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Re: organism and identity / for sg

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  • Era
    ... Music can lead to Enlightenment also Indian classical music is imitating this ascend of the Kundalini staring out low and very slow with less instruments
    Message 1 of 105 , Oct 2, 2003
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      |<manjusrilotus@y...> wrote:
      >
      > >
      > > I abslutelly looove them, I used to
      > > sneak into the Watts for sermon
      > >
      > > Ladies in big hats totally free
      > > let it all out dancing ans singing
      > > praising the Lord
      > >
      > > and Gospel music takes the Kundalini
      > > high high way high into extasy, better
      > > than Ravi Sahankar
      > >




      Music can lead to Enlightenment also

      Indian classical music is imitating
      this ascend of the Kundalini staring
      out low and very slow with less
      instruments at the beginning

      than the tune reaches higher adding
      a new instrument of a chakra or inner
      plane for example the shenai is said
      to be the 4-th pane just before the
      God regions Than usually they go
      back down again add more speed and
      more instruments different, louder
      tabla beats and try again in unisom
      with the melody to go higher again,
      this than is repeated many times
      the Enlightened musicians at the
      level of Ravi Shankar sense it when
      all of the audience reached a unity
      and they era ready to be taken into
      ecstasy and than they really go for
      it in wild jam session high high
      ending in unified nirvana

      > > <grin>
      > >
      > > but white preachers belong to a circus
      > >
      > >
      > > love, Karta
      >
      >
      > SG: Perhaps look at this a moment and see why this is so.
      >
      > What has brought about such a view point ?
      >
      > Just because one seems freer does it invalidate
      > the other ?
      >
      > The only way we see is when we step back and allow
      > the water to still and settle then reflection is possible....
      >
      > this view point about white preachers belonging to
      > circuses naturally creates a barrier from possibly
      > hearing something that might be quite liberating....
      > it causes an immediate blockage.
      > the barriers are up . the energy changes from
      > openness to one of wariness and just looking for
      > a reason to bolt or attack or ridicule .
      >
      > Now the question is Why put up the generalization
      > and immediately alienate a whole section of
      > experience at once ?
      >
      > What has happened in the past to bring such a
      > coloring to impose it on this situation ?
      >
      > This is not meant as a preaching but simply as
      > giving a chance to reflect on such statements and
      > how much closing off and judgement is being
      > presented in one sentence..
      >
      > Do we want to embrace others or Alienate them ?
      >
      > Infinite Love does not Alienate but embraces ...


      I am sorry to step on white toes SG,

      it was unintentional

      white theatrical preachers who imitate
      the music of the blacks ones are
      plastic and they do belong to a circus,

      I can very well recognise the genuin
      ones and also who is for real

      thanks for pointing out stuff to look
      at; but I am buzzy with my own

      love, Karta
    • Era
      ... Nina, you just made my day smiles
      Message 105 of 105 , Oct 5, 2003
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        --- In meditationsocietyofamerica@yahoogroups.com, "Nina" <murrkis@y...> wrote:
        > > > When the inspiration fails, it is no worse than
        > > > a sandcastle being washed away by the beach tide.
        > > > Tomorrow, I build another sandcastle.
        > > >
        > > > The thing is, I do know that at any time, I could
        > > > let go of the sandcastle building... but why?
        > > > Maybe you know why and would share the why...
        > >
        > > SG: one perhaps builds sandcastles until there is no longer
        > > an attachment to building and creating a structured form ......
        > > Inspirations may be wrapped up in sandcastles .....
        > >
        > > perhaps at that point one simply creates them out of the joy of
        > > the moment..... not expecting them to last but simply for the
        > > beauty and joy of spontaneous art and motion which flows from
        > > the Bliss of Being here now in this place in this moment .......
        > > it needs not carry behind it some representation or hidden
        > > meaning it simply is as it is Beautiful and sacred within it's own
        > > right.......
        > >
        > > then as in all things (this creation of the moment) simply falls
        > > away so that another image may take its place
        > >
        > > First one goes beyond the transient unfolding play before it is
        > > fully understood and appreciated for what it is ....... then one
        > > steps back into the lila and play simply Enjoying that lila as an
        > > expression of Infinite Love in motion........
        > > Formless or Form it is the same Essense
        > > minus the distinguishing factors .....
        >
        > > SG: hahahahaha perhaps so .... everything proceeds from
        > > Source and returns to Source in some manner......
        > >
        > >
        > > Infinite Love
        >
        > 1. There are pictures of this sandcastle building: faded square
        > photographs with radiused corners, the blues and greens and sand
        > colors of photographs from that time, the reds always slightly
        > pungent, as if the pigment were wired and erratic, unsure of its
        > place in the film. There we are, squatting in the sand: my blond-
        > haired mother, sitting aside, arm around the barrel-chest of the
        > small grey dog; my father and a very small I sitting together,
        > scraping sand into forms. What the photograph barely hints at is the
        > joy of building that sandcastle, part enjoyment of the sand and
        > water, part thrill and satisfaction of building it with my father.
        > What the photograph doesn't contain is what came later. After
        > building it, I felt so much happiness and pride; we played in the
        > water, and I kept looking back to see that sandcastle sitting before
        > the waves. Then the two boys came, stepping into the sandcastle,
        > crushing it. I cried salt tears to the sea, inconsolable, and unable
        > to explain or even understand that the greatest loss was not the
        > sandcastle, but what the sandcastle represented.
        >
        > 2. We like to go early to the beach, before the beach patrol comes on
        > line, and let our dogs run off leash. One morning, on the way back,
        > we are walking close to the dunes, past a sandcastle left above the
        > tide line. One of the dogs stalks the sandcastle, circling it,
        > sniffing it carefully, as if the castle might move. She notes the
        > hollow center of the castle, and daintily scratches it with one paw,
        > once, twice. Moving within the hollow, she begins to dig, throwing
        > large arcs of sand beneath and behind her, very efficiently deepening
        > the hollow. Sufficiently inspired, she leaps from the castle, and
        > runs circles on the beach. She is amazing, lean muscle and arching
        > back, her earth-pounding feet carrying her so close to us on her
        > returns that her breath is heard and wake is felt.
        >
        > 3. After the walk, I remain on the beach after the others return
        > home. The sun is coming up, pink and orange, and the sky is humid and
        > a thick blue-grey. The moon is still out, and a few stars, but are
        > gradually fading in a sky that is approaching their brilliance. I
        > stand within the laps of the waves, and look out to the rocking
        > shrimp boats, and the long, thin horizon beyond. With each receding
        > wave, the water draws sand from beneath the edges of my feet.
        > Eventually, I am balancing on two pyramids beneath my arches. I find
        > that if I am not perfectly balanced through the soles of my feet as
        > these pyramids form, that eventually I must cling to the tops of the
        > pyramids with the muscles of my legs, lest my feet slide from the
        > pyramids. I stand for a long while like this, trying on new pyramids,
        > learning as a matter of course what it is to be perfectly balanced
        > within my soles, and how transparent and effortless that feels,
        > watching the night suns recede as I am warmed by the heat advancing
        > in the eastern sky. At some point, the shrimp boats disappear, and I
        > take that as my cue to leave.
        >
        > Thanks for your letter, SG.
        >
        > Nina


        Nina, you just made my day

        smiles
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