Sketching Spirit in Everything: Exploring Spirituality, Interconnectivity, and Creativity in Gloria Anzaldúa’s Archived Drawings

Sara Ishii
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Abstract

Gloria Anzaldúa drew important connections between spirituality, interconnectivity, and creativity when she stated, “the idea that everything is spiritual, that I’m a speck of this soul, this creative consciousness, this creative life force; and so is a dog, a rock, a bird, this bedspread, and this wall…Everything is relative, I’m related to everything” (Interviews 2000).  In asserting a universal relation between all beings based on spiritual affinity, Anzaldúa places spirituality at the core of social justice work.  Furthermore, she expands the scope and applications of spirituality to includes all forms of beings and unsettles the separation and hierarchy between humans and nonhumans. In the introduction, I establish Anzaldúa’s articulation of spirituality as social justice oriented, inclusive of all forms of being, and connected to creativity.  Next, I examine three of Anzaldúa’s archived sketches of animals and nature and place these images into conversation with her written theories. While the archive holds numerous sketches that incorporate an animal or nature, I select drawings that contain nature and at least one animal rendered in a complex patterning style.  In my analysis I explore the questions: How can we read Anzaldúa’s sketches through her writings on spirituality? And conversely, what can we learn about Anzaldúa’s theory of spirituality from her archived sketches? Through compositional analysis, I unpack Anzaldúa uses of imagination to articulate a spirituality that indicates interconnections between humans and our environment.  In conclusion, I reflect on the contributions Anzaldúa’s artwork makes in developing her theory of spirituality that creates personal and social change. I argue that academic disciplines invested in analyzing social issues can benefit from examining both Anzaldúa's written and visual theories because she presents a spirituality that is deeply enmeshed with, not removed from, the concerns of marginalized groups.
素描精神在一切:探索灵性,互联性和创造力在格洛丽亚Anzaldúa的存档图纸
格洛丽亚Anzaldúa在灵性、互联性和创造力之间建立了重要的联系,她说:“一切都是精神的,我是这个灵魂、这个创造性意识、这个创造性生命力量的一个微粒;一条狗、一块石头、一只鸟、这张床罩、这堵墙也是如此……一切都是相对的,我与一切都有联系”(访谈2000)。在主张基于精神亲和力的所有生物之间的普遍关系时,Anzaldúa将灵性置于社会正义工作的核心。此外,她扩展了灵性的范围和应用,包括所有形式的生物,并打破了人类和非人类之间的分离和等级。在引言中,我建立了Anzaldúa的精神作为社会正义导向的衔接,包括所有形式的存在,并连接到创造力。接下来,我检查了Anzaldúa存档的三幅关于动物和自然的素描,并将这些图像与她的书面理论进行了对话。虽然档案中有许多包含动物或自然的草图,但我选择了包含自然和至少一种动物的绘画,以复杂的图案风格呈现。在我的分析中,我探讨了以下问题:我们如何通过Anzaldúa关于灵性的作品来解读她的草图?反过来,我们能从Anzaldúa的存档草图中了解到什么关于灵性的理论?通过成分分析,我打开Anzaldúa使用想象力来表达一种灵性,表明人类和我们的环境之间的相互联系。总之,我反思Anzaldúa的艺术作品在发展她的精神理论方面所做的贡献,这种理论创造了个人和社会的变化。我认为,研究社会问题的学术学科可以从研究Anzaldúa的书面理论和视觉理论中受益,因为她呈现出一种与边缘群体的关注深深纠缠在一起的灵性,而不是从边缘群体的关注中移除。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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