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Ep.130 Radical Lives in Theatre: Embodied Eco-Feminism with Karen Malpede
20 Plays6 hours ago
What happens when activism, ecology, and art merge into one radical act of remembrance?
In this episode of Reconnect with Plant Wisdom, I sit down with playwright, author, and eco-feminist Karen Malpede to explore how theater becomes a living witness to humanity’s evolving relationship with nature. Together, we dive into the roots of eco-feminism, radical creativity, conscious death, and what it truly means to embody change.
Through her decades of work—intertwining ritual, activism, and performance—Karen reveals how storytelling can reawaken our ecological memory and call us back into relationship with Earth.
If you’ve ever wondered how art can transform consciousness or how to live in rhythm with the cycles of creation and loss, this episode will move you deeply.
What You’ll Learn About Eco-Feminism & Art
🌱 How eco-feminism bridges activism, art, and embodied awareness
🌱 The power of theater as witness, not protest
🌱 Why slowing down time can change perception and restore connection
🌱 How creative expression mirrors ecological regeneration
✨ Resources ✨
🌱 Expanded Show Notes
🌱 Karen Malpede’s memoir Last Radiance: Radical Lives, Ripe Deaths (Vine Leaves Press)
🌱 Naturally Conscious Community (NCC) — Join the Ecosystem)
👤 Guest Spotlight 👤
Karen Malpede is a groundbreaking playwright, director, and author whose work spans more than six decades at the forefront of political and ecofeminist theater. Her upcoming memoir, Last Radiance: Radical Lives, Bright Deaths (Vine Leaves Press, October 2025), is a powerful reflection on love, loss, and the enduring role of art in times of grief and transformation. Karen brings a rare and resonant voice to conversations about creativity, legacy, and the human spirit.
🔗 Connect & Explore More
🌿 Website
🌿 Contact
🌿 Shop Eco-Conscious Partners
Socials
📸 Instagram
📘 Facebook
💼 LinkedIn
▶️ YouTube
🎵 Credits
Opening + Closing music by @Cyberinga and Poinsettia
Recommended
Transcript
Introduction by Tigria Gartenia
00:00:00
Speaker
Hello, hello, hello everyone. Welcome back to another episode of Reconnect with Plant Wisdom. It's me, Tigria Gartenia. My guest today You know, when you watch a movie and you have, or maybe some of you have been able to experience in real life, but you have somebody that you sit down with and is being kind of interviewed, or maybe there's like a conversation happening in the kitchen with somebody who is just a piece of story of a whole like movement of a whole
00:00:34
Speaker
slice of of of history, that's what this conversation with Karen Malpede has been like. I mean, she is...
00:00:45
Speaker
what There's so much to be able to tell you that it was like we were going off and trying to follow tangents and then bringing them back in. And this is what it looks like to really be radical in the sense of both extreme or movement or bold type of perspective. And also radicalism, I am rooted as like the radical in that perspective. And it was just such an amazing conversation that I know that you're absolutely going to love. It took me forever to just come up with the title of this episode.
00:01:21
Speaker
because there is just so
Theater's Impact on Environmental Movement
00:01:22
Speaker
much in there. We talk about theater as as um as ah as not protest, but as witness in history. We talk about the environmental movement before climate change and how the theater and the arts have been a part of that. And most importantly, we really got into the true root of ecofeminism to the very birth of the word,
00:01:45
Speaker
because Karen actually is friends with the woman who coined it. So there is just so much in here. And I am so excited for you to listen and watch or whichever it is for this.
Episode Focus: Radical Lives in Theater, Embodied Ecofeminism
00:01:57
Speaker
And for you then to go check out Karen's work. So Without any further ado, this is episode 130, which finally came up with the title. It is, hold on, have to write, I wrote it down.
00:02:11
Speaker
Radical Lives in Theater, Embodied Ecofeminism. Welcome to Reconnect with Plant Wisdom. I'm your host, Tigria Gardenia, nature-inspired mentor, certified life coach, and the founder of the Naturally Conscious Community.
Ancient and Modern Plant Knowledge
00:02:27
Speaker
For over a decade, I've been known as a world ambassador for plant advocacy, working closely with plants to share their practical wisdom to help you consciously embody the elements of life that nourish your evolution.
00:02:38
Speaker
In this podcast, I delve into ancient and modern knowledge from biology to spirituality, about the wondrous ways of plants. Together, we'll explore how ecosystem thinking helps you overcome limiting beliefs, understand the true nature of relationships, and live an authentic, impactful life.
00:02:58
Speaker
Hello, Karen. It's so nice to have you here with us. Hello. And I should ask you how you pronounce your name correctly. Got to do that. No worries. The common thing that lots of people ask me, my name is Tigria.
00:03:13
Speaker
Tigrilla. Beautiful. Although I would say that most people just say Tigrilla, like especially in the American world. Tigrilla. Tigrilla. Which was a question I had for you. Is it like, is it Malpide or Malpidi or Malpide?
00:03:27
Speaker
In the United States, it's Malpide. In Italy, it's an Italian nickname, which means hard way to walk, like Oedipus. Right, Malpide, yeah. Malpide, yeah.
00:03:37
Speaker
Well, I guess that's the perfect introduction to kind of help people understand who is Karen Malpide. Yes, she chose a hard way to walk. Yes.
Karen Malpede's Life and Ecofeminism
00:03:49
Speaker
which is to be a eco-feminist, pacifist, political activist, playwright. um Yeah, it's been a good way to walk also. I like how you can condense it. When people ask me like who I am, i have to say, him and I ha and I give 30,000 different words. I love that you could just put it and condense it into that.
00:04:11
Speaker
I think that's just so fantastic. It's beautiful. I was so excited when I saw you when I saw your profile come up and where I was looking for, you know, new guests and I saw what you were up to. i was like, oh my goodness, I need to speak with this woman because besides the fact that I love theater all things theater on, you know, at every scale.
00:04:33
Speaker
But the combination of ecofeminism and theater, plus everything else that you've done, because you're an author and so many other pieces really caught my attention. Since we have a lot of people who don't necessarily know this term, how do you define ecofeminism?
Intersection of Ecology and Feminism
00:04:49
Speaker
Well, it's it's obviously the con not obviously, but just looking at the word ecofeminism, it's ecology and feminism. So it is women who are environmental activists, pacifists that comes with it, um and who see women as the nurturers, the the creators of life on earth, obviously, and and therefore those who need to protect it, oh set the example of how we protect the earth.
00:05:28
Speaker
I like that. Either way. yeah Yeah, I really like that, that definition, especially um recently, I came across somebody who was defining, for example, ecology as ah the sociology of nature, you know, like relationships in nature, basically.
00:05:44
Speaker
And then as I was, you know, how you play with words, and you start to kind of expand on definitions, and you're like, ecofeminism, ecology, feminism, the relationship of nature in feminism. And it really made me rethink about how ecofeminism is not, for first of all, it's not just about women. It's really about these relationships. It's all those same kind of um ideals that we stand for relating to looking at any being as the being that they are for who they are to being able to understand the different relationships and that encounters that's, you know, includes ah also your relationship with self, as you said, um and all these different parts. What got you into ecofeminism and how does it combine into your playwriting?
00:06:33
Speaker
A little history lesson. One of my oldest friends coined the term ecofeminism. She wrote a pamphlet in the nineteen eighty s called What is Ecofeminism?
00:06:44
Speaker
And in which she explained it's the connection between feminism and ecology. And in in the early 80s, 1983, 84, starting then, we did big political actions. There were two women's marches on the Pentagon.
00:07:02
Speaker
And we brought puppets and a lot of yarn and we wove the doors of the Pentagon shut with yarn. We planted a graveyard on the front steps.
00:07:15
Speaker
The Pentagon happens to be, perhaps appropriately, right next to Arlington National Cemetery, which is cemetery for the veterans. And so to get to the Pentagon, we walked through Arlington Cemetery, so right to the steps of the Pentagon, which caused all these deaths of the people who are who are buried there.
00:07:35
Speaker
And then in 1984, nineteen eighty for women bought, ah I didn't buy, but women other women bought a piece of land in upstate New York.
00:07:47
Speaker
And we had a women's peace encampment for the whole summer because there was an army base in upstate New York in seneca near Seneca Falls where the first women's rights convention was held in the 19th century.
00:08:00
Speaker
um We bought this land, we were camping out because the the plan was to ship nuclear weapons to Europe. from this space. And there was at the same time in England, Greenham Common, which was another encampment of women who were camped in a forest. I was there one day, absolutely magical English forest.
00:08:22
Speaker
They had these little tents where they lived. And they too, like we, spoke to the young soldiers who were guarding these weapons. We would spend our days outside the fence talking to the guys through the fence, young enlisted or drafted enlisted at that time, and talking to them about you know at the perils of nuclear war. I mean, this was This was part of the ah big worldwide anti-nuclear movement, which finally resulted in the the Soviet Union at that time, Gorbachev, signing a non-proliferation treaty with Ronald Reagan to halt the production of these weapons, because we have many more weapons than we need to destroy the whole world many times over. We don't need any more.
00:09:14
Speaker
Donald Trump abrogated this treaty. But it was in force for all these years. And it made a big difference. Yeah. And i i I love that type of, I'm going to use a silly term in a way, active activism in the sense of like really activism in that time was Okay, permit me for saying this, I hope it comes across what I'm trying to say, which is it was performance, not because it was performative, but it was about like, being visibly seen about being part of the show about being there and being witness, whether it's walking down.
00:09:53
Speaker
being more exciting than the other folks. Dancing, singing, using puppets. um So how just you know in one sense, having a very good time.
00:10:05
Speaker
In another sense, sort of winning people over by this attractive energy. and yeah which i um' I'm sorry. No, no, no. Go ahead. Go ahead. go ahead this scene This scene is written about in some detail in my book, but I will tell you what it is. So we walked in 1984, 83 or 84.
00:10:26
Speaker
yeah eighty three or eighty four yeah the date The date's right in the memoir, but I can't remember. From the Women's Peace Encampment. We were trying to walk to Seneca Falls, which was where in 1848, the first women's rights convention had been held by Elizabeth Cady Stanton. I'm bollocksing the names.
00:10:46
Speaker
um But the first women's rights convention had been held. So we we were walking there um and we walked through a town called Waterloo. So we were all women.
00:10:58
Speaker
and a lot of us were lesbian women. A lot of us were mothers. A lot of us were, we were all ages. We walked through the town of Waterloo and we were met on the bridge um by a huge mob of white men with guns.
00:11:17
Speaker
And they stopped us on the bridge. They did not want lessee commies, et cetera, et cetera, walking through their town. And so the women,
00:11:28
Speaker
sat down on the bridge, and the men were there with their guns. And one line of women stayed sitting facing the the men, and the other women formed a circle and debated what we should do.
00:11:43
Speaker
um I had my three-year-old with me, so I walked out to the crowd that was watching because that we had already been told that if anybody had children, their children would be taken from them and put in foster homes.
00:12:00
Speaker
ah But the women who were sitting on this in the circle decided they're not going anywhere. And so the women were arrested. and the men were let go. and The men were, yeah. um This was 1984.
00:12:15
Speaker
So one of the women I write, one of the people I write about in the book is Barbara Deming, who was a freedom rider. She spent a month in jail in the South because she was on one of the freedom buses trying to de- you know, desegregate the South.
00:12:32
Speaker
She was a pacifist, feminist, lesbian activist. And she also at that time had terminal cancer. And she was on the bridge and she was arrested with the women and she spent a week in jail. They they carted off all the women to a summer. So there was a school that wasn't in session and they turned the school into a prison, which I guess is, you know, says something about schools too. and And the women were held. Finally, they were released because we hadn't done anything. We were walking. You know, we hadn't broken any any law.
00:13:08
Speaker
um But Barbara, remember, in i record as she walked up the ramp to get into the flatbed truck that was taking the women to the prison, she had her fist in the air in the Black Power salute.
00:13:22
Speaker
um And then, you know, after that, after spending a week in jail and when she came out giving a number of interviews, because she was a well-known writer and and activist, she went home to her commune in Florida And not so long after that, she took herself off cancer medication.
00:13:45
Speaker
And she staged a daily ritual um called dancing for death, to death, toward death, dancing toward death. And every night the women in her commune would gather and sit in a circle and sing Aretha Franklin, sing all kinds of songs, play the drums.
00:14:04
Speaker
Barbara would dance naked a lot of the time in the middle of this circle. and she knew that she was as dancing toward death. And, and she wrote a letter to the rest of us, a goodbye letter, which we got, I got it after she died um from her lover.
00:14:23
Speaker
ah But it was, I have loved life so much and I've loved all of you so much. And, but ah I'm now it's time to die and I'm not afraid. And I, you know, love you. And,
00:14:36
Speaker
I quote the letter. I'm not quoting it verbatim here, but I quoted verbatim in the memoir. So that was one example of a conscious death. Um, not many people, and I'm not, I don't tell what, I don't tell people what to do medically. So I'm not telling anybody what to do.
00:14:54
Speaker
Not many people take themselves off chemotherapy, um, at the end. ah So she did, and her brother was a doctor who was overseeing her care, and he was horrified that she would do such a thing.
00:15:09
Speaker
But she, you know, she maintained her control. She was a willowy, she was very tall, and she had a very tiny voice. But she had the strength of, you know, a great tall tree in the forest that can bend this way and that way without breaking ever.
00:15:29
Speaker
She was an amazing woman and amazing, example for all of us. So she's one of the people I profile in the book. Yeah, you talk ah in in speaking at that that you bring you bring two different images to mind, which, you know, take me down two different rabbit holes, but that I think are so important.
00:15:46
Speaker
One is the aspect of which I'm going to circle back to which is exactly what you're talking about, about like living life on your own terms. And especially here in Dhammenhur, we would consider that to be somebody who's hosting the Holy Grail, because for us, what we've discovered is that the Grail is disease, but not disease like illness, but it's illness towards evolution, evolutionary disease, the ability for you to to use ah illness as an evolutionary step.
00:16:15
Speaker
It doesn't matter what the quote unquote outcome is, especially since we will all die at some point. The point more of how you live it and how it becomes a part of your life.
00:16:26
Speaker
And whether that, you know, leads you towards quote unquote cure or whether that leads to further illness doesn't really matter because that's not the point. The point is how do you connect in it as part of illness, as part of your evolution and what it means to evolve and what can you learn and experience from it?
00:16:43
Speaker
So I'm definitely going to come back into that conversation.
Role in Ecosystem and Community Importance
00:16:46
Speaker
The other side of it is, I think, another beautiful piece, which goes to the ecofeminism that we were just talking about it, which is, you know, she saw her role ah in the ecosystem, right? The role of...
00:16:58
Speaker
inspire inspiration of catalyst of movement of all these different pieces. And so, like you said, here is this beautiful, lovely tree that is a part, an anchored part of our community who is showing the way, like the way you live life, which isn't about, you know, sitting in a bed only or not, you know, taking these meds, because when you reach a point when you know that that's not really your path anymore,
00:17:26
Speaker
But it's more of I'm going to be here present living this life and showing you that, you know, this is my piece. This is the the ecosystem role that I play for you.
00:17:40
Speaker
And I want to do this with you so that we can then, you know, each one of us is going to take and and continue to build out this ecosystem in the way that there are. And I think that that's such an important piece also of ecofeminism is that element of community, that element of creating those bonds, like you said, you know,
00:18:01
Speaker
We're gonna walk and then we're gonna sit together and then we're gonna sit in a circle and we're gonna talk about what to do while there's one line that holds the line. Like all these different elements that are such minute details that I feel like are lost to so many people. That is the true heart of the eco-feminism movement.
00:18:21
Speaker
Barbara says, and this is also in the memoir, that the week that the women spent in prison they continued to sit in a circle and debate what they were going to do.
00:18:31
Speaker
And she says that this slowing down of time so that every woman got to say what she felt and thought and no decisions were made until everyone was heard, this was witnessed by the police who were guarding them.
00:18:47
Speaker
And she believed that this had an impact on the police who had never seen such a thing before. The slowing down of time so that we can really feel where we are in the moment, know, is a piece of all the people I write about and the theater that they made as well.
00:19:06
Speaker
um oh You know, because we're trying to change perception. And in order to change perception, we also have to change the way we are in time, right?
00:19:19
Speaker
The way we act. And so my husband, George Barteneff, was a great actor, And he, his story is told in the book.
Transformative Power of Theater
00:19:28
Speaker
And also Julian Beck, who was a great actor producer, George was too, a great actor producer.
00:19:33
Speaker
These are amazing people. um And they each had a particular style of transformational acting so that in the second to the last play that George did of mine is called Other Than We.
00:19:48
Speaker
And he plays a an elderly linguist after the deluge, a worldwide ecological catastrophe, when the survivors are living in a dome and they're under extreme surveillance.
00:20:03
Speaker
And these four people escape from the dome out into the world that is newly regenerating, but is very hot, is barely livable, but they know a place that's been seeded. And so they go there.
00:20:17
Speaker
and George played the character based on a friend of ours named Noam cho noam Chomsky. Noam is, you know, world famous. um So George played an elderly linguist in the play. And at the end of the play, he loses language and he turns into an owl in full view of the audience.
00:20:38
Speaker
The owl is the bird of wisdom. And the newbies, these little creatures who were born of the women who escaped, have been engineered by them to be able to live in this harsh environment. So they have opposable thumbs, but they have hooves. They can run. They can live without water for a long time. They can extend they can withstand extreme temperature differences, and they have language.
00:21:05
Speaker
And the key is their head and their hearts are connected, so they cannot violate the head-heart connection. they're They're incapable of mass murder. They're incapable of cruelty. They're incapable of all these things that are driving us all crazy and are holding us back, right? So- so i I'm so i I'm like, my mind is already spinning with 1000 different pieces. Because as you were, even before you got to the part of the ending of that, you know, of this play, I'm already thinking, this is what it means to like, live your true nature, like to really live in that connection piece.
00:21:51
Speaker
As you were telling all of these different stories for me, because sometimes I think, I worry that the people who listen to the podcast sometimes are, you know, like, I'm like, oh, are they wondering when we're going to specifically talk about a plant?
00:22:03
Speaker
But it's so much more than that. And that's what I think is finally starting to come across to people, which is this is about when we start to heal that wound of separation, which is when we start to recognize ourselves of being of nature.
00:22:17
Speaker
And I think being a playwright and, you know, an author like you are, I really would love to hear more about because it feels like you express that through that art.
00:22:28
Speaker
Right. So you're able to give people that imagery of imagine yourself turn into an owl. Imagine yourself live in that heart, mind connection. here's what it could look like when an embodied person does this type of thing, you know, and I feel like that is why I talk so much about the arts because I feel like it's what allows us to experience a new paradigm to, to kind of step out of the rules that society has built for us today and embody that. And that's the true nature. It's a great word word in your body, and embodying yourself,
00:23:08
Speaker
through your body, which of course is what actors do. They use their bodies, their voices and their bodies to show us the way. And George, who is a great transformational actor, not only turned into an owl, but in an earlier play we did together, he is a geneticist who's swallowed by a rare beast, rare the last living kind of her her species.
00:23:34
Speaker
She swallows him. he plays a scene in the belly of the beast. The beast separates. We can see inside her belly. There's a love scene played. And he comes out of her mouth and he's transformed into an ecologist.
00:23:48
Speaker
And at the end of this play, he goes through the ladder of evolution. So he starts as a praying mantis and he climbs through the ladder of evolution, a lion, a bird, and he turns out as a man, but he has to go through.
00:24:06
Speaker
all of the all of the evolutionary ladder. And then he lies down on the stage next to this big beast and in comes a baby beast who has a human face but is all covered in fur and paws and things.
00:24:20
Speaker
And she lies down next to them. and And see, this is the kind of it's the reawakening also of our memories. And I think that that, you know, like you said, going through all these stages of evolution is not a I'm better, but more of remember where you came from, remember who you are remember the parts of yourself so that as you step in to that human form, remember.
00:24:43
Speaker
which most humans unfortunately have forgotten their origins. Most of us live our lives completely disconnected without understanding where it is that we come from and the importance of where we come from.
00:24:54
Speaker
Because it's not just a Oh, ah a mental game. It is like we said earlier, an embodied game. Like, I am a very different person when i feel myself connected to the lion in me, to, you know, the praying mantis in me to, it's funny, I just took a picture of a praying mantis that was beautifully hanging out next to one of the buildings here. But, um you know, when...
00:25:18
Speaker
When i'm I am each one of these and I can feel that kinship, that that reciprocity, that that feeling of connection when I see this animal and I'm like, oh, we are actually of the same. We're of that same fabric.
00:25:33
Speaker
um You in that form and I in this form. I think it's so important. And that's what I love about the kinds of art that you create because you give the chance for ah person to not just, you know,
00:25:46
Speaker
to to to see it and to feel it through the emotions that somebody else, in this case, an actor, in case your husband, like what they put out is a field that people can then feel and experience.
00:25:59
Speaker
How did you get into playwriting? Like what, what was it that brought you there? i was going to tell an earlier story and then I'll answer that question as well as I can. I rode horses a, as a kid.
00:26:12
Speaker
And I spent every minute I could at the stable. I wasn't always riding. I was cleaning horses, mucking out stalls, you know doing all the stuff that you have to do. Horses are high maintenance.
00:26:23
Speaker
They're wonderful animals, beautiful, intelligent, kind. So ah I was at the horse farm of the people who owned the stable, who happened to be a gay male couple.
00:26:36
Speaker
And they had a house in the country. And that's where they retired the horses who had been at the school horses at the stable. So it was like sunset and it was almost dinner time.
00:26:49
Speaker
And I was standing at the pasture and looking at these horses being just so at peace, at ease, grazing, little foals, you know, everybody hanging out together.
00:27:01
Speaker
And I knew one of the horses named Apache because I had ridden him and he had been retired now. And I knew he was a cool horse and he wouldn't get upset if I got on him. So I walked into the pasture and i jumped onto Apache, who was pretty small.
00:27:15
Speaker
I could pull myself up. And of course, everybody scattered because I had disrupted the whole scene. I was this alien human. I walked into the pasture. What does she want? And I just sat on his back while the community regrouped around us.
00:27:31
Speaker
And then little foals would come and nibble my toes. And I i was just taken in. as First, I was an alien, but then i was part of the group, right?
00:27:42
Speaker
And that was a formative experience for me. I felt i had transcended my human form, you know, and and been welcomed you know you know in in a community that was you know completely nature.
00:27:58
Speaker
And then I walked into the house because of dinner time, and I looked at the people sitting around the table and I thought, who are these aliens?
00:28:08
Speaker
I know that feeling. and And then to make it worse, we were served lamb chops and there had been a lamb outside the house called lamby and we were eating this little lamb.
00:28:21
Speaker
And at that point, it took me ah till I got left home to become a vegetarian. But at that point I knew i had to stop eating meat. And as soon as I could take care of, you know, lived at home and we had meat for every meal. So it was hard to stop meat.
00:28:35
Speaker
As soon as i went to college, I could become a vegetarian.
00:28:40
Speaker
Interesting. Yeah, that that I know that feeling of like coming into a group and saying, who are these aliens? Like after you've been in deep communion, I went to the mountains on Sunday and I was walking with a group and um my friend is ah a woods guide. One of my my closest friends here is ah is a woods guy. He is wonderful. And I love going on walks with him because he really takes you to these gorgeous areas here at the foothills of the Alps that we are. yeah But there was a woman in the group very nice in general. Like I remember kept thinking in another context, I would love to hang out with this woman, but in that context, she just wouldn't stop talking and she just had to know everything. And I'm like, can you,
00:29:22
Speaker
just So I ended up like walking in front of everybody else. And there was another woman in the group who was like perfect because, you know, she would, we would interact and then she would go off and like wander and she, you but especially because it's mushroom season here. So they just kept looking for mushrooms and it, and it was in such a greedy, I want, I want mushrooms way. It felt so foreign. And I was like, so, yeah,
00:29:50
Speaker
So there was two of us, one that was way in the back and me who was way in the front. And we were like, oh, like this is home. Can we just enjoy being home? And then this other woman who just kept interrupting.
00:30:04
Speaker
So I know that feeling of like, oh, my gosh, who are these alien humans? they let it off Yeah. And I think, you know, it starts in childhood. um Who you're going to become, you have no idea who you're going to become.
00:30:19
Speaker
but the seeds are planted in you in childhood. So my husband, George, was a hidden child in Nazi Germany. He was born 10 days before Hitler came to power.
00:30:30
Speaker
He was from a mixed marriage. His mother was from a very wealthy um Huguenot family in Berlin, and his father was a Russian Jewish emigrate to Germany.
00:30:42
Speaker
And his mother and his father ran a dance company. Anyway, This story is told in detail in the book, but fast forward. In 1938, the kids, George and his brother, were were sent to a Steiner school in Bavaria to get them as far away from Berlin as possible.
00:31:03
Speaker
And because they they couldn't leave the country because they George didn't have a birth certificate, he didn't have papers. and the family the German family would eventually get, the next year they would get the kids out because they could pull a lot of strings.
00:31:17
Speaker
But now they wanted them just away, you know. And so the Steiner School, if you know Rudolf Steiner, they held their classes outside in the woods, in the Bavarian Alps.
00:31:29
Speaker
And every holiday was celebrated with a festival. And George, he writes, I quote him in the book, he says, i would never become an actor ah without going to the Steiner School because every holiday was celebrated with a festival and he learned the importance of of play and of of celebrating nature.
00:31:50
Speaker
He started the Halloween parade in New York City, which is now this massive, huge public event because he wanted he wanted to create public rituals. And he started Theater for the New City, which was a theater that became a home for all the underground avant-garde artists of the eighties and nineties, and it was seventies, eighties and nineties.
00:32:14
Speaker
So it was, again, his formative experience of having, holding classes in the Alps, in the woods, in in Bavaria, in the Alps too, um that that made him an eco-conscious actor as a child.
00:32:30
Speaker
And ah he produced for many years an eco-festival This was before climate change became known. the The early eco movement, ecology movement, ah started, well, it started with it Scott and and, what's her name, Nearing, and the Nearing's who began the back to the land movement and people who were trying to live more simply and closer to nature.
00:32:58
Speaker
And this was also part of the ah Anti-war movement, part of the alternative, all the alternative movements that were going on in the 60s, 70s, and 80s, the civil rights movement, ah the feminist movement. We all we all had our also our roots in let's live more simply, let's live more connected to the land, let's get out of capitalism, let's find another way.
00:33:27
Speaker
I i ah buzz mind. People don't know this history. They don't. They think that all of this ecology talk, like you said, I'm glad that you said you know all so much of this started before you know before climate change. It's not just about, as a matter of fact, climate change to a certain extent, I know, bear with me for a second so I can explain it, you know,
00:33:56
Speaker
climate change really sometimes can be such a huge distraction because that is the, that is just the symptom a, of a core problem of disconnection that then pushes us into behaviors, regardless of whether we're talking about just things that heat up the, you know, that, that heat up the the temperature and all these other pieces.
00:34:18
Speaker
But it is so we're so disconnected that we don't even know how to best understand a changing climate. We don't know what is you know, acceptable change because the climate's always changing. But we don't understand how to address this because we keep getting stuck in these numbers without going deeper into this embodiment, we keep saying, the embodiment as ah as as a person
Ecology and Conscious Dying
00:34:43
Speaker
of nature. And so sometimes it is good to go back to the origins that ecology has existed before we ever got to climate change.
00:34:50
Speaker
Yeah. It's existed. i mean Living with the land, living off the land was the way we came into being, and we all lived off the land. And we still live off the land, even if we're eating food that comes to us in cans or processed foods, we still are living off the land.
00:35:07
Speaker
Absolutely. Yeah, we're feeling this. and and true you know What are we eating? um Yeah. Yeah. yeah Yeah, and these are those craziness of all those pieces. And I think you brought in another element that I feel like is so important in this, which is that element of ritual and that element of celebration in all its forms. I know that, for example, in the memoir, you talk about, you know, the death of your husband and how important it is to understand how people die to to connect into that cycle, because is it is a cycle of life.
00:35:40
Speaker
I mean, it's part of our process. It's something kind of similar to what we were talking about the story at the very beginning, I come off of, you know, chemotherapy medicine, because I know that my end is here. And I want to have my ending in my terms.
00:35:53
Speaker
I had one of my closest friends um last year do the same thing. She chose at some point for she had a ah very strong aggressive form of cancer.
00:36:05
Speaker
And at some point they were like, well, the only way would be for you to keep doing rounds of chemotherapy then take three months to like recover from that. And then by that time, you have to start again. And she was like, you know what?
00:36:16
Speaker
No, like, i'm I'm done with that cycle. I want to really just enjoy this period of my life. And it was one of the most beautiful experiences for all of us to be able to witness and be a part of her life in this very conscious transition to the fact that I remember the day before she died, i had gone to visit her And we were sitting and chatting and she would like space out for a second.
00:36:42
Speaker
And I was like, I would have to wait until she would come back. She came back and we were talking and she's like, did you notice that I keep kind of going away? And I was like, yeah, where are you going? And he's like, Nirvana.
00:36:54
Speaker
You know, like, like she was very adamant of like, this is this was her connection. And she felt it like she's like, it's it's so close now. Like she was right there getting ready for this.
00:37:06
Speaker
It was such a beautiful experience. I'd love to hear more about how you bring that into the memoir and your own experiences ah and how this has become a ah part, a big part of the of your life.
00:37:18
Speaker
So my father had cancer and he he was very young. He was 44 when he died. And this was in, uh, he died in, in, 1969. Um, so chemotherapy was really aggressive and, and really toxic.
00:37:37
Speaker
And he, he, he was given every, he, he went to a he went to a cancer center, you know, where they had her and they just nuked him. And it was unclear to me whether.
00:37:50
Speaker
he was an an experimental creature or they were, they this cancer could not be cured. We know that we knew that. So he he was kept alive for three years, but two of those years were absolute agony.
00:38:04
Speaker
And he was afraid to die and my mother didn't want him to die, et cetera, et cetera. So I watched that as a child and I've written about it in two plays. um And ah i I thought it was terrible.
00:38:20
Speaker
I didn't, you know, that I thought he was being tortured by the medical establishment, um which turned me against Western medicine. Not that I'm told, you know, but pretty much what's another way, can we cure this in some other way than penicillin or, you know, can we, but you know, I'm not, you know, okay. So then in my forties, one of my closest friends, Julian Beck, who founded the Living Theater, which is very well known in Italy,
00:38:50
Speaker
because they they lived in Italy for a number of years as an itinerant theater. ah They're one of the best known and most influential experimental theaters of the 60s and 70s.
00:39:02
Speaker
They became friends of mine, Judith Molina and Julian back when I published my first book. And so in the 80s, Julian, who was 60, only 60, and kind of at the peak of his artistic life, was also dying of cancer.
00:39:18
Speaker
And he did not take himself off medication. In fact, he was fed intravenously because he could no longer digest food for a year. 12 hours a day, he would be hooked to the feeding machine. 12 hours a day, he would not be.
00:39:35
Speaker
But he he kept working this whole time. He was writing. He was acting. He was acting in some big Hollywood movies. He was in the Cotton Club, He was in Poltergeist 2.
00:39:47
Speaker
He's the evil guy in Poltergeist 2. He was in Miami Vice. He played a criminal in Miami Vice. This is the most pacifist, the most nonviolent pacifist I've ever met in my life.
00:39:58
Speaker
So at the very end of his life, he was going to go, he had done two Beckett plays, a Beckett play in in New York and at La Mama. And my husband, George, who I didn't know yet, was also in another Beckett play that was done on the same bill.
00:40:13
Speaker
and they were going to Europe to tour. And then he took himself off the feeding tube. To do this tour, he said, touring will increase my appetite. Well, he knew somewhere he was that he couldn't digest, but he didn't want to be bothered on tour with his feeding tube.
00:40:35
Speaker
So they they went to Munich. They were supposed to go to Venice, but he was too ill, and they flew back. And then he was in hospital. He died in in um Mount Sinai Hospital.
00:40:50
Speaker
But um he kept writing up until the very last day of his life, really. So he wrote a book of poems at the very end of his life, which Judith said um the book is about the struggle between the poet and death.
00:41:08
Speaker
ten And so so he was He was conscious, conscious dying again. And he also understood the importance of community. So we would gather in his hospital room every day.
00:41:21
Speaker
People would sing, people would chant, people would bring crystals, people would bring flowers, they would bring potions of all sorts. Allen Ginsberg came in. There's a funny story in my book about Allen. And I was in the room with Julian and Allen.
00:41:35
Speaker
What happened? You have to read the book, but it's a very funny story. Um, And so there was that death. And I introduced Julian to Barbara. They were both dying at the same time.
00:41:48
Speaker
They both chose different ways, but in the sense they were the same way. They wanted to be surrounded by community. And they said that. And ah they ah he took himself off the feeding tube finally, and she took herself off the the chemotherapy.
00:42:05
Speaker
So that was really, that was when I was 40. forty And I, during this time, I had a kind of mad affair with one of the people who came to visit Julian, who was an acupuncturist, a gorgeous half Algerian, half French acupuncturist.
00:42:23
Speaker
And, um, and that, so fast forward a few years and I write a play called us, which uses all of this stuff that I've been telling you.
00:42:35
Speaker
So there are two actors, a man and a woman who play six characters. They play themselves and their parents as lovers in 11 scenes of psychosexual dynamics.
00:42:48
Speaker
I just reread this play yesterday and I was shocked. I mean, it's it's it's the most daring play I think I've ever, certainly sexually most daring. It's totally wild.
00:42:59
Speaker
it's it's I loved it. I loved to rereading it. So this play is dedicated to Julian. and to Jean Genet, who was a friend of Julian's and a playwright I much admired, although I didn't know him.
00:43:12
Speaker
um And they had both just died. And Judith Molina, Julian's partner, directed the play at Theatre for the New City, which was the theater that George co-founded.
00:43:26
Speaker
And he was in it, George was in it. So that's how I met George. doing it He was doing 11 scenes of psychosexual dynamics And he was beautiful in this play.
00:43:38
Speaker
um And that's how we met. Wow. Just so. in a way, cancer brought me to, gave me my my creative insights, cancer and horses, horses and, you know, nature and, and cancer, which is sort of anti-nature, right?
00:44:00
Speaker
Right. gave me you know, this this dialectic that I'm still working with, you know, all the how do we generate life and what are the destructive forces that keep us from doing that.
00:44:14
Speaker
And speaking of that, you've also had i mean, you've you've also written plays about extreme weather, like didn't you have a play that was connected to the Paris Climate Conference, extreme weather, which is spelled w h e t h e r Right.
00:44:27
Speaker
yeah And it's based on the is was inspired by the story of James
Art and Climate Activism
00:44:33
Speaker
Hansen. Jim is one of the foremost climate scientists in the world. And he was the one who went to Congress in 1988.
00:44:41
Speaker
And he said, oh you know, everybody knew that global warming could happen. He said, it's happening. The the temperature's going up. We have found, we have tracked So you have to do this, this, this.
00:44:53
Speaker
And Congress said, ha we don't believe any of this. You know, they they just blew him off. He's still working, he's still writing. he he His predictions are, um people call him too extreme.
00:45:08
Speaker
On the other hand, everything he predicts comes true. He's a major, he's one of the foremost climate scientists in the world. And he was censored by the Obama administration.
00:45:20
Speaker
And so he resigned from the government. They wouldn't publish his press, with they his they wouldn't publish his results. because his results were showing, you know. So he resigned from the government so that he could sue the government on behalf of the next generation. So he joined, his granddaughter was part of the suit. it' still working its way through the courts. The children brought a lawsuit that you're stealing our future.
00:45:47
Speaker
o And anyway, my play was based on Jim. Jim's story and also the story of Jennifer Francis, who's another major climate scientist, meaning I learned, I read a lot of climate science, like Greta Thunberg, I educated myself in climate science. She's, you know she's, she really did.
00:46:08
Speaker
And, and both Jim and Jennifer loved the play. We did it three times. We took it it, it never got to Broadway because the censorship is, no completely know, know,
00:46:23
Speaker
um money and power. yeah so But we did take it to the paris Paris Climate Conference and we performed it in English and French four times in Paris. as part of There was an art cop, which was artist festival that that was around the Paris Climate Conference.
00:46:44
Speaker
We stayed in the hostel with um the civilian people the civilian activists from all over, um the Native Americans and the tribal leaders from all over the world.
00:47:01
Speaker
And it was because of them, it was because of the civic society people who came to Paris that the Paris Climate Conference, they were going to say, we have to limit two degrees of warning.
00:47:14
Speaker
But because we we chanted to stay alive. and they changed the agreement to 1.5 temperature rise. Of course, we've blown through that.
00:47:27
Speaker
blown through it totally. And, and, but this is another example of, again, how the arts and alternative ways of connecting into this, you know, into this information, like you said, like you had to digest so much climate data in order to be able to create this play.
00:47:47
Speaker
And yet the play cuts through that need for so many people, it gives them a I'm sorry. Jim Hansen is on our website. You can go visit this.
00:47:58
Speaker
Jim Hansen spoke to the audience after opening night and then he's interviewed me he says um this play could reach a lot of people. It's much more interesting. Frankly, the the documentaries are just not very interesting. He says this play, you know, it didn't reach a lot of people because we never got it off cross Broadway because of the the financial censorship.
00:48:26
Speaker
Right, right. But like he said, this is the kind of thing that cuts and touches through people. I went i was in Broadway a few months ago and the only, i'm I'm a huge, like I said, love theater in all its forms, ended up only seeing one play, which was Redwood. And I don't know if you've heard of Redwood. It was produced it was produced by Idina Mandel, which is from, she was you know the original cast of Rent and the original cast of Wicked.
00:48:52
Speaker
And it's basically this this the whole set is a redwood tree. It's a giant redwood tree in the middle. And the entire story revolves around this woman who ends up kind of escaping her life and and just drives off from i don't remember where and ends up in the redwoods, in the redwood forest in California, and finds this giant redwood tree. i think the name of the tree is Luna in the end.
00:49:21
Speaker
And when she's there, kind of like in her lost state and just kind of in awe of this beautiful being in front of her, these two scientists that are connected, that are kind of that have been working in the Redwood Forest and that are very connected to this tree, end up coming into the scene. So the only, in reality, there's only four actors in the entire musical, right?
00:49:43
Speaker
And it all and actually really five because there's four human actors. And then there's Luna, who's in the middle of this. And it was wonderful to see ah a Broadway play in the Netherlander. So, you know, we're talking about like real kind of perspective to finally be about.
00:50:06
Speaker
a tree, like really this tree was the center point. Of course it had to be Idina Mandel who did this because you know, she's, but he still. I have never heard of this.
00:50:17
Speaker
And partly it's because I've been writing the memoir and I've been out, haven't been watching the theater, but I have a close young friend in his thirties who is is trying to get a climate change play on Broadway.
00:50:34
Speaker
He's producing a climate festival. He calls it the sixth fest after the sixth extinction. And he, I don't think he's ever heard of this play. Yeah. It closed.
00:50:45
Speaker
yeah It closed, I think in either May or June, but because, um but it was, it was, and it was a spark. It was something, it was a door that opened into it.
00:50:57
Speaker
Of course it had to have an element of humanity. You know, it was her grief and all these things, but there's a few scenes because most of the scenes are because, um And it's it's a very simple set to a certain extent because it's mostly a video projection. But the tree has all these different aspects. Literally, it's just the trunk the trunk of the tree is the middle of the stage and that's what everything is. And then they have these harnesses, which they go up as if they're going up into the canopy.
00:51:24
Speaker
and to live you know very It's um based on the life of Julia Butterfly Hill, who lived in this tree, Luna, for two years. yeah And so it's based on that principle.
00:51:34
Speaker
And I was just so excited that again, here is this tree getting center billing and you know, is it the best play in the world? No. Is, you know, are there things that I was like, they should have hired me. I would have had them do this. Isn't this differently because you know, if the relation to really make the relationship with Luna more, you know, real, but it's an opening It's an opening to get these types of conversations. It didn't go that much into climate, but it did because it had to.
00:52:06
Speaker
I mean, the Redwoods are getting lost, so you you can't ignore it and pretend it doesn't exist. There was logging considerations that happened so you could hear the loggers in the background.
00:52:16
Speaker
There's all kinds of things of these topics. And I was just so happy to see that we're finally starting to kind of bring these harder these these current harder topics, because that's what the theater has always done.
00:52:30
Speaker
i mean, from Virginia, from from Who's Afraid of Virginia Woolf to, you know, so but all so many. From the Greek, yes. Yeah. So, so it was really, really, really exciting to see that piece. And I guess that's another area of environmental justice, right? To use that voice and use that platform to really bring to light things that maybe people will not watch on the news, but they will watch if they go into a theater to experience it. Yes.
00:52:59
Speaker
Yes. So, so you know you can't imagine having poetry without nature. i asked I asked this question in one of my plays because ah said, you know, um will there be birds if when the when the world, it's other than we, that takes place after the climate disaster?
00:53:20
Speaker
you know, and they've lost the ability to speak in metaphor. And when they escape from the dome where they're all being captured and fed artificial air and fed, know, it's a whole controlled environment.
00:53:32
Speaker
And they escape out into the denuded, but but just recovering world, their language changes as well. And they begin to speak more poetically and deeper about themselves and everyone because they have nature metaphors.
00:53:48
Speaker
again. Yeah. and And we need this. I mean, it's it's this is these are new topics. I mean, Ursula Le Guin has been, you know, writing from the 1960s and seventy s about these, you know, topics. That's the early ecofeminist movement. She was an early and Octavia Butler to the great black writer who was writing climate change novels, you know, way back in the you know, which are now totally prescient.
00:54:15
Speaker
Yeah. ah we're totally pressing are now coming to to reality. Yeah, I know. And and i and that's my hope. We always known this, you know, right from the very get go.
00:54:27
Speaker
And, you know, one reason we are running off of fossil fuels is when when when the Industrial Revolution started in England, the power was hydro, was water, was water wheels.
00:54:43
Speaker
And because of that, it was free. And it was non-centralized. And the, um the, the, the businessmen, I don't know how to call them.
00:54:56
Speaker
Couldn't control the workers because everybody could have a mill. Everybody could turn their spinning wheel using hydroelectric power. So they wanted to centralize the power source.
00:55:07
Speaker
Coal. Coal became, because with coal, you can also control the workers. Right. They live right there. You know, so that that's, you know, started it.
00:55:19
Speaker
And of course we could have powered the whole world off of hydroelectric and solar power. You know, but ah we have a mill right down the street that's being restored for exactly those reasons. I mean, there's so many pieces. person from Power are available to everyone.
00:55:37
Speaker
And exactly you can't create a working class if everybody is in control of their own labor. so Where do you see, i mean, as you look at what the modern and as we start to wrap things up, as you look at kind of the modern, um I would say, theater scene from whatever it is that you've seen. I had somebody contact me from New York that um he was really trying to figure out how to create a play connected to plants.
00:56:05
Speaker
but he was like wanted to do it from the embodiment of a plant. And he was struggling, obviously, to not anthropomorphize, to not also seem like he's kind of making fun of the plants.
00:56:18
Speaker
it Could it be as easy as like being on stage and
Plant Agency and Theater
00:56:22
Speaker
just being? you know how do you how do you represent sessile-ness? And there's really interesting movements. And i've I've read a lot of papers that are kind of trying to understand the whole, thisxi this entire movement. I know that, for example, Estado Vegetal, which was a play that was written about, you know, being being an embodied plant. it was really interesting to see how do you do it.
00:56:46
Speaker
Because of course, we all have these notions of movement ah that are very different from what that perspective is. And there are people who are trying to show plant agency on the stage in art and through that.
00:57:01
Speaker
Where do you see kind of the ecofeminism, but also just ecology in general movement on in the the creative arts, specifically in playwriting? Where do you see that going?
00:57:14
Speaker
Well, it can go in any number of directions. um It depends on the creator. I work with language. I write poetic plays. So you know I also work with a lot of movement.
00:57:28
Speaker
And I told you about some of George's. George was a transformational actor. So he could transform into anything. um And that notion of transformation is really important. So when he he went from old linguist owl in front of the audience, they didn't know how it was done.
00:57:48
Speaker
And it was so beautiful. There are photos of it on our website, lots of them. um You know, there's that, being a transformational actor and working with poetic language, which was our thing. That's what we did.
00:58:02
Speaker
we we Our theater was based on those two. you know, we were an activist, non-violent theater, poetic and transformational, sort of showing change.
00:58:17
Speaker
You know, one can only really talk about their own aesthetic because everybody, you know, go for it, do whatever, you know. Go for it in whatever way you can. But I did want to bring up the Bread and Puppet Theater, which George was very good friends with Peter Schumann. and I've got come to be ah know Peter a lot more since we scattered George's ashes in the Bread and Puppet Memorial Grove in the Northeast Kingdom and in Northern Vermont, which is this stand of pine trees
00:58:50
Speaker
Talk about trunks. So they go way up and then up there, 50 feet is the canopy. And this is the most embodied place. This has the memorial grove, has memorials to so many of our friends, Judith Molina, Grace Paley, Joel Covell, who was an eco writer, on and on and on. every people have And so that's where I scattered George's ashes and he has his own tree.
00:59:20
Speaker
and his photo is nailed to his the tree. And so is the hat that he wore in several plays, nailed to the tree, it's an Irish cap. And you know I say in the memoir, George would have wanted to be a tree.
00:59:36
Speaker
George was a tree hugger. We would go into into Fort Greene Park, which is our local park, but it was our local park was designed by Walt Whitman. and Olmstead, the great park designer of Central Park, et cetera. And it has it has huge old elms that were are from the previous century, 100-year-old elms.
00:59:57
Speaker
And George would go up the hill and just throw his arms around a tree and just stand there hugging the tree. you know he was an you know he was an eca He was an ecologist. so So the fact that he has, and in this grove,
01:00:14
Speaker
You can feel the spirits of the people who are there. And I kind of ill write about this in the book. This grove has been embodied with the spirits of the nature lovers who are memorialized there.
01:00:32
Speaker
And it's a really, and even the young people who come to do apprentices with the Bread and Puppet Theater, who didn't know any of these people, they say, oh yeah, the grove. The growth is so magical. You can feel everybody's spirit there.
01:00:46
Speaker
And it's true. You can. i mean, whatever you believe. thank no
01:00:55
Speaker
I love this so much. George used to say, nature is my God. That's a quote of his. I know that feeling so well. Like that's, that's, you know, yeah the core of it, right? That's that is where I mean, there are those that go into a physical ah location, like a church and something to, you know, they need this man made structure to commune with God, but for many of us,
01:01:24
Speaker
That sense of God, what is that divine connection is in the natural world. that That's it. Every time I write the word dog, I mistype it and it comes out. god and And then I have to go back and correct it. But, you know, I love it.
01:01:43
Speaker
There you are. Yeah. and Karen, this has been such a wonderful, rich, enriching conversation. are there any last words besides the fact, oh, wait, wait, wait, before that, tell us, because tell us the name of the book and of your memoir and when it is going to come out, because I know that it's coming out around the time that we publish this episode. It's called Last Radiance.
01:02:08
Speaker
Radical Lives, Bright Deaths, that's the subtitle, but Last Radiance is enough to get you to order it. If you type that into your search, it will be available. It's Fine Leaves Press, which is an nice eco name.
Karen's Memoir and Anthology Announcement
01:02:22
Speaker
It's a European, it's based in Europe, um but you can get the books from any bookseller or you can get them directly from Fine Leaves Press.
01:02:31
Speaker
That will be out and at the same time, My anthology of plays, which are written about in the memoir, so the two books really go together, is coming out the same day.
01:02:43
Speaker
And that's from Laertes Press, which is a small press in in this and the United States. And we will make sure that we put you know your website and the book titles and everything into the description so that people can reach you.
01:03:00
Speaker
Karen, I am just so appreciative of this conversation and really, honestly, from the from the depths of my ecofeminism heart, I am appreciative of everything you've done your entire, not just career, but the way that you've lived your life and the example that you've been able to share with others. And thank you so much for that. Because I think as a person who was radically changed in around her 30s, beginning of her 30s, thanks to reentering into this creative world and really seeing that there's an entirely new different way of living.
01:03:35
Speaker
I playwrights, you know, the storytellers, the musicians, the artists, like i bow down to you for continuing to live that art every single day.
01:03:47
Speaker
So thank you so much for being on the podcast. Thank you so much for having me. And I'm so glad to know you. It's been great to talk with you, and I hope we continue our conversation one way or another.
01:03:59
Speaker
I'll show up on your doorstep with my laundry. Yes, exactly. Yes, you can come anytime and I'll do a load of laundry for you. That's an inside joke based on the conversation we had at the beginning. so But if you want to know more, for all of you that are watching and listening, please make sure you like and you subscribe. You go visit Karen's website also.
01:04:19
Speaker
And if you want to have more conversations like this, you know where to go. It's the Naturally Conscious Community. That is the place where we are bringing to life all of these discussions and embodying them, which I think has become, you know, the word of this episode. yeah through Our daily interactions and our creation of a shared community and ecosystem.
01:04:40
Speaker
So come on down and be a part of it. And this, that's it. So remember the most important thing, resist the urge to hold back your emerging green brilliance.
01:04:51
Speaker
That's it. Bye. Bye. Thanks for tuning in to this episode of Reconnect with Plant Wisdom. To continue these conversations, join us in the Naturally Conscious Community, your premier online ecosystem for plant reawakening and accelerated evolution and co-creation with other kin.
01:05:09
Speaker
Here you'll find expansive discussions, interactive courses, live events, and supportive group programs like the Plant Wisdom Book Club and the Sprouts Writing and Creativity Group. Connect with like-minded individuals collaborating with plants to integrate these insights into life. Intro and outro music by Steve Shuley and Poinsettia from the singing Life of Plants.
01:05:29
Speaker
That's it for me, Tigria Gardenia, and my plant collaborators. Until next time, remember, resist the urge to hold back your emerging green brilliance. I'm out. Bye.