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I was born in the Netherlands and spend my childhood in a
village. All of what I am doing now has been rooted in my childhood. I grew up
with classical music, sang along with Maria Callas and struggled with playing
the piano. I would dress up and dance through the house to the swanlake off
into my own world. I spend my time painting being lost in landscapes I longed
for, sewed clothes for different time periods for barbie dolls or created water
and rock gardens in the yard. I grew up with ritual in my village that honored
the yearly cycles with different festivities.
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I went to art school in Maastricht in the Netherlands. Art
school was a struggle at first. Three months before my final I decided in a
desperate attempt to find my own voice to work at home. In the privacy and
safety of my own space I began to feel the freedom to express myself. I
astounded my teachers with the results. I took two years to explore my art.
Then something changed.
I fell in love with an American who was giving a performance
in the Netherlands. A year later in 1987 I came to the US and went part time to
the Museum School. The first years in the US were very difficult. Life was now
about survival and loss of identity in an environment that felt uncaring, ugly
and confusing. All the celebrations and rituals had fallen away. There was a
loss of beauty that I only found again in the community of musicians. But not
being a performer I could not participate and felt left out.
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The first wedding ceremony and the first
funeral ritual I encountered in the US that came from this community of
musicians had a profound effect on me. These were magical events that opened me
up to new possibilities. Then reading the book ‘Black Elk speaks’ started the
journey. I read a quote by Sun Bear that said:”If you do not like the world in
which you live, create one you like.” I took that one very seriously and my
first opportunity came through my own wedding ceremony. |
| I created an elaborate ritual and
found a magical space. I did things guided by intuition not knowing what they
meant. In the center I planted a forked pole, not realizing that we married
with the world tree as well. After that experience I realized that I could not
just once create a ritual but had to keep doing it. The next year I created
rituals for all the seasons and it happened to be that I had a show of my
paintings in December that I had called celebration of life. I created a winter
solstice that opened all my creativity and brought all the arts together. I had
read about the Hopi’s pulling a sunshield of the wall and doing a fast spinning
dance with it to get the sun back on its proper track. I made the shield then
realized it could not just be ‘me’ dancing, so I made a mask. Then I had to
borrow a sewing machine and made a costume. At this point I had not danced
since childhood and now I needed to dance. I decided to use Tai Chi and spin
off from that. Then I could not find good songs and thought well if people can
publish mediocre songs I could certainly do something better. This ritual
pushed me to use all my resources and launched me into the world of sound,
movement and mask. The next ten years are a blossoming of my creativity that
you see expressed on this website.
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| There are some special people who’s work have
contributed a lot to my life and my thinking. The first one is Saruah Benson
who helped me in finding my dance and song, The second is Malidoma Somé who’s
work has shaped my rituals and is profoundly affecting me to the core and is
bringing more of the genius in me to the world. Emilie Conrad with her work of
continuum is another teacher who shaped my thinking, increased my flexibility
and gave me tools to deepen my connection with my body, with water, with my
environment and with the evolution of life. There are many more who have
contributed and supported me along the way, most and for all my ancestors. |
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