The Healing Message of Peace Will Spread Throughout the World

I had the opportunity to go view a completed sand mandala that was created over the period of one week by Tibetan Buddhist Gomang Monks. The cultural context for which the sand mandala was being created was in anticipation of the scheduled visit of the XIV Tibetan Buddhist spiritual leader; The Dalai Lama. I discovered through my research of the sand mandala as a material folklore genre, that the mandala’s are also part of customary folklore too. What defines mandala’s as material folklore is that they are handcrafted, beginning with a chalk design layout. Once the layout is complete, sand is poured from a metal funnel, called a chak-pur. Each monk holds a chak-pur in one hand, and runs a metal rod on the ridges of the chak-pur causing the sand to flow like liquid.(Creating a Mandala Sand Painting).


Chak-pur metal funnel for pouring sand.

Another aspect of the mandala that makes it part of material folklore is that this art work is not permanent. (Simms 13) The Customary folklore plays a big part in the ceremonial process that surrounds of the sand mandala. From the opening ceremony, during which the lamas consecrate the site to, drawing the outline of the mandala, to the colored sand being distributed by the lamas with the chak-pur, to the closing ceremony. The mandala “is created by members of a folkgroup, within a belief-oriented customary practice.”(Simms 13) All of this customary folklore contributes to the creation of the material folklore of the mandala. The word mandala is derived from the root manda, which means essence, to which the suffix la, meaning container, has been added. In short, mandala is a container of essence of the mind and body of Buddha.(Kumar 7)









Sand Mandala on display at St. Paul Catholic Church 2007





Gomang Monk with colored sand.

As stated earlier, the mandala is made of colored sand that is laid out in intricate detail in a circular motif composed of symbols and text. I will describe the mandala that was created in anticipation of the week long visit by the Dalai Lama. I will describe this material folklore art object in detail from the center working outward in concentric circles then from the 12:00 position and working clockwise. At the center of the mandala is earth with a dove sitting above a red and pink floral motif and what appears to be clouds positioned between the floral motif and earth. “The center of the mandala is the residence of the deity, it is the gathering center in which the outside energies are drawn, and in the act of drawing the forces, the devotee’s own energies unfold…”(Kumar 1) Underneath earth are two over-laid squares, each at a diagonal to the other. The outlying squares symbolize the physical world bound in eight directions…” (Kumar 1) Under the two over-laid squares is a prism array of color displayed in a spiral fashion within a circle. A narrow band with a blue base and white intricate scroll pattern surrounds the prism array of color. This narrow band appears to represent either water and waves or the sky and clouds. Surrounding the narrow blue and white band on a pink base are twenty complete and incomplete interlocking hearts of various colors. Located inside ten of the incomplete hearts are various symbols with text placed below each of these symbols. Surrounding all of the hearts is a dark blue green border to complete the mandala. All of
the text that corresponds to each of the symbols translates to mean “peace” from various other cultures. Starting at the 12:00 position and working clockwise I will attempt to decipher each of the symbols which are representative of various religions around the world. I was able to locate on the internet almost all of the emblems from About.com. From the 12:00 position and moving clockwise the symbols are as follows:

1. The Buddhist emblem the Dharmachakra or “golden wheel” is always in the west direction. (Braven 78)
2. The Jewish emblem the Star of David.
3. The Cross, symbolic of Christainity.
4. The Ring stone symbol for the Bahai faith.
5. The Flaming Chalice emblem of the Unitarian Church.
6. The OM emblem of the Hindu faith.
7. The next symbol I believe to be Native American. I did a search on Google for the text “WOWAHWA” which translates to “peace” in Lakota Indian. However I can only speculate that the symbol associated with this text is either a medicine wheel or a dreamcathcer.
8. The Khanda emblem is of the Sikh faith.
9. The text for this next emblem is in Chinese, but I was unable to determine what religious affiliation it is for; probably Buddhism.
10. The Crescent and Star is the emblem of the Islamic faith.




Close-up photo of sand detail.

Mandala’s fit the definition of a material folklore genre; however there is heavy emphasis on the customary folklore aspect that goes into creating a sand mandala. As part of the closing ceremony the mandala is destroyed. “This is done as a metaphor of the impermanence of life”. (Creating a Mandala Sand Painting) The sands are swept up and placed in and urn; to fulfill the function of healing, half is distributed to the audience, while the remainder is carried to a nearby body of water where it is deposited. The water then carries the healing blessing to the ocean, and from there it spreads throughout the world for planetary healing. (Creating a Mandala Sand Painting) With that being said, the mandala’s message, was of peace around the world. Before the Dalai Lama returns to Tibet, the Gomang monks will destroy the beautiful mandala, and deposited its sands into a body of water, so that the healing message of peace will spread throughout the world for planetary healing.


This is my response to the Third Encounter Project Material Culture (Object).





Works Cited

Braven, Martin. The Mandala: Sacred Circle in Tibetan Buddhism. Boston: Shambhala Publications, 1997.

Creating a Mandala Sand Painting: The Art of Building a Universe.
23 October 2007. http://community.berea.edu/galleryv/MandCreating.html.


Kumar, Nitin. The Mandala: Sacred Geometry and Art. 23 October 2007.
www.exoticindianart.com/mandala.htm.

Sims, Martha A. and Martine Stephens. Living Folklore: An Introduction to the Study of Peoples and Their Traditions. Logan: Utah State University Press, 2005.

Chapter Three Reflection Question-Traditions

I finished reading Chapter Three on Traditions, in our text “Living Folklore”. I was able to draw upon my own life and that of a group to which I feel connected to; my family and friends. While reading Chapter Three I reflected upon three varieties of tradition that are significant to me and they are as follows: one tradition that seems to be longstanding, but that is perhaps disappearing or changing in some fashion, one that seems to be increasingly central in importance to you or to others in your life, and a tradition whose origin you yourself witnessed or participated in.

I began to contemplate the tradition in our family that has been longstanding, but that is perhaps disappearing or changing in some fashion. The first thing that came to my mind was our family tradition of watching “A Christmas Story.” This occurs on Christmas Eve, and has occurred on every Christmas Eve for at least the last ten years. We have made this such a longstanding tradition that we all enjoy blurting out lines such as, “You’ll shoot your eye out” and “Oh Fudge”, laughing at these scenes a thousand times over. Of course I envision here soon that the family tradition of watching “A Christmas Story” will probably change but will not disappear completely. “Most of the time…traditions change and evolve naturally”. (Sims 75) Our teenage daughter will be going off to college next year. Our son, in the next couple years, will probably find this movie completely un-cool. But I believe that the tradition of watching “A Christmas Story” on Christmas Eve will be passed down to their children because “traditions exist because they mean something to those who partake in them”.(Sims 87) Even though our children change and evolve they will continue the tradition because “A Christmas Story” means something to them.

Colts game day festivities, is a tradition that seems to be increasingly central in importance to me and to others in my life. But it is also a tradition whose origin I witnessed and participated in. The origin of Colts game day tradition began about seven years ago in my living room. It was just me and the TV on Colts game day. Time would stand still in my house until the game was over. My husband would sometimes watch the game and sometimes he wouldn’t. If “my” team was playing poorly, my husband would leave the room, but I would watch them until the bitter end. As the Colts increasingly improved over the years, game day became a tradition that was increasingly central in importance to me and to others in my life. Now game days consist of a pitch-in’s and get together’s with our friends. Are you ready for some football…..? Go Colts!!!!!!!! Monday Night Football.

This Post is in response to Chapter 3 Reflection Question .



Works Cited

Sims, Martha and Martine Stephens. Living Folklore an Introduction to the Study of People and Their Traditions. Logan, Utah: Utah State University Press, 2005.

Relating to Similar Art Glass Experiences

The blog that I found to be worthy of comment was Folkly McFolks’ Blog, In The Woods Design. The author chose to speak with jeweler and lampwork bead artists Carol Bartok. Upon reading In The Woods Design Blog I found that my own experiences and fascination with glass parallel that of artist Carol Bartok.

Both Carol and I started off doing stained glass. After several years of constructing stained glass pieces I wanted to venture out into other art glass techniques. One of the first art glass techniques that I learned was lampwork bead making. As with Ms. Bartok, I also signed up for a class and shortly after completing that class I also purchased all the necessary equipment to create lampwork beads. It didn’t take me long to realize how difficult and challenging it was to create some of the more intricate beads. As with stained glass, bead making takes a lot of practice and patients. Although I did not follow the lampwork bead making path as did Ms. Bartok, my lampwork bead making experiences lead me to experimenting with “hot glass” techniques using a kiln and ceramic molds. Some techniques were as simple as cutting a square piece of glass, setting it over a mold and place in a kiln until the glass slumps into the shape of the mold. Or you could create a more interesting look by creating layers of transparent glass or add frit (finely crushed glass) sprinkled on top. Fire that piece in the kiln until it has all melted together then do a second firing to slump the glass into a mold.

I would have to say with all my experiences with art glass, bead making, and hot glass techniques were the most challenging. The trial and error aspect of both of these styles of art glass were always learning experiences. What I learned about the characteristics of glass when I first signed up for the lampwork bead making class I carried over into my experiences and understandings of hot glass work using a kiln.

This is my post for my Second Peer Response

Repetion Becomes Tradition

I have chosen Architecture as my second Encounter Project. Initially I had in mind the Vernacular Architecture of Outhouses. However, in the process of my research on outhouses I was able to narrow down my topic to latrines that are being constructed all across Africa by the support of The Carter Center. The main goal of building the latrines is to help prevent Trachoma, a blinding disease caused by the Chlamydia trachomatis bacteria from being transmitted by human contact and flies.

The mission of The Carter Center, founded by Jimmy and Rosalynn Carter is guided by a fundamental commitment to human rights and the alleviation of human suffering; it seeks to prevent and resolve conflicts, enhance freedom and democracy, and improve health (The Carter Center). The Center believes that people can improve their lives when provided with the necessary skills, knowledge, and access to resources (The Carter Center). This is one of the five principles guided by the Carter Center that I felt most related to the construction of latrines as material folklore of vernacular architecture.

Based on the definition from Wikipedia.com, Vernacular architecture is a term used to categorize methods of construction which use locally available resources to address local needs. With that being said the local need was to prevent Trachoma and other diseases, the only way to do that is latrine construction to contain human feces and prevent fecco-orally transmitted diseases. The whole process of latrine construction began with “efficient and targeted training” (Dr.Emerson). An Executive Summary on Pit latrines for all Households stated “approximately 2000 community leaders were trained how to construct a latrine for themselves; they in turn, returned to their communities and helped their neighbors by sharing their practical and theoretical training which resulted in larger numbers of people being trained in latrine construction and use without any additional need for training resources.”(Bixler) Continuing with the definition of vernacular architecture, people had to provide their own materials so methods of construction used locally available resources. People already had construction experience from building their own home with local materials so construction training was not necessary (Dr. Emerson).

The Executive Summary Pit Latrines for all Households describes how pit latrines were constructed. The latrines consisted of pits 2-4 meters deep, with a platform of wood poles and mud plaster over it, and a traditionally built superstructure around it.

Also included is a hand-washing station made from a gourde.



Houston Chronicle: Steve Campbell

A more uniquely accepted design by the unskilled local laborers is the Domed Pit Latrine Slab Kit. The dome shape minimized the thickness, making it cheaper than traditional reinforced slab. To keep the flies out and the smell in, there is a lid with a wire handle. The wire handle heats up from sunlight, killing germs and reducing contamination.





Several styles of concrete slabs. Different Types of Pit Latrine Shelters.






CARTER CENTER PHOTO: JIM ZINGESER


One might notice the similarities of latrine shelters in Africa to outhouses in our own country or other parts of the world. The basic construction of a pit latrine has not changed much.

MSF-USA (Doctors Without Borders-USA) has some general guidelines for pit latrine construction they are as follows (Refugee Camp):
1. Latrine site should be chosen downhill, 30M away from groundwater access.
2. Latrines should not be less than 5M and not more than 50M from living quarters.
3. World Health Organization uses a formula of .04M3 x number of people to determine pit size.
4. Cement slab to extend 15 cm beyond pit.
5. Construct a superstructure, a door is optional.
6. Roof should slope towards the back of the structure.
7. Dig a drainage channel around the latrine to prevent runoff from entering and to protect the walls of pit.

Per the MSF-USA pit latrines alone cannot reduce the occurrences of fecco-orally transmitted diseases without the vigilance of the people. After every latrine use, wash the hands and face. By keeping the covers on the latrine that reduces the breeding of flies and bad smells. The slab and surrounding area should be cleaned everyday. Fire ash should be put into pit after each use, thus reducing not only the odor and increasing decomposition. When pit is nearly full, the superstructure and slab are to be moved to a new location and old pit covered with soil. Do not dig in this place for at least two years.

Wikipedia.Com states that “Vernacular architecture may, through time, be adopted and refined into culturally accepted solutions, but only through repetition may it become “traditional”. I believe that definition can be supported by the following fact. “After extolling the latrine to the community leaders…..the message caught on in village after village. One family would build a latrine and others, envious, would follow suit. Having a latrine became a status symbol”. (Bixler) Only through the repetition of spreading the word about the importance of latrine construction and good hygiene did the vernacular architecture of pit latrines become culturally acceptable and thus “traditional”.

This is my response to my Second Encounter Project.





Works Cited


Bixler, Mark. Rural Ethiopia Latrine Program. 2005. 6 October 2007.
<http://www.carter%20center.org/news/documents/doc2100.html.>

Carter Center.com. Niger Latrine Program Aids Trachoma Prevention. 2004. 6 October 2007. WWW.CarterCenter.org/news/documents/doc1704.html>.

Dr. Emerson, Paul. Executive Summary: Pit Latrines for all Households: The Experiences of Hulet Eju Enessie Woreda, Amhora National Regional State, Northwest Ethiopia. 2005. 6 October 2007. WWW.CarterCenter.org>.

Claudia Feldman. Visions of Health: Carters Work to End Scourge in Ethiopia. 2005. 6 October 2007. http://carter%20center.org/news/documents/doc2223.html.

Domed Pit Latrine Slab Kit. 6 October 2007. http://other90.copperhewitt.org/Design/domed-pit-latrine-slab-kit

Sims, Martha A. and Martine Stephens. Living Folklore: An Introduction to the Study of Peoples and Their Traditions. Logan: Utah State University Press, 2005.

The Carter Center: Creating a World in Which Every Man, Woman, and Child Has the Opportunity to Enjoy Good Health and Live in Peace. 2007. 6 October 2007.
http://www.carter%20center.org/about/index.html.

Refugee Camp Project-Learn More: Latrines (simple pit latrine). 6 October 2007. MSF-USA: http://www.msf.ca/refugeecamp/learnmore/latrines/simple_pit_latrine.htm.

Vernacular Architecture. Wikipedia.com. 26 September 2007. 6 October 2007.
http://en.wikipedia.org/wiki/vernacular_architecture.

Proximity and Necessity Form Friendships

I finished reading Chapter Two on Groups, in our text “Living Folklore”. I can link several ideas from the chapter that helped me to understand the group with which I most feel affiliated with. I will specifically focus on how and why our group formed.

I have two really close girlfriends. Our friendship was essentially formed as a direct result of our husbands’ occupational group. My girlfriends and I are so different from one another. Everything from our house cleaning routines, our decorating tastes, to our parenting philosophies. We often laugh about how we can be such great friends when we are so different. But the one thing that links the three of us together is our husbands’ occupational group The Indiana State Police.

Our group first began forming as a result of proximity. All of our husbands work out of the Bloomington State Police Post. Our friendship first formed out of necessity, because we all three volunteered to plan The State Police Post holiday party and over the years, we would organize the yearly State Police Post Picnic or the occasional Parents Night Out, as our regular interaction with in our group. Of course all of these events that we organized included all of the husbands and wives from the Bloomington Post. Over the years the Parents Night Out was too difficult to plan a specific night that would accommodate everyone’s schedule. So we kind of scrapped the Parents Night Out and the three of us took it upon ourselves to have regular interaction not only with each other; but also would include our husbands. Some of our regular interactions would included dinner out, movies, pitch in dinners, watching the Colts or UFC boxing.

One of the aspects of Chapter Two that reflects how our friendship formed and how our friendship has evolved is our shared interest of our husbands State Police Occupational Group. “Sometimes, individuals may come together seeking others with common skills and /or interests and form a group based on those commonalities.”(Sims and Stephans, 40). We came together with a shared interest of the Bloomington State Police Post. From that shared interest, a subgroup of our husbands’ occupational group called “friendship” was formed. This friendship is not only shared between the wives but also between the husbands.

This Post is in response to Chapter 2 Reflection Question .



Works Cited

Sims, Martha and Martine Stephens. Living Folklore An Introduction to the Study of People and Their Traditions. Logan, Utah: Utah State University Press, 2005.

Dead Batteries Keep Car Games a Family Tradition

After reviewing the posts of my peers, the one that had me reflecting the most was “Car Games”, posted by Folkish Thingamajig. Folkish Thingamajig discussed car games like “The Animal Game” and “The License Plate Game” as a type of folklore that was played in the car on road trips. He also states how his mother gets aggravated at people with children who do not play games while in their cars.

Well I would like to add “The Cow Counting Game” to the customary folklore of car games. I recall playing “The Cow Counting Game” from my Grandparents house in Mooresville, Indiana to my Cousins house in Monrovia, Indiana. My sister and I would always play this game to pass the time from Mooresville to Monrovia. The “Cow Counting Game” sounds similar to “The Animal Game”. The rules are as follows; we would have a race to the car, whoever made it to the car first would get to choose the “best” side of the car that they wanted to sit on. You could only count the cows in the fields on your side of the car that you were sitting on. Whoever counted the most cows was the winner. However, there was a catch, if your side of the car passed a cemetery you would have to start your “cow counting” all over again.

I will have to say that I do not own a minivan with a TV, but my daughter has her IPOD, and my son has his PS2 and those are about the only technologies they bring with them in the car when we travel. Eventually, the batteries die and we will continue the customary folklore traditions of the “The Cow Counting Game”, “I Spy” or “The License Plate Game”.

This is My First Peer Response to Folkish Thingamajig’s Blog “Car Games”.

Bill Monroe and The Bluegrass Boys Album Review

Being a native of Bloomington, the name Bill Monroe has always been a fixture in this area ever since I can remember. Bill Monroe is to Bluegrass music; as college basketball is to Indiana University. Even though I have seen my fair share of IU basketball games, in all honesty, I have never listened to one note of Bill Monroe’s music. That was until I picked up the album of Bill Monroe and Bluegrass Boys. Live Recordings 1956-1969 Off the Record Volume 1. This is the album that I have chosen to review as my first Encounter Project.

The Bluegrass style of music, itself was so named and can be traced to one band; Bill Monroe and the Bluegrass Boys. “(Bluegrass Music).” He started a musical genre that made him the “father of bluegrass”; this statement is quite obvious after listening to the live recordings of this album numerous times. Every song was a roller coaster ride of emotion that captured the very essence of Americana.

This album consists of more than 27 live performances from the nineteen-fifties and sixties and is divided into performances from 1956, and performances from 1963-66. The liner notes state that all of the songs that have been presented in this CD, include the categories generally covered by Monroe in any standard performance set:

1. Instrumental show pieces.
2. Monroe’s solo vocals.
3. One or two spiritual songs (usually quartets).
4. A duet with the lead singer.

Instrumental show pieces like songs number (1) and (11) are two different versions of "Watermelon Hanging on the Vine". Song (1) the 1956 version is a more energetic and upbeat and is played as a fiddle duet. Song (11) the 1963-66 version is a solo fiddle version that is not as energetic as the 1956 version. Although both sound slightly different they still both have the same effect of capturing the audience’s attention and if that that didn’t capture the audience’s attention then song (2) "Roanoke" from 1956, another instrumental tune most certainly would. This performance was very lively and up-tempo that included an introduction to the full band. Song (12) "Katy Hill" from 1963-66 performances was another instrumental tune. This particular pieces’ tempo meandered in several different places, leaving one lost in the composition. Some of the other instrumental pieces from the 1956 performances consisted of the uniquely muffled mandolin tone in "Blue Grass Stomp". The Beverly Hillbillies reminiscent "Blue Grass Breakdown" and "Raw Hide". If one wants to hear hints of the Charlie Daniels Band, “Devil Went Down to Georgia” one only needs to listen to the energy and exuberance of Fire on the Mountain. “Get Up John”, another instrumental piece was unique due to the unusual manner in which Bill Monroe tuned his mandolin. Finally, the two instrumental performances that stood out the most were "Wheel Hoss" and "Kansas City Rail Road Blues". Their instrumental sound reflected their titles. Wheel Hoss is a term used for the two horses that are in the back of a four horse team, they are responsible for a majority of the work in breaking the inertia of a heavily-loaded wagon, as well as maneuvering the turns. “(Rinzler 13).” On "Wheel Hoss", there is a sense that the music is taking you on a wild ride on a horse drawn wagon. The recreation of a coal fired train steam engine was the instrumental sound on "Kansas City Rail Road Blues".

The vocals styles and instrumental sounds of Bill Monroe and his band are presented in some of the following songs. The nasal timbre vocals accompanied by the smooth flowing fiddle playing of Bobby Hicks and Joe Stuart on “Close By”. “Brakeman’s Blues” showcases Monroe’s effortless skill at yodeling. One of his most successful hits was the relaxed singing style on “Kentucky Waltz”. The first half of “Blue Moon of Kentucky”; is flowing and slow paced and one hangs on every note, then the music accelerates and the vocals and the music become more staccato. The square-dance feels of “I live in the Past”, which has an excellent fiddle accompaniment and the energetic, Beverly Hillbillies banjo-style of “White House Blues” are very enjoyable to listen to.

Duet performances between Peter Rowan and Bill Monroe on “Wafaring Stranger ” include the haunting and most unique vocals on the whole album. The other duet by Peter and Bill was on True Life Blues, a less memorable song vocally. The power of the song was held together by strong banjo, mandolin, and fiddle playing. Whereas; Cotton-Eyed Joe had power in all areas of the song. From the fluid fiddle playing, intense mandolin solo and the voice of Tex Logan accompanying Bill. The fast tempo, along with a strong banjo performance accompanied Bill Monroe and Hazel Dickens on “Roll in My Sweet Baby’s Arms”. Hazel was the only female voice recorded on this album.

Finally, the spiritual songs like “I’m Working on a Building”, “Angels Rock Me to Sleep”, and “When He Reached Down His Hand For Me” were performed as a quartet with the distinctive nasal timbre and very little instrumental showboating. “The Walls of Time” was performed as a duet but still conformed to the nasal timbre and limited instrumental performance.

In closing, I will say Y’all Come as Bill Monroe’s trademark at the end of his shows.


Works Cited

“Bluegrass Music.” Wikipedia Encyclopecia Online. 2007. Wikipedia, the free encyclopedia. Sept 2007. http://en. widipedia.ord/wiki/blugrass_music.

Rinzler, Ralph. Liner Notes. Bill Monroe and the Bluegrass Boys Live Recordings 1956-1969 off the Record Volume 1. CD. Smithsonian Folkways, 1993.

“This post is my response to the Album Review Encounter Project “

Material Folklore and Stained Glass

Material folklore as illustrated by stained glass construction is the area I have elected to use for Reflection Question Number One. While it can be part of an official culture, learned in a classroom setting, in my case it was taught to me informally by my dad. He emphasized the importance of design, methods of construction, glass types, cutting and grinding techniques, pattern making, soldering, framing, cleaning, preservation and restoration. Of utmost importance, was attention to detail.

After mastering these skills, I was able to incorporate another aspect of folklore by sharing my knowledge with others. This was sometimes in a class I was teaching or in conversations with other stained glass artists. Attending arts and crafts festivals provided an interactive process that added to my knowledge.

With this knowledge also came an appreciation of works by professional artists and craftsmen such as Louis Comfort Tiffany, John LaFarge, and Dale Chihuly. While vacationing, I was often able to view stained glass exhibits such as the one at Navy Pier in Chicago. While all of the above represent high art or elite culture, I had been taught the basic skills necessary to produce handcrafted objects, which illustrate material folklore.

For a few years I was able to put this training into practice while working with my dad in our retail store. I was able to interact with clients and produce stained glass pieces that reflected their individual needs. In one instance, the members of a small church wished to have several windows designed for their sanctuary that would depict specific stories from the Bible. It was necessary to gain input from a committee in order to determine the content of each individual window. Working with this committee having similar interests and purpose represents expressive communication within this particular group.

To have been taught the art of stained glass by my dad is important to me because it gave me a sense of self worth, and the ability to express my self creatively through the materials and tools of this particular trade. Stained glass represents something I have created that can be appreciated and valued by others.

This posting is my response to Chapter One Reflection Question.

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