Monday, April 22, 2013

Wisdom from my friend

The ego is the sense of being a me and all the ideas, beliefs, and other conditioning entailed in the sense of existing as an individual. The ego is called the false self because the ego isn’t who we really are, although it seems like it is who we are.
The egoic mind, which is a reflection of the ego and its conditioning, is the chatterbox mind, which produces a nearly constant flow of commentary about life based on our conditioning. We experience it as the voice in the head, as Eckhart Tolle calls it. For simplicity, I sometimes refer to the egoic mind as the mind. However, the egoic mind is distinct from the functional mind, which is the aspect of the mind that we use to read, calculate, analyze, design, follow instructions, and so forth. We need the functional mind, but we don’t actually need the egoic mind to function. The egoic mind is the aspect of the mind that talks to us, while the functional mind is a tool we pick up and use when we need it.

In my writings about the ego, I have somewhat positioned it as the enemy, as a device to help people detach from it. When people are identified with the ego, they are, in a sense, in love with the egoic mind, and I’m hoping to help them fall out of love with it, because the ego and the thoughts and feelings it produces are the source of human suffering. Of course, even the ego belongs to the Oneness, and the ego serves exactly the function the Oneness intended.

The ego isn’t actually an entity. Rather, it is the sense of being a separate individual, which is innate to us. We feel like individuals, although we are actually manifestations, or expressions, of One Being. This is the Oneness that mystics throughout time have realized as being behind all life and which the term non-dual, which means not two, refers to. While encased in a human body, we have lost awareness of our true nature, and we are meant to rediscover the truth. That discovery is what the spiritual path is all about and what spiritual practices are meant to reveal.

The sense of being a separate individual is accomplished through the mind. We are programmed to think of ourselves as separate and as having distinct characteristics and labels: “I am a man,” “I am smart,” “I am a mother,” “I am twenty years old.” Anything that comes after “I am,” defines us, and we take those definitions as who we are. And yet when you examine those assumptions, you see that they are just ideas. There is no you behind the thoughts about you. This you that you think you are is made up of thoughts! What a revelation that is!
Then who are you? That is the perennial question, which ultimately results in the discovery that we are not a thing but more of a being, an experience of existing. If we strip away all labels and ideas, we are left with just I am, just existence. We are that which is existing right here and now and aware of that existence. Spiritual teachers often call the true self Awareness because the experience of the true self is that it is aware. Beyond that, who or what we really are can’t be defined. It has qualities that can be felt, such as peace, acceptance, love, compassion, gratitude, kindness, patience, wisdom, and strength, although those words don’t come close to defining the mystery of our true nature.
Who we really are is indescribable because it is beyond anything the mind can grasp. But to speak about who we really are, we have to give it a name. It has been given many names: the Source, Spirit, Oneness, Beingness, Consciousness, God, Awareness, the Divine, the Absolute, Presence, Stillness, Emptiness, the Now, Essence, the Self, the higher self, the essential self, and the true self, to name a few. I usually refer to it as Essence, the Oneness, the Self, or Awareness. Those words mean basically the same thing. I generally use the word Essence to refer to the aspect of the Oneness that expresses itself and lives through each of us. Words and definitions are not important. You know Essence when you experience it, just as you know the ego when you experience it. Essence and the ego feel very different and are very distinct.

Awakening is another term that may need some definition. It refers to the shift from identification with the ego, or false self, to a recognition of yourself as the spiritual being that you are. This shift happens whenever we are simply in the moment without all of our thoughts. So awakeness is possible in any moment. Awakening, however, generally implies a more permanent shift to living from a place of non-identification with the ego and alignment with our true nature.

Now let us begin…
Your thoughts about whatever you are doing interfere with enjoying it not only because they are often negative, judgmental, or resistant to the experience, but also because thoughts—even positive ones—remove you from an experience to some degree. Some thoughts don’t interfere much with being present and enjoying what you are doing; they just float in and out of your mind, without you paying much attention to them. Other thoughts, however, grab you, and you lose touch with what you are doing and the experience you are having. When that happens, it feels like you are going through the motions or doing something just to get it done.
You can go through life this way if you want, but when you are not fully in contact with what you are doing, you miss out on the potential joy and pleasure in an experience. Any experience can be interesting, since you have never had it before. And any experience can be enjoyed, because when you immerse yourself in it, you lose the false self (the sense of I or me) and discover the true self, which is always enjoying life. Essence is always in-joy. And from Essence’s standpoint, every moment is an opportunity to serve life and love, which is another source of joy. What if you approached each moment as an opportunity to experience, serve, or love?

The secret to enjoying what you are doing is to get lost in it, to get involved in it. That means getting all your senses involved in it or, more accurately, noticing how all your senses are involved in it. Noticing sensory experience will take you out of your egoic mind (your functional mind is still available) and into the experience you are having. When you are present to the experience you are having, you are in the moment, and that is when you experience Presence, or Essence. The experience of Essence is highly pleasurable, so no matter what you are doing, if you are present to it, it will be enjoyable.]

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Period Departure Captures “Downton Abbey” Score

John Lunn

Composer John Lunn didn’t turn to the music of the early 1900s when preparing to score "Downton Abbey."  He decided instead to focus more on the musical style of pop.

"The harmonies in the music of the 1920s wouldn’t work with ‘Downton Abbey,’" said Lunn.  "The harmony (written for the series) is simple, almost like pop music, but crunched into the 1920s opulence.  The strings and piano provide grandeur."

Lunn has been composing music for TV series and specials for over twenty years.  Residing in the UK, he found the projects generated by the BBC to be more lucrative both financially and on a creative scope than much of the feature work he is generally offered.  Additionally, he enjoys the fact that the BBC allows for real musicians to record the score, and that the finished production has global distribution.  While many of the series he’s worked on have been period pieces, he is mindful of the projects he accepts, trying to avoid being pigeonholed as a period composer.  Although "Downton Abbey" is set in the early 1900s, Lunn saw some exciting opportunities with the series.

"Most other period dramas are based on a book, so you know exactly where the story is headed," said Lunn.  "Downton is original, so things can change.  I knew the editor and enjoy working together, so I knew this would be a good thing to do."

Lunn found inspiration for creating the score during the first season from the opening sequence.  The shot began with Bates riding on a train, on his way to the house.  Lunn saw the train as a device that was pivotal in relaying news that would shake the comfortable aristocracy.  He also saw a correlation between the mechanics of the train and the livelihood of the servants who are crucial to the ongoing saga of Downton; their efficiency and teamwork reminded him of the complexity of a train’s gears.  Lunn’s application of this inspiration began with notes from a piano, then a grand, sweeping melody was added.  From here, the harmony of the piece branched out to a chord sequence that established the main theme of the series.

Typically, Lunn has six month’s lead time with the overall story line (although elements of season four and five are already being discussed.)  This advanced knowledge of the direction certain plot points will take allows him to develop themes for specific characters and situations, allowing him to create cues that enhance the emotional response.  One example of this would be the theme that accompanies Lady Mary and Matthew’s screen time.  The couple has a roller coaster relationship; the theme is bright and upbeat expressing the joy of togetherness, but can be darkened, capturing feelings of longing and despair.

"You get the feeling they belong together.  The same music, when she said goodbye when he went to war, used with a variation, worked for his proposal," said Lunn.  "I knew at the beginning of the season that it would end that way.  In a series, you always have to leave yourself somewhere to go."

Sometimes, preparing the score also involves well placed silences.  In the Christmas episode of season two, several characters had died, one character was facing a potential death sentence, and the aftermath of the war was continuously being explored.   It was a deliberate decision to use the silence to affect the story and the viewer.  Additionally, Lunn refrained from introducing any holiday themes until the very end of the episode when the mood had shifted and new beginnings were in sight for all the characters.

There are some themes that are maintained through a series, such as the music used for Lady Mary and Matthew, however not all music is appropriate to carry from season to season.  Much of the music Lunn crafted for season two related to specific occasions and story threads such as the continuation of World War One and these pieces will no longer be relevant.  As the third season begins the characters will be moving into the roaring twenties, and Lunn is contemplating introducing some jazz into the score.  Until he determines its effect on the tone and the feel of the episodes, he won’t commit to its use.

Generally, Lunn feels most directors and producers don’t have the musical background to express ideas regarding the score, allowing him a great deal of artistic freedom.  He does work more closely with the editors and occasionally will be asked to write some music they can specifically use to edit to.

While Lunn has written musicals and operas in the past, his schedule keeps him rather occupied at the tasks at hand.  This year he received his second Emmy nomination for his work on season two of "Downton Abbey," and he is thrilled to be recognized by his peers.  He is looking forward to connecting with many of them at this year’s Creative Arts Emmys.

"Being nominated is like icing on the cake," said Lunn.  "I always like visiting Los Angeles.  The Emmy party is a lot of fun.  Americans do know how to party!"


After-surgery Get-well Baskets: 5 Ideas

Credit: Deposit photo. Winter Gardening TechniquesPlant cold hardy or frost hardy varieties. .


Is happiness a mere option? Neuroscience says not. It’s better described as an inborn striving that is hardwired into our brains and shapes our behaviors from the cradle to the grave.

In the words of the Dalai Lama, an avid researcher himself: Our purpose in life is to be happy. From the very core of our being, we simply desire contentment.”

Thanks to neuroscience and recent findings on the brain and relationships, we now know the brain has amazing capacities when it comes to consciousness, personal healing and change – all of which together amount to happiness.

What have we learned?

1. We know that skills for healing and consciousness are inborn capacities, yet they must be learned and cultivated.

Up until now, our ideas about learning and change were fairly vague.

It was once thought that we were born with all the neurons we needed for a lifetime (neurons are brain cells that specialize in transmitting messages throughout the systems of the body). Additionally, the brain’s ability to change and heal itself, known as plasticity, was believed to be a process that was activated only to restore lost abilities, i.e., following a brain injury.

What we now know is truly amazing. As it turns out, the brain renews and reorganizes the basic structure of many neurons indefinitely, and generates new neurons in certain areas of the brain all the time (Damasio, 2010).

2. We’ve discovered that plasticity is a basic characteristic of healthy brains.

“Everyone thinks of changing the world, but no one thinks of changing himself .” ~ LEO TOLSTOY

These new findings have not only revolutionized science, even overturning ideas held for centuries, they’ve also given us new tools to know ourselves and methods to best use the life enriching assets we carry inside. Self-directed change is not only possible; it seems more to be Nature’s way of prompting us to access the power of our ability to make informed choices to create deep and lasting change — a potentially transforming prospect.

As for plasticity, it now established as a basic principle of all healthy brains throughout life. What this means in terms of healing from anxiety, depression, trauma or other emotional blocks is promising to say the least. According to renowned neuroscientist Rama, as he is affectionately called, the brain is capable of more and faster restructuring and reorganizing than was ever imagined (Ramachandran, 2011).

3. We’ve learned that fear is designed to be an asset; not a defect or weakness.

“It is the perpetual dread of fear, the fear of fear, that shapes the face of a brave man.” ~ GEORGES BERNANOS

The fear response, once dreaded as a defect or sign of weakness, is now considered by neuroscientists who study the brain’s ability to heal itself to be a key neural function. We now understand fear is not something to eliminate. It is rather designed to work with other processes to help heal past wounds, and in the course of doing so, develop and strengthen our capacity to regulate our emotions (Damasio, 2010).

In short, the ability to feel our fears (painful emotions in general, most of which are rooted in fear) is vital to our happiness. When activated, the fear response provides us with an opportunity to make sense of our past, to re-integrate old experiences with new understanding, to learn and to grow our wisdom.

Believe it or not, as adults we now need to realize that we are no longer vulnerable to emotional pain; instead, painful emotions are vital teachers, strength and confidence builders. Situations that trigger our stress response are opportunities to stretch our capacity to love our self and key others in our life.

These key teaching moments offer new possibilities for creating happiness, even as we amaze ourselves by discovering skills we did not know we have or were possible! Handling our fears is a learned ability that can lead to emotional mastery.

Your mind and body — you — are designed for happiness and fulfillment. You are designed to feel good about yourself, for good reason. It’s healthy for your mind, body, and emotional (spiritual) wellbeing. It has been established that prolonged states of anxiety or depression harm, and cause the systems of the body to break down.

Your body is designed for happiness, and not the quick-fix variety.

Your happiness is one of your primary responsibilities in life! Embrace it, as a lifelong labor of love.

Ramachandran, Vilayanur S. (2011). The Tell-Tale Brain: A Neuroscientist’s Quest for What Makes Us Human. NY: W.W. Norton and company.


Archive | July 2013

Weekly Challenge for July 29th

Have fun

Weekly Challenge for 7-22-13

Busy weekend for this belly dancer! What about you? Now it’s Monday, though, and it’s time for another challenge!

Have you ever been in a class where intense stretching was part of the “warm-up” and felt pain? Or as though you could never get into that effortless stretch the teacher seems to do? Do you always seem to be injured or getting injured during performances?

It means you are not warming up properly. Warming up is a way to get blood moving to our muscles, and synovial fluid into our joints. Without it, we are more prone to tearing the muscle in an injurious way rather than a building-muscle way. Yes, we make tiny tears in our muscles when we exercise, but that is normal, and helps us build more muscle. But if we are not warmed up, then we are at risk for tearing the muscle in a bad way, preventing us from dancing. Not cool.

Let’s get is out of the way: if you are trying to do splits or other stretches for your warmup, you are doing it WRONG. Yes, I am actually saying that. Warmup should be about movement, not about holding a stretch. Once you are warm (and I do mean warm, as in, the first signs of sweat are starting to show), then yes, light stretching can be a part of your warm up, but it should never be the first thing you do.

So what’s the challenge this week?

For all levels, all students, professionals, teachers…any dancer of any kind…PLEASE try actually warming up before your practice or perform this week. Every time you practice or perform this week.

For at least five minutes (ten to fifteen is best and recommended), do easy movement exercises for your warmup. Don’t go straight into dancing, just do some body movements to get the blood going. Rotate the shoulders and neck gently, do easy chest slides (meaning don’t make it about the isolation or hits but about easily moving the spine from side to side) and hip slides and circles. Rotate the knees and ankles. Maybe do a few jumping jacks where you go slow and don’t actually jump (raising and lowering the arms while squatting). Once you get moving, THEN get into some safe stretches, like forward bends, easy lunges, standing yoga poses, etc. Even better than that would be more movement, as in some types of yoga in which holding the stretch is not the focus, but the movement between poses, or some light dancing.

Intense stretches like splits, pigeon pose (and it’s variants), lunges that go to the floor, back bends (or poses like upward dog), or anything of that nature should be reserved for when you are completely warm, preferably AFTER your practice.

This is important before you perform, too, and yes, you CAN do these in costume. I’ve seen a lot of dancers just get dressed and get on stage, and that’s a great way to hurt yourself, especially if you do strong techniques likes hits, or extreme techniques like back bends and Turkish drops.

Teachers: it is especially important to remember that while you may think pigeon pose isn’t that intense of a stretch, your students may think otherwise. You could be doing them serious injury by leading them into a stretch that their bodies are not ready for yet.

Never ever skip your warm up, and happy dancing!

Weekly Challenge for 7-15-13

Once again it’s Monday (can you tell I hate Mondays?) and it’s time for another challenge (which I don’t hate!)

Oh, here it is. The dreaded word of belly dance: layering. Layering classes tend to sell out, but most people leave them frustrated, annoyed, and sometimes, discouraged. Layering is the most impressive and possibly the most difficult aspect of belly dance. And yes, layering is for ALL belly dancers, not just Tribal Fusion dancers.

Layering is not just about moving the hips and chest at different times, with different moves. Layering includes walking and arm movements too, so shimmying with an arm pattern counts as layering. The trick is to make sure your shimmy doesn’t suffer when you move your arms.

The other problem I have seen is that layering doesn’t always look good. In practice, sure, it’s awesome to be able to bust out some crazy layering, some brain/body challenging moves. But does it look good? Or does it look like you are having some sort of fit on stage? Do your hips stay at the same speed or do they speed up when you layer? Do your arms drift inwards?

So let’s work on some layering!

Beginner: If this is the first time you are trying layering, don’t panic! Yes it is hard. Yes it will take you awhile to get good at it. Such is the case with anything worth doing. So let’s start with a basic layer. Pick a hip movement you know well and walk with it. That’s it, just walk. You can walk with mayas, you can walk with hip bumps, you can walk with ummis. It’s all possible. Pick a nice slow speed and, at first, step each time you do the movement, linking both movements to the same speed. If you’ve done this before in class or this is easy, try stepping more slowly. In other words, play with the timing of the two movements. But keep them linked together and to the beat! Practice for one song every day this week.

Intermediate: We’re going to try soft and hard layers! Pick one chest movement and one hip movement, one soft, one hard. For example, hip bumps and chest circles. Or ummis and chest squares. Or a hard shimmy with belly rolls. But here’s the challenge: make them look good. Don’t just plant yourself in one spot and struggle through it. Relax, smile, make it appear as though you do this all the time. And the most important thing: keep your timing. Belly dance is about the drum, the beat, so make sure your hips are on the beat, and that your chest matches it. You can play with the timing of the two movements (one half time, one quarter time, for example), but make sure there IS timing in your movements and you are not just flailing around. Practice for one song every day this week.

Advanced: Your challenge is a bit different. You can probably layer pretty well. But if you are like me, you don’t use it much in actual performance. Why? Because it looks awkward. You are dancing, and then you plant yourself somewhere and then bust out your most awesome layering. For some songs, that might work. But in many it looks like you are just showing off (nothing wrong with that, but if that’s not a part of your piece then it can look out of place). But let’s work to make this more organic. Can you fit a layer into a choreography? Can you layer and move at the same time? Make it look natural, not like you are cramming it into the piece in order to show off what you can do. Give it a try and see what you can come up with!

Happy dancing!

Weekly Challenge for July 8th

Monday again! Time for this week’s challenge!

Glute contractions

I don’t know about you, but the first time I was told to do these weird little exercises, I didn’t know what to think. It felt strange to do them, and it took a long time to get my glutes to do anything!

If you don’t know it, your glutes are your…well…the muscles in your rear end. “Glutes” is the short term for the three muscles that make up your…rear end…the gluteus maximus, gluteus medius, and gluteus minimus.

Suhaila Salimpour was the first to introduce these exercises to the belly dance community (at least, that’s what I’ve been told…and she’s done them on broadcast TV) and now many teachers use them to strengthen the glutes.

The glutes drive a lot of our hip movements. Specifically, they keep hip movements sharp. If you want sharp hips, challenge those glutes! But glutes can be hard to find, hard to control, and then hard to coordinate! You are going to have to work with your teacher on this one to find the best way to find those glutes.

Beginner: Please keep in mind that these exercises can be super frustrating. One week isn’t going to be enough time to strengthen and coordinate those glutes. BUT (pun intended?) this will get you started. If your teacher has shown you these exercises, great. If not, ask her/him about them. Many teachers don’t use the glutes that much, and that’s okay. There are plenty of DVDs that use them (specifically, Suhaila’s buns DVD). Your challenge this week is to practice those glute contractions for one whole song. Do them sitting down, or however your teacher has told you to do them, and keep it slow. Make sure both glutes are contracting strongly and evenly, and that each one releases fully.

Intermediate: The hardest time I had with these exercises was taking them from the floor to standing. It was a nightmare that involved a lot of stomping and growling (just ask my poor husband). Your results may vary, and that’s okay, because every body is different. Your challenge this week is to get off those buns and onto your feet. Still maintain a slow pace, make sure your dance posture is perfect (no sticking out that rear end!), and, again, make sure each glute releases fully before contracting again. Having loose glutes for this is VITAL. Practice for one whole song each day this week.

Advanced: What fun things can you do with your glutes? Can you shimmy with just your glutes? Do you use them when layering? Can you still do hip movements while standing on one foot with a sword on your head? This week find something interesting to do with those glutes and practice it for one whole song each day this week. Let me know how you do!

Happy dancing!

Weekly Challenge for July 1st

Shimmy Drill!!