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.
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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! ###
Seeing Red but/and Finding “Accidental Goodness” January 24, 2023
Posted by ajoyfulpractice in "Impossible" People, Abhyasa, Books, Buddhism, Changing Perspectives, Healing Stories, Life, Music, New Year, Pain, Peace, Philosophy, Suffering, Vairagya, Wisdom, Yoga.Tags: Bösendorfer, David Shenk, Dr. Gerald Lynn Early, ECM Records, Improv, jazz, Köln, Keith Jarrett, Lunar New Year, Manfred Eicher, Miles Davis, Pandit Rajmani Tigunait, svadyaya, svādhyāya, Tim Harford, Vera Brandes, Year of the Cat, Year of the Rabbit
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Happy (Lunar) New Year! Happy Carnival!
“From a practical standpoint then, svadyaya is the process of employing the power of discernment and maintaining a constant awareness of who we are, what we are trying to become, and how the objective world can help us accomplish our goal.”
*
– commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
How do you react when things don’t go your way? What happens when you are very specific about what you want and/or what you need, but then you don’t get either? Are you quick to anger? Or, do you get “hangry” when you haven’t eaten and you have to deal with irritating situations? Do you “see red” at the drop of the hat or the blink of an eye? If so, there are (obviously) practices for that.
There are also handy tips (even if you don’t have a mindfulness-based practice). For instance, it’s good to get a good night sleep, eat when you need to, and – as much as you are able – avoid situations and people that push your buttons. Of course, just to be on the safe side, you could just not leave your house on days where you might be easily irritated. You know, like today, the third day of the Lunar New Year when some people will absolutely stay home and go to bed early.
Some portions of the following were previously posted.
“恭禧发财
Gong Xi Fa Cai [Congratulations and Prosperity!]
Gong Hey Fat Choy [Congratulations and Prosperity!]
– A common New Year’s greeting in Hanzi [Chinese characters], Mandarin and Cantonese pīnyīn [“spelled sounds”], and English
According to some Chinese creation mythology the third day of the Lunar New Year is the birthday of all boars. As I mentioned yesterday, some people will spend this third day of the Year of the Rabbit/Hare visiting the temple of the God of Wealth. Others associate this day with the “marriage of mice” and – in addition to providing treats as a “dowry” for the mice – they will go to bed early to ensure the mice have a peaceful ceremony. The belief is that if the mice have a peaceful ceremony, they will not pester humans during the rest of the year. In Vietnam, where people are celebrating the year of the Cat, this third day is a day to honor teachers.
Another reason people may go to bed early on the third night of the Lunar New Year is that, in certain parts of China, this third day is the “Day of the Red Dog” or “Red Mouth” Day and there is a greater danger of conflict on this day. People may also stay home and avoid anyone outside of their primary family circle in order not to say the wrong thing in anger – as a Chinese word for “red dog” is also a description for the “God of Blazing Wrath.” Some people also associate the tendency to say the wrong thing on the third day with the demon (or monster) Nian.
The Hanzi (Chinese character) for Nian also means “year” or “new year.” According to the legends, the monster Nian would come out of the sea or the mountain once a year looking for crops, animals, or villagers to eat. All the villagers would hide at this time of year, but one time an elderly gentleman was outside during the time Nian came to visit the village. One version of the story says that the man was a Taoist monk (Hongjun Lozu) who, like Br’er Rabbit, was a bit of a trickster. He some how convinced the monster that he would taste better if he could take off his outer clothing. In the version I tell in class, there is a big chase and the monster rips the man’s outerwear with his sharp teeth and claws. Either way, when the gentleman’s bright red undergarments are revealed Nian freaks out, because he is afraid of the color red (and loud noises). Therefore, it became auspicious to start the New Year (or even a marriage) wearing red; placing red throughout the village or town; and making a lot of noise.
“You always want to make it as good as it can be, but… But when you have problems that you can’t do anything about, one after another, you start forgetting what you’re actually doing, until it’s time. And that’s one of the secrets….”
– Keith Jarrett in a 2007 interview about his (01/24/1975) Köln Concert
In the 1970’s, 15-year old Vera Brandes started organizing jazz concerts and tours. At around 17, the German teenager started organizing the New Jazz in Cologne concert series. The fifth concert was scheduled for 11:30 PM on January 24, 1975, and it was going to be the first jazz concert at the 1,400-seat Cologne Opera House. The concert would feature a twenty-nine year old jazz pianist named Keith Jarrett, performing improvised solo piano pieces. Yes, that’s right, he was going to make it up as we went along – and the sold out concert would be recorded. (According to last.fm, the tickets were 4 DM [Deutsche Mark] or $5; Wikipedia indicates the 4 DM equaled $1.72.)
Here’s a few other salient details about the American pianist: He has perfect pitch and garnered some international attention (as a classical pianist) when he was in high school in Pennsylvania. He started playing gigs in Boston while attending Berklee College of Music and moved to New York City after about a year. In the Big Apple, he started making a name for himself, playing with jazz greats like Art Blakey and the Jazz Messengers, Jack DeJohnette, and the Charles Lloyd Quartet. By the mid-to-late 1960’s, he was playing and recording with his own trios and that’s around the time that Miles Davis invited him to join his jams (alternating and/or playing with Chick Corea).
Keith Jarrett and his own band of musicians – Charlie Haden, Paul Motian, (eventually) Dewey Redman, and a handful of other similarly accomplished musicians (including Sam Brown) – recorded over a dozen albums for Atlantic Records from 1971 to 1976. In that same time period, one iteration of the quartet recorded an album for Columbia Records; but then the label dropped him – theoretically so they could promote Herbie Hancock. Right around the same time the Columbia-door closed, another two others doors opened: Keith Jarrett and his quartet got a contract with Impulse! Records and he was contacted by Manfred Eicher, a German record producer and co-founder of ECM Records.
ECM stands for “Edition of Contemporary Music” and the label is known for high quality jazz and classic music – and musicians who give the side-eye to labels. It was a great creative dwelling place for musicians like Keith Jarrett and Steve Reich, whose music I have also used in some practices. The professional relationship between Keith Jarrett and Manfred Eicher led to the “European quartet” collaborations, solo piano albums, and, eventually, to that legendary concert in Cologne, Germany.
Here’s another important thing to know about Keith Jarrett: He has a reputation for being very, very particular about concert conditions. He doesn’t like audience distractions, especially when he is improvising, so – at the height of his career – audience members were given cough drops during winter concerts and he would sometimes play in the dark to prevent people from taking pictures. He is known for vocalizing while he plays jazz (but not, notably, when he plays classical music) and reportedly led people in group coughs.
Now, imagine you are a musician like this – one who knows their stuff and is also very particular about the instruments you play – and you are presented “the unplayable piano” just hours before you’re meant to play a groundbreaking concert. What if you were also hungry, tired, and sick?
Would you see red? Or would you “accidentally” find goodness?
“KJ: When I was a teenager, my youngest brother had a lot of issues, and didn’t go to school. He couldn’t go outside, so he couldn’t have friends, so he was basically a prisoner in my mother’s house. There was an upright piano there. And occasionally, my brother, knowing zero — meaning really zero — about piano, would work out anger or frustration, which he must have had gobs of, by going to the keyboard and just playing some shit. He didn’t know what notes he was hitting or what would come out. But I realized there were moments that were so good and they came from his ignorance. I’m not sure he even knew they were good moments. But I found myself thinking: how would a pianist ever — how do you approach that if you know the instrument?
DS: How do you find the accidental goodness?”
– Keith Jarrett in response to David Shenk’s question about having a willingness or eagerness to fail, in “Keith Jarrett, Part II: The Q&A” by David Shenk (published in The Atlantic, October 13, 2009)
Keith Jarrett is known for eschewing electronic instruments and equipment. Obviously, he appreciates the “need” for recording equipment and he has recorded music while playing electronic instruments. But, it’s not his jam – and it’s definitely not the kind of thing he would request for a solo piano concert in an opera house in 1975. No, someone like Keith Jarrett, at that point in his career, for that concert, would request the piano equivalent of a Rolls-Royce. And that’s exactly what he did; he requested a Bösendorfer Model 290 Imperial, also known as the Imperial Bösendorfer or just as the 290.
The 290 is Bösendorfer’s flagship piano. It is an exquisitely beautiful concert grand piano with an equally memorable sound. In fact, it was specifically designed to be grander than any other piano on the market in 1909. And I mean that in every sense of the word grand. It has 97-keys and a full 8-range octave. For 90 years, it was the only concert grand piano of it’s kind. In 1975, it was easily recognizable by any professional pianist… but probably not by random stagehands (who hadn’t had any reason to deal with such a piano) and possibly not by a teenage concert organizer (who also hadn’t had any reason to deal with such a piano).
Keith Jarrett, however, immediately knew that something was off when he arrived at the Cologne Opera House to find a Bösendorfer baby grand on the stage. To make matters worse, he was tired after traveling and not sleeping for two days, his back hurt, and he was suffering from food poisoning. To add insult to injury, the piano was badly out-of-tune and basically broken. Some of the keys and the foot pedals, one of the distinguishing features on the 290, didn’t work properly. It was simply a rehearsal piano or something someone had put in a backstage corner to warm up their hands before the curtain went up. It was too late to find and move a new piano. Even if they could find what had been requested – or something close, like the Bösendorfer (which would have been 5 keys shorter) – it was raining and Vera Brandes was warned that moving such an instrument in that type of weather would make it impossible to tune in time for the concert.
“Don’t play what’s there. Play what’s not there.”
– Miles Davis
Improvisation – in comedy and in music – is known for things like not breaking the flow (so, not saying “no”); and the concept of “yes, and…;” staying present; and being open to change. But, Keith Jarrett had made up his mind. He said no to that baby grand piano. He declared it categorically “unplayable” and said the concert needed to be canceled. And there’s no indication, anywhere, that he was being a diva. He was just being realistic given his history and his frame of reference. The fact that he was sick and tired just made everything worse.
But the indomitable Vera Brandes had a different history and a different field of possibility. She convinced him that she could find someone to tune (and repair) the piano onstage, which she did. She sent Keith Jarrett and Manfred Eicher to a restaurant to grab a quick bite to eat. In some interviews, Keith Jarrett has said that they didn’t eat much because (a) he wasn’t feeling well, (b) there was a mix-up at the restaurant and their meal was delayed, and (c) they had to get back to the theatre. At some point along the way, they decided to keep the recording engineers – because they were going to get paid no matter what – and record what the musician expected to be a horrible and embarrassing disaster of the first order.
But it wasn’t. It wasn’t not even close.
Instead, the three improvised movements, plus the encore of “Memories of Tomorrow,” became the best selling solo album in jazz history and one of the best-selling piano albums. In the Spring 2019 issue of Daedalus, Dr. Gerald Lyn Early, who has consulted on several Ken Burns documentaries (including Baseball and Jazz), pointed out that Keith Jarrett’s solo concerts changed the sound and people’s understanding of jazz (not to mention, who played it); “…made solo piano playing commercially viable by showing that there was a considerable audience for it[;]” and “…proved that the public was willing to take such records seriously…”
From the very first notes, which sound like the warning tones the audience heard in the lobby before the show, Keith Jarrett carried the audience on a sonorous piano journey unlike anything they had ever heard. The album has been praised by musicians, critics, and publishers alike. It was included in Robert Dimery’s book 1001 Albums You Must Hear Before You Die. Eventually, much to the composers dismay, parts of the composition became movie soundtracks. Many wanted Keith Jarrett to transcribe and publish a score of the concert, which he finally, begrudgingly, agreed to do in 1990. The transcribed score, however, came with a very intentional caveat.
“For instance, on pages 50 and 51 of Part IIa there is no way to obtain, on paper, the real rhythmic sense of this section. There is much more going on on the recording, but this “going on” does not always translate into notes on paper. Many notes are inferred by the rhythmic sense; others depend on the harmonics or attack of the previous note(or notes). So, writing down all the notes would give more of a false view of the sense of this section than selecting some notes. And yet, even this selection cannot reveal the real sense of this section as an improvisation, where listening is what determines the music’s strength.
So – we are at, let us say, a picture of an improvisation (sort of like a print of a painting). You cannot see the depth in it, only the surface.
As a result of all of this, I am recommending that any pianist who intends to play THE KÖLN CONCERT use the recording as the final-word reference.
Good luck!”
– quoted from the “Preface” to THE KÖLN CONCERT: Original Transcription, Piano by Keith Jarrett
Please join me today (Tuesday, January 24th) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can 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 (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “0123-24/2022 Doing: Lessons in…”]
[NOTE: If it is accessible to you, please consider using the Spotify playlist as it contains the original music referenced in the practice. Even better, if you already have the album!
The original recording is not available on YouTube (in the US) without a “Premium” membership and, after listening to several different “interpretations” – which do not / cannot include the vocalizations – I decided the Fausto Bongelli sounded the closest to the original. Sadly, one movement is missing and so I used a recording by Tomasz Trzcinkinski, who was the first person to record the music using the transcription. There are also now transcriptions for other instruments – which I didn’t sample, even though I think some of them would be lovely. There are also “covers” using electronic instruments, which I’m considering a hard pass (even if it seems contradictory to the theme), out of respect for the composer. ]
You can, as I did, also listen to the Cautionary Tales with Tim Harford episode entitled, “Bowie, Jazz and the Unplayable Piano” where ever you get your podcasts.
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.)
Errata: The spelling of Tim Harford’s name has been corrected.
### Play On! ###
Here’s To Beginning A New Year (a Monday post)! January 23, 2023
Posted by ajoyfulpractice in "Impossible" People, Books, Buddhism, California, Changing Perspectives, Faith, Healing Stories, Hope, Life, Love, New Year, Pain, Philosophy, Religion, Science, Suffering, Tragedy, Wisdom, Yoga.Tags: Che Kung, Ed Roberts, God of Wealth, Harry Reasoner, Lee Roberts, Lunar New Year, Pandit Rajmani Tigunait, Rolling Quads, Sam Hui, Spring Festival, svadyaya, Year of the Cat, Year of the Rabbit, Zona Roberts
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“Happy New Year!” to those who are celebrating.
The following post related to the practice on Monday, January 23rd is compiled from information posted in 2021 and 2022. 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.
“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 (Monday) was the second day of the Lunar New Year and, in parts of China and the diaspora, it was the second day of the Spring Festival, a fifteen day celebration that culminates with the Lantern Festival. As I mentioned yesterday, while most people consider this the beginning of the year of the (water) Rabbit/Hare, people in and from Vietnam consider this the beginning of the year of the Cat. Each region that celebrates the Lunar New Year, places special significance on each day and highlights that significance with different stories and traditions.
Some people honor the god of land on the second day, while others celebrate the birthday of all dogs. Traditionally, the second day is a day when daughters who had married and moved away from home would return to visit their birth families – which meant their families would welcome the son-in-laws. So, in some places, today is a day dedicated to the son-in-laws.
For some (particularly Cantonese people), the second day is known as “beginning of the year” and it marks the beginning of a new business year. As such, there are blessings and prayers for a prosperous new year. From 221 B. C. until 1912 A. D., it was common for beggars and the unemployed in China to spend today carrying around a picture of the God of Wealth and shouting, “Cai Shen Dao” ! [“The God of Wealth has come!” in Mandarin] In exchange for their pronouncement, they would receive “lucky money” from families and businesses.
In some parts of China, people celebrate the birthday of Che Kung on his “actual” birthday (the second), while others celebrate on the third day of the year. A military general of the Southern Song Dynasty, Che Kung is believed to have been capable of suppressing rebellions and plagues. Some even consider him “God of Protection.” Hong Kong and Guangdung Province are two of the places where people traditionally have a procession and visit a temple dedicated to Che Kung. Despite the pandemic, thousands of people visited the temple in Sha Tin in 2021; however, masks, temperature checks, and a health registration were required. In 2022, vaccinations were encouraged and people were required to use the “Leave Home Safe” app, which is a free digital contract tracing app launched by the Hong Kong government. This year, some media outlets reported a few less people than normal, while others reported more people than last year – both scenarios could be true, but in either case, most people are hoping, praying, and wishing for a better business year.
People who travel to the temple on the second and third days of the new year give thanks, light red candles and incense sticks, and present offerings. Some will spin a golden pinwheel outside of the temple to maintain good luck from the previous year or to change their fortune in the New Year. Some will even buy a personal pinwheel. There is also a big ceremony around drawing fortune sticks, which people believe offers guidance for the coming year and can be interpreted by a fortune teller. Of course, this year (like the last two years), a lot of people are seeking guidance about the pandemic – and how to proceed in a way that eliminates suffering.
A version of the following was originally posted in 2021 and 2022. Click here for that philosophical 2021 post in it’s entirety.
“From a practical standpoint then, svadyaya is the process of employing the power of discernment and maintaining a constant awareness of who we are, what we are trying to become, and how the objective world can help us accomplish our goal.”
– commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
The Yoga Sutras offer a detailed explanation of the dysfunctional/afflicted thought patterns that create suffering. Patanjali described those thought patterns as ignorance, the false sense of self, attachment (rooted in pleasure), aversion (which is attachment rooted in pain), and a fear of loss/death. He established ignorance (avidyā) as the root of the other four and stated that this groundwork is established no matter if the ignorance is dormant, attenuated, disjointed, or active. He then broke down the different ways avidyā manifests in the world – which basically goes back to the ways in which we misunderstand the nature of things – and how the other four afflicted thought patterns rise up.
We can find examples of how avidyā and the other four dysfunctional/afflicted thought patterns manifest all around us. There are, therefore, also examples of how the sources of our ignorance can be the path towards freedom, fulfillment, and more clarity. One example of this is how some people view those that are not considered “able bodied.” Think about the activist Edward V. Roberts, for example.
“I fell in love, like many people do. We do that as well. And it became ridiculously inconvenient to have my attendant pushing me around in my wheelchair with my girlfriend. It was an extra person that I didn’t need to be more intimate. I learned how to drive a power wheelchair in one day. I was so motivated to learn something that it changed in many ways my perception of my disability and of myself. She jumped on my lap and we rode off into the sunset or to the closest motel.”
– Ed Roberts (b. 01/23/1939) in a 60 Minutes interview with Harry Reasoner
Known as the “Father of the Independent Living” movement, Mr. Roberts was born January 23,1939 (almost a month before the year of the earth Rabbit/Hare began). By all accounts, he spent his formative years as a “regular” boy. Then, at the age of fourteen, he contracted polio – this was in 1953, two years before the vaccine ended the polio epidemic. The virus left the active, “sports-loving” teenager paralyzed from the neck down, with mobility only in two fingers and a few toes. It also (temporarily) crushed his spirit. He initially spent most of his days and all of his nights in an 800-pound iron lung. When he wasn’t in the iron lung, he used “frog breathing” – a technique that uses the facial and neck muscles to pump air into the lungs.
Now, if you have not interacted with someone with a disability, you might think – as Ed Roberts initially thought of himself – that he was a “helpless cripple.” You might, like him and one of his early doctors, back in 1953, think that there was no point to his life. You might think that he couldn’t do yoga; couldn’t get married (and divorced); couldn’t have a child; and definitely couldn’t do anything to change the world. You might think that he wouldn’t be celebrated on the second day of the Lunar New Year or on any day.
But, if you think any of that – just as he initially thought that – you would be wrong.
“And I literally went from like 120 pounds to 50 pounds. I also discovered how powerful the mind is, when you make up your mind.”
– Ed Roberts in a 60 Minutes interview with Harry Reason
Just to be clear, to my knowledge Ed Roberts didn’t practice yoga. However, he did practice Shotokan karate. Also, it is interesting to note that (a) the glottis (which includes the true vocal chords and the rima glottidis or empty space at the back of the throat) that we engage to practice Ujjayi prāņāyāma, is the same area he would engage to breathe without the iron lung and (b) once he changed his understanding of himself – let go of his “false sense of self” – he was able to change the world.
Even though he could attend school by telephone, Zona Roberts, Ed Roberts’s mother, insisted that he attend school in-person one day a week. for at least a few hours. She also encouraged him to think of himself as a “star” and to advocate for his own needs. So, when he was in danger of not graduating from high school, because he hadn’t completed driver’s education or physical education, he pushed back on those who would limit him.
“There are very few people even with the most severe disabilities who can’t take control of their own life. The problem is that the people around us don’t expect us to.”
– Ed Roberts in a 60 Minutes interview with Harry Reasoner
After graduating from high school, he attended the College of San Mateo and the University of California Berkeley – even though one of the UC Berkeley deans wanted to reject him because someone else had had an unsuccessful bid at college and the dean viewed all people with disabilities as a monolith. At Berkeley, Mr. Roberts pushed to have on-campus housing that would accommodate his needs and, once that was established, pushed the university to admit and provide the dormitory experience to other people with “severe disabilities.” The Cowell Residence Program became a model for universities around the world.
Mr. Roberts and some of the other students in the Cowell Residence Program referred to themselves as the “Rolling Quads.” They were very active in changing people’s perceptions and understandings and, therefore, they were able to change policy and infrastructure. “Curb cuts,” the ramped opening between a sidewalk and street, are one of the changes that resulted from their activism. After Ed Roberts graduated with a Bachelor’s and Master’s in Political Science, he went on to teach at an “alternative college.” He also served as Director of the state organization that had once labeled him too disabled to work and eventually co-founded the World Institute on Disability (at Berkeley). His activism – including protesting at the San Francisco offices of the Carter Secretary of Health, Education, and Welfare and testifying before Congress – led to the creation of the Americans with Disabilities Act (ADA, 1990).
While Ed Roberts may not have actually been celebrated by his in-laws on the second day of the Lunar New Year, he is remembered and celebrated for the work he did in the world. A Google Doodle was posted in his honor today in 2017. Furthermore, his legacy provides a lot of reminders about how to move through the year in a way that brings change that makes the world better than we found it.
“My bottom walk-away experience that I believe I carry with me every day is that my father never settled for anything and always fought for everything. And he always, always followed his gut, followed his passion, went with it no matter who was against him, and oftentimes there was more people against him than it was for him.
So I’ve always followed my gut and followed my passion. And in so many different speeches, he would always encourage that person to look within themselves, find their passion, follow it. You can’t… You can’t go wrong with your gut. You can’t go wrong with your passion. Don’t ever settle. He never settled. I’ll never settle. I carry that with me every day, and if there’s anything he loved to pass on, it’s just go for it.”
– quoted from “A Day in the Life of Ed Roberts: Lee Roberts Talks About His Father, Ed Roberts” by Lee Roberts
There is no playlist for the Common Ground Meditation practice.
Errata: This post has been updated to more accurately describe the anatomy related to “frog breathing.”
### Wake Up Your Mind & Just Go For It! ###
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. ###
FTWMI: A Simple, Radical, “Bad to the Bone” Man January 11, 2023
Posted by ajoyfulpractice in Abhyasa, Bhakti, Books, Changing Perspectives, Dharma, Faith, Healing Stories, Hope, Japa-Ajapa, Karma Yoga, Life, Music, Mysticism, One Hoop, Rabbi Abraham Joshua Heschel, Religion, Suffering, Wisdom, Yoga.Tags: activism, Cardinal August Bea, Dr. Susannah Heschel, habits, kabbalah, Martin Luther King Jr, mitzvot, Rabbi Abraham Joshua Heschel, samskāras, Selma to Montgomery, vasanas, Vatican II
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For Those Who Missed It: The following was originally posted today in 2022. In addition to some slight edits, this post includes updated class details and a remixed playlist.
“Our goal should be to live life in radical amazement. …get up in the morning and look at the world in a way that takes nothing for granted. Everything is phenomenal; everything is incredible; never treat life casually. To be spiritual is to be amazed.”
– Rabbi Abraham Joshua Heschel
In American English, “bad” has two meanings, one of which is “even better than good.” The saying “bad to the bone” fits with that positive description and is often associated with someone who is “cool,” rebellious, and radical in a way that bucks the system… in a way, even, that can bring much needed change. There are some people who play with the idea of being “bad to the bones,” but the truth is that that kind of goodness has nothing to do with the clothes one wears so much as it has to do with what’s underneath, what’s at the core and the roots of a person. In other words, what matters is who they are all the way down to their bones.
One of my favorite inspirational reminders is based on the idea that, in Judaism, there are 248 mitzvot aseh (“positive commandments”), which are commands to perform certain activities, and 365 mitzvot lo taaseh (“negative commandments”), which are commands to abstain from certain activities; meaning, we should avoid avoid the negative things every day of the year and do the good things with “every bone in our body.”* To me, someone who manages to do that in a very public way is “bad to the bone.”
The following is an abridged version of a post from January of 2021. Click here for the original post.
“Our concern is not how to worship in the catacombs but how to remain human in the skyscrapers.”
– quoted from “Part V: The Meaning of this Hour – 40. Religion in Modern Society” in Between God and Man by Rabbi Abraham Joshua Heschel
It is one thing to practice our beliefs and hold tight (but not too tightly) to the tenets of our faith, whatever that means to you, when life is good and everything is easy. But life, as we have recently been reminded, can be hard, twisted, upside down, and backwards; in a word, challenging. So, sometimes the best way to notice how we show up in the world, in general, is to specifically notice how we show up in stressful / challenging situations. For instance, what is your habit when things are so challenging and all consuming, people – including yourself – might expect you to compromise?
I don’t know much about the person who (first) asked Rabbi Abraham Joshua Heschel if he found time to pray when he participated in the march from Selma to Montgomery, but I know the person – a journalist – was motivated by at least two pieces of knowledge: (1) they knew Rabbi Heschel was a man of faith and (2) they probably knew that Judaism prescribes daily prayers throughout the day. There is another possible piece of motivating knowledge, projection – it’s possible, probable even, that the person asking the question couldn’t imagine how prayer was possible during such a tumultuous time and in a situation where the faithful rabbi was surrounded by Christians. But, here’s the thing about Rabbi Heschel, he was use to praying with his whole body and he was use to being surrounded by Christians.
“I prayed with my feet.”
– Rabbi Abraham Joshua Heschel in 1965, when asked if he found time to pray when marching from Selma to Montgomery
Born today in 1907, Rabbi Abraham Joshua Heschel was a professor of the Kabbalah (Jewish mysticism), an activist, and is (to this day) considered one of the most significant and influential theologians of the 20th century. The youngest of six, his father died when he was nine, but his family was firmly established in the community, as he was the descendant of distinguished Chasidic rabbis on both sides of his family. He grew up in a household and in a religious tradition where prayer and a declaration of faith were prescribed multiple times a day – “when you sit in your house and when you walk on the road, when you lie down and when you rise” – and where there was an obligation to leave the world better than it was found. He earned his rabbinical doctorate in Berlin during the rise of the Nazi Party and could chronicle a parallel in that rise and a decline in the esteem he had previously received based on the merit of his scholarship. At times he felt abandoned by his Christian teachers, mentors, and peers. But, there was something in him – maybe everything in him – that could not step away from the spiritual path he was on, a path first paved by the prophets and rabbis whose lives he chronicled.
In addition to writing several biographies about his mystical elders, Rabbi Heschel was a student and a professor of Jewish mysticism (Kabbalism), in which the Tree of Life can be seen as a way to understand the world, a way to live in the world, and a spiritual road map for those desiring a deeper connection. He was in the habit of viewing, exploring, and gaining understanding of the world and his engagement in the world through the lens of this tradition that recognizes seven areas of the body as ways to express seven of the ten energies/attributes of the Divine (as found on the Tree of Life):
- Chesed (“loving-kindness”), right arm;
- Gevurah (“strength”), left arm;
- Tiferet (“beauty,” “balance,” or “compassion”), the heart;
- Netzach (“endurance”), right hip and leg;
- Hod (“humility”), left hip and leg;
- Yesod (“Foundation” or “Bonding”), solar plexus;
- Malchut (“mastery” or “nobility”), hands, feet, and mouth.
Being in the habit of seeing the body as something intended to express elements of the Divine, meant that everything Rabbi Heschel did could be seen as a religious / spiritual experience. Everything was symbolic – and, therefore, the simplest things held great power.
Of course, there was nothing simple about showing up at a Civil Rights demonstration at the height (and site) of defining violence. Yet, for Rabbi Heschel there was no question that he would show up. He knew that his presence, like the presence of so many others who were not Black (and, in his case, not Christian), would be a unifying presence. He knew that showing up sent a message to the world indicating that the issue of civil rights was not only “an American problem,” as President Lyndon B. Johnson would later say, but also an international problem.
Additionally, as a man of faith and as a religious leader, Rabbi Heschel simply felt that showing up was a kind of spiritual obligation. In fact, he sent a telegram (dated June 16, 1963) to President John F. Kennedy stating that to continue humiliating (and subjugating) African Americans meant that they (religious leaders) “forfeit the right to worship God.” Let it sink in for a moment that a Jewish mystic demanded leadership in the form of “moral grandeur and spiritual audacity” from a Catholic president on behalf of a group of people led by Black Baptist minister. There’s a lot there that could be divisive – unless, regardless of your religion or denomination, you are bound by the Spirit.
“For my father, though, the march was not simply a political demonstration, but a religious occasion. He saw it as a revival of prophetic Judaism’s political activism and also of the traditions of Hasidism, a Jewish pietistic revival movement that arose in the late eighteenth century, according to which walking could be a spiritual experience.
He said it reminded him of the message of the prophets, whose primary concern was social injustice, and of his Hasidic forebears, for whom compassion for the suffering of other people defined a religious person.”
– quoted from an article about the 40th Anniversary of the Selma-Montgomery marches, by Dr. Susannah Heschel
In addition to marching arm-in-arm with Black Christians like Reverend Dr. Martin Luther King, Jr. and Representative John Lewis in 1965, Rabbi Abraham Joshua Heschel also participated in the Second Ecumenical Council of the Vatican (more commonly known as the Second Vatican Council or Vatican II) in 1962. Prior to Vatican II, the Roman Catholic Church was “in the habit” of teaching the history of Jesus in a way that demonized Jewish people – and missed the part where a lot of different groups of people were part of the story. Rabbi Heschel worked closely with Cardinal Augustin Bea, the Jesuit head of the Secretariat for the Christian Unity, to write the Nostra aetate, which dynamical changed the way the Church teaches and views Jewish people; fostered mutual knowledge and respect among congregants of the two faiths; and ensured that the Church officially (and categorically) condemned anti-Semitism. Here too, the good rabbi’s work outside of the synagogue was a reflection of his work inside of the synagogue, and vice versa. Here too, he honored the traditions (and the ethics) of his spiritual fathers.
Here too, Rabbi Heschel’s spiritual habits showed everyone who was in the habit of being.
“We do not step out of the world when we pray; we merely see the world in a different setting. The self is not the hub but the spoke of the revolving wheel. It is precisely the function of prayer to shift the center of living from self-consciousness to self-surrender….
Prayer takes the mind out of the narrowness of self-interest and enables us to see the world in the mirror of the holy.”
– quoted from Man’s Quest for God: Studies in Prayer and Symbolism by Rabbi Abraham Joshua Heschel
Please join me today (Wednesday, January 11th) 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.
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.)
*NOTE: The aforementioned aphorism is based on an ancient Hebrew idea that there are 248 bones or significant organs in the body.
### Amen, Selāh ###
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.”
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– possibly a Sioux statement, although it is often attributed to “Anonymous”
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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)!
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### 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.)
### OM ###
FTWMI: What You Will See January 5, 2023
Posted by ajoyfulpractice in Art, Books, Changing Perspectives, Christmas, Faith, Food, Healing Stories, Mantra, Meditation, Movies, Music, Mysticism, Philosophy, Religion, William Shakespeare, Wisdom, Writing, Yoga.Tags: 12 Days of Christmas, Epiphanytide, New Year, Theophany, Twelfth Night, Twelvetide, William Shakespeare, Yoga Sutra 1.28, Yoga Sutras 1.32-1.39
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“Happy New Year,” to everyone! Happy Twelfth Night, to those who are celebrating!
For Those Who Missed It: The following was originally posted in January of 2021 and re-posted in 2022. Some language was updated in 2022. You can request an audio recording of a previous year’s practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
“I’ll do my best”
– Viola (a twin in disguise) in Act I, scene iv of Twelfth Night, or What You Will by William Shakespeare
It doesn’t matter how long you’ve been practicing yoga and/or meditation, there can be days where it is hard to focus. Sometimes the practice is all about bringing your awareness back to your focal point – again and again and again, to the best of your ability…. Actually, that is always the practice; it’s just that sometimes we are more aware that to keep our awareness fixed on something requires a certain amount of conscious effort – until it doesn’t. It requires a certain amount of conscious effort until the mind moves through the layers of words and meaning and effort; and becomes absorbed or merged with the object of our focus. Until that time, we just have to be like Viola.
Sometimes, the object itself is the most helpful anchor for our awareness. In the first part of Yoga Sūtras, the chapter or foundation on concentration, Patanjali offers a list of objects on which one might focus in order to overcome the obstacles to practice and achieve clarity of mind (YS 1:28, 1:32 – 39: repetition of OM/AUM; attitudes of the heart (loving-kindness for those who are happy, compassion for those who are suffering, happiness for the virtuous, and non-judgment for the non-virtuous); the parts of breath; a point on the body and/or a sense organ (and it’s corresponding sensation); the point of inner light and joy; a person who is virtuous and free of desire/suffering (or our own self in such a state); intuitive wisdom (revealed in a “dream” state); or “whatever”… in other words, “what you will”).
Yoga Sūtra 1.39 doesn’t actually instruct us to literally bring our awareness to “whatever” or “what you will.” Patanjali is more specific than that and literally states that “… by meditating on a well-considered object of one’s choice, one attains steadiness of mind.” Whenever we focus-concentrate-meditate, that combined effort (samyama) will lead us somewhere; it will lead us towards the object, possible into absorption or the merging with the object. So, Patanjali cautions the practitioner to choose wisely, to pick something – something “well-considered” – that will lead one towards peace, balance, maybe in joy; something that will lead us, as gently as possible, closer to our goals and closer to the people around us. So, focus-concentrate-meditate on what you will; but with the full awareness that some objects will just create more confusion where there is already a lot of confusion.
“O time, thou must untangle this, not I.
It is too hard a knot for me t’untie.”
– Viola (a twin in disguise) in Act II, scene ii of Twelfth Night, or What You Will by William Shakespeare
There is a lot, and I mean, a lot of confusion in William Shakespeare’s play Twelfth Night, or What You Will. There’s confusion around identity, the state of twins, and who loves whom. Don’t get it twisted, people know who they are (inside and out), but people are disguised – and that often involves a little gender bending or reversal of “social norms.” Then, people fall in love with people who are in disguise; other people think they are loved (sometimes by someone in disguise); and still others try to fool someone into thinking someone loves them. I know, this all sounds really convoluted and confusing… because it is; it is intentionally so.
The confusion in Twelfth Night, or What You Will, results in much of the audience’s entertainment. But, let’s be real, sometimes even the audience is just as confused as the players. There’s just so much; kind of like the “Twelve Days of Christmas Song,” which sometimes gets confusing as we get closer to the end – especially if it is being sung in a round.
“If music be the food of love, play on.”
– Orsino (Duke of Illyria) in Act I, scene i of Twelfth Night, or What You Will by William Shakespeare
Depending on when you started counting the “Twelve Days of Christmas,” today is either the eleventh day or the twelfth day. According to the catechism myth attached to the “12 Days of Christmas” song, the gifts for these days translates to: “a partridge in a pear tree” for Jesus (and the cross); “two turtle doves” representing the Old and New Testament; “three French Hens” for the theological virtues of Faith, Hope, and Charity (Love); “four calling birds” for the four canonical New Testament Gospels (or their corresponding evangelicals, Matthew, Mark, Luke, and John); “five gold rings” are the first Five Books of the Hebrew Bible and the Christian Old Testament (which provide the back story for the three Abrahamic religions); “six geese a-laying” for the six days of creation; “seven swans a-swimming,” the consistently most expensive gift, stand for the seven gifts of the Holy Spirit (wisdom, understanding, knowledge, counsel, fortitude, piety, and fear of the Lord) or the seven sacraments (Baptism, Eucharist, Confirmation, Reconciliation, Anointing of the Sick, Marriage, and Ordination); “eight maids a-milking” for the eight beatitudes (or blessings); “nine ladies dancing” for the nine fruits of the Holy Spirit; “ten lords a-leaping” for the ten commandments; “eleven pipers piping” for the eleven faithful apostles; and “twelve drummers drumming” for the 12 points of faith in the Apostle’s Creed.
I personally get “confused” – or, maybe a better word is flummoxed (in the sense of dumbfounded) – that the eleven “faithful” apostles are highlighted, but one of the key elements of the 12 points of doctrine is directly tied to the “unfaithful” servant. But, let me not jump ahead; because that just makes things more confusing.
“Foolery, sir, does walk about the orb like the sun, it shines everywhere.”
– Feste (the Countess Olivia’s servant, a jester) in Act III, scene i of Twelfth Night, or What You Will by William Shakespeare
Going by the Western Christian tradition, tonight is either the Twelfth Night, or tomorrow night is the twelfth night. I know, still much confusion. One way to clear things up is to consider that Twelfth Night, or What You Will is often considered twelfth night entertainment for people awaiting a moment of “striking appearance.” Think of Scrooge being shown a twelfth night play by one of the ghosts: It is a way to spend some time, preparing, until it is time to see what one is prepared to see.
Although, for some, it is entertainment for the celebration after they have seen what they are prepared to see.
Still confused? That’s OK; we’re getting closer to clarity.
January 6th is Epiphany. It’s almost always Epiphany, also known as Theophany in some Eastern traditions, with the exception of some places in Columbia that observe this Feast Day on the second Monday of January (and countries that celebrate on the first Sunday in January). Also, In the Eastern Christian traditions that use the Julian calendar, January 6th falls on the Gregorian calendar’s January 19th.
Clear as mud, right? Maybe this will help.
“Epiphany” comes from the Greek word meaning “manifestation” or “striking appearance” and the root word meaning “to appear.” “Theophany” comes from a Greek phrase meaning “The Day of the Lights.” In Christian traditions, it is a feast day to celebrate Jesus being revealed as an incarnation of God. Some traditions specifically focus on the visit of the magi, and so the day is also known as “Three Kings Day.” Other traditions focus on Jesus’ baptism by his cousin John the Baptist and/or the first miracle attributed to Jesus (during the Wedding at Cana).
“Dost thou think, because thou art virtuous, there shall be no more cakes and ale?”
– Sir Toby Belch (Olivia’s uncle) to Malvolio (Viola’s steward) in Act II, scene iii of Twelfth Night, or What You Will by William Shakespeare
However one looks at it, Twelfth Night is directly tied to Epiphany. It marks the end of Christmastide and the beginning of Epiphanytide, which for some Christians rolls directly into Carnival or Mardi Gras season… or Shrovetide… or Ordinary Time – all of which leads to the Lenten season and, ultimately, to Holy Week and Easter (and then, for some, Pentecost). There are a lot of different cultural traditions associated with Twelfth Night celebrations, but many in the West center around caroling, feasting, and wassail (a mulled cider). Some people will wait until Twelfth Night to add the “Three Wise Men” (and even the little drummer boy) to their Nativity scene. Some people will share a “Three Kings” or Twelfth Night cake, which will have a coin or a baby figurine inside. The person who receives the “prize” is considered extra blessed or lucky – and sometimes has to bring the cake the following year.
If you are not Christian, or are unfamiliar with why different Christian traditions have different customs, consider that the liturgical season is a way to tell the story of Jesus – and the story of God’s relationship with people, through a Christian lens. As with any good story – or any history – there are different perspectives and different narrators. Each tradition highlights the aspects of history in a way that helps people understand what is important to the faith.
“If this were played upon a stage now, I could condemn it as an improbable fiction.”
– Fabian (a servant for the Countess Olivia) in Act III, scene iv of Twelfth Night, or What You Will by William Shakespeare
The playlist for this practice is available on YouTube and Spotify. [Look for “01052021 and Twelfth Night” or “01052021 aka Twelfth Night”]
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.)
“Some are born great, some achieve greatness and some have greatness thrust upon ’em.”
– Malvolio (a steward for the shipwrecked twins) in Act II, scene v of Twelfth Night, or What You Will by William Shakespeare
### BE GREAT, BE GRATEFUL, & BE NICE ###
FTWMI: The Power of a Good/Meaningful Push January 4, 2023
Posted by ajoyfulpractice in Art, Books, Buddhism, Changing Perspectives, Christmas, Dharma, Faith, Healing Stories, Hope, Life, Meditation, Mysticism, New Year, Pain, Peace, Pema Chodron, Philosophy, Religion, Science, Suffering, Tragedy, Wisdom, Writing, Yoga.Tags: Carolyn Myss, David Brewster, Dr. Robert Hooke, Edmond Halley, John Flamsteed, laws of motion, Pema Chodron, pranayama, Sir Isaac Newton, Stacy Flowers
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“Happy New Year,” to everyone!
For Those Who Missed It: The following was originally posted in January of 2021 and 2022. Class details, some links, and some references have been updated.
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An object at rest remains at rest, and object in motion remains in motion (at the same speed and in the same direction, unless acted upon by an unbalanced force).
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The acceleration of an object is dependent upon two variables – the net force acting upon the object and the mass of the object.
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For every action there is an equal and opposite reaction.
– Sir Isaac Newton’s Laws of Motion
Sir Isaac Newton proved that sometimes we all need a little push. At the age of 43, he published Philosophiæ Naturalis Principia Mathematica, which included his laws of motion, law of universal gravitation, and an expansion of Galileo Galilei’s observations and of Johannes Kepler’s laws of planetary motion (which were themselves modifications of the observations and heliocentric theory of Nicolaus Copernicus). There are several elements in the Principia that can apply to the physical practice of yoga (and to the practice of the Yoga Philosophy). However, the most direct application comes from the laws of motion, the first of which is also known as “The Law of Inertia.” We can see these principles at work just by observing a tension-free belly rising and falling as the breath enters and leaves the body.
We can go deeper with the mathematics and the science; but, just for a moment (maybe even 90-seconds) stick with the breath. Notice the Inhale, the pause, and the exhale…. Notice that third law kicking in….
Also, notice how the “force” of the breath, which is a symbol of our life and a symbol of our spirit, is an agent of change – physically, mentally, emotionally, and even energetically. Just as lengthening the breath and observation of the breath (which all can be described as prāņāyāma) change things when we are practicing on the mat, they can be an agent of change off the mat. We just have to pay attention and stay focused. But, paying attention, staying focused, and even breathing deeply in and breathing deeply out can be challenging in certain situations… especially situations involving challenging people.
“Thirdly, that I do justly value your excellent disquisitions, and I am extremely well pleased to see those notions promoted and improved which I long since began, but had not time to complete. That I judge you have gone farther in that affair much than I did, and that as I judge you cannot meet with any subject more worthy your contemplation, so believe the subject cannot meet with a fitter and more able person to inquire into it than yourself, who are every way accomplished to compleat [sic], rectify, and reform what were the sentiments of my younger studies, which I designed to have done somewhat at myself…. Your design and mine are, I suppose, at the same thing, which is the discovery of truth, and I suppose we can both endure to hear objections, so as they come not in a manner of open hostility, and have minds equally inclined to yield to the plainest deductions of reason from experiment.”
– quoted from a 1675-76 letter from Dr. Robert Hooke to Sir Isaac Newton, as published in Memoirs of the Life, Writings, and Discoveries of Sir Isaac Newton by David Brewster
“I most gladly embrace your proposal of a private correspondence. What’s done before many witnesses is seldom without some further concerns than that for truth; but what passes between friends in private, usually deserves the name of consultation rather than contention; and so I hope it will prove between you and me….
But in the mean time, you defer too much to my ability in searching into this subject. What Descartes did was a good step. You have added much several ways, and especially in considering the colours of thin plates. If I have seen farther, it is by standing on the shoulders of giants.”
– quoted from a letter marked “Cambridge, February 5, 1675-76” from Sir Isaac Newton to Dr. Robert Hooke, as published in Memoirs of the Life, Writings, and Discoveries of Sir Isaac Newton by David Brewster
One might think when first reading the polite words and oh so charming letters between Dr. Robert Hooke and Sir Isaac Newton that theirs was a destined to be a friendship like that between Herman Melville and Nathaniel Hawthorne. Or, if you have never heard of Hooke, that their correspondence was more akin to that of the epistles between Rainer Maria Rilke and the 19-year old officer cadet Franz Xaver Kappus, whereby the world becomes overly familiar with the work of one because of their letters – and, in some ways this would be true. Along with Nicolaus Copernicus, René Descartes, Johannes Kepler, Galileo Galilei, as well as John Flamsteed and Edmond Halley (the first two designated Astronomer Royal (whose observations Newton used in the Principia), Dr. Robert Hooke could be considered one of Sir Isaac Newton’s “giants.” But don’t get it twisted; Hooke and Newton were not “besties.” If anything, they could best be described as each other’s master teachers and precious jewels.
I often reference “master teachers and precious jewels” as people who push our buttons and get us hooked; people who give us master classes on ourselves; and/or people who add value to our life experience (even as they drive us crazy). These are the naysayers, the antagonists, the doubters, and our own personal heretics. They are the ones who never believe we can do something; hardly every give us credit when we do it (see Hooke and Newton, above); sometimes claim the credit for their own (also see above); and just seem to make everything harder. We can look at them as obstacles, road blocks, and detours on our journey towards our goals – or we can look at them as teachers. We can borrow a page from the Emperor Marcus Aurelius and look at them as “the way.” Or, to paraphrase Stacy Flowers, we can look at them as the coach.
Stacey Flowers is a motivational speaker, mother, and “eternal optimist” who gave a 2016 Tedx Talk about “The 5 People You Need to Be Happy” (cheerleader, mentor, coach, friend, and peer). After last year the last few years, we might think of them as the five people who keep us grounded and focused. The way she counted them out, each finger was very intentionally chosen as a symbol for the role each person would play in someone’s life. For the coach, the one whose job is to push us farther than we think we can go and consider possibilities that seem outside of our arena, she uses the middle finger (which in some, but not all, cultures is a major league insult). The correspondence between Dr. Robert Hooke and Sir Isaac Newton are basically them giving each other the finger – without which some advancement in science might not have been made at the time.
“Every relationship you develop, from casual to intimate, helps you become more conscious. No union is without spiritual value.”
– from “Morning Visual Meditation” (Chakra 2) by Caroline Myss
Hooke and Newton’s debate about the existence and characteristics of ether and the nature of light started in a very public, and very acrimonious, fashion. There was some shift, between the public and private discourse; however, in that Hooke went from publicly stating that Newton basically stole his ideas to acknowledging how Newton continued his ideas. Meanwhile, Newton went from publicly giving Hooke no credit for the premise of the ideas – and, also, stating that Hooke’s conclusion “seems itself impossible” and was based on “both experiment and demonstration to the contrary” – to privately (in his letter) acknowledging Hooke’s contributions. But, again, this shift only seemed to be in private. In public, the disputes continued even past Hooke’s death. These disputes, along with disputes the good doctor had with other scientists, allowed Newton (and others) to paint a very negative picture of Hooke’s character.
Sir Isaac Newton also, reportedly (and as indicated above), had a contentious character. He is remembered, however, for his work. On the other hand, Robert Hooke is infamous for his plethora of disputes with other scientists (in a lot of different disciplines) – and many of those debates seem to be directly tied to Hooke trying to multitask. But, no matter how much some might want to consider him a waste of space, his disputes actually contributed to the advancement of scientific discovery. In part, perhaps because they were all members of The Royal Society of London (and, therefore, dedicated to “improving natural knowledge”), the others never completely disregarded Hooke’s insights and hypothesis. Instead, they continued the inquiry. Perhaps I am reading it wrong, but there seems to be little cognitive dissonance on the part of those with whom Hooke quarreled, because everyone was constantly running experiments and making observations in an effort to find proof of the truth – or maybe just to prove Hooke wrong.
“When I have got some more observations of it I shall bee [sic] able to tell you how long it will last and where it will pass[. At] present I dare not pretend to that knowledge.”
– quoted from a letter to “to Crompton [for Newton]” dated “December 15th (1680)” by John Flamsteed, the first Astronomer Royal
On some level, we all know someone like Dr. Robert Hooke. We might even be someone else’s Dr. Hooke. Either way, consider how you feel when you encounter that person who pushes your buttons and/or is constantly telling you that you are wrong – or, sometimes (even worse), that person who refuses to see that they are wrong. Ani Pema Chödrön, the American Tibetan Buddhist nun, describes a tightening that happens when we get “hooked.” We don’t all feel it in the exact same place and in the exact same way, and the intensity may vary; but we all know that feeling. The question is: Do we always notice that feeling? Second question: Do we notice the beginning of the sensation or only when it is about to go nuclear (meaning our sympathetic nervous system is all systems go to fight, flee, or freeze)? Finally, what do we do when we recognize that feeling?
Ani Chödrön specifically recommends practicing the “4 R’s;” while others might just say, “Stop and breathe for a moment.” Either way, taking a moment to acknowledge what is happening (how we are reacting) and giving ourselves an opportunity to respond – rather than react – can be the difference between someone’s negativity being an obstacle versus becoming a way for us to continue moving forward. That moment when we pause and breathe and recognize that we are a step away from losing focus, can be the difference between succeeding in our goals (like Sir Isaac Newton) and failing to follow through on all our goals (like Dr. Robert Hooke). That moment when we pause and breathe and recognize that we are a step away from losing focus, can be the difference between making our way through (or around) an obstacle and being stuck.
What I’m saying is that that metaphorical push can be the force we need to make the change we want. This is especially true after last year the last few years and the negative energy that has followed us into this year. Don’t get me wrong, I’m not advocating letting anyone actually push you around – not even in a metaphorically sense and definitely not in a physical, emotional, and/or energetic sense. But, I do think it is important to acknowledge that we all push and pull each other on a certain level, because we are all forces of nature. While we may welcome, even solicit, a little push from someone we see as a mentor, friend, and/or peer; we may not always appreciate the shove from “the coach” we didn’t ask to coach us. Always remember, though, that there are many ways we can utilize a contentious relationships. Or, more specifically, there are many ways we can benefit from noticing how we react or respond to contentious relationships in our lives and in our practice.
Just consider, for a moment, how you (physically and mentally) react to the following:
When going by the Gregorian calendar, Sir Isaac Newton was born today (January 4th) in 1643, in Woolsthorpe, Lincolnshire, England. As a scientist and a man of letters, Newton would have been fully aware of the Gregorian calendar, which Catholic-ruled lands started using in 1582 and Protestant German states in 1699. However, he lived his whole life officially using the Julian calendar (because England and it’s colonies did not switch until 1752, 25 or 26 years after Newton’s death). If you go by the Old Style, Julian calendar, Sir Isaac Newton was actually born on Christmas Day – a fact that really got some people hot (as in pissed) when it was pointed out on Twitter a few years back.
Speaking of Christmas, today (January 4th) is the 10th or 11th day (depending on when you start counting). According to the catechism myth attached to the “12 Days of Christmas” song, the gifts for these days translates to: “a partridge in a pear tree” for Jesus (and the cross); “two turtle doves” representing the Old and New Testament; “three French Hens” for the theological virtues of Faith, Hope, and Charity (Love); “four calling birds” for the four canonical New Testament Gospels (or their corresponding evangelicals, Matthew, Mark, Luke, and John); “five gold rings” are the first Five Books of the Hebrew Bible and the Christian Old Testament (which provide the back story for the three Abrahamic religions); “six geese a-laying” for the six days of creation; “seven swans a-swimming,” the consistently most expensive gift, stand for the seven gifts of the Holy Spirit (wisdom, understanding, knowledge, counsel, fortitude, piety, and fear of the Lord) or the seven sacraments (Baptism, Eucharist, Confirmation, Reconciliation, Anointing of the Six, Marriage, and Ordination); “eight maids a-milking” for the eight beatitudes (or blessings); “nine ladies dancing” for the nine fruits of the Holy Spirit; “ten lords a-leaping” for the ten commandments; and “eleven pipers piping” for the eleven faithful apostles.
Please join me today (Wednesday, January 4th) 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 “01042022 New(ton’s) Beginnings”]
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.)
A Joyful Practice 