Trying To Squeeze Blood From A Turnip and The Power of No Force

Part of a series exploring each of the Breema Nine Principles of Harmony

Trying to squeeze blood from a turnip is a lot like being at war with reality.

What are the ways we use force against what is, in an attempt to make things the way we think (and thought is the key word here) they should be?

Does it ever really work? And at what price? When we use force, do we even know that our sanity, our inner peace, our body, exists? Or do we only see the blood we want so desperately to come from the turnip, or whatever we are applying force to?

If we see clearly, we first begin to recognize that we are not getting the blood we want, despite all the effort. If we continue to look, we might be able to recognize that there's a turnip involved, a turnip that is quite innocent, being a turnip. It has no blood to give. It's just being squeezed, and squeezed some more, harder and harder. You (the one who is squeezing) keep getting more frustrated, but the turnip is not doing anything different. Surprise, surprise, it's still a turnip! Your squeezing, your effort, your frustration, your attempts, have done absolutely nothing to change that.

The turnip seems puzzled. It seems to ask, "Why are you angry at me for being a turnip? Why are you frustrated that there's no blood in me to give? You are getting everything you possibly can from me, because I am a turnip!"

If we look really deeply, we might then see that it's not the turnip who has the problem. We are, at some level, insane for being attached to an outcome that does not - cannot - exist. Until we see all of this clearly there is no way we will let go of our grip on the turnip. We will keep squeezing and squeezing, until our hand gives out or our frustration gets the better of us. The turnip won't yield any blood, and it probably won't even change shape. But what will we be left with? A sore hand, and a broken spirit. Time spent in useless frustration, curses thrown at the luck we were dealt. And no blood.

Not a very fulfilling way to pass the time. Or a very good way to use the strength in your hands.

Working with the body, I've noticed that there is power in the hand when it receives. When you align your entire body, placing your hand in a position where, when it simply receives the weight of your body, it carries the entire universe in its palm. There is no effort in that moment. There is intention and presence in positioning your body to be able to receive. But once those intentions and alignments are in place, the rest is effortless. There is No Force.

However, there is tremendous power. In the moment of No Force, there is space for the power to heal, to release, to discover, to transform. When we let go of force, we merge with reality. Reality is kind, if we allow it to show us what we need to see.

No Force is a way to practice kindness toward yourself. The beneficiaries of No Force will extend beyond you, but if you need a reason to begin, begin with what is kind to yourself.

Precision, Gentleness, and Letting Go

In The Wisdom of No Escape, there's a chapter where Pema Chodron talks about three useful qualities for life and for meditation: precision, gentleness, and letting go.

I've been consciously living with the nine principles of Breema lately, and I've noticed how precision, gentleness, and letting go are a useful way to greet any practice, old or new.

For example, one of the Breema principles is "No Judgment."

When you begin to study and practice "No Judgment", the first thing you notice is how much judgment is in your mind already.

"No Judgment" brings your attention first to the judgment that's there. Which means, you begin to identify judgment as judgment. That's precision. You may notice as a new student of something, you like to be very precise. So every time you see your mind judging, you say to yourself, "Damn it, I'm judging again! Why am I so judgmental? I need to stop judging so much." And you feel the assault on yourself beginning to happen.

This is the moment when gentleness can enter in. You have an opportunity to practice gentleness, or to continue the assault. Gentleness gives you the opportunity to take a different attitude toward yourself, even as you see, with precision, what is going on. Gentleness encourages you to just see, without extra attacks or criticism or labeling. In other words, no need to judge your judgment. Be gentle with yourself as you begin to see clearly. Just see what is, with no extra.

Letting go is the final practice, and it is the result of practicing both precision and gentleness. Letting go is not something to achieve or do, but is a natural unfolding of both precision and gentleness practiced together. When you play with these qualities of precision and gentleness, dance with them back and forth, and then gradually see that they are both happening all at once, there is a feeling of letting go. Neither precision nor gentleness has to "win". There is no final state to achieve. There is no superior way to be.

Letting go is a sensation of relief. That it's not all such a big deal. That we definitely need to practice, but part of the practice is also to let it all go. Letting go is not a "Forget about trying, I'll just give up" kind of feeling, but rather a smiling recognition that no one needs to win or lose, not even the more or less enlightened parts of your own mind. It's a kind of relaxation into the present, a return to what is, and a feeling that our attached thoughts are not who we are. A knowing that our true essence is something much lighter, and also more timeless than any thought or practice.

Living With A Perfectionist In Your House

I am a recovering perfectionist. I’ve been practicing various antidotes to perfectionism quite consciously for about three years now. That makes me – the real me, the innocently imperfect me – about three years old. I’m walking, I’m talking, I’m eating with my plastic miniature utensils, insisting that I’m a big girl now. But the real big girl in the house – the house of my mind, my body, and my soul – is Miss Perfectionist. She is the one who grew up inside my house, the house of me. She became the big one without my knowing it. She got all the praise, all the money, all the polite smiling conversations at cocktail parties, all the “wow”s and “ooh”s and “aah”s, all the framed diplomas and plaques on the wall. She was surrounded by people she kept at an arm’s length distance, so they wouldn’t touch anything close to her.

She thought she liked it that way. She thought she preferred it that way, because her attention could be focused on making her hair perfect, her face perfect, her nails perfect, her shoes perfect, her outfits perfect, anything that would attract the attention of perfection praisers, which seemed to be everywhere.

Miss Perfectionist was so busy doing the things she defined as perfection – which always involved something other than the way things were – that she ignored the real me, who by the way, happened to own the house the whole time.

As I write this, I’m fresh from peeling away another layer of awareness of how Miss Perfectionist still lurks, like a creepy roommate, in the house of me. I’m also more aware of the real me, that three-year-old who has just gotten her legs, who has registered  the definite feeling of walking, moving one foot in front of another, exploring this amazing thing called existence.

And I’m not willing to ignore that three-year-old, at this magical time of her life. I’m not willing to yell at her, throw her out on the porch in her nightgown, telling her she is wrong and worthless as she is. I’m not willing to have her mentored by Miss Perfectionist.

You see, Miss Perfectionist is not very supportive in moments that require vulnerability, moments that require the raw courage to step into unknown, unfelt territory. Miss Perfectionist, in fact, hates those kinds of moments. Miss Perfectionist much prefers the mind’s activity of projecting into the future, comparing the present moment to the imagined future, and listing how it doesn’t measure up: "It’s not good enough, it’s not important enough, it’s not professional enough". The list is usually much longer than three items. The list of “not”s can take over an entire conversation, an entire house, an entire life.

I see today that Miss Perfectionist is simply afraid. She is frozen with fear that someone might actually see the whole house she lives in. That there are little tiny children in there, still crawling around, learning to walk, falling down all the time in the process. That would be so humiliating to Miss Perfectionist! And she doesn’t believe she can survive that humiliation.

I see her – I see me. I see the real me beginning to live life, in the tender state of being three, being open to all possibilities and ripe with the potential of one whole life, surrendered to the present moment.

I see me, and I choose to be gentle with me. I choose to take the small steps of a three-year-old, knowing with total confidence that these steps are the only ones I – the real me - can take right now. And it’s enough.

Miss Perfectionist can have her own room in this house, but she does not own it. We are living here together, and there is space for both of us to exist in harmony. For now.

Photo credit: http://doubtfulnews.com/2012/10/buying-a-haunted-house-there-may-be-logical-reasons-why-thats-not-a-good-idea/

No Hurry, No Pause: The Rhythm of Life

*Part of a series exploring Breema's Nine Principles of Harmony

The beauty of the present moment is that there is fast forward, no rewind, no pause, no stop. Only continuous play. The continuous supply of fresh moments, unlike any other that has occurred in the past, or any that will ever occur in the future.

Even when we repeat something we think we have done in the past, we are no longer the same in that new moment. We may want to relive an old memory again and again, try to freeze it, or reproduce it by carefully recreating the conditions surrounding it in our mind’s image. But a copy is a copy, having an original life of its own in the present moment when it is experienced.

We may want to fast forward through something unpleasant, uncomfortable, or confusing, wishing that it would pass through more quickly, so that we don’t have to experience what we fear or avoid habitually. We may wish to dictate the speed of life, the pace which is appropriate for experiences to happen.

But what if we were to rest in a state of “No Hurry, No Pause” – neither dwelling on pleasantness nor fleeing from unpleasantness? What if we maintained this tempo of “No Hurry, No Pause”, as we experienced each present moment in our lives? How might we experience it differently?

How might we change our attitude toward circumstances, if we practiced “No Hurry, No Pause”, becoming a little more resilient with ourselves when it comes to what we avoid, and a little less attached to what we consider pleasurable or ideal? What might we discover at the intersection of “No Hurry" and "No Pause”?

I get to experience myself at this intersection each time I do bodywork, whether it is Breema or traditional Thai massage. In that space of "No Hurry, No Pause", I find my natural rhythm, the rhythm of my body in relationship to the other body, the rhythm of being in harmony with all that is. I connect with my own body's breath, I feel the other body's breath, and somehow the breath of the universe begins to breathe us. I notice my mind sometimes wanting to hurry things along, other times checking my progress by wondering how much time is left, and even sometimes wondering if I should even try to do the next sequence. When I remember "No Hurry, No Pause" at these moments, all thoughts dissolve and my entire being becomes one with the natural rhythm that is always present....the rhythm of the music within us. The music that is always playing. No rewind, no fast forward, no pause, no stop.

Photo credit: http://www.apartmenttherapy.com/playback-lamps-your-missing-re-60728

On the other side of beautiful

THIS was not a photo on my vision board. I was perfectly content to be performing, showing what I was able to do comfortably, easily, and predictably. I thought I was getting "good" at playing freely, improvising, and creating in the moment. The sound of Chinese Melodrama that matches the stacks of CDs we bring to every gig.

Then THIS had to happen.

By "THIS" I mean: We are at LunarBurn, a three-day outdoor festival and experiment in community living. In my mind, it's a chance to show up and spread the love. We play our first set at the PermaPub, an intimate venue with couches, a bar, and all the impromptu live music one could ask for. We aren’t even finished with a song (Led Zeppelin’s “Over the Hills and Far Away”) near the end of our set, and a guy appears onstage. He has furry white chaps over his jeans, and a grey hoody. He appears to be maybe under the influence of some substances. But what do I even know about these things? I just thought he was a jerk for interrupting our set.

Here’s my, “Get off the stage, jerk!” look:

Yep, what you're seeing is a whole lotta judgment flowing freely from me in that moment. First he wanted to play my violin. I’d rehearsed this response before, so it was easy to say, “Sorry, I don’t let anyone touch my violin.”

He wasn’t looking like he was going to leave the stage, and this being an open, community-driven atmosphere, I said, “You can play yours, and I’ll play mine.”

Then he wanted me to help him tune the thing.

Seriously??? Suddenly I was flung back to my violin school, “Doctor Chu” days, tuning other people’s violins. Spooky.

My partner Randy was way too far away on the other end of the stage, separated from me by a drumset. I was alone to deal with this. But when it was clear that The Guy – Adam, I would later learn, was his name - was there to stay and play, Randy pulled out the right song – like he always does -- and that was all it took.

Adam started to play. All kinds of sounds were flying out of his instrument, no holds barred. Absolutely no judgment.

I’d never heard such sounds before, let alone play with them, try to create with them. But there I was, on a stage, with captive audience, and microphones on. I started to play too. The interplay of sound and listening began to work its magic. Then moments emerged from the chaos that felt like oneness.

Really? With THIS jerk? Yes.

I was listening to all the sounds, noticing, admiring, perhaps sometimes even envying, the beauty that can arise from NOT CARING AT ALL, in other words, no judgment.

You must understand how deeply ingrained it is for me to take GREAT CARE of every sound from my violin. I’ll never forget sitting in a huge auditorium in Chicago watching one of the “big kids” – a high-schooler at the time – in my violin school, receiving a master class with Russian violinist Viktoria Mullova. I was about 10 years old.

“You don’t CARE!”, she said, in a thoroughly Russian, loving way. It was the kind of icy cold Russian love so commonly doled out in violin training. Meanwhile my classmate’s lips trembled, tears beginning to well up behind her eyes. Tears that represented a lifetime, from the age of three, trying so hard to prove that she cared. She was one of the stars, one of the protected ones in the group. No one had ever spoken to her like that. At least not in public. On a stage. In front of other people.

I vowed never to play like I didn’t care, if only to avoid the stinging feeling I felt that day.

So to stand on my stage with this guy – Adam – who had the audacity to walk in on us and just PLAY like he doesn’t CARE was a big moment. A moment either to shut down or to wake up and say yes to life. Shutting down occurred to me for a few moments. Remember this face?

Yeah, I was ready to shut it down. But then I remembered that I could just relax into my own place that doesn’t care so much. The place that knows I can play anything with anyone and I will be OK. The place of trust and surrender.

Because when you don’t care, you really are trusting in something greater than personalities and performances. Somewhere along the way, in our journey of recording and performing and trying to “build” something with Chinese Melodrama, I got caught up (again) in making things beautiful and perfect and acceptable and nice. I got caught up in my idea of what “good” sounds like. What I had to measure up to (in my own mind) in order to be worthy of appreciation, applause, presence, whatever. My idea of what I needed to be in order to be liked and accepted.

What I experienced by not caring so much was another layer of freedom peeled away and revealed to me. The discovery of something workable – beautiful – within the basket of sounds I’d call “dirty”. The sounds I don’t choose automatically because of the depth of my conditioning to play only beautifully. The discovery that he will never sound like me, and I will never sound like him, so there is nothing to fear. We can meet in the oneness of our combined sounds and play. Dance. Listen. See what happens.

“Beyond our ideas of right-doing and wrong-doing there is a field. I’ll  meet you there. When the soul lies down in that grass, the world is too full to talk about.” – Rumi

The next day, I returned to the stage with Randy. No Adam this time. Yet I still had the taste of the experience in my body, my ears, my whole being. I carried the permission of those “dirty” notes with me. They gave me wings to be less careful, more adventurous, more willing to be curious without worrying I would hurt or disappoint anyone. I had fun. I moved more. I felt my own joy. I invited it in. I was inspired by "no judgment".

I noticed that as I became more playful, my entire body began to participate. My feet were not firmly planted on the floor with my legs stable. My knees began to bend. My spine began to twist and turn. My feet were walking (sometimes stomping). My head was leaning. The feelings of the music flowed through my entire being, when my mind was no longer involved in saying, “Now what can I play that will be really beautiful?”.

When the music becomes a dance, when I am truly playing, then it’s not about what the notes are, but what is going on inside me as I am playing them. Even if I play every single note “beautifully”, correctly, in tune, like I was taught, it may not connect with a feeling. Because I may actually be trying very hard to create this state of “beautiful” and “correct”. Within me, I am not playful. I am controlling myself. When I am controlling myself, I radiate the energy of control.

When I lose control, anything can happen. Scary, yes. But on the other side of scary, there is beauty. Not “beautiful”, but beauty. The beauty of anything and everything. The beauty of what is.

P.S. Thank you so much to Adam, Matty, and everyone at LunarBurn who played and listened!

Leaning in…to what?

There's going to be some talk about leaning in. I’d like to speak about “leaning in” from the perspective of a woman who learned the men’s rules and did pretty well for awhile. I picked up all the cues about how I was supposed to behave, what I was supposed to do to play the game, how I could win. I earned a seat at the boardroom table, surrounded by men. I am grateful for the doors that were opened for me, when I behaved a lot like a successful man.

I rode the bus for a few rounds before I got off and started the process of sitting in front of the blank page, making up my own game, creating my own rules, and teaching myself a whole new way of "leaning in".

When we talk about “leaning in”, we have to talk about what that really means for individuals. To me, “leaning in” is about going toward the places that scare you. The real question is, “What scares you?” Most of us are living in remote places that are carefully designed to be far out of reach from what really scares us. We have concocted our plans based on meticulous avoidance of everything that really scares us.

We believe that this construction project actually spares us the feeling of being scared, but it follows us. It never leaves us. It camps out in dark corners inside us. We dart, we duck, we hide, we layer on coats of paint and makeup and accessories and postures that we think – hope – will cover it up. But it plagues us.

We seek relief, but we also secretly believe we’ll never find it. We think this is as good as it gets, so we keep pointing in the same direction.

So what are we leaning into?

Are we leaning into the things we think will make our fears go away? Will “ambition” lead us to a place where we will finally be safe? Will “success” in the workplace, attaining a title of power, actually make us feel empowered? Will “winning” at the men’s game finally make us feel like we’ve won our battle with fear?

Maybe.

But until we do the work of facing what really scares us, looking at it, pointing toward it, touching it, getting close to it, we won’t know. We will only be leaning toward some collective crusade that starts from outer appearances and tries to solve those problems cosmetically.

We won’t be looking inside ourselves to ask, “Where do I need to lean in?” Is it really ambition to step up in the workplace? Maybe. But it could be just as ambitious for me to do exactly the thing I think I cannot do – which may be giving up “ambition” of a certain kind, and going toward a whole different flavor of success, which looks a lot like failure to some people.

Ambition might look like a lot of different things, but we can’t know just by looking. We need to feel our own experience in order to know.

To me, leaning in feels like courage. Leaning in feels like facing the thing that you’ve avoided for so long. Leaning in feels like following the path of courage no matter what it may look like on the outside, no matter what rules need to be followed or broken. Leaning in feels like building strength that does not come from what other people say, or what titles I am granted. Leaning in is really leaning inward, to fill up the well of knowing without needing systems to change, or other people to change. Leaning in is true power.

But please don’t take my word for it. Lean in for yourself and find out.

Image credits: Woman - http://illustrationsource.com. Man - http://liberadio.com

How is your soul like a can of tomatoes?

I’ve been hosting SoulBodyMind Salons in my home, and the most recent session was centered on the theme of “Soul-Care”. I always start each of the sessions with a story or image that grounds the group in the journey we are about to take that evening. I had easily come up with stories and images for the body and the mind – ones that I had heard from my own teachers as I gathered knowledge in these areas.

But the soul – no one had ever talked to me directly about the soul before. This was the first time I would be attempting to ask the question, “What is the soul?” in front of a group.

I am simply fascinated by the phenomenon of soul, because everyone can relate to the word, although in a totally unique way. It’s a bit like the word "music". Ask anyone from any culture and any time period, "What is music?", and they know what it is. However, listen to the music from any culture and any time period and you will get wildly different experiences and sounds.

I was walking around my house, dusting the wood floor, pushing chairs in different directions, thinking about this question of “What is the soul?” and how I would explain this in a brief introduction, without either getting lost in philosophy or oversimplifying.

Naturally, I picked up the nearest object and began thinking of ways to incorporate it as a visual aid.

That object was a can of tomatoes. I had just gone to the grocery store and this one hadn’t make it back in the cabinet yet.

It still hasn’t.

When I looked at the can, I began to see how it could be the perfect tool to illustrate what the soul is.

I started the evening by holding the can up, and asking the group, “What is this?”.

They kind of looked at me strangely, as if to say, “Of course it’s a CAN! Is this a trick question? What could this possibly have to do with SoulBodyMind?” Some of them leaned in and squinted, as if to try to read the label.

Aha! Reading labels is one way we figure out what something is.

“OK”, I continued. “So what if you couldn’t read? Or if you’d never seen a tomato before? What would this label, with the red picture of a tomato ripening on the vine, and the words, ‘Organic Diced Tomatoes,’ mean to you then? How would you explain to someone what was in the can if they had never seen or encountered a tomato before?”

Chins tilted back and eyes blinked in reflection.

“And even with words,” I went on, “we can talk about what’s inside the can, based on our concepts and our past experiences of tomatoes and our predictions of what tomatoes are supposed to be like. But we actually can’t speak accurately to what is exactly inside this particular can without opening it up.”

“In order to open it up, what would we need?” I asked the group.

There was silence again, as if I were administering some kind of secret intelligence screening test.

“Um, a can opener?” one of them offered, sheepishly.

“OK, a tool! Good! We would need a tool of some kind to get through the impermeable surface of the can.” I tapped the metal walls for additional dramatic effect.

“So to really accurately say what is inside this particular can,” I offered, “we would need to go beyond the labels, beyond our memories and concepts and past experiences and predictions. We would need to access the right tool to get through the hard container and to get to the actual contents of the can. And then we would need to taste these tomatoes. And smell them and look at them of course. But if we're really honest, tasting is the only true experience of those tomatoes.”

And as I looked around and saw heads nodding, I added that our taste is a very personal and private experience. We can’t truly convey that experience to anyone else, even though it is undeniable that we are experiencing something very vivid that permeates our entire being. We can put words to it, but when another person hears those words, it conjures up what it conjures up inside them, which may be something completely different from what I experienced in the moment of my tasting.

Now we were ready to start experiencing “The Art of Soul-Care.”

Your soul is the tomatoes.

It’s a soft and squishy and boldly flavorful place inside this hard and seemingly impenetrable container that we call our body. We develop this outer shell that is seen by the world. We have labels attached to us, roles that we play, descriptions that refer to other people’s experience of us or our memories of ourselves or our expectations of what those words mean about us. But all those words and labels only point to what’s inside. They are not the same thing as tasting the tomatoes.

We can open up the can with the right tools. And then others might be able to taste our particular tomatoes. But what they taste and what we taste are our own experiences – all valid but also, quite possibly, completely different. We have no way to actually taste what another person tastes. The words we choose to name the taste might be similar to or completely different from someone else's words. But we each experience a taste nonetheless.

The point is to get a taste. Go beyond the labels, get the tools to penetrate the closed container, and taste for yourself.

You can tell other people about it, but don’t get too caught up in comparing your description of the taste with other people’s description of theirs. Learn to trust what you are really tasting. Learn to observe when you are only seeing a label, or trying to get inside a metal can without a can opener.

That’s what a can of tomatoes taught me about the soul.