beWILDerment: Coming Home to Our Creativity through Nature

When spring arrives, my Pacific Northwest backyard becomes abloom with more than verdant greens and dazzling flowers. In addition to the stunning red rhododendron, the pollinator-calling pink of the flowering current, and the white-plated blooms of the dogwood, child-built fairy houses begin to appear. Rules of new games get called out like bird song. At the base of our birch trees my children spontaneously create colorful teas and soups out of herbs from our kitchen garden to heal imaginary ailments. Sage, thyme, oregano, chamomile, and parsley get stirred up; simmered upon blocks of wood, which are the children’s imaginary stove burners; and served to one another and a present parent in remnant cups upon mismatched saucers. Sticks and stones are found and become the elements with which they build new creative forms; mandala-like designs circle around their feet, emanating out from the locus of their imagination. Remnant chalk pieces sought out and mixed with stagnant pools of rainwater become a pudgy paint that is used to bring additional hues to tree trunks and tables. Painted rainbows appear randomly throughout the garden upon stones, stalks, and steps. Engaging with the natural world becomes the essence of imaginative play.

Being within the enchanted edges of the more wilder places is a foundational element to the children’s way of knowing, understanding, and interacting with the natural world that manifests in their ability for creative self-expression and sense of belonging to the world. 

The associations between the child’s impulse to imagine and create and their experience of awe and wonder within the natural world are upheld within their earliest praxis of life. It is helpful to wade a bit, and briefly, into the waters of the work of British pediatrician and psychoanalyst Winnicott on the transitional sphere and the transitional object (1958, 1971) to illuminate the importance of these connections between how the engaged form of a play-thing becomes that which sparks new and imagined forms. Winnicott’s transitional concepts refer to the role of play in infancy and early childhood and explicitly designate playing as the praxis of illusion, or the practice of imagination. The toddler who hugs her doll (i.e., her transitional object) enters by this act temporarily into a special world (i.e., transitional sphere) in which special rules prevail. Says Paul. W. Pruyser, this is when the child and key members within the child’s world “contrive to suspend for a moment the common hard-nosed judgments that distinguish private fantasy from public reality, creating a novel intermediate zone between these tow which is commonly called the world of play and make-believe” (Pruyser, 1976). It is in this suspension of domesticated codes of conduct that the child’s wild imagination is unleashed.

The realm of her imagination becomes a soulscape of enchantment where the unhinged whispers from another world invite her into a sensory existence, manifesting as creativity, ingenuity, and inspirited artistry. Not only does she draw wings, she has them; not only does she design with sticks; she is the tree. From within the creative play emerges a child’s sense of their interconnection and communion with the whole of creation. 

In The Ecology of Imagination in Childhood, Edith Cobb understood that a person’s “capacity to go out and beyond the self derives from the plasticity of response to environment in childhood.” And she continued,“Memories of awakening to the existence of some potential, aroused by early experiences of self and world, are scattered through the literature of scientific and aesthetic invention. Autobiographies repeatedly refer to the cause of this awakening as an acute sensory response to the natural world.” Artist-types, a category to which I believe we all belong in our truest form, seem to all be able to attribute their connection to the creative with a profound and prolonged experience in nature. Thomas Berry referred to this as one’s primary referent, a relationship gained through a particular occurrence in a particular place. This is an awakening that sets one’s imagination on fire for the possibilities of a flourishing future for all.

Creativity grows its roots in the land, not so unlike the most beautiful of trees. 

Recent studies indicate that Cobb was on to something of profound importance. For instance, a 2006 Danish study found that outdoor kindergartens were better than indoor schools at stimulating children’s creativity. The researchers reported that 58 percent of children who were in close touch with nature often invented new games compared with just 16 percent of indoor kindergarten children did. A 2017 letter signed by leaders of Scotland's health, education and natural heritage bodies, backing a new Scottish “Away & Play” campaign, states: “If we are to grow and develop as a healthy and happy society, as well nurture the next generation of creative and innovative thinkers that will power our economy in the future, it is vital that children are encouraged to play outside – to build dens, to climb trees, to be free to turn a stick in to a magic wand and create their own world to play in.” This is a play that is good for the brain and good for the imagination. Within this wild realm, children gain an embodied confidence in their individually expressed creativity. Away from the ordered confines of straight lines, linear time and the rigidity of binary thinking, the imagination lets loose its wonder like the wind that sets wingèd ones to flight. 

American nonfiction author and journalist Richard Louv states in his award winning book, Last Child in the Woods, “Passion is lifted from the earth itself by the muddy hands of the young; it travels along grass-stained sleeves to the heart. If we are going to save environmentalism and the environment, we must also save an endangered indicator species: the child in nature.” While the end-goal of providing the child safe and welcoming access to the natural world shouldn’t necessarily be environmentalism, it is a holistic outcome of a young one’s life lived in the company of the more-than-human world. The child instinctively knows that nature isn’t an object to subdue, but a subject, a kin, a trusted play-mate that invites her into a co-creative participation.

Muddy paths, twigs and sticks, stones and salamanders are the journey companions into beWILDerment. In this place we trust the child to become both lost and found within their imagination, to become re-wilded and re-membered through how they create out of this imagination-rich porous soulscape.

This is rewilding as a process of remembering: remembering that we carry wildness within; remembering that we are related to other plants and animals who inhabit Earth with us; remembering that we are on a common journey upon our common home with the whole of creation. When we lose our sense of belonging to the world, our lives can feel empty and meaningless, with our sense of creativity stunted. This hollow feeling is a result of a disconnection from the nature to which we have forgotten we belong. Mythologist and psychologist Sharon Blackie states, “…when we lose our relationship with the land and the other creatures around us, then in the deepest sense, we lose ourselves.” Consequently, when we recover our relationship with the land, when our soul-life is nurtured by it, we find our interrelated belonging. A deep sense of creative responsibility and solidarity is awakened and becomes our primary posture on the planet. 

The outward creative expressions of the child—like the chalk-tinged Maple leaves, moss-roofed fairy houses, and birch twig tracery I find throughout my garden, are then not only artistic styles, but ways that bespoke a sense of belonging the child intuitively embodies. As guardians of these young souls, and in participation and protection of our planet, it behooves and benefits us all to let the child into bewildering landscapes and let them create their unique way, their imaginative-found path, within it.

Being Rooted: Where Hope Turns Into Knowledge

The deepening darkness of this season demands an answer for how we hope. Where do we find the winged imagination for a perception of lengthening light? For what have you hoped, and where is that placed? Is hope amorphous, without shape and form, or does it take on the color of a local landscape? I believe that much of hope is rooted in an intrinsic understanding that, “We are, where we are.”  “I am where I am.”  Simple sounding, yes, but this is really quite profound and lays the foundational groundwork for a rewilding vision of re-membering our hope, our selves, back into the deep and wise mysteries that are made evident through the cycles of our precious planet and our cosmic neighborhood. This kind of re-membering requires a connection with and within the natural world; to be exposed to, and experience, the integral ecology of which we are a part. 

This is the process of developing an understanding that our particular place helps us know who we are, where we are, and to an extent, why we are. And this particular place-or bioregion- becomes what historian and theologian Thomas Berry called a primary referent. It becomes the lens through which we make decisions on behalf of our community. It provides a critical placement through which all of life is lived, including institutions, establishments, communities and neighborhoods.  

Berry identifies this concept of a primary referent through the story of when he was twelve years old his family moved to the edge of town. Down from the new home was a small creek and there across the creek was a meadow. He writes in his essay, “The Meadow Across the Creek": 

“It was an early afternoon in May when I first looked down over the scene and saw the meadow. The field was covered with lilies rising above the thick grass. A magic moment, this experience gave to my life something that seems to explain my life at a more profound level than almost any other experience I can remember.

It was not only the lilies. It was the singing of the crickets and the woodlands in the distance and the clouds in an otherwise clear sky. It was not something conscious that happened just then. I went on about my life as any young person might do. Perhaps it was not simply this moment that made such a deep impression upon me. Perhaps it was a sensitivity that was developed throughout my childhood. Yet, as the years pass, this moment returns to me, and whenever I think about my basic life attitude and the whole trend of my mind and the causes that I have given my efforts to, I seem to come back to this moment and the impact it has had on my feeling for what is real and worthwhile in life.”

This early experience, what Berry refers to as a primary referent, became his normative lens. Whatever preserved and enhanced this meadow in its natural, biodiverse cycles was good; what was opposed to this meadow or negated it was not good. His life orientation was that simple and pervasive. It applied in economics and political orientation as well as in education and religion and whatever.

The more a person is invited to be in the presence of, and reflect upon, the infinite number of interrelated activities and relationships occurring in our natural environments, the more mysterious it all becomes; the more meaning a person finds in the early flowering of the Indian Plum, the more awestruck a person might be in simply walking within and through the simple patch of Cheasty Greenspace's urban forest.  It is none of the majesty of Mt. Rainier or Mt. Olympus, none of the immensity of the Salish Sea; yet in the Cheasty woods, a greenspace that has been transformed into a greenPLACE, the magnificence of life as celebration and connection is manifested and witnessed. 

Space becomes place that has the capacity to be remembered and to evoke attention and care.

And so the slow and laborious work of changing the narrative of this particular stand of trees from one of separation into connection began. There was a deeply held hope that this land could be where children are. The place of children—where the play, where they inhabit, where they are—is one of the most potent indicators of how urban life is conceived and practiced. But there was also deep hope that as a result of coming alongside of these woods in solidarity, the children of our neighborhood would know this urban forest as their primary referent; that the interrelated health and well-being of this place would inform their own wellness and the general health of the city. Communion with the woods would be their own rewilding. 

And now, before the weather turns, the children know in what seasonal direction it is going because of signs in the forest.  They know when a red tailed hawk is about, as they’ve learned the signaling raucous calls of the crows; they then can turn their face upwards in time to witness the soaring, awe-inspiring flight and hear its exhilirating screech.  They know the unique sound of the wind in various trees. They get anxious if life gets too busy and they cannot escape into this local hinterland to play and be.  They removed blackberry and ivy.  And as they began to dig up the invasive roots, they began to plant their own.  Hundreds upon hundreds of trees have been planted alongside their sense of belonging. They now have feelings that spur action anticipating how governmental deregulation may impact the seasonal spring that flows through Cheasty’s snowberry meadow.  Mahatma Gandhi once said, “What we are doing to the forests of the world is but a mirror reflection of what we are doing to ourselves and to one another.”   

Because they know this place, because they now can identify so thoroughly with it, they know themselves and their web of interrelated relationships more fully. French mystic Simone Weil once said,

“To be rooted is perhaps the most important and least recognized need of the human soul.”

They are, where they are.  We are, where we are.  You are, where you are.

This embedded relationship with a wilderness place is where hope resides. From here is where the imagination springs. An imagination that sees the connection between the health of a place and the health of a person, of a people, of a neighborhood. Here we come to know again the patterns and rhythms of the natural world, foundational ways of being. An remembered vision for how the health of an urban forest participates and forms the health of its surrounding biosphere-its ecology, its biodiversity, of which humanity is a part, cracks the light of hope into these winter-solsticing days.   

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REFLECTION

What is your meadow experience?  Reflect on a place that perhaps is your primary referent. It would be a place that at one time provided a profound sense of awe and wonder, and in some significant way, formed who you are. You became apart of this place as much as it became a part of you.