Being Human, the prequel (the “missing” Wednesday post) February 9, 2023
Posted by ajoyfulpractice in Bhakti, Books, Buddhism, Changing Perspectives, Dr. Martin Luther King, Jr., Faith, Healing Stories, Hope, Kirtan, Life, Loss, Love, Mantra, Music, Mysticism, One Hoop, Pain, Peace, Philosophy, Religion, Science, Suffering, Swami Vivekananda, Tragedy, Wisdom, Writing, Yoga.Tags: Amir Locke, Martin Buber, mythology, Rev. Ed Trevors, Ronald Gregor Smith, siddhis, Swami Vivekananda, Thomas Merton, Walter Kaufmann, Yoga Sutras 3.1-3.3, Zulu
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Peace and ease to all during this “Season of Non-violence” and all other seasons!
For Those Who Missed It: This is the “missing” post for Wednesday, February 8th. Most of the following information was originally included in (longer) Lunar Year celebration posts in 2021 and 2022. Some context has been edited or added and all music links have been updated. You can request a related recording 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 the “Class Schedules” calendar for upcoming practices.
“The world is not comprehensible, but it is embraceable: through the embracing of one of its beings.”
– Martin Buber
Martin Buber, born in Vienna on February 8, 1878, did not consider himself a philosopher or a theologian (because, he said, he “was not interested in ideas, only personal experience, and could not discuss God, but only relationships with God”). Yet, he is remembered as one of the greatest existentialist in the modern era. He was, specifically, a Jewish existentialist and professor of Chasidic mysticism who grew up speaking Yiddish and German at home and would partially earn a reputation as a translator (even translating the Hebrew Bible into German) and for his thoughts on religious consciousness, modernity, the concept of evil, ethics, education, and Biblical hermeneutics.
Known for his philosophy of dialogue, he was concerned with all the questions of existential philosophy – Who am I? Why am I here? What is the meaning / purpose of my life? – but, he came at the questions from a distinctly theist point of view. To Buber we could exist in a purely transactional manner, without any real connection – or we could live, really live, which required another…a “du.”
In his seminal work, Ich und Du, Buber described a state of being that relies on relationship to have meaning and purpose. However, said relationship must be based on an equal meeting; one that requires authenticity and acceptance rather than projection and conditions. The relationship must be real and perceivable, as opposed to being something created in the mind. The classic examples of this type of encounter are two lovers, an observer and a cat, the author and a tree, or two strangers on a train. In light of the recent Lunar New Year celebrations, we can even consider a person and their in-laws or a rich person and a beggar.
In all of the aforementioned cases, there is the possibility of engaging with other individuals, inanimate objects, and all of reality in a purely transactional manner that relies on mental projection and representation – which Buber would describe as “Ich und Es” (I-and-It). However, there is also the possibility of true dialogue, encounter, or meeting whereby the two entities connect and merge – which Buber described as “Ich und Du.” The difference between the two experiences or states, however, is not always obvious on the surface.
Martin Buber’s concept of “Ich und Du” is a particularly tricky for an English reader because there is no single English word that carries all the connotations found in the German “Du.” Translators can, as Ronald Gregor Smith did, use “Thou” to represent the kind of reverence one would have towards God. Or, translators can, as Walter Kaufmann did, use “You;” because it is personal, colloquial, and intimate. The translation by Ronald Gregor Smith was the one that completed during Buber’s lifetime (and under his supervision) – and it would have been the one on the mind Dr. Martin Luther King, Jr. as a he wrote his famous “Letter from a Birmingham Jail” and at least one of his sermons. However, either translation is still tricky for English readers; because the “Du” Martin Buber intended is simultaneously personal, colloquial, intimate, and reverent.
“Alles wirkliche Leben ist Begegnung.”
“All real life is meeting.”
“All actual life is encounter.”
– quoted from Ich und Du by Martin Buber (English translations by Ronald Gregor Smith and Walter Kaufmann, respectively)
Consider that we can clearly see how falling in love with a stranger on a train – one to who we have never actually spoken – is not the same as falling in love with someone we have known all our lives. Yet, it is possible to grow up with someone and not actually know them. It is possible to live next door to someone for years and be surprised by their actions. So, it is clearly possible to marry someone and know as much about them (or as little about them) as the person who sits silently across from you during a meditation retreat – in that, we know some of their preferences and values, but we layer our impressions on top of that without knowing the inner workings of their heart and mind. Similarly, someone can marry into our family (or we can marry into theirs) and there can be an invisible barrier which prevents them from truly being family – or, we can love and accept them (be loved and accepted by them) in much the same way we love and accept someone to whom we are related by blood.
Another example would be how a parent feels about a child they adopt versus a child born from their body versus a child born to their spouse. Sure, there are less than ideal situations where there is always separation and distinction. Ideally, however, the difference a parent feels is based on personality not legality – and even then, ideally, there is love and acceptance.
Keep in mind that my examples are oversimplified. There is more to truly knowing another than time and space. We could still objectify someone and be objectified by them, no matter the time or proximity. According to Buber, moving from an “Ich und Es” relationship (to “Ich und Du”) cannot be forced. According to Buber, the change in relationship requires grace and a willingness to open to the possibility of a seamless merging, an absorption, of sorts.
And grace, which we are exploring in 2023, is often associated with faith – which is today’s point of focus for “Season of Non-violence.”
Yoga Sūtra 3.1: deśabandhah cittasya dhāranā
– “Dhāranā is the process of holding, focusing, or fixing the attention of mind onto one object or place.”
Yoga Sūtra 3.2: tatra pratyaya-ikatānatā dhyānam
– “Dhyāna is the repeated continuation, or unbroken flow of thought, toward that one object or place.”
Yoga Sūtra 3.3: tadeva-artha-mātra-nirbhāsaṁ svarūpa-śūnyam-iva-samādhiḥ
– “Samadhi [meditation in its highest form] is the state when only the essence of that object, place, or point shines forth in the mind, as if devoid even of its own form.”
Samādhi, the eighth limb of the Yoga Philosophy, is sometimes translated into English as “meditation” or “perfect meditation.” However, many traditions refer to the previous limb (dhyāna) as “mediation.” Additionally, throughout the sūtras, a distinction is made between different levels of consciousness, which Patanjali also referred to as (lower) samādhi. To distinguish the different experiences in English, some teachers will describe (higher) Samādhi as “Spiritual Absorption” or “Union with Dvine.”
No matter how it is translated, the final limb is not something that can be forced. It comes from a steady and consistent progression through the other limbs and especially through the preceding five – in that mastery of āsana (“seat” or pose) prepares one to practice prāņāyāma (awareness and control of the breath) which, over time, leads to pratyāhāra (“pulling the mind-senses from every direction to a single point”) which becomes dhāranā (“focus” or “concentration”) which, over time, becomes dhyāna (“concentration” or “meditation”) which ultimately can become Samādhi: a seamless merging of the seer and the seen.
This union between the seer and seen, is the similar to – if not exactly the same as – Martin Buber’s “Ich und Du” experience. According to Buber, life is holy and to really know one’s Self requires really knowing another and, in that knowing, one can know God / the Divine (whatever that means to you at this moment).
More often than not, to better understand the “Ich und Du” relationship, I think of Nara and Narayana, identical twins in Hindu mythology. Nara and Narayana are almost always depicted together and are identical – except that one is in a physical body and one is in a spiritual body. Nara-Narayana is referred to as “the spirit that lives on the water” or “the resting place of all living beings;” it is the ultimate goal of existence. However, until the twins become Nara-Narayana, it is Nara (in the physical body) who does the earthly work that allows for the spiritual connection. Once that connection is made, the soul is liberated and no longer burdened by the ignorance (avidyā) that leads to suffering.
“The basic word I-Thou can only be spoken with one’s whole being. The concentration and fusion into a whole being can never be accomplished by me, can never be accomplished without me. I require a You/Thou to become; becoming I, I say you.”
– quoted from Ich und Du by Martin Buber (English translation by Walter Kaufmann)
Wednesday’s playlist is available on YouTube and Spotify.
“We find, in studying history, one fact held in common by all the great teachers of religion the world ever had. They all claim to have got their truths from beyond, only many of them did not know where they got them from. For instance, one would say that an angel came down in the form of a human being, with wings, and said to him, ‘Hear, O man, this is the message.’ Another says that a Deva, a bright being, appeared to him. A third says he dreamed that his ancestor came and told him certain things. He did not know anything beyond that. But this is common that all claim that this knowledge has come to them from beyond, not through their reasoning power. What does the science of Yoga teach? It teaches that they were right in claiming that all this knowledge came to them from beyond reasoning, but that it came from within themselves.
The Yogi teaches that the mind itself has a higher state of existence, beyond reason, a superconscious state, and when the mind gets to that higher state, then this knowledge, beyond reasoning, comes to man. Metaphysical and transcendental knowledge comes to that man.”
– quoted from “Chapter VII: Dhyana and Samadhi” in The Complete Works of Swami Vivekananda, Volume 1, Raja-Yoga by Swami Vivekananda
“Love seeks one thing only: the good of the one loved. It leaves all the other secondary effects to take care of themselves. Love, therefore, is its own reward.”
– quoted from Chapter 1, “Love Can Be Kept Only by Being Given Away” in No Man Is An Island by Thomas Merton
### As they say in Zulu, “Sawubona!” [“I see you!”] and “Yebo, sawubona!” [“I see you seeing me.”] ###
### I See Du ###
Space and the Power of Hearing(s) (a special Black History note, w/a Tuesday link) February 8, 2023
Posted by ajoyfulpractice in "Impossible" People, Art, Books, Buddhism, Changing Perspectives, Dr. Martin Luther King, Jr., Faith, Gandhi, Gratitude, Healing Stories, Hope, Life, Men, Minnesota, Music, One Hoop, Pain, Peace, Poetry, Suffering, Tragedy, Wisdom, Women, Writing, Yoga.Tags: Alabama Supreme Court, Andy Wright, Beth Birmingham, Bhamwiki.com, birthdays on February 7, Black History Month, Charlie Weems, Christopher Isherwood, Civil Rights Movement, Clarence Norris, Countee Cullen, Creed Conyers, dreaming, Dred Scot, Eeva Sallinen, Ella Virginia Eaton Adams, Emily Sarmiento, Eugene Williams, Frank “Doc” Adams, Garth Brooks, Hallie Rubenhold, Haywood Patterson, HBCUs, James Baker, Laura Ingalls Wilder, Mann Act, Myal Greene, niyamas, Olin Montgomery, Oscar William Adams Jr., Oscar William Adams Sr., Ralph D. Cook, Reverend Fred Shuttlesworth, Roy Wright, Ruth Bader Ginsburg, santosha, santoşā, Scottsboro Boys, SCOTUS, Season of Non-violence, Season of Nonviolence, Sinclair Lewis, Supreme Court, Swami Prabhavananda, Tom Gordon, U. W. Clemon, Willie Roberson, yamas
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Peace and ease to all during this “Season of Non-violence” and all other seasons!
This is a special post for Tuesday, February 7th. Please note that only the Tuesday evening practice references this profile. You can request a recording of the Tuesday practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
WARNING: The following includes a recounting of the Scottsboro Boys trials.
Post revised March 2024.
“It’s a bad habit we have: We tell the tale of the murder and not the murdered.”
“I’ll also explain why my research has enraged so many people who claim to be experts in the Ripper case.”
“If you want to know how we got the Ripper story so wrong, what those mistakes tell us about ourselves, and why putting the record straight makes some people so very angry, join me, Hallie Rubenhold for Bad Women: The Ripper Retold.”
— quoted from the podcast trailer for Season 1of Bad Women: The Ripper Retold, hosted by Hallie Rubenhold
How we tell a story, especially a story about real life and real events, says a lot about how we feel about our circumstances. Same goes for what we read (if we are in the habit of reading for pleasure) and/or what other kinds of media we consume. On a certain level, it is all about escape. But, are we “escaping” because we need to decompress and give our brains a rest? Or are we “escaping” because we’re not satisfied with our lot in life? If it’s the latter, what would it take to be content, satisfied — happy even — with our lot?
These are the kinds of questions I pose during classes on February 7th. They’re questions that serve as entryways into the practice of santoşā (“contentment”), which is the second niyama (“internal observation”) in the Yoga Philosophy. (Of course, for today, you can think of it as Number 7 in the philosophy’s list of ethics.) Answering the question requires turning inward and doing a little svādhyāya (“self study”), which is the fourth niyama. One way to turn inward and take a look at yourself is to reflect on what you would do and how you would feel in certain situations. Classically, it might be understood that such reflection would be done in the context of sacred text; however, it is also possible to simply put yourself in someone else’s shoes.
For example, would you be content, satisfied — happy even, if you were a girl born in “a little house on the prairie” — or, would you dream of something more? Would you stay on the prairie, unsatisfied, like “a hard luck woman” waiting for your man? Or, would you be like Laura Ingalls Wilder (b. 02/07/1867, in Pepin Country, Wisconsin) and make your dreams come true by writing about your experiences (and all the people you knew)? Even then, how many of your dreams would need to come true for you to be grateful and, therefore, satisfied?
Or, perhaps, like Sinclair Lewis (b. 02/07/1885, in Sauk Centre, Minnesota) you were born in a northern town with “one light blinking off and on.” Would you be content, satisfied — happy even — or, would you dream of something more? Would you be the one in the song who never does the things they thought they would and never knew they could leave? Or, would you be the one, like Mr. Lewis, who left for the big city, wrote about your experiences (and all the people you knew), and became what everyone’s talking about down on Main Street? Even then, would you be grateful (and, therefore, satisfied) or would you be like Carol Milford and want to change everything?
The thing is, there is nothing wrong with dreaming, hoping, and praying for change. There is nothing inherently wrong with wanting to improve your situation and/or the situations of others. Nor is there anything wrong with wanting to change injustice laws and breakdown systems of inequity. You could be a common man, a simple man, a sweet man born in Tornado Alley — like Troyal Garth Brooks (b. 02/07/1962, in Tulsa, Oklahoma) — and dream of sharing your storytelling gifts with the world. But would you be satisfied? Would you be “happy in this modern world? Or do you need more?” And when would the “more” be enough for you to be grateful and, therefore, satisfied?
Take a moment to consider being yourself in one of those other people’s circumstances. Then, let’s go a little deeper.
Click here to read my 2021 post about practicing santoşā on the 7th.
On Monday, I referenced the daily contemplation elements offered by the Mahatma Gandhi Canadian Foundation for World Peace during this Season for Nonviolence. Remember, these are elements found in the teachings of both Mahatma Gandhi and the Reverend Dr. Martin Luther King Jr. The element for February 7th is dreaming and it brings to mind the fact that MLK (as well as Gandhi) dreamed of better worlds, more just worlds, more equitable worlds. They were committed to practicing non-violence and passive resistance, but they were not satisfied. They were not content (with the social status quo). Nor should they have been. Some things, after all, are unacceptable.
To practice santoşā, however, we must accept what is (i.e., what exists as it exists in the moment — or as we understand it to exist). Acceptance, in this case, does not mean that we just casually throw our hands up and accept violence, injustice, and inequity as basic staples of life. Neither does it mean that we ignore what is happening around us. Instead, the practice requires us to be truthful about the situation, our roles in the situation, and what we can do to change the situation. The practice also requires us to proceed with clear-minded awareness of how we are connected to everything and everybody and to be dedicated and disciplined in our practice of non-violence and non-harming. Finally, the practice requires that we practice non-attachment; meaning that we do all we can do and then let go with a kind of trustful surrender. This is basically a summary of 9 of the 10 elements that make up the ethics of the Yoga Philosophy.
The elements that make up the corner stone of the Yoga Philosophy overlap commandments found in the Abrahamic religions, precepts found in Buddhism, and values found in philosophies and indigenous religions around the world. These are shared values that stretch back into eons and yet we still have problems… big problems — which means we still need leaders, thinkers, and speakers who can hear what is needed in the world and respond wisely, safely, and justly. Such a man was born in Alabama, during the period of violence that directly preceded the Civil Rights Movement in the United States. His life and his legacy are yet another illustration of a dreamer who was not satisfied, yet made choices for which we can all be grateful.
“Editorials expressed hope that through participation in war, black citizens would gain opportunities at home. Among the outrages that the Reporter chronicled were frequent lynchings across the South, a topic that led [Oscar William Adams, Sr.] to write, ‘It is a shame before the living God and man that we should continue to preach democracy and permit such autocracy and savagery within our own borders.’”
— quoted from Bhamwiki.com (citing Gordon, Tom (May 2, 2018) “Civil decency. Human honesty.” B-Metro
Born in Birmingham, Alabama on February 7, 1925, Oscar William Adams, Jr. was the oldest of two sons born to Oscar William Adams, Sr. and Ella Virginia Adams (née Eaton). His brother, Frank “Doc” Adams became a great jazz clarinetist, saxophonist and bandleader, who was inducted into the Alabama Jazz Hall of Fame. Meanwhile, Oscar, Jr. became the first African American member of Birmingham Bar Association (in 1966) and co-founded Birmingham’s first integrated law firm and its first African American law firm. He also litigated a variety of civil rights cases before becoming the first African American to serve on an Alabama appellate court and a well respected member of the Alabama Supreme Court.
Just like with the other dreamers born on this date, to understand the story of Judge Adams, we have to look back at the causes and conditions of his circumstances — which means going a little deeper into history. And, if we are going a little deeper into Alabama history that informed the dreams of the Adams brothers, we can start with their father, Oscar William Adams, Sr., a journalist and publisher who founded The Birmingham Reporter in 1906.
Unlike Black newspapers published in the North at the time, southern media outlets like The Birmingham Reporter had to tread carefully and be circumspect in it’s coverage of race-related news. To be too critical in opinion pieces or — in many cases — too honest about the facts of certain news stories, might mean that the newspaper, the journalists, and their families could be physically attacked. By all accounts, Oscar William Adams, Sr. had a real knack for creating layouts and crafting articles that told the whole story without explicitly telling the whole story. He couldn’t always tell his readers what happened, but he could show them. He could juxtapose articles about 9 Black kids being tried for rape with articles about almost twice as many white teenagers being exonerated before a trial. His readers had to perfect the skill of reading between the lines. It was like his readers understood the practice of focusing, concentrating, and meditating on the space between the ears and the process of hearing.
“In this state of withdrawal, ‘Great Disincarnation’ the mental coverings composed of rajas and tamas dwindle away and the light of sattwa is revealed.”
— quoted from How to Know God: The Yoga Aphorisms of Patanjali (3:42), translated and with commentary by Swami Prabhavananda and Christopher Isherwood
That aforementioned example is not random; it is one of the ways Oscar William Adams, Sr. covered the Scottsboro Boys, a group of nine African Americans teenagers (age 12 – 19 years old) who were accused of raping two white women on a train full of “hoboes.” Nowadays, people might think of hoboes, tramps, and bums as one and the same. During the Great Depression, however, people very clearly understood that a hobo was someone who was traveling in order to work (but didn’t have the means to pay for their travel). On March 25, 1931, a fight broke out (in Tennessee) on a Southbound train full of Black and white hobos, because a group of white teenagers declared the train “whites only.” Even though there were reportedly the same number of hoboes of each race on the train, the white teenagers ended up leaving the train. Defeated and angry, they told the local sheriff that they had been attacked by the Black teenagers. The sheriff — plus some local residents that he deputized — intercepted the train in Paint Rock, Alabama, and arrested the Black teenagers.
They also arrested two young white women (age 17 and 21 years old).
Now, if you know anything about “bad women,” you know that two unaccompanied white women traveling in the presence of men — especially Black men — didn’t have a lot of choices. They could be labeled as prostitutes — which, in this case (because they crossed state lines) would mean they had violated The White-Slave Traffic Act of 1910, also called the Mann Act, and could face lengthy prison terms. The other option was to say they were raped. Unlike most of the men, the two women knew each other and were actually traveling together. They decided (or, possibly the older one convinced the younger one) that it was in their best interest to say they were raped. A doctor was called in to examine them, but could find no signs of rape or trauma. It would later turn out that no one could truthfully confirm if the women and the teenagers were ever even in the same car. But, none of that mattered: it was 1931; the teenagers would go to court in Scottsboro, Alabama.
At the end of three speedy trials, all eight of the nine teenagers — including one who was almost blind and another who was so disabled that he could barely walk — were convicted and sentenced to death by all-white juries. The youngest of the nine was convicted, but his trial ended in a hung jury, because they couldn’t agree on the penalty: some wanted him to receive the death penalty, despite his age. All of the cases were appealed to the Alabama Supreme Court and then the Supreme Court of the United States (SCOTUS), which overturned the convictions and sent the cases back down to Alabama. A change of venue was granted and all nine headed to court in rural Decatur, Alabama in the Spring of 1933.
Despite the decision for the cases to be re-tried, all nine were under heavy guard and the eight previously sentenced to death were in prison garb. Despite arguments from the defense attorneys (Samuel Leibowitz and Joseph Brodsky, who had also served as second chair on the earlier trials), the trials again had all-white juries. Despite the fact that the youngest of the alleged victims recanted, the defendants were again convicted. The first of the nine was convicted despite the fact that many of the jurors knew he was innocent. But, Decatur was Klan country and the Ku Klux Klan made it very clear what they thought the outcome of the trials should be and what would happen to any juror who didn’t convict and recommend the death penalty. Judge James Edwin Horton set the verdict aside and indefinitely postponed the other trials. He did this, knowing it would end his political career. He also considered a change of venue, but, in the end, the first of the Scottsboro Boys faced his third trial in Decatur.
With a new judge, but no National Guard protection, the second set of retrials took place in Winter 1933. They resulted in two more convictions. Appeals to SCOTUS, in 1935, resulted in the convictions being overturned and the Scottsboro 9 were back in court. This time, however, there was one African American juror: Creed Conyers, the first Black person to serve on an Alabama grand jury since 1877. The newly elected Attorney General served as the prosecuting attorney and the trials lasted from January of 1936 until the summer of 1937. After spending over six years in prison (as adults on death row), the legal fate of the Scottsboro Boys was as follows:
- After 4 trials, Haywood Patterson (18 when arrested) was convicted and sentenced to 75 years in prison. This was the first time a Black man in Alabama had been convicted of raping a white woman and had not received the death penalty. He escaped in 1949; end up in Michigan; but then went back to prison on a different case in 1951.
- After 3 trials, Clarence Norris (19 when arrested) was convicted and given the death penalty. His sentence was commuted in 1938; he was paroled (and jumped parole) in 1946. He was pardoned in 1976.
- After 2 trials, Charlie Weems (19 when arrested) was convicted and sentenced to 105 years. He was paroled in 1943.
- After 2 trials, Andrew “Andy” Wright (19 when arrested) was convicted and sentenced to 99 years. He was paroled; violated his parole; and then was placed on parole again (in New York) in 1950.
- During his 2nd trial, Ozie Powell (16 when arrested) was shot by a sheriff and suffered brain damage. Somehow, he pleaded guilty to assaulting an officer and received 20 years. The initial rape charges were dropped as part of his plea agreement. He was paroled in 1946.
- After 2 trials, the final prosecutor declared Olin Montgomery (17 when arrested) “not guilty” and dropped all charges.
- After 2 trials, the final prosecutor declared Willie Roberson (16 when arrested) “not guilty” and dropped all charges.
- After 2 trials, Roy Wright (12 when arrested) was deemed “too young” to be convicted and all charges were dropped.
- After 2 trials, Eugene Williams (13 when arrested) was deemed “too young” to be convicted and all charges were dropped.
NOTE: The number of trials (noted above) does not count appeals or the fact that the defendants were often in the courtroom when others were being tried. Nor does it reflect the fact that sometimes jurors were swapped (like school kids moving between classrooms). Several of the aforementioned had additional legal issues, but I have not listed them all.
In 1938, the Governor of Alabama (Bibb Graves) made plans to pardon those who were imprisoned, but changed his mind because he didn’t like their attitude and the fact that they continued to declare themselves innocent. In 2013, 82 years after they were arrested, the state of Alabama issued posthumous pardons for Haywood Patterson, Charlie Weems, and Andy Wright.
“Remembering their sharp and pretty
Tunes for Sacco and Vanzetti,
I said:
Here too’s a cause divinely spun
For those whose eyes are on the sun,
Here in epitome
Is all disgrace
And epic wrong.
Like wine to brace
The minstrel heart, and blare it into song.
Surely, I said,
Now will the poets sing.
But they have raised no cry.
I wonder why.”
— quoted from the poem “Scottsboro, Too, Is, Worth Its Song” by Countee Cullen
The trials and tribulations of the Scottsboro Boys inspired a plethora of writers, including Langston Hughes (Scottsboro Limited), Harper Lee (To Kill A Mockingbird), Ellen Feldman (Scottsboro: A Novel), Richard Wright (Native Son), Allen Ginsberg (America), Countee Cullen (“Scottsboro, Too, Is, Worth Its Song”), Jean-Paul Sartre (The Respectful Prostitute [La Putain respectueuse]), Utpal Dutta (মানুষের অধিকারে [The Rights of Man]); as well as creators of the musicals The Scottsboro Boys and Direct from Death Row The Scottsboro Boys; musicians like Lead Belly (“The Scottsboro Boys”) and Rage Against the Machine (“Scottsboro, Too, Is, Worth Its Song”); and filmmakers and political cartoonists.
The events also, inevitably, shaped the thoughts and desires of Oscar William Adams, Jr. — who would have turned 6 years old shortly before the teenagers were arrested and his father started covering the story. He was 12 (the same age the youngest had been when arrested) when the final trials concluded and around 18 (the same age the first to be convicted was when arrested) when the first man was paroled. Can you imagine what it would have been like to grow up in the Birmingham at that time? Regardless of if you visualize yourself as you are, in that situation or if you see yourself as the junior Mr. Adams, can you imagine how this situation might have informed your opinions — of yourself, of people who look like you, as well as of people who don’t look like you? Can you imagine how this situation would have informed your dreams and your decisions about the world?
And, this is all without considering “The Talk.”
I can’t imagine any Black child being satisfied with these circumstances. I can’t imagine any Black kid being content with these circumstances. I can’t imagine any Black teenager not dreaming about a better world; a more just, equitable, and peaceful world.
“The black man does not wish to be the pet of the law. The more blacks become enmeshed in meaningful positions in our society, then the more that society will be come non-discriminatory. His goals and ideals will become identical with goals and ideals of the rest of society. To insist on special treatment, and demand and get integration in other aspects of society is to pursue inconsistent approaches. If a black man is allowed to go as far as his talents will carry him, he will not need special protection from the courts. If he is not, the courts will once again be asked for special protection.”
— quoted from the special concurrence opinion for Beck v. State, 396 So. 2d 645 (1980) by Alabama Supreme Court Justice Oscar W. Adams
We can never know what dreams he would have had and decisions he would have made if Oscar William Adams, Jr. had been someone else’s son and/or had experienced Birmingham in the mid-20th century through someone else’s circumstances. What we do know is that after he graduated from high school, Mr. Adams, Jr. attended two historically Black colleges and universities (HBCUs): Talladega College, Alabama’s oldest private HBCU, where he earned a degree in philosophy (1944) and Howard University, where he earned a law degree (1947). We also know that he came back to Alabama to practice.
Soon after he graduated, Mr. Adams, Jr. was admitted to the Alabama State Bar and opened up his own private practice, where he specialized in civil rights cases. He worked very closely with the Reverend Fred Shuttlesworth, founder of the Alabama Christian Movement for Human Rights (ACMHR) and co-founder of the Southern Christian Leadership Conference (SCLC), which was instrumental in organizing the Selma-to-Montgomery marches in 1965. He became the first African American member of Birmingham Bar Association (1966) and, in 1967, he and Harvey Burg co-founded the first integrated law firm in Alabama. Two years later, in 1969, he co-founded Birmingham’s first African American law firm with James Baker, an Ivy League lawyer from Philadelphia. The firm became known as Adams, Baker & Clemon, when the original partners were joined by U.W. Clemon, who would become a lot of notable firsts (including Alabama’s first African American federal judge).
Throughout his career as an attorney in private practice, Oscar William Adams, Jr. litigated various kinds of cases on behalf of Martin Luther King Jr. and the National Association for the Advancement of Colored People (NAACP), as well as cases focused on school desegregation (e.g., Armstrong v. Board of Education of City of Birmingham, Ala., 220 F. Supp. 217 (N.D. Ala. 1963)); discrimination cases (e.g., Terry v. Elmwood Cemetery, 307 F. Supp. 369 (N.D. Ala. 1969) and Pettway v. AMERICAN CAST IRON PIPE COMPANY, 332 F. Supp. 811 (N.D. Ala. 1970)); and voting rights cases.
He became the first African American to serve on an Alabama appellate court on October 10, 1980, when an Alabama Supreme Court justice retired due to health issues. Eleven days before he was sworn in, the court heard arguments for Beck v. State, 396 So. 2d 645 (1980), a case about the death penalty and how it was applied. The court’s decision would include a history of the death penalty in Alabama and highlight a period of injustices. However, the court’s statement that “during part of Alabama’s history, [what offenses authorized the imposition of death] reflected the interaction and relative position of the races, especially during the period prior to the Civil War, when slaves and free Negroes were admittedly singled out for special treatment insofar as capital punishment was concerned. Nevertheless, with that one exception…” made it sound as if the death penalty was rarely applied to innocent people purely based on their race — completely negating the fact that (in their lifetimes) it had been thusly applied multiple times. Mr. Adams, Jr. was sworn in on December 17th, listened to a recording of the argument and, two days later, wrote a special concurrence. It was his first official statement from the bench.
“In the early seventies, blacks argued for bifurcated jury trials, and this Court today has mandated such for the State of Alabama. In the seventies, blacks asked that sentences for rape and other offenses be not discriminatorily and freakishly imposed.”
— quoted from the special concurrence opinion for Beck v. State, 396 So. 2d 645 (1980) by Alabama Supreme Court Justice Oscar W. Adams
After completing the remaining two years of the unexpired term he had assumed, he decided to run for the office. The largest bar associations endorsed him, rather than his white counterparts, and in 1982, he became the first African American to be elected (by popular vote) to a statewide constitutional office in Alabama. He served on the Alabama Supreme Court until October 31, 1994, when retired from the bench. After his retirement from being behind the bench, he returned to the front: working with the Birmingham law firm of White, Dunn & Booker (now White, Arnold & Dowd). He also served as co-chairman of the Second Citizens’ Conference on Judicial Elections and Campaigns.
Oscar William Adams Jr. was replaced with the state’s second African American Supreme Court Justice, Ralph D. Cook. It would make for a great story if, in the intervening years — between 1980 and 1994 and between 1994 and today — more African American lawyers had become judges who became justices in the state of Alabama. That would be super satisfying.
Unfortunately, I can’t truthfully tell that story.
Associate Justice Cook retired from the bench in 2001. John H. England Jr served as a justice on the Alabama Supreme Court justice from 1999 until 2001. (His son, John H. England, III is one of a handful of African American judges serving in Alabama’s federal courts.) According to the Brennan Center for Justice’s 2022 update, Alabama is currently one of 28 states with no Black justices. Furthermore, it is one of six states where Black residents make up at least 10% of the population. Specifically, 35% of Alabama’s population is classified as people of color and 27% of the total population identifies as Black. Yet, all nine of the Supreme Court justices, all five members of the Court of Criminal Appeals, and all five of the Court of Civil Appeals are white.
Quite often, when statistics like these are presented, some people will say representation doesn’t matter as much as education and experience. Well, I am just grateful that more and more people are getting the education and the experience that puts them in the pipeline. That appreciation for the way things are changing is part of the practice of santoşā. If you ask me if I am actually satisfied and content to wait, I can honestly say that I have no choice; because I can’t (directly) do anything about it. And that acceptance (and awareness of what is and is not in my control) is the non-attachment part of the practice.
Of course, the next logical question is: Well, when will you be satisfied? When will you be content? When posed with a similar question, SCOTUS associate justice Ruth Bader Ginsberg had a pretty succinct answer. I’m not sure if it would be my answer; but it is worth considering what the country would be like — what the world would be like — if the tables turned.
“Supreme Court Justice Ruth Bader Ginsburg famously said, ‘I’m sometimes asked, “When will there be enough [women on the Supreme Court]?” And I say when there are nine. People are shocked. But there’d been nine men, and nobody’s ever raised a question about that.’
Asking, ‘How diverse is diverse enough?’ still represents a tick–the–box mentality rather than embracing the types of cultural, innovation, and bottom–line changes we have described here. When organizations start to embrace the breakthrough diversity can represent, we can move beyond thinking about quotas and targets. The real change we are talking about takes us far past ‘the one/the few’ to as many hires as it takes to create a culture of belonging and move our sector into the future.”
— quoted from “What Is Diverse Enough” in “Chapter 4. A Clear Case” of Creating Cultures of Belonging: Cultivating Organization where Women and Men Thrive by Beth Birmingham and Eeva Sallinen Simard (forward by Myal Greene and Emily Sarmiento)
PRACTICE NOTES: I don’t necessarily have a standard sequence for a February 7th practice, but it is a practice that leans towards having a fair amount of balance. Sometimes, after completing a portion of the practice, I pose the questions, “Would you be satisfied if this was the end of the practice? Would you grateful (if you got what you needed), or would you still be wishing, hoping, praying for what you wanted? What would cause you to be more grateful and, therefore, more joyful?”
Every once in a while, I’ll even throw in a tolāsana (scale pose).
### 7 of 9 (1857) ###
Salt of the Earth (a special Black History note for Monday) February 7, 2023
Posted by ajoyfulpractice in "Impossible" People, Books, Buddhism, Changing Perspectives, Dharma, Dr. Martin Luther King, Jr., Faith, Food, Gandhi, Healing Stories, Health, Hope, Life, Lorraine Hansberry, Music, New Year, One Hoop, Pain, Peace, Pema Chodron, Philosophy, Religion, Science, Suffering, Tragedy, Wisdom, Women, Writing, Yin Yoga, Yoga.Tags: Ahiṃsā, Ahimsa, Alaska-Yukon-Pacific Exposition, Arun Gandhi, birthdays on February 6, Black History Month, commandments, Constance Allen Pitter Thomas, Edward A. Pitter, Female Genital Mutilation, FGM, Great Depression, HBCUs, Howard University, Inez Maxine Pitter Haynes, International Day of Zero Tolerance for Female Genital Mutilation, Juana Racquel Royster Horn, King Abdullah II of Jordan, Lincoln School of Nursing, Marjorie Allen Pitter, Marjorie Allen Pitter King, Mary T. Henry, nursing, precepts, salt, Salt Satyagraha, Season of Non-violence, Season of Nonviolence, Seattle Washington, The Gospel According to Matthew, United Nations, United Nations General Assembly, University of California LA, University of Washington, World Interfaith Harmony Week, yamas, Yoga Sutra 2.35
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Peace and ease to all during this “Season of Non-violence” and all other seasons!
This is a special post for Monday, February 6th. You can request a recording of the Monday practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
WARNING: A portion of this post refers to Female Genital Mutilation (FGM), but there is an opportunity to skip that section.
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. Donations are tax deductible.
Check out the “Class Schedules” calendar for upcoming classes.
“Next to air and water, salt is perhaps the greatest necessity of life. It is the only condiment of the poor. Cattle cannot live without salt. Salt is a necessary article in many manufactures. it is also a rich manure.
There is no article like salt, outside water, by taxing which the State can reach even the starving millions, the sick, the maimed and the utterly helpless. The salt tax constitutes the most inhuman poll tax that the ingenuity of man can devise.”
– quoted from a letter by M. K. Gandhi, printed in Young India, Vol. XII, Ahmedabad: February 27, 1930
Some people laughed when Mohandas Karamchanda Gandhi decided salt would be the focus of a direct action, non-violent mass protest. People who are world leaders today scoffed, because they didn’t get it and they didn’t have his insight and vision. However, Gandhi wasn’t the first radical leader to emphasize the importance of salt. Jesus did it, in the Gospel According to Matthew (5:13 – 14), when he referred to his disciples as “the salt of the earth” and “the light of the world.” In both cases, the teacher whose name would become synonymous with a worldwide religious movement indicated that there was a purpose, a usefulness, to the disciples and their roles (as salt and as light). I think it’s important to remember that Jesus was speaking to fishermen, farmers, and shepherds – people who were intimately familiar with the importance of salt (and light). They knew that (different kinds of) salt can be used for flavoring, preservation, fertilization, cleansing, and destroying, and that it could be offered as a sacrifice. They knew, as Gandhi would later point out, that people in hot, tropical climates needed salt for almost everything – including healing.
Gandhi’s “audience” was different. He was living in a time of industrialization and the beginnings of these modern times in which we find ourselves. He knew that people laughed and scoffed, because they didn’t completely understand the usefulness and vitalness of salt. He understood that some people took salt for granted and, even within the pages,, he debated with experts about the benefits and risks of salt consumption. He also knew that some people – inside and outside of British-ruled India – just didn’t get the inhumanity of charging people a tax for something that they could obtain (literally) outside their front door; something that was part of the very fiber of their being.
Remember, the human body is 60 – 75% water… and most of that water is saturated with salt.
“Such a universal force [Satyagraha] necessarily makes no distinction between kinsmen and strangers, young and old, man and woman, friend and foe. The force to be so applied can never be physical. There is in it no room for violence. The only force of universal application can, therefore, be that of ahimsa or love. In other words it is soul force.
Love does not burn others, it burns itself.”
– quoted from “Some Rules of Satyagraha” by M. K. Gandhi, printed in Young India, Vol. XII, Ahmedabad: February 27, 1930
(NOTE: The general explanation and rules were followed by a section of rules of conduct for various situations, including for “an Individual” and for “a Prisoner.”)
As I mentioned last week, Gandhi’s grandson (Arun Gandhi) established the “Season for Nonviolence” (January 30th through April 4th) in 1998. The Mahatma Gandhi Canadian Foundation for World Peace offers daily practices based on principles of nonviolence advocated by Mahatma Gandhi (who was assassinated on January 30, 1948) and Reverend Dr. Martin Luther King Jr. (who was assassinated on April 4, 1968). We could think of these principles as little bits of salt, sprinkled throughout the days, but the thing to remember is that these principles are not unique to one culture, one philosophy, or one religion. Neither did these two great leaders/teachers invent these ideas. Ahiṃsā (non-violence or “non-harming”) is the very first yama (external “restraint” or universal commandment) in the Yoga Philosophy and one of the Ten Commandments according the Abrahamic religions. It is also one of the Buddhist precepts. Courage, smiling, appreciation, caring, believing, simplicity, education – the principles of the first week of the “Season for Nonviolence” – all predate Gandhi and MLK; they also predate Jesus. So, too, does today’s principle: Healing.
Healing is also the focus of people who are wrapping up World Interfaith Harmony Week (WIHW), which was first proposed by King Abdullah II of Jordan in 2010. The United Nations (UN) General Assembly adopted Resolution 65/5 on October 10, 2010, and designated the first week of February as a time to promote a culture of peace and nonviolence “between all religions, faiths, and beliefs.” This year’s theme is “Harmony in a World in Crisis: Working together to achieve peace, gender equality, mental health and wellbeing, and environmental preservation” and it stresses the fact that we are all better equipped to deal with future pandemics and natural catastrophes when we come together and work together.
Of course, future pandemics and natural catastrophes are not the only things that plague the world. We also have human-made disasters and catastrophic events. We’re still dealing with some of the same things Gandhi and MLK – even Jesus – fought: people who who would take away another person’s ability to be a healthy, thriving, human being. Again, we could look back at salt… or basic civil rights… or we could look at what it (sometimes) means to be like August Wilson’s Risa, “a woman in the world.”
While I do not go into explicit details, you may skip to the next big banner quote if needed.
In addition to being the penultimate day of World Interfaith Harmony Week (WIHW), February 6th is also International Day of Zero Tolerance for Female Genital Mutilation. Designated by the UN in 2012, this annual day of events aims to amplify and direct the efforts on the elimination of the practice of FGM, which is defined by the UN as “all procedures that involve altering or injuring the female genitalia for non-medical reasons and is recognized internationally as a violation of the human rights, the health and the integrity of girls and women.” People who endure FGM face short-term complications such as severe pain, shock, excessive bleeding, infections, and difficulty in passing urine, as well as long-term consequences for their sexual and reproductive health and mental health. According to the UN, 4.32 million girls around the world who are at risk of undergoing FGM and approximately 1 in 4, or 52 million worldwide, experience FGM at the hands of a medical professional.
This is not a new practice. In fact, when I was in college (about 30 years ago) I had an argument with a male student who insisted there was no such thing as FGM. He was white, from America, and (to my knowledge) had not experienced much outside of his lived experience. He only knew what it was like to be him. If I could go back, and have that discussion again, I might dig a little deeper into why he was in such denial about something that (to date) has been experienced by at least 200 million living people. NOTE: That statistic only refers to survivors.
While the UN acknowledges that cultures are different and that all are in “constant flux,” the General Assembly also recognizes that, in order for cultures to survive, the people within a society must be able to thrive, enjoy basic human rights, and have the physical and mental wellness to reach their potential. Any one of us can think of this as someone else’s problem, but the truth is that (on some level) this is everyone’s problem to solve. In fact, UN Secretary-General António Guterres called, “on men and boys everywhere to join me in speaking out and stepping forward to end female genital mutilation, for the benefit of all.”
The good news is that FGM has declined, globally, over the last 25 years and a girl is one-third less likely to experience FGM than 30 years ago. All the good news category: more awareness means that healthcare professionals are in a better position to help FGM survivors heal from the physical, mental, and/or emotional trauma.
Yoga Sūtra 2.35: ahimsāpratişţhāyām tatsannidhau vairatyāgah
– “In the company of a yogi established in non-violence, animosity disappears.”
Healing begins with people. I’ve seen this up close and personal all of my life, because I grew up around healers. My father taught in medical schools and ran research labs. My mother was a hospital administrator. Her mother went to nursing school with at least one of her sister-in-laws and a couple of her future neighbors. For the most part, they all went to HBCUs (Historically Black Universities and Colleges) in the South, because the times – and the laws at the time – didn’t give them a whole lot of other options. In some ways, my grandmother and her peers would have had very similar experiences as Black nursing students before and after them. In some ways, however, their experiences would have been very different – again, because of the opportunities that were available (or not available to them) based on the color of their skin. For instance, the nurses in my family definitely had to overcome obstacles, but (maybe) not the same walls that Inez Maxine Pitter Haynes had scale in order to become a nurse.
Born February 6, 1919, in Seattle, Washington, Inez Maxine Pitter Haynes was the second of three girls born to Edward A. Pitter and Marjorie Allen Pitter. Mr. Pitter was born in Jamaica (like Bob Marley, who was born 2/6/1945) and came to the United States in as a captain’s steward during the 1909 Alaska-Yukon-Pacific Exposition. After leaving his position on the passenger ship, he became a King County Clerk and then a book editor and publisher. He also worked with the Democratic Party (the Colored Democratic Association of Washington). Mrs. Pitter was a direct descendent of Richard Allen, founder of the African Methodist Episcopal Church in Philadelphia, and she knew how to protect her family against the hostilities they encountered. Their daughters (Constance, Maxine, and Marjorie) grew up in the tightknit household that emphasized elegance and education.
“Marjorie Pitter King remembered, ‘Politics opened doors for us and was very helpful. During the Christmas vacations, we were able to work at the post office and earn money to help with our schooling. It also helped my father obtain his job because he had been working on WPA (Works Progress Administration) projects. Then he went from there to deputy sheriff.’ (Horn)”
– quoted from “King, Marjorie Edwina Pitter (1921-1996)” by Mary T. Henry, posted on historylink.org (Juana Racquel Royster Horn cited)
All three of the Pitter girls graduated from high school and made their way to the University of Washington. Like a lot of students, especially during the Great Depression, the sisters had financial struggles. To alleviate their economic problems, the youngest of the three (Marjorie) proposed that they go into business together doing things they had learned how to do at home: typing, printing, and writing speeches. They called their business “Tres Hermanas” or “Three Sisters” – and it would have been nice if all of their troubles could have been resolved through hard work. Unfortunately, -isms and -phobias don’t work that way.
All three of the sisters had to deal with racism that manifested as name-calling and teachers ignoring them. Then, they each had their individual crosses to bear. Constance Allen Pitter Thomas, the oldest of the sisters, graduated with a Bachelor of Arts in theatre and became a student teacher in the Seattle School District, but was not offered a permanent position for many years. When she was finally offered a regular position by the school district, it was as a speech therapist. She worked with students with special needs for 18 years.
Marjorie Edwina Pitter King, the youngest of the three sisters, struggled academically and then struggled because there weren’t very many women in accounting – let alone Black women. She ended up transferring to Howard University in 1942, for her senior year; but then dropped out of school and went to work for the Pentagon (during World War II). Eventually, she got married, started a family and moved back to Seattle, where she started a successful tax company. M and M Tax and Consultant Services worked with clients all along the continental coast and Mrs. Pitter King’s support extended to language translation and letter writing. She also became the first African American to be appointed to the Washington State Legislature (in 1965); served as Chair of the 37th District Democratic Party; Vice President of the King County Democratic Party; and Treasurer of the Washington State Federation of Democratic Women, Inc. While attending the 1972 Democratic National Convention, she helped draft the National Democratic Party Platform.
Then there was Maxine… the darkest-skinned of the three sisters… who wanted to be a nurse.
“It was 1939 in Seattle, and although the city had none of the formal ‘Jim Crow’ segregation laws common in the South, the result was often the same.
Being black and finding a job often meant menial work and a lower standard of living. For some black people, discrimination crushed any hope of working at all.”
– quoted from the article in The Seattle Times entitled “Seattle In The Old Days: No ‘Jim Crow’ Laws, But Blacks Were Held Back Just The Same” by Daryl Strickland (dated Jun 27, 1994)
Like her sisters, Inez Maxine Pitter Haynes enrolled at the University of Washington. She enrolled as a pre-nursing student, but then she was rejected by the the Nursing School, because the degree required nursing students to be housed in Harborview Hall – and the Dean of Nursing would not allow an African American student to live with the white students. The future Mrs. Pitter Haynes had no choice, but to change her major during her junior year. She ended up graduating from the University of Washington, in 1941, with a degree in sociology. Then, she moved to New York City and enrolled at Lincoln School of Nursing where she earned the first of two degrees in nursing. She earned her second degree, a masters in nursing, at the University of California, Los Angeles (UCLA) and worked in the city of angels before moving back to Seattle.
Maxine Pitter Haynes become the first African American nurse at Providence Hospital (now Swedish Medical Center/Providence Campus). She also served as education director for the Odessa Brown Children’s Clinic and taught at Seattle Pacific University, from 1976, until she retired in 1981 as professor emeritus.
But, in the middle of all of that, in 1971, she went back to the University of Washington… as an assistant professor at the same nursing school that had turned her away because of her skin color.
We can look at that as progress and/or we can flip the coin and look at that as healing.
“Wounding and healing are not opposites. They’re part of the same thing. It is our wounds that enable us to be compassionate with the wounds of others. It is our limitations that make us kind to the limitations of other people. It is our loneliness that helps us to find other people or to even know they’re alone with an illness. I think I have served people perfectly with parts of myself I used to be ashamed of. ”
– Rachel Naomi Remen (b. 2/8/1938) as quoted in At Your Service: Living the Lessons of Servant Leadership by Charles E. Wheaton
PRACTICE NOTES: I decided to focus this practice on the ways the body naturally heals: with a little yin and a little yang; a little action/resistance and passive/resting. There was some dynamic motion (to engage the sympathetic nervous system) and also moments of resting and relaxing (to engage the parasympathetic nervous system). In a practice like this, I also highlighted ahimsa (as I did above) and different techniques for relaxing and getting “unhooked,” including the practice of cultivating the opposites.
I have several playlists related to Gandhi, MLK, and ahiṃsā. However, if I were going to put together a playlist specifically for today, I would throw in a little Bob Marley (see reference above) plus some Schumann played by Claudio Arrau (b. 2/6/1903), something by Natalie Cole (b. 2/6/1950), and – if I had the time – I’d look for something appropriate from the soundtracks of one of Robert Townsend’s movies (b. 2/6/1957). Also, cause I’m silly (and I could make it work), I might throw in the Guns N’ Roses cover of “Every Rose Has Its Thorn” (cause, Axl Rose, b. 2/6/1962); however, I might toss it into the before/after music along with this little ditty on YouTube, by an artist born 2/6/1966.
### “Unforgettable / That’s what you are” ~ Nat King Cole & Natalie Cole ###
Observing the Conditions… of the Light (the “missing” Sunday post) February 5, 2023
Posted by ajoyfulpractice in Art, Books, Buddhism, Changing Perspectives, Depression, Faith, Food, Healing Stories, Hope, Life, Loss, Love, Music, New Year, One Hoop, Philosophy, Suffering, Wisdom, Writing, Yoga.Tags: Chinese, Da Shuhua, Dashuhua, Dongfang Shuo, dumplings, fireworks, John Jeffries, Lantern Festival, Lunar New Year, pinyin, Spring Festival, tangyuan, Vipassanā, Wang De, weather, Year of the Cat, Year of the Rabbit, Yuan Xiao
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Happy Lantern Festival! Happy Carnival! Peace and ease to all during this “Season of Non-violence” and all other seasons!
This is the “missing” post for Sunday, February 5th, which is also the 15th and final day of the Spring Festival. Most of the information below was posted in some way, shape, or form in 2021 and 2022; however the view may be different now. You can request a related recording 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.
“Always old, sometimes new…”
– a riddle* (read post for clues, see the end for the answer)
Philosophically speaking, part of our yoga practice is about bring awareness to what we know – or what we think we know – about ourselves and the world around us. Once we do that, we have begun the process of recognizing how what we know or think we know determines our actions, our thoughts, our words, our deeds. Our beliefs influence the we interact with ourselves, with others, and with our environment. Once we really get into it, we also start to notice when – or if – we incorporate new information into our belief system; thereby adjusting our actions as we grow and mature.
At some point, we may start to notice how our experiences shape our beliefs and how our experiences and beliefs determine what we chose to do on any given day. Hopefully, we also recognize that other people make other choices based on the their beliefs and experiences. If we can see that, be open to the reality of that, and maybe dig a little deeper into that reality, we gain better understanding of ourselves (and maybe of the world). In other words, we gain insight.
Vipassanā is a Buddhist meditation technique that has also become a tradition. It literally means “to see in a special way” and can also be translated as “special, super seeing.” In English, however, it is usually translated as “insight.” This insight is achieved by sitting, breathing, and watching the mind-body without judging the mind-body. Part of the practice is even to recognize when you are judging and, therefore, recognizing when you are getting in your own way. This can be seen as a (non-religious) form of discernment – which also requires observation – all of it is part of our yoga practice.
Of course, there are times when what we are feeling and/or the way we are feeling makes it hard to see clearly – which make me think about it the way we think about the weather.
“From the Balloon above the Clouds
Let this afford some proof, my dear Mr. Thayer, that no separation shall make me unmindful of you, — have confidence, — happier, I hope much happier days await you — pray tell my dear Mrs T. I salute her from the Skies… [this section illegible except for the word “pleasure”]… believe me as I ever have been,
faithfully yours,
J. Jeffries”
– quoted from Dr. John Jeffries letter sent via “airmail” to Mr. Arodie Thayer, November 30, 1784, as posted “Attention, Aerophilatelists” by Peter Nelson (on The Consecrated Eminence: The Archives and Special Collections at Amherst College, 4/16/2012)
We talk about the weather all the time – and sometimes with limited knowledge of why we’re experiencing the weather we’re experiencing. Sometimes we are prepared for what’s to come; sometimes not. Sometimes we rely on professionals, and all their science and math and theories, to predict what to expect. Sometimes we trust the almanac (and the history of precedent and “superstition”). Other times, we feel more confident relying on our achy bones; the smell of the air; the pressure in our head/sinuses; and/or a certain kind of restlessness. Of course, sometimes, we observe all that and still ignore the observation.
John Jeffries, born in Boston today (February 5th) in 1744, is considered America’s first weatherperson (even though he was loyal to the crown and would be banished from the new republic because of his loyalties). His birthday is observed (mostly in the United States) as National Weatherperson’s Day, which recognizes professionals in the meteorology, weather forecasting, and broadcast meteorology, as well as volunteer storm spotters, chasers, and observers.
The original Dr. Jeffries (not to be confused with his son, he became a famous ophthalmic surgeon) was a physician, a scientist, and a military surgeon who served with the British Army. A graduate of Harvard College (1763) and the University of Aberdeen, he started taking daily measurements of the Boston weather in 1774. He would eventually take weather observations from a balloon piloted by the French inventor Jean Pierre Blanchard on November 30, 1784 and a second trip on January 7, 1785. On the first trip, the duo flew over London to Stone Marsh, Kent. On the second trip they flew from England to France. In addition to making weather and atmospheric observations, Dr. Jeffries dropped four letters from the balloon on that first trip. Three of the letters were delivered to the appropriate recipients. The letter addressed to Mr. Arodie Thayer is now “considered the oldest piece of airmail in existence.”
“We buy blood oranges and tiny green lentils from a jar, chestnuts, winter pears, winy little apples, and broccoli, which I’ve never seen in Italy before. ‘Lentils for the New Year,’ she tells us.”
– quoted from “Green Oil” in Under the Tuscan Sun by Frances Mayes
The opposite of John Jeffries “airmail” might be the orange “mail” floating some rivers today. As I mentioned over the last two weeks, some people celebrate the Lunar New Year for a handful of days and then go back to their regular routines. For some, however, there’s the Spring Festival: a 15-day celebration that culminates with the Lantern Festival. The Lantern Festival takes place on the first full moon of the Lunar New Year, which is tonight. One of traditional custom turns the event into something similar to modern-day Valentine’s Day. Traditionally, women would write their contact information on oranges and then toss the oranges in the river where men would scoop them up. Then, the men would eat the oranges. A sweet orange meant the couple could potential have a good relationship, but a bitter orange meant the match was best avoided.
The oranges in the river make for a pretty sight, but that’s not the main focus of the Lantern Festival – nor is it the most spectacular. In fact, weather permitting, anyone observing areas celebrating the Lantern Festival would primarily notice cities, towns, and villages adorned in red lanterns and lit up… almost like everything is on fire.
There are several different legends associated with the Lantern Festival. In one story, the Emperor Ming of the Eastern Han Dynasty wanted every person in every class to honor the Buddha as the monks would on the fifteenth day of the year. According to another story, Dongfang Shuo (a scholar and court jester) came upon a homesick maiden from the palace. To console her and lift her out of her despair, he told the young lady that he would reunite her with her family. Then he dressed up like a fortune teller and told everyone who came to his stall that they must beg the “red fairy” for mercy on the thirteenth day of the new year. If they didn’t ask for mercy, everything would burn down in a couple of days.
When the maiden, Yuan Xiao, appeared all dressed in red, people flocked to her. The only thing the surprised maiden could think to do was say that she would take a message to the emperor. Of course, Dongfang had already “tricked” the emperor and convinced him to tell Yuan Xiao to make her trademarked sweet-rice dumplings called tangyuan, because they were the favorite dessert of the God of Fire.
The whole town, and people from surrounding towns, came together to make the dumplings as a tribute to the God of Fire. As word spread, more people came – including Yuan Xiao’s family. And this is why Dongfang Shuo’s plan was so clever: In Chinese, the dumplings are 湯圓 or 汤圆 (pinyin: tāngyuán), which sounds like 團圓 or 团圆 (pinyin: tuányuán), which means “union.” While the round dumplings are enjoyed at a variety of events and festivals throughout the year, they are a staple during the Lantern Festival, which is actually 元宵節 or 元宵节 (pinyin: Yuánxiāo jié) – Yuan Xiao’s Festival.
“‘When you see it, it’ll affect you profoundly…’”
– Wang De quoted in the Feb. 19, 2019, The Strait Times article entitled “Blacksmiths keep alive the flame of China’s molten steel ‘fireworks’”
There are more variations on this theme, but the legend with which I am most familiar, and the one I share in the practice, is the story of the Jade Emperor and his favorite bird, a crane. This crane was beautiful and unlike any other bird or species. In some stories, the ruler of heaven and earth decided to treat people with a glimpse of the exotic bird. In other versions of the story, the crane got discombobulated and flew close to the earth. Either way, what happened next is why we can’t have nice things: Someone shot the exotic bird.
The Jade Emperor was furious and decided to send down fire breathing dragons to destroy the towns and villages. However, the Jade Emperor’s daughter warned the townsfolk and someone suggested that if they lit lanterns, started bonfires, and set off fireworks, the dragons – who are not very smart in these stories – would think everything was already on fire. The trick worked… on the dragons. The Jade Emperor was not tricked, but his anger had passed and he decided to offer a little compassion to the people on Earth.
To this day, people carry on the tradition of lighting up the skies. Traditionally, lanterns are made of paper, wooden, or jade. Some people will spend months designing and creating delicate lanterns that they will enter into competitions. Other people will make simple lanterns or purchase fancy store-bought lanterns. In addition to the plethora of basic red lanterns, there will also be animal-shaped lanterns – the most popular of which are in the shape of the animal of the year. Many of the lanterns will have riddles at the bottom – which adds to the fun, because if you know the answer to the riddle you can go find it’s owner and they will give you tangyuan (those sweet dumplings that sound like “union”) as a reward.
In addition to the lanterns, there are bonfires, fireworks, and a 300-plus years old tradition called Da Shuhua.
Da Shuhua is one of the English spellings for 打树花 (dǎshùhuā in pinyin), which is a 300-500 years old tradition handed down through families of blacksmiths in China´s northern Hebei province. It is sometimes referred to as the poor man’s fireworks, because it is produced from scrap metal that people in the remote village of Nuanquan give to the local blacksmiths. Dressed in straw hats, sheepskin jackets, and protective eyewear, the blacksmiths and their assistants melt down the scraps and then the blacksmiths throw the molten liquid up against a cold stone wall. When the liquid metal – which can reach up to 2,900 degrees Fahrenheit (1,600 degrees Celsius) – hits the cold wall, sparks fly.
The spectacular display looks like a blossoming tree and so the name of the art form translates into English as “beating tree flowers.” Although there are a few other places in China where this art form is showcased, it is traditional to Nuanquan. There is a square in the remote village (“Tree Flower Square”), which was specifically built to hold tourists who travel to the village to see the display. In addition to three days of performances at the end of the Spring Festival, the tradition is also performed during the Dragon Boat Festival. Also called Double Fifth Festival, this second event takes place on the fifth day of the fifth month of the Lunar New Year (June 22nd, of this year).
Although UNESCO (United Nations Educational, Scientific and Cultural Organization) designated Da Shuhua as a prime example of China and Hebei province’s intangible cultural heritage, the tradition may be dying out. In 2019, there were only four blacksmiths trained in the art form and the youngest was 50 years old. Wang De, one of the four, had trained his youngest son; however, like so many of the younger generations, his son moved to the big city and started working in a different industry. His concerns, and hopes, for his legacy are not unlike those of his ancestors.
“‘It’s extremely dangerous and it doesn’t make much money,’ said Wang, who also farms corn to supplement his blacksmith’s income.
[…] Still, Wang De is hopeful he will return to keep the flame alive.
‘When we no longer can pull this off, people can learn from him. I have this confidence that (Da Shuhua) will be passed on.’”
– quoted from the Feb. 19, 2019, The Strait Times article entitled “Blacksmiths keep alive the flame of China’s molten steel ‘fireworks’”
Sunday’s playlist is available on YouTube and Spotify. [Look for “Lantern Festival 2023”]
*RIDDLE NOTE: The riddles at the bottom (or sometimes underneath) the lanterns, are literally called “riddles written on lanterns,” but are sometimes referred to as “tiger riddles,” because solving them (in Chinese) is akin to wrestling a tiger. They often have three parts: the riddle, a hint or suggestion (which is that the answer is in the post), and the answer. In this case, I took a page from Dongfang Shuo’s book and only gave you part of an English riddle so that instead of having one definite answer, there are three possible answers. Highlight the space between the hashtags for the answers.
### The moon (which is the original answer), a bit of history you didn’t know, and a legend from a culture with which you are unfamiliar. Let me know if you got the answer(s)! ###
FTWMI: Speaking of Rivers… (in the new year) February 1, 2023
Posted by ajoyfulpractice in "Impossible" People, Art, Books, Changing Perspectives, Healing Stories, Hope, Langston Hughes, Life, Music, New Year, One Hoop, Pain, Poetry, Suffering, Wisdom, Writing, Yoga.Tags: Black History Month, Carter G. Woodson, Year of the Cat, Year of the Rabbit
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Happy New Year! Happy Carnival! Peace and ease to all during this “Season of Non-violence” and all other seasons!
For Those Who Missed It: A versions of the following information was posted in 2021 and 2022. Class details and links have been updated. Please note that the eleventh day of the Lunar New Year is mostly a “break day,” although some people will honor their son-in-laws.
“I’ve known rivers:
I’ve known rivers ancient as the world and older than the flow of human blood in human veins.
My soul has grown deep like the rivers.”
– from the poem “The Negro Speaks of Rivers” by Langston Hughes
Since 1976, February 1st has marked the beginning of Black History Month in the United States of America. I always found it curious: Why February, the shortest month of the year (even during leap years)? I sometimes wondered if the reason had anything to do with Langston Hughes, who was born today in 1901.*
Born James Mercer Langston Hughes, the poet was a prominent member of the Harlem Renaissance and the first Black American to earn a living solely from writing and public lectures. In addition to poetry (including jazz poetry, which he started writing in high school), he wrote novels, plays, essays, and letters…so many letters. He wrote so many letters, in fact, that at one point he was writing 30 – 40 letters a day and, by the end of his life, he could have filled 20 volumes of books with his letters.
He traveled the world, wrote about his experiences in Paris, Mexico, West Africa, the Azores and Canary Islands, Holland, France, Italy, the Soviet Union, and the Caribbean – but he always came home to Harlem. After all, his patrons were in Harlem. They were also, in many ways, his inspiration, the very people about whom he said that he wrote: “workers, roustabouts, and singers, and job hunters on Lenox Avenue in New York, or Seventh Street in Washington or South State in Chicago—people up today and down tomorrow, working this week and fired the next, beaten and baffled, but determined not to be wholly beaten, buying furniture on the installment plan, filling the house with roomers to help pay the rent, hoping to get a new suit for Easter—and pawning that suit before the Fourth of July.” He made a name for himself specifically writing about the Black experience, but (in doing so) he wrote about the American experience.
“Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That’s American.”
– quoted from the poem ”Theme for English B” by Langston Hughes
Being an African-American born at the beginning of the 20th Century meant that Mr. Hughes could easily trace his heritage back to slavery. Both of his paternal great-grandmothers were enslaved and both of his paternal great-grandfathers owned enslaved people. However, he could also trace his heritage to freedom and to a time when there was no question about freedom – as well as the time when people appreciated their freedom in new ways.
His maternal grandmother, Mary Patterson, was African-American, French, English, and Indigenous American. She was also the first woman to attend Oberlin College. She married a man, Lewis Sheridan Leary, also of mixed heritage, who died in 1859 while participating in John Brown’s raid on Harpers Ferry and eventually married her second husband, Charles Henry Langston. The senior Langston, along with his brother John Mercer Langston, was an abolitionist and leader of the Ohio Anti-Slavery Society, who would eventually become a teacher and voting rights activist. The Langstons’ daughter, Caroline (Carrie), would become a school teacher and the mother of the great poet.
“So boy, don’t you turn back.
Don’t you set down on the steps
’Cause you finds it’s kinder hard.
Don’t you fall now—
For I’se still goin’, honey,
I’se still climbin’,
And life for me ain’t been no crystal stair.”
– quoted from the poem “Mother to Son” by Langston Hughes
Raised primarily by his mother and maternal grandmother, Langston Hughes showed a definite talent and interest in writing at an early age. He was also devoted to books. Despite being academically inclined, he struggled with the racism in school – even when it seemed to benefit him – because he couldn’t escape the misconceptions, marginalization, and oppression that came with the stereotypes.
Still, he persisted. He attended Lincoln University, a Historically Black College and University (HBCU) in Chester County, Pennsylvania, where he was the classmate of the then-future Supreme Court Justice Thurgood Marshall. And, when he had the opportunity to share his poetry with a popular white poet, whose poetry “sang” (and was meant to be sung), he took advantage of the moment – even though he was working as a busboy at a New York hotel where the poet (Vachel Lindsay) was having dinner.
“I dream a world where all
Will know sweet freedom’s way,
Where greed no longer saps the soul
Nor avarice blights our day.
A world I dream where black or white,
Whatever race you be,
Will share the bounties of the earth
And every man is free,”
– quoted from “I Dream A World” by Langston Hughes
Langston Hughes and his words left an indelible mark on the world. As Black History Month is all about recognizing African-Americans who were influential to our society – but not always recognized by society; it’s not surprising that I often wondered if Langston Hughes’s birthday being on the 1st was the reason Black History Month is in February. Well, as it turns out, it’s just one more example of serendipity.
Created in 1926 by Carter G. Woodson, an African-American historian who was the son of formerly enslaved people, the annual celebration initially started as “Negro History Week” – and it was the second week in February for fifty years. Mr. Woodson started the week so that it coincided with the birthday of President Abraham Lincoln (2/12/1809) and the observed/assumed birthday of Frederick Douglass (2/14/1818), the abolitionist, who escaped slavery at the age of 20. The existence of this heritage month has inspired so many heritage and cultural observation throughout the year that the calendar, in some ways, reflects the United States: diverse and (academically) segregated. It has also changed the way some aspects of American history are taught.
“I look at my own body
With eyes no longer blind—
And I see that my own hands can make
The world that’s in my mind.
Then let us hurry, comrades,
The road to find.
– quoted from the poem “I look at the world” by Langston Hughes
Please join me today (Wednesday, February 1st) at 4:30 PM or 7:15 PM for a yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You will need to register for the 7:15 PM class if you have not already done so. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Wednesday’s playlist is available on YouTube and Spotify. [Look for “Langston’s Theme for Jimmy 2022”]
*2022 NOTE: According to most printed biographies (that I checked), Langston Hughes was born in 1902. However, many digital sources indicate that he was born in 1901 – and this earlier date is based on research and fact checking reported for the New York Times by Jennifer Schuessler (in 2018). Curiously, the 1940 census listed his birth as “abt 1905;” however, this information would have been given to a census taker by one of the poet’s roommates. (Additionally, we know from one his poems that Langston Hughes didn’t think very highly of the “census man” and the accuracy of census information.)
In the spirit of generosity (“dana”), the Zoom classes, playlists, 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 to Common Ground are tax deductible; class purchases are not necessarily deductible.)
Revised 2/2023.
### KEEP ON A-CLIMBIN’ ON ###
A Kitchen Story (or 2) on Day 4 (the “missing” Wednesday post) January 26, 2023
Posted by ajoyfulpractice in Books, Changing Perspectives, Confessions, Depression, Healing Stories, Hope, Life, Loss, Meditation, Movies, Music, New Year, One Hoop, Pain, Philosophy, Suffering, Tragedy, Vipassana, Wisdom, Women, Writing, Yoga.Tags: asana, Dr. Toya Webb, hatha yoga, Hatha Yoga Pradipika, Kitchen God, Lunar New Year, Metta, Michael Cunningham, Pancham Sinh, Patanjali, priviledge, Spring Festival, Virginia Woolf, Year of the Cat, Year of the Rabbit, Yoga Sutras 2.51-2.52
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“Happy (Lunar) New Year!” and “Happy Carnival!” to those who are celebrating.
This is the missing post for Wednesday, January 25th. Like the playlist, this is a remix of 2022 posts (one of which was a remix from 2021). If you click on the link in the “CODA, redux,” please note that the beginning is similar (but the posts are different).
You can request an audio recording of this 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\. Donations are tax deductible.
Check out the “Class Schedules” calendar for upcoming classes.
CODA, redux
Do you ever think about what yoga and Virginia Woolf have in common? No? Just me? Ok, that’s fine; it’s not the first time – and will not be the last time that I make what, on the surface, appears to be a really random connection. It’s not even the first (and probably won’t be the last) time this week. However, whenever I circle back to this practice and this theme, I found myself thinking about different similarities. Last year, I found myself thinking a little more about mental health and the implications of having space, time, and the other resources to focus, concentrate, contemplate, and meditate. This year, I find myself thinking more about what it takes to tell our stories and the vantage point(s) from which we tell our stories – especially the stories we tell about our defining moments.
“A writer is a person who sits at a desk and keeps his eye fixed, as intently as he can, upon a certain object—that figure of speech may help to keep us steady on our path if we look at it for a moment. He is an artist who sits with a sheet of paper in front of him trying to copy what he sees. What is his object—his model?”
“A writer has to keep his eye upon a model that moves, that changes, upon an object that is not one object but innumerable objects. Two words alone cover all that a writer looks at—they are, human life.”
– quoted from the essay “The Leaning Tower (A paper read to the Workers’ Educational Association, Brighton, May 1940.)” as it appears in The Moment and Other Essays by Virginia Woolf
We all have defining moments in our lives. These may be moments that we use to describe the trajectory of our lives or maybe moments that we use to describe ourselves. Either way, when a single moment plays a big part in who we are and what’s important to us, we sometimes forget that that single moment – as important as it may be – is part of a sequence of moments. It is the culmination of what’s happened before and the beginning of what happens next; it’s just a single part of our ever-changing story. Even when – or especially when – that moment is the story, we have to be careful about how we frame it. It doesn’t matter if we are telling our story or someone else’s story; how we tell the story matters.
For a lot of people who are celebrating the Lunar New Year, the fourth day is the day when things start going back to normal (whatever that is these days). People go back to work and back to school. People who were able to travel to see family start heading back home (or are already home). Even though those celebrating the Spring Festival for 15 days, will reign in the festivities a bit. However, each day still has significance and special rituals. For instance, the fourth day of the Lunar New Year is not only the birthday of all sheep (in some Chinese traditions), it is also the day when the Kitchen God returns to the hearth.
According to one set of stories, the Kitchen God was at one time a man who, after gaining a certain amount of power and wealth, abandoned his first wife and married a younger woman. Years after the original couple divorced, the man fell on hard times. He lost his wealth, his power, his second wife, and his eyesight. He became a beggar on the streets. One day, the stories tell us, the man’s first wife saw her former husband begging in the streets. She was a woman of great kindness and compassion and so she invited him to her simple home and offered him a shower, some food, and a moment of warmth by the fire.
Remember, the old man could no longer see and didn’t know that this generous woman was the same woman he had treated so poorly. Full, clean, and sitting by the fire, however, he started to talk about his first wife. He lamented about his first marriage and the life they could have had if he hadn’t dumped her. In the process of soothing her now sobbing former husband, the woman revealed her identity and said that she forgave him. Miraculously, the man was suddenly able to see; but he was so distraught that he threw himself into the kitchen stove.
Legend has it, the woman could only save his leg – which became the fireplace poker – and the man became the “Kitchen God,” who leaves the kitchen alter just before the New Year and returns to heaven in order to give the Jade Emperor an accounting of each household’s activities during the previous year. In the final days of the old year, people will clean up their homes – so the alter(s) will be ready for the return of the gods and ancestors – and, sometimes, smear honey on the lips of the Kitchen God so that his report is extra sweet. Then the Kitchen God and other household gods return on the fourth day of the New Year.
I always imagine that some years the Kitchen God’s report is really, really, wild. Can you imagine? Seriously, imagine what he would say about the way we have treated each other over the last few years. Sure, some of us might not be portrayed too badly; but others of us….
More to the point, consider what happens when the Kitchen God’s report includes an update about someone’s defining moment(s). Just imagine a report from the beginning of 1882 (which would have been the end of the year of the snake); the fall of 1928 (year of the dragon); Spring of 1940 (year of the dragon); and the beginning of 2008 (the year of the boar). Imagine, even, the report from 1941 (another year of the dragon). What hard truths would have been in those reports?
“But the leaning-tower writers wrote about themselves honestly, therefore creatively. They told the unpleasant truths, not only the flattering truths. That is why their autobiography is so much better than their fiction or their poetry. Consider how difficult it is to tell the truth about oneself—the unpleasant truth; to admit that one is petty, vain, mean, frustrated, tortured, unfaithful, and unsuccessful. The nineteenth-century writers never told that kind of truth, and that is why so much of the nineteenth-century writing is worthless; why, for all their genius, Dickens and Thackeray seem so often to write about dolls and puppets, not about full-grown men and women; why they are forced to evade the main themes and make do with diversions instead. If you do not tell the truth about yourself you cannot tell it about other people.”
– quoted from the essay “The Leaning Tower (A paper read to the Workers’ Educational Association, Brighton, May 1940.)” as it appears in The Moment and Other Essays by Virginia Woolf
Born Virginia Stephen in Kensington, England, on January 25, 1882, Virginia Woolf wrote nine novels (including one published shortly after her death), five short story collections (most of which were published after her death), a hybrid novel (part fiction, part non-fiction), three book-length essays, a biography, and hundreds of articles, reviews, and essays. Some of her most famous essays and speeches addressed the labor of writing – telling stories – and why (in the Western canon) there were so few accomplished female writers. For instance, In October 1928, she gave two speeches to two different student societies at Newnham College and Girton College, which at the time were two of the all-women colleges at the University of Cambridge. (NOTE: Newnham is still an all-women’s college. Girton started accepting men in 1971 and started allowing men to be “Mistress,” or head of the college, in 1976.)
These speeches about women and fiction specifically detailed why there were so few women writers who had earned acclaimed (and, to certain degree, why those that did often did so anonymously or with “male” names). She highlighted the absurd trichotomy between the two wildly archetypical ways women are portrayed in literature and the reality of the very different types of women in the room, let alone in the world. She also speculated about the works that might have come from a woman (say, in Shakespeare’s time) who had a helpmate to take care of the cooking, cleaning, children, and other household business. In addition to talking about the social constraints that prevented a woman from devoting copious time to the practical application of her craft – writing, she also discussed the social constraints and inequalities that could result in what would amount to writer’s block. All this, she detailed, even before she addressed the issue of a market place predisposed to highlight male writers. All this, she detailed, as she highlighted two (really three) of the things a woman would need to overcome the obstacles of society: (time), space, and money.
“… a woman must have money and a room of her own if she is to write fiction…”
– quoted from the essay “A Room of One’s Own,” as it appears in A Room of One’s Own And, Three Guineas by Virginia Woolf
“surājye dhārmike deśe subhikṣhe nirupadrave |
dhanuḥ pramāṇa-paryantaṃ śilāghni-jala-varjite |
ekānte maṭhikā-madhye sthātavyaṃ haṭha-yoghinā || 12 ||
The Yogī should practise [sic] Haṭha Yoga in a small room, situated in a solitary place, being 4 cubits square, and free from stones, fire, water, disturbances of all kinds, and in a country where justice is properly administered, where good people live, and food can be obtained easily and plentifully.”
– quoted from “Chapter 1. On Āsanas” of the Haţha Yoga Pradipika, translated by Pancham Sinh (1914)
When I first started going deeper into my physical practice of yoga, I looked into some of the classic texts within the tradition. One of those texts was the Haţha Yoga Pradipika (Light on the Physical Practice of Yoga), a 15th Century text that focuses on āsanas (“seats” or poses), prāņāyāma (breath awareness and control), mudrās (“seals” or “gestures”), and Samādhi (that ultimate form of “meditation” that is absorption). Throughout the text, and in particular in the chapter on mudrās, there is a breakdown of how energy, power, or vitality moves through the body and the benefits of harnessing that power.
I would eventually appreciate how the text is almost a summary of the earlier Yoga Sūtras, but (as an English lit major), what first struck me was how similar Virginia Woolf’s advice to women writers were to these early instructions about a practice that can be used to cultivate clarity and harness the power of the mind. Additionally, the practice requires – nay demands – that we sit and turn inward (in order to consider our perspectives and vantage points), just as Ms. Woolf’s essays highlighted the importance of noticing a writer’s seat.
“But before we go on with the story of what happened after 1914, let us look more closely for a moment, not at the writer himself; nor at his model; but at his chair. A chair is a very important part of a writer’s outfit. It is the chair that gives him his attitude towards his model; that decides what he sees of human life; that profoundly affects his power of telling us what he sees. By his chair we mean his upbringing, his education. It is a fact, not a theory, that all writers from Chaucer to the present day, with so few exceptions that one hand can count them, have sat upon the same kind of chair—a raised chair. They have all come from the middle class; they have had good, at least expensive, educations. They have all been raised above the mass of people upon a tower of stucco—that is their middle-class birth; and of gold—that is their expensive education…. Those are some of them; and all, with the exception of D. H. Lawrence, came of the middle class, and were educated at public schools and universities. There is another fact, equally indisputable: the books that they wrote were among the best books written between 1910 and 1925. Now let us ask, is there any connection between those facts? Is there a connection between the excellence of their work and the fact that they came of families rich enough to send them to public schools and universities?”
– quoted from the essay “The Leaning Tower (A paper read to the Workers’ Educational Association, Brighton, May 1940.)” as it appears in The Moment and Other Essays by Virginia Woolf
According to Virginia Woolf, there was an undeniable connection between wealth, the education that wealth, and the success of [male] English writers in the eighteenth, nineteenth, and early twentieth centuries. She saw that common thread of privilege as the very foundation of (and secret to) these writers’ success and described it as a tower, stating, “He sits upon a tower raised above the rest of us; a tower built first on his parents’ station, then on his parents’ gold. It is a tower of the utmost importance; it decides his angle of vision; it affects his power of communication.” She also saw it as a blind spot (for such writers and society) and noted that the tower stood strong well into the twentieth century. While the writers supported by this metaphorical tower sometimes had empathy for those less fortunate than them, she observed that they had no desire to dismantle the tower or descend from it’s heights. Furthermore, the tower (and lack of awareness about it) perpetuated misconceptions about women and about why there were not more women – nor more people from lower income brackets – in the ranks of acclaimed authors.
Here is where I see another similarity between yoga and Virginia Woolf’s work, because some people have misconceptions about what it means to practice yoga, what happens when you practice yoga, who practices yoga, and why people practice yoga. For instance, while the instruction for the Haţha Yoga Pradipika instructed a person to practice when they were “free from…disturbances of all kinds” (HYP 1.12); “free from dirt, filth and insects” (HYP 1.13); and “free from all anxieties” (HYP 1.14), the vast majority of people practicing in the modern world do so in order to free themselves from the various maladies that plague them. More often than not, these types of misconceptions stem from a lack of knowledge about the history and practice of yoga. Unfortunately, that lack of knowledge often causes people to not practice and/or to judge people for practicing.
Just as Virginia Woolf addressed misconceptions about women in her essays and fiction, the translator Pancham Sinh addressed some misconceptions about people who practice yoga and the practice of prāņāyāma in an introduction to the Haţha Yoga Pradipika. Part of the introduction is an admonishment to people who would study the practice, but do not practice it, stating, “People put their faith implicitly in the stories told them about the dangers attending the practice, without ever taking the trouble of ascertaining the fact themselves. We have been inspiring and expiring air from our birth, and will continue to do so till death; and this is done without the help of any teacher. Prāņāyāma is nothing but a properly regulated form of the otherwise irregular and hurried flow of air, without using much force or undue restraint; and if this is accomplished by patiently keeping the flow slow and steady, there can be no danger. It is the impatience for the Siddhis which cause undue pressure on the organs and thereby causes pains in the ears, the eyes, the chest, etc. If the three bandhas be carefully performed while practicing [sic] the Prāņāyāma, there is no possibility of any danger.”
Siddhis are the powers or “accomplishments” achieved from continuous practice. They range from being able to extend peace out into the world and understanding all languages; to being able to levitate and know the inner workings of another’s heart and mind; to the six “powers unique to being human.” Bandhas are “locks” and refer to internal engagements used to seal sections of the body in order to control the flow of prāņā. The three major bandhas referred to in the text are the same engagements I encourage when I tell people to “zip up” and engage the pelvic floor and lower abdominal cavity (mūla bandha), the mid and upper abdominal cavity (uḍḍīyana bandha), and the throat (jālandhara bandha). I typically refer to a fourth – pada bandha – which is a seal for the feet; however, in classical texts the fourth bandha is the engagement of the three major bandhas (root, abdominal, and throat) at the same time.
Before anyone gets it twisted, let’s be clear that this introduction is not advice to grab a book and follow instructions without the guidance of a teacher. In fact, Pancham Sinh specifically advised people to find a teacher who practiced and indicated that while one could follow the directions from a (sacred) book, there are some things that cannot be expressed in words. There are some things that can only be felt.
This is consistent with Patanjali’s explanation that the elements and senses that make up the “objective world” can be “divided into four categories: specific, unspecific, barely describable, and absolutely indescribable.” (YS 2.19) That is to say, there are some things that have specific sense-related reference points; some things that can be referred back to the senses, but only on a personal level; some things that have no reference points, but can be understood through “a sign” or comprehension of sacred text; and some things which cannot be described, because there is no tangible reference point and/or “sign” – there is only essence. To bring awareness to all of these things, we “sit and breathe” (even when we are moving).
“athāsane dṝdhe yoghī vaśī hita-mitāśanaḥ |
ghurūpadiṣhṭa-mārgheṇa prāṇāyāmānsamabhyaset || 1 ||
Posture becoming established, a Yogî, master of himself, eating salutary and moderate food, should practise [sic] Prâṇâyâma, as instructed by his guru.”
– quoted from “Chapter 2. On Prāņāyāma” of the Haţha Yoga Pradipika, translated by Pancham Sinh (1914)
Yoga Sūtra 2.51: bāhyābhyantaravişayākşepī caturthah
– “The fourth [prāņāyāma] goes beyond, or transcends, the internal and external objects.”
Yoga Sūtra 2.52: tatah kşīyate prakāśāvaraņam
– “Then the veil over the [Inner] Light deteriorates.”
“Unconsciousness, which means presumably that the under-mind, works at top speed while the upper-mind drowses, is a state we all know. We all have experience of the work done by unconsciousness in our own daily lives. You have had a crowded day, let us suppose, sightseeing in London. Could you say what you had seen and done when you came back? Was it not all a blur, a confusion? But after what seemed a rest, a chance to turn aside and look at something different, the sights and sounds and sayings that had been of most interest to you swam to the surface, apparently of their own accord; and remained in memory; what was unimportant sank into forgetfulness. S it is with the writer. After a hard day’s work, trudging round, seeing all he can, feeling all he can, taking in the book of his mind innumerable notes, the writer becomes—if he can—unconscious. In fact, his under-mind works at top speed while his upper-mind drowses. Then, after a pause the veil lifts; and there is the thing—the thing he wants to write about—simplified, composed. Do we strain Wordsworth’s famous saying about emotion recollected in [tranquility] when we infer that by [tranquility] he meant that the writer needs to become unconscious before he can create?”
– quoted from the essay “The Leaning Tower (A paper read to the Workers’ Educational Association, Brighton, May 1940.)” as it appears in The Moment and Other Essays by Virginia Woolf
When we “sit and breathe” a lot of things bubble up: thoughts, emotions, sensations, memories. Part of the practice is noticing what comes up and part of the practice is remaining the witness to what comes up (rather than engaging every little fluctuation of the mind). Contrary to some popular misconceptions, people who practice feel a lot – they’re just not always distracted by every thing they feel. Instead, they allow the different thoughts, emotions, sensations, and memories to pass back and forth between their conscious, subconscious, and unconscious mind until the busy brain rests. They are not constantly cataloging what is specific, what is unspecific, what is barely describable, and what is absolutely indescribable; however, they are aware of all of these categories as they experience them.
One of the things we can feel, but not touch, is emotion. Emotions can come with visceral experiences and, in that way, can fall into the “unspecific” category. More often than not, however, what we feel is “barely describable” (or even indescribable) – and yet, writers are always trying to describe or capture the essence of what is felt. Virginia Woolf constantly endeavored to describe what she felt and what she felt she saw others feeling. Even more salient, she often focused on the disconnection between what her characters felt and what they could describe about what they felt. The author’s efforts were hindered, or aided (depending on one’s viewpoint), by the fact that she experienced so much trauma and heartbreak; much of which led to emotional despair.
“I feel a thousand capacities spring up in me. I am arch, gay, languid, melancholy by turns. I am rooted, but I flow.”
– quoted from “Susan” in The Waves by Virginia Woolf
Click here if you want to read the 2022 post that details some of Virginia Woolf’s trauma and heartbreak.
“vapuḥ kṝśatvaṃ vadane prasannatā
nāda-sphuṭatvaṃ nayane sunirmale |
aroghatā bindu-jayo|aghni-dīpanaṃ
nāḍī-viśuddhirhaṭha-siddhi-lakṣhaṇam || 78 ||
When the body becomes lean, the face glows with delight, Anâhatanâda manifests, and eyes are clear, body is healthy, bindu under control, and appetite increases, then one should know that the Nâdîs are purified and success in Haṭha Yoga is approaching.”
– quoted from “Chapter 1. On Āsanas” of the Haţha Yoga Pradipika, translated by Pancham Sinh (1914)
“The human frame being what it is, heart, body and brain all mixed together, and not contained in separate compartments as they will be no doubt in another million years, a good dinner is of great importance to good talk. One cannot think well, love well, sleep well, if one has not dined well.”
– quoted from the essay “A Room of One’s Own,” as it appears in A Room of One’s Own And, Three Guineas by Virginia Woolf
The Air I Breathe, one of my favorite movies, was released in the United States January 25, 2008. Inspired by the idea that emotions are like fingers on a hand, the main characters are known to the audience as Happiness, Pleasure, Sorrow, Love, and Fingers – and their stories are interconnected, even though they don’t necessarily realize it. In fact, some of the most desperate actions in the movie are motivated by fear and a sense of isolation. Promotional materials for the movie proclaimed, “We are all strangers / We are all living in fear / We are all ready to change” and in the movie Happiness asks, “So where does change come from? And how do we recognize it when it happens?” Happiness also says, “I always wondered, when a butterfly leaves the safety of its cocoon, does it realize how beautiful it has become? or does it still just see itself as a caterpillar? I think both the statement and the questions could be applied to so many, if not all, of Virginia Woolf’s characters. They could also be applied to all of us in the world right now.
This time of year, the statements and the questions also remind us that change happens every time we inhale, every time we exhale – and we can make that change happen.
“‘For,’ the outsider will say, ‘in fact as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world.’ And if, when reason has had its say, still some obstinate emotion remains, some love of England dropped into a child’s ears… this drop of pure, if irrational, emotion she will make serve her to give to England first what she desires of peace and freedom for the whole world.”
– quoted from the novel-essay “Three Guineas,” as it appears in The Selected Works of Virginia Woolf by Virginia Woolf
As I have mentioned before, I consider the 8-Limbed Yoga Philosophy to have very real-time, practical applications and I normally think of the physical practice as an opportunity to practice, explore, and play with the various elements of the philosophy. I will even sometimes use aspects of alignment as a metaphor for situations in our lives off the mat. Given this last year the last few years, however, I have really started to consider how āsana instructions from classic texts like The Yoga Sūtras of Patanjali and the Haţha Yoga Pradipika, can be more practically applied to the most basic aspects of everyday life.
- For instance, if we spend our time on the mat cultivating a “steady/stable, comfortable/easy/joyful” foundation in order to breathe easier and more deeply, doesn’t it make sense to spend some time cultivating the same type of foundation in our lives?
- Going out a little more, if we do not have the luxury or privilege of practicing “in a country where justice is properly administered, where good people live, and food can be obtained easily and plentifully,” doesn’t it behoove us to create that land?
- Finally, what happens if we (to paraphrase yoga sūtras 2.46-47) establish a baseline for stability and then loosen up a little bit and focus on the infinite? Patanjali and the authors of the other sacred texts told us we would become more of who we are: leaner in body, healthier, brighter, more joyful, “clearer, stronger, and more intuitive.” In other words: peaceful and blissful.
“lōkāḥ samastāḥ sukhinōbhavantu”
– A mettā (loving-kindness) chant that translates to “May all-beings, everywhere, be happy and be free.”
Wednesday’s playlist is available on YouTube and Spotify.
“You cannot find peace by avoiding life.”
– quoted from The Hours: a novel by Michael Cunningham
If you are thinking about suicide, worried about a friend or loved one, or would like emotional support, you can dial 988 (in the US) or call 1-800-273-TALK (8255). You can also call the TALK line if you are struggling with addiction or involved in an abusive relationship. The Lifeline network is free, confidential, and available to all 24/7. YOU CAN TALK ABOUT ANYTHING.
If you are a young person in crisis, feeling suicidal, or in need of a safe and judgement-free place to talk, you can also click here to contact the TrevorLifeline (which is staffed 24/7 with trained counselors).
“Realize that there is freedom in telling your story and that there is power in your words.”
– quoted from the November 2018 TedxDelthorneWomen talk entitled, “Change Your Perspective and Change Your Story” by Dr. Toya Webb
### BRING AWARENESS TO YOUR SEAT! ###
Our Rabbit Time, Our Cat Story (the “missing” Sunday post) January 22, 2023
Posted by ajoyfulpractice in Books, Buddhism, Changing Perspectives, Faith, Healing Stories, Life, Loss, Love, Music, New Year, Philosophy, Wisdom, Writing, Yoga.Tags: Anne Birrell, Charles Spurgeon, Lunar New Year, Reverend Charles Spurgeon, Richard Freeman, Sam Hui, Spring Festival, Swami J, Swami Jnaneshvara, Thornton Wilder, Year of the Cat, Year of the Rabbit
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“Happy (Lunar) New Year!” to those who are celebrating.
This is the “missing” post for Sunday, January 22nd. You can request an audio recording the related 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.
“Our claim, our hope, our despair are in the mind – not in things, not in ‘scenery.’ Molière said that for the theatre all he needed was a platform and a passion or two. The climax of this play needs only five square feet of boarding and the passion to know what life means to us.”
– quoted from the “Preface” of Three Plays: Our Town, The Matchmaker, and The Skin of Our Teeth by Thornton Wilder
What does life mean to you? More specifically, what does your life mean to you and how are you spending this time you have been given? How could you spend your time in a way that reflects what your life means to you?
I ask some variation of these questions on a fairly regular basis. People all over the world may ask themselves some variation of these questions during moments of great upheaval, moments of great challenge, and/or moments of great change. These questions are at the heart of most works by Thornton Wilder, but are especially poignant and salient in his 1938 Pulitzer Prize-winning play Our Town, which premiered today in 1938, at the McCarter Theater in Princeton, New Jersey, and then opened in Boston before its Broadway premiere at Henry Miller’s Theatre on February 4, 1938.
In the preface to a collection of three of his plays, Thornton Wilder not only indicated what he was doing with his work, but why he was doing it. He wrote, “Every action which has ever taken place – every thought, every emotion – has taken place only once, at one moment in time and place. ‘I love you,’ ‘I rejoice,’ ‘I suffer,’ have been said and felt many billions of times, and never twice the same. Every person who has ever lived has lived an unbroken succession of unique occasions. Yet the more one is aware of this individuality in experience (innumerable! innumerable!) the more one becomes attentive to what these disparate moments have in common, to repetitive patterns.” Then he questioned how we tell our stories – our truths – and how different mediums have different powers. Theatre, he believed, elevates individual experiences to universal experiences in a way that transcends single moments in time.
Our Town is a play-within-a-play, with the “external” play taking place in the theater where the play is being presented and the “interior” play taking place in Grover’s Corners, New Hampshire (beginning on May 7, 1901). In addition to the Stage Manager, who “breaks the fourth wall” by introducing the audience to the scenario and offering commentary throughout the play, Our Town focuses on the inhabitants of Grover’s Corners. In particular, it focuses on young Emily Webb and George Gibb.
The young couple do things that many people do in the span of 12 years. They grow up, they fall in love, they get married, they start a family. They also lose people they love. In fact, the final act of the play takes place on a hilltop cemetery overlooking the town and is all about loss. It begins with the Stage Manager’s monologue about all the things that changed –as well as all the things that stayed the same – between the second act and the summer of 1913, which marks the end of the play. It references many people who died before the play every began and older characters that died during the time period of the play. Then the Stage Manager gets to one of the great tragedies of the play: young Emily Webb died giving birth to her second child. When Emily is given the chance to re-experience one single moment of her life, she chooses her 12th birthday.
“EMILY…. – (She flings her arms wide in an ecstasy of realization) Oh, earth, you’re too wonderful for anyone to realize you! (Thinking a moment, she half-turns to the STAGE MANAGER, questioning more gently:) Does any human beings ever realize life while they live it – every, every minute?
STAGE MANAGER. (Quietly) No – Saints and poets maybe – they do some.”
– quoted from Act III of Our Town by Thornton Wilder
For many people around the world, including the people in the fictional Grover’s Corners, birthdays are a time of celebration. A time when family and friends gather together to celebrate someone and to wish them well as the begin their next journey around the sun. The older a person gets – the more they live – the more likely they are to not only celebrate, but also to reflect. The longer someone lives they more opportunities they have to look back at how they have spent their time and consider how they want to move forward. Birthdays, after all, are liminal moments, threshold moments, and – when we think of them as personal new year’s days – they are new beginnings.
Of course, any time we are beginning, we must ask ourselves, “How do we begin?”
“STAGE MANAGER…. How do such things begin? George and Emily are going to show you now the conversation they had when they first knew that – as the saying goes – they were meant for one another. But before they do that I want you to try and remember what it was like to have been very young, and particularly the days when you were first in love; when you were like a person sleep-walking, and you didn’t quite see the street you were walking in, and you didn’t quite hear everything that was said to you. You’re just a little bit crazy. Will you remember that, please?”
– quoted from Act II of Our Town by Thornton Wilder
The following is a revised excerpt from the post dated February 1, 2022. It includes some year-specific revisions.
“May all of us together be protected;
may all of us together be nourished;
may we work together with great energy;
my our study together be brilliant and effective;
may we not hate or dispute with one another;
may there be peace within us, peace all around us, peace to and from everything and everyone we encounter.”
– “Teaching Santipat,” Sanskrit chanting by Richard Freeman (when we are in the studio)
On a certain level, there is always a question about how to begin… anything.
Just sticking to the physical practice for the moment, though: Is it best to begin in Child’s Pose, which by it’s simple physicality requires us to turn (and curl) inward? Or is it better to begin on one’s back, which promotes a certain amount of openness? Both have symbolic benefits as they relate to our lives and our practice – as does starting in a seated position on our sits-bones, which can also cultivate mindful awareness and a certain openness to wisdom. Having options, and being aware of the different benefits of the options, is a wonderful thing and I general encourage people to start where they are comfortable. However, I usually have a suggestion. After all, the beginning is an indication of how we mean to go forward.
In Chapter 17 of All of Grace, the Reverend Charles Spurgeon wrote, “Begin as you mean to go on, and go on as you began, and let the Lord be all in all to you.” Known as “the Prince of Preachers,” The Reverend Spurgeon was an English Particular Baptist, who was specifically offering advice about “The Fear of Final Falling,” or not being able to persevere on a righteous path; however, a lot of people consider his advice as applicable to all situations. Even if you are not particularly religious (or not religious at all), it would behoove you to start – anything – by connecting with the breath (which is a symbol of your life-force and your spirit) and letting that connection be your guide as you move forward.
Naturally, that is one aspect of how every physical practice of yoga begins. But, many practices also start with a chant – or you can think of it as an intention, a wish, or even a prayer or blessing. When I am leading the practice, I generally start with an English translation of the “Teaching Shantipat.” It is a very definitive declaration of how I would like to move forward. Every once in a blue moon, I use a meditation chant from Swami Jnaneshvara, that is specific to deep-seated mediation. Then too, there are times when the occasion calls for a big welcome or cheer – that sometimes comes in a different language.
“财神到 财神到
Caishen dao caishen dao [The god of wealth has come! The god of wealth has come!]
好心得好报
Hao xinde hao bao [Good news]
财神话 财神话
Caishenhua caishenhua [Myth of money, myth of money]
揾钱依正路
wen qian yi zhenglu [if you follow the right path]”
– quoted from the song “Cai Shen Dao” [“The God of Wealth Has Come!” by Sam Hui, lyrics in Hanzi [Chinese characters], pīnyīn [“spelled sounds”], and English
Today is the beginning of the Lunar New Year. While many East and Southeast Asian cultures celebrate at the same time – and even though there are some similarities to celebrations held at other times of the year – each culture has different rituals and traditions that connect people with their extended families, ancestors, and heritage. For example, the Chinese lunisolar calendar designates this year is the year of the (water) Rabbit/Hare. In Vietnam, however, people are celebrating the year of the Cat (which is the only major deviation in the two Zodiacs).
In parts of China and the diaspora, the beginning of the New Year is also the beginning of the Spring Festival, a fifteen day celebration that culminates with the Lantern Festival. Even though each day of the Lunar New Year has a special significance, each region has different stories and traditions related to that significance. For example, according to one Chinese creation story, different animals are celebrated depending on when they were created; thus, today is the birthday of all chickens. Others are celebrating the birthday of the water god and, therefore, will not wash their hair or their clothes on the first two days of the new year. Some Buddhist people celebrate the birth of Maitreya Buddha on the first day of the lunar new year and spend New Year’s Day, as well as several days leading up to the first day, chanting, praying, and/or meditating (depending on their beliefs). People will also light candles and make offerings at the temple before their feasting begins.
Even though there are some differences between regions and cultures, there are some common elements. The Lunar New Year celebrations generally include extended family coming together; the welcoming of ancestors and (in some households) the welcoming of household deities (like the water god); red clothes, red decorations, and red envelopes; fireworks, parades, and loud noises, a bit of feasting, and (of course), the wish, prayer, blessing, or shout for prosperity: “Cai Shen Dao! [The God of Wealth has come! in Mandarin]”
Since the (secular) Gregorian calendar is a solar calendar, the Lunar New Year falls at different times according to the Western schedule. As I mentioned before, this year’s Spring Festival coincides with the premiere anniversary of Our Town, a play that offers us all some great reminders about what it is good to remember as we move forward:
“STAGE MANAGER….. – Now there are some things we all know but we don’t take’m out and look at’m very often. We all know that something is eternal. And it ain’t houses and it ain’t names, and it ain’t earth, and it ain’t even the stars . . . everybody knows in their bones that something is eternal, and that something has to do with human beings. All the greatest people ever lived have been telling us that for five thousand years and yet you’d be surprised how people are always letting go of that fact. There’s something way down deep that’s eternal about every human being.”
– quoted from Act III of Our Town by Thornton Wilder
Sunday’s playlist is available on YouTube and Spotify.
“When the firstborn, P’an Ku [a primordial being in Chinese mythology], was approaching death, his body was transformed. His breath became the wind and clouds; his voice became peals of thunder…. All the mites on his body were touched by the wind [his breath] and evolved into the black-haired people. (Wu yun li-nien chi, cited in Yu shih, PCTP 1.2a)”
– quoted from Chinese Mythology: An Introduction by Anne Birrell
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.)
### “…my advice to you is not to inquire why or whither, but just enjoy your ice cream while it is on your plate; that’s my philosophy.” ~ from The Skin of Our Teeth by Thornton Wilder ###
No Zoom practices today, but, FTWMI: Searching…. January 18, 2023
Posted by ajoyfulpractice in 9-Day Challenge, Art, Books, Healing Stories, Life, Love, Mathematics, Meditation, Movies, Music, One Hoop, Philosophy, Poetry, Vairagya, Wisdom, Writing, Yoga.Tags: A. A. Milne, Christopher Robin Milne, E. H. Shephard, H. G. Wells, John Donovan, Maurice Sendak, Robert Cormier, Zena Sutherland
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Due to technical issues, I am cancelling today’s classes. If you are on the Wednesday list, I will send you previously recorded practices.
For Those Who Missed It: The following was originally posted in 2022. You can request an audio recording of the 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.)
“As soon as Rabbit was out of sight, Pooh remembered that he had forgotten to ask who Small was, and whether he was the sort of friend-and-relation who settled on one’s nose, or the sort who got trodden on by mistake, and as it was Too Late Now, he thought he would begin the Hunt by looking for Piglet, and asking him what they were looking for before he looked for it.”
*
– quoted from “Chapter Three, In Which – A Search is Organdized, and Piglet Nearly Meets the Heffalump Again” in The House at Pooh Corner by Alan Alexander Milne, with decorations by Ernest Howard Shephard
Similar to The House at Pooh Corner (published in 1928), this post begins with an end note; but, let’s not call it that. Let’s call it a Side Note. See, when I’ve used quotes in class in the past, I don’t always cite chapter and verse. That’s not the point of the practice. However, now that I’m blogging more, recording classes, and posting a video or two, I feel that due diligence is required. Ergo, I make an effort to search for precise sources. It takes some time and effort, but the internet makes things easier than when I was doing such research in school and it’s super nice when I actually have hard copies (and/or paperback or electronic copies) of the source material. However, things can get complicated when something takes on a life of it’s own – outside of its original incarnation. This is even more true when that something is beloved… and the Walt Disney Company is involved.
Because sometimes people are quoting Disney productions, but citing the author.
“’It means just going along, listening to all the things that you can’t hear and not bothering.’”
*
– Christopher Robin defining “Doing Nothing” to Winnie the Pooh in “Chapter Ten, In Which – Christopher Robin and Pooh Come to an Enchanted Place, and We Leave Them There” of The House at Pooh Corner by Alan Alexander Milne, with decorations by Ernest Howard Shephard
Many books begin with a prologue or an introduction, however, as I already mentioned The House at Pooh is different from most books. It begins with a “Contradiction,” which the author explained was the opposite of an “Introduction.” Some of us might think of it as an epilogue, which it was… and also wasn’t, because it was coming at the beginning of the book rather than at the end. But, it was the end of the series – that was never intended to be a series. Of course, the author, A. A. Milne, understood the differences and the nuances of the words; that’s why he picked the one’s he picked.
Born Alan Alexander Milne on January 18, 1882, the famous children’s book author was the youngest of three boys that grew up in a household dedicated to learning. His father, John Vine Milne, ran Henley House School, a private school for boys that famously boasted teachers like H. G. Wells (who taught science there for one year). A. A. Milne reportedly taught himself to read at age two; attended Westminster School in London and Trinity College in Cambridge. It was at the latter that he edited and wrote (with his brother Kenneth) for The Granta, the student magazine now known simply as Granta. It was also at Trinity that he decided to pursue writing as a career even though he was graduating with a degree in mathematics. He started working for the humor magazine Punch not long after he graduated.
Then World War I broke out and – even though Mr. Milne didn’t believe in war – he served as an officer for at least five years, first as a signaling operator and then (after recuperating from an illness that sent him home) as a writer of military propaganda. He finished his service as a lieutenant and started writing articles and books denouncing war. He also started writing plays and poetry, some which appeared in Punch magazine. He had married Dorothy “Daphne” de Sélincourt just before the war and, within a year of his discharge, they had their son, Christopher Robin.
Mr. Milne was in the habit of making up little verses for his son, including one called “Teddy Bear,” which appeared in Punch when Christopher Robin was three years old. About five years after their son was born, the Milnes bought and moved to their country home in East Sussex. The woods around their East Sussex home – as well as Christopher Robin, his toys, and the games they played – became the inspiration for more poems and, ultimately, the stories about Winnie the Pooh, Christopher Robin, and all their friends. Those stories, however, were little more than divertissements to A. A. Milne and he was a little astounded (and latter appalled) that those little entertainments were earning more accolades than for his plays, articles, and adult novels. Later, he was also concerned by how all the attention affected his still young son – who, it must be said, kind of hated the attention.
“Every child has his Pooh, but one would think it odd if every man still kept his Pooh to remind him of his childhood. But my Pooh is different, you say: he is the Pooh. No, this only makes him different to you. My toys were and are to me no more than yours were and are to you, not different to me. I do not love them more because they are known to children in Australia or Japan. Fame has nothing to do with love.”
*
– quoted from “12. The Toys” in The Enchanted Places by Christopher Milne
There are a lot of reasons why people still love the characters created by A. A. Milne, but why are Christopher Robin, Pooh, Piglet, Owl, Eyeore, Rabbit, Kanga, Roo, Tigger, the Heffalump, and (even) Small more beloved than any of his other characters? We can, of course, point to the loveliness of an ideal childhood and those lovely “decorations” by E. H. Shephard. Of course, there is also the fact that the books are all about friendship. Then, too, there is the fact that we all know people like all of the characters. In fact, if we take a moment to turn inward, we may even recognize ourselves as one of the characters. Finally, there is just so much wisdom in the books. Yes, we can say it is wisdom for children; however, the best advice we receive as children, serves us as adults.
The children’s poems and stories by A. A. Milne remind us to slow down, savor our “honey” and our friends, and to soak up the moment. There are stories that remind us to play a little (Pooh Sticks); keep in touch (even when we are physically far apart); that sometimes we need a little help from our friends (in order to get out of tight situations); and that there is something to be said for being in the present moment. In fact, I think of the poem “Halfway Down” as a meditation on the liminal, or “threshold” moment that is this present moment.
“Halfway Down” is the thirty-fifth poem in When We Were Very Young, first published in 1924. It appears just a few pages before the aforementioned “Teddy Bear” and has been turned into a song sung be people as different as Robin the Frog (Kermit’s nephew) and Amy Lee. The children’s book reviewer Zena Sutherland called the poem a “juvenile meditation” – which was a ringing endorsement from an expert on children’s literature who would go on to teach “Children’s Literature” and “Literature for Young Adults” at the University of Chicago Graduate Library School; serve on the committees that award the Newbery and Cadecutt Awards, as well as the Scott O’Dell Award for Historical Fiction; and highlight the emotional benefits of books by Maurice Sendak, John Donovan, and Robert Cormier. She was the expert, but in my humble opinion, it is a great meditation for anyone, regardless of age.
“I’m not at the bottom,
I’m not at the top;
So this is the stair
Where
I always
Stop.
*
Halfway up the stairs
Isn’t up
And isn’t down.
It isn’t in the nursery,
It isn’t in the town.
And all sorts of funny thoughts
Run round my head:”
*
– quoted (from halfway down) the poem “Halfway Down” by Alan Alexander Milne, with decorations by Ernest Howard Shephard
In some ways, The House at Pooh Corner was like that stair “halfway down the stairs.” It marked a transition. As A. A. Milne explained at the beginning, Christopher Robin and his friends needed no introductions – the readers already knew and loved them. What he also explained was that The House at Pooh Corner was a goodbye – he just didn’t tell his young readers why. And, in the end, maybe the why didn’t matter. Because…
“…they went off together. But wherever they go, and whatever happens to them on the way, in that enchanted place on the top of the Forest, a little boy and his Bear will always be playing.”
*
– quoted from “Chapter Ten, In Which – Christopher Robin and Pooh Come to an Enchanted Place, and We Leave Them There” of The House at Pooh Corner by Alan Alexander Milne, with decorations by Ernest Howard Shephard
A related playlist related is available on YouTube and Spotify. [Look for “08212021 An Afternoon of Just Knowing”]
Feel free to check out this 2016 post to discover someone who likes to explore enchanted places.
“Christopher Robin came down from the Forest to the bridge, feeling all sunny and careless, and just as if twice nineteen didn’t matter a bit, as it didn’t on such a happy afternoon, and he thought if he stood on the bottom rail of the bridge, and leant over, and watched the river slipping slowly away beneath him, then he would suddenly know everything there was to be known, and he would be able to tell Pooh, who wasn’t quite sure of it. But when he got to the bridge and saw all the animals there, then he knew that it wasn’t that kind of afternoon, but the other kind, when you wanted to do something.”
*
– quoted from “Chapter Six, In Which – Pooh Invents a New Game and Eeyore Joins In” of The House at Pooh Corner by Alan Alexander Milne, with decorations by Ernest Howard Shephard
Searching for Small and little things? (Part of the Nine Days series)
### “Rivers know this: there is no hurry. We shall get there some day. ~ A. A. M. ###
Simple and True, with Music (the “missing” Tuesday post) January 11, 2023
Posted by ajoyfulpractice in Books, Changing Perspectives, Dharma, Faith, First Nations, Healing Stories, Hope, Life, Mysticism, One Hoop, Philosophy, Poetry, Wisdom, Writing, Yoga.Tags: 9 Days, Anodea Judith, Benjamin Boone, Bird Flight, Caroline Myss, chakras, Charlie Parker, kabbalah, Phil Schaap, Philip Levine, pranayama, prāṇāyāma, Saint Teresa of Ávila, sefirot, Sioux, WKCR 89.9, yoga
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This “missing” post related to Tuesday, January 10th is an expanded and revised remix of a 2022 post. You can request an audio recording of either year’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.
“Some days I catch a rhythm, almost a song
in my own breath. I’m alone here
in Brooklyn Heights, late morning, the sky
above the St. George Hotel clear, clear
for New York, that is. The radio playing
“Bird Flight,” Parker in his California
tragic voice fifty years ago, his faltering
“Lover Man” just before he crashed into chaos.”
– quoted from the poem “Call It Music” by Philip Levine
Breathing is something we all do. It’s something we all must do in order to survive – and, yet, it is all to easy to forget about it. Even in this day and age, it is all too easy to take our breathing for granted. So, take a moment to breathe.
Just breathe and pay attention to your breath.
Catch the rhythm that is your breath, the rhythm of your life.
Breath – and the awareness of breath – is the guiding teacher that we carry with us where ever we go. Our breath can be a true reflection of how we are living and/or surviving in any given moment. It can tell us if we are about to soar like a bird and/or if we are about to crash into chaos.
“The perfect sunlight angles into my little room
above Willow Street. I listen to my breath
come and go and try to catch its curious taste,
part milk, part iron, part blood, as it passes
from me into the world. This is not me,
this is automatic, this entering and exiting,
my body’s essential occupation without which
I am a thing. The whole process has a name,
a word I don’t know, an elegant word not
in English or Yiddish or Spanish, a word
that means nothing to me.”
– quoted from the poem “Call It Music” by Philip Levine
There are any number of words in any number of languages that could come to mind when reading the words of the poet Philip Levine, who was born January 10, 1928, in Detroit, Michigan. Of course, the word that immediately springs to my mind is the Sanskrit word prāṇāyāma. Defined as the awareness of breath and the extension of breath, prāṇāyāma is the fifth limb of the 8-limb Yoga Philosophy. It is the second half of the physical practice of yoga and it bridges the gap between the mind-body and our awareness of our mind-body.
Although there are many techniques, basic prāṇāyāma is a very simple practice: focus on your breath for a set period of time. While the practice is just that simple, it is not always easy. There are lots of things that can get in the way. However, one of the great things about this practice is that paying attention to the breath is also the true way around those obstacles. I would even argue that nothing is more simple and true than breathing and bringing awareness to that automatic entering and leaving.
“Some things
you know all your life. They are so simple and true
they must be said without elegance, meter and rhyme,
they must be laid on the table beside the salt shaker,
the glass of water, the absence of light gathering
in the shadows of picture frames, they must be
naked and alone, they must stand for themselves.”
– quoted from the poem “A Simple Truth” by Philip Levine
Philip Levine was the second of three sons (and the first identical twin) born to Jewish immigrants just as the Nazi party was getting a foothold in Germany. He had the unfortunate experience of watching anti-Semitism rise in is own (proverbial) backyard and to also witness how racism (and other -isms) created a schism between the different people who made up the working class. Following in the tradition of Walt Whitman, he started giving voice to America’s voiceless and – even after he left the “mitten state” – he wrote poems about the plight of regular people in his hometown.
In some ways, Mr. Levine followed in his parent’s footsteps. His father, Harry Levine, owned a used (car) parts store; his mother, Esther Priscol (Pryszkulnik) Levine, sold books; and, starting at the age of fourteen, the poet worked in auto factories as he pursued his literary degrees. After graduating from Detroit Central High School, he earned his Bachelor of Arts, in literature, from Wayne (State) University and then “unofficially” attended classes at the University of Iowa. He earned a mail-order master’s degree and then returned to the University of Iowa to teach and pursue a Masters of Fine Arts, which he completed in 1957.
By the time he graduated from the University of Iowa (1957), he was beginning to gain significant recognition as a poet. In addition to teaching at a plethora of major universities around the country, he was lauded and recognized with national literary awards, including the two National Book Awards (1980 and 1991), Guggenheim Foundation fellowships (1973 and 1980), the Pulitzer Prize for Poetry (1995, for the collection The Simple Truth), and the Ruth Lilly Poetry Prize (1987). He served on the Board of Chancellor of the Academy of American Poets (1000-2006) and as Poet Laureate Consultant in Poetry to the Library of Congress (also known as the U. S. Poet Laureate) from 2011-2012. In collaboration with saxophonist and composer Benjamin Boone, Philip Levine created a collection of jazz poetry, “a literary genre defined as poetry necessarily informed by jazz music” – which was released in 2018, almost exactly three years and a month after his death. As a writer, he not only protested the Vietnam War, he kept speaking for the disenfranchised using simple truths… truths that could not be denied.
“Can you taste
what I’m saying? It is onions or potatoes, a pinch
of simple salt, the wealth of melting butter, it is obvious,
it stays in the back of your throat like a truth
you never uttered because the time was always wrong,
it stays there for the rest of your life, unspoken,
made of that dirt we call earth, the metal we call salt,
in a form we have no words for, and you live on it.”
– quoted from the poem “A Simple Truth” by Philip Levine
The sixth chakra, which is located around the third eye (and about in inch into your forehead, half an inch above there), is symbolically associated with big “T” Truth – and with our ability to seek it, perceive it, and recognize it when we encounter it. The energy of this area is a curious energy, in that it continually pushes us to question everything. It supports healthy self-inquiry when the energy is balanced; however, when out of balance, it can manifest feelings of doubt or an inability to “see the truth” when it is right in front of you.
In Wheels of Life: A User’s Guide to the Chakra System, Anodea Judith, Ph.D., connects the sixth chakra to “knowledge, understanding and transcendent consciousness,” as well as to intuition. In Anatomy of the Spirit: The Seven Stages of Power and Healing, Caroline Myss, Ph.D. further connects it to the Christian sacrament of Ordination and the sefirot (“emanations” or Divine attributes) of Binah (Divine “understanding”) and Hokhmah or Chokmah (Divine “wisdom”). Similar to the love described in the sixth mansion of Saint Teresa of Ávila‘s El Castillo Interior or Las Moradas, ordination distinguishes and elevates the faithful. Note, also, that in the Kabbalah-inspired system I have previously mentioned, the “higher” or mind-related sefirot are not included in a physical practice of the Divine attributes.
My standard summary of how the energetic and symbolic elements manifest in our lives goes something like this: Consider how where you come from determines the friends you make (or don’t make); how where you come from and the people around you play a role in how you see yourself; and how where you come from, the friends you make along the way, and how you see yourself, play a part in how (or if) you embrace yourself (or others), embrace a moment, and extend your gifts out into the world – or not. Consider also how where you come from, the friends you make along the way, how you see yourself, and whether you extend what’s in your heart connect to how you express yourself, how you know (or don’t know) the truth when you perceive it, and how all of that contributes to your experience of this present moment.
That summary can be extrapolated and applied to a variety of scenarios, including how we cultivate new habits and achieve our goals, dreams, and desires. Consider, for instance, that the first chakra is related to physical survival and physical form – which means it is our matter. It is also our plans. Friends are our support system, cheering us on and/or providing guidance, while also providing accountability. When I think of the third chakra, the solar plexus – as it relates to our self esteem, our personality, and our sense of self – I think of the idea that we have “fire in the belly.” We can think of this idiom literally, in terms of digestive juices – which is a whole other conversation – and we can think of it as the internal element that keeps us physically motivated. To continue the metaphor, it’s what makes us hungry for more.
Then there is the heart, which connects the physical with the mental and emotional. It’s the energetic-emotional connection between the mind and the body. Here, it is the connection between the idea (the pattern) and the manifestation (the matter). This is also the idea of purusha (pure consciousness) and prakriti (elemental, unformed matter or substance). When we get into the throat chakra – related to mental determination and willpower – we are starting to move into the intangible. Those parts of our lived experiences that are “barely describable” and can only be indicated (lingamatra) and those things that are “absolutely indescribable [because they are] beyond any point of reference” (alinga).
Consider that last bit a moment. As you think about that last part, also think about the idea that your goals and desires, your wishes, hopes, dreams (and yes, even your fears), are fully formed somewhere in your heart… and maybe the back of your mind. Somewhere out in the ether, that possibility is real. But there are a lot of steps between conception and manifestation. And until we take the first step, they all feel like giant leaps.
To make life even more challenging, anybody can give anyone a metaphorical road map about physical survival and what it takes to sustain the body. We know the body’s basic necessities and there are people who are dedicated to breaking that down into what different body types need to survive at a peak level. On a certain level, people can also create road maps for the mind – and we do, all the time, which is why the self-help industry is so massive. But, there’s still a part of the journey that can only be experienced by the person taking the trip. There’s a part of the journey that is barely or absolutely indescribable. It’s the part of the journey that can never be duplicated. It’s the journey between what’s in a person’s heart and what’s in their head.
Even if someone explained how they got from point A to point B – and even if that explanation came with a Jean-Paul Sartre nauseous-level breakdown of how they felt and what they thought along the way – the only thing the rest of us could completely replicate would be the physical aspects of the journey. But, that part in between, it’s like getting lost, stuck in a traffic jam, and not knowing where you’re going – all while on a schedule.
“The longest journey you will make in your life is from your head to your heart.”
*
– possibly a Sioux statement, although it is often attributed to “Anonymous”
*
Tuesday’s (2023) playlist is available on YouTube and Spotify.
NOTE: The end of the YouTube playlist includes a special recording of the Bird Flight radio show, hosted by Phil Schaap on WKCR 89.9. I couldn’t find it on Spotify (maybe because I’m like “Lazy Bird” – which is what rounds out the Spotify playlist).
Last year there was a surprise posting! Did you see it? It’s the first step in a journey (that we’ve already begun and finished)!
*
### Always Get Into The Habit ###
Grace, Zora, & Galileo’s Moons (mostly the music) January 7, 2023
Posted by ajoyfulpractice in "Impossible" People, Books, Changing Perspectives, Faith, Music, One Hoop, Philosophy, Vipassana, Wisdom, Writing, Yoga.Tags: Galileo Galilei, grace, Jupiter's moons, Zora Neale Hurston
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Welcome to this season of grace.
“Nothing that God ever made is the same thing to more than one person. That is natural.”
– quoted from Dust Tracks On A Road: An Autobiography by Zora Neale Hurston
Please join me for a 90-minute virtual yoga practice on Zoom today (Saturday, January 7th) at 12:00 PM. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Saturday’s playlist is available on YouTube and Spotify.
“But now, Most Serene Prince, we are able to augur truer and more felicitous things for Your Highness, for scarcely have the immortal graces of your soul begun to shine forth on earth than bright stars offer themselves in the heavens which, like tongues, will speak of and celebrate your most excellent virtues for all time. Behold therefore, four stars reserved for your illustrious name, and not of the common sort and multitude of the less notable fixed stars, but of the illustrious order of wandering stars, which, indeed, make their journeys and orbits with a marvelous speed around the star of Jupiter, the most noble of them all, with mutually different motions, like children of the same family, while meanwhile all together, in mutual harmony, complete their great revolutions every twelve years about the center of the world, that is, about the Sun itself. Indeed, it appears that the Maker of the Stars himself, by clear arguments, admonished me to call these new planets by the illustrious name of Your Highness before all others. For as these stars, like the offspring worthy of Jupiter, never depart from his side except for the smallest distance, so who does not know the clemency, the gentleness of spirit, the agreeableness of manners, the splendor of the royal blood, the majesty in actions, and the breadth of authority and rule over others, all of which qualities find a domicile and exaltation for themselves in Your Highness? Who, I say, does not know that all these emanate from the most benign star of Jupiter, after God the source of all good?”
– quoted from Sidereus Nuncius by Galileo Galilei
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.)