance of myths not only denotes a progressive transfer within society, but they also prove to be undecipherable crypts of ancient sociology. The key to these codes lies in symbols and semiotic meanings. The folklore or a myth in India, if seen with a plain sequence of scenes purports a limited vision, which otherwise is an imploring trigger to arrive at the tenacity of consciousness.

Referring to the presence of an Indian myth through the action of narrating it orally or representing it in the form of geet, song, or a chitra kathi, painting or sculptures, transitive and ever-assimilative Indian culture belongs to an immaterial dimension that is beyond our sensory perception.

Exemplary instances of paintings, reliefs, and sculptures depicting epics like Mahabharata, and Ramayana, ancient Hindu myths from Vedas and Puranas, Jain pantheon, and Buddhist scriptures adorn the historic caves, temples, and palaces.

Although they have become a persisting identity of Indian culture, the unseen or the beyond is a nitya or permanent spiritual essence that one should read in the present milieu.

An Episode from Ramayana

R

amayana is the most popular epic in India.

It is an emblematic tale of an ideal and holy couple Lord Rama and his wife, Goddess Sita. Neglecting the propagandist objectives streamed by political leaders in India today, more than 300 versions of the Ramayana from diverse Indian regions are documented.

King Dasharatha, the father of Rama, had married three wives, who delivered five sons in total. According to Hindu mythology, Rama is one of the incarnations of Lord Vishnu, the protector and preserver. Being the eldest, he was eligible to sit on the royal throne of Dasharatha’s kingdom. However, due to a petty desire of one

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of his wives to make her son rule, Dasharatha had to exile Rama for 14 years. Lakshmana, the younger brother, was determined to follow Ram, who he devotedly worshipped. The trio of Rama, Sita, and Lakshmana set out on their sojourn in the wild without any royal assistance.

Arriving at the banks of the Ganga river, a beautiful tale highlights the godly essence of Rama as one who frees the earth from all evils—a Tarana-hara, the one who will help us to cross the river of sins, relating to the Buddhist Bodhisattva, one who will lead us to the road of enlightenment or nirvana.

Kevat, a boatman, was a devotee of Lord Rama and overwhelmed to receive darshana or to see the lord. Immediately arranging his boat, he sailed them to the other end. Ram rewarded him with his ring, but Kevat refused to accept it. When Ram enquired, Kevat compassionately elaborated that he cannot accept from someone who follows the same occupation. Lakshman was petrified to see a lowcaste man comparing himself with a godly human.

Ram, believing in merit and equality, requested a thorough explanation. Wisely, Kevat answers, “You escort mortals to the land of salvation just like I sail passengers to the other bank of the river Ganga.” Rama was extremely pleased and instantly delivered him mukti or salvation.

The Symbolism in Goddess Kali

T

he iconic figure of Goddess Kali has been painted and sculpted in many styles since its inception. Engulfed by Krodha or anger, Kali in her deluded state harms everyone who crosses her path. In her plight, she also kills her husband, who in the image appears to have collapsed on the floor.

But Kali is feeble, trying hard to control her anger and fails consistently. She kills demons with her sword or dagger. However, as soon as their blood touches the ground new demons are recreated, doubling her anger and irritation or dwesh. Kali, restless to alleviate the situation, devises a plan of swallowing the blood.

However, her incapability restricts, her and gives her the idea of a magic bowl. Endlessly capable of containing as much blood as she pours. This stabalizes her. Demons’ blood, which represents her intense rage, is swallowed by the bowl of pragya or wisdom, which enables her to witness anger without losing her samta or equanimity.

These two myths advocate for diversity and a matrix of spiritual connotation in Indian culture.

While the first myth of Rama and Kevat generically focuses on the compassionate heart as a means to salvation, the second deconstructs the path of meditation in a stepwise fashion. Grappling with a rationalized approach, the world can learn immensely from the mystical Indian mythology, deriving the means to restore inner balance and harmony.p

Photo Credits: Facing Page: Top: Goddess Kali during Durga Ceremony, ©2017 Oleg Doroshenko at Stock.adobe.com; Bottom: Kali costume, ©Sounya Bhattacharjee at Pexels.com; This Page: Top: Hindu Goddess Kali ©chutima at stock.adobe. com Bottom: ©Polina Tankilevitch at Pexels.com.

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The highest duty of the writer, the

composer, the artist is to remain true to himself and let the chips fall

where they may.

— John F. K e nne dy

#BeTheChange

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