[WE Talk] Amanda Sage – Looking to the Future: Art as a Vehicle for Positive Social Action

Amanda Sage

Looking to the Future: Art as a Vehicle for Positive Social Action

On this episode:

  • Paving new pathways in art and creative expression
  • How art and creativity can be a force for positive change
  • Following one’s intuition, one baby step at a time, and looking back on choices made
  • How a Waldorf education and a study abroad opportunity launched an artistic career

Episode Transcript:

Nita Davanzo: Hello, and welcome to WE Talk, podcast that explores the role of Waldorf education in helping children, parents, and families thrive in an ever-changing world. WE Talk is brought to you by Shining Mountain Waldorf School and this is your host, Nita June Davanzo.

I am ever so pleased to welcome Amanda Sage to WE Talk today. Amanda is an artist and visionary extraordinaire. After graduating from Shining Mountain in 1996 as part of the very first graduating high school class, Amanda followed her intuition to travel and dive more deeply into her artistic and creative passions. She first lived and worked in Bali, then returned to Vienna where she had studied abroad in high school, this time to study under the classical painter Michael Fuchs. Amanda continued to live abroad for the next ten years before returning to the states to launch her career as a visionary artist and clothing designer. With her work Amanda notes, “I aim to shatter the illusion of separation, to challenge the viewer to question and evolve out of ignorance, conditioning in ingrained genetic habits.”

Amanda Sage is at the forefront of a new breed of visionary artists who use art as a tool for personal, spiritual, and planetary growth and transformation. Amanda spends her time living in between Los Angeles and Gunnison, Colorado while also teaching and exhibiting her artwork around the world. You can check out her inspired work and learn more about her at www.AmandaSage.com.

Amanda, it is an honor and a pleasure to have you on WE Talk today. Thank you for joining me.

Amanda Sage: You’re welcome. Thanks for inviting me.

Nita Davanzo: Absolutely. So, Amanda, you attended Shining Mountain Waldorf school from fourth grade through high school and from my memory you always were interested and really so talented. I remember looking up to you and seeing your art on the walls as I walked through the high school. And just, I was always so full of admiration for your talent and your artistic creations. When did you know that you wanted to pursue this artistic passion?

Amanda Sage: Well, obviously it was fun, otherwise I wouldn’t have done so much of it in school. I had an incredible, we had an incredible teacher, many teachers, but one specifically was Dawn Diehl, and she really invoked the artist I feel like, in all of us in a myriad of ways. In theatrics, in music, in visual art, in everything. I really attribute a lot to her enthusiasm and support as well as other parents, my parents, and then also teachers and friends. We had a healthy competition thing going on there between a bunch of us in that class. And because in Waldorf you get to do these amazing main lesson books, we just dove into them. And it started probably in fifth grade, fourth grade. It was always encouraged.

I just had so much fun, but then for it to turn into something that I really was going to do, like turn into a profession, I really had no idea when I was a kid. And then even, I think it was like when I was about fourteen, so must have been around seventh grade, eighth grade. Seventh grade I think, I didn’t have enough money for Christmas presents. And I got some t-shirts from the thrift store and asked my mom if she could buy me some paint to paint on t-shirts. And I painted on t-shirts and I had so much fun doing it. And they turned out. It surprised me. And then people started asking me if they could buy some. And I was like, “Whoa, I could turn this into a little business.”

Nita Davanzo: Like, “What’s going on here?” (laugh)

Amanda Sage: A little business–yeh! And so that started. It perked my interest and I asked my friends who also loved to make art, like Verita, Karen, Leah, there’s a whole crew of us. If anybody wanted to, Krista and Ashley, like all these girls… But, I was like, “Does anybody want to start a little business with me?” And then we learned batik in high school, I think. It was high school or it was eighth grade. And that’s what we actually turned into a little business.

Nita Davanzo: And explain to the listeners who might not know what batik is a little bit about that process.

Amanda Sage: So, batik is a process of putting hot wax on fabric and then painting on that fabric. Anywhere the wax is, it resists the dye. And this is an old Indonesian and also African method.

Nita Davanzo: Right.

Amanda Sage: And it’s so fun. And so we just got really into it. We started doing fairs, and there was this store on the hill in Boulder that starting carrying our stuff. So, I kind of got into the business of art almost before I started really thinking all that much about actually being an artist as a profession. It was just like, “Oh this is a way to make money. And this could be fun.”

Nita Davanzo: That’s so interesting. Because it’s usually the other way around. That someone’s like, “Oh, I just want to be a good artist.” And then it’s like, “How do I make money doing this?” (laugh)

Amanda Sage: Yeah. That’s right.

Nita Davanzo: Yeah. And then tell me a little bit more. So, throughout high school, you continued on with art, and how about, for me I remember too, he was a really incredible and inspirational teacher to me. Did you work with Hikaru Hirata?

Amanda Sage: Oh, yeah. Totally. It was I think my junior year in high school. Maybe it was tenth grade. I don’t think so. I think it was junior year when he came to our school as the high school arts teacher. And he was a Japanese-Fantastic-Realist. This is how he defined his work. And a little bit I know at the time was that he was actually showing us work of the artist that I would go end up working with later on. I mean it was a total coincidence or synchronicity. Something like that.

Nita Davanzo: Yes, are there coincidences?

Amanda Sage: And he was really encouraging towards me developing a portfolio. And challenging. He was the first one I remember that challenged me to draw my own hand in pencil. Just look at my hand, and draw it. And I remember that exercise of doing that, I will never forget it was like breaking through the matrix. I saw this through the veil. Like something opened up and I was able to see my hand and draw it. That channel just opened up.

Nita Davanzo: Wow.

Amanda Sage: I think that’s where it started to really get me hooked. I was fascinated with being able to reproduce an actual world. And I really wanted to learn the skills. But, I was a little bit crushed actually when I was going around the portfolio days showing my high school artwork to potential universities.

Nita Davanzo: Oh, interesting. Tell me about that.

Amanda Sage: I had some real negative experiences. Very challenging. I remember this one representative, I don’t even remember which school it was. Looking through my portfolio and looking at me and saying, “That’s great, but where are you in your work?” And I was like eighteen. I was like, “Oh.” And I was firstly offended, but then it did get me to think about it. But, at that time I wasn’t so interested in that. I was interested in other things and I felt like I was being authentic. I mean I was interested in expressing things for sure. I always did these really expressive oil pastel drawings. And charcoal drawings that were kind of looser. But then I was just fascinated with being able to copy nature. And learn anatomy. And really learn how to draw and how to paint.

Nita Davanzo: Which is the foundation of being an artist. I mean you go back to the Renaissance times and that’s what you started with. Well, first you started by running the errands and grinding the paint. (laugh)

Amanda Sage: But, that was back then. That’s not in the contemporary art world. They don’t care.

Nita Davanzo: That’s interesting.

Amanda Sage: They don’t care for the most part, and especially in Europe. I mean that was a huge shock for me. And so I ended up not going down a classic kind of academic road in my after high school.

Nita Davanzo: Wow. How did you find your original teacher in Austria, correct? And was drew you? It’s Michael Fuchs if I’m pronouncing that correctly.

Amanda Sage: Fuchs, yeah. Actually, it was the day after I graduated high school, Shining Mountain Waldorf School, first graduating class ever. The day after I started a three-week painting course that was organized by Naropa Institute. And it was painting the Misch technique with Michael Fuchs and Philip Rubinov-Jacobson.

Nita Davanzo: Say the style of that technique again.

Amanda Sage: The Misch technique. Which basically means mixed technique in German. And it is a method of early Renaissance painting that was developed in the early Renaissance, [inaudible 00:10:46], the van Eyck brothers, many kind of Flemish, northern German kind of artists. This is when they started experimenting with using egg tempura and then oil resin glazes. A really thin paint on top of an under-painting that would be painted in white on a dark round. So, this is a development in painting that was kind of lost, actually, for quite a long time. Painting went in all kinds of directions. If you look into the impressionists, and then into the abstract expressionists. I mean even in the baroque era. After the Mische technique, this early Flemish painting. It got really fatty, the oil paints.

And lots of it. I mean it’s like if you can at what materials were used. It’s also how culture has evolved itself. It’s really interesting how Ernst Fuchs, who is the father of Michael Fuchs, and was this teacher, or he was an artist born in 1930. And he revised the Mische technique through reading a book called The Materials of the Artist. And this book talks about this technique and so he started painting in it right out of World War II. Born in Vienna, grew up in Vienna, and founded this group, I mean this is coming right out of the surrealists too. Dali, with the round at that time. He was his elder a little bit. And there was this whole searching. This is like, inspired by Kyle Young, inspired by a lot of the mystical transpersonal and psychedelic, spiritual. All of this is right before the wave of the 60’s. The Beatniks, that’s part of the generation he was a part of. And so, I know I just reeled way back there.

Nita Davanzo: That’s great to give us the whole history and the bigger picture of everything, absolutely.
Amanda Sage: For sure. But, so Philip Rubinov-Jacobson and Michael Fuchs both had studied with Ernst Fuchs. And had learned this method of painting in the Mische technique which he was teaching outside of the academic system. He was kind of doing the old masters way. He had this castle outside of Vienna. He was painting these massive paintings and young artists would come and find him. And he would put them to work and he would teach them. It was a real kind of they accept scenario. And so they were passing this on. This kind of way of painting, in a workshop scenario that was outside of the system. And this is what I stepped into the day out of high school.

Nita Davanzo: Wow.

Amanda Sage: It’s so crazy. And I never painted an oil before and I was just like, “All right.” And what had happened, was I got connected to this because of this man Sam Bull who, I think it’s the program Leap Now, started this program Leap Now, but it was called the Center for Interim Study. And he came to the Waldorf school to present this program that he and his father had started that was helping anybody in an interim period in their life find something awesome to do in the world. Like, they were furthering our education, something where they feel like they’re a part of something. Learning something new, contributing. And so, I was like, “Well, that’s interesting.” And my parents were like, “Well, okay. You might as well have an interview with him.” And so I remember walking into his office, and his whole back wall was just a map of the Earth, of the world. Like, all the continents.

Nita Davanzo: Call to adventure.

Amanda Sage: He asked me three questions. He said, “Okay, where in the world interests you?” Number two, “What interests you?” Number three, “Do you have money to spend or do you need to do work trade kind of, look for a kind of situation like that?” And, so based on those questions, he immediately had two insights that came to him, two places, two people. And it was Michael Fuchs and it was this woman Robin Lim in Bali, Indonesia which is where I went actually right out of high school.

Nita Davanzo: Okay.

Amanda Sage: To follow my batik interests and clothing, and creating clothing and fashion. And I ended up illustrating a book there, working with this midwife Robin Lim when I was eighteen, nineteen. Straight out of school, and it was this incredible experience that so opened me up and just gave me a taste for, I don’t know, the world in a way that was really, really, exciting to me.

Nita Davanzo: Were you helping her as a midwife?

Amanda Sage: No, I didn’t have the training to be medically involved. But I was helping with all kinds of other things, like this was before the organization really got grounded. It was, it’s quite a well-known place now in Ubud, right outside of Ubud, Bali. It’s called the Bumi Sehat, and it’s a natural birthing center. And I was doing more miscellaneous things and helping out. There was a project that they had with Earth Watch at the time.

Nita Davanzo: And just experiencing life.

Amanda Sage: Yeah.

Nita Davanzo: Right out of high school on the other side of the world.

Amanda Sage: Other side of the world. But, I was in such a safe and wonderful environment with her family and I had such a great experience of what it was to be in service and I was really humbled in so many ways by being in such a different environment and it was incredible. I had had some experiences being outside of the country and on my own because when I was in high school, in tenth grade, I did an exchange with Uhlandshohe Waldorf School, the first Waldorf school in Stuttgart, Germany. And I got to be the first American. Didn’t Lisa go too to the same school? I’m not sure. Maybe she went to a different one.

Nita Davanzo: She did. She went to the Vienna Waldorf School. I believe you guys were both at the same time, but I think you were in different parts of Austria.

Amanda Sage: And I went to Stuttgart and she went to Vienna and we were, yeah that was the beginning of the exchange program.

Nita Davanzo: Which is thriving now at the school. Which is just really cool.

Amanda Sage: Oh, that’s so great to know. It changed my life. I loved it so much, and I was only to go for three months and my whole class and I begged if I could stay for the rest of the school year.

Nita Davanzo: Oh, you sweetie. Wow. So, that gave you the foundation for speaking German than for when you came back. Right.

Amanda Sage: Yeah. Because I had seven months there. I was fluent by the time I came back. Only going for three months, I mean it’s not enough. You got to go for like seven months. (laugh)

Nita Davanzo: To really get in there. Wow.

Amanda Sage: As long as you like your family that you’re with and the situation, but I had a great experience.

Nita Davanzo: Yeah. So, Amanda, so when you, so then after high school, you went to Bali, and then you returned to Austria to continue studying and working with Ernst.

Amanda Sage: This was with Michael.

Nita Davanzo: With Michael, okay.

Amanda Sage: First time in Vienna, I started working with Michael, so this part of the story I didn’t get to. So, I did this three-week workshop right after I graduated high school in Boulder, Colorado. Right, with Michael and Philip Rubinov-Jacobson and during that period, Sam Bull. This is like a whole plan they schemed up was to ask Michael Fuchs if he take me on as an apprentice. Like the old masters and teach me how to paint.

Nita Davanzo: Oh, neat.

Amanda Sage: Yeah, and it was Phil that somehow, I don’t really know how the story went because I wasn’t involved in that part, but somebody knew that he wanted to do something like this. And it was just the right timing and I was the right age and my parents. He said, “I will take you on and teach you everything I know if your parents, if somebody can pay for you to not worry about money for two years.” You have to be able to study and give all your focus to studying. But he’s like, “But, you have to commit.” And this was a big deal, and I was like, “Oh, okay.” And my parents agreed to it. They said, “Well, okay this seems like a good furthering education for her.” And so that’s what I did when I first went to Vienna was to go study with Michael in classical painting. And it had nothing to do with his father yet. His father, I knew of his father, of course, but I didn’t even dream when I first went there that I would ever work with him. It wasn’t in my spectrum of possibility. I mean.

Nita Davanzo: Your imagination at that point. Right. Though, Michael’s style is very, very different than yours. So, when did you start moving forward into your style that you now have, and what would you even, how would you term your style? Would you term yourself like Hikaru Hirata, a fantastic realist? Or how do you describe and explain your current style to others?

Amanda Sage: Oh, wow that’s a lot. (laugh) I’ve been trying to figure it out, actually, lately. And look back and try to find some of the key moments that did inspire, I guess, external evolution of my style. I really did first learn to paint like realism, and that was a really important thing to me and that’s why working with Michael Fuchs was so valuable. And it was, I think through working with Ernst Fuchs. So, he introduced me to his father when I was finished studying with him and when he introduced us he told him, he said, “She’ll be the best assistant you’ve ever had. I’ve taught her everything, but you have to pay her.”

Nita Davanzo: Oh, wow. That’s phenomenal. That’s incredible. Wow.

Amanda Sage: Right? Because he knew, and he knew his father. (laugh) He knew the dynamic. I mean, it was a big operation that his father ran. He has a big family. He has seventeen children.

Nita Davanzo: Oh my goodness.

Amanda Sage: And he had houses and studios kind of all other the place. And it was a big deal to work with him and I think it was through, so I spent ten years then, working with him. And during that time, I continued to live in Vienna because I had this incredible studio and I still do, I’m a part of this studio. And it’s in this place called the Vuuk which is the old locomotive factory.

Nita Davanzo: Oh, wow.

Amanda Sage: In downtown Vienna. (laugh)

Nita Davanzo: Cool. Just thinking about, this old locomotive factory that now just has artists, all sorts of different artists in it?

Amanda Sage: It’s a cultural center.

Nita Davanzo: Oh, wow.

Amanda Sage: So, it’s a non-profit run by a community really. It’s a whole city block and it has a courtyard in the center and another building in the middle of that. And there’s an alternative school there. There are studios for musicians, for artists, for photography, for film, for dance, for theater, for marginalized groups from all over the world has space there to meet and there’s a woman’s tower. There’s a concert hall. It’s an incredible place.

Nita Davanzo: Oh my goodness.

Amanda Sage: And I found this kind of through friends and people that I knew in Vienna and kind of walked in the back door and right into a situation that took me beak and into the heart of this place. And I was on the board of directors when I was 24.

Nita Davanzo: Wow.

Amanda Sage: Yeah, and I straddled that world which is like this cutting edge in many ways kind of cultural art experiment, very visionary. And then working with Ernst Fuchs and his family who is very, polarized, all of it in a funny way. So, that kept me really involved and active and excited to be there and then the time came. I was a natural kind of transition happened. I went back to Bali, actually, for the first time in like five, six years or something by myself on a little vision quest to go find the shape or form that I could fit anything into and feel totally safe. This is in 2006. And that was ten years after I graduated high school.
And there in Bali, I went there for two months by myself to paint and one of the first paintings that came out was this painting that I titled “Dreams.” And it was a self-portrait of me sleeping and with a rice field behind me and then out of this stormy sky came a rainbow serpent. And in its mouth held an egg. And I had this kind of epiphany it was like twilight hour and I had this flash of painting thousands of eggs of seeds.

Nita Davanzo: Wow.

Amanda Sage: And this being the form that would be this form. So it was kind of like it’s unfolded. My style and I think the narrative and also the way I paint. I’ve been a naturally unfolding book, story. And so I’ve been going back also to the influence of certain times in early childhood. Even like Waldorf, how influential so much of Waldorf being a part of that community was holistically and how I view the world. And I think, like eurythmy, I mean could you see eurythmy in my work? Maybe. (laugh)

Nita Davanzo: Absolutely. No, absolutely because in your work you see sound, you see energy, you see movement in space. It’s all there in your work. So, absolutely. I can totally see eurythmy in it.

Amanda Sage: So, I think it’s like there was this moment where I went deep into classical painting and really learning how to paint the natural world. And that’s what I really wanted. I wanted to be able to paint anything. And that’s what Michael Fuchs, Michael Fuchs gave that to me. And then working with Ernst is when I learned how to let go. And to start, and to channel. Because that’s what he did. And I got to work with him all through his 70’s which was a fascinating time to be working with him and I get to watch how he would address an issue over, and over, and over again, I was there in the front lines with him. And so, being able to observe that and also fall into this journey of opening the portal to a tool and then allowing the creative force to flow through you, it’s like riding a bicycle too. Like once you get it, you’re like, “Oh, that’s fun.”

Nita Davanzo: Yeah. Interesting. So, it’s interesting, Amanda, just hearing you talk about these points in your life and then viewing your work and seeing your work too of these elements–of certainly of spirit–of the spiritual, of energy, of seeing this world in its myriad of depths and levels and perspectives and paradigms. And it’s fascinating to me too. I love just to hear that you had these moments in your life where you really felt that. Like the world in that way. I’m hearing, actually, and to that admissions officer who said, “Where is you in your work?” Holy moly. Have you put you into your work and you’re really taking that. So, thank you woman or man or whomever that was for that critique.

Amanda Sage: Totally.

Nita Davanzo: But, that these moments from drawing your hand to now where you are, which brings me to my next question. On your website you write the quote, “You aspire to paint messages, visions, and narratives that communicate with an older and wiser us, awakening ancient memory as well as the present us that we may grow up and accept the responsibilities towards ourselves, each other, and the rest of existence on this planet.” Wow, my dear. Those are massive wonderful aspirations. And I can certainly see that in your work. For those of you who are just listening to this for the first time, and haven’t visited Amanda’s website, please do. You’re going to be blown away, truly. I mean just your art, Amanda, takes everyone to this next level of introspection, and inspiration and a lot of people have never seen anything like it before.
Amanda, can you share with our listeners a bit more about your artistic process? So, you noted a little bit that this insight on this vision quest that you had of these eggs of seeds that you’re planting with your work. But, what seed begins you now when you start a new painting?

Amanda Sage: Great question. I trust that every piece is an evolution of everything before it. So, it seems like the flower keeps flowering. And I keep showing up in service. Because really in truth I have no idea what’s going to happen before I approach it. And the more I try to figure that out, the more I confine myself in some ways. There’s a fine balance between having a sketch and then also confining oneself. The sketch happens the minute you touch the canvas, it begins. Where it’s really going or where it’s coming from, the work. I mean I try to touch into what is the most important thing now. And that most important thing now is going to lead to the next most important thing now. And you can never go wrong.

Nita Davanzo: Right.

Amanda Sage: And so that’s where I enjoy immensely doing live painting and creating a work at a festival or at an event starting from nothing, or just continuing the work on something. But, having that experience connected with the audience and with everything that’s happening around me. It all becomes influential and it’s like this magic spell. I feel like it’s this weaving of this magic spell that is a prayer. It is an invocation of prayer. It’s an invocation of prayer. It’s prayer in visual solid form. Because paint is archaic. Right? There’s no digital thing. (laugh) I get asked that sometimes. “Did you do that digitally?” I was like, “No, this is paint.”

Nita Davanzo: (laugh)

Amanda Sage: “and charcoal.”

Nita Davanzo: I’m sure people are blown away by that. Yeah. Also because they’re all so realistic. Because you’ve had that classical training. Yeah.

Amanda Sage: And so, the bigger story here is what I’m interested in. And so my paintings, what is the root inspiration of each painting? It goes as far as I can possibly pass that arrow. In my frame of reference. And so I want to keep pushing that because I see a responsibility. I see an opportunity to be able to be a scribe to be painting signposts for the future. My dear friend, her name is Shannon, actually said that when I got to call him and meet him for the first time, I called when he was being interviewed in Coast to Coast AM by George Noory. I called in and was the last caller that got through. This is a late night radio show that over two million people listen to every night.

Nita Davanzo: Oh my gosh.

Amanda Sage: If you’ve never heard of Coast to Coast, it’s legendary. It’s all about the paranormal and spirituality and all kinds of faith and stuff like that.

Nita Davanzo: Oh, interesting.

Amanda Sage: Tim Shannon is also really, very interesting person to look up and he is one of my guides, one of my teachers, one of my mentors. He transitioned into the next realm last year. But, he’s the general of the New Earth Army. He wrote the manual for The New Earth Army which a Hollywood movie was made about him and his story called The Men Who Stare at Goats. And he was the one that Jeff Bridges plays. But, Shannon, when I called and I invited him to this visionary arts conference that we were having in Hawaii, he said, “Yes, it’s the artists that are painting the signposts for the future.”

Nita Davanzo: Oh, wow. Yep.

Amanda Sage: So, it’s necessary. More than ever, we need to rally the troops. This is why I teach. Why I see so much value in teaching and giving people tools to express their vision.

Nita Davanzo: Absolutely, why we need artists in supporting other to create and to build those signposts. Whether it’s in visual form, whether it’s in musical form, whether it’s in performance form, it’s on stage, or out, or whatever. So, you are a teacher, also? When you’re teaching what words of wisdom or what insights do you share with young and aspiring artists?

Amanda Sage: All kinds of things.

Nita Davanzo: I’m sure you do.

Amanda Sage: All kinds of things. I mean it depends on what scenario. One of the things that I have been doing for the past eight, nine years, is I have a painting workshop series that I call Painting with Light. And I am teaching the methods and techniques, some of the bases that I’ve evolved in my own way, but that was taught to me of the Mische technique, of the early Renaissance painting technique. And I do this in groups no more than twenty at different eco- villages and fascinating places all over the world. We do these retreats that are like a week long, up to three weeks long. And it’s like Hogwarts.

Nita Davanzo: (laugh) Bring your paintbrushes, your wand.

Amanda Sage: Yeah. You just paint, and paint, and paint until you crash and then you get up and paint some more.

Nita Davanzo: Oh my gosh. That sounds phenomenal.
Amanda Sage: We’re fed amazing food. It’s transformational. And the idea isn’t that everybody that comes to these is supposed to become a professional painter, making a living off their art. It’s not about that. It’s about expressing yourself and getting in touch with an aspect of spirit end of yourself that is often a wounded spot in a lot of people. You’d be surprised how many people have a wounded artist inside of them.

Nita Davanzo: Absolutely.

Amanda Sage: To give each other that space and that community I find is really, really, that’s the most exciting part really.

Nita Davanzo: Yeah, and we grew up with that in the Waldorf school. We were all artists. We were all musicians. And we were all writers and mathematicians and scientists. Some of us were more interested in one than the other, or better at one than the other, but there was definitely always that sense of, “Oh yeah, we all have that. We’re all doing this together today.”

Amanda Sage: The truth is we all do. The entire planet has. We all have a different art and a different gift to give, right? And as so much of society and the world has not been supportive of people having a healthy relationship with who they really are. (laugh)

Nita Davanzo: Yeah.

Amanda Sage: Yeah. Well, your creative side is like a way of being able to get in touch with it.

Nita Davanzo: Absolutely.

Amanda Sage: I think. And it’s all about the adoration of creating beauty and expressing inspiration is something that is vital to the health of humanity and I think it’s vital to the direction that we’re going in. That we very, very drastically and need to make some changes. I understand the gradual change and how it takes times. I do. But, some things are just out of control.

Nita Davanzo: And we’ve got to do things now even if it is small.

Amanda Sage: Yeah.

Nita Davanzo: Every single day.

Amanda Sage: Yeah, every single day. (laugh)

So, that’s the way that I think about it all the time. What can I do more? What image can I paint? What vision can I paint? What is it? What do we need to do? And to be honest, I feel like I do know what is the thing.
Nita Davanzo: Well, Amanda, just holy moly my dear. Thank you so much. What a joy and a treat to speak with you. I just feel lighter and uplifted talking with you. And for those again who haven’t seen Amanda’s work, check it out. AmandaSage.com, correct?

Amanda Sage: It is. Yes.

Nita Davanzo: Just, it’s a feast and I almost feel like it’s this washing of light and inspiration that goes in through your eyes and pours through your veins and your heart and your spirit and your soul. So, check it out. Yeah. Thanks, dear Amanda. I hope you have a great day. Thank you so much for taking all this time to speak with me. Really appreciate it.

Amanda Sage: Yes, all my best, all my love.

Nita Davanzo: Thank you. Bye.

Thank you for listening to WE Talk brought to you by Shining Mountain Waldorf School and hosted by Nita June Davanzo. WE Talk is made possible because of listeners like you who invest in the production of the show. Share your appreciation for what you’ve heard today. Help us explore the value of Waldorf education in preparing our children for the future by going to Patreon.com/WEtalkpodcast. If you’d like to be interviewed, have a suggestion for an episode ahead, or simply wish to share feedback, please email us at WEtalk@smwaldorf.org.

- Sarah Gillis, SMWS Class of 2012 and Sr. Space Operations Engineer at SpaceX

“I feel like one of the really important things that you get out of a Waldorf education is curiosity—curiosity to go and learn and explore what’s out there in the world. I fell into engineering and a path that I don’t think I would have anticipated, but having an arts background where you’re bringing creativity and imagination into problem-solving, there’s a really incredible synergy between those.”

- Sarah Gillis, SMWS Class of 2012 and Sr. Space Operations Engineer at SpaceX

Shining Mountain Waldorf School Unveils New High School Campus in North Boulder: Grand Opening Event Friday, May 10, 2024