“Ramaḍān Mubarak, Blessed Ramaḍān!” to anyone observing the holy month of Ramaḍān. Many blessings also to all, and especially to those who were celebrating and/or observing the Baháʼí 19-Day Fast, Great Lent, and/or Lent!
“Nowruz Mubarak!” Happy New Year to those who are celebrating and Happy Vernal (Spring) Equinox to those in the Northern Hemisphere.
Peace, ease, dialogue, and compassion to all, throughout this “Season for Nonviolence” and all other seasons!
Pardon me while I catch up. The following is a 2-for-1 post-practice post for Monday, March 10th and Monday, March 17th.It includes some new content, excerpts, and a repost (For Those Who Missed It). There is also a bonus link to a music-related post for March 21st.
The 2025 prompt question for 3/10 was, “Who is someone to whom you can talk (about anything) and who is someone to whom you can listen?” (NOTE: It can be the same person/people.)
The 2025 prompt question for 3/17 was, “Conas a tá tu? (How are you doing?)”
You can request an audio recording of this practice or a previous practice via a comment below or (for a slightly faster reply) you can email 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.
“There are answers in the music And there are answers in the words And if we stopped talking in circles We might get closer to the earth”
— quoted from the song “Be Good” by Hothouse Flowers (written by Liam Tadg O’maonlai, Fiachna Seosamh O’braonain, Peter Mary O’toole, Jeremiah Michael August Fehily, Leo Barnes)
There are some people who believe music has no place in (their) yoga practice. Others practice Nāda (“sound” or “voiced”) yoga, which involves silent, internal vibrations as well as mantra and music. Then there’s kirtan (“narrating, reciting, telling, describing”), which is a form of Bhakti yoga (“union [through] devotion or love”) that incorporates chanting with music. If we pay attention to what it says in the Bhagavad Gita (which I do), then all these paths are valid and valued.
Personally, I like to practice in a lot of different ways and often find myself somewhere in the middle of these different ways to practice. In other words, I like silence… and I like a good playlist.
When I am teaching, more often than not, I am using music. Sometimes, in fact, I will build a whole practice around music — or, more specifically, the messages/answers in the music. Sometimes, I will even be inspired by the messenger(s). When I teach practices without music — for instance, if we are outside or I am teaching the Monday night class affiliated with Common Ground Meditation Center — I have to ask an important question: Does this practice (or theme) work without the music?
If the answer is no; then, I need a different focus. When the answer is yes, as it was for the last two Mondays, we just go a little deeper.
3/10 — ADVENTURES AND MUSIC
“Some ideas may resonate, others may not. A few may awaken an inner knowing you forgot you had. Use what’s helpful. Let go of the rest.
Each of these moments is an invitation to further inquiry: looking deeper, zooming out, or in. Opening possibilities for a new way of being.”
— quoted from the prelude to The Creative Act: A Way of Being by Rick Rubin
In 2024, I wondered, “What would happen if every practice — and, really, everything we did — started with the reminder above (which comes courtesy of a person who has been meditating for almost fifty years)?”
In 2025, when the “Season for Nonviolence” principle of the day (for March 10th) was “dialogue”, I focused on how different conversations would be if we all followed the aforementioned advice of Rick Rubin, who was born March 10, 1963.
For Those Who Missed It: “Beannachtaí na Féile Pádraig. (Happy Saint Patrick’s Day.)”The following was originally posted in 2024.
Take a moment to notice how you feel on the inside, knowing that how you feel on the inside affects how you move on the outside. Of course, how you move on the outside is going to affect how you feel on the inside. This is especially true today, especially in the United States, when a lot of people celebrate feeling “Irish on the inside.” Like Valentine’s Day — and, even Saint Stephen’s Day, on a certain level — Saint Patrick’s Day is celebrated more as a cultural holiday than it is celebrated as a feast day.
The way Saint Patrick’s Day is celebrated is particularly interesting when you consider three coincidences about that the fifth century (or late fourth century) priest. First, when he was sent to Ireland to minister to Christians who were there and to convert those still practicing the Celtic religions, he chose to co-opt — um, I mean, incorporate — the Irish culture into Catholicism. So, he was all about the heritage… but in a problematic way. Second, Saint Patrick was never canonized — which means that one of the most famous saints was (technically speaking) a saint in name only. While he has a feast day in several traditions, including in the Roman Catholic tradition, I find it fitting that he is remembered as a Saint because people felt like was a saint.
Finally, most of what we know about Saint Patrick comes from exaggerated stories, legends, like the one about how he ran all the snakes out of Ireland — and what would Saint Patrick’s Day be without “me good yarn?”
If you read the title of this post correctly, you know that I think Saint Patrick’s Day is a good time to have “a good time.” In keeping with the feeling, there will be music, dancing, and a story. The Irish tale I like to tell today isn’t about Saint Patrick (in fact it is most often associated with a different saint); but, it can be seen as an allegory. It is also fun to tell with the poses — because, y’all, there are a lot of bird poses in yoga!
CLICK ON THE EXCERPT BELOW FOR MORE ABOUT THOSE BIRD POSES.
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)for the Suicide and Crisis Lifeline. You can also call this 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.
White Flag is a new app, which I have not yet researched, but which may be helpful if you need peer-to-peer (non-professional) support.
Many blessings to all, and especially to those observing Lent and/or the 19-Day Fast. May we all find unity throughout this “Season for Nonviolence” and all other seasons!
“Some ideas may resonate, others may not. A few may awaken an inner knowing you forgot you had. Use what’s helpful. Let go of the rest.
Each of these moments is an invitation to further inquiry: looking deeper, zooming out, or in. Opening possibilities for a new way of being.”
— quoted from the prelude to The Creative Act: A Way of Being by Rick Rubin
What would happen if every practice — and, really, everything we did — started with the reminder above (which comes courtesy of a person who has been meditating for almost fifty years)? I think it would help us be more mindful and, perhaps, more intentional. I think, also, that it would make us a little more in tune to how we feel and to what changes the way we feel. Since a catalyst creates and/or increases a fundamental shift without itself undergoing a permanent change, we can use our heightened awareness to go back, again and again, to that catalyst; whether it is a person, place, or a thing… like a good piece of music.
“‘The right sound reaches its hand out and finds its way. So much of what I do is just being present and listening for that right sound.’”
— Rick Rubin, quoted from The New York Times article, “The Music Man,” by Lynn Hirschberg (Sept. 2, 2007)
A good piece of musical work can inspire you, touch you, and can express what you’re feeling even when you can’t put those feelings into words. A good piece of music can pump us up; hold us when we’re feeling down; and make sense of things that are twisted and upside down. Good music may start with the lyrics or the musical notes, but what ultimately sticks with us is the way it sounds… the way it feels… and when it comes to a recording, the way music sounds and feels has as much to do with the way it’s mixed and produced as it does with the way it’s written and composed.
Again, I don’t know the math, but I feel safe in saying that however you do the math, odds are that, on any given day, my playlist contains music in some way connected to producer who has been described as looking like a hippie Guru, a ZZ Top impersonator, and a medium-sized (teddy) bear. Known as “The Loudness King,” as well as “DJ Double R,” Frederick Jay “Rick” Rubin was born today in 1963. While my high school and college buddies were making mixed tapes, Rick Rubin, spent his senior year in college creating a record label: Def Jam Recordings.
“‘When I’m listening, I’m looking for a balance that you could see in anything. Whether it’s a great painting or a building or a sunset. There’s just a natural human element to a great song that feels immediately satisfying. I like the song to create a mood.’”
— Rick Rubin quoted in The New York Times article, “The Music Man,” by Lynn Hirschberg (Sept. 2, 2007)
You might associate Def Jam with rap music. In reality, however, DJ Double R has produced everything from rap to jazz to country to pop to opera to kirtan. He has won at least 8 Grammy Awards, including the Grammy Award for Album of the Year for his work with The Chicks (2007) and with that other famous chick, Adele (2012). He also won the Grammy Award for Producer of the Year, Non-Classical in 2007 and 2009, and, in 2007, he was named as one of the “100 Most Influential People in the World” by Time Magazine.
Rick Rubin once said, “‘I do not know how to work a board. I don’t turn knobs. I have no technical ability whatsoever….But I’m there when they need me to be there. My primary asset is I know when I like something or not. It always comes down to taste. I’m not there to hold their hands and baby-sit, but I’m there for any key creative decisions.’” I’m not sure that I 100% believe the first claim, but I absolutely see evidence of everything else. Music produced by Mr. Rubin often has extreme dynamics in sound, hence his “Loudness King” moniker — even though what often balances the loudness is extremes of quiet. It’s the dichotomy that works for our brains. In fact, since our brains crave that kind of stimuli, those extremes make songs like “Walk This Way” (his collaboration between Run-D.M.C. and Aerosmith) the adult version of a lullaby.
That collaboration, one of his most famous, is typical Rick Rubin: outside the box – in a way that no one else thinks of doing, but then wishes they had. He sees it as breaking down boundaries and part of that is pushing people out of their comfort zones, which often produces a sound that is uniquely an artist’s style and yet, simultaneously, different. Getting pushed out of his box was definitely the experience Ed Sheeran had when working with the legendary producer on x. At one point Mr. Sheeran was afraid that, as good as the songs sounded, they wouldn’t be playable on the radio. So, he wrote and recorded additional music that fit more in the “pop Top 40” paradigm.
“From the first hip-hop records he produced for L L Cool J and the Beastie Boys, he insisted on classic song structure. ‘Before Def Jam, hip-hop records were typically really long, and they rarely had a hook,’ [Rubin] continued. ‘Those songs didn’t deliver in the way the Beatles did. By making our rap records sound more like pop songs, we changed the form. And we sold a lot of records.’”
— quoted from The New York Times article, “The Music Man,” by Lynn Hirschberg (Sept. 2, 2007)
When Rick Rubin left Def Jam Recordings, he planned to start a new label called “Def American Recordings.” While his focus had started to turn more and more toward rock and metal, DJ Double R was not leaving his roots behind. Remember, he started with punk and rap music — like that of the Beastie Boys. Yes, the Beastie Boys actually started with experimental hardcore punk music and evolved into hip-hop stylists. In fact, Rick Rubin was instrumental (a-ahem) in their transition. (Alas, as I noted during the practice, my favorite Beastie Boys album is more jazz than punk or hip-hop and is not produced by Mr. Rubin.) After he become friends with DJ Jazzy Jay and starting a partnership with Russell Simmons, his Def Jam Recordings took off — releasing their first full-length album (L. L. Cool J’s Radio) and signing groups like Public Enemy. When he started Def American Recordings, he continued his relationships with L. L. Cool J, Public Enemy, and Run-D.M.C. — but he quickly ended his relationship with “def.”
A decade after he brought the word to the awareness of the general public, Rick Rubin felt like “def” had lost its meaning. In 1993, when he learned “def” was in the dictionary, he decided to hold an actual funeral for the word — complete with a casket; a horse-drawn hearse; a grave and engraved headstone; a New Orleans-style first and second line (played by six-piece brass band); and a eulogy by Reverend Al Sharpton. Among the 1500+ in attendance were Black Panthers and celebrity “mourners” like The Amazing Kreskin, Tom Petty, Rosanna Arquette, Flea from the Red Hot Chili Peppers, Sir Mix-A-Lot, and pallbearer Mo Ostin (Warner Brothers Records chairman).
“Sharpton’s eulogy summarized the Death of Def in eloquent style, stating that def meant ‘more than excellent. Like, def-iantly excellent with a bang. Now the bang is out of def. It’s lost its exclusivity to the in, def-iant crowd. It died of terminal acceptance.’”
— quoted from the article “Loud End for Def Records” by Wimana (Imo Wimana Chadband), posted on the Raptology.com February 5, 2020
In many ways, the funeral (on August 27, 1993) was a spectacular way to launch his new labels new name: American Recordings. One of the other ways he decided to make a name for his new label was to “find” an artist who was also ready to be “reintroduced” to the world. He wanted someone legendary, but not in the same season they had been in when they first made a name for themselves. He wanted someone like Johnny Cash. Ultimately, Rick Rubin would produce six Johnny Cash “American Recordings,” two of which were released after Johnny Cash’s death. The albums were critical and commercial successes, earning the 2003 Grammy for Best Male Country Vocal (“Give My Love to Rose”); the 2003 Country Music Association award for Single of the Year (for a cover of Nine Inch Nails’ “Hurt” — the music video of which also won the 2004 Grammy Award for Best Short Form Music Video); the 2003 Grammy Nomination for Best Country Collaboration with Vocals (for a cover of Simon and Garfunkel’s “Bridge over Troubled Water, with Fiona Apple); and a plethora of other awards and nominations.
While Rick Rubin attributes a couple of his nicknames to the fact that he has a long beard, his work has contributed to this idea that he is a “teacher.” He often gives advice about the creative process and spent 8 years working on The Creative Act: A Way of Being (2023). Mr. Rubin said that the book was meant to be “… about what to do to make a great work of art. Instead, it revealed itself to be a book on how to be.”
“We’re making something with our hearts and souls, and then we’re sharing it with the world. And if people like it, it’s great, and if they don’t, we wouldn’t change it, because we’ve made it with our hearts and souls, and it’s true. It’s a true thing we’re doing.”
— Rick Rubin, quoted from an NPR, All Things Considered interview with Rachel Martin entitled “Rick Rubin on taking communion with Johnny Cash and not rushing creativity” (December 10, 2023)
Please join me for a 65-minute virtual yoga practice on Zoom today (Sunday, March 10th) at 2:30 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.
Sunday’s playlist is available on YouTube and Spotify. [Look for “Songs for the DJ’s Adventure”]
Kirtan is a form of Bhakti Yoga (or union through devotion/love) and involves chanting with music. One of the Rick Rubin-produced songs on the March 10th playlist is a Krishna Das kirtan version of “Brindavan Hare Ram,” which appears on Breath of the Heart. In the album’s liner notes, Krishna Das noted that the melody appeared on a previous album and that when he mentioned missing the singer and his daughter (after they died), “…Ram Dass said, ‘You tell that story wrong.’ / He was right. / Aren’t they [here] in this music,/in this song of longing and unbearable / sweetness. Don’t they live in our lives and sing in our song, in the One Life which breathes in all of us?”
Rick Rubin expressed this same sentiment after Johnny Cash died. He said he “would close his eyes and hear Cash’s voice as he said the benediction. ‘It was like hearing a song that you love,’ Rubin said. ‘He was there with me.’” (ibid, Hirschberg)
*NOTE: This is a remix of one part of a 2021 post. It includes new information and quotes.
“Chag sameach!” to those observing the High Holidays. “Many blessings,” to everyone and especially those celebrating Ganesh Chaturthi!
“When marching along the gray road towards the tannery in a column raising clouds of dust, one saw the beautiful red light of the dawn shining on the white flowers in the orchards and on the trees by the roadside, or on the return journey we would encounter young couples out walking, breathing in the beauty of springtime, or women peacefully pushing their children in prams — then the thought uncomfortably bouncing around one’s brain would arise . . . swirling around, stubbornly seeking some solution to the insoluble question: Were we all . . . people?”
— quoted from The Auschwitz Volunteer: Beyond Bravery by Captain Witold Pilecki (Auschwitz Prisoner No. 4859), translated from Pilecki’s original 1945 Auschwitz Report by Jarek Garliński (with an Introduction by Norman Davies & a Forward by Michael Schudrich (Foreword)
It is all to easy to focus on our differences, but what happens when we focus on our similarities? What happens when we focus — or just take a moment to notice — the things we have in common? I think good things happen. I think it makes us more fully human and, possibly, more appreciative of what it means to human. This is why it always feels particularly auspicious when two or more completely different groups of people (from vastly different communities, faiths, and cultures) are celebrating and/or observing sacred times at the same time. It feels particularly notable (to me) when these “holy” times are the same length of time. Take right now, for instance, when two very different 10-day celebrations/observations are overlapping around the world.
Today is the fourth day of the High Holidays (and of the new year) according to the Hebrew calendar and, according to the Hindu calendar, today is the first day of Ganesh Chaturthi, the festival celebrating the birthday of Ganesha. I referred to these as “very different” — and it is true that the rituals, traditions, and faiths are different. However, underlying both holidays is something very human: a desire for new beginnings and less obstacles. Additionally, both observations require people to do something in preparation for the better days. Whether it is making an offering and/or offering (or asking for) forgiveness, these auspicious times require people to act. So, there is prayer, there is reflection, there is prayer, and there is a dissolution (or dissolving) or something.
In both cases there is also something sweet.
“ॐ गजाननाय नमः। Aum Gajānanāya Namaḥ।”
— This mantra honoring “the One who carries the elephant head” is a reminder that if Ganesha can carry the elephant’s head to survive and fulfill his duties, we can all put aside our egos and live dutifully.
Ganesha is depicted as having a human body (with extra arms) and an elephant head. In Hinduism, he is the Remover of Obstacles and the God of New Beginnings. He is also associated with wisdom and intelligence, as well as the arts and sciences. For his birthday celebrations, people chant Vedic hymns and shastras (including sacred texts and scriptures). There will also be kirtan (chanting with music), which is a form of bhakti yoga or union through devotion/love. In addition to offering Ganesha his favorite sweets, people host Ganesha for one day, three days, seven days, or all ten days. They host him by displaying a clay statue of him in their homes and/or in public.
On the tenth day, the idols are carried to a nearby body of water and dissolved so that Ganesha can return to his heavenly home, carrying people’s obstacles/burdens away in the process. In some places, hundreds of thousands of statues are dissolved at the end of the festival. Over the years, people moved away from traditional materials and started using plaster of Paris (Gypsum plaster), which created environmental concerns. Some cities have now banned using plaster of Paris and encouraged people to return to using local clay (and sometimes clay and cow dung). There are also people who will dissolve their Ganesha statue in a barrel of water and then spread the dissolved clay in their garden — which may not seem like much, but can be way for a person’s actions and faith-based beliefs to make a difference in the world.
We can all do something little that makes a difference. Some, however, do big things that make a difference.
“I do not pretend to understand the moral universe. The arc is a long one. My eye reaches but little ways. I cannot calculate the curve and complete the figure by experience of sight. I can divine it by conscience. And from what I see I am sure it bends toward justice.”
— quoted from an 1853 sermon by abolitionist and Unitarian minister Theodore Parker
The following is a (slightly revised) excerpt from a 2020 post.
Calvary Captain Witold Pilecki (also known as Tomasz Serafiński) made such a big sacrifice and such a difference in the world that some believe he should be recognized by Yad Vashem (The World Holocaust Remembrance Center) as “Righteous Among Nations.” Today in 1940, he allowed himself to be captured by the Nazis. He did this in order to report the truth about what was going on in concentration camps like Auschwitz.
Captain Pilecki, served as an officer in the Polish Army during the Polish-Soviet War (1919 – 1920) and during World War II. As part of the Resistance to Nazi Occupied Poland, he co-founded the Secret Polish Army (along with Lieutenant Colonel Jan Henryk “Darwicz” Włodarkiewicz and Lieutenant Colonel Władysław “Stefan” Surmacki ), which eventually became part of the Home Army. When Germany invaded Poland at the end of 1939, very little was known about the concentration camps, but Captain Pilecki had a plan. His idea, which was approved by his Polish Army superiors, was to come out of hiding during a Warsaw roundup in order to be arrested and shipped to Auschwitz, where he could organize the resistance and report on the situation from the inside.
“I’ve been trying to live my life so that in the hour of my death I would rather feel joy, than fear.”
— Witold Pilecki’s statement to the judge after his sentencing, May 15, 1948
He was given a false identity card and was arrested on September 19, 1940. Arrested along with him were 2,000 civilians, including journalist and historian Władysław Bartoszewski (who was designated “Righteous Among Nations” in 1965). After being detained for two days, “Tomasz Serafiński” was assigned number 4859, and shipped to Auschwitz, where he documented the difference between the way the Nazis treated Jewish people versus non-Jewish people. He also documented the escalating move towards genocide.
During his two and a half years at Auschwitz, Witold Pilecki formed Union of Military Organizations (ZOW), a resistance organization within the camp, which set up intelligence networks; distributed extra food, clothing, and medical supplies; boosted morale; and prepared for a possible Home Army coup. At one point, ZOW was even able to construct and use a secret radio receiver and help at least 4 Polish men escape (with one of Captain Witold’s reports).
“Witold’s Report” (also known as “Pilecki’s Report”) was information that was regularly smuggled through the Polish resistance to London and even to the British government. It provided the outside world with the first “official” documentation of the Nazi’s atrocities. For much of the war, however, the reports of genocide were considered too unbelievable. As the Nazi’s plans became more and more obvious, and as his calls for the Allies to bomb the camps were denied, Captain Pilecki realized he was running out of time. He was receiving news from the outside that the Allies supported the idea of a prisoner insurrection — which he too had suggested at one time. However, by 1943, the people inside the camp were too weakened to mount an attack. He thought could be more convincing in person, so he put a new plan into action.
After he escaped in April 1943, Captain Pilecki wrote “Report W,” outlining the conditions of the camps, as well as details about the gas chambers, the selection process, the crematoria, and the sterilization experiments. His report was signed by other escapees and included the names of ZOW members. He continued to work and organize the resistance, while also expanding “Report W.” He participated in the Warsaw Uprising and was reassigned to Italy, but eventually returned to Communist-controlled Poland. In May of 1947, he was arrested by the Communist government and tortured, but he would not reveal other members of the resistance. He was eventually “tried” and executed. His most comprehensive version of the “W Report” (from 1945) was published in 2012, as The Auschwitz Volunteer: Beyond Bravery, and his life has been the subject of a number of books, songs, and articles.
“Who will be calm and who will be tormented? Who will become poor and who will get rich? Who will be made humble and who will be raised up? But teshuvah and tefillah and tzedakah [return and prayer and righteous acts] deflect the evil of the decree.”
— quoted from the poem “Unetaneh Tokef” (“Let Us Speak of the Awesomeness”)
Please join me today (Tuesday, September 19th) 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 myra(at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “High Holidays: Bending the Arc”]
NOTE: The YouTube playlist contains extra videos of some of the songs featured during the practice.
“Even when a man takes revenge on others who hate him, in spite of him not hating them initially, the pain caused by his vengeance will bring him inevitable sorrow.” (313)
“When a man inflicts pain upon others in the forenoon, it will come upon him unsought in the afternoon.” (319)
— quoted from the English translation of the Tamil lyrics of the song “Ahimsa” by U2 and A. R. Rahman, featuring Khatija and Raheema Rahman (translation from IntegralYoga.org)
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.)
### MAY YOUR NAME BE WRITTEN & SEALED IN THE BOOK OF LIFE / MAY YOU HAVE FEW OBSTACLES AHEAD ###
May your breath be smooth, slow, serene, and with no pauses;
May the flow of thoughts in your mind not disturb you;
May your meditation today bring you peace, happiness, and bliss.”
– Intention for meditation, set by Swami Jnaneshvara
There’s a lot going on right now, inside and outside; a lot to notice. So, perhaps you’ve noticed something is different, but haven’t mentioned it. Perhaps you have noticed the things that are the same, and appreciated them. Yet, even as we’ve spent the last few days very deliberately and very intentionally noticing things, perhaps you haven’t noticed one of the things that has changed.
In all fairness, there are a number of reasons why you might not have even encountered the specific change of which I speak. The biggest reason you might not have noticed the change is that you might not be using the playlist and/or you might not be listening to the before/after class music.
Over the years, music has become part of the ritual of the practice. A friend once remarked that she came into one of the studios at the Y and didn’t see me, but she heard a Garth Brooks song playing over the stereo and knew I was somewhere in the building. Some people have told me that don’t really like the outdoor classes (because there is no music) and others have said they prefer no music. Some people have said they never even notice the music, and then there are the times where it is just a little too loud.
Still, many people have remarked that the chanting at the end of the playlist really sets the tone and gets them in the right mindset. And that, ultimately, is why the music is there before and after the class. It helps to bring us into the space and into the moment; it helps us transition from the profane to the sacred and then back to the mundane – but this time taking a piece of the sacred with us.
“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,” chanted by Richard Freeman (when we are in the studio)
“Lokah Samastah Sukhino Bhavantu – May All-Beings, Everywhere, Be Happy & Be Free”
– Metta (Loving-kindness) mantra often chanted at the end of the practice
That said, sometimes I change the chanting at the end of the playlist. Don’t get me wrong; we still start with the practice with the English translation of the “Teaching Santipat” (a.k.a. “the group intention”), but there are times when I want to set the tone in a slightly different way before I ever say a word. So, I’ll change the ending that leads to the beginning. More often than not it’s just a simple change, like replacing the Santipat for the “Gayatri Mantra” on the days when we are focusing on the light. Other times, there’s a bit of a story, like a prologue, that I want to subtly and subliminally convey. And, usually, people notice the change (because it’s pretty obvious) – but not this time.
I’ve collected a pretty massive amount of music over the years – not professional DJ massive – but I have a lot of music and I am always buying more. As I mentioned this past Saturday, however, sometimes music on my playlist is not available on Spotify and/or YouTube. No one knows, unless I mention it, when I make a little switch – especially since I try to stick with the same composer and, obviously, maintain the same motif, tempo, and timing. And I only mention it now, because I want you to notice something is different.
“In the conscious, unconscious, and subconscious mind, I bow to the lotus feet of our great teacher,
Who uncovers our true self and awakens happiness Like a Shaman in the Jungle he brings total complete well-being. He can even heal the most awful poison of conditioning and illusion.
The upper body of human shape, carrying a mussel horn (original tone), a discus (infinity) and a sword (power of differentiation) having 1000 bright heads, I bow to Patanjali.”
– Ashtanga mantra, used to open Ashtanga practices all over the world
In searching for alternative pieces over this last month, I have discovered new songs from two of my favorite contemporary composers, Bear McCreary and Alexandra Stréliski, and also discovered the lyrics to a song, “Merci Bon Dieu,” that I had only ever used as an instrumental piece. In the case of the latter, it turns out the lyrics reinforced the reason I had so often slotted the instrumental piece into certain playlists and, in the case of the former, well…let’s just say I’m going to be buying more music when this is all said and done.
But that’s all lagniappe, just a little something extra that tells you a bit about my process. The real focus today, is what I’m offering and that’s the chant at the end of the YouTube and Spotify playlists. It is not, however, the “Teaching Santipat” recorded by Richard Freeman, which I normally I use in the practice and which I still recite at the beginning. As far as I’ve ever been able to tell, the version I use in the studio is only available on a CD set I purchased years ago when I wanted to add more chanting to my practice. Instead, what appears in the online playlists is a bit of kirtan recorded by Krishna Das.
“Mere Gurudev,” can be translated as “My Ultimate Teacher” or, literally, “My Teacher-God.” I have heard the chant was originally written by an unnamed Indian woman, who (as you will see by the words) intended it as an offering and a tribute to her teacher, Maharaji, Neem Karoli Baba.
Maharaji was a lifelong practitioner of bhakti yoga (“union through devotion” or “union through love”), which includes the practice of kirtan (mantras chanted with music). He was the teacher of Ram Das, Bhagavan Das, Lama Surya Das, Jai Uttal, Trevor Hall, and Krishna Das, as well as a host of entertainers and business moguls. Maharaji was reportedly so touched by the woman’s offering that he immediately asked for someone to write it down and for everyone to learn it. The Krishna Das version (which may exclude one of the original verses) translates as follows:
“My Gurudev, I offer these flowers of my faith at your feet Whatever I have, you have given to me, and I dedicate it all to you.
I have no love, nor do I know you.* I don’t even have the strength to worship you, But this mind of mine, this body of mine, my every atom is dedicated to you.
You are the only one in my heart and my thoughts. You are the one who I call out to. Now Make me your instrument…all I am I offer to you.”
– “Mere Gurudev” recorded in Sanskrit by Krishna Das
*earlier translation = “I have no love for you, nor any desire for you”
I was taught, and I believe, that our ultimate (and best) teacher is inside of us. That may mean different things to different people, but I don’t believe it makes it any less true. Part of what is true about that, is that I carry (as we all do) the lessons of all of our teachers – regardless of what they taught us. I was also taught, and also believe, that each and every one of us is simultaneously student and teacher to those around us. Meaning you all are as much my teachers as I am yours. Rather than using an online version of the “Teaching Santipat” that didn’t really resonate with me, I decided to add this bit of kirtan to the end of each playlist as a reminder, during this unsettling time, that what I offer is a gift to my teachers.
Thank you, for accepting these gifts.
“Namaste.”
– salutation / benediction meaning “I bow Thou”
If you are interested and available, please join me class today (Tuesday, April 21st) at 12 Noon or at 7:15 PM on Zoom. Some of the new Zoom security protocols are definitely kicking in; so, please use the link from the “Class Schedules” calendar if you run into any problems. Tuesday’s playlist is the same as Sunday’s playlist (dated 04192020) and is available on YouTube and Spotify.
You may notice that the playlist is longer than normal – that’s because it is actually two (2) different playlists. If you are using the music, you get to choose your musical experience.
My apologies to anyone who was expecting the “In Memoriam (Musicians)” practice I have previously led on April 21st (in 2017, for instance). If you go to The Roots YouTube channel, you will find thatQuestLove has stocked the Wrecka Stow and made up for my omission, 5x over.
It’s Almost Time to Kiss My Asana (cause the yogathon starts Saturday, April 25th!
Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. This year’s yogathon is only a week long. Seven days, at the end of the month, to do yoga, share yoga, and help others. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga… for 7 days
Teacher, teacher, tell me your Kiss My Asana story!
You don’t need to wait until the end of the month, however, to consider how you might participate. Start thinking now about how you can add 5 minutes of yoga (or meditation) to your day, how you can learn something new about your practice, or even how you would teach a pose to someone close to you – or even to one of your Master Teachers/Precious Jewels.
To give you some ideas, consider that in past years my KMA offerings have included donation-based classes and (sometimes) daily postings. Check out one of my previous offerings dated April 21st (or thereabouts):
A Joyful Practice 