Peace and light, E — Posted with WordPress for BlackBerry.
Classical yoga philosophies (as opposed to tantra) teach us that our mind/body are not real; what is real is “God,” and when we truly know this, we will experience freedom. I personally don’t ascribe to teachings that hold a concept real, but ourselves unreal.
I do think, though, that the practice that comes from this theory that advises us to pause, to step back, and to notice when our reactions to things are so bound in previous limited experience or expectation or dogmatic teaching that we’ve created unnecessary constrictions and suffering.
What appears to be caught or bound or stuck might not necessarily be so.
I went for a walk with a neighbor–all the way remaining 6+feet apart and changing course to give others that we encountered at least that much space. It’s been a while since I’ve talked while I walked.
Then I washed with requisite attention and enthusiasm when I came back home.
On Friday night, Professor Douglas Brooks offered a satsang that was hosted by District Kula. One of the attendees, who said that she did no yoga, but taught Argentinian tango, wanted to know about what she had heard of yoga talking about the dance of masculine and feminine because that’s what tango is all about.
Douglas gave a quick overview of the idea of the tattvas as a foundation for an answer to the tango dancer’s question. As part of this background, he discussed the numerological aspect of the tattvas, saying that Shiva and Shakti relate like this: one is two becomes three becomes five. The two must separate, and the space between them makes three and teaches us the one. Because of the spaces between, we do not have one to two to four, but two (one because inseparable) to three to five. We know the one only when we know two, and the one is therefore part of three. (“Lovely dance of numbers; that makes perfect sense,” I thought, having a happy geekfest in my own mind. “I’ll enjoy pondering how that might be an explanation for there being five top tattvas and not six or four and wondering whether I had even begun finding an understanding, even though what Douglas was talking about is something I have been contemplating for years in various ways and contexts.)
Douglas then led into a description of the inseparable, inextricably intertwined nature of Shiva and Shakti. “It is like that in tango,” the dancer interjected at multiple points. “The better the leader, the more he is listening to the follower, thus allowing the follower to be the leader.” Each time Douglas refined his response, the dancer offered something else about her experience with tango. “Right, when they are dancing well, the man takes on some of the characteristics of the feminine, and the woman that of the man. The difference between them starts to dissolve into the dance itself.” Her eyes lit up, and she bubbled up with speech, in her excitement at finding in the tantric philosophy what appeared to be an explanation of what she experiences in the tango.
The tango dancer and the yoga texts assign specific roles and attributes to the masculine and the feminine, and we tend to fall into that tradition when we discuss the tantric philosophy. As much as the traditional tantrika or tango dancer might say that the masculine and feminine (when embodied) take on/have characteristics of each other, they have assigned masculine/feminine roles to play, and they are still stuck in a paradigm that keeps real humans in assigned roles. These assigned roles impact how male and female are permitted to act in society, regardless of any recognition that who is actually, rather than technically, in charge may be in flux on different levels.
The paradigm of tango dancing kept Friday night’s discussion within the context of typical and rigid roles for male and female, but I do not think that is a required way for us to think of how to bring the tantric yoga philosophy into our lives. When we think of the tattvas as abstract principles, we do not have to privilege in our lives or own thinking the traditional divide between male and female roles as the basis for understanding the play of opposites (though to be true to the text in its historical context we do).
I believe that the dance of shiva and shakti is as much about the dance between the universal and multiplicitous individuality as it is about the specific play between masculine and feminine in assigned roles. The one is two. The two (one) separates into three; when the two separate we discover the one (two), and after that the three becomes five. I remember a friend saying in our college days, “There are three of us in it: there is me, there is my loved one, and then there is our relationship.” To be in the world and relate fully, the tattvas (and dances with partners of either sex) teach us that two are inseparable by being in relationship. By recognizing the appearance of separation, the dance of Shiva and Shakti tattvas shows us the relationship — the oneness. Thus, all consciousness is one, but two, and then three, and yet still one.
How this informs me, other than enjoyable thoughts in my head, is that when we try to be spaciously and openly aware in all of our relationships of this elemental play of individual identity, separability, and indivisible unity, we see the other in ourselves and ourselves in the other. This helps much to inspire friendliness, understanding, and compassion. It also helps bring understanding of the leader when we are following, which it makes it easier to follow with discrimination, but without judgment. When it is our turn to lead, it helps us know that for those who might choose to or be required to follow us for some particular project, that to lead well we must listen to the followers. As the the Grateful Dead taught me decades ago, “you who choose to lead must follow.”
Jane asks in response to my pictures of the tropicals indoors, “[w]hat, if anything, do you do to avoid bringing unwanted outdoor things in with the plants?” I assume she means bugs of various kinds, though it could also mean weeds, or, quite frankly, baby rodents in my garden location. What works best for me is taking the time to properly tend the plants right before I bring them inside. I do not repot the orchids that are spiking or in bloom, but I do take ones that are struggling or ones which have only had new green growth for the year out of the pots, change or at least rearrange the potting medium, and snip off dead roots, branches, leaves, etc. I brush off the outsides of the pots. After I have done that, I give them a good watering with the hose, letting the excess water run off before bringing the plants inside. A moth or two always comes inside, a few ants, maybe a couple of flies and mosquitoes, but I think it is worth it.
The answer for me then is two-fold, as it would be with any “unwanted things” in life. I try to take appropriate, healthful efforts to purify and fortify so that the wanted things outshine the unwanted things and the unwanted are released. As that is a challenging process, I also have expanded my tolerance, by recognizing them as part of the whole, for the things I don’t want that come with those things that I do want . It’s these two practices together that have made it easier for me to appreciate and have beauty in my life.
I do not do the poses as an end in themselves. I practice moving my body mindfully so that I can move as best serves my life. Among other things, I like to be sufficiently flexible and secure in my balance to maintain a vertical garden.
