Gayatri Mantra

Om Bhur Bhuvaḥ Swaḥ

Tat-savitur Vareñyaṃ

Bhargo Devasya Dhīmahi

Dhiyo Yo Nah Prachodayāt

ॐ भूर्भुवः स्वः

तत्सवितुर्वरेण्यं

भर्गो देवस्य धीमहि

धियो यो नः प्रचोदयात्

Gratefully dilating open to allow the all pervasive radiant light beyond individual form to shine through.

Dissipating the veils, pixelating the solidity of the forms, clearing the lenses that block us from wisdom, from experiencing the continuum of the infinite.

(current transliteration and experience of the moment)

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Framing

Thoughts upon awakening:

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I do not want to allow challenges from the past to negatively define how I envision my potential moving forward. I want to utilize the perspective and wisdom I learn through all my experiences to inspire me to be adaptive and resilient, to inform me of ways I can continue to grow with discernment, empathy and grace.

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How we perceive things is greatly dependent upon the frame we see it through.

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Every experience relevant, a springboard for the alchemy of transformation.

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Planting seeds, observing how they grow, refining as I go.

Turiya Yoga Spontaneous Movement and Dance Meditation at Unifier Festival 2016

Photo Jul 24, 5 53 00 PM

Unifier Transformational Healing & Expressive Arts Festival
Camp Timber Trails, Tolland, MA
June 17-20, 2016

In this workshop we will utilize guided meditative yoga, mindfulness movement exercises and spontaneous freeform dance meditation as experiential metaphor for resetting unconscious yet familiar patterns; in the way we approach our yoga practice, in the way we move when we dance and in how we relate to the unique circumstances of our lives. Noticing how the forces of momentum, conditioned habits, preconceptions, our own will, each other, the environment around us and even the music direct our movement, we will experiment with consciously unhooking ourselves from following this momentum. In the space of the pause we can potentially tap into the experiencing witness state of turiya, pure aware consciousness underlying all other states of consciousness – the silence ever-present behind the sound, the spaciousness inside our form and the stillness of each moment within the movement – and allow fresh insight and creative possibilities to arise. Instead of repeating pattern or even identifying as the “dancer” and moving by our own will alone, the dance takes form through us. Informed yet not defined, limited or controlled by everything we have experienced so far in our lives.
All levels welcome, no prior experience necessary. I will offer variations to suit every body.

Accompanied with live improvisational sound and music by Kālidāsa Joseph Getter.

For more information go to deniseporterkemp.com/events/tandava/

Denise Porter Kemp makes yoga practice accessible to the uniqueness of every body while expressing the deeper teachings of yoga through the experiential practice of the physical form. Based in the forests of New Hampshire, she brings her traveling yoga school ~ Turiya Yoga ~ to private homes, offices at lunchtime, ski mountains, addiction recovery centers, yoga studios and music festivals all along the east coast. Certified at the 500 hour level in the Shakti Flow Vinyasa style of yoga by Asa Dustin of At OM Yoga, Level 1 in Thai Yoga by Shai Plonski of Still Light Center and initiated into the Kaula lineage of Kashmir Shaivism by Parvathi Nanda Nath Saraswati, Denise has studied with many teachers and learns from everyone who comes her way. She has been teaching yoga since 2005 and offering Thai Yoga since 2011.

~ body geometry, pure aware consciousness ~
deniseporterkemp.com

Kālidāsa Joseph Getter is a creative world musician whose transcendent sounds awaken the mind and open the heart. He leads kirtan sessions, composes and performs for dance and theater, crafts soundscapes for yoga, and plays experimental and free improvisation music. Kālidāsa is a vocalist and multi-instrumentalist, specializing in the bamboo flute of South India and gamelan music of Java. He is on the faculty of several music schools, leads the Wesleyan Youth Gamelan program, and is music director for ArtFarm theater of Middletown, Connecticut.

https://www.facebook.com/kalidasakirtan

Just Enough and Not Too Much

I am generally not into slogans, although there is a Buddhist one I have heard that I think of a lot – just enough and not too much. It is kind of a Goldilocks approach to life 🙂
Practicing yoga helps me experiment with this balance on a physical, experiential level, balancing how much weight forward, how much back, where do I lift from, where do I contract, when I shift one aspect of the posture how does that affect the rest, a little bit of this and a little bit of that. Some of it is mental, I remember the ways I have played with the posture before and cues other teachers and students have suggested to me, yet it is not only a mental thinking it out. It includes body memory and develops an awareness beyond just the thinking of the mind, beyond just the discursive thought or continuous defining of the mind, it becomes a direct felt experience of the balance that integrates and grows with me.
I am also finding this true with my experience of the continuous learning curve of skiing and snowboarding, dynamic practices of the subtleties of the shifts of weight and posture responding to the shape of the skis or board, the texture of the snow and the contours of the mountain. The practice of yoga does help support the sport in that it can be cross training to warm up and bring awareness into the body and center the mind before going on the mountain and decompressing to unwind tension, reduce soreness and recovery time and prepare the body for the next day. Yet there is also potential for utilizing yoga to refine sensitivity to the effects of stance and the subtle shift of weight in any posture and especially in ones that directly inform the body of movements used in skiing and riding, teaching our bodies how to efficiently perform these movements and giving ourself practice both on and off the hill. Perhaps beginning with mental inquiry and developing into experiential wisdom.
When I ski and ride it is very much a physical yoga practice in that I start with a variety of cues in myself that gradually build – just enough and not too much, a little bit of this and a little bit of that – until it all flows together and I am not thinking out the skiing, all my awarenesses are coming together and the skiing is happening right through me. It is kind of a sahaja approach to life, the sahaja the purely spontaneous being who has trained their body and mind to instead of compulsively react to phenomena, appropriately respond to the specifics of each situation. In the case of your sport or your art this plays out as learning and practicing the form first so then the creativity can unfold and grow through that structure. If you never learned some of the building blocks, through a teacher and/or your own mindful practice, in snowsports you’d likely just fall down the hill. Yet with practice and experiential awareness of your posture, how to read the terrain and the conditions and how subtle shifts of weight drive the edges of your equipment, the falling down the hill can become a graceful and efficient dance of balance. Just enough and not too much.
This is what I am currently into 🙂 If you’d like to play with me with it come to The Mountain Club on Loon at Loon Mountain Resort on Sunday March 13, 2016 for Yoga and Snowsports as Movement Meditation 3/13/16 or be in touch and we can do a private with snowsports or just physical yoga – and develop a practice to support whatever sport or art you are currently into.
Love

catalyst

For me, snowboarding is physical yoga practice, asana ~ moving meditation, becoming comfortable and articulate in my body and in relation with the physical world. As I ride I gradually tune in to the subtleties of my movement, awakening presence in my entire body. I don’t have to try so much anymore, it just starts to happen. The movement becomes efficient, somewhat effortless. Grounded in my body, I become aware not only of my body, but with my body ~ my movement responding to the contours of the mountain, the crisp scent of the air and the temperature on my skin, the sounds of my board against the texture of the snow and the wind all around me. Everything becomes more vibrant. There’s nowhere to go and nothing else to do but to be right here, completely open to the moment. It refreshes me, brings me back to center.
I used to get pretty sad at the end of the season, as I thought I depended on this activity to do all this for me. Without it I would feel flat, empty, dull…or so I feared. Through time I realize that these activities that have the potential to revitalize us and bring us spontaneously into the moment remind us that this is possible. We don’t have to become attached to the catalyst, there are many ways to do it. Breathe in, feel yourself in your entire body. Hear the sounds. Right now.
I will miss you, my beloved mountain, my mermaid~tail serpentine snow dance. Another season has come and is passing and I have again learned so much from you.
Until the next time we meet dear friend, the love I tap into when I’m with you lives inside of me.
(yeah, yeah I know kinda sappy. And I mean it  🙂 )

loony 017

The Heart of the Teachings

गते गते पारगते पारसंगते बोधि स्वाहा
gate gate pāragate pārasaṃgate bodhi svāhā

What it means to me ~ gone, gone beyond, gone beyond the beyond to the other shore, we encounter underlying peace that is always there, and this peace emanates through us. We attune each other.

This is the essence of the Prajñāpāramitā Hṛdaya, or Heart Sutra ~ the heart of the teachings ~ of which the mantra above is a part. It has been said that this mantra can’t be completely translated, that its resonance expresses an experience beyond just words. The all inclusive silence, beyond and including manifest sound.

One of my teachers, Parvathi Nanda Nath Saraswati, suggest that if we are graced with coming in contact with the teachings, it becomes our responsibility, and our gift, to allow them to evolve inside of us. And continuously evolve us.

The teachings are not static, something to be memorized and passed on rote; they are living traditions that grow through us. Always adapting and current. The specifics of the practices not as important in themselves as what they access. What evolves through each of us is what we have to offer one another.

Which illustrates the vow of the Bodhisattva ~ to awaken in order to help all beings awaken. And the action of the 12th Step, service. As you get it, pass it on. The more you share it, the more you “get” it. And keep going. Practicing these principles in all our affairs.

As we go beyond, whichever layer we are currently going beyond, as our obscurations are liberated, as we awaken from illusions, as we recognize we are not separate yet parts of the same whole, we share our perspective and help everyone else awaken too. Not to be righteous, just because that is what we do. We go beyond where we were, and then we come back and share this with each other. As for any of us to awaken, we all have to awaken.

It doesn’t make you more or less special or better or worse when you start to wake up, its just your time. We are all in this together.

Resonance. We attune each other.

Translation

I was initially introduced to Simonne Guillerm Allen in order to teach her pranayama, or yogic breathing techniques. This was recommended by her doctors in France as a way to develop core strength and support her deteriorating back.

Simonne is an 87 year old French woman who grew up in Vietnam and spent her adult life between France and the United States, making her career as a university French language teacher. She moved from Brittany, France to New Hampshire to live with her son about a year ago.

At first we met once a week.  Over time, the breathing exercises evolved into a meditation practice. Then we started integrating yoga and movement adapted to her physical condition, accompanied by some of her favorite French music from the internet. We discussed the transition into both her new living situation and the changes in her body and independent mobility. We contemplated Yogic and Buddhist psychology and philosophy to help her adapt and find a way to access her best quality of life with things exactly as they were. It was during these meetings that she began sharing tales from her life story. I became fascinated and she became more comfortable. Her seated posture, range of motion, mood and energy level improved significantly as we continued to meet. I currently see her four to five times a week, and there is always more to do than we have time.

The first spark that led to our current project came as we were dancing to Charles Trenet videos on YouTube. We had begun dancing together, she holding my arms for balance, in order to make range of movement exercises more interesting and invigorating. While scrolling through the videos, I happened upon Trenet’s version of the poem Chanson d’automne by Paul Verlaine put to music. Simonne freestyle translated the words as we listened to the song so I could understand what what he was singing. We were both inspired by this, so we started looking through French poetry on the internet.

Simonne mentioned that she had memorized some poetry throughout her life, which gave me an idea. Although her recall of past events is often extremely precise, her ability to imprint new memory is waning. I recalled hearing that some people find “passage meditation” in the tradition of Eknath Eswaren improves memory. Passage mediation utilizes a memorized passage silently recited internally as a focus point for the mind, the way we often use the breath as a point of concentration in meditation. Although this style of meditation typically employs spiritual writings from a wide range of traditions, I knew it would be difficult for Simonne to memorize a new passage. I asked if she remembered any poetry enough to try it. She said yes, and immediately recited aloud Harmonie du Soir by Charles Baudelaire. In full, en francais.

We each brought our head, neck and spine into alignment so that our posture felt somewhat weightless and stable, and sat for awhile. She in her chair and I on the floor, she internally reciting the poem and I the Mahamrityunjaya Mantra – a Shaivite predecessor of sorts in meaning to the Serenity Prayer. It went well. I asked her to translate the poem so I could understand, and so she did, aloud, as I typed it into the computer. Our excitement was palpable. I left her with a copy of the translation to edit, and another poem to translate while I was gone.

She has been at it ever since. She direct translates first and then plays with it to make it sound clear in English, while staying as close to the original text as possible. We look at other English translations sometimes for inspiration and as a dictionary of sorts, and yet her versions are often unique and I typically prefer them to what we find in books and online.

And the poetry is beautiful; Baudelaire, Verlaine and Victor Hugo are our favorites so far. She recently translated a Verlaine, En Sourdine, which I discovered was the inspiration for a song composed by Debussy – one of my favorite composers, who we had been listening to while doing slow range of movement yoga in her chair. Looking further, I realized that poetry was often a muse for Debussy, which has led us into an interesting inquiry into the social history of the time period in which these artists were creating, gleaned from their personal histories and the medium of their art. Clair de lune, one of Debussy’s most famous compositions, is also a musical interpretation of a Verlaine poem. This translation is less distinct than many of her other efforts, as the original French is more straightforward than some of the other poems she has worked with, most notably Mallarmé, another muse of Debussy. Yet it is one of our favorites.

Enjoy! We sure do.

Moonlight
translated by Simonne Guillerm Allen

Your soul is a chosen landscape
Where charming masqueraders and jesters go
Playing the lute, and dancing, and almost
Sad beneath their fanciful disguises

All sing in a minor key
of victorious love and the opportune life
They do not seem to believe in their happiness
And their song mingles with the moonlight

With the still moonlight, sad and beautiful
That sets the birds dreaming in the trees
And the fountains sobbing in ecstasy
The tall slender fountains among marble statues.

Clair de lune
de Paul Verlaine

Votre âme est un paysage choisi
Que vont charmant masques et bergamasques
Jouant du luth et dansant et quasi
Tristes sous leurs déguisements fantasques.

Tout en chantant sur le mode mineur
L’amour vainqueur et la vie opportune
Ils n’ont pas l’air de croire à leur bonheur
Et leur chanson se mêle au clair de lune,

Au calme clair de lune triste et beau,
Qui fait rêver les oiseaux dans les arbres
Et sangloter d’extase les jets d’eau,
Les grands jets d’eau sveltes parmi les marbres.