Mick Jagger’s Throat Chakra

Mick Jagger Muy Marcottage Dress

Mick Jagger Muy Marcottage dress… “Jerry Hall & I”… Jerry Hall and I have 3 things in common: we’re from Texas, we like Mick, we have a  fondness forWendy Cope poetry.

One cold February night, I became a Born Again Rolling Stones Fan. Alone in my studio and needing some animation,  I put on the Stone’s 40 LICKS TOUR DVDIt wasn’t the first time I’d heard it but, for some still unknown reason, that night listening to the Stones was like a mystical experience. Well, maybe mystical isn’t exactly the right word but I do remembering thinking as I watched them: Hey man, just how old are these dudes?  And that was the beginning of  The Quest–an intense desire to know how, after all the years of A Heavy Duty Rock’n Roll Life Style, they were still alive, healthy and playing with so much Energy.

We often talk about energy but what is it anyway? After much research via internet and Amazon, I’ve come to the conclusion that energy is simply whatever it takes to make you move.

The absence of energy is a result of blockage. If you’re blocked, you simply don’t move.  But the progress regarding these studies will be posted in the future.  For now, I would like to briefly focus on Mick Jagger and his throat chakra.

Chakras are centers of energy, located on the midline of the body. There are seven of them, and they govern our psychological properties. The chakras located on the lower part of our body are our instinctual side, the highest ones our mental side.

One of the seven chakras is that of the throat also known as the Vishuddha chakra. Obviously, it is related to the concept of communication and self-expression.  So what does this have to do with Mick Jagger?  Well, during My Quest, I came across two different versions of Mick Jagger singing “No Expectations” and found the Older Mick sounding so much better than the Younger Mick. The difference was such that I wondered what had happened in the meantime. After more research and reflection, I came to the conclusion that the change was a result of Mick opening up his throat chakra.

mick jagger detail

More research led me to an article re: otolaryngologist , Dr. Brian Hands, who has won worldwide recognition for having helped many singers regain control over their voice. Dr. Hands says that 85% of the time when singers come to him for help, the main problem is that of personal anxiety.  And anxiety affects the voice.  Dr.Hands thus, to work on the voice, works on the throat chakra. Because anxiety impairs and blocks expression.

To see what I mean about Mick’s voice change, listen to his version of “No Expectations” in 1973 then listen to his version of No Expectations” in 2003.

mick jagger detail

Many energy healers, to heal the throat chakra, suggest wearing necklaces with approriate gems (generally blue in color) meant to heal. For example: turquoise, lapis and aquamarine.

Expectations Muy Marcottage Dress

Muy Marcottage dress “Expectations” inspired by Rolling Stones’ “No Expectations” worn by the artist Carine Lègeret

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Cynthia Korzekwa  ©
this information was originally published here: Mick Jagger’s Throat Chakra

The Quiddity Dress

Quiddity Muy Marcottage Dress

All of the dresses I make have a name. Because they are not anonymous. Because instead of looking at a dress as a thing, I try to create a relationship with it. The name of my latest Muy Marcottage dress is “Quiddity”.

Quiddity, in philosophy, is the whatness of an object, its inherent nature or essence. Otherwise, quiddity refers to a distinct feature or a quirk, an idiosyncrasy.

A dress is a category but my dresses are specifics. They help to define me. They are an extension of my personal quiddity because I interrelate with myself when I chose the clothes I wear.

The body and its clothing live in symbiosis.  At least temporarily.  There is an intimacy we have with our clothes that we have with nothing or no one else. Because our clothes cling to us and touch our skin.  They are there omnipresent and participate in our every move. Our clothes know our secrets. Our clothes are well aware of our quiddity.

The dress “Quiddity” represents, in terms of Muy Marcottage, a union between past and present. The top half was made during my early experimental attempts at remaking secondhand clothes. I was dissecting all the old clothes I could find and sewing parts together almost as if I were making a collage.  Not happy with the results, I cut the top off from whatever it was attached to at the time and abandoned it.  Then this summer my friend Lyn and I began meeting regularly, initially, to paint together.  But somehow we drifted towards clothes.  Lyn had given me a dress made from a stretchy ethnic looking fabric and, anxious to play, I got out my chopped up fabric stash and came across the abandoned top. It was in no way similar in style to Lyn’s dress but I sewed the two different realities together and then cried Eureka!

Incongruency sometimes is just an attitude or lack of imagination.

 

 

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Cynthia Korzekwa  ©

Louise Bourgeois and the Venus of Lespugue

While sewing the other afternoon on my “My Name is Venus” huipil, I listened to a Marija Giambutas video to keep me in the Mother Goddess mood. Giambutas mentioned that the Venus of Lespugue, c. 25,000 year old steatopygian figurine from France, was one of her favorite Venus statues. I stopped stitching to closely look at the figurine because it reminded me so much of Louise Bourgeois’ sculptures.

 Born in France in 1911, Louise came from a family of tapestry restorers. She, too, worked with the family and learned The Aesthetics of Mending. She also learned how to sew. But her childhood was scarred by her father’s infidelities and the illness, both physical and psychological, it caused for her mother.

Our childhood follows us wherever we go and, during the last 50 years of her life, Louise externalized this childhood more and more. Because it was here she found magic, mystery, and drama.

As a young girl, she would draw the missing parts of damaged tapestry that needed to be rewoven. Louise said that spiders, too, repair.  If you try to destroy a spider’s web, the spider will weave and repair it. So even her metal spider sculptures reflected her childhood and the art of mending.

louise bourgeois spider

Standing outside of the Tate Modern at one point, Louise Bourgeois’ extraordinary sculpture, Maman (Mother), is a 30-foot-tall spider crafted of bronze, marble, and stainless steel.

 

“When I was growing up, all the women in my house were using needles. I’ve always had a fascination with the needle, the magic power of the needle. The needle is used to repair damage. It’s a claim to forgiveness. It is never aggressive, it’s not a pin.” Louise Bourgeois

When in her 80s, Louise decluttered her closet and used old clothes to make her fabric book “Ode à la bièvre”. She said “You can retell your life and remember your life by the shape, weight, colour and smell of those clothes in your close.”  In other words, clothes are part of our identity.

Foto of Louise by Duane Michaels, 2007 and foto of , Diane of Ephesus

 

Louise also used her old clothes for her “Cell” series as well as for her breast  outfits  obviously inspired by Diana of Ephesus figurines.  These outfits in turn inspired fashion designers such as Rei Kawakubo, Hussein Chalayan, and Simone Rocha.

louise and rei

Louise Bourgeois and Rei Kawakubo duet

Louise called her  1960s and 1970s sculptures “bodyscapes” because : “The sculptures were a second skin that I wanted to model. Clothes are as much about what  you want  to hide of the body as what you want to expose. This is a form of communication. Body language is very important to me and it is true that there is beauty in distortion.”

 

The Venus of Lespugue and Louise Bourgeois’ Nature Study (2004)

The more I look at Louise’s fabric sculptures, the more I’m convinced that she was in some way inspired by Venus figurines. Such as that of Lespugue which has found a home at the Musee di l’Homme in Paris, dates the Gravettian period and was carved from mammouth ivory. It was discovered in the Rideaux cave of Lespugue (Pyrenees) in 1922, just 11 years after Louise was born.  As with Louise’s sculptures, the female sexual characteristics such as hips and breast are exaggerated.

I had a space on my My Name is Venus huipil  (99 Art Project) and knew it was meant for the Lespugue figurine.

Venus of Lespugue sketch in sketchbook and on huipil

Venus of Lespugue work in progress front and back

 

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Cynthia Korzekwa  ©

Work in Progress

My Name is Venus” huipil for the 99 Arts Project work-in-progress!

Before and After

This is the back panel of the huipil first with just the drawing then with appliquéd fabric scraps (which I have plenty of) added for the background. This helps me use materials I already have, use less embroidery thread which is expensive and not that easy to find here, as well as makes blocking in the huipil much easier.

Looking at some of the scraps makes me smile—there’s fabric from my man’s old boxers as well as from a shirt his kids came him for his birthday years ago.  There’s also fabric from a dress Kerry gave me as well as from a dress Gayle gave me.  The black is from the lining of a skirt Marina gave me.  It is already a kind of Memory Huipil.

I wish I had saved some of the clothes my son and daughter wore as little kids so that I could cut them up and piece them into a huipil. Or that I had my mother’s favorite red and white  polka dress she used to wear so much. Or even my old doll clothes.  All of these fabrics would have been fantastic for a Memory Huipil where you wear fabric souvenirs of someone important in your life.

My Name is Venus

And this represent a figurine from Naqada.

Here is a before & after of the figurine from Mesopotamia.

Again, the figurine from Mesopotamia.  The first foto is that of the backside. And the second foto shows the yellow threads that unite the white fabric pieced together to act as a canvas for the threads.

My Name is Venus

Mesopotamian Figurine

Unfortunately, sewing becomes addictive and today I must find the discipline to break away from my huipil for household chores!

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Cynthia Korzekwa  ©

 

 

Sewing Bee Beyond Borders

For centuries women have used  stitching as a means of expressing themselves. For example, deciding what colors, what fabrics, and what patterns to use is in itself a form of self expression. Stitching also has been used subversively such as with the Underground Railroad Quilts used to help slaves escape or Madame Defarge, a character in Dicken’s Tale of Two Cities, who transmitted secret codes in her knitting.

99 Art Project

Sometimes stitching can be used as a form of protest as with Bordamos Feminicidios a group of Mexican women who use embroidered handkerchiefs to protest against female homicides. And many artists, including Louise Bourgeois, Maria Lai, and Tracy Emin, have used stitching not only as an art form but also as a means of externalizing some of the anguish within.

Louise Bourgeois Made Fabric Books

Sewing also provides a means of storytelling as seen in arpilleras, Hmong story cloth, molas, and embroidered huipiles.

¿Dónde estás?

But sewing can offer women something else—companionship. American quilting bees, for example, were social gatherings that permitted women to get together to work on quilts thus combining necessity with pleasure. The sewing circle concept eventually became démodé but made a revival several years ago when Stitch ‘n Bitch knitting groups started surfacing worldwide. Women rediscovered the pleasure of working with their hands while sharing stories with other women.

Everyone has a story to tell and, eager to create an anthology of such stories, Lavinia Lindsay and Cisca Mikx have teamed up to create a sewing bee beyond borders they’ve called 99 Art Project. Women from around the world have been invited to explore the possibilities of using needle and thread to share personal experiences.

White Shirts

The ladies participating begin with finding a white shirt that will act as home base for the journey their stitching will take them on.  Because hands make the world tangible. They help us interact with our surroundings. But they also provide a means of  interacting with our own being. Working with our hands helps prevent self-alienation.

making and thinking

And working with our hands collectively creates a bonding in the same way that stitching unites one material with another. As the women of  99 Art Project begin exploring themselves, they will share their discoveries  with other members of the group. Like a patchwork blanket, they will put their pieces together to make a whole.

they sewed together

I, too, will be participating as well and documenting my journey here on this blog. Because female Synergy and Solidarity will save the world!

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Cynthia Korzekwa  ©

Related: Storytelling Through Textiles + Craftivism: Activism Using Craft + IN PRAISE OF HANDS: Knit yourself well.

Δώρο/gift Huipil dress

In Greek, “Δώρο” means “gift” and what better gift can nature give us than that of spring? And to celebrate spring, I made this huipil dress using a tulip filled  secondhand t-shirt for the bodice. The body of the dress is made from a piece of white cotton covered with drawings of a woman holding a flower.  She is just waiting for someone she can give it to.

Δώρο huipil dress

Δώρο huipil dress

Δώρο huipil dress

Δώρο huipil dress

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