TOTEMS FOR A NEW PAGANISM

As explained in the longer statement*) about the social and cultural context of these totems, wood, especially rare species or highly figured examples, is a very precious material in the 27th century.  Those available prized pieces are worked only by the most sensitive craftsmen and then only after a daily meditative and spiritual cleansing.  These craftsmen are highly esteemed and well rewarded for their skills.

Those trees which still exist are carefully farmed in order to control the earth’s carbon dioxide level, which means; one, that species variety is limited and second, that the trees are seldom allowed to reach maturity, because young fast growing trees consume more carbon dioxide.  The prized tropical exotics are gone but in far reaches of the world ancient species can still be found, including oak, cherry and apple.

Aesthetically the work is very minimal, reflecting the regional traditions but at the same time it is highly sensual.  It is made to be touched as well as seen.  Therefore surface and finish are as important as form.  The forms are elemental and many of the forms directly reflect their origins as water eroded rocks.  In fact, in remote regions of the coast or mountains and in poorer homes, totems are actually constructed of rounded rocks.  Those totems created by craftsmen have more developed anthropomorphic forms, more attention to aesthetic relationships and a refined surface treatment.  However they still exhibit the spareness of design and execution reflecting their origins.

The works on exhibit here are those which have been carefully preserved.  We are not certain in all cases what the individual pieces represent or how they were used.  The captions explain the leading opinions of experts.  We do know that the totems largely represent aspects of human existence, which were lost or undervalued between the 18th to 25th centuries.  In this sense they are nostalgic.  On the other hand they represent the social reality of their own time and the continuity of the human race after times of great struggle for survival and they profoundly represent the ending of the imposed conflicts and alienations between; first, mankind and the earth and second between mankind its own sensuality and creative energy.  In this case they are highly optimistic.

Note the almost total dominance of female forms and a general lack of malevolence.  Both features are considered odd because the totem tradition is seen as growing out of the legends of Scandinavian trolls, who were predominantly male and if not malevolent at least mischievous.  Another unusual feature is the number of one-eyed forms and the fact that these forms usually represent some sort of special insight or ability to see truth or reality.

In households the totem is placed in a special niche by the main entry.  There is normally a small bowl in front of the figure with water.  Everyone is expected to dip his or her fingers into the water for ritual cleaning upon entering the house. Visitors are expected to drop a small coin into the dish with water as a token of good manners, the expectation of a good visit and to placate the spirit of the totem.  This is one lingering clue of the original malicious spirit of the totems.  

In public buildings the totem is usually not placed in a niche but often in a central entry area.  In shrines or temples the totem occupies the center of the building.  There is no professional priesthood but the rules and rituals are passed down from generation to generation.  A group of shamans pass on the beliefs, officiate at the dedication of new totems and decide where to locate totems and spiritual structures.  The shamans are usually older men and women whose knowledge of lore and tradition along with general wisdom implies a special spiritualness.  They are never paid more than a token amount for their work and must support themselves by other employment. Since the temple or shrine is normally also the community center for dances, dinners and festivals everyone in the community helps keep it maintained and the money collected in the bowl for the totem is expected to be enough to buy any materials needed for maintenance.  

This is the context in which the work on display needs to be viewed.  I hope you are able to perform the inner shift of personal time to relate to these totemic figures in terms of their own sensual and representative nature.

*) Those interested may request by e-mail the longer text explaining the context of the work.

Thank you.