Collaborative Mandalic Manifestation: The Ancient Future of Collaboration

by | Nov 28, 2017

Mandalas are an ancient art form with profound modern implications.  My journey into the way of the mandala has taken me to sacred sites, ancient and modern, around the world.  On this journey I have also presided over countless mandala makings– workshops, sculptures, dances, and creative collaborations of all kinds.   Along the way, my discoveries have lead me to believe that that the spirit and principles of the mandala making process have the potential to empower and accelerate the personal and collective transitions so crucial in our age of social and ecological crisis.  Having experienced the power of mandalic principles in action, I have come to be convinced that the solutions many of us are working on can benefit greatly the application of what I call, Collaborative Mandalic Manifestation.


What are mandalas?

Mandalas are an ancient and sacred art that can be found in every culture and religion of the world. A mandala can be as simple as a circle drawn in the sand, as beautiful as a cathedral rose window, or as sophisticated as a multi-terraced, pyramid temple like those of the Aztecs or Mayans. Like a flower, mandalas unfold outwards from the center, taking a pattern of their own. Symbols, patterns, colours, and numerology weave themselves into the radial geometry, imbuing mandalas in meaning and power.


My Journey

My journey into the mandala has irrevocably altered my art, life and relationships.  My transition began simply enough.  At first I made my own tentative mandalas.  As a professional artist, I would lead the occasional workshops and on a whim I had my participants make mandalas with me.  I was awed that “non-artists” could create so easily, beautifully and glean the benefits of the artistic process so quickly (and so were they!).  I was became intrigued by the framework mandalas provided for working together to make a collective art piece.  After several wildly successful, immensely fun and communally rewarding group mandalas, I began to transition from my conventional, solitary artistic practice of paintings and installations to working with groups large and small.

I observed that there was something special about mandala making that empowered creativity and community.  I could feel the potential.  In my time living in the refugee camps of the West Bank, Palestine and hiking the barren hills of Costa Rica, I had become increasing aware of the looming social and ecological crises.  It was clear to me that creative awakening and human ingenuity were needed and that art had a place in this.  Alas, the conventional art world I had immersed myself in, wasn’t helping this along.  Inspired by what I had glimpsed in my mandala making, it didn’t take long to abandon my focus on grants, prizes, exhibitions and sales.  Soon I had left behind my old art practice, gallery connections and income.  It was immensely challenging at first, but vastly rewarding.

Sure and steady I have transitioned to apply my artistic/creative energies mandalically, harnessing the vast and latent potential in mobilizing communities of co-creators.  I soon discovered that the most powerful co-creators were those closest to me:  partners and lovers with whom attraction and passion was already bringing us together.  In channelling the energies of my partnerships with mandalic principles, it took my/our creative potential to a dizzying new levels.  Early relationships naively applying mandalic principles led to massive early success, yet inevitable collapse, heartache and failure. Through trial and error however, the principles and foundation for building co-creative edifices using mandalic principles have become clearer and clearer to me. Through hard work, countless mandalas and many cocreative miscarriages, I’ve come to refine what my theories of ‘Collaborative Mandalic Manifestation’ (my term).

The ecological and social challenges of our age present crushingly urgent and daunting timelines for transition.  Having experienced the power of mandalic principles first hand, I have come to be convinced that the solutions many of us are working on can benefit greatly the application of CMM. CMM enables us to harness the co-creative supra-sexual energies of committed men and women, and preside over massive-scale consciousness raising collaborations that achieve practical, real world results, with the levels of exponential expansion required to overtake the growth of the original problem.

300 elementary students made mandalas with me on paper. We put them up in the gym as one big mandala

300 elementary students made mandalas with me on paper. We put them up in the gym as one big mandala

Mandala Making

Time Magazine photo of Carl Jung reviewing a Tibetan mandala.

Making a mandala is a simple process– yet one that often has profound meaning.  Mandalas can be made on one’s own, with a partner or in a group. Regardless of the amount of people involved, certain principles stay the same.

With personal mandalas, there exist a wonderful opportunity of self-discovery.  Making a personal mandala can be a potent process to explore one’s subconscious, developing intuition and revealing personality. Whether it is my own mandala or that of a participant in a workshop, taking a good look at someone’s creation can provide many insights.

The 19th century psychologist, Carl Jung, was arguably the first to use mandala making as a means of psychotherapy and self-discovery with his patients. By reviewing a patient’s mandala, Jung realized that profound insights could be gleaned, both by the practitioner and the patient. He would give his patients a paper and coloured pencils and encourage them to sketch away.

Jung was awed by the results. Not only was he able to glean insights that led to the diagnosis and treatment of his patients, his review of mandalic traditions in disparate cultures around the globe, inspired his breakthrough concept of the ‘collective unconsciousness‘.  Jung described the unfolding mandala becomes as a window to the soul of an individual and a culture.

The true mandala is always an inner image, which is gradually built up through (active) imagination, at such times when psychic equilibrium is disturbed or when a thought cannot be found and must be sought for, because it is not contained in holy doctrine.

-C.G.Jung – Psychology and Alchemy, Princeton University Press, 1993, paragraph 123.



Guided by Intention

A simple mandala made from diamond cut used clothing in the village of Guina’ang in 2012. A mandala made in Guina’ang village, Northern Philippines with school children. I have orchestrated collaborative mandalas of all kinds and have been deeply inspired by the power of the process.

Mandala making is characterized by intention.  I have come to understand that is one of the underlying aspects and principles of mandalas.  A mandala is always made with an intention– whether it is conscious or not.

The intention of the mandala is set before it is begun.  An intention can be anything from ‘I want to know more about myself’ to ‘peace’ to ‘St. Paul’s Anglican Church’.  The set intention is the unseen temporal center of the mandala that guides the entire unfolding.

A person can intend make a mandala for themselves– the mandala will then become a mirror of the maker.  A mandala can be made for peace– it will soon come to contain peaceful symbols, colours and geometry.  A mandala can be made for a Church window– soon it will use the numerology, the symbols and stories of the religious community.

When leading a mandala workshop with new participants, it is useful to play down this aspect of mandalas in order to maximize the subconscious access of the creative process.  Nonetheless, this is an intention– to create a deeply personal mandala.

With more advanced mandala making, maximizing conscious intentionality becomes key.  Indeed, the ability to use a mandala to hold and represent an intention is one of its most important properties.  By deliberately weaving meaning through pattern, symbols, colour and numerology the creation can hold intentions both simple and complex, all without using a single word.

However, not only will the mandala hold the original intention, the mandalic holding of meaning will amplify, refine, and sharpen it over time.  This is one of the most fascinating and powerful aspects of the mandalic art.

Take for example a Cathedral Rose window– a Christian architectural and theological tradition that dates back to the first twelfth century, when circular stained glass windows, filled with symbols, would be incorporated into Church towers.   In France, the making of a ‘rose window’ was done using intricate circular stone masonry, stain glass, and lead framing and could take decades to complete.  The design would be done in consultation with the priest and bishop to ensure that it reflected the patron saint of the Church and their particular theology at the time.  Once completed, the window, shining Sunday after Sunday, in some cases for centuries, would become the subtle, yet definitive, experience for the Church’s community.

In the same way, the sun calendar of the Aztecs, the grand Hindu temples of Borobudur, the standing stones of Stonehenge, became over time the structure for rituals and religion.  Indeed, given enough time, the mandala not only becomes a reflection of a religion or ritual– it becomes it.

In the past, the manifestation and amplification of the seed intention were incidental– unconscious.  The makers did not realize the full four dimensional, collective and consciousness concatenating process that the mandalic process evoked.  However, today, learning from the powerful impact of applied mandalic intentions, we can put mandalas to use consciously as a means to amplify our intentions– from the present far into the future.

Learning from Tradition

Fundamental to making mandalas, is the incorporation of symbols to weave meaning.  Symbols, whether numerical, color, or iconic, find their roots in the deep and often ancient flows of tradition that we find ourselves immersed in.  Fundamental to weaving intention into a mandala is an awareness of the local faith, earth and indigenous traditions that make our context.

Before leading a community mandala making, I take the time to research and discover the symbols of the context in which I find myself.  This can be as simple as visiting the local temples, churches or mosques or can involve the collective brainstorming of local symbols.

In this way, we can learn much from the meta-mandalic traditions around the world.  Perhaps the most notable being that of the Tibetans, who have incorporated mandala making into their rituals, thus deeply refining their own mandalic collaboration technique.

In the Tibet, groups of monks would work in silence for days and weeks at a time to compose intricate mandalas from grains of coloured sand.  Each mandala is made around a specific intention: perhaps blessing a new temple, asking for peace in a conflict, harmony in a community, etc.  The appropriate symbols, colors and patterns are all chosen and planned ahead of time.  Without speaking, the monks work together within the dynamic of the blossoming symmetry.  The process is an intentional meditation.  In this way their collective intention and prayer for the space is made.

The intense and focused process of making a mandala, of holding the specific intention, would deeply affect not only the mandala makers, but those observing the process. In so doing the collective consciousness of the surrounding community would be raised towards the focus of the intention. In the Tibetan tradition, the fourth dimensional properties (the social and consciousness effects over time) of a mandala are well understood.

In a symbol of the impermanence of all things, the Tibetan monks will, after the mandala has stood for a few days or weeks, destroy it.  All the colored sand will be mixed up by hand, collected, and brought to rivers or streams, where it will be ceremoniously deposited as a blessing– to share the good energy of the mandala with the rest of the world. For the Tibetans, the mandala’s physicality is secondary to the moment of coming together, focused attention, and the ultimate intention of the process.

Personal Mandalas

Since Jung pioneering work, psychologists and therapists have used mandalas as potent introspective tools. Through mandala making, an individual’s, a group’s, even a community’s shadows, character and dynamics, are put into the light.   As a mandala unfolds, invariably symbols, patterns, colors and numerology emerge are unique to the creator.  Often, to the degree that mandala is unconscious, this emergence of meaning is not skewed by thought and can reflect with uncanny likeness the character of its maker.

I have used mandala making, both with individuals and groups as a way to mine personal and interpersonal insights.  It is a wonderful exercise for small groups of people intent on self-exploration and healing.

Partner Mandalas

Couple mandalas are a useful and powerful means to observe and explore the interpersonal dynamics between two people.  It is a phenomenon that is better experienced than described!  When I lead partner mandala workshops, or when I embark on one with a partner, I encourage the mandala to be made in silence.

A tray of stones, seeds or objects is set aside for use by both persons.  I find giving each person a turn to lay their piece is a useful way to introduce this type of mandala making.  More advanced partner making can do away with turns and move into unharnessed collaborative manifestation.

What emerges is a little like chess– yet without any form of competition.  It is a wonderfully enlightening experience for those yet to be convinced that humans need competition to motivate them.  The process is of pure collaborative spirit and motivation!  The individual values and personalities of each person imminently emerge and show themselves.

The partner mandala making process comes to its end when both parties concur that creation is complete.

The silence can then be broken and the process and the final product can be discussed by both parties.  It is important that each person (or the third party holding the space) give each person a chance to express the emotions that came up in the process.  It is useful to ask each maker to share what they think of the final product and felt in the process.  If the partner mandala has been made in a group context, it is helpful to ask others around what they feel and think when they observe the final mandala.

When makers of the partner mandala share attraction, in particular sexual, the dynamics and emotions of the process are amplified.   When these principles are then applied to a co-creative endeavour of the couple, sexual attraction can be channelled to the manifestation of expressed and co-held intentions.   We’ll explore this in the section Supra Sexual Co-creativity.

Group Mandalas

In 2009, I worked with 300 elementary students to make our own personal mandalas, then to combine those mandalas together into a giant school mandala. The theme “Taking Care of the Earth” has gone on to be profoundly inspirational to many of those involved.

In a group mandala, a parallel process results.  The collaboration generates a web of energy that quickly ascends to more than the sum of its parts. In the group mandala making workshops that I have led, I have watched as collaborations turn magical: a group of people can come together, often strangers, and make something so beautiful and harmonic.  Different patterns, symbols, numerology and colors emerge that are unique to the cultural context.  The arrangements that emerge are invariable reflections of the deep values (often ancestral and religious) of the group making the mandala.

In the same way as the Tibetans make a sand mandala, a group can come together to make a collective mandala. To the degree that we are aware of the principles in play, the process can become a profound experience in collaboration and consciousness raising.

When groups of people make mandalas, the dynamics of personality and interpersonal interaction are likewise laid bare.  This powerful dynamic of focused collective attention raises both the consciousness of the participants and of the group.

When the group has a chance to process the experience afterwards, profound insights are inevitably mined.  I find it helpful to form a circle around the completed group mandala with the co-creators.  We then go around the circle and take turns sharing our thoughts and feelings of the process.  It is helpful if the presidor of the mandala holds the circle and gently guides the circle sharing.

Applying Mandalic Principles to Collaboration

The principles of the mandala can dramatically empower collaborations.  Let us review the making a sand mandala to draw out the core principles at play.

  1. First, the intention is clear to all participants and those observing.
  2. Second, the circular geometry, or unfolding pattern, is also coherent and accessible.
  3. Third, the medium of the mandala (sand in this case) is accessible to all.
  4. Fourth, the tools and technique to join are accessible (in this case the specialist sand dropping tool restricts accessibility to participation to experienced monks).
  5. Finally, the end of the creation (the destruction of the mandala and dispersal of the sand to rivers and streams), is an intended and planned part of the creation.

By following and applying these principles, mundane collaborations can be otherwise supercharged with viral spread and the empowerment of participants into new leaders of new nodes and circles of the mandala. Best of all, anyone can join the mandalas co-creation. By design, the mandala uses readily available materials, to be welcoming and inspiring. A new participant has but to grasp the unfolding geometry and begin their contribution to it.

Presidor, Participants & Commitment

The person, couple or group who begins a mandala has a unique role.  For a long time I have wrestled with naming the unique role of the one seeding and overseeing the unfolding of a mandala.  Words such as ‘leader’ and ‘orchestrator’ fail to capture the unique position and dynamics of the person/couple/group who get things going.  I’ve finally settled on the term ‘Presidor’, from the root verb ‘preside’.  This word as a noun hasn’t really existed to now, which helps to imbue the term with fresh meaning.  After all, those leading a mandalic collaboration aren’t ‘leaders’ in the classical alpha-bosses sense of the word.  If anything they are Omega leaders, performing their role behind the stage, out of the lime-light.

Those presiding over the mandala not only seed the core intention, they also hold the space with their commitment to the unfolding.

The strength and consequence of an unfolding mandalic collaboration is contingent on the degree of commitment by the participants. The word commitment here, is used not in a legalistic sense of set obligations or temporal period.  Rather, it refers to the existential choice, authenticity and passion with which the collaborator joins the process.

Thus, mandalic collaborations often begin with ritual– a prayer, a circle, a clear statement of intention.  In this way, the collaborator can sense their resonance to the expressed intention and geometry.  The collaborator can then gain inner clarity, and level up their commitment. Commitment in this sense is not constrained by time.  There is no promise of participation for a month or a week or a day.  Instead, the commitment is deeply grounded in the Now of the creative process and the physically felt resonance of the collaborator.

Those who are holding the space for the mandala, from the presidor to the participants, know this, and hold no temporal or logistical requirements to the participants.  This phenomenon is witnessed easily in physical mandala making:  a collaborator will see clearly how they can contribute, they will jump in, passionately and single mindedly they will contribute, then, as the creative urge wanes, they will withdraw, often letting another take their place. The presidor often sets the bar of commitment by his or her presence at the outset of the collaboration.

The extent of the presidors authenticity and commitment enable those who join to participate likewise.  In this way, the leading of a ritual, and clear expression of the intention and geometry by the presidor at the outset are essential to innate character of the mandalic unfolding.

Supra Sexual Co-creativity

I believe that creative artistic energy is inseparable from the sexual energy that powers the continued thriving and continuation of live.  Artistic creativity is a manifestation of our life force / sexual energies.  Sexual energy that is consciously channelled between two attracted individuals, we call ‘supra sexual’.  In this way we can dive into and mine the primal forces of sexual attraction and direct them to all sorts of splendid co-creations.

My partner Ani and I presiding over the unveiling of a city wide project that seeded together.

The mix of energies that we all know as passion, love, and desire are the most powerful in our lives.  These energies bring us together into romances, trysts, marriages, partnerships, creating homes and families.  To the degree that there is sexual attraction between two people, the co-creative energies are more powerful.  As countless poets have attested to, for love humans have moved mountains, travelled great distances, and started wars.

The greatest collective human co-creation is undoubtedly our population of eight billion of us now shaping and affecting the planet.

However, just because we have put our sexual/creative energies together for procreation for the last millennia, doesn’t mean we have to now.

In her book Conscious Evolution, Barbara Marx Hubbard argues that it is time to shift the application of sexual/creative energies from procreation to co-creation.  She coins the term ‘supra sexual co-creativity’ which she goes on to describe :

As we become co-creative person, our intimate relationships change.  We are no longer primarily the procreative couple.  Men and women join now, not only to have a child, but also to help give birth to each other, to support each other in full self-expression.  As the old family structure breaks up, the new co-creative family emerges, based not only on the joining of our genes to have a child, but also on the joining of our genius, to give rise to our full, creative selves

The genius that Hubbard refers to are the deep seeded desires that make use the unique humans that we are– the primal urges, the subtle dispositions, the fears, the loves, the shadows and the lights of our soul.  As we go about our lives, these all manifest themselves in an unseen web of our choices and decisions and relationships, radiating outward from the individual as they manifest their reality, and create their world over time.  For the most part, the creation and awareness of this web is unconscious. The making of a personal mandala, as we have seen, is a useful way to glimpse it.

As we have also seen, mandalas are fundamentally a means of channelling creative expression that can hold and amplify and intention.

When two or more individuals are involved in the inception of a mandala’s intention, there is the potential to harness these supra-sexual energies.  This is particularly the case when two individuals sharing affection, attraction, and/or love, come together.  To the extent that they can rise above the subconscious primal pull of their attraction, and guide it consciously, therein lies tremendous co-creative potential.  The process of making a partner mandala is useful in gaining perspective over the subconscious the attraction and personality dynamics at play.

With an awareness of the principles and potential of applied CMM, we take supra sexual perspective and consciousness co-creation to a whole new level.   The web that is woven between two individuals can massively magnify its potency and coherence.

“Someday, after mastering the winds, the waves, the tides and gravity, we shall harness for God the energies of love, and then, for a second time in the history of the world, man will have discovered fire.”

– Pierre Teilhard de Chardin

The steps in applying CMM to a cocreative relationship are identical to that of seeding and presiding over a mandala.  However, key is that each party shares an equal role presiding over the co-creation.


Inclusive Judgemental Awareness

One of the most challenging aspects of mandalic collaboration is the withholding of judgement of the process– yet the full experience of the judgements that come to mind.  As the mandala unfolds and collaborators add to the co-creation, there will be participants and additions that inevitably do not resonate with the presidor and with other participants.

The role of the presidor is to hold the space and allow for such dissonance to occur. In the interpersonal and community space created by the unfolding, much emotion will be felt by participants, including the presidor.  These dissonances and emotions are key to the unfolding however and are precisely what give the mandala its overall character.

The emotions are felt, experienced, and owned by the presidor and participants.  Meanwhile inclusive participation is maintained.  To the extent the presidor can hold the space and set the example for inclusive collaboration, the mandala will have depth, beauty, meaning and power.

My First Mandalic Mobilization

In 2010, after leading many collaborative mandala projects, I discovered ‘Ecobricks’.  Ecobricks are a super simple solution for plastic waste– by packing a plastic bottle full of plastic, one can make a building block that can be used on over and over.

I was amazed at the potential of this low-tech solution, and decided that seeing the concept spread, trumped my work making artistic mandalas.  However, as I was in the groove of making collaborative mandalas, I inadvertently applied the same principles to my work sharing ecobricks.  The results were staggering, and have fundamentally changed the course of my art and life. As I went school to school, village to village sharing the ecobrick technique, I held on to the following mandalic principles:

  1.  I made sure that I was personally setting the example.  As the originator, I realized I played a part in setting the pattern and the intention. My example, my pattern, was at the center of the mandala.
  2. I made sure that the intention was clear: “Let’s keep our plastic out of the environment“.  I made sure that the intention and core concept was widely available to all through a free PDF guidebook that put on our website.
  3. I made sure that the door to participate in the unfolding was wide open to as many people as possible– this meant keeping the technique as simple as possible, using only local materials, using only universally available and with negligible cost.
  4. I realized that I had a particular responsibility of presiding over the unfolding collaboration that I had seeded.

The ecobrick making began with me in my house.  As I shared it to my neighbourhood school, other schools in the area expressed interest.  I went and visited them, and then more.  Within a few months the superintendent endorsed ecobricking to all 263 schools in the district.  I visited many, and our guidebook went out to all.  Then, other school districts began to follow suit.

The undersecretary of education was paying attention, and mandated ecobricking in over a thousand more schools. It was thus, that ecobricks spread to several thousand schools in less than two years, with only my un-funded presiding.  The spread of ecobricking continues exponentially in South East Asia.  In comparison, in other parts of the world, ecobricking, shared with only a slightly different methodology, has grown then dropped off.


Consciousness Raising

Mandala making is a fundamentally meditative, reflective process.  Because of this the process directs the attention and focus of the maker(s) onto the intention of the creation.  The intention likewise determines the medium, the physical space, and the process.  These elements then determine the geometry, colours, symbols and numerology of the mandala.  As the process unfolds, with the intention as a guide, the participants deepen their relationship with the mandala.

Take for example, the medium of the mandala– the material that is used to make it.  A mandala can be made from just about anything.  I’ve made mandalas from everything from condoms to flowers to picked-up plastic!  In the latter case, the process of myself and my students walking around town picking up plastic, inevitably put attention on the picked up plastic, it’s context, cause and consequence.  Likewise a mandala made as a blessing for a new home, puts attention on the home and the intention for good things for the new path it represents.  A mandala made for a Church window will not only incorporate all the story and spirituality of the specific religious community, the attention of the creative process will come to defining that Church.

Regardless of the theme or the medium of the mandala the process is invariably one of consciousness raising. The participants deepen their relationship with the aspects of the core intention– especially with the medium and place of the mandala. The consciousness raising properties of mandalas have vast importance in our times of ecological and social crises — crises which are fundamentally caused by a lack of consciousness.



My Mandala Projects…

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What are Mandalas?

Mandalas are an ancient and sacred art that can be found in cultures and religions around the world. Mandalas harness circular geometry and symmetry to create a pattern filled with meaning, symbolism and intention.  Their creative process enables one or more folks to come together and organically unfold consciousness raising co-creations.