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A Slow Metro Ride, A Missed Yoga Class, and Meditations on the Costs of War

Yesterday I wrote to my DC elected officials and to the budget office to let them know how important it is to me that local municipalities fully fund public transportation, as the budget year comes to a close.  Metro officials are threatening to close down many bus lines entirely, which will mean that far too many people will be unable to get to work, especially for low-paying jobs.  Hundreds of workers are scheduled to  be laid off, which means (as an icy cold budgetary matter — the budget after all being a moral document) that they will need services and no longer will be paying taxes.  Disrepair, injuries, and accidents will become even more prevalent, and service will be slowed at already overtaxed and overcrowded times.  Our air quality will go from yellow/orange to orange/red from the increase in gridlocked traffic.  I discussed the issue and the urgency of making our voices heard with several co-workers today.

I left the office at 5:40 pm this evening to go to take Suzie Hurley’s 6:15pm class at Willow Street, Takoma, Park.  I was standing on a metro train at 5:46pm.  The ride is supposed to take 13 minutes from Judiciary Square metro.  We reached Takoma Park at 6:27pm.  I went over to the studio when I arrived.  If the door was open, I would have looked in and caught Suzie’s eye and quietly seen whether I could slip in.  The door was closed, and I could hear that the class had already started doing standing poses.  Under circumstances where being late is clearly not my fault (and I try to avoid those by being willing to be early if it turns out the travel has been optimally sequenced), I will join the class just after centering and before the asanas begin.  As much as I would have liked to have taken a yoga class after the slow metro ride, I felt that I shouldn’t risk disturbing the other students by coming so late.  I instead will be doing a long, deep, slow, inward-moving practice when I am finished writing, corresponding, getting ready for practice and sleep, and doing some preparations for tomorrow’s work day.

In my growing acceptance that I would be arriving too late to Takoma to take class, I thought about the email I had received earlier in the day about the Friends Committee on National Legislation’s “Our Nation’s Checkbook” campaign.  The email reminded me that a third of my tax dollars are being spent on war.  “What about investing in green jobs, preventing more home foreclosures, and funding diplomacy to prevent wars?” I was asked.  “What about public transportation,” I thought, as I sat on the stationary train between stations.  “How many trains could be operated efficiently and safely for each fighter aircraft?”

How do I want to live?  What are my priorities?  When does short-sightedness or immediate personal satisfaction impact my long-term health and happiness and peaceful co-existence on a crowded planet?  For what purposes do I practice?  How would I like to invite others to live?

The ride home, of course, had nary a problem.  A train arrived in under five minutes.  The ride back to Union Station was exactly 11 minutes.  Everyone had a seat, and the car was nearly full,  so it was at perfect capacity.  It was still light, and lots of people were out because of the balmy night and the beauteous blossoms, and I felt safe strolling home instead of taking the bus.  What a beautiful night!

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    Found Sculpture

    I saw this beautiful roll of chicken wire in the Enid Haupt garden when I was walking back to the office after a quick visit to see the Gods of Angkor exhibit at the Sackler Gallery (sorry about the absence of links; blogging from the BB).

    I was first introduced to the idea of “found poetry” in junior high school and have developed a life-long habit of photographing words to change, enhance, and/or question their meaning and hidden beauty by the act of extracting them from their original place and presenting them as a photograph. Marcel Duchamp and others did what poets and photographers were doing with words with ordinary objects by presenting them as sculpture.

    Here, where I have photographed the chicken wire roll, is the art a sculpture (because I could treat it as such) of which I have taken a photograph–the photograph being mere documentation? Is the art the photograph of what I have seen to the extent I am offering it as a vision and a dialogue generated by what I saw? Or is the photograph merely a snapshot taken with a hand-held computer device documenting an object that happened to be sitting there–not art at all? If it were not for artists such as Duchamp, could I or would I even be able to ask this question?

    I think that analogous types of questions have been and can be asked about the variety of religious and mystical experience. Is there a particular way they must be experienced? Do such experiences have to fit within a prescribed framework to be valid? When are such experiences madness or delusion and when are they the voice of the spirit? Who gets to decide? Does it depend on the era and the culture in which the experiencer lives? Does the answer to any of these questions matter if the experiences lead one to a more loving, compassionate, and beauty-filled life?

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    Late Spring Greetings–Making Time and Space (Web Version of E-Newsletter)

    Dear Friends,
    I hope you are thriving to the greatest extent possible under your current circumstances in this outrageous Spring and weathering (pun intended) the wild fluctuations between apparent late winter and seemingly already mid-summer.  My garden has been uncertain at several moments, but partly due to careful attention at strategic points and partly out of love and luck, it is thriving–providing lots of herbs and greens and promising lots of tomatoes and peppers and beans.

    I write this letter a bit later than might have been desirable, as the summer session at Willow Street has already started, and my partial sabbatical from yoga teaching evidently has begun.  In practical terms of time and space this is the first time in almost eight years that I am not working weekends (first Saturdays and then Friday evenings) and commuting out to Takoma Park from Capitol Hill to teach.

    It took much contemplation to come to this partial sabbatical. Being a part of the Willow Street Community has been and continues to be important to me, and I have learned an incredible amount from the opportunity Suzie Hurley, and Joe and Natalie Miller, gave me to share my enthusiasm for the practices and the teachings with the fabulous variety of people who come to Willow Street as students.  It was an honor and a continuing source of inspiration and focus to be able to study with so many fine fellow teachers over the years.  And change can be hard for me.  It also is hard to let go of something that has been profoundly important.

    For my optimal health and well being, though, there just was not enough time for me to work full time and go where my heart is currently leading and also continue to teach on Friday nights or Saturday mornings.  I had to make a shift or start fraying around the edges, becoming less happy with everything.  Better to make some space to breath and feel and think without pressure.  Freeing my weekends fully will give me some of the space and time that I need at this crossroad in my life.  I am moving, I hope, towards a phase where there is more emphasis on nurturing self and relationship more deeply and exploring other creative pursuits with more seriousness.   To be able to work intelligently and with good will as a civil servant at this time and to continue to engage in our society that is in so much upheaval, leads me, for my abiding health and expansion, to the garden and the cat and my own practice and the growing and very special relationship that began on the trip to India (no value judgment implied by the order).  It also will be lots easier for me to study; going to a weekend workshop will no longer require my getting a substitute to cover my absence–expect to see me as a fellow student at the Friday nights of weekend workshops at Willow Street.  New ideas and opportunities for teaching will likely come, but not for the moment.

    I continue to lead the all levels yoga practice at William Penn House on Tuesday nights where you will be warmly welcomed by the regulars whatever your age or ability level and will be sure to enjoy the fruits of my new and varied explorations in yoga and other practices, while still keeping to the fundamental structure of class influenced by Anusara methodology.  Please join us.  A portion of each student’s payment supports the work of William Penn House.  While there is a suggested amount, if funds are a challenge, just pay what you can.

    Feel free to e-mail me if you are a more experienced practitioner who is interested in the Wednesday night practice or if you are interested in arranging private sessions or semi-private practices with your own small group.

    I look forward to seeing those of you who are local on a Tuesday night or at a workshop around town or in the neighborhood and also continuing to share photos and contemplations on this latest phase of my yogic (yes, I know that isn’t a real word) on the blog.

    Peace and light,

    Elizabeth

    clouds

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