This space is for publishing my last searches, interview, events wich I participate involving Mandala. I hope that across this space the harmony and the power of mandala could flowing in everyone as a big gift. I hope to enrich this space and create a web of interested people in the Mandala and its world. Thank you and enjoy your reading! Annalisa |
posted Dec 8, 2011 6:50 PM by Annalisa Ippolito
This page is for remembering Martha Bartfeld. She dedicated a lot of time of her life to draw geometric mandalas. She published different coloring books and a book about creation of geometric shapes for mandala. More information about her can be found in her website that is still active: www.marthabartfeld.com I was honoured by her friendship and her counsels have being a big gift in my life. Martha passed away one year ago and I'm dedicating her a little tribute. The video is a tribute for Martha and her love for the angels.
One of her mandala remind an angel so I invited friends, or people that are studying, creating and colouring mandala to color one copy of that mandala and re-send it to me. The purpose is to share the love and harmony of mandala that Martha shared with all people. This project is not closed. I will be glad to add all “angel-mandala” of people that wish be part of this tribute. To receive a copy of this mandala, please, contact me by e-mail at MarthaTribute@mandalaweb.info. The mandalas could be re-sent to me by e-mail after colouring them.
Thank you Annalisa
Tribute to Martha Bartfeld
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posted Oct 4, 2011 9:52 AM by Annalisa Ippolito
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updated Oct 4, 2011 3:05 PM
]
Jay Mohler is an
artist of Ojos de Dios a very special traditional handcraft made by Native
American people.
I saw his amazing
pieces of art and I emailed him some question about his art, his experience
with Ojos de Dios, that we can consider "Mandalas” of Western Traditional
Culture.
Annalisa Ippolito: Hi Jay, could you
share some words about the meaning of “Ojos De Dios”?
Jay Mohler : “Ojos
de Dios” is Spanish for *Eye of God”, and can be thought of as a prayer that
can be hung on your wall, reminding us both that we can see God in our daily
lives, and that God is watching over us.
A: What is an Ojos
the Dios?
J: An Ojo de Dios is
yarn hand woven onto crossed sticks into interlocking geometric patterns, as a
wall-hanging. More specifically, such
designs were originally made by various North and South American Indian tribes.
A: Could we call it
like a Mandala of Western Traditional American Culture?
J: In the original
Sanskrit, "mandala" mean "circle", or artwork in the form
of a circle. Carl Young wrote a book on
mandalas, and talked about "the change of a circle into a
square". In Buddhist terms, a
Mandala is a form of sacred artwork that is meant to still the mind. An Ojo de Dios can be all of these
things.
A: Do you remember
when you saw an Ojo de Dios for the first time?
J: I first saw an
Ojo de Dios for sale in a stand of Huichol herbs and artifacts in the
Guadalajara, Mexico, Marketplace in 1966.
I was instantly fascinated, and later bought two or three to give as
gifts.
A: When did you
start to create Ojos de Dios?
J: Later in the same
year, 1966, I went to an exhibit of sacred artifacts sent to the USA by the
Dalai Lama of Tibet, where one artifact was made up of 4 faces, with any one of
those four walls, or faces, was, to me at least, exactly the same as the Ojos
de Dios I had purchased in Mexico. Soon
after this I started creating Ojos de Dios, at first following this
pattern. A couple of years later I
started making simplified ojos to sell to gift shops in southern
California.
A: Where do you find
the inspiration for your creation?
J: Always I am
drawing inspiration from the first ojos that I saw, and now also from the
colors and patterns I see in nature; especially natural landscapes, flowers and
artwork of the American Southwest.
A: Do you following
some sacred rules or are you free to use your fantasy?
J: I feel free to
follow my own fancy and intuition; but I do stick with crossed sticks and
yarn as my materials, and with keeping my patterns basically symetrical.
A: Could you give me
some details about the process of creation?
J: You can find a
great amount of detail about how I make my creations on my website,
Ojos-de-Dios.com, or, with newer photographs, on the etsy.com how-Tuesday blog
for September 13, 2011
A: What kind of
materials do you need to make an Ojos de Dios?
J: I use doweling
from lumber supply places for sticks, and all wool yarns that I buy mostly over
the internet. Many kinds of sticks and
yarn can be used, however.
A: How much time you
need to create a Ojos de Dios?
J: Simple ojos can
be made in a few minutes. Very large and
complex ojos might take a week or more, and every length of time in between is
possible.
A: Do you find
prejudices about the Ojos de Dios?
J: In spite of the
Native American origin, simple forms of ojos are commonly made in Sunday school
classes, by Girl Scout troops, ets.,, such that I've never seen any prejudice
against them.
A: Would you share
with us what are your plans for the future?
J: A very important
plan in my future is to help organize an International Festival of Ojos de
Dios, to be held in Pune, India, in the fall of 2012. I also hope to start holding more workshops,
both here in the USA, and when I next visit India, 2012.
A: Many thanks to
share with us your experience
For more info
please visit:
www.ojos-de-dios.com
jayfroggy.etsy.com |
posted Mar 6, 2011 7:19 AM by Annalisa Ippolito
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updated Mar 6, 2011 7:55 AM
]
Stacy Wills is a mom and an artist that make mandalas. She believes “in the sacredness of life and the interconnectedness of all things, and creating mandalas is one way I express that belief. Like people, I see that each mandala is a unique creation, and like people, each mandala is, in some sense, the same. It is our uniqueness as individuals that enables us to experience and appreciate our common humanity."
I found her in “mandala world” and decided to talk with her about mandala… here is our exchange!
Annalisa: I saw your web site and your blog “A MAGIC MOM AND HER MANDALAS” and both are very riches of inspired handcrafts, amazing and gorgeous mandalas, could you tell us some words about the Name of your web site?
Stacy: Several years ago I wanted to find an art teacher to see about getting my children some private lessons. That was the truth, but the deeper truth was, I was the one who was searching for a teacher, and a creative outlet. I’d been told by a friend that a woman named Jacki Kellum was the person I was looking for. At the time, I did not follow through on contacting her, but I did tuck Jacki’s name in my memory bank.
Then one day, while standing in line at the post office, I noticed the woman ahead of me who was mailing a package. The name on the return address was Jacki Kellum. Shyly I introduced myself, quickly explaining that I normally don’t approach strangers in the post office, and proceeded to tell her all the wonderful things I’d heard about her. I asked her if she was still giving children’s art lessons, and she said that she was. Then Jacki looked me right in the eye and said, “You are a magic mom.” For some reason, her words went through me like an electric shock. We exchanged phone numbers and set up a time for my children to come to her home for their first lesson. I hovered in the background, soaking up Jacki’s every word as she told them, “Anyone can learn technique. What I want to do is to open up people to creativity.” As it turned out, the lessons were short-lived. Jacki suffered the loss of her home in a terrible fire and moved to another state. But the seeds of hope, that I would find my own creative outlet, were definitely planted in me.
A few years later, once I had started creating mandalas, a friend offered to build me a website. I had related this story to him about my encounter with Jacki and he is the one who christened my website as “A Magic Mom and Her Mandalas.”
A: When did you discover the mandala?
S: I have always had very vivid dreams. I can even remember ones from my childhood. Back in 2004, I saw an article in the paper about a local dream group that was sponsoring a conference on dream work to be held at a nearby church. It piqued my interest, so I signed up. A group called Journey into Wholeness put on the conference. As it turned out, the conference was not so much about dreams per se, as it was a crash course on Carl Jung – a kind of Jung 101. I felt as though I’d been thrown in to the deep end of the swimming pool. I absorbed as much of the information as I could and learned, among many other things, that Carl Jung started each day drawing a simple mandala. I knew very little about mandalas at that time, but something about them definitely appealed to me.
A: How did you start doing mandalas?
S: In the fall of 2005, three friends and I decided to read Julia Cameron’s book, The Artist’s Way, together. Each of my friends already had some kind of creative outlet, but I was still searching for mine. It was then I remembered Jung’s practice of creating mandalas, and thought, “Well, if it’s good enough for Carl, it’s good enough for me. At least I can draw a circle.” So in December of 2005, I drew my first mandala, and it was as if all the color I had bottled up inside just came pouring out. For the next several months I drew a mandala nearly every day, and it seemed a whole new world opened up inside and around me. I have also struggled with depression for much of my adult life, and I found creating mandalas to be very healing.
A: Do you remember the first mandala you created?
S: I created my first mandala (Genesis, photo on the left) in a sketchpad using my daughter’s Crayola markers. It isn’t exactly circular, though I started in the center. I was simply using the tools and knowledge I had at the time. Once I bought a compass and ruler, my mandalas became more symmetrical. I also started experimenting with other mediums and techniques.
A: What is your favorite technique?
S: I love experimenting with various mediums, methods and techniques. It’s hard to say which is my favorite, but one of my newest passions is working in the digital realm, creating mandalas from photographs I have taken of things in nature. I don’t have much technical know-how, so I’m mainly just playing and learning as I go.
One day I came across the website of Christine Claringbold who paints fabulous mandalas on old vinyl records, and thought I’d give that a whirl. As I was painting, I remembered that as a child, I used to put a piece of paper on the turntable of my portable record player and hold a paint brush above it as it went round and round. It was a “come-full-circle” moment to realize I have been drawn to the mandala all along.
A: What or who is an inspiration for you?
S: I draw on many sources for inspiration. When I am painting, I will often listen to poetry, interviews or books-on-tape. Something in what I’m hearing will capture my attention – a word or phrase or idea – and suddenly, it’s as if a river of creative intuition begins to flow through me. Or if I am creating a personal mandala for someone, I will listen to a playlist of that person’s favorite songs while I’m working. It’s amazing what comes through in those mandalas – things that are meaningful to that individual that I was not aware of on a conscious level.
I also am inspired by nature – the sheer beauty of the natural world – is utterly intoxicating to me.
Other artists inspire me as well, and in recent years I have had the wonderful privilege of getting to know several other mandala makers, courtesy of the world-wide-web!
A: What is your plan for the future?
S: I can’t say that I have a specific plan for the future. If someone had told me 10 years ago that I would be doing what I’m doing now, I would not have believed them. Nothing relating to my art has been planned up to this point. It has all simply unfolded as I have been open and attentive to what is happening around and within me. So, I guess you could say my plan is to remain open to all the possibilities and take one day at a time.
"Natural Stained Glass" (Photos on the right) is an example of one of her nature-based digital mandalas created from a photograph She took of a paper wasp nest held up to the sunlight.
for more info and contact Stacy Wills visit her website |
posted Sep 6, 2010 6:45 AM by Annalisa Ippolito
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updated Sep 6, 2010 9:49 AM
]
I met David Turner during the "International Symposium on the Mandala" in Rome, Italy, in 2009 where he participated in the exhibition with his digital mandalas. They are an extraordinary example of an encounter between nature, sacred geometry and digital art. We spent some time talking about his art and sharing our views about mandala. So I was curious and I contacted him asking to explain more about his art, and his gorgeous Mandalas Here is our dialogue about the mandalic art of Digital Dave. Annalisa: Dave, when did you start to create and study mandala? Dave: My earliest dreams were swirling mandalas. Two of my favorite toys as a child were a kaleidoscope and a spirograph. In college I experimented with video feedback, an electronic way of creating interactive mandalas. I was fascinated. I began using a computer to create mandalas in the late 1980s after having drawn them by hand from age 6. It wasn't until about five years ago that I truly began to understand what mandalas are and their significance in our world. I've been studying them much more closely since then.
A: How did you start to use digital art to create mandala? D: Just before Christmas in 1998, my mother died unexpectedly.I was truly devastated. I realized that life is short. I had been working on a series of digitally animated mandalas and decided it was time to finish them. I spent the next year-and-a-half rendering, editing and musically scoring Kaleida Dreams.
A: What is the primary goal of your combined use of sacred geometry, nature and transformation? D: Transformation is a powerful way of showing how wonderfully interconnected all things are and the grand possibilities of life. Sacred geometry arises from nature, and using it to create mandalas from images of nature makes for very compelling art. I believe we can make of our lives whatever we choose. Transformation reaffirms this idea. Change your thoughts and you will change your life. My goal is to celebrate the beauty in all things and encourage everyone to transform their lives.
A: How the mandala can express “transformation” and “light shining within each of us”, to use your words? D: Mandalas are elegant expressions of sacred geometry, which can be seen in all things. In the midst of life's daily chaos, we are, I think, drawn to the order and symmetry of mandalas. They are both calming and centering. I believe we are all made of the same stuff -- light. And light is love. When we come to see the light within ourselves we begin to see it shining in everyone and everything.
A: Could you give some suggestions about the use of photography in digital mandala? D: Using photography as a base for creating mandalas can produce spectacular results. I've been told by some that the mandalas I create from nature photography are somehow more satisfying than the ones created from pure color and form. I am working on a new series of lenticular prints called Floral Mandalas, where I start with a photo of a flower and then digitally transform the flower into a mandala. The lenticular print allows you to see both images, the flower from one angle and the mandala from another. The dissolve between them illustrates the idea of transformation incredibly well. They are magical.
A: Could you give to our readers tips about the process of creation of digital mandala? D: I keep an open mind as I am never quite sure what the process of creation will produce. I try lots of different techniques and am always pushing myself to develop new ones. Not every attempt to create a mandala is successful, which is ok. Some days everything turns out beautifully, and some days I save nothing.
A: Where do you find the inspiration for your creation? D: I find inspiration in simple things like sunshine and silence. I am also inspired by the complexities of human emotion and the way we interact with each other. I also frequently meditate on sacred geometry.
A: How many time you need to create a digital mandala? Some mandalas only take a couple of hours. Some may take several days. I keep working on a particular image until it feels right. I dedicate a huge portion of my time daily to the creative process. Some images I set aside for a week or two before I begin again and finish them.
A: And how many time you need to create a video? D: I often spend days, even weeks refining a video segment and test rendering the special effects that make the mandala move and evolve with the music. I've had one minute sequences take 20+ hours to render. I put nearly 8,000 hours into Kaleida.
A: How do you choose the music? Is it part of your path of creation from beginning? D: For Kaleida, the music was written and performed to the completed video. I worked closely with the musicians to make sure the music expressed the intent of the videos. I am working on a new video where I am choosing the music first and animating the mandalas to that music.
A: Do you think that there are common prejudices or misunderstandings about digital mandalas? If so, what are these common errors? D: A few people have said to me the screen savers on their computers look just like the Kaleida videos. In ways they are similar but if you saw them side by side you'd never say that. Not enough people know about mandalas and their rich history and cultural significance.
A: Could you give some ideas and suggestion for people that want to enter into a digital mandala? D: Yes. Go for it. There are all kinds of ways of creating digital mandalas and it is easy to get started. Creating mandalas is a healing and joyous experience certainly worth the time and energy you invest. Seek satisfaction as you go along as well as with the end result. I have learned that it is as much about the process of creation as it is in the finished work.
A: What are your plans for the future? D: I plan to continue exploring mandalas and creating art, as well as doing everything I possibly can to honor the work and continue moving forward. I am currently expanding the Floral Mandalas series and working on a new video. I am also working harder to find more ways of sharing the work with others. A: Many thanks to share with me and all the readers your thoughts!
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posted Aug 21, 2010 5:02 AM by Annalisa Ippolito
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updated Aug 21, 2010 8:07 AM
]
Daniel Frank is one of two artists of Cosmocto team. The other artist of this special team is his twin David. They create special art and really gorgeous Mandala inspired by Buddhism, street and sacred art and Amazonian shamanism, ancient sacred teaching. All these spiritual arts are supported by creative processes that include experience with entheogenic plant medicine.
I made him some questions about his work and here follow is our conversation.
Annalisa: Daniel, how did you start to study art? And how did you start the experience of create mandala?
Daniel: I never formally studied art. I have been drawing for as long as I can remember. I have always loved the way colors interacted and I still do. Much of the joy I get from making art is in exploring the play of colors. When I was in my teens I was inspired by Skate board graphics and Punk Rock culture. The imagery of album covers etc. My Oldest brother was in a band and my Twin brother David and I used to design their album covers, posters and stickers. My mother was wise enough to realize that if she gave us a lot of freedom at home we would be less likely to get into trouble on the streets. David and I painted every inch of our room in murals. That is when I first started painting. Making Mandalas came much later. Through my interest in Eastern Philosophy and Yoga I was exposed to and captivated by Buddhist Mandalas and The Sacred Geometric representations of the Chakra Systems. I took Sacred Geometry Classes at the Open Center in New York City where I learned how to draw the basic geometric shapes and work with a Compass and a straight edge. Fro there it was as if the flood gates were opened. I was dreaming about drawing Phi Triangles and Seven Pointed stars... I was seeing the Geometry that is in everything and it was like a song to my heart. I was taken by the simple elegance of it all. That same year I took a trip to Peru where I was working with Ayahuasca under the guidance of a Shaman named Don Rober de Lamas and it was made clear to me that making Mandalas would be a part of my life and my creative path. I have been making Mandalas ever since.
A: Could you tell me about the origin of the name of your team?
D: The name COSMOCTO evolved out of a quick sketch of a "Cosmic Octopus" that I made while visiting with my brother David. I have always enjoyed mashing unlikely words together to create new ones, and there was something about the sketch and the word "cosmocto" that resonated with me so I kept it alive. I started writing it on the street and eventually started signing it to my paintings. I like to think of COSMOCTO as the creative energy that flows into and through all things. When I sign a painting COSMOCTO my intention is to credit the creative force that brought the work into being. This keeps me out of my own way and lets the work stand on its own. When David and I work together our ideas mix up and meld together in such a way that it is not possible to give either of us individual credit for final outcomes, so it seems logical that the label we put on it should be COSMOCTO... a result of creative energy flowing through but not coming from us.
A: What means for you to share your passion with your twin? It seems so unusual!
D: There are few things I enjoy more than painting with my brother. David and I spent the first 23 years of our lives together (we are 37 now). We were individuals but we shared a lot of the same identity and experiences. For each of us, making art is an opportunity to express our individual identities on a deeper level and it is a way for us both to share the wordless truth that we've carried in our soul since our single egg split into two bodies. We inspire each other and challenge each other and push each other in new directions constantly. I feel very lucky for the relationship that we have.
A: Where do you find the inspiration for your creations? Who or what is or has been an inspiration for you?
D: Often a work will begin with the need to flow with paint or a line and I will have no idea what I am making until it reveals itself. I want to be drawing or painting or working with my hands all the time so I find that there is no shortage of inspiration to draw from. The Patterns of birds in flight , dreams, music, textures of rotting wood, an algae bloom. I would say that the recurrent thing that inspires much of my work thematically is the Mysterium Tremendum, the fearful and the fascinating mystery of being.
A: What is your favourite technique to make Mandala?
D: I like to work into the mystery of a Mandala. I will start with a strong central form and than build up on it with line and color. I like to work with an open mind and little idea of where the mandala is going. I look to create vibrational resonance with color As it begins to "Pop" and grow depth and dimension I will make decisions about parts to keep and parts to cover up. It is a very organic way of working. There is no way of knowing what the finished painting will look like until it arrives there. This can be a lengthy process but I enjoy dancing with the mystery and sometimes wrestling with color and form. And when I come to find the finished work It is very satisfying and often I recognize that I didn't paint it so much as I cleared the way for it to come through.
A: Could you share some word about the role of enthoegenic plant medicine in your creative process?
D: I Paint about my experiences with entheogenic plant medicines (specifically Ayahuasca) because I find that there are realms, where the common rules of verbal communication don't apply... words begin to loose their stickiness to things. There are realms where Magic abounds and where Love is all and where the Mystery of being winks and smiles and were the physical human called Daniel Frank dissolves into the infinite infinite... and for me there is a life time of paintings to be made with only the hope of shining a flicker of light on to that.
A: What is the most common misunderstanding about your approach to use entheogenic plant medicines in the creative process?
D: I can't say that I have paid much attention to the misunderstandings of others when it comes to this subject. My work with sacred plant medicines informs my creative work, but the motivations behind why I work with them lies somewhere much deeper.
A: Could you give some words about the shamanic process and the exploring of dreams in your work?
D: I'm inclined for now to say that rather than painting from dreams, my interest is in painting dreams into being - Motivated my spirit.
A: Would you share with us your plans for the future?
D: The future... I find myself caught in the present! My plans are to harvest my Tomatoes, Play with my Daughter and make some new paintings. No shows lined up until December 2012. I am developing a Mandala making workshop that I hope to have ready by November. Lots of painting to be done. More Play, More Travel, More Teaching, More Community. Contemplating moving into a new studio and looking forward to brainstorming with David on some new ideas when he returns from his travels...
Every moment between here and there Filled with Goodness I hope.
These are my plans yet, we both know God Laughs... and so do I.
A: Thank you so much Daniel to share all this with me and all readers.
To read more about the work of Daniel Frank and COSMOCTO visit his website |
posted Jun 29, 2010 11:38 AM by Annalisa Ippolito
[
updated Jun 29, 2010 1:19 PM
]
I met Dam Chhoi Lama during the workshop "How to Create a Tibetan Mandala" He is a Tibetan artist of Thanka and Mandala, Master of Art and Yoga, expert of Tibetan Medicine and Ayurveda Indian Medicin. In 1997 he founded the private school "Himalayan Painting Mandala School" in Nepal.
It is a great honor for me to exchange with him some thoughts about his experience and the art of mandala.
Annalisa: Dam Chhoi could you tell me something about you? Where are you from? Dam Chhoi: Well, I am from Nepal but my parents are from Tibet, the north border of Nepal. I made my schooling in mountain part of Nepal in Buddhists monastery of Ningmapa cult of Tibet for 10 years. In this period of my education I learnt the Tibetan alphabets to the using philosophy of Vajrayana Path. Similarly I learnt the big techiques of Mandala Arts, the ways of Tibetan Therapy which is completely natural and spiritual. Meanwhile the practices of the Dharma in Monastery was obligatory to make a good Karma.Then again I practiced the Art in Monastery for another one decade,meantime I open one Mandala Art School in Kathmandu Nepal. And then I started to travel the world teaching various skills of art mandala, yoga, mudra and mantra to the people. In this course I have visited Honkong, Taiwan, Singapore, Makau, china, Thailand, Laos, Malaysia, Barma, Cambodia, Indonesia in Asia and Germany, Austria, France and Italy in Europe. When I came to Italy, then I became too busy here and I stayed here for long time. But in very near future I have planned to visit United states and Canada because the people and my friends have invited me there for long time. A: Let's talk about the school you founded in Nepal. What was your purpose in creating a new school? DC: Hmmmm ok , I opened the Art Mandala School in 1987. I opened this school because it was a unique type of school in Nepal at that time. When I came out of the Monastery, I found the present young generation was going beyond the spirituality. I was worried for their future that if they did not practice the Dharma in time, how would they be a good and healthy person in their future? So I decided to create a school which is spiritual in nature and which teach the present generation about the Dharma , Art and the Natural Therapy so that they in the future would be able to make country peaceful and lovely. A: Do you remember the first mandala you made? Can you describe it and your memories about the experience of making it? DC: Yes, of course I remember it. The frist Mandala which I made is Central Static Art mandala of Sambhogakaya mandala. When I finished this art at the frist time, I felt too joy in my heart. It takes three days to complete it for me. There was my master(Lama) to guide me but I alone painted it in Tanpoche Monastery the mountainous part of Nepal. A: You are a "public monk", what it is exactly the meaning of this expression? What actually does a public monk, and what are the characteristics of this status? DC: Yes, I am a public monk. This means a monk for public in short. Traditionally monks are for the monasteries and they just practice art and therapy for themselves. But according to the Mahayana Tradition and my schooling, our Guru instructs us to use all the techniques and ways of art , yoga and therapy whatever we learnt in monastery for the welfare of public. We think that if we do not use whatever we have learnt for the benefit of public, then there is no use of the knowledge. So that I am public and my job is to change the life of people who have lost their path of life. I try to teach yoga, mudra and therapy to the people and tell them the importance of Buddha and his teachings so that they feel peace and grace in their life.
A: When and Why did you choose to live in Italy? DC: I started to live in Italy since 2002 AD. I chose this country because I found the proper respect and the understanding of art and culture in this country. Italian people are more interested in art and therapy which paved the way to me here. A: When did you start to study mandala, and why you was attracted by this discipline? DC: I started to study and create the Mandala when I was in the Monastery. I am attracted by this discipline because this is my life. We, in mountain in Nepal and Tibet, have to do this always for our life and good health. A: What represents a mandala for you? DC: Mandala represents the harmony of the rythem of mind, body and speech. This is the representation of the human psychology with the thoughts and creativity of our heart. Therefore, mandala is not a simple art to describe like a mathematical triangle or rectangle, this is the representation of whole universe. A: Could you explain the meaning of the expression "Power of Mandala"? DC: First of all there are five colors in the mandala and that five colors are the source of the power of it. One who meditates and concentrates in the mandala, he or she will feel the power of mandala. So I would like to clarify that the power of Mandala is like the power of whole universe from where one can attract the energy. A: How did you decide to share with other people the benefits that mandala gives? DC: I already told you that I am a public monk so that it is my decision when I was in monastery. Moreover, the mandala art and culture is not a private thing. This is in fact public and the every person has right to be benefitted from this. A: How many types of mandala do you know? DC: There are three types of Mandala. Dharmakaya mandala , Shambhogakaya Mandala and Nimanakaya Mandala are basically the main branches of mandala till now. Dharmakaya mandala represents the whole ritual activities or the good works in our life and this is done by Bodhichitta. Shambhogakaya Mandala represents the birth and rebirth process of beings and this is in the centre of the Mandala. Bajrasattava is the main guru of this mandala. Nirmanakaya mandala speakes about the creation of the things and this earth and the Samantavadra is the guru of this type of Mandala. A: How can "normal" people create and use traditional mandala? DC: Normal people who have not used it before should consult the good Mandala teacher first because the use of mandala without learning with teacher is just like winking a girl in the darkness. So the good teacher when starts to give you lesson about mandala, on the spot one can know how to use it. A: You always said to me that mandala has three different levels. Could you say something in general about this concept and the difference between levels? Just some basic information to raise the curiosity of readers about these concept, and make them interested to deepen these issues. DC: Yes, I told you the three types or level of mandala in your above mentioned question and I have replied you about the general differences between them. But if you have more curiosity about this, there is one book THE EXCELLENT PATH TO ENLIGHTENMENT by DILGO KHYENTSE RINPOCHE which is very useful to understand the concept. A: What are the projects you are working on at the moment? DC: Now I am working in a show of Tibetan items in Castel St. Angelo in Rome and constantly working for my school in Nepal. I am even hoping to go to Nepal in September of 2010.
To contact Dam Chhoi Lama: mandalaart_2008@hotmail.com |
posted May 3, 2010 11:50 AM by Annalisa Ippolito
[
updated May 3, 2010 2:18 PM
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Susanne Fincher has written a number of books about mandalas. The most well known is "Creating Mandalas: For Insight, Healing, and Self-Expression." It is a must-read for anyone who wants to enter the world of mandalas. She has also produced three mandala coloring books, and the “Mandala Workbook” Susanne’s books have been published in a number of languages. In Italy it is possible to find her books in many bookshops. They are also available online at the link http://www.macrolibrarsi.it/
Susanne and I met in Decatur, Georgia, USA, when I began her Mandala Certificate Program. I attended “Entering the Circle” a five day intensive course about mandalas. This course is Part I of the Mandala Certificate Program.
Talking about mandalas is an interesting and enjoyable exchange for us.
Annalisa: Susanne, when did you first encounter mandalas? How did you begin creating and studying mandalas? Susanne: I began drawing mandalas when I was living through a difficult time following a divorce. I bought myself a set of felt-tipped markers and a pad of paper. I began to draw designs, just letting my hand go where it would. One day, I felt the urge to draw a circular design. It was very simple, just some concentric circles of various colors. After completing it, I noticed that I felt a little better. Slowly my life became happier and I forgot about my interest in the circular drawings until I began learning about the psychology of Carl Jung. Jung called circular drawings that he and his patients created “mandalas,” after the sacred Eastern religious art that he was studying at the time. Soon after encountering Jung, I read about the work of an American art therapist named Joan Kellogg. She bases her theories on the ideas of Jung. I became fascinated with the possibilities opened up by Kellogg’s insights. After studying with her, I began to use mandalas with individuals and groups in art therapy.
A: Your book "Creating Mandalas" is a very important and useful book for anyone seeking to understand mandalas. One chapter is dedicated to the Archetypal Stages of the Great Round of Mandala. Could you explain in a few words what the Great Round of Mandala is and how it can benefit the lives of people who know about it? S: The Archetypal Stages of the Great Round of Mandala is, I believe, inspired by the ancient idea that life is a circling cycle of changes from which it is possible to learn and grow. In this sense the term “great round” is used by Erich Neumann (The Origins and History of Consciousness, 1954) and Sylvia Perera (Descent to the Goddess, 1981). Joan Kellogg introduced the idea that there are twelve stages in the cycle of change experienced by human beings, and that a particular form of mandala is associated with each stage. Knowing about the great round offers people a balance to the common notion that life is a linear pathway to perfection, and that one has only one chance to master a life lesson. Understanding that life is a cyclical phenomenon allows people to relax and know that they will return to the same types of experiences again and again, each time deepening in their knowledge about the experience, and improving the skills that are required of someone living that particular stage of life.
A: How do you use the Archetypal Stages of the Great Round of Mandala? S: I teach my art therapy clients and students about the concept of the great round, and introduce the idea of mandalas related to the stages of human experience. It seems to help them accept the importance of all stages of their life journey, and value their less productive times as well as the times when they are feeling creative and receiving praise for their accomplishments. They may also begin to create mandalas as an anchor during their times of transition, and, through their mandalas, begin to dialogue with their own inner wisdom. This is a good thing to do.
A: Your Mandala Certificate Program is an important opportunity to enhance personal skills. When and how did you start this experience? What is the primary goal of your training program? S: I began offering weekend workshops about the mandala during the 1980’s. There was so much information I wanted to convey that the weekend workshops grew to be five day long intensives. I call them “intensives” because they require the full focus of participants for the whole day and two evenings. It is an immersion experience that, I find, is a good way to introduce people to the richness and depth of mandala work. To offer an advanced level educational experience in the uses of the mandala, I began the Mandala Certificate Program in 2007. It is comprised of three parts: Part I, Entering the Circle, is an introductory five day intensive; Part II is an independent studies class mentored by me or my co-leader Marilyn Clark; Part III, Integrating the Circle, is a five day intensive that completes the training for the Certificate. The primary goals of the Mandala Certificate Program are to offer firm grounding in the history and psychology of the Western mandala; to encourage creative exploration of the uses of mandalas; to present guidelines for the ethical use of mandala knowledge; and to give students helpful feedback as they develop their interpersonal skills for sharing their mandala knowledge with others.
A: After receiving and learning comes the time for giving and teaching. What would you suggest to people who, after attending your training, may feel the need to share what they know about mandalas with others? S: I encourage going slowly in developing your mandala offerings. I recommend a personal practice of creating and interpreting your own mandalas as a way to stay balanced and grounded during the time you are establishing workshops, classes, lectures, or other ways of sharing mandalas. It is best to have a trusting, supportive relationship with someone who will listen to you describe your plans, and give you helpful feedback about your undertaking.
A: Could you give some suggestions for using mandalas as creative self-expression and for self-help? S: Yes, remember there is no “right” or “wrong” way to create a mandala. Try to set aside any ideas you have about how mandalas “should” look before you begin your art. To create a mandala, draw a circle and fill in the circle with color and form. Mandalas are non-verbal communication between your conscious self, the “I” you are familiar with, and your unconscious psyche which is beyond your conscious awareness. The language of mandalas is expressed in symbols. As you learn to interpret your personal symbols, you can begin to receive the helpful information encoded in your mandalas. I agree with Jung that mandalas give us information we need in order to grow toward wholeness. For more about interpreting your mandalas I suggest you visit my website www.creatingmandalas.com.
A: What are some of the misunderstandings about mandalas that you have encountered? S: Well, the most memorable one that comes to mind at this moment is when people think that “mandalas” have something to do with “Mandela” (South African leader Nelson Mandela). Many people have simply never heard of mandalas at all, though that is changing as more and more books and websites--like yours--are educating people about mandalas. It makes my work much easier.
A: You have published three mandala coloring books. Each has a different theme. Where does your inspiration come from? Are all the mandalas in your coloring books created by you? S: My own drawings, dreams, and imagination are the primary sources of inspiration. The Archetypal Stages of the Great Round of Mandala is an important guiding principle for the mandala coloring books. Coloring Book 1 has three mandalas for each of the twelve stages. Coloring Book 2 has mandalas associated with Stage 9 of the Great Round. Coloring Book 3 has a number of mandalas associated with Stage 10 of the Great Round. I also draw on historical and pre-historical mandalas for my designs. I have adapted designs from artists, from Jung and his clients, from Joan Kellogg’s work, from flowers. I have even used photographs of snowflakes to spark my imagination when creating some mandalas. I make all the drawings of mandalas in my coloring books.
A: You are an inspiration to many people. Who are the people that have inspired you? S: I am inspired by women artists like Georgia O’Keefe, Meinrad Craighead, Judy Chicago. Carl Jung and his writings are an enormous source of interest to me. I recently attended the launch of Jung’s Red Book in New York, and I am slowly reading and digesting it. There are a number of beautiful mandalas among the illustrations. Other Jungians that I admire greatly are Marie-Louise vonFranz, Robert Johnson, Marian Woodman, Murray Stein. Joan Kellogg has been one of my most important teachers. I think she was a genius who brought together many, many threads of knowledge to create a model of human existence that honors feminine knowing and has the potential to bring comfort and even healing to many, many people. I’m sure there are others, but I can’t remember them at the moment.
A: Is there a particular reading or set of books that was crucial in shaping your life? S: The Diaries of Anais Nin were significant early in my art therapy career.
A: What are your plans for the future? S: I have just agreed with my publisher Shambhala to create “Mandala Coloring Book 4: Moving in the World.” This will be an exploration of mandalas of Stages 7 and 8 of Joan Kellogg’s Great Round. I’m excited about the project. And I look forward to working with the next class of students in my Mandala Certificate Program.
A: Thank you so much Susanne, and see you soon.
or contact Susanne at info@creatingmandalas.com
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posted Mar 27, 2010 6:33 AM by Annalisa Ippolito
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updated Mar 27, 2010 8:17 AM
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Chris Flisher is a contemporary North American mandala artist. We met last year during the "International Symposium on the Mandala" in Rome, Italy. He says that his work “looks to bridge the past with the future." He adds that using contemporary themes, subjects, and symbols allows the mandala to continue its vital role as a reflective artistic expression for the modern world. He has found the colors and the geometrical shapes allow him to express beauty and truth in a manner that other art forms prevent. Flisher is also an astrologer and draws on the natural cyclical rhythms of the universe to imbue his art within the historical context of time.
Annalisa: Chris, when did you see mandala for the first time? Chris: I was always aware of the mandala since being a young child. I was always fascinated by line, angle, degree and architectural forms. I remember being about 20 years old when the first real solid vision of the mandala came to me. I saw the imagery and relevance and immediately knew how important and central it was to me as an artist.
A: And how and when did you become interested in astrology? C: Around the same age (20) I met an older woman who asked me my birth date, time and place. For some reason I knew all of those requirements and I told her. Most people know where they were born and, of course, the date, but few (at the time) knew the actual time of birth. I had a copy of my birth certificate and I was able to provide the time as well. The next day this woman came back to me with the most accurate description of me that I had ever heard. The details and characteristics were spot on. My strengths and weaknesses were all spelled out with clear, concise logic. I was amazed. Here, a perfect stranger knew more about me than anyone had ever known. I was fascinated from that point forward.
A: How did you start the experience of creating astrological mandalas? C: If you have ever seen an astrology chart you will see it immediately. It is a circle with all of the signs of the zodiac lined up like the face of a clock. Each sign occupies a slice of the circle. Staring with Aries and ending with Pisces, the zodiac is a mandala. So the connection was obvious to me. Astrology uses the birth data to illustrate the unique characteristics of the individual. Once I saw the connection between these two very powerful symbols, the rest was easy for me and I immediately fell into the process.
A: What is the most common mistake about this kind of approach to mandala? C: I really see no mistakes in this at all. The only possibility of a mistake would come from inaccurate birth data. When drawing up the chart for an individual, the accuracy of the birth data is critical. Without that accuracy it is hard to get a real picture of the person. That is the only real area for a problem. Astrology charts can be drawn up for any person or event, so the accuracy of the data is key. I use charts for individuals as well as for worldly events and concepts. World events affect all of us. They are called mundane, not because they are insignificant, but because they are astrological aspects that affect all people at the same time. This is evident throughout time when you look back at the cycles of events in history.
A: What is the primary goal of your combining astrology, spirituality and self-expression? C: Since I firmly believe that astrology is the clearest, most accurate representation of individual character, the connection is very clear to me. The soul's purpose and path are clearly depicted in the zodiac chart. If a person uses that information, the pathway to personal expression and purpose are very obvious. The act of creating the mandala then becomes a task of mapping your life journey. It becomes a guide to your discovery of self and soul.
A: What is your favorite techniques to make mandala? C: Since I have a background in architecture, I can see the logic of geometry and divine symmetry in the mandala. The angles and degrees represent the form and function of time and place. They are the foundation of the universe, in my belief, so I naturally start out with a circle. That forms the container for my thoughts and expression. The work evolves from that central geometrical figure. The circle is similar to a womb which is a universal theme shared by all species and events. There is always a beginning and an end. The circle becomes the container for the thoughts of the work. The circle is the basis for the work, in the same manner as a canvas.
A: Could you give some suggestions for opening the door of mandala for other people? Or better yet, could you tell us about your video “Mandala: Spirit in Art”? C: My video shows the process. I think is a good place to start. At some point you must start, and creating a circle sets the stage for that process. Once the circle is drawn you can begin to let your thoughts unfold and develop. The video illustrates the process of adding shapes, symbols, and concepts. In this particular case I am using the mandala as a container for cross-cultural themes. When I combine symbols of diverse cultures, I sort of force them to get along since they occupy the same space. It is my way of saying, "OK , now behave." Unity can only come when all cultures exist side by side without controversy or aggression. Oneness is one of my primary messages. I have a Star of David and an Hindu OM symbol wrapped around each other in my video. These are not two symbols that typically exist together, but by placing them together in the mandala they are in harmony. That theme resonates throughout my work since I see that an essential part of human evolution. We have to get along, no matter what.
A: It is this video connected with your book “Mandala: Spirit In Art” ? Could share with us some more about your book? C: Yes, all my work is connected. Whether it is astrology, architecture, or mandalas, they all support each other. The book is a recollection of my experience with the mandala. I give each of my mandalas a title and a story. The book is a collection of over 50 works. Each mandala has a theme, story, or poem. These extra elements further define the work. The title identifies the theme of the work, and the story supports my throught process and logic for the creation. I fuse cross-cultural, pan-global themes that help to contemporize this ancient art form within the modern context of society.
A: Who is or has been an inspiration for you? C: As a basic foundation, one of my biggest influences is Carl Jung who worked extensively with the mandala as a therapeutic tool for self-discovery. Jung was also very well versed in astrology, so he was a natural influence for me. I am also heavily influenced by the work of architect, Frank Lloyd Wright. His appreciation for line, angle, and form combine in what I see as perfect harmony. My third biggest influence is Vincent Van Gogh. His love of color and randomness resonate in my work. I love color and, even though typical mandalas have a sense of perfection, mine tend to be more flawed, simply because I am flawed, as are all humans. In that regard, the work is more organic and human. Interestingly enough, I recently discovered, all three of my influences are the sons of spiritual men. Each of them came from a spiritual foundation as the sons of ministers. What fascinated me was I, too, am the son of a minister.
A: Could you share some words about the experience in Radio Broadcast? C: My weekly radio show, "Turning Of The Wheel" is an exploration of art, astrology and spiritual adventure. I invite experts and authors, astrologers and artists on the show for conversations about all topics that share a connection. I regularly discuss astrology, art, divine symmetry, life, metaphysics, death and just about any concept that helps people cope with change and evolution. My show is a free podcast and is available on iTunes as a podcast (search in the iTunes store for "Chris Flisher") or download from my website www.chrisflisher.com under Radio Archives.
A: What are your next projects? C: I continually try to expand my circle. I am always looking for opportunities to bring the message of the mandala to others. I regularly teach classes on mandalas and astrology and I help guide people to discover their true purpose and path. My goal is to take this project and message to a much wider audience so that all can understand the logic and purpose we all share as humans. This is a message of oneness and co-existence. Aggression and intolerance are not worthwhile uses of our short time on earth.
A: Many thanks to share your experiences and peace. C: Thank you for this wonderful opportunity to express my purpose and share with you.
To read more about work of Chris visit his website
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posted Mar 24, 2010 9:20 AM by Annalisa Ippolito
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updated Mar 27, 2010 8:32 AM
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Marilyn Clark is a counselor with a great deal of experience with using recorded music to support an unfolding experience of personal growth. She does this primarily through The Bonny Method of Guided Imagery and Music. She said that this method is the center of her holistic practice for personal growth and well being. To read more info about Marilyn and her work visit her web site: http://www.invitedbymusic.com/
We talked about this method and I asked her to give me some more information.
Annalisa: Marilyn could you introduce in a few words what it is the Bonny Method of Guided Imagery and Music?
Marilyn: The Bonny Method (created by Helen Bonny, PhD, violinist and music therapist) provides a carefully designed process where you relax, focus your thoughts, listen to music, and experience the images that arise. These elements combine to help you achieve a personally transformative experience.
The Bonny Method is characterized by the use of classical music, including excerpts from the works of Beethoven, Bach, Debussy, Brahms, and Vaughan Williams. These excerpts are carefully selected, based on the results of years of successful research. The music elicits a unique therapeutic experience. You might imagine visual pictures on your ‘inner screen,’ much like daydreams. You may experience feelings, memories, fantasy, physical sensations, and, at times, religious or spiritual insight. The experience could be likened to walking through a movie of your life, seeing metaphors about your life or re-experiencing memories from your life.
In an extended session of up to two hours, you and your therapist discuss your current life situation, set goals for your work together, and establish a focus for the session. After a guided relaxation, you then turn your attention to listening to music. Recorded pieces are chosen for you by your therapist, based on your desired goals and focus.
This music becomes a vehicle for exploring your imagination. Your imagination is a rich source for personal insight. You tell your therapist the images, feelings, sensations, and/or memories that come to mind as you listen to the music. Your therapist supports, encourages, and challenges you to engage with the music and your imagination. Towards the end of your session, you and your therapist discuss and collect insights that come from the experience.
For more explanation, please go to [www.invitedbymusic.com], view the brief film clips from the film I wrote and directed: “Invited by Music” .
A: When did you start to use the Bonny Method of Guided Imagery?
M: I was trained by Dr. Bonny starting in 1975. I was one of the first graduates from her training program.
A: How do you use the Bonny Method? What is its primary goal?
M: I use the Bonny Method as a central part of my therapy practice. However, not everyone seeking therapy is able to commit to an extended therapy session of about two hours. Also not everyone is comfortable with working with altered states of consciousness, the imagination, and music. So when the particular qualities of this method mesh with the temprament and goals of a person, the outcome can be quite transformative. That is what I hope for. The primary goal, then, of the Bonny Method is to bring persons into a deep harmony within themselves and in a relationship to the harmonious workings of the universe. This sounds very lofty and yet, it is an outcome I have witnessed, as well as personally experienced. Does this mean that all of a person’s problems will be solved with this method? Of course not. However, to have even a brief experience of harmony within yourself -- and with all that is -- is potentially life-changing because you have experienced what is possible.
A: It is a method for therapist only or it is open to every person interested?
M: The method itself is best facilitated by someone with a considerable amount of training. However, at the root of the method is the simple directive “Listen to the music.” Anyone can practice the art of deep listening to music. It can be a practice, like a spiritual discipline, of surrender, openness, being in the present, and being receptive. This kind of listening is different from listening analytically or didactically. Especially when you listen to the music that comes from and through composers with a sense of art, life, spirituality, and what is best in humankind... this is the music to listen to with an open heart. My mentor, Helen Bonny, once said, “Divine collaboration awaits within great music to renew minds and to heal hearts.” Just listen.
A: How can it change for better the life of people who use it?
M: On a practical level, people learn something about how to relax and to focus on their inner imaginings as well as to focus on the music. They learn the benefit of setting aside time for themselves to be in beauty. From the standpoint of psychological therapy, many different issues can be worked with through the Bonny Method as long as the therapist who facilitates the experience knows how to work with the issues the client presents. So depression, anxiety, relationships, self-esteem, addictions, grief, and so on, can be worked with in a Bonny Method series of sessions. Also creativity, spirituality, and transpersonal explorations can be directions that a series can take. Most therapists who work with the Bonny Method believe that the client’s own inner wisdom can direct the process.
As a result of a Bonny Method session, many clients report experiences that transcend what is ordinary and usual to them. Your music and imagery sessions will be unique to your personal relationships, feelings, and personality. You could find these experiences both challenging - prompting your growth - and nurturing -easing your healing.
A: Do you think it is a good method to create mandalas to?
M: I think that deep and active listening to music can be a wonderful assist to the mandala drawing process. Also persons who are having a series of Bonny Method sessions often find that drawing a mandala before or after the session is extremely helpful in expressing feelings and images that emerge through the Bonny Method.
It is possible to choose music to create a mood and to engage different energy levels. When I teach the Mandala course with Susanne Fincher, we choose music carefully to fit the archetypal patterns of mandala forms that we are introducing to our students. For example, if the form focuses on the energy of conflict, the music choice would be energetic and demanding. There might be two instruments with very different sound or melodic patterns. As the student listens to the music and considers 'conflict' then the mandala can be drawn with an intention of capturing a feeling of conflict. In this way the music not only enhances but also energizes the student's response. This is a conscious or intentional use of music to effect a response.
You could apply the rationale to your own mandala drawing. Sometimes you may want to express a feeling through the mandala. For example, you may have a recent loss and need to grieve. You know, from previous experience perhaps, that drawing a mandala can help you reach feelings. You know that music can also help you feel your feelings, so you choose music that will help you to grieve. You draw a mandala with the musical support keeping you company and helping you to deepen into your feelings. Be sure to choose music to come at the completion of the experience to return you to a feeling of balance and calm. Use this suggestion wisely. If you know that your feelings are very powerful, you may want to consult a therapist to assist you and help you integrate the experience.
A: Could you give us some suggestions to use the Bonny Method for personal well-being?
M: I can give some suggestions for listening to music and engaging the imagination:
This Music Imagery Exercise is a mind-body practice. These instructions take you through a relaxation process that you give to yourself. You listen to a piece of music and let your imagery flow with the music.
1. Find a piece of music to listen to. Music can help the imagery flow if it matches well with you and with what you need. You may need to spend some listening time to find music that will help you with this exercise. Here are some suggestions:
Pachelbel: Canon in D
Bach: Sheep May Safely Graze
Vaughan Williams: Variation on the Theme of Greensleeves; Lark Ascending
Holst: Planets Suite -- Venus and Neptune
Satie: Gymnopedies
Japanese flute melodies
Harp music
Popular music and music with understandable lyrics may already have images attached to them. They can limit your response.
Music Listening
There are many ways to use music, just as there are many ways to use images. When you listen to music with intention, you will feel its effects. Let the music help you relax. Let it evoke your emotions -- happy, sad, joy, grief. Let it take you within yourself to new levels of acceptance, compassion, and release.
When you have chosen the music you want to listen to, get it ready to play when you want to use it. You could begin the music as you relax. Or, you might want to get relaxed first and then start the music to play when you begin Step 3.
2. Relaxation
Take some deep breaths (5 or 6). With each breath, feel the air move in and out of your body. Imagine you can follow it – your attention or point of awareness is moving in and out of your body with your breath. Now let your breath return to its natural rhythm. Take a survey of your body now. Start at your head and notice how your head feels. If you become aware of tension, give the tension permission to let go. Now move your focus to your neck and shoulders. Gradually let your focus go to each part of your body. Note any tension and then let the tension go.
You may find that sometimes the tension moves easily away; other times it doesn't. Don't work at making the tension go. Simply return to a deep breath and move on.
3. Imagery Focus
Now turn your focus from your body to your imagination. Let a scene come to your mind. You may want to decide ahead of time what scene you wish to create. This is your time, your exercise; so create something just for yourself. Here are some ideas:
- your favorite room or place in nature
- an attic treasure chest
- a gift to yourself from yourself, your inner child, your best friend, a loving relative
- a sacred place where you feel a sacred presence
As you let the scene come into your mind, awaken each one of your senses to the scene so that it becomes more vibrant and real. Once you have established the scene in your mind, let it unfold for you. Let yourself be involved with it. You need not judge what's going on. If you don't like how you feel, then you can choose to stop the experience or to change it. As the image begins to develop, add music to your experience. Let the imagery and the music flow, as you stay focused on this inner experience. The imagery may come to a natural close with the music. Or you may feel that there is a completion to the ‘waking dream’ you have entered in to. When you are ready, you let the imagery fade, knowing that if you choose you can visit these images again.
4. When you have finished your music and imaging process, take out your journal and write down some of the images and feelings that you experienced. Write about listening to the music. This could be a good time to draw a mandala, expressing feelings in a non-verbal way.
A: What are, if any, the most common mistakes and prejudices about this method and the use of music as therapy?
M: A common mistake about the Bonny Method is that it can be confused with ‘guided imagery’ in which a person is guided through an imagery experience by a therapist or facilitator. There may be music playing but it is intended only as background to soothe the client. Our use of music in the Bonny Method is much more complex, nuanced, and primary than how music is used with ‘Guided Imagery.” So therefore, please note that the whole name for the Bonny Method is “The Bonny Method of Guided Imagery and Music.” A prejudice about this method is the tendency among some professions to categorize the Bonny Method experience in particular ways, such as a traditional therapeutic method. Yes, it is used therapeutically, but it is potentially much more than that. It is helpful to have a therapeutic background to be a facilitator, but the background should also include musical sensitivity as well as acceptance of mystical states and transpersonal phenomena such as spontaneous physical healing, past lives, extrasensory perceptions, and so on.
Paradoxically, another prejudice is that The Bonny Method is too untraditional and is considered to be heretical to persons with strict religious beliefs. A belief that unleashing the imagination is a dangerous and evil thing to do is the manifestation of this prejudice. This response is rather extreme, but I have spoken with a few persons who feel this way.
A: Is there a particular listening or music that resulted in being crucial in shaping your life?
M: There have been many experiences so it is difficult to only say one. I suppose that one of the very first experiences would be considered crucial. The pieces of music I listened to were by Brahms. The very active movement of the Brahms Second Piano Concerto gave way to excerpts from his German Requiem.My experience during these pieces began with going upward into a land where everything was white. Not like a brilliant light, but just white. White trees, bushes, rocks, etc. It seemed strange and awesome. Then I met, in my imagery, a figure cloaked in white and I could not see the face, but I knew it was a male personage and that he knew me very well. In fact, perhaps he knew me better than I even knew myself. I felt a rush of excitement that he might be here to tell me what my life purpose was. When I asked, he simply pointed ahead. He was communicating to me to live my life, continue on my path, keep on doing what I was doing. It’s simple and yet in the moment it was profound. I think that it gave me a basic feeling that my path in life was proceeding just as it was meant. I could trust it; I could trust myself. No big mysteries and no terrifically scary possibilities. Trust. Be open.
And, for the most part, I believe I have lived my life that way. That was more than thirty years ago and my facilitator was Helen Bonny.
A: What are your plans for the future?
M: I plan to continue to study human consciousness as it is revealed through experiences with the Bonny Method. I plan to continue to listen to music with awareness and intention so that I may become more in touch with my harmonious connections into the universe and all that is. I want to recruit young people into this work so that it will continue to be used. It holds great potential for communication and understanding of human values as we become more and more planetary citizens without borders to divide us and as we face the challenges of staying healthy and happy on this beautiful planet.
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