These endless catacombs of self-reference.

 

conflict (v.)

early 15c., from Latin conflictus, past participle of confligere "to strike together, be in conflict," from com- "together" (see com-) + fligere "to strike" (see afflict).

In the first stages of development after we are born, we begin to define ourselves in space - it is pushing against things that lets us know ourselves, and I don't think that ever changes, that what we come up against shows us who and what we are. What we really believe in. How what we risk can also reveal what we value. How what we attack can tell us what we are afraid of admitting about ourselves most. And finally, how necessary discomfort is to inspiring change.

There exists a number of primal urges for survival that we share, especially predictability, certainty, structure. There is a refuge in rules. Rituals, habits, landmarks are all ways to synchronize ourselves in time and space, moving to the metronome of our breath, but maybe without conflict it is hard to tell where we stop and another person begins. I have a hard time arguing that war and injustice are unnecessary when they have taught us so much about ourselves. That maybe there is something uniquely powerful about being stripped down to your core, so you can build a house that YOU want to live in, on a foundation you believe in - and not be constrained to the limitations of its previous identity. Maybe the idea of catharsis is deeply intertwined in destruction of anything, but manifests as violence against other, since destruction of our own identity calls up the question of what we have left to orient ourselves around - and in choosing what we value automatically implies a devaluing of everything else.

Is there a way to honor something in its destruction? Like a Viking funeral, can we also dispatch of our history with reverence? To honor the life of a fallen building and all it has silently witnessed of our trials and tribulations? Mourning the death of an identity is necessary. Healthy. Valuable. Cathartic. Maybe extending an invitation to affected communities to be participants in the mourning of that symbolic relationship and the shift in their emotional landscape might make letting go just a little bit easier.

I recently learned that in the Torah, there are prayers devoted to people who have committed suicide - and the language focuses a lot on the individual having nowhere to go, nowhere to turn... that they didn't have space.

Maybe there is deep psychological value to considering how we orient ourselves in time and space, how it can help us, as well as how it can hold us back, and how it can be used against us. How making space can be an invitation rather than an attack. How it can honor the past by being a sacrifice to the future. That an inhale is just half of a breath, and exhaling its necessary conclusion to make space for the next one. How choosing what we keep and letting go of things that no longer serve us can be a powerful language for expression of Self.

 

- from an article about the evolution of rap

''There was a sea change in organizing when [NWA’s] “Fuck tha Police” came out. Before, even dope dealers I knew had this feeling, like, the police are the good guys. “Fuck tha Police” changed that orientation; it kind of chronicles that. [Their songs have] got misogyny, they’ve got glorifying murdering each other, things like that, because it comes out of the culture that capitalism has created. I think it’s important for us not just to edit the culture that capitalism creates, but to create the material basis for a culture that we want."

 

- Boots Riley

an American poet, rapper, songwriter, producer, screenwriter, humorist, political organizer, community activist, lecturer, and public speaker

 

 

 

a selfie made from found objects and reflected light

                                               

 

 

I have spent the past 10 years doing yoga and embraced my place in the labor industry as penance for not being better, stronger, more capable, more brilliant - the pain in my belly and thighs, my shoulders and my spine as lashes on my physical body to punish spirit for all the things it could not make my body do, its lack of control on the physical plane. For my feelings of helplessness and powerlessness that I have carried since a small child growing up in dangerous and unhealthy circumstances. For all of the times I could not speak up for myself. Because I deserved the pain. Because it was the only time I could feel anything.

Of course I didn't want to share any of this with anyone.

Watching one of my best friends sinking into Half Pigeon yesterday during dialogue practice, something changed. Looking at her body, and talking about the discomfort triggered inside of the hip, feeling my own experience inside of someone else's body - I realized that it was gift being given. That moving the body into places where it feels a lot, whether Half Pigeon or Chair Pose - is an act of love. Is a cry for freedom from the constraints of our daily lives, of joints from flesh. That breath IS the language with which we comfort and communicate importance to the body, since the words we think inside of our thoughts have little to offer to this conversation, the most important conversation we will ever have. The freedom and power of allowing the body a safe haven to feel, to grow, to explore its boundaries is something that society and the education system rob us of on a daily basis - and every single person in the room with me is committing an act of revolution.

I understood what it means to pray for the first time yesterday. How a yoga practice can be so much more than a battle. It's a song. Its a story that we are constantly rewriting, and for once I get to be the hero, instead of the villain.

I see my place, finally. I'm a Liberator leading bodies (safely) to war against the accepted, the expected, the required. My task is to empower our fullest expression as an act of love, which is inextricable from the nature of revolution, whose ideal battle ground is the field of consciousness.

Last night's class, there was no nervousness. My dialogue is strong because I know why I walk into the studio. I know what story I want to tell, even if it is told through the tone of my voice and the touch of my fingertips. That bodies may hear what minds cannot, and that bodies respond because I am giving them a stage on which to sing their own songs, and a captive audience to let them know they are being heard.

I think this is what it feels like to be in love.

"The deeper that sorrow carves into your being, the more joy you can contain."