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Dancing with the Dead-My El Dia De Los Muertos Experience

Skeletons, skulls, Virgin of Guadeloupe, candles, beer, cigars, pistachios, and lots of Halloween candy donated by my son Ian, graced our El Dia De Los Muertos altar this weekend. There was also a morning cup of Joe and bread and olive oil set out for breakfast. I had intended to make some enchiladas with my famous pasilla chile sauce, but did not get around to it. Maybe next year I will, since this was my initiation into a tradition that will last the rest of my life. I have several decades to make El Dia De los Muertos my own, and to pass it on to my son and loved ones. I chose not to put pics out because I have too many souls of departed loved ones to even count, plus ones that I never even knew, perhaps. I did think of my maternal grandma and paternal grandpa who were my favorites. I felt the presence of many souls, who I could not necessarily name. I did set out some Guinness beer to perhaps attract my Irish ancestors and some tobacco for my Native American (Cherokee and Choctaw) ancestors The candy was for the visiting souls of deceased children, the pistachios for my grandparents. The Virgin of Guadeloupe candle was to honor Mexican folk and the tradition beginning there. I didn't include flowers, but I did burn some Nag Champa incense to keep away any bad spirits. I kept my Virgin candle lit the entire weekend so symbolize purity and protection.
I can tell you that I felt an extreme sense of peace and comfort just like I would if I had a house full of my most favorite relatives and friends. It was a family reunion of souls, for sure. I felt an energy shift on November 2nd when supposedly all the dead return to their heavenly home. Things seemed very special indeed around here, now I have a cool new holiday to share with my son. Ian was really open minded and put his own Ofrendas on the altar, including Halloween toys and more candy and soda! I decided to dress up like Frida Kahlo to honor her memory. I have enjoyed getting to know her through her incredible artwork, I feel as if she's a friend. Hopefully she was one of my "visitors", since I feel a good connection with her. My grandmother was always the one to create new traditions in our family, and I believe this weekend her legacy was somehow passed on to me, the first grandchild. I am glad to have a new and unique tradition that I will add to each passing year, and to pass on to my son and future grand kids!

Folk Tales of Ireland

Of all the Irish folktales of Henry Glassie, I felt that "The Man Who Had No Story," best captured the essence of fairytales I grew up reading. It embodied the fantasy and lack of time and space. In a moment of time, which in our western minds amounted to one night, Brian O' Braonachain became a jack of all trades and a master story teller. Times were tough back in the day, for "those were bad times--the English were in power and they wouldn't let the Irish earn a single penny in any way." Brian didn't know what else to do but venture into the "forbidden" fairy glen to cut rods to make his baskets. He didn't know that in one evening his life would forever be transformed by being transported to two houses to receive "training" in the trade of story telling. He was terribly frightened of being eveloped by the fog that surrounded him until he saw the light of a house, and thought, "where there is light there must be people." I feel the fog is a metaphor for the confusion the Irish must have felt during this suppressive time. The light of the house represents the light of wisdom coming from his learning experience, to guide him out of the darkness of the unknown. Of course, the unknown was the experience Brian needed to change the course of his life. He was given the confidence to access wisdom from within to do anything from being a a doctor to a priest. He emerged from his journey in the the morning to the exact place he started with "his head on the two bundles of rods," which he would ever cut again. The journey was the result of fairy magic, which represents divine intervention to allow life to change and transform.


The "King of Ireland's Son" was an interesting happily ever after the gore fairy tale. It was loaded with typical fairy tale elements, such as giants at every stopping point, and a little green leprechan man, who was essentially in control of the whole show. The typical children's fairy tale of our time does not elude to violence like this tale does. The little leprechan intimidates and scares the giants by telling them that he will be beheaded by his master who is an enormous giant himself. It's funny to me how the king of Ireland's son, who is not named or called a prince proper, wants to travel afar to the east to marry a blood thirsty woman. Its not about love and happily ever after necessarily, but rather contest and conquest, and adventure.



The "Birth of Finn MacCumhall" was somewhat of an epic of pain and suffering and tragedy that ends up in victory. This tale includes alot of gore and mayheim and seems relentlessly barbaric to me. This is the price to pay for triumph in the end, for Finn ends up with the King's reverence and respect and inherits the Dunn.



Significant, in all these tales, is events themselves alude to the passing of time, rather than increments of time, such as minute, hour, days, and years. Night to Dawn seems to be the most used reference point, in terms of when the events occur. Supper time is also another reference point, instead of evening. Time is rather vague, for phrases such as "a long time ago", "in those days," do not denote exact passages of time. It isn't obvious either when exactly the tales are set. Some are written in the 1900's, others in the 1800's. It seems the tales could go back to Biblical times, like B.C., or perhaps the 1400's. They appear to be as old as the days, and could date back to the beginning of Ireland, I suppose. In the tale of "The Man Who Had No Story", there are almost maybe two evenings worth of events in one night's slumber, or perhaps longer, because Brian went to the Fairy Glen at lunch, which could have been noon or early afternoon. I think time is vague perhaps because it is not so much the time as it is the journey. Hard to fathom, considering how we are such slaves to time clocks, due dates, appointments, and when things are "supposed" to happen. I think Europe in general is more laid back about time.

Impressions of Kyogen

The Japanese Kyogen is the traditional form of comedy that evolved out of the ancient Noh (Nogaku) tradition in Japan. The noh was a more seriously Zen depiction of the spiritual world and its influence on people. The goal of the master actors was to create a unity of spirit with the audience, sort of like a collective meditation. Due to the level of discipline to enter this realm of "no mind," there was a need to take a break from the rigors of this seriousness. Interspersed between Zen mind flower scenes of Noh one would find the mildly hilarious antics of the Kyogen. Kani Yamabushi, otherwise known as Crabmask, is a good example of this comic relief. It is a portrayal of a self righteous priest and troubadour who find themselves in the presence of a crab demon. The play begins with the priest and commoner moving about in a faux horse stance about the stage. The horse stance is a martial arts position typically used for meditation and cultivating ki.(energy in Japanese, aka, chi in Chinese). However, the two goofs have their feet turned out instead of facing parallel, and are raising their legs up and down, apparently imitating the way a crab moves about. This occurs before the crab spirit even appears. When the crab appears, he is in horse stance, bobbing up and down, with his arms positioned above his head like he is doing a Kata. The priest like character gets caught by the crab and the onlooker attempts to come to his rescue. All of the characters scuttle about like three bound up crabs. The Crab shows his triumph over the other two, and gets over on both in the end. The demon has succeeded in possession of both, especially the invincible priest. This play was effective in inducing laughter because it is absolutely silly. The tone of voices used by the priest and troubadour were loud and drawn out which serves to make the audience think that perhaps they had drank way too much Saki. This scenario could be reflective of what happens when the priest and common person indulge in spirits too much.
Kamabara appears to be a lovers quarrel. There is a shrew of a woman dressed in white with a spear chasing around her insubordinate mate, threatening to beat him to death. The other guy is stuck in the middle and attempting to mediate between the two. This scenario goes on until the mediator chases the shrew off the stage. The rest of the play is a soliloquy of the heartbroken lover threatening to kill himself, which turns into a futile and hilarious attempt to kill himself by tying a knife to a post (a tree) so he can fall into it. The soliloquy is melodramatic which makes it funny in a wiry way. I never really burst out laughing like in crab mask, but rather grinned the whole way through it. The soliloquy was a great tool for the lover to process his hurt which ended up turning into anger at the woman, for he decided he would kill her instead. As he exits the stage, one is given the impression he is hallucinating. This play turns a serious lovers quarrel into a farce. The Shakespearean Soliloquy served as a way for the viewer to get insight into the character's innermost emotions. This play reminded me a lot of Hamlet. "To be or not to be, that is the question," from the deeply serious Hamlet is analogous to the line from the farcical Kamabara ," A man is a man even if he is made of bundles and bundles of worthless straw." The Soliloquy in Kambara was likewise an opportunity for the character to vent his feelings and move past the desire to kill himself. This play is turning a possible real life tradgedy into a comedy. Kyogen is healing because if one can find humor in serious situations, life is easier.

Japan revisited

When asked to give my take on Japanese culture I think of both modern and traditional aspects. I think modern Japanese culture is very Westernized, maybe even more than in China. I know that the Japanese really emphasize scholastic achievement, as they do in China, and the children are extremely applied and hard working. Martial arts training is integral to the culture, with many different art forms--Aikido, Karate, Kempo, all stemming from ancient roots. I have a son who studied Karate before Taekowndao ( Korean Martial Art) and I can tell you there is much formality in the dojo (Japanese for classroom). When Shogun (starring Richard Chamberlin) came out in the late 70's I was in 6th grade doing a report for social studies on Japan. I wish we were watching this film for this class too, but from what I remember, it depicted the masculine and feminine sides of Japanese culture pretty clearly, as does the Last Samurai. Also, in both films there is a Samurai adoptee, a white man learning and embodying the Samurai code. I think of both these films as good martial arts training, by observing the quickness and agility that the training, both physical and mental, accomplishes when both characters are faced with adversity. Inherent in both men is how their spiritual growth occurs along with the embracing of the customs and ways of the Japanese. Honor and a Zen like mind are more important than anything else. I remember as a kid always being facinated with the beautiful Kimonos, especially worn by the Geishas ( artists). I love the cherry blossoms, and bonsai. Traditional Japanese culture is so Zen, and infiltrates all aspects of life, from gardening to fighting. To be good with the ink in calligraphy (Kanji) is to be good with the sword--its all in the wrist. I know this concept is similar to ancient Chinese culture, from my study of Chinese marital arts and yoga. I also think of the Japanese healing art, Reiki, which is similar to Chinese Qigong, both of which I have studied and use in my therapeutic practice. As part of my second degree Reiki training, I had to learn to write a few characters in Kanji which was really cool. Overall, honor, grace, dedication, and discipline are so deeply ingrained in Japanese people even today. Even daily tasks like taking tea--for example, the Japanese Tea Ceremony are made special in a very formal and artful way. I am looking forward to enhancing my understanding and experience of Japanese culture by exploring Japanese theatre, which I have not yet had the chance yet. I do recall being at Arigatos for dinner one night with my friends looking at the array of masks doning the wall in the sushi bar area. We were all asking each other, "Which one reminds you of me?" Most of them made me laugh because they had many diferent expressions, from angry to dumbfounded. I guess what makes me laugh the most is facial expressions and gestures that people have. Its not enough just to hear someone's voice--the face must convey more than the voice. A picture always paints a thousand words more clearly. I love making silly goofy faces with my son Ian. Its what makes us both laugh hysterically to the point our bellies ache!

Hotel Rwanda

Hotel Rwanda, directed in by Terry George in 2004, weighed heavy on my western influenced mind. It was made 10 years after the massacre in Rwanda that occured in 1994 leaving between 800,000-1,000,000 dead in just 3 months. I recall hearing about what was going on in Rwanda in 1994, but it was not highly publicized or widely discussed like, say, upcoming elections! However, awareness of this should be on a greater scale because the genocide is an extreme consequence of prejudice and resentment. The movie showed the extremes of Rwanda to be extremely poor with crowded streets and living conditions contrasted by a power hungry elite (the guy who is harboring machetes whom Paul bribes with a cuban cigar for future favors), and scotch bribed corrupt colonels. Interestingly, "Hotel Rwanda" is primarily set around the Mille Collines, a Belgium owned four star hotel catering to the wealthy and predominately European white clientele. I found it disconcertingly revealing when the massacre ensued after the Hutu Rwandan President, Juvenal Habyarimana, was murdered, the Europeans were the first to be evacuated from Rwanda. The film emphasizes this point. The American cameraman, played by Joanquin Phoenix, is so ashamed, and doesn't want the bellman to even hold the umbrella over his head in the rain as he boards the bus. This shows that even the Africans have come to view European or American (white) people as more important. Later on when the Hutu extremist militia comes to the Mille Collines and demands to see a guest list, he angrily protests, "All the Europeans have left." I got the distinct impression from this scene (and because of European influence since the Belgians aquired Rwanda in 1916) that Africans are simply not valued as much as Europeans and Americans. The white folk were evacuated and everyone else, especially the "Tutsi cockroaches" were left behind to perish in the bloody massacre.



It is shocking and amazing to me how the UN had very few soldiers--less than 300 for the whole country. Paul points out in the movie that the only thing keeping them is alive is that they are on Belgian property. Paul is able to use his connection to the parent hotel the Sabena to his advantage to be able to house the 1200 refugees. In spite of the ethnic war between the Tutsis and the Hutus, I could not see much difference between the two cultures. They speak the same language, have strong family values, and intermarry. In fact, Paul is Hutu and his wife Tatiana is Tutsi. The Belgians a long time ago referred to the Tutsis as tall and elegant and superior to the Hutus, and favored them. For years the Hutus and Tutsis have been at war and the power has shifted several times between these two groups. I believe this would have never happened if control by the Belgians would have never taken place. Even after Rwanda was independent, the roots of destruction had already taken a strong hold.



It is also significant that Americans can hear about the horrors of Rwanda and go on "eating their dinners." In fact, the UN never declared this situation in Rwanda genocide, which would have allowed for more intervention. Supposedly Clinton apologized in 1998 for not taking more responsibility for helping. Colin Powell acknowledged the genocide taking place in Darfur, but only a force of 800 troups have been dispatched as peace keepers and cannot open fire except in self defense. This movie is a poignantly revealing of what is happening all over the continent in the 21st century, perhaps threatening to exterminate traditional African culture altogether. I hope the next president of the US will maybe place more importance on human rights rather than emphasize deploying more troups to Iraq.



I think the movie showed some elements of what remains of African culture, as evidenced in the poolside dance and the Hutu shirts and turbans worn by the Hutus. However, the point of the movie is to depict what is really going on and to increase the awareness of this. The bodies covering the road as Paul drives the hotel van over them and showing the Tutsis getting slashed by machetes and the forshadowing of the machetes falling out of the beer crate in the beginning of the movie depict to a small degree of how horrific those 3 months really were. I cried the whole way through the movie because of the horror and because of how moved I was by Paul's bravery and smarts in saving 12oo. It is an example of how the desire for control and power can perpetuate to hate and finally undignified bloodshed. The seeds for this destruction were planted a long time ago when the European domination occured decades ago.

Early experiences of Dance

One of the reasons why music is the artery that runs throughout humanity is because it is in our souls and dna. Since we have to have it to survive, thankfully it is ubiquitous. I look back as far as I remember, all the way back to being a toddler, and realize this is soooo true. I remember moving and grooving all the way back to Feb 14, 1969, when I danced around the house in my Valentines panties! Although I can't remember the specific music, I know that I felt free and joyful in those moments. Another experience I recall later on occured in my second grade class. I had a aware and cool teacher who routinely played music for us and let us dance any way our bodies wished. The music was pop and didn't have alot of drum rythms, but I was clearly trying to find a beat. I bounced up and down and shook my head, which almost looked punk rock, like I was doing the pogo. This amused my classmates and they laughed at the radical way I was expressing myself. Something was missing and I was attempting to fill in the void, though I wasn't aware of this at the time. I was responding to modern percussion instead of deep rooted earth rhythms. I remember this particular teacher had a very different energy about her and was unique because she recognized the deeply rooted human need to dance. Sometime that year I look tap. I was pretty bored with it. It was too structured and was focused on the feet mostly, and the hips had to stay stationary. I remember not feeling very excited about going to my recital. I guess there wasn't enough freedome of movement. That same year, my best friend and I were in her room and she played records and to her amazement I danced and she looked at me strangely and said "Don't Dance." She had a warning look in her eye. I didn't understand it at the time, but now looking back, she must have been influenced by the overly judgemental religious fever of the deep south that forbade dancing! I remember the movie "Footloose" coming out a few years later and totally related to it. I was always a heathen in the respect that I continued to dance on anyway, whether it was at the school dance, in my room at home, or while riding in the car. I also remember having slumber parties in the '80's about the time Flashdance came out and my friends and I swore up and down we would all move to NY and do the modern dance thing. We stretched, did cartwheels, and wore our leg warmers along with the dancing in our basements. This was much better than the school dances because we could move anyway we wanted. About the same time aerobic dance and jazzercise was on the scene and gym class consisted of this but not as free, of course. I still dance all the time, whether I am alone at home, or in the car, or out somewhere experiencing live music. I am definitely the one you will see on the road jamming in the car, especially bobbing my head. I also have an invisible drum set and air guitar available for use. I will also tone it down to a sutle groove using my core (dantien) to generate a subtle movement of the hips and shoulders, where no one can tell I am dancing on the road!!!

I think of Mama Africa as a Continent, as one whole. There are different countries within the continent, of course. When I think of Africa, I think of the diversity of the creatures and the many terrains. I see beautiful prides of lions, antelopes, bison, primates of all sorts, Gorillas in th mist, trees with leopards eating their prey, huge vultures, etc. I see many glorious colors of costumes, gorgeous women and men wearing elaborate dress. I see many and varied masks representing spiritual entities and animals. There are different types of drums, with unique tones, voices , and sizes. I see Pygmies, Bushmen, and Modern Man alike. I think I should visit sometime.

random musings of cultural awareness

Just to get some wheels turning, I wanted to take a little time to express some random thoughts flowing thru my mind before they disintegrate into the great beyound. I have had some cool realizations this am, and in a way that's a good thing, because I am truly questioning myself and holding myself accountable for sometimes being closed minded as I was earlier in my life conditioned to do. I was basically raised in the a small town of southern culture and never felt quite comfortable with the racism and ethnocentricism that was silently imposed on me by my immediate family and peers. There was always a mask of southern hospitality and being nice that covered up really what was thought or meant in conversations. The world was hence set up for me as a youngster as a conflict between what was verbalized with an incongruency in what was really meant. I could always sense something was not quite right and it was difficult to remain in the truth of what I perceived in conflict to what was being imposed on me by society. I was taught the golden rule while I witnessed the utmost hypocrisy. In spite of all of that, however, I always had a strong interest in people who looked different and acted different than myself, and embraced it as a child. I lived in a neighborhood that was increasingly becoming "more ethnic", according to my parents ,and they decided to move. I was enjoying my African American friend next door and curious about the Indian family that lived down the street about the time this decision took place. I remember feeling bewilderd and confused. Although this was a horrible thing at the time, I knew one day I would live a different reality. Ed Hall is really dead on when he talks about how we can only see our own culture in comparison to other cultures.




In my experience over the last five years as a energy and bodyworker, I have been into eastern thought pertaining to philosophy and medicine. There are two main differences between Chinese and Western allopathic medicine. The Chinese look at the mind body and spirit as one whole, whereas Western medicine has had a tendency to compartmentalize the mind body and spirit as well as the organ systems of the body. For example, if you go to an acupuncturist for treatment for stomach problems, you will not be prescribed a pill to control the acidity but rather your whole body will be treated, because all the organs "communicate" and influence each other and if one organ is unhappy it will affect the function of other organs. So, if the energy (refered to as Chi) is not flowing freely thru one organ, it is in effect "blocked", the other organs are in a Chi deficit because the other organ system is holding up the chi. Thus, the energy is not freely flowing and available throughout the body.


Even though I have been aware of the need to look at the whole big picture, I see that I still at times revert back to my western roots that have been ingrained deeply in me. Ed Hall mentions at the end of The Hidden Dimension that "You can't shed culture...no matter how hard a man tries it is impossible for him to divert himself of his own culture, for it has penetrated to the roots of his nervous system and determines how he perceives the world." It is apparently outside of our voluntary control--uughh! I recently observed this tendency in myself when I compartmentalized art. I was frustrated with reading Ellen Dissanayake's book What is Art For? because I was expecting to read about the A word (" Art"), not Anthropology. What I did not immediately recognize is that Anthropology is the roots and basis for the evolution of humanity and thus art. As Westerners, there is a tendency to want immediate answers and immediate results. I was looking for a direct explanation of Art not a achaelogical dig! However, I am aware that I am learning still to trust the process of coming to a greater understanding of all that is takes a long long time, perhaps several lifetimes! The Chinese value life long learning and are not in any hurry to master anything immediately. Tai Chi, an ancient martial art, takes a lifetime to master, if at all. I have been practicing 5 years now, and am considered an assistant instructor in my school. However, I am only a beginner of this intricate art. I have noticed that it scares away some folks because getting results and making progress is much slower and methodical compared to weight training and aerobics. Again, since Westerners tend to value instant results, few have the patience to remain the eternal beginner and student that this art requires. I could go on and on, but hopefully I have begun to paint a picture of what's going on with my thoughts now that I have given a brief synopsis of where I am today in the process of learning to look at the big picture from a universal view point.




As bodywork therapist, I have had many an opportunity to notice spatial interactions with others while on the job. I loved reading the Distances in Man chapter in The Hidden Dimension because of the fact that my work is primarily has to do with touch. When I first see the client, he/she will be seated in a waiting area and we are at a Social distance of about 7 or so feet. I will greet my client, and she will stand and we will shake hands. This formal greeting establishes a sense of confort for the client. I show them to the treatment room, and have them sit in a comfortable chair. I sit on my "therapist stool", and the distance is now at a personal close phase of about 1.5 feet. At this point, I talk with them and get to know them and discuss the treatment plan, and go over the intake health history form. I am always using my intuition here because the client invariably will only tell me so much. For example, they might say, "I have been under alot of stress and my neck and shoulders hurt, and I just want to relax." Usually they will tell me much more when on the table, which is now at an initimate distance far phase of six to 8 inches, where the body is not in contact but where the "hands can reach and grasp extremities." p 117. The person will sometimes talk to me verbally about what is going on in their life to produce the physical manifestation of the stress or injury, or sometimes I will perceive and feel what they are going through. My hands have some pretty tuned in proprioceptors and are quite skilled in finding the problem areas they might not have mentioned. I get to know them on a deeper level, because their bodies will communicate with me. After the session is complete, I will leave the room and when they come out, I will be at a close social distance, and I will notice them more refreshed and open and glowing. I feel that there is a silent but clear communication of peace and appreciation that goes way beyond "Thanks, that was an awesome massage!" As a therapist, I have developed an intuitive capacity that is crucial in interacting with my clients. It is interesting that the distance gets closer physically from the time I greet my client to the time they are on the table. It establishes comfort because I gradually enter their sphere. Also, a certain spiritual closeness has developed as well at the close of the time I spend with my clients.

A sacred space is what I love. My home is a representation of my own inner culture, that has developed over the years. When you walk in my home, a small 2 bedroom apartment, you come into a lived in cozy space. It has elements of Asia, Hawaii, India, and the Southwest all rolled up into a Tibetian temple like space. The office area is both for dining and studying, and can be converted into a treatment area for massage and Reiki by setting up my portable massage table. There is definitely the semi-fixed feature here. Throughout the living space you will find the Tibetian burgundy red color in my blinds, pillows, and pottery. There is also the water element, in the form of a batik wall hanging with dolphins--this is delightful and soothing because depending on the lighting the dolphins appear to be laughing or frowning! On the mantle of my fire place are some Jade figures a friend from Vietnam gave me for good luck along with a frog sitting on feng shui coins. There is also a coyote and bear figure, along with a piece of green fluorite. I have other crystals and rocks throughout my place. I have oriented my book cases along the walls like the Europeans do, and my sofa and loveseat are in the middle, like the Japanese. There is also a rug with 5 versions of Kokopeli (Zuni). Weird, I didn't intentionally do it like that on purpose. I have the Asian characters for Summer, Fall , Winter, and Spring on the wall beside my bookcase along with a calender of China. There are lots of stuffed animals hanging out, too, both mine and my son's. Ian and I share this space with 2 living frogs (Bob and Cumin) , goldfish (yin and yang), and a hamster named Munchy. I have been trying to figure out the Feng Shui thing for the 4 years I have lived here by constantly reorienting and moving furniture and stuff around and its been fun. It all works for a while until I decide to move my altar, which I have found is better to see just as you walk in the door. It is at the fireplace, at the fame and reputation gua!!! I guess its ok there. I have a Buddha head there and will have to move her so I can redo my altar for El Dia del los muertos soon. I am going to stop here because this post is getting too long and I gotta get some sleep. Peace,Laura

Live, Laugh, Love...the child in us is eternal

After viewing some images of childhood recently, I recall feeling joyful and free as a youngster. Several of the photos really stood out--I loved the one of the mom laying on the bed with her infant--reminds me of when my son was a baby 10 years ago, and one of the most precious experiences of life. I loved the one of the baby getting ready to crawl--he looked so proud to be at this important developmental stage! It reminds me of the photos I have of my son rolling over for the very first time and recalling how happy he was (of course, I was estatic!). I really liked the youngster smiling like a cheshire cat--I recall how I was mischievous as a kid--this is where I laughed. It was neat seeing all the children holding hands--a reminder of how humanity is really all one, and how we need others. I thought it was cool how some of the last few photos showed adults laughing and having a good time together. The message in this is to never loose the child like spirit--it can remain forever and make the whole of our lives joyful. From an artistic perspective, children are born free to create, as shown by the children with their faces painted. It brings children joy to be creative, and it is definitely a natural instinct to do this. It is necessary for true pure joy.

Art as it speaks to me now

When first asked the question, "Is Art a Universal Language?", my first initial response is to say yes because art is a part of all cultures. However, because art is so individualistic it is more a private language of the person. Art is the result of the collective make up of an individual which can be influenced by the particular culture they are a part of. I feel like there are definitely varying degrees of influence the person's culture will have on their art. Even so, the person's interpretation of the universe and the relationship they have with it will make their art totally unique.



Our own personal lense and cultural view point could possibly affect our capacity to appreciate another culture's art. To me, it depends on how open or expansive an individual is. If someone can immerse themselves in the culture then they can better appreciate and live the experience of the art more fully. If one is ethnocentric it could impede their ability to feel and integrate themselves with the artist's experience. Familiarity with the artist's culture definitely would make the appreciation of the art more full.


I am not sure if translation is necessary because to me it boils down to allowing one to feel the art more than think about what the artist is trying to convey. An awareness of how something affects you is to me the most interesting part of the process. Having a greater universal awareness of the fact that we are all beings having a human experience is an awesome perspective to have when reflecting on art. Aside from the obvious physical stuff, the most globally shared of human experiences are emotions: joy, sorrow, pain, heartache, fear, frustration, hope, love, lust, etc. etc. I am learning to look at many aspects of art whether its physical, mental, or spiritual depiction of what the artist sees.

Introducing myself

Hello, I am Laura Church, and I am a Massage Therapist here in Greensboro. I have been in the field of massage now for 4 years. It's been a wonderful, and fulfilling experience helping others free up in their bodies and minds. I am here in this global arts class because I love art and music and want to expand my understanding and enhance in my own being self expression.

I have a background in science, I worked as a medical and research lab tech for 13 years before I decided to change careers. I was burned out, and needed something more than being trapped in hospitals and various other labs. I had a back injury which inspired me to seek out massage therapy as treatment. As a result, I realized that I wanted to contribute to the well being of others by becoming a therapist myself.

Being a massage therapist has been very transforming to me and being in Grad school is part of this process. I chose liberal studies because it offers a wide variety of experiences and learning to offer.