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Unfolding Silence

meditation, kung fu, and theatre pedagogy

Meditation as an artistic practice

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Systematical studies on meditation and spiritual practices have increased exponentially since the early ‘70s. In academic research, meditative practices are often investigated as a preparatory training for making art. For example, the performance artist and theorist Phillip Zarrilli makes use of meditation techniques in actor training for accessing and transforming the creative process. A similar approach is carried on by Naomi Lefebvre Sell in the field of dance and somatics.

In other cases, artistic practice and meditation are combined together, generating hybrid methodologies of artistic inquiry. This line of research intertwines meditation with other artistic practices in order to entangle them into a meditative or spiritual framework. For instance, the visual artist Su-Lien Hsieh focuses on the interaction between her painting practice and several Buddhist meditative techniques, such as bowings, mandalas, and breath-awareness.

There is no shortage of examples where the artistic practice itself is interpreted as meditation. The vocal artist, performer and choreographer Meredith Monk – just to mention one – openly bridges her artistic practice to her spiritual practice, drawing parallels between the Buddhist notion of dharma and making art.

In September 2015 I have started an artistic research on meditative silence – the Sharing silence project – as a doctoral candidate at the Performing Arts Research Centre of the University of the Arts (Helsinki). The Sharing silence project provides an alternative track for developing artistic research with meditation.

In contrast with the fore mentioned examples, my work recognises formal sitting meditation as an artistic practice in its own right. My research suggests that approaching meditation as an artistic practice opens alternative and more poetic ways for investigating and communicating meditative experiences. I claim that understanding meditation as a form of art relieves its load of holiness and esoteric imagery on the one hand, and counterbalances its reduction into mechanistic neurophysiological explanations on the other.

My concern is not to expose meditation to the general audience as the object of an inquiry, but to share it as a partner of dialogue in the context of performing arts and artistic research. This work raises questions about the place and the function of meditation in performing arts, in artistic research, in academic institutions, as well as in our society.

The topic of this research derives from my lifelong practice of meditative and somatic techniques such as the Kriya Yoga of Paramahansa Yogananda – which was introduced to me by my parents in my early childhood –, Shaolin and Tai Chi – which I have practiced since 1994 at the school of Master Chang Dsu Yao –, and Vipassana meditation in the tradition of S. N. Goenka – which entered my life relatively late, but had a paramount impact on my development as a meditator. Since 2012, Vipassana has become my fundamental daily practice, and therefore will be the main tool in my investigation.

Earlier experiments

At the current stage of my research, I am working around two questions, or directions. On the one hand, I want to investigate how to unfold and enlighten the artistic potential of Vipassana meditation. On a broader scale, I am researching how participatory performances can contribute to the exploration and communication of the artistic features of meditation.

My earlier experiments consisted in developing artistic technologies for exploring and communicating meditative experiences. Drawing, movement explorations, and creative writing were the tools involved in the experiments. I developed a technique for interviewing meditators, which consisted in filming the movements of the hands of the interviewed persons, who were asked to answer through hand gestures. Even though I found the outcome of these experiments interesting from the perspective of artistic pedagogy and art-making, I wanted to focus more specifically on the practice of meditation.

Therefore, I began to elaborate participatory experiments for sharing meditative silence. These events/platforms were devised for facilitating mindful experiences and creative processes within and between the participants.

In March 2017 I started the practice of meditating one hour a day in different spaces of the Theatre Academy of Helsinki. Students and staff of the school were invited to join me in silence. This experience made me realize how the simple action of sitting in stillness triggered a complex negotiation between myself, the meditative practice, the space, and the presence – or the absence – of other people. I collected feedbacks from the visitors, by means of a guest book, where people were free to write and draw.

As my contribution to the CARPA 5 symposium at the Theatre Academy of Helsinki, I further developed this experiment by installing a meditation room in the conference building, and inviting participants to share silence. Throughout these events, I became interested in the silent dialogues generated by the spatial relationships between the meditators, the room, and the objects within the space. I documented this process by means of photos, journals, and interviews with the visitors.

Coming soon: the Sharing silence retreat

In October 2018, I will realize my artistic part, which is an essential step in my doctoral research. This production will consist of a ten-day meditation retreat, happening on the stage of the entrance hall of the Theatre Academy of Helsinki. Throughout the retreat, I will take the vow of silence, I will meditate about ten hours a day, and I will sleep in the school. People passing by will be invited to enter the space, to sit, rest, and join the meditation at any time of the day, for as long as they want. Before and after the ten-day retreat, I will organize two opportunities for verbal sharing with all interested people.

Part of my research-data will consist of my recollection of the experience. Furthermore, I will give instructions to a small group of volunteers who will share my retreat more closely by visiting the space daily. They will write a journal. Another part of the data will come from the feedback of the visitors in the meditation retreat. I will collect their feedback by means of a free-form guest book. This live installation will illuminate the artistic and social inferences arising from displaying a meditation retreat in a public space.

The Sharing silence retreat will happen from 22nd to 31st October 2018, at the Theatre Academy of Helsinki (Haapaniemenkatu 6). All interested people are invited. If you want to chat with me, please come to the Theatre Academy on 21st October at 12:00 for the introductory meeting, and on 1st November at 12:00 for the conclusion!

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敬禮– Salutation in Kung Fu

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The ritual of salutation is an integral part of Chinese Kung Fu practice. The codified gestures of salutation embody the practitioner’s genuine feeling of respect towards the masters and the fellow students.

The salutation is performed at the beginning and at the end of each training session, when the practitioner enters or leaves the training space, and when she/he begins or ends any exercise. This ceremony is not meant to be a superficial formality, and is not to be understood as an obsolete routine.

Ching Li (敬禮) is the Chinese term for ‘greeting’, and literally means respect and worship. According to Confucius, the virtue of Li (禮= respect for rituals) is one of the four pillars supporting the moral and spiritual growth of a person. One of the main concerns of the early Confucianism was to re-establish social order, by forming noble and complete human beings. Together with Jen (仁= human sensitivity), Hsiao (孝= respect for parents, and cult of the ancestors), and I (義= righteousness, or the moral disposition to do good), Confucius considered Li as a tool for channelling human emotions into a constructive and positive flow.

In the context of Kung Fu – which developed under the philosophical influence of Confucianism, Taoism, and Buddhism –, the salutation represents the external expression of an inner attitude of gratitude, worship and respect. Furthermore, this ritual works as a frame to the practice of Kung Fu, facilitating concentration. Each gesture of the salutation is synchronised with an inhalation or with an exhalation, providing an opportunity for training awareness of breath and body.

Beyond the great variety of greeting rituals, in Kung Fu there are two main salutation forms: the standing greeting, and the formal salutation ceremony on the knees. The most renowned standing greeting is Pao Ch’üan Li (抱拳禮), which can be translated as ‘greeting by holding a fist’. As mentioned above, Li (禮) means respect for rituals. This term includes the meanings of courtesy, ceremony, etiquette, and worshiping. Pao (抱) means holding, or embracing. Ch’üan (拳) means fist.

Pao Ch’üan Li is performed in a standing posture. The typical ritual wants that one hand envelops the other, which is closed like a fist. This simple action provides many variations, according to the different Kung Fu schools and traditions. In some schools the right hand holds the left fist, and in other schools the left hand holds the right fist. There are historical and philosophical reasons behind each of these variations, but I have not found a thorough exposition on this topic yet.

Other differences concern the way the hand touches the fist. For example, the hand can be straight, slightly curved, or fully closed on the fist. Furthermore, the two hands can meet at various levels of the body, from the face level to the upper abdomen level. Minor diverging details can be found also in the posture of the feet and legs, as well as in the inclination of the torso.

Master Chang Dsu Yao (1918-1992) – in whose school I have practiced Kung Fu since 1994 –  explained that the fist represents the Sun (the Yang polarity), while the other hand stands for the Moon (the Yin polarity). Therefore, Pao Ch’üan Li symbolises the union of Yin and Yang. In Chinese, the ideogram Ming (明= bright, or clear), is written by putting the Sun (日) and the Moon (月) close to each other. In my first years as a Kung Fu student, I liked to imagine that the brightness coming from the summed light of these two celestial bodies shined through the symbol of Pao Ch’üan Li.

Ming is also the name of the famous Chinese emperors’ dynasty under which the Shaolin Ch’üan – the most renowned style of traditional Kung Fu, born in the legendary Shaolin temple – reached its splendour. After the collapse of the Ming dynasty (1368-1644), for a long period Shaolin monks and masters continued to side with the Ming against the Ch’ing dynasty (1644-1912), despite of the repeated destructions of the Shaolin temple. In these historical circumstances, Pao Ch’üan Li represented also a sign of identity between Ming supporters.

Another type of standing greeting is Ch’ü Kung Li (鞠躬禮), where the practitioner simply bows the upper body. Ch’ü (鞠) means to bow and Kung (躬) means body. This form of salutation is generally performed when the hands hold a weapon, and the practitioner has no possibility to put the hands together.

The formal greeting on the knees marks the beginning and the end of a training session. This salutation ritual is called Kuei Pai Li (跪拜禮), which means greeting-ceremony (禮= Li) on the knees (跪= Kuei) by bowing forward, or worshiping (拜= Pai). In the school of Master Chang Dsu Yao, this ceremony includes three bowings: one to the Heaven, one to the ancestors, and the third to the lineage of masters. The archetypical interrelation of Sky, Earth, and Human becomes manifest in these three bowings.

Once, I heard a story about Master Chang Dsu Yao, and the ritual of salutation. One day, in the period of the Chinese civil war (1927-1950), Chang was forced to fight against a warrior of the opposite faction. The two men had never met before, and stared at each other for a long time.

Then, the ceremony of salutation began. With surprise and reverence, the warriors realised they were performing exactly the same gestures. They were students of the same Grand Master!

Another interminable moment of silence followed. Finally, they performed the salutation once more, and left the field. No fight occurred.

This episode reminds me of a basic value in traditional Chinese martial arts: respect. In Kung Fu, a genuine pedagogy of respect starts with the salutation.

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Questions around Vipassana

If at all there is any conversion, it should be from misery to happiness, from defilement to purity, from bondage to liberation, from ignorance to enlightenment.

S.N. Goenka

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When I left Dhamma Atala, I was struggling with feelings of relief and disappointment. Dhamma Atala is a Vipassana Meditation Centre, situated on the beautiful hills of the valley of Lutirano in Italy. I arrived to the Centre on the first week of December, with the aim of spending thirty-one days there. The frigid temperatures of the Tuscan countryside, together with an accumulation of emotional stress, forced me to change my plan. After sixteen days at the retreat, I woke up shivering with fever.

It was not easy for me to admit that I had met my limit. A little voice in my head wanted me to believe that I will come out of this experience weaker and more muddled than before. I hesitated, asking myself if I really could not endure a few days longer. Finally, in the early morning of the following day I made up my mind, and I left the Centre. It took two weeks for my body to recover fully. It took longer for me to be able to understand this unexpected turn with a serene mind.

After regaining my health, I came to realize that many ‘mental knots’ – such as negative thinking patterns, obsessive memories of past events, or anxiety for future obligations and responsibilities – were finally untied. Some challenging life issues looked much more manageable in the light of my fresh meditative experience.

My pride was tempered by the words of the Vipassana teacher who led the ten-day meditation course at the retreat. He told me: ‘You can take hundreds of meditation courses. This does not make you a saint. The real work of a Vipassana meditator begins when you go back to the world: there you can test and strengthen your equanimity, awareness, love and compassion.’

The benefits of this adventure became clear once I looked back at my journey more objectively. This retreat was a success on many levels: I did manage to complete the ten-day course of meditation, to share questions and doubts with the teachers, to work at Dhamma Atala as a volunteer, to meet different types of meditators, and to explore the dynamics of the life in the Centre. Furthermore, the interruption of my retreat at Dhamma Atala did not mean an interruption in my meditation. I continued to meditate throughout my recovery, and found my enthusiasm renewed.

Vipassana and Tai Chi

The initial motivation behind this project was my need to reclaim the practice of Vipassana. Because of a few troubled interactions with Vipassana meditators in the past, I carried a mental load of trauma and bad memories. I no longer knew if I was practicing for myself, if I was meditating out of habit, or if I wanted to prove a point to the people who had misunderstood and isolated me.

Furthermore, I wanted to verify my practice of Vipassana to be correct. In fact, after I attended my first Vipassana course in 2012, for a long period I was not allowed to participate in Vipassana meditations by the managers of Vipassana courses, because I am a teacher of Tai Chi. This is a typical case in many traditions of meditation, which warn meditators about the danger of mixing different techniques. My case was examined by a Vipassana teacher from Sweden, through the mediation of the manager of the Vipassana group in Helsinki. We had a long exchange of emails.

Tai Chi – together with other practices involving breathing techniques – is generally considered not to be compatible with Vipassana meditation. The main reason for this is that Vipassana trains the mere observation of natural breath, bodily sensations, and mental processes. Conversely, Tai Chi provides techniques of breath control, and energy manipulation.

I had the feeling that the friction was more on the theoretical level than on the practical. At least, the way I came to understand Tai Chi in over two decades of practice – and especially after my encounter with Vipassana – made me abandon any intention to control my breath, or to circulate energy. If there is such a thing as the ch’i (poorly translated as ‘inner energy’, ‘life energy’, or ‘breath’), there is no need to put any effort in moving it. As an ancient Tai Chi tradition reports: wherever an attentive and concentrated mind goes, the ch’i will follow.

Until there is the intention of moving anything, the mind is under the grip of the ego. The real mastery in Tai Chi is Wei Wu Wei: the ‘action without action’. Equanimity, awareness, and even compassion and loving kindness, seemed to me like a solid common ground between Vipassana and Tai Chi. The Vipassana teacher who examined my case was not persuaded by my experience of the two approaches complementing each other.

However, Vipassana meditation felt so beneficial that I continued practicing it regularly by myself. I even attended two ten-day retreats in my own apartment. After four years of standing by, I wrote an email to the same teacher. Once again, I explained in detail the way I currently practice, understand, and teach Tai Chi. This time, I must have found the right words. Probably, my attitude changed too. The teacher wrote that my approach to Tai Chi was absolutely compatible with Vipassana practice. I got the permission to attend Vipassana courses again, with warm wishes for my success in the path of Dhamma. My journey at Dhamma Atala was finally possible.

Sex and Celibacy

At Dhamma Atala, the teacher in the ten-day course was gentle and humble, and patiently answered my numerous questions. It might sound humorous that in a silent retreat I took many opportunities for having conversations with the teacher. But I arrived there unavoidably charged with lots of expectations, and with a lot of caution too. There were subjects I wanted to discuss with an advanced meditator.

One sensitive topic for me was the discussion about sex and celibacy in a spiritual path. To the best of my understanding, the ‘path of Dhamma’ is the same for all. There is no real boundary between the so called ‘mundane life’ and the spiritual path. The teacher simply argued that some meditators find celibacy useful, and some others do not – himself included.

He explained very clearly that celibacy cannot be forced. It might happen spontaneously, without any sense of sacrifice, as a natural consequence of Vipassana practice. When and if it happens, it depends on your personal characteristics and history. If you are in a committed relationship, you cannot take such a step without the consensual agreement of your partner. He added that if you are in a committed relationship – heterosexual, homosexual, it does not matter – sex is not in opposition to dhamma (the Buddhist term designating a ‘cosmic order’, or ‘law of nature’), you do not break the precepts of sila (the Buddhist term for ‘ethics’, or ‘morality’), and it is a positive and constructive way of sharing love.

Theory and Practice

Another doubt concerned the theoretical aspects of Vipassana practice. Part of me was convinced that I found a path which does not require any faith in pre-given truths. But on the other hand, Vipassana courses provide a huge amount of Buddhist theory and terminology.

For example, the theory of sankaras is the ground for Vipassana practice. According to the explanations provided in the courses, sankaras are ‘volitional formations’, or ‘mental dispositions’, which lie at the base of our unconscious tendency of reacting to all kinds of stimuli and sensations. The more one blindly generates reactions of craving or aversion towards such stimuli, the more sankaras will grow and strengthen.

Following this theory, only by dismantling the habit of reacting, the meditator finds freedom from this mental conditioning. When the meditator stops producing new sankaras, old sankaras cumulated in the past will come to the surface, manifesting themselves in the form of different bodily sensations, pleasant, unpleasant, and neutral. By means of non-judgmental observation, Vipassana meditators eradicate all sankaras one by one, in order to reach the final goal of ‘liberation’.

In my life, I have come across three major spiritual traditions: Hinduism, Christianity, and Buddhism.  Somehow, I managed to conciliate the theoretical contradictions between these different philosophies, by acknowledging that each of them came to a meeting point within myself: since I was able to open myself to the various meditative practices embedded in those different spiritual theories, I was the living proof that apparently contradictory theories could harmonically coexist in the same person.

As a matter of fact, I have always been more interested in the meditative practices than in their underlying philosophies. I approached Hinduism through the Kriya Yoga of Paramahansa Yogananda. In my Christian years, I sailed the sea of Faith on the ‘ship’ of Catholic Rosary. Finally, I caressed Buddhism in its profound core by means of Vipassana meditation.

In each of these three spiritual systems, theory was intertwined with the practice, and appeared to be corroborated by my experience as a meditator. However, one question became crucial: to what extent the theory affected my interpretation of the experience? I wondered if the religious and philosophical background in which each meditation technique was developed affected the design of the technique itself, in order to provide specific experiences, which in return would support pre-given assumptions and theories. Is the experience of a meditator led to support pre-given notions?  If it is so, this is a devious form of indoctrination, because it provides the unbreakable certainty of the ‘wisdom coming from within’. Where does freedom go? Where is the liberation?

Vipassana appealed to me the most because of its pragmatic approach to spirituality. When I encountered Vipassana meditation, I was already drained by my lifelong attempt to interconnect different philosophies, or to find their common denominator. I just felt like committing to the practice without blindly believing in any of its aims and goals. Therefore, my question to the teacher was: how to follow a spiritual path without accepting any of its background assumptions, philosophies, and theories? In fact, if one is not involved in the spiritual discourses supporting the practice, meditation might loose its appeal in the long run.

The teacher looked very pleased by this question. He answered that my attitude was centring the inquisitive spirit of Vipassana. Practice is what counts the most. In the end, you can describe your experience with the words you find most appropriate. You can disagree with any pre-given theory. The only thing you can really rely on is your own personal experience. By sharpening your mind, you build your own practice for investigating the processes occurring within the framework of your body.

Equanimity

At this point I confessed that when I meditate I am mostly aware that I am not equanimous. The teacher said that this was an actual sign of progress, because I started to see myself more deeply. His answer did not sound like a compliment, but it worked as an effective encouragement.

If on my first course in 2012 I had to deal with physical pain – I was not used to sit many hours on the floor –, this time I had to face my mental processes to a new level of depth. Vipassana meditation helped me to investigate the interconnection between my mental habit-patterns and their physical counterparts: bodily sensations, and the way I tend to react to them.

By practising non-judgmental observation of my physical sensations, I gradually reduced the frequency and intensity of my automatic responses. I disengaged myself from my mental habit of escaping discomfort and looking for pleasure. Whenever I succeeded in not reacting with attachment nor aversion towards any sensation, I found space for a new kind of freedom.

This reminded me of the practice of T’ui Shou (‘pushing with the hands’) in T’ai Chi. The ‘trick’ for avoiding the defeat against a hostile force coming towards you is not opposing it, but rather giving up, and yet staying attached to it. In Vipassana, the cultivation of awareness and equanimity create a safe state of mind, where it is possible to stay close to the inner ‘enemy’ forces of craving and hating, attachment and aversion, by letting thoughts and emotions come and go, without being overwhelmed by their power.

Was this feeling of freedom a proof supporting the theory of sankaras? Or was my experience affected by the theory? For the sake of freedom, I kept both questions open.

Tolerance

Especially on the first day of my retreat at Dhamma Atala, it was challenging for me to sit surrounded by people who were also going through difficulties. I could feel their suffering, and I found it disturbing. It took three days for me to become more tolerant, but I did not manage to really develop sincere compassion.

A profound sense of peace reached me in the evening of the ninth day, after one hour of extreme mental agitation. It was a peace that I never felt before, but which did not feel like an extraordinary thing. It was normal, surprisingly and naturally normal.

The day after, the peace was gone. But my attitude towards the challenges of sitting changed. I trusted that whatever happens in my meditation, no matter what uncomfortable or blissful experience I will face, I will be ready to welcome it.

After the ten-day course, the demanding routine of eleven hours of meditation a day came to the end. I started missing it. Ten days was a very short time for conducting such an inner exploration. Then I realized that my nostalgic attitude towards the course could easily turn into attachment and craving: this new mental volition could create the seeds for new suffering.

I did my best to welcome my new situation, and I worked for the Centre as a volunteer for a few days, before the next three-day course would start. Luckily, there were many opportunities to meditate between the working hours: this helped me to maintain my inner balance.

I took a job which was physically exhausting. My task consisted of carrying gravel with a hand-cart, up to the hill for several hours a day, in order to fix the path on the men’s side of the meditation hall. This shift from ten days of silence and stillness to such an active and hard work was not easy. I did not realize that I could take a couple of days off, or maybe I could accept some lighter task.

In this short period of volunteer work the interaction with other people was inspiring, but at times it was stressful. After ten days of complete silence, the act of talking felt almost violent and unnecessary to me. There were a variety of people with whom I did not know how to interact harmoniously. I was silently struggling, and clumsily attempting to develop compassion and tolerance.

When the three-day course started, I felt safe again. The routine of eleven hours of meditation was a familiar structure. But that was also the moment when my body gave up, and I became ill. What an unplanned lesson of humbleness!

Wisdom

I still had the chance to talk with another teacher about some personal issues. The teacher – a nice and joyful woman, a bit older than the previous teacher, but younger in terms of teaching experience – spoke like this: ‘Vipassana is meant to make you independent. I cannot answer for you. My only advice is to meditate. Keep on meditating. The answers will come from within!’

Those words sounded honest. They resonated with my inner wisdom. Yet, I could not refrain from shaking my head, and I held my laughter: the image of the ‘messiah’ interpreted by the Italian comic actor Corrado Guzzanti came to my mind. As a reminder of human fallibility, Guzzanti’s character claims: ‘The answer, you don’t have to search it from the outside. The answer is within you. And yet… it’s wrong!’

Despite all my questioning, which could be misinterpreted as a sign of insecurity, or maybe of pedantry, it appears that I passed the test of both teachers. My practice was found to be correct. A few details were clarified, and I was even encouraged to guide short sessions of Anapanasati – concentration on the breath – to my students.

Now my everyday routine has started again. This beautiful adventure is floating away from the ungraspable and yet precious present moment. Only wisdom is left to be tested here and now. Will I pass the exams of ‘average’ life too?

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Sharing silence at CARPA 5

On Thu 31 August –  Sat 2 Sept 2017, a meditation room was arranged at the Theatre Academy of Helsinki, in the Auditorium 3. This experiment was part of my artistic research on meditative silence, and was my contribution to the conference CARPA 5. All the participants in the conference were welcome to share silence with me in the following times:

on Thu 31 Aug at 12:30-13:30, and at 18:30-19:30

on Fri 1 Sept at 8-9, at 12:30-13:30, and at 17:15-18:15

on Sat 2 Sept at 8-9, and at 12:30-13:30

The meditation room was open all day long. People could visit the space at any time of the day.

A thorough report on this experiment, is now published on the online journal nivel.teak.fi: http://nivel.teak.fi/carpa5/gabriele-goria-a-report-on-the-meditation-room-experiment-at-carpa-5/

 

La galleria dei sogni lenti – Hitaiden unien käytävä

Bilingual performance with music, poetry, painting, dance, monks and peacocks…

Dear friends, I am proud to invite you to my new performance in Helsinki, produced by Teatteri Quo Vadis. La galleria dei sogni lenti – Hitaiden unien käytävä is a multi-disciplinary performance in Italian and Finnish, which takes place in a dream-like art-gallery. You have three possibilities to see it, and the entrance is free!

Performances:

Thursday 24.8 at 19:00
Thursday 24.8 at 21:00
Friday 25.8 at 19:00

Place: Lapinlahden Lähde – Lapinlahdentie 1, Helsinki

With: Maija Rissanen, Aleksi Parviainen, Gabriele Goria, Laura Pentzin, Marko Puro and Jiri Parviainen

Warmly welcome!

 

 

Retreat in Noormarkku – part seven (the end)

Sunday, 6 August 2017

 

One week is gone. My retreat in Noormarkku ends today. I dedicated this morning to the practice of Mettā-Bhāvanā: the cultivation of loving-kindness. Mettā is the Pali term for benevolence, loving-kindness, friendliness, amity, good will, and active interest in others. Goenka considered Mettā the culmination of Vipassanā practice. He insisted that Vipassanā meditators should always end their meditation with a few minutes of Mettā-Bhāvanā: the practice of radiating loving-kindness and goodwill towards all beings.

I am now on the bus, on my way back to Helsinki. I do not find it easy, to write while travelling. So, I will be brief. I want to thank all my readers for following my adventure. Thoughts of love and light go to each of you. I thank the Performing Arts Research Centre for making this journey possible. And all the amazing staff of Noormarkku. The food was delicious. The place was marvelous. I thank my son and my family, for being so understanding. And finally, I thank my friends-meditators from all traditions, who sat with me in spiritual communion, throughout this special week.

Tomorrow my everyday routine will start, and I will have to be fully present for my wonderful son, for my friends and colleagues, for my beloved ones. This retreat opened up new directions in my artistic research, and I feel inspired and grateful. My morning session of Mettā-Bhāvanā filled me with love, which I am still carrying within. But, you know, after you leave your meditation cushion, another kind of engagement with life is about of start. As Dalai Lama often repeats: “It’s not enough to be compassionate. We must act!”.

 

Retreat in Noormarkku – part six

Saturday, 5 August 2017

 

Today I improvised. I was forced to. My monastic routine, as I developed it throughout the previous five days, just could not work anymore. My body protested. Not my mind, because that is still half asleep. Here are the facts: the noise of the ventilation system in my room kept me awake the most of these nights. There was no way to switch it off. Unfortunately, on my last full day as a monk, I feel tired. Well, the other side of the coin is that I will not be too nostalgic about leaving, tomorrow!

This morning I had to divide my meditation into shorter slots, in order to stay focused. From there, it came the idea of alternating relaxing outdoors, short meditations, a bit of writing, and taking pictures throughout the whole day. Nothing essentially changed in my practices but their rhythm, which became more fragmented.

I reflected on the nature of this retreat. As I wrote in my previous post, some rules emerged by themselves.

For example, it just became obvious to me that I will publish my texts on my blog right after finishing them. By the end of each day, there has to be a new post. Then, I had to invent a counterbalancing rule, because the speed of this publishing procedure is also a burden, especially for an Italian author writing in English. So, I gave myself permission to adjust my writings afterwards, by midnight, like Cinderella – Cinderella did not write a blog, though! I read my posts one last time before going to bed. If some passages do not sound clear, if I spot grammar mistakes or spelling mistakes, or if I detect adulterations caused by my tiredness, or by my ‘ego’ – thing which easily happens when I write about myself – I work for making the text clearer and more honest. After midnight, what is written stays written. This is the game.

My only physical training so far consisted in long walks in the nature. I decided to give one week break to my quite hard bodily training. This helped my muscles to loosen their tension, and allowed me to sit quietly for longer periods. Well, today is an exception. My sleep deprivation forced me to adopt a creative solution…

Another delicious amusement is taking pictures. My camera is a cheap one, so the quality of the images is relatively modest. But I really try my best to offer my readers a glimpse of the landscapes I see when I walk, as well as the little details which capture my eye. All the photos I publish along with my texts must be taken on the same day, that is another rule. I like everything to be fresh!

This specific way of sharing by writing, allows me to keep my monastic isolation, and at the same time opens my journey to a potential audience. By doing so, I accidentally make a performance out of my spiritual retreat. This experiment is my first prototype of a performative retreat, and it is far from being perfect. The aim of my PhD research is to explore meditation as an artistic practice in itself. I am not there yet. But I want to believe this is another significant baby-step.

Retreat in Noormarkku – part five

Friday, 4 August 2017

Just before leaving for my retreat to Noormarkku, a dear friend of mine – a Vipassanā meditator herself – told me: “Try not to go too deep, when you are there!”. She spoke out of her friendly care, knowing me well enough to imagine what kind of challenges I might face.

One thing is to take a proper Vipassanā retreat, scrupulously following the prescribed routine: that rigid structure works like a life jacket, allowing the meditator to dive deep into the practice without danger of drowning. A totally different thing is to jump into a free-style retreat like this one. Here I walk an uncharted territory. I have to be careful not to dig too deep without first exploring the surface.

When I arrived here, my only plan was to meditate and write. Little by little, some routines developed by themselves, out of my needs and interests. For example, I noticed that it is easier for me to meditate in the morning. Therefore, I sit three hours in the morning and only one hour before going to bed. I decided to commit to a daily minimum of four hours. Yet, it is up to me to choose if meditating the three morning hours in a row, or to take breaks in between.

I write a lot. Maybe too much, because in the evening I feel almost exhausted. On the other hand, one of the reasons I came here was to improve my writing. My overworking is a reaction to this unusual freedom: in my everyday life I never have so much time for just writing.

However, in these days I experienced a little conflict. Meditation centres me into my body, releasing physical and mental knots, while writing brings me into my head, where I dwell in intellectual reflection. If I write too much, I produce other knots and tensions in my body and in my mind. In fact, when I meditate after a whole day of writing, thoughts continue to haunt me in my head, and I constantly loose my focus and balance.

Initially, I naively thought meditation and writing to be two counterbalancing polarities: the first being the tool for insight; the second being the tool for self expression. I thought they might be like inhalation and exhalation in breathing: you go in with meditation, then you come out through writing. Meditation can be a way for reaching your core. Writing can be the tool for sharing your insights. I still believe in this theory, but I think my mistake was to match the two practices in the wrong proportions.

Paramahansa Yogananda advises: “If you read for an hour, write for two, pray for three, and meditate all the time!”. This sentence encourages spirituals seekers to prioritise intuitive wisdom over devotion, devotion over reason, reason over intellectual knowledge. I know for a fact that other spiritual teachers disagree, and put for example devotion over insight, but I will not enter in this debate now. What counts for me is my experience of these days. I think I squeezed my rational brain too much – there I should listen to my friend’s advice of not going too deep! But I still have the chance to reverse the proportion of the writing-meditating time in favour of meditation. Or maybe I will just take an extra walk, a few more pictures, who knows…

You know when kids start playing together without any premeditated setup? Play just triggers spontaneously. Eventually, some patterns emerge, a few rules get defined, but the atmosphere remains open to changes and surprises. Similarly, my experience in Noormarkku is like being a child, playing with the countless possibilities of shaping and reshaping this artistic and spiritual retreat.

I am aware that entangling artistic research with my spiritual path is a delicate business. I really want to take care not to loose myself in dangerous depths. I trust my experience and sensitivity. I trust that if I keep it playful, I will give myself time to get more acquainted with the ‘surface’ of such a mysterious land. But at times you just cannot avoid it. Depth reaches you unexpectedly. As my favourite Italian actor Roberto Benigni says, speaking about the masterpiece “La Commedia” by Dante Alighieri: “Nothing is deeper than surface!”.

 

Retreat in Noormarkku – part four

Thursday, 3 August 2017

 

“What’s the difference between an actor and a saint?”. I asked this question to my professor of acting when I was a student at the Theatre Academy in Italy, almost two decades ago. He seemed pleased with my thirst to link artistic sensitivity and spiritual call. He paused, then answered: “An actor says what he does; a saint does what he says”.

This sentence haunted me ever since. I analysed it grammatically, logically, metaphysically. The idea that a theatre artist might be seen as a liar, or a cheater, was hidden in those words. The saint is trustworthy, the actor tells stories. It really disturbed me. I wanted to walk a spiritual path through arts, not to become an entertainer. I wanted to inspire, to share wisdom and compassion, not to spread delusions.

Later, thanks to a few lucky encounters and to some experience earned on the field, I came to understand that on stage the actor is not asked to be real. The audience perfectly knows you are playing a role, there is no need to fake. This would mean to be a liar! The actor’s task is to be true.

Of course, truth in acting is a flexible notion, but for me it means: being fully present in my body and mind. The interpretation and the making of meaning is in the hands of the audience. My only task is to let action happen, not to make it happen. By doing so, the actor is no more the one who says what he does. He is the one who does. This revelation was a gate towards a spiritual way of inhabiting the stage.

Throughout almost twenty years, my artistic practice and my spiritual practice grew intertwined. Now I do not see myself anymore just as an actor. My exploration of meditative and artistic practices broadens all the time. When I asked that question to my professor at the Theatre Academy back in 1999, I would never imagine to find myself one day in Finland, conducting an artistic research on meditation.

The concise answer of my old teacher came back to my mind this morning, when I decided to take a picture of myself meditating on the floor. My artist-researcher mind wanted to stage my sitting place differently: I was interested in investigating what kind of spatial relationship between me, the room and the camera will arise after shifting my meditation cushion from the bed to the floor. As a meditator, furthermore, I wanted to understand how this change will affect my meditation.

The technical procedures to make this photo possible triggered a chain of considerations. In order to take the picture, I have to set up a timer to my camera. I might be in need to take several pictures, before finding the best corner and light. I decided I will not be too punctilious, since I am not a photographer, and I actually want to meditate. Yet, I did have to take more than one shot. This meant that I started meditating three times, before I was satisfied with my picture. In the meanwhile, I realized that the floor was not the optimal sitting place for me: my feet were not able to sink softly, and the blood circulation in my legs might not work well. I quit the sitting.

I thought: “If I publish this picture on my blog, I am communicating that today I did actually meditate on the floor; of course I was meditating, but only for the few moments my camera was shooting; if I publish the picture, my audience will believe that I did meditate on the floor who knows for how long: this would be a lie!”. The voice of my professor was echoing in my head: “Are you going to say what you do, or to do what you say?”. Here my creative crisis started.

What was I supposed to do with my picture? Every choice I make for communicating my research should be founded on honesty. As a Vipassanā practitioner, prior to committing to the training in Samādhi – the one-pointed concentration – and prior to cultivating the faculty of Paññā – the wisdom or insight – you have to take care of Sīla. Sīla is the purification of bodily and vocal action. Each spiritual tradition has its list of commandments about what is morally healthy and what is not. And in a post-modern society like ours, where relativity and quantum physics question any sort of absolute value, some of these rules sound absurd if not ridiculous. Yet, when you seriously undertake a spiritual path, you have to cope with the fact that these ‘rules’ are not just moral impositions, but real supports. Without the foundation of Sīla, you might remain stuck in your meditative practice for ages, without actually making any progress in terms of inner joy, freedom, and loving compassion. The fifth Sīla, in Buddhist tradition, is: do not tell lies!

So, I saw three choices in front of me: I do not use the picture and I forget about all my idea; I publish it and I explain that it was just a short rehearsal; I embrace the challenge, and I make the picture become true. I finally gathered my courage, and chose to be a scientist for once. I went for the third option. I went back to sit on the floor, ready to suffer to fulfill my experiment.

And what an embarrassing surprise was to realise that I could do it. In the end, it was not that challenging: I meditated on the floor for one hour and forty-five minutes. Only a small cramp on my left buttock caught my attention at some point. I found a posture for my legs and feet which did not disturb my blood circulation. The floor was a much more grounding experience than the bed. After the meditation I felt so inspired, that I rushed my lunch in order to come back to my room and start writing.

Today I said what I did. It was when I took the picture of myself on the floor, inspired by my visual instinct. Then I did what I said, when I went on meditating in order to make my mental vision become true. Did I behave like a saint on like an actor? I do not know where to locate myself. But I know where I see myself going. I want to be a spiritual artist. And maybe, one day, an artist of the spirit.

 

 

 

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