As a follow up to “Buddha as a Performance Artist?”, I was going to talk about the “flow experience” as a way of understanding why artists and spiritual seekers often impose restrictions on themselves. But I received a comment on that article from my Zen teacher that made me decide to abandon my agenda of writing about flow and “go with the flow” instead. Among other things, he wrote:
I would like to suggest that it might be as important to be a performance audience. (You can see the whole comment in Discussion #2 of the FORUM).
Now, frankly I’m not altogether sure what he meant by this but decided to not worry so much about the intended meaning and riff off of this statement just to see where it went. Notice that the emphasis on the word “PLAY” in the description of this blog If you listen in when young kids are playing together you will notice a lot of apparent “non-sequiturs” where one will pick up on what one says and responds spontaneously without being concerned whether he or she is sharing the same meanings as their playmates. In play, the objective is simply to keep the play going and to have fun, which is actually one of the defining charticteristic of “flow”. So what follows is my response to Jiyu’s Roshi’s comments even thought I’m not sure what he meant or intended.
In the FORUM PAGE of this blogsite there is a rather long discussion about the place of meaning in art. Artists may have a variety of meaningful intentions or inspirations in art (e.g. religious, political, comments on the art world etc.) or they may have none at all. However, it seems that the nature of communication in the arts is that we can never be sure that the artist’s meaning is shared isometrically by the audience (see examples in the FORUM). However, I do believe that when an artist in any field is creating in the present moment, that some portion of the audience will share this experience; that is, witnessing that art can bring a person into the present moment (i.e. to become more alive or awake, as suggested in the previous post). What is the difference between those that do and those that do not? All we can say is that those who do are willing and able to be transported, at least temporarily, into the present moment themselves. Something about viewing or hearing the art piece moves them to share that state of mind with the artist, but they must be open to that happening.
Remember this quote from Marina Abramovic regarding those who sat across from her during her performance at MOMA?
Some of them are really open and you feel this incredible pain…….when they are sitting in the front of me, it’s not about me any more. It’s very soon, that I’m just mirror of their own self.
Those who had profound experiences in Marina’s presence were, for whatever reason, open to having such experiences, while others in the exact same situation were not.
The historical Buddha, who according to Robert Thurman, was the consumate “performance artist” supposedly held up a white flower during one of his meetings with his disciples. One, Mahakasyapa, is said to have silently gazed at the flower and smiled. The Buddha then acknowledge that Mahakasyapa had attained enlightenment; in other words he shared with the Buddha a profound experience of being present, alive and awake.
Who knows why this happened to Mayakasyapa and no one else. Jiyu Roshi often says that the reason for Zen practice is to become enlightenment prone. By consistently and persistently carrying out activities (chiefly meditation) that can provide temporary experience of being fully present, one prepares oneself for more permanent shifts in this direction. Most likely Mahakasyapa had done the work necessary in order to be open to that shared experience with Buddha. The Zen literature is full of similar stories about such “awakenings”.
Likewise, by engaging in artistic practices and/or opening oneself to art that requires”presence”, one can begin to see through the cultural and mental patterns that keep us from experiencing this on an ongoing basis.
It requires wisdom to understand wisdom: the music is nothing if the audience is deaf. Walter Lippmann
For a more in-depth and theorectical discussion of this topic click on the FORUM page in the menu at the top of this page. Then scroll down to “Discussion #2”
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