Here is an interview with Bailey Cunningham:
"I am convinced that the mandala, as a representation of wholeness, can be a potent and even necessary element in education. -Bailey Cunningham, Director and Founder of the Mandala Project
In 1996, Bailey Cunningham had the dream of creating a cyberquilt of mandalas displaying the diversity of humanity. Her dream has been realized in the Mandala Project at www.mandalaproject.org where you can view a rich variety of mandalas created by children and adults all over the world, and where you can even add your own mandala to their on-line gallery. In addition, Bailey has brought the mandala into the classroom where it is helping students learn everything from math and science to reading comprehension and cultural awareness. At the same time, it is communicating the underlying message of the mandala which is the interconnectedness of us all. This September, Danny Hobson of the Arts and Healing Network interviewed Bailey about her innovative use of the mandala in the classroom.
AHN: How did you first get the marvelous idea to use the mandala as a teaching tool for subjects like math, history and reading comprehension?
Cunningham: The idea to use the mandala as a tool for teaching evolved naturally and as a result of observing how teachers were already implementing mandala-like techniques to teach academic content -- Venn diagrams, as well as in reading comprehension models, etc.
The circle, as a symbol of wholeness and unity, is the perfect pattern upon which to build any lesson plan. When a lesson is presented in an integrated, holistic fashion, demonstrating relevance to other aspects of life, it is no longer isolated facts to be memorized, but information that is usable and easier to assimilate.
The Mandala Project seeks to broaden the scope of traditional uses of the pattern to include other valuable lessons, such asÊ "you get what you give," and "give as you would like to receive." These simple lessons are the foundation of living an ordered and successful life. They teach responsibility and compassion, essential elements of a well-ordered society.
AHN: Can you tell me about your first experience teaching a Mandala Project Workshop in the public schools? How did you get access? What was the response like?
Cunningham: In January 1999, I invited two middle school teachers to my home to brainstorm about the possibilities of using the mandala in the classroom. By the end of the meeting, they had each set a date for me to come into their classes to teach my firstÊ Mandala Project Workshops. I was somewhat in shock, as I had never really envisioned myself as a workshop leader or teacher.
I had no idea what to expect, but between the wonderful support of the two teachers and the general fun that can be experienced when working with kids doing art, my experience was quite positive. Though I initially felt awkward and nervous, as the day progressed I had more and more fun. And that is probably one of the more important keys to teaching: when you are having fun, you infuse your audience with your enthusiasm.
Fortunately, I live in a school district that is supportive of art in schools and the curriculum director was in support of the workshops as well. As word spread, I was invited to continue giving workshops in my district as well as in other districts
AHN: Are you the only facilitator for the Mandala Project? If not, do you offer trainings?
Cunningham: At this point I am the only "Mandala Project" facilitator per se. However, the Project has now grown to the point that training teachers and certified facilitators has become an area in need of straight-away development. Almost daily I receive emails from educators requesting more information and ways to be involved with the project.
In March 2003 I will conduct my first formal teacher training workshop through the Heritage Institute (www.hol.edu), which will offer the course for college credit. The course will teach teachers how to create mandala curriculum for use in their own classrooms. Together with the Heritage Institute, I am also working on the development of an actual Mandala Project certification program that will teach people how to facilitate workshops for a more broad spectrum of participants, from youth through adult.
Examples of mandala "story maps" created by 5th grade reading students in Anacortes, WA
AHN: How do you sustain your work with the Mandala Project - creatively,Ê emotionally, financially...?
Cunningham: The Mandala Project has become more than a dream, a sort of divine vocation. It allows me to pursue my personal goals, spending my working hours helping to create a better world. I know that may sound a bit saccharine, yet at this stage in my life I can think of nothing I'd rather work at than something that has the potential to benefit all people in some way.
The project is not self-supporting at this point. I have invested many hundreds of hours and assorted savings accounts to enable me to continue the project. Fortunately, I do have the financial support of a wonderful husband and a generous father, as well as many friends who contribute much of themselves to keep the project going. I am looking forward to the next stage of the journey when the project can stand on its own.
AHN: Today what excites you the most about the Mandala Project?
Cunningham: What most excites me about the Project is participating in the unfolding of a plan that promotes unity, not uniformity. While it is important to be aware of our differences, even appreciate them, it is absolutely essential that we maintain a unified perspective of life as a whole. The Mandala Project both celebrates diversity and enkindles unity... I like that in a project!
The Mandala Project web site offers a wonderful, in-depth explanation and examples of how to use the mandala as a curriculum tool. Rather than repeat that resource here, the Arts and Healing Network strongly encourages you to visit the Education section of http://www.mandalaproject.org/ where you can view photos and learn about students in the US and Spain using this ancient symbol to tackle everything from geometry to understanding another culture.
FEATURED BOOK:
Mandala: Journey to the Center by Bailey Cunningham
"Awareness of the mandala may have the potential for changing how we see ourselves, our planet, and perhaps even our own purpose in life." - author Bailey Cunningham
With this book, Bailey Cunningham has created a beautifully designed introduction to the mandala. The rich color illustrations made me keep turning the pages to discover more. Bailey outlines the roots of this sacred symbol and examines the mandala at its broadest definition.
As she explains, "The word Mandala is from Sanskrit, a classical Indian language developed over 2300 years ago. Loosely translated to mean "circle," a mandala is far more than a simple shape. It represents wholeness, and can be see as a model for the organizational structure of life itself, a cosmic diagram that reminds us of our relation to the infinite, the world that extends both beyond and within our bodies and minds. Described as both material and non-material realities, the mandala appears in all aspects of life: the celestial circles we call earth, sun, and moon, as well as conceptual circles of friends, family, and community."
This is a great resource for beginning to understand the rich orgins of the mandala and its many applications. Bailey looks at the mandala as it functions cross-culturally, scientifically, and spiritually. She also provides wonderful examples of people using the mandala for prayer, community healing, friendship, and more. Published in 2002 by DK Publishing, Inc., this book is available through Amazon by clicking here.
FEATURED RESOURCE:
The Citizen Artist: 20 Years of Art in the Public Arena An Anthology from High Performance Magazine 1978-1998 Edited by Linda Frye Burnham and Steven Durland
This wonderful resource about public art can now be read on-line for free! at http://www.artheals.org/news_2002/www.communityarts.net/readingroom/archive/ca/index.php
This on-line book includes interviews and articles about artists who are affecting real change, as activists and as members of their communities. Here is an inspiring example of the kinds of text you will find in this anthology from the chapter, "Miles from Nowhere: Teaching Dance in Prison" by Leslie Neal:
"Why do I go to prison once a week? I go because I feel safer there, with them, than I do outside. I go because now they expect me to come. I go because I believe in the change that we have all experienced with eachÊ other. I go because I miss them. I go because they heal me. I go because they are hungry to learn. I go because I really love them. I go because IÊ am a woman, and in them I see parts of me."
