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glance left wrote:Yeah, being a teacher of energetic systems seems like a much more wide open market....much more of an open frontier to work with. Qigong....so, you learn the movements and then teach them. Seems like the words would just naturally spill into the space opened up by the movements themselves. The words, to me, just follow the energy.....if one has a predilection for words. The energy is the important thing, IMO. Then, if your wired for words, then words will follow when the wiring is lit up.
I say just go for it  I just signed up for some "how to be a professional psychic classes" with a guy I think is not faking it.
This is a broad area... but it's all problematic. The economic fact is people will just PAY MORE for well packaged catchy easy to memorize ego boosting brag-to-your-friends-about-how-peaceful-your-yoga-retreat-was work than for real, potentially destabilizing, spiritual growth.
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Have you ever heard the phrase "spiritual supermarket"? I think it was used to describe the US guru scene in the 70s. It's still pretty true.
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It drives me crazy because I actually try really hard and I really don't just want to screw people out of their money. I really don't. But that's basically just what money IS and how a business works
most of the time 
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glance left wrote:Yeah, being a teacher of energetic systems seems like a much more wide open market....much more of an open frontier to work with.
Have you ever done alternate nostril breathing? It's a yoga thing. It's exactly how it sounds. You use your ring finger and thumb (I don't know why) to close each nostril and you breathe in right, breathe out left, breathe in left, breathe out right, repeat.
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Everyone has been telling me, getting PAID to do this is fair, even the most old school shamans still got paid in food and animal skins right?
But they also leave out the part where it's implied you are going to NOT teach people who don't have money. At least not all the time, because there is a LOT of the poor and you need to concentrate on your income earning clientele sooner or later. Basically there's no way to NOT be at least a little bit like, *** the poor.
That's just social reality. Rent on a yoga studio is NOT cheap.
And yet... funny how this works... yoga was pretty much invented by naked guys living in caves and jungles and so on. Why would the ancient lineage of gurus and sages be concerned about your RENT and your FAMILY? It's not an easy thing to sort out.
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Yeah, that's the challenge.....upholding internal integrity (tensegrity) while navigating a world that essentially fundamentally distorted, in terms of its social structure and underlying mood.
In essence its learning to navigate while harboring the essence of the white dove (pure, innocent connection to power) and the black crow (creativity, flexibility, adaptation, resourcefulness as that pure innocent connection is applied to the practicalities of the world).
Once that balanced intention is in place (shedding doubt) then its always fun to watch how power resolves seemingly insoluble problems in day to day stuff, like your quest to bring your energy to perhaps teaching a system of energetic movements to those who need it
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Le_Regard wrote:
glance left wrote:Yeah, being a teacher of energetic systems seems like a much more wide open market....much more of an open frontier to work with.
Have you ever done alternate nostril breathing? It's a yoga thing. It's exactly how it sounds. You use your ring finger and thumb (I don't know why) to close each nostril and you breathe in right, breathe out left, breathe in left, breathe out right, repeat.
Yeah, I've done that one It's called the 9 Purification Breaths, I think.....from the Bon/Dzogchen tradition of shamanic Buddhism, if I remember correctly. At least that's the tradition I learned it from....
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glance left wrote:
Le_Regard wrote:
Have you ever done alternate nostril breathing? It's a yoga thing. It's exactly how it sounds. You use your ring finger and thumb (I don't know why) to close each nostril and you breathe in right, breathe out left, breathe in left, breathe out right, repeat.
Yeah, I've done that one It's called the 9 Purification Breaths, I think.....from the Bon/Dzogchen tradition of shamanic Buddhism, if I remember correctly. At least that's the tradition I learned it from....
I don't know about 9 of them but it's probably the same idea. They do it lots of different ways, but I've always preferred the simple in/switch/out/in/switch just because it's the easiest way to not lose count is to not have to count anything. The Tibetan version I've seen was more of a ritual visualization where you exhale dark heavy energy that falls to the ground and is transmuted into golden light (by a red bull at the center of the Earth or something) which then floats up and spreads through all the countless worlds and is inhaled by all sentient beings (including you), producing radiant bliss and perfect enlightenment. Repeat. Also there was a left, a right, and then also a center breathe that's not in the yoga version.
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I really like the Tibetan red + white = blue color symbolism.
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So one time an acquaintance of mine was studying with a Tibetan lama, and she was confused about some hand mudras, and the lama said:
Any way you hold your hands at all is a hand mudra.
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Le_Regard wrote:I really like the Tibetan red + white = blue color symbolism.So was that red/female/matter on the left and white/male/spirit on the right? Interesting.
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Yeah, that's like saying "once you align with intent....you can intend anything" Words, movements, gestures....all become an expression of power. I imagine that, once that alignment is pure and clear....then mudras, energetic movements, mantras, breaths, yogas, spells, crystals/stones, techniques...all become superfluous
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glance left wrote:Yeah, that's like saying "once you align with intent....you can intend anything" Words, movements, gestures....all become an expression of power. I imagine that, once that alignment is pure and clear....then mudras, energetic movements, mantras, breaths, yogas, spells, crystals/stones, techniques...all become superfluous
I think I know what you mean, I don't disagree, but there's definitely a way that that would be like telling a artist that when they get REALLY GOOD then paints and brushes will be superfluous, or telling a fully realized playwright that actors, stages, and costumes are unnecessary burdens.
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You might like this: https://en.wikipedia.org/wiki/Yiquan
It's a Chinese martial art with a name that means "Intent Fist" or "Mind-Intent Boxing" and things like that.
It's supposed to be a "formless" art. There are NO FORMS TO LEARN. Their main martial arts practice is JUST STANDING THERE.
I don't think they have weapons forms or anything like that, but maybe some schools do. It's the most minimalist martial art possible, and I think the lesson is AT MINIMUM you need a body. You can be "formless", it's totally possible, but you need a body to do THIS. It doesn't have to do very much of anything, it can literally just stand there, but it's important.
I don't see why it has to be the physical body as we understand it though, and in fact part of Yiquan is people don't know how their own body's work and are actually moving all weird most of the time and don't even know it, and it's a shame, because if they just moved RIGHT they could throw people through walls and so on.
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Le_Regard wrote:
lol
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glance left wrote:
Le_Regard wrote:
lol
Oh wait......I meant
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Le_Regard wrote:
glance left wrote:Yeah, that's like saying "once you align with intent....you can intend anything" Words, movements, gestures....all become an expression of power. I imagine that, once that alignment is pure and clear....then mudras, energetic movements, mantras, breaths, yogas, spells, crystals/stones, techniques...all become superfluous
I think I know what you mean, I don't disagree, but there's definitely a way that that would be like telling a artist that when they get REALLY GOOD then paints and brushes will be superfluous, or telling a fully realized playwright that actors, stages, and costumes are unnecessary burdens.
It's true though. Once the artist or the playwright aligns with power and accesses the second attention.....then, what art and what acting blooms!! It goes beyond description. It's like the inherent talent merges with the almost uncontainable energy of intent....and what manifests is the most incredible thing....the best art/best theater ever. And the thing that makes it more precious than gold....is the fact that what is witnessed or taken part in in those states.....will never be seen or experienced again
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glance left wrote:Le_Regard wrote:
I think I know what you mean, I don't disagree, but there's definitely a way that that would be like telling a artist that when they get REALLY GOOD then paints and brushes will be superfluous, or telling a fully realized playwright that actors, stages, and costumes are unnecessary burdens.
It's true though. Once the artist or the playwright aligns with power and accesses the second attention.....then, what art and what acting blooms!! It goes beyond description. It's like the inherent talent merges with the almost uncontainable energy of intent....and what manifests is the most incredible thing....the best art/best theater ever. And the thing that makes it more precious than gold....is the fact that what is witnessed or taken part in in those states.....will never be seen or experienced again I mean, even at a Zen tea ceremony they do still really drink the tea.
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Le_Regard wrote:
glance left wrote:
It's true though. Once the artist or the playwright aligns with power and accesses the second attention.....then, what art and what acting blooms!! It goes beyond description. It's like the inherent talent merges with the almost uncontainable energy of intent....and what manifests is the most incredible thing....the best art/best theater ever. And the thing that makes it more precious than gold....is the fact that what is witnessed or taken part in in those states.....will never be seen or experienced again
I mean, even at a Zen tea ceremony they do still really drink the tea.
I know. I still think its a warm up, though
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If I had to choose one, I'd have to say that for years my favorite "magical pass" has been the one where you do this:
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That's a good one.
I used to meditate on death.......imagining various ways of dying. A favorite was in being decapitated. Head ripped off in a car accident. Guillotine in the 18 century. Head bitten off by a great white shark. Head sawn off by Jihadi John Gruesome, I know....but the intent behind the practice was simply to detach and expand to something beyond compulsive clinging to self, particularly at the level of thoughts....and to open up the throat, third eye, crown chakras wide open.
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glance left wrote:That's a good one.
I used to meditate on death.......imagining various ways of dying. A favorite was in being decapitated. Head ripped off in a car accident. Guillotine in the 18 century. Head bitten off by a great white shark. Head sawn off by Jihadi John Gruesome, I know....but the intent behind the practice was simply to detach and expand to something beyond compulsive clinging to self, particularly at the level of thoughts....and to open up the throat, third eye, crown chakras wide open.Really? But isn't it mostly the lower chakras that are the ones that don't want to die?
So this is kind of a fun thing... I was here recently, in person: http://www.museumofdeath.net
I didn't know it was there! I was just walking in a general direction and when I saw it I knew it was where I'd been going.
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Also, weird story, but just a few minutes ago I think I learned a new magical pass from a hawk on a tree branch that I met in a parking lot. It's body barely moved at but it was cautious and scanning in all directions just by kind of bobbing and swiveling its head.
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Le_Regard wrote:Also, weird story, but just a few minutes ago I think I learned a new magical pass from a hawk on a tree branch that I met in a parking lot. It's body barely moved at but it was cautious and scanning in all directions just by kind of bobbing and swiveling its head.No no no, it was also how it's eyes moved. I think the point of it was something about coordinating neck and eye movements.
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