The 700 Year Old Woman

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				<title>The 7000 Year Old Woman</title>
				<author>Betsy Damon</author>
				<author>Su Friedrich</author>
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					<persName>Haley Beardsley</persName>
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					<persName>Erica Delsandro</persName>
					<resp>Investigator, editor</resp>
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					<persName>Margaret Hunter</persName>
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					<persName>Diane Jakacki</persName>
					<resp>Invesigator, encoder</resp>
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					<persName>Sophie McQuaide</persName>
					<resp>Editor</resp>
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				<respStmt>
					<persName>Olivia Martin</persName>
					<resp>Editor, encoder</resp>
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				<respStmt>
					<persName>Bri Perea</persName>
					<resp>Editor</resp>
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					<persName>Roger Rothman</persName>
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					<persName>Kaitlyn Segreti</persName>
					<resp>Editor</resp>
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					<persName>Maggie Smith</persName>
					<resp>Editor</resp>
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					<persName>Maya Wadhwa</persName>
					<resp>Editor</resp>
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					<persName>Ricky Rodriguez</persName>
					<resp>Editor</resp>
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					<persName>Lucy Wadsworth</persName>
					<resp>Editor</resp>
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				<funder>Bucknell University Humanities Center</funder>
				<funder>Bucknell University Office of Undergraduate Research</funder>
				<funder>The Mellon Foundation</funder>
				<funder>National Endowment for the Humanities</funder>
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					<name>Bucknell University</name>
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						<settlement>Lewisburg</settlement>
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					<licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial
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					<licence>Heresies journal: © Heresies Collective</licence>
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						<title>Heresies Issue #3: Lesbian Art and Artists</title>
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							<publisher>HERESIES: A Feminist Publication on Art and
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			<pb n="10" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_012.jpg"/>
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<head><title><title>THE 7000 YEAR OLD WOMAN</title></title></head>
			<byline><persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName></byline>
			<byline>Photographs by <persName key="Su Friedrich" ref="http://www.wikidata.org/entity/Q4492765">Su Friedrich</persName></byline>

<div>
				<p> Who is she? I will tell you what I know about her which is very little. She is
					my sister, mother, my grandmothers, my great grandmothers, friends and lovers.
					She is my woman line of 7000 years and she is me the me that I know very little
					about. She found me in <placeName key="Los Angeles" ref="http://www.wikidata.org/entity/Q65">Los Angeles</placeName> in spring, 1975. I began imagining myself
					covered with small bags filled with flour. For the next two years I constantly
					saw the image with one change. She became a clown and I decided to paint my body
					and face white. Only after completing the first Sacred Grove, did I identify her
					as a 7000-year-old woman. While I was more and more in awe of her and did not
					know very much about her, naming her was the first step towards performing her.
					What has become clear is that I am a facilitator for her. I have some skills and
					discipline but she has her own magic. I learn about her through the
					performances, that is, through her existence.</p>
			</div>

<div>
				<head><title key="Performance #1: A Sacred Grove Collaboration" ref="https://www.betsydamon.com/select-writings/7000-year-old-woman">Performance #1: A Sacred Grove Collaboration</title></head>
				<dateline>
					<orgName>Cayman Gallery,</orgName>
					<placeName>New York</placeName>
					<date>March 21, 1977</date></dateline>

<head>Description of the piece:</head>
				<p>I painted my body, face and hair white and blackened my lips. Hanging from and
					covering my body were 420 small bags filled with 60 pounds of flour that I had
					colored a full range of reds from dark earth red to pink and yellow. To begin
					the piece I squatted in the center of the gallery while another woman drew a
					spiral out from me which connected to a large circle delineated by women who
					created a space with a sonic meditation. Very slowly I stood and walked the
					spiral puncturing and cutting the bags with a pair of scissors. I had in mind
					the slow deliberateness of Japanese Noh theater, but none of the gestures were
					planned and at one point I found myself feeling so exposed that I tried to put
					the bags back on. The ponderous slowness combined with the intrinsic violence of
					the cutting and the sensuous beauty of the bags created a constant tension. By
					the end of the performance the bags on my body were transformed into a floor
					sculpture. I invited the audience to take the bags home and perform their own
					rites.</p>
				<p>The 7000 year old woman will exist in many places and many aspects in the future.
					This piece is about time; remembering time; moving out through time and moving
					back through time; claiming past time and future time. At the end of the piece I
					had a certain knowledge about the metaphysical relationship of time; the
					accumulation of time, and women’s relationship to time past. I came out of the
					piece with a knowledge about the burden of time. A woman sixty years old is
					maybe twenty times more burdened than the thirty-year-old by her story. While I
					don’t understand the mathematics of this I did feel it to be true. If we had had
					7000 years of celebrated female energy this would be different.</p>
				<p>During the performance I was</p>
				<list>
					<item>a bird</item>
					<item>a clown</item>
					<item>a whore</item>
					<item>a bagged woman</item>
					<item>an ancient fertility goddess</item>
					<item>heavy-light</item>
					<item>a strip-tease artist</item>
					<item>sensuous and beautiful</item>
				</list>
				<p>After the performance I was certain that at some time in history women were so
					connected to their strength that the ideas of mother, wife, lesbian, witch as we
					know them did not exist.</p>
			</div>
			<pb n="12" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_014.jpg"/>

<div>
				<head>Performance f2: A Street Event</head>
				<dateline><title>Claiming a space</title> on <placeName>Prince Street near West
						Broadway, New York</placeName>
					<date>May 21, 1977</date>
					<time>1-3 p.m.</time></dateline>
				<head>Description of the event:</head>
				<p>7000 year old woman existed on the street for two hours unprotected except by a
					sand circle, yellow triangles and her energy. As I was preparing the bags in the
					studio I imagined her in light colors, part clown and part an ancient spring
					person who would hang out in the street. I asked one woman, Su Friedrich, to
					assist me. At home I painted my body, hair and face white and blackened my lips.
					I wore underpants and a shirt. We began by delineating a space with a sand
					circle. In the center we ceremoniously arranged all the bags. I stood in the
					center while Su tied the bags on my body aware constantly of the shield the bags
					were providing. There were 400 bage filled with pale red, yellow, orange and
					purple flour. This became an intimate ritual of its own which lasted nearly an
					hour. When this was done Su left the circle and I remained with my only
					protection, the bags. There were a few bags left over which I tossed to the
					audience, hoping to capture some of the clown and establish contact with the
					audience. However, my sense of vulnerability was overwhelming, I could not move
					from the center of the circle and did not want to begin cutting the bags off.
					Friends brought flowers, boys threw eggs and! could feel the intense reactions
					of the audience. I was in a constant struggle with a group of street boys who
					wanted me or the bags and could never get enough. They were balanced by the many
					girls and women who were silently engrossed. Finally I stood and slowly walked
					the circle cutting the bags away, letting the flour spill out on handing the
					bags to the viewers. Without the bags to protect me, my sense of vulnerability
					was intolerable and l returned to the center and squatted to finish the piece.
					Throughout the performance, <persName key="Amy Sillman" ref="http://www.wikidata.org/entity/Q481952">Amy Sillman</persName> painted yellow triangles around the sand
					circle. Her activity, more intimately connected with the cobble stones and
					always at the mercy of the crowd was the only buttress between me and the
					crowd.</p>
				<p>Some additional reactions and notes on the event: Su and I were exhausted after
					the piece. All that I could say was that I had been a guerrilla fighter for two
					hours. This feeling was so powerful that it obscured everything else. For two
					hours I created a female space. However, I never knew until that afternoon how
					completely all things female had been eradicated from our streets. So totally is
					this true that we do not even notice that she is missing. I experienced much
					unanticipated violence during the event, yet I felt that I was a natural person
					in a normal space.</p>
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			<pb n="13" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue03/Issue3_images/issue3_015.jpg"/>
			<div>
				<head>Performance #2: A Street Event</head>
				<head>A description by Su Friedrich who assisted in the performance of the
					event</head>
				<p>Betsy’s magic circle:</p>
				<p>The 7000 year old woman’s Sacred Grove.</p>
				<p>My temporary refuge, my stage.</p>
				<p>Private activities becoming public, intimate gestures between Betsy and me being
					questioned, observed encouraged or debased by the fluctuating crowd. Westchester
					ladies, street tough boys, perplexed and absorbed girls, Soho thinkers and
					smirkers, women friends, Catholic grandmothers—a strange (re)union, our
					temporary bond being this massive cryptic 7000-year-old woman.</p>
				<p>Intimate gestures: tying the bags on Betsy’s chalk white body layer by layer, led
					along by whispered directions from her but gaining my own momentum as 1 absorb
					the colors and textures, the soft, firm, heavy bags laid out on the ground in
					front of her like offerings, like children’s clothes, like flowers, these
					useless but nevertheless significant treasures.</p>
				<p>Our theatre, our ritual of preparation reminded me of the decoration rituals
					shared by young girls, by my friends and me: brushing Veronica’s long blonde
					hair, helping my sister into her dress before the party, quiet conversations on
					our common “secrets” of what is pretty or strong or burdensome about ourselves;
					sharing nervous anticipation, mutual support for the eventual, inevitable
					journey outside our female circle; feeling positive about ourselves, feeling
					protected, so as to be strong outside, on the stage.</p>
				<p>I lost some of that inner tension and private interaction when I had to assume my
					more familiar public role of photographer as she continued the piece. Through
					the lens I observed the crowd, the same people who had just been watching me and
					therefore somehow had power over me. There was the enchanted young girl whose
					concentration and comfort was shattered when an egg landed nearby and soiled her
					dress; the greedy, arrogant boys who had no qualms about entering the space to
					take as many bags as possible (to be used down the streel later in a fight); and
					the many 20-30-40 year old men and women whose interests ranged from trying to
					guess her gender ("no woman has a jawline like that”) to staring transfixed and
					delighted at the apparition of a woman, white faced and laden with sixty pounds
					of rose- and jonquil-colored bags making a substantial, private, controlled but
					romantic/theatrical space for herself.</p>
				<p>My immediate attraction to her visually is the direct reference (unconscious:
					Betsy has never seen them) to the beautiful “warrior vests” of certain African
					nations: cloth jackets heavily laden with magic tokens of leather, wood and
					stone, used essentially as “arrow proof” vests in war.</p>
				<p>Hugeness, protection, ponderous weight, gentle colors, sensuous textures, tenuous
					construction and so temporary as the bags were slashed open, letting the colors
					pour out and cover the ground, leaving a soft pink trail, a circular trail of
					footsteps and discarded bags.</p>
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		<back>
			<p>Betsy Damon is a performer, sculptor and mother who recently moved to <placeName key="New York City" ref="http://www.wikidata.org/entity/Q60">New York City</placeName>.
				Over the last five years she has been a visiting artist and lecturer at many
				universities, involved in feminist art programs, and founded a Feminist Studio in
				Ithaca, New York.</p>
			<p>Su Friedrich is a freelance photographer who is interested in doing projects which
				explore fantasy and deception.</p>
		</back>

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