Whenever we simply let the 'thinker' mentality fall way, then Life - simply felt or known - flows and expresses itself tangibly through you.
The static noise of thinking mind is a mask and veil over Living awareness.
I call it Living because we do not make it or define it with our thought - but by it we know that we are and that anything is.
And because it simply is - such awareness is of a shared or open mind rather than a withheld mind and is our Life and the source of inspiration and guidance.
Letting the inspiration flow requires trust of self and life beyond the bounds set by thinking. For that little mind will come back in and say “No - you are supposed to be still!” Or - “You don't have any right to express or embody spontaneously because you are flawed, separate, ignorant, impure, unenlightened”.
So at some point we become willing to trust into a flow of being that is not privately or exeternally self-authorized or self-validating - but allows Life in Its Own Terms - even if it may still look like the same life from a conventional perspective.
Our enlightenment expression is denied by the assertion of a separate thinking mind that identifies itself within a body. The self-apart or ego mentality.
To mimic Life is the ego's speciality - except it doesn't and cannot know what anything Really is - so can only assert its own definitions and meanings to the forms of your experience.
Yet to risk into flowing with life is to feel or relax through the emotion backed images of ego and allow the clarity of conscious awareness to rise exactly as it is.
The more we let spirit through us the less we are able to buy into or be hoodwinked by false desires and loveless thinking, pieces of nothing that cost our appreciation of joy.
Whatever gets us to open to living truth connects us with the inner knowing - which is awake as guidance within - even as you listen or read or practice in the world.
And its purpose is to reveal you to you - as You.
One step at a time.
In freely given willingness, awakened desire and restored trust.
It isn't a getting there so much as a giving from an awakened Here in order to remember Who You Are.
Brian Steere
2008/04/24
"You are assured of success, because That Which is Divinely Sane never successfully became insane. … Reach for Your Sanity by shutting up, … becoming curious, and Listening.
And do it. Do it! Do it throughout Your day … – throughout Your days. … …
Raj
2008/04/24
2008/04/17
What is fully open consciousness? how does it feel?
nothing added.
nothing taken away.
is trust
no comparison
no anticipation
is at rest
Perspective
restored
of wholeness
Release
thought-map
of its thinker
Allow
Accepting
Presence-ing
Feels exactly
unboundedly
as is
Speak all things one
behold Glory
Is clear Love-Light!
No secrets to
no hiding
open is
not closing
full is
perfect engagement
Attention
relaxes to its
Source Condition
Giving wholly
as receiving
Consciousness
of no inward I
Lets the come and go
come and go
Abides with
Heart Knowing.
Freedom is
without constraint
nor bound to aught
but itself
- - - - - - -
Partially closed Consciousness
is experience-able fantasy within a mind
made to have such experience in.
It is a moment of no moment
for Here is given over to other moments of not here.
Attention shifts to forms accorded densities of meanings
whose only meaning is a wishful mind
scripted amidst its own disguised reflections.
What if truth were other than it Is?
for so a wish within a judgement seems.
And hiding itself that it might persist
is mind possessed of its own grasp.
Allay! - O clarity of being!
This movie's for a private showing.
A story told behind a mask
that multiplies diminishment
in fragmented limitation
a loveless self
sharing loss
to bitter dregs.
is such self-killing real?.
no.....
What is Real says no.
I didn't say it - it said for me.
And I feel the truth unalterable.
Even here.
Everything that is
is as it Is
and thus I now desire
to be undone of wishing my
step by step releasing
allows Reality
its Universal
Appreciation
In this place
on this chair
by this screen
brian in a moment
(Thankyou for inviting me)
nothing taken away.
is trust
no comparison
no anticipation
is at rest
Perspective
restored
of wholeness
Release
thought-map
of its thinker
Allow
Accepting
Presence-ing
Feels exactly
unboundedly
as is
Speak all things one
behold Glory
Is clear Love-Light!
No secrets to
no hiding
open is
not closing
full is
perfect engagement
Attention
relaxes to its
Source Condition
Giving wholly
as receiving
Consciousness
of no inward I
Lets the come and go
come and go
Abides with
Heart Knowing.
Freedom is
without constraint
nor bound to aught
but itself
- - - - - - -
Partially closed Consciousness
is experience-able fantasy within a mind
made to have such experience in.
It is a moment of no moment
for Here is given over to other moments of not here.
Attention shifts to forms accorded densities of meanings
whose only meaning is a wishful mind
scripted amidst its own disguised reflections.
What if truth were other than it Is?
for so a wish within a judgement seems.
And hiding itself that it might persist
is mind possessed of its own grasp.
Allay! - O clarity of being!
This movie's for a private showing.
A story told behind a mask
that multiplies diminishment
in fragmented limitation
a loveless self
sharing loss
to bitter dregs.
is such self-killing real?.
no.....
What is Real says no.
I didn't say it - it said for me.
And I feel the truth unalterable.
Even here.
Everything that is
is as it Is
and thus I now desire
to be undone of wishing my
step by step releasing
allows Reality
its Universal
Appreciation
In this place
on this chair
by this screen
brian in a moment
(Thankyou for inviting me)
2008/04/15
Dancing with Friedel Kloke- Eibl
I have just returned from a dance weekend with Friedel Kloke- Eibl - a Sacred Dance Teacher who as a young ballet dancer trained with Bernard Wosien - who brought Sacred Circle Dance to Findhorn Community 32 years ago from where it has spread internationally. Friedel exemplifies the dance as an art and as a path of initiation - not merely an outer form that is acquired, mimicked, traded or collected.
I felt that Freidel communicated a warm and clear presence of no nonsense and in grounded but natural discipline. It was we who were expected to embody the willingness to bring attention present to what she offered. Her expression is of a directly felt conscious response to music and life and she held faith in us as dancers in process of discovery and awakening.
Freidel’s demeanour throughout the process was calm, present and considered in the light of her clear sense of purpose. Her joy was evident in her love of dance, her patience was acceptance of where we as students were currently at, but always inviting, a greater involvement than that which the current mindset or approach of the student allowed. So she was also willing to ‘trick’ of tease of drop the dancers into the deep end - or experiences of chaoticness - but she herself held and communicated a calm and connected composure and expressed confidence in all that she undertook even when we did not feel it in ourselves.
Circle dancers who are used to accessibility, exhaustive step maps in advance and motherly inclusion, as well as dancers used to being fed exciting and challenging dances had to let go of that expectation of habit - or be disappointed. Freidel used many simple movements as exercise for stilling and centering as well as using them as basic components of a more elaborate dance forms later in the session. Yet many of the dances she shared - most of which she herself choreographs - were precise in their intent and used hand and arm and gesture that was ‘just so’. This was challenging in a different way as it was really something to open to and allow or discover - rather than something to impose upon. Though Friedel would often comment on where some or all of us were not getting it or were asleep to the actuality, she never acted in any way that demeaned the dancer or worked to undermine their trust - though she was quite capable of simply not supporting a dancer’s expectations or demands and obliging them to take self responsibility.
Freidel would usually give a brief demonstration of the dance with an also brief and not very voluble description of sequence and then drop us - the dancers in it. I sense that she does this according to her sense of our capacity and not as an act of indifference. Although she would often answer questions with a warmth and patience that felt very loving and encouraging - she would often do so in ways that indicated that she wanted a greater trust from us for ourselves and her, and her composure discouraged casual questions or indeed acquaintance. but also she would repeat the dances many times and at each time we would be given further help or instruction as to our readiness.
Because of her approach we would often experience shortcoming and even chaos - which brought us into the arena of control and the lack of it but also of where the control is coming from. For the attempt to control life must yield to the heart if the dance is to become presently embodied and alive. In this and so many other ways she gave maximal opportunity to awaken to and from from our mental patternings and their interference with the dance. The manner and the art of travelling was emphasised as the dance and not the getting there - yet not with adding decoration or embellishment but rather of expressing innate qualities.
The workshop overall was rooted in and from a poised appreciation of one’s own relationship with ground and above - our vertical, and from there opening relation with others. Many of the dances were danced without hands joined - often to facilitate less distraction when learning and more freedom of movement. The social element was economized throughout the event excepting during breaks or outside the hours of practice. Yet Freidel would often express humour - particularly in her demonstrations and exaggerations of what not to do! She also took a few opportunities to read poems or talk about the dance. Being a large group in a large hall made active listening essential but even so we could not often hear as we may have wished. We did receive copies of the poems though.
Her sense of honouring the dancer was tangible and she worked with many at various times without showing either partiality or any lack of care to any - yet also she was spontaneously present in many moments of gesture , look or touch. In being so clearly the centre of our attention she also deliberately also made herself absent from being a replacement for our own responsibility - often leaving the circle - even before the dance began. her manner outside the circle was never one of scrutiny such as to intimidate but of a happenstance meeting with general attention to us on many levels and some periods of having her back to us so that we were not in the emotional dynamic of being seen or exposed to being seen. Yet she was also acutely open to opportunity for supporting her dancers and would not hesitate to engage directly in the most understated but direct expression of approval or a very subtle disappointment that itself seemed not to matter for what was gone but invited ongoing willingness to persist in the process of mastering the form in the heart such as to meet her in the spirit in which she teaches.
Whereas in circle dance we may often be used to a menu of dances whose intent is to be a journey of self fulfilment often using ‘known’ steps that we may exercise in boiler plate fashion, Freidel’s dances were more aimed at grounding and awakening us to aspects of where and what we truly are via the journey through what is obscuring that expression. The degree to which we are able to be willing and accepting-expressing truth is simply where we each and all are at any moment, but her willingness to serve and grow in willingness for such work was tangible. Her choreography extended and attuned the movements of dance but also returned again and again to the most basic stances or positions - as in classical ballet.
For a collector of dances Freidel’s workshop may have had a gem or a few such - but the experience was much more that of deepening one’s own dance and growing more present as the movement consciously expressing. This is not merely about dance - but speaks of life itself.
As such Freidel is not merely a dance teacher of professed sacred forms or notions but is in service and mastery as a demonstration and relationship in spiritual practice - a spiritual teacher or catalyst and invitation to wake up to Life. As with the dance, there are levels to pass through in uncovering and embodying a spirit unalloyed, and Freidel is accepting of these as with dance as stages that we pass through and not marks of status or specialness. Her teaching is expressed in dance and not as mental constructs to be asserted, refuted or chosen from.
My impressions here are my own. They may not resonate with others but they do express my experience. As my first meeting in dance with Freidel I am gladdened and encouraged to find such capacity and willingness at work in the world and I trust that something of what has occurred continues to be nurtured and grow through my own living and dancing.
Many look at Freidel and see a form that they could never hope to match - but this misses the point. The outer form is an expression of an integration of heart, mind and Spirit that will express uniquely and appropriately through us as we allow and discover the same within ourselves. A perceived or believed lack of self-worthiness is an obstacle that would bar the gate against grace being allowed expression through our very self. But if such thinking is put aside and the experience is embraced and allowed in, then we will discover more of ourselves than we could have ever found within the bound of such thought.
I felt that Freidel communicated a warm and clear presence of no nonsense and in grounded but natural discipline. It was we who were expected to embody the willingness to bring attention present to what she offered. Her expression is of a directly felt conscious response to music and life and she held faith in us as dancers in process of discovery and awakening.
Freidel’s demeanour throughout the process was calm, present and considered in the light of her clear sense of purpose. Her joy was evident in her love of dance, her patience was acceptance of where we as students were currently at, but always inviting, a greater involvement than that which the current mindset or approach of the student allowed. So she was also willing to ‘trick’ of tease of drop the dancers into the deep end - or experiences of chaoticness - but she herself held and communicated a calm and connected composure and expressed confidence in all that she undertook even when we did not feel it in ourselves.
Circle dancers who are used to accessibility, exhaustive step maps in advance and motherly inclusion, as well as dancers used to being fed exciting and challenging dances had to let go of that expectation of habit - or be disappointed. Freidel used many simple movements as exercise for stilling and centering as well as using them as basic components of a more elaborate dance forms later in the session. Yet many of the dances she shared - most of which she herself choreographs - were precise in their intent and used hand and arm and gesture that was ‘just so’. This was challenging in a different way as it was really something to open to and allow or discover - rather than something to impose upon. Though Friedel would often comment on where some or all of us were not getting it or were asleep to the actuality, she never acted in any way that demeaned the dancer or worked to undermine their trust - though she was quite capable of simply not supporting a dancer’s expectations or demands and obliging them to take self responsibility.
Freidel would usually give a brief demonstration of the dance with an also brief and not very voluble description of sequence and then drop us - the dancers in it. I sense that she does this according to her sense of our capacity and not as an act of indifference. Although she would often answer questions with a warmth and patience that felt very loving and encouraging - she would often do so in ways that indicated that she wanted a greater trust from us for ourselves and her, and her composure discouraged casual questions or indeed acquaintance. but also she would repeat the dances many times and at each time we would be given further help or instruction as to our readiness.
Because of her approach we would often experience shortcoming and even chaos - which brought us into the arena of control and the lack of it but also of where the control is coming from. For the attempt to control life must yield to the heart if the dance is to become presently embodied and alive. In this and so many other ways she gave maximal opportunity to awaken to and from from our mental patternings and their interference with the dance. The manner and the art of travelling was emphasised as the dance and not the getting there - yet not with adding decoration or embellishment but rather of expressing innate qualities.
The workshop overall was rooted in and from a poised appreciation of one’s own relationship with ground and above - our vertical, and from there opening relation with others. Many of the dances were danced without hands joined - often to facilitate less distraction when learning and more freedom of movement. The social element was economized throughout the event excepting during breaks or outside the hours of practice. Yet Freidel would often express humour - particularly in her demonstrations and exaggerations of what not to do! She also took a few opportunities to read poems or talk about the dance. Being a large group in a large hall made active listening essential but even so we could not often hear as we may have wished. We did receive copies of the poems though.
Her sense of honouring the dancer was tangible and she worked with many at various times without showing either partiality or any lack of care to any - yet also she was spontaneously present in many moments of gesture , look or touch. In being so clearly the centre of our attention she also deliberately also made herself absent from being a replacement for our own responsibility - often leaving the circle - even before the dance began. her manner outside the circle was never one of scrutiny such as to intimidate but of a happenstance meeting with general attention to us on many levels and some periods of having her back to us so that we were not in the emotional dynamic of being seen or exposed to being seen. Yet she was also acutely open to opportunity for supporting her dancers and would not hesitate to engage directly in the most understated but direct expression of approval or a very subtle disappointment that itself seemed not to matter for what was gone but invited ongoing willingness to persist in the process of mastering the form in the heart such as to meet her in the spirit in which she teaches.
Whereas in circle dance we may often be used to a menu of dances whose intent is to be a journey of self fulfilment often using ‘known’ steps that we may exercise in boiler plate fashion, Freidel’s dances were more aimed at grounding and awakening us to aspects of where and what we truly are via the journey through what is obscuring that expression. The degree to which we are able to be willing and accepting-expressing truth is simply where we each and all are at any moment, but her willingness to serve and grow in willingness for such work was tangible. Her choreography extended and attuned the movements of dance but also returned again and again to the most basic stances or positions - as in classical ballet.
For a collector of dances Freidel’s workshop may have had a gem or a few such - but the experience was much more that of deepening one’s own dance and growing more present as the movement consciously expressing. This is not merely about dance - but speaks of life itself.
As such Freidel is not merely a dance teacher of professed sacred forms or notions but is in service and mastery as a demonstration and relationship in spiritual practice - a spiritual teacher or catalyst and invitation to wake up to Life. As with the dance, there are levels to pass through in uncovering and embodying a spirit unalloyed, and Freidel is accepting of these as with dance as stages that we pass through and not marks of status or specialness. Her teaching is expressed in dance and not as mental constructs to be asserted, refuted or chosen from.
My impressions here are my own. They may not resonate with others but they do express my experience. As my first meeting in dance with Freidel I am gladdened and encouraged to find such capacity and willingness at work in the world and I trust that something of what has occurred continues to be nurtured and grow through my own living and dancing.
Many look at Freidel and see a form that they could never hope to match - but this misses the point. The outer form is an expression of an integration of heart, mind and Spirit that will express uniquely and appropriately through us as we allow and discover the same within ourselves. A perceived or believed lack of self-worthiness is an obstacle that would bar the gate against grace being allowed expression through our very self. But if such thinking is put aside and the experience is embraced and allowed in, then we will discover more of ourselves than we could have ever found within the bound of such thought.
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