ABSTRACT

The proper place to begin a study of spirituality in art education is with a defi nition of the terminology of current theory and practice. This should not be a daunting task, but precisely, this is the point at which curriculum is stuck. The irony of this situation is obvious since there are entire libraries devoted to the subject of spiritual art. In Sydney, where I conducted the larger part of my research, the Theosophical Society has a network of Adyar Bookstores, as well as a lending library in the metropolitan headquarters, promoting the ‘Theosophical world view’ which encompasses “understanding and brotherhood among people of all races, nationalities, philosophies and religions . . . and points towards the source of unity beyond all difference”. 1 The Theosophical stock catalogue includes almost the entire history of Western esoteric and spiritual writing in addition to most Eastern classics. The Anthroposophical society has a dedicated Rudolf Steiner bookshop with additional titles by students of Steiner and followers of Steiner, as well as a dozen schools in the metropolitan area, while the Anthroposophical website hosted in the U.S. offers most of Steiner’s writings free to download. The University of New South Wales’s main campus maintains the Naura Gili wing of the library devoted to aboriginal art, culture, and spirituality with several thousand titles. The Satyananda yoga group offers a list of publications from the Bihar School of Yoga for personal study and residential courses with certifi cation in Australia, the U.S., and India. The Pranic healing group offers illustrated books and CDs, as well as a network of teachers who conduct weekend intensives in different locations. The annual Mind Body Spirit Festival in Darling Harbour offers a vast selection of spiritual books and demonstrations from various cultural and visiting contemporary groups representing all the spiritual streams.