[Dialogue] {Spam?} Guernica

[sjsnelling at comcast.net]

David, you are absolutely right!  Earlier today the text following the ******** was sent to Pat and Jim.  But now that you raise a question, I sending to the whole bunch.  By the way, one of the bits of resources in my description of Guernica was your message of 2-7-03 to ica-dialogue of notes in the margin by James Higdon.  Thanks for that!  

*****************
The last time that Clarence & I did what we called "Living Profoundly" was in March of 2004 at Park Hill United Methodist Church.  I made several changes in what you have in your file, Jim.  It is awesome that you do have a copy.  Here's my current version:
Shirley Heckman Snelling transferred the old manual into text. 

GUERNICA --  Conversation on a painting
 a.       Good art allows us to experience our experience of life.
b.      Art has always had a revolutionary role to play in the civilizing process.
c.       When you are dealing with art, you do not ask what it means.
d.      You yourself decide the meaning.
e.       This conversation is a method which we as a group and as individuals can use to decide the meaning of this painting.
f.       This conversation creates a trialogue among the self, the artist and the painting

Questions:       Order your questions very carefully in the following pattern in order that a progression in consciousness takes place.Suggested questions which might be used (not meant to be exhaustive):
1.  Impressionistic:     Immediate raw data of the art form.
FACTS-– Immediate raw data of the art form
a.        Look at the painting.  What object do you see?
b.        What shapes do you see?
c.        What colors stand out for you?
2.  Reflective:  Personal relation with the data of the art form.
FEELINGS – Personal relation with the data
a.        What colors would you add?
b.        What colors would you take out?
c.        Divide the painting into two parts. Which part would you keep?
d.        What part would you throw away?
e.        What music would you want to play while you observed this painting?
f.         How does the painting feel?
g.        What mood is coming out of the painting? Or, What sound do you hear coming from the painting.  Let’s make the sound all together: one, two, three.
h.        Suppose your beloved aunt gave you this painting.  Where you hang it in your home?
i.         How would you feel about living with this painting?
3.   CONNECTIONS
a.        What is happening in the painting?  What’s going on?
b.        What movie does it remind you of?
c.        Where have you see this kind of thing going on?
4.   DECISIONAL
a.        Where is it going on in your life?
b.        What would you say back to this painting, if you had the chance to say just one word?
Conclusion:  Call attention to the fact that this conversation has had to do with their lives.  (Tell story of the painting)
        This conversation has had to do with our lives than with the painting itself.  This is a print of Guernica 1937 by Pablo Picasso painted after the saturation bombing of the village by the Germans in the Spanish Civil War with the permission of Franco.  The original was in the Museum of Modern Art in NYC for many years.  After Franco’s death, it was returned to the Picasso Museum in Spai n.
            Purpose:        To engage the group in an authentic reflection upon the suffering of their own lives and their relationship with it.  To effect a corporate presence to the dimension of selfhood
-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://wedgeblade.net/pipermail/dialogue_wedgeblade.net/attachments/20070420/42bc6d8e/attachment.html