Spiraliseren en Crealiseren

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Greg Suffanti, Heidi Muijen en Robin Stemerding

Via drie bijeenkomsten zijn wij als ontwikkelgroep van het QFWF-project ‘Wereldburgerschap van de straat’ op weg naar het afrondende interculturele evenement.

Start — Verklanken — Wandeling Marine terrein

Het werkte goed om het thema ‘Verbeelden van werelddromen rond een Kosmisch Ei’ op de dag voor Pasen, 30 maart 2024, te verbeelden — met Angela Gilds, Camile Smeets, Chiquita en Michel Odjo Seymonson, Greg Suffanti, Heidi Muijen, Robin Stemerding, gastvrij ontvangen bij Tess van Dongen in Weesp — als start van de afrondende fase van ons project.
Er volgt op 1 juni een zangworkshop onder leiding van Marianne Selleger en op 6 juli een wandeling op het (voormalige) Marine terrein, waar Chiquita Odjo Seymonson rondleidingen geeft over de vernieuwende inspirerende projecten die daar plaatsvinden.

Met Chiquita en Michel op het Marine terrein

Het voorproefje met Chiquita en Michel Odjo Seymonson op het Marine terrein voelt als een warm bad, zelfs in de regen! Via het vertakkende netwerk rond hun stichting Curinesa en de bewonersvereniging hopen wij van gemeente Amsterdam toestemming te krijgen om daar het Interculturele Werelddromen Kosmische Ei / kunstwerk dat Camile Smeets maakt vanuit ons spiraliseren en crealiseren, een plek te geven. Zodat we, rond dit Ei, ons programma-in-wording, samen met de bewoners en betrokkenen op het Marineterrein, kunnen uitvoeren ergens in de (na)zomer!

Angela Gilds heeft haar inspiratie uit de startbijeenkomst stem gegeven in een spoken word op de QFWF-Ontmoetingsdag van 20 april in Bilthoven; zie voor een impressie: wijsheidsweb.nl/feestelijke-qfwf-ontmoetingsdag-1

Ben blij dat Angela ook na onze volgende bijeenkomst op 1 juni een spoken word gaat schrijven: misschien om tijdens de wandeling op 6 juli voor te dragen?
Het is allemaal welkome wind voor onder de vleugels van het kunstwerk-in-wording dat Camile Smeets vanuit onze woorden, vloerankers en kleibeelden aan het maken is: youtu.be/D72Lofg3qiQ

Robin heeft als respons naar Camile geschreven:

Bijzonder om te merken hoe dit de geschikte tijd nodig heeft om door te dringen, in te dalen, te beseffen. Mooi hoe je de verschillende elementen hebt gecombineerd: de dragende handen van wereldburgers die het nest, de plek van het ei dragen en mogelijk maken. De Sankofa vogel die overgaat in water en de golf van onze bedding. En het Ei, de belofte van onze nog uit broeden mogelijkheden.”

Een Sankofa terug- en vooruitblik

Schetsontwerp Camile Smeets

Voor het verklanken van werelddromen op de bijeenkomst van 1 juni nemen we, naar de Ghanese wijsheid van Sankofa kernwoorden uit onze verhalen mee[1]:

Michel

Welkom heten, samen in verbinding, het hart wordt door meerdere mensen gedragen, door meerdere handen. Samenwerking in verbinding, door dit samen te doen kom je bij blijheid en viering samen. Spiraliseren door hart, aarde, een samen iets te doen. De bol is het hart en de aarde samen.

Maud

Het spiraliseren is als een bedding, waarin kan ontstaan, dit is de bedding en daaruit ontstaat de energie, die komt in een vorm van een hart. Een hand, het is de kracht, het doen, het laten ontstaan in die verschillende richtingen. De spiraal komt ook weer terug, het is een straal, er kan nog meer uit ontstaan.

Tess

Gaandeweg werd het een beetje een vreemd wezen. Dat vond ik eigenlijk best wel grappig, het is voor mij onbekend en ik wil het wel ontmoeten, vanuit een soort nieuwsgierigheid. Het wezen moest wel geworteld zijn, het moest wel lekker met platvoeten er zijn. Een soort zelfbewustheid. Zowel vanuit het kijken naar de vreemde ander als vanuit mezelf mogelijk als de vreemde ander voor een ander.

Chiquita

Je hebt vaak kracht en moed nodig om verandering te kunnen bewerkstelligen. Dat heb ik zelf ook gehad; met kracht op moeten treden om gelijke kansen te krijgen. Vanuit die gedachte ben ik een vuist gaan maken, als symbool van kracht die je nodig hebt om verandering te kunnen bewerkstelligen.

Heidi

Ik ging de beweging van het veld na, van het spiraliseren. Dat ontstond zowel als een bedding hier maar ook met die openheid die er steeds is, in een soort ritme. Waarbij het spiraliseren als een bedding of basis is, vandaaruit kreeg het vorm, een oor een oog, de blijheid. Vanuit de samenhang die vanuit die bedding kon ontstaan, kwam het hart.

Robin

Ik vertrok vanuit spiraliseren en het bijzondere was dat het spiraliseren een soort van bedding was, waar vanuit ik kon vertrekken. Compleet onlogisch maar je kan er niet vanuit de andere kant in, alleen maar vanuit het spiraliseren. Dan kom je bij het kosmische ei, dat is één geheel, daar past alles in en van waaruit stroomt het naar buiten. Het werkt niet andersom.

Camile

Vanuit de gedachte dat het mooi zou zijn om het project vleugels te geven, heb ik twee vleugels gemaakt. Zodat het kan gaan, en de wereld in kan vliegen. Ook omdat we in het proces van het neerleggen van het veld en de woorden, het spiraliseren zo onder hadden en het crealiseren boven. Je voelde dat er meerdere lagen in het geheel zijn en met vleugels kun je verplaatsen tussen die verschillende dimensies. Het voelt alsof het spiraliseren en het crealiseren in elkaar kunnen draaien, naar elkaar toe kunnen bewegen.

Het hart geeft bedding aan blijmoedige kracht!

Uitwisseling april-mei ‘24 rond de 1e serie aquarellen

Heidi heeft Greg na de vliegende start uitgenodigd de boog naar de tweede bijeenkomst te spannen met een verbeelding van het ‘spiraliseren en crealiseren’. Daar is een bijzondere serie aquarellen uit ontstaan, die in een mailwisseling ook met Robin is verrijkt en verder is gaan stromen naar de werelddromen van migranten. Doel is om de cocreatie rond het Kosmische Ei een bedding te geven om deze als groep verder te dragen naar het afrondende interculturele evenement!

Bijzonder hoe onze mailwisseling rond Gregs aquarellenserie — op de positieve energie vanuit de startbijeenkomst naar de bijeenkomst rond het verklanken van werelddromen — leidde naar een duistere kant en ons eigen ongemak daarover voelbaar maakte. Deze andere kant vormt mede de aanleiding voor het initiëren van ‘Wereldburgerschap van de straat’: het leren uit de ontmenselijkende dynamiek van de kolonisering en slavernij geschiedenis, die als onderstroom lijkt door te gaan in de harde migratie politiek. Hier uit ontstond een tiendelige serie aquarellen, waarin Greg enerzijds de harde (anti-)migratiepolitiek aanklaagt en anderzijds migranten een menselijk gezicht geeft: zie zijn Migrantenserie.

Crealiserende en spiraliserende energie

Spiraliseren naar het Kosmisch Ei — aquarel Greg Suffanti
Greg

Attached are the two watercolours that I’ve done so far, which really only try to capture the feeling leading up to the spiraliseren, with the wave as a base, and the spiraliseren journey itself (met muziek daarbij) …. In the hopes that it might inspire Robin in writing!

Spiraliseren naar het Kosmisch Ei is my interpretation of Robin’s comment: ‘Spiraliseren was like an entering wave and base to start from’. The quote appears on the piece as well.

My idea was to break up the space to suggest multiple occurrences. Also to not make the wave threatening, but somehow supportive … a base. In the upper left corner the sky opens …. As if to reveal something. Or is that the entrance portal for the Cosmic Egg!? There are 8 circles spiraling down to the egg, which is cracked, as if something is about to be born. The 8 circles refer to the 8 participants.

Heidi

In your watercolour I see this process enrolling: By opening our hearts, we are able to bring more people together and thus, spiralizing the process of sharing our hope to invoke the world dreams of more people: I see both the Cosmic Egg as well as the union of Moon and Sun, and also the four elements, emerging into a creative process, which is thereby giving existence to the 5th of the ether!

Robin

Hi Greg, with quite some speed you visualized the story of the written text. And Yes, i like it very much! We see hokusai coming up from the lower left corner’. Indeed a huge wave with an upwards movement. Beautiful how even the sky opens. And afterwards I questioned myself ‘how did I get in?’. A question I could not answer. Maybe I already was there. This was a starting point with the word made out of quite a lot of ingredients ‘spiraliseren’. We don’t know exactly what it means, but we know the power of being supported. We know the power of being rooted in here. And I had to admit to be a part of the wave and to feel supported by it. The movement resulting in the entering of this egg; and the cracking is beautiful. Entering into something nourishing, staying in something nourishing. Friendly and warm-hearted. The cracking as a process in time and something necessary to happen. To make growth possible. To make this birth possible. From being nourished and feeling ready to deal with what needs to be worked on. Fitting challenges that make sense. Bringing it out. Do we see a planet in the distance? Is this a new possibility?

Today we met in Arnhem to rearrange the materials we wrote about the first phase of our project ‘Wereldburgerschap van de straat’ into the booklet Amor Mundi and I shared the image you sent this morning with Heidi and Klaske. What a beautiful way of working through this process! Thanks, and yes, please continue.

Spiraliseren en Crealiseren — aquarel Greg Suffanti
Greg

To answer Robin’s question about the dark/light space on the left …. It’s the string part of a musical instrument …. Heidi wanted a musical element.

But I like your interpretation better! Interesting to me that you still have your own, completely valid viewpoint and see your own experience conveyed in the watercolour as well! I painted the piece, reading left to right, about music feeding the energy of the act of spiraliseren, which itself is being born out of the universe, both of which help to crystallize and focus on the meanings of the woordenwolkjes …. The reason the colour palette is different ‘on the other side’ of the spiraliserende form. Well, that was my thinking at the time.

Heidi

I was thinking about this mysterious ‘spiraliseren’ as a double process, turning our lives both into tragedies as well as in utmost happiness. It seems to be our ‘double nature’ — creatures being from a double origin, from the cosmic-natural world and the human world.

The theatre of our worldly lives makes us half a person as it were, longing for our other half, our cosmic self, so that we become whole again — projecting our longings and fears on other people, getting into fights love histories as a result ….

Would it be possible to turn towards our cosmic origin, taking a cosmic perspective, like Spinoza has called ‘the perspective of eternity’? Or like Jungs Alchemist symbols uniting female and male energies; turning the heavy materials like lead into gold …?

Greg

It was your comment from last week about “uniting opposing forces …. As in Jung and uniting male and female energies”, along with the image of music and a journey that was the inspiration for this week’s ongoing series entitled De Alchemie van het Crealiseren na het Spiraliseren. Actually, the three previous watercolours are connected thematically, with Ben Ik het Kosmisch Ei? also being the direct influence for the composition of this week’s three pieces.

In De Alchemie van het Crealiseren na het Spiraliseren I two sets of half circles spiral downward toward an egg shaped receptacle. The colours in the half circles are similar, the idea being that men and women may be different in some ways, but, essentially they are the same. This downward movement is the Spiraliseren element of the journey. The journey of the unknown. The egg represents the results of Crealiseren, which is the joining together of the two worlds, making them whole. In this sense, the making whole of opposing forces can be likened to the Jungian balance of inner and outer worlds, or any process of personal transformation. The red and black ‘piano keys’ symbolize the elements of sounds and music, which also contribute to the entire process of journey and result. The green band at the bottom of the composition symbolizes the earth. This process is not only creative, it is grounding and rooted in balancing with the elements and the universe itself. We become at one with the cosmos. Which then refers to the previous watercolour, Ben Ik het Kosmisch Ei? The answer is clearly, yes!

Robin

Wow, I see again more aquarelles than I did before. The golden Egg as result of different opponents uniting! The golden Egg as representation of wholeness. Beautiful!

Greg

In De Alchemie van het Crealiseren na het Spiraliseren II the emphasis is on the journey, which is depicted again as a downward movement of half circles, however, now it has unexpected twists and turns …. A bit wild in nature. Like a roller coaster. Things get churned up in the creative process. Similarly, it isn’t always a neat and tidy process balancing our inner and outer worlds. Once again, the journey terminates at a (half) egg-shaped receptacle. I used gold to link the process to that of refining gold. Gold is also considered precious and valuable. In Buddhism, the process of refining gold is often linked with process of refining the mind in order to make it more serviceable. The whole top composition seems to rest on a horizontal band of gold and silver ‘piano keys’. With under the ‘keys’ a silver band and a bottom layer consisting of a green band. Again, the reference is to the earth and the grounding and balancing nature of creative endeavours driven by a positive motivation.

Robin

De Alchemy shows the unpredictable moves of a creative process. Like associations, insights, thoughts and impulses by which we are brought to gold and silver. Worth of quiet some insight, wisdom and awareness.

Greg

In De Alchemie van het Crealiseren na het Spiraliseren III I wanted to focus on the poetic nature of the creative process. For this reason I chose a muted palette. Also, in looking at De Alchemie van het Crealiseren na het Spiraliseren II I decided the composition reminded me of a giant tree. This started me thinking about how all things are linked to the five elements and are interconnected. How we are connected to life, both physically and mentally. In the composition, gold and silver half circles descend downward and are almost entirety contained within a circular ‘tree’. The half circles culminate in an egg-shaped container, which is pure gold. The ‘egg’ sits within the ‘trunk’ of the tree, at the very top. Under the ‘egg’ is an orange band, representing earth, and under the band is a series of purple and green ‘piano’ keys. I was thinking about how we achieve harmony within ourselves and the world around us. In that sense, anything we think or create, even ourselves, are part of an interconnected whole. And everything is ephemeral and constantly changing, part of the circle of life …. Like the tree!

Robin

The quiet descending towards harmony following the triangle. A peaceful move.

Greg

In De Alchemie van het Crealiseren na het Spiraliseren IV I tried to connect my ideas and three previous watercolours and bring them to a (logical) conclusion. Since the idea is also about a reconciliation of male and female energies, I thought, “OK, pink and blue it is!” Once again, half circles descend downwards from the cosmos. Most are contained within a circular ‘tree’. The ‘circles’ terminate at the top of the ‘trunk’. Rather than showing a ‘receptacle’ as the result of the alchemy of combing these energies, i.e. the golden egg, I used the trunk, extending to the bottom of the composition, to suggest the earthly connection to the whole activity. The connection to the five elements is the final result in our ephemeral, ever changing world.

In Buddhism, it is suggested that to look realistically at one’s own life one should regard it as a dream, or a drawing on water …. Part of the cycle of life. Everything gathered will be dispersed, and everything created through causes and conditions will decay. At the base of the trunk, the blue and pink colours have been pushed aside, replaced by orange and gold ‘piano’ keys …. The idea being that ultimately, in the music of the cycle of life there is no male or female to be found! Just an integrated human being! Also, as a Buddhist, I have no problem accepting that not only have I been reborn countless times, I’ve been reborn countless times as a woman! The whole process of life/death is symbolized by the tree of life.

Robin

Nice , Greg, you gave so much attention to the two movements we described as ‘spiraliseren’ and ‘crealiseren’. I suppose it is worth to study, because it is something we all experienced and gave words without exactly knowing what we spoke about. Nice you do some research what comes together in the words. You describe it as a concept, as a journey, as a coming together of opposite poles as a unity, you describe a creative process, you describe an inner attempt to find harmony, You describe a process of 5 elements coming together accompanied by music. Thanks for your thorough way of investigating!

Heidi

While wandering through your crealiseren series, Greg, the idea came to my mind of an unbelievable clash of worlds: between the macro sphere with the Heavenly Harmony of Spheres (Pythagoras) and the micro cosmic level with immigrant dreams being confronted with harsh politics. Indeed the Buddhist concept of Karma and the many worlds in which we live on the same planet, seems to be fittest to look at it.
I find it so intriguing and true what you write about the Buddhist perspective: “to look realistically at one’s own life one should regard it as a dream, or a drawing on water ….”

In similar words, I have written about a similar idea in Amor Fati and made a reference to the fact that sometimes in life, an event or happening, that seems to be rather ‘normal’, can have an impact on a deeper level of your soul: it stays as a kind of ‘image’ or ‘inner gesture’ within yourself. And it can take months or even years before you realize the meaning of it. So, I think it is very true that the psychical dynamics of the art of living are very much like the significance of dreams or making art, a drawing on water.

Het kosmische Ei en leven als een tekening op water

Greg

In Pythagorean Cosmic Egg I continue to explore the idea of music being produced by the cosmos itself …. Here, I’m paying reference to the many historical cultural myths regarding the creation of the universe from a cosmic egg. Just as in Pythagorean Harmony of Spheres, I’m trying to create a musical element through composition and choice of colour. Also, similarly, my choice is for a soft palette, reflecting the idea that the Cosmic symphony is inaudible …. Or is it? This is an idea I want to continue to expand on.

Robin

And then it becomes something of colours and spheres with a poetic touch. Your approach is wide and open!

Greg

In Pythagorean Harmony of Spheres I look at Johannes Kepler’s 1619 work, Harmonies Mundi, or Harmony of the Worlds. Kepler expands on Pythagoras’ idea that mathematical relationships express tones or ‘energies’.

I love the idea that the planets and stars are playing a symphonic composition that Kepler says aren’t audible, but ‘heard by the soul’. It is this silent symphony that I’m trying to capture.

A silver moon sits unobtrusively in the very centre of the composition, a golden sun above, a green world below. Spheres and horizontal lines at specific intervals combine to create an ‘energy field of sound’. I wanted the composition and colours to feel musical, and so I matched the top and bottom halves …. In a way, there is no real ‘upside down’ as both haves are compositionally the same! The idea is that in space this is also the case. It is also a reference to the circle of life. The colours in the two halves are similar, but rather than being the same, they are complimentary. This is to suggest the orderliness and diversity of the universe.

It was your comment about the Harmony of Spheres that sparked this new direction …. So I’m curious about what you’ll have to say this week!

Robin

And it becomes an experience in sound and spheres, it becomes energy with the wideness of a universe.

Heidi

In the refining process of Amor Fati, I added some thoughts on the metaphor of the mask. The mask refers to our role in the world and the social scripts of being male or female, black or white, being a migrant or native, etcetera… define our being in the theatre of the world, as well as personages of each other’s life. Whereas in a more primordial sense it is exactly these scripts that drive us apart by ‘dichotomic’ social schemes of ‘we versus you’ etc. that prevent us from seeing the unity behind all, and the positive hopes behind quarrels and fights. The theatre of the worldly life makes us a half person as it were, longing all our lives for the other half, just as Plato has depicted in one of his mythical stories.

The metaphor of the mask visualises our being human with a ‘double nature’― traditionally referred to as our natural cosmic origin and the patriarchal order of society. The sphere beyond the ‘theatre of the world’ is referred to in archaic myths and spiritual traditions as our ‘true’ origin in the Harmony of Spheres…and the mask had in the old traditional theatre the positive role of giving voice to gods and ancestors to remind us of this cosmic sphere.

In existential philosophies actually this very same idea of a true origin is adapted as the idea of an ‘authentic free self’, that you have visualized in your other collection on Global Citizenship[2] in the thoughts of Confucius, Buber, Arendt, Kierkegaard, Heidegger, Nietzsche, Buber, Arendt and others on being human.

Greg

It was your comment last week about migrants and Wereldburgerschap that started me thinking about Kepler’s Harmony of Spheres …. However, it was Kepler’s Silent Solar System Symphony that got me thinking about how this is very much like the role of karma in Buddhism. It’s all about cause and effect and the dance of individual and universal energies.

In this watercolour I show the sun and planets floating in the middle of our galaxy. Pink and blue spheres float endlessly downward. These are energies of our particular world system. From the Tibetan Buddhist perspective, there are millions of world systems with countless types of beings. The rest of the composition is designed to create a sense of how we are floating in space, and how absolutely tiny our earth is in our own tiny galaxy! A concept like “my country, not yours!” seems ridiculous in this context.”

Robin

It took me time to re-enter our shared experiences. I read and react to the beautiful watercolours and text.

I see a very bright and breathing watercolour about ‘spiraliseren’ and ‘crealiseren’. For me it shows such a relief and makes such a hopeful impression! It is surprising why the theme of harsh politics in Heidi’s text comes in and how it connects to it. The Dutch political clash of blaming Immigrants instead of supporting Immigrants is so contradictory. Did we find a constructive opposite move?”

Greg

Ben ik het Kosmisch Ei? Is a continuation of the journey to the Cosmic Egg, And, looked at another way, it suggests that your ‘soul’ is in fact part of the Cosmic Egg itself …. Like being part of God, or connected to a pure realm. Three circular shapes move downward toward the Golden yolk at the heart of the Golden Egg, which is at the bottom of the triangle. This to suggest a journey …. Also the journey of going inward. The top third of the composition has a colour palette mixed with silver dust, giving the colours a cool quality …. Like the cosmos. The bottom half of the triangle shaped ‘body’ has a palette of warm colours mixed with gold dust. My idea is that this is to suggest the heart of the Cosmic Egg is the source of life. The composition can also be read as a singular figure, with a round head and a kite-shaped body. The ‘stripes’ in the composition are to suggest music. I think we all “march to our drum beats” and that there is a musical quality to the entire cosmos. The heart of the Cosmic Egg is then seen as your own soul. In any case, there’s still a journey to get there, but then you’ve actually arrived at your destination!”

Robin

As concerns Am I the golden Egg?, at least I recognize the pressure and the cracking of the Egg and my tendency to try to keep painful experiences out and exclude them from my reality. Opening up for what is there and to feel it makes me cry but also opens me for a shared humanity where I was closed before. Why is this so difficult to do? And why can’t I do this all the time? I feel with the female poet[3] who says ‘I am a coward’ and tend to hide and avoid when it is getting unpleasant.

Greg, you describe your journey of yourself as a migrant from inside out and that makes me wonder how my journey would look like. At first impression I did not move much and I was here (in the Netherlands) all the time. Nothing special. But this was surely not the whole truth as I easily tend to disconnect from the journeys that gave meaning to my life or had a big impact. I will try to work that out.”

Wereldburgerschap: Wijsheid als wapen

Het Sprekende Wapen van Wereldburgerschap — aquarel Greg Suffanti
Greg

Het Sprekende Wapen van Wereldburgerschap reflects your comment about ‘over-writing’ history to adapt to new and modern concepts. I was fascinated visiting the exhibition at the Hof Van Busleyden in Mechelen on coats of arms from the Order of the Golden Fleece. Apparently Princess Beatrix is still an active member of the Order! In my version, the circular centre refers to the idea of wholeness. The central circle contains an elephant, the symbol of the enlightened animal. The ‘E’ shapes facing each other are Adinkra and symbolize the attitude that ‘in unity lies strength’. Above the elephant’s head is the dove of peace. I’ve designed the circle also as a giant peace sign. Outside of the circle is a wild boar, symbolizing the unbridled greed of this era. His placement outside the circle indicates that balance in society comes by working for the benefit of all. A giant pair of eyes glares down. This is both your God and or your subconscious being opened to true (enlightened) reality.

Robin

Also your watercolour of the world citizen is a huge invitation. What would appear in my armour of global citizenship? I like the elephant in the middle, for the huge memory, and for not forgetting and in the same time being open minded. For sure the pigeon and the boar outside of the circle. The peace-symbol in the middle. This would work for a mind in balance. Would it work for resilience? Would it work for the difficulties we face? Would it work when in need?

Thanks for your beautiful work! I will take some time to find my images.

Heidi

Dank voor ‘Het Sprekende Wapen van Wereldburgerschap’, Greg! Het voelt heel goed to have a shield as foundation — even with our uniting mission it surprised me that there are always people who nevertheless feel attacked or just take personal advantage. So your QFWF-shield will help us uniting as people from different background and cultures with forces of love: Wijsheid als wapen!

I like the Animal Wisdom that you integrated in it — I love the Elephant as Totem Animal — dit wijze en sterke aardse dier geeft grounding aan de wijsheid van de Duif van vrede, en versterkt zo onze missie for wereldburgerschap door interculturele levenskunst! En die 2 slangen geven meer bedding voor het realiseren van onze doelen, met hun cyclische beweging opwaarts en weer terug, de dynamiek van het spiraliseren en crealiseren.

The musical and colourful geometrical forms in your other watercolours show how we might proceed as group in our project!

Noten

[1] Uit de door Camile Smeets gemaakte video: us9.campaign-archive.com/?e=__test_email__&u=5a793bc1b820a93edfeb4db39&id=0410c7875c
[2] Zie de schilderijenserie van Greg Suffanti rond Filosofen over Wereldburgerschap https://www.deguldensnede.com/bundel-beeldende-wijsheid/
[3] Zie het vervolg van de serie “Dynamieken van (ont)menselijking”

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I've studied Buddhism at Maitreya Instituut in Amsterdam since September of 2000 and since 2001 worked there as a volunteer. Through the years I've served in various capacities such as leading guided meditations, leading Pujas, working at the front desk and hosting visiting Tibetan Lamas in my home because I have a guest room.

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