Clare Casey: Adventure Learning Grant Personal Statement

Adventure Learning Grant: Personal Statement
by Clare Casey (2017)
“Always look under the rocks” - Scott M. Lewis (stepfather) to Clare, age 12
From my eyes:
The Adventure Learning Grant, a defining feature of the Fairhaven Community, is providing an opportunity for stepping into and outside of a boundary drawn between people, generations, and cultures. How is this relevant in my life now?
The Dreaming, said as ‘Tjukurrpa’: “To see and understand the law,” is a word translated from the Arrernte people located near Alice Springs, Australia. They are the protectors of the Arrernte land. I’ve heard that dreams shape our realities. Is this true? I am interested in exploring the art of Living in this reality through expression arts and social practice, and from my current understanding, The Dreaming is a pure expression in understanding these laws of Living. Whilst recovering from a broken ankle this past spring/summer, my world blew apart and I was left sitting in shifting sands. The 6+ week healing process and inability of walking on two feet gave me a chance to take what metaphorically seemed like “first steps”. Whether dancing, walking, or swimming, I began translating the power of my steps into my mind. If we are being incarnated in body and mind- then I must not take advantage of either. I was told then that when something breaks, it heals back stronger. I feel better equipped with the motivation of gratitude, appreciation of movement, and a mental clarity about things I may have otherwise taken for granted. Within this cycle of self-propulsion, I see the ALG as vital opportunity in building perspectives, foundations and networks to generate benefit to my arts enterprise and community. In taking the intellectual, educational, and emotional risk of applying I am looking to propel myself to step into a new landscape- culturally and personally.
Now, an attempt, from the global eyes:
Land sustains Aboriginal lives in every aspect of being. The notion of landscape as a second skin is central to every Aboriginal art form: Whether it be storytelling, dance, music, or painting. What is happening to the global landscape (Earth) in our contemporary world is of critical importance to the wellbeing of current and future ecosystems and inhabitants. Even more critical is the consideration of the land, water, and traditions that indigenous communities have depended upon since before colonial control. As a global community, rooted in media, consumption of natural resources, and dreams of success (whatever that means)- the effects of natural disasters, political movements, environmental degradation, etcetera are on the forefront of the collective consciousness. Wellbeing may continue to diminish if the call to compassion for Earth and the beings on it isn’t shared. Through my expression, social practice and conscious living I find hope in creating dialogue and compassion amongst participants. Each day, I find hope in the eyes of beauty- specifically in the appreciation of what some people
“otherize.” To me, that is the core of why utilizing the now is so important and its capacity to change my life as a growing expressive artist and practitioner.
“It is better to see something once, than hear about it a thousand times.” -unknown
An Epitome of Removing the Veil:
My father, Patrick Casey said something that stuck. “Writing this proposal is fairly a left-brain activity, but as a right-brain typa gal, you must learn to bring the sides into One.” As a creative risk-taker and right-brainer, the challenge of the ALG and what it could have in store was something I had to try. With the ALG I felt something rooted in survival, logic and necessary action: left-brain stuff! This project is right for me because I believe in the power of energy to shift things, and travel is an act of intention, transition, and potential energy. Shifts, like skeletal alignment, are uncomfortable, painful and effective in creating change. Entering a new culture on the other side of the planet must change internal chemistry in ways I do not fully understand. It seems right that the Aboriginal Australian and Torres Strait Islander traditions are considered to be the oldest maintained on Earth. Some deep knowing about the art of living must manifest itself in these lands… How do I explore it?
Like the child, pondering the moon, earth and birth for the first time: “Where do we come from?”. Asking these questions in a diverse culture holds challenge and growth in its hands- full of history and capacity for imagination. After gaining a deeper appreciation of discomfort and beginning counselling for trauma recovery, I engaged in reflection and consideration of how my privilege, my gifts and my opportunities are given to me for a reason. The grant is a platform for accountability and honor- as a possible vessel for the ALG, I must hold myself accountable if I am to learn and grow- something college and the beginnings of adulthood has taught me, sometimes painfully. Applying the unknowns of discomfort and considering how much I do not know, nor how much I have experienced will be an acute part of the grant.
Discomfort as Learning and Being:
The beginnings of my discomfort began through independence. Independence equipped me with self-motivation, problem-solving, and creative curiosity. As a child to divorced parents at 8 and a brother 12 years older than I- I was left amidst stuffed animals, toad garden huts, and solitude in the smells of cotton wood and grape vine as my landscape. I started making art before I can remember and it looked something like this:
I grew up within Community Based Curriculum (CBC), as it was called at Anser Public Charter School, and it is the inspiration and foundation for how I learn. From the beginning, I learned by doing and exploring through expression: Art classes, theatre, dance, being outside, and volunteering in the community. This child-like appreciation for community and expression carried me into entrepreneurial achievement at the age of 11, where I sold hand-made greeting cards at the Boise Farmers Market every weekend for the summer. This progressed into forming my own business during high school,
creating a facepainting and henna presence in Ellensburg, Washington. This paid for 60% of my expenses for my first solo travelling experience to Belize and Guatemala, Central America, volunteering with Global Service Partnerships in 2014. I am still an entrepreneur and freelance artist, with my brand Clareity Expressions, wholly engaged in projects, commission, and my arts education. This summer I completed a profitable project for the Total Solar Eclipse, selling t-shirts and creating a positive presence of Oneness through wearable memorabilia.
I went to Central America alone and I experienced the stark effects of tourism and migration: Belize is one of the most “racially” (a social construction) diverse countries in Central America and the social dynamic was new and uncomfortable. In my volunteer work, which lasted 4 weeks, I was placed into a school called Garden City Primary School. I walked 30 minutes to and from school, five days a week, six to seven hours a day to volunteer with children between the ages of 6-12. I participated in organizing the school's new library, leading lesson plans that involved songs, art, and team-building, and facilitating standard tests to all ages groups. Since I had taken 5 years of Spanish in high-school (I began in middle school), I assisted in translating the tests for the students who struggled with English. How has this experience abroad affected me? I am still in reflection of the experience and how my perspectives have changed since, critically questioning appreciation/appropriation of Mestizo cultures, engagement in service that is religion-based, privilege, and having a presence in a multi-cultural, multi-lingual country that depends on tourism for survival. Belize opened my heart to learning and teaching through expressive arts. Now, I carry a simple lesson with me:
“Learn from the past, live in the moment, create a new future”.
I returned and stepped back into multiple leadership roles in school promotion and decoration through art, becoming President of Spanish Club and Senior Class representative. I have built a presence in my communities, even here in Bellingham. I helped to start a group called Friends of Social Practice with two of my mentors and educators, Francis (Francie) Allen and Jessica Levine- where we nurture a space for support, creativity, and social action amongst ourselves and the community.
Considering Limitations:
In summation, I must consider the limitations I could encounter. Australia is the third wealthiest nation in terms of wealth per adult, after Switzerland and Iceland. The economy will impact my entire experience. I may find limitations in budgeting and accessibility, since so much of the culture is modern and tourism based. The authenticity in the display of Aboriginal and Torres Strait Islander traditional practice are in question. In conjunction, one of the ALG criteria points was, “Extent to which culture(s) the student will experience differs from that of the United States”. Cultural practice is broad within Australia- being intentional with locations will make all of the difference in diversity. In regions of Australia, like Arnhem Land (North East territory), accessibility is restricted due to Aboriginal and wildlife preservation (yay!). Importantly, personal safety is a factor, especially when travelling alone. This relates to transportation (Australia is vast, and mostly Outback) and housing, which will be
influenced by my locations. Overall, there are handfuls of experiences and limitations I may not realize until entering a new space but I am prepared to consider them and work with them if chosen as a recipient of the Adventure Learning Grant.
1 Aboriginal Heritage