An Eye on Intentional Creativity:: Voz del Respeto

Emily Grieves – Teotihuacan, Mexico

In January, I had the extraordinary opportunity of collaborating on the creation of a mural with international muralist Benjamin Swatez. He visited Teotihuacan with a group that came to experience the energies and wisdom teachings held within the indigenous tradition of the 2000 year old pyramids and surrounding archaeological site.

The leaders of the group had asked me to suggest a place in the area to create a mural beneficial to the local community. Despite some initial doubts, I chose to see this as a beautiful opportunity for me to learn from an expert, a great artist, and to stretch beyond my own artistic limitations. I presented the idea to the principal where my son Marco attends, “Escuela Ignacio Manuel Altamirano” in the village of San Sebastian Xolalpa. She loved the idea, with a request to include an anti-vandalism message in the theme of the mural. The village, especially its schools, has seen a surge in vandalism and graffiti recently, so this message, which became, The Voice of Respect, seemed perfect.

I asked the principal to select about 20 kids, but not just the “good” students. Given the theme, it seemed especially important to include the kids who are the “problem” students, the ones who are overlooked and never chosen for something special, the kids who are perhaps most likely to commit acts of vandalism down the line. She chose the children accordingly, two or three from each grade, 1st through 6th

While on the way to Mexico from a project in Uganda, Benjamin had sent me a list of supplies to gather. This consisted of 1 gallon of white latex house paint, 2 liters of black, 1 liter each of red, blue, yellow, green and magenta. From my studio, I collected brushes, red oxide acrylic paint, jars, a bucket, masking tape and plastic drop cloth.

Upon arrival, my mother-in-law walked him over to my house, and when I opened the door to meet him, all my worries fell away. It was like meeting an old friend! He came into my studio and we immediately started pouring through books and magazines of Teotihuacano murals and symbols. We talked about the history and mythology and mystery of the images created by the ancestral masters of the pyramids, and how important it was for the children here today to understand and respect their own heritage. Then we began brainstorming the visual elements we wanted to include in our mural and sketching the basic composition. It was a true collaboration that flowed easily and effortlessly.

The principal gave us the thumbs up on our design, and we begin plotting it out on the wall with charcoal using a small digital projector. The projector was brilliant – it fit in the palm of a hand, had about 2 hours of battery life, and connected to a phone. We took pictures of the drawings on the phone and projected them on a much larger scale onto the wall and traced the lines in charcoal and then with black paint. 

It was an epic task to complete in just a few hours. Benjamin also painted a large-scale face of a beautiful little girl in his trademark realist style at lightning speed. I was fascinated to see how quickly he worked. By the time the kids came out to help us at 1 p.m., we had our lines, we had paint mixed into cups for them, and we had marked a dot of color in each space so that the kids could essentially “paint by number.” The American adults from the visiting spiritual group that had initiated the project joined us shortly thereafter, coming straight from the pyramids to the school to help. 

We included a typical Teotihuacana figure in the mural with a “noble speech” symbol coming from her mouth and holding an aerosol paint can directed at a huge eye, to convey this idea that respectful expression, vision and creation lies at the center of a unified harmonious community.

Benjamin speaks Spanish so he introduced himself to the kids (and their parents who had come to watch), and I gave them a brief motivational talk about the theme of the mural – about the vandalism problem and how reconnecting to their ancestral roots and taking pride in their heritage can help the youth learn to express themselves creatively in a way that is positive, beneficial and beautiful in their community.

The hour and a half with the kids was wild, exciting, and chaotic, as we had kids of all ages and in any given second I had a little boy or girl tugging at my apron asking me for more paint or a new color. I was relieved when our time was up just to take a breather but also in love with what the kids had so earnestly painted. We had a lovely surprise then – the parents of the kids who had participated had prepared a meal for us! They invited us all into the school yard where they had set up tables and they served us a typical regional meal of chicken mixiotes, rice and beans, with the intention that we “break bread” with the kids. So beautiful. Luc, a friend and colleague of Benjamin’s on his “Goodness Tour,” a global community mural and music mission, shared some songs with the group, and both Benjamin and I had the opportunity to talk in more depth to the kids and parents about the message of the mural.

When the meal wrapped up and the kids went home, Benjamin and I stayed to continue working on the mural. There was a huge amount of work to be done still, and time was running short. We spent much of the rest of the afternoon making adjustments to the areas that the kids had painted. In their enthusiasm, they had covered over many of the outlines we had marked and made their own unique, albeit abstract, creation out of our carefully plotted corn. We chose what to keep and what to adjust, and the end result has some crooked but clear corn stalks made by the kids. We painted until late that day.

I love the metaphor of the crooked corn stalk symbol – like a child’s life, it may have gone astray but righted itself again into alignment and positive growth toward the light of the sun!

The following day, Tuesday, we both arrived early in the morning, knowing that we had to paint like the wind to wrap it all up that day, as Benjamin had a flight to catch at 5 pm. I have never painted so fast in my life. We battled with the rough uneven surface of the wall, trying to get clean lines and clarity in all of the bumps in the porous surface. There were moments when I struggled with technical things, how to portray a shadow correctly, or a hand, and Benjamin never hesitated to take a moment to help me, in spite of the time pressure. In fact, he remained calm and tranquil throughout our hasty painting, never letting on if he was stressed or nervous, never losing his patience. His friend Kosar, an Iranian woman and immigrant to the U.S., helped us out with retouching lines all day, which was a huge support.  My son Marco also stayed for hours after school each day to help out with the lines and retouching. Benjamin reminded me frequently to go stand across the street to get a better perspective on our work. So funny, because I often tell my own students this in the studio, to stand back from the canvas for a better view, but I forgot all about that sage advice with the huge scale of the mural. 

We added in the title of the mural “Voz del Respeto” – “Voice of Respect” and signed it with our names and the name of the group that dreamed the project into being – High Vibe Tribe. We painted right up to the very moment that Benjamin had to go hop in a taxi to get to the airport. He literally went running down the street with the longer of the ladders we had used, hoisted on his shoulder like a true soldier of Intentional Creativity, to deliver it back to its lender before racing to the airport. I stayed at the school with my son plodding along on the finishing touches till late. On Wednesday, I felt rather lonely without Benjamin as I returned for a final day of completing the mural. This involved cleaning up any more lines and details, applying some final symbols to the sky, filling in some uneven color, and finally, applying a coat of sealant to the entire mural to protect it from the elements, the sun, and from potential graffiti from anyone who might not have understood the message – we hope that never turns out to be the case, but we wanted to protect it nonetheless. 

It was fascinating throughout the painting process to be so fully in the public eye, with many members of the community stopping to observe us and ask questions. It was a beautiful opportunity to share intentional creativity and the importance of teaching especially children and young people that there is a way for them to find outlets for expression that are grounded in respect and honor of their own history and cultural heritage. Creative expression can allow them to make positive contributions to their community, beautifying their village, raising consciousness, and unifying the people. The very final touch on the mural was a little banner honoring the children themselves and their participation. It is my prayer that those kids see the mural in ten or twenty years and remember how they are a part of “Voz del Respeto.” 

Emily K. Grieves received a BFA degree in art from the University of Montana in 1993, followed by study of art history in Berlin, Germany, as a Fulbright scholar. She lived in San Francisco, California, for 10 years where she began exploring symbolism, mythology, and ritual in her artwork, drawing inspiration from the celebrations and mysteries of life. She has been a practitioner of shamanic healing and hands-on energy work since 1997. 

As of 2004, she makes her home in Teotihuacan, Mexico, where she has painted murals at the Dreaming House spiritual retreat center and has created a body of artwork influenced by the cosmological imagery left in the ancient pyramids and by her relationship with her Muse and the Divine FeminineIn 2014, she opened her studio Taller de Arte El Refugio, in Teotihuacan.

Emily is a certified Intentional Creativity Teacher in the Color of Woman Method developed by Shiloh Sophia. She is also a member of the Intentional Creativity Guild, an international organization that promotes intuitive artistic expression as a way to make positive change in the world. Visit her at www.EmilyKGrievesArt.com



In defense of Frida Kahlo and the Healing Power of Paintbrushes

Emily Grieves
Teotihuacan, Mexico

Have you ever had a conversation that made you come to the conclusion that you would do everything to defend the value of what you do?

I had one of those conversations recently. It was actually a brief conversation, but one that has left me pondering what I do, and the value of it, for days.

I had just visited Frida Kahlo’s Casa Azul house in Coyoacan, an artsy colonial old neighborhood in the South of Mexico City, with some family members. We each moved through the house, where she was born and raised and later lived for many years with Diego Rivera and which has been turned into a museum, at our own pace.  Some of us read the signs more thoroughly than others, each of us taking in the items on display in our own way and in accord with our own tastes and varying knowledge of her history. The house is filled with, to me, fascinating objects. Aside from all the original beautiful everyday household items (her kitchen is from heaven!) there are many original paintings, photographs and documents that reveal myriad aspects of how Frida and Diego lived. There are her dresses, jewelry, plaster and leather corsets and back braces, her Revlon nail polish, her prosthetic leg with a red Chinese silk shoe and jingle bells on it!

Emily Grieves Casa Azul

I lingered for a long time in her studio, as I have on the several previous occasions when I’ve visited, taking in the energy of her creative space, her easel with a wheelchair parked in front of it, her brushes (she had brushes made out of feathers!), her pigments, her crinkled tubes of paint (as if she had tried to squeeze out every last drop), her box of pastels, her glitter collection (for real, she had glitter!).  I took in the soft midday light that fell diffused and tepid through the window panes, and thought, really, it’s not such good light for painting, but it’s an awful lot like the light in my house, the light that falls across my canvas, and I felt that pang of connection with someone who died many decades ago but who continues to be a larger-than-life ALIVE presence for so many people, female artists in particular, around the world.

Emily Grieves casa azul

From Frida’s studio you move directly to her “Day Bedroom” which has her famous bed in it, the one her mother had made for her after her accident that has a mirror under the canopy so she could look straight up and paint self-portraits. Her bronze death mask lies on the bedspread wrapped in a shawl, as if to make her presence in the bed all the more real and palpable. The next room, the “Night Bedroom,” is filled with old medical paraphernalia, and you can imagine her screaming in pain to her sister to inject her with more morphine as she declined to her final days. Her ashes are in a pre-Hispanic urn on a small table in the Night Bedroom, and my son stood before it and prayed for her. I half-jokingly said, “I don’t think she’s around anymore. She’s long gone.” I thought about her famous quote, “I hope the exit is joyful, and I hope never to return.” She is gone, and yet she isn’t. She is more present than ever, not just in the energy of the place and her things, but in the way she has grown in popularity since her death as she has been recognized not only as an artist, but as a personality, identity, cook, poet, thinker, dreamer, social mover and shaker, fashion designer, creator, iconic figure representing a time period, a nation, a people, a gender, and extrapolating her iconography beyond any of those categories. She has come to represent all those who have ever sought to express themselves from the inside out.

Emily Grieves

Later in the day, after my son and his cousin had enjoyed decorating Frida paper dolls with fabric scraps, ribbons and beads, after we’d had a cup of coffee in the museum garden, after we’d taken funny photos posing as Frida and Diego outside the dress exhibit, after we were home …

Sometimes an opposing perspective can help us validate that which we stand for.

I had a conversation with a person who had not been on the day’s excursion, and the subject of Frida came up.  He made a comment that he thought that Frida was no more an artist than he was a doctor (he’s not;  in other words, he felt that she wasn’t an artist at all and that she wasn’t even remotely qualified to call herself one) and that she had just ridden to fame on Diego’s coat tails … that she had no technical skill and that the only master in the relationship was Diego…  that she was just a big show and had gained fame only by garishly displaying her personal dramas.  I was quite taken aback by such a strong opinion that was so opposed to the enjoyment I’d experienced that day reveling in her energy and her spirit so evident in her house.

I responded to this negative commentary initially with some important points about the history of Frida’s life and work as I was aware of them, and then decided better to just simply change the subject rather than engage in an argument.  However, the conversation has been gnawing at me …. Why?  Because I consider Frida Kahlo to be the grand matriarch of the art movement within which I work.  This person’s criticism of Frida’s artwork felt in some way like an indirect criticism of my own artwork.  As my mind has chewed on this negative onslaught toward Frida Kahlo, I have to respond that she actually had a quite a lot of technical skill. Considering that she never had formal art education but was entirely self-taught, painting with major physical limitations, her work has a very high level of technical skill. But unlike many artists, creating a technically adept painting was not the outcome she was after in her work. Technical skill simply supported the path to what was so obviously her true mission, which was to express her inner world, to use artwork and creativity as a way to intentionally and consciously work through her thoughts and feelings. I don’t think she could help it, actually. I think if she hadn’t had her artwork, she probably would have gone crazy from her suffering.

Emily Grieves Fridas Glitter

Frida stated about her artwork, I don’t paint dreams or nightmares. I paint my own reality.

That her reality included a unique perspective and way of viewing the world is undeniable.  I believe that she was able to view the world as much more than just the typical physical reality so many people perceive, and that is the only reality some “technically skilled” artists are able to portray.  She opened the door to the possibility that dreams and nightmares can actually become your reality depending on your choosing. Using intentional creativity as her method to process both her physical and emotional pain certainly gave her a unique perspective on the suffering of the world in general, one that shows in her artwork and one that I believe makes her work so universally understandable. At the same time, she never let her understanding of suffering limit her in any way in experiencing life.  To the contrary, she used it as a springboard to live life to its fullest, making every moment a creative act.

By opening the quality of one’s perception and accessing other realities through creative acts, one has the power to choose a new experience in life.

It is said that in her life, she showed her friends primarily her happy bright side, the Frida who loved to throw parties and to socialize, probably innately understanding from an early age that harping on her pain and suffering publicly wouldn’t gain her much friendship and popularity.  She said “Nothing is worth more than laughter. It is strength to laugh and to abandon oneself, to be light. Tragedy is the most ridiculous thing.” Knowing that she lived a turbulent life , particularly the unstable but deep passions of her relationship with Diego, is probably more knowledge gained in modern times from films and books made about her, than was likely such common knowledge about her during her lifetime, so it is unfair to say that she gained fame by playing up her dramas.  While she had some 30 surgeries during her life, she had very few exhibits (and only one in Mexico which she attended from her bed shortly before her death), so it is unfair to say that she rode Diego’s coattails to fame.  Her fame as both an artist and an icon largely came posthumously, as modern audiences, and I’d dare to say women in particular, came to discover the intimacy of her vision and our ability to relate to it.

Frida KahloHow many of us women have looked into the mirror and seen our own image at times as dreadful, torn and frayed, our core a broken column seemingly beyond repair?

What if we were to re-imagine as Frida did and use Intentional Creativity to help us see differently, to see ourselves as whole and healed?

What if we chose to look again into the mirror and to see our image as a woman growing from the earth framed by dark foliage and vines and wild animals peering back at us from our own eyes?  Then to look once again at our reflection and to see the compassionate all-embracing mother of us all living as a spark within? How many of us have seen our own duality?  Our inner twin selves, she who plays by society’s rules and expectations and she who defies them, she who loves and she who loathes, she who dreams and she who follows, she who feels divided and cut apart at the core and she who has hope still? How many of us have bled out from our internal doubts and battles, and then pieced ourselves back together again?  Frida’s images speak to all the parts of us, the good, the bad and the ugly.  She offers us a reflection in her paintings, one that inspires us to our own work of using creative process to see the truth of ourselves revealed.

The simplest inspiration offered by Frida in her life is that she painted and wrote privately with no real attachment to whether or not it would ever be seen by others. While she always valued the sale of a painting, she made her paintings for herself as her own healing.  Whatever confronted her in life, whether public or private, she took it to the canvas, to the paper, to the paint, to work it out.  There is no more powerful way to heal than to give your healing form and color, to make it real, palpable and permanent. This is precisely the way I’ve always made art and the way in which I was taught in my Intentional Creativity Movement teacher certification course by Shiloh Sophia McCloud of Cosmic Cowgirls University and Red Thread Nation – this is the way of creating that I’ve discovered really helps people and makes an impact in their lives.

Since Frida Kahlo opened the possibility for women to express themselves in this way, through the decades of rapidly unfolding creative expression in general in our world, and through Shiloh’s lineage that was passed down to her via Sue Hoya Sellars, I give all my gratitude for the Intentional Creativity Movement and for the fact that I, as a woman working in Mexico in 2015, can teach intentional creativity to local village women who have never been to Frida’s house just 40 miles away.  I consider Frida Kahlo to be the grand matriarch instigator of the Intentional Creativity Movement, and I thank her for having the guts in her era to do what she had to do to express herself the way she did and for leaving such a rich legacy to inspire future generations of women around the world to look deep inside themselves and to pull out their darkest shadows and their brightest light from their interior worlds and to paint it all out on the canvas. I give thanks to Frida for blazing such a brilliant trail of symbols and surreal soulscapes and magical realities – in doing so, she has given me my most powerful tools today for myself and for offering women a true path to transformation and healing – a paintbrush and a jar of glitter.  I’ll defend the value of paintbrushes and glitter until the day I die.

Images: photos of  Museo Frida Kahlo taken by Emily K. Grieves in Mexico City.

Emily GrievesEmily Grieves received a BFA degree in art from the University of Montana in 1993, followed by study of art history in Berlin, Germany, as a Fulbright scholar. She lived in San Francisco, California, for 10 years where she began exploring symbology, mythology, and ritual in her artwork. She has been a practitioner of shamanic healing and hands-on energy work for over 17 years. As of 2004, she makes her home in Teotihuacan, Mexico, where she guides groups into the powerful energies of the pyramids, has painted murals at the Dreaming House spiritual retreat center and has created a body of artwork influenced by the cosmological imagery left in the 2000 year old pyramids. Emily is a certified coach and teacher in the Intentional Creativity Movement developed by Shiloh Sophia McCloud.  She founded Taller de Arte El Refugio, an art studio in Teotihuacan, where she offer painting classes to local women and girls and provides them with a much-needed place of refuge, relaxation, and creative expression. In her art and healing, it is Emily’s intention to create portals to the sacred and to open hearts. You can view her artwork and get more information about the journeys and workshops she offers at www.EmilyKGrievesArt.com.

A 6 Year Old Artist from Mexico Speaks to the Children of Earth by Shiloh Sophia McCloud

When a 6 year old artist speaks to the children of Earth, what is it he has to say?

Marco’s message is one of20140504_141437 belonging, and making a decision to find your people in the world.

Let me begin with telling you how this particular story got started with a red thread and intentional creativity.

Emily told me about Marco when she interviewed for the Color of Woman Method Training and I knew somehow he was a part of our connection. Since Emily was already such a brilliant and accomplished painter and already teaching classes, I wondered secretly if Marco was involved, and now he has become her first student of the method. Sometimes I think the children call their mothers to this work. A call through the Mama to creativity at a deeper level than what is offered in school.

I have mothers say to me all the time – I am raising my children differently due to working with intentional creativity and I always want to know how…and what it looks like. I love to see the photos of the children who are creating art and many of them doing the method step by step with their mama’s guidance. It JUST warms my heart and helps me to understand the deeper messages of my call to share this work in the world, and the impact on the future generations.

I recently got to meet this lovely being of wisdom, Marco – and here is a photo of him in front of our Virgin Mary grotto when his family was traveling here for the Color of Woman Training. Being from Mexico – of course the Virgin is of utmost importance and his family makes pilgrimages yearly to the Nuestra Senora de Guadalupe.

In the Color of Woman training I teach these very simple classes called Red Thread Sessions, which are for use in Intentional Creativity Coaching sessions and are done with acrylic on watercolor paper. They are able to be done in a hour and a half or half days, instead of the full 13 steps which takes at least a weekend. I started the method through teaching children so this is a wonderful full circle for me – and I am so glad that Marco asked Emily to be her student.

So, Emily has been teaching Marco the Red Thread Sessions and some of his works and words are below as well as context from his Mom. I have shared with their consent, Emily sent me some parts of their story as it occurred through email and in our private class.

Thank you Emily – and Marco for being willing to share this beautiful message with us.


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Here’s a message to me from Emily after I asked her if she would ask Marco if I could share his story.

Emily: I asked Marco and he is happy to share his stories, although he wanted to know which of his 4 stories – present Earth life? Past life in Paris on Earth (apparently his only other human life he’s ever had, which is one reason why he’s so obsessed with Paris? Venus? Angel? I explained to him that it was the 2 stories about his process painting (using the Red Thread Sessions) – making the Affirmation cards and making the House of the Heart. Ah! Ok, no problem! I said if you shared his stories perhaps it would help adults learn to help other children like him who come from other places and have a hard time adjusting to life on Earth. To which he replied, I think I’m the only kid like me in my school…..  I’m sure he is!  Who else comes out of school with a gold star stuck to his forehead for having done good work and says,”My gold star didn’t bother my 3rd eye today because I closed it before the teacher stuck it on.”  I might have to start dressing him in plaid like your mom did to you so that people will think he comes from a normal household!  LOL!

So we already  know we are dealing with a great mind here! Doesn’t this just make you smile? Here is the first Red Thread Session that Emily taught Marco, it’s called the Soulful Story Affirmation Cards. In one variation on this session we work with your existing story of challenges and limiting negative beliefs. Your ‘old’ story goes on one side and the transformed story on the other side as antidotes to the negative beliefs. Below are Marco’s Affirmation Cards. Which by the way, are covered in glitter – he showed each one to me when he was here visiting from Mexico, it was a very special moment for me to be with him.

Here is what Emily first shared in our private group…Enjoy!

Emily: It’s so exciting to see everyone’s breakthroughs and triumphs on here! I inspired one person at least – My 6 year old son! He saw my deck of Affirmation Cards and wanted to make his own.

It was pretty intense as we went through his negative beliefs together and I helped him come up with remedies/antidotes to them. It is sort of unbelievable how many negative beliefs a 6 year old already has accumulated, but I couldn’t be happier that he was inspired to shift them.

But I couldn’t be happier that he was inspired to shift them.

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Marco’s cards are in Spanish for those of you who can translate, but you can see the shift from one side to the other. The one word cards translated from left to right, top row then bottom row are: Confidence, Perfection, Creativity, Strength, Power, Effort, Love, Happiness.  The longer phrases are “I feel like I have confidence in myself. Everything turns out perfectly. My creativity grows daily. I participate in teams. My voice has power. I always make my best effort. My family loves me. I’m a good boy.”

The second Red Thread Session Marco did is called the House of the Heart and has to do with belonging and identifying your place and space and working with your own experience of “home”.

My 6 year old son Marco, who some of you met in CA in May, begged me for weeks to be my “guinea pig” for one of the exercises, so I finally did the House of the Heart with him. Like the Affirmation Cards it turned into quite an intense little process with him. He has a really hard time being here in human form on this planet, so the exercise was perfect for him. His “old story” was all about longing to rejoin his family on Venus, how much he misses them, and how weird he feels being incarnate on Earth. After painting his house, his hearts, writing “Te amo” and of course including a couple little Eiffel Towers, it was time to write his new story… and he couldn’t come up with one because he was still so much in his longing for what he had written about his “old” story. The thing was not healed or shifted or transformed.
He finally wrote “I want to feel like I’m from here.” I looked at him and said, that doesn’t feel very satisfying, does it? He said, but I have to be in 3 realities (according to him: Venus, angelic realm, and Earth) at the same time and the one that feels weird is this one! I asked what is the one thing those 3 realities have in common? Where are you when you are aware of any one of those realities? The dawning expanded across his little face. He is! Yes, you are the common denominator! Wherever you are, there YOU are! So he wrote quite determinedly “I am my own home.” Whew, that was a tough one, but I loved doing it with him and love that he hung it up in his room to remind himself. Such a great process for the little ones!
 
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Emily: Following the House of the Heart he did a practice using  “Visionary Imagination”

For those of you getting a kick out of my son Marco’s artwork and his way of learning vicariously through my COW studies, here’s another one for you. He asked where I get the ideas for my paintings, and I told him about visioning. He immediately was like Oh, oh, oh, I have a vision! So I said well, draw it and paint it, which he did immediately. The result explains a bit more about his “3 realities” – Earth (with a tiny Eiffel Tower visible in the midst of all that green and blue- I guess that green blob is France), angels, and Venus (the star with the symbol in it between the angels). He hung this one right over his bed.
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After seeing Marco’s creations and insights, I asked him if he would share with other children who might also feel like they don’t belong here. I know many children, and adults, who have a sense of being from somewhere else and because of that, feel misplaced and like they don’t belong. Marco’s wisdom is timeless and for all ages.


What struck me the most about his message below is that is using his new knowledge, the knowledge he gained from doing the artwork and story-work. In the House of the Heart he really got it that HE was his own home. And then when asked to share with others, he passes on the message.  Emily translated it from Spanish but I included the Spanish below.

What I want tell other children and youth who do not feel that they belong here is that they are their own home. They have to feel like they’re in the company of others like them. We are all the same if we are all united. You have to feel united to feel like you belong here, together with those who are like you. If those who are like you don’t find you, you need to look for them.

You have to search for them by communicating telepathically. Once found, you have to remind them that they are from the same place that you come from. The work is to make everyone remember where they come from. 

If you are from elsewhere, some other planet or star, you have to look for those who are also from that same place. Once you gather together those for whom who are searching telepathically, you’ll have more energy. When you have more energy, you will be able to communicate telepathically with your place of origin. You will be able to travel there telepathically.

I don’t know why I came here except that I came on a mission to protect planet Earth.

In your search, you must never give up.

Lo que quiero decir a otros niños y jóvenes que no se sienten que pertenecen aquí es que ellos son su propio hogar. Tienen que sentirse en compañía. Todos somos el mismo si todos somos unidos. Tienes de sentirte unido para sentirte que estas de aquí, unidos con los que son como tú. Si no te encuentran, los tienes que estar buscando. Los tienes que encontrar, comunicándote telepáticamente. Una vez que se encuentran, tienes que recordarlos que son del mismo lugar, de dónde vienes. – el trabajo es hacer a todos recordar de donde vienen. Yo por ejemplo, soy de Venus. Yo busco a otros que también son de Venus. Si tú eres de otro lugar, planeta o estrella, tienes que buscar a los que también son de tu mismo lugar. Una vez que se juntan a los que buscas telepáticamente, vas a tener más energía. Teniendo más energía, puedes comunicarte telepáticamente con tu lugar de origen, puedes hacer viajes allí telepáticamente. No sé porque vine aquí más que vine a una misión para proteger a planeta Tierra. En esa búsqueda, nunca te tienes de rendir.

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 “Teotihuacana Mother and Child”  www.EmilyKGrievesArt.com

I am so grateful that Emily and Marco have crossed my path – thanks to Jenafer Joy who is friends with Emily. We feel our red threads from the Virgin have called us together. When I read Marco’s words, it strikes that homing cord within me. I have always felt that one of my gifts was a feeling of belonging here – but because of that gift, have worked diligently in my teachings to guide others into the space of belonging since it is such a powerful place to move from. When we don’t feel like we belong and aren’t with those who are ‘from where we are from’ it is much more difficult to be grounded into form and deeply connected with Source, and with energy. I LOVE how he talks about having more energy when you find those that you belong with – yes indeed, tribe brings a sense of knowing who we are, creates a space of who we can be, and provides that gift of belonging.

~ Shiloh Sophia

www.shilohsophiastudios.com

 

 

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