Raheem Thorpe, a Staging actor, talks about Sugimoto’s Sea of Buddha and how he feels about being back at the Pulitzer since being part of Staging Old Masters.

by Amy Broadway, Interim PR Coordinator

One of the main goals of Staging workshops is that the actors personally connect with the artworks in Reflections of the Buddha. The company will craft and perform scenes in the spring based on musings about the stars of the exhibition, such as Prince Shotoku, the giant sculpture of a left hand, or perhaps Oscar Munoz’s La Línea del Destino (Line of Destiny). The works haven’t been officially chosen yet, and it will be interesting to see what gets picked.

Several Fridays ago, Agnes Wilcox, the artistic director of Prison Performing Arts and the workshop leader, asked the actors to pair off, peruse the exhibition, and speculate about the images they saw. Afterwards, the exhibition’s curator, Francesca Herndon-Consagra, led Staging through the galleries, sharing her knowledge of the artistry, cultural history, and meaning behind the works.

In the video above, Raheem Thorpe, a graduate of the Staging Old Masters program, talks about how he and his peers first interpreted Hiroshi Sugimoto’s Sea of Buddha and what they learned from Francesca. The last time I saw Raheem, he was working with teaching artist Jenny Murphy in Urban Renewal, part of the Urban Alchemy series of programs Transformation. You can see him interviewed in 2010 here. He’s great on camera, and I look forward to seeing him on stage (Staging will perform in the galleries alongside the art).

As a side note, many of you may recall that this is not the first time the Pulitzer has been graced with Sugimoto creations. As we celebrate our tenth year–which officially began in October– we’re looking back at past exhibitions and web catalogues. Click here for another blast from the past, a look at our 2006 exhibition Hiroshi Sugimoto: Photographs of Joe.

by Sydney Norton, Curatorial Assistant

Four Mandalas (dkyil‘khor), 18th century; Tibet; thangka; colors on cotton, mounted on silk brocade; 31¾ x 24 in.; The Nelson Atkins Museum of Art, Kansas City, Missouri, Bequest of Joseph H. Heil, 74‑36 /16

Our next Frame of Reference is tomorrow at 2pm. Please stop by the Pulitzer to listen to Miao Han, director of the Fo Guang Shan St. Louis Buddhist Center, talk about Standing Buddha Amitābha (Amida Nyōrai) in the entrance gallery. The group will then move to the lower gallery to hear Dr. Qing Chang, Asian art professor from University of Missouri St. Louis, share his insights about Guardian King of the North (Vaiśravana).

Last month I had the opportunity to participate in a group of stimulating and varied Frame of Reference talks that addressed the theme of healing in Buddhist art. Neuroscientist Ben Kolber connected Green Tārā’s seated pose of royal ease to his own work as a pain researcher. He identified this pose, known in Sanskrit as lalātisana, as a relaxation posture, noting that the experience of pain is markedly less acute among people who meditate. John Mueller, professor of architecture at Washington University, shared his fascination with Monk Ananda’s ever-so-slight smile, noting that a comparable smile can be found on several Buddha and Bodhisattva figures throughout the exhibition. See, for example, Standing Buddha Śākyamuni (Shijiamouni) and Bodhisattva Avalokiteśvara (Karunamaya). According to Professor Mueller, the gentle smile conveys the peaceful contentment that enlightened beings experience through nonjudgmental acceptance and appreciation of their surroundings.

My presentation focused on the healing aspects of Four Mandalas, an eighteenth century Tibetan thangka, or portable icon, from central Tibet. A mandala is a diagram used as a guide to meditation. It represents the dynamic relationship between the Buddhist practitioner and the cosmos of the mandala’s central deity. As you move mentally through the various sections of the diagram, your consciousness dissolves and you temporarily become one with the deity’s cosmos.

Positioned at the center of Four Mandalas is Amitāyus, the Buddha of health and longevity. Clad in red, he sits crosslegged in the lotus posture. His hands, which rest on his lap in the dhyāna (meditation) mudra, hold his special emblem, the ambrosia vase. Many Tibetan Buddhists commission images of Amitāyus to gain karmic merit and to assure health and long life for themselves or someone close to them.

You’ll notice that Amitāyus is seated on an elaborate lotus throne which grows directly out of a body of water. The lotus functions as an important symbol in Buddhism and it appears on numerous artworks in this exhibition. Sprouting from the mud, this flower grows up through the water’s surface only to blossom in the sunlight. Buddhists regard this process as an ideal metaphor for the human spirit, which can transcend duhkha—the negative circumstances of daily life—through meditation and study of the dharma.

The four mandalas represented here are “palace-architecture” diagrams and they float against a blue-black background of mountain peaks and clouds. Each mandala is enclosed by a series of rings. The outermost ring is the belt of fire, signifying the knowledge essential for bursting the bonds of ignorance. The second ring is the narrow black “vajra” belt, which represents enlightenment, the threshold of the spiritual world. The third ring is the circle of eight cemeteries and features eight ascetics meditating in scenes of nature. The innermost ring depicts a circle of pink and red lotus leaves, indicating that the practitioner has left the world of senses and has entered the spiritual realm.*

After making your way inward through the four rings, you’ll notice a structure that resembles a town square. There are four T-shaped doors, each of which is located at one of the four cardinal directions. Each door is flanked by different colored bands that connect all of the doors. These bands represent the walls of the emperor’s city. Arches rise above the doors and encircle a series of stories that are supported by columns. All of these architectural elements represent different aspects of Buddhist teaching, upon which the practitioner meditates while moving through the diagram.

At the center of the upper left mandala you’ll see a dancing blue figure with four arms. She wears a crown of skulls and holds a skull cup in her lower left hand. This semi-wrathful deity is a dākīni, an accomplished yoginī, who acts as a guiding intermediary for practitioners during meditation.

As your meditation comes to an end, you’ll move outward from the center, through the four exterior rings, and back into the material world.

*The source for my discussion of the iconography of Four Mandalas is an unpublished essay titled “Amitāyus,” written by Dorothy F. Fickle for The Nelson-Atkins Museum of Art in 1968.

Tony Wagner, Actor, in the Watercourt; photograph by Sevda Safarova

With Staging Reflections of the Buddha we are fortunate to have some very talented program staff members who were also part of Staging Old Masters. Among these returning members Maggie Ginestra, who wears multiple hats in this project. Her post today represents a very special role–that of biographer and recorder of the life accomplishments of our actors and staff.

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by Maggie Ginestra, Assistant Scriptwriter for Staging Reflections of the Buddha

As Assistant Scriptwriter, I’m enjoying the opportunity to interview each person involved with Staging Reflections of the Buddha toward short biographical blurbs that will be up on the blog for your perusal and enticement, future audience members.

So far, I’ve been sneaking moments with the actors when they’re not busy, and sometimes even when they are (because an idle moment with Agnes Wilcox is rare). One of the great things about interviewing actors who have rarely or never been on stage before is that their performance background really is, as one actor told me, their whole lives. Another actor’s father taught him to read by handing him the business section after dinner and stomping a foot if he spoke softly or incorrectly. If that isn’t a cure for stage fright…?

Over half of the actors, men and women, are Veterans whom we had the privilege of celebrating last week, and many have traveled all over the United States, one even by bike, though most were born and raised in St. Louis. I’m enjoying the theme of return, and even renewal, as each actor speaks with a sublime blend of openness, humility, and curiosity that seems to be contagious around here.

I still have some interviews to go, but soon we’ll have the privilege of introducing you to the incredible company of eyes, ears, and voices that we hope will magnify and enrich your experience of Reflections of the Buddha. If you haven’t seen the exhibition yet, I recommend checking it out before we open in February. We all had a chance to just look and see before we began to talk and listen—so you should too!

by Carianne Noga, Programs and Gallery Assistant

Over the past few months, I have had the pleasure and fortune of becoming acquainted with many members of the Buddhist Council of Greater St. Louis. They have generously and enthusiastically shared their time and energy with the Pulitzer in developing and facilitating many aspects of the diverse programming for Reflections of the Buddha. In particular, I have been working with several local Buddhist groups affiliated with the Council, to coordinate the Pulitzer’s phenomenally successful meditation series.

Not knowing how incredibly popular this series would turn out to be, each week has brought its own set of challenges. The first week was very exciting for all of us planning it, and we did everything we could think of to be prepared for hosting the 50-60 people we expected. It was a particularly funny thing we didn’t think of though–what do you do with the castoff shoes of 50 meditators? Oops! We did not plan for the piles of footwear, but by the second week we had assembled shelving to further eliminate what could have been a potential fire hazard. Now, if only we could count on everyone to actually use the cubbies! Of course, we continue to do our duty to keep the space safe and comfortable, but this requires a certain amount of finesse and thinking on the fly.

Read the rest of this entry »

by Elise Johnson, Assistant Registrar

One of the works included in Reflections of the Buddha is an accordion-fold scroll on loan from Harvard Art Museums. This gorgeous manuscript focuses on the bodhisattva Avalokiteśvara, commonly known as the “Goddess of Compassion”. The text and images within the scroll illustrate the calamities and dangers from which the deity will save any worshipper who cries out her name, as well as the diverse forms that Avalokiteśvara can take in order to make the Buddha’s teachings understood to any aspiring believer.

The scroll is an extremely long piece. Composed of 112 leaves, the work reaches a length of over 45 feet when completely laid out. As you can imagine, this size makes it difficult to display the entire manuscript at any one time. Thus, throughout the exhibition period at the Pulitzer, we will rotate the segments that are on view, allowing the returning visitor the opportunity to see different sections of text and image. In addition, since the scroll dates to the 15th century and is made of indigo-dyed paper, the work is vulnerable to light. Rotating the pages provides the added bonus of not exposing one segment of the scroll for too long of a period of time.

The first pages of the sutra have been on view since we opened the exhibition in early September. This Wednesday will provide visitors with their first chance to examine the subsequent leaves of the scroll. Here is a sneak peak of one of the scenes: Read the rest of this entry »

Pencil drawing by James Kennedy, Farmington State Correctional Center. More artwork by prison inmates may be found at insiderart.org.

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Carol Corey has been a student of Zen Buddhism since 1999. She works with Inside Dharma, a Buddhist prison outreach organization that teaches meditation in Missouri prisons. Practitioners from Inside Dharma led a meditation workshop at the Pulitzer on October 8.  

by Carol Corey, Community Services Organizer, Inside Dharma

In 2003, I responded to a request from an inmate at Menard State Prison in Illinois who was looking for support in his efforts to practice Zen meditation. Scott was about 40 years old. He had been incarcerated in this maximum security prison since he was fourteen. I answered his letter, and we’ve been corresponding ever since. In 2005, one of Scott’s articles was published in Tricycle Magazine (a Buddhist publication), and later that year it appeared in Best Buddhist Writings of 2005. This essay provided a compelling account of the life-changing transformation Scott went through, which eventually led him to become a serious student of Soto Zen Buddhism.

Before long I began a correspondence with James, another inmate in the category known as juvenile life without parole or “JLWOP”. He practices Tibetan Buddhism and, in his letters and during three visits, has made it clear that these teachings were, and still are, a lifeline for him. At one point he began studying the Tibetan language in order to understand the original teachings. Read the rest of this entry »

Peter Henderson, Debby Lennon and Eric Gaston

by Eddie Silva, External Affairs and Publications Manager, St. Louis Symphony

“There’s a certain slant of light…” Emily Dickinson’s phrase comes to mind inside The Pulitzer Foundation for the Arts on a late autumn afternoon. The light enters slyly through Tadao Ando’s sublime architecture, a play of radiance and shadow.

Appropriately enough, silent Buddhas stand sentinel in this light, at peace in the rage of the world.

Peter Henderson is at the keyboard, at the foot of the stairwell below Ellsworth Kelly’s Blue Black. He’s here to rehearse the second of Jonathan Harvey’s Buddhist Songs, which will be performed Wednesday evening as part of the Pulitzer and St. Louis Symphony’s collaborative concert series.

I know nothing about Jonathan Harvey. To know as much as I know you can Google his name. I know now, from listening to Henderson and mezzo-soprano Debby Lennon rehearse Buddhist Song No. 2, “With excellent raiments,” that he can make music that resonates through the body like shimmering water. Read the rest of this entry »

by Tim Rakel, 88.1 KDHX DJ

Last Thursday evening, I enjoyed participating in Sound Waves, providing a musical accompaniment for Reflections of the Buddha. What I realized while putting the music together was that this was going to be different from what I normally do on the radio. Not only the setting but mostly because this music itself is different from so much of what I am usually surrounded by. I’m very glad I accepted the challenge to learn a little more about these musical styles and cultures, enough to feel confident about a set of music. As a result of the positive experience, I hope to do more of this sort of thing in the future. 
 
Hearing the music from the speakers in the grates on the gallery floors and listening from the balcony as it played off the walls of the building, I was even more impressed by this music than before. Several visitors to the exhibition that night gave me the same response. As I do for the radio program, I have provided a “playlist” for anyone interested. Click here to see it. The particular track information is not complete, but it should provide an overview of the music that I chose to play. Any questions about these records or any other details I haven’t mentioned can be sent to me by e-mailing mystery@kdhx.org
 
Without the architecture of the building and the Buddhist art, I’m interested in hearing how the music stands alone. Before the exhibition closes, I am planning to devote an episode of my weekly radio show to this music and expose my usual listeners to it as well.

Philip Matthews is a 2011 graduate of the MFA program at Washington University in St. Louis and is this year’s Jr. Writer-in-Residence in the English department. He teaches poetry and creative non-fiction. He is also a gallery assistant at the Pulitzer.

by Philip Matthews, Gallery Assistant

Last Thursday, October 6, I had the pleasure of experiencing the first of a series of Sound Waves events, which will all respond to the current exhibition, Reflections of the Buddha. For this installment, DJ Tim Rakel pumped a variety of Indian and Indian-influenced music throughout the exhibition through a sound system installed in the grates in the floor. The effect was encompassing, and as a gallery assistant stationed in the main gallery over the course of three hours, I found myself considering the Buddhist concepts of impermanence and attachment.

According to Buddhist thought, everything is in a constant state of change. The Pulitzer building exemplifies this principle, as natural light shifts throughout the day throughout the galleries: in one moment, a shimmering reflection of the Watercourt on the ceiling; in one moment, a rod of light through the Buddha on a phyllite plate; in one moment, nightfall reveals the standing Buddha reflected in a window, alongside my own reflection. And Rakel’s musical selections enhanced this principle beautifully: moving from a recording of monks chanting a cappella in unison, to a shimmering of sitars and a woman’s microtonic pipes like I have never heard, to a percussive, upbeat dance fitting of a dakini. Throughout the event, I am struck by how the power of the artworks around me interact with the music and the building, and how those relationships evolve as time progresses. At any given moment, I am satisfied to be here, having the experience I am having. Is this something like samadhi?

But when I begin to become attached: for example, when I begin to miss the blocks of orange light which sunset cast on the wall, I begin to miss out on the current experience of night available to me, with its different beauties and significances. This, I feel, is the Buddha’s most useful teaching to my daily life, which is full of attachments: to loved ones, to routine, to self-image. Because nothing is permanent, my attachments dissatisfy me when the conditions of my life change: I am dissatisfied that the relationship I want to last must inevitably end; I am dissatisfied when my students are not as talkative as they were last week; I am dissatisfied that, at 24, I am still so much skinnier than other men. The Buddha: “…on the cessation of craving ceases attachment; on the cessation of attachment ceases becoming…” (Mitchell, Donald W. “The Teachings of the Buddha.” Buddhism: Introducing the Buddhist Experience. New York: Oxford UP, 2008. 42. Print.)

Here is a creative response to the challenges and questions of intimacy, attachment and impermanence which the current exhibition at the Pulitzer has begun to raise for me. The first draft of this poem was written at Sound Waves on Thursday, October 6, in fragments, on the back of a receipt I had in my wallet at the time.

http://www.vimeo.com/30211292

Sydney Norton, curatorial assistant at the Pulitzer, gives an overview of Bodhisattva Avalokiteśvara (Karunamaya) in the Cube Gallery. (What is the difference between a Bodhisattva and a Buddha?)

Tomorrow is the second in our series of curatorial gallery tours related to Reflections of the Buddha. If you’re looking for an in-depth understanding of this rich exhibition, an hour-long tour won’t do it, but it might help. Tomorrow, from 2 to 3 p.m., senior curator Francesca Herndon-Consagra will share some of what inspired her in developing the exhibition as well as the significance of the some of the works within cultural history and Buddhism. For a list of all the regular talks and tours for Reflections of the Buddha, visit our main website.