SPIRITUALITY AND ART

Here are two articles that align themselves very well with the focus of Art and Zen Today.  One deals with visual art; the other with music.  I hope you enjoy them.

Meditations on canvas

By Ollie Reed Jr. / Journal Staff Writer
Sunday, November 26th, 2017 at 12:02am
Meditations on canvas

Titus O’Brien, assistant curator of art at the Albuquerque Museum, sits in front of two of the paintings he will highlight during the upcoming program, “The Zen of Abstraction.” Immediately behind O’Brien is Mark Rothko’s “Old Gold Over White.” At right is Kenzo Okada’s “Abstraction No. 7.” Both works are in the museum’s “When Modern Was Contemporary” show. (Marla Brose/Albuquerque Journal)

 

Rooted in front of the 1957 Mark Tobey abstract titled “Lyric,” Titus O’Brien talked about the influence the Chinese art of calligraphy played in Tobey’s paintings.

Titus O'Brien talks about Mark Tobey's painting "Lyric," an example of the influence Chinese calligraphy played in the artist's workTitus O’Brien talks about Mark Tobey’s painting “Lyric,” an example of the influence Chinese calligraphy played in the artist’s work. O’Brien, an artist and a Zen instructor, will discuss the influence of Asian philosophies and religions on avant-garde painters of the 1940s to the 1960s. (Marla Brose/Albuquerque Journal)

“Many of his paintings are much more dense than this,” said O’Brien, assistant curator of art at the Albuquerque Museum. “Here there are no characters, no letters. The energy of the mark making, inspired by calligraphy, is the message. It is radically non-symbolic.”

Tobey’s painting, tempera on board, is among the 50 works in the Albuquerque Museum show “When Modern Was Contemporary,” which continues through Dec. 31.

“Lyric” is an uninhibited shout out of color – pale yellows, whites, squiggles of red, patches of olive green. The effect on O’Brien is to make him pause for a moment, to reflect.

“It’s painted in difficult colors, weird, strange colors, awkward colors,” he said. “I like paintings that resist you. They are sort of like Zen meditation. It’s not so easy to sit still.”

Integrated and engaged

In O’Brien’s view, all works of art should be objects of meditation. But he noted that this is especially so in the works by artists of the avant-garde movement of the 1940s to the 1960s – painters such as Tobey (1890-1976), Kenzo Okada (1902-1982), Mark Rothko (1903-1970) and Jackson Pollock (1912-1956) and the composer and music theorist John Cage (1912-1992). Unlike artists who poured out their souls onto their canvases, O’Brien said Tobey, Okada, Rothko and Pollock, all of whom have works in “When Modern Was Contemporary,” shifted the emphasis in their paintings from their own feelings to the objects depicted in the work.

Clarence Giese and Ingrid Vollnhofer check out Mark Rothko’s “Old Gold Over White,” left, and Kenzo Okada’s “Abstraction No. 7” during a recent visit to the Albuquerque MuseumClarence Giese and Ingrid Vollnhofer check out Mark Rothko’s “Old Gold Over White,” left, and Kenzo Okada’s “Abstraction No. 7” during a recent visit to the Albuquerque Museum.

He said that’s due in part to the fact that these trailblazers were very much influenced by Asian philosophies and religions, especially Zen Buddhism.

“Zen is about your whole body and your whole mind integrated and engaged,” he said. “Many of the artists in this exhibit were looking for ways to expand beyond materialism, consumerism and militarism. These artists are not depicting the world, they are organizing color, line and shape.”

On Saturday morning,O’Brien will lead a brief guided meditation followed by a tour of select works in “When Modern Was Contemporary.”

He is especially well suited to the task. He is an artist, a sculptor and a painter who does abstracts in casein (milk tempera). But he has also studied Zen for three decades and is an instructor in the Japanese Soto Zen tradition. On most days, he meditates in the morning and again in the evening.

“My tradition is just sitting and allowing sensation and thought to arrive and depart without manipulation and engagement,” he said.

And that works just fine for looking at abstract paintings.

‘Here I am’

O’Brien, 50, grew up in Littleton, Colo., and early on was unsure as to what path he would follow.

“I had a grandfather who was a painter and a grandfather who was a biological scientist,” he said. “I wanted to be both. I was drawn to medicine, and I was also interested in anthropology. But the art won out in high school.”

He earned a bachelor of fine arts from the Kansas City Art Institute in 1991 and master of fine arts from the Yale University School of Art in 1993. He was introduced to Zen when composer Cage was a visiting professor in Kansas City in the late 1980s.

Cage was born in Los Angeles and died in Manhattan, but his major influences were East and South Asian cultures. Cage attended D.T. Suzuki’s lectures on Zen Buddhism in the late 1940s and early 1950s and used the ancient Chinese text the “I Ching’ as a tool for creating his musical compositions.

O’Brien attended lectures Cage presented in Kansas City and interacted with the composer during one of those sessions.

“He was saying really interesting stuff about the non-existence of the self,” O’Brien said. “I said, ‘What do you mean I don’t exist? Here I am.’ He said, ‘Yes, exactly. And what is that?’ My brain couldn’t make anything of it.

“He had this Cheshire cat smile and these twinkling eyes. It was a beautiful, transforming experience. I connected with him very strongly. He was a singular and radiant individual. He singled me out, and he started talking to me about Zen.”

While doing graduate work at Yale, O’Brien studied at the New Haven Zen Center. Between 1995 and 2000, he spent time at Zen centers in Rhode Island, Kentucky and Northern California.

“Now, I use the ‘I Ching’ to compose my paintings,” he said.

Organized activity

Just as Cage helped form O’Brien’s zeal for Zen, Tobey’s interest in Eastern religions – he converted to the Bahá’i faith – may have influenced Cage to some degree. The men were friends and Tobey studied piano and music theory with Cage. And there are those who suggest that Tobey’s oriental brushwork and calligraphic strokes prompted Jackson Pollock’s drip paintings.

One of those Pollock paintings, “Number 8, 1949,” is in the show. O’Brien refers to the piece – a roiling, twisted mass of oil, enamel and aluminum paint on canvas – as organized activity.

“All art is a mediation between order and chaos,” he said. “But Pollock was clearly the most chaotic of his generation.”

But that doesn’t mean his work is not Zen.

“Zen tradition is full of rogues, raconteurs and radicals,” he said. “Zen is not just the eternally beatific, monks and monastics.”

Kenzo Okada was born in Yokohama, Japan, and was a realist painter before he moved to New York City in 1950.

“Then he got swept up in the heated, abstract atmosphere,” O’Brien said. Even so, his abstract paintings retain a powerful Japanese sensibility and appreciation of form. His 1953 oil on canvas, “Abstraction No. 7” is part of the exhibit. Large shapes and smaller ones stand out against a desert-sand background.

“Notice the numbered title,” O’Brien said. “You are not supposed to be able to tease out any kind of story. Clearly Okada wants you to view that painting on its own merits. You are approaching these elements in their relationship to each other. He leaves these sort of wonderful negative spaces – landscapes of the mind and heart.”

Floating in space

Okada and Rothko were friends. Did Okada’s Japanese-flavored abstracts influence Rothko? Maybe. Maybe not.

But Rothko’s 1956 oil on canvas, “Old Gold Over White,” might just be the most Zen work in the show. O’Brien describes the painting as hazy rectangles floating in space.

“Do you fall into them, or do they come out and get you?” he said. “The best description of Rothko’s paintings is meditative. They are not promoting any Zen doctrine. They are just inviting you to meditate on them, on your experience with them.

“You can come back to a Rothko painting forever and have different experiences each time. You can say the same of Zen meditation.”

If you go
WHAT: “The Zen of Abstraction.” Art curator and Zen practitioner Titus O’Brien guides visitors through a brief meditation, followed by a tour.
WHEN: 10-11:15 a.m. Saturday, Dec. 2
WHERE: Albuquerque Museum, 2000 Mountain NW
COST: Program is free with regular museum admission of $1-$4.

 

 

 

 

 

A Few Questions (New blog article)

Paint as you like and die happy
– Henry MillierAchieving success and fulfillment as an artist takes more than hard work. It requires the:
* Perception to see your world (inner and outer) as it is
* Discernment to choose a course of action
* Focus to stay the courseThe following questions may help you find this perception, discernment, and focus. Write down your answers in a journal. Some of the challenging questions will ask you to dig deep.
* When are you fully self-expressed and connected as a musician?
+ Identify specific moments. Where were you? Who were you playing with? Who was in the audience? What did the music sound like?
+ How can design more of these experiences?* What artists/performances/recordings most resonate with you at a core level? Art that flips a switch emotionally and/or spiritually.* Does the music you play resonate in the same way?
* If not, what can you change about your practice to connect with your own music on a deeper level?

* Imagine yourself ten years from now playing ideal music under perfect conditions. Where are you? Who is there? What does it sound like? What’s stopping you from doing this right now?

* Choose your audience: Who are the people who will connect and resonate with the music you create? What do they value? What type of experience do the seek? Where do they connect with each other?

* If you never performed again, who would miss you?

* What limiting beliefs get in your way? These biases and narratives may be hard to uncover, because they can be ingrained into our view of the world. A few examples:
+ I’m not naturally talented enough to ______  (a.k.a. “fixed mindset” (https://stevetres.us7.list-manage.com/track/click?u=e48deb90ce850347108686725&id=1c3a55781d&e=ae2503bdd2) )
+ I’ll never be as good as ______, so why bother
+ “Work” is inherently unenjoyable
+ Artists can’t earn a good living without selling out

* In The War of Art, Steven Pressfield outlines strategies for fighting “the resistance”—our biological need to feel safe and secure. This can sabotage our art. How does the resistance interfering with your best work? Some examples:
+ Talking yourself out of a project because of the fear of failure
+ Avoiding listening to recordings/watching film of your performances
+ Stage fright
+ Obsessive perfectionism
+ Procrastinating because you don’t “feel ready”

* Have you defined success and fulfillment for yourself, or are you stuffing your journey into somebody else’s model/expectations?
* If money wasn’t a barrier, what projects would you initiate?
* What’s an exciting project you initiate with little or no cost?

Ignore the resistance and start now.

– ST

https://stevetres.us7.list-manage.com/track/click?u=e48deb90ce850347108686725&id=3baf6396b0&e=ae2503bdd2

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Comments:

 Thanks for sharing this.  It’s funny, looking back at how I began to appreciate art, I took a similar approach. I was drawn to abstract and minimal art because it allowed space for viewer to enter the work without the need for historical contextualization or symbolic analysis.  Rothko and Ad Reinhardt were influential for me.  Have you been to the Rothko chapel?  Definitely worth it if you haven’t.
     Great website. I will look forward to future posts. Hope all is well.
A.
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That was beautifully said.

Thank you for sharing it with us.
D.
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Thanks Steve for posting these articles!

I’d love to go see the exhibit in Albuquerque.
G.

“HOW DOES JESUS SAVE US?” : NEW RELEASE BY WILSON BROS/ SHRINK WRAP

 

 

 

Today’s post consists of an audio and video experience.  The first is Wilson Bros/Shrink Wrap’s newest release “How Does Jesus Save Us?”  Also included is a video where I describe the process of teaming up with my brother to create a music that is related to increasing our awareness of death and dying.  I’d suggest scrolling down to the music first and then viewing the video if you are interested.     

Link to Video Entitled “Some Thoughts on Music and Death”

https://youtu.be/jZqEHGJ9h04

Here are some suggestions for listening:

1) Play the music when you have enough time to mindfully listen without worrying about being distracted by other issues.

2) Use whatever rituals you usually use when preparing  to move out of the  flow of ordinary life.

3) The music was especially created to be heard through headphones.  Try to avoid earplugs, if possible.

4)  As you listen, focus on your bodily reactions (i.e. sensations, feelings, emotions etc., whether positive or negative) rather than the meaning of what you are hearing.

5)  Try listening to the piece more than once be open to having different experiences with each exposure.  Try dancing/moving while you listen!

Zen Buddhism and Japanese Art: the Inspirational Life of Hakuin Ekaku

 

As you know, most of the posts at Art and Zen Today deal with contemporary art practices.  However, it is helpful to have some understanding of how the various arts have traditionally been connected with various meditative disciplines.  Below is an article that provides a nice look at that connection in Zen.  This article was called to my attention by Jake Roshi, an avid supporter of Art and Zen Today.  If you come across any articles that you think might make a good post on the site, please let me know. Also, we are always looking for “guest editors” so if you have some prose or art work that you think our readers would like, please let me know.
By the way, you may find two previously published articles on Sumi-e painting practice by Beth Moskal Milligan (Esho) to be of interest.  Click on the links below to read these articles.

Zen Buddhism and Japanese Art: the Inspirational Life of Hakuin Ekaku

 Lee Jay Walker

Modern Tokyo Times

The holy Buddhist monk Hakuin Ekaku revived the school of Rinzai Buddhism based on taking Zen Buddhism far and wide. Indeed, his upbringing meant that he never lost touch with people at the bottom of the ladder, in terms of wealth. Also, despite Hakuin being outspoken towards other Buddhist sects, he never sought to alter the non-Zen Buddhist ways of people residing in the countryside. Hence, the roots of his early life meant that Hakuin could reach out both culturally and religiously to ordinary people in rural communities.

In other words, many lay people throughout the countryside fused the various aspects of rural Shintoism, Confucianism, and the ways of Buddhism. Hakuin fully understood the rich fusions of ideas that impacted on rural society and the religious – and philosophical dimensions – that remained like a rock during times of hardship.

True to nature, Hakuin declined to serve the most prestigious Buddhist monasteries in Kyoto that impacted greatly on high culture – just like other centers of power including Nara. Instead, Hakuin took the teachings of Rinzai Buddhism to the rural poor and extolled the virtues of Zen Buddhism based on lectures to other classes in society.

Hakuin said, “At the bottom of great doubt lies great awakening. If you doubt fully, you will awaken fully.”

Another saying, close to the heart of Hakuin, was “Contemplation within activity is a million times better than contemplation within stillness.”

In the world of art, calligraphy, and literature related to Zen Buddhism, then Hakuin fused these elements in order to reach out to the masses in multiple ways. Indeed, he wrote with great passion and in haste during the late stages of his life. Similarly, despite Hakuin being deemed one of the greatest Zen Buddhist painters of Japan, he only focused seriously on this area of his life when he was nearing sixty years of age.

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THE ART-MEDITATION CONNECTION

Below I have reprinted an inspiring article sent to me by Jake Roshi.  The article very much supports what Jake has been saying for years; that a mindful commitment to any activity that requires practice can be a “teacher”.  This may include what we traditionally define as “art” but can include any activity (cooking, gardening, accounting etc.) that entails practice with the goal of doing it “artfully”.
Below are links to past articles published in Art and Zen Today that speak directly to this connection between artistic practice and “meditative” practice.  There are many more and I suggest you explore the Archives.
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http://artandzentoday.com/?p=3179   Myths about the nature of “Talent”

http://artandzentoday.com/?p=3121 Art and Mindfulness

http://artandzentoday.com/?p=3121  Improvization in music and Zen.

http://artandzentoday.com/?p=1830  Trumpet practice and Zen  practice  #2

http://artandzentoday.com/?p=1788  Trumpet practice and Zen Practice #1

http://artandzentoday.com/?p=1147 The Art of being present.

http://artandzentoday.com/?p=124  Art, Zen and Creativity

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And now to the article, which was originally printed in The Washington Post.

Why making art is the new meditation

By Maia Gambis August 25, 2015

Photo by iStock

Many of us have heard about the benefits of meditation, but sometimes find it hard to do.  Fewer of us know about the profound benefits of artistic expression. Creating art, however, is another way to access a meditative state of mind and the profound healing it brings. 

“Art is a guarantee to sanity,” said Louise Bourgeois, a French-American artist who died in 2010 at the age of 98. She even went on to add, “…This is the most important thing I have said.” For Bourgeois, art — making art — was a tool for coping with overwhelming emotion. She says she remembers making small sculptures out of bread crumbs at the dinner table when she was a little girl – as a way of dealing with her dominating father. Art was more than an escape – it kept her sane.

Art therapy has a healing effect for a variety of ailments, including depression, trauma and illness. and is effective across age, gender or ethnicity. In a recent study of cancer patients, an art therapy intervention — in conjunction with conventional treatments like chemotherapy and radiation — not only diminished symptoms typically associated with cancer such as pain, fatigue and anxiety, but also enhanced life expectancy. The study, its authors said, was based on the belief that “the creative process involved in the making of art is healing and life-enhancing. It is used to help patients, or their families, increase awareness of self, cope with symptoms, and adapt to stressful and traumatic experiences.” 

Art is not only healing for individuals suffering from severe illness. Here are four reasons why creative activity is such a potent recipe for psychological well-being:

1. Art is a vehicle for meditation and self-connection

Most of us can understand that art provides an escape to a sometimes harsh reality, but where does art’s healing potential come from? It impacts the state of our minds: Enjoying emotional stability is largely about taking responsibility for how we feel.

Research has shown the power of meditation and the science behind it. One of the reasons it is so powerful is that it fosters acceptance. Creating art is a type of meditation, an  active training of the mind that increase awareness and emphasizes acceptance of feelings and thoughts without judgment and relaxation of body and mind.

Art, like meditation, allows us to create space between our often negative, anxious thoughts and connect with our true selves – as opposed to with the fleeting or false sense of identity we sometimes have when we are caught up in our thoughts and emotions. Eckhart Tolle, spiritual teacher, writes: “Identification with thoughts and the emotions that go with those thoughts creates a false mind-made sense of self, conditioned by the past… This false self is never happy or fulfilled for long. Its normal state is one of unease, fear, insufficiency, and non-fulfillment.” Creating art is about reaching a state of consciousness and breaking free from the constant debilitating chatter of the mind.

Similarly to meditation, art can help us tap into a deeper and more quiet part of ourselves. We enter into a state of flow and present-moment awareness. “All true artists, whether they know it or not, create from a place of no-mind, from inner stillness,” Tolle writes. Artists experience that creative activity has the potential to tap into a space of true consciousness of being, void of interpretation. In this space, there can be a sense of having no physical parameters; no body, or form to separate one from the other. 

3. Art allows for true self-expression

The process of making art overrides the need for verbal communication. Creativity is its own language and enables humans to connect with one another — and themselves — on a non-verbal level. In therapy it can be an effective way of saying the unspeakable as is shown through the use of creative therapies with children. This also explains how we can be moved to the core when looking at a work of art, or even listening to music, without necessarily knowing the specifics about its origin. Art exists within its own non-verbal parameter and thus frees us up for unadulterated self-expression.

4. Art helps us become steady and centered

As a plus, it is interesting to note that Bourgeois, when asked to comment on her extensive body of work spanning her entire lifetime, says what impresses her most  “is how constant [I] have been.” Perhaps we need to redefine what we consider to be a storybook happy ending. Happiness may be less a matter of experiencing sharp highs (often followed by deep lows), and more a matter of nurturing a space that provides stability and a constant connection to our true selves.

 

ART FROM THE HEART: BETH TALKS ABOUT HER SUMI-E AND ZEN PRACTICES

Beth (Esho) is no stranger to the pages of Art and Zen Today.  Three years ago we published Beth’s article “BETH MOSKAL MILLIGAN ON SUMI-E PAINTING AND ZEN PRACTICES”  where she wrote about her studies with Sumi-e master Takashi Ijichi and Zen practice with Jake Roshi. ( http://artandzentoday.com/?p=3243 ).  The short talk from the Shuso Hossen , captured in the video below, expands upon this earlier article.  Pay attention to the points that Beth makes in the video; I think they are very consistent with my musical responses to the Shuso Koan as seen in a video posted earlier (   http://artandzentoday.com/?p=4678)

To see Beth’s “Art From the Heart” talk at the Shuso Hossen, please click below:

https://youtu.be/VJ4aP_xNhyA

Scroll Down to see other performances at the Shuso Hossen Ceremony.

 

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“MASTER BODHIDHARMA, BODHISATTVA BODHIDHARMA”: SEGMENT 2 FROM THE SHUSO HOSSEN CEREMONY

 

Hi and welcome to another edition of Art and Zen Today.  Today’s post consists of more video from my Shuso Hossen Ceremony.  We start off with Eyal Raz reading Rumi’s “The House Guest.  This is one of three short stories read by Eyal during the Ceremony.  All of them come from a tradition other than Zen but all convey the same depth of wisdom found in the most profound Zen texts.  The texts of the other two stories read by Eyal are printed below.  Following that is the second of my performance raps, which were intended as responses to  the Koan I was given.  It’s called “Master Bodhidharma, Bodhisattva Bodhidharma”.   For more on the Shuso Hossen Ceremony and other topics related to Zen and art use the SEARCH option or click on relevant CATEGORY at the right.

To see Video, click on link below:

https://youtu.be/el-YN0Oea5c

The Primordial Light ( A Jewish chassidic tale)

In the beginning God created the heaven and the earth.

In the first day - God said, Let there be light: and there was light.

In the fourth day – God said, Let there be lights in the firmament of the heaven… to give light upon the earth.

Question : What did happen to the first, primordial light after the light in the firmament of the heaven was created?

Answer : God hid it

Question : For whom did he hide it?

Answer : For the enlightened ones

Question : How can we observe it?

Answer : It is reflected in their daily activities.

Longing for (Kabir)

Friend, hope for the Guest while you are alive.

Jump into experience while you are alive!

Think… and think… while you are alive.

What you call ‘salvation’ belongs to the time before death.

If you don’t break your ropes while you’re alive,

do you think ghosts will do it after?

The idea that the soul will join with the ecstatic just because the body is rotten that is all fantasy.

What is found now is found then.

If you find nothing now, you will simply end up with an apartment in the City ofDeath.

If you make love with the divine now, in the next life you will have the face of satisfied desire.

So plunge into the truth, find out who the Teacher is, believe in the Great Sound!

Kabir says this: When the Guest is being search for, it is the intensity of the longing for the Guest that does all the work.

Look at me, and you will see a slave of that in 

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“A ROSHI NAMED JAKE GAVE ME A SNAKE” : SHUSO PERFORMANCE # 1.

Below is a link to my first rap performance in response to my Shuso Koan (see:  http://artandzentoday.com/?p=4380     ).  There are three pieces of information that might make my rap a bit more meaningful.  The first is that, following Zen tradition, the Shuso Hossen ceremony started off with my teacher handing me a Shippei;  a staff that is a  symbol of a Zen master’s authority.  I held the Shippei before the audience and spoke the following worlds:

“This is a 3 foot long black snake. A long time ago it had become a konpura flower on Mt Gudrakuta, and on Mt. Shorin it had become plum blossom.  Sometimes it transforms into a dragon and swallows heaven and earth.  Sometimes it transforms into a diamond sword with freedom to kill and give life.  Right now, in accord with the order of my teacher, it lies in my hands.  I feel like a mosquito trying to bite an iron bull.  However, being assigned as head trainee, I have to fulfill my duties”.

Secondly, in a series of lectures leading up to the Shuso Hossen Ceremony, I explored the nature and function of Zen ritual.  I spent a great deal of time in these lectures discussing an article entitled “Rituals” by Robert Sharf.  The author suggests that it is useful to view rituals as a form of transubstantiation where the participants understand that many aspects of their ritual activities are a form of play and yet can be taken seriously. He says that just as a child who uses a stick to represent a horse when playing cowboys understands that the stick is not really a horse, ritual participants act “as if” certain things are true or real, while knowing that it is only “as if”.  The most common example of this is the idea in communion that the wine offered by the priest is the blood of Christ.  I suggested, in my lectures, that engaging in the “as ifness” of rituals can be a way of learning to remain engaged in everyday life while not being attached (i.e. in society by not of society). To see two earlier posts on “transubstantiation”, type that term in the Search Box on the right and hit “enter” on your computer.

The third  item that might be helpful to look at before watching the video is a poem written by Jake Roshi several years ago and published on this site in an article titled “Poems and  Images of Five Vista Zen Center Artists”  (see:   http://artandzentoday.com/?p=3541     ).  The poem is not long but it is laid out in a visually interesting way and so you have to scroll down a bit to get to the video.

 

 No Choice?

By Jake Roshi

The Way is not difficult

for those who do not pick and choose.

The Way is not difficult

for those who do pick and choose.

When you walk the Way,

just walk the Way.

It is not near,

it is not far.

It just is.

Just do not get in the way

of the Way.

Or, Just get in the way

of the Way.

Either way Is the Way.

Either way is.

Either way

Is neither

The Way

Nor not

the

Way.

I think I’ll go away

Now.

Click on link below to watch the video:

https://youtu.be/x0q15sWm77I

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JAKE ROSHI AND MANOJ DISCUSS THE SHUSO HOSSEN CEREMONY

Last week’s post was the beginning of a series having to do with my Shuso Hossen Ceremony held on March 5th.  Since the format of the Ceremony was a bit nontraditional, Jake Roshi wanted us to sit down and “process” the event.  I brought a series of questions to the meeting that had been sent to me by Judy after the Ceremony.  I used her questions as sort of a jumping off point for our conversation.  I video taped my discussion with Roshi and the video below is one segment of our conversation, prompted by some of Judy’s  questions.  I will likely release more parts of our discussion in the future.  Warning: this video will have more meaning for viewers who attended the Ceremony. To see earlier posts regarding my Shuso Hossen Ceremony, use the Search Categories to the right or type in “Shuso Hossen” in the Search Window.

 

https://www.youtube.com/watch?v=QmKaRF4lLg0

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THANK YOU FOR LETTING ME BE MYSELF AGAIN (Music Video)

Below is a link to a new video that was used in my Shuso Hossen Ceremony. It involves images of the Vista Zen Center and music produced by me and Central Florida’s favorite blues singer “Stoney” Stone.  For more background on the ceremony, the video and Stoney, read below before watching.

About a month ago I published a post titled “Koan For Manoj’s Shuso Hossen” (http://artandzentoday.com/?p=4380).  In that article I wrote:

 In this ceremony a student offers his or her understanding of the Koan and fields questions from other students about the Koan to demonstrate their readiness to be considered a senior student.  Usually, students are assigned to work on one of the traditional Koans that have been part of the training for Zen monks throughout the centuries in China and Japan.  However, my teacher has decided to explore alternative Koans that speak more to  Westerners living and practicing Zen in non-monastic circumstances.

The Ceremony was held on March 5, 1916 and  many of my upcoming posts will either entail segments from the video recordings made that night or will be based on my experiences as a Shuso at the Vista Zen Center. The essence of my Shuso Koan (see below) had to do with how I would or could fulfill the Four Bodhisattva Vows as an artist. During the Ceremony I presented 5 different musical performances that I saw as answering my Koan. In addition to my presentations, about 15  other members of the Center  also gave short performances displaying their understanding of Zen and their creative interests.  So the Ceremony consisted of a full evening of poems, songs, stories, demonstrations and short talks etc.

                                                            Shuso Koan

I ended my portion of the evening by singing Sly Stone’s “I want to Thank You For Letting Me Be Myself Again” using altered lyrics that I hoped expressed my appreciation to my teacher and fellow students for providing a safe place to practice Zen.


A week after the Ceremony, my wife’s niece Elene and her boyfriend “Stoney” visited with us for a few days. They both are musicians and play together in various venues in central Florida.   Stoney’s other band “Stoney and the Housebreakers” also play for events throughout Florida and have produced numerous CDs.  Their album “Cruisin’ For A Bluesin’ ” was the recipient of the prestigious Central Florida “CD of The Year Award” in 2009 @ The Brevard Live Florida Music Awards.(See the band’s  website: http://www.stoney3.com/ )

                                                          Elene and Stoney

Anyway, soon after our visitors arrived, I had Stoney in my studio singing the altered lyrics to the Sly Stone classic.  The short video below incorporates the recording Stoney and I produced and is accompanied by images compiled for the Shuso Hossen Ceremony to display the talents and dedication of the members of the Vista Zen Center.

https://youtu.be/WdWtlB6cphI

 

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REMEMBER TO FORGET THE SELF

In my last blog (some time in the distant past) I promised to delve further into the topic of active or mindful listening.  I still want to do this but in the meantime, this music video came about (see  below).  It was inspired, in part, through reading Zen Master Dogen, but it is not necessarily a “zen video”.  Like everything else (art or otherwise) this video is something that is available for engaging mindfully if you want to.  It’s up to you.  I’d suggest using stereo headphones and watching when you are not busy with other stuff.

 

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