Contributed by Douglas Girard
One of the traditions I like to partake in with my wife is to visit the book section of our local thrift store. There is an element of excitement perusing the books in their sometimes haphazard piles. I always imagine myself finding a real blockbuster. I'm not sure what it will be, but I'll know it when I see it. Some months back, I came across a book I didn't know I was looking for. I found a book titled: "The Dancing Goddesses, Folklore, Archaeology, and the Origins of European Dance." The title appealed to me on so many levels. I am fascinated by mythology, archaeology, and history, and so many of my paintings involve dance or the female goddess archetype. Wow! I couldn't wait to read it and was not disappointed. To my surprise, birds were responsible for the original dances. I was surprised and delighted because I paint birds and feathered female dancers surrounded by birds. I was somehow tapping into this ancient tradition without knowing it.
The book tells of how European dances started as fertility rituals thousands of years ago in western Eurasia. To our ancestors living in the harsh northern climate, the coming of spring was of the utmost importance. (I am sure those of you who have lived in Alaska for some time can attest to this.) They noticed that the birds would come back in spring and that soon new chicks would be hatching. The sun's warmth gave new vigor to all the plants and animals, and planting the crops could begin. Birds became associated with the fertility of the people and the land. Through ritual dance, the ancients thought they could entice the birds to return. Thus fertility to their women and the land would increase. Young girls and women would dress in very long-sleeved clothing and dance in a way that mimicked the flight of birds. Dances such as Greek line dance and the Waltz have their roots in ancient fertility rituals.
One sentence created an image immediately in my imagination. It told of the Germanic goddess Ursa who would carry the moon across the sky in her silver boat. The image was so striking that I had to paint it and soon started its planning. While I was drawing the composition, I remembered four-thousand-year-old Scandinavian rock carvings of boats I had seen. With some research, I found that one of these boats was excavated and is on display. The boat, in this painting, is derived from this design.
After the painting had begun, a Northern saw-wet owl visited us just outside our kitchen window. That little fellow was perfect for the back of her boat.
In Africa, where I grew up, at dusk, the swallows would swoop and dive all over our yard as they chased after flying termites. I love their forked tails and speed and have felt a special connection to these little spitfires ever since. They were the ideal escort for Ursa in her silver boat.
I am pleased to announce that this image, "Ursa and the Moon," is now available as a Fine Art Print at my website studiogirard.com. You can also find a hundred other paintings available as prints on metal, paper, canvas, acrylic, wood, mugs, pillows, puzzles, phone cases, and bags. You will also find over 50 of my popular small "Bird Blocks" for sale. "Bird Blocks" are small, 3.5" wide, portraits of birds. You can follow me on Instagram and Facebook @studiogirard. In the afternoon, one can watch me paint "Live" on Instagram many days of the week.
