Vision Magazine November 2009 Edition by Vision magazine

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The Green Community Resource

November 2009

Ar& t Culture

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Devin Grace, MA

Psychic Consultant / Energy Clearer

800.980.7636

For over two decades, Devin Grace has assisted thousands of people to wake up to greater professional, spiritual and personal success. Her clients include politicians, healers, professionals, therapists, law enforcement agents, families, couples, addicts in recovery, entrepreneurs, teachers, artists, spiritual seekers and many others! To read client testimonials please visit www.DevinGrace.com

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Qualifications

• Over 20 years of psychic consulting experience • Advanced degrees in Business and Psychology • Master’s degree in Spiritual Psychology • Award-winning spiritual screenwriter

How I work

“I am Clairvoyant (clear seeing), Clairsentient (clear feeling), and Clairaudient (clear hearing). I see, feel, and hear messages from your guides who are intimately familiar with you, your life, your lessons. During the sessions, vast amounts of blocked energy get removed and immediate healing begins.”

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Client Testimonial Highlights

Absolutely blown away during my session with you ♥ Truly unparalleled ♥ Profound impact ♥ A single session with you is like ten therapy sessions ♥ I’ve been a skeptic about readings but this has changed my mind completely ♥ Far better than psychotherapy ♥ I could feel the energy coming through the phone ♥ I’ve had a few readings and by far, yours was the best! ♥ This unveiling of truth has changed my life ♥ What an astonishing experience! ♥ You got me through one of the most difficult periods of my life ♥ You were dead on! ♥ I found an immediate shift ♥ I couldn’t believe the amount of issues we covered in such a short time! ♥ It has lifted a deep private sadness ♥ That was completely amazing! ♥ How deep we were able to go in a short amount of time ♥ I think our session may have saved me years of anguish ♥ You are cheaper than a psychiatrist! ♥ The session was amazing! ♥ A state of peace and bliss that was completely brain numbing ♥ Giving peace of mind in times of total confusion ♥ No-nonsense explanation and loving, supportive guidance ♥ An incredible resource & ally ♥ Shockingly accurate – and always honest. ♥ Unforgettable! ♥ An answer to my prayers ♥ Understood to my core ♥ Unhindered ability to see and tell it how it is ♥ Awed by your gifts ♥ How accurate you are ♥ Great healing ♥ I am feeling more free and clear ♥ So inspirational and moving

800.980.7636 •Business www.DevinGrace.com • MC/Visa Accepted • Personal • Spiritual

The Magic of LindleyLopez Circus by Elyssa Paige

hushed murmur of anticipation spreads across the dimly lit room. The children in the audience giggle excitedly as they await the curtain’s opening. Finally, in a flurry of colors, Columbina enters the stage clad in a fluorescent tutu, mismatched tights, and a swirling hat. Dangling a glittery parasol above her head, she announces that it’s circus time! Sit back and experience a whirlwind of circus arts: body balancing and contortion, juggling, aerials, clowning, unicycles, stilts, comedy, and magic. LindleyLopez Circus is a family-run operation that began three years ago in San Diego, CA. Columbina, known offstage as Cheryl Lindley, started the circus with her husband, Rogelio Lopez, so that they could work together as a family more often. ”Our love of circus grew out of the combination of artistic beauty and tremendous physical skill,” explains Lindley, an international circus artist on the scene since the 1980s. “This is how we can work together as a family and community.” Performing at a variety of events including art and street fairs, night clubs, and fundraisers, the circus has recently been collaborating with Tragic Tantrum Cabaret, a local original band with a dark sound that tantalizes your ears while acrobatic performers capture your eyes, balancing upside down contortions to the

rhythm of the music. The extraordinary skill of the acrobatic performers leads many to wonder how they learned to bend and twist their bodies with such grace and strength. The answer is that some of the performers are students of the Sophia Isadora Academy of Circus Arts. Lindley, president of the academy, explains that it “is a family-run school that was founded four years ago with world class instructors, including Pietro and Joyce Canestrelli, a sevengeneration circus family, Otgo Waller, Mongolian contortionist who performed with Cirque du Soleil, and Brandy Wirtz, recipient of an LA Music Lifetime Achievement Award for her aerial acts on tour with Motley Crue.” When asked what makes her smile every day as the founder of this project, Lindley responded, “As a producer, leaving audiences with a sense of wonder and whimsy; as an entertainer, making others laugh; and as a teacher, watching students achieve artistic and physical abilities that they once believed impossible.” Lindley extends an invitation for all to experience the magic: “Come on by the school and we can share our love of circus with you!” The Sophia Isadora Academy of Circus Arts is located at 4241 Park Blvd in San Diego, CA. The LindleyLopez Circus will be performing at Light Up the Holiday with Hope, a fundraiser for children with cancer at Little Italy Spaghetteria, November 14 at 7:00 p.m., and at First Night Escondido at the California Center for the Arts, December 31. For more information, visit sdcircus.com.

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C ATA LY S T F O R C O N S C I O U S L I V I N G November Theme: Art & Culture

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Adrienne Abeyta, Dr. Toni Galardi, Michael Raysses, Lynn O’Neill, Andrea Paulis, Patricia Alfano, A.C. Workman, Ginny Giblin, J.A. Sierra, Michelle Page, Jesse Wolf Hardin, Jennie Brown Hakim, Marcella Maggio, Master Chrism Sales sales@visionmagazine.com Sydney L. Murray / Elyssa Paige / Vibhooti Kumar William Henn / Mike Winn / Titania Mehn / Michelle Colucci Joseph McDonald / Zachary Williams / Jacqueline Prairie Listings: Online & Print Sales Elyssa Paige / listings@visionmagazine.com Interns Ashlie Rodriguez / Danielle Goodman / Zachary Williams Vision Magazine® is a ® registered trademark of Vision Global, Inc. published on a monthly basis and distributed free of charge. Subscriptions are available for $27 for 12 issues (one year). All rights reserved. Advanced written permission must be obtained from Vision Magazine for partial or complete reproduction of any part or whole of Vision Magazine, including advertising material contained in its pages. Opinions expressed in Vision Magazine do not necessarily represent those of Vision Global, Inc., its employees or representatives. Vision Magazine disclaims any responsibility for claims made by its advertisers. Artwork, fiction, letters to the Editor, and manuscripts are welcome, however, unsolicited manuscripts without SASE will not be returned. Copyright © 2009 Vision Magazine

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T h e B l a c k e r t h e Yo g i by A.C. Workman

kay, so black people don’t hike, ski, tip, vote Republican, support gay marriage, dig country music, read, age, get elected (see: president), ride horses, go camping or skydive. And they definitely don’t do yoga, right? Wrong! You know what the best thing about stereotypes is (besides the fact that they’re usually just the teensiest bit true?) Cracking them wide open with a sledge hammer, and then doing a cartwheel over the limited, misleading cages they try to trap us in. Southern California is great for that—with all the Mexican, African-American, Filipino, Native American, Vietnamese and Pacific Islanders running around and, umm…intermingling (wink), you end up with a beautiful assemblage of brown folk of such ambiguous ethnicity that it becomes a colossal waste of time to even attempt guessing their racial ancestry. Hallelujah! For me, being an African-American woman new to the west coast, I’m still experiencing the unexpected joys of meeting brothers and sisters who break the mold of what we are supposed to be. It’s not like there are black hippies under every shaded palm ’round here. But, there are enough of us to make

a girl feel comfortable getting her “bliss on” at yoga without feeling like the world’s biggest freak show. But when you look at the African-American community as a whole, we’re still talking about a paltry few of us who are involved in or even exposed to the idea of alternative healing practices and holistic lifestyles. Why? Especially since the litany of ailments we as a people disproportionately suffer from (diabetes, heart disease, stroke, HIV/AIDS, infant mortality, etc.) would certainly benefit from the healing arts. Unnecessary, treatable ailments are literally killing us, yet there are possible solutions out there for the asking. So why wouldn’t we give them a try? My guess is that a whole lot of what’s preventing African-Americans from embracing alternative healing practices is built on some unproductive and obsolete cultural taboos (yoga ain’t for black folks). It’s also about access, consciousness and, well, money. It’s All About the Benjamin$, Baby I am nobody’s authority on the intersection between holistic practices and economic factors. Let’s get that straight. However, I know this much—yoga classes generally ain’t free and, black president or no black president, we are far from economic parity between the races. Poverty and unemployment are still kicking our collective derrieres at alarmingly disproportionate rates, with the U.S. Census Bureau revealing that African American men earn 76 cents for every dollar of their European American counterparts. Try setting aside a few extra bucks for acupuncture when all you’re thinking about is keeping the lights on. Monetary access is not just a problem on the individual (micro) level, either. So many of the African-American healing artists I’ve been blessed to meet have expressed their frustration over the obstacles with bringing their work into the black community. Bottom line? Funding. And when you can’t find the funding, what happens? These amazing and committed brothers and sisters have to take their services to places that have the means to support them. A young brother may dream of teaching meditation classes to inner-city youth, but his talent would more likely find a home in upscale places which are hardly bustling hubs of afrocentric culture. Jerome Gross, a yoga instructor and founder/creator of Effulgence™ (a mind/ body company), knows the obstacles firsthand: “Over the past 10 years, I have definitely seen more acceptance. But, it’s not enough to make a noticeable impact. While I’ve witnessed influential black educators and leaders in the Rastafari community embracing alternative [modalities], it seems that for most of my peers, holistic practices are not even in the their circle of contact.” Art: A Bridge to a New Paradigm? Okay, so I may have taken a little artistic license when I said it’s all about the Benjamin$. Truth is, money (or the lack thereof) is only part of the story. Finding a quiet little spot at the park to sit down and meditate is free. So, at least part of the problem with connecting African-American people to the healing arts has absolutely nothing to do with finances. Like Jerome said, it’s about the fact that these practices are not even on our radar. And if consciousness and the mere lack continued on page 40

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h o l i s t i c l i v i n g smallest apartments have room for these. 12. Do your own performance art. If you’re the shy type, do it when you’re home alone. Try dancing in a dark room to the beat of a sound effects album. 13. Think of the role color plays in your life. With the camera you used in suggestion number one, take pictures of objects of only one color—red one day, green another, and so on. After you print the pictures, put them in a collage. 14. Paint an object in your dwelling. It may be a bookcase, a small table, a lamp, or even a teacup. Use an out-of-the-ordinary color that leaps to the throat. 15. Think of unusual advice like: Plug your soul into the electric current of groovitude. Or, Build a birdhouse and live in it. Write it all in a notebook. 16. Go to an antique store and just walk around. It’s almost like visiting a museum. It is comforting to spend time among objects that have survived for decades, if not centuries; they’re material messengers that defy the bonds of time. 17. The next time you receive a fortune cookie, save it. When you have collected at least five, put them together and make a poem. 18. Photographer/illustrator Ashleigh Brilliant is known for his single-panel “PotShots” which combine an old-fashioned ink illustration with his own handwritten philosophy. Why not write your own philosophies and illustrations on cards? 19. Look up a stock photo website such as Corbis.com, iStockphoto.com, Jupiterimages.com, GettyImages.com, and Shutterstock.com. Use the search engines to look at images of your favorite things. 20. Buy an art toy, such as the Spirograph (a classic favorite). You’re going to enjoy this more than you think. ~~~~~~~~ May this small list of ideas help create art in your life—especially in trying circumstances, when art reminds us that we (the individual as well as society) are greater than the mundane.

Inexpensive Ways to Bring Art into Your Life by Jennie Brown Hakim

hen circumstances curtail the budget, our impulse is often to eliminate the treats in life, such as eating at fine restaurants, traveling out of town, or buying new books. Most of us would place art in that category too. Not so fast. Art is not a mere treat, nor is it a luxury for the privileged. It is a human right, connecting us to beauty and wonder and speaking to our hidden souls. There are many paths to art that cost very little, or nothing at all. Here are some of my favorites: 1. On a single day, take at least 25 photographs—not of family, friends, or tourist attractions, but of the things you see every day in your life. Your coffeemaker. The place where you catch the train to work. A tree growing outside your window. A drink balanced on the edge of your balcony. What do these photos tell you about your world? 2. Pick up leaves that you find on the sidewalk. You can do so much with fallen autumn leaves—and they’re free. Place them between two pieces of paper and do a pencil rubbing, put them into a small vase, take pictures of them, or use them in decoupage. 3. Be on the lookout for free or discounted admissions to local museums. For example, Tuesdays are free museum days in San Diego’s Balboa Park. If you are a student, senior, or member of an organization like AAA, you might be eligible for discounts. 4. “Art walks” are booming in various communities. Check your local listings for these free late night gallery openings and sidewalk displays. 5. Look for greeting cards with images that interest you. You can have a “gallery” that fits on top of a dresser or on a bulletin board. 6. Check out books from your public library (remember the library?) While it would be nice to travel to Europe to see the Mona Lisa, David and Guernica in canvas or marble, books can bring beauty to your eyes immediately. 7. Take a local architectural tour. Some communities offer formal guided tours, but you can also take a tour on your own in architecturally diverse suburbs, main streets, and even cemeteries. Plus, it’s great exercise! 8. If you have a local independent video store in your neighborhood or a Netflix account, look for biographies and documentaries about artists, as well as filmed operas, concerts, and ballets. These kinds of films are rarely available at chain rental stores. 9. Find a coloring book—not in the kids’ aisle, but in the art section of your local bookstore. Dover Publications has a great collection of coloring books with fine art reproductions. 10. After you buy your coloring book, find some nice materials to color with. I suggest colored pencils or watercolors; using markers is ink-intensive and takes too long. If you’re feeling really whimsical, buy a box of 64 Crayola crayons. (Not 96, not 120, but 64. That’s the magic number.) 11. Create your own artwork. My husband and I have some small paintings in our apartment that we created using acrylic paint and small canvases. Even the V I S I O N M AG A Z I N E

Jennie Brown Hakim is a writer, graphic artist and thinker rising above the mundane (cheaply) in Tustin, CA. Contact her at jbrwn65@hotmail.com.

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What Is E x t r e m

ne early morning, many ages ago, in a small, humble village in the Far East, hundreds of men, women and children gathered expectantly along the sides of a narrow dirt road leading through their town. They clutched flowers, ripe fruits, baskets of rice and other offerings, and faced the rising sun in the East, straining to hear the sounds of foreign feet approaching. As everyone knew, the Enlightened One was coming this very morning. As the sun lifted into the cloudless sky, the great wandering monk appeared on the horizon, and the village erupted into sound: drums banging, horns blowing, children screaming and parents weeping loudly with joy. Amidst this ecstatic frenzy, a young man wandered through the crowd. He was not particularly spiritual or religious and considered this fanfare welcome for a wandering ascetic silly and a bit comical. Unable to press through the throngs, he watched the man approach, squinting into the blinding light, as the sun traced a path into the heavens. The simple monk’s robes and worn sandals were nearly obscured by the rain of flower petals and rice being tossed skyward in front of his path. Suddenly, a very strange feeling came over the young man. What was this unexpected emotion? He noticed a little girl near him holding a small bouquet of wildflowers. He dug all of his coins from his pocket and offered them to her in exchange for her bouquet. She looked at him oddly, but smiled, handed them over, and ran giggling back to her parents without taking his money. The young man, overcome with a feeling that he could not reconcile, ran into the road directly in front of the Enlightened Traveler and threw the bouquet at his feet. Miraculously, the flowers never landed. They hovered, seemingly in their own ecstasy, in front of the monk. The ascetic looked up, as if from a trance, and gazed directly into the eyes of the young man. It is said that this is the moment when Shakyamuni Buddha first stepped onto the spiritual path, for it was this moment, in a lifetime long, long ago, when he first recognized Enlightenment, felt a desire to know more, and received the blessing from an enlightened being that began his own evolution to Buddhahood.

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For all spiritual seekers, there comes a lifetime when we decide we want enlightenment. And then, perhaps millennia—even eons—later, there comes that one lifetime when we will attain it. We then want to know how you can go from

being that young man spontaneously tossing a bouquet of flowers at the feet of an Enlightened Teacher, to becoming that Teacher, before whom those flowers never touch the ground. What is necessary in this precious incarnation to cause us to finally suppress our attachments, control the ego and enter into the Light? How can you know whether this is the lifetime when you will walk through the doorway of Nirvana into liberation? The answer is, you don’t know, as much as you decide. Once you have decided—This Will Be The Lifetime I Become Free—now you need to find a Way, and follow that Way with every particle of your mind, body and soul until you become free or die trying. The problem most seekers have is that by the time they decide in a given incarnation to do whatever is necessary to attain liberation, they don’t have enough years left alive to build up enough power or learn to meditate well enough to actually do it. Most young people are just too entertained by worldly pursuits and pleasures to get interested until they are older. By then they are so set in their ways, the transformations required for spiritual evolution become too difficult to achieve by ordinary means. What is a spiritual seeker to do? Look to The Buddha himself for the answer. 2500 years ago, spiritual teaching was dominated as much by politics in some ways as it can be in religious organizations today. It was also believed that only the educated, higher classes should have instruction in spirituality. The lower classes and illiterate masses were unworthy of hearing the High Dharma. Shakyamuni, on the other hand, believed that everyone should hear the Truth that he had been so privileged to discover for himself. He knew that Enlightenment is available to everyone, as our most organic and true nature, and thus, that everyone inspired to hear the Dharma is worthy. So he began speaking to anyone interested, specifically in the language of the

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e m e Buddhism? people. The scholars and elders were horrified and offended that someone would dare teach the Dharma in a language other than Sanskrit. They tried to get the Buddha to stop. Having a sense of humor—as the Enlightened tend to do—he held up his palm and told them, “Talk

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and humbly, according to the sensibilities of the students sitting in front of him in his time. Back then, when he wanted to communicate to his students a simple message such as, “Meditation Is Fun,” perhaps we would have found Buddha chiseling “MIF” into a rock and throwing it into the crowd. Someone might have chiseled a short reply into the same rock, such as “TYT” (Thank you, Teacher) and tossed it back. Ancient text messaging…The point is, there is nothing more spiritual about a rock than a cell phone. It’s essentially the same practice, just using more modern technology. We do not live in rural India in 500 B.C. If Buddha were teaching in the United States in 2009, he would do things differently than he did 2500 years ago, while keeping the spirit and essence of the teachings the same. He would undoubtedly do whatever it might take to inspire others to seek enlightenment, no matter how unconventional. He would be what we call Extreme. Experience Extreme Buddhism : The Shortest Path for the Darkest Age - Harder, Faster, More Outrageous at the Hyatt Regency San Francisco November 14 and 15. For more information about Extreme Buddhism, visit extremebuddhism.org or view their page on Facebook.

to the hand.” And everyone thought he was performing some kind of mudra. The Buddha was a radical. He drew large crowds and entertained everyone with his magnificent Light and the music of deep meditation. By today’s definition, he was a rock star. The modern era’s Buddhism is inclusive, which is wonderful. Everyone can learn to meditate, practice mindfulness and seek serenity. However, the Pathway to Enlightenment is different from the Pathway to Feeling Peaceful. For these more intense teachings, the Buddha created the Tantras. These are the advanced instructions for attaining liberation in a single incarnation, for making this lifetime, now, the one lifetime when, after thousands of years of seeking, you finally become free. It is possible to find peace and serenity, but not be free. However, once you are free, peace and serenity are also achieved. Freedom requires an intensity, passion and sense of urgency that most spiritual seekers do not learn to cultivate—although anyone interested can. We have a name for this radical, rock-star, make-it-happen-now kind of spiritual path. It’s called Extreme. Extreme Buddhism is for anyone who wants to hear the Truth, and learn how to use the tools necessary to become That, now. Extreme Buddhism is for anyone who believes that spirituality can be exhilarating, not boring; outrageous, not stuffy. And above all, it’s for anyone with a good sense of humor. In such an intense practice, you’ll need one! Extreme Buddhism takes Shakyamuni’s approach: adapting ancient wisdom for students living in this age, speaking our modern language. There is a reason Buddha drove the traditional scholars of his day nuts. He had the crazy idea that seekers had to understand the teachings in order to actually benefit from them. He wanted to teach others to appreciate the ecstasy and fun of spiritual practice, not just the rules and regulations. He knew the Truth and spoke about it clearly V I S I O N M AG A Z I N E

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L i f e Q u a k e ™

Ask the LifeQuake™ Doctor Dr. Toni Galardi

“Whatever is flexible and flowing will tend to grow. Whatever is rigid and blocked will wither and die.” – The Tao Te Ching

ear Dr. Toni: I don’t know if you work with interpreting dreams but I have been having a dream that keeps repeating itself: I am in an old house and some of the rooms are closed off and scary. They have dead bodies in them. There is, however, one room similar to an attic that is also closed off, but there is light peering from under the door. I seem to be afraid to open it. In my waking life, I work in the helping profession but I am in burnout. I don’t want to do it anymore and yet, I am clueless as to what to do next. Is there a connection here with this dream? Can you help? Deborah Dear Deborah: Actually, I work with dreams in my private practice and was trained as a Jungian therapist. Carl Jung believed that many of our fears and aspirations are played out in the dreamtime. So, let’s look at this dream. Before we get into figuring out whom the people represent, let’s look at the landscape. This plays a predominant role; even when it is mere backdrop, it is important. The landscape here is an old house. The house represents the self. The cellar is often the unconscious, the main floor the conscious, and the attic or upper level is the super conscious mind. There are individual rooms that can represent places where we store memories, particularly if those rooms contain dead bodies, as these do. I would suggest this exercise: Sit quietly and spend five minutes breathing slowly to get centered. Now go back into the dream’s first scene. What feeling does it evoke? As you recall the dream, notice if the feeling changes. When you open the door that has the dead bodies, go into the room if you can and ask the bodies what they represent. What is dead that you have kept stored away and haven’t properly

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Dear Dr. Toni: I don’t know if you can help me. My problem is not like most of the people who write you. I know what my calling is; I just seem to be dried up creatively. I am a writer in recovery. While I was drinking, it was easy for me to access the muse. Now that I am sober, I find that I have a chronic writer’s block. My career is in jeopardy if I don’t get past this. I am not meeting my deadlines. What should I do? Dry and Dried Up in L.A. Dear Dry: There is an expression in Alcoholics Anonymous known as “terminal uniqueness.” This is when addicts think that their problem is special, or they don’t feel that they can relate to AA meetings because their addiction is unique. You don’t say whether you go to AA meetings but if you do, you would find yourself in good company, especially around those who are new to recovery and think that their imagination, like a genie, emerges from a bottle. When you speak to writers who have been in recovery for a long time, you will find that not only can their muses come when they’re clean and sober, but that they have become more productive, not less. I am not saying that AA is for everyone, but I would suggest that if you got sober by yourself, attend a yoga or meditation class that can show you how to use your breath to expand the mind and open to universal consciousness. When we go beyond our limited minds and surrender to this vast intelligence, so much more is possible. A daily ritual to try before you go to your computer is to open to possibility and call in the muse with reverence. Asking to be shown what to write creates humility and surrender to the “gods of imagination.” I also recommend a book entitled The War of Art: Break Through the Blocks and Win Your Inner Creative Battles, by Steven Pressfield. It is a great book for any artist suffering from creative blocks.

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buried? Venture into the kitchen and see what is there. The kitchen represents how we nourish ourselves. Is the refrigerator full or empty? Does the stove work? This can represent how much fire we have inside to make changes. Now walk up the stairs to the room that has a light under the door. Ask for a spiritual guide and a key to open the door. The guide will be with you throughout the process to keep you safe. Whatever you see and feel when you open the door is a key to your future. This dream has come to inspire you to take action to confront the skeletons in the closet and connect to your soul’s purpose. Be courageous and allow a passionate life to emerge.

V I S I O N M AG A Z I N E

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rowing up, my Father had strange ways of teaching me about the world. Sometimes he would just utter an old Greek adage to illustrate a point. “A fish rots from the head down” comes most readily to mind. Regardless of his method, though, he would never expressly say what it was he wanted me to learn. Instead he would just suggest that I observe life and take note of what I noticed. One of his favorites that baffled me for years was when he recommended that I watch the way people interact, especially in those instances in which one of them is subordinate and poses no prospect of doing anything of benefit for the other. This dynamic comes to mind when contemplating the issues of art and culture, especially as they relate to a civilization up to its earlobes in war, economic distress, and a malaise so pervasive it defies categorization. How do we accord art and culture in the post-We’re-At-(Undeclared)-War-InAfghanistan-But-No-One-Bothered-To-Mention-It-So-Let’s-Pretend-It’s-NotReally-Happening era? How do we treat art and culture when they arguably pose no obvious benefit to us as a civilization? And the unfortunate answer, as my Uncle Tasso would say, is that art and culture are taking it dry. But before we proceed, we need to understand the slippery nature of the topic at hand. Like beheading a hydra, defining culture can be elusive—just when you think you’ve nailed it down, at least two more meanings spring up. In fact, in the book Culture: A Critical Review of Concepts and Definitions, authors Alfred Kroeber and Clyde Kluckhohn compile a list of 164 meanings of the term. Broadly speaking, though, three meanings come to mind when discussing culture. It can

V I S I O N M AG A Z I N E

g r e e k t o m e touch on excellence of taste in the fine arts and humanities, i.e., high culture. It can represent an integrated pattern of human knowledge, belief, and behavior that depends upon the capacity for symbolic thought and social learning, or it can manifest as the set of shared attitudes, values, goals, and practices that characterizes an institution, organization or group. Regardless of what definition you choose, though, what is palpable is a sense of cultivation or improvement—that culture’s driving force is the betterment or refinement of the individual, especially through education, through art, and then onto the fulfillment of national aspirations and ideals. Sadly, what is even clearer is how this view is lost in the current political milieu. Back on March 31 of this year Time magazine’s Richard Lacayo reported on the annual lobbying blitz in our nation’s capital called Arts Advocacy Day. That’s the one day when various art groups from around the country plead their case that art is not only intrinsically good for people, but it’s good for the economy too. In that piece, he cited the following statistic in reference to the National Endowment for the Arts’ budget: “Thirty years ago, the NEA received a modest 12 cents per $100 of non-military discretionary spending. Today that is just three cents per $100. If the NEA had simply maintained its 1979 percentage of discretionary funding, its 2008 budget would have been $613 million.” To give the issue of the NEA budget some context, consider this: The budget peaked in 1992 at $175 million. But a mere three years later, the budget was slashed by a Republican House majority to $99.5 million, a 39 percent cut. The freefall continued up until 1997 when the same House voted to eliminate the NEA altogether, an idea that was mercifully rejected by the Senate. Though things have calmed down in the last 10 years, the 2009 NEA budget request by the Obama White House is just $155 million, an increase of only $10 continued on page 41

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m i n d s t a t e s

Gr a t e f u l for W h

by Ginny G

ere comes Thanksgiving, with visions of feasts, family, friends, and good times, as well as busy airports, holiday traffic, family drama, and maybe new ways of celebrating—because airfare just can’t be squeezed out of an unemployment check. The truth is, sometimes Thanksgiving isn’t about giving thanks at all. It may be about 12-hour workdays before flying off for a week “at home.” On a limited income, it may mean food bank issued cranberry sauce and potatoes. For some, it’s about being lonely and for others, tropical vacations. Despite Norman Rockwellian imagery, there are myriad ways to “do” Thanksgiving, and most involve planning and emotional intensity. So, other than that brief—if existent—moment where heads are bowed before digging in, does anyone remember to be thankful? Do we do it in the tempered mumbling of, “Thank you for this meal; I hope no one hassles me for not eating the creamed cucumbers?” Or the negotiable, “Thank you for my safe journey; please let the return flight be so easy?” Do we ever truly immerse ourselves in gratitude for what we have received? Does that moment of thanks extend throughout our entire being and embrace all the goodness with which we are graced in each sustaining breath? Especially in these truly challenging times, do we give thanks that provide access to the blessings within? I ask this almost weekly as I volunteer at The Food Pantry, a food distribution center in San Francisco that fills the extended bags of 800 or more people in an afternoon. Hectic, maddening, intense and at times amusing, it is a microcosm of

V I S I O N M AG A Z I N E

humanity on display. Repeatedly, I reflect back upon my 2008 journey to India, to the Hamsa Yoga Sangh ashram of Yogiraj Siddhanath for the annual Festival of Shiva. The next day, as is traditional, Gurumata, the wife of Yogiraj, and a small staff of villagers set up outdoor kitchens to distribute a hot meal to over 500 schoolchildren from the village. Wearing their one clean outfit— perhaps the only clothing they owned— they sat smiling and patient in the heat, shaded by lush mango trees, until called by the group to be served. We walked up and down the aisles of children and their teachers, now seated cross-legged under a large colorful tarp to protect them from the sun. We scooped rice, curry, vegetables, and jalabies—a hot, deep fried, sugary treat—onto their plates. Each took the servings shyly. Most said, “Thank you,” if they dared to look up. They often said it proudly in English, as pleased to be understood as I was to understand. Sometimes the girls were so movingly long-lashed and beautiful, that I would give them a bit The Food Pantry in San Francisco more rice, or maybe another jalaby. They did not want it. “Bas,” (enough) they would say as their hands passed over their plates. They did not want more than their share. Clearly, they had learned well from the women amongst whom they sat, who also took no more than that which was given. The boys, of course, were hungry, laughing and teasing in the local Hindi language. But if I did slip one little cutie an extra scoop of rice or another jalaby, the others did not clamor for the same. Each accepted what was given and ate. The

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W h a t I A m Gi v e n

m i n d s t a t e s

inny Giblin

men would take another, especially the local workers who had now joined in. At times, they would gesture for more. These were men who worked in the sun all day. How can anyone do that on an empty belly? Upon my return to the States, I was unceremoniously downsized from my job and began volunteering at The Food Pantry—because I have the time and because the groceries I receive are a blessing. Week after week, I distribute food to those who line up hours before we open—some to make sure they get the best, others in hopes of getting the most, some just because they can—and I may only guess the intention of the others. Some recipients are content and accepting of all they receive. Others want as much of each item as they can possibly get. Some will steal if a back is turned. Others continuously scan for something better, as if the next apple or loaf of bread is more perfect or prized than the one received. The hundreds of people in line behind them may be delayed because this person wants that larger cabbage head, or that loaf that appears to have six more slices. Some have stepped right up and demanded two more. Not one more—two more! The English of some is extremely limited, but the concept of more is clearly grasped. Still other folks look ahead to the next station even as I fill their bags. I can see the wheels turning as they scan, scope and plot. What’s next? How do I get more, more, more, more for me, me, me or for me and my family? Some people say thank you. Many of them mean it. Others mumble and move on. I always reply, “You are welcome.” Most say nothing. Then I quietly say, “Om nama shivaya.” I give thanks for them. I make my task a prayer.

V I S I O N M AG A Z I N E

Each week, I receive a lesson in gratitude, and of relationships with the universe, with God, with Divine Flow, and yes, with humanity. When gratitude is expressed, we share a moment of connection in the brief exchange of “thank you” and “you’re welcome.” I can’t say that those who say nothing are ungrateful; it’s not my place to judge. Yet when some grab, others demand, and still others steal, I detect greed and a sense of entitlement. They want more of what is to be shared with all. They remind me of those people who are never satisfied, the ones for whom nothing is ever enough. As months pass, I see the same faces again and again. I learn their personalities. I see who steals and who is picky. I also see who is smiling and grateful. For me, The Food Pantry has become a window onto a particular aspect of beingness. I know this action is wrong, and I know that it’s unfair, but sometimes, when no one is looking, I slip one more of whatever item I am distributing into the bags of the ones who are grateful. To my soul’s mind, they deserve it. They are my living lesson. Smile and be grateful for what I am given, and I will see more come. This Thanksgiving, despite perceived trials and tribulations, take a moment to truly give thanks for all that you have. A Children in India moment may be a second, a breath, an hour, or a lifetime. And in it, recognize that your cup is full. Drink deeply and savor. Namaste. Ginny Giblin has been practicing Kundalini Kriya Yoga for over eight years by the grace of Yogiraj Siddhanath. Information and the opportunity to donate to The Hamsa Children’s Fund and/or The Food Pantry, located at 500 De Haro Street in San Francisco, CA, can be found at hamsa-yoga.org or thefoodpantry.org.

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m i n d s t a t e s

The Word Ar ti st by Marcella Maggio

he sweltering sun draped above the asphalt road caused every enthusiast to perspire as they strolled along the art festival. Men, women, sisters, uncles, and children moved at a snail’s pace along the street, admiring the works of art at their feet. Splashes of inspiration could be found in the vibrant shades of sidewalk art, through the curves of diverse sculptures, and on the faces of every onlooker. Beauty, passion, and wonderment flowed from the veins of the artists and into the hearts of their admirers. Though countless masterpieces surrounded me, a painting far off in the distance beckoned for my attention. Mesmerized, I approached the piece for a closer viewing. Hues of pomegranate red swirled beneath wisps of yellow pastels over leafy tones of green. In the center appeared a shadow of Mother Earth floating above a poem:

The Original

We and They Father and Mother, and Me, Sister and Auntie say All the people like us are We, And every one else is They. And They live over the sea, While We live over the way, But, would you believe it? – They look upon We As only a sort of They! – Rudyard Kipling After reading the words, I was overcome with profound sadness and personal guilt. I sat with the sensations and allowed them to sink deep into my core. I felt saddened with the realization that several share in this belief and guilty that I was once among the several. Yet, above all else, I contemplated the fact that these simple, everyday utterances had the ability to invoke such intense emotions within me. Though few words were expressed, the author’s compelling message was effortlessly conveyed. His declaration reminded me about the illusion of separateness. As a poet, he is a Communicator, a Storyteller, and a Word Artist— titles that each one of us collectively share. This awareness was immediately identified, as I observed the interactions of those who attended the event. All around me, I saw, heard, and felt words as they floated from mouths, into ears, and wrapped around hearts, causing emotions to seep out into the veins of every speaker and listener. I watched as children begged for tasty treats, only to resort to tears when their parents said no. I listened to the harmonies between man and woman as they performed a duet on stage. And in a twist of fate, I felt the sting of disappointment when three small words mouthed caused my teenage daughter to receive one week of punishment. Her defense was that she did not “speak” the words therefore she did not mean them. “If words are thoughts, spoken or not, they all are meant,” I explained. Though I attempted to enjoy the rest of the afternoon, my daughter’s reaction to my justification only

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created further distance between us. Upset with the consequences of her actions, she chose to remain silent for the duration of the day. However, not for one moment did she cease to communicate. She flipped open her phone and texted her frustration to numerous friends. There was no need for the others to be present, as technology made it possible for her to transport the sensations within her, across the miles that separated them. The art of communication, whether spoken, written or merely thought has been our most powerful tool throughout life. As human beings, the Divine has gifted each one of us with the potential to create our way of life through our expression of words. Contrast to the countless life forms and species that inhabit this planet, only we have this capability. As infants, we were encouraged to say “Mama” or “Papa” to form a bond between parent and child. By way of constant repetition, we eventually graduated to full sentences and were able to ask for items in order to have our needs met. The moment we understood the meaning behind the words in our vocabulary, we continued to identify with and express them. Additionally, through nurturing, schooling, and research, we discovered new terms and enhanced our repertoire. However, the ability to verbally communicate is not necessary due to sign language, body language, and symbolic and written forms of exchange. Words. We can’t escape them. Not even within our own minds. Instead, our mind is likely to be all over the place, forming ideas and opinions, framing questions, passing judgments, drawing conclusions, and jumping from one thought to another. Whether read aloud from a book or spoken behind closed doors in secret, this universal art form shares the messages of our souls. Through sheer expression, we have the ability to communicate our feelings, our fantasies, our hopes, our dreams, and our truths. Consequently, when we share our words, we enable those around us the opportunity to connect to our experiences, and thus grow from our lessons learned. As Word Artists, we can unify the relationships within our families, our communities, and our countries, regardless of individual upbringing and background. Beyond the imaginary lines of division and despite our cultural and familial differences, numerous forms of communication and self-expression exist across the globe. From infancy into adulthood, our families and caretakers have acted as distinct cultures. Each culture exhibits its own way of communicating, arguing, sharing, and showing affection. Most cultures remain intact by passing along their nuances, habits, and sayings for hundreds of years, with only slight variations occurring within each generation. However, when our languages are different and translation has to be used in order to communicate, the potential for misunderstandings escalates. By becoming more aware of cultural differences, as well as exploring the similarities, we can communicate with others more effectively. There are those throughout the world who have hopes of learning something new, developing friendships, and understanding different points of view. Yet, many fear being judged, patronized, or hurting others unintentionally through miscommunication. Instead, these magnificent Word Artists chose to build walls around their souls and allow little out. In doing so, essential knowledge and wisdom are lost, preventing spiritual growth in the ones who refuse to share and in the ones unwilling to listen. As I reflect on my time spent at the art festival, the colorful drawings, melodic lyrics, and finger-staining newspaper hats transform themselves into sheer expressions of the artists’ souls within my mind. I see, hear, and feel them connect with me once again and realize that communication encompasses every moment of our existence. Therefore, with patience and understanding, we can reconnect to those near and far, across the street, and across the ocean. In spite of our surface differences and divisions, when we allow our deeply rooted Word Artist to emerge, we permit ourselves the opportunity to become whole and united. Through the art of expression, “They and We” become an illusion and the words that connect us become our reality. Marcella Maggio is a freelance writer, poet and lyricist living in scenic Carlsbad, California. She is currently in the midst of writing her first book, The Teacher. Every Wednesday, this modern-day hippie shares another one of life’s adventures in her blog, On The Road Again. Learn more at happyhippieadventures.com or contact her at info@happyhippieadventures.com. V I S I O N M AG A Z I N E

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e a r t h w a t c h

Junk Redefined by Lynn O’Neill

f it’s true what they say about poets and artists being on the forefront of progressive revolution, then artist, thinker and layperson researcher Kirk Gilliam is already a hero of the people. It’s no coincidence that Gilliam is exhibiting his work and a bit of worldview—in the form of his mesmerizing found-art sculptures—at Nature’s Express in San Diego, a restaurant known for cuttingedge, plant-based, organic food (with drive-thru!). “People ask me if it’s extreme that I’m a vegan and I say, ‘Isn’t it extreme to eat a hamburger with parts from 20-30 different cows in one serving?’” He believes in eating a diet that is in harmony with the laws of nature. “When we eat the highest quality foods, we become higher quality people.” Simple and true. At Nature’s Express, it’s all about voting with your forks while satisfying your cultural cravings. I like how Gilliam thinks and I’ve got to love someone who tells me, “I once made a rib out of a mini-muffler.” So, I’m listening…and looking…and intrigued by what I see while my boyfriend and I are enjoying a damn good vegan lunch. Every bite brings a smile to our faces. Every glance at the art makes us curious. Gilliam’s sculptures are made up of a fabulous but composed mish-mash of assembled plumbing gizmos, conduit, rollerblade wheels, nozzles, wood…(the list is long). The viewer will have a ball spying all of the components that went into each creation. Gilliam calls them “3D Rorschach Tests.” To wit: The pleasantly humanoid Visitor from Planet Toast stares at you from the corner. He looks confident and no wonder; “he” took first place this year at the San Diego Fair for recycled art.

All of the pieces are constructed out of redefined parts that could have certainly managed the plumbing or held the walls together of a North Park Craftsman and yet here they are, transformed and rearranged into cohesive sculptures— perhaps a messenger from the future or a giant bug from the artist’s imagination. The more you look, the more you see, which is a credo of Gilliam’s life and art: Reuse what’s already available to you, see things around you in a new way; put your feelers out and be a good steward of the planet. Indeed. If you didn’t know that a miniature muffler could be reconfigured into a rib for a sculpted creature, then you might not have known that vegan food could be so delicious. Funny, how the world works sometimes. Gilliam also believes that we humans need to tune in more acutely to our surroundings. When we are receptive to nature—when we are quiet and observant—we are more in balance. We can then receive messages from the universe about what we need individually and collectively. The artist believes in purposeful intent. He says that there is intelligence in all things. Taking it a step further, we can start with the food we eat and make mindful choices. “Our actions as individuals count; even our thoughts and feelings contribute to peace or chaos,” Gilliam says. He goes on, “By becoming quiet—working at night can help facilitate this—and being organized, you can infuse spirit into matter. Answers will be revealed. There are myriad ways of receiving input from the great omnipotent oneness. All the problems we face can be solved by listening to the signals coming at us.” Another piece, H. pylori, which was inspired by Gilliam’s dog, is crafted from hand-carved wood and recycled materials that include plumbing parts, electrical materials and miscellaneous found objects. You will notice plenty of whimsy and subtle nods to fellow San Diegan, Dr. Seuss, in many of his pieces. Gilliam acknowledges a theme running through his recent work, pointing out, “Everybody has an abundance of sensory appendages, antennae, feelers, fingers and toes, large noses, ears and whiskers.” continued on page 41

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The Fabric of Life

l i v i n g

a r t s

by Patricia Alfano

rt imitates life, right? Or is it the other way around? Does artistic expression spring from our experiences; or do we create events as a result of what we see and hear? Maybe it’s all a rich tapestry where both the experience and the expression are one and the same. As a young art student at the Philadelphia College of Art (now University of the Arts), I fancied myself as an artist living apart from society, in my own little world and being as weird as I wanted to be. I would later discover that true artists lift the invisible veil that is spun from the intertwined threads of human experience and embrace the essence of their surroundings. Beyond the ancient walls in which I studied, I saw the unsophisticated nature of my neighborhood as cheesecloth that was covered with wine and tomato sauce stains. Outdated music, loud conversations and people who thought cooking was a religion were not the precious fibers I coveted for the silk chip I wore on my shoulder. But the more I tried to shake the cheesecloth, the more it stuck to my shoes. Uncle Frankie regularly burned holes in my cheesecloth universe with his fat, smelly cigars and boisterous personality. He was a semi-pro boxer whose life revolved around cheap booze, stray dogs, voluptuous women and gambling. His world was a kaleidoscope of deal-making, perpetual hangovers and shady characters, all rotating around the jazz that blared from his radio.

One chilly autumn day, I was leaving a prestigious art exhibit at the college when I spotted my uncle standing on the corner across the street. I looked around, hoping none of my new cashmere friends, who painted with expensive oils, would see the short, stocky man in the fedora blowing smoke rings into the air. But it was too late. He had caught sight of me and began waving his arms. “Zia! ” he shouted, “I want you to come and see this piece of art I just bought.” His thumb, forefinger and pinky were extended from his hand as he shook it back and forth in the air. “It’s a real pip! You’re gonna love it.” Uncle Frankie always sought free appraisals of his acquisitions whenever he could; and as his favorite niece, I was more often than not the one chosen to do the evaluations. Reluctantly, I followed him to his dingy apartment and patiently waited for him to drag the masterpiece from the basement. As I looked around, I realized that home décor was something that interested neither him nor my aunt. The apartment walls were lined with aging photographs of himself in the boxing ring, interrupted by an occasional religious portrait that was adorned with palm fronds twisted into a crucifix. The furniture was falling apart and the wallpaper was gone from the walls while the paste remained. His home made a statement somewhere between early flea market and late salvage yard. continued on page 46

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Aries: Sun (4 of Swords) 3/21-4/19 Quiet your mind and you will find a side of yourself that you never imagined. This is a particularly powerful time for activating your goals and seeing through obstacles. “No better time than the present” is a perfect affirmation for making things happen, and you have everything you need lined up. Whatever has been on hold will now begin to flow, but it’s up to you to direct this energy in a decisive manner. Feel confident in your words and actions because others may look to you for leadership. Taurus: Wheel of Fortune (5 of Pentacles) 4/20-5/21 New opportunities for growth can emerge from the challenges of the past, but you must show up to claim your golden ticket. Poverty consciousness is not only about what you have or don’t have, it’s a mindset that precludes you from the abundance of the universe and the intelligence of the master plan. If you look within yourself to find wealth, you may discover that what you thought was missing was simply misplaced. How do you expect to collect more, when you neglect what you already have? A circuitous question perhaps, but nothing will satisfy you if you cannot satisfy yourself. Gemini: Star (7 of Cups) 5/22 – 6/21 Dream the impossible dream… Your imagination is quite fertile this month so feel free to plant seeds of fantasy. Visions may unexpectedly bombard both your waking and dreaming mind. Within each are buried treasures; however, to reap their value, you must separate from your rational thinking. Find ways to connect with your deeper feelings: Listen to music, meditate, walk in nature, and spend quality time with those you care about. Most importantly, have faith in your visions and trust that their language is as essential as that of your logical mind. Strange coincidences can yield favorable results—if you let them. Cancer: Temperance (Knight of Wands) 6/22 – 7/22 A life in balance is a life full of opportunity. Mixing and merging allows the spectrum of possibilities to appear. Who says that too much of a good thing is unhealthy? Perhaps it’s better to say that too much of anything in one direction is unhealthy, yet when divided, that thing can be powerful. An experience that you are passionately involved in may be in need of some revision—not to suggest that there is anything wrong here, but rather, that something is beginning to fizzle out. Find an inventive way to improve upon what you have by adding something different or even contrary. The dynamics created will produce a needed sense of balance. Leo: Hermit (Queen of Wands) 7/23 – 8/23 Moments alone will bring you back in touch with the nature of who you are and what you really want, though you may need to step down from your throne to find that humble place. Your recent goals may be put on hold as you find yourself burnt out from too much effort. Pause for a second and feel proud of your past accomplishments; it is more important to honor yourself than aspire for worldly recognition. Be patient with others and keep your opinions to a minimum or you may end up in a problematic situation. Virgo: Moon (8 of Cups) 8/24 – 9/22 The past always has an odd way of showing up in the present, particularly when feelings are intense. This month, an emotional situation may trigger some of your forgotten tendencies, that is to say, behaviors you thought you had left behind. You cannot avoid facing the reality of this situation, no matter how hard you deny it. Something or someone will likely bring out the worst in you. Though your judgment may be thwarted, ultimately you make the decisions and must accept responsibility for them. Illusions may serve in the moment, but will only lead to harder times.

Libra: Chariot (9 of Pentacles) 9/23 – 10/23 The deeds of humanity are directed by the steeds of opposition. In other words, your actions are often channeled through competing forces within you. Though you may think you are calling the shots, it’s more likely that you’re merely reacting to impulses. Think before you act! You have a superior sense of what you want, especially when it involves challenge. A situation you’ve been struggling with will present an opportunity for success; however, it requires that you take initiative in a controlled and aristocratic way. If you react, you may be run over by your own horse and carriage. Scorpio: Lovers (8 of Pentacles) 10/24 – 11/22 Choices are reflections of values, so be sure to value what you do. A new aspect in your life will require a great deal of your attention and creative focus. In a relationship, you may find that it is your turn to shoulder the burden of responsibility; but before taking on too much, be sure you’re ready. At work, a recent decision may lead you down a less-familiar path, yet it will also solidify some of your long-term goals. Commitment is the word of the month. If your heart isn’t in it, your commitment is empty. Sagittarius: Emperor (Ace of Swords) 11/23 – 12/21 Power is in the eyes of the beholder; a clear mind is like a sword cutting through the illusions of space and time. You are human and therefore intended to make mistakes; however, you are the master of your own sovereignty and capable of transcending any barrier. You may be faced with what seems like a Herculean task. Just keep in mind that this is your empire and there is no such thing as defeat. After you shave away the fear, you will uncover a unique strategy that will win the battle. Think outside the box! Capricorn: Judgment (5 of Wands) 12/22– 1/20 Free yourself from the friction that is caused by imaginary strife. How? Shakespeare wrote in Hamlet, “There is nothing either good or bad, but thinking makes it so.” Look deeply at what is troubling you most and you’ll discover that you have room for more movement than you think. The energy you’re wasting on this disruption is precisely what’s needed to solve your dilemma. Even though you’re feeling frustrated, recognize how focusing on what you don’t have instead of focusing on what you want is perpetuating the problem. Where your attention goes, so it grows; where your attention is not, so it rots. Aquarius: Empress (Page of Swords) 1/21 – 2/18 Those little nagging voices of self-contempt may be in need of a sweet lullaby. As you venture into a new phase of life, you may be accompanied by an annoying sense of doubt, questioning your capabilities and challenging your dedication. Instead of denying this voice, find a way to soothe its rough edges. Engage in a compassionate conversation asking it (a.k.a. yourself) what there is to fear. Also, be wary of others who place uncertainty in your path, for their offering will only yield weeds in your Garden of Eden. At work, ask for what you are worth, and in relationships, refrain from bickering. Use your words wisely! Pisces: Hierophant (7 of Swords) 2/19 – 3/20 Beliefs form the basis that personal philosophies are built upon. As such, meaning is often woven into the justifications we give. In the search to discover meaning, it can be unfortunate to fit new experiences into an outdated context. You’re being challenged to reinvent yourself, beginning with the ideas you are defined by. Look beyond the labels and qualifications to find the real you. You are not simply a measure of qualities, you are an infinite source of wisdom. Though it may be challenging, you must identify and release from your limiting beliefs. Advice will come in the most unexpected way!

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An Artful Life by Jesse Wolf Hardin

rt is surely among humanity’s most redeeming graces, moving beyond paintings on canvas to include the wondrous patterns of the natural world around us. It’s far too easy to relegate art to those visible outer forms, to finished and salable products, rather than recognizing it as an ongoing process in which we play an essential role. What nearly all of us forget is the degree to which we can and should be participants in the artistry we’re immersed in. While we may consider ourselves spectators, we inevitably contribute awareness, experience and emotion to what is principally an exchange with a painting, the architecture that surrounds us, or the heavy-breathing clouds above our heads. We are said to be the only species capable of creating art, and yet we may also be the only life form ever to imagine itself outside the state-of-art. But it was not always so. Not for the pale villagers of ancient Europe who left us the sculpted body of the archetypal Earth Mother, the bearer of all of life. And not for the first hominid inhabitants of New Mexico either. The ancient pueblo people left behind shards of painted pottery that continue to evoke the Great Mystery. These fired clay fragments of a life of honoring still vibrate with the energy of years of reverent touch. Carved out of their collective and individual souls, the people spoke their fealty for the land in rock paintings of lightning bolts and the seed-carrier Kokopelli on the sides of the caves. Here, too, are the forms of the artists’ fingers and palms: their signatures, the marks of their selves, in graphic hands reaching out to their descendants across the chasm of time. They left enduring images of their priorities and loves, their deities and dreams. It was their holiest expression of wonder and communion, the evidence of a marriage with place consecrated in timeless art. The lover in us is a child that likes to draw, handle a sharp pencil, splash water colors or inhale the aroma of the turpentine and linseed oil that thins and binds the pigments to canvas. Vision can be as immediate as touch—direct and with no need of explanation. Like altar boys, we ready the vacant sheets of tree-flesh, then release our anima—our insistent healing life force—in a fountain of hue and variance, freed of all preconceptions about design and the takeover of meaning. One never really manufactures either adventure or art. We are confronted by it, consumed by it—and remade within it. It always has a purpose, one beyond the range of the artist’s intentions, and it is willingly given away. Here today and gone tomorrow, like golden cottonwood leaves. Like Tibetan sand paintings intricately crafted in this ever-shifting medium, definitive colors sure to blow across one another, mixing and blending until they are undistinguishable from the landscape from which they came. But then it’s not in the completion of some project that we become fulfilled; rather, it is in the making of our art and in the living of our lives that we’re made whole.

c u l t u r e “The purpose of art is not to represent the outward appearance of things, but their inner significance,” Aristotle proclaimed. This is true for aesthetic forms that evolve without human influence, as much as for our “own” creations; for rivers and twisted cedar limbs, as well as the sculpture forming beneath the attentive motion of our tools. Each glinting rock, each flex of river muscle is an inspiration to the heart and food for the soul. When allowed to express itself, art is what comes of the relationship between self and other. It is a complex and evolving structure to relate, exist and act within. With or without the artist’s brush, we reach out to make our mark from the center of our experience of art, of life, and of our mated land. In the artist’s vernacular, our attention to form is called “style.” Once we’ve made art into a way of being, an action, a verb, we see the ways in which it corresponds to the word “grace,” which can mean a “seemingly effortless beauty or charm of movement,” “an excellence bestowed by God,” and “a prayer of thanksgiving.” In this sense of beauty, beneficence and gratitude, we impart grace to our acts, and in turn, are graced by the inspirited world we act upon and within. Repetitive chores turn into art whenever they’re executed with style. They then become ritual concurrent with our conscious acknowledgment of their meaning and importance. The same acts completed without our mindful attention are simply habits. We don’t need to take time away from living to engage in ritual, so much as we need to ritualize our daily existence. Sitting up in bed each morning to face the first sun becomes a ritual, as soon as we’re conscious of it as an act of interpenetration and gratitude. The sharing of food moves from a quick refueling to a slow and artful unfolding, and then into ritual. As each serving is consecrated, every bite is undertaken as communion with the life forms that feed us, with the sun, rain and soil that made the salad possible, and with the spiritual/evolutionary power moving through both consumer and consumed. The result is reconnection, as our art and practice weaves us back into the material of our experience. Together with the ritual efforts of others, we co-create the living fabric of culture, jointly painting on that fabric the story of our struggles, our miracles, and our beautiful hope. Jesse Wolf Hardin is a teacher and founder of Animá nature-informed practice, which offers empowering online Herbal Tradition, Shaman Path and Path of Heart correspondence courses, as well as online counsel and healing consultations. You’re invited to the Animá Lifeways & Herbal School, an ancient place of power, for wilderness retreats, vision quests and events including the Shaman Intensive and 2010 Traditions in Herbalism Conference: Box 688, Reserve, NM 87830. For more information, visit animacenter.org, traditionsinwesternherbalism.org, or animacenter.org/blog.

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c u l t u r e

A Call to End the Embargo against Cuba by J.A. Sierra

“We have a good many American farmers who need to find a foreign home for their product. We sell that product to China, a communist government. We sell it to Vietnam, a communist government. But we are told somehow that we ought not to encourage sales of food to Cuba. I don’t think Fidel Castro has ever missed a meal because of our embargo. I don’t believe he missed a meal in 40 years because we couldn’t ship U.S. food to Cuba or they couldn’t purchase food from the United States. But I think poor, sick, and hungry people in Cuba are the victims of these policies, and I personally believe that it is immoral to use food as a weapon.” – Byron L. Dorgan, U.S. Senator from South Dakota, May 21, 2002

e sit at a sumptuous dinner table for eight that includes almost anything found in an upscale traditional Cuban meal; steamed rice, seasoned black beans, slices of pork and chicken, cooked yucca and malanga (tubers), fried plantains and a salad of tomato, lettuce, cucumber and avocado. Everything is placed on the table, and a generous assortment of Cuban pastries (filled with fruit paste) waits on the kitchen counter for later consumption. To drink we have a choice of water, Coke, Malta (a barley soft drink) and beer. Somehow the conversation turns to Cuba and the embargo. I’m not surprised to hear Arturo, our host, issue hard-line after hard-line at the “Castro regime,” and for a second, I consider ignoring his remarks to resume enjoying the food. Instead I joke, “How can you support starving Cubans during such a splendid meal?” “If they’re communists they should starve!” blasts my host between mouthfuls of lightly fried platanitos. The table goes completely quiet. “They,” Arturo explains, sounding like a Florida politician, “must rise against tyranny and defeat communism before they can share the gifts of democracy,” to which our meal is attributed. The silence multiplies, and if a pin had dropped, you could have heard it bounce on the hardwood floor like a nuclear explosion. In some Cuban American circles, opposing the embargo is worse than supporting Osama bin Laden. Most of Arturo’s guests do not support the embargo, yet we all sit at his table and eat his food. “We must support democracy in Cuba,” says Maria, our host’s wife and, no doubt, the one who prepared our meal. “Why don’t you return to Cuba and join the dissidents?” I quickly ask our host, who has settled back on his favorite living room chair, twirling a Panamanian cigar in his right hand. Again the house goes quiet, as some misunderstand the fact that Arturo and I have had this conversation thousands of times.

“Because I’d be in jail,” he responds, “or dead.” “They had about 71 political prisoners [in 2006]!” I say in exaggerated liberal outrage. “No doubt you’d have been one of them.” This question could easily inspire others, such as, why do Cuban Americans support the idea of starving their Cuban counterparts for a fight they’re not willing to take part in? Sure, many Cuban-Americans that support the embargo want to see a U.S. military victory over Cuba, at almost any cost, evidenced by their unquestioned support for terrorists Luis Posada Carriles and Orlando Bosch. They’re frustrated with the lack of success the U.S. government has had disrupting the Cuban government with the embargo and numerous assassination and terrorist attempts. “Cuba has turned us into abusive, angry bullies,” says Rowena, my date. “The United States has always wanted to absorb Cuba,” says Ricardo, a conservative high school teacher who disapproves of the embargo. “They see it as a natural relationship.” Some of the guests appear uncomfortable with the conversation as Arturo becomes more agitated and prepares to accuse me of being a communist. Almost anywhere else the commie label would be as outdated as 8-Track, yet it remains central to a cultural movement that has made it acceptable for Cubans to kill Cubans with whom they disagree on the Castro issue, and for Cuban Americans to support the starvation of their families on the island. The embargo against Cuba emerged shortly after the triumph of the Castro brothers and the “bearded ones” in 1959, and has grown steadily in scope and legislation over the past five decades into one of the meanest and longest in history. Since then, the foreign policy umbrella under which the embargo exists includes sabotage, assassination attempts, direct and indirect support for terrorist activities against the island, and a general lack of concern for the suffering of Cubans. Since 1960, the focus has been completely on Castro, with the Cuban people relegated to war casualties. To maintain this level of hostility against Cuba, and to gain the support of

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the American people (who are footing the bill) the orchestrators have carefully removed all perception of the Cuban people from the equation. The embargo and related acts of terrorism are not against the masses, but against Castro the dictator; against the Castro regime; against repressive communism; against the generals of the 26th of July Movement (which was vital in the formation of the Communist Party of Cuba); and during the G.W. Bush administration, against the evil dictator. That most of the efforts have only hurt innocents and have never even come close to eliminating the Cuban government is rarely discussed. Since the failure at Bay of Pigs in April 1961, U.S. policy toward Cuba has been entrenched in a cold-war ideology that exists to this day. A combined State Department/CIA report released to President Kennedy on May 2, 1961, acknowledged that even if the regime collapsed, Cuba “could operate without him (Castro).” It seems fitting to remind the Obama administration that 48 years after that memo was delivered to a U.S. President, our policy on Cuba remains a relic of that same Cold War. After dessert, through sips of hot Café Bustelo, I blurt out, “We should have ended the embargo in the early 1990s, after the fall of the Soviet Union,” and again I’m interrupted by silence. Arturo asserts that “if we had gone in with force then, this would all be over.” When the Soviet Union came to an end in 1991, and Cubans found themselves without a major trading partner, the embargo got meaner, more entrenched in legalistic procedures and extraterritorial reach, first with the Cuban Democracy Act of 1992, and then with the Helms-Burton Law of 1996. With Cuba at her most vulnerable, hardliners claimed that the embargo would “crush Castro.” It was this ideological meanness that propelled Cuba into her so called “special period.” During the Clinton Administration, while we were passing laws aiming to starve the Cuban people, real Cubans were leading the world in energy savings and developing a garden-farming culture that the whole world can now learn from. As a result of losing their main trading partner, and the embargo’s tightening measures, the average Cuban lost more than 20 pounds of bodyweight. This sudden “thinning” of the Cuban population led to a number of creative homegrown solutions that can now be looked upon as innovations: sustainable communities, garden farming and the use of bio-pesticides and bio-fertilizers in place of petrochemical products. As word of the “green movement” spread slowly across the United States during the Clinton Administration, Cubans implemented its ideology as a survival tactic. In his State of the Union address to the American people on January 29 2002, President G.W. Bush referred to Cuba as a member of the “axis of evil” which included Iraq, Iran and North Korea. Never mind that there was no evidence whatsoever that Cuba should be on that list. Within a few months, Bush-appointed Ambassador to the United Nations, John Bolton, said in a series of speeches that Cuba had “biological weapons” capabilities and was sharing them with “rogue nations.” Bolton repeated the charges on 10 different occasions, without once offering any evidence to support his claims. The Bush Administration eventually backed away from the Bolton statements, unable to produce any intelligence that would even come close to validating any possible interpretation of the remarks. It was later revealed that Bolton tried to have two State Department intelligence analysts punished for refusing to support V I S I O N M AG A Z I N E

c u l t u r e his charges against Cuba. Even Arturo, a hardened embargo supporter and self-described “lover of my American Empire,” is embarrassed by Bolton’s statements. “He’s an asshole,” Arturo admits, “but that doesn’t mean we should end the embargo.” Perhaps no logic will ever change Arturo’s opinion. President Obama’s largely symbolic gestures of permitting Cuban-Americans to travel to Cuba and allowing families to send money is not nearly enough to stop a half-century of insanity. Aside from putting an end to the embargo, we need to start thinking about getting our troops out of Guantánamo Bay. And that’s only part of the problem the Obama administration faces with Cuba. You can’t just erase the stain of empire lust that has affected the nearly 200-year relationship between two countries. Whatever single action is taken to move us forward into a peaceful accord will only serve to point out how much is still left to do. J.A. Sierra has been interested in Cuban history since he came to the United States as an 11-year old boy. He continues to believe that Cubans should Cuban marketplace have as much access to food and medicine as he does, and he believes that the time for peace with Cuba is now. Learn more about the economic embargo against Cuba in Part Two of this article at historyofcuba.com/ embargo.htm.

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Nature Works with Valerie Salatino and Nancy Moran by Sydney L. Murray

ublic art is so important, more so now than ever. Recently opened at the San Diego Bay waterfront is Parque del Sol, a tribute to the tuna cannery workers who were a vital part of the history of San Diego. I was surprised to find out that San Diego’s economy was once driven by the canneries; the area was even known as the tuna capital of the world. The Port of San Diego has reported that the canneries were the lifeblood of the San Diego region from 1911 to 1984. At its height in the early 1950s, this industry generated $65 million annually for the local economy and employed more than 17,000 workers. A joint project between the Port of San Diego and Northrop Grumman Shipbuilding/Continental Maritime, the artwork created by Valerie Salatino and Nancy Moran incorporates elements that illustrate the lives of the cannery workers. For example, a gorgeous geometric

“Art washes away from the soul the dust of everyday life.” – Pablo Picasso

Photo by Dale Frost, Port of San Diego

mosaic sun encircles a coral tree that was dedicated by the employees of Sun Harbor Industries years ago. This area was where the cannery workers took their sunrise lunch breaks. It was an oasis of tranquility that the workers enjoyed in an otherwise physically challenging day. “The artists captured what the tuna industry was all about,” said Robert “Dukie” Valderrama, vice-chairman of the Board of Port Commissioners, at the recent dedication ceremony. There are four bronze plaques embossed with stories of the workers and the history of the canneries. The plaques also honor the diverse cultures of the Italian, Portuguese, Hispanic and Japanese employees. “This artwork will educate future generations about the importance the tuna industry played in the development of San Diego,” said former port commissioner Frank Urtasun. Not only is this small park and its incredible art important historically, it is

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valuable aesthetically. Recently I had the opportunity to speak to the artists about their tribute to the cannery workers. Vision Magazine: What did you learn about the culture in San Diego while doing the project? Nancy Moran: I really wasn’t aware of how many different ethnicities moved to San Diego specifically to work at the canneries. There were all sorts of people from Portuguese and Italian, to Polish, Spanish, Japanese, and Mexican. Valerie Salatino: Prior to World War II, it was primarily the Portuguese, the Italians, and the Japanese. When WWII hit, a lot of migrant workers who didn’t necessarily have citizenship were needed in the canneries. That’s why there was an influx of Mexicans at that time. NM: The cannery industry actually brought in the revenue that built Point Loma and all the surrounding neighborhoods, such as Little Italy and Ocean Beach. Without that industry, those neighborhoods wouldn’t have grown like they did. The cannery workers apparently made a really good living, according to the interviews we conducted and the transcripts we read. We also learned that it was very family oriented. If people think of the cannery workers as sweating away and working for basically nothing—that was not the case. For the times, the wages were good. It was hard work but it was dependable. VM: What was your inspiration for the bronze sculptures? NM: Basically, we decided to honor the cannery workers. We did a lot of research about these people and how much they actually enjoyed working there. We wanted to celebrate them. Our work is focused on multi-medium sculpture. We were just waiting for the right project to come along to express ourselves in this medium and this was it. A lot of the time, if you go to a park that has bronzes, often, there tends to be this lifelessness—obviously there are a lot of qualified artists out there—I just mean that sometimes bronze sculptures look like what they are: a memorial. Even though they are three dimensional, they read very two dimensionally. We wanted movement. We wanted action. I think that the standing man on one side of the fish really looks like he’s moving and the 15 fish in the air have a lot of movement as well. VM: How were you inspired to create the mosaic? NM: I water colored the tiles to depict the colors of a very vibrant sunrise that I saw one morning outside my front yard. VS: In the actual stage of the design, there were two references to the sun. The park is called Parque del Sol, or Park of the Sun, and the employees of Sun Harbor Industries actually planted the tree in 1978. It seemed fitting to have a sun in the design to refer to this. NM: When fishing boats returned from sea a bell would ring sometimes after 1:00 a.m. to alert the cannery workers that it was time to get up and go to work. And they apparently went really willingly. I pictured them sitting at 5:00 a.m. out in the park taking their breaks, with the sky above just alive with color. And that’s how the sunrise pattern came about. VM: How do you feel that public art benefits people? NM: I think that it gives people a sense of pride and ownership in their neighborhood. Val and I worked out there for a few months and we literally met hundreds of people in the community. They kept telling us, “Thank you, thank you, it’s so beautiful.” They couldn’t wait for it to open. And it really belongs to them— not only the former cannery workers, but to the people that live there. Anytime you put something beautiful into a community, you’re giving it value and showing the community that it matters. VS: It’s a part of history. It’s a reminder of where we’ve been and what was significant to an area at a certain time. It’s like a quick history lesson and then you get to enjoy the art. We also wanted to make sure that whoever comes to visit this park in the future would be uplifted when they see the project. VM: How did you begin Nature Works? VS: Our business started by just having the raw, bold attitude that we were going to make it happen. Now, Nature Works has been around for 13 years. Basically we decided that it would be a line of work that was both continued on page 46 V I S I O N M AG A Z I N E

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Musical Path to the Divine: A Conversation w

by Elyssa P

reathing deeply with my legs crossed on my mat, I repeat Ong Namo Guru Dev Namo. The words permeate the room, filling the hearts of everyone in the class. Ong Namo Guru Dev Namo. I call to the divine teacher within. This sacred chant is an integral part of kundalini yoga. Brought to the West by Yogi Bhajan, this intensive yoga practice activates the kundalini energy which resides at the base of the spine. As I sing the chant, fully present in the sacred words, I connect to my own divine wisdom in pure bliss. This is the power of kirtan. Snatam Kaur and GuruGanesha Singh, world renowned kirtan musicians and students of Yogi Bhajan, have dedicated themselves to sharing their path to peace with the world through yoga and devotional music. The founder of Spirit Voyage Records, GuruGanesha’s grace on the guitar is enriched by Snatam’s exquisite vocals and her gentle caress upon the violin. Their harmonies are full of devotion, elevating you with sacred chants and an inspired fusion of eastern and western musical styles. I recently had the honor to speak with Snatam and GuruGanesha and was struck by the humble and joyful nature of these two individuals who are so greatly loved across the world. Vision Magazine: How can kirtan bring inner peace? Snatam Kaur: Kirtan has a physiological effect on the body. Scientific studies show a major reduction in stress by chanting the sacred words of kirtan. The tapping of the tongue at the roof of the mouth makes different vibrations. Each word is a sacred code that actually stimulates the glandular system to secrete, creating profound effects on the body. As we know with modern medicine, the physical is connected with the mental, which is connected with the spiritual. The sacred words are positive self-affirmations of the divine within. People have been using them for hundreds, if not thousands of years. They are very powerful, especially if you chant everyday—that’s when you really start to feel the effects. That’s why we’re so passionate about getting these sacred chants out there. GuruGanesha Singh: Yogi Bhajan said on a number of occasions that the most healing sound for a human being is that of their own voice vibrating from their heart chakra with positive affirmations. I chant mantras every single morning. It never fails to make me feel really good in my heart, about myself and about my life. VM: What are your thoughts on the recent popularity of the fusion of eastern and western musical styles? GS: It’s a really beautiful fusion. I came out of the late 60s rock and roll era, when there was some amazing music that my children and my grandchildren will probably enjoy as well. Interestingly, Snatam and I have been studying a lot of music from India, including classic Indian raga. It’s ancient and so phenomenal. Learning all those beautiful ragas has enhanced our soul’s vocabulary. Music is an expression of your heart and soul. When we play for a concert, it’s really a representation of what’s in our hearts at the moment. Even though each song has a melody, a chord progression and a structure, we play very improvisationally—we never play the same piece the V I S I O N M AG A Z I N E

same way. Also, the kirtans are much more of a co-formance with the audience than a performance because we encourage people to be a part of it right from the beginning. In fact, our best evenings have been when the audience takes over and gets so into the kirtan that we follow them instead of them following us. The fusion is really who we are. The music that comes through is a combination of western and eastern music; it’s a blend of everything that we’ve studied and everything that we’ve loved for many years. SK: I grew up in a yogic lifestyle and a lot of the music was a natural fusion of East and West. We were learning and celebrating the traditional songs and styles of kirtan, which are very devotional and come straight from the roots of northern India. As westerners, we thought this music would sound good with some guitar. It was a natural evolution. And as GuruGanesha said, the heart and soul of where we’re coming from is doing whatever brings you to that state of bliss. If it happens to be Indian raga notes or western chord progressions—whatever it is that takes you to that place. Our major journey is coming to that state of bliss with the music and sharing it. VM: What are some of the biggest lessons that you have taken from Yogi Bhajan’s teachings? SK: One of Yogi Bhajan’s most significant teachings for me is to use whatever powers and strengths you might have to serve the planet and all beings. I learned early on as I was touring that it really wasn’t good enough for me to be able to sing or play the violin. What is really fulfilling is that I’ve shared a moment of peace with people, that I’ve really given something through the music, and that I’ve been able to help someone in someway. And this really comes from the attitude of service that Yogi Bhajan taught through yoga and music. He always said to be the forklift, to meet people eye to eye and be in that space of humility and service. As a performer, this has helped me to connect with people and show them that I’m real. From that space of just being who I am, which maybe isn’t all that special, we can come to that place together of having a divine experience through the sacred chants. GS: One of the reasons Yogi Bhajan came to the © Fran Gealer West from India in 1969 was that his teacher told him that young people were throwing their nervous systems off through substance abuse. By ’71, I realized that I needed to find an alternative way to feel uplifted, or to use the old expression from back then, “to feel high,” or I was going to die like a lot of my friends did. A lot of musicians never came out of it and they pretty much destroyed themselves. So I started looking for a better way to feel at one with the universe. Fortunately, I ran into the Yogi Bhajan’s teachings of kundalini yoga, which is a very strenuous and powerful form of yoga. I went to my first class and had an experience that was definitely as profound as any of my 200 or so LSD trips. I immediately realized that this is an opportunity to transform my life and take it in a positive direction. It was a profound gift that Yogi Bhajan brought to a whole generation of young people. Back then, when you said you did yoga, people thought it was a frozen dessert. And now, everybody knows about yoga. They’re starting to offer it in public schools—it’s amazing what’s happened in 40 years. VM: What are your thoughts on sustainability and environmental consciousness?

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n with Snatam Kaur and GuruGanesha Singh

yssa Paige SK: We are taking many steps to green our tour and our music creation. The last CD that GuruGanesha and I did, Liberation’s Door, is completely made of cardboard. We’re also encouraging people to download our music on our Web site, SpiritVoyage.com. On tour, we got reusable water bottles for all of the band members. I envision the landfills out there whenever I think of using a plastic water bottle. We also encourage our producers to serve our food on reusable plates, as opposed to throwing them away. It’s not always perfect, but I find that the more we talk about it together as a band with our producers and show them that this is important to us, the more we will be able to collectively make significant changes. The more we realize how the planet is interconnected, the better off we’ll be for many generations to come. VM: Can you talk a bit about your work in supporting the United Nations Peace Resolution? SK: We have been part of an organization called 3HO, which stands for Healthy, Happy, Holy Organization. It is a non-governmental organization of the U.N. founded by Yogi Bhajan that teaches kundalini yoga to women, men, children, couples and families. GuruGanesha and I are so dedicated to sharing the technology and science of kundalini yoga as a way to create peace. Yogi Bhajan really believed in sharing with everyone, whether they’re into doing yoga or they’ve never heard the word before. I always bring a little bit of yoga in the concerts and people have really powerful experiences. We encourage them to continue with their yoga practices. It doesn’t even have to be kundalini yoga; just doing yoga and meditation on a daily basis has a profound effect on the planet. That’s our way, our path to peace. GS: The backdrop at our concert says, “Peace in your heart, peace in your home, peace in the world.” It starts in your own heart. The goal of the concerts is to give people a deep experience of inner peace. We can only do our small part, but if people leave the concert having a door open in their hearts, that can lead to a little bit more of a peaceful household when they get home. And if there are enough peaceful households, eventually the world starts to become a more peaceful place. The television is always telling you that war is breaking out and there’s fear and terrorism everywhere. We’ve been doing concerts for 10 years now and we’ve crossed paths with thousands of incredible people all over the world from all walks of life. On the contrary to what the media is saying, it appears to us that peace is breaking out all over. VM: Do you have a favorite mantra? GS: My favorite mantra is, “Peace to all, life to all, love to all.” SK: I would say mine is Wah He Guru. Wah means ecstatic bliss and joy, He [pronounced “hey”] means here and now, and Guru means from darkness to light. Essentially, it means that bliss is here now and the lack of awareness is transforming into awareness. It’s a really powerful one for me and I chant it everyday. VM: Besides chanting, what are some practices that you consider important for V I S I O N M AG A Z I N E

wellness? SK: I feel that it’s important to do a powerful yoga practice every day. My husband and I have been really focusing on experiencing yoga every day—and chanting right afterwards is phenomenal. I also feel that it’s incredibly important to have a vegetarian diet. There’s actually nothing more powerful that one can do for the environment than become a vegetarian. The energy that goes into creating that piece of meat is incredible. And as human beings, we simply cannot digest it. Yogi Bhajan taught that if you can’t digest something within 72 hours, then you shouldn’t be eating it. Meat putrefies in your gut. In fact, during autopsies, they find traces of meat leftover from when somebody was five years old—even when they’re doing the autopsy on an 80-year-old. It’s just not healthy. GS: When I was in my early 20s and a heavy meat eater, Yogi Bhajan looked at me and said, “Why do make your body a graveyard for dead animals?” And that was like a bolt of lightening; it resounded in my head and very soon thereafter, I became a vegetarian. VM: What is your hope for the world? GS: For quite sometime, I’ve had a heartfelt conviction that a worldwide enduring peace is going to manifest in my lifetime. That’s just not my hope for the world; it’s my firm conviction. When Obama got elected, it was a powerful move in the right direction. I believe that he’s a man of consciousness who’s not just looking out for Americans, because we’re one global family. We have to think in terms of what’s best for the whole universe—not just what’s best for me, my family, or my country, but what’s best for all of us. We’re moving into the Aquarian Age, a time when people of consciousness, like Obama and others, are moving into positions of leadership. It is my heartfelt conviction that worldwide peace will manifest in every nook and cranny on this © Ravitej Singh Khalsa planet in the next 20 to 40 years. SK: My prayer is that we continue to experience the beauty of nature. In our travels, we’ve met a lot people working for peace and we’ve also seen a lot of pollution and lack of awareness. Having clean air and water is divine. Caring for each other and thinking globally, rather than in terms of separate nations, is divine. We have a big responsibility to shift the consciousness of the planet. And it’s been done before. My grandfather, who was a peace activist after World War II, said, “Our generation shifted the consciousness. We fought for peace and now it’s your turn.” Snatam Kaur and GuruGanesha Singh have just returned from Europe where they guided sold-out crowds from deep meditation to ecstatic dancing with their uniquely colorful blend of traditional Indian instruments and Western beats. Their 2009 Sacred Chants world tour now brings them to Southern California for two concerts only: Huntington Beach, November 13 and San Diego, November 14. Snatam will hold an afternoon yoga children’s program on both days before the show, consisting of music and a yoga storytelling adventure. For tickets and music downloads, visit SpiritVoyage.com.

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Oh My God the Movie: A n A ma A C onversation w i

ur theme this month is art and culture and I can think of no better way to meld these two concepts than the new film, Oh My God. Truly a work of art, OMG portrays Peter Rodger’s traveling odyssey that took him to 23 countries as he asked people from all walks of life, “What is God?” Given his unique artistic background, Rodger has created a film that will appeal to everyone I can think of. Young and old will find great inspiration, as well as food for thought in the striking imagery and compelling narrative. A travelogue and a treatise on religion, this amazing documentary will make you think about your perceptions of the world and her people. Its melodic soundtrack is outstanding and the editing is brilliant. The team that Rodger has pulled together has that combination of talent, perspective and soul. The visual spectacle is stunning and there are so many great quotes that I know hardly where to begin. I can’t forget the Aboriginal elder who said that when the Christian missionaries came to convert his people, they broke every one of the Ten Commandments. Or when Seal the musician decided a long time ago to see God in the faces of the people he sees every day. Or as Benjamin Creme said, “The heart of God is the heart of Man.” I believe that everyone who watches OMG will have a more open heart and mind by the film’s end. Indeed, if everyone on the planet had access to it, the world would change. Rodger has said he decided to do this film because he was tired of the way religion was tearing our world apart. His journey took him straight to the heart of the matter. As the film explores many different religious and tribal traditions, there is a sense that we are more alike than different. And there is somewhat of a consensus that the leaders of countries start wars that their people never wanted. Recently, I had the opportunity to speak with Peter Rodger about his epic quest. Vision Magazine: What was your impetus to make this film? Peter Rodger: The main thing was that I was frustrated with the childish mentality that permeates the world. We have grown men flying airplanes into buildings saying, “God is great.” We have the leader of the free world in 2003 telling the BBC that he invaded Iraq because God told him to. We have the constitution of a country [Iran] that dictates that its supreme leader is God’s representative on Earth. We have young women and men blowing themselves up, as well as innocent others, to buy themselves a place into heaven. I thought that was a little perverted. So I wanted to go around the world and ask people what God means to them to shed some light from an objective point of view. I also had an intense desire to reconnect with the world and document it as it is now on a sociological and anthropological level. It was very titillating to create an opportunity or an excuse to go around the world to learn about and understand different cultures. VM: The soundtrack is amazing. Can you talk a bit about that? PR: I really can’t take credit for it. The only credit I will take is that my composer asked me to do the guitars on the film. I’m a closet musician so it was really nice to be able to come out of the closet and play on the film. But I give the credit to Alexander Van Bubenheim, my composer. He came with me on about a third of the shoot with a portable digital recording studio and actually sampled sound all over the world—singing, drumbeats and organic pieces of music—and then fused that together in the score later. So what you have is a very organic piece, although he kind of spun it in his own way and gave it a little umph when it needed it. My editor, John Hoyt, and I cut the film to his music, which gives it more of an energetic music video vibe and a break in the intense narrative. It was a very collaborative experience and Alex is a genius composer. VM: How are you affected by your art? And how are you affected by our culture, as well as the cultures you encountered in this film? V I S I O N M AG A Z I N E

by Sydney L.

Maasai dance, Shomp

PR: First of all, I was very privileged. My father was a very eminent photojournalist. In the Second World War, he worked for Life magazine as a war correspondent. He then founded Magnum Photos, which is the largest, most prestigious photojournalist agency in the world. Between him and his colleagues, I was privy to an awful lot of talk and banter about understanding the philosophy of composition. I wasn’t taught how to make a composition; I was taught how to see. It has become my art to frame the camera and tell a story. It is something I am completely addicted to. It’s like looking at a picture where there are so many subplots, stories and layers. That particular artistic approach was really important when I was making this film. If you look at the film in slow motion, you’ll see that whatever people are saying is represented compositionally by the shot. Now this doesn’t resonate on the conscious level when you see it. It resonates after the event. And sometimes when you think about it or when you hear a piece of music that reminds you, it sends you back to that image. Then the layering, the purpose or the message that was there comes out. Again, this comes from my training of learning how to see when you’re telling a story—you find some kind of link in the composition Young monks at the Hemis Monaste that pushes that message across in a very subliminal way. The more you see that, the more you actually understand the true essence of what the art is portraying. To answer the second part of the question in terms of going around the world, it’s incredible to see the intensity of man’s subconscious come out in his art. It’s the way that the Maasai grunt in their dance in Shompole [Kenya]. It’s the intense attention to detail that the Hindus have when they’re portraying Ganesha or Vishnu or Shiva. It’s the wonderful sense of composition style and the architecture of the temples. It’s the calligraphy in mosques. It’s the incredible tile work in Islamic culture. It’s reflected everywhere and it’s a true indication of man’s getting

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m a z i ng Po r t raya l o f O u r Wo rl d w it h Pe t e r Ro d ge r

ney L. Murray

nce, Shompole Kenya

into contact with his subconscious. It’s meditative. When you’re an artist, you go into a different level. I’m a musician and if I think about the notes I play, they don’t come out right, but if I let myself go, out comes the music. It’s the same with making a film and it’s the same with the artists that associate their art and culture together with their particular religion or belief system. To experience seeing that and actually photographing it with my camera was fantastic. VM: How did you find the people that you interviewed in the film, both the known and the obscure? PR: Luck, circumstance and trying—all mixed together. When I went off to a country, I’d have anchor points and people I knew I’d be interviewing. Then I’d let myself go and let the journey of being there dictate who I would see. Somebody would say, you’ve got to meet this person when you’re there. If I’d jampacked the time with research and four interviews a day, it just wouldn’t have happened. In that respect, I basically allowed circumstance to channel, which became organic. On the celebrities, I pursued many of them. Some couldn’t meet because I was on one side of the world is Monastery in Ladakh, North India and they were on another. Friends of celebrities helped enormously and got me Hugh Jackman, for example. Ringo Starr basically came to me through a friend who said, “Peter’s doing a film on asking people what is God; do you want to be in it?” And he called me up and said, “Would you like to come over to talk about God?” It was the same thing with David Copperfield. I was in Idaho driving and he called me and said, “This is really deep to my heart; I would love to be in your film.” I remember exactly where it was—I just stopped the car to make sure I didn’t get disconnected. David had a really interesting take on God because he’s an illusionist and that’s quite a poignant statement in the film. V I S I O N M AG A Z I N E

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This is a film about the people. There are not very many professional Godpeople in this film. I realized that I didn’t want political or religious leaders. It’s about what the people think and that would have distorted the true objectivity of it because they make their living from being God-people. That’s not what I want—I want to hear from the people. VM: What other projects do you have on the horizon? PR: I have several actually. I wrote a narrative film script. In fact, that’s another reason I made OMG—a film that I’d written fell through. Now that actually looks as if it’s going to go next year, which I’m very happy about. I’ve been opting to write some scripts as well. In addition, I have been offered to direct another film. In fact, I’m toying with the idea of doing a film called What the Hell? which would be a follow up to Oh My God. I’m a little bit scared about that. The very fact that I’m scared about doing it is perhaps an incentive to do it, because then it really will expose the reality of what it is or what it isn’t. For instance, should we be scared of the dark side? You bring on what you seek. And I’ve actually been warned by a lot of people not to do it. Maybe I will; I don’t know. But in the immediate future, I’m going to concentrate on narrative film, because it’s a real sidestep from OMG and it’s something I love. VM: Where can people see OMG? PR: It’s coming out in myriad places theatrically. We’re platform releasing it, which means that like a lot of independent movies, we’re opening in L.A and New York for a couple of weeks. Then it comes out across the country on November 27 in Atlanta, San Diego, San Francisco, Berkeley, Philadelphia, Denver, Minneapolis, Seattle, and Boston. It comes out in St. Louis and Chicago in December and depending upon the results of that, we will hopefully open it wider from there. It’s very easy to find out where the film is playing. Just go to OMGmovie.com, which is our hub of how to see it and where to get it. Then of course we will have it on DVD, downloads and the whole nine yards in 2010. And if more people like you are talking to me about it and getting the word out, then it’s more likely that we will be able to get the film out to more places because people will be interested in seeing it, which warrants us to invest the money to print the film, advertise more, and get it into the theaters. VM: After traveling to 23 countries, what was the most important lesson you learned? PR: The world is a very small place. Human beings are extremely similar. We are totally united. We’re one really. Lawrence Blair, who is one of my subjects in the film, enlightened me when he said that we’re basically primitive little organisms existing on a rock in a scary vacuum. And I would take that a step further to say that we’re desperately trying to hold onto something and we’re sometimes paralyzed by fear. In that paralysis, we have been conditioned to push others away, rather than realize that there’s plenty of room for all of us. If humanity embraced itself and other cultures, the world would be a much better place. I had great faith in humanity on this journey. I think that God is actually a word; it’s a reference for a lot of different things. If you really want to see what God is, look at the light, the energy and the wonderful sense of being in a child’s eyes—it’s untainted by man and it seems so pure to me. When children play in a schoolyard, they don’t differentiate because that person’s wearing a veil, this person is disabled, that person speaks a different language, or this person has a different skin color. They just accept human beings naturally for what they are. Unfortunately, as we grow up, that seems to diminish. One of the reasons I wanted to make this film was to find that light of humanity on Earth. Oh My God is a brilliant film you do not want to miss. It opens in LA and New York City November 13, and in addiional cities November 27. For more information about screening times and locations, visit OMGmovie.com.

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vision cafe

Enlightened Dogs from Nepal by Michelle Page

hen you hear the term “Nepali Art,” signboards are probably the last thing you think of. My mission is to change that. Signboard art in Nepal is fast disappearing. The artists are endangered, losing their livelihoods as their traditional trade is being replaced by computer-generated signage. My fair trade art project is to promote this charming folk art from Nepal by making it available to the world via “Beware of Dog” signs. America’s love for their pets appears to be the perfect way to introduce the world to Nepali signboard art. And, of course, the wording soon morphed from “Beware” to “Zen Dog,” “Enlightened Dog,” and “Happy Dog.” American Dogs = Nepali Jobs! It all started a couple of years ago, when I noticed that the lovely and quirky “Be Aware of the Dog” signs that I had photographed over the years in Nepal were being replaced by generic boring stenciled signs. That was the last straw! Consequently, Danger Dogs from Nepal – Folk Art from the Himalayas was started in 2007. The art is synthetic enamel on metal, about a square foot in

V I S I O N M AG A Z I N E

size. Each commissioned piece consists of a choice of three portraits of a pet by three different artists. That way, one is sure to please, three artists get work, and the extras are sold in museums as folk art. I don’t accept money until after the customer chooses a portrait. No bad karma here! Finding the artists is the fun part. I look at existing signboards on the street and at the signatures of the particularly fine ones. Often I take a chance as I walk down the streets (I average 10 miles a day in Kathmandu pollution). I see the word kala (art) in Nepali script, stop and order a couple. These guys don’t have a lot of back stock sitting around so that I can judge their work from what’s in their shops. I’m often pleasantly surprised. And what’s on their walls in the shops often has no relation to what I’ll get. Some artists are entrepreneurs, while others are idealists or romantics. They can be pragmatic, irresponsible, old, young, shy, or bold—but all males. Certainly there are female fine art painters in Nepal, but not female signboard artists. The signboard business often is handed from father to son or nephew. One never knows who will be painting the sign; it could depend on who needs work that week. Their styles run the gamut from ultra-naïve to impressionist, from realist to

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cartoon-like. When they ask if they should paint a full dog or a close up, or about background color, I tell them that it’s their decision. Oddly enough, even with three studios in different towns, some dogs get the same background color by all three artists. It is always interesting to see all three versions of the same dog side by side. The artwork keeps getting better and better. The artists try to outdo themselves and really appreciate the money that is coming in, as I pay tourist retail—much more than anyone else pays for their work. I do not haggle. I’ve now worked with over 55 artists from all over Nepal and have commissioned over 1,250 signboards to date, bringing an appreciable extra income to these artists. I’ve recently lost several artists to Saudi Arabia and South Korea, where they take a three-year contract and remit the money to their families. The first six months of their salaries is directly payable to the Manpower agencies that get them the contracts. Nepalese are close to their families and being away from their children and wives is an extreme hardship. However, this remittance money is 17 percent of Nepal’s Gross National Product and is often the only way to ensure a good education for their children. Someone once asked the best way to order a Danger Dog. My response was to go to Nepal, walk down the street, find a signboard shop, give them your pet’s picture, pay a third to a half advance (trust me on

that—otherwise it’s party time; they are artists after all), and go trekking, ride an elephant, or do a yoga retreat. When you return a week or two later, enjoy your very own Danger Dog. This would work in any country. There are artists everywhere; go to their studios and galleries and buy their art directly. We need to support them. I like folk art, but buy and promote what you like. Recently Mat Gleason wrote in his Coagula Newsletter that we should all tithe 10 percent of our income to buy art. From his lips… The dogs range from mixed breeds to Catahoula Leopard Dogs, from Great Danes to Chihuahuas. There are little dogs with bared teeth and big old smiling lugs. The Nepali artists cannot believe the diversity of these dogs. One once asked, “How many types of dogs are there?” And I’ve noticed some picture books of dogs cropping up in some studios. When asked to paint a cat, they ask: “Why ‘beware of cat?’ Cats are good.” Danger Dogs have exhibited in Kathmandu and across California. They are currently at the Craft and Folk Art Museum shop across from Los Angeles County Museum of Art, and at the Santa Monica Museum of Art shop at Bergamot Station. Portions of proceeds are donated to both art-related and animal rescue organizations. Microfinance through art patronage has become my slogan with the idea of giving a seed instead of a carrot. Not a charity, Nepal Dogs’ mission is to make signboard art live on through the digital age and to give it the respect it deserves through fair trade practices that help Nepali artists to be happy, healthy and thriving. To see more Danger Dogs from Nepal, please go to NepalDog.com or to learn about Nepali culture and signboard art from a unique perspective, follow Michelle Page’s photo essays at NepalDog.typepad.com. V I S I O N M AG A Z I N E

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Are you fulfilling your

Spiritual Promise?

MSIA teaches Soul Transcendence

which is becoming aware of yourself as a Soul and as one with God, not as a theory but as a living reality. We provide tools and techniques for experiencing your Soul and, therefore, your own Divinity.

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v i s i o n

c a f e

T h e A rt o f E n l i g h t e n m e n t by Master Chrism

ll cultures on Earth know it by many different names. It is Greater Kan and Li for the ancient Chinese and Tumo for the Tibetans. The shamans of the Amazon basin know it as Red Serpent Energy, while the Mayans refer to it as Quetzalcoatl. In the ancient Hebrew tradition, it is Shekinah and for the Greeks, it is Hieron Osteon. It is Fanaa in Sufism and the Holy Ghost of mystical Christianity. And the ancient Sanskriti adepts called it the Kundalini. The Kundalini is in everyone. It is an untapped resource of love and divinity within us all that is waiting to be awakened and experienced. We have only to learn and apply this tremendous force within us to bring about a change in the minds, spirits, and bodies of all who will learn its secrets. Never has the time been so crucial to explore and initiate a change of this magnitude. Kundalini is a very powerful and transforming energy located at the base of the spine within the last three vertebrae of the tailbone extending to the perineum and farther to the feet. You can find cultural expressions of the Kundalini in the arts across the globe. The ancient Egyptians expressed it through the Ankh and attributed to it the very life force of the divine. They also expressed its presence with the sacred serpent as a representation of the human spinal chord without the column encasing it—

the serpent standing on its tail. Thus we have the artistic representation of it as Uraeus, the serpent that comes out of the forehead of the pharaohs in the Egyptian symbol. The Mayans called this Quetzalcoatl the Feathered Serpent, as it would cause the spirit to take flight. Kundalini is also indicated in the modern day Caduceus of the western medical tradition that doctors wear to represent healing. This symbol is from the ancient Greek culture. Often it is depicted as a short herald’s staff entwined by two serpents in the form of a double helix that is surmounted by wings. This staff was also borne by Iris, the messenger of Hera. It was also called the wand of Hermes when he replaced Iris in later Greek myths. Hinduism is also seen expressing the Kundalini as the serpent coming from the awakened “crown” of the individual. These artistic symbols are all related to the awakened Kundalini. Art and its expressions of devotion for the divine are many as the ancient cultures, and indeed our modern culture, strive to demonstrate our eternal love and devotion to once again join with the inner divine. Master Chrism is a teacher of the process for the awakening of the Kundalini. A native of Northern California, he has been “ divine realized” with awakened Kundalini for over 20 years. Experience a Kundalini Awakening lecture December 2 and seminars December 5 and 6 at 11674 Gateway Blvd, Suites C and D in West Los Angeles, CA. Learn more about the Kundalini at kundaliniawakeningsystems1.com and get more event information at kundaliniawakeningseminars.com or 310.479.0430.

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Vemma Next

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ut Mom, I don’t like vegetables! Sound familiar? Getting kids to eat vegetables has become a battle of the wills that many parents unfortunately lose. The consequences are clear, with a recent study by the Archives of Pediatrics and Adolescent Medicine that revealed a whopping 20 percent of four-year-olds as obese. Vitamin deficiencies go hand-in-hand with bad eating habits in a world filled with sugary snacks and saturated fats. Leafy greens, carrots and squash don’t stand a chance—until now. New to the produce aisle is Vemma Next, a physician formulated juice packed with a daily dose of vitamins and nutrients tailored for the health and wellbeing of children ages two to 12. The delicious, creamy orange flavor of Vemma Next leaves kids smacking their lips and asking for more of the ready-to-go “superjuice,” while moms are pleased that their child’s favorite snack contains more antioxidants, vitamins and minerals than any other multivitamin on the market. With no preservatives, artificial colors, flavors, or sweeteners, this nutritional drink is an easy and tasty way to support your child’s immune system, improve brain development, enhance eyesight and ensure healthy, strong bones. Vemma Next uses a blend of ingredients that children need but often aren’t getting on a daily basis. With 65 plant-based minerals, quercetin antioxidants, DHA, (a natural, vegetarian source of omega-3 fatty acids), and phytonutrient extracts of 14 organic fruits and veggies, Vemma Next provides ideal nutrition for growing bodies. Plus, for every month’s supply purchased, Vemma will donate a month’s supply of Next to a child in need. For more information and to learn how to get a free lifetime supply of Vemma Next, visit CAnderson.vemma.com or call 313.381.0379. – AR

Bed Buddy Foot and Hand Warmers

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he winter months are fast approaching and it’s time to warm up by the fire and snuggle up to our loved ones. When that extra chill in the air sneaks up on us, we can always turn to Bed Buddy Foot and Hand Warmers. They are the perfect gift for friends, family or even yourself this season. Not only are these soft mittens and slippers one size fits all for any hands and feet, but as you wear them, you can enjoy the light aromatherapy of eucalyptus (to revitalize), clove (to comfort) and cinnamon (to calm). Made with 100 percent all natural materials, these soothing ThermaTherapy moist heat warmers will be sure to keep you relaxed and snug all season long. They’re extremely easy to use; just slip them on. Plus, they can be used as a cold pack. Simply put them in the freezer overnight and there you have it, a cold compress. These doctor recommended foot and hand warmers are reusable, so you can enjoy them again and again to relieve aches and pains or to feel revitalized and refreshed. Don’t let the cold weather bite you this year. Before the winter months set in, pick up your Bed Buddy Foot and Hand Warmers gift set. A portion of the proceeds will go towards breast cancer research. For more information on Bed Buddy Foot and Hand Warmers, visit carex.com or call 800.328.2935. – DG

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Carolyn Anderson 313-381-0379 V I S I O N M AG A Z I N E

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r e v i e w s

The Science of Happiness

here seems to be one thing that we all strive for: happiness. Only when we are truly receptive to it can we feel at peace. Spiritual leader, Master Ryuho Okawa brings the tools to discover happiness and spiritual growth right to our fingertips. Okawa’s new book, The Science of Happiness, explores the “10 Principles for Manifesting Your Divine Nature.” They are happiness, love, the mind, enlightenment, progress, wisdom, utopia, salvation, reflection, and prayer. As a living Buddha, Okawa founded Happy Science, one of the most influential spiritual movements in Japan with over 10 million members. More than two decades ago, Okawa began receiving revelations and messages from various prominent and historical spiritual leaders. He is now utilizing these teachings to educate people and help enrich their lives. This enlightening book provides awareness of the 10 principles and various ways to attain them. One primary concept that Okawa touches on is the principle of love. It is only through self-reflection and the realization that we are all united that we can understand the true nature of love. The exploration of our right mind is another idea that presents itself in this book. In other words, restoring the mind to its original God-given state is the ideal goal. Ultimately, individual effort is key to achieving harmony through self-improvement. The secrets have been revealed through Okawa’s timeless wisdom, making happiness possible now. The Science of Happiness, $14.95, is available through Inner Traditions at InnerTraditions.com. For more information on Master Ryuho Okawa and Happy Science, visit happyscience-usa.org. – DG

Healing Expressions

was not prepared for the slam of power that hit me when I merely flipped through the pages of Healing Expressions, by Michael Mollenhauer, with Intuitive Artist Jill Mollenhauer. As a brother and sister team, Michael and Jill have created a work that is alive with the very energy they discuss in the book: Michael with his words and symbols, Jill with her color and paint. Both siblings channel, and by that I gather that they receive cosmic instruction. That instruction is imparted in a comprehensive and detailed style so as to guide the reader through the labyrinth of symbols and paintings. I have been rocked by every page, again and again. I am a long way from being finished with this book. The message in it is that we ourselves are indeed the only real means by which we heal and create. Not new information, of course; however in Healing Expressions, we are given a viable method to prove it to ourselves. Michael states, “Once you open a channel of healing, random thoughts will not negatively affect the flow unless your thoughts are ones of attachment and judgment.” Well baby, that is the challenge. Thoughts of attachment and judgment are alive and kicking most of the time. We just need a little less self-judgment when working with them. Once they become unimportant, they become ineffective. Healing Expressions, $29, is available at amazon.com, booklocker.com, barnesandnoble.com, or booksamillion.com. For more information, contact Michael at mikemollenhauer.com or Jill at jillmollenhauer.com. – AP

V I S I O N M AG A Z I N E

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“The Blacker The Yogi” continued from page 6

PSYCHIC

of exposure to those ideas is the issue, then what better way to bring them to the forefront than art? Brigitte Taylor, an event organizer and master’s level Reiki practitioner, understands the power of art to bring healing to new audiences. “Music and art so easily express and yet transcend barriers of race/class and myths of all kinds,” Brigitte observes. It’s a lovely and hopeful thought. Perhaps, within art, there lies the potential to get the message of alternative healing to more communities, and to connect people of different races with each other, in a new space where the very idea (and relevance) of “race” can be seen with fresh eyes. “Artists create bridges to places which—in my mind—are free from restrictions of all kinds. These beautiful channels that we create together open up sacred spaces for further understanding, observation, sharing and growth because we ultimately see, express and experience our basic humanness and ultimate oneness.” Thanks, Brigitte. I couldn’t have said it better.

Margo Mariana

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“Taking It Dry” continued from page 11

ROLFING

million. Admittedly, that would be on top of the $50 million that the NEA got in the stimulus bill. But given the boatloads of funds dispersed by the feds to financial institutions who represent themselves to be too big to fail, (when in fact all they are is too greedy to succeed), $205 million seems like Uncle Sam’s version of rolling up a wrinkled $20, stuffing it into our unsuspecting hand, and telling us to go buy ourselves a Coke or something nice. These are tough economic times that demand fiscal accountability. So what do we get for our hard-earned tax dollars from the NEA? We get the benefit of the express mandate of a designated arts organization by our government. It is an entity dedicated to bringing the arts to all Americans, while providing muchneeded leadership in the field of arts education. Its influence has impacted the development and preservation of folk art, theater, opera, literature, dance, as well as other realms of artistic expression. Though the majority of direct public funding is still generated by a raft of other federal, state, regional, and local agencies, the role of the NEA as the de facto leader in its field can’t be understated. But watching the federal government’s treatment of the NEA and of art and culture generally, I suddenly understand my Pop’s wisdom. The fish in this case, the federal government, has most definitely rotted from the head down. How else do you explain the gap between the proposed NEA budget and a Department of Defense budget for the 2009 fiscal year that comes in at anywhere from between $925 billion to $1.14 trillion, depending on whose numbers you use? I am aware of how naïve this might sound. But there is no balance in our current state, no recognition or action to engage the things we know are our civilization’s lifeblood—our culture and the art that springs forth from it. Now the notion of watching two entities interact comes into distinct focus: You measure character in a vacuum of potential benefit. How does a dominant entity treat a subordinate one when there is no perceived value to be gained? In this case, I am afraid Uncle Tasso had it right. Michael Raysses is a writer/actor/National Public Radio commentator living in Los Angeles. E-mail him at MichaelRaysses@hotmail.com.

S.I.

SALON

SPIRITUAL

ADVISOR

“Junk Redefined” continued from page 16

I love this idea and I promise to use my own metaphorical whiskers for good and never for evil. My boyfriend, also an artist, brought an arguably more male perspective (he could identify many more gizmos than I could) to Gilliam’s pieces in that he liked that the parts were familiar, and those he couldn’t identify stirred in him a curiosity about what they were and where they came from—maybe how long something sat in a field or an old house, for example. Gilliam says, “I was interested in using parts designed for one thing to then change into other things. The main focus was the balancing of shapes and the use of recycled material.” So, even as the sculptures are totems to the artist’s point of view, they are also “creations for creation’s sake” and he doesn’t want to appear preachy or judgmental. Gilliam reminds me that every molecule is intelligent, just as every part of each sculpture was thought out to create the whole. “More than anything, I want to uplift and enlighten people. My art is merely a platform,” he reflected with a smile. Kirk Gilliam’s “Junk Redefined” opening/demonstration is November 7, 1-8 p.m. at Nature’s Express, 2949 Fifth Ave., San Diego, CA. 92103. For more information, call 619.550.1818, visit natures-express.com, or contact Gilliam at jacumbakirk@ hotmail.com. Lynn O’Neill is an essayist, fiction writer, freelance copy editor and editor. Contact her at jasminatree@yahoo.com. V I S I O N M AG A Z I N E

A TRUE PSYCHIC

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3 1 0 . 6 5 9 . 3 6 1 0 • w w w. AT R U E P S Y C H I C . c o m N OV E M B ER 20 0 9

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Like 2,000 years ago CHECK IT OUT! ‘star’ appears atural Healing Institute Healing this&time to herald ofessional License Certificate Programs Events mprehensive Training • Highestemergence Caliber Instructors imminent and assage Therapist • Nutrition • Herbology of the• Aromatherapy istic Health Practitioner • Spa Therapist • Sports Therapist Classes Instructor • Thai Massage • Lomi HealingChrist • Shiatsu • Somatics Planetary

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NOVEMBER 7

SATURDAY

For a complete schedule initas • (760) 943-8485 • www.naturalhealinginst.com call 760.943.8485 or www.naturalhealinginst.com

NOVEMBER

Learn about Maitreya Introductory Presentation 3 pm 1st Sunday of month Controversial Bookstore 3063 University Ave - SD SD cable public access channel Wed 9:30 pm Cox Sat 5:30 pm Time Warner Visit our booth at local street fairs Serve through Transmission Meditation 9:30 am Sun, 7 pm Tue and 8 pm Fri in San Diego meditation.meetup.com/430 (619) 223-6703 For LA/SF info about events & Transmission Meditation groups: LA: (818) 785-6300 SF: www.sharingforpeace.org www.share-international.org

COME LEARN YOUR 4 BEST DIRECTIONS AND ACTIVATE THE FENG SHUI IN YOUR BODY At Feng Shui For Your Body we give you more “Aha!” moments. FREE 1 hour class, 961 Turquoise St. San Diego. Nov. 4, 18 & Dec. 2 at 5:30. 858.488.8655. www. fengshuiforyourbody.com 10/09 SNATAM KAUR: SACRED CHANT CONCERTS Angelic voices & uplifting beats with Snatam Kaur & GuruGanesha Singh. Huntington Beach: 11/13, 7:30pm. St. Wilfrid of York. San Diego: 11/14, 7pm. Corky McMillin Event Center. Bhava Ram Children’s Yoga Adventure workshop with Snatam Kaur at 3pm on both days. www. SpiritVoyage.com, www.SnatamTickets. com, 619.338.9642. 11/09

NOVEMBER 5 THURSDAY KPBS AND REV. WENDY CRAIGPURCELL PRESENT AN EVENING WITH MICHAEL BERNARD BECKWITH AND RICKIE BYARS BECKWITH 7:30 pm at The Unity Center, 8999 Activity Road, San Diego, CA, 92126. Register online at www.theunitycenter.net or call 858.689-6500 for tickets. 11/09 NOVEMBER 6 FRIDAY ART OPENING: “TENSIONS IN THE JOURNEY: FROM CHILD TO CRONE” 6PM Helen Redman’s work through December 5th. Artists’ Lecture 2pm November 21. Women’s Museum, 2323 Broadway, Ste.107, San Diego, 92102 - 619.233.7963 or www. WomensMuseumSD.org 11/09 V I S I O N M AG A Z I N E

SATURDAY HOLISTIC HEALING FAIR AT THE TEMPLE OF LIGHT 9am-5pm. FREE READINGS 9am-10am - Highest Quality Healers. First Saturday of every month. Lake Forest, CA. 949.340.7408 www. templeoflight.info 11/09

HEALING ARTS AND PSYCHIC FESTIVAL! Featuring Professional Healers and Psychics, food, clothing, jewelry and more. Many different healing modalities all under one roof. Come try them out at prices much lower than usual rates. At The Celebration Center for Spiritual Living from 9-5pm. 5820 Oberlin Drive, #108, San Diego, CA 92121. 858.320.0090. www.thecelebrationcenter.org.

Healing Institute

DATES THROUGHOUT THIS CALENDAR! + Distance Learning Options! • Special Discounts

San Diego ‘star’ sighting 9-5-09 9 pm

NOVEMBER 7

FREE 2 HOUR WORKSHOP! Your Body’s Secret Language Revealed! How to understand your body’s Emotional, Mental, And Spiritual Messages! Learn how to decode your body’s Vibrational Language and how to harness your EMOTIONS. What pain is really about (surprise!) Learn your body’s spiritual language…it’s not what you think! 10am-12pm Carlsbad. Call Now! 760.692.0252. Space is Limited To 20 people. www.myinnerwisdom.com. 11/09

NOVEMBER 7 - 12

SATURDAY - THURSDAY GREEN WEEK: HANDS ON ECOLOGICAL AND ARTS SERVICE PROJECTS ACROSS THE BAY AREA Free events in solar energy, soil bio-remediaiton, urban agriculture, arts activism, natural building and more. Schedule at myspace.com/ communitree.events 11/09

NOVEMBER 10 MONEY REALIZATION Transcendental Rebirthing™ Special Event, One-day Intensive Workshop: 9am to 7pm. Rebirth into Oneness! 858.405.5088, www. sacredrebirthing.com 11/09

A NIGHT OF PSYCHIC INSIGHTS AND MESSAGES FROM SPIRIT. Join Jennifer Farmer, spiritual medium and teacher as she shares techniques on how to navigate your own journey more intuitively and to identify and recognize your individual gifts. The second part of the evening will be devoted to messages, demonstrates her astounding gift by giving readings to select audience members. Be prepared to be touched by the power of spirit and moved from within, which will leave you feeling amazed and inspired! 7-9:30pm, Handerly Hotel, San Diego. Reservations required. $60 per person $50 for two or more. www.butterflyspiritconnections.com 11/09

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TUESDAY

NOVEMBER 10

TUESDAY

Nourish Body, Mind & Spirit!! Sacred Dance of Yin (Women’s) Qigong Co-taught with dancer Milana Sat. Nov 14, 9:30am - 4:30pm, $65

Carlsbad Qigong Studio

Qigong for the Holiday Blues

Tues. Nov 10, 5:30 - 6:30pm, $15 Scripps Center for Integrative Medicine

Intro to Qigong Workshop

Sat. Dec 5, 10am - 5pm, $70 Oceanside @ Mira Costa College, RN & L.Ac CEU’s

Free Intro to Qigong

NOVEMBER 12 THURSDAY OPEN HOUSE. Meet School Director, Steve Schechter, NP, HHP. Three Scholarship Raffles! 7:15 pm. prompt. Natural Healing Institute, 760.943.8485, www.naturalhealinginst.com 11/09 INTUITION FOR SUCCESS WORKSHOP Learn To Tap Into Your Inner Guidance. Rancho Santa Fe Community Center. 5970 La Sendita, RSF, CA 92067. 7-9 PM. $44. Diana 949.584.0770, www. movingspiritretreats.com 11/09

NOVEMBER 13

Artists In Recovery and Service

La Jolla • Rancho Bernardo Carlsbad • Solana Beach • Normal Heights Fay McGrew, MA, QTP, Cert. Teacher 14 years teaching in San Diego

Friday, November 13, 2009 @ 7:00pm

760-729-1102

www.QigongWithFayMcGrew.com

MASSAGE SCHOOL OPEN HOUSE: Outstanding Career Certifications: Massage Therapist, HHP, Much More. Compare Exceptional Quality/Great Instructors/Save Up To 60%. www. naturalsuccess.com, 760.635.1085 11/09

FLOW - AN EXPLORATION OF OUR FOOD AND WATER CHALLENGES: FREE FILM EVENT WITH FOOD, WATER, MUSIC, & ART 5-6:30pm: Open House, Food: 6:30pm, Film Screening: 8pm, Panel Discussion to follow. UCSD Price Center East Ballroom. www.sscucsd.com, www. sandiegoroots.org 11/09

NOVEMBER 11 WEDNESDAY MEDIUMSHIP READINGS AT THE CELEBRATION CENTER Do you wish to hear from a loved one who has passed on? Come join us for “Messages, with Love, from the Other Side” Rev Roby Warren D.D., founding Pastor of The Celebration Center, will be conducting the event at 7:00 pm. 5820 Oberlin Drive #108, San Diego, 92121. Call 858.320.0090 or e-mail admin@thecelebrationcenter.org 11/09 FREE OPEN MEDITATION presented by Golden Rose Psychic Services in Hillcrest. 6:30pm-8:00pm. 619.922.6775 or visit www.GoldenRosePsychic.com 11/09

NATIVE AMERICAN HERITAGE DAY - GOLDEN HILL COMMUNITY PARK Noon - 4PM. Family event - arts, crafts, story telling. FREE. Women’s History Museum and Kumeyaay Historical Society. 619.233.7963 or www. WomensMuseumSD.org 11/09

NOVEMBER 14 - 15

SATURDAY - SUNDAY KABBALAH WORKSHOP: LETTERS OF FIRE Palm Springs 9am-6pm. For more info:: http://feu.tantrika.net. Registration: 760.328.8001 11/09

FRIDAY

Wed. Dec 16, 7 - 8:30pm, Carlsbad Thur. Dec 17, 5:30 - 7pm, Normal Heights

Weekly Classes

NOVEMBER 14 SATURDAY

PRIVATE SOUND HEALING/VOICE ANALYSIS SESSIONS available with Christine M. Grimm in San Diego. See www. TuneYourVoice.com or call 805.698.3580. 11/09

AIRS Beneﬁt

18 years & older We are raising money to establish scholarships for rehab, aftercare, sober living and legal aid.

There will be a concert, an auction, a raffle with prizes, an after party & more

Tues. Nov.10 - Kay Taylor: “Discovering Your Soul Purpose” Wed. Nov.11 - Edith Hathaway: “Understanding Vedic Astrology” Thur. Nov.12 - Robert Blashcke: “Esoteric Wisdom Of The Planets” Fri. Nov.13 - Karen Page: “Friday the 13th Psychic Night” Tues. Nov.17 - Kevin Burke: “Law of Attraction Astrology” Wed. Nov.18 - Amber Flynn: “Vedic Astrology Fundamentals” Fri. Nov.20 - Robert Blashcke: “Soul Of The Zodiac” Fri. Nov.27 - Hadley Fitzgerald: “Evolutionary Astrology” Tues. Dec.1 - Sunni Boswell: “Past Life Expedition Night” Thur. Dec.3 - James E. Higgins III: “Horoscopes of the Rich & Famous” www.PredictionsInstitute.com

6:30pm - 8:30pm • Refreshments served • $25 a class 305 Rose Avenue (at Main Street), Venice, CA 90291

NOVEMBER 19 THURSDAY

The Headliner for the evening will be the hit band Boys Don’t Cry as well as Sirah, Lovebomb, and The Celestials MC & auctioneer for the night: Justin Carrol With Celebrity Speakers: Tanya James, widow of the late great r&b funk artist Rick James & Dr. James Wood There will be vendors for your personal & holiday gift needs

Tickets can be purchased at: www.keyclub.com, ticketmaster and at the door Tickets start at $25

NEW GREEN COMMUNITY LIVING OPTIONS in Pacifica, Berkeley, Mountain View, Sonoma, Grass Valley, and more are waiting for you. VIsit the cohousing booth at the SF Green Festival or learn more at www.CalCoho.org. 11/09

FUND-RAISING DINNER AT ESTATE FEATURED IN SMASH-HIT MOVIE THE SECRET. Enjoy remarks from Deepak Chopra and John Assaraf at www.JustLikeMyChild.com Foundation’s “African Thanksgiving” event, celebrating another year of saving lives and empowering women and children in rural Uganda, Africa. Meet others with a passion for giving and growing. Space is limited. 6 pm. $150 per ticket for dinner, dance, entertainment. Call Now! 619.403.6806. Or please visit www.JustLikeMyChild.org/ party-info 11/09

NOVEMBER 20 - 22

NOVEMBER 13 - 15

FRIDAY - SUNDAY PATH TO THE BELOVED: Relationship as Spiritual Practice – Carlsbad http:// pathtothebelovedweekend.eventbrite. com/ Ongoing Thursday TeleCoaching Series thru June 2010; http:// pathtothebelovedintensive.eventbrite. com/ Tel: 415.289.2213 11/09

NOVEMBER 14 SATURDAY LONGEVITY ANTI-AGING, REGENERATIVE MEDICNE, VITALITY, & LIFE ENHANCEMENT – Foods, Herbs, supplements, & other natural therapies well documented by scientific research and traditionally used. Steve Schechter, NP, HHP, Director Natural Healing Institute, 760.943.8485, www.naturalhealinginst. com 11/09 V I S I O N M AG A Z I N E

The arts of divination are an important part of human history and culture. The knowledge and application of the intuitive sciences are a necessary requirement if human society is to advance in consciousness. Our objective is to elevate these arts to their previous level of respect and dignity. As the market for these sciences grows, so unfortunately do the number of unqualified practitioners. We offer exciting and stimulating workshops given by state-of-the-art professionals who embody the highest platform of credibility. Join us to learn, discover and enjoy yourself.

FRIDAY - SUNDAY THE FOUR AGREEMENTS WORKSHOP and Toltec Dreaming monthly with Barbara Emrys! Now in San Diego! Come experience a total awakening beginning the weekend of November 20-22. For information and registration, contact Karen Harbour at toltecdreamer@cox.net or at 702.233.4236. 11/09

IMAGERY AND HYPNOTHERAPY INSTITUTE CERTIFICATION COURSE in Thousand Oaks. Please Visit www.imageryandhypnotherapy.com for complete program fees and information. BBS and BRN approved for CEU. jtamiazzo@charter.net, 805.927.4182 11/09

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NOVEMBER 21 SATURDAY ATKINS, PALEOLITHIC (ANCESTRAL) DIETS – MORNING. LEPTIN HORMONE, WEIGHT & FAT LOSS – AFTERNOON. Natural Healing Institute, 760.943.8485, www.naturalhealinginst.com 11/09 SISTER HELEN PREJEAN, AUTHOR OF DEAD MAN WALKING AND INSPIRATION FOR THE MOVIE WILL SPEAK ON JUSTICE AND COMPASSION IN THE WEB OF LIFE at Spirit Mountain Retreat, Idyllwild, CA. She is an internationally known speaker. www.spiritmountainretreat. org Call 951.659.2523. 11/09

FALL ARTS & CRAFTS FAIR 11 a.m. to 4 p.m. at Ocean Beach People’s Organic Food Market 4765 Voltaire Street, San Diego. Co-op members and employees will showcase and sell their one-of-a-kind handmade jewelry, pottery, knit scarves and bags, trinkets, magnets, soaps, candles, stained glass and much more. Free of charge. www.obpeoplesfood.coop 11/09

NOVEMBER 22

SUNDAY COME JOIN US AT THE LA COSTA RESORT AND SPA FOR THE SEVEN SPIRITUAL LAWS OF SUCCESS TRANSFORMATION CIRCLES For details and registration visit mytransformationcircles.com 11/09

NOVEMBER 24 TUESDAY “MYSTICAL READERS SALON” Thanksgiving Gathering Event $20, 7pm. Tarot, Palmistry, Astrology, Numerology Readings. Spiritual Discovery with Linda Berry and Jim Ellis, Lemon Grove. 619.507.6395, rsvp@spiritualdiscovery. org, www.spiritualdiscovery.org. 11/09 NOVEMBER 26 THURSDAY

NOVEMBER 28 SATURDAY WORKSHOP “THE ART OF BLENDING ESSENTIAL OILS” Dr. Matea Polisoto, founder of Exquisite Aromatherapy, is offering a class on how to create your own custom blends for healing, natural perfume, cosmetics and more. La Jolla, CA. www.exquisitearomatherapy.com 858.779.9120 11/09

DECEMBER

DECEMBER 4 - 6

FRIDAY - SUNDAY SILENT RETREAT FOR WOMEN AND MEN ~ Enter into Earth’s season of Silence and Deep Mysteries. Information: www.spiritmountainretreat.org or call 951.659.2523. 11/09

DECEMBER 5 SATURDAY HOLISTIC HEALING FAIR AT THE TEMPLE OF LIGHT 9am-5pm. FREE READINGS 9am-10am - Highest Quality Healers. First Saturday of every month. Lake Forest, CA. 949.340.7408 www. templeoflight.info 11/09

SUNDAYS

DECEMBER 5 SATURDAY PEPPER LEWIS AND GAIA BRING 2010 & BEYOND: Tough Matters, Big Questions. Seaside Center – 12–6. $100. Contact Bea Wragee 858.484.3513, beawragee8@ gmail.com, PepperLewis.com 12/09

Harmony Grove Spiritualist Association

Services

SaturdaysHealing 1:00pm Church 2:00pm

Sundays Healing 10:00am Church 11:00am

Psychic Fair

1st Sat. of Month

Certification and Personal Growth Classes

• Mediumship • Healing • Ministerial • Ordinations

Private Readings Available Information about Speakers & Directions

DECEMBER 10 THURSDAY ECLECTICBELLY DANCE FOR LOVE. Time to look into the Mirror and Dance your Wishes. Meditation, EclecticBelly Dance Moves, Musical Exploration and Ritual. 7:00 to 9:00 pm. $30 for one person or $50 for two. This event is limited to 8 participants. RSVP and make checks payable to: EclecticBelly. Send to Freya EclecticBelly, P.O. Box 41443, Los Angeles, CA. 90041 by 12/4/09 to reserve a slot. Visit www.eclecticbelly.com or 323.493.3899 or Eclecticbelly2@gmail. com for more info. Also Sunday, December 13, Practical Magicka, BellFlower, CA. 11/09

760-745-9176

MIRACLE CIRCLE MEDITATION: Connect with your inner divinity through deep meditation, inspirational prayers, and group discussion. 7PM-8PM. Teaching of the Inner Christ 1100 N. Second St. Suite 1114 El Cajon, CA 92021. 619.447.7007 11/09 CLINICAL HERBOLOGY. Introductory or Full Certification. Special Discounts. Most comprehensive training from nationally honored Master Herbalists. 7:00 – 9:45 pm. Natural Healing Institute, 760.943.8485, www.naturalhealinginst.com 11/09

THURSDAYS PATH TO THE BELOVED: Relationship as Spiritual Practice for Men & Women ~ Thursday Tele-Coaching Series thru June 2010; http://pathtothebelovedintensive. eventbrite.com/ 415.289.2213 11/09

Escondido, CA www.harmonygrovespiritualist.org

MONDAYS FREE PSYCHIC READINGS every FIRST Monday 7:30pm by students in Vessa’s INTUITIVE INSIGHTS Clairvoyant Program, 4455 Morena Blvd. #108, 858.509.7582 www.MyIntuition.Net 02/10

TUESDAYS BEGINNER TAROT, led by Wendy Kashefi. Now you can read too! Learn to interpret the cards, how to ask questions and how to bring it all together. Wendy will lead the way. 7 – 9 pm at The Imagine Center, 18635 Ventura Blvd., Tarzana, CA 91356. $35 per lesson. Call 818.345.1100 to register or for more information. The Imagine Center, the Valley’s reborn oasis for the soul - new ownership, new energy. 11/09

ONGOING SUNDAYS FIND THE CENTER OF DIVINITY WITHIN! Inspirational prayers, metaphysical teachings, music, social hour to follow. 10:30AM-11:30AM. Teaching of the Inner Christ 1100 N. Second St. Suite 1114 El Cajon, CA 92021. 619.447.7007 11/09

MEDITATION SERVICE, PRACTICAL BUDDHISM CLASS, SUTRA STUDY 6-8pm, no charge, all welcome. Center for American Buddhist Practice, www. cfabp.org for complete schedule. Location: Eye of Buddha, 4247 Park Blvd., 92103. 619.459.9313. 12/09

OM SPIRITUAL CENTER SUNDAY 10AM SERVICE All Faiths are welcome! 1233 Camino Del Rio South-Mission Valley, San Diego, 92108 Ph: 858.213.7061. For more details: www.omspiritualcenter.org 03/10 SPICA - WAY OF LIGHT INSPIRATIONAL SERVICES Every 2nd and 4th Sunday of the Month at Myztic Isle Bookstore in La Mesa. 9am. 619.588.6483 for information. 02/10

V I S I O N M AG A Z I N E

Incorporated and Serving ALL in California Since 1896

WEDNESDAYS

CLINICAL NUTRITION. Introductory or full Certification. Special Discounts. Most comprehensive training from nationally honored Nutritionists. 7:00 – 9:45 pm. Natural Healing Institute, 760.943.8485, www.naturalhealinginst.com. 11/09

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FREE DETOXIFICATION AND WEIGHT LOSS CLASS 1st Thursday of every month. 6:30 PM. Easy and successful program. Register @ Body Basics Health Center, San Diego. 619.296.7390 01/10

FRIDAYS HAPPINESS CLASSES - Based on the lifehealing teachings of VERNON HOWARD, Fridays - 8pm; Sundays - 10am. New Life Foundation, 5779 Westminster Blvd., Westminster, CA. 714.899.9300 Conquer stress, handle difficult people with ease, banish problems. Donation basis. 10/09

SATURDAYS PROFESSIONAL MASSAGE CLASSES. Outstanding Skills. Massage Therapist and HHP Programs for Licensing. Compare Exceptional Quality/Save Up To 60%. www.naturalsuccess.com, 760.635.1085 11/09

CERTIFIED NUTRITIONAL CHEF – THERAPEUTIC LUSCIOUS COOK (CNC – TLC)™ . Natural Healing Institute, 760.943.8485, www.naturalhealinginst. com. 11/09

v i s i o n a r y

a r t i s t

Anwar Al-Shaibani

I’m from Kuwait and I’m 20 years old. My love of photography began when I was 15. I was looking on the Internet at pictures taken by many different professional photographers. I wished that I could take pictures like them. My first step was buying a professional camera. Then I tried to capture anything my eyes saw. I took many silly photos that were not professional or creative. It took me a year to know enough about photography and how to really shoot pictures. I put my work on the Internet and I joined a photography club in Kuwait. I had a few exhibitions and was very happy when many people told me that I have a good eye in capturing pictures. Most of my photography is full of bright colors. I don’t know why, but photos with vivid color attract me more than the ones with normal color. Most photographers capture regular scenes or some natural view. I like them, but not the way I love creative pictures. The photos with creative concepts are the best way to show people the mysterious side of the photographer’s mind. To see more photography by Anwar Al-Shaibani, please visit flickr. com/photos/americiya. Falling Dreams

Colorful Drink

Pretty Kuwaiti Girl

Waiting Love

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Fresh Colors

“The Fabric of Life” continued from page 17

“Nature Works” continued from page 23

My uncle finally emerged with a large frame that was almost as tall as he was. There, against a black velvet background, was a painting of several dogs playing poker. The image was an exact likeness of the sum of my uncle’s life and choices. To me, it was disgusting. To him, it was the Mona Lisa. “Nice,” I said, straining a smile. Curious about the choices one makes when it comes to selecting a piece of art, I decided to spend the afternoon with my uncle and discuss his recent purchase. That day I would learn that cheesecloth could be beautiful when placed in the right hands. Not long after I finished school, I moved to Berkeley, California, which appeared to me as a swath of raw silk with a nubby texture of olive green and periwinkle. Protest movements were in full force and controversial posters hung everywhere, reflecting unrest and a call to fight the status quo. I became captivated by the poster art of David Lance Goines; an artist whose work I felt was both compelling and inspiring. His poster, Qui Tacet Consentit, which means “silence gives consent,” depicts young men throwing rocks at Russian tanks. Visually moving, it not only mirrored the turbulent times, but served as a graphic call to arms. Today, Goines continues to produce extraordinary posters, including those for the Chez Panisse restaurant, which capture the eatery’s essence in their beautiful lines and sumptuous, pearly colors. In turn, the establishment, with its sustainably sourced, organic and seasonal fare, inspires the artist as it provides nourishment for the spirit as well as the body. For the restaurant’s fifth anniversary, Goines created a beautiful poster and an equally beautiful sentiment: “Art responds to the environment, and in turn creates it. People who live in different places have different aesthetics, and one of the reasons is the light that surrounds them. My taste in color was formed by velvet brown hills dotted with dull green live oak, soft blue skies, and frequent fog and overcast. Northern California shadows are in muted shades, sunset comes early, and twilight dawdles imperceptibly into night. Winter light is shades of grey; no bright sun-glittering snow, no deep midnight-blue zenith. The light is gentle, and my eyes dilate to drink it in. I do not care for bright colors. Southern California’s harsh desert light makes whites whiter and shadows blacker. The eye stops down to a pinpoint. Only the most strident colors register; bleached retinas have no patience with pearly pastels. If I lived in Los Angeles, I would be a different man altogether.” Ah, Los Angeles—a place where art goes outside to play in the form of graffiti. It covers the city like torn lace on a sensuous body. Its message of hope and despair marks boundaries and illustrates the heartbeat of the city. Bright, dancing forms give off an energy that can be disturbing, enlightening or passionate. Somber notes warn of a line that must not be crossed or talk about the darker side of human nature. As the years have shaped my own personal cloth, I’ve learned much since those early cheesecloth days. I’ve come to the realization that as we meander through our collective journey, our perceptions and experiences become the threads that pass through the eye of the needle that weave the planet together. And as in a weaving, when one thread is changed to a different color or texture, the entire tapestry changes. The artist must then choose whether to adjust the rest of the fabric, or let the new fiber remain without changing anything. Bright and gaudy or soft and quiet, new and shiny or torn and tattered, the woven tapestry becomes an outward manifestation created from an internal vision. It provokes the senses to feel, see and ponder. So it is with life.

commercial and very creative. We saw a need for creating trees and other elements that looked real. We wanted to take the time to do that, rather than mass-produce rock walls or something. We really wanted to dial in on the details. NM: It gave me the opportunity to go large. Not all artists have the opportunity to do that and to have it out there in the public. When I was a little kid, we would go into New York City. I remember staring at the big sculptures in front of the buildings and thinking how I wanted to make large things, too. So this is a wonderful opportunity for me, as well as for public art. We’ve built 42-foot tall trees that are probably 10,000 to 15,000 pounds [at the San Diego Zoo]. VM: In the state of world that we’re in, do you have hope for humanity? VS: Absolutely. I’ll never give up on humanity. This is a rare moment where I’ll quote the Bible, which says that the smallest spark of light always conquers a great amount of darkness. For more information on Valerie Salatino, Nancy Moran, and Nature Works Inc, which designs and hand crafts realistic nature sculptures, visit natureworksinc.net or call 760.747.2604. Learn more about Parque del Sol at portofsandiego.org.

Transform your Body! Pilates is a safe and effective way to develop better body awareness OUTH OAST and fitness. Based on a thorough ILATES understanding of human anatomy, 2240 Shelter Island Drive, Pilates can help improve posture Suite 100 and alignment, aid in recovery from (619) 817-5180 injury, and develop increased www.southcoastpilates.com coordination and strength.

VISION IN DESIGN Complete Graphic Design Implementation The Highest Quality Printing Of Any Quantity The Best Prices For These Economic Times Sample price: 5000 FULL COLOR 4x6 postcards - $200

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Patricia Alfano lives in beautiful Ocean Beach, California and works at a local university. Contact her at pat_alfano@hotmail.com or visit her blog at bohemianopus. com. V I S I O N M AG A Z I N E

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