Posts Tagged art
“To the extent one lowers the barriers of early pain and the mental defenses from it, you also can feel such Divine instruction, as “instinct,” say Planetmates
Posted by sillymickel in activism, authenticity, being yourself, Culture, Generations, globalrevolution, History, individualism, life, meaning, nonconform, philosophy, psychology, spirituality on April 25, 2014
“…there would be much more “instinctual” knowledge available to you — and is available to you — were you, for reasons of your birth and infancy and the way they have caused you to run away from the feelings in your bodies, not split off from them. Indeed, to the extent that you have not run away from such pain, or to the degree that one has turned and faced and integrated that pain and reconnected with one’s body, you do feel and receive such specific “instinctual” instruction.
“In fact, think of it, when we say we do not know where those messages come from, which we experience in the body, do you see that, to be more specific, we know them to come from the “divine”? For they are “instructions,” as it were, that guide us in the care of ourselves in life and the carrying out of our life’s actions along lines most beneficial and pleasurable. And other than a force that is comforting, beneficial, and wiser than our limited selves, what else is the Divine? For certainly that is enough for us. Keeping that in mind, do you not see that it is the same for you? And that to the extent that one is able to lower the barriers of early pain and the mental defenses that arose from it, you also can feel such Divine instruction … of an increasingly more specific quality … and become more “instinctual.” Or, in your words, divinely inspired or guided by God.
“Backing up, so you denigrate our experience as “instinctual,’ when it is no different from your own experience of life … and if there is any difference it has to do with the greater access we have, the stronger and clearer connection we have, with a wisdom and beneficence beyond our limited selves, which you have separated from, but which is still accessible deep inside you, below the levels of your early pain. Just because we have more access to Mind at Large, which contains all information and knowledge, does not mean we are mindless, feelingless machines. Does it not mean the opposite? Indeed, we are your angels in nature, as we said earlier.
“So, keep in mind, our “instinct” is what guides us in having the experiences of the joy, pleasure, and happiness of life … something you have lost so much of. And it hardly matters where it “came from.” Certainly, the fact that we are more divinely inspired is no reason to trivialize our experience, or our knowledge … any more than you should demean the brilliance of your Shakespeare or Einstein or Jesus just because they happened to have found a way to stay or become sensitive to the wisdom of the Universe and the Divine, which is everywhere around, but which you, most of you and for the most part, block yourself from feeling.
“And for us this pleasure and joy, this “instinctual” guidance, includes having offspring. It is another capacity that wants to be actualized, which, in doing so, planetmates feel pleasure. It also is not a chore, or work, which for you it has often become.
“But you also know what life is that is lived under the direction of the Divine instead of the direction of higher ups, extracting from you the suffering equivalent to the control of you, which is termed work.
For, you ask a child digging in the sand with a shovel if that is work. Ask the athlete if clearing the bar when pole vaulting is work. Ask if it is work to sidestep all tacklers and throw oneself over the goal line. Ask the sculptor if fashioning stone and watching her or his vision of it emerge from it is work.
“Lion cubs fight and wrestle with each other. You say they are just preparing themselves for an adult life of struggle and fighting off predators. Really? Do you really think they are taking it on like a class, or exercise regimen, and not just having fun?
“At any rate, creative people know what we are talking about. They know about the work that is not work, that is actually play and conducive to joy. And they know about that magical, “instinctual” knowledge that comes to one precisely and specifically. For they know that their “works” (their “plays”?) have to be just so. When it fits with their “instinct” — their unconscious knowing which only comes out in actions of following it or expressing it — they know it is done and it cannot be any different. As Amadeus, in an ironic tone, said in the movie when someone criticized his composition for having “too many notes,” “Just exactly which notes would you have me take out?”
“So for the artist in any medium, the creative product arises as if it was done somewhere else, by someone else, and one is just the channel for it. Upon its completion, it feels as if it had come forth perfect and precise in all its details … springing, as it were, “fully formed from the forehead of Zeus.” So this is instinctual knowledge, of a sort, which ultimately comes from a place beyond themselves and ourselves.
“But with sedentary ways you forgot all that and you created work, which is the non-divine actions emanating as urges, not from the inside and the body (ultimately the Divine), but from the outside, driven and pushed by coercion. Rather than the positive reinforcement one receives in following one’s “instinctual” guidance, which makes of one’s life a happy one, acting in response to the promptings of the outside is largely a product of negative reinforcement. One is not, as in Nature, just rewarded when one follows its promptings, one is punished when one does not. Overall, such a life is not a happy one….”
Pt 3 of 25rd prasad — Family Fortress. .
ABOUT THE AUTHOR, Michael Adzema. Video below … interviewed by Michael Harrell
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https://www.youtube-nocookie.com/embed/2mm9OBbYjRE
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— Related: See also other published versions of these ideas….
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*Dance of the Seven Veils I* (2017).
At Amazon at
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*Prodigal Human: The Descents of Man* (2016).
At Amazon at
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*The Secret Life of Stones: Matter, Divinity, and the Path of Ecstasy* (2016).
At Amazon —https://t.co/WMyo609jCi
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At Amazon at
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At Amazon at
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*Falls from Grace: The Devolution and Revolution of Consciousness* (2014).
At Amazon — http://amzn.to/2anYVzi
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At Amazon — http://amzn.to/2aeeZUA
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*Apocalypse NO: Apocalypse or Earth Rebirth and the Emerging Perinatal Unconscious* (2013).
At Amazon at
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At Amazon at
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*Culture War, Class War: Occupy Generations and the Rise and Fall of “Obvious Truths”* (2013).
At Amazon at
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See Michael Adzema at Amazon for any other of the twelve books currently in print.
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https://www.youtube-nocookie.com/embed/2mm9OBbYjRE
*The Secret Life of Stones: Matter, Divinity, and the Path of Ecstasy* (2016).
*Apocalypse NO: Apocalypse or Earth Rebirth and the Emerging Perinatal Unconscious* (2013).
,
*Culture War, Class War: Occupy Generations and the Rise and Fall of “Obvious Truths”* (2013).
Loving Warriors and Silly Heroes: The Necessary Hero Dances Above Dissonance, Lightens Up in the Face of Stress, and Sees Divinity Not Demons Behind It All
Posted by sillymickel in activism, allegory, authenticity, being yourself, Class, Comedy, Culture, economics, Generations, globalrevolution, History, Humor, individualism, nonconform, occupywallstreet, philosophy, Politics, psychology, spirituality, uniqueness, US on August 1, 2013
Play Cards with Your Dragons: The New Hero’s Cycle Involves Surrender Not Struggle, Sacrifice Not Slaying, Compassion Not “Toughness,” and Silliness Not Stoicism
Apocalypse – No! Chapter Thirteen: Peaceful Warriors and Silly Heroes
You Just Can’t Slay a Volcano: The Necessary Hero Uses Surrender, not Struggle … For Why Would You Not Be Borne Up by a Universe That Is You
We Need Compassionate Warriors, Not Fighters: It’s Not Enough Just to Slay Dragons, We Need to Jump Into Volcanoes
Volcano-Jumping: A Different Heroic Response
This different kind of heroic response—which characterizes the perinatal arena and is sorely needed at this time in history—is exemplified in another contemporary movie of cult status. We will deal with it in some detail to bring out the elements of the kind of hero that is now required to stop the cycles of destruction that have currently driven us to the abyss…to the very edge of a “volcano.”
In “Joe Versus the Volcano,” the main character, played by Tom Hanks, is given a heroic task. But unlike a typical hero’s cycle task which stereotypically involves the slaying of a fire-spewing dragon, Joe is asked to give up his life by jumping into a fire-erupting volcano.
The connection between volcano and dragon is that at the second-line or psychodynamic level the fire-spewing aspects of the perinatal, which might be compared to a volcano, can be seen as “embodied” or reduced in the form of a dragon. In the same way, the volcanic energy of perinatal feelings is initially embodied in easier-to-face and “dragonized” psychodynamic, second-line, or childhood traumas and feelings.
You Just Can’t Slay a Volcano
But what may seem to work at the second-line or psychodynamic level—the conquering or slaying of negative feelings…and notice that I said “seem”—has no place at all at the perinatal. For here the pain energy is overwhelming and pervasive. Thus the difference is analogous to that between facing the energy of a dragon and facing that of a volcano.
The Heroes We Need – The New Hero’s Cycle
First Anima, Then Community
Keep in mind that this movie shows Joe, earlier on, going through all the major stages of the hero’s cycle—the retreat from mundane reality, the sailing off into a new and exotic realm of existence and adventure.
It even depicts a typical “dragon slaying”—the hero’s conquering of inner fears and risking of one’s life for another that results in the uniting with anima energy–the saving of the damsel. So earlier on there is a dealing with psychodynamic energy, just as in “Nothing but Trouble” Chevy Chase deals with psychodynamic material and enacts a dragon slaying by risking his life to rescue Demi Moore from a giant chopping machine.
But, also similarly, this results in the opening up of another level, requiring a completely different—indeed, opposite—response. Thus, in “Joe Vs. the Volcano,” Joe is asked to give up his life to save an entire community, not merely to risk his life to rescue his anima, his feeling self.
Risking It All
The ensuing plot has interesting elements as it shows Joe having to decide whether to sacrifice his newly won relationship with his anima ally for the benefit of an entire—but anonymous—community. This demonstrates that at a progressed level of the spiritual process—that having to do with one’s inter-connection with the larger community of living things, not just one’s personal unconscious—one must risk even one’s newly regained creativity, inner child playfulness, and personal feelings, i.e., one’s anima.
But in telling fashion, in order to make the higher “community” sacrifice the anima elements that have been let go of, symbolized by Meg Ryan as the anima damsel, end up going with Joe to his chosen fate and are borne up, renewed, along with him.
Borne Up by a Beneficent Universe
On Joe’s part, the climax shows the same quality of a beneficent Universe aiding a true and dharmic heart. Joe (with his anima) face what they think is death. Instead they find themselves “borne up” by the volcano, not consumed; and they are deposited (reborn) in a typical perinatal watery surround—the ocean, symbolizing therefore a spiritual birth. This is a perfect depiction of how surrender, not “heroic” resistance, is done and why it needs to be done currently, as I have been pointing out.
“Away From the Things of Man”
In the end, the main characters are floating in the middle of a wide open sea—signifying the immensity of potentiality that is now open, and facing a gigantic moon on the horizon—symbolizing the beneficent nature of the Universe to which they are opening, that is, it is beautiful and lit with
possibilities.
They are seen sitting on only their luggage—symbolizing the “stripped down” nature of the self, that is, stripped of ego trappings of status, vainglory, defenses, and so on. Their final comment at the very end of the film is that they do not know where they’ll end up but only that it will be “away from the things of man”—indicating their desire to never go back to the drama of ego and its puerile catacomb pathways of darkened experience.
The Universe Is You
We see then that in this movie, like “Nothing but Trouble,” the heroic response required is surrender, not resistance or control, and that the response from the Universe is cooperative and helpful, and hardly antagonistic as was feared, especially at earlier levels.
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This is in keeping with the discovery at the perinatal, which borders it on the transpersonal, that in fact the Universe, not only is not antagonistic, not only is beneficent and helpful, but in fact is no different from oneself, indeed is oneself…and one begins to wonder why one would ever expect not to be borne up by a Universe that is now seen as inextricably united with one’s Self.
Note
While the interpretation of Joe Versus the Volcano presented in the video below – Joe vs. the Volcano: Losing my Soul, Part One – is annoyingly suffused with theological terminology – hell, devil – and suffers from the paranoia that happens lacking a perinatal or even a Jungian understanding, it does succeed on a more superficial level of basic insight. It does get the highly metaphorical and philosophical import of the film and picks up on major themes of the movie. It strikes me as having the problem of just understanding religion while knowing nothing about psychology. And it suffers, as I’ve put it elsewhere, from the problem of projecting one’s perinatal underbelly onto the Universe or of funneling revelation through the filter of personal pain.
Silly Heroes and Evolution in Attitudes to the Perinatal: The Necessary Hero Jives with the Monsters, Dances Above the Dissonance, and Is Ever Aware of Divinity Everywhere
What the World Needs Now … Is Loving Warriors and Silly Heroes: Jiving with Your Monsters, Dancing Above the Dissonance, and The Universality of Divinity Remembered
Responses to the Perinatal
Returning now to “Nothing But Trouble,” an aspect of it that has significance for dealing with perinatal issues is the way different characters are shown responding to the embodiment of arbitrary justice, the judge. In the wonderfully Kafkaesque courtroom scenes, we see several different types of people—representing different responses to unconscious material—hauled before the judge. The musicians, signifying artists, creative people; the hedonistic criminals; and the main characters, representing average people, each present distinct attitudes, which are responded to differently by the representative of the unconscious, the judge.
Jiving With Your Monsters
The musicians are able to create rhythm and flow. Therefore they are able to get through the experience unharmed. Indeed, they are even able to elicit a response from the judge—getting him to join in. In this way we see how creative people can actually use perinatal material and get it to cooperate for desired ends. We might consider how this relates to the writing of “Nothing but Trouble” itself.
Peter and Dan Aykroyd, in creating this movie, are, like the musicians in the movie, getting the unconscious to “play along,” to create something beyond what either the writer or the unconscious could accomplish separately. Much of what is interesting in art is done this way: The deeper fear-evoking material is allowed to come in and enrich, enliven, freshen with new ideas and perspectives, stimulate, and invigorate the creative production.
Beware the Tar Baby
On the other hand, the arrogant banker contends with evil, and, like Brer Rabbit with tar baby, gets stuck.
Notice also that the really contentious ones—the alcoholic drug-using criminal hedonists—are completely lost. Thus the two extremes, as well as the average person are depicted.
Lighten Up!
But the truly striking element that indicates an advanced way of dealing with the perinatal material is shown in the genre of the movie itself. As a comedy, it shows a non-attached and transcendent approach.
Chevy Chase and Demi Moore, especially Chevy Chase, show an aloofness and silly playfulness in the face of horror and death that has spiritual implications. Like a Tibetan mystic, Chase refuses to get sucked in to the involved drama confronting him. Like a Christian saint about to be martyred, he jokes, teases, and gets silly with the instruments of horror and evil. Similarly, Demi Moore humors and plays cards with her would-be monsters.
Silly Heroes
Standing within the Witness higher self, they are able to take the entire situation lightly—acting and reacting in the moment to each unique situation as it presents itself. One moment Chevy Chase is confronting his own demise, the next moment he is in a love scene. He alternates a frightful encounter with relaxing and smoking a cigar.
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If we want to know what real and transcended behavior is, we might do well to get our hints in the depictions of unattached playfulness — as presented by modern Western actors like Bill Murray, Demi Moore, Tom Hanks, Chevy Chase, Robin Williams, Bruce Willis, and Jim Carey—rather than in the repressively calmed not-with-it-ness—not-witness—that is sometimes mistaken for spiritual attainment.
Darkening Down
Incidentally, this element of humor shows an entirely different way of dealing with the perinatal than most other movies that deal with this kind of material. The movie, “Brazil,” is a good example of this difference. Not only is “Brazil” cast in an eerie, somber, and tragically hopeless and futile
air—indicating that one’s response here is to “believe in” the reality of such material—but the only escape in this movie is in a purely conceptual, fantasy way.
The main character cannot face the horror ultimately. He flips out into a reassuring dream sequence brimming with BPM I and BPM IV imagery. Interestingly, reflecting the pattern of progression of our expressions in feeling therapies, the dream includes a BPM III scenario to get him to those later bucolic realms.
But in “Brazil” these are only daydreams. This fact shows a refusal to face this perinatal material or to surrender to it. Rather, in fantasy, one overcomes the horror. It is as if one continues using familiar ego techniques—hero’s journey methods, dragon-slaying methods—for dealing with material on a deeper level where they no longer work—where they are in fact counterproductive.
Thus, these techniques can only succeed in dreaming. Terry Gilliam, the creator of “Brazil,” shows us that the hero, in reality, is doomed.
However, one might interpret the main character’s escape into fantasy as a victory over evil forces. That the ending lends itself so readily to such an interpretation is a telling indictment of the state of progress of some of us in dealing with perinatal material. Apparently, there are those so lost that the only success possible seems to be in insanity or death.
Evolution In Attitudes to the Perinatal?
However, in “Nothing but Trouble,” the main characters do face and deal with all the material. Sometimes they fight it; sometimes run from it; sometimes play with it; sometimes joke, tease, spar, or get silly with it; sometimes are swallowed by it and carried along…but always they are creatively facing and dealing with it. This different air about and attitude towards the perinatal material can be said to be an advance from the earlier movie, “Brazil,” representing perhaps a progression of our collective consciousness in our attitudes and manner of dealing with the perinatal.
Dancing Above the Dissonance
Such a prospect is, indeed, the auspicious legacy of such a creative project. Though it is doubtful they did so consciously, the Aykroyd brothers and the producers of “Nothing But Trouble” deserve our gratitude for their efforts in lighting forward our collective reality endeavor.
Beyond that, we can take hope in the possibility that Western culture may be rising itself, however minimally at first, above the dramas of light and darkness that have plagued it for so long. The Manichean tendency can lead only to ever-spiraling cycles of resistance and assault. Yet we are seeing currently, not only an erosion of defiantly uni-dimensional ego perspectives, not only a movement toward facing and dealing with our inner darkness, but an integration of opposing forces, a dancing above the leela—the play—of light and dark.
The Universality of Divinity Remembered
The perennial understanding of the universality of divinity, both within and without us, in the lowest as well as the highest of places, is the bright at the center of the perinatal bedlam about us. We are guided as well by this gleaming, a rising moon of promise and possibilities.
Continue with Apocalypse – No! Chapter Fourteen:
To Move the World – A Race Against Time
Return to Apocalypse – No! Chapter Twelve: Atman Projects Versus Surrender Solutions
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Silly Heroes and Evolution in Attitudes to the Perinatal: The Necessary Hero Jives with the Monsters, Dances Above the Dissonance, and Is Ever Aware of Divinity Everywhere
Posted by sillymickel in activism, allegory, authenticity, being yourself, Class, Culture, economics, Generations, globalrevolution, History, individualism, life, meaning, nonconform, occupywallstreet, Politics, psychology, spirituality on October 14, 2012
What the World Needs Now … Is Loving Warriors and Silly Heroes: Jiving with Your Monsters, Dancing Above the Dissonance, and The Universality of Divinity Remembered
Responses to the Perinatal
Returning now to “Nothing But Trouble,” an aspect of it that has significance for dealing with perinatal issues is the way different characters are shown responding to the embodiment of arbitrary justice, the judge. In the wonderfully Kafkaesque courtroom scenes, we see several different types of people—representing different responses to unconscious material—hauled before the judge. The musicians, signifying artists, creative people; the hedonistic criminals; and the main characters, representing average people, each present distinct attitudes, which are responded to differently by the representative of the unconscious, the judge.
Jiving With Your Monsters
The musicians are able to create rhythm and flow. Therefore they are able to get through the experience unharmed. Indeed, they are even able to elicit a response from the judge—getting him to join in. In this way we see how creative people can actually use perinatal material and get it to cooperate for desired ends. We might consider how this relates to the writing of “Nothing but Trouble” itself.
Peter and Dan Aykroyd, in creating this movie, are, like the musicians in the movie, getting the unconscious to “play along,” to create something beyond what either the writer or the unconscious could accomplish separately. Much of what is interesting in art is done this way: The deeper fear-evoking material is allowed to come in and enrich, enliven, freshen with new ideas and perspectives, stimulate, and invigorate the creative production.
Beware the Tar Baby
On the other hand, the arrogant banker contends with evil, and, like Brer Rabbit with tar baby, gets stuck.
Notice also that the really contentious ones—the alcoholic drug-using criminal hedonists—are completely lost. Thus the two extremes, as well as the average person are depicted.
Lighten Up!
But the truly striking element that indicates an advanced way of dealing with the perinatal material is shown in the genre of the movie itself. As a comedy, it shows a non-attached and transcendent approach.
Chevy Chase and Demi Moore, especially Chevy Chase, show an aloofness and silly playfulness in the face of horror and death that has spiritual implications. Like a Tibetan mystic, Chase refuses to get sucked in to the involved drama confronting him. Like a Christian saint about to be martyred, he jokes, teases, and gets silly with the instruments of horror and evil. Similarly, Demi Moore humors and plays cards with her would-be monsters.
Silly Heroes
Standing within the Witness higher self, they are able to take the entire situation lightly—acting and reacting in the moment to each unique situation as it presents itself. One moment Chevy Chase is confronting his own demise, the next moment he is in a love scene. He alternates a frightful encounter with relaxing and smoking a cigar.
If we want to know what real and transcended behavior is, we might do well to get our hints in the depictions of unattached playfulness — as presented by modern Western actors like Bill Murray, Demi Moore, Tom Hanks, Chevy Chase, Robin Williams, Bruce Willis, and Jim Carey—rather than in the repressively calmed not-with-it-ness—not-witness—that is sometimes mistaken for spiritual attainment.
Darkening Down
Incidentally, this element of humor shows an entirely different way of dealing with the perinatal than most other movies that deal with this kind of material. The movie, “Brazil,” is a good example of this difference. Not only is “Brazil” cast in an eerie, somber, and tragically hopeless and futile
air—indicating that one’s response here is to “believe in” the reality of such material—but the only escape in this movie is in a purely conceptual, fantasy way.
The main character cannot face the horror ultimately. He flips out into a reassuring dream sequence brimming with BPM I and BPM IV imagery. Interestingly, reflecting the pattern of progression of our expressions in feeling therapies, the dream includes a BPM III scenario to get him to those later bucolic realms.
But in “Brazil” these are only daydreams. This fact shows a refusal to face this perinatal material or to surrender to it. Rather, in fantasy, one overcomes the horror. It is as if one continues using familiar ego techniques—hero’s journey methods, dragon-slaying methods—for dealing with material on a deeper level where they no longer work—where they are in fact counterproductive.
Thus, these techniques can only succeed in dreaming. Terry Gilliam, the creator of “Brazil,” shows us that the hero, in reality, is doomed.
However, one might interpret the main character’s escape into fantasy as a victory over evil forces. That the ending lends itself so readily to such an interpretation is a telling indictment of the state of progress of some of us in dealing with perinatal material. Apparently, there are those so lost that the only success possible seems to be in insanity or death.
Evolution In Attitudes to the Perinatal?
However, in “Nothing but Trouble,” the main characters do face and deal with all the material. Sometimes they fight it; sometimes run from it; sometimes play with it; sometimes joke, tease, spar, or get silly with it; sometimes are swallowed by it and carried along…but always they are creatively facing and dealing with it. This different air about and attitude towards the perinatal material can be said to be an advance from the earlier movie, “Brazil,” representing perhaps a progression of our collective consciousness in our attitudes and manner of dealing with the perinatal.
Dancing Above the Dissonance
Such a prospect is, indeed, the auspicious legacy of such a creative project. Though it is doubtful they did so consciously, the Aykroyd brothers and the producers of “Nothing But Trouble” deserve our gratitude for their efforts in lighting forward our collective reality endeavor.
Beyond that, we can take hope in the possibility that Western culture may be rising itself, however minimally at first, above the dramas of light and darkness that have plagued it for so long. The Manichean tendency can lead only to ever-spiraling cycles of resistance and assault. Yet we are seeing currently, not only an erosion of defiantly uni-dimensional ego perspectives, not only a movement toward facing and dealing with our inner darkness, but an integration of opposing forces, a dancing above the leela—the play—of light and dark.
The Universality of Divinity Remembered
The perennial understanding of the universality of divinity, both within and without us, in the lowest as well as the highest of places, is the bright at the center of the perinatal bedlam about us. We are guided as well by this gleaming, a rising moon of promise and possibilities.
Continue with Apocalypse? Or Earth Rebirth? A Smaller Number of Us — Standing in the Right Place and With a Lever Big Enough — Might Be All That Is Needed to Move the World
Return to You Just Can’t Slay a Volcano: The Necessary Hero Uses Surrender, not Struggle … For Why Would You Not Be Borne Up by a Universe That Is You
Invite you to join me on Twitter:
http://twitter.com/sillymickel
friend me on Facebook: https://www.facebook.com/sillymickel
Religions Are About Control; Spirituality, Surrender; and the Cure for the Arrogant Modern Ego: Dreaming Out Loud, Part 2: We Need a Different Hero
Posted by sillymickel in activism, allegory, authenticity, being yourself, Culture, Generations, globalrevolution, History, individualism, life, meaning, nonconform, occupywallstreet, philosophy, Politics, psychology, spirituality on September 29, 2012
Religions Are About Control; Spirituality, Surrender. Let Go, Let God to Correct an Arrogant Modern Ego
The Path to Heaven Leads Through Hell
Those in the know about the pervasive pre- and perinatal influence on personality and behavior, and especially those of us actively engaged in working through the effects of such early traumas, are fully aware, like Dante, that the path to heaven leads through hell. We have found that the path to the transpersonal light leads through the psychodynamic and perinatal darkness, that the path up and the path down are parts of the same path outward. [Footnote 2]
A Dark and Hideous Shadow World
Our experience has been that the information avalanche and multicultural onslaught have eroded our personal boundaries to an influx, not only of transpersonal bliss-love-compassion, but equally—and very often, initially—to a dark and hideous shadow world, a backwards bizarro world, of pernicious and insidious disorganized feelings comprised of elements ancient, infantile, pathological, biological, scatological, and perinatal. These are some of the forms spiritual emergence can take, especially initially. And they are the ones most likely to be seen as spiritual emergencies.
Pre- and Perinatal Themes in Cinema
Therefore, it is interesting to see these views confirmed by the bubbling up of psychodynamic and perinatal themes in our collective consciousness as evidenced by current films, books, and music. I have mentioned the pre- and perinatal themes and symbolism in films and explained why, along with other elements of postmodern times, they are evidence of something significant occurring in the consciousness of our age—an emerging perinatal unconscious.
But there is another element evolving in current films which has to do with a changing or evolving collective attitude toward these perinatal elements. And along with a changing attitude, there is evidence pointing to an evolving collective response to it.
Control vs. Surrender, Death vs. Life
“Control Spiritualities” and Patriarchal Cultures
Specifically, a different kind of heroic response, which characterizes the perinatal arena, can be said to characterize the postmodern movies replete with perinatal symbolism. Most striking of all, this different kind of heroic response corresponds to a different kind of spirituality than what is commonly portrayed in this society, or at least has been the norm up until now.
For basically there are “control” spiritualities and “surrender” spiritualities, with rarely the twain meeting. “Control spiritualities” are adapted to patriarchal cultures and involve the use of the ego to “control” and be in charge of even the realms of the supernatural. This is so because an ultimate evil—a devil or Satan—is postulated, which is given equal weight along with God in determining one’s ultimate fate. This type of spirituality is normally what is called religion.
“Surrender Spiritualities” and God As Being Good
But there is another brand of spirituality that is based on a belief in the ultimate goodness and rightness of All That Is. God’s goodness being essentially the dominant force in the Universe, herein it is considered safe to “surrender” in one’s relation to Reality, to expect that one will be guided correctly, in fact perfectly, in the act of letting go. Thus letting go is not to be feared—as in the control spirituality—but is to be practiced and fostered. In this perspective, which we might call surrender spirituality, control is seen as the problem, not the solution.
“Control” and “Surrender” Psychotherapies
Of course these two approaches to spirituality represent two approaches to psychotherapy as well. The control attitude is the dominant mode of psychoanalytically-based approaches—those in which the “demon” of the id is postulated.
The attitude of “letting go” and “surrender,” on the other hand, is the dominant mode of the experiential psychotherapies, which are themselves rooted in the tradition of humanistic psychology with its belief in the ultimate goodness of the human organism and which thus allows a faith in the ultimate rightness of human processes.
“Hero’s Journey” As “Control” Psychotherapy
Since the control attitude, in any of its manifestations, requires the postulation of an ultimate evil against which one must remain vigilant and must fight, the common “hero’s journey” myth—with its typical fighting and slaying of supposedly evil parts of the personality and reality symbolized as dragons and other monsters—is a prevalent focal myth to this attitude. Corresponding to this myth are the emphasis on disciplines and practices seeking to develop the ego and the will…over against the dangers that are postulated to exist in the Universe requiring these disciplines and, so-called, ego developments.
A Different Heroic Response in “Surrender” Paths
Since the “feeling” therapies and the other spiritual and experiential psychotherapeutic modalities with which they are allied are so different in attitude to the traditional “control” attitude, should there not be corresponding differences in myths to exemplify them? Indeed, there are.
In history, the surrender spiritualities have had correspondences in myth in which the dragon is not fought, conquered, and slain, but rather is either tamed and becomes one’s ally or pet—Saint Margaret is the prime example in the West, but this is a depiction prevalent in the East—or else one is swallowed by the “dragon” or monster and, after a while, is reborn.
Jonah is the prime example in the West for this latter depiction. But again this reaction to the fearful dissociated aspects of the personality, or the Shadow, is not a common one in the Western patriarchy, and it is much more common in traditional cultures and in the East.
A Shift to “Surrender” As a Corrective to a Western Overweening Ego?
All of this may be changing in recent times in the West, as once again the humanistic attitude and the new spiritual perspectives, as well as the experiential psychotherapies such as primal therapy, make us increasingly aware of the ultimate beneficence of the body, and of the Universe beyond even that, and of the importance of surrender and letting go as a corrective to the overweening control and defensiveness of the diminutive Western ego.
Footnote
2. See, for example, Michael Adzema, “A Primal Perspective on Spirituality,” Journal of Humanistic Psychology, 25(3), 83-116. Reprinted online at the Primal Spirit site at “A Primal Perspective on Spirituality.”
Continue with The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below
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