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For Those Who Missed It: This is one way you can hear me SINGING BOUT MY STUFF (a slightly expanded repost) October 18, 2021

Posted by ajoyfulpractice in "Impossible" People, Art, Bhakti, Books, Changing Perspectives, Confessions, Dharma, Faith, Gratitude, Healing Stories, Health, Hope, Life, Lorraine Hansberry, Meditation, Movies, Music, Mysticism, Ntozake Shange, One Hoop, Pain, Philosophy, Suffering, Tantra, Texas, Wisdom, Women, Writing, Yoga.
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Over the last few days, my brother and I have engaged in a multi-medium discussion about certain controversial current events. During one part of this discussion, he described the idea that certain agencies / people may use climatic (I mean) climactic events as an amplifier of other events. That thought put a slightly different spin on the following, most of which was previously posted on October 18, 2020. 

“Our minds and all that functions through our minds generate a continual stream of micro and macro activities through the complex of our non-stop brain. Our emotions are always active. We are constantly making choices, consciously and unconsciously. And – think about this – our “choices continue to make choices.” How’s that for a thought? But it’s pure truth. And because it’s truth, we need to find a way to evaluate the micro and macro impact of our thoughts, attitudes, belief patterns – the whole of our energetic personality and nature – as the energetic reflection of the landscape of our physical life.”

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– quoted from “What Can You Heal in Five Minutes” (from the 2014 Online Salon) by Caroline Myss

The way the world communicated (and was entertained) changed dramatically today in 1954 when Texas Instruments and the Regency Division of Industrial Development Engineering Associates (IDEA Inc.) introduced the Regency Model TR-1, the first commercial transistor radio, to markets in New York and Los Angeles. When the device first went on sale (on November 1st) it cost $49.95 – which was a lot of money back in the 1950’s – but almost 100,000 of the pocket radios were sold in the first year and a technology (as well as an entertainment) revolution had begun.

Prior to the “pocket-sized” TR-1, radios were mostly considered a piece of household furniture. They were essentially big dressers or medium sized jewelry boxes that housed circuitry centered around breakable vacuum tubes. The tubes used a lot of energy, took a long time to warm, and were incredibly fragile. There were “portable” tube radios, but they were about the size and weight of a lunchbox; were powered by several heavy, non-rechargeable batteries; and they didn’t even pretend to be shock resistant. So, few people invested in them. Instead, families huddled around the radio, waited for it to warm-up, and paid attention to the energy output (especially during the war).

No one really thought about listening (or even watching) something they whole family wasn’t going to hear (or see). Furthermore, no one (outside of the electronics industry) really thought about walking around with your personal choice of music, news, podcasts, and other forms of entertainment streaming out of our pockets 24/7. That possibility, that is our reality, became reality because of the introduction of transistors.

Like the old-fashioned vacuum tubes, transistors are devices used to amplify and switch (and also convert) electronic signals and electrical power. Unlike the tubes, transistors are made of semiconductor material which means that that they have an electrical conductivity value which falls between a metal conductor and an insulator (like glass). One of the main benefits to using semiconductor material in electronics is that its ability to conduct electrical current increases as it heats up (meaning its resistivity decreases), which is the opposite of metals. Semiconductor devices, like transistors, offer a lot of versatility and flexibility – especially when you want to pass current in more than one direction – and provided the radios with an “instant-on” capability. All of which allows people to conveniently and quickly share their stories.

“Our psyches are governed by archetypal patterns, containers of myths and symbols that continually feed our unconscious. Our health and well-being feeds off of the stories we tell ourselves, stories that are created, generated, and rooted in our myths. Every person I talk to tells me a story in some way about his or her life and that story inevitably contains at least one symbol or hints at one myth. As each of the participants of the Help Desk told me a bit about themselves, I listened for both the details they were sharing as well as any symbols or metaphors in their descriptions through which I could then identify an archetypal pattern. We can’t stop ourselves from revealing our archetypes. All of these systems that combine to make up each human life need to be understood in terms of how they speak to each other, how they participate in acts of creation, how they interact with the creative mechanisms of our psyche and soul, and how their sensitivities influence the development of physical illnesses. And further, how do we interact with this extraordinary system of life that is US when it comes to healing an illness?

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I view the realm of health and healing through this lens now. In fact, it’s more of a parallel reality in that the real power of who we are truly exists in the realm of energy, or our energy field. Our health is regulated by far more than chemicals and nutrition, as we know. But adding on knowledge about the chakras, for instance, is hardly enough to span the spectrum of all that we have come to discover about the depth and width of our interior selves. Speaking about “chakras”, for instance, represents a great deal more than energy dots laid over the physical anatomy. The recognition of our energy anatomy – of energy consciousness itself – represents an entirely different paradigm of how we need to consider the nature of our concept of power.”

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– quoted from “What Can You Heal in Five Minutes” (from the 2014 Online Salon) by Caroline Myss

The physical practice of yoga (hatha yoga, regardless of style or tradition) is simultaneously physical-mental, emotional-energetic, and psychic-symbolic. In the same way we are not always aware of how are mind-body communicates with itself and ourselves, we are not always aware of how we are communicating with others. The practice, however, gives us the opportunity to start paying attention to not only how we communicate, but also why we communicate. Every part of our being has a story to tell (and a method to tell it); every part of our story is connected to someone else’s story; and they way the stories are told (or not) determines how we think of the story, the storyteller, and the other players.

Consider, for instance, the story of the transistor radio. If you didn’t know the significance of today and someone mentioned transistor radios, your first thought might not be Texas Instruments or IDEA. Instead, your first thought might be SONY. Because not long after Texas Instruments and IDEA went on to new innovations, a Japanese company rebranded itself and (in 1957) introduced the TR-63, a smaller and cheaper transition radio that conveniently preceded with a global “music” mania. And that mania, is not only the stuff of musical legends, it’s the stuff that makes up the story.

Today is the anniversary of the birth of Ntozake Shange. Born today in 1948, she was an award winning playwright and novelist who changed her name to the Zulu words meaning “she comes with her own things” and “who walks like a lion.” The beginning of her story predates the transistor radio, but it is a definite element in her stories. The remainder of this post is part of a 2018 Kiss My Asana offering, posted slightly before Ntozake passed. 

“somebody/anybody
sing a black girl’s song
bring her out
to know herself
to know you
but sing her rhythms
carin/struggle/hard times”

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– The Lady in Brown with all the other Ladies from for colored girls who have considered suicide/when the rainbow is enuf  by Ntozake Shange

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“somebody almost walked off wid alla my stuff

not my poems or a dance i gave up in the street

but somebody almost walked off wid alla my stuff

like a kleptomaniac workin hard & forgettin while stealin

​.

this is mine!

this aint yr stuff

now why don’t you put me back

& let me hang out in my own

Self”

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– The Lady in Green from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

I said it before, and I’ll say it again: The danger in not telling your story isn’t only that it might not be told, it’s also that someone else might tell your story. Someone else might, to quote the choreopoem, run off with all of your stuff. And, if someone else tells your story, they may (at best) leave out your rhythm, your tone, and what is most important to you. At worse, however, someone else telling your story can objectify you or turn you into a caricature, a living breathing stereotype come to life on the page – or on the stage.

Up until recently, certain individuals had a hard time telling their own stories in a way that they could be heard, seen, and validated. They didn’t have the money, the prestige, or the influence. I say this knowing full well that certain marginalized groups (people of color, women – of almost any color, LGBTQI+, people who practice certain faiths, people who have been abused by people with power, the physically disabled, and the mentally disabled…just to name a few) still have a harder time getting their stories told, heard, seen, and validated than people who identify in a way that is not marginalized. Slowly but surely, that is changing. Still, as hard as it is, it would be harder were it not for people like Lorraine Hansberry and Ntozake Shange and works like Hansberry’s A Raisin in the Sun and Shange’s choreopoem for colored girls who have considered suicide/when the rainbow is enuf.

“Write if you will: but write about the world as it is and as you think it ought to be and must be—if there is to be a world. Write about all the things that men have written about since the beginning of writing and talking—but write to a point. Work hard at it, care about it. Write about our people: tell their story. You have something glorious to draw on begging for attention. Don’t pass it up. Don’t pass it up. Use it. Good luck to you. The Nation needs your gifts.”

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– from a speech to Readers Digest/United Negro Fund creative writing contest winners (May 1, 1964) by Lorraine Hansberry

Lorraine Hansberry’s A Raisin in the Sun was inspired by real life events. It was also the first play written by a Black woman (and directed by a Black person) to appear on Broadway (1959). At some point during high school, I read excerpts from Lorraine Hansberry’s play What Use Are Flowers? and her autobiography To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words. Reading her words, I thought, “I could be that. I could write, I could act, and I could represent the world…as I see it.” I can only imagine where I would be if that idea – of being on stage while putting my work on stage – hadn’t been cemented in my mind. But, there it was, an inspiration not unlike the Langston Hughes poem that inspired the title of Hansberry’s most famous play. And, like a raisin in the sun, my dream kinda got deferred.

I auditioned for The Sunshine Boys during my first semester of college. The directors kept asking me to read with different people who were auditioning, which I took as a good sign. Unbeknownst to me, they weren’t considering me for a role on stage. Instead, the directors asked if I would be their assistant. I said yes and then found myself in the role of their stage manager… and their producer and their publicist. Fast forward 7 years and I was working as a professional stage manager for the writer/director who’s most famous play was the second Broadway play written by a Black woman: Ntozake Shange.

“hey man

where are you goin wid alla my stuff?!

this is a woman’s trip & i need my stuff”

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– The Lady in Green from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

In 1974, Shange and four other women started performing the choreopoems that would become for colored girls…. Seventeen years after Hansberry’s Broadway premiere, Shange’s work found its way to the Great White Way. (I say, [It] found its way,” but in truth, Ntozake is (to this day)  was a force of creative nature and moving across the country was the least of the things she did to shepherd her work.) Twenty years after she wrote and first started to perform the poems, Shange was in Houston directing a revival.

Ntozake Shange was not the first arts and entertainment legend with whom I worked – and she would not be the last – but holy cow did she leave an indelible impression. I worked with her twice and both times I was struck by her unwavering commitment to her own vision. While it is not unusual for a director to be strong, fierce, and artistically determined, she was one of the first woman (not to mention one of the first women of color) with whom I worked who was unapologetic about who she was and what she wanted. Also notable, she saw the world and, therefore, presented the world in a very different way from the mainstream. She was (and is) defiantly herself, singing her songs, dancing to her own rhythms, and – in doing so – giving us permission to do the same.

Everybody has a rhythm, a cadence, a pace of life and one big part of the physical practice of yoga is to find your rhythm and to move to it. Your breath sets your pace, but even within the pace there is room to (physically) harmonize. Find your pace, find you rhythm, and let the movement tell your story.

“I was missing something
something so important
something promised
a laying on of hands
fingers near my forehead
strong
cool
moving
making me whole
sense pure
all the gods coming into me
laying me open to myself
I was missing something
something promised
something free
a laying on of hands”

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– quoted from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

At the end of the choreopoem for colored girls who have considered suicide/when the rainbow is enuf, the women come together, bringing their lines, the elements of their stories, and then repeating the final words, “I found god in myself / & I loved her  /I loved her fiercely.” Regardless of the production, this powerful moment brings all the women and all their stories – and all the colors of the rainbow – together. When I worked on that anniversary production in 1994, I was (as I think everyone is) on a path to/with God, but I hadn’t started on the yoga path. And, even though I had heard of yoga, I had no idea it was an eight-limb philosophy culminating in Samadhi, which is sometimes translated as “perfect meditation” and sometimes as “union with Divine.” So, I never considered why the rainbow might be enuf. Nor did I previously wonder if each woman’s personality is reflected in the color of her costume as well as in her poems.

Even if you’ve never practiced yoga, you may still have heard or seen the colors of the rainbow associated with seven points along the center of the body. In yoga and Ayurveda (yoga’s sister science), the energy of the body flows through energy channels or rivers (nadis) which overlap to create energy wheels (chakras). There are more than seven energetic intersections in the body, but the three primary nadis overlap at seven points and these are associated with the colors of the rainbow, starting with red. The lower chakras are associated with tangible or physical elements of being, while the last three (sometimes four) are associated with the metaphysical.

The term metaphysics was first applied to the work of Aristotle in reference to topics sequentially appearing beyond discussions on the physical or “natural” world. It has come to mean anything beyond the physical or beyond our understanding of the physical. Even if you are only interested in hatha yoga (the physical practice regardless of style or tradition) stepping on the mat is a first step towards transcending the physical. It doesn’t matter if we practicing standing on our feet or sitting in a wheel chair, at some point the practice takes us beyond what is easily explained. At some point we may even stop trying to explain and just be, just breath…and feel what we feel – even when we’ve been told/taught that there’s nothing to feel.

“& this is for colored girls who have considered
suicide / but are movin to the ends of their own
rainbows”

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– The Lady in Brown from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

Please join me today (Monday, October 18th) at 5:30 PM for a 75-minute virtual yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. Give yourself extra time to log in if you have not upgraded to Zoom 5.0. You can request an audio recording of this practice via a comment below.

There is no playlist for the Common Ground practice.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)

A Good Lady

Have your voted for the Carry app today?

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### “I found god in myself
and i loved her
i loved her fiercely” (NS) ###

Do It, But Differently (the Sunday post) October 18, 2021

Posted by ajoyfulpractice in Abhyasa, Books, Buddhism, Changing Perspectives, Depression, Faith, Gratitude, Healing Stories, Hope, Japa-Ajapa, Life, Loss, Mantra, Meditation, Music, Oliver Sacks, Pain, Peace, Philosophy, Rabbi Abraham Joshua Heschel, Science, Suffering, Tantra, Tragedy, Vairagya, Vipassana, Wisdom, Yoga.
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This is the post for Sunday, October 17th. You can request an audio recording of Sunday’s practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.]

 

“Do it differently

So it won’t come out the same

Step up, be strong,

Get yourself out of pain.

 

So you don’t have a clue

Damned if you don’t

Damned if you do

Make yourself happy by checking with you

Before you make a move

To do what someone else wants you to do.

Take your time

Don’t be pressured

Know your mind

This is behavior you have never practiced before”

 

– quoted from the poem “DIFFERENTLY” by Donna Garrett

Ancient philosophies like Yoga and Buddhism share common histories, roots and concepts, just as certain religions overlap. So, it’s not surprising to find similar recommendations in contemplative and mindfulness-based practices. For instance, it isn’t surprising that the aforementioned philosophies recommended consistency and a dedication to the practice. We find this also in religion. Hence the idea that we can do something religiously. I have heard, time and time again, that the Buddha recommended an adherence to the path even when faced with obstacles and resistance from others. For instance, according to the back story for metta (“lovingkindness”) meditation, the Buddha instructed monks to continue practicing the lovingkindness meditation even when they were being bombarded with insults (and fruit).

In Yoga Sūtra 1.12-14, Patanjali recommended abhyāsa: a dedicated, regular practice of making the “effort to retain the peaceful flow of mind….” Regular practice is also defined as something undertaken over a long period of time, without interruption, and with passion, devotion, and reverence. (As always, note that the recommendation is related to the entirety of the philosophy, not just the physical practice.) English translations of the sūtras usually include the word “ardent,” which means “enthusiastic or passionate.” This can conjure up the the picture of a hamster on a wheel, frantically working towards peace – which seems like an oxymoron.

Yet, we all find ourselves in that contradiction. We hurry up to get to yoga. We rush to slow down. We do in order to undo or not do. In some ways, it’s the human condition. The funny thing is, that in both Yoga and Buddhism, we find a balancing recommendation: vairāgya, the practice of non-attachment. Of course, letting go is easier said than done.

“Withdrawing the mind from the external world and turning it inward is difficult. There are two reasons for this. The first is our deep familiarity with the external world. This is what we know. This is where we were born. We live here and we will die here. Our concepts of loss and gain, failure and success, are defined by the external world and confined to it. We experience it as complete, solid….

 

The second reason we find it so hard to turn the mind inward is that we know very little about the inner dimension of life. The little we do know is based on momentary intuitive flashes or on what others have said. Because we have no direct experience of inner reality, we are not fully convinced it exists. For most of us, our inner world has no substance. Our belief in it is undermined by doubt. We are curious about it, but the idea of becoming established in it seems far-fetched.”

 

– commentary on Yoga Sūtra 1.14 from The Secret of the Yoga Sutra: Samadhi Pada by Pandit Rajmani Tigunait, PhD

Underlying the Metta Sutta background is the idea that the monks had to give up the idea that there was a more suitable place for them to meditate and practice lovingkindness. We sometimes think that the ideal place to meditate is quiet and the ideal place to practice lovingkindness is surrounded by people who are loving and kind – and there is some truth in that. However, as Rabbi Abraham Joshua Heschel pointed out in Between God and Man: An Interpretation of Judaism, “Our concern is not how to worship in the catacombs but how to remain human in the skyscrapers.” Remember, the Buddha was invested in offering a liberating path to everyone regardless of their class or social status. Not everyone can practice under “ideal” circumstances. Additionally, even if we could, we still bring our minds and our previous (obstacle-inducing and suffering-producing) conditioning to the practice.

Patanjali was also interested in a practical practice, not just theory. So, he recommended cultivating opposites throughout the sūtras. In the first section, he described specific meditation practices around the idea (YS 1.33-39) and in Yoga Sūtra 2.33 he specifically defined the idea as a way to practice when “perverse, unwholesome, troublesome, or deviant thoughts” prevent one from following the entirety of the practice. When we look at the effect of practicing the different limbs, as described by Patanjali, we may view the practice of non-attachment as the opposite of the ardent practice. In fact, Swami Jnaneshvara Bharati, of the Himalayan tradition, illustrates these foundational principles of the Yoga Philosophy as elements balancing each other on a scale, recommending that we put equal weight and effort into giving our all and letting everything go.

Giving our all, in the moment, and then letting go as we flow our entire awareness into the next moment is the very essence of living in the moment. And while we are, in the base case, capable of living in that way, it can seem counterintuitive to our modern (Western) society. We are taught at an early age to be the ants not the grasshoppers, to be the little pig who takes the time to build the stone house as opposed to the two who use sticks and straw because they want to party. Inherent in our concept of responsibility is the idea that we can plan ahead and have some foresight. Yet, we can get bogged down in the planning and the doing. Conversely, even when we are aware of the psychological benefits of delayed gratification, we can want our cupcake now! And where these attitudes really get us into trouble, and really steep us in suffering is when they dovetail with abhiniveśaḥ, the afflicted/dysfunctional thought pattern that is fear of loss or fear of death.

“Music seems to have a special power to animate us. Kant called music, ‘…the quickening art.’ There’s something about rhythm, as a start, compels one to move…with the beat…. There’s something about the rhythm of the music, which has a dynamic, animated, propulsive effect that gets people moving in sympathy with it; and gets people moving in sympathy with one another. So…the rhythm of music has a strong bonding thing. People dance together, move together…”

 

– quoted from an interview with Dr. Oliver Sacks

“There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals… We tend to hear the sound of a digital clock, for example, as “tick-tock, tick-tock” – even though it is actually “tick tick, tick tick.”

 

– from Musicophilia: Tales of Music and the Brain by Dr. Oliver Sacks

Remember, the brain likes patterns, repetition, and rhythm. The brain also likes solving puzzles and filling in the gaps. Even when our solutions or lacuna (gap-fillers) don’t make sense, they bring us some comfort. If we look at this from a Western science perspective, the brain creates a neural pathway when we do something for the first time and then reinforces, or hardwires, the pathway the more we repeat the activity, habit, or behavior. This is what we call muscle memory. If we look at this same thing from the perspective of the Yoga Philosophy, everything we do/experience creates “mental impressions” (samskaras) through which we view and understand every subsequent activity. Either way, we condition ourselves to feel, think, and be a certain way. In other words, we get into a groove, very much like a needle on a record.

Then something happens, our metaphorical record gets scratched and we skip a beat. Sometimes there’s enough momentum for the music to continue. But, sometimes, we get stuck. The groove becomes a rut or a rake (or a record that skips) and we resist the change that would alleviate our suffering. We find ourselves “stuck” even though we are doing the things that have helped us or others in the past. My yoga buddy Dave has a great joke about a groove, a rut, and a rake. What’s the difference? Perspective. Or how long you’ve been in it.

“Consequently, [René] Descartes has employed a Scholastic/Medieval argument to ground what is possibly the most important concept in the formation of modern physics, namely inertia. Yet, it is important to note that Descartes’ first and second laws do not correspond to the modern concept of inertia, since he incorrectly regards (uniform, non-accelerating) motion and rest as different bodily states, whereas modern theory dictates that they are the same state.”

 

– quoted from “4. The Laws of Motion and the Cartesian Conservation Principle” of “Descartes’ Physics” by Edward Slowik, published in The Stanford Encyclopedia of Philosophy (Winter 2021 Edition), edited by Edward N. Zalta

Sir Isaac Newton’s first Law of Motion, also called the Law of Inertia, states that “An object at rest remains at rest, and an object in motion remains in motion at a constant speed and  in a straight line unless acted on by an unbalanced force.” Even before Newton codified it in this way, this natural phenomenon had been observed by people like Galileo Galilei and René Descartes. We can even observe it in ourselves and each other. Especially when we are engaged in a contemplative or mindfulness-based practice. Practices like Yoga and Buddhism allow us to notice when we are spiraling out of control and also when we are stuck. They also give us the tools, the force, to get unstuck. One of those tools is the practice of non-attachment. In fact, one of the lojong or “mind training” techniques in  Tibetan Buddhism is to “Self-liberate even the antidote.” (4) That is to say, don’t hold on to or grasp anything ” – even the realization that there’s nothing solid to hold onto.”

The question is: How do you even do that? It seems impossible.

In fact, the idea that “It’s impossible,” is Arjuna’s exact argument in the Bhagavad Gita (6.33-34). His reasons (or excuses) are very relatable – that his mind is restless, turbulent, and “a nursery of waywardness, so strong it can drag an elephant, full of stubborn desires for worldly things. Indeed it’s like a mule.” He goes on, even, describing how his mind works when it doesn’t get its way. And, just like, a good kindergarten teacher, Krishna takes the time (and the crayons) to break it down – and he does so with a smile. While Krishna points to four elements (regular practice, relentless inquiry, non-attachment, and firm faith), it quickly becomes evident that Patanjali combined the first and the fourth elements in his outline. Additionally, Krishna’s explanation parallels Patanjali’s description of kriya yoga (YS 2.1), which involves discipline, self-study, and trustful surrender to a higher power (other than one’s self).

The thing to remember is that what happens in the mind, happens in the body; what happens in the body, happens in the mind; and both affect the breath. Since we can’t all automatically change the mind-body, these practices recommend we start with the breath. That’s the “force” by which we cultivate awareness and also change. Similar to the monks in the forest, the practice isn’t (only) being able to focus-concentrate-meditate on the parts of the breath when there is no distraction or interruption. Abhyāsa is about coming back again and again. Coming back to the breath, back to the ethical components, back to the mat, back to the cushion again and again – in spite of and specifically because of the distractions and interruptions. This, Krishna tells Arjuna, creates “raw force of determination, will.”

“Now begin to slowly shape your breath. Breathing through your nostrils, have the intention to lengthen the inhale and exhale. / Stay smooth and effortless. / Inhale and exhale, so as to resolve or refine any involuntary pauses. / Or any rough stages in the flow of the breath. // The slower this rhythm, the more healing it is. / The more you sense body and mind becoming quiet. / Continue to shape your breath for about one minute. // Be aware that you are using your mind to shape the breath… and the breath is shaping the mind. / Please continue. // Sense how your mind has become more calm and clear, at ease.”

 

– quoted from ” Para Yoga Nidra Practice 1: The Essential Steps” by Rod Stryker 

Of course, when you are feeling stuck, unmotivated, and possibly unloved / unappreciated, it’s hard to get moving – even in the metaphorical sense. This is when we go back to the lojong technique, as well as to Patanjali’s recommendation to cultivate the opposites. Remember to give yourself permission to take care of yourself and then ask yourself the following questions:

  • What can I do, right now – today, in this moment – that is different from what I did yesterday (or in a previous moment)? 
  • What is consistent with my practice and also shakes things up a little?
  • What haven’t I done in a long time?
  • What have I only done once?
  • With whom can I call, text, or otherwise engage? This is not to complain or explain what’s happening (unless that’s what you need), but to remind yourself that someone is in your corner. (Or to remember that you are in someone else’s corner.)

Once you have an answer that checks at least three out of five boxes, do it! Make a commitment to yourself. Even if it is only 2 minutes a day, those 2 minutes can change how you move through the rest of your day(s).

And, when everything is said and done, don’t forget to give thanks!

“33-34. Arjuna interrupts again: ‘It’s impossible, Krishna! My mind is so restless, so turbulent I can’t imagine ever being able to achieve the loftiness you’re teaching. The human mind is a nursery of waywardness, so strong it can drag an elephant, full of stubborn desires for worldly things. Indeed, it’s like a mule. If it doesn’t get what it wants it turns petulant and scheming. My mind can never be caught; it never halts in one place. Trying to catch and tame it is like trying to restrain the wild wind.’

 

35. Krishna breaks into a smile. ‘You know the nature of the mind, Arjuna. It is restless and hard to subdue, but it can be done. There are four main ways to do it : through regular practice, relentless inquiry, non-attachment, and firm faith. Let Me explain.

 

‘Through regular practice (abhyasa) you can draw the mind away from worldly attractions and back into the Atma. As it becomes more interior it becomes calmer. Relentless inquiry into the Self (vichara) leads to knowledge of Atma, the True Self Within. Non-attachment (vairagya) results from self-inquiry and discrimination (viveka). When you actively turn your thoughts to all the bad consequences of the desires as they arise in you, the passion for them gradually dries up. As your passion diminishes, your mind comes under control. Firm, dedicated faith (sraddha) brings you the raw force of determination, will. All four methods are subsidiaries of the practice of meditation.

 

36. ‘Those who have no mastery over their ego will find it difficult to control the mind. But those who struggle hard by the correct means (relentless practice and nonattachment) will prevail over their wayward minds.'”

 

 

– quoted from 6.33-36 of The Bhagavad Gita: A Walkthrough for Westerners by Jack Hawley

Sunday’s playlist is available on YouTube and Spotify. 

NOTE: This playlist contains Easter eggs! Did you find them. The three birthday ones are stacked together – and one is actually a double. But there’s one I didn’t mention in the practice. (They are all related to the date, and the theme, but don’t be surprised if you notice there’s one or two that are obviously missing.)

A Little Metta

 

“It is far more creative to work with the idea of mindfulness rather than the idea of will. Too often people try to change their lives by using the will as a kind of hammer to beat their lives into proper shape. This way of approaching the sacredness of one’s own presence is externalist and violent. It brings you falsely outside yourself, and you can spend years lost in the wilderness of your own mechanical, spiritual programs. You can perish in a famine of your own making. If you work with a different rhythm, you will come easily and naturally home to yourself. Your soul knows the geography of your destiny. Your soul alone has the map of your future, therefore you can trust this indirect, oblique side of yourself. If you do, it will take you where you need to go, but more important it will teach you a kindness of rhythm in your journey. There are no general principles for this art of being. Yet the signature of this unique journey is inscribed deeply in each soul. If you attend to yourself and seek to come into your presence, you will find exactly the right rhythm for your life.”

 

– quoted from Anam Cara: A Book of Celtic Wisdom by John O’Donohue

Thanks, TH, for reminding me of this little bit of sweetness!

Have your voted for the Carry app today?

 

### OM OM AUM ###