Weekly Statement due 11/30
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| Dark Silence Suburbia |
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| 100% Hybridity 2 |
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| The Road to Utopia |
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| Gods Feeding |
Born in Los Angeles of mixed Native and European American heritage, John Feodorov spent summers at his grandparent’s homestead in the “White Horse” region of New Mexico. This time spent between the Navajo reservation and the California suburbs of Whittier continues to have an important influence on his work. Feodorov often utilizes pop culture detritus, as well as sound and video, to create what he considers contemporary “sacred” spaces in order to question ideas of spirituality, identity and place. In addition, his paintings and drawings are experiments in creating hybrid mythical iconographies.
In his artist statement, John Feodorov describes an experience when visiting the Anasazi Ruins at Chaco Canyon, near his family's land in New Mexico: Several years ago, I visited the Anasazi ruins at Chaco Canyon, near my family’s land in New Mexico. This was during the much-hyped Harmonic Convergence when people were gathering at numerous traditional sacred sites around the world. Along the inside perimeter of one of the large kivas, a throng of tie-dyed spiritual enthusiasts formed a circle while sitting in lotus position. At the axis, they had erected a plastic totem pole, an object possessing no significance to the native peoples of the Southwest. Their act, while well intentioned, seemed more like an act of spiritual despondency than of connection. It is this kind of sincere yet misguided event that interests me as an artist. (http://www.johnfeodorov.com/index.htm)
What was significant about his observation of the 'tie-dyed spiritualists' and their ignorance to the native culture that they claimed to be worshiping? How does Feodorov's art work reflect this juxtaposition between Native American and contemporary American culture? What other examples of ignorance toward Native American culture might be found in contemporary society?
Weekly Statement
ReplyDelete11.30.10
I find John Feodorov’s artwork extremely interesting and unique. I have personally been to New Mexico, and have experienced the native reservations that Feodorov basis his artwork and ideas on. The comparison between contemporary society and these reservation societies is an ingenious juxtaposition.
I believe that the point of Feodorov’s comment in his artists statement, “…a throng of tie-dyed spiritual enthusiasts formed a circle while sitting in lotus position. At the axis, they had erected a plastic totem pole, an object possessing no significance to the native peoples of the Southwest”, was to explain how although as contemporaries we make valid attempts to represent traditional ideas, we merely fail as a result. Because we are so adapted and transformed within what we know and do, for us contemporaries to try to reiterate ideas of the natives breaches ignorance and falsification. So the irony exist in the idea that people who claim to be spiritual, make an attempt to relate to the spirituality of another society, but fails. This is because the true ethic of what it means to be a part of that reservation cannot be attained or valued through contemporary means.
I feel that this ignorance, or willingness to assimilate with Native American cultures, is reflected through other facets of American culture. I think generally we have lots of wrong interpretations of their societies and their values. Who are we to make accusations and understandings of their spiritual beliefs when we in fact have not partaken or lived in their society? The affects of technology and our computer-involved culture has strong affect on our ability to relate to cultures oriented around nature and spirituality. Therefore, it is intriguing to Feodorov to analyze this lack of assimilation and understanding between contemporaries and traditionalists of different cultures. I appreciate the work that he makes. He brings awareness to his interests through great visual work and abstract represenation.
As a photo-realist painter, I personally find it difficult to relate to abstract contemporary paintings. However, John Feodorov’s artwork speaks across a strange feeling to me. His paintings are queer and almost somewhat disturbing—evoking this uneasy feeling whenever I analyze it.
ReplyDeleteHis observation about the 'tie-dyed spiritualists' and their ignorance to the native culture that they claimed to be worshiping is significant in evoking his inspiration of the idea of finding Something greater—contemporary desperation—even when its non-existent. As the enthusiasts sit in the form of circle, mimicking the tradition of native rituals, they “worship” this plastic insignificant totem, which in their attempt, is that Something. The tie-dyed spiritualists in this case represent contemporary American culture trying to reinvent a tradition but failing in their “sincere attempt.” In his artwork, Feodorov juxtaposes elements of Native American culture as well as contemporary American culture together. The simple shapes and colors are reminiscent of the Native American but he also includes general city buildings and monotone grey colors. As these two factors contrasts one another, it reminds me of how all the technology, advancement in infrastructures is forced upon reinventing old Native American traditions.
Feodorov has certainly shed a very intriguing light on this subject. It sparks a certain discussion about what his paintings show, especially with the side profile view of a floating baldhead being existent in almost all his paintings. However, I do personally find it difficult to truly get a grasp of the idea behind each of his work.
Jennifer Balangue
ReplyDeleteSection 008, Tuesday 11:30-12:30
Weekly Statement for 11-10
Looking at John Feodorov’s work, I am very intrigued and really praise him for the effort of themes and issues he is trying to bring out in his paintings. I think his unique style where everything isn’t very realistic makes it more interesting because it makes it seem like maybe this is the perspective of the issues he sees.
I think Feodorov’s artwork reflects Native American culture as something very different than contemporary culture in a sense that it’s something that you have to think about. Although we may recognize the symbols and the pictures and may have a general idea of what’s going on, I think there are some aspects of the culture that we don’t understand and that is what stands out in the artwork. It seems as if it is some kind of mystery that we are trying to understand in their culture as well as ours because they are issues that we are both facing.
I think people for the most part are very ignorant towards Native American culture because it’s something people just haven’t taken time to understand. I think the idea of reserves makes the culture seem untouchable or something that we can’t interact with. I remember going to a Native American reserve and thinking that I had to stay away and not bother them. I think it’s important to remember that we need to respect them and appreciate how they live. I think they can serve as inspiration, too!
I definitely think that Feodorov’s experience in New Mexico reflects upon our ignorance as well. For example, when he says, “Their act, while well intentioned, seemed more like an act of spiritual despondency than of connection. It is this kind of sincere yet misguided event that interest me as an artist.” I think it’s true that sometimes when we try to connect with out cultures, we come off as being careless or doing it for the wrong reasons because we may not fully understand the meaning behind it.
Growing up in New Mexico and being of mix must be very challenging for him to mesh both cultures and yet still retain his own identity and culture. I think it’s very honorable to speak of these issues in a way that can be communicated through any culture. I think his paintings definitely communicate cross cultures what he is trying to say and it’s important to recognize when artist respond to issues like this!
I enjoyed learning about John Feodorov and looking at his work this week. His paintings are very different from any of the work I have done and the themes he incorporates into his work are very powerful. It is interesting to see his paintings knowing what an impact his surroundings have had on him growing up between the Navajo reservation and the California suburbs. The experience Feodorov describes when he visited the Anasazi Ruins was significant because it showed that while these “tie-dyed spiritualists” may have been trying to worship the native culture through their rituals, they were not successful in doing so. It takes more than intention to fully understand a culture and form a connection with it. The way they were worshipping this native culture could have been found offensive and I found it interesting that they would be want to perform such rituals in this way at all. If you are not going to do it properly, why do it at all? Feodorov explores these ideas in his artwork and the relationship Americans have with Native American culture as outsiders. I feel for the most part Americans do not know much about the culture of the Native Americans and are not especially respectful of it. Because our culture today is so different from the way theirs is, both in rituals and the way we conduct our everyday lives, it is hard for Americans to form a strong connection and understanding of these traditions and culture of their past without taking initiative. The representation in Feodorov’s work is abstract and he has gained the understanding that the two cultures he is most familiar with do not mesh easily. His work incorporates both cultures and the clash between the two is evident as a result of ignorance. While I do not feel that I fully understand all of the representation in Feodorov’s work, symbols of buildings and suburbia in conjunction with animals and nature bring the two worlds together.
ReplyDeleteJohn Feodorov’s work was definitely fascinating to see because I’ve never really done work like that. The color uses and the strong iconic faces and words really strikingly stand out from the whole picture. As for being the “hybrid mythical iconographies,” the works are definitely successful because to me, the images are very iconic, yet very mysterious in terms of their actual meanings. After reading his bio and artist’s statement, I’d have to say that I was very intrigued at how much effort and observation devoted into these simple drawings. In his artist’s statement, Feodorov states that he sees his works as “artifacts or contemporary desperation—a search for a Something, and Other, that may or may not exist,” and are “pictorial experiments that are meant to act as iconic catalysts for the possible creation of new methodologies.” After reading this part, I went back and looked at the works again, and noticed all the things that he mentioned. I definitely think that Feodorov’s works are great vehicles for outsiders like me to know more about the natives’ tribal lifestyle and beliefs. I personally think that ignorance of the natives happens not just in the U.S., but many other nations and cultures around the world, which is very depressing. The unique qualities of the natives really deserve to be projected to the norms through artistic ways like what Feodorov did. As I look more closely at the paintings and drawings, I found that the juxtaposition between Native Americans and contemporary Americans shown in Feodorov’s works is indeed very powerful. It seems to me that the two groups of people have very different values as Native Americans value more about the meanings of life cycles, where as contemporary Americans value the physical objects.
ReplyDeleteJohn Feodorov’s work is very interesting yet kind of disturbing visually. I like that his work represents where he is from and who he is. It is obvious that the time he spent at the Navajo reservation and his time spent in the California suburbs made an impact on his work. For example his painting The Road to Utopia looked very deserty yet showed signs of established city life like his move between New Mexico’s desert life to California’s suburban life. What really spoke to me as an individual was his artist statement. He talks about how these tie-dyed spiritualists were trying to worship his native culture but they were not doing it correctly. The same idea of someone worshipping something in the wrong way relates to my life in a religious sense. I come from a very orthodox observant Jewish family and all the traditions we have practiced are very according to book and exact. However, we have many friends who are much less religious than we are. I recently went to one of these family friends bar mitzvahs that took place in a reform Jewish temple which I had never been to before. After experiencing their service it frustrated me. It simply was incorrect the way they were trying to observe Judaism. They were blatantly breaking laws in order to create a nice ambiance for the service. For example, they used microphones, speakers, and music through out the temple on the Sabbath when it is strictly forbidden in Jewish law to use these things on the Sabbath. I personally am not such a religious person, but my parents are and I could tell that they were uncomfortable with the way the reform temple was practicing Judaism. I would think that certain Native Americans could be offended by the way these tie-dye spiritualists are worshipping their culture incorrectly similarly to the way my parents were offended by the way that the reform temple was worshipping our religion in a wrong way.
ReplyDeleteJohn Feodorov’s work focuses on his observations of the “tie-dyed spiritualists” and their ignorance to the native culture they worship. I think the basis behind his work reveals his inner insecurities and questions. The tie-dyed effect has a lot to do with his mixed heritage, Native American and European American. I found his work and artist statement extremely interesting because it relates to a project I am currently working on in my CFC class. For my CFC project I am focusing on intercultural marriages and the effects this marriage has on their children. On his website his artist statement discussed how his work “reflects my interest in the relentless human search for meaning and identity”. Through all my research I have come across the observation that kids of mixed heritages often feel the need to search for their “true” identity. I really enjoyed learning about the concepts behind Feodorov’s work; however, I found it confusing how his work related to his ideas. The painting I found easiest to understand was the painting with the two different colored faces. By showing the person doing the same thing and looking almost identical, except for their skin color, really made it clear that he was trying to juxtapose cultures. However, the other pieces with only one person, I found to be more confusing. Without reading the artist statement I thought these pieces were focusing on people and their effects on society.
ReplyDeleteThe Native and European American artist John Feodorov described in his artist statement of witnessing near his family’s land in New Mexico the “tie-dyed spiritualists” sitting lotus position and taking part in an act of “spiritual despondency [rather] than of connection.” I found this interesting because I sometimes wonder if people take part in spiritual practices or rituals for the sole purpose of keeping up the tradition, and whether or not the ancestors carrying on the tradition care about the cultural significance of their actions. These “tie-dyed spiritualists” were obviously ignorant of the native culture they claimed to be worshiping. It is embarrassing to the worshippers that they are not fully aware of the difference between carrying on a tradition and taking pride in a tradition, and I think this is the case with many people who practice spiritual and cultural traditions across the world.
ReplyDeleteFeodorov’s art reflects the emptiness and stiffness with which people practice their spiritual beliefs. He especially saw this growing up between the Navajo reservation and California suburbs. The painting Emergence #2 shows a profile of a head painted in red, and the background color as a beige or taupe neutral color. This harsh red color is slightly transparent, and you can see the tube-like white cylinders behind the head. Other beige heads seem to be floating out from inside the cylinders, and the red head is the only head that is floating in front of the cylinders. This represents disconnect between the culture and the spirits from the practice, because the beige heads indicate ghosts or spirits coming back from the dead. All of the mouths of the heads are open, including the red head, and they seem to be chanting a prayer. The red head is symbolic of the lack of connection the living, practicing spiritualists have with the spirits, and the red color shows the obvious wrongness of both the color of the head compared to the rest of the heads and the less obvious wrongness of the feeling that comes with the incorrect practice of the cultural and spiritual beliefs of the tribe. In the painting Communication, a white head and a yellow head with open mouths are extending their tongues, almost touching at the tip but not quite. The eyes are not looking at one another, and it is obvious that the two heads are disconnected. The heads are trying to connect, just as the “tie-dyed spiritualists” tried to take part in the correct act of spiritual celebration, but the heads are not seeing eye-to -eye (literally and figuratively). This symbolizes the misrepresentation of a culture by the “tie-dyed spiritualists” for incorrectly practicing the beliefs of their supposed worshipped culture.
Examples of ignorance toward Native American culture today can be found in most high schools, where sports mascots are Warriors or Indians. The sporting teams that proudly wear stereotypical images of warrior heads and spears on their jackets and take part in the menacing, “Indian”-like chants before games are misrepresenting the culture and the spiritual practices of actual Native American tribes. It is the same concept that Feodorov addresses in his artist statement and targets in his artwork; the spiritual practices of Native Americans are misrepresented and thus carried on incorrectly and ignorantly by current generations.
November 30
ReplyDeleteAriel Roberts
I think it’s interesting that John Feodorov likes to focus on the ignorance of people in his artwork. I feel that most people would be upset if they saw people from another culture thinking that they were write about that person’s culture but really weren’t. I know that when I hear people speaking about something in Japanese culture incorrectly, I feel a great urge to correct them to make sure that they’re getting things correctly. Then again, I myself used to think I was knowledgeable but I wasn’t to the extent that I thought I was, so I would be wrong every once in a while too. Because of this, I now try to educate myself as much as possible, which I feel that anyone should do when entering a different culture. That’s why I, like Feodorov, think it’s interesting how tie-dyed spiritual enthusiasts are trying hard to make a connection with a culture that isn’t theirs, which, while well intentioned, isn’t accurate to the location and culture at all. I think the fact that they not only brought a totem pole from the wrong culture but a plastic one makes it even more entertaining, because it seems like they want to join a part of a culture, but are too lazy to get even realistic aspects/items for the culture.
It makes me think of other ways that certain aspects of cultures are thought different than they actually are. There’s the belief that all Native Americans have totem poles, or the past belief when Europeans were settling in America that was pushed even up until recently, that Native Americans were savages. Some people believe that all Japanese like anime, but while it’s bigger in Japan, it’s still not the majority of interest. Or even the aspect that certain races or cultures are violent, timid, smart, bad drivers, etc etc. It just goes to show that more people need to learn about other cultures.
When looking at Feodorov’s artwork, I can see how he connects aspects connected both to modern American society and that of Native American culture. It’s clear in his paintings that he tries to make somewhat mythological pieces, taking aspects of nature such as clouds and crows and giving them powers or roles that mimic roles that nature played in Native American beliefs. However, he takes these mythological like beings and places them in contemporary settings, such as the cloud “gods” inhaling the smog coming from the city in “Gods Feeding.” In Native American culture, as I can recall, they have a deep connection with nature and believe that everything has a spirit that they should respect. However, by juxtaposing the Gods feeding or the crow trees and other natural/godly elements in “Dark Silence Suburbia,” with aspects of American culture, he takes the idea of that which is natural is being interrupted and changed by that which is unnatural, which in reality is completely true.
Weekly Statement: 11/30
ReplyDeleteThe best example I have for the falsely perceived Native American culture is through fashion and apparel marketing. During my senior year of high school I worked in clothing in my town. It provided merchandise for so many different ages—ranging from infant to some merchandise being acceptable to middle-aged mother to purchase. In August, a lot of moms and daughters come in to get new clothes and shoes for the upcoming school year. It comes in one large wave too since a lot of the girls in middle school and beginning of high school are either at sleep away camps or academic abroad programs. As a result, it can get pretty crazy for the second half of August because everyone is running into the store trying to get the latest styles. Boots were definitely in high demand because so many magazines at the time were having articles about the new popular boots.
One of the boots the media emphasized were manufactured by Minnitonka. Many years before this they were known for making Moccasins that were authentic looking. But now, they were making several styles of suede boots that resembled the styles you would see in a Native American museum. One style had layers of suede fringes that went up the entire shaft of the boot and another style that had clip on bead or feathers on the side of the plain suede boot. Finally there was a style with gorgeous beading designs that looked like art pieces that I saw when I visited Native American reservations that was about an hour away from where I lived.
I thought it was interesting how a company was able to make money off of the styles and designs that originated from a community they were not part of. It was also somewhat disheartening as well.
Levi Lambright
ReplyDeleteSection 008
The work that John Feodorov is involved in is very different from my own. I myself usually don’t have much interest in paintings that are contemporary. However I do enjoy no only looking at contemporary art but learning the meaning behind them is actually, to me, just as invigorating at the art itself. With the work of John Feodorov I was very interested. I always found it fascinating of how people of other cultures try to align themselves with cultures they know nothing about, and even though they mean well sometimes, sometime the result of trying to connect can end up creating an even larger disconnect. I myself have seen this many times in person, and have experienced both sides of the spectrum. I saw it to be interesting with Feodorov’s take on this. His pieces take on this idea in a very strange, non-literal way, but is still able to create a piece that catches the emotion and tension of an event like that. I really felt his piece “Initiation” portrayed this feeling the best, in my eyes. The piece to me depicts the Blue faces as the outsiders who are trying to show someone how they must act in order to be considered like them, they do this by placing a horse head on the person. I believe that this horse represents that they want him to be in the group with them, but they have mocked the man and disrespected him in the process. This relates to me that disconnect, I really enjoy the piece aesthetically, and for it’s meaning because of this.
John Feodorov was an artist that had a mix background and used his different cultures in his work. He often utilizes pop culture as well as sound and video to create what considers contemporary sacred spaces to bring up different ideas of spirituality, identity, and place. In His work he addresses this clichéd modern archetype though a humorous interjection. He also observed the stereotypes present in American culture at large, where Native Americans were idealized as the living embodiment of spirituality by New Age consumerists.
ReplyDeleteWhen he talks about his work he talks about his interests in the human search to finding meaning and identity. He sees his works as artifacts of contemporary desperation, a search for a something, and other, which may or may not exist.
When I look at his work it reminds me of child’s work that speaks to adults and people who are looking at it. In the “Gods Feeding” painting it reminds me someone sucking the life out of a world around us. The city is being taken away by some kind of monster or demon. It looks like Voldemore in Harry Potter, how he sucks the life out of Harry.
I feel that the willingness to take in with Native American cultures is reflected through the surface of American culture. Generally we look at like and our society in a different way then other people do and the was we see our culture. Most people look at different cultures and societies and discriminate or are negative about their beliefs, but it is not our place to being saying those kinds of things about something that we don’t know anything about. Our society has become filled with technology and has been producing new products daily for many years now that we never stopped to think about other cultures and see what they have and how they live.
Though the "tie-dyed spiritualists" claim to be connected spiritually, in truth they know nothing about what they're doing. Like the infamous "Crying Indian" we saw in class, it shows the common perception that native americans are closer to nature spiritually, and that such practices are better than "modern" society.
ReplyDeleteThat they could not even fully research the culture they sought to emulate is disappointing, but I find it even more ironic that the totem pole is plastic. Of all the materials they could have chosen, plastic is the furthest thing from "nature" and "spirituality." In a way it ties back to Nature At the Mall, in that they bought this plastic totem pole in order to feel more connected spiritually. This juxtaposition of the spiritual and the material is what is conveyed through Feodorov's work. In a way it's like our industrialized, consumer society is our spirituality. The "tied-dyed spiritualists" know little about the spirituality they seek, and what they do know is supplemented by gimmicky items like they have at the Nature Store than any real Native American spiritual practices.
The perception of Native Americans as those spiritually in tune with nature is not necessarily false, but as we've discussed in lecture, is not true either. Certainly, they're practices do not have such devastating impact as our modern culture, but as with any society the expansion of their territory results in environmental damage. Feodorov's works present both the irony of the spiritualists as well as his own cultural duality. As part Native American and part European American, both the spiritual and material connotations that come with his cultures compete and blend together in his work. The gods that should be worshipped are feeding off the smog and pollution of industrial society, while a two-headed raven exists alongside suburbia with airplanes flying overhead.
John Feodorov’s work is really nice to look at because I very rarely see Native American influenced artwork. He spent much of his time in New Mexico, which is why his mixed Native and European American heritage is so important to him. My beloved art teacher whom I did art with since I was 9 years old and taught me everything I know spends his summers in New Mexico and more recently, his artwork is strongly influenced by the amazingly cultural place. I believe that it is important to be able to experience places like New Mexico such as, Coney Island, Spain and other strongly cultural places because art has to develop from somewhere.
ReplyDeleteSpiritual people and culture comes hand in hand. Feodorov’s comment about “…a throng of tie-dyed spiritual enthusiasts formed a circle while sitting in lotus position. At the axis, they had erected a plastic totem pole, an object possessing no significance to the native peoples of the Southwest” is about how traditions are formed. People cannot claim to be these spiritual beings because obviously, nothing will come out of it if you don’t genuinely feel it.
Feodorov has such a unique style that comes from the heart. I do not think that just anybody can create artwork like his and the topics that he expresses in his artwork is not commonly portrayed which is why it is essential for him to keep creating this wonderful artwork. Native American culture is ignored and people are for the most part, ignorant towards this culture. People have to understand how the Native American people live and to respect and appreciate them. Our culture and the way we live as Americans are so different. We live in such a strong technologically influenced society which his so unlike the Native American people. Even though I believe that we have strong traditions, Native Americans have traditions that are so rich and people feel such a strong connection towards them. I feel a connection to John Feodorov’s artwork even though I do not know much about his background.
I found John Feodorov’s art to be very interesting because he has a similar background as myself. Whittier, California isn’t far from where I lived at all, and I too have spent time in New Mexico and absorbed the rich culture of the Native Americans. Say what you want about any other culture getting a raw deal from colonists in America (and make no mistake about it there have been many oppressed groups whether it was from slavery, internment camps, or just blatant racism and oppression for not being a white Christian Caucasian) but the Native Americans arguably got the shortest end of the stick. Considering almost every single one of them was killed simply so colonists could extent the United States from “sea to shining sea”, the Native American story is a terribly cruel one of deceit, murder, and neglect.
ReplyDeleteOne of the greatest losses besides the actual life force of Native Americans is the rich art and culture they had before it was mercilessly uprooted. To have their art re-born in contemporary artists is important and valuable not only to reinvent the culture of the Native Americans, but also to serve as a contestant reminder of how much they meant before becoming almost extinct.
I can’t say a lot of my art these days has direct ties to Native American traditions and culture, mostly because I don’t have any Native American blood. With that said however, I would like to think that if my art does project a particular message, it would be one of tolerance and understanding, which is certainly a principle the history of Native Americans should serve as a remind of.
I read over and over the description paragraphs about John Feodorov and this art creation methods and I could not understand the meaning behind his art. I understood his story though of when he saw the people gather around the pole and tying to worship it. The idea that the artist conveyed was that he saw the act of the gathering of those people as despondency and not as a connection. First of al l I could see why he might think that. Just the fact of seeing those people gathering around the pole seems weird in its own self and the idea that they are worshiping it it’s also very controversial and not socially fitting. But I found their act very interesting and as something that maybe should not be quickly judged. To the artist, worshiping the pole might be despondency, but I don’t think he could possibly really understand the experience that those people were feeling. It’s only when putting one’s self in that exact setting that we might be able to understand partially what those people were aiming for and what that might have felt during that experience. The idea that those people put aside their ego and got the will to sit around a pole and try to worship it it’s on it own very interesting. How does someone even think about deciding to do that? We can not possibly even understand what where the believes and life experiences of those individuals that when presented to and idea as controversial and uncommon as that of gathering around a pole and worshiping it, would actually accept to go along with that experimentation or belief. During the time of the Native Americans their worshiping was one of the most sacred things. They devoted much time of their life to achieve alternate mental states through worship. Most of those rituals consisted of dancing around the fire and singing in search for something of a higher power and even giving praise to nature or a higher being. As years have gone by our society has evolved and so have most of the things with it. Who is to say that a group of people gathering around a pole and worshiping it seems as despondency? That act that those people performing I feel it’s very meaningful. It can be seen as a scaring of the social mask where things and people are judged all the time because of ignorance. Reflecting of their act of worshiping the pole I feel that I might not be a person that might try to worship a pole but I fully support their initiative. The Native Americans gathered around a fire and did rituals to try to reach a high internal spiritual state. As far as anyone knows some of the people that were worshiping that pole might have just achieved some out of it. When it comes to feelings and ideologies and spiritualism they are not physical matters and as long as it might make sense logically, feels right emotionally and it doesn’t bring harm to anyone then I see no reason why those people around that pole shouldn’t worship it.
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