Psychophysical Method Exercises Vol IV

Citation preview

ROBERT MASTERS

PSYCHOPHYSICAL METHOD EXERCISES

VOLUME IV

A D R A G O N BOOK

Publi shed by KONTRAKUNDABUFFER CORP. P . O . Box 3300 P o m o n a , N . Y . 10970

C o p y r i g h t 1983 by Robert

A DRAGON

Masters

BOOK

All rights r e s e r v e d . No part o f t h i s book m a y be r e p r o d u c e d or t r a n s m i t t e d in any form or by any m e a n s , e l e c t r o n i c or m e c h a n i c a l , including p h o t o c o p y i n g , r e c o r d i n g or by a n y i n f o r m a t i o n s t o r a g e and retrieval s y s t e m , w i t h o u t the w r i t t e n p e r m i s s i o n o f t h e P u b l i s h e r , e x c e p t w h e r e p e r m i t t e d by law. The c o m m e r c i a l use o f t h i s b o o k in w o r k s h o p s , t r a i n i n g p r o g r a m s , e t c . , e x c e p t by t e a c h e r s c e r t i f i e d or o t h e r w i s e f o r m a l l y a u t h o r i z e d by Robert M a s t e r s , P h . D . , is a b s o l u t e l y p r o h i b i t e d . Manufactured

in the U n i t e d States o f

Second p r i n t i ng

America

CONTENTS

Foreword

1

1) L e a r n i n g T r a n s f e r and S e n s o r y D i s c r i m i n a t i o n

2

2) S e g m e n t s of the S p i n e

10

3) T h u m b and W r i s t

18

4)

Improving W a l k i n g

By W o r k i n g M a i n l y W i t h The Big T o e

5) Freedom Through Awareness:

A Practical

Demonstration

24 29

6) B r e a t h i n g A w a r e n e s s

34

7 ) Neural

38

Reprogramming

8) E x p a n d i n g and E n r i c h i n g Visual

Perception

9) " S e n s i n g " S k e l e t o n and A r m s A b o v e Head 10) R e l e a s i n g T o n g u e a n d 11) Bra in: 12) T h e A r c h

(Feet)

(extended v e r s i o n )

Integrating W i t h Body

I m a g i n g and M o v e m e n t

45

Image

53 60 69 79

- 1-

FOREWORD

These v o l u m e s of P s y c h o p h y s i c a l M e t h o d e x e r c i s e s a r e being p u b l i s h e d as t e a c h i n g and t r a i n i n g m a n u a l s to be used by t e a c h e r s and r e s e a r c h e r s e x p e r i e n c e d in that a r e a of the a u t h o r ' s w o r k . T h e e x e r c i s e s a r e trans c r i p t s o f s e s s i o n s t a u g h t by him to his s t u d e n t s and t h e i r use p r e s u p p o s e s some k n o w l e d g e of the w o r k — t i m i n g , r e p e t i t i o n s of m o v e m e n t s , q u a l i t y of a w a r e n e s s , e t c . W i t h o u t such a b a c k g r o u n d of k n o w l e d g e the e x e r c i s e s c a n n o t be e f f e c t i v e l y d o n e , m u c h less t a u g h t . N e v e r t h e l e s s it is j u s t r e a l i s t i c to a c k n o w l e d g e that these e x e r c i s e s a r e g o i n g to b e used by p e r s o n s w h o have n o t had w h a t should b e the r e q u i s i t e a m o u n t of f i r s t - h a n d t r a i n i n g . An a b s o l u t e l y m i n i m a l b a c k g r o u n d , h o w e v e r , w o u l d need to include careful study o f the b o o k , L I S T E N I N G T O T H E B O D Y , c o - a u t h o r e d by R o b e r t M a s t e r s a n d Jean H o u s t o n , and f u r t h e r careful study a n d p r a c t i c e o f a u d i o t a p e d P s y c h o p h y s i c a l Method e x e r c i s e s . Thus a n y o n e w i s h i n g to a c q u i r e these v o l u m e s m u s t a c q u i r e a l s o , at the same t i m e , a c o p y of L I S T E N I N G TO T H E BODY and at least half a d o z e n of the e x e r c i s e tapes s e l e c t e d to c o v e r v a r i o u s a s p e c t s o f the w o r k . T h e d e c i s i o n to m a k e the v o l u m e s more g e n e r a l l y a v a i l a b l e w a s m a d e r e l u c t a n t l y and for t w o main r e a s o n s : f i r s t , as m e n t i o n e d , there is no a d e q u a t e w a y to limit t h e i r a c q u i s i t i o n to t r a i n e d t e a c h e r s e x c l u s i v e l y ; s e c o n d , it is of g r e a t i m p o r t a n c e that the w o r k reach a w i d e a u d i e n c e . The risk that the w o r k will s o m e t i m e s be d i l u t e d and o t h e r w i s e d i s t o r t e d is fully r e c o g n i z e d and has been w e i g h e d c a r e f u l l y . It should a l s o be said that it p o s s i b l e for l a r g e l y s e l f - d i r e c t e d s t u d e n t s to a c h i e v e m a s t e r y o f the w o r k . Much s e l f - d i s c i p l i n e , r i g o r o u s and lengthy p r a c t i c e and v a r i o u s p e r s o n a l q u a l i t i e s a n d p e r h a p s g i f t s a r e r e q u i r e d f o r such a c h i e v e m e n t , b u t it h a s been done b y some and vlill be d o n e by o t h e r s . T h e a u t h o r will a l w a y s be m o s t p l e a s e d to c e r t i f y as a t e a c h e r a n y individual w h o , by her o r his o w n e f f o r t s , a c h i e v e s a p r o f i c i e n c y equal to that d e m a n d e d of t h o s e who p a r t i c i p a t e in t e a c h e r training programs. F i n a l l y , a c k n o w l e d g e m e n t is m a d e to t h o s e w h o have been of p a r t i c u l a r i m p o r t a n c e in s h a p i n g the p h i l o s o p h y , p s y c h o l o g y , a n d o t h e r k n o w l e d g e and t e c h n i q u e s of P s y c h o p h y s i c a l M e t h o d . T h e s e range f r o m d i s c i p l i n e s s t r e s s i n g " m i n d f u l n e s s " and " a w a r e n e s s " — E g y p t i a n , B u d d h i s t , T a o i s t — o n to such m o d e r n a n d c o n t e m p o r a r y t e a c h e r s as G . I. G u r d j i e f f , F . M a t t h i a s A l e x a n d e r , Milton E r i c k s o n and M o s h e F e l d e n k r a i s . T h o s e s o u r c e s s h o u l d be e x p l o r e d by any serious s t u d e n t . T h e r e is a l s o a P s y c h o p h y s i c a l M e t h o d o n e - o n - o n e "table w o r k " that can o n l y b e learned d i r e c t l y from a t e a c h e r . T h a t w o r k , h o w e v e r , m u s t a l w a y s be p r e c e d e d b y r e - e d u c a t i o n a l "work on o n e s e l f , " including m a s t e r y of the e x e r c i s e s . Robert Masters, Ph.D. P o m o n a , N . Y . , 1983

1) L E A R N I N G T R A N S F E R A N D S E N S O R Y D I S C R I M I N A T I O N

*

Stand w i t h y o u r eyes c l o s e d , and w e w i l l do a little e x p e r i m e n t as a p r e l i m i n a r y to the n e x t e x e r c i s e . D i r e c t your a t t e n t i o n to y o u r brain s p a c e . Look up into that s p a c e w i t h your e y e s c l o s e d . Y o u can make c i r c l e s in it w i t h your e y e s . Image m a k i n g c i r c l e s as you a c t u a l l y m o v e y o u r e y e s . Go up into the top of that space. Focus y o u r a w a r e n e s s inside the skull w h e r e the brain is until you feel you begin to s e n s e s o m e t h i n g up t h e r e . Keep your a t t e n t i o n f o c u s e d up t h e r e . T h i n k a b o u t m a k i n g c i r c l e s w i t h your e y e s , c i r c l e s that b e g i n a r o u n d e y e l e v e l , and then go up t o w a r d s the top of the head so that you c i r c l e o v e r e v e r y part of it. A l s o m a k e c i r c l e s at a n g l e s . B r e a t h e f r e e l y . Try to bring y o u r s e l f to a c o n d i t i o n w h e r e it seems to you that you can feel your b r a i n . Doing t h a t , see if y o u can get a n y s e n s e o f the two sides of it. T h i n k a b o u t w h a t it looks like. T h e n , w h e n you feel that s p a c e w h e r e the brain i s , s h i f t y o u r a t t e n t i o n j u s t to the left s i d e . Focus on the left h e m i s p h e r e and bring that into a m u c h s h a r p e r s e n s i n g than the right s i d e . Use y o u r e y e s to d o it, and the f o c u s of your c o n s c i o u s n e s s to do i t , until you a r e much m o r e a w a r e of the space on the left side than on the r i g h t . Then m a i n t a i n that a w a r e n e s s on the left s i d e , the area of the left h e m i s p h e r e . Slide your left foot b a c k and forth in front of y o u . S l i d e it f o r w a r d and bring it b a c k . Keep your focus up there on the left s i d e of the b r a i n . T h e n s l i d e your right foot back and f o r t h . See w h e t h e r o n e foot m o v e s m o r e e a s i l y than the o t h e r . T r y it a g a i n w i t h the left f o o t . Be s u r e that you remain focused on the left s i d e of the b r a i n . T h e n m o v e the right foot aga i n . Now shift y o u r a w a r e n e s s to the right h e m i s p h e r e . A l l o w y o u r s e l f p l e n t y of time so that the image a n d s e n s a t i o n of the left s i d e fades and replaced by a m u c h c l e a r e r s e n s a t i o n o f the right s i d e .

is

M a i n t a i n the f o c u s on the right s i d e . Slide y o u r right foot forward and b a c k , and then your left f o o t . M a i n t a i n the focus on your right s i d e . See if o n e foot m o v e s m o r e e a s i l y than the o t h e r . T r y d o i n g t h a t , s w i t c h i n g them back and f o r t h , a few t i m e s . S w i t c h b a c k and f o r t h w i t h the f o o t , not w i t h the focus on the b r a i n . T h e focus r e m a i n s on the right s i d e of the bra in. See w h e t h e r the foot m o v e s m o r e e a s i l y on the side o p p o s i t e the s i d e of the brain that you a r e f o c u s i n g o n , and try to u n d e r s t a n d w h y . With most p e o p l e the foot w i l l m o v e m o r e e a s i l y on the side t h a t they a r e not focused o n . Try to u n d e r s t a n d w h y that is. S e e w h a t y o u are d o i n g w i t h your body that m i g h t make o n e side m o v e more f r e e l y . Is it e n o u g h o f a n e x p l a n a t i o n

* T e a c h i n g time:

a b o u t 90 m i n u t e s

- 3-

that m o v e m e n t o c c u r s on the s i d e o p p o s i t e the h e m i s p h e r e , or d o e s it m a t t e r a l s o that y o u shift y o u r w e i g h t o n the side that you a r e c o n c e n t r a t i n g on so that that inhibits the m o v e m e n t ? See what e l s e y o u can d i s c o v e r for y o u r self. Then try still c o n c e n t r a t i n g on the right side of t h e b r a i n . Breathe into it to a c h i e v e a c l e a r e r and c l e a r e r f o c u s . W h e n it is v e r y , v e r y c l e a r s p e a k a few w o r d s j u s t loud e n o u g h for you t o h e a r . Now shift the focus to the left h e m i s p h e r e , a n d m a i n t a i n and increase it until the left h e m i s p h e r e is d e f i n i t e l y m o r e c l e a r l y in y o u r a w a r e n e s s . T h e n say a few more w o r d s . See if you n o t i c e a n y d i f f e r e n c e in the s p e a k i n g w h e n the a w a r e n e s s is f o c u s e d on the left h e m i s p h e r e and on the r i g h t . T h e n s i t down. It is a s u b t l e d i s c r i m i n a t i o n , but g e n e r a l l y you will find that righth a n d e d p e o p l e will find it a c t u a l l y e a s i e r to s p e a k w h e n they a r e focused on the left h e m i s p h e r e and l e f t - h a n d e d p e o p l e w h e n they a r e f o c u s e d o n the right h e m i s p h e r e . W i t h some p e o p l e it is much more p r o n o u n c e d than w i t h o t h e r s , d e p e n d i n g p a r t l y on how well they a r e a b l e to c o n c e n t r a t e t h e i r a t t e n t i o n as d i r e c t e d . T h e r e a l s o seem to be o t h e r f a c t o r s , but this has not yet been investigated. In f a c t , I do not think a n y b o d y else knows a b o u t it. It is p a r t o f s o m e new e x p e r i m e n t a l w o r k t h a t I h a v e been d o i n g . N o w , a s o u r main e x e r c i s e , w e a r e g o i n g to do a n u m b e r of m o v e m e n t s on o n e side a n d then t r a n s f e r o v e r to the left s i d e w h a t the right side has l e a r n e d . We c o u l d a l s o do d i f f e r e n t m o v e m e n t s w i t h the left s i d e and c r e a t e a c l a r i t y of b o d y image on the left side that is g r e a t e r than the o n e on the r i g h t . A n y w a y , it w o u l d be i n t e r e s t i n g to a l s o do a s e r i e s of m o v e m e n t s on the left s i d e and then d o i m a g i n a r y o n e s on the r i g h t , trying a t a n o t h e r time to d i s c o v e r for y o u r s e l f w h e t h e r the images a f f e c t the right or left s i d e m o r e s t r o n g l y in y o u r c a s e . W h i c h side learns b e t t e r w i t h images? W h i c h s i d e requires the o b j e c t i v e m o v e m e n t s ? By m a k i n g a s e t o f d i s t i n c tions like t h a t , you increase y o u r powers of s e l f - o b s e r v a t i o n a n d b e c o m e b e t t e r a b l e to do the work in g e n e r a l . N o w , h o w e v e r , w e will o n l y w o r k w i t h o b j e c t i v e m o v e m e n t s on the right s i d e . Put y o u r feet on the f l o o r in front of y o u . Let y o u r right a r m hang at your side a n d just let it swing to and f r o . T r y to sit o v e r e n o u g h to the right side so that y o u do not m a k e a n y c o n t a c t o f the hand w i t h the c h a i r . S e n s e the m o v e m e n t in the s h o u l d e r j o i n t . S e n s e the c o n t a c t that the inside o f the a r m m a k e s w i t h the rib c a g e . S e n s e the hand a n d e l b o w moving through space. Bring the w h o l e a r m into y o u r a w a r e n e s s as fully a s p o s s i b l e . T h e n j u s t let it hang t h e r e a t y o u r s i d e . Make a light fist w i t h the right h a n d . Let it hang there and m a k e a f i s t . T h e n rotate the s h o u l d e r in and b r i n g it b a c k . C o n t i n u e doing that v e r y lightly w i t h the f i s t , but n o t a tight f i s t . Be a w a r e w h e n you r o t a t e the s h o u l d e r o f w h e r e the p a l m o f the hand f a c e s . T h e n , instead o f r o t a t i n g the s h o u l d e r

i n , rotate

it o u t a n d

back.

- 4-

A g a i n , be a w a r e w h a t d i r e c t i o n the p a l m of the hand is p o i n t i n g in at the end of the m o v e m e n t . The a r m c o n t i n u e s to hang at y o u r s i d e . See i f , by taking the s h o u l d e r b a c k a little f a r t h e r , y o u can c h a n g e the way that the p a l m p o i n t s so t h a t it p o i n t s a little f u r t h e r to t h e side or t o t h e r e a r . T h e n rotate the s h o u l d e r f o r w a r d a g a i n . See w h e r e the fist g o e s . T h e n rotate it f o r w a r d and in and o u t and b a c k in one c o n t i n u o u s m o v e m e n t . S e n s e c l e a r l y w h a t h a p p e n s in the s h o u l d e r s . T h e n put y o u r right hand on y o u r right thigh and rest. Close your e y e s and e x a m i n e y o u r body i m a g e . C o m p a r e y o u r a w a r e n e s s o f y o u r right s h o u l d e r w i t h y o u r a w a r e n e s s o f your left s h o u l d e r . Then e x a m i n e the e n t i r e a r m a n d h a n d . C o m p a r e y o u r a w a r e n e s s o f y o u r hand and a r m o n the right side to the left. A l s o n o t i c e w h i c h e y e y o u sense m o r e c l e a r l y and w h e t h e r y o u r head is turned s o m e w h a t to the r i g h t . If you feel your head is turned to the r i g h t , p u t it in the c e n t e r . If y o u d o not k n o w , open y o u r e y e s a n d see w h e t h e r you a r e looking to the right and d i s c o v e r in that w a y w h e t h e r the head is t u r n e d . Now s l i d e y o u r right hand down y o u r right l e g . Go down to your foot by b e n d i n g and then come b a c k . Bend at the w a i s t . Do it w i t h o u t b e n d i n g the e l b o w . S e n s e w h a t happens in y o u r s h o u l d e r as you d o t h a t . Extend your right leg and go d o w n . Pay a t t e n t i o n to the f e e l i n g in the p a l m of the right hand a n d in the right s h o u l d e r . T h e n sit u p . O n c e a g a i n , with the p a l m s on the tops o f the t h i g h s , sense the two s i d e s . See if n o w , not j u s t the a r m and hand a n d e y e are m o r e c l e a r l y in the b o d y image on the right s i d e , but y o u can s e n s e the w h o l e s i d e . It may feel as if you a r e a l m o s t d i v i d e d right d o w n the m i d d l e n o w so that you sense the right side d i s t i n c t l y w h i l e the left is v a g u e , a b l u r , by c o m p a r i s o n . Then j u s t rap w i t h your right heel l i g h t l y . B r e a t h e e a s i l y a s you d o t h a t . At the s a m e t i m e , rap w i t h the heel of y o u r hand on your k n e e . Then do it so that the heel of the f o o t goes d o w n as the heel of the hand g o e s up (so that they m o v e in o p p o s i t e d i r e c t i o n s . ) Try to m a k e that a v e r y s i m p l e , c o o r d i n a t e d m o v e m e n t . B r e a t h e f r e e l y . See how q u i c k l y and lightly you can do it. T h e n raise the ball of the foot a n d the front part of the h a n d . One is on the floor and o n e is on the t h i g h . B r e a t h e f r e e l y . T h e n a l t e r n a t e t h e m so that the f i n g e r s g o down as the toes g o up and the f i n g e r s go up as the toes go d o w n . Do not hold y o u r b r e a t h . T h e n make that m o v e m e n t light and q u i c k . See how fast you can d o it w i t h o u t g e t t i n g into a state that feels rushed or c o m p u l s i v e , or that c a u s e s y o u to t e n s e u p . For a m o m e n t , go so q u i c k l y that you can o b s e r v e in y o u r s e l f the f e e l i n g of t e n s i o n that comes w i t h d o i n g more than you a r e e a s i l y a b l e to d o . It then b e g i n s to feel c o m p u l s i v e . Y o u o b s e r v e it b e f o r e the m o v e m e n t s t a r t s d e t e r i o r a t i n g a n d your mental a n d e m o t i o n a l s t a t e w i t h it. Then go back and find the p l a c e w h e r e y o u can e l i m i n a t e all o f that and yet m o v e q u i c k l y and e a s i l y . W h e n you m a k e that kind o f o b s e r v a t i o n in y o u r e v e r y d a y l i f e , it can be u s e f u l . T h e n s t o p .

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C l o s e your e y e s and do a n o t h e r b o d y s c a n . N o t i c e if the w o r k that you h a v e done a l s o has b r o u g h t the right h e m i s p h e r e , r e g a r d l e s s of w h i c h hand is the d o m i n a n t o n e , into the body image much m o r e than the left o n e . You can sense now the right side o f the brain b e t t e r than the l e f t , e v e n though the left side of the brain may be the one that is m o s t involved in the m o v e m e n t . In t h a t s e n s e , the body image may have o v e r r i d d e n e v e r y t h i n g e l s e . Now just b l i n k m a n y times w i t h the right e y e so it o p e n s and c l o s e s and y o u h a v e a c l e a r s e n s a t i o n o f b l i n k i n g . S e e , for a m o m e n t , if y o u a r e a w a r e of w h a t you do w i t h y o u r left eye as you b l i n k the right o n e . Keep your e y e s o p e n as y o u do t h a t , b e c a u s e it is m u c h e a s i e r to tell w h a t y o u a r e doing t h e n . You s h o u l d o b s e r v e that y o u a r e b l i n k i n g y o u r left eye a l s o , but not as m u c h , since it c o n t i n u e s to s e e w h i l e the o t h e r one c u t s o f f the vision. It may feel to y o u , until you become a w a r e o f t h a t , as if you a r e o n l y b l i n k i n g w i t h the right e y e . In f a c t , you will find them a l w a y s m o v i n g t o g e t h e r . T h e n s t o p and rest a m i n u t e . Scan y o u r b o d y image a g a i n . See now how you relate to the e x t e r n a l w o r l d on the two s i d e s . See if your a w a r e n e s s of the f l o o r is g r e a t e r on the right s i d e , if y o u r a w a r e n e s s of the c h a i r is g r e a t e r on the right s i d e . Some of you may even d i s c o v e r that y o u r h e a r i n g is b e t t e r on the right s i d e . Pay c l o s e a t t e n t i o n to w h e t h e r m o r e sound c o m e s t h r o u g h the right e a r . Also pay a t t e n t i o n to y o u r b r e a t h i n g . If the n o s t r i l s a r e not c l o g g e d , see w h e t h e r you a r e b r e a t h i n g n o w m o r e t h r o u g h the right side of the nose than t h r o u g h the l e f t . T h e n put the right f i n g e r a l o n g s i d e the left nostril and c l o s e it. W i t h your e y e s c l o s e d , b r e a t h e t h r o u g h the right n o s t r i l . D i r e c t the b r e a t h up into the right side of the head and d o w n a l o n g the right side o f the b o d y . It is as if you can b r e a t h e in t h r o u g h the b o t t o m of the right f o o t a n d out t h r o u g h the top o f the head on the right s i d e . T h e n s t o p . A g a i n scan the b o d y . Sense y o u r right e a r . T h e n , a few t i m e s , e x t e n d the leg as m u c h as y o u e a s i l y can and go down the right leg w i t h y o u r h a n d . Go a l o n g the top and the right side and the left side a n d on the b a c k s i d e . T r y to s e n s e e v e r y p a r t of y o u r right leg w i t h y o u r right h a n d . Alternate b e t w e e n p a y i n g a t t e n t i o n to the s e n s a t i o n s in the leg and the s e n s a t i o n s in the h a n d . Do a n u m b e r o f m o v e m e n leg and then do a n u m b e r w h e r e y o u f o c u s on the s e n s a t i o n s in the h a n d . W i t h p r a c t i c e , you will begin to find it rather e a s y to s h i f t b a c k and forth so that you c a n d e t e r m i n e w h e t h e r y o u s e n s e the o n e or the o t h e r , and this is true a l s o in d e a l i n g w i t h i n a n i m a t e o b j e c t s . Are y o u f o c u s i n g m o r e on the o b j e c t w i t h y o u r t a c t i l e sense or m o r e o n the part of your b o d y that is t o u c h i n g the o b j e c t ? T h e n , w h e n you feel that you c a n g o b a c k and forth b e t w e e n s e n s i n g the leg and s e n s i n g the h a n d , see if y o u can a r r i v e at a b a l a n c e w h e r e y o u a r e s e n s i n g the hand a n d the leg e q u a l l y , where o n e has no s u p r e m a c y over the o t h e r . One of the p u r p o s e s o f this e x e r c i s e is to teach y o u to m a k e f i n e r and f i n e r d i s c r i m i n a t i o n s so that y o u r s e n s e s will be r e - e d u c a t e d to tell you w h a t really is h a p p e n i n g , a n d to o p e n up e x p e r i e n t i a l o p t i o n s w i t h y o u r n e r v o u s s y s t e m that it does n o t o t h e r w i s e e x e r c i s e .

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Now try d o i n g it just for a m o m e n t w i t h the c h a i r . Try it w i t h the c h a i r b e t w e e n y o u r legs. Go back and forth b e t w e e n l e a r n i n g a b o u t the c h a i r a n d p a y i n g a t t e n t i o n to w h a t y o u r hand is e x p e r i e n c i n g . T h e n try to a c h i e v e a b a l a n c e w h e r e you a r e n o t e m p h a s i z i n g o n e e x p e r i e n c e o v e r the o t h e r . See if that is e a s i e r o r m o r e d i f f i c u l t than w h e n it is y o u r o w n body you a r e d e a l i n g w i t h in s e n s i n g two p a r t s of it. Does it make a n y d i f f e r e n c e if the m o v e m e n t is q u i c k or slow? Then s t o p . Put y o u r right foot o u t in f r o n t of y o u and make a few c i r c l e s w i t h it. Leave the a n k l e on the f l o o r . R o t a t e it o n e w a y and then the o t h e r . Sense the a n k l e , foot and k n e e . Hold the right k n e e in y o u r hand a s you do it. A l s o pay a t t e n t i o n to w h a t is h a p p e n i n g in the hip j o i n t on the right s i d e . Note the c o n t a c t of the u n d e r s i d e o f your leg and b u t t o c k s w i t h the c h a i r on the right s i d e ; the m o v e m e n t in your s h o u l d e r . Do you look r i g h t ? See if y o u can feel the d i r e c t i o n o f your c o n s c i o u s n e s s t o w a r d s the right s i de as y o u do t h a t . T h e r e is a l m o s t a t a n g i b l e s e n s a t i o n of the d i r e c t i o n o f y o u r c o n s c i o u s n e s s t o w a r d s t h e right side as you d o t h a t , a pull to t h e r i g h t . Paying a t t e n t i o n is a p h y s i c a l p r o c e s s as well as a mental o n e . See if y o u g e t any s e n s e of t h a t . T h e n w i t h o u t h o l d i n g y o u r b r e a t h , try to e l i m i n a t e the m o v e m e n t in the hip and knee as c o m p l e t e l y as p o s s i b l e . T h e n just r o t a t e the a n k l e . Go in o n e d i r e c t i o n and then in the o t h e r . T h e n let the right foot stand a l o n g s i d e the left o n e . C l o s e y o u r e y e s o n c e more and sense the two s i d e s . Try to o b s e r v e all the w a y s in w h i c h y o u r o r i e n t a t i o n is now to the r i g h t . Not o n l y is the right side m u c h m o r e fully in y o u r c o n s c i o u s n e s s , but the b o d y is s o m e w h a t d r a w n to the r i g h t . See if y o u can feel that in the i n t e r a c t i o n of the c o n s c i o u s n e s s w i t h the b o d y , the body w a n t s to be w h e r e the c o n s c i o u s n e s s is and t e n d s in that d i r e c t i o n t h r o u g h o u t the o r g a n i s m n o w . You m a y be a b l e to n o t e it best in the s h o u l d e r s o r in the p o s i t i o n of the h e a d . With some p e o p l e , the head not o n l y tends to turn to the right in the w a y it w o u l d if looking r i g h t , but it a l s o tilts a little to the r i g h t . T h e right s h o u l d e r m a y feel lower and the rib cage s h o r t e r on the right s i d e . See w h a t y o u r e x p e r i e n c e is. Now try to imagine w h a t y o u r right foot looks like w i t h y o u r e y e s c l o s e d . T h e n try to imagine w h a t the left f o o t looks l i k e . See if t h e r e is a c e r t a i n strain involved in t h a t , that it is not e a s y to bring the c o n s c i o u s n e s s o v e r to the left s i d e . Y o u can feel that it has to pull f r o m the right to the l e f t . T h e n s t o p . Get up and w a l k a r o u n d the r o o m . Pay a t t e n t i o n you w a l k . T h e n c o m e back and sit d o w n .

to the t w o s i d e s as

Now w e will c h a n g e it to some e x t e n t , o r a l t o g e t h e r , by j u s t d o i n g some b r i e f e r image w o r k on the left s i d e . T h e n s o m e t i m e in the c o m i n g w e e k you should e x p e r i m e n t and do physical t h i n g s on the left s i d e , and see w h e t h e r y o u think y o u c a n t r a n s f e r it w i t h equal f a c i l i t y to the right side or w h e t h e r the t r a n s f e r s a r e e q u a l l y e a s y from o n e side to the o t h e r . Different

p e o p l e will d i s c o v e r d i f f e r e n t t h i n g s . It may have to do w i t h s o m e t h i n g o t h e r than h e m i s p h e r i c d o m i n a n c e . If you can r e m e m b e r the same e x e r c i s e , do it. H o w e v e r , do some f a i r l y c o m p l e x and d i f f e r e n t m o v e m e n t s that include the d i f f e r e n t k i n d s o f s e n s i n g . For i n s t a n c e , try to find the p l a c e w h e r e your b e h a v i o r s t o p s b e i n g free and s t a r t s b e i n g c o m p u l s i v e and s t r e s s f u l . As you increase the rate of the m o v e m e n t , r e m e m b e r that you can find a p l a c e w h e r e it s t a r t s to get stressful and you n o t i c e the m u s c l e s t e n s e . As you c o n t i n u e w i t h it, it will a l s o g e t e m o t i o n a l l y and m e n t a l l y s t r e s s f u l . So y o u try to find the p o i n t w h e r e y o u r p e r f o r m a n c e is o p t i m a l w i t h regard to speed but do not cross the line into the o t h e r . Be a w a r e of that l i n e . Try to find s i m i l a r lines in o t h e r k i n d s o f a c t i v i t i e s . Now c l o s e y o u r e y e s . Sense the two s i d e s . See if a l r e a d y , p a r t l y in a n t i c i p a t i o n of w o r k on the left s i d e , the left side is not as o u t of it as it w a s j u s t a m o m e n t a g o . P a r t i c u l a r l y sense the left h a n d . Let the hands rest on the k n e e s or on the thighs c l o s e to the k n e e s . Just imagine now s l i d i n g the left hand up and down a l o n g the left l e g . Just imagine it. Do it many t i m e s . A l s o s l i d e it on up to y o u r hip and take it d o w n . T h e n imagine e x t e n d i n g the left leg a n d , w i t h o u t b e n d i n g the e l b o w , take the hand down a s far as it will go and b r i n g it back u p . S l i d e it a l o n g the left leg. T h e n imagine r a p p i n g w i t h the left h e e l . At the same t i m e , rap w i t h the heel of the left h a n d . B r e a t h e f r e e l y a s y o u do it. As y o u c o n t i n u e to b r e a t h e f r e e l y , imagine that a s the heel of the foot g o e s down the heel of the hand g o e s u p . As the heel of the foot g o e s u p , the heel of the hand goes d o w n . Then move them a l t e r n a t e l y . T h e n , instead o f rapping w i t h the h e e l s of the hand w i t h the toes a l o n e for a m o m e n t , a n d then just w i t h the imagine r a p p i n g w i t h b o t h t o g e t h e r and see if that m a k e s b r e a t h i n g f r e e l y , try imagining that as the toes g o down up and as the f i n g e r s g o down the toes c o m e u p .

and the f o o t , rap fingers. Then it e a s i e r . Then, the f i n g e r s come

Now a c t u a l l y , p h y s i c a l l y , e x t e n d y o u r left leg and let y o u r left a r m hang at your s i d e . Imagine b e n d i n g the leg so that the foot c o m e s back to w h e r e it is s t a n d i n g on the f l o o r . At the same t i m e , bend the a r m at the e l b o w s o t h a t y o u r hand c o m e s up t o w a r d s y o u r f a c e . In o t h e r w o r d s , you a r e i m a g i n i n g b e n d i n g both the k n e e and the e l b o w at the same t i m e , drawing the foot and the hand c l o s e r to the body and taking t h e m a w a y a g a i n . If you have t r o u b l e w i t h it, start by imagining o n e until that is c l e a r . Then imagine the other o n e for a w h i l e . T h e n bring them both t o g e t h e r . Then just imagine s w i n g i n g the a r m back and f o r t h . S e n s e the s h o u l d e r . W h a t is the s e n s a t i o n in the s h o u l d e r as the a r m s w i n g s back and forth? A l s o , w h a t is t h e s e n s a t i o n in the s h o u l d e r if you m a k e c i r c l e s w i t h the h a n d — that is, w i t h the w h o l e a r m , I ike you w e r e s t i r r i n g s o m e t h i n g , k e e p i n g the e l b o w s t r a i g h t . C i r c l e o n e w a y w i t h y o u r a r m for a w h i l e a n d then c i r c l e the o t h e r w a y . W h a t d o e s the s h o u l d e r f e e l ? W h a t d o e s the hand f e e l ?

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T h e n , l i g h t l y , a c t u a l l y make a fist w i t h the left h a n d . Let it hang there at your s i d e . Imagine r o t a t i n g the s h o u l d e r in a n d then r o t a t i n g it back and o u t . W h e r e d o e s the fist g o ? In y o u r i m a g i n a t i o n , bring y o u r s h o u l d e r as far in and f o r w a r d a s y o u can and as far back and o u t as you can. Let y o u r left foot stand on its b o t t o m . As you c o n t i n u e to imagine r o t a t i n g the s h o u l d e r f o r w a r d and b a c k , a l s o imagine p i c k i n g up the foot and p u t t i n g it d o w n . Q u i c k l y p i c k it up and put it d o w n . W h a t d o e s the hip j o i n t f e e l ? W h a t d o e s the foot f e e l ? Pick it up a c o u p l e of inches off the g r o u n d and put it right b a c k d o w n . Do it o n l y in the i m a g i n a t i o n . Now stop. S e n s e your b o d y . S e n s e the left h a n d , the left f o o t , the left s h o u l d e r , the left e y e . If the n o s e is n o t stopped u p , see w h e t h e r now the b r e a t h i n g seems to come t h r o u g h the left n o s t r i l . N o w , a s you b r e a t h e , i m a g i n e that y o u a r e b r e a t h i n g t h r o u g h the b o t t o m o f the left foot a n d up t h r o u g h the top of the head t h r o u g h the left s i d e . The b r e a t h g o e s u p a n d down t h r o u g h the left s i d e , g o i n g in and o u t t h r o u g h the b o t t o m of the foot and t h r o u g h the top of the head on the left s i d e . R e a l l y take the b r e a t h all the w a y up t h r o u g h the top o f t h e head on the left side. Image d o i n g it. T h e n see if, by doing t h a t , the left side of the brain seems to c o m e c l e a r l y into f o c u s . See if you can s e n s e that y o u r e y e s a r e now f e e l i n g as if they a r e looking up and to the left t o w a r d s that space . T h e n stop and sense the two s i d e s . See if now you can feel the cons c i o u s n e s s being pulled to the left side and not as s t r o n g l y as it w a s to the right side b e f o r e . It is a d e f i n i t e pull in that d i r e c t i o n , and the body tends left. E x a m i n e your body image now and c o m p a r e the two s i d e s . You may find that now you have a m i x . S o m e t h i n g s a r e c l e a r e r on one side and some a r e c l e a r e r on the o t h e r s i d e , or you may have s h i f t e d o v e r to the left s i d e or the right side m i g h t still be d o m i n a n t . When you do it on your o w n , c o n t i n u e until the left side has a c h i e v e d a g r e a t e r c l a r i t y in the body image w i t h o u t e x c e p t i o n . See h o w long it t a k e s you to do t h a t . Now get up and w a l k a r o u n d . N o t i c e w h a t you f e e l . For a m i n u t e or two try b a l a n c i n g the body image b y n o t i c i n g w h e r e o n e side s e e m s c l e a r e r and then d i r e c t i n g y o u r a t t e n t i o n to that a r e a o n t h e o t h e r s i d e . T h a t is a n o t h e r little e x e r c i s e y o u can i m a g e . You can scan it and then b a l a n c e it. Direct the a w a r e n e s s to a n y part that is less c l e a r on o n e side than the o t h e r . T h e n j u s t sit d o w n . T h i s e x e r c i s e is c a l l e d L e a r n i n g T r a n s f e r and S e n s o r y D i s c r i m i n a t i o n . T h e f i r s t part w a s just a little e x p e r i m e n t t o d e m o n s t r a t e t o you that you can have d i r e c t k n o w l e d g e o f h e m i s p h e r i c f u n c t i o n s . T h a t being s o , it is a w o n d e r that p e o p l e did not d i s c o v e r it long a g o . In f a c t , there a r e a c c o u n t s by Darwin that i n d i c a t e that people have had some a w a r e n e s s like t h a t . They just did not r e l a t e it to the brain in e x a c t l y the same w a y that h a s been d o n e in the last t w e n t y y e a r s or s o . If p e o p l e sensed b e t t e r ,

- 9-

s c i e n t i f i c d i s c o v e r y w o u l d have been m a d e m u c h e a r l i e r . Of c o u r s e , some k n o w l e d g e a b o u t h e m i s p h e r i c f u n c t i o n s d a t e s back to the 19th c e n t u r y .

- 10-

2 ) S E G M E N T S OF THE S P I N E *

N o w , lie on y o u r b a c k and do the body s c a n n i n g . B e g i n n i n g w i t h the f e e t , e x a m i n e the body i m a g e . N o t e w h e r e it is f a i n t ; w h e r e it is s t r o n g e r ; w h e r e it is e a s y to s e n s e ; w h e r e you c a n n o t s e n s e a n y t h i n g . C o m p a r e the f e e l i n g s in the two s i d e s . D o they lie t h e same or do they lie d i f f e r e n t l y ? Does o n e side feel longer? See if that r e l a t e s to the a w a r e n e s s of the surface o f the b o d y , as y o u do the s c a n n i n g . A l s o , scan f o r s y m m e t r y . Generally, a w e l l - o r g a n i z e d body w i l l be a s y m m e t r i c a l o n e , if it has not been d a m a g e d so that b e c o m e s i m p o s s i b l e . T h e j o i n t s will r o t a t e s i m i l a r l y . T h e h i p s and the s h o u l d e r s w i l l lie in the m i d d l e , the toes and f i n g e r s will h a v e s i m i l a r s p a c e s b e t w e e n t h e m , and the h a n d s will lie at the s a m e d i s t a n c e from the b o d y . T h e w o r k w e a r e n o w g o i n g to do is a little d i f f e r e n t from m o s t of the e x e r c i s e s . W e a r e g o i n g to e x a m i n e many of the w a y s that the d i f f e r e n t s e g m e n t s o f the spine c a n b e moved. T o know how to m o v e the s p i n e in a g r e a t m a n y w a y s is v e r y v a l u a b l e . It wi11 a l l o w you to r e l e a s e a large part of m u s c u l a r t e n s i o n in the back and to free y o u r s e l f o f back p a i n - w h e t h e r it is lower b a c k , u p p e r b a c k , n e c k or w h e r e v e r it may b e . It is a l s o e x t r e m e l y i m p o r t a n t to h a v e a spine that is s u p p l e , w i t h v e r t e b r a e that a r e d i f f e r e n t i a t e d . T h e brain and the n e r v o u s s y s t e m do not h a v e a c h a n c e to f u n c t i o n o p t i m a l l y if the spine is d i s t o r t e d . It is v e r y e a s y to w o r k on the c e r v i c a l spine (the spine in the n e c k ) and the lumbar spine (the lower s p i n e . ) It is much m o r e d i f f i c u l t to f i g u r e o u t ways to m o v e the t h o r a c i c spine (that part in the rib c a g e , ) and you will find the same thing is true w h e n you a r e w o r k i n g on the body w i t h your h a n d s . Until y o u h a v e learned the knack o f it, it is v e r y hard to find w a y s to g e t the t h o r a c i c s p i n e to m o v e w i t h a n y t h i n g like the s a m e kind of f r e e d o m that the c e r v i c a l a n d lumbar spine o r d i n a r i l y m o v e w i t h . For the g r e a t m a j o r i t y , w h e n lying on their b a c k s , it is v i r t u a l l y i m p o s s i b l e for them to m o v e the t h o r a c i c spine w i t h o u t m o v i n g the lumbar s p i n e . If you know w h e r e those s e g m e n t s of the s p i n e a r e , you can try it. See if you can find a w a y to d o it. Do not m o v e the neck or the lower s p i n e , yet try to m o v e the t h o r a c i c spine in a w a y that is p l e a s a n t . N o w bend your legs so that the feet a r e s t a n d i n g . T a k e the legs from side to s i d e - - l e f t to r i g h t . See if they go o v e r all the w a y . Observe how far they g o , a l w a y s w i t h o u t f o r c i n g . Do it s o o n e k n e e s l i d e s down the o t h e r leg and up it a g a i n as you g o . It m e a n s y o u have to spread y o u r feet s o m e d i s t a n c e from each o t h e r . N o w , m o v e the legs from side to s i d e , k e e p i n g them t o g e t h e r as a u n i t . Begin to a l l o w the head to m o v e w i t h the l e g s . O b s e r v e the e f f e c t of the head g o i n g in the s a m e d i r e c t i o n as the l e g s . T h e n o p p o s e the head m o v e m e n t to the leg m o v e m e n t . Now, put y o u r legs down and r e s t . O b s e r v e how the lower spine lies in r e l a t i o n to the t a b l e . As you do t h a t , roll you r head left to r i g h t . If you do not r e q u i r e a n y t h i n g u n d e r y o u r h e a d , do not use i t , b e c a u s e it will interfere w i t h the m o v e m e n t .

* Teaching time:

up to 90 m i n u t e s

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N o w , stop w i t h y o u r head in the m i d d l e . Draw your legs back toward y o u , so that the tops of the t h i g h s a p p r o a c h the rib c a g e . Do not take hold of the k n e e s w i t h the h a n d s . Being careful that you do not o v e r d o it, take the feet from left to right (the lower legs remain parallel to the f l o o r or a p p r o x i m a t e l y so.) K e e p i n g the legs as c l o s e back to y o u r rib c a g e as p o s s i b l e , swivel y o u r b o t t o m f r o m left to r i g h t . Be sure you do n o t do it too v i g o r o u s l y or you may d a m a g e your s p i n e . N o w , swivel y o u r b o t t o m . Do n o t just go from left to right toward the f l o o r . Put the left f o o t on top of the right w h e n you do it. T h e m o v e m e n t should be m a i n l y in the lower s p i n e . You s h o u l d feel it in the lower s p i n e . S w i v e l , do not r o l l , from side to s i d e . T h e p e l v i s s w i v e l s on the f l o o r . R e v e r s e the p o s i t i o n o f the f e e t . l.et o n e a n k l e lie o n top o f the o t h e r a n k l e . N o w , put y o u r feet down and rest t h e m . Leave the f e e t s t a n d i n g . S e n s e the small of the b a c k in r e l a t i o n to the f l o o r . Raise your p e l v i s e n o u g h s o that you can rap lightly w i t h the small o f the b a c k o n t h e f l o o r . C o n t i n u e to do t h a t . Put the back d o w n f l a t a n d pick up the p e l v i s . Put the b a c k d o w n flat on the floor and pick it up a g a i n . Put it d o w n . T h e n , w h e n you can feel that the p e l v i s is really down and the lumbar spine is r e a l l y d o w n on the m a t as c l o s e as you can get i t , try e x t e n d i n g y o u r legs w h i l e leaving the p e l v i s t h e r e . The most e f f e c t i v e w a y to do i t , is to place the small o f the back on the f l o o r . T h e n flex y o u r a n k l e s , and g r a d u a l l y e x t e n d the l e g s , w h i l e b r e a t h i n g o u t t h r o u g h the m o u t h . M a k e a kind of h i s s i n g s o u n d . W h e n the legs a r e e x t e n d e d , let the a n k l e s go (you j u s t s l i d e the h e e l s a l o n g the f l o o r to e x t e n d the legs.) A g a i n , let the feet s t a n d . Put the p e l v i s and the small of the back on the f l o o r . T h e n , w i t h o u t lifting y o u r feet off the f l o o r , you flex the a n k l e s , e x t e n d the l e g s , and b r e a t h e o u t . T r y to sense c l e a r l y w h a t h a p p e n s in the s p i n e , that y o u e l e v a t e it as little as p o s s i b l e . You j u s t s l i d e the heels a l o n g . If you p i c k the feet up a t a l l , o n c e the b a c k is on the f l o o r , you will a r c h y o u r s p i n e . You do not w a l k the feet a l o n g , you j u s t slide t h e m , both f e e t t o g e t h e r . T r y to s e n s e to w h a t e x t e n t y o u s u c c e e d e d . If you take y o u r h a n d s and try to m e a s u r e , that m o v e m e n t of itself will a r c h the s p i n e , and y o u will not really know w h a t you have d o n e . As s o o n as y o u bend y o u r e l b o w s and put your hands there , y o u h a v e a l r e a d y lost some of the e x t e n s i o n of the s p i n e that you have w o r k e d to a c h i e v e . It is not n e c e s s a r y to m e a s u r e . W h e n the b o d y image is s u f f i c i e n t l y i n t a c t , y o u will know w h e r e y o u r spine is in r e l a t i o n t o your t a b l e . N o w , draw y o u r legs back toward y o u r rib c a g e a g a i n , and feel w h a t it is to have the lumbar spine in c o n t a c t w i t h the f l o o r . In that p o s i t i o n , e v e r y b o d y should be a b l e to feel it. If y o u c a n n o t bring y o u r legs b a c k e n o u g h , use y o u r h a n d s . Let y o u r hands rest on y o u r k n e e s , but do not pull the j o i n t s in a w a y that is p a i n f u l . Swivel the b o t t o m from side to s i d e , so the f e e t g o l e f t , then r i g h t . Do n o t r o l l . Y o u a r e less l i k e l y , w i t h the h a n d s on the k n e e s , to do it v i g o r o u s l y e n o u g h to hurt the lower back. If y o u take the h a n d s a w a y and s w i n g , or swivel t o o v i g o r o u s l y from s i d e to s i d e , the s p i n e can be i n j u r e d . T h a t part o f the body is so b i g , p o w e r f u l and h e a v y t h a t , if you used it to its full p o w e r , the s p i n e in no

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w a y c o u l d resist the force that the lower body w o u l d a p p l y to it. Swivel. N o w , w h e n y o u r spine is really flat on the f l o o r , put your feet d o w n . Stand them. If you j u s t s u d d e n l y e x t e n d , you lose it. Feel for a little w h i l e w h a t it is like to h a v e the spine flat on the f l o o r . Then try a g a i n , by f l e x i n g the a n k l e s and b r e a t h i n g o u t t h r o u g h the m o u t h , to s l i d e the legs d o w n s l o w l y . L e a v e the s p i n e down as much as you c a n . If the spine c o m e s u p , at least feel that m o m e n t w h e n it c o m e s u p , v e r y c l e a r l y . If you s e n s e w h e n it h a p p e n s , that is a l r e a d y h e l p f u l , and will e v e n t u a l l y e l i m i n a t e the t e n d e n c y . N o w , rest and o b s e r v e how you l i e . N e x t , bend the legs so they stand t o g e t h e r , and take them side to side a g a i n , left and r i g h t . L e t the lower b a c k b e f r e e , and let the head turn w i t h the m o v e m e n t . If the legs go all the w a y , let them go q u i c k l y and n i m b l y . Feel the m o v e m e n t o f the s p i n e in the lower b a c k . A few t i m e s , o p p o s e the head m o v e m e n t to the leg m o v e m e n t . Keep the a n k l e s and knees t o g e t h e r . N o w , s t o p for j u s t a m i n u t e . Let the f e e t s t a n d , and spread t h e m a p a r t a little b i t - - a b o u t six or e i g h t inches b e t w e e n the f e e t . Let o n l y the right leg go o v e r towards the f l o o r . T h e left o n e r e m a i n s s t a n d i n g . T h e n , bring the right one u p , and let the left o n e go o v e r towards the f l o o r . Do that several t i m e s . N o w , put the legs down and rest. Put your left hand on your f o r e h e a d . Use the hand to turn the head f r o m side to s i d e . Be s u r e that y o u do not do a n y t h i n g w i t h the m u s c l e s of the n e c k or upper b a c k , e x c e p t w h a t is r e q u i r e d to use the a r m . Do not turn the head y o u r s e l f . T h e hand turns t h e h e a d . N e x t , let the p a l m rest on the f o r e h e a d . Then turn the head from side to s i d e . Let the palm j u s t ride a l o n g o n t h e f o r e h e a d . Be sure you d o not use the a r m s to turn the h e a d . Repeat this m o v e m e n t several t i m e s , then put the left a r m d o w n . N o w , do it w i t h the r i g h t . F i r s t , use the hand to turn the h e a d . Do that a n u m b e r of t i m e s , m a k i n g sure that you a r e t u r n i n g y o u r head side to s i d e . T h e hand is doing it. T a k e it as far as it will g o . T h e n u s e the h e a d to give the hand a r i d e , as it w i l l . Let the p a s s i v e hand ride a l o n g on the turn of your h e a d . Feel w h a t is h a p p e n i n g in y o u r n e c k - - t h e jaw is l o o s e , the t o n g u e is loose a n d the b r e a t h i n g is f r e e . A l w a y s e m p h a s i z e the q u a l i t y of the m o v e m e n t , including the s e n s i n g . Be a l e r t , so you do not b e g i n to do it c o m p u l s i v e l y . Do not stop f o c u s i n g on the s e n s a t i o n s , p a r t i c u l a r l y in this c a s e the s p i n e , but a l s o e v e r y t h i n g e l s e that is inv o l v e d in the m o v e m e n t . Be a w a r e that the b r e a t h i n g is never i n h i b i t e d . Stop. Put the a r m d o w n . By p u s h i n g a n d p u l l i n g w i t h your h e e l s on the f l o o r , rock your body up and down s o that the s p i n e m o v e s , e s p e c i a l l y the c e r v i c a l s p i n e . W h e n y o u p u s h , your c h i n m o v e s up and a w a y from your c h e s t . When you p u l l , your chin m o v e s d o w n . You h a v e to bend the legs a little to do it in the b e g i n n i n g . Find a p o s i t i o n that lets the n e c k m o v e m o s t f r e e l y . You can do it by m o v i n g the knees u p and d o w n , but it is not n e c e s s a r y . The m o v e m e n t can j u s t be w i t h the a n k l e s , or you can use the a n k l e s and the k n e e s . T r y to find o u t how to do it to c r e a t e the l a r g e s t , f r e e s t m o v e m e n t in your s p i n e and n e c k . A l s o , you will find that by d o i n g t h i s , you e i t h e r

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can or c a n n o t a r c h the lumbar s p i n e . T r y to do it in such a way that y o u do not a r c h the lumbar s p i n e , w h i l e at the same time you retain full f r e e d o m in the c e r v i c a l s p i n e . I a m g o i n g to show y o u , b e f o r e w e a r e f i n i s h e d , how m a n y of the m o v e m e n t s y o u a r e doing can b e t r a n s l a t e d into w o r k w i t h a p e r s o n o n the t a b l e ; a l s o , how it can be d o n e so that y o u will be a b l e , w i t h m o s t o f the m o v e m e n t s , to m o v e a t h r e e h u n d r e d pound man w i t h e a s e , even if y o u a r e a v e r y small p e r s o n . T h e size of that o t h e r person will be i r r e l e v a n t for m o s t of the m o v e m e n t s . You will be a b l e to m o v e that b o d y v e r y f r e e l y w i t h a l m o s t no e x p e n d i t u r e of e f f o r t , w h i c h is the best way to do i t , not o n l y for your personal c o m f o r t and e c o n o m y , but b e c a u s e it a l l o w s you to w o r k in a w a y that is s u b t l e and w i t h o u t y o u r senses being impaired by the use of p o w e r ful m u s c l e s . T h e m o r e e f f o r t you have to e x e r t to w o r k on s o m e b o d y , the less well y o u a r e a b l e to s e n s e w h a t y o u a r e d o i n g and w h a t is h a p p e n i n g w i t h t h e m . You a l w a y s try to m o v e y o u r s e l f , or a n y b o d y e l s e , w i t h the g r e a t e s t p o s s i b l e e a s e , in o r d e r to d i s c r i m i n a t e m o r e a n d more c l e a r l y e x a c t l y w h a t is h a p p e n i n g . N o w , w i t h o u t t i g h t e n i n g y o u r n e c k , raise y o u r legs a n d bring y o u r s e l f u p to a s i t t i n g p o s i t i o n , using the legs j u s t to swing y o u r s e l f u p . Do not bend t h e m , j u s t raise t h e m up h i g h . Bring them down so that y o u b r i n g y o u r s e l f down into a s i t t i n g p o s i t i o n w i t h o u t s t i f f e n i n g y o u r n e c k . Now, sit h o w e v e r you a r e c o m f o r t a b l e . Make c i r c l e s w i t h y o u r h e a d . You c a n think of c i r c l i n g w i t h y o u r n o s e , or w i t h the back of y o u r h e a d — w h a t e v e r f a c i l i t a t e s the c i r c l i n g . If you go a r o u n d too m a n y times in o n e d i r e c t i o n , y o u will get d i z z y . S e n s e c l e a r l y the s e n s a t i o n s in the n e c k . Put your h a n d s behind you on the f l o o r and do it. If you find you can m a k e much larger c i r c l e s , m o r e e a s i l y , the head can go f u r t h e r b a c k . T h e n , instead of c i r c l i n g , j u s t raise and lower the h e a d . Put y o u r a r m s w h e r e v e r you l i k e . You should b a l a n c e , in any c a s e , so there is no d i s c o m f o r t in the w r i s t s , and not m u c h p r e s s u r e o n the h a n d s . T h e h a n d s behind y o u do not h a v e to bear v e r y m u c h w e i g h t , if the body is p o s i t i o n e d r i g h t . N o w , as you do t h a t , o p p o s e the eye m o v e m e n t to the head m o v e m e n t . Look down as y o u r head g o e s u p . L o o k up as y o u r head comes d o w n . Do it w i t h o u t s t r a i n i n g . See if y o u c a n sense that if you e x h a l e a s you lower y o u r head a n d raise y o u r e y e s , that the b r e a t h i n g s t r a i n s the e y e s a little b i t . Just d o i n g it t w o or three times is not e n o u g h to d a m a g e it, but you can feel that the e x h a l a t i o n m a k e s a d i f f e r e n c e . Just o p p o s i n g the e y e s to the h e a d m o v e m e n t d o e s not n e c e s s i t a t e a n y s t r a i n , but the e x h a l i n g , as you lower the head a n d raise the eyes, lets you feel if you a r e a b l e to s e n s e well e n o u g h . T h e n , let the e y e s and the head go t o g e t h e r . N o w , instead of d o i n g t h a t , stop w h e n the head is looking s t r a i g h t a h e a d . T u r n it left to r i g h t , and m a i n t a i n the n e c k p o s i t i o n w i t h o u t i n h i b i t i n g the b r e a t h i n g . Let the e y e m o v e m e n t s o p p o s e the head m o v e m e n t s . If the tongue is f r e e , it will g e n e r a l l y f o l l o w the d i r e c t i o n of y o u r attention. If you turn the e y e s a n d the head t o g e t h e r , the t o n g u e will not g o to the s a m e side of the m o u t h that the head and the e y e s go t o . If the m u s c l e s in the t o n g u e a r e t o o s t i f f , it will not h a p p e n but w h e n y o u have

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freed the t o n g u e , you will find that it is s o . If you o p p o s e the e y e m o v e m e n t s to the head m o v e m e n t s , y o u will find it is the e y e s that the t o n g u e will go w i t h , rather than w i t h the h e a d . T h e tongue t e n d s to f o l l o w the stimulation. It will go w h e r e the e x p e r i e n c e is s t r o n g e r . In t h i s c a s e , the visual e x p e r i e n c e o v e r r i d e s the t u r n i n g o f the h e a d . You will s e e , a s w e go a l o n g , that t h e r e a r e o t h e r l i n k a g e s b e t w e e n the tongue m o v e m e n t s and e y e m o v e m e n t s . So far as I k n o w , n o b o d y has e v e r d i s c o v e r e d or w r i t t e n a b o u t t h e m . You will a l s o s e e w h y they a r e i m p o r t a n t . Probably, many p e o p l e ' s t o n g u e s do not m o v e in the b e g i n n i n g b u t , as they go a l o n g , the m u s c l e s b e c o m e f r e e r and then the t o n g u e will m o v e . N o w , stop and rest a m i n u t e . You can lie d o w n . N o w , lying on your b a c k , i n t e r l a c e y o u r f i n g e r s behind your h e a d . Pick the head u p a s high a s it is e a s y to d o . T h e n , put it down a g a i n . Continue to do t h a t , w i t h o u t a n y e f f o r t in the neck at a l l , but s e n s i n g w h a t h a p p e n s in the neck. L e a v i n g the h a n d s w h e r e they a r e , let the e l b o w s lie o u t on the f l o o r . T a k e the head from o n e side to the o t h e r , so that the e a r a p p r o a c h e s first o n e s h o u l d e r , t h e n the o t h e r . You d o it w i t h the h a n d s and the a r m s . N o w , take the s h o u l d e r s from o n e side to the o t h e r . T h e e l b o w s will m o v e down as you do t h a t . Both a r m s a r e m o v i n g s i m u l t a n e o u s l y . Keep the e l b o w s out as you do it. Do not roll the head f r o m side to s i d e . You w a n t the n e c k to bend t o the s i d e . You will feel the rib c a g e s h o r t e n on o n e side and lengthen on the o t h e r as y o u do t h a t . Leave the e l b o w s down c l o s e to the f l o o r and bring your s h o u l d e r s and your e a r s as c l o s e t o g e t h e r as you can get them w i t h o u t s t r a i n i n g . Pick the head up a l ittle b i t . Leave the e l b o w s o u t . Do not raise them t o w a r d s the c e i l i n g . Your e l b o w s should point up as little as p o s s i b l e . T h e ear should c o m e c l o s e r to the s h o u l d e r . Put your right hand d o w n . L e a v e the left hand behind the h e a d , and use it to bring the e a r toward the s h o u l d e r . Now lie on your right side and do it. Just pick up the head w i t h the left h a n d , bring the ear up to the s h o u l d e r , then let it d o w n . T r y to make the m o v e m e n t s i d e w a y s , not forw a r d or b a c k . N o w , lie o n your o t h e r side a n d d o it. You pick the head up now w i t h the right a r m . Find the p o s i t i o n that the h a n d s should o c c u p y in r e l a t i o n to the head that m a k e s it e a s i e s t to m o v e the e a r t o w a r d s the shoulder. N o w , roll o n t o y o u r s t o m a c h a m i n u t e . Let the f o r e h e a d rest o n o n e o f y o u r h a n d s , one hand o n top o f the o t h e r , being a w a r e of w h i c h hand you put on top of the f o r e h e a d . T h e n v e r y s l o w l y try to bring the body up i n t o , if you k n o w Y o g a , w h a t is a v a r i e t y of the c o b r a p o s i t i o n . The head is up like a s t r i k i n g c o b r a . Try to do it v e r t a b r a by v e r t e b r a , in the s p i n e . Do not j u s t a r c h the lumbar spine and the c e r v i c a l s p i n e . You h a v e got to try to a l s o use the t h o r a c i c s p i n e , bit by b i t , as y o u c o m e u p . See how high you can c o m e w i t h o u t s t r a i n i n g . T h e n let it down the same w a y . In Y o g a , this is s u p p o s e d to be an e x e r c i s e for the e n t i r e s p i n e . H o w e v e r , if you w a t c h , in n i n e t y - n i n e per c e n t of the c a s e s , the person will not use the t h o r a c i c s p i n e , or use it m i n i m a l l y . T h e y will j u s t use the lumbar s p i n e and the c e r v i c a l s p i n e , and the t e a c h e r will n e v e r say a n y t h i n g . He p r o b a b l y , o f t e n , is not a w a r e of it. See w h a t you do w i t h it. N o t e that

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there is a t e n d e n c y t o do it that w a y . J u s t a r c h the s p i n e , the neck and the small o f the b a c k w h e r e .it control of it. M o v e it bit by b i t , so t h a t the w h o l e length of the spine i n v o l v e d . T h e n , lie on y o u r b a c k and r e s t .

is

Interlace your f i n g e r s u n d e r your head a g a i n , leaving the a r m s on the f l o o r . Slide f i r s t o n e e l b o w d o w n , and then the o t h e r . Let t h e head move w i t h t h a t . S l i d e the a r m s and e l b o w s a l o n g the f l o o r , f r o m left to r i g h t , so that the e l b o w a p p r o a c h e s the rib c a g e on the left s i d e . T h e n , on the right s i d e , you can feel the s p i n e m o v i n g and the rib c a g e s h o r t e n i n g and l e n g t h e n i n g . Now put y o u r h a n d s d o w n . Let your head stay down and j u s t slide a l o n g the f l o o r . Let y o u r hands slide up a little b i t . Rest on y o u r navel and do it, and o b s e r v e that the s p i n e is m o v i n g a little h i g h e r now than w h e n the h a n d s w e r e l o w e r . If y o u put y o u r h a n d s up a r o u n d your d i a p h r a g m and c o n t i n u e to go s i d e to side like t h a t , still more of the spine will b e c o m e involved in the m o v e m e n t . T h e n put your h a n d s on your c h e s t a n d d o it a n d , w h e n y o u r hands a r e at that l e v e l , o b s e r v e t h a t t h e lumbar spine d o e s not have to bend at a l l . O b s e r v e that you can i m m o b i l i z e i t , and that the m o v e m e n t will all be in the u p p e r s p i n e , so that there is no d o u b t that it is m o v i n g . It is even e a s i e r to do that in the b e g i n n i n g , w i t h the hands on the s h o u l d e r s . Let the b a c k of y o u r head slide a l o n g the f l o o r a n d the s h o u l d e r s , a r m s a n d e l b o w s slide up and d o w n . Do it in s u c h a way that the lumbar spine d o e s not m o v e . Put your h a n d s down b e l o w your navel a g a i n , and do it. N o w , u n l e s s you do s o m e t h i n g that m a k e s a n y g r e a t s t r a n g e e f f o r t , it will p r i m a r i l y be a lumbar s p i n e m o v e m e n t . T h e s p i n e will bend at the level of the h a n d s , a n d a n y t h i n g e l s e f o l l o w s a f t e r t h a t . Let it s l i d e q u i c k l y and lightly f r o m side t o s i d e , w i t h the h a n d s a r o u n d the n a v e l . Then put the hands up on the s h o u l d e r s and do it, and see the d i f f e r e n t p a r t of the s p i n e that p r i m a r i l y m o v e s w h e n the h a n d s a r e d o w n . Go b a c k and f o r t h , and a l s o try it o n the c h e s t . At e a c h level w h e r e the h a n d s a r e , o b s e r v e that the m o v e m e n t is d i f f e r e n t . As you g o u p , o b s e r v e that the t h o r a c i c s p i n e is q u i t e c l e a r l y i n v o l v e d . Now r e s t . If you need t o , try to d o a n u m b e r o f m o v e m e n t s w i t h the h a n d s on the s h o u l d e r s a n d the c h e s t . T r y to get the f e e l i n g o f very f r e e , e x t e n s i v e m o v e m e n t in that u p p e r part of the s p i n e w h i c h o r d i n a r i l y n e v e r m o v e s . If y o u g o to it d i r e c t l y , w i t h o u t some p r e l i m i n a r y w o r k on the lower back and the n e c k , it will not m o v e so well e i t h e r . Give y o u r s e l f a s large an e x p e r i e n c e as p o s s i b l e of the m o v e m e n t in the upper s p i n e , b e l o w the n e c k . Do this by p l a c i n g the hands on the s h o u l d e r s and c h e s t , and o v e r - d o i n g it. W h e n e v e r a p e r s o n b e g i n s to do a m o v e m e n t so q u i c k l y that they feel a little bit out of c o n t r o l , that is w h e n c o m p u l s i v e n e s s has e n t e r e d in and the m o v e m e n t b e c o m e s a p o t e n t i a l l y harmful o n e . By o b s e r v i n g t h a t , y o u can a l s o learn to note that same c o m p u l s i v e n e s s in your e v e r y d a y l i f e . The f e e l i n g will be s i m i l a r . So will the q u a l i t y of d r i v e n n e s s that y o u will be a b l e to r e c o g n i z e a s soon as it b e g i n s to control y o u r b e h a v i o r . Do h o w e v e r m u c h o f the m o v e m e n t you can do that is p l e a s u r a b l e . T h e n s t o p a n d rest w i t h y o u r a r m s at y o u r s i d e s and your legs e x t e n d e d .

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N o w , roll your head f r o m side to side and see how q u i c k l y and how far it will g o . T h e n stop a n d bend y o u r l e g s . T a k e t h e legs from side to s i d e , s o m e t i m e s letting the head go w i t h the l e g s , s o m e t i m e s o p p o s i n g the head and leg m o v e m e n t s . A l s o , try to let the eyes g o w i t h the l e g s , w i t h the head m o v i n g in the o p p o s i t e d i r e c t i o n . If you a r e still h a v i n g t r o u b l e letting the head and the legs go o v e r all the way t o g e t h e r , take hold of y o u r e l b o w s w i t h y o u r hands and take the a r m s t o g e t h e r w i t h the legs and the h e a d . Do it by letting the h a n d s slip down so that they hold the w r i s t s , or let the h a n d s hold the f o r e a r m s , w h i c h e v e r w o r k s b e t t e r . Let the h e a d , a r m s and legs g o t o g e t h e r if you a r e h a v i n g any t r o u b l e g e t t i n g the legs all the way o v e r . T h e f o r e a r m s should be parallel to the floor w h e n they a r e a b o v e y o u . Try d o i n g just the head and the a r m s . Hold the a r m s v e r y l i g h t l y , n o t m o v i n g the l e g s . T h e f u r t h e r your h a n d s a r e down the a r m , the g r e a t e r the a m o u n t o f f r e e d o m of the s h o u l d e r a n d the n e c k . Keep the a r m s u p , so that w h e n they a r e a b o v e y o u , they a r e parallel t o t h e f l o o r . Let the head go o v e r all the w a y w i t h the a r m s . Do it q u i c k l y , l i g h t l y and e a s i l y . T h e r e should b e n o e f f o r t in this m o v e m e n t . W h e n that m o v e m e n t is e x t r e m e l y c l e a r , and the head g o e s all the w a y w i t h the a r m s to the left and to the r i g h t , let the head turn as far as it will t u r n . W i t h the a r m s , g o o n t o its right s i d e , and o n t o its left s i d e . W h e n the m o v e m e n t is c l e a r , then let the legs go w i t h it. Let e v e r y thing go t o g e t h e r . C o o r d i n a t e it; s y n c h r o n i z e it. Y o u r timing m u s t be such that the h e a d , the a r m s and the legs all m o v e s i m u l t a n e o u s l y . You have p r o b l e m s if the upper body is not s y n c h r o n i z e d w i t h the lower b o d y . Y o u will not get the b e n e f i t o f w h a t you a r e d o i n g . Then p u t the a r m s down and j u s t m o v e the head a n d the l e g s . Feel the m o v e m e n t in the s p i n e . Let the lower back and s p i n e m o v e m o r e and m o r e f r e e l y . Do not j u s t roll from side to s i d e . T h e m o v e m e n t is in the small of the back and in the c e r v i c a l s p i n e . Stop a n d r e s t . O n e more t i m e , just h o o k i n g the g r o u n d w i t h the h e e l , p u s h and pull so t h a t the n e c k m o v e s f r e e l y . T h e c h i n m o v e s a w a y w h e n y o u push and c o m e s back w h e n you p u l l . Bend y o u r k n e e s if you have t o , to g e t the head to m o v e freely. If you d o n o t o b s t r u c t the m o v e m e n t , the head m u s t m o v e . It is a c o m p l e t e l y i n v o l u n t a r y m o v e m e n t , p r o v i d i n g you a r e doing the right t h i n g . You c a n n o t j u s t flex and e x t e n d y o u r a n k l e s . Push and pull on the f l o o r , and bend y o u r k n e e s a little b i t . T h e head is m o v i n g f r e e l y . Now s t o p . O n c e a g a i n , put your h a n d s on your s h o u l d e r s and t a k e the e l b o w s up and down v e r y q u i c k l y . S l i d e the a r m s up a n d down a l o n g the f l o o r , SO that the upper s p i n e m o v e s . See if you c a n n o t m o v e more f r e e l y than you could a little w h i l e a g o . Bring y o u r e l b o w s p r a c t i c a l l y down to your rib c a g e . At l e a s t , a p p r o a c h it f a i r l y c l o s e l y . You can a l s o do that w i t h the h a n d s on the c h e s t . Do not p i c k your head up e n o u g h to strain your neck. Breathe freely. N o w , stop. Bring your legs back towards y o u . T a k e y o u r h a n d s and let them rest lightly on your k n e e s . T h e n , m o v e your p e l v i s so that f i r s t y o u r right b u t t o c k , and then y o u r left b u t t o c k , s l i d e s d o w n . T r y t o push the right o n e down and a l o n g the f l o o r , and then the l e f t . You will feel the m o v e m e n t

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in the lower s p i n e . You can see it is d i f f e r e n t than just s w i v e l l i n g the two legs side to s i d e . You g e t a d i s t i n c t f e e l i n g o f o n e p u s h i n g down and then c o m i n g b a c k as the other p u s h e s d o w n . T h e n j u s t lightly s w i v e l , taking the feet from s i d e to s i d e . S w i v e l , do not r o l l , your b o d y side to s i d e . Put the feet d o w n . L i g h t l y rap w i t h the small o f the b a c k on the f l o o r . T a k e the legs d o w n , trying t o leave the small o f the b a c k o n the f l o o r . R e m e m b e r the w a y that it is m o s t e f f e c t i v e : flex the a n k l e s and b r e a t h e out through your m o u t h . Now a few t i m e s , a s q u i c k l y , lightly and e a s i l y a s you c a n , j u s t roll the head f r o m side to side a n d let the s h o u l d e r get out of the way of the head. R e t u r n by letting the a r m s slide down on the side that the head t u r n s t o . See how f a r now the hand can slide down a l o n g the f l o o r , as the head rolls s i d e to s i d e . C o n t i n u e to j u s t turn the head side to s i d e , but let f i r s t one a r m a n d then the o t h e r slide d o w n . S t o p w i t h the head in the m i d d l e , a n d try to s e n s e y o u r s p i n e . S e n s e up and down its l e n g t h . See if y o u can get an image of it. If y o u know w h a t the p e l v i s looks l i k e , c o m e up from there to w h e r e the s p i n e ;s free of the p e l v i s . Follow the spine on up into the s k u l l . Image it, or v i s u a l i z e i t , of think of it as a s t r a i g h t l i n e . T h e n b r e a t h e up and down that l i n e . D i r e c t y o u r b r e a t h i n g so that it f e e l s as if you can b r e a t h e right up y o u r s p i n e and out the b a c k of your h e a d . B r e a t h e in t h r o u g h the p e l v i s and u p the spine and on o u t the top of the h e a d . C o n t i n u e d o i n g t h a t , d i r e c t i n g the b r e a t h i n g up a n d down the s p i n e , but w i t h the m a i n e m p h a s i s on the u p w a r d b r e a t h i n g . B r e a t h e up a n d beyond the top of y o u r h e a d , right out t h r o u g h the top of the s p i n e a n d s k u l l . B r e a t h e up and o u t , and up and o u t . T h e n s l o w l y , w i t h o u t s t i f f e n i n g the n e c k , and using the head f i r s t , roll to one side and g e t u p . I will show you h o w m a n y of these m o v e m e n t s can very u s e f u l l y a n d e a s i l y be done w o r k i n g w i t h s o m e o n e e l s e on the t a b l e . In f a c t , you can a c h i e v e many t h i n g s . By doing the m o v e m e n t s this w a y , you c a n o b s e r v e w h a t the e f f e c t s a r e on someone e l s e . You a l s o can learn w h a t you c a n do for y o u r s e l f . W a l k a r o u n d a little b i t . If e v e r y o u a c h e , you have d o n e it too v i g o r o u s l y . You have to a l w a y s f o l l o w d i r e c t i o n s .

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3) T H U M B A N D W R I S T *

T a k e a c o m f o r t a b l e s e a t e d p o s i t i o n , o n e that you c a n remain in for a w h i l e . Rest y o u r a r m s on y o u r l e g s . Do it so that the hands hang d o w n . T h e n m o v e your t h u m b s up and d o w n . A l t e r n a t e t h e m . Do o n e first and then the o t h e r . Try to o b s e r v e the d i f f e r e n c e in the m o v e m e n t b e t w e e n the t w o thumbs. See if o n e m o v e s a n y d i f f e r e n t l y than the o t h e r . N o t e w h e t h e r you c a n s e n s e the d i f f e r e n c e a n y b e t t e r w i t h y o u r e y e s c l o s e d . Now rotate your left thumb in a c i r c l e . See w h a t d i r e c t i o n you do it in. T h e n r o t a t e it in the o p p o s i t e d i r e c t i o n . W e are g o i n g to be w o r k i n g largely w i t h the t h u m b in this e x e r c i s e , but the e f f e c t will be not o n l y on the t h u m b but v e r y m u c h o n the w r i s t a s w e l l . Now s t o p m o v i n g the left thumb. Do the same t h i n g w i t h the right t h u m b . M a k e c i r c l e s w i t h it. Do them in o n e d i r e c t i o n for a w h i l e , a n d then r e v e r s e a n d rotate the right thumb in the o p p o s i t e d i r e c t i o n . See that y o u b r e a t h e f r e e l y as you do t h i s . Now s t o p . Put the two t h u m b s t o g e t h e r on the inside so that the inside top j o i n t s o f the t h u m b s a r e p r e s s e d a g a i n s t e a c h o t h e r . Do it so that the left thumb p r e s s e s a g a i n s t the right o n e for a w h i l e , and then the right one p r e s s e s a g a i n s t the left o n e . You e m p h a s i z e the p u s h i n g c o m i n g from the left or f r o m the r i g h t . T h e thumbs should b e v e r t i c a l as you d o t h i s . T h e y s h o u l d p o i n t p r e t t y m u c h t o w a r d s the c e i l i n g . Then take hold of the left t h u m b wi th the right thumb and f o r e f i n g e r and use t h o s e f i n g e r s to r o t a t e the left t h u m b for a w h i l e . R o t a t e it a n u m b e r of t i m e s c l o c k w i s e and a n u m b e r of times c o u n t e r c l o c k w i s e . As you do t h a t , pull o u t on the left t h u m b so that y o u lengthen it. You pull o u t on it and r o t a t e it at the s a m e t i m e . T h e n , instead o f r o t a t i n g it, use the right hand to bring the left thumb o v e r s o that it t o u c h e s the p a l m o f the left hand (or c o m e s as c l o s e to it as y o u can bring it.) Then let go of the t h u m b w i t h the right h a n d , and do the same m o v e m e n t just using the t h u m b i t s e l f . Bring the t h u m b o v e r t o w a r d s the c e n t e r of the hand and take it a w a y . T a k e hold of the thumb a g a i n w i t h the right hand a n d j u s t give it a good s h a k i n g . S h a k e o u t the left t h u m b . S h a k e it m i l d l y to loosen i t . L e n g t h e n it a little as you s h a k e it. Let the rest of the hand a n d the w r i s t m o v e s p o n t a n e o u s l y , just w h a t e v e r they d o . As you shake the t h u m b , be a w a r e of how the rest of the hand m o v e s . T h e n j u s t s t o p . Put your two h a n d s down flat on the f l o o r . Rap w i t h the left t h u m b . T h e n rap instead w i t h the right t h u m b . See if you n o t i c e a n y d i f f e r e n c e in the a g i l i t y or speed that the two t h u m b s e x h i b i t in r a p p i n g on the f l o o r . Be sure to rap w i t h the t h u m b and not turn y o u r w h o l e h a n d . T h e m o v e m e n t is in the t h u m b . T h e r e s t of the hand d o e s n o t m o v e , or m o v e s v e r y l i t t l e .

* Teaching

time:

a b o u t 45 m i n u t e s

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Then j u s t rub the u n d e r s i d e of the left thumb o v e r the f l o o r , the inside of the t h u m b . S e n s e w h a t you a r e t o u c h i n g w i t h it. Do the same thing for a m i n u t e w i t h the right t h u m b . See if t h e r e is a n y d i f f e r e n c e in the s e n s i t i v i t y o f the two t h u m b s . R e m e m b e r how it is. T h e n try r u b b i n g the back of the left thumb o v e r the f l o o r . As you c o n t i n u e to do t h a t , a l s o rub the b a c k of the right t h u m b and c o m p a r e . C o m p a r e the s e n s i n g . Rub the b a c k o f the right t h u m b o v e r the f l o o r - - t h e top of i t , not the tip of it. T h e n a l s o t a k e the v e r y tip of the left thumb and m o v e it a c r o s s the s u r f a c e that you a r e s e a t e d o n . It is in a v e r t i c a l p o s i t i o n . Then b r i e f l y do the tip of the right o n e a l s o . T h e n let the r i g h t o n e r e s t . Draw c i r c l e s on the f l o o r in front of you w i t h the tip of the left t h u m b . C i r c l e in o n e d i r e c t i o n for a w h i l e and then in t h e o t h e r , using j u s t the tip of the t h u m b . T h e n , instead of m a k i n g c i r c l e s , make X's w i t h the tip of the t h u m b . T o make the X ' s , you c a n use the top of the t h u m b and the b o t t o m of the t h u m b , the sides of the t h u m b , the t h u m b n a i l . T r y to use all those d i f f e r e n t p a r t s of the t h u m b . As y o u do t h a t , c o n s i d e r w h a t f i n g e r it w o u l d be most natural to do that w r i t i n g w i t h . See if you feel t h a t , as soon as you think a b o u t i t , instantly the f o r e f i n g e r comes to m i n d . A l m o s t no o n e will e v e r t h i n k o f a n o t h e r f i n g e r . T h e n , still w i t h your left t h u m b , do t h e a l p h a b e t . If you find that it is d i f f i c u l t to w r i t e , y o u can p r i n t a p a r t i c u l a r l e t t e r . See w h i c h letters are e a s i e r to w r i t e and w h i c h to p r i n t . D i s c o v e r it by w r i t i n g , a n d you should o n l y p r i n t if it b e c o m e s too d i f f i c u l t to w r i t e that w a y . Keep your f o c u s o f a w a r e n e s s on the left t h u m b . N o w , w h e t h e r you h a v e f i n i s h e d or n o t , put y o u r hand down and let it r e s t . Let the left one rest on the f l o o r . As it rests,. be as c o n s c i o u s as you can o f the left t h u m b . T h e hand s h o u l d be r e s t i n g , palm d o w n . T r y it w i t h y o u r e y e s o p e n and w i t h your e y e s c l o s e d . Be a w a r e of the t h u m b . Put the right hand d o w n a l o n g s i d e it. T r y s e n s i n g f i r s t the left t h u m b and then the right o n e . See w h i c h one you sense m o r e c l e a r l y . T h e n just sense the left o n e a g a i n , and the f i n g e r n e x t to i t , and the m i d d l e f i n g e r , and the f i n g e r next to that o n e , and the small f i n g e r . T r y to sense the t h u m b and all the f i n g e r s of the left hand and the w r i s t as w e l l . Then include the f o r e a r m on up to y o u r e l b o w in that a w a r e ness and s e n s i n g . T r y to bring the w h o l e thing in w i t h y o u r e y e s c l o s e d . Sense the left h a n d , w r i s t , and the arm up to the e l b o w . T h e n lie d o w n on y o u r b a c k in the usual m a n n e r w i t h y o u r a r m s at your s i d e s and y o u r palms d o w n . C o m p a r e , for a little w h i l e , the t w o sides of y o u r b o d y . C o m p a r e the h a n d s , the a r m s , the l e g s , the length of the two s i d e s , how the two s i d e s make c o n t a c t w i t h the f l o o r . O b s e r v e w h e t h e r j u s t w o r k i n g m a i n l y w i t h the t h u m b o f your left h a n d h a s c o n s i d e r a b l y a l t e r e d the w h o l e o r g a n i z a t i o n of the body and the a w a r e n e s s of the body i m a g e . N o w , as you 1 ie, rap w i t h the left t h u m b m a n y t i m e s . Do it r h y t h m i c a l l y . Rap o n c e and then twice and then three times and then four t i m e s . Keep doing t h a t . Rap r h y t h m i c a l l y w i t h the left t h u m b . B r e a t h e f r e e l y . Rap rhythmically. T h e n c o m e b a c k up to a s i t t i n g p o s i t i o n .

M a k e a little hole w i t h

your

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right hand that the left thumb can go in and o u t o f . J u s t make a loose fist w i t h y o u r right hand and take the left t h u m b in and o u t of that h o l e . It is going in b e t w e e n the four c u r v e d f i n g e r s a n d the thumb of the right h a n d . As y o u do it, sense w h a t the left thumb f e e l s . T h e n , for a m o m e n t , s h i f t your focus and s e n s e w h a t the right hand is f e e l i n g . T h e n s h i f t the focus back and sense w h a t the left thumb is learning a b o u t the right hand as it s l i d e s in and o u t . T h e n focus instead on the s e n s a t i o n s being e x p e r i e n c e d by the thumb i t s e l f . O r i e n t y o u r a w a r e n e s s t o w a r d s l e a r n i n g a b o u t the t h u m b ' s f e e l i n g s instead of w h a t the t h u m b can learn a b o u t the right h a n d . Make the hole a little t i g h t e r , and then m a k e it a little l a r g e r . J u s t k e e p the left thumb m o v i n g in and out of it as y o u m a k e the hole as t i g h t or as large as you can d o , w h i l e still a l l o w i n g the t h u m b to both m o v e in and o u t and to p r e s e r v e some c o n t a c t w i t h the right h a n d . See w h a t p r e s s u r e feels best to the t h u m b , w h e n it is not o n l y not too t i g h t or too l o o s e , but is an o p t i m u m kind of r e l a t i o n s h i p . T h e n j u s t hold the thumb w i t h the right hand and s q u e e z e the left thumb g e n t l y a n u m b e r of t i m e s . T h e right hand j u s t g e n t l y s q u e e z e s the left t h u m b . Then use the right t h u m b and f o r e f i n g e r to shake the left thumb a g a i n . T a k e hold of it a r o u n d the left t h u m b nail and s h a k e it and try to m a k e the w h o l e thumb r i p p l e . A g a i n , let the w r i s t and the hand m o v e f r e e l y .

next the left sure

N e x t , use y o u r right hand to bring y o u r left thumb t o w a r d s the f i n g e r to it and take it away a g a i n . Keep o p e n i n g and c l o s i n g the gap b e t w e e n left thumb a n d the f i n g e r next to i t , using the right hand to m o v e the t h u m b . Just keep b r i n g i n g them t o g e t h e r and t a k i n g t h e m a p a r t . Be that y o u r b r e a t h i n g is f r e e . T h e n s t o p .

T a k e the f l e s h y p a r t of your right h a n d , the p a r t b e l o w the small f i n g e r , and insert it b e t w e e n the left thumb and the f i n g e r next to it. S l i d e the right hand back and f o r t h in that s p a c e . Come down to the right w r i s t and then c o n t i n u e a l o n g the a r m all the w a y to the e l b o w , so that the w h o l e a r m is s l i d i n g b a c k and f o r t h to the e l b o w b e t w e e n the f i n g e r s of the left h a n d . Let it slide as far up the arm as it will go and b a c k down a g a i n . Sense the left t h u m b p r i m a r i l y . T h e n put y o u r fist in the gap b e t w e e n the left thumb and t h e f i n g e r next to it. Rotate the fist f r o m side to side inside of that s p a c e . Just rotate the fist f r o m side to s i d e . Let it be a loose fist so that it i n t e r f e r e s n e i t h e r w i t h the b r e a t h i n g or the s e n s i n g . T h e n put y o u r t w o hands down o n the f l o o r a g a i n side by s i d e . Sense the left hand and the right o n e . C o m p a r e t h e m . T h e n g i v e your a t t e n t i o n back to the left h a n d . Push down a little w i t h y o u r left t h u m b . Just g e n t l y , p u s h down and m a k e it a r h y t h m i c p u s h i n g , doing it o n c e and twice and t h r e e t i m e s and four t i m e s . J u s t push the t h u m b d o w n . D o n o t do it too h a r d . Then, instead of d o i n g it up to o n l y four t i m e s , p u s h o n c e , then t w i c e , then three and four and f i v e t i m e s , then six t i m e s , then s e v e n and e i g h t and nine until you have g o t t e n to w h e r e you a r e p u s h i n g down ten t i m e s in a row w i t h your thumb.

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T h e n rest the hand on the f i n g e r tips and push down w i t h the v e r y tip of the t h u m b . T h e n do that r h y t h m i c a l l y , o n c e and t w i c e and three t i m e s and four times. T h e n a g a i n rest the left hand on the floor a l o n g s i d e the r i g h t . Compare the s e n s a t i o n s . T a k e n o t e o f the left a n d right w r i s t s and w h e t h e r one hand lies any f l a t t e r or c l o s e r , and w h e t h e r one s e e m s l i g h t e r or c l e a r e r in t h e body image. Now b r i n g y o u r hand up in front of you a g a i n . Put the tip o f the right thumb at t h e b a s e o f the l e f t . Push in and p r e s s down w i t h the right thumb so that the left thumb has to m o v e d o w n . T h e left thumb will m o v e t o w a r d s the c e n t e r o f the h a n d , w h i c h is d o w n . T h e n , w i t h y o u r right t h u m b , c o m e a r o u n d to the o u t s i d e of the left t h u m b and p u s h in and down so that you w o r k the t h u m b d o w n . Instead of m o v i n g it t o w a r d s the c e n t e r of the hand as y o u did b e f o r e , you m o v e it t o w a r d s the b o t t o m of the hand and t o w a r d s the w r i s t . U s e the right w r i s t and the lower part of the h a n d . Keep doing that gently. If you p o s i t i o n the right thumb c o r r e c t l y , you will not have any t r o u b l e m o v i n g the left o n e in that d i r e c t i o n . N o w , w i t h y o u r right t h u m b , p u s h a g a i n s t the back o f the left t h u m b at its b o t t o m . You p u s h in and pull down s o t h a t the thumb has to c o m e back a l i t t l e . T h e right thumb is at the b a s e of the left thumb on the o u t s i d e , and y o u p r e s s in and down w i t h the right t h u m b . T h a t p u l l s the left o n e b a c k . Then stop. N o w , j u s t put the left thumb in the c e n t e r of the p a l m of the right h a n d . Just let it rest a c r o s s t h e p a l m . U s e it to press a g a i n s t the right h a n d w i t h its full l e n g t h . It is the inside o f the left t h u m b w h i c h is p r e s s i n g a g a i n s t the palm of the right h a n d . All these l i g h t , easy p r e s s u r e s o n d i f f e r e n t p a r t s of the right hand a r e w h a t w e a r e d o i n g . Put the h a n d s on the floor a g a i n . M a k e a light fist w i t h the left h a n d . C l o s e the left thumb o v e r the o u t s i d e of that f i s t . J u s t keep o p e n i n g and c l o s i n g the left h a n d , m a k i n g a fist and e x e r t i n g a s l i g h t p r e s s u r e w i t h the left thumb on the o u t s i d e of the f i n g e r s that you c l o s e to m a k e the f i s t . O b s e r v e c l o s e l y that the i n s t r u c t i o n s to m a k e a fist will o f t e n tend to inhibit b r e a t h i n g . The fist is a s s o c i a t e d w i t h f i g h t i n g and m a k i n g any kind o f fist will u s u a l l y e n g e n d e r e n o u g h of a n e m o t i o n a l r e s p o n s e t h a t , if y o u w a t c h , you will see at least some i n h i b i t i o n of the b r e a t h i n g . Now s t o p . S h a k e o u t y o u r left h a n d . Shake it a few t i m e s and put it on your l e g . C a r e s s y o u r leg w i t h y o u r left h a n d , e s p e c i a l l y y o u r t h u m b , the inside of the t h u m b , the o u t s i d e of the t h u m b , the t o p , the b o t t o m , the tip of the t h u m b . Keep on r u b b i n g it a g a i n s t y o u r leg. Be s u r e that all o f the t h u m b gets to m a k e s o m e r e p e a t e d c o n t a c t s w i t h the l e g . Do the same thing w i t h the f l o o r . Rub the thumb all o v e r the floor and let it sense the f l o o r . Rub it very lightly and then w i t h a little m o r e p r e s s u r e . S o m e t i m e s o r i e n t y o u r s e l f t o w a r d s s e n s i n g the f l o o r and s o m e t i m e s t o w a r d s the s e n s a t i o n in the t h u m b i t s e l f .

-2 2 -

N o w take hold of y o u r right hand w i t h y o u r left one so that the four left f i n g e r s a r e on top o f the right h a n d . T h e left t h u m b can p r e s s a g a i n s t the p a l m of the right h a n d . Keep p r e s s i n g into the p a l m o f t h e right hand w i t h the left t h u m b in m a n y d i f f e r e n t p l a c e s . Press at the base o f the right t h u m b , the base of the n e x t f i n g e r and the n e x t f i n g e r and so o n . Press at the base o f e a c h f i n g e r o f t h e right hand s o t h a t it h a s t o move up and down as y o u p r e s s . T h e n j u s t s q u e e z e e a c h o f the f i n g e r s o f the right hand l i g h t l y , using the left t h u m b and f i n g e r s n e x t to i t . Keep your f o c u s on the t h u m b . Also s q u e e z e the right w r i s t w i t h the left h a n d , u s i n g e s p e c i a l l y the t h u m b . Keep on d o i n g t h a t , g o i n g all the w a y up the right arm to the e l b o w and the b i c e p s and the s h o u l d e r . T h e n c o m e d o w n . A l w a y s s q u e e z e l i g h t l y w i t h the left t h u m b .

Then

Do the s a m e w i t h your right l e g , using your lie down a n d rest a m i n u t e .

left f i n g e r and

thumb.

N o w rap on the floor w i t h your left h a n d . T h e n rap j u s t w i t h the t h u m b . M a k e it as light and q u i c k and a g i l e as you c a n . T h e n stop and rest a l i t t l e , just s e n s i n g the hand and the thumb c l e a r l y . Then see how q u i c k l y you can m a k e and r e l e a s e fists w i t h the left h a n d . E x e r t a little p r e s s u r e on the f i n g e r s w i t h the t h u m b . T h e n see if you can put the t h u m b b e t w e e n the m i d d l e f i n g e r and the f o r e f i n g e r . P u t it in t h e r e and t a k e it out several t i m e s . T h e n try p u t t i n g the t h u m b b e t w e e n the m i d d l e finger and the ring f i n g e r . Do that a few t i m e s . T h e n see if y o u can reach on over and put the t h u m b b e t w e e n the ring finger and the small f i n g e r . T h e n c o m e back to the space b e t w e e n the m i d d l e f i n g e r and the ring f i n g e r a n d then the s p a c e b e t w e e n the f o r e f i n g e r and the m i d d l e f i n g e r . Then m o v e the thumb t o w a r d s the palm of the hand and take it b a c k a g a i n . Sit up and rest a l i t t l e . M a k e several m o r e light f i s t s w i t h the left h a n d , s e n s i n g the c o n t a c t o f the thumb w i t h the h a n d . See how m a n y f i n g e r s you c a n lay it o v e r , w h e t h e r you c a n lay the t h u m b o v e r the o u t s i d e o f all the f i n g e r s . T h e n let the left hand rest on the f l o o r . Press down a few times w i t h the w h o l e h a n d . Just p r e s s l i g h t l y . T h e n p r e s s lightly w i t h j u s t the f i n g e r t i p s . T h e n bend your f i n g e r s so that your n a i l s a r e o n the f l o o r . P r e s s d o w n lightly w i t h the n a i l s , w i t h the f i n g e r s of the left h a n d . P r e s s d o w n and then s t r a i g h t e n the f i n g e r s . Press down and then bend them and s t r a i g h t e n them and bend t h e m and s t r a i g h t e n t h e m . Do it g e n t l y . T h e n press down the tips of the f i n g e r s a g a i n , and then the insides of the f i n g e r s near the t i p s . Do it very q u i c k l y . P r e s s and let g o , p r e s s and let g o . Do the s a m e thing w i t h the w h o l e h a n d . It is not a rapp i n g , j u s t a light p r e s s i n g w i t h the w h o l e h a n d . T h e hand r e m a i n s on the f l o o r . Y o u j u s t lightly p r e s s and take it a w a y . Leave the p a l m o n the f l o o r . D o not b r e a k the c o n t a c t . T h e n s h a k e t h e hand o u t a g a i n . Once a g a i n , take hold of the left t h u m b w i t h the right t h u m b and forefinger and s h a k e it. M a k e it r i p p l e . A l s o m o v e it in c i r c l e s , using the right thumb and f o r e f i n g e r to rotate the left thumb o n e w a y a n u m b e r o f t i m e s

- 23-

and then t h e o t h e r w a y . U s e v e r y light movements. T a k e it o v e r into the p a l m of the hand and take it a w a y . A n u m b e r of t i m e s , o p e n and c l o s e the space b e t w e e n the thumb and the f o r e f i n g e r . T h e n pull the left thumb o u t as long as it will c o m f o r t a b l y c o m e , and r o t a t e it at the same t i m e . Elongate it as m u c h as y o u can and rotate it a few times o n e w a y and a few times the other way. T h e n , one final t i m e , make light fists w i t h the left h a n d . Squeeze v e r y lightly w i t h the left t h u m b on the f l o o r . T h e n lie on your back w i t h your p a l m s down a t your s i d e s . Sense the left side and the right s i d e , e s p e c i a l l y the left hand a n d the right h a n d , the left w r i s t and the right w r i s t , the left e l b o w and the right e l b o w , the left s h o u l d e r blade and the right o n e , the left s i d e o f t h e f a c e and the right s i d e . Rap a few times w i t h the left h a n d . the hand a few t i m e s . S h a k e it q u i c k l y . Then stop.

Then rap j u s t w i t h the t h u m b . Shake T h e n sit up and k e e p doing t h a t .

Put the two hands on y o u r l e g s . See how the left hand and w r i s t feel a n d h o w the right hand and w r i s t f e e l . Rub the two h a n d s s i m u l t a n e o u s l y up and down your legs. C o m p a r e the t o u c h i n g . R e m e m b e r a l w a y s how they normally f e e l . W i t h s o m e , the right hand is o r d i n a r i l y m u c h m o r e s e n s i t i v e . Now s h a k e the hands t o g e t h e r . S h a k e them a s f a s t a s they will g o . See w h i c h blurs and a l m o s t d i s a p p e a r s . S h a k e them both as fast as you c a n . Compare the speed as d e t e r m i n e d by w h i c h blurs the m o s t . Now s t o p . Get up and w a l k a r o u n d a little b i t . S h a k e the hand o u t a few m o r e t i m e s . See if you n o t i c e if the left thumb m o v e s any d i f f e r e n t l y than it did in the b e g i n n i n g . Be a w a r e a l s o o f the w r i s t s .

- 24-

4) IMPROVING W A L K I N G BY W O R K I N G M A I N L Y W I T H T H E BIG T O E *

Sit d o w n . Put y o u r feet o u t in f r o n t of you w h e r e you can o b s e r v e t h e m . Put the f e e t flat on the f l o o r so that they a r e s t a n d i n g . Raise the big toe of the right foot if you c a n . See h o w far it comes u p , leaving the o t h e r t o e s d o w n . T h e n raise the big toe of the left f o o t , h o w e v e r high it g o e s e a s i l y w i t h o u t s t r a i n . See if the e f f o r t to m o v e o n e big toe c a u s e s m o v e m e n t in the o t h e r f o o t . A r r a n g e y o u r s e l f so that you c a n take hold of the left big toe e a s i l y w i t h your right h a n d . R o t a t e it in a c i r c l e . Pull out on it g e n t l y as you rotate it. Be c a r e f u l that you n e i t h e r tear the skin o f your foot as y o u do t h e s e t h i n g s nor d a m a g e the toe by p u l l i n g or p u s h i n g too h a r d . Go in one d i r e c t i o n for a w h i l e w i t h y o u r toe and then in the other direction. T h e n , instead of doing t h a t , j u s t take it b a c k and forth h o w e v e r far it g o e s e a s i l y . You can a l s o do it by h o l d i n g both the big toe and the o n e n e x t to it. M o v e o n e f o r w a r d as the o t h e r goes b a c k in a s c i s s o r s like m o v e m e n t . Focus your s e n s i n g , as a l w a y s , on the k i n e s t h e t i c s e n s a t i o n s of m o v e m e n t , the t a c t i l e s e n s a t i o n s of t o u c h . Know e x a c t l y w h a t the toes a r e d o i n g , w h e r e they a r e in s p a c e in r e l a t i o n to e a c h o t h e r . T h e n take the big toe as far t o w a r d s the little toe o f its foot a s y o u c a n , so that the big toe c r o s s e s the tops of the o t h e r t o e s . Then take the big toe as far t o w a r d s the little o n e as y o u c a n , m o v i n g it a c r o s s the b o t t o m s of the o t h e r t o e s . Keep doing t h a t . M o v e it as if you w o u l d like to touch the small t o e . In f a c t , as you try to bring the big toe o v e r t o w a r d s the small one f r o m the top and then f r o m b e l o w , a l s o m o v e the small toe t o w a r d s the big o n e . Do them a l t e r n a t e l y , above and b e l o w . T h e n , should you b e c o m e c o n v i n c e d t h a t the big toe and the little toe a r e n e v e r g o i n g to m e e t , try the toe next to the little toe a n d s e e if you can m a k e c o n t a c t . See if they will m e e t both a b o v e and b e l o w . T h e n j u s t e n c l o s e the big toe w i t h the f i n g e r s o f the right h a n d . Move the hand up and d o w n o v e r the e n c i r c l e d t o e , using the toe to s e n s e the hand for a w h i l e , and then the hand to sense the toe for a w h i l e . You e n c l o s e the w h o l e toe w i t h the h a n d , and the hand g o e s up and down on the t o e . T h e n stop. Sit and o b s e r v e the foot as it is placed on the floor in front of y o u . N o w raise the left big toe a n u m b e r of t i m e s . T h e n raise the a d j o i n ing t o e s , leaving the big one d o w n . T h e n a l t e r n a t e l y raise the big o n e and the o t h e r f o u r . It will w o r k better if the foot is o n a floor or o t h e r hard s u r f a c e rather than on a m a t . Now t r y , i n s t e a d , to take the big toe o u t to the s i d e . W i d e n the gap b e t w e e n the big toe and the o t h e r f o u r . See w h e t h e r if the s p a c e w i d e n s , it is b e c a u s e y o u a r e really taking the big toe a w a y or b e c a u s e

* T e a c h i n g time:

45 to 60 m i n u t e s

- 25-

the o t h e r four toes are m o v i n g a w a y . Hold the four toes down w i t h your f i n g e r s and try m o v i n g the big o n e off to the side a w a y f r o m t h e m . Do it w i t h o u t h o l d i n g your b r e a t h . T h e b i g toe m o v e s o u t to the side a l o n g the f l o o r , s l i d i n g o u t if you can do it. W i d e n the s p a c e b e t w e e n t h e m . Take y o u r f i n g e r s and do it. Just slide the b i g toe o u t and see how far it will go e a s i l y w i t h o u t a n y pain or risk of c r a c k i n g the f l e s h . How big a s p a c e is it p o s s i b l e for y o u to h a v e b e t w e e n the big toe and the a d j o i n i n g o n e s w i t h o u t doing a n y d a m a g e to the toe? W h e r e v e r you c a n m o v e it w i t h your f i n g e r s , there y o u h a v e the c a p a c i t y to m o v e it a l s o w i t h your brain and by u s i n g the m u s c l e s in the foot and t o e s . T h e n , having e s t a b l i s h e d how far it will g o , s e e if y o u c a n m o v e it w i t h o u t u s i n g the f i n g e r s at a l l . At the same time see if your o t h e r foot moves. Place the two feet s i d e by s i d e . Try m o v i n g the left big toe o u t and a w a y from the o t h e r s . Y o u c a n a l s o try m o v i n g the o t h e r t o e s a w a y f r o m the big t o e . B r e a t h e f r e e l y . T h e n s e e if you c a n d o it w i t h o u t m o v i n g the right t o e s . In m a n y c a s e s , this e f f o r t r e s u l t s in c o n t a c t being m a d e w i t h m o r e p r i m i t i v e a s p e c t s o f the n e r v o u s s y s t e m . T h e feet a r e then not c l e a r l y d i f f e r e n t i a t e d , so that o n e f o o t m o v e s w h e n the o t h e r foot d o e s . It is s o m e t i m e s v e r y hard to k e e p o n e foot and its toes c o m p l e t e l y u n m o v i n g w h i l e the o t h e r foot m o v e s . For some p e o p l e the p r i m i t i v e m o v e m e n t s a r e v e r y g r o s s , w h i l e w i t h o t h e r s these a r e m o r e s u b t l e . But in a l m o s t all c a s e s c e r t a i n k i n d s of e f f o r t s to m o v e the left foot e l i c i t s p o n t a n e o u s involuntary m o v e m e n t s in the right f o o t . Now s t o p . Pick up the left foot w i t h y o u r right h a n d . Put y o u r s e l f in some c o m f o r t a b l e p o s i t i o n to do s o . Then f r o m b e l o w , w i t h the left small f i n g e r , run it in and o u t b e t w e e n the left big toe and the a d j o i n i n g four t o e s . Do it a p p r o x i m a t e l y t w e n t y - f i v e t i m e s . Then d o i t , a l w a y s a b o u t t w e n t y five t i m e s , f i r s t w i t h the next f i n g e r , a n d then w i t h the m i d d l e o n e . Then run the thumb in a n d o u t . C o n t i n u e on d o w n the t h u m b until you put the w r i s t t h r o u g h . Y o u can s h i f t hands and do it from b o t h a b o v e and b e l o w . See w h i c h is e a s i e s t . Go a s far d o w n a s you c a n , all the w a y to the e l b o w and e v e n f u r t h e r if you a r e a b l e to do it. As you c o n t i n u e to slide the w r i s t , or the h a n d , in a n d o u t of that s p a c e , see if you c a n slide the w h o l e a r m up and down b e t w e e n the big toe and the a d j o i n i n g o n e s . W i t h some p e o p l e it may be e a s i e r from a b o v e w i t h one a r m a n d w i t h some from b e l o w w i t h the o t h e r . Keep d o i n g it and think of t h e space e x p a n d i n g . T a k e c a r e not to c r a c k the skin or force it prem a t u r e l y . Let a s m u c h of the a r m go b e t w e e n the toes a s p o s s i b l e . Come all the w a y down to the w r i s t a n d then back up t o w a r d s the e l b o w , h o w e v e r far you can g o . Y o u must h a v e a bare a r m if y o u w a n t to d o it r i g h t . Also, you m u s t insert the a r m r e p e a t e d l y b e t w e e n e a c h of the t o e s . T h e n lie d o w n for a moment o n y o u r back and r e s t . Let your a r m s lie e x t e n d e d w i t h the p a l m s down and o b s e r v e the s e n s a t i o n s of length on the two sides. See w h e t h e r your left leg feels longer than your right o n e . T h e n put t h e m t o g e t h e r a n d s e e if that i m p r e s s i o n is c o r r e c t . Then sit u p .

- 26-

Let y o u r feet stand side b y side o n the f l o o r . Bring the t w o big toes up a s high a s you can b r i n g t h e m ; then p u t them d o w n . Do t h a t several t i m e s , j u s t as high as they will g o . See w h e t h e r the left one now g o e s h i g h e r than the r i g h t , or r e l a t i v e l y s o , if you k n o w h o w they w e r e in r e l a t i o n to each o t h e r in the b e g i n n i n g . If they w e r e a b o u t the s a m e , the left big toe should n o w go c o n s i d e r a b l y h i g h e r than the right o n e . Now s t o p . Just slide the left big toe a l o n g the f l o o r so that you sense the b o t t o m of it. Slide it forward and b a c k w a r d a l o n g the f l o o r . Alternately pay a t t e n t i o n to w h a t y o u can learn a b o u t the f l o o r and then for a w h i l e to the s e n s a t i o n s in the toe i t s e l f . Go back and forth from o r i e n t a t i o n s that a r e p r i m a r i l y t o w a r d s the external w o r l d on the o n e hand a n d y o u r o w n subj e c t i v i t y on t h e o t h e r h a n d . It is a l w a y s , o f c o u r s e , your e x p e r i e n c e . Some p h y s i c i s t said that c o n s c i o u s n e s s is a l w a y s s i n g u l a r and n e v e r p l u r a l . When I w a s t e a c h i n g p h i l o s o p h y w e c a l l e d that S o l o p s i s m . T h e f u r t h e r you g o , h o w e v e r , in s t u d y i n g t h e brain and i n t r o s p e c t i n g c o n s c i o u s n e s s , the m o r e d i f f i c u l t it is to a v o i d that p o s i t i o n , so long as y o u do not insist upon the e x c l u s i v e n e s s just of your o w n b e i n g . T h e idea of a truly s h a r e d c o n s c i o u s n e s s or a really s h a r e d w o r l d is v e r y d i f f i c u l t to m a i n t a i n . By that w e w o u l d mean t h a t the p e r c e p t i o n s are all a l i k e . But e a c h brain s y m b o l i c a l l y c o d e s a r e a l i t y of its o w n , and d i f f e r e n c e s b e t w e e n individual " r e a l i t i e s " c a n be e x t r e m e . C o n t i n u e s l i d i n g the left big toe b a c k a n d f o r t h . Pay a t t e n t i o n to those two o r i e n t a t i o n s . E m p h a s i z e self and n o t - s e l f . T h e n , instead of g o i n g back and f o r t h , c i r c l e w i t h the big toe on the f l o o r . T h e n o n c e a g a i n t a k e the left big toe in o n e hand and let the o t h e r h a n d t a k e hold of the o t h e r four toes and m o v e them in o p p o s i t e d i r e c t i o n s . A l s o bring the four toes t o w a r d s the big toe a n d the big toe t o w a r d s the four. Go u n d e r n e a t h w i t h the big t o e o n e time and on top the n e x t t i m e . A l t e r n a t e it. Bring all of the four toes in the d i r e c t i o n of the big toe and the big toe in the d i r e c t i o n of the f o u r . K e e p it a s i d e - t o - s i d e m o v e ment as much as you c a n . Be sure that w h e n you take the toes a w a y y o u take t h e m as far as they will go in both d i r e c t i o n s w i t h o u t s t r e t c h i n g or t e a r i n g . In o t h e r w o r d s , the big toe and the small toe a p p r o a c h e a c h o t h e r as c l o s e l y as p o s s i b l e from b o t h a b o v e and b e l o w . T h e n they m o v e as far a p a r t f r o m e a c h o t h e r as it is p o s s i b l e f o r t h e m to get b y y o u r h a n d s taking them in that d i r e c t i o n . Do it a li t tie m o r e q u i c k l y . The four toes g o f o r w a r d as the big toe g o e s b a c k . Flex o n e as y o u e x t e n d the o t h e r . T h e n c o n t i n u e to do i t , but treat the big t o e and the a d j o i n i n g o n e as a unit and the o t h e r three as a different u n i t . T h e n s t o p . Make some c i r c l e s w i t h the left big t o e , using y o u r right hand to do it. Move it in a c i r c u l a r p o s i t i o n c l o c k w i s e and then c o u n t e r c l o c k w i s e . M a k e the largest a n d m o s t p e r f e c t c i r c l e s t h a t you a r e able to m a k e . Then, w h e n you h a v e e x p e r i e n c e d a larger n u m b e r of c i r c l e s , see if you a r e a b l e to m a k e a c i r c l e w i t h the big toe by i t s e l f . It is all right to hold the

- 27-

o t h e r toes

if you t h i n k t h a t will

help y o u .

If you w e r e a n o r a n g u t a n o r a c h i m p a n z e e a n d c o u l d g r a s p the c o n c e p t , it w o u l d be e a s y for y o u to do i t , e v e n c i r c l i n g in both d i r e c t i o n s . The m u s c u l a t u r e of the human f o o t is c e r t a i n l y n o t as well c o n s t r u c t e d for that as a r e the feet of some p r i m a t e s w h o s e feet a r e c l o s e to the h u m a n , but still have that kind o f f l e x i b i l i t y a n d c a p a c i t y to m o v e t h a t human b e i n g s o n c e p o s s e s s e d and m a k e r e g u l a r use o f . It is i n t e r e s t i n g t h a t the foot of the h u m a n baby is a lot like the c h i m p a n z e e ' s in m a n y r e s p e c t s . T h e n later is b e c o m e s m o r e o f a human f o o t . S i m i l a r l y , the foot o f a g o r i l l a is v e r y m u c h like the foot o f s m a l l e r p r i m a t e s w h e n it is a b a b y , but then b e c a u s e o f its g r e a t w e i g h t it has to c o m e d o w n out o f the t r e e s a n d move on the g r o u n d , a n d the foot gets less f l e x i b l e a n d m o r e like a human f o o t . It has to m a k e s o m e w h a t the same a d a p t a t i o n w i t h i n the span of a single 1 i f e t i m e that human b e i n g s m a d e over v a s t spans of t i m e . Of c o u r s e , it makes it much less w e l l , b u t it is g e n e r a l l y the same p r o c e s s . A n y w a y , see if you c a n m a k e c i r c l e s w i t h the t o e . S i n c e it is so e a s y to m o v e it in a c i r c u l a r m o v e m e n t w i t h the f i n g e r s , q u i t e p o s s i b l y it can be d o n e w i t h o u t using the f i n g e r s . B u t is it p o s s i b l e in both d i r e c t i o n s ? Now s t o p a n d put the foot down on the f l o o r a g a i n . Run y o u r f i n g e r s a l o n g the inside a n d t h e o u t s i d e o f the left big t o e . S e n s e the toe very c l e a r l y . You can do it w i t h t h r e e f i n g e r s so that o n e a l s o goes o v e r the top of the t o e . O n e is on e a c h side and o n e is on the t o p , s l i d i n g them b a c k and f o r t h . Now o n c e a g a i n s i m p l y raise the toe up high a n d put it d o w n , h o w e v e r high it will go w i t h o u t s t r a i n . See if it will go a l m o s t s t r a i g h t u p , h o w e v e r high you can p o i n t it t o w a r d s the c e i l i n g . Keep the o t h e r toes down . T h e n j u s t rap w i t h the big toe a n u m b e r of t i m e s . T h e n leave the big toe down and rap w i t h the o t h e r four t o e s . Then a l t e r n a t e l y rap w i t h the big toe and the o t h e r f o u r . See how q u i c k l y you can do it. B r e a t h e f r e e l y . See if you can m a k e it a really q u i c k , a g i l e m o v e m e n t , the four c o m i n g up as the big o n e goes d o w n and the four g o i n g down as the big o n e c o m e s u p . Then stop. Lie down a m o m e n t . S e n s e y o u r f e e t . Sense the left foot and the right f o o t . See w h e r e the g r e a t e s t c l a r i t y is in the b o d y i m a g e , in the t o e s , and in the f e e t . Do y o u sense the toes o f the left foot w i t h equal c l a r i t y or d o you s e n s e some of them b e t t e r than o t h e r s ? A r e any of the three m i d d l e toes of that foot included in w h a t you s e n s e ? P e r h a p s you sense some of the m i d d l e toes but not o t h e r s . S e e if you sense the t o e s of the left f o o t as well as the rest of the f o o t . A l s o c o m p a r e it to how you sense the right f o o t , and c o m p a r e the f e e l i n g s of length on the t w o s i d e s . T h e n s l o w l y roll t o o n e side a n d get u p , w i t h o u t b r i n g i n g the head up f i r s t . W a l k a r o u n d , and k e e p w a l k i n g .

See w h a t you n o t i c e now a b o u t w h a t

the

- 28-

toes o f the left foot are d o i n g w h e n you w a l k , a n d w h a t the toes o f the right foot are d o i n g . See if the toes o f the left foot a r e m u c h more involved in the w a l k i n g than the toes of the right foot a r e . Do they push u p and a s s i s t the w a l k i n g as the toes a l w a y s s h o u l d ? E v e r y o n e s h o u l d now be a w a r e that the toes of the right foot do not g i v e the same help to the foot that the toes of the left foot d o . W a l k a n d really g e t a c l e a r idea o f w h a t y o u r n e r v o u s s y s t e m a b s o r b e d , that lesson of e x p e r i e n c i n g a much b e t t e r e x a m p l e of w h a t the toes should do w h e n you w a l k and how they can h e l p . It g i v e s a s p r i n g i n e s s to the foot and to the w a l k i n g when the toes have b e c o m e m o r e f u n c t i o n a l . Next time you can w o r k on the right big t o e , and to some e x t e n t on the o t h e r toes of the right f o o t , so that it has the p r i m a r y e x p e r i e n c e of p a r t i c i p a t i n g in the w a l k i n g m u c h m o r e as it s h o u l d . A l s o it will be m u c h c l e a r e r in the body i m a g e . N o t e a l s o the increased i n v o l v e m e n t of the w h o l e f o o t , w h i c h m e a n s that you c o m e up more o n t o the toes as the foot leaves the floor. W h e n the w a l k i n g is as it s h o u l d b e , the heel c o m e s down and rolls o v e r the b o t t o m of the f o o t , w h i c h is f l e x i b l e , and o n t o the ball of the f o o t . T h e n you c o m e up o n t o the b o t t o m s of the t o e s , and then o n t o the tips of the t o e s . T h e last thing to leave the floor is the tip o f the big toe o r , if you have a " G r e c i a n " toe (the o n e next to the big toe is l o n g e r ) , the tip of that o n e will leave l a s t . The tip of the longest toe will be the last thing to l e a v e . Every part of the foot will make some c o n t r i b u t i o n to the w a l k i n g . N o t h i n g will be left out or e x c l u d e d . W h e n all p a r t s m a k e their p r o p e r f u n c t i o n a l c o n t r i b u t i o n , then you are likely to h a v e a hea1 thy f o o t .

- 29-

5) F R E E D O M T H R O U G H A W A R E N E S S :

A PRACTICAL DEMONSTRATION

*

T h e f o l l o w i n g e x e r c i s e d e m o n s t r a t e s in a p r a c t i c a l way the i m p o r t a n c e of a w a r e n e s s for f r e e d o m . The p o w e r of f o c u s e d a w a r e n e s s will be used to a l t e r the s e l f - p e r c e p t i o n , the o r g a n i z a t i o n , and the f u n c t i o n i n g of the b o d y , m a k i n g it more f r e e . As u s u a l , a c o n s i d e r a b l e n u m b e r of m o v e m e n t s will b e p e r f o r m e d , and e a c h m o v e m e n t should be r e p e a t e d a b o u t t w e n t y - f i v e t i m e s . As far as p o s s i b l e , the m o v e m e n t s will be s i m u l t a n e o u s and identical for both sides of the b o d y . As far a s p o s s i b l e , a w a r e n e s s will be the o n l y v a r i a b l e w i t h w h i c h w e w o r k . T h i s m e a n s t h a t w h i l e the right and left s i d e s o f the body e x e c u t e identical m o v e m e n t s , a w a r e n e s s will be f o c u s e d on o n e side o n l y . The e x e r c i s e s h o u l d p r o v i d e an e f f e c t i v e d e m o n s t r a t i o n for e v e r y o n e , but the s t r e n g t h of the e f f e c t s e x p e r i e n c e d will d e p e n d to some e x t e n t u p o n how well the individual c o n c e n t r a t e s or m a i n t a i n s the f o c u s of a t t e n t i o n . T h e g r e a t e s t c h a n g e s w i l l , of c o u r s e , be e x p e r i e n c e d by those w h o a r e a b l e to m a i n t a i n u n w a v e r i n g c o n c e n t r a t i o n on the m o v e m e n t s a n d s e n s a t i o n s as d i r e c t e d . N o w , b e f o r e b e g i n n i n g , it is i m p o r t a n t to c a r e f u l l y o b s e r v e your selfp e r c e p t i o n s , y o u r m u s c u l o s k e l e t a l o r g a n i z a t i o n , a n d y o u r f u n c t i o n i n g as t h e y a r e at p r e s e n t . To begin w i t h , lie on y o u r b a c k w i t h y o u r h a n d s at y o u r s i d e s , p a l m s d o w n , a n d scan y o u r b o d y . C o m p a r e y o u r a w a r e n e s s of the p a r t s of y o u r b o d y . C o m p a r e the right foot w i t h the l e f t , the right s h o u l d e r w i t h the l e f t , and so o n . N o t e how y o u r body l i e s , and c o m p a r e the two s i d e s . C o m p a r e the c o n t a c t w i t h the f l o o r . Flex a n d e x t e n d the v a r i o u s j o i n t s , c o n t i n u i n g to make c o m p a r i s o n s . N o t e how you b r e a t h e t h r o u g h your two n o s t r i l s , c o m p a r i n g , and w h a t e v e r e l s e you sense as you b r e a t h e . C l o s e y o u r e y e s for a m o m e n t . Leave the right o n e c l o s e d a n d open the l e f t , n o t i c i n g how c l e a r l y y o u s e e the c e i l i n g a b o v e y o u , and y o u r p e r c e p t i o n of the light in the r o o m . Now open both e y e s for a m o m e n t . T h e n c l o s e the left e y e , o p e n the r i g h t , and a g a i n n o t e the c l a r i t y and l i g h t . Compare w h a t you saw w i t h each e y e . Rap w i t h both h a n d s on the f l o o r and l i s t e n . Be s u r e the r a p p i n g is equal and try to d e t e c t if you hear the r a p p i n g e q u a l l y . In any o t h e r w a y s y o u can t h i n k o f , c o m p a r e the two s i d e s of your b o d y . And n o w lie q u i e t l y w i t h palms d o w n a t y o u r s i d e s . In a m o m e n t w e will begin the e x p e r i m e n t . T h e d e m o n s t r a t i o n s h o u l d succeed to s o m e e x t e n t in e v e r y c a s e . However, the m o s t d r a m a t i c r e s u l t s will o c c u r w h e n the c o n c e n t r a t i o n is g o o d ; that is, w h e n c l o s e a t t e n t i o n is paid to the d e s i g n a t e d m o v e m e n t s and s e n s a t i o n s , and the mind a n d the s e n s i n g do n o t w a n d e r . In o t h e r w o r d s , the q u a l i t y of the a w a r e n e s s will d e t e r m i n e the d e g r e e of the c h a n g e s in selfperception, bodily organization and functioning. Now take hold of your e l b o w s w i t h your hands and m o v e your a r m s from left to r i g h t . T h r o u g h o u t the e x e r c i s e you will pay a t t e n t i o n o n l y to the

* T e a c h i n g time:

a b o u t 60 m i n u t e s

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d e s i g n a t e d m o v e m e n t s and s e n s a t i o n s on t h e left s i d e of y o u r b o d y . As y o u see h e r e , the left side and the right side are e x e c u t i n g v i r t u a l l y identical m o v e m e n t s , but f o c u s on the left s i d e o n l y u n l e s s told o t h e r w i s e . Pay a t t e n t i o n now to the m o v e m e n t in y o u r left s h o u l d e r j o i n t . left to r i g h t , f o c u s i n g on the m o v e m e n t in the left s h o u l d e r j o i n t . that there is a l s o m o v e m e n t in the left e l b o w j o i n t . C l o s e l y a t t e n d that m o v e m e n t and the m o v e m e n t in the s h o u l d e r as w e l l . If y o u r head to g o w i t h the m o v e m e n t , a l l o w it t o d o s o , b u t let your a w a r e n e s s be e x c l u s i v e l y as p o s s i b l e o f the left side o f y o u r head and n e c k .

Go Notice to wants as

W i t h t h a t , you c o n t i n u e t o n o t e the m o v e m e n t s a n d s e n s a t i o n s in the left s h o u l d e r j o i n t and the e l b o w . Be sure that the m o v e m e n t s y o u p e r f o r m a r e identical on the two s i d e s . T h i s may b e c o m e i n c r e a s i n g l y d i f f i c u l t as t h e r e o c c u r s a d i f f e r e n t i a t i o n b e t w e e n the f u n c t i o n a l c a p a c i t i e s of the two s i d e s . But try to keep the m o v e m e n t the s a m e . N o w rest w i t h y o u r a r m s at y o u r s i d e s and w i t h the palms d o w n . Allow y o u r left and right h a n d s to m o v e down and then u p , the p a l m s r e m a i n i n g on the f l o o r . The h a n d s slide down toward y o u r f e e t and then s l i d e b a c k up toward your w a i s t . T h e h a n d s and the a r m s a r e e x t e n d e d so that the m o v e m e n t i s , o f c o u r s e , in y o u r s h o u l d e r j o i n t s . Pay a t t e n t i o n to the m o v e m e n t in the left s h o u l d e r a n d the left h a n d . Y o u do e x a c t l y the same m o v e m e n t on the right side but pay a t t e n t i o n o n l y to the m o v e m e n t on the left s i d e . Now s t o p and c o m p a r e for a m o m e n t how you s e n s e y o u r left hand a s c o m p a r e d t o y o u r r i g h t , y o u r left s h o u l d e r as c o m p a r e d to y o u r r i g h t , the length of the two a r m s . N o w bend y o u r legs and let the legs sink to the left and then to the right b u t , as y o u do t h a t , f o c u s y o u r a w a r e n e s s on the left l e g . Notice that w h e n you go left you go o n t o the o u t s i d e of y o u r left f o o t . When y o u c o m e r i g h t , first the sole of the left foot rests on the f l o o r , a n d a s y o u c o n t i n u e you g o o n t o t h e inside of y o u r left f o o t . C o n t i n u e the m o v e m e n t back and f o r t h , n o t i n g how you m o v e from the o u t s i d e , p a s t the sole to the inside of your left f o o t . Sense a l s o y o u r left knee as it d e s c r i b e s an a r c t h r o u g h s p a c e . Sense the m o v e m e n t in the left hip and note a n y t e n d e n c y to move f a r t h e r to the left than to the r i g h t . If y o u r m o v e m e n t has b e c o m e m o r e e x t e n s i v e to the l e f t , e q u a l i z e it so that a w a r e n e s s truly remains the o n l y v a r i a b l e . T r y o b s e r v i n g s i m u l t a n e o u s l y the s e n s a t i o n s e x p e r i e n c e d by the left f o o t , the knee and t h e h i p . T r y s e n s i n g the e n t i r e left leg as you m o v e side to s i d e . Is t h e r e a n y d i f f e r e n c e b e t w e e n the m o v e m e n t to the left a n d t h e m o v e m e n t to t h e right that now c a n n o t b e e a s i l y a d j u s t e d and e q u a l ized? T h e n s t o p .

lie.

Extend y o u r l e g s , and r e s t , o b s e r v i n g how the left leg and right leg Note the c o n t a c t e a c h m a k e s w i t h the f l o o r . Note the f e e l i n g s of

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length

in the two l e g s , and the c l a r i t y w i t h w h i c h you p e r c e i v e

them.

Now let b o t h o f y o u r feet move to the o u t s i d e and then bring them b a c k to their s t a r t i n g p o i n t . But pay a t t e n t i o n o n l y to the left f o o t . N o t e that this m o v e m e n t is a r o t a t i o n o u t , by the hip j o i n t s , and f o c u s y o u r a w a r e n e s s on the left hip j o i n t . D e l i b e r a t e l y initiate the m o v e m e n t f r o m t h e r e , r a t h e r than t h i n k i n g a b o u t m o v i n g the left foot to the l e f t . Both legs c o n t i n u e to m o v e but y o u r a t t e n t i o n r e m a i n s w i t h the left l e g , the m o v e m e n t in the h i p , a n d how the e n t i r e leg and foot f e e l . Is the m o v e m e n t more c o m f o r t a b l e on one side than on the o t h e r ? Is t h e r e any d i s c o m f o r t o n o n e s i d e that the o t h e r side d o e s n o t e x p e r i e n c e ? Again p a u s e a n d r e s t , f o c u s i n g v e r y l a r g e l y on the left s i d e , though b r i e f l y n o t i n g w a y s in w h i c h it may d i f f e r f r o m the right s i d e . N o t i c e in w h a t d i r e c t i o n y o u r e y e s now a r e l o o k i n g . Does y o u r head lie on its back so that y o u f a c e d i r e c t l y u p w a r d , or d o e s it incline s o m e w h a t to o n e s i d e ? Now bend y o u r legs o n c e a g a i n s o they stand on the s o l e s o f t h e f e e t . Extend y o u r a r m s a b o v e y o u t o w a r d s the c e i l i n g and c l a s p your h a n d s . Take y o u r a r m s o v e r to the l e f t , a l l o w i n g the left w r i s t to bend as you d o so but k e e p i n g the rest o f the a r m e x t e n d e d . T h e n go over to the r i g h t , k e e p i n g the a r m e x t e n d e d but b e n d i n g the right w r i s t . H o w e v e r , m a i n t a i n y o u r a t t e n t i o n on y o u r left a r m and the m o v e m e n t in the left w r i s t as y o u do t h a t . Pay a t t e n t i o n o n l y to the left a r m , to the left side of your head and y o u r neck if they join in the m o v e m e n t . A n d be sure that the m o v e m e n t is e q u a l l y e x t e n s i v e o n b o t h sides and o t h e r w i s e the same to the e x t e n t that is p o s s i b l e . Now s t o p , a n d a l l o w y o u r palms t o r e s t on your c h e s t . T h e n bring the a r m s a n d e l b o w s down toward y o u r s i d e s , and raise t h e m back to s h o u l d e r h e i g h t . C o n t i n u e doing t h a t , o b s e r v i n g the m o v e m e n t in the left s h o u l d e r and a r m . M a k e c i r c l e s w i t h the e l b o w s , s e n s i n g w h a t you d o o n the left s i d e . C i r c l e c l o c k w i s e and c o u n t e r c l o c k w i s e . And then s t o p , leaving the hands on the c h e s t and the u p p e r a r m s at s h o u l d e r h e i g h t . A n d j u s t lift the u p p e r a r m s up and down in a f l a p p i n g m o v e m e n t , paying a t t e n t i o n , o f c o u r s e , to the m o v e m e n t and the s e n s a t i o n s on the left s i d e . Now rest w i t h y o u r hands d o w n at y o u r s i d e s , palms d o w n . N o t e how the left s i d e is lying a n d then b r i e f l y the right s i d e . Rap w i t h the backs of y o u r knees on the f l o o r , and focus on the b e n d i n g of the left knee and its c o n t a c t w i t h the f l o o r . Stop that and raise your hands t o w a r d s the c e i l i n g , a r m s e x t e n d e d , b u t w r i s t s limp and hands a n d f i n g e r s d a n g l i n g . A n d rap w i t h t h e b a c k s of the s h o u l d e r s o n the f l o o r , noting w h a t it feels like in t h e left s h o u l d e r , a n d the left s h o u l d e r ' s c o n t a c t w i t h the f l o o r . A n d put the a r m s d o w n . B r e a t h e in and o u t and focus y o u r a t t e n t i o n on the b r e a t h i n g in the left n o s t r i l . When you have focused on the left nostril you s h o u l d be a b l e

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to feel the c h e s t e x p a n d i n g on the left s i d e , as the lung on the left s i d e i n f l a t e s . A l s o s e n s e w h a t h a p p e n s o n your left s i d e w i t h the e x h a l a tion. Inhale and e x h a l e , f o c u s i n g o n the p a s s a g e o f the air o n the left s i d e and any and all m o v e m e n t on the left side involved in the b r e a t h i n g . Is t h e r e m o v e m e n t in your left s h o u l d e r w h e n you inhale a n d e x h a l e ? How m u c h of your back on the left side is involved? As y o u e x h a l e and inhale s l o w l y , look u p w i t h your e y e s w h e n y o u inhale and look down w i t h y o u r e y e s as you e x h a l e , leaving t h e e y e s c l o s e d and p a y i n g a t t e n t i o n o n l y to t h e movement and s e n s a t i o n in the left e y e . N o w rap w i t h both hands lightly on the f l o o r . Pay a t t e n t i o n to the f e e l i n g s in the left h a n d . But as y o u do t h a t , n o t i c e w h e t h e r you hear e q u a l l y the s o u n d s made by the two h a n d s . Or d o you hear m o r e o f the sound o f o n e hand r a p p i n g ? A n d w h a t h a p p e n s if y o u d e l i b e r a t e l y d e c i d e to hear better on the left side? Now s t o p the rapping and s l o w l y o p e n y o u r r i g h t e y e and look at c e i l i n g . O b s e r v e w h a t y o u see and a l s o o b s e r v e how m u c h light t h e r e t o be in the r o o m . Then c l o s e the e y e .

the seems

S l o w l y o p e n the left o n e . Look at the c e i l i n g . Note how c l e a r l y you are able to see it, and how m u c h light t h e r e a p p e a r s to be in the r o o m . Try it w i t h the right e y e a g a i n , c l o s i n g the l e f t . T h e n c l o s e the right one and look w i t h t h e left a g a i n . And do it several t i m e s . Is t h e r e any d i f f e r e n c e in the c l a r i t y of v i s i o n and in the a m o u n t of light p e r c e i v e d by the two e y e s ? C o m p a r e this w i t h the c o m p a r i s o n y o u m a d e at the b e g i n n i n g . Now for a m o m e n t take your two hands a n d m a k e them into f i s t s . Roll t h e m o u t w a r d and bring them b a c k , f o c u s i n g on the m o v e m e n t in the left a r m . And d o the same thing w i t h the l e g s . R o t a t e the feet to the o u t s i d e and bring t h e m b a c k , f o c u s i n g on the left s i d e . And rotate the hip j o i n t s and the s h o u l d e r j o i n t s to do i t , s i m u l t a n e o u s l y f o c u s i n g on r o t a t i o n s in the left hip j o i n t and the left s h o u l d e r j o i n t . T h e n s t o p . F i n a l l y bend your legs so that the feet a r e s t a n d i n g on the f l o o r . And a few t i m e s take the legs left and r i g h t , p a y i n g a t t e n t i o n to the m o v e ment in the left l e g , foot and hip j o i n t . Is there any d i f f e r e n c e in how you move to the left and to the right? Let the f e e t stand and c l a s p your hands a b o v e you t o w a r d s the c e i l i n g . Let the legs down and let the a r m s go l e f t , w i t h the left w r i s t b e n d i n g , and then right w i t h the right w r i s t b e n d i n g , p a y i n g a t t e n t i o n to t h e m o v e m e n t in t h e left s h o u l d e r , the left w r i s t , and the s e n s a t i o n s in the left a r m . See if the m o v e m e n t feels the same on the left and the right s i d e s . Lie q u i e t l y w i t h your a r m s at your s i d e s . C o m p a r e the c o n t a c t w i t h the floor on the two s i d e s , the c l a r i t y of the body image on the left side and the right s i d e , the left s i d e of your face and the right s i d e , y o u r left s h o u l d e r and y o u r r i g h t , your left hand and a r m and your r i g h t , the left s i d e of y o u r c h e s t , and how y o u b r e a t h e n o w . T h e left s i d e of the p e l v i s and the r i g h t , the left and right legs and the f e e t . T h e n s l o w l y roll to o n e side and stand u p .

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S e n s e w h a t it f e e l s l i k e . C o m p a r e the c o n t a c t of the feet w i t h the f l o o r . See w h e r e you w a n t to p l a c e your w e i g h t . Do the two s i d e s of y o u r body feel e q u a l l y a l i v e ? W a l k a r o u n d and c o m p a r e the c o n t a c t of the f e e t , the m o v e m e n t in the two s h o u l d e r s . Stand still a n d try t u r n i n g to the left a n d t u r n i n g t o the r i g h t . See if t h e t u r n i n g is d i f f e r e n t in o n e d i r e c t i o n m o r e e x t e n s i v e , a n d if it f e e l s b e t t e r . R a i s e y o u r left a r m o v e r h e a d , and then y o u r right a r m . W h i c h a r m f e e l s l i g h t e r and m o v e s m o r e f r e e l y ? W a l k a g a i n a n d c o m p a r e the m o v e m e n t s in the k n e e s , the hip j o i n t s , and see if it is r e a l l y c l e a r to you now that the c o n d i t i o n of o n e side of y o u r b o d y has u n m i s t a k a b l y a l t e r e d as c o m p a r e d to the o t h e r . If the body image is m o r e c l e a r on the left s i d e , then the a w a r e n e s s has a l t e r e d y o u r self-perception. If the body feels l o n g e r , l i g h t e r , b e t t e r on the left s i d e , then the o r g a n i z a t i o n h a s been a l t e r e d a n d w i t h that the f u n c t i o n i n g , a s you can see or s e n s e , by c o m p a r a t i v e m o v e m e n t s . As an individual learns to c o n c e n t r a t e b e t t e r , these e f f e c t s i n c r e a s e m a r k e d l y . A w a r e n e s s itself is a h e a l i n g f o r c e as well as a f o r c e that brings about other improvements. But it m u s t be a p o s i t i v e a w a r e n e s s if the e f f e c t s a r e to be p o s i t i v e . In e x a c t l y the same w a y a n e g a t i v e a w a r e n e s s of the s e l f , the b o d y , or p a r t s of the body can impair s e l f - p e r c e p t i o n , i n t e r f e r e w i t h p r o p e r o r g a n i z a t i o n , c a u s e f u n c t i o n i n g to d e t e r i o r a t e , and p r o d u c e illness and even d e a t h . It is i m p o r t a n t to try to g r a s p the m a n y i m p l i c a t i o n s o f w h a t you have just e x p e r i e n c e d . T r y to d e v e l o p y o u r u n d e r s t a n d i n g f u r t h e r , and find p r o d u c t i v e w a y s to a p p l y such a f u n d a m e n t a l and p r o f o u n d fact o f your e x i s t e n c e . (This e x e r c i s e , not p r e v i o u s l y p u b l i s h e d , was c r e a t e d by D r . R o b e r t M a s t e r s and is u s u a l l y given to s o m e w h a t a d v a n c e d s t u d e n t s o f his P s y c h o physical R e - E d u c a t i o n p r o g r a m s . )

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6) B R E A T H I N G A W A R E N E S S *

W e will do some b a s i c s e n s o r y a w a r e n e s s t r a i n i n g to test both your p o w e r s of s e l f - o b s e r v a t i o n and a l s o to teach you some t h i n g s a b o u t your f u n c t i o n i n g w h i l e s h a r p e n i n g the s e n s o r y p e r c e p t i o n . T h e e m p h a s i s will be on b r e a t h i n g - - h o w y o u do i t , how to do it b e t t e r . T o begin w i t h , sit up in a p o s i t i o n that Place the s o l e s of the feet t o g e t h e r , if that

is easy for you to m a i n t a i n . is c o m f o r t a b l e for y o u .

J u s t b r e a t h e up and down a l o n g the line r u n n i n g t h r o u g h the m i d d l e of your b o d y . T h i n k o f a line that runs right t h r o u g h the m i d d l e f r o m the c r o t c h on up to the m i d d l e of the b r e a s t b o n e , on up to the nose and b e t w e e n the e y e s . B r e a t h e u p and down and o b s e r v e your b r e a t h i n g . T h e n try b r e a t h i n g in to the c o u n t of f i v e , h o l d i n g for a c o u n t of f i v e , and b r e a t h i n g o u t for the c o u n t of f i v e . T r y to m a k e it an equal c o u n t so that the i n h a l a t i o n a n d the e x h a l a t i o n a n d the s p a c e in b e t w e e n a r e all e x a c t l y e q u a l . T h e n try d o i n g the same t h i n g , but see if you c a n b r e a t h e in to a ten c o u n t . Hold it for ten a n d b r e a t h e o u t for t e n . A g a i n , the b r e a t h i n g should be e q u a l . See w h e t h e r you can r e a l l y d o u b l e the d u r a t i o n or w h e t h e r y o u h a v e to do it by c o u n t i n g f a s t e r . D o u b l e the d u r a t i o n if y o u c a n . See if that a l s o m e a n s that you d o u b l e the v o l u m e of your i n t a k e . As you increase the i n t a k e , try to be a w a r e of w h e r e the b r e a t h g o e s . Where d o e s the a d d i t i o n a l e x p a n s i o n take p l a c e to c o n t a i n that a d d i t i o n a l a m o u n t of a i r ? T h e n see if you can e x p a n d it to f i f t e e n . If that increases the v o l u m e , try to be a w a r e of w h e r e it g o e s . Just do w h a t e v e r is e a s y . Do not inflict any s u f f e r i n g on y o u r s e l f . O b v i o u s l y , the g r e a t e r the v o l u m e i n t a k e , the g r e a t e r the c h a n g e is in the e x p a n s i o n of the rib c a g e a n d w h a t e v e r else y o u n o t i c e to a c c o m m o d a t e t h a t i n t a k e . See if o n e p a r t of this is more d i f f i c u l t than a n o t h e r . Is it m o r e d i f f i c u l t to inhale to the c o u n t of f i f t e e n , or to h o l d , or to e x h a l e , or is it all the same? If the n u m b e r s get beyond y o u r c a p a c i t y , j u s t c o n t i n u e d o i n g w h a t you c a n . If y o u can increase it e v e n a l i t t l e , do t h a t . Just do w h a t is w i t h i n y o u r own m e a n s . Do n o t w o r r y a b o u t the quantity. Do n o t c o m p e t e w i t h y o u r s e l f or a n y o n e e l s e . Now try going to t w e n t y . Y o u m u s t be s i t t i n g in such a w a y that y o u r upper body has some f r e e d o m so that you a r e n o t t i g h t e n i n g t h e rib c a g e . T r y t o be a w a r e o f w h a t e l s e h a p p e n s . Do your s h o u l d e r s rise and fall as y o u inhale and e x h a l e ? See if you n o t i c e m o v e m e n t in y o u r h a n d s . When y o u b r e a t h e i n , the s h o u l d e r s will n e c e s s a r i l y raise s o m e w h a t a n d w i t h t h a t , y o u r h a n d s will r i s e . See if you can d i s c e r n it. N o w , if y o u c a n , go on to t w e n t y - f i v e .

* Teaching time:

a b o u t 45 m i n u t e s

I a m g o i n g to s t o p a t that

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n u m b e r , but w h e n you do it on y o u r own try to see h o w far you can go and w h e t h e r , a g a i n , the i n h a l a t i o n , the e x h a l a t i o n and the h o l d i n g in b e t w e e n a r e e q u a l , or w h e t h e r one is e a s i e r or m o r e d i f f i c u l t than the o t h e r s . Do it in such a way so t h a t you do o n l y that a m o u n t w h e r e it is e a s y to include all t h r e e w i t h i n w h a t e v e r n u m b e r y o u a r e w o r k i n g w i t h . Now f o r g e t a b o u t n u m b e r s a n d j u s t b r e a t h e in a n d o u t a s f r e e l y and e a s i l y as you c a n . C a r e f u l l y o b s e r v e y o u r b r e a t h i n g . S e n s e it as it c o m e s in t h r o u g h the nose a n d see w h e r e y o u can f o l l o w that i n t a k e . Try to f o l l o w the a i r d o w n into y o u r b o d y . Then try to f o l l o w it o u t a g a i n . See to w h a t e x t e n t you can s u c c e e d in f o l l o w i n g it in and f o l l o w i n g it o u t , w h i l e n o t i n g w h a t h a p p e n s w i t h all of your body as you b r e a t h e . Particul a r l y , g e t a s e n s e of w h a t is your optimal b r e a t h i n g in terms o f v o l u m e and w h e r e it g o e s , and w h a t y o u r rib c a g e d o e s , w h a t your a b d o m e n d o e s . T h e n lie d o w n on y o u r b a c k . C o n t i n u e b r e a t h i n g . See how lying on y o u r back a f f e c t s y o u . C o m p a r e it w i t h the b r e a t h i n g w h e n you w e r e s i t t i n g u p . See w h e t h e r , w h e n lying o n your b a c k , the v o l u m e you take in is the same and the b r e a t h i n g is the same d u r a t i o n or w h e t h e r it c h a n g e s . Also o b s e r v e w h e r e it g o e s and how that c h a n g e s . T h e n try c o u n t i n g for a little w h i l e . See w h e r e you go as c o m p a r e d to w h a t you did s i t t i n g u p . T r y to k e e p the v o l u m e a b o u t the s a m e in r e l a t i o n t o the n u m b e r s . T h e n , leaving y o u r a r m s down a t y o u r s i d e s , roll o v e r o n t o your s t o m a c h . J u s t b r e a t h e . O n e of the things you may l e a r n , by o b s e r v i n g how you b r e a t h e in these d i f f e r e n t lying p o s i t i o n s , is w h a t is a good w a y for you to lie when y o u a r e s l e e p i n g , insofar as the b r e a t h i n g is c o n c e r n e d . You will see w h i c h p o s i t i o n s inhibit the b r e a t h i n g m o s t and w h i c h p o s i t i o n s f a c i l i t a t e it m o s t . You can try t u r n i n g your head and a l s o p u t t i n g it on its f o r e h e a d or the c h i n . See how m a n y c o u n t s you can take i n , and w h e r e it g o e s . C o n t i n u e to m a k e those o b s e r v a t i o n s , p u t t i n g y o u r hands up at a level w i t h your head. T h e n put your h a n d s a b o v e y o u r head and see how that a f f e c t s your breathing. Extend t h e m a little and e x t e n d them m o r e . T h e n , on the b a s i s of this e x p e r i m e n t a t i o n , p l a c e y o u r hands and a r m s in the p o s i t i o n t h a t a l l o w s y o u to b r e a t h e o p t i m a l l y w h i l e lying o n y o u r s t o m a c h . W h a t a l l o w s you the g r e a t e s t v o l u m e of intake a n d the f e e l i n g s of g r e a t e s t f r e e d o m in y o u r b o d y ? W h a t is m o s t c o m f o r t a b l e ? T h e n lie on y o u r right s i d e . O b s e r v e h o w you can b r e a t h e in that p o s i t i o n and how w h a t you d o w i t h y o u r right a r m may a f f e c t it. Be a w a r e of w h a t parts of the body m o v e w i t h the i n h a l a t i o n and w h a t parts m o v e w i t h the e x h a l a t i o n . T r y to sense the b r e a t h c o m i n g in a n d w h e r e it g o e s , and how the breath leaves your b o d y , and w h a t p o s i t i o n y o u m i g h t get into that improves it.

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If you think of this j u s t in t e r m s of s o m e t h i n g that may improve your s l e e p i n g , you can see the b e n e f i t of m a k i n g c a r e f u l o b s e r v a t i o n s b e c a u s e y o u r n e r v o u s s y s t e m will r e m e m b e r w h a t you l e a r n . A l s o r e m e m b e r that p l a c i n g the head on the a r m , for e x a m p l e , is so n e g a t i v e in its e f f e c t on the c i r c u l a tion that it will o f f s e t a n y a d v a n t a g e s you m i g h t g e t w i t h the b r e a t h i n g . A c t u a l l y , if y o u sense c a r e f u l l y , you will find that p o s i t i o n s w h i c h a r e d e t r i m e n t a l in one way will not really f a c i l i t a t e doing s o m e t h i n g useful or b e n e f i c i a l . The body will rarely ever w o r k a g a i n s t itself in such a way that one thing you do will improve y o u r health w h i l e a l s o m a k i n g d e m a n d s t h a t in some o t h e r w a y will c a u s e y o u to injure y o u r s e l f . Now try lying on y o u r left s i d e . C o m p a r e that w i t h the b r e a t h i n g on the right s i d e . See if the same p o s i t i o n s f a c i l i t a t e and h i n d e r the b r e a t h i n g , or w h e t h e r this s i d e c a l l s for a s o m e w h a t d i f f e r e n t a r r a n g e m e n t . Once a g a i n , see how high you can c o u n t . R e l a t e that to the v o l u m e of i n t a k e , not just how fast you c a n do the c o u n t i n g . R e l a t e it to w h e r e it g o e s . Once a g a i n , do it lying on y o u r b a c k . T h i s time e x p e r i m e n t a little in that p o s i t i o n . T r y it now not j u s t w i t h your a r m s down a t y o u r s i d e s , but a l s o a b o v e y o u r head on the f l o o r or w h e r e v e r e l s e you may try to put t h e m . T r y a l s o to m a k e the b a c k loose and s u p p l e so it d o e s n o t lie rigid a g a i n s t the s u r f a c e u n d e r n e a t h you a n d inhibit the m o v e m e n t of the b r e a t h into the back of y o u r rib c a g e . Hug your c h e s t . Put y o u r hands under y o u r a r m p i t s and b r e a t h e so that y o u f o r c e the b r e a t h into the back of the rib c a g e and y o u c a n feel c l e a r l y that you b r e a t h e into y o u r b a c k . If the rib c a g e in the back w a s i n f l e x i b l e b e f o r e , now by h u g g i n g y o u r c h e s t y o u begin to f o r c e the air back there and it b e g i n s to e x p a n d and m o v e . Y o u a r e a w a r e of it. It s h o u l d be a p l e a s a n t f e e l i n g , like a p a r t of y o u c o m i n g to life that w a s d e a d . Put as m u c h b r e a t h i n g back t h e r e as y o u c a n . You put a s m u c h p r e s s u r e on the f r o n t of y o u r c h e s t , w i t h o u t it being p a i n f u l , as is n e c e s s a r y to g e t as m u c h b r e a t h i n g in the back as y o u c a n . See if you can g r a d u a l l y r e l e a s e the p r e s s u r e on the c h e s t w h i l e r e t a i n i n g the m o v e m e n t in the b a c k . D e l i b e r a t e l y b r e a t h e into your b a c k , d i r e c t i n g the flow t h e r e w i t h your c o n s c i o u s n e s s . See if you can k e e p i t , while gradually r e l e a s i n g the p r e s s u r e on y o u r c h e s t . Sense j u s t as c l e a r l y as you can the b r e a t h i n g in the b a c k . It is v e r y important to have that m o v e m e n t . W h e n y o u do not b r e a t h e in t h e b a c k , you deny y o u r s e l f a v e r y large p a r t of the b r e a t h i n g c a p a c i t y that you have and the w h o l e o r g a n i s m s u f f e r s for t h a t . T h e r e f o r e , it is e x t r e m e l y b e n e f i c i a l to become c o n s c i o u s of the b r e a t h i n g in the back and m a k e the ribs f l e x i b l e t h e r e . That same f l e x i b i l i t y can a l s o p r o t e c t a g a i n s t many k i n d s of i n j u r i e s . If the ribs a r e rigid and b r i t t l e in the b a c k , it is c o n d u c i v e to i n j u r y . As y o u b r e a t h e into y o u r b a c k , a g a i n try to f o l l o w the b r e a t h in and f o l l o w it o u t . O b s e r v e w h a t else is h a p p e n i n g as y o u b r e a t h e . T r y to make it a total o b s e r v a t i o n . Now bring y o u r s e l f back to a s i t t i n g p o s i t i o n .

C o n t i n u e to b r e a t h e

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c o n s c i o u s l y in a n d o u t , f o l l o w i n g the m o v e m e n t o f t h e b r e a t h . A l l o w y o u r u p p e r body to b e as f l e x i b l e as p o s s i b l e . B r e a t h e into your b a c k a s well as o t h e r w i s e . Let the w h o l e upper body be a s loose and f l e x i b l e a s you can a l l o w it to be w h i l e you f o l l o w the b r e a t h i n g . M a k e the b r e a t h i n g as e x p a n s i v e as y o u c a n w i t h o u t s t r a i n i n g . See if it feels to y o u as if the b r e a t h i n g m o v e s up the c e n t e r of y o u r b o d y so that it is a p p r o x i m a t e l y s y m m e t r i c a l on the two s i d e s . B r e a t h e in t o the c o u n t o f t e n , hold for ten and b r e a t h e o u t for t e n . Try to e q u a l i z e the d u r a t i o n of e a c h of t h e s e p e r i o d s of c o u n t i n g . Also try to h a v e the f e e l i n g that you inhale and e x h a l e the same a m o u n t . Then try inhaling to the c o u n t of f i f t e e n and e x h a l i n g to the c o u n t o f f i f t e e n and h o l d i n g the b r e a t h in b e t w e e n for h o w e v e r long it feels a p p r o priate. If that is a l s o for a c o u n t of f i f t e e n , do it, and if it is for a s h o r t e r or longer p e r i o d , do t h a t . Be a w a r e o f w h a t you d o . Be a w a r e o f the d u r a t i o n that d o e s s e e m a p p r o p r i a t e w h e n y o u retain the breath b e t w e e n the inhalation and the e x h a l a t i o n . T r y not r e t a i n i n g your b r e a t h a t a l l . Just begin to e x h a l e as soon as y o u end the i n h a l a t i o n . Feel how i n a p p r o p r i a t e t h a t i s , that y o u h a v e to w o r k like a b e l l o w s to do it. T h e r e m u s t be some p e r i o d in b e t w e e n the b r e a t h i n g in and the b r e a t h i n g out w h e n the b r e a t h is r e t a i n e d . T r y to be c o n s c i o u s , p r o b a b l y for the first t i m e , of how the d u r a t i o n of the b r e a t h r e t e n t i o n r e l a t e s to the d u r a t i o n o f t h e i n h a l a t i o n and t h e e x h a l a t i o n . Extend that on up to the c o u n t of t w e n t y if it is e a s y . Feel w h a t h a p p e n s in y o u r rib c a g e and s h o u l d e r s and your hands and f a c e , e v e r y t h i n g that is involved in that b r e a t h i n g . T h e n , on your o w n for a w h i l e , see if y o u can i n c r e a s e the d u r a t i o n to t w e n t y - f i v e or t h i r t y or t h i r t y - f i v e or forty or f i f t y , w h a t e v e r you m i g h t d o . What is the s i t t i n g p o s i t i o n that m o s t g r e a t l y f a c i l i t a t e s the b r e a t h i n g ? T r y to retain the f e e l i n g o f b r e a t h i n g into the b a c k . F o l l o w it in and follow it o u t . T h e n w i t h o u t any regard for any of t h a t , j u s t b r e a t h e in and out in w h a t e v e r is the f u l l e s t , m o s t p l e a s u r a b l e inhalation and e x h a l a t i o n that you c a n d o . Involve the g r e a t e s t f r e e d o m of the u p p e r b o d y . E v e r y t h i n g is as relaxed as p o s s i b l e , all the m u s c l e s a r e as f r e e and as loose as you can m a k e t h e m . O b s e r v e the b r e a t h i n g in and the b r e a t h i n g o u t . T h e n , for just a m o m e n t , lie on your b a c k and b r e a t h e . Just see w h a t y o u b r e a t h i n g f e e l s l i k e . Does the b r e a t h i n g in the back feel any less c o n s t r i c t e d or inhibited than it did w h e n you lay d o w n b e f o r e ? Have y o u a c q u i r e d some f r e e d o m in the u p p e r b o d y as you 1ie on your b a c k ? H a v i n g o b s e r v e d t h a t , sit up and then stand or w a l k a r o u n d and just q u i e t l y o b s e r v e your b r e a t h i n g for a little w h i l e longer in e a c h o f t h e s e three p o s i t i o n s . Let it be free and e a s y and c o o r d i n a t e it w i t h y o u r movements.

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7) N E U R A L R E P R O G R A M M I N G

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T o begin w i t h , lie on your b a c k . Your a r m s a r e at y o u r s i d e s a n d your p a l m s a r e facing d o w n . A r r a n g e y o u r s e l f so that you lie a s s y m m e t r i c a l l y as p o s s i b l e . Do it w i t h o u t l o o k i n g . Rely on your o t h e r s e n s e s to inform you c o n c e r n i n g the p o s i t i o n s of the v a r i o u s p a r t s of y o u r b o d y . O n l y w h e n you have done t h a t , if y o u feel some need t o , look and see i f , for i n s t a n c e , y o u r hands a r e e q u a l l y d i s t a n t . A r e there equal d i s t a n c e s b e t w e e n y o u r fingers? You m i g h t a l s o note if y o u r feet a r e s i m i l a r l y p o s i t i o n e d or if o n e goes o u t more to one side than the o t h e r , so that the r o t a t i o n s in the hip j o i n t s a r e d i s s i m i l a r . T h i s m e a n s , of c o u r s e , a d i f f e r e n t and a s y m m e t r i c a l o r g a n i z a t i o n of the m u s c l e s and the two s i d e s . I m i g h t add that I have just been reading a b o o k a b o u t b r e a t h i n g b y a man w h o s e b o o k s on Y o g a a r e s u p p o s e d to be the b e s t o n e s . He is w r i t i n g t h i s b o o k for h i s own s t u d e n t s and for a d v a n c e d s t u d e n t s of Y o g a , so it is p r e s u m a b l y for p e o p l e w h o have been s t u d y i n g Yoga for a long t i m e . At o n e p o i n t he w a s t e l l i n g them to sit w i t h their e y e s c l o s e d and e s t a b l i s h a c e r t a i n b r e a t h i n g p a t t e r n . T h e n he said that a f t e r they had d o n e t h a t , they should o p e n t h e i r e y e s and s e e if t h e y w e r e s i t t i n g s y m m e t r i c a l l y . T h i s is an i n c r e d i b l e thing for o n e o f the most a d v a n c e d t e a c h e r s to be t e l l i n g his p u p i l s , that they have to look and see w h e r e they a r e . I could not b e l i e v e it w h e n I read it. Remain lying down w i t h the back of y o u r head lying on the f l o o r . Make some c i r c l e s w i t h your n o s e . A t the same time as you d o t h a t , be a w a r e that the back o f y o u r head is m a k i n g c i r c l e s o n the f l o o r . In f a c t , you a r e m a k i n g c i r c l e s w i t h y o u r h e a d . N o w think of c i r c l i n g w i t h your head rather than o n l y w i t h y o u r n o s e . N o t i c e w h e t h e r how y o u c o n c e p t u a l ize m a k e s a d i f f e r e n c e in the m o v e m e n t . T r y c i r c l i n g a g a i n for a m o m e n t w i t h your n o s e . T h e n c i r c l e w i t h the head and a l s o m a k e the largest c i r c l e that you c a n . Note w h e t h e r the f o c u s on the n o s e r e s t r i c t s the m o v e m e n t and w h e t h e r t h i n k i n g of m o v i n g the w h o l e head is a l i b e r a t i n g t h o u g h t , so that it m a k e s an e a s i e r and larger m o v e m e n t p o s s i b l e . If you c a n m a k e as large a m o v e m e n t t h i n k i n g of m o v i n g y o u r n o s e , then o b s e r v e if you are not s o m e h o w f a i l i n g to focus on your n o s e but are a l l o w i n g y o u r s e l f to g i v e thought to m o v i n g the w h o l e h e a d . Let the head lie s t i l l . C i r c l e w i t h the b a s e of y o u r spine on the f l o o r . In o t h e r w o r d s , m a k e c i r c l e s with y o u r p e l v i s . R o t a t e your p e l v i s . Rotate it for a w h i l e in the d i r e c t i o n that y o u s p o n t a n e o u s l y moved it in. Be a w a r e of w h a t d i r e c t i o n that w a s . Then rotate it for a w h i l e in the o p p o s i t e d i r e c t i o n . Note w h e t h e r you a r e now m o v i n g c l o c k w i s e or c o u n t e r c l o c k w i s e . Stop. Be a w a r e s i m u l t a n e o u s l y of y o u r head and your p e l v i s . Be a w a r e of t h e m as those two s t r u c t u r e s that e x i s t at the o p p o s i t e ends of y o u r s p i n e . T h e n c i r c l e w i t h both s i m u l t a n e o u s l y . N o t i c e in w h a t d i r e c t i o n y o u rotate y o u r head and in w h i c h d i r e c t i o n y o u rotate y o u r p e l v i s . Stop and rotate j u s t the h e a d . See if you m o v e s p o n t a n e o u s l y in the same d i r e c t i o n that you moved it w h e n you moved it w i t h the p e l v i s . Now

* T e a c h i n g time:

a b o u t 45 m i n u t e s

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rotate the head in the o p p o s i t e d i r e c t i o n a few times and then s t o p . Then rotate the head a g a i n . Then rotate the p e l v i s in the o p p o s i t e d i r e c t i o n . T r y r o t a t i n g the p e l v i s in o n e d i r e c t i o n and the head in the o t h e r d i r e c t i o n . A s k y o u r s e l f w h y there should be any d i f f i c u l t y a b o u t o p p o s i n g those two movements. S t a r t very s l o w l y m o v i n g one in o n e d i r e c t i o n and the o t h e r in the o p p o s i t e d i r e c t i o n . B r e a t h e f r e e l y a s you do it. T h e n look for any o t h e r signs of mental or e m o t i o n a l s t r u g g l e . M o v e o n e in o n e d i r e c t i o n until that is c l e a r l y e s t a b l i s h e d and then try b r i n g i n g in the o t h e r o n e in the o p p o s i t e d i r e c t i o n . Y o u can b e g i n e i t h e r w i t h the p e l v i s or the h e a d . If you find that it is any e a s i e r to s t a r t w i t h o n e rather than the o t h e r , then do t h a t . T h e n s t o p and r e s t . M a k e some c i r c l e s w i t h y o u r e y e s . M a k e them c l o c k w i s e a few times and then c o u n t e r c l o c k w i s e a few t i m e s . T h e r e should be no d i f f i c u l t y in moving in e i t h e r of t h o s e d i r e c t i o n s , a l t h o u g h the c i r c l e s t h e m s e l v e s may be imperfect. If some e y e m u s c l e s a r e i m p r o p e r l y f u n c t i o n i n g they may o b s t r u c t the c i r c l i n g . You may find y o u r s e l f u n a b l e to c o m p l e t e a c i r c l e , or you m a y m a k e an e l l i p s e or w h a t e v e r . Try to m a k e a c i r c l e . T h e n let the head c i r c l e w i t h the e y e s , but m a k e sure that the e y e s do in fact c o n t i n u e to c i r c l e a n d do not j u s t p a s s i v e l y ride along as if they w e r e j u s t p a s s e n g e r s in the h e a d . You are d o i n g two t h i n g s . You are c i r c l i n g w i t h the head and c i r c l i n g w i t h the e y e s . T h e n s t o p . See if you a r e a b l e to c i r c l e in one d i r e c t i o n w i t h the e y e s w h i l e c i r c l i n g in the o p p o s i t e d i r e c t i o n w i t h the h e a d . S t a r t s l o w l y . Again, w h y should this p r e s e n t a d i f f i c u l t y ? Is the d i f f i c u l t y m e c h a n i c a l ? The c o r r e c t a n s w e r is that it is n o t , if by m e c h a n i c a l w e m e a n that the m u s c l e s n e c e s s a r i l y impede those m o v e m e n t s . T h e b l o c k a g e is rather in the brain and in the n e r v o u s s y s t e m . We will see that it e x t e n d s to such m o v e m e n t s as o p p o s i n g r o t a t i o n s or c i r c l e s t h a t are p e r f o r m e d by m a n y d i f f e r e n t p a r t s o f your b o d y . H o w e v e r , the b l o c k a g e is of v a r y i n g d e g r e e s of s e v e r i t y , and in some c a s e s is v e r y e a s y to e l i m i n a t e . In o t h e r c a s e s it m a y be s l i g h t l y o r c o n s i d e r a b l y m o r e d i f f i c u l t to e l i m i n a t e . W e will see t h a t s o m e t i m e s a v e r y s i m p l e r e c o n c e p t u a l i z a t i o n of a p r o b l e m by the mind will s u f f i c e to r e l e a s e the inhibited brain c e l l s and r e o r g a n i z e the w h o l e m i n d - b o d y s y s t e m so that n o f u r t h e r o b s t r u c t i o n e x i s t s , u n l e s s w e o n c e again s t a r t to think of the p r o b l e m in the faulty w a y w e did b e f o r e w e solved it. T h i s is an i n t e r e s t i n g e x e r c i s e . You will find t h a t it will reward you and if you c a n learn to do the tasks that are outlined here and that w e will e x p e r i m e n t w i t h , y o u will reap some rich rewards t h a t I will d i s c u s s later o n . Sit u p . Put your hands o u t in front of y o u . Let your thumbs be p a r a l lel to the floor and s e p a r a t e from the rest o f your h a n d . Let them p o i n t t o w a r d s e a c h o t h e r . Now r o t a t e the t h u m b s so that they m a k e c i r c l e s . Make f o r w a r d r o t a t i o n s for a w h i I e and then b a c k w a r d r o t a t i o n s . It is b e t t e r that y o u d o n o t rest them o n your legs but hold t h e m o u t in f r o n t o f y o u . Now stop.

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R o t a t e the right t h u m b , j u s t the right o n e . T h e n r o t a t e the left o n e in the o p p o s i t e d i r e c t i o n . Now just rotate the right t h u m b in o n e d i r e c t i o n . You h a v e rotated the thumbs t o g e t h e r e a s i l y in both d i r e c t i o n s . Now keep them in front of y o u , facing e a c h o t h e r , parallel to the f l o o r . They m u s t be parallel for r e a s o n s that you will s e e . Now stop r o t a t i n g that t h u m b and just r o t a t e the o t h e r o n e in the o p p o s i t e d i r e c t i o n to w h a t you h a v e been d o i n g . See if that thumb has d i f f i c u l t y now m o v i n g as c o m p a r e d to the o t h e r o n e . Now m o v e b o t h t h u m b s in the d i r e c t i o n that you h a v e b e e n m o v i n g the one t h u m b in. See that t h e r e is no p r o b l e m involved in g o i n g in that d i r e c t i o n . You are g o i n g to have to keep the thumbs parallel to the g r o u n d . N o w , instead of h o l d i n g the thumbs parallel to the g r o u n d , m a k e them v e r t i c a l . R o t a t e them in any d i r e c t i o n t h a t they s p o n t a n e o u s l y g o . See if n o w the t h u m b s s p o n t a n e o u s l y m o v e in o p p o s i t e d i r e c t i o n s as long as they a r e v e r t i c a l . See w h e t h e r they go c l o c k w i s e or c o u n t e r c l o c k w i s e . Try m o v i n g them b o t h in the same d i r e c t i o n so that they both go c l o c k w i s e . You will p r o b a b l y find that that is m o r e d i f f i c u l t than o p p o s i n g t h e m , but still it c a n b e d o n e w i t h o u t m u c h d i f f i c u l t y . T h e t h u m b s a r e v e r t i c a l now. If you do not do t h e s e h o r i z o n t a l and v e r t i c a l p o s i t i o n s that I a m d e s c r i b i n g to y o u , you will- m i s s the w h o l e point of the e x e r c i s e . Stop. W i t h the f o r e f i n g e r and the f i n g e r n e x t to it in a v e r t i c a l p o s i t i o n , m a k e r o t a t i o n s . T r y not to m a k e it a r o t a t i o n of the w h o l e h a n d , but j u s t of the fingers. In o t h e r w o r d s , d o not rotate your w r i s t s , j u s t y o u r f i n g e r s . See w h e t h e r that o n e is s p o n t a n e o u s l y of o p p o s i t e o r s a m e d i r e c t i o n r o t a t i o n s . If the f i n g e r s s p o n t a n e o u s l y go in o p p o s i t e d i r e c t i o n s , try to m a k e them go in the s a m e d i r e c t i o n . You m u s t k e e p them in a v e r t i c a l p o s i t i o n , w i t h the f i n g e r s p o i n t i n g u p . A l l o w the w r i s t s t o p a r t i c i p a t e and see if, by so d o i n g , y o u m a k e it still e a s i e r to rotate e i t h e r in the same d i r e c t i o n or in o p p o s i t e d i r e c t i o n s . Let the w r i s t s m o v e . N o w the w h o l e hand is d o i n g it. T h e f i n g e r s remain in v e r t i c a l p o s i t i o n . T h e n stop a l l o w i n g the w r i s t s to m o v e and j u s t do it w i t h t h e : two fingers. See if it is e a s i e r n o w for those two f i n g e r s to go in the same d i r e c t i o n or to o p p o s e each o t h e r . N o w , just w i t h the thumbs in a v e r t i c a l p o s i t i o n , see if you c a n rotate those in the same d i r e c t i o n w i t h o u t too m u c h d i f f i c u l t y , m o r e e a s i l y than you c o u l d do b e f o r e . T h e n w i t h the thumbs held parallel to the g r o u n d , see if y o u can m a n a g e to o p p o s e the r o t a t i o n s . T h e n lie o n your back and r e s t . D r a w c i r c l e s w i t h y o u r feet and t o e s . See if the r o t a t i o n s o p p o s e each o t h e r or n o t , and in w h i c h d i r e c t i o n they g o . You a r e m o v i n g the two s e p a r a t e l y , n o t as o n e u n i t . You a r e m o v i n g them as s e p a r a t e e n t i t i e s . Make c i r c l e s w i t h the left f o o t and m a k e c i r c l e s w i t h the right f o o t . The feet a r e lying o n the h e e l s . Let the foot rest on its heel w i t h the legs e x t e n d e d as you m a k e the c i r c l e s . M a k e c i r c l e s c l o c k w i s e and c o u n t e r c l o c k wise. Let both feet c i r c l e in the same d i r e c t i o n and do t h e m c l o c k w i s e and c o u n t e r c l o c k w i s e . T h e n c i r c l e w i t h o n e foot going right and o n e foot going left. Then j u s t r e v e r s e t h o s e t w o d i r e c t i o n s and see if n o w the o p p o s i tion of the two b e c o m e s s o m e w h a t m o r e d i f f i c u l t . Stop.

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C o n s i d e r them to be a kind of unit so that you s i m p l y c i r c l e w i t h both at the same time in o p p o s i n g d i r e c t i o n s . Note that if you t h i n k of m o v i n g both f e e t as a unit but in o p p o s i n g d i r e c t i o n s , it is e x t r e m e l y e a s y t o do it. T h e r e is no b e n d i n g o f the k n e e s . T h e c i r c l i n g is from the a n k l e s . If y o u think o f m o v i n g both feet as a u n i t , but m o v i n g them in o p p o s i t e d i r e c t i o n s , for m o s t p e o p l e t h a t is e a s y . H o w e v e r , if you think of going c l o c k w i s e w i t h the right foot w h i l e g o i n g c o u n t e r c l o c k w i s e w i t h the l e f t , so that y o u are doing two a c t i o n s instead of o n e , then s o m e h o w the w h o l e thing is more d i f f i c u l t to d o , e s p e c i a l l y at f i r s t . T r y it both w a y s . Now leave y o u r feet a l o n e . P u t your hands o n your c h e s t a n d m a k e c i r c l e s w i t h your e l b o w s . Note if those c i r c l e s s p o n t a n e o u s l y m o v e in the same d i r e c t i o n or in o p p o s i t i o n . Circle to the f r o n t and down in a c l o c k w i s e m o v e m e n t w i t h the right e l b o w w h i l e c i r c l i n g up and b a c k in a c o u n t e r c l o c k w i s e m o v e m e n t w i t h the left o n e . See if it is the same w i t h the e l b o w s as w i t h the t h u m b s - - i f you leave them d o w n p r e t t y m u c h parallel to the g r o u n d , they go in the same d i r e c t i o n s , but if y o u bring them up towards the c e i l i n g , s u d d e n l y they oppose each o t h e r , spontaneously. Now t h e right e n o u g h so preferred

lower t h e m . Go b a c k to c i r c l i n g in a c l o c k w i s e m o v e m e n t w i t h e l b o w and c o u n t e r c l o c k w i s e w i t h t h e l e f t . Keep it down low that t h e r e is some d i f f i c u l t y in it. It is n o t the b o d y ' s choice.

T h e n o p p o s e the m o v e m e n t s . R e v e r s e the d i r e c t i o n o f the c i r c l i n g that each e l b o w is d o i n g . If you h a v e d i f f i c u l t y o p p o s i n g t h e m , then stop and very slowly c i r c l e in o n e d i r e c t i o n w i t h the right e l b o w and in the o t h e r w i t h the left. You will p r o b a b l y find that you can e x e c u t e this without any great e f f o r t . It is c o m p a r a t i v e l y an e a s y o p p o s i t i o n to a c h i e v e . Then stop and rest a m i n u t e . Bring your knees back t o w a r d s you a little so that your lower legs a r e d a n g l i n g . Make c i r c l e s w i t h your k n e e s . A r e the m o v e m e n t s in o p p o s i t i o n or are they in the same d i r e c t i o n ? H e r e you may b e c o m e a w a r e o f a factor not e n c o u n t e r e d by y o u b e f o r e or w h i c h has not e n t e r e d into your c o n s i d e r a t i o n . It is p o s s i b l e t o c i r c l e w i t h both knees at o n c e by r o t a t i n g the p e l v i s w i t h o u t any r o t a t i o n in the hip j o i n t s , or a l m o s t n o n e . Done this w a y , the k n e e s c i r c l e as a unit c l o c k w i s e or c o u n t e r c l o c k w i s e , but they c a n n o t possibly o p p o s e one a n o t h e r . If, h o w e v e r , the c i r c l e s a r e made by the two legs s e p a r a t e l y w h i l e r o t a t i n g from the hip j o i n t s , then the m o v e m e n t s w o u l d p r o b a b l y t e n d to o p p o s e one a n o t h e r . T r y it. Then c i r c l e in the same d i r e c t i o n w i t h the k n e e s w h i l e c o n t i n u i n g to rotate t h e legs f r o m the hip j o i n t s . A l s o c o n t i n u e to m o v e the legs separ a t e l y . Do not j u s t rotate your p e l v i s . Do w h a t you w e r e d o i n g a m o m e n t a g o w h e n you o p p o s e d t h e m . T h e y a r e two s e p a r a t e m o v e m e n t s , but j u s t move the legs in the same d i r e c t i o n . Be sure that this is w h a t y o u a r e d o i n g . Stop and o p p o s e the leg m o v e m e n t s a m i n u t e , w h i c h you c a n n o t do e x c e p t by doing s e p a r a t e m o v e m e n t s from the hip j o i n t s . T h e n , being sure that you c o n t i n u e to m o v e f r o m the hip j o i n t s , let them go in the same

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direction. Do not go back to j u s t r o t a t i n g the u n i t from the S t o p a n d rest a g a i n .

pelvis.

Rest y o u r h a n d s on your c h e s t . Let y o u r t h u m b s be p a r a l l e l to y o u r b o d y just an inch or so a b o v e it. T h e r e m a i n d e r of the hand can rest on your body but the t h u m b s m u s t be p a r a l l e l . Then rotate t h e m and see if they m o v e in the same d i r e c t i o n . C o n t i n u e to c i r c l e w h i l e s l o w l y r a i s i n g them t o w a r d s a v e r t i c a l p o s i t i o n . See w h a t you o b s e r v e n o w . N o t e that w i t h o u t any o t h e r c h a n g e s w h a t s o e v e r , the r o t a t i o n s o f the t h u m b s h a v e now come to o p p o s e o n e a n o t h e r . See how it is a m o v e m e n t that is in the s a m e d i r e c t i o n in o n e m o m e n t , and b e c o m e s a movement in o p p o s i n g d i r e c t i o n s by m e a n s o f a s l i g h t shift o f the p o s i t i o n o f the thumbs from h o r i z o n t a l to v e r t i c a l . How s l i g h t is the m o v e m e n t that is r e q u i r e d for you to begin to e x p e r i e n c e w h a t w a s the s a m e d i r e c t i o n r o t a t i o n as an o p p o s i t e d i r e c t i o n rotation? Start parallel so that they a r e going in the s a m e d i r e c t i o n and v e r y , v e r y s l o w l y m o v e them t o w a r d s the v e r t i c a l . S e e if you c a n reach e x a c t l y that p o i n t w h e r e the s h i f t o c c u r s and identify it. W h e n do they stop g o i n g in the s a m e d i r e c t i o n and start g o i n g in the o p p o s i t e d i r e c t i o n ? B r e a t h e f r e e l y a n d see if you can c o m e to the e x a c t b o r d e r l i n e w h e r e the movement changes. Now sit u p . Put your thumbs o u t in f r o n t of you as you did e a r l i e r . M o v e them both in the same d i r e c t i o n . Now m o v e them in o p p o s i n g d i r e c t i o n s . See w h e t h e r you can d o it w i t h the thumbs h o r i z o n t a l as well as v e r t i c a l . If you can do it w i t h only one of those p o s i t i o n s , try to u n d e r s t a n d w h y . Extend instead the m i d d l e a n d the f o r e f i n g e r . C i r c l e t h o s e in the same d i r e c t i o n . You a r e in the h o r i z o n t a l p o s i t i o n . Move the f i n g e r s , not the w h o l e w r i s t and h a n d . It is no good to m o v e the w h o l e h a n d . Try to be a w a r e of w h a t you a r e d o i n g . If y o u can see that y o u r w h o l e hand and w r i s t a r e m o v i n g , then try to m o v e just the f i n g e r s . T h e r e is no reason why the w r i s t has to r o t a t e . R e v e r s e so that they j u s t c i r c l e in the o p p o s i t e d i r e c t i o n . T h e n o p p o s e the c i r c l i n g of the f i n g e r s , o n e to the o t h e r . See if you c a n n o t do that w i t h o u t p u t t i n g t h e m in a v e r t i c a l p o s i t i o n n o w . Stop a g a i n a m o m e n t . L e a v e y o u r hands up t h e r e in a horizontal p o s i t i o n . C i r c l e w i t h the two f i n g e r s in the same d i r e c t i o n . Breathe freely. R e v e r s e the d i r e c t i o n of the c i r c l i n g w i t h the two f i n g e r s . Do not o p p o s e t h e m , r e v e r s e t h e m . C i r c l e in o n e d i r e c t i o n for a w h i l e and then c i r c l e in the o t h e r d i r e c t i o n . T h e f i n g e r s should p o i n t towards e a c h o t h e r . Then try o p p o s i n g them so that o n e g o e s c l o c k w i s e and o n e g o e s c o u n t e r c l o c k w i s e . S e e if now y o u can do it very e a s i l y . It w a s q u i t e i m p o s s i b l e b e f o r e , but now you s h o u l d find that m o s t of you can do it. W i t h p r a c t i c e it will b e c o m e c h i l d i s h l y s i m p l e to do t h a t , and even w i t h a l m o s t no m o v e m e n t in the wr i s t . Now lie on your b a c k . Very s l o w l y , try t o c i r c l e in o n e d i r e c t i o n w i t h y o u r p e l v i s w h i l e c i r c l i n g in the o p p o s i t e d i r e c t i o n w i t h y o u r h e a d . B r e a t h e f r e e l y a s y o u do it. S t o p and s t a r t a g a i n as o f t e n as y o u need t o . G e t a v e r y c l e a r idea o f how the p e l v i s is g o i n g a n d try to m o v e the

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head

in the o p p o s i t e

direction.

S o m e t i m e s it is p o s s i b l e to s u c c e e d in a c o m p l e x m o v e m e n t I ike this if you take the p e l v i s n o r t h to w e s t and the head from n o r t h to e a s t and so o n , d o i n g it by q u a r t e r s , or taking one of them to n i n e and the o t h e r to three o n a c l o c k . Y o u a r e doing it a q u a r t e r o f a m o v e m e n t at a t i m e or a half m o v e m e n t , until you feel w h a t it really is to o p p o s e t h e m . Try doing a f e w h a l f - c i r c l e s so that y o u c i r c l e w i t h the p e l v i s just half a r o t a t i o n in one d i r e c t i o n and w i t h the head half a r o t a t i o n in the o p p o s i t e d i r e c t i o n . P r a c t i c e that a w h i l e and then see if you can do j u s t o n e s u c c e s s ful c i r c l e . When you a r e able to d o o n e , then try to d o a few until e v e n t u a l l y the o l d , r e p r e s s i v e w i r i n g in the n e r v o u s s y s t e m is o v e r c o m e . The f i r s t o n e s are the d i f f i c u l t o n e s . T h e n f i n a l l y y o u s h o u l d be a b l e to m a k e many s m o o t h , e a s y r o t a t i o n s of the head and the p e l v i s in o p p o s i t e r o t a t i o n s . Most l i k e l y , y o u will not do it on this o c c a s i o n , a l t h o u g h s o m e b o d y m i g h t , but w i t h p r a c t i c e it c e r t a i n l y can be d o n e . T h e n s i m i l a r l y , by p r o c e e d i n g a l o n g the s a m e l i n e s , d o i n g q u a r t e r and half m o v e m e n t s , v e r y s l o w m o v e m e n t s a n d so o n , you s h o u l d b e able to learn to o p p o s e the e y e m o v e m e n t s to the m o v e m e n t s of the h e a d . You m i g h t c o m p l i c a t e the m a t t e r a little f u r t h e r by o p p o s i n g the m o v e m e n t s of the head to the s i m u l t a n e o u s m o v e m e n t s of the eye and the p e l v i s . It is even p o s s i b l e w h i l e doing t h o s e t h r e e r o t a t i o n s to add on a d d i t i o n a l ones w i t h the feet and the hands o r k n e e s and e l b o w s o r any c o m b i n a t i o n of t h o s e , all r o t a t i n g in v a r i o u s w a y s in relation to e a c h o t h e r . As the d i f f i c u l t y i n c r e a s e s a n d as the m o r e d i f f i c u l t a n d compl icated a c t i o n s are s u c c e s s f u l l y p e r f o r m e d , so is the n e r v o u s s y s t e m d e p r o g r a m m e d and the c e l l s in the m o t o r c o r t e x d i s i n h i b i t e d to an e v e r g r e a t e r e x t e n t . T h a t is why it is a v e r y important thing to d o . S u c h m o v e m e n t s and such rep r o g r a m m i n g and d i s i n h i b i t i n g h a v e a powerful e f f e c t on the h u m a n m i n d body s y s t e m . A s u f f i c i e n t a m o u n t o f such w o r k will a l l o w the individual not o n l y to m o v e in m a n y new w a y s n o t at all limited to j u s t t h e s e e x e r c i s e m o v e m e n t s , but a l s o to think o f o t h e r things w h i c h c o u l d not be thought a b o u t b e f o r e , and to f e e l , to s e n s e and o t h e r w i s e e x p e r i e n c e b e y o n d the range of p r e v i o u s I i m i t a t i o n s . W h e n y o u do h a v e a b r e a k t h r o u g h like t h a t , there will n o t be any q u e s t i o n in y o u r m i n d that in f a c t you are t h i n k i n g and s e n s i n g and f e e l i n g d i f f e r e n t l y as a result of that neural r e p r o g r a m m i n g and b r e a k i n g down o f old p a t t e r n s . Feel c h a l l e n g e d to see how m a n y o p p o s i n g m o v e m e n t s y o u can a c h i e v e . D i s c o v e r how m u c h e l s e you m i g h t be a b l e to a c h i e v e t h e r e b y . It is e a s y to r e m e m b e r the task b e c a u s e it is simply o n e of r o t a t i n g p a r t s of the b o d y in o p p o s i t i o n . T h e natural parts to o p p o s e are t h o s e that you have two o f , such as the feet , or the r o t a t i o n in the hip j o i n t s w h e n you move the k n e e s in o p p o s i t e d i r e c t i o n s , the t w o hands or the thumbs or the f i n g e r s o f the h a n d s , and a l s o o p p o s i n g the h e a d to the p e l v i s or the e y e s to the p e l v i s or the e y e s to the h e a d , and then b r i n g i n g in t h o s e o p p o s i n g r o t a t i o n s as best you can a n d m a k i n g them s i m u l t a n e o u s l y . T h i s is o n e of the very best and most p o t e n t of all w a y s of b r e a k i n g down t h o s e neural p r o g r a m s w h i c h a r e i n h i b i t i n g o n e s . You will not b r e a k a n y that are

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v a l u a b l e or c o n s t r u c t i v e . Y o u o n l y b r e a k down the o n e s that a r e c o n s t r i c t ing a n d d e s t r u c t i v e o r , if n o t d e s t r u c t i v e , at least o b s t r u c t i v e . Now stop and rest. Let y o u r a r m s lie a t y o u r s i d e s . A l l o w y o u r body to r e l e a s e . Go o v e r it for a moment w i t h a f r a c t i o n a l , p r o g r e s s i v e r e l a x a t i o n w h e r e you let go o f the t o e s , the feet and then the a n k l e s , the p e l v i s and s o o n . Let go of a n y t e n s i o n that you a r e a w a r e of in y o u r b o d y , w h e t h e r it is in the ribs or the w r i s t s or the f i n g e r s or the s h o u l d e r s , the n e c k , the j a w , the mouth, the t o n g u e , the f a c e , the e y e s , the s c a l p , w h a t e v e r it may b e . Let e v e r y t h i n g r e l e a s e . Let the m u s c l e s loosen and l e n g t h e n , the s p i n e e l o n g a t e , the back w i d e n . W i t h o u t r e i n t r o d u c i n g a n y t e n s i o n , s i m p l y r e m e m b e r that now you have at y o u r disposal a p a r t i c u l a r l y useful a n d e f f e c t i v e w a y to b r e a k t h r o u g h those k i n d s of i n h i b i t i o n s that a r e w i r e d into the n e r v o u s s y s t e m so that even s i m p l e t a s k s , or w h a t should be s i m p l e t a s k s , a r e o b s t r u c t e d . The h u m a n being has m a n y , many such o b s t r u c t i o n s . T h e ones in the brain n a t u r a l l y a l s o a p p e a r in c o n s c i o u s life and in the u n c o n s c i o u s as well as o b s t r u c t i o n s to all kinds o f mental a c t i v i t i e s , w h e t h e r it b e r e m e m b e r i n g or t h i n k i n g or i m a g i n i n g or w h a t e v e r . Now w e a r e f i n i s h e d . Roll slowly t o o n e side w i t h o u t s t i f f e n i n g your neck and sit up or stand a n d m o v e a r o u n d w h a t e v e r y o u may feel like.

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8) E X P A N D I N G A N D E N R I C H I N G V I S U A L P E R C E P T I O N — C I R C L I N G M O S T L Y *

W e a r e g o i n g to do an eye e x e r c i s e that will i n c r e a s e the m o b i l i t y and the f l e x i b i l i t y of the e y e m u s c l e s . T h e r i g i d i t y o f t h o s e m u s c l e s is s u r e l y a m a j o r f a c t o r in m o s t of the p r o b l e m s t h a t p e o p l e h a v e w i t h their e y e s . W h i l e this e x e r c i s e will not e l i m i n a t e e v e r y eye p r o b l e m , some of you will find that y o u r v i s i o n will d e f i n i t e l y improve if you c a n find the m o t i v a t i o n to do this and o t h e r s i m i l a r e x e r c i s e s o f t e n e n o u g h . One of the t h i n g s that I w a s t h i n k i n g a b o u t w h e n I w a s g e t t i n g ready to do this e x e r c i s e w a s the role of b l i n k i n g in the h e a l t h of the e y e . It is very important to b l i n k o f t e n e n o u g h . T h e n I w a s t h i n k i n g a b o u t a p r o b l e m that d o e s not c o n c e r n many p e o p l e , but is a c u r i o u s o n e . It has to d o w i t h p r o f e s s i o n a l h y p n o t i s t s and their t e n d e n c y of d e v e l o p i n g the habit o f not b l i n k i n g the e y e . T h e n they have to r e l e a r n that h a b i t , to c o n s c i o u s l y learn to bli n k . M o s t o f the p e o p l e w h o c o m e t o you to be h y p n o t i z e d , if you are a h y p n o t i s t , w a n t you to look them in the eye and they w a n t you not to b l i n k . T h e y t a k e b l i n k i n g a s a sign of w e a k n e s s . So you learn not to do t h a t . In f a c t , eye c o n t a c t in this c u l t u r e , and in a n u m b e r of o t h e r c u l t u r e s , is a sign of d o m i n a n c e , a sign that one is t r y i n g to a s s e r t d o m i n a n c e o v e r a n o t h e r . Many p e o p l e take it as a sign of a g g r e s s i v e n e s s if you hold e y e c o n t a c t w i t h t h e m . T h e r e have been m a n y s t u d i e s d o n e of all kinds of subtle s h a d i n g s of w h e n the e y e c o n t a c t b e c o m e s a g g r e s s i v e , j u s t h o w m u c h of it is n e e d e d to e s t a b l i s h that o n e is not fearful o f the o t h e r or o n e is i n t e r e s t e d in the o t h e r . T h e y deal w i t h such q u e s t i o n s as w h e n somebody is looking at you in a h o s t i l e w a y , how long y o u s h o u l d look at them b e f o r e you turn y o u r head a w a y or b l i n k to indicate that y o u r s t r e n g t h has b e e n d e m o n s t r a t e d but at the same time y o u a r e not looking for t r o u b l e . In o t h e r s o c i e t i e s , if y o u look a t s o m e o n e long they t h i n k y o u are trying to put a spell on t h e m . T h i s is e s p e c i a l l y true in s o m e s o c i e t i e s in A f r i c a and in Latin A m e r i c a and in the S o u t h P a c i f i c . It is c o n s i d e r e d a v e r y s e r i o u s m a t t e r if y o u look s o m e b o d y in the e y e t o o long. T h e y t h i n k y o u are doing w i t c h c r a f t or s o r c e r y , and they m a y a t t a c k y o u . T h e r e a r e still o t h e r s o c i e t i e s w h e r e the p e o p l e m a i n t a i n e y e c o n t a c t for long p e r i o d s of t i m e . It is c o n s i d e r e d a f r i e n d l y thing to d o . If you do not do it, then you a r e c o n s i d e r e d to be p r o b a b l y up to s o m e t h i n g . It is a sign that g i v e s rise to s u s p i c i o n of your e n t e r t a i n i n g bad d e s i g n s o n the p e r s o n if you look a w a y . T h e y b e l i e v e that you think that y o u r e y e s will reveal the d e s i g n s that y o u have on them so that is w h y y o u are looking a w a y , to conceal y o u r i n t e n t i o n s . In o r d i n a r y 1ife it is i m p o r t a n t to c o n t i n u e t o b l i n k . If you find that for some reason you have lost your habit of b l i n k i n g fairly o f t e n , then you should try to get it b a c k . It can u s u a l l y be d o n e in a rather short p e r i o d of time by j u s t d e l i b e r a t e l y b l i n k i n g . T h a t serves the f u n c t i o n o f r e m i n d i n g t h e brain that the eye bl i n k s , and v e r y soon that h a b i t o f b l i n k i n g wi11 r e a s s e r t i t s e l f .

Teaching

time:

a b o u t 90 m i n u t e s

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N o w stand up and w a l k a r o u n d a little b i t . T r y to w a l k in y o u r normal w a y , the way that you o r d i n a r i l y do it. O b s e r v e w h a t y o u do w i t h y o u r e y e s , w h e r e you tend to look and how much of the e n v i r o n m e n t is a c c e s s i b l e to you. If the eye m u s c l e s are too t i g h t , a s they are in a l m o s t e v e r y o n e , then your field of v i s i o n is not as large as it o t h e r w i s e w o u l d b e . T h e c o n s t r i c t e d e y e m u s c l e s w i l l , in t i m e , lead to h a r d e n i n g of the lens and o t h e r problems. It is the h a r d e n i n g of the lens that a f f e c t s m o s t p e o p l e b e t w e e n the a g e s of forty and fifty w h e n they c a n n o t see so well and c a n n o t read the fine p r i n t . T h a t kind of thing can be p r e v e n t e d if the e y e m u s c l e s a r e kept loose and the e y e s a r e m o b i l e . T h e c r i t e r i o n for the c o r r e c t use o f the e y e s a p a r t from any d e f e c t s is that y o u t a k e in as m u c h of y o u r e n v i r o n m e n t as p o s s i b l e . You s e e as far to the left and the right and up and d o w n , and in all d i r e c t i o n s that it is p o s s i b l e for the e y e to s e e , w i t h o u t any special e f f o r t . Some p e o p l e b l o c k that h e a l t h y a w a r e n e s s of the e n v i r o n m e n t by lowering the head or t u r n i n g it to one side or t i l t i n g it b a c k . W i t h o t h e r s , the head is f a i r l y u p r i g h t but the e y e s look down or up or to the s i d e s . T r y to d e t e r m i n e w h a t you y o u r s e l f do w h e n you w a l k . Do you tend to look d o w n so t h a t your a w a r e n e s s is m a i n l y of the floor and y o u do not see an a d e q u a t e d i s t a n c e above y o u ? Is it b e c a u s e you look down w i t h the w h o l e head or just w i t h the e y e s ? T r y to d e t e r m i n e if y o u see e q u a l l y to the left and to the r i g h t . If y o u see m o r e to the l e f t , see if y o u r head is turned a I ittle to the left. If you see more to the r i g h t , see if you hold your head t u r n e d a little to the r i g h t . If you t h i n k that you are looking up m o r e than you s h o u l d , see if that is b e c a u s e you are a r c h i n g your neck. Now c o m e back to your m a t . L o o k a r o u n d you a bit and try to see this room a n d e v e r y t h i n g in it a s you b e l i e v e an a r t i s t s e e s . Try to see all of the d i f f e r e n t c o l o r s and n u a n c e s of c o l o r , d i f f e r e n t s h a d i n g s , d i f f e r e n c e s of l i g h t , d i f f e r e n c e s in d e p t h of o b j e c t s . T r y to see b e t t e r than y o u o r d i n a r i l y do if y o u a r e not an a r t i s t . N o t i c e the individual e l e m e n t s of the e n v i r o n m e n t that stand o u t a b i t , and then let them sink back into p e r s p e c t i v e . See a p a r t i c u l a r o b j e c t t h a t has m o r e m e a n i n g for y o u than o t h e r s . A l s o s e e if, by f o c u s i n g on a p a r t i c u l a r o b j e c t , you can invest it w i t h m e a n i n g . See if there a r e parts of the e n v i r o n m e n t that you relate to w i t h m o r e e m o t i o n than o t h e r s . See if there are t h i n g s that you look at that e l i c i t m e m o r i e s or a s s o c i a t i o n s . T h e r e a r e some things that you see that w o u l d b e e a s y to f a n t a s i z e a b o u t or e m p a t h i z e w i t h and o t h e r t h i n g s that you d o not w a n t t o have a n y t h i n g to do w i t h . T h e n seat y o u r s e l f in a w a y that is c o m f o r t a b l e for y o u . For q u i t e some t i m e , until I tell y o u to s t o p , rub the p a l m s of y o u r hands t o g e t h e r . When Bates d e v e l o p e d his eye e x e r c i s e s , w h i c h a r e the f o u n d a t i o n for m o s t c o n t e m p o r a r y p r o g r a m s of eye e x e r c i s e s , he found that this w a s p r o b a b l y the s i n g l e most b e n e f i c i a l thing for the e y e s that you can

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d o . You rub the palms t o g e t h e r to e x c i t e the e l e c t r o m a g n e t i c f i e l d , and then put the p a l m s o v e r y o u r open e y e s . Bates c a l l e d it " p a l m i n g . " Now put the p a l m s o v e r y o u r e y e s and e x c l u d e all l i g h t . You a r r a n g e y o u r p a l m s so that no light c o m e s in. Try to do it in such a w a y that you do not c u t off the a i r c o m i n g in t h r o u g h your n o s t r i l s . If you e x p e r i m e n t , you will find that y o u can c o m p l e t e l y e x c l u d e l i g h t . Keep the e y e s o p e n . Look into the b l a c k n e s s that you c r e a t e . Your e y e s a r e s t i m u l a t e d by the e f f e c t s of r u b b i n g y o u r h a n d s t o g e t h e r . You s h o u l d be looking into b l a c k n e s s . " P a l m i n g " h a s been included in a l m o s t e v e r y p r o g r a m of e y e e x e r c i s e or t r e a t m e n t since B a t e s d i s c o v e r e d it. W h e n you a r e looking into b l a c k n e s s , think of it as g e t t i n g b l a c k e r and b l a c k e r . See if by t h i n k i n g o f the b l a c k n e s s that y o u a r e looking i n t o , it is g e t t i n g b l a c k e r s t i l l . The d a r k n e s s in fact i n c r e a s e s . Be a w a r e that y o u r e y e s a r e o p e n . Do not c l o s e t h e m . S o m e t i m e s it is v e r y e a s y to c l o s e the e y e s and n o t know it when you a r e doing t h i s . Now take the h a n d s a w a y a m i n u t e and rub them t o g e t h e r a g a i n v i g o r o u s l y . T h e n o n c e a g a i n put them o v e r y o u r e y e s so as to e x c l u d e all l i g h t . W h e n y o u feel t h a t it is as b l a c k as you can get it by a r r a n g i n g y o u r hands and by t h i n k i n g that it is g e t t i n g b l a c k e r and b l a c k e r , then c l o s e y o u r e y e s for a minute. Keep t h e h a n d s as they a r e . You may find that it is lighter w i t h the e y e s c l o s e d than it is w i t h the eyes o p e n . If you do n o t find it so now, you may find it so later o n . It is a c u r i o u s p h e n o m e n o n . With some p e o p l e , images will begin to a p p e a r or f o r m s that a r e not r e c o g n i z a b l e but that move o r have several d i f f e r e n c e s of c o l o r . Then open y o u r e y e s a g a i n and look into the b l a c k n e s s . Do n o t remove the h a n d s u n l e s s told t o . It s p o i l s the e f f e c t . If you did do it b r i e f l y , rub the p a l m s t o g e t h e r a g a i n and then p u t them back o v e r your e y e s . Be sure that your eyes a r e o p e n . See if you can see a n y t h i n g in the b l a c k n e s s . S o m e t i m e s one will see s h a p e s like s p i r a l s and f i l i g r e e and l a t t i c e w o r k that H e i n r i c h K l e u v e r c a l l e d the " f o r m c o n s t a n t s " of images and w h a t some b e l i e v e a r e the b a s i c p e r c e p t i o n s that reality is built o f . If you have ever looked w i t h e y e s c l o s e d into a s t r o b o s c o p i c l i g h t , p u t t i n g y o u r e y e s c l o s e up on the e d g e of it, y o u see the " f o r m c o n s t a n t s " in v e r y vivid c o l o r s . Now if you see them at a l l , they will p r o b a b l y be b a r e l y d i s c e r n i b l e . Now roll o n t o y o u r b a c k , k e e p i n g your hands w h e r e they a r e , c o v e r i n g your e y e s . See w h e t h e r there s e e m s to be m o r e light w i t h the e y e s c l o s e d . A l s o note w h e t h e r it is any d i f f e r e n t lying on the back than s i t t i n g . T h e n sit up a g a i n and r e s t , u n c o v e r i n g y o u r e y e s . As w e p r o g r e s s w i t h the e x e r c i s e , it will c o n t i n u e to become lighter w i t h the e y e s c l o s e d than w i t h the e y e s o p e n . T h e q u e s t i o n n a t u r a l l y a r i s e s as to w h a t the 1ight is and w h e r e it is c o m i n g f r o m . T h e r e is no s c i e n t i f i c r e s e a r c h at all that p r o v i d e s a n y b a s i s for the e x i s t e n c e of images in the b r a i n . N o b o d y can find w h e r e they c o u l d be or w h a t they c o u l d b e . T h e y have no b a s i s for e x i s t e n c e from a s c i e n t i f i c point o f v i e w . The same is true of the images of the o t h e r s e n s e s . H o w e v e r , w i t h the e y e s , light is at least p a r t i a l l y e x p l a i n e d as p h o s p h e n e s and o t h e r c h e m i c a l

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a c t i o n s , w h e r e a s it is v e r y d i f f i c u l t to u n d e r s t a n d how a person can sense sounds and s m e l l s and so forth as an image in c o n v e n t i o n a l s c i e n t i f i c terms. A g a i n , sit c o m f o r t a b l y . E i t h e r look at the wall in f r o n t of you o r , if you c a n n o t see the w a l l , imagine it in front of y o u . Imagine a c l o c k dial that is a b o u t twice the size o f a c o n v e n t i o n a l c i r c u l a r wall c l o c k . It is a t least a c o u p l e o f f e e t a c r o s s . Move y o u r e y e s a r o u n d the d i a l , going from o n e to two to t h r e e a n d so f o r t h . O n l y the e y e s should m o v e . See if you c a n m a k e a smooth c i r c l e w i t h your e y e s . When there a r e p o i n t s w h e r e the c i r c l i n g is i n t e r r u p t e d , a l s o s e e if you c a n remain o n the c l o c k d i a l . Move in d i f f e r e n t d i r e c t i o n s and j u s t c i r c l e a r o u n d the w a l l . Try to t o u c h e v e r y n u m b e r w i t h y o u r e y e s . S t o p a m i n u t e . Hold t h e image of t h e c l o c k . Do not m o v e y o u r e y e s . J u s t m o v e y o u r head so that your c i r c l e is larger than the c l o c k . T h a t should be c o m p a r a t i v e l y e a s y . You should not have a n y d i f f i c u l t y at a l l . F o l l o w the c i r c l e as long as y o u m o v e y o u r h e a d . Let the e y e s j u s t ride a r o u n d in the h e a d . Your w h o l e head should m o v e in a c i r c u l a r m o v e m e n t . Do some one w a y and some the o t h e r way so you do not g e t d i z z y . T h e n hold the head still and c i r c l e j u s t w i t h the e y e s a g a i n . Go a r o u n d the c l o c k c o u n t e r c l o c k w i s e . O b s e r v e a n y t e n d e n c y in y o u r s e l f to tighten the neck m u s c l e s or the jaw or the tongue or to hold the b r e a t h . T h e n t r y c l o s i n g your e y e s a n d c i r c l i n g w i t h t h e m . See if it is e a s i e r w i t h the e y e s o p e n or w i t h the e y e s c l o s e d . Be s u r e that you a r e n o t m a k i n g c i r c l e s w i t h your h e a d , but a r e o n l y m o v i n g y o u r e y e s . Make sure a l s o not to t i g h t e n the m u s c l e s at the base of the neck and do not inhibit your b r e a t h i n g . T h e n open c i r c l e you can down b e l o w the can m a k e . Go

your e y e s and make a m u c h larger c i r c l e . M a k e the largest make right n o w . T h e c i r c l e c a n g o up b e y o n d the roof and f l o o r , o u t b e y o n d the w a l l s . M a k e the largest c i r c l e you in o n e d i r e c t i o n and then in the o t h e r d i r e c t i o n . Then s t o p .

Rub the p a l m s of the hands t o g e t h e r a g a i n for a w h i l e . T h e n put them o v e r the open e y e s and look into the d a r k n e s s . Keep t h i n k i n g that it is g e t t i n g d a r k e r and d a r k e r . N o w , w i t h o u t e x p o s i n g the o p e n e y e s t o l i g h t , roll o n t o y o u r b a c k . C o n t i n u e to look into the d a r k n e s s . T h e n , k e e p i n g your h a n d s t h e r e , c l o s e your e y e s . O b s e r v e a g a i n w h e t h e r it is lighter w i t h the e y e s open or w i t h the e y e s c l o s e d . R e m e m b e r that the h a n d s a r e still o v e r the e y e s , e x c l u d i n g light from the e n v i r o n m e n t . By c l o s i n g your e y e s , you a r e r e i n f o r c i n g the e x c l u s i o n of light so that it s h o u l d be much d a r k e r w i t h the e y e s c l o s e d , u n l e s s the light is c o m i n g f r o m inside the b r a i n , or w h e r e v e r it is c o m i n g f r o m . In f a c t , try t h i n k i n g a b o u t it g e t t i n g lighter and look for f o r m s . See w h a t e v e r may a p p e a r to you Now as y o u lie there w i t h your e y e s c l o s e d , look o v e r t o w a r d s your left ear a n d then over t o w a r d s your right e a r . T h e n m o v e b e t w e e n the left

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and the r i g h t . Do it by m a k i n g a n a r c so that you c o m e u p u n d e r the top of y o u r skull or o v e r the top of it so that you a r e m a k i n g a h a l f - c i r c l e , a s e m i - c i r c l e u p w a r d as you look from o n e e a r to the o t h e r . Keep g o i n g back and f o r t h . T h e head s t a y s in the m i d d l e , u n m o v i n g . Look for a n y s i g n s t h a t you a r e t i g h t e n i n g your n e c k , y o u r j a w or y o u r face m u s c l e s as you m a k e that s e m i - c i r c l e . Then s t o p a m i n u t e . Go s t r a i g h t a c r o s s f r o m the left to the right and back a g a i n . Look at the left e a r and then o v e r to the right e a r and back to the l e f t , a s t r a i g h t line right t h r o u g h the m i d d l e of y o u r h e a d . T h e r e is no a r c at a l l . T h e n w h e n y o u g e t to the right e a r , p a u s e t h e r e a m o m e n t . T h e n w h e n y o u go back to the left e a r , p a u s e there a m o m e n t . B r e a t h e f r e e l y . Loosen the m u s c l e s of y o u r tongue so that they a r e f r e e . If you s u c c e e d s u f f i c i e n t l y w h e n you p a u s e on the left s i d e , the t o n g u e will h a v e m o v e d left. W h e n you p a u s e on the right s i d e , the t o n g u e will have m o v e d r i g h t . See w h e t h e r your t o n g u e m o v e s w i t h the e y e m o v e m e n t s , if the m o v e m e n t is f r o m o n e s i d e to the o t h e r , or w h e t h e r y o u r t o n g u e s t a y s in the m i d d l e , or w h a t it d o e s . A few t i m e s , let the t o n g u e go w i t h the e y e s b a c k and forth a c r o s s f r o m o n e e a r to the o t h e r d e l i b e r a t e l y . T h e n o p p o s e the m o v e m e n t of the tongue to the m o v e m e n t o f the e y e s . See w h e t h e r you feel a n y strain in the e y e s as you do t h a t . T h e n s t o p and j u s t look left to right and let the t o n g u e do w h a t e v e r it will d o . Let the m o v e m e n t f r o m right to left be slow and let the e y e s p a u s e a m o m e n t on e i t h e r s i d e a s you o b s e r v e w h a t e v e r c o n n e c t i o n there m a y be b e t w e e n y o u r t o n g u e and y o u r e y e s . T h e n sit up and r e s t . Now c l o s e y o u r e y e s and m a k e some c i r c l e s inside a s if y o u r f a c e w e r e r o u n d . J u s t g o a r o u n d the o u t s i d e o f y o u r f a c e . See w h e t h e r it is a c o n t i n u o u s m o v e m e n t or w h e t h e r there a r e p l a c e s w h e r e you tend to p a u s e and the m o v e m e n t g e t s a little j e r k y . A l s o see if the f e e l i n g of c i r c u l a r i t y and the f e e l i n g of m o v e m e n t is c l e a r and that you can c i r c l e m o r e e a s i l y than you c o u l d at the b e g i n n i n g . Then just c i r c l e o v e r the b o t t o m half of the c i r c l e f r o m o n e e a r to the o t h e r . T h e n c i r c l e o v e r the top h a l f , g o i n g back and f o r t h . Do a half c i r c l e o n the left s i d e . T h e n d o a half c i r c l e on the right s i d e . O p e n y o u r e y e s . P r o j e c t the image of the c l o c k a g a i n on the wall and go a r o u n d c l o c k w i t h y o u r e y e s . G o a r o u n d it t o u c h i n g e v e r y n u m b e r c l o c k w i s e then c o u n t e r c l o c k w i s e .

the and

T h e n instead o f g o i n g a r o u n d the c l o c k , m a k e a s o m e w h a t larger c i r c l e . C o n c e n t r a t e on f e e l i n g the c i r c u l a r movement w i t h the -eyes, the m o v e m e n t of the m u s c l e s . C o n c e n t r a t e on m a k i n g the m o s t p e r f e c t c i r c l e you can w i t h o u t t i g h t e n i n g the n e c k or h o l d i n g the b r e a t h or t u r n i n g the head o n e w a y or the other so t h a t it r e m a i n s an e y e movement. T r y to p e r f e c t it and k e e p increasing the size of the c i r c l e , c o n s i d e r i n g a g a i n that you h a v e the c a p a c i t y to look far beyond the c o n f i n e s o f the room in all d i r e c t i o n s . Do not m o v e y o u r h e a d . T r y to e l i m i n a t e the head m o v e m e n t . Then s t o p . Do the p a l m i n g a g a i n .

M a k e a b l a c k n e s s o v e r your open e y e s .

Allow

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p l e n t y of time to c r e a t e the f r i c t i o n . T h e n , as you c r e a t e w i t h your h a n d s the b l a c k n e s s o v e r your e y e s , see if y o u can feel a n y t h i n g c o m i n g from the hand into the e y e s . Be sure that the e y e s a r e o p e n . T h e n as you look intently but w i t h o u t s t r a i n i n g into t h a t d a r k n e s s , see if the hands feel a n y t h i n g c o m i n g o u t of the e y e s . Do the o n e for a w h i l e a n d then do the o t h e r . See if you feel a n y t h i n g c o m i n g f r o m the h a n d to t h e e y e and then see if you feel a n y t h i n g c o m i n g from the e y e to the h a n d . Breathe freely. T h e n just c l o s e your e y e s , leave the h a n d s w h e r e they a r e , roll o n t o y o u r back a n d rest a m i n u t e . Then take y o u r hands d o w n .

over

You may have read in the New York T i m e s r e c e n t l y a b o u t a c o u r t c a s e that w a s d i s m i s s e d w h e r e a w i t n e s s w h o had been h y p n o t i z e d i d e n t i f i e d a man w h o had a t t a c k e d a n o t h e r m a n . A l t h o u g h he had seen him in the d a r k and by o r d i n a r y s t a n d a r d s it w a s too d a r k to i d e n t i f y h i m , w h e n they put the man in t r a n c e he could see the f a c e . On the b a s i s o f that h e m a d e the i d e n t i f i c a t i o n . T h e r e w a s a g r e a t deal of e v i d e n c e that he w a s r i g h t . H o w e v e r , on the b a s i s of the opthalmologist' s t e s t i m o n y that that w a s i m p o s s i b l e , they threw o u t the c a s e . T h e m u g g e r was a l l o w e d to go f r e e . Y e a r s a g o I used to do some e x p e r i m e n t s w i t h h y p n o t i c s u b j e c t s w h o were a b l e to g e t into v e r y d e e p trance s t a t e s . I w o u l d show them a d i m m e r switch. I w o u l d turn the light d o w n and then I w o u l d turn it up until they c l e a r l y had in mind the c o n c e p t of the d i m m e r , w i t h w h i c h they w e r e not f a m i l i a r at the s t a r t . T h e n in the t r a n c e , w i t h their e y e s o p e n , I w o u l d have them h a l l u c i n a t e a d i m m e r a n d b e l i e v e that they c o u l d r e a l l y turn the light up and down in the r o o m , or I w o u l d g i v e them an actual d i m m e r that w a s not p l u g g e d into a n y t h i n g . In a d a r k room I w o u l d have them use the d i m m e r . In many c a s e s they could see far b e t t e r w h e n they w e r e o p e r a t i n g their d i m m e r t u r n i n g up the lights than they c o u l d see o t h e r w i s e . Some of them a l s o felt that they w e r e p r o j e c t i n g b e a m s of light o u t of their e y e s . T h e y a l s o had much b e t t e r n i g h t v i s i o n . T h e y c o u l d identify o b j e c t s . T h e y could w a l k a r o u n d w i t h o u t b u m p i n g into t h i n g s . T h e y could read in light so dim that they c o u l d n e v e r o r d i n a r i l y read in it. T h e potential of the e y e is a l w a y s m u c h g r e a t e r in a v a r i e t y o f w a y s than the use that w e m a k e of it. It is a m i s t a k e to a s s u m e that the v i s i o n t h a t you have in o r d i n a r y life a n d e v e r y d a y usage is the v i s i o n that y o u a r e c a p a b l e of h a v i n g even w i t h o u t any special c o r r e c t i v e w o r k . This can be d e m o n s t r a t e d j u s t by a l t e r i n g the c o n s c i o u s n e s s . If y o u learn to m o v e a l o n g the c o n t i n u u m of a l t e r e d s t a t e s , then you can use m o r e of the potential of your e y e s . Now sit up a g a i n and c l o s e y o u r e y e s . B r e a t h i n g f r e e l y , c i r c l e inside your head at eye level a s if you w e r e d i v i d i n g y o u r head in two p a r t s w i t h the c i r c l e . T h i s t i m e , instead of c i r c l i n g a s if s o m e t h i n g were o u t in front of y o u , c i r c l e a s if you w e r e c i r c l i n g a r o u n d the sides and the back and the f r o n t of your h e a d . O n e part of y o u r head is b e l o w the c i r c l e and one p a r t is a b o v e . You g o in o n e d i r e c t i o n for a w h i l e and then in the o t h e r d i r e c t i o n . Do not move the head or t i g h t e n up a n y t h i n g .

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T h e n right in the m i d d l e , a b o u t w h e r e the Indians p l a c e the third e y e , stop and j u s t look s t r a i g h t a h e a d at that p o i n t . T r y b r e a t h i n g in and o u t of that p o i n t . Feel that as y o u inhale the e y e s m o v e a little back in your head and as you e x h a l e they m o v e f o r w a r d . As the e y e s m o v e b a c k , the ribs t i g h t e n a little and as the e y e s g o out w i t h the b r e a t h , the ribs l o o s e n . T h e n s t o p . B e sure that any time the e y e s feel s t r a i n e d , do n o t go ahead w i t h it. Several m o r e t i m e s , c i r c l e a r o u n d your head w i t h y o u r e y e s . Stop in the m i d d l e p o i n t . Keep the tongue l o o s e , the j a w l o o s e , the b r e a t h i n g f r e e . F o r g e t a b o u t the b r e a t h i n g in and o u t , but k e e p that still m i d d l e p o i n t . See how long you can f o c u s on it w i t h o u t t h i n k i n g a b o u t a n y t h i n g . If the throat and tongue a r e loose e n o u g h , then you s h o u l d have 1 ittle t r o u b l e w i t h w o r d s c o m i n g into your m i n d . If the e y e s are relaxed e n o u g h , then you should not g e t i m a g e s , so that y o u r mind is e m p t y e x c e p t for that p o i n t . W h e n you m a k e the c i r c l e s w i t h y o u r e y e s , s e e w h e t h e r it is a c l e a r s e n s a t i o n of c i r c l i n g or n o t . N o w s t o p . W i t h y o u r e y e s o p e n , and a l s o w i t h your e y e s c l o s e d , m a k e c i r c l e s . Try to m a k e the m o s t p e r f e c t c i r c l e s that y o u can w i t h the c l e a r e s t s e n s e of the e y e s m o v i n g . M a k e big o n e s and small o n e s , q u i c k o n e s and slow o n e s , v a r i a t i o n s of it. Do not m o v e the h e a d . Do not tighten the m u s c l e s . Do not inhibit the b r e a t h i n g . J u s t try to sense c l e a r l y the eye m o v e m e n t s . Now look at the point m o s t d i s t a n t to you and then look a t s o m e t h i n g c l o s e . T h e n k e e p g o i n g back and f o r t h , f o c u s i n g on s o m e t h i n g far a w a y and s o m e t h i n g c l o s e u p . Now w i t h your e y e s c l o s e d , look as far up as you can a n d as far down as you can w i t h o u t s t r a i n i n g the e y e s . A l s o do it w i t h the e y e s o p e n . See if y o u are o b s t r u c t e d by the fact of the floor or the c e i l i n g or w h a t e v e r . You can look right t h r o u g h t h e m at w h a t you know t o b e b e y o n d t h e m , as if the e y e s could p e n e t r a t e right t h r o u g h so that the e y e m o v e m e n t is n o t s t o p p e d short by the floor or c e i l i n g . Then look f r o m left to right a s far a s you can look. Let the eyes m o v e to the left and to the r i g h t . Do it w i t h the e y e s c l o s e d . See how c l e a r l y you can s e n s e the left to right m o v e m e n t . Then open the e y e s and do it. Still s e n s e very c l e a r l y the e y e m o v e m e n t . T h e n tilt your head back and look at the c e i l i n g . M a k e the b i g g e s t c i r c l e s you c a n m a k e as you look u p . M a k e them in one d i r e c t i o n and then the o t h e r . Feel c l e a r l y , if you c a n , the m o v e m e n t of the e y e s . Then look s t r a i g h t a h e a d of you and do it. Do not m o v e the h e a d , just the e y e s . See w h a t h a p p e n s if you j u s t think a b o u t the eyes c i r c l i n g and intend that they c i r c l e . If you can m e n t a l l y d i r e c t them to c i r c l e , then they will m o v e . T h a t is a d i f f e r e n t kind of m o v e m e n t than the usual c o n s c i o u s k i n d . A l s o just think that the eyes will m o v e left and then that the e y e s will m o v e r i g h t , and tell them to m o v e that w a y . D o n o t hold your b r e a t h . T h e n a few t i m e s , tell the e y e s to c i r c l e . See if they

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will

move.

Let the e y e s r e l a x . B l i n k t h e m q u i t e a few t i m e s . T h e n d o the p a l m i n g over your open eyes. Look into the b l a c k n e s s a n d think a b o u t it g e t t i n g b l a c k e r and b l a c k e r . T h i n k a b o u t an inky pitch b l a c k n e s s . See if, in f a c t , that b l a c k n e s s is b l a c k e r than the b l a c k that you had a t the b e g i n n i n g . S u g g e s t that it will get b l a c k e r and b l a c k e r and b l a c k e r . K e e p i n g the h a n d s t h e r e , c l o s e y o u r e y e s . A l l o w y o u r s e l f the p o s s i b i l i t y of s e e i n g l i g h t , the p o s s i b i l i t y that you may d i s c e r n c o l o r s : blues, reds, g r e e n , y e l l o w s , w h a t e v e r ; s p i r a l s or o r g a n i c s h a p e s , images e i t h e r b a r e l y h i n t e d a t or seen m o r e c l e a r l y . Roll o v e r o n t o y o u r back and c o n t i n u e to look a w h i l e . Leave y o u r e y e s c l o s e d and rub y o u r p a l m s t o g e t h e r . A g a i n put t h e m o v e r y o u r e y e s and see w h a t you f e e l . See if you have a g r e a t e r a w a r e n e s s of heat now c o m i n g f r o m y o u r h a n d s , or w h a t e v e r e l s e it may b e . T h e n take the hands a w a y and sit u p . Open your e y e s and roll s l o w l y to one side and g e t u p . W a l k a r o u n d . O b s e r v e a n u m b e r of t h i n g s . O b s e r v e w h e r e you l o o k . Do y o u look at the s a m e p l a c e that y o u looked b e f o r e ? How much a r e you a w a r e o f ? If you w a l k t h r o u g h the c e n t e r of the room or s o m e p l a c e w h e r e you w a l k e d b e f o r e , do you feel that the v i s i o n has w i d e n e d and e x p a n d e d so t h a t , w i t h the looser m u s c l e s , y o u a r e taking in m o r e ? S e e if y o u r e y e s a r e m o r e c l e a r l y in y o u r body i m a g e . T h e n look for c o l o r s , t e x t u r e s , s h a d e s of l i g h t . Try to r e m e m b e r w h a t you saw a n d see if you see a n y m o r e d e t a i l . Does a n y t h i n g look a n y d i f f e r e n t to y o u ? Be a w a r e of the s u b t l e t h i n g s , the d i r e c t i o n y o u r e y e s are l o o k i n g , the scope of the field o f v i s i o n , and the w a y that you see t h i n g s , how you look at them and w h a t you s e e . Do the same t h i n g s h a v e m e a n i n g or the same kinds of m e a n i n g ? In w h a t you s e e , note the a m o u n t o f d e t a i l , a w a r e n e s s o f c o l o r s , t e x t u r e s , s h a d i n g s o f light and d a r k n e s s . T h e n c o m e back a n d sit d o w n .

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9) " S E N S I N G " S K E L E T O N and A R M S A B O V E H E A D

(EXTENDED VERSION) *

Lie on y o u r back w i t h the p a l m s down at the s i d e s . Scan y o u r body m a i n l y in terms of the s k e l e t o n . T h e time will p r o b a b l y c o m e in the c o u r s e of this w o r k when you will have a m o s t e x t r a o r d i n a r y e x p e r i e n c e of being a w a r e , or s e e m i n g to be a w a r e , of y o u r s k e l e t o n . It is a v e r y , v e r y interesting phenomenon. It h a p p e n s to e v e r y o n e w h o d o e s e n o u g h of this w o r k . If you have d o n e the w o r k for a fair a m o u n t of time at a l l , you should have an a w a r e n e s s of y o u r j o i n t s a l r e a d y that most p e o p l e n e v e r a c h i e v e in t h e i r l i v e s . T h a t will i n c r e a s e , and o n e o f the a w a r e n e s s e s t h a t you will have wi11 be o f y o u r s k e l e t o n . M u c h of the m o v e m e n t in t h i s w o r k is b a s e d on the w a y that the s k e l e t o n w o u l d m o v e w i t h much less than the usual a m o u n t of i m p e d i m e n t or i n h i b i t i o n of m o v e m e n t by the m u s c l e s . We seek to g a i n s u f f i c i e n t c o n t r o l o v e r m u s c l e s and o t h e r p a r t s of the body that s u p p o r t or inhibit the skeletal j o i n t s . It is this control that a l l o w s the s k e l e t o n to m o v e w i t h o u t u n d u e i n t e r f e r e n c e by the m u s c l e s . In a l e i s u r e l y w a y , try now t o bring the s k e l e t o n , o r an image o f y o u r s k e l e t o n , into y o u r a w a r e n e s s as m u c h as you c a n . Begin w i t h the f e e t . Most of you k n o w , at least in a g e n e r a l w a y , w h a t the s k e l e t o n looks like and w h e r e the m a j o r j o i n t s a r e . You have y o u r t o e s . B e h i n d the t o e s a r e w h a t are c a l l e d the m e t a t a r s a l s , a n d they a r e like e x t e n s i o n s of the toes running all the w a y b a c k t h r o u g h the foot t o w a r d s the h e e l . T h e r e a r e m a n y small b o n e s and j o i n t s in the h e e l . T h e n there is the a n k l e j o i n t . T h e r e a r e two b o n e s in the lower l e g , the tibia and the f i b u l a . One m o v e s a r o u n d the o t h e r . Then at the o t h e r e n d , the knee j o i n t and one big bone c a l l e d the f e m u r . Then y o u have the hip j o i n t and the p e l v i s w i t h the s p i n e j o i n i n g it. At the base of the lower p a r t of the s p i n e is the tail b o n e , frozen now into the p e l v i s . A b o v e that are the v e r t e b r a e o f the spine p r o c e e d i n g on up t h r o u g h the rib c a g e . T h e rib c a g e g o e s all the way a r o u n d to p r o t e c t the o r g a n s in that part of the b o d y . Y o u h a v e the s t e r n u m that runs down the m i d d l e of the rib c a g e in front and j o i n s it. In the b a c k y o u have the s h o u l d e r b l a d e s , the s c a p u l a . You have two bones that run a c r o s s the s h o u l d e r s , c a l l e d the c l a v i c l e s . Then you have the f i n g e r s and hands w h i c h a r e c o n s t r u c t e d v e r y m u c h like the f o o t . T h e w r i s t is v e r y s i m i l a r to the a n k l e . In the lower a r m you a l s o h a v e two b o n e s . O n e m o v e s a r o u n d the o t h e r , the same as in the lower l e g , and those two bones a r e c a l l e d the ulna and the r a d i u s . T h e n there is the j o i n t of the e l b o w and then the big bone in the u p p e r a r m . T h a t is the h u m e r u s and c o r r e s p o n d s to the f e m u r . T h e n you have the s p i n e r u n n i n g on up o u t of the rib c a g e and into the s k u l l , the b o n e s o f the h e a d , the jaw b o n e , the lower part and then the u p p e r part of the s k u l l . It is like the body at the o t h e r end o f the s p i n e in that it has j o i n t s that w e r e o n c e a r t i c u l a t e d , but no longer a r e . H o w e v e r , a s b a b i e s , the j o i n t s in the skull a r e a r t i c u l a t e d . It is said that those j o i n t s can be r e - a r t i c u l a t e d by d o i n g s u f f i c i e n t w o r k on the skul l . K e e p i n g that w h o l e skeletal s t r u c t u r e in m i n d , and f o r g e t t i n g a b o u t the rest of y o u , just g o o v e r y o u r b o d y . Try to bring the s k e l e t o n i t s e l f , or a p i c t u r e o f the s k e l e t o n , into y o u r a w a r e n e s s , as if y o u w e r e j u s t b o n e s

* Teaching time:

a b o u t 90 m i n u t e s

- 54-

with a consciousness. It is t h a t b a s i c a w a r e n e s s that y o u will h a v e w h e n the e x p e r i e n c e of y o u r s k e l e t o n o c c u r s to y o u . T h e n t h e r e will be o t h e r later o n e s o f m u c h g r e a t e r c o m p l e x i t y , in w h i c h m o r e and m o r e of the b o d y , not o n l y its s t r u c t u r e but its p h y s i o l o g y , will a l s o be e x p e r i e n c e d by y o u . F i n a l l y , it will o c c u r that you c a n h a v e an a w a r e n e s s o f so m a n y p a r t s and p r o c e s s e s a n d f u n c t i o n s o f y o u r s e l f that it w o u l d seem i n c r e d i b l e to you n o w , that it w o u l d seem i m p o s s i b l e . S o m e of that will be an a u t h e n t i c s e n s i n g o f the g r o s s p h y s i c a l b o d y . S o m e of it will be a n imaging of it. In e i t h e r c a s e , it c a n be used to improve the body in its f u n c t i o n i n g in a m o s t i m m e d i a t e w a y . B a s i c , h o w e v e r , is the s k e l e t o n , so c o n t i n u e w i t h t h a t . R e a l l y try to g e t a c l e a r p i c t u r e o f it. I will g i v e you a few minutes. P l e a s e remain w i t h t h a t . Do n o t let y o u r m i n d w a n d e r o r g o to s l e e p , or o t h e r w i s e be d i s t r a c t e d . Now see how good you a r e at e s t i m a t i n g the p a s s a g e of t i m e . See how long y o u think it is since I last said a n y t h i n g . It is four m i n u t e s . To some it s e e m s just a b o u t that and to o t h e r s it seems m u c h , m u c h l o n g e r . Now bring the w h o l e s k e l e t o n as c l e a r l y as p o s s i b l e into y o u r a w a r e n e s s . Put y o u r a r m s down at y o u r sides w i t h y o u r palms d o w n . Your legs a r e ext e n d e d . Try to get the c l e a r e s t p o s s i b l e image of y o u r b o d y , the f e e l i n g of the w h o l e of it s i m u l t a n e o u s l y , not part by p a r t . T h e n , if y o u had n o t e d how you a r e lying n o w . See w h e t h e r o n l y to the s k e l e t o n , the body ceased to do the same a m o u n t of

y o u w e r e lying in the b e g i n n i n g , n o t e how by not p a y i n g a t t e n t i o n to the m u s c l e s but is lying s o m e w h a t f l a t t e r . T h e m u s c l e s have w o r k that they w e r e d o i n g b e f o r e .

O n c e a g a i n take several m i n u t e s and try to go o v e r the s k e l e t o n , b e g i n n i n g w i t h the toes and the f e e t , a n k l e s , lower l e g s , k n e e s , upper l e g s , h i p s , p e l v i s , s p i n e , c h e s t , s h o u l d e r s , f i n g e r s , h a n d s , lower a r m s , e l b o w s , upper a r m s , s h o u l d e r s , n e c k and h e a d . T a k e several m i n u t e s and do it as c o m p l e t e l y as y o u c a n . As y o u g o up it, let the s k e l e t o n sink into the m a t . As you lie t h e r e , f o r g e t t i n g a b o u t the s k e l e t o n n o w , pay p a r t i c u l a r a t t e n t i o n to y o u r s h o u l d e r s . Note the c o n t a c t they m a k e w i t h the f l o o r . If they do not m a k e c o n t a c t , how c l o s e d o e s it s e e m t o y o u t h a t they c o m e - r e l a t e d , that is, to how the w r i s t s and hands lie? Is it p o s s i b l e to let the w r i s t s lie flat w i t h o u t e l e v a t i n g the s h o u l d e r s , or for the s h o u l d e r s to m a k e good c o n t a c t w i t h o u t c a u s i n g t h e h a n d s a n d t h e w r i s t s to f l e x ? S l i d e y o u r h a n d s u p a n d d o w n a l o n g s i d e y o u r b o d y . Move y o u r s h o u l d e r s up t o w a r d s the e a r s and t a k e them a w a y , k e e p i n g t h e e l b o w s s t r a i g h t so t h a t the m o v e m e n t is really in the s h o u l d e r s . A l s o try to k e e p the p a l m s down a n d the w r i s t s down as you do t h a t . S e n s e both w h a t is h a p p e n i n g in the s h o u l d e r s a n d how the a r m s m o v e and w h a t the hand is t o u c h i n g . See if it seems to you that the m o v e m e n t is identical w i t h the two a r m s a n d s h o u l d e r s , o r if they m o v e d i f f e r e n t l y . T h e n , as a way of t e s t i n g that s e n s i n g e v a l u a t i o n , m o v e j u s t one a n u m b e r of t i m e s and then the o t h e r .

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S e e if, by d o i n g it that w a y , they m o v e the s a m e , if e a c h s h o u l d e r has the same f r e e d o m , and w h e t h e r the s e n s a t i o n s a r e the same in the t w o . See if w h a t y o u s e n s e in that w a y c o r r e s p o n d s to w h a t you sensed w h e n y o u moved t h e m t o g e t h e r . A l s o try doing a l t e r n a t e m o v e m e n t s . M o v e o n e and then the o t h e r . See if that g i v e s the same i n f o r m a t i o n or s o m e t h i n g d i f f e r e n t . T h e n j u s t stop and r e s t . S e n s e how you l i e . T h e n c o n t i n u e to rest w i t h y o u r a r m s o u t at s h o u l d e r h e i g h t . O b s e r v e how you p l a c e y o u r h a n d s . A r e t h e p a l m s down or up or do you do s o m e t h i n g e l s e w i t h them? H o w m u c h d o the w r i s t s bend? Now bend your a r m s at the e l b o w s . L e a v e the w r i s t s l i m p . M a k e some c i r c l e s from the e l b o w . Do w h a t e v e r you s p o n t a n e o u s l y d o . See if, u n l e s s y o u m a k e a c o n s c i o u s e f f o r t to do o t h e r w i s e , y o u do not m o v e them in opposing directions. C i r c l e in o p p o s i n g d i r e c t i o n s . T h e n c h a n g e it and c i r c l e in the same d i r e c t i o n . T h e n , w h a t e v e r d i r e c t i o n y o u a r e g o i n g in, r e v e r s e it a n d go in the o p p o s i t e d i r e c t i o n , but still c i r c l i n g in the same d i r e c t i o n w i t h both h a n d s . Now make the c i r c l e s j u s t w i t h your right hand and a r m . Then c i r c l e at the s a m e time in the o p p o s i t e d i r e c t i o n w i t h the left h a n d . Stop for a m i n u t e . J u s t make c i r c l e s w i t h the left h a n d . Now c o n t i n u e to make the same m o v e m e n t w i t h the left h a n d . Do not c h a n g e a n y t h i n g . As you c o n t i n u e to m a k e the s a m e m o v e m e n t w i t h the left h a n d , m a k e an o p p o s i n g m o v e m e n t w i t h the right h a n d . Some p e o p l e a r e a b l e to do it v e r y q u i c k l y a n d o t h e r s have to stop and t h i n k and g r o p e to do what they did s p o n t a n e o u s l y in the b e g i n ning. Let the a r m s lie at s h o u l d e r h e i g h t . See if they lie as they did b e f o r e . If the p a l m s w e r e d o w n , a r e they still d o w n ? If they w e r e u p , a r e they still up? If they w e r e some o t h e r w a y than that w a y , a r e they still that o t h e r way? T h e n try them in d i f f e r e n t p o s i t i o n s . See if y o u have a n y p r e f e r e n c e . T r y p l a c i n g t h e m o n the s i d e s . Let them a n g l e b a c k . L e t them a n g l e forward. See w h i c h feels b e t t e r to the s h o u l d e r . T h e n place them in the w a y that the s h o u l d e r f i n d s m o s t a g r e e a b l e . Be sure that it is s o . Be sure that you a r e n o t imposing s o m e t h i n g on y o u r s h o u l d e r j o i n t s , that they r e a l l y d o feel m o s t c o m f o r t a b l e w i t h the h a n d s the w a y y o u h a v e t h e m . T h e n m a k e light f i s t s and roll the fists down and bring t h e m back to the s t a r t i n g p l a c e . B r e a t h e f r e e l y . J u s t roll them like w h e e l s a l o n g the f l o o r . W h e n they h a v e rolled down as far as they will g o , lift y o u r head o f f the f l o o r s o they roll a n e x t r a turn o r s o . M o v e up f a r e n o u g h so that w h e r e v e r they w e n t o t h e r w i s e , they now turn an e x t r a q u a r t e r or w h a t e v e r they will d o . Exhale as y o u raise y o u r h e a d . Bring y o u r s e l f up high e n o u g h that you g e t a m a x i m u m increase in the w a y that the s h o u 1 d e r will turn and the fist will r o l l . Be sure that w h e n y o u raise y o u r h e a d , you roll y o u r f i s t s . Be sure t h a t y o u do it by r o t a t i n g the s h o u l d e r j o i n t s d o w n . T h e n leave y o u r head down a n d c o n t i n u e t o roll the f i s t s . Then rest.

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N o w , w i t h y o u r a r m s o u t a g a i n , roll the f i s t s b a c k i n s t e a d , h o w e v e r far they will g o . T h e n bend y o u r legs and let y o u r f e e t s t a n d o n the f l o o r . W h e n y o u roll the f i s t s b a c k , raise y o u r p e l v i s so that y o u inc r e a s e the w a y that the f i s t s can r o l l . You increase the r o t a t i o n in the s h o u l d e r s , and the f i s t s roll f u r t h e r than they d i d . B r e a t h e f r e e l y . Lift the pelvis a s high a s y o u have to to let the f i s t s roll a s far as they w i l l . T h e n leave y o u r p e l v i s o n the f l o o r and c o n t i n u e to roll the f i s t s b a c k . Do n o t s t r a i n . S t o p and rest a n y time you need t o . T h e n put y o u r legs down and roll the f i s t s as far up as they will go and as far down as they will g o . See if you have i n c r e a s e d the s h o u l d e r r o t a t i o n s o m e t h i n g like fifty per c e n t . C o n s i d e r w h a t y o u g a i n e d going b a c k and w h a t you g a i n e d g o i n g f o r w a r d . Then j u s t rest w i t h your a r m s a t s h o u l d e r h e i g h t . T h e n put your a r m s down at y o u r s i d e s . O n c e a g a i n , s e n s e h o w y o u r s h o u l d e r s a r e l y i n g . T h e n , w i t h the e l b o w s s t r a i g h t , s l i d e the a r m s up a n d d o w n . B r i n g the s h o u l d e r s up t o w a r d s y o u r e a r s a n d take t h e m d o w n a g a i n . Now s t o p and rest a m o m e n t . Now put y o u r a r m s o u t at s h o u l d e r h e i g h t a g a i n . Bend them a t the e l b o w s so that the f o r e a r m s a r e p e r p e n d i c u l a r to the f l o o r . T a k e them down t o w a r d s the f l o o r b e s i d e y o u r h e a d . T h e n bring them back to the starting p o i n t . C o n t i n u e to do t h a t . See if you c a n bring them b a c k j u s t to the s t a r t i n g point and n o f u r t h e r . Put t h e m a b o v e y o u r head on the f l o o r or h o w e v e r far they will g o a n d bring them back to the p o s i t i o n w h e r e the f o r e a r m s are vertical . See w h e t h e r the backs of the hands a n d the w r i s t s will lie o n t h e f l o o r or to w h a t e x t e n t they a p p r o x i m a t e t h a t . See if the w h o l e back of the hand will really s t r a i g h t e n out so that the f i n g e r s are unclenched. Stop w i t h your a r m s up a n d instead take t h e m down t o w a r d s y o u r s i d e s . See if you can put the palms and the w r i s t s on the f l o o r . If you c a n n o t put them o n the f l o o r , let y o u r head c o m e up several times so that y o u c a n d o it. Put e v e r y t h i n g down f l a t : the a r m s , the w r i s t s , the h a n d s a n d f i n g e r s . T h e n make it a c o m p l e t e m o v e m e n t w i t h the h a n d s g o i n g a b o v e y o u r head on the f l o o r and down b e l o w at the sides on the f l o o r . If you c a n n o t p u t the backs of the h a n d s flat on the f l o o r , bend y o u r legs and raise y o u r pelvis in o r d e r to do t h a t . T h e n if you m u s t raise the head to put the palms a n d w r i s t s d o w n , do t h a t . Do w h a t e v e r you have to do t o put the w h o l e thing d o w n . T h e n , if you a r e e i t h e r r a i s i n g the p e l v i s or the h e a d , stop d o i n g it and c o n t i n u e t a k i n g the a r m s a b o v e and b e l o w . Be v e r y o b s e r v a n t o f w h a t y o u r s h o u l d e r s d o as y o u m a k e this m o v e m e n t . See w h e t h e r they r e a l l y have to c o m e off the f l o o r w h e n y o u take the h a n d s d o w n . If s o , how m u c h ? S e e if it is the same w i t h e a c h s h o u l d e r . If there is a d i f f e r e n c e , d e f i n e it for y o u r s e l f . As you do t h i s , be s u r e that you keep the u p p e r a r m s o u t at s h o u l d e r h e i g h t . You s h o u l d be d o i n g both a r m s at o n c e at this t i m e . T h e n stop a m o m e n t . Let y o u r a r m s rest w i t h the p a l m s h a n g i n g and the lower a r m s t o w a r d s the c e i l i n g .

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T h e n s i m u l t a n e o u s l y take o n e a r m t o w a r d s the f l o o r at y o u r side and o n e t o w a r d s the f l o o r by y o u r h e a d . Be sure that w h e n they m e e t , it is e x a c t l y at the s t a r t i n g p o i n t . B r e a t h e f r e e l y . O b s e r v e w h a t is g o i n g on in the s h o u l d e r s . T a k e c a r e that w h e n the two a r m s p a s s , it is at the p l a c e w h e r e e a c h one is v e r t i c a l . T h e n stop and rest w i t h your a r m s e x t e n d e d at y o u r sides at s h o u l d e r h e i g h t . Rest on the b a c k s of the h a n d s . Bend the e l b o w s and slide the b a c k s o f b o t h h a n d s a l o n g the f l o o r . T h e h a n d s a r e to a p p r o a c h y o u r head as if you w e r e s a l u t i n g . Then k e e p the backs o f the hands on the f l o o r and c o n t i n u e to do t h a t . M o v e both at o n c e . Do not p i c k y o u r hands u p , but s l i d e them a l o n g the f l o o r . Try not to lose y o u r f l o o r c o n t a c t . Keep the b a c k s o f the h a n d s on the f l o o r as m u c h as p o s s i b l e , a n d t h e w r i s t s a n d the a r m s a l s o . C o n t i n u e to do it, but do it a l t e r n a t e l y w i t h the two hands and a r m s so t h a t o n e is g o i n g up as the o t h e r o n e is going d o w n . R e m e m b e r to k e e p t h e m on the f l o o r . As the a r m g o e s a w a y f r o m the head and b a c k to s h o u l d e r h e i g h t , t h e hand stays o n its b a c k . Then c o m p l e t e the m o v e m e n t by letting the hand c o m e d o w n to your s i d e . Keep the e l b o w b e n t . Y o u will see that on the d o w n w a r d m o v e m e n t , it m u s t turn o v e r o n t o the p a l m . As it g o e s up and g e t s a p p r o x i m a t e l y to s h o u l d e r h e i g h t , it i n v o l u n t a r i l y rolls over o n t o the b a c k o f the h a n d . W h e n it r e a c h e s s h o u l d e r h e i g h t g o i n g d o w n , it r o t a t e s o n t o the p a l m . See if you can get a n y s e n s e of w h a t t h o s e t w o b o n e s , the radius and the u l n a , and the lower a r m a r e doing as y o u do that m o v e m e n t . See if you can feel at all t h a t they r e a l l y do rotate a r o u n d each o t h e r and w h a t h a p p e n s in the e l b o w and in t h o s e b o n e s . W h a t m a k e s it n e c e s s a r y for the a r m to turn o v e r that w a y so that it is o n e w a y g o i n g up and a n o t h e r w a y g o i n g down ? A l s o try the m o v e m e n t w i t h both h a n d s g o i n g up t o g e t h e r and down tog e t h e r . Now stop and r e s t , but w i t h y o u r h a n d s a b o v e y o u r head on the floor. If y o u r s h o u l d e r s a r e s o r e , be c a r e f u l a b o u t this o n e or do n o t try it. A l s o feel free to r e t r e a t from it f r o m time to t i m e . Some p e o p l e h a v e no t r o u b l e at all w h i l e o t h e r s will not be a b l e to do it. Some will be a b l e to do t h e s e m o v e m e n t s for a w h i l e and will h a v e to stop and rest and image d o i n g t h e m . T h e a r m s should lie e x t e n d e d a b o v e the head. It m e a n s that the w r i s t s a r e s t r a i g h t a n d the e l b o w s a r e s t r a i g h t . S e e , in that p o s i t i o n , how m u c h of y o u r hands and a r m s t o u c h the f l o o r . T h e n slide. your e x t e n d e d a r m s up and d o w n , so that the h a n d s g o as far a w a y as p o s s i b l e . You keep the e l b o w s t r a i g h t so it is really a s h o u l d e r m o v e m e n t , j u s t as you do w h e n you do that w i t h your a r m s d o w n at y o u r s i d e . If you bend the e l b o w , it is e i t h e r n o t a s h o u l d e r m o v e m e n t a t all or it is g r e a t l y d i m i n i s h e d as a s h o u l d e r movement. C o n t i n u e to slide y o u r h a n d s up and d o w n , k e e p i n g y o u r a r m s s t r a i g h t . W h e n y o u r hands a r e as far a b o v e y o u r head as you can g e t t h e m , stop. T a k e y o u r a r m s from s i d e to side so that w h e n they go l e f t , the

right

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a r m will make c o n t a c t w i t h the right e a r . Your h a n d s a r e a b o v e y o u r head on the f l o o r . Just slide them left to right so t h a t f i r s t o n e a r m t o u c h e s the ear and then the o t h e r . A l t e r n a t e s e n s i n g the ears w i t h the a r m s a few movements, and then sense the a r m s w i t h the e a r s . Do n o t bring them so far that they c o m e down a s far as s h o u l d e r h e i g h t . Keep them a b o v e your head. N O W see if you can 1et your a r m s 1ie so that the a r m s m a k e c o n t a c t w i t h the e a r s . If you c a n n o t do t h a t , let them lie a s c l o s e to the e a r s as they wi 11. T h e n , by moving the h e a d , bring o n e ear to one a r m and the o t h e r ear to the o t h e r a r m . S l i d e the head a l o n g . D o n o t j u s t turn it. Pick it us a 1ittle b i t , if need b e , and bring it to the a r m . B r e a t h e f r e e l y . T a k e the left ear to the left a r m a n d the right ear to the right a r m . Keep taking the head back and f o r t h . Do that s o m e m o r e . Let the a r m s e n s e the ear part of the t i m e , and the ear s e n s e the a r m Dart of the t i m e . You c o u l d a l s o try on o n e side to sense the ear w i t h the a r n and on the o t h e r side to s e n s e the a r m w i t h the e a r . If n e c e s s a r y , bring the a r m s down and rest and then put them b a c k o v e r your h e a d . You are d o i n g s o m e new m o v e m e n t s a n d m a k i n g some n e w d e m a n d s that have not been ^ade b e f o r e but w h i c h a r e n e c e s s a r y to r e o r g a n i z e the m u s c l e s and the s k e l e ton and a l s o to free up in your brain the c e l l s that have to do w i t h the u n a c c u s t o m e d m o v e m e n t s . Now stop and leave your a r m s a b o v e y o u r h e a d , extended. See if they can lie c l o s e r to the head n o w . Roll your head f r o m side to side a f e w times so that o n e ear and then the o t h e r t o u c h e s the a r m . Now let the left a r m g o o u t to o n e side a 1ittle and lie e x t e n d e d . Let it lie s o m e p l a c e w h e r e it can lie r a t h e r c o m f o r t a b l y . Then b r i n g the left e a r to that a r m . Put it w h e r e t h e a r m and the ear can make contact. Leave the ear a g a i n s t the a r m . T h e n , k e e p i n g the c o n t a c t of the ear w i t h the a r m , bring the head b a c k to the m i d d l e of your b o d y . Do that several t i m e s . You take the a r m away from the e a r , then bring the ear to the a r m a n d then bring t h e m b o t h back t o g e t h e r until that a r m lies a l o n g s i d e the h e a d . T h e n leave it t h e r e and d o the same thing w i t h the right a r m and the right s i d e . P u t it o u t there s o m e p l a c e w h e r e y o u m a k e c o n t a c t w i t h the e a r . T h e n bring the right a r m and the right e a r b a c k to the m i d d l e . Just do on the right side w h a t you w e r e doing on the l e f t . Now w h e n you b r i n g the head to the m i d d l e , keep the arm a g a i n s t the e a r . Do not b r e a k the a r m - e a r c o n t a c t . Now w h e n y o u r right a r m can 1ie a l o n g s i d e the e a r a n d s t a y like t h a t , do the s a m e thing w i t h the left a r m several t i m e s . See if then the right arm can lie a l o n g s i d e the right ear and the left a r m a l o n g s i d e the left ear s i m u l t a n e o u s l y . T h e n put y o u r a r m s down at your s i d e s a n d r e s t awh ile. Now see if y o u can p u t y o u r a r m s back up there a g a i n a l o n g s i d e y o u r e a r s . Now raise y o u r a r m s t o w a r d s the c e i l i n g . T h e n see if you can b r i n g them down so that y o u r a r m s s l i d e o f f y o u r c h e e k b o n e s o n t o the f l o o r by your e a r s . You lower the a r m s s o that they c o m e down o n t o the face a n d slide o f f and r e s t a l o n g s i d e t h e e a r s , or h o w e v e r c l o s e to t h a t ' y o u c a n

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m a n a g e . T r y to let the a r m s fall b a c k and m a k e some kind of c o n t a c t w i t h the f a c e . Then j u s t s l i d e o f f the face o n t o the f l o o r . Do it s l o w l y at y o u r own p a c e . S e n s e c l e a r l y w h a t you d o . Bring your a r m s in as c l o s e to y o u r face as you can a n d let them slide o f f . B r e a t h e f r e e l y . Now let them rest at y o u r s i d e s , p a l m s d o w n . N o t i c e how you l i e . See how the s h o u l d e r s a r e l y i n g . Let the legs be extended. Let the s h o u l d e r s g o up off the f l o o r . See if they m a k e c o n t a c t or m u c h m o r e n e a r l y s o . See a b o u t the s p a c e in b e t w e e n the m i d d l e b a c k , w h e t h e r that m a k e s a d i f f e r e n t c o n t a c t . T h e n , several m o r e t i m e s , put the a r m s o v e r h e a d . See if you can lay them a l o n g s i d e the e a r s . You can do that by s l i d i n g t h e m o f f the face or h o w e v e r you w a n t to d o it. See if the b a c k s of the h a n d s now lie on the f l o o r or how c l o s e the e l b o w s g o . D o the a r m s in a l m o s t e v e r y w a y g o b e t t e r a b o v e y o u r head a n d c l o s e r in? Do the s h o u l d e r s have a f r e e d o m of m o v e m e n t in several d i r e c t i o n s that they did not have in the b e g i n n i n g ? Do it a c o u p l e m o r e t i m e s . Let them lie a l o n g s i d e the e a r s just a m i n u t e bef o r e y o u take them b a c k . B r e a t h e f r e e l y . T h e e a s i e s t w a y to do it is to let them s l i d e off y o u r f a c e and lie a l o n g s i d e the e a r s . But r e m e m b e r to let the b a c k s of the h a n d s , the w r i s t s , the e l b o w s , e v e r y t h i n g , g o as c l o s e to the f l o o r as they can g o w i t h o u t f o r c i n g t h e m . D o it o n e final time a s c o m p l e t e l y as you can and then rest w i t h y o u r a r m s a t y o u r s i d e s . Scan y o u r b o d y . Pay p a r t i c u l a r a t t e n t i o n to the s h o u l d e r s a n d the u p p e r b a c k . W h a t e l s e do y o u n o t i c e ? T h e n s l o w l y roll to o n e side and g e t u p , n o t w i t h the head f i r s t . W a l k a r o u n d w i t h o u t h a n d s in p o c k e t s . Let your a r m s m o v e f r e e l y . See how your s h o u l d e r s m o v e . Do an a b o u t - f a c e . Then c o m e back and lie d o w n . Let us g o o v e r the v a r i o u s g a i n s that have been m a d e . Put y o u r a r m s out at s h o u l d e r h e i g h t , h o w e v e r they s p o n t a n e o u s l y g o , w h a t e v e r f e e l s g o o d . Put them w i t h the p a l m s d o w n . R e a l l y sense that in your s h o u l d e r s . Put them o n t h e i r b a c k s and sense t h a t . T h e n put t h e m o n t h e i r s i d e s w h e r e the small f i n g e r is. T h e n put them down at y o u r s i d e s . T h e n q u i c k l y , w i t h o u t t h i n k i n g , put them o u t at s h o u l d e r h e i g h t . S e e w h e t h e r that is the w a y that f e e l s b e s t to y o u , or if you can t e l l . Now p u t them down at the s i d e . A c o u p l e o f t i m e s , so y o u do not lose it, p u t y o u r hands and a r m s o v e r your head w i t h the a r m s a l o n g s i d e the e a r s . Let t h e m s l i d e off the f a c e . Go as far back as p o s s i b l e . J u s t do it a c o u p l e o f t i m e s . T h a t is e n o u g h .

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10) R E L E A S I N G T O N G U E A N D

INTEGRATING WITH BODY

IMAGE *

Lie on y o u r back and do a body s c a n . Begin w i t h the f e e t . Do a .erv careful o n e . See if you can sense the toes a n d , if s o , how many of then? As you s c a n , go over not just the surface of your b o d y , but try to ;c down into the skeletal s t r u c t u r e and s e e w h a t a w a r e n e s s you have of the va'ious joints and b o n e s . See if, in some c a s e s , even though you m a y not De a b l e to say you sense them in the usual w a y , you have an a w a r e n e s s of thep and how those bones function that was not part of y o u r body image in the o a s t . As a l w a y s , n o t i c e w h e r e the sensing is s t r o n g e s t , w h e r e it is faint or w h e r e you are unable to sense the s u r f a c e of your body at a l l . A l s o note w h e t h e r the part that you are sensing moves at a l l . O b s e r v e c a r e f u l l y your b r e a t h i n g and the e f f e c t s of y o u r breathing on o t h e r p a r t s . See w h e t h e r you are a w a r e that the s h o u l d e r s m o v e as a c o n s e q u e n c e of the b r e a t h i n g . How much of the back moves w i t h the b r e a t h i n g , a s well a s the sides and the front of the rib cage? W h a t do you feel in y o u r neck? Try to consider w h a t parts you may have o m i t t e d s c a n n i n g . Really scan t,e interior of your m o u t h , for i n s t a n c e , so you know e x a c t l y how y o u r tongue is l y i n g , w h e t h e r your teeth are touching or how much space between :he teeth there is, w h e t h e r one c o r n e r of the m o u t h is equal to the other or if it is d i f f e r e n t in d i f f e r e n t p l a c e s . How much of the interior of your nouth are you a b l e to sense? Now g r a d u a l l y , b e g i n n i n g s l o w l y , turn your h e a d from side to s i d e . ^ v e a Iittle at first and then each time let the m o v e m e n t become a little l a r g e r . At f i r s t , roll it as far as it can e a s i l y g o . As you do t h a t , see w h a t your tongue d o e s . See if it g o e s from side to side in your m o u t h or whether it stays in the middle or w h a t it d o e s . Turn y o u r head w i t h the e y e s c l o s e d . Take it side to s i d e . Pay a t t e n t i o n to w h a t the tongue does inside the m o u t h . T a k i n g y o u r head really side to side n o w , h o w e v e r far it will easily g o , note the m o v e m e n t , if a n y , of the tongue in your m o u t h . Then open y o u r eyes and d o it. O b s e r v e w h e t h e r turning the head w i t h the eyes o p e n , the tongue moves any d i f f e r e n t l y than it did w i t h the eyes c l o s e d . T h e n , as you c o n t i n u e to be a w a r e of w h a t the tongue does in your r o u t h , o p p o s e the eye m o v e m e n t s to the head m o v e m e n t s . Note w h e t h e r the tendency of the tongue is to go w i t h the w h o l e head or w i t h the e y e s . T h e n , w i t h o u t introducing any tension into y o u r n e c k , c o m e to a sitting p o s i t i o n . C o n t i n u e to do the same t h i n g . Turn y o u r head side to s i d e , o p p o s i n g for a w h i l e the eye m o v e m e n t to the head m o v e m e n t . Then o b s e r v e any m o v e m e n t o f the tongue in y o u r m o u t h . Breathe f r e e l y . Now just stop and r e s t . Sit with the head fairly e r e c t . O b s e r v e the p o s i t i o n of the t o n g u e . See if it Iies on the floor of y o u r mouth or up near the roof of your mouth or somewhere in the m i d d l e . See w h e r e it is in relation to the backs of your t e e t h . Does the tip lie a g a i n s t them or f u r t h e r b a c k , or does

* T e a c h i n g time:

a b o u t 90 m i n u t e s

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it feel like it w o u l d like to force a little t o o s h o r t for it?

its w a y t h r o u g h as if the m o u t h w e r e

Then o b s e r v e how q u i c k l y you can take y o u r tongue f r o m side to side inside y o u r m o u t h , w i t h o u t f o r c i n g it or s t r a i n i n g it. T h e n try m o v i n g it up a n d d o w n . See if you n o t i c e a s l i g h t l y g r e a t e r t e n d e n c y to inhibit y o u r b r e a t h i n g w h e n you m o v e it up and down than w h e n you m o v e it from s i d e to s i d e . T h e n r e t r a c t it w i t h o u t s w a l l o w i n g it. T h e n push it f o r w a r d a n d t a k e it b a c k so that the tip c o m e s up a g a i n s t the t e e t h , and then d r a w it b a c k as far a w a y from y o u r teeth as y o u e a s i l y c a n . Be sure that you really draw it b a c k a n d that y o u do not j u s t curl it up or curl it u n d e r . See if, w h e n y o u feel as if y o u a r e taking it back in y o u r m o u t h , y o u really a r e d o i n g that rather than c u r l i n g it under or c u r l i n g it u p . S e n s e v e r y c a r e f u l l y and you will find that if you feel that you a r e taking it b a c k v e r y f a r , but you a r e a c t u a l l y d o i n g o n e of those o t h e r t h i n g s , you a r e not r e a l l y s e n s i n g w h a t the t o n g u e is d o i n g . You a r e b e n d i n g it back e i t h e r t o w a r d s the roof or towards the f l o o r , and t u r n i n g it up or t u r n i n g it u n d e r . Now stop. O n c e a g a i n o b s e r v e how it lies in your m o u t h . See w h e t h e r it b e g i n s to feel w i d e . In a l m o s t e v e r y c a s e , the tongue m u s c l e s a r e u n d u l y c o n t r a c t e d , a n d w i t h m a n y p e o p l e you see that it is q u i t e rounded and held like that all the t i m e . T h e tongue that is h a b i t u a l l y c o n t r a c t e d k e e p s c h r o n i c t e n s i o n in the j a w and a l s o i n t r o d u c e s t e n s i o n into the n e c k , c o n t r i b u t i n g to headaches. It may impair speech to some e x t e n t . Even a little c h a n g e in it can be a s e r i o u s m a t t e r for an o p e r a s i n g e r . Now open y o u r m o u t h h o w e v e r w i d e it will go w i t h o u t s t r a i n i n g . Do it two or three t i m e s to g e t a s e n s e of it. T h e n see if you can s e n s e c l e a r l y w h a t y o u a r e d o i n g w i t h y o u r tongue w h e n y o u o p e n y o u r m o u t h . C l o s e y o u r e y e s and see if you can sense it m o r e c l e a r l y that w a y . See if it m a k e s a n y d i f f e r e n c e w h e t h e r y o u o p e n y o u r m o u t h a little or a lot. T h e n c l o s e it a moment. See if y o u r t o n g u e lies a g a i n s t the b a c k s of the t e e t h or w h a t e l s e you can o b s e r v e . T h e n several times bring the lower jaw forward of the u p p e r one so that the lower t e e t h c o m e f o r w a r d of the u p p e r s , and then take it b a c k . A g a i n , a l w a y s d o it w i t h i n the range o f c o m f o r t a n d w i t h o u t s t r a i n i n g . Stop a m i n u t e . A s k y o u r s e l f w h a t , if a n y t h i n g . y o u do w i t h your t o n g u e w h e n y o u bring the lower jaw f o r w a r d . Do not do it. J u s t see if you can a n s w e r the q u e s t i o n . O b s e r v e how your t o n g u e is l y i n g . T h e n , m a i n t a i n i n g the a w a r e n e s s of the t o n g u e , bring your lower j a w f o r w a r d a n d see w h a t you do w i t h it. See if it is p o s s i b l e to leave the t o n g u e w h e r e it w a s and bring the lower j a w f o r w a r d . Do not strain at it. Just see if it is v i r t u a l l y i m p o s s i b l e to d o . T h e n see if w h a t you do instead is to turn the tongue under and to turn it w a y u n d e r , or e l s e to fold it b a c k u p . Do e i t h e r o n e . Y o u c a n e i t h e r turn it u p , f o l d i n g it

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back t o w a r d s the roof of the m o u t h , or you can fold it u n d e r . W h i c h w a y a l l o w s y o u to bring the j a w f u r t h e r f o r w a r d ? See if it m a k e s any d i f f e r e n c e . Then j u s t stop a m o m e n t a n d let the tongue lie n o r m a l l y . T h e n o n c e a g a i n take the lower jaw f o r w a r d and take it b a c k . See if w h e n you did t h a t , you sensed w h a t you did w i t h your tongue o r w h e t h e r it still is not s u f f i c i e n t l y a part of y o u r body image and that you do not n o t i c e it w i t h o u t a special e f f o r t . Now stop and j u s t let your j a w r e s t . B r e a t h e e a s i l y . See w h e t h e r y o u r a w a r e n e s s of y o u r t o n g u e is i n c r e a s i n g . In some c a s e s , you m i g h t be m o r e a w a r e of it than you w a n t to b e . T h e n find the p o s i t i o n w h e r e the j a w f e e l s p e r f e c t l y at r e s t . It r e q u i r e s a c o n s t a n t e f f o r t o f the m u s c l e s to hold the jaw u p . W i t h o u t that e f f o r t the j a w w o u l d hang s l a c k , as it d o e s w i t h some i d i o t s . Y o u can see if y o u identify the m u s c u l a r e f f o r t that you a r e m a k i n g to hold the j a w u p , w h y it is a c t u a l l y d e s i r a b l e that some m u s c u l a r e f f o r t s h o u l d be u n c o n s c i o u s . One can b e c o m e s u f f i c i e n t l y c o n s c i o u s for a w h i l e o f the e f f o r t t h a t is n o r m a l l y u n c o n s c i o u s , in this c a s e to hold the j a w u p . Then it b e c o m e s a real e f f o r t and y o u have to learn to f o r g e t a b o u t it a g a i n so that it is not b u r d e n s o m e . Now take y o u r j a w f r o m side to s i d e . See how q u i c k l y and e a s i l y you can do it. Find the p l a c e w h e r e it m o v e s m o s t f r e e l y . See if you can sense w h a t y o u r t o n g u e d o e s w h e n y o u m o v e your j a w s i d e to s i d e . Does it stay in the m i d d l e , or w h e r e does it g o ? D e l i b e r a t e l y take it w i t h the j a w . T h e n let it o p p o s e the j a w . W h e n y o u r j a w g o e s l e f t , y o u put it in y o u r right c h e e k , and vice v e r s a . Breathe freely. T h e n let the t o n g u e go f r e e l y and a g a i n s e n s e w h a t h a p p e n s . T r y to s e n s e w h a t h a p p e n s w h e n y o u lightly and e a s i l y take the j a w from side to s i d e . T h e n lie down and rest a m i n u t e . As you r e s t , y a w n e a s i l y several t i m e s . See w h a t your t o n g u e d o e s w h e n y o u do t h a t . See w h e t h e r you yawn b e t t e r if you let the tongue go up or if you let the tongue go down or if you do s o m e t h i n g e l s e w i t h it. T h e n roll the head f r o m side to s i d e . See if you c a n s e n s e the t o n g u e m o v e m e n t at the s a m e t i m e . Let the head g o as q u i c k l y as y o u can e a s i l y a n d c o m f o r t a b l y do it w i t h o u t s a c r i f i c i n g the range of the m o v e m e n t . Do n o t m a k e it less e x t e n s i v e b e c a u s e you m a k e it q u i c k l y and do not m a k e it less f r e e b e c a u s e y o u m a k e it q u i c k l y . M a k e it a s q u i c k and a g i l e as it can be w i t h o u t s a c r i f i c i n g the q u a l i t y of the m o v e m e n t . Do it w i t h the e y e s c l o s e d for a w h i l e and w i t h the e y e s open for a w h i l e . See if y o u can d i s c r i m i n a t e w h e t h e r that m a k e s a n y d i f f e r e n c e . Any time y o u w a n t to let the head r e s t , do it, and then c o n t i n u e the m o v e m e n t . Now as you do t h a t , a s the head goes right let the right a r m s l i d e down a n d w h e n the head g o e s l e f t , let the left a r m slide d o w n . Keep the e l b o w s s t r a i g h t . Y o u increase the range o f the m o v e m e n t f u r t h e r in m o s t c a s e s by letting the s h o u l d e r g o down out o f the w a y o f the h e a d . Do not do it in a j e r k y w a y , but m a k e it s m o o t h and c o n t i n u o u s and p l e a s u r a b l e .

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T h e h a n d a n d the a r m s h o u l d slide d o w n the m a t o n the side that the h e a d is t u r n i n g t o w a r d s , and s l i d e up o n the side near the b a c k o f the h e a d . As you do t h a t , you can feel that the w h o l e u p p e r body m o v e s from side to s i d e . T h e s p i n e c u r v e s first on o n e side a n d then the o t h e r . T h e rib c a g e s h o r t e n s on the s i d e w h e r e the head is g o i n g and l e n g t h e n s o n the side that the head is t u r n i n g a w a y f r o m . See if y o u c a n feel the w h o l e u p p e r body s l i d i n g b a c k and forth a l o n g the mat as you turn your head and raise and lower your a r m s . M o v e from the p e l v i s up as f r e e l y and e x t e n s i v e l y as you e a s i l y c a n . You b r i n g the a r m p i t down t o w a r d s the hip j o i n t as you turn your head in that d i r e c t i o n . Y o u k e e p taking the r i g h t s h o u l d e r down a little f u r t h e r a s your head g o e s right and the left s h o u l d e r d o w n a little f u r t h e r as your head g o e s l e f t . On the side that y o u a r e t u r n i n g a w a y f r o m , the s h o u l d e r keeps s l i d i n g up h i g h e r . It m e a n s that the w h o l e s p i n e has t o c u r v e m o r e and m o r e in e a c h d i r e c t i o n . Now s t o p . Bend your legs s o that your feet a r e s t a n d i n g . Just take the head f r o m side to s i d e . N o t e w h a t y o u do w i t h y o u r t o n g u e . T h e n leave the head in the m i d d l e . L o o k a s far to the left a s y o u c a n and then as far to the right a s y o u c a n . See if the tongue f o l l o w s the m o v e m e n t of the e y e s . W i t h s o m e , it will be a s l i g h t t e n d e n c y . W i t h o t h e r s , the t o n g u e will go all the w a y f r o m o n e side of the m o u t h to the o t h e r , f o l l o w i n g the e y e movement. W i t h o u t h o l d i n g y o u r b r e a t h c o n s c i o u s l y , let the t o n g u e a n d the e y e s go t o g e t h e r . A l s o try o p p o s i n g the m o v e m e n t of the t o n g u e to the m o v e m e n t o f the e y e s . See if y o u find that that i n t r o d u c e s an e l e m e n t of strain into the eye m o v e m e n t . If s o , j u s t do it several times a n d do not do it any m o r e . A l s o see if you can look a g o o d bit f u r t h e r w i t h the e y e s w h e n the t o n g u e g o e s in the same d i r e c t i o n , a n d that the movement of the eye muscles is i n h i b i t e d when the t o n g u e o p p o s e s it. T h e n look from left to right w i t h the t o n g u e j u s t r e s t i n g in the m i d d l e o f the m o u t h . See how far you l o o k . T h e n see w h e t h e r you can look f u r t h e r if you let the t o n g u e g o w i t h the e y e s . T h e n just roll the h e a d from side to s i d e . Let the t o n g u e do w h a t e v e r it w i l l , but be a w a r e of it. Now stop. L o w e r the c h i n t o w a r d s the c h e s t , a n d t a k e it a w a y a g a i n . Continue to do t h a t . Be a w a r e of the m o v e m e n t in the c e r v i c a l s p i n e . T h e n use your feet to rock your body so that it increases the m o v e m e n t of the h e a d . You can put y o u r feet a s far a w a y from your b o t t o m a s y o u like. Place your feet so as to make it e a s i e r to rock the body up and d o w n . See w h e r e you can put your feet to get m a x i m u m m o v e m e n t in your c e r v i c a l s p i n e . Try to do it so that the n e c k is really f r e e . As you keep p u s h i n g a n d r o c k i n g the b o d y , instead of m o v i n g y o u r head up a n d d o w n , make c i r c l e s w i t h it. R e m e m b e r not to m a k e too m a n y in o n e d i r e c t i o n w i t h o u t r e v e r s i n g i t . By this t i m e , you p r o b a b l y have a n o t i o n of h o w m a n y you m a k e . You a r e not t a k i n g the head from s i d e to side any m o r e . You are m a k i n g c i r c l e s w i t h your n o s e . If it h e l p s y o u to m a k e c i r c l e s w i t h your h e a d , t h i n k y o u are m a k i n g c i r c l e s w i t h y o u r n o s e .

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Imagine there is a

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I ittle piece of paper or wood suspended above you and

you can circle with your nose on it.

Now stop and rest a minute.

Without introducing any tension into your neck, use your lower body mainly to come up into a sitting position.

Roll to the side.

Now take your

tongue back and forth over the inside of the teeth, over the backs of the teeth.

Do the uppers for awhile and the lowers for awhile.

Also, without making any space between the lips, make a space between the teeth and take the tongue over the top of the lower teeth back and forth for awhile and also over the bottoms of the upper teeth.

You are doing that

to help yourself sense clearly the structural difference between the top of the tongue and the bottom of the tongue.

What kind of surfaces do they have?

Then open the teeth and the I ips aJLittle bit and let your tongue slide in and out between so that it makes contact with the top and bottom of both the teeth and the lips.

Do it gently.

Use that to sense clearly

the difference between the top and the bottom of the tongue. to

move it in and out.

Then continue

Do it so that a few times you make contact just

with the teeth and a few times you make contact just with the lips. compare those two experiences of the tongue. any differently by you.

Then

See if the tongue is sensed

Compare the top and the bottom when it is a matter

of contact with a surface like the teeth and when it is a matter of contact with a surface like the lips. Then instead of holding the tongue out, let the lips close lightly and explore with the tongue the space between the outside of the upper teeth and the inside of the upper lip.

Also sense the top of that space.

Then

instead of going back and forth in the space between the upper teeth and the upper lip, do it in the space between the lower teeth and the lower lip.

Then let it go completely around so that it travels over the space

between the outside of the lower teeth and the inside of the lower lip,

and

comes back into the space between the upper teeth and the upper lip and moves all the way "around the interior, the space between the teeth and the lips.

You cannot circle, but it makes a movement like exploring a foot­

ball.

Then just let the tongue explore the entire interior of the mouth

behind the teeth.

Go from one cheek to the other cheek and from the top

to the bottom, as far back as it can go. and the floor of the mouth. See if now,

Explore the roof of the mouth

Then let it come to rest again.

with some of you at any rate,

instead of the tongue

lying behind the teeth, the teeth have unconsciously opened a little bit and the tongue is between them. now.

Then whether

The tip of the tongue is between the teeth

it is or not, place it there.

tip of the tongue extrudes between the teeth.

Just a tiny bit of the

Then bring it out a tiny

bit further, and a tiny bit further, without holding your breath. how many times you can bite down on the tongue gently. tongue as far out of your mouth as it will go. and bite down. many you can do.

Continuously bring it out

See if you do fifteen or twenty or thirty bites. Bring it all the way out,

See

Try to get the See how

just as far as you can get it.

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T h e n take it b a c k a l s o . Do it w i t h y o u r e y e s o p e n and w i t h y o u r eyes closed. See if that has a n y a f f e c t on how f r e e l y you can let go of the tongue and move it o u t and in. S o m e t i m e s p e o p l e will d i s c o v e r that they w e r e s e l f - c o n s c i o u s about s t i c k i n g the t o n g u e o u t w h e n the e y e s w e r e open a n d , a l t h o u g h they did not r e a l i z e it, that w a s i n h i b i t i n g the m o v e m e n t . When they c l o s e d their eyes they were a b l e to m a k e m o r e b i t e s and the t o n g u e w e n t o u t f u r t h e r than it w o u l d w h e n that inhibition w a s f u n c t i o n i n g . Keep trying to get the t o n g u e f u r t h e r o u t . T h e s e m u s c l e s a r e v e r y i m p o r t a n t for m a n y r e a s o n s . T h e y a r e c h r o n i c a l l y c o n t r a c t e d in a l m o s t e v e r y o n e . It is i m p o r t a n t both to g i v e it an o p p o r t u n i t y to r e l e a s e the c h r o n i c c o n t r a c t i o n s a n d a l s o t o b r i n g it b e t t e r into your body image. It is, in f a c t , r e l a t e d to e y e m o v e m e n t s , to s p e a k i n g , to b r e a t h i n g , to e a t i n g , to all k i n d s of t h i n g s . So you w a n t it t o be as h e a l t h y and free a t o n g u e as p o s s i b l e . Now stop and o b s e r v e how it Iies in y o u r m o u t h . H o w e v e r , see if you can sense n o w the top of the t o n g u e and the bottom of the t o n g u e , and the sides of it. See how far b a c k y o u can f o l l o w it into y o u r m o u t h j u s t by sensing. See if it is c l e a r in y o u r body image in a w a y that it has not b e e n c l e a r b e f o r e , that y o u really know it is t h e r e n o w . N o w bring y o u r lower j a w f o r w a r d and take it b a c k . See if now you a r e c o n s c i o u s of w h a t you did w i t h y o u r t o n g u e . B e f o r e w h e n it w a s d o n e , s c a r c e l y a n y o n e had any c o n s c i o u s n e s s of w h a t he or she w a s doing w i t h the t o n g u e . Now a l m o s t e v e r y o n e should k n o w . O p e n y o u r m o u t h w i d e and s e e if y o u c a n s e n s e w h a t y o u do w i t h your tongue. If you sense it s p o n t a n e o u s l y , the c o n n e c t i o n b e t w e e n the t o n g u e and the brain has improved to the e x t e n t that y o u really know w h a t it d o e s . T h e n e r v e s are f u n c t i o n i n g a g a i n that w e r e not f u n c t i o n i n g b e f o r e . T h e n sit and r e s t . See how your t o n g u e feels most c o m f o r t a b l e in your m o u t h . See if, in this relaxed s t a t e , w h e n y o u b r i n g your t e e t h t o g e t h e r f i r m l y , it is a little bit too small a space for the t o n g u e , so you end up leaving a little bit of space b e t w e e n the teeth for it. T h a t is how it s h o u l d b e . T h e teeth should n o t t o u c h . T h e r e s h o u l d be a little space b e t w e e n t h e m . The p r o p e r d e g r e e of t e n s i o n in the m u s c l e s that s u p p o r t the jaw should be such that the teeth a l m o s t t o u c h but do not q u i t e . W h e n the tongue is f r e e , then the tip of it will j u s t b a r e l y go b e t w e e n t h a t little space b e t w e e n the t e e t h . U s u a l l y it is tense e n o u g h that it will lie just to the rear of the t e e t h . When it is really f r e e , it will take a d v a n t a g e of that little bit of space and the tip will g o out a tiny b i t , n o t e n o u g h to be a c c i d e n t ally bitten however. Now just turn y o u r head s m o o t h l y and g e n t l y from s i d e to s i d e . T h e n raise and lower it. As you do t h a t , o p p o s e the eye m o v e m e n t to the head m o v e m e n t a few t i m e s . R a i s i n g and lowering the h e a d , e x h a l e w h e n you take the head up and inhale w h e n you take the head d o w n . T h e n see w h e t h e r it is any b e t t e r the o t h e r w a y , w h e n you inhale w h e n the head g o e s up and

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exhale when the head goes down.

Do you prefer that the breathing go

with the eyes or with the head?

See if you can tell which is more com­

fortable.

Then let them all go together so that you exhale when your head

goes down and the eyes go down,

and you inhale when the head goes up and

the eyes go up. Then put your hands on the floor a little behind you. circles with your nose.

In other words, the head circles.

Make some As you circle

with the head, remain aware of the tongue in your mouth and also try to sense what you are doing with your right ear.

When you think that you have

established a sensory awareness of what the right ear does as the head circles,

then maintain that.

Sense also the left ear.

See whether the

left ear does the same thing as the right ear or if it feels different. Try to define for yourself what the difference is that you sense.

Remember

to reverse the circling of the head from time to time. Now put your hands a little further behind you and try to find the distance behind you that will give the head its greatest freedom to circle. Try to find out what that distance is.

If you put the arms too far back,

you will not be able to make as big or as easy a circle. up too close,

If you put them

you will also not be able to make that optimal circle.

to find out what the proper distance is. your feet together.

\

Try

Try doing it with the soles of

Make the largest circles you can comfortably make.

Do a few one way and a few the other way.

Maintain awareness of the

tongue and breathe freely. Those of you who know that you can do it safely, circle rapidly with the head a few times and reverse it.

In some Tibetan practice you continue

to increase the number of rotations of the head until you do at least a thousand in each direction.

They do it so quickly that the head is a blur.

This is very good for the vestibular system, for the inner ear. eliminates any tendency to dizziness. do it safely,

make your head a blur.

Once again,

It almost

If anybody feels that he or she can Then lie down and rest.

turn your attention to your tongue.

Sense how it lies

and how differently it lies when you lie on your back from the way that it lies when you are in a sitting position. of it if you can.

Be aware of the whole surface

See whether it has a different relation to the teeth.

Then again take your tongue out bit by bit, or bite by bite, as far as it will

go.

Then bring it back in the same way.

See whether you can

exceed the number of movements, in and out, that you made before. easily as you do it.

Turn your head from side to side again. your tongue be very free in your mouth. as the eyes and all and

Breathe

Now stop. Let your jaw be loose and

Let the breathing be free, as well

of the face muscles and the shoulders.

See how quickly

1 ightly and smoothly you can roll your head from side to side.

Then

stop with the head in the middle. Place both hands on top of your head.

Let the elbows rest on the

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mat or lie as c o m f o r t a b l y as you can h o l d i n g the top of y o u r head in y o u r hands. B r e a t h e up into your h a n d s , at the s a m e time being a w a r e of the t o n g u e . W i t h e v e r y b r e a t h , bring it m o r e and m o r e into your a w a r e n e s s . Also bring the w h o l e m o u t h c a v i t y into y o u r a w a r e n e s s a s you b r e a t h e up into y o u r hands and b e y o n d . Bring into that a w a r e n e s s the lower j a w , including the t e e t h . Become a w a r e of w h e r e it a t t a c h e s to the s k u l l , t h o s e h i n g e s at the s i d e w h e r e it o p e n s and c l o s e s . Bring the w h o l e lower j a w into your awareness. B r e a t h e up a n d i n c r e a s i n g l y bring m o r e and m o r e of the internal head as well as the e x t e r n a l into y o u r a w a r e n e s s , including now the upper t e e t h , the roof of the m o u t h , so that the lower jaw a n d the t o n g u e and the interior of the m o u t h are all c l e a r l y t h e r e for y o u as y o u c o n t i n u e b r e a t h i n g up and e x p a n d i n g your a w a r e n e s s , so that it includes the sides o f the f a c e , the c h e e k b o n e s . Bring in the nose a n d p r o c e e d on up so that you a r e s e n s i n g c l e a r l y the eye s o c k e t s and the e y e s , w i t h o u t s a c r i f i c i n g a n y a w a r e n e s s o f the rest of the head up to that l e v e l . B r e a t h e up and increase the b r e a t h i n g a w a r e n e s s into the w h o l e space of y o u r h e a d , inside and o u t . Now see if you can bring into t h a t y o u r e a r s a n d the ridge o f b o n e a b o v e the e y e s , the ridges a b o v e the e y e s o c k e t s a n d the f o r e h e a d . T h e n bring in i n c r e a s i n g l y the sides of the head and the back of the h e a d . B r e a t h e on up into the top of the head w h e r e the h a n d s a r e . See i f , as you do t h a t , the d i s t a n c e b e t w e e n the j a w and the t o n g u e a n d the top o f the h e a d a p p e a r s to increase so that y o u h a v e to travel back down to r e t r i e v e some o f the a w a r e n e s s of the jaw and the t o n g u e that y o u have lost a n d s h a r p e n them a g a i n . T h e t e n d e n c y a s y o u m o v e up is t o w i t h d r a w and g e t f u r t h e r a w a y from the lower part o f the h e a d . Being a w a r e of t h a t , k e e p the w h o l e thing e q u a l l y in the body i m a g e . T h e n take y o u r h a n d s away a n d put them down at your s i d e s . C o n t i n u e to b r e a t h e up into y o u r brain s p a c e . Fill o u t the a w a r e n e s s of the h e a d by i n c l u d i n g the brain until y o u s e n s e j u s t as m u c h of it as you p o s s i b l y c a n and y o u h a v e a s g r e a t an a w a r e n e s s of the w h o l e as you can g e t , i n c l u d i n g the nasal p a s s a g e s and the eye s o c k e t s . Bring the o u t s i d e of the skull i n , and the s c a l p . See how p e r f e c t l y you can s e n s e the w h o l e thing n o w . Begin w i t h the lower j a w and the t o n g u e . T r y to bring the w h o l e h e a d , including the inside and the o u t s i d e , as p e r f e c t l y as you can into an image that you s e n s e or feel that y o u s e n s e . Make it a s i m u l t a n e o u s a w a r e n e s s that includes the p a t h w a y s of the s e n s e s and the b r e a t h i n g . See if y o u can feel as if you are b r e a t h i n g w i t h the w h o l e h e a d , s e n s i n g e v e n the h a i r s of y o u r h e a d . Then c o m e to a s i t t i n g p o s i t i o n w i t h o u t s t i f f e n i n g the n e c k a n d putting a n y tension into it. In that s i t t i n g p o s i t i o n , c l o s e y o u r e y e s . C o n t i n u e to b r e a t h e and fill the w h o l e s p a c e o f y o u r h e a d w i t h y o u r b r e a t h i n g . T h e n try to s e n s e s i m u l t a n e o u s l y the w h o l e o u t s i d e o f the face and h e a d a n d the i n s i d e . Then see if it is a v e r y e a s y m a t t e r now to be a w a r e of such things as the t o n g u e a n d the teeth and the interior of the m o u t h and p e r h a p s the e a r s ,

-

68

-

things that ordinarily are very unclear in the body image, or not there for many people. have ever had.

Try to get the most complete awareness of your head that you Retaining that, let the breath feel as if it goes up and

up through the top of the head so that perhaps the skull will even feel that it elongates a bit when you exhale.

inhale and comes down a little when you

Keep the whole head in your awareness.

As you breathe up, let the

neck lengthen and the head move up a little with the breathing like a balloon that is being inflated with helium so that the breathing makes the head want to float up and carry the body along.

The feeling is of wanting

to drift up, of being light and yet, at the same time, very well defined in your consciousness. whether it

If you want to think of some one part of it,

is the eyes or the tongue or the forehead or whatever it is,

that thought will bring it into a much clearer focus,

just

while at the same time

keep as the background of your consciousness the entire head.

Then just

slowly roll to one side and get up. Walk around a bit. image as you can.

Continue to keep that head as clearly in your body

Allow it to pull the whole body somewhat upward.

Then

see if now the tongue seems to you inescapably present an � unlikely to

be forgotten.

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11) B R A IN:

I MAG ING A N D M O V E M E N T

(FEET) *

T h i s e x e r c i s e m a k e s the point that the b r a i n itself is u n a b l e to dist i n g u i s h , in m a n y c a s e s , b e t w e e n an image a n d a p r e c e p t , b e t w e e n a soc a l l e d s u b j e c t i v e e x p e r i e n c e a n d a s o - c a l l e d o b j e c t i v e r e a l i t y . An "obj e c t i v e " e x p e r i e n c e o c c u r s in the w o r l d that is o u t s i d e a p e r s o n ' s b o d y , but all e x p e r i e n c e is s u b j e c t i v e in the s e n s e that it o c c u r s o n l y in the brain a n d in the m i n d . Y o u r e x p e r i e n c e o f me is a s u b j e c t i v e o n e . You o n l y a s s u m e that I a m a n o b j e c t i v e r e a l i t y , and I e x p e r i e n c e you in the same w a y , so that our e x p e r i e n c e of e a c h o t h e r is really of an image a n d not of the thing a s w e initially p e r c e i v e it. T h e brain c o n s t r u c t s the o b j e c t that is seen out of s o m e t h i n g that is c o m p o s e d of p a r t i c l e s in m o t i o n that m i g h t , if w e could see it a s it really is, a p p e a r to be s o m e t h i n g v e r y , very d i f f e r e n t from the thing that is p r e s e n t e d to o u r c o n s c i o u s n e s s a f t e r the b r a i n does its s y m b o l i c c o d i n g o f the raw stuff called r e a l i t y . P e r h a p s it is not a n y t h i n g to w o n d e r a t t h a t the b r a i n d o e s not d i f f e r e n t i a t e b e t w e e n the s o - c a l l e d s u b j e c t i v e and o b j e c t i v e r e a l i t i e s , s i n c e k n o w n r e a l i t y is all s u b j e c t i v e a n y w a y and it d e a l s o n l y in i m a g e s . There a r e a lot of a s s u m p t i o n s to the e f f e c t that the brain sees w h a t is o u t s i d e of itself and that w e somehow have a n e x p e r i e n c e of s o m e t h i n g o b j e c t i v e . If you a c c e p t t h a t , then it b e c o m e s m y s t e r i o u s w h y the b r a i n f a i l s to d i f f e r e n t i a t e b u t , r a t h e r , a c t s upon o t h e r parts o f the body s i m i l a r l y w h e t h e r the e x p e r i e n c e be o n e of s o m e t h i n g that is a m o v e m e n t or s o m e t h i n g that is an image of a m o v e m e n t . If you keep in mind t h a t it is p o s s i b l e t o p r e s e n t the b r a i n w i t h images that it will m i s t a k e for w h a t w e call a c t u a l i t y , then you can use the brain to a f f e c t the body in very r e m a r k a b l e and p r o f o u n d ways . E v e r y o n e knows t h a t the b r a i n , w h e n so d e c e i v e d , can c a r r y o u t v e r y e l a b o r a t e p r o c e s s e s w i t h i n a human b o d y . O n e o f the m o s t c o m m o n p l a c e ins t a n c e s that a l m o s t e v e r y o n e has personal e x p e r i e n c e of is n o c t u r n a l o r g a s m d u r i n g d r e a m i n g . T h e b r a i n m i s t a k e s the d r e a m for o b j e c t i v e r e a l i t y and t r i g g e r s that w h o l e v e r y c o m p l e x sequel o f e v e n t s t h a t leads to a sexual c l i m a x . T h e r e a r e p e o p l e w h o , if they can s u f f i c i e n t l y and v i v i d l y image or e v e n imagine sexual a c t i v i t y , can a c h i e v e the s a m e thing in an a w a k e s t a t e , o r even m o r e e a s i l y in a t r a n c e s t a t e or w i t h c e r t a i n d r u g s that f a c i l i t a t e i m a g e s . T h e r e a r e m a n y o t h e r c o m p l e x a c t i v i t i e s that c a n a l s o be e n g e n d e r e d by i m a g e s . T h e r e is a book by the late R u s s i a n n e u r o - p h y s i o l o g i s t , L u r i a , c a l l e d T h e Mind of a M n e m o n i s t . It is a b o u t a p a t i e n t he had w h o w a s a b l e t o image v e r y , v e r y v i v i d l y . If t h i s man imaged a c a n d l e a n d held his h a n d next to it, his hand w o u l d b u r n . If h e imaged icy w a t e r and put his hand into it, the hand b e c a m e c o m p l e t e l y a n e s t h e t i z e d . The r e s p o n s e of the body to images is u n d o u b t e d l y a v e r y m a j o r f a c t o r in both illness and h e a l t h , in d e t e r m i n i n g w h e n w e d i e , how w e a g e and so on. It is o n e of the r e a s o n s w h y t h e r e is such a great e f f o r t to c h a n g e the n o t i o n s a b o u t a g i n g , b e c a u s e they w o r k as s e l f - f u l f i l l i n g p r o p h e s i e s . The b o d y a g e s a c c o r d i n g to the e x p e c t a t i o n s a n d the images of a g e that p e o p l e hold. If that can be r e v e r s e d , then the a g i n g p r o c e s s will u n d o u b t e d l y m o v e

* Teaching time: approximately

90 m i n u t e s

- 70-

much more

slowly.

T h i s e x e r c i s e is d o n e s e a t e d and b a r e f o o t . T h e r e a r e m a n y , m a n y e x e r c i s e s that can be d o n e seated in c h a i r s so t h a t , if you h a v e p e o p l e w h o a r e u n a b l e to sit on the f l o o r or if you lack s p a c e , it is still p o s s i b l e to do a very s a t i s f a c t o r y p s y c h o p h y s i c a l w o r k s h o p or t r a i n i n g p r o g r a m . W e will do e x e r c i s e s seated from t i m e to t i m e . H o w e v e r , that is not the reason for d o i n g t h i s o n e . T h i s o n e is to show you the s i m i l a r r e s p o n s e s that t h e b o d y m a k e s to w h a t w e call actual m o v e m e n t , a n d to w h a t w e call imaged m o v e m e n t . F i r s t of a l l , c l o s e y o u r e y e s . P l a c e y o u r feet s i d e by s i d e and a b o u t six inches a p a r t , so that t h e f r o n t s of the feet and t h e b a c k s of the f e e t w o u l d be on the line if t h e r e w e r e lines on the f l o o r . Do it by f e e l i n g , not by l o o k i n g . Only a f t e r you h a v e f e l t , then look and see if t h e f e e t a r e in fact lined up t h a t w a y . Then a g a i n w i t h y o u r e y e s c l o s e d , c o n s i d e r that you a r e g o i n g to rap w i t h the b a l l s of y o u r feet on t h e f l o o r . P l a c e the feet w h e r e y o u t h i n k the rapping w i t h the f e e t w o u l d be o p t i m a l , but do not r a p . J u s t put t h e feet w h e r e you t h i n k you could rap b e s t . T h e n , leaving t h e h e e l s on the f l o o r , a c t u a l l y rap w i t h the b a l l s of the f e e t . It m a k e s q u i t e a bit of d i f f e r e n c e how far t h e feet a r e from the b o d y , how w e l l you can rap w i t h the b a l l s o f the f o o t . T a k e them f u r t h e r a w a y and bring them c l o s e r , and so o n . Find o u t in w h a t p o s i t i o n t h e rapping is b e s t d o n e . Now keep the feet in t h a t p o s i t i o n w h e r e you can b e s t rap w i t h t h e b a l l s of t h e f e e t . In t h a t p o s i t i o n , try rapping w i t h the h e e l s . You will find that if you really h a v e t h e feet in t h e p o s i t i o n w h e r e y o u can b e s t rap w i t h t h e b a l l s of t h e f e e t , then you can rap o n l y p o o r l y w i t h the h e e l s . Put the feet w h e r e you can do t h e b e s t rapping w i t h the h e e l s . T h e h e e l s should c o m e up f a i r l y high w h e n you do that so t h a t the a n k l e s flex and e x t e n d , but it is not the p o s i t i o n w h e r e the h e e l s can c o m e up t h e very h i g h e s t . Find w h e r e you can put y o u r foot so that y o u r heel can c o m e up h i g h e s t . You have to bring it in very c l o s e to y o u . In the p o s i t i o n w h e r e the heel can c o m e up the h i g h e s t , you will d i s c o v e r t h a t you c a n n o t lower the heel to the f l o o r o n c e it has been r a i s e d . P l a c e your feet in that r e l a t i o n to your body w h i c h will e n a b l e you to bring t h e heel up v e r y high but w i l l not a l l o w you to lower it to t h e f l o o r . M a k e a little e f f o r t , b u t not e n o u g h to hurt y o u r s e l f , to f o r c e the foot d o w n . Try to m a k e the heel touch t h e floor. In doing t h a t , you e x p e r i e n c e s o m e t h i n g of w h a t is e x p e r i e n c e d by some w o m e n w h o h a b i t u a l l y w e a r very high heels and then s u d d e n l y try to s t o p , perhaps b e c a u s e they a r e p r e g n a n t and a r e a d v i s e d to s t o p w e a r i n g shoes like t h a t . T h e n they find that they h a v e so altered the m u s c l e s in the legs that the heels will no longer go down to the f l o o r . T h e y find that they can only w e a r low-heeled shoes w i t h p a i n . For s o m e w o m e n , it takes m o n t h s to re-oi— g a n i z e the body so t h a t they can stand on the g r o u n d , and s o m e do not m a n a g e it at a l l . Now s t o p .

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W e a r e g o i n g to w o r k j u s t w i t h the left foot for a w h i l e . Place the left f o o t w h e r e you can best rap w i t h the ball of the f o o t . G i v e y o u r a t t e n t i o n w h o l l y to the m o v e m e n t , a s you should a l w a y s do w h e n p e r f o r m i n g P s y c h o p h y s i c a l E x e r c i s e s . T r y to r e a l l y find the place w h e r e the r a p p i n g is e a s i e s t . T h e n s t o p . Try rapping j u s t w i t h the t o e s . You should find that the d i f f e r e n c e in the r e l a t i o n of the foot to the u p p e r b o d y is not at all so e x t r e m e as that b e t w e e n r a p p i n g w i t h the heel and rapping w i t h the ball of the f o o t . S t i l l , the p o s i t i o n w h e r e you can rap best w i t h the ball of the foot is not the s a m e as w h e r e y o u can rap b e s t w i t h the t o e s . T r y to find w h e r e y o u can rap best w i t h the t o e s . You s h o u l d sit f o r w a r d w i t h all of t h e s e p o s i t i o n s . Sit far e n o u g h f o r w a r d in y o u r c h a i r so that y o u r leg has f r e e d o m . If you sit too far b a c k you will not be a b l e to find a n y o f the p o s i t i o n s w h e r e the foot m o v e s b e s t . T h e n bring the left foot back and rap w i t h the heel a g a i n . T h e o p t i m a l p o s i t i o n is w h e n the a n k l e f l e x e s the m o s t and the heel comes h i g h e s t into the a i r , b u t y e t it is still easy to lower it to the f l o o r . T h e n s t o p and let the foot r e s t . Put b o t h f e e t f l a t on the f l o o r . Now just s l i d e the left f o o t f o r w a r d a n d b a c k . Do n o t s l i d e it o u t to t h e s i d e s . S l i d e it f o r w a r d a n d b a c k . M a k e it a n e x t e n s i v e m o v e m e n t . Then s t o p w h e n the left foot is a l o n g s i d e the right o n e . J u s t take the ball of the left foot from s i d e to s i d e a l o n g the f l o o r . Let the heel a c t like a h i n g e , a n d swivel the f o o t f r o m the h e e l . T r y to m o v e the s u r f a c e of the foot a l o n g the f l o o r ; do not have it up in the a i r . It is i m p o r t a n t that you s e n s e t h e f l o o r w i t h t h e b o t t o m o f the f o o t . T r y to keep as m u c h o f the b o t t o m o f the f o o t o n t h e f l o o r as p o s s i b l e . T h e n s t o p . Now i n s t e a d , slide the heel from side to s i d e . T r y n o t to pick t h e heel u p . Then j u s t rap lightly w i t h the w h o l e foot on the f l o o r . Pick it up and let it d o w n , and do it 1 i g h t l y . T h e lower leg s h o u l d b e at a b o u t a r i g h t a n g l e to the u p p e r . You put the w h o l e b o t t o m of the foot d o w n . Now s t o p . Close your eyes a n d sense t h e left f o o t . C o m p a r e it w i t h t h e right f o o t . See if it is c l e a r e r in y o u r c o n s c i o u s n e s s , your a w a r e n e s s . T h e n see if this is a l s o true of the left k n e e , s h o u l d e r , e y e , side of the m o u t h and face. Is the body image c l e a r e r on one s i d e than on the o t h e r ? Extend the left leg. Leave the heel o n the f l o o r a n d raise the front part o f the f o o t . M a k e some c i r c l e s w i t h the f r o n t p a r t , r o t a t i n g from the a n k l e . Make some in o n e d i r e c t i o n and some in the o t h e r d i r e c t i o n . Then stop and p l a c e the f o o t w h e r e you t h i n k y o u can m o s t e a s i l y turn it o n t o its o u t s i d e a n d o n t o its i n s i d e . See if y o u c a n find that p l a c e . The m o v e m e n t s h o u l d b e in t h e a n k l e . Do n o t take the w h o l e leg from side to s i d e ; then the m o v e m e n t is in the hip j o i n t and not in the a n k l e . Let y o u r hand rest o n your k n e e so that y o u can s e n s e w h e t h e r the u p p e r leg m o v e s or n o t . Do n o t a l l o w the m o v e m e n t to be in the hip j o i n t . M a k e it be in the a n k l e o n l y . A g a i n , it will m a k e a d i f f e r e n c e w h e r e y o u put the f o o t .

Eliminate

the

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m o v e m e n t from the hip j o i n t . If you h a v e t o , put o n e hand on the knee and o n e hand on the h i p , the left o n e of c o u r s e . M a k e s u r e t h a t the m o v e m e n t is in t h e a n k l e . T h e r e will be a v e r y s l i g h t m o v e m e n t in the k n e e , but t h e r e should not be a n y m o v e m e n t in t h e h i p . It is a foot and a n k l e movement. Now roll it from s i d e to s i d e . Stop. Just s l i d e the f o o t b a c k and f o r t h a l o n g the f l o o r . Use t h e foot to s e n s e the f l o o r . O r i e n t y o u r s e l f t o w a r d s the w o r l d o u t s i d e o f y o u r s e l f so that your intention is to sense the floor and learn e v e r y t h i n g you can about the f l o o r . Then a l t e r t h a t o r i e n t a t i o n so that y o u r interest is in your f o o t . Learn a b o u t w h a t the f o o t is f e e l i n g and how the foot f e e l s , y o u r f o o t l s own s e n s a t i o n s . T h i s is a s e l f - i n t e r e s t , a s e l f - o r i e n t e d s e n s e . T h e n see if you can s h i f t s m o o t h l y back and forth b e t w e e n an o r i e n t a t i o n to the o u t e r w o r l d and the inner w o r l d , self and n o t - s e l f . M o s t p e o p l e a r e s h i f t i n g that o r i e n tation all the t i m e , for the m o s t p a r t u n c o n s c i o u s l y . You a l s o find s o m e w h o a l m o s t c o n t i n u o u s l y a r e o r i e n t e d t o w a r d s t h e e x t e r n a l w o r l d and o t h e r s w h o a r e a l m o s t c o n t i n u o u s l y o r i e n t e d t o w a r d s t h e i r o w n s e n s a t i o n s and f e e l i n g s . T h i s o n e - s i d e d f o c u s i n g n a t u r a l l y m a k e s a g r e a t d i f f e r e n c e in t h e i r t h i n k i n g and b e h a v i o r and w h a t t h e i r p e r s o n a l i t y is 1 ike. S o m e t i m e you m i g h t try to introspect and e x a m i n e the w a y t h a t you function in e v e r y d a y life. T r y to o b s e r v e w h e n you a r e o r i e n t e d towards the o u t s i d e and w h e n you a r e o r i e n t e d t o w a r d s y o u r own f e e l i n g s and s e n s a t i o n s . Now c o n t i n u e to s h i f t a w a r e n e s s , but instead m a k e c i r c l e s w i t h the f o o t . M a k e s o m e c l o c k w i s e and s o m e c o u n t e r c l o c k w i s e . W h e n you go c l o c k w i s e , try to learn a b o u t the f l o o r . W h e n you go c o u n t e r c l o c k w i s e , pay a t t e n t i o n to y o u r s e l f . Then do the o p p o s i t e , g o i n g c o u n t e r c l o c k w i s e and o r i e n t i n g y o u r s e l f to the e x t e r n a l w o r l d , and going c l o c k w i s e and o r i e n t i n g y o u r s e l f to y o u r own w o r l d of f e e l i n g s . T h e n s t o p . O n c e a g a i n , s e n s e the two feet and the two s i d e s of the b o d y . See if you u n d e r s t a n d w h a t neural r e - e d u c a t i o n m e a n s . It m e a n s to a l t e r the body i m a g e , to r e - e d u c a t e the s e n s o r y m e c h a n i s m s . By doing t h e s e t h i n g s , you a l t e r your s e l f - a w a r e n e s s in a d r a s t i c w a y . T h e body that you s e n s e , the body o f y o u r e x p e r i e n c e , c h a n g e s d r a m a t i c a l l y . A n y o n e w i t h e x p e r i e n c e of Psychophysical W o r k will be a w a r e o f the fact that w h e n t h e body image is s h a r p e s t , then the f u n c t i o n i n g is a l s o b e s t . H o w e v e r , t h e body image m u s t be in c o i n c i d e n c e w i t h the physical body or e l s e the a c t i o n taken is not the a c t i o n that o n e t h i n k s o n e is t a k i n g . C l a r i t y of body image a l o n e is not enough. It has to be a c o r r e c t body i m a g e , c o i n c i d i n g w i t h the actual p h y s i cal b o d y . Now rap a few m o r e t i m e s w i t h your left h e e l . P l a c e it w h e r e the m o v e m e n t is o p t i m a l . Then p l a c e t h e f o o t w h e r e you can best rap w i t h t h e ball of the f o o t . Then p l a c e it w h e r e you can best rap w i t h the t o e s . Flex and e x t e n d the t o e s . P l a c e the foot w h e r e it is q u i c k and light and e a s y to d o . Slide the foot back and f o r t h a few t i m e s . S t o p w h e n the feet a r e s y m m e t r i ca 1. Get up and w a l k a r o u n d for a b i t . C o m p a r e t h e c o n t a c t the left foot m a k e s w i t h the floor w i t h the c o n t a c t t h e right foot m a k e s . W h i c h f o o t is

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more flexible? See if the left knee m o v e s d i f f e r e n t l y than the right o n e . A l s o see if t h e r e is a n y d i f f e r e n c e in the two s h o u l d e r s as c o m p a r e d to the w a y that they o r d i n a r i l y a r e . T h e n c o m e b a c k and sit d o w n . T h e d i f f e r e n c e in the s e n s i n g and f u n c t i o n i n g has been a c h i e v e d by m e a n s of m o v e m e n t a c c o m p a n i e d by a w a r e n e s s of the m o v e m e n t , by f o c u s i n g on the s e n s i n g . T o the e x t e n t that the m o v e m e n t has been d o n e w i t h a w a r e n e s s and f o c u s e d s e n s i n g , the left foot should be well d i f f e r e n t i a t e d from the r i g h t , and the b o d y image should be c l e a r e r on the left s i d e . T h e e n t i r e left s i d e , not just the f o o t , should f u n c t i o n b e t t e r . Now the q u e s t i o n a r i s e s w h e t h e r t h e b r a i n will a l t e r the body to the same e x t e n t if you o n l y imagine or image the m o v e m e n t s . If the body is a l t e r e d to the s a m e or a g r e a t e r e x t e n t by m e a n s of images a l o n e , then pres u m a b l y that m e a n s that the brain e i t h e r c a n n o t d i f f e r e n t i a t e b e t w e e n the imaged m o v e m e n t and the actual m o v e m e n t , or it does not c a r e o n e w a y or another. I think the fact is that it is n o t able to d i f f e r e n t i a t e . There are m a n y reasons w h y , based o n m y e x p e r i e n c e s w i t h h y p n o s i s and p s y c h e d e l i c d r u g s , I think the brain does not d i s t i n g u i s h , rather than that it d o e s not c a r e or j u s t h a p p e n s to respond that w a y . C l o s e your e y e s a n d try to get a c l e a r image of the right f o o t . You will p r o b a b l y find it d i f f i c u l t b e c a u s e the left foot is now m u c h c l e a r e r than the right o n e . In some c a s e s , the right foot will b a r e l y be t h e r e at all at the moment. In f a c t , if you d i f f e r e n t i a t e e n o u g h , one side of the body w i 1 1 disa p p e a r , so far as the s e n s i n g o f it g o e s . It will b e t h e r e n o t at all or just b a r e l y . Now d o , in each of the f o l l o w i n g c a s e s , just a c o u p l e of m o v e m e n t s , not at all r e s e m b l i n g w h a t y o u did o n the left s i d e . T h i s will g i v e y o u an actual e x p e r i e n c e of the s e n s a t i o n involved in the m o v e m e n t . T h e n you wi11 imagine or image the m o v e m e n t , w h i c h e v e r you a r e a b l e to d o . T h r e e k i n d s of i m a g e s , or i m a g i n a t i o n , will be involved h e r e . For o u r p u r p o s e s , the m o s t i m p o r t a n t of these is k i n e s t h e t i c i m a g e s . T h a t is the f e e l i n g of the m o v e m e n t i t s e l f . T h e s e c o n d is t a c t i l e i m a g e s , w h i c h m e a n s the sense o f t o u c h , the c o n t a c t that the foot m a k e s w i t h the f l o o r . In this c a s e , the c o n t a c t of the foot w i t h the f l o o r is w h a t you will be i m a g i n i n g m o s t l y . T h i r d l y , use visual imagination or i m a g i n g , k n o w i n g w h a t the m o v e m e n t looks l i k e . By using all three of these you will c r e a t e a m u c h m o r e c o m p l e t e reality than if you used o n l y visual imagery or o n l y k i n e s t h e t i c i m a g e r y . P l a c e your right foot w h e r e you think y o u can do the best rapping w i t h the heel. Rap j u s t a c o u p l e of t i m e s . T h e n s t o p a n d , d r a w i n g upon the sensing that y o u j u s t d i d , a b o u t f i f t e e n t i m e s , imagine or image the r a p p i n g . T r y to m a k e the s e n s o r y p o w e r s of your i m a g i n a t i o n so s t r o n g that you c a n really feel it. Now c o n t i n u e to imagine rapping w i t h the h e e l , or to image it. Try to pay c l o s e a t t e n t i o n to w h a t you a r e d o i n g as you do t h a t . See if it is h a r d e r w o r k to image the m o v e m e n t than it is to a c t u a l l y do it. You w o u l d think that s o m e t h i n g done in the m i n d w o u l d be e a s i e r . H o w e v e r , see if

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you do not feel the imaging of the m o v e m e n t to be m o r e d i f f i c u l t . Do y o u tend to i n t e r f e r e w i t h your b r e a t h i n g , or to t i g h t e n y o u r s h o u l d e r s and n e c k m u s c l e s , or to d o o t h e r v a r i o u s things that m a k e the i m a g i n a r y m o v e m e n t s hard w o r k ? Now imagine some m o v e m e n t s w i t h the left heel r a p p i n g . O b s e r v e w h a t you do w i t h y o u r b o d y . T h e n s t o p and do a few actual m o v e m e n t s w i t h the left h e e l . See if, a s soon a s you start d o i n g the actual m o v e m e n t s , the t e n s i o n lets g o and the thing b e c o m e s c o m p a r a t i v e l y very e a s y . T h e p h y s i cal m o v e m e n t is e a s i e r than the imaginary m o v e m e n t so long a s the imaginat i o n , the imaging f a c u l t i e s , have n o t been c u l t i v a t e d . W h e n they a r e unt r a i n e d , t h e n the imagined m o v e m e n t is h a r d e r . Now s t o p . A g a i n imagine rapping w i t h the right h e e l . Try to n o t tense the s h o u l d e r s , n e c k and f a c e . Do not hold the b r e a t h . A l s o o b s e r v e , as you imagine that just as v i v i d l y as p o s s i b l e , w h e t h e r you can feel the t e n d e n c y in the right heel to rise and w h e t h e r , p e r h a p s , you a c t u a l l y do m o v e it a little bit. In f a c t , w h e n y o u imagine a n y m o v e m e n t , t h e r e a r e m e a s u r a b l e m i c r o m o v e m e n t s , v e r y small m o v e m e n t s , m a d e b y the m u s c l e s in r e s p o n s e to the i m a g e s . See if you can be a w a r e of t h a t . A l s o , see if you can be a w a r e , or if it seems to you that you a r e a w a r e , that y o u r b r a i n is s e n d i n g those s i g n a l s down to the f o o t to raise and lower the h e e l . T h e n if y o u sense actual m o v e m e n t in the h e e l , try to sense the s i g n a l s a l s o c o m i n g back to the b r a i n . See if y o u n o t i c e w h e n y o u i n h a l e , the heel t e n d s to c o m e up a little b i t , and w h e n you e x h a l e it goes d o w n . Let the same thing happen w i t h the s h o u l d e r a n d o t h e r parts of the b o d y , rising a n d f a l l i n g w i t h the exhalation and inhalation. Now a c t u a l l y put the foot o u t w h e r e you t h i n k you can rap best w i t h the ball of the f o o t . Do it two o r t h r e e t i m e s and n o t e c a r e f u l l y the s e n s a t i o n s . T h e n s t o p and imagine it. Do the actual physical m o v e m e n t o n l y two or t h r e e t i m e s so that it is not e n o u g h to s u b s t a n t i a l l y a f f e c t the r e s u l t s . It is just to g i v e you s o m e t h i n g to w o r k w i t h in your i m a g i n a t i o n s i n c e y o u a r e not a b l e yet to imagine t h o s e m o v e m e n t s well e n o u g h o t h e r w i s e . Imagine r a p p i n g . Imagine it v e r y v i v i d l y and try to not do t h o s e t h i n g s w i t h your body that m a k e the imagining p h y s i c a l l y d i f f i c u l t . T h e n , o b s e r v i n g c l o s e l y , rap two or three times w i t h your t o e s . T h e n c o n t i n u e imagining doing t h a t . Then imagine s l i d i n g the e n t i r e foot from side to s i d e . A c t u a l l y do it a c o u p l e of times f i r s t , and t h e n imagine d o i n g it. Imagine the c o n t a c t of the foot w i t h the f l o o r in t h a t side to s i d e s l i d i n g m o v e m e n t . T h e n slide the foot forward and b a c k w a r d a c o u p l e of t i m e s . O b s e r v e , and then i m a g i n e t h a t . Do not do it m o r e than two or three t i m e s . Imagine it v e r y v i v i d l y a n d , in so d o i n g , do the same thing that you did bef o r e . O r i e n t y o u r s e l f t o w a r d s l e a r n i n g a b o u t the s u r f a c e b e n e a t h y o u r feet for a n u m b e r of m o v e m e n t s , and then s w i t c h b a c k the o r i e n t a t i o n t o w a r d s your own feelings. Do a n u m b e r of m o v e m e n t s like t h a t . T r y d o i n g a b o u t ten of e a c h b e f o r e s w i t c h i n g to a d i f f e r e n t o r i e n t a t i o n . C o n t i n u e w i t h it for a w h i l e , and then stop a n d rest a m i n u t e . Your h a n d s s h o u l d be lying on the t h i g h s , the p a l m s d o w n . Let the m i d dle f i n g e r rest in the m i d d l e of the leg. Sit far e n o u g h foward in y o u r

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c h a i r so that it rests e a s i l y on the k n e e . You should be far e n o u g h forward so that the body can be u p r i g h t and the f i n g e r s can rest e a s i l y on the k n e e w i t h o u t your b e n d i n g . Now m o v e the ball o f the foot from s i d e to s i d e a c o u p l e of t i m e s , using the heel as a h i n g e . T h e n stop and i m a g i n e d o i n g it. R e m e m b e r to try to learn to m a k e the imaging e a s y . Learn to a v o i d t h o s e t h i n g s that m a k e it hard w o r k . In f a c t , w i t h p r a c t i c e it b e c o m e s both e a s i e r to do and the imaging b e c o m e s much s t r o n g e r and m o r e v i v i d . Now do a c o u p l e of m o v e m e n t s t a k i n g the heel f r o m s i d e to s i d e . Note t h o s e s e n s a t i o n s . Then do t h a t m o v e m e n t in y o u r i m a g i n a t i o n . R e m e m b e r to use t h e k i n e s t h e t i c , the t a c t i l e and t h e visual s e n s o r y i m a g i n a t i o n s . Now stop and rest w i t h the h a n d s on the k n e e s . C o m p a r e the two i m a g e , and a l s o w h i c h of the f a c e . See if a b o u t h a l f w a y forward

feet for a m o m e n t . S e e w h i c h is c l e a r e r in y o u r body k n e e , w h i c h hip j o i n t , w h i c h s h o u l d e r and w h i c h s i d e it is d i f f e r e n t f r o m w h a t it w a s b e f o r e . Remain seated on the c h a i r ; o t h e r w i s e you inhibit the leg m o v e m e n t .

Then e x t e n d t h e leg o u t to w h e r e you t h i n k you can m o s t e a s i l y turn it o n t o its o u t s i d e and o n t o its i n s i d e . Do that w i t h actual m o v e m e n t s a c o u p l e of t i m e s . T h e n c o n t i n u e to do it w i t h your i m a g i n a t i o n - - k i n e s t h e t i c , t a c t i l e and v i s u a l . Now s t o p . Pick your f o o t up and put it down l i g h t l y s e v e r a l t i m e s . T h e n c o n t i n u e to imagine doing t h a t . T h e n m a k e several actual c i r c l e s on the f l o o r , two c l o c k w i s e and two c o u n t e r c l o c k w i s e . N o t e w h a t it f e e l s l i k e . T h e n c o n t i n u e to imagine m a k i n g t h o s e c i r c l e s . M a k e large o n e s and small o n e s , c l o c k w i s e and c o u n t e r c l o c k w i s e . As you a l t e r n a t e the d i r e c t i o n o f the c i r c l e s , a l s o a l t e r n a t e your o r i e n t a t i o n b e t w e e n self and n o t - s e l f . Learn a b o u t the f l o o r , and then learn a b o u t t h e f e e l i n g s in the f o o t . T h e s h i f t s in r e a l i t y o r i e n t a t i o n s a r e p a r t i c u l a r l y p o t e n t in s t r e n g t h e n i n g the neural c i r c u i t r y . N o w , d r a w i n g on past e x p e r i e n c e and w i t h o u t d o i n g a n y actual m o v e m e n t s , j u s t m o v e the foot b a c k and forth in y o u r i m a g i n a t i o n . A g a i n , s w i t c h the o r i e n t a t i o n b a c k and forth between the s o - c a l l e d o b j e c t i v e and s u b j e c t i v e realities. Imagine p r e s s i n g hard so that you s e n s e c l e a r l y w h a t the floor f e e l s like and so that the s e n s a t i o n s in the b o t t o m s of the feet a r e s t i m u l a t e d . Now s t o p . A g a i n , w i t h o u t doing a n y actual m o v e m e n t , r e m e m b e r w h a t it feels like and rap in y o u r i m a g i n a t i o n w i t h the right heel on the f l o o r . Imagine it v e r y s t r o n g l y and see if you n o t e a n y t e n d e n c y o f the heel to r i s e . You m i g h t n o t i c e a s h i f t in the p r e s s u r e of t h e toes on the f l o o r . Then put the foot w h e r e you t h i n k you can b e s t rap w i t h the balls of the f e e t . Imagine t h a t m o v e m e n t . Imagine d o i n g it v e r y q u i c k l y w i t h the a n k l e f l e x i n g a l o t . M a k e it l i g h t , but v i g o r o u s and' rapid r a p p i n g . Then

i m a g i n e r a p p i n g w i t h the t o e s .

Bring t h e m up as high a s you

can,

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in your i m a g i n a t i o n o n l y . T h e n j u s t a few m o r e t i m e s imagine s l i d i n g the f o o t f o r w a r d and b a c k w a r d a l o n g the f l o o r . See if you c a n s i m u l t a n e o u s l y and e q u a l l y s e n s e the f l o o r a n d the f e e l i n g s in the f o o t . See w h e t h e r , w h e n you do t h a t , it s e e m s to you that the o r i e n t a t i o n is m o r e t o w a r d s t h e f l o o r or t o w a r d s the f o o t . Now s t o p . Keep the e y e s c l o s e d a n d see w h i c h hand you sense m o r e c l e a r l y , and w h i c h f o o t , w h i c h s h o u l d e r , e l b o w , k n e e , a n k l e and w h i c h side of the f a c e . Get up and w a l k a r o u n d . See if now it is the right side that m o v e s b e t t e r , the foot h a v i n g a b e t t e r c o n t a c t w i t h the f l o o r . Is it m o r e f l e x i ble w i t h the k n e e m o v i n g m o r e on the right s i d e ? T r y to d e t e r m i n e w h e t h e r the c h a n g e is the same from the i m a g i n a r y or imaged m o v e m e n t , a s c o m p a r e d to the a c t u a l , physical m o v e m e n t , w h e t h e r it is g r e a t e r , w h e t h e r it is l e s s . See if t h e r e is some kind o f q u a l i t a t i v e d i f f e r e n c e in the w a y t h a t t h e body feels; that it is a d i f f e r e n t s e n s u o u s q u a l i t y t h a t the imaging g i v e s from w h a t the a c t u a l m o v e m e n t g i v e s . It is a s u b t l e d i s c r i m i n a t i o n t h a t you should try to m a k e , to see w h a t the d i f f e r e n c e is b e t w e e n w h a t is a c h i e v e d by the imaging and w h a t is a c h i e v e d by the m o v e m e n t . T h e n c o m e and s i t . Now c l o s e y o u r e y e s and put y o u r feet side by s i d e . Can you sense m u c h m o r e c l e a r l y the right f o o t and the right s i d e of the b o d y ? Now w e a r e g o i n g to e q u a l i z e the two s i d e s . It m e a n s to some e x t e n t that you w i l l have to e x e r c i s e y o u r own i n i t i a t i v e , b e c a u s e w i t h e v e r y o n e the a m o u n t of w o r k that has to be d o n e to e q u a l i z e wi11 be d i f f e r e n t . I will g i v e y o u s o m e m o v e m e n t s f i r s t that will bring you m u c h c l o s e r to a b a l a n c e between the two s i d e s , and you can f i n i s h it o f f y o u r s e l v e s . First of a l l , j u s t rap w i t h both h e e l s on w h e r e they rap w e 11 and see if o n e raps f a s t e r w e r e in a r a c e , w h i c h w o u l d w i n ? Then put t h e b e s t . T h e n j u s t rap w i t h the t o e s , in the best all of the t o e s , if you can do it.

the f l o o r . Put the h e e l s than the o t h e r . I. f they feet w h e r e the b a l l s rap p o s i t i o n to do t h a t . Use

T h e n put the f e e t w h e r e you can rap w i t h the h e e l s , and imagine d o i n g it, b o t h of t h e m at o n c e . Imagine it as v i v i d l y a s you c a n , rapping w i t h both h e e l s . Now place them w h e r e v e r they rap best w i t h the b a l l s of the f e e t , and imagine doing t h a t . If you need t o , y o u c a n a c t u a l l y do it several times to g e t the feel o f it. T h e n , using all t h r e e v a r i e t i e s of i m a g i n g - - k i n e s t h e t i c , t a c t i l e and visual — i m a g i n e d o i n g it. T h e n a d j u s t the f e e t a b i t , a n d imagine r a p p i n g w i t h t h e t o e s . Do it p h y s i c a l l y a few times at f i r s t , if you need t o . Then do f i v e m o v e m e n t s s w i v e l i n g the b a l l s of the f e e t to the left and then to the right t o g e t h e r . T h e y b o t h g o in the same d i r e c t i o n . They both go r i g h t , they b o t h go l e f t . S l i d e them a l o n g the f l o o r . T h e n imag i ne doi ng it. N o w , instead of doing t h a t , swing the h e e l s left to r i g h t , s l i d i n g the feet a l o n g the f l o o r . Let them m o v e e q u a l l y and s y m m e t r i c a l l y . Sense c l e a r l y w h a t y o u a r e d o i n g , w h e r e the m o v e m e n t is. T h e n imagine doing it.

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Now a g a i n p h y s i c a l l y m o v e it. Slide the feet forward and b a c k w a r d a l o n g the f l o o r . As you d o t h a t , a l t e r n a t e b e t w e e n a w a r e n e s s o f the f l o o r and a w a r e n e s s o f the f e e l i n g s of the f e e t . Do a n u m b e r o f m o v e m e n t s s e n s i n g o u t w a r d a n d a n u m b e r of m o v e m e n t s s e n s i n g i n w a r d . T h e s e a r e all m i s l e a d ing w a y s o f s p e a k i n g but the l a n g u a g e does n o t r e a l l y a l l o w f o r an a c c u r a t e discription. You u n d e r s t a n d , but it is n o t a d e q u a t e l a n g u a g e b e c a u s e the l a n g u a g e is so g e a r e d to a d i f f e r e n t i a t i o n b e t w e e n the " s u b j e c t i v e " and the " o b j e c t i v e " w o r l d w h e n it c o m e s to d e s c r i b i n g t h i n g s like m o v e m e n t and senses. N o w m a k e some c i r c l e s w i t h y o u r f e e t . Do some o n e way and some the o t h e r w a y . N o w w i t h o n e foot s e n s e the f l o o r and w i t h the o t h e r f o o t pay a t t e n t i o n to the f e e l i n g s in the f o o t . One f o o t is o u t e r - d i r e c t e d and o n e f o o t is i n n e r - d i r e c t e d . W h e n you c h a n g e the d i r e c t i o n of the c i r c l i n g , a l s o c h a n g e w h a t the f o o t is doing so that if it w a s the left foot that w a s o u t e r - d i r e c t e d now it is the left foot that is i n n e r - d i r e c t e d , and the r e v e r s e . Do t h a t a n u m b e r of t i m e s , c h a n g i n g both the d i r e c t i o n of the c i r c l i n g a n d the o r i e n t a t i o n s o f the r e s p e c t i v e f e e t . T h e n imagine d o i n g it. B r e a t h e f r e e l y and do not tense u p . N o w s t o p . Sit w i t h y o u r hands r e s t i n g lightly on y o u r k n e e s , y o u r body e r e c t . C l o s e y o u r eyes and see w h e t h e r you sense e q u a l l y the two f e e t , t h e t w o h a n d s . Does it seem to you that y o u r n o s e is in the m i d d l e of y o u r face? Now if y o u still s e n s e the right side m o r e c l e a r l y , do s o m e w o r k w i t h the left s i d e . Do y o u r o w n w o r k . Do it b o t h p h y s i c a l l y and in the i m a g i n a t i o n . If t h e r e is an i m b a l a n c e in e i t h e r d i r e c t i o n , w o r k on the s i d e w h e r e the image is f a i n t e s t to m a k e it as v i v i d as it is on the s i d e w h e r e it is strongest. Do it w i t h m o v e m e n t s of the f o o t , the k i n d s o f m o v e m e n t s w e have been d o i n g . H o w e v e r , c h o o s e y o u r o w n and c h o o s e to w h a t e x t e n t you do it as actual physical m o v e m e n t s a n d to w h a t e x t e n t you do them as i m a g i n a r y m o v e m e n t s , p r o v i d e d y o u do s o m e of b o t h . W h e n you feel that the two sides of the b o d y a r e e q u a l l y c l e a r , that t h e body image is the same on both s i d e s so that it is a c o m p l e t e b a l a n c e d body i m a g e , then g e t up and m o v e a r o u n d . S e e if the t w o s i d e s a r e e q u a l . First a c h i e v e the b a l a n c e . E v e r y o n e is to w o r k at his or her own p a c e . T a k e y o u r t i m e . Do it w e l l , w i t h regard to w h a t y o u s e n s e you n e e d . N o w sit d o w n . You see t h a t the m i n d c a n use the brain by m e a n s of s e n s o r y images to r e - o r g a n i z e and c h a n g e those f u n c t i o n s o f the body o f w h i c h it has some e x p e r i e n c e . N o w you c a n , at this p o i n t , use the mind and its images to c a u s e the brain to r e - o r g a n i z e the body so long as you have k n o w l e d g e of the s e n s a t i o n s that a r e i n v o l v e d . You h a v e to know w h a t the s e n s a t i o n s a r e in o r d e r t o image t h e m , b e f o r e you can e x e r t any c o n s c i o u s control o v e r the o r g a n i s m itself in t h e w a y that y o u w e r e d o i n g . T h e r e a r e a l s o m a n y p r o c e s s e s of the body that you a r e n o t a b l e to s e n s e . To the e x t e n t that you a r e a b l e to i n c r e a s e t h e range o f y o u r s e n s i n g , to sense inward and to a c t u a l l y a c q u i r e some s e n s o r y k n o w l e d g e of internal p r o c e s s e s , then you can bring those u n d e r c o n s c i o u s control as w e l l . Otherw i s e , t h e y c a n o n l y be c o n t r o l l e d t h r o u g h some kind o f c o l l a b o r a t i o n w i t h the u n c o n s c i o u s . To control such t h i n g s as h e a r t rate a n d skin t e m p e r a t u r e

- 78-

and blood flow and b r a i n w a v e s and o t h e r o r d i n a r i l y i n v o l u n t a r y p r o c e s s e s , it is r e a l l y o n l y n e c e s s a r y to e s t a b l i s h a r e l a t i o n s h i p w i t h the u n c o n s c i o u s that will take a d v a n t a g e o f t h e k n o w l e d g e the u n c o n s c i o u s has of how to u s e the brain to r e g u l a t e t h o s e i n v o l u n t a r y m e c h a n i s m s and p r o c e s s e s . It is a somewhat d a n g e r o u s a n d h a p h a z a r d p r o c e s s as c o m p a r e d to e s t a b l i s h i n g cons c i o u s c o n t r o l . T h e r e f o r e , the range of c o n s c i o u s e x p e r i e n c e should be m a d e as g r e a t as p o s s i b l e . The s e n s i n g a n d the c o n s c i o u s a w a r e n e s s s h o u l d penet r a t e as far into the b o d y , as d e e p l y and as c o m p l e t e l y as it will g o , so that the c o n s c i o u s m i n d can be used to b r i n g a b o u t a n y of the c h a n g e s that you w a n t to bring a b o u t . Beyond t h a t , you can o n l y w o r k w i t h y o u r u n c o n s c i o u s and a s k it to do these t h i n g s for y o u . You can a c c o m p l i s h this by f o r m i n g s o m e kind o f e f f e c t i v e r e l a t i o n s h i p b e t w e e n the u n c o n s c i o u s and the brain. At the b e g i n n i n g and t h r o u g h o u t t h i s e x e r c i s e , t h e point has been to show that the b r a i n d o e s not d i s c r i m i n a t e b e t w e e n images and o b j e c t i v e a c t i o n s . When you see the c h a n g e s that y o u r body m a k e s in m o r e or less the same w a y , r e g a r d l e s s o f w h e t h e r you do the i m a g i n a r y or the actual physical m o v e m e n t , you u n d e r s t a n d that it is s o . T h e body will a l s o a l t e r p r o f o u n d l y — a n d m o r e m y s t e r i o u s l y — in r e s p o n s e to s y m b o l s , but that is a n o t h e r m a t t e r .

- 79-

12) T H E A R C H *

(If p o s s i b l e , b e f o r e you b e g i n this e x e r c i s e p r o v i d e y o u r s e l f w i t h some c y l i n d r i c a l o b j e c t hard e n o u g h not to y i e l d to the foot and w i d e e n o u g h so that b o t h feet can rest on it. T h e o b j e c t s h o u l d be as large or a bit larger in c i r c u m f e r e n c e than an o r d i n a r y r o l l i n g p i n . A r o l l i n g pin c a n , in f a c t , be u s e d , but if p o s s i b l e find s o m e t h i n g a bit longer and a little l a r g e r . A c a r d b o a r d roll used in p a c k a g i n g is good for the p u r p o s e , if s t i f f e n o u g h not to y i e l d to p r e s s u r e w h e n the f o o t ' s w e i g h t is a p p l i e d to it. If you a r e u n a b l e to o b t a i n a s u i t a b l e c y l i n d r i c a l o b j e c t , you m a y o m i t that p a r t of the e x e r c i s e w h i c h c a l l s for it. H o w e v e r , b e s t r e s u l t s will be had if the w o r k w i t h the c y l i n d e r is i n c l u d e d . ) One of the m o s t c o m m o n foot p r o b l e m s , a n d , s o m e t i m e s one of the more d i s t r e s s i n g , is t h a t o f " f l a t f e e t . " A c t u a l l y , when t h i s c o n d i t i o n is c o n g e n i t a l , the foot is in some important r e s p e c t s s u p e r i o r to feet h a v i n g normal a r c h e s . The d i s t i n c t i o n b e t w e e n c o n g e n i t a l and a c q u i r e d f l a t feet w a s for some reason not m a d e by the U . S . M i l i t a r y for s o m e t i m e . Thus, d u r i n g W o r l d W a r I, all men w i t h flat feet w e r e r e j e c t e d for m i l i t a r y service. By W o r l d War II, h o w e v e r , it had been d i s c o v e r e d that men w i t h c o n g e n i t a l l y flat f e e t , or w i t h a v e r y m i n i m a l a r c h , c o u l d a c t u a l l y o u t p e r f o r m m e n w i t h s o - c a l l e d " n o r m a l " f e e t , m a r c h i n g longer w i t h o u t pain or f a t i g u e , d o i n g b e t t e r o n rough t e r r a i n , e t c . In the case of a c q u i r e d "flat f e e t , " the a r c h e s have " f a l l e n , " a l t o g e t h e r o r a l m o s t s o . T h i s h a p p e n s to some p e o p l e w h e n they b e c o m e too m u c h o v e r w e i g h t a n d to some w h o s e j o b s r e q u i r e a good deal of w a l k i n g a n d , more p a r t i c u l a r l y , s t a n d i n g . P o l i c e m e n a n d w a i t r e s s e s a r e f r e q u e n t l y cited examples. In those c a s e s , there is o f t e n c h r o n i c and s o m e t i m e s rather severe pain. A l m o s t no o c c u p a t i o n or a m o u n t of b o d y w e i g h t will ever p r o d u c e f a l l e n a r c h e s or flat f e e t w h e n the p o s t u r e is g o o d and the body is o t h e r w i s e well-used. P o s t u r e a n d o t h e r e l e m e n t s of use d e t e r m i n e the p r e s s u r e e x e r t e d on the foot in w a l k i n g and the w a y the b o d y w e i g h t is e x p e r i e n c e d . A q u i t e o b e s e man or w o m a n w h o s e body is w e l l - p o s i t i o n e d w i t h r e s p e c t to g r a v i t y will move v e r y l i g h t l y , a n d the feet will e x p e r i e n c e little p r e s s u r e . On the o t h e r h a n d , a v e r y s l i m p e r s o n w i t h poor p o s t u r e can c o m e c r a s h i n g down on the foot w i t h each step w i t h a f o r c e e q u i v a l e n t to a n u m b e r of t i m e s the a c t u a l body w e i g h t . T h a t person is t h e n , for all p r a c t i c a l p u r p o s e s , " h e a v i e r " than the person w h o has good p o s t u r e but w h o s e w e i g h t , as m e a s u r e d by the s c a l e , is far g r e a t e r . T h e a v e r a g e p e r s o n , w i t h a v e r a g e d e f e c t s o f p o s t u r e a n d b o d y m e c h a n i c s , c o m e s down o n the foot w i t h e v e r y step taken w i t h a p p r o x i m a t e l y three times the b o d y w e i g h t . Even in rising from a s i t t i n g p o s i t i o n , s u c h a person e x e r t s a p r e s s u r e on the feet that is well b e y o n d t h e actual b o d y w e i g h t . If y o u d o u b t t h i s , sit in a c h a i r , put s o m e b a t h r o o m s c a l e s u n d e r y o u r f e e t , and then rise to a s t a n d i n g p o s i t i o n . The n e e d l e on the s c a l e will then go far p a s t the w e i g h t o f y o u r body to d e m o n s t r a t e some o f the p r e s s u r e e x e r t e d o n the f e e t . W e r e g o o d m e c h a n i c a l use of the body p r e s e n t , the n e e d l e w o u l d m o v e o n l y to the

* Teaching

time:

a b o u t 75 m i n u t e s

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point where

it indicated the body w e i g h t a n d then w o u l d go no f u r t h e r .

A l m o s t all b o o k s by p o d i a t r i s t s and o t h e r p h y s i c i a n s a s s e r t that n o t h i n g can be d o n e by the p e r s o n to r e m e d y flat feet o n c e the c o n d i t i o n has o c c u r red. The o n l y p o s s i b i l i t i e s o f f e r e d are a r c h e s built into the s h o e a n d , w h e n the p a t i e n t ' s pain is s u f f i c i e n t l y a c u t e , remedial s u r g e r y . Often, n e i t h e r of these a p p r o a c h e s is s u c c e s s f u l , a n d the p a t i e n t well may be left w o r s e o f f than she or h e w a s b e f o r e . A n d , o f c o u r s e , in t h e c a s e o f s u r g e r y , d a m a g e may be i r r e v e r s i b l e . T h e fact is that a r c h e s that h a v e " f a l l e n " a n d feet that have " f l a t t e n e d " can o f t e n b e h e l p e d b y m e a n s o f s u i t a b l e e x e r c i s e s or w o r k o n the feet p e r f o r m e d by a k n o w l e d g e a b l e t e a c h e r of P s y c h o p h y s i c a l M e t h o d . Moshe F e l d e n k r a i s , in Body and M a t u r e B e h a v i o r , a s s e r t s that n o t h i n g in p a r t i c u l a r needs to be done for flat f e e t . W h e n the p e r s o n has learned to stand and w a l k e f f i c i e n t l y the c o r r e c t i o n will s i m p l y o c c u r , if it has not a l r e a d y o c c u r r e d d u r i n g the l e a r n i n g p r o c e s s . T o g i v e a n o t h e r e x a m p l e , the late Ida R o l f , in R o l f i n g : T h e Integration of H u m a n S t r u c t u r e s , r e p o r t s that flat feet can o f t e n b e c o r r e c t e d by a t e a c h e r w o r k i n g o n t h e flat f e e t w i t h his o r her h a n d s . I have a l s o seen it h a p p e n , as F e l d e n k r a i s a s s e r t s , that the c o r r e c t i o n o c c u r s w i t h o u t special e f f o r t , as p o s t u r e improves a n d g o o d use is e s t a b l i s h e d by m e a n s of a general p r o g r a m of p s y c h o p h y s i c a l reeducation. In some c a s e s , i n c l u d i n g the c o n g e n i t a l o n e s , p a i n a c c o m p a n y i n g the flat feet is mental or e m o t i o n a l in o r i g i n , and b a s i c a l l y is c a u s e d by v a n i t y , or the b e l i e f that pain s h o u l d be e x p e r i e n c e d . The n o t i o n that high a r c h e s are beautiful or a t t r a c t i v e , in t h e c a s e o f w o m e n ' s feet e s p e c i a l l y , can g i v e rise to m u c h d i s s a t i s f a c t i o n a n d o t h e r d i s t r e s s w h e n the p e r s o n ' s f e e t do not m e a s u r e up to such a c r i t e r i o n . I have seen c a s e s w h e r e w o m e n a c t u a l l y a t t e m p t e d to h e i g h t e n the a r c h by c l e n c h i n g the toes and succ e e d e d in c r e a t i n g a c o n d i t i o n that e v e n t u a l l y w a s m a i n t a i n e d w i t h o u t cons c i o u s e f f o r t . T h e y a c h i e v e d this by c o n t r a c t i n g the toes a n d o t h e r w i s e d i s t o r t i n g the s h a p e and the f u n c t i o n i n g of the feet a n d , in the p r o c e s s , b r i n g i n g down on t h e m s e l v e s t r o u b l e s of v a r i o u s s o r t s , some pain c o m m o n l y i n c l u d e d . T h e a r c h so a t t a i n e d s o m e h o w b l i n d e d t h e s e p e r s o n s to the fact that the toes w e r e now ugly and the f o o t in g e n e r a l m u c h less a t t r a c t i v e to look at than b e f o r e . Good f u n c t i o n i n g , h e a l t h and a e s t h e t i c s all had been s a c r i f i c e d to a c h i e v e an end t h a t w a s w o r s e than the b e g i n n i n g . A p a r t f r o m such c o n s c i o u s l y s e l f - d i r e c t e d f o l l y , not a few p e r s o n s have a r c h e s that a r e too h i g h , for s o m e w h a t s i m i l a r r e a s o n s . W h e n s h o e s a n d / o r s t o c k i n g s that a r e t o o s h o r t a r e w o r n o v e r a period o f time the toes tend to c o n t r a c t to a c c o m m o d a t e t h e m s e l v e s to the s h o r t n e s s of the f o o t w e a r . Shoes that a r e too n a r r o w a l s o will c a u s e the a r c h to rise as a p a r t o f the p r o c e s s by m e a n s of w h i c h the foot , its m u s c l e s c o n t r a c t i n g , b e c o m e s n a r r o w e r and rises in a e f f o r t to e s c a p e the p r e s s u r e of the s h o e s . The r e s p o n s e s to the p r e s s u r e s f r o m the s h o e s a r e c o n t i n u o u s s i g n a l s to the b r a i n to r e - o r g a n i z e the f o o t . W h e n this has been d o n e o f t e n e n o u g h , the s e n s o r y m e c h a n i s m s and the neural c o n n e c t i o n s a r e d a m a g e d and the b r a i n c o n t i n u e s to hold the foot in its d i s t o r t e d c o n d i t i o n by m e a n s o f c h r o n i c -

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a l l y c o n t r a c t e d m u s c l e s . O n e r a r e l y h e a r s a b o u t e x c e s s i v e l y high a r c h e s , but they a r e not at all rare in my e x p e r i e n c e . In f a c t , 1 w o u l d say that m o s t a r c h e s a r e too high and that t h e s e g r e a t l y o u t n u m b e r those feet w h i c h a r e r e g a r d e d as f l a t . It is a g e n e r a l rule in d o i n g P s y c h o p h y s i c a l M e t h o d w o r k w i t h the feet that they get both w i d e r and l o n g e r . T h e s p a c e s b e t w e e n the j o i n t s a r e i n c r e a s e d as well as the s p a c e s b e t w e e n the toes a n d the long m e t a t a r s a l b o n e s w h i c h lie b e h i n d t h e toes a n d w h i c h , in the skeletal f o o t , a p p e a r to be e x t e n s i o n s of the t o e s . W i t h the l o o s e n i n g and l e n g t h e n i n g and w i d e n ing o f the f e e t , they a l s o a p p e a r a n d feel s o f t e r on both tops and b o t t o m s . It is this natural s o f t n e s s and y i e l d i n g c a p a c i t y of the b o t t o m s of the f e e t t h a t a l l o w s many p e o p l e w h o n e v e r w e a r shoes to w a l k o v e r s u r f a c e s w e can b a r e l y t o l e r a t e e v e n w h e n w e a r i n g our s h o e s . S u c h p e o p l e s do not u s u a l l y , as s o m e h a v e s u p p o s e d , h a v e heavy c a l l o u s e s o n the b o t t o m s of t h e i r feet , but rather the f e e t a r e so soft that they shape t h e m s e l v e s a r o u n d the s u r f a c e s they t o u c h . T h e r e a r e some p e o p l e the b o t t o m s o f w h o s e feet a r e so soft a n d p l i a n t , they can w a l k on g l a s s w i t h o u t being c u t . In v a r i o u s parts o f the w o r l d , p e o p l e w i t h o u t s h o e s h a v e n o d i f f i c u l t y w a l k i n g a n d c l i m b i n g o v e r rocky t e r r a i n . D e s p i t e the a d v a n t a g e s — h e a l t h , f u n c t i o n i n g , a p p e a r a n c e - - s o m e p e o p l e a r e d i s t r e s s e d w h e n they lose their s e l f - i n d u c e d "high a r c h e s . " They h a v e to be c o n v i n c e d that w h a t they regarded as " b e a u t y " w a s , r a t h e r , d e f o r m ity. No one d o i n g the e x e r c i s e s p r e s e n t e d in t h i s b o o k should o b j e c t to losing a bit o f the a r c h to g a i n the b e n e f i t s d e s c r i b e d . No one I h a v e heard o f e v e r has a c q u i r e d flat f e e t as a c o n s e q u e n c e of doing p s y c h o physical r e - e d u c a t i o n w o r k . H o w e v e r , I have no d o u b t that s o m e o n e c o u l d a c h i e v e it if i m p o r t a n t i n s t r u c t i o n s w e r e ignored and the w o r k w a s d o n e e x c e s s i v e l y or f o o l i s h l y e n o u g h . W h e n the w o r k is d o n e p r o p e r l y , any r e d u c t i o n of the h e i g h t o f the a r c h will be minimal e x c e p t in the instance of the a r c h e s w h i c h a r e c l e a r - c u t c a s e s of p a t h o l o g y . Now be s e a t e d in a s t r a i g h t - b a c k e d c h a i r , p r e f e r a b l y o n e w i t h o u t a r m s , a n d w e wi11 w o r k w i t h the feet b a r e , as u s u a l . In the f u t u r e y o u c a n begin a t this p o i n t a n d e l i m i n a t e r e - r e a d i n g the p r e l i m i n a r y d i s c u s s i o n , unless you s h o u l d c a r e to review it. First of a l l , take n o t i c e o f y o u r a r c h e s . T o o b s e r v e t h e m , do you try to s e n s e the feet t h e m s e l v e s or do you look at them v i s u a l l y , from the o u t s i d e as it w e r e , and as y o u m i g h t o b s e r v e the feet of s o m e o n e e l s e ? Sense them both w a y s , by looking and by f e e l i n g , and n o t e w h e t h e r the imp r e s s i o n s g a i n e d by the two m e t h o d s c o i n c i d e . T h e n g e t up and w a l k a r o u n d a bit and try to e x p e r i e n c e the f o o t ' s a r c h e s . As m u c h as p o s s i b l e , w a l k j u s t as you o r d i n a r i l y d o , but note c l o s e l y that c o n t a c t of the foot w i t h the f l o o r w h i c h m i g h t d e f i n e the a r c h e s for y o u . As you w a l k , e x p e r i m e n t a little a n d o b s e r v e w h e t h e r it is p o s s i b l e for you e i t h e r to increase the a r c h , o r to f l a t t e n the f o o t , so d e c r e a s i n g

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the a r c h . Could you p e r h a p s f l a t t e n one foot w h i l e you i n c r e a s e the a r c h in the o t h e r f o o t , and do it w i t h o u t i n t e r r u p t i n g e i t h e r y o u r w a l k i n g or your breathing? W h a t m e t h o d do y o u u s e to a c h i e v e t h i s ? One w a y m i g h t be to c o n t r a c t the toes of o n e f o o t w h i l e p r e s s i n g d o w n on the m i d d l e of the o t h e r f o o t . That is the m e t h o d the person is most likely to hit u p o n . There is a n o t h e r m u c h more c u r i o u s m e t h o d an o c c a s i o n a l person m i g h t d i s c o v e r . T h a t i s , w h i l e w a l k i n g , to rotate o n e knee o u t a n d the o t h e r knee i n , a n d so d o i n g w i t h o u t w a l k i n g o n the e d g e s of the f e e t . T h e e f f e c t s on the a r c h e s of r o t a t i n g the knees a r e m o r e e a s i l y o b s e r v e d w h e n o n e is s i t t i n g . To w a l k in such a w a y is v e r y a w k w a r d . S e e , t o o , if you can find a n y o t h e r w a y s of i n c r e a s i n g or d e c r e a s i n g the a r c h as you w a l k , but do it w i t h o u t i n t r o d u c i n g into y o u r f o o t or y o u r leg u n d u e s t r a i n . T h e n c o m e b a c k to y o u r c h a i r and sit d o w n . Sit w i t h y o u r feet e q u i d i s t a n t f r o m your body and w i t h a fair a m o u n t of space b e t w e e n t h e m . Let y o u r hands rest lightly o n the t o p s of y o u r k n e e s . C o m p a r e the two a r c h e s and try to s e n s e w h e t h e r one is any h i g h e r than t h e o t h e r . In g e n e r a l , d o y o u r two feet rest on the f l o o r in the same way? Do the same p a r t s of both feet t o u c h the f l o o r , a n d do they e x e r t an equal p r e s s u r e on it? W h a t o t h e r c o m p a r i s o n s can y o u m a k e ? N o w , for a w h i l e w e a r e going to w o r k w i t h the right f o o t . Unless o t h e r w i s e i n d i c a t e d , all i n s t r u c t i o n s w i l l a p p l y to t h e right foot o n l y . (Another time you can do the left f o o t . ) First of a l l , see how m u c h you can t i g h t e n the a r c h by c l e n c h i n g or c o n t r a c t i n g the t o e s . Do it a n u m b e r of t i m e s and o b s e r v e w h a t h a p p e n s t h r o u g h o u t the f o o t . Just be sure that the heel of the f o o t r e m a i n s in p l a c e . A l s o , in f l e x i n g the t o e s , keep the toes on the f l o o r . They will have to m o v e a l o n g it but k e e p them on the f l o o r all the s a m e . No m a t t e r how m u c h you m a n a g e to f l e x y o u r t o e s , you a r e u n l i k e l y to do it a s well a s some p e o p l e w h o k e e p the t o e s h a b i t u a l l y f l e x e d . As y o u c o n t i n u e y o u can d o u b t l e s s m a k e b e t t e r a n d b e t t e r h a m m e r toes for y o u r s e l f but s o m e w h o have d o n e it w i t h o u t trying will have o u t d o n e y o u . Now do raise the ball of the foot a n d the toes o f f the floor c o n t i n u e to flex t h e m , f e e l i n g the e f f e c t s that this has upon the Does the a r c h increase m o r e w h e n t h e toes a r e o n t h e f l o o r or o f f the toes b a c k down and try to increase the a r c h w h i l e you m o v e the little as p o s s i b l e . T h e n just a l l o w the foot to r e s t .

and arch. it? Put toes as

Now instead o f c l e n c h i n g or f l e x i n g the t o e s of the right f o o t , e x t e n d t h e m . T h a t i s , bring them back t o w a r d s y o u r l e g , the ball of the f o o t r e m a i n i n g on the f l o o r . Note that this a l s o i n c r e a s e s the a r c h , but in a w a y that feels s o m e w h a t more n a t u r a l , more c o n s i s t e n t w i t h the f o o t ' s structure. C o n t i n u e e l e v a t i n g the a r c h by r a i s i n g the toes toward the c e i l i n g h o w e v e r far they go in t h a t d i r e c t i o n . R e m e m b e r that a t a n y time y o u can stop the actual m o v e m e n t and w o r k w i t h k i n e s t h e t i c , t a c t i l e and visual images o f m o v e m e n t . In any c a s e , w o r k w i t h those images n o w , imaging the 1ifting up o f the t o e s , the e l e v a t i o n o f

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the a r c h , the f e e l i n g s in the heel and w h a t e v e r e l s e y o u a r e a w a r e o f . Image the m o v e m e n t s w i t h o u t h o l d i n g the b r e a t h or i n t r o d u c i n g any t e n s i o n into the m u s c l e s or j o i n t s , w h e t h e r in y o u r f e e t , your f a c e or e l s e w h e r e . Do a few a c t u a l m o v e m e n t s a n d n o t e w h e t h e r they c o i n c i d e w i t h the imaged o n e s . T h e n d o the imaged o n e s a g a i n and see if the imaged m o v e m e n t can improve upon the physical m o v e m e n t . Be e s p e c i a l l y a l e r t for t e n s i o n in your b o d y as you do t h a t . Now stop a n d note how the two f e e t a r e r e s t i n g on the f l o o r . Compare y o u r s e n s i n g of the two , and a l s o the t w o l e g s , y o u r t w o h a n d s , the two s i d e s of y o u r b o d y . In w h a t w a y s d o e s the right side now d i f f e r f r o m the left? N o w , w i t h o u t letting the heel or the t o e s or the leg m o v e a n y m o r e than is e s s e n t i a l , r o t a t e the right knee to the o u t s i d e . See if you can s e n s e w h a t h a p p e n s in the lower leg and the a n k l e as y o u d o t h a t , a n d w h e t h e r , as y o u c o n t i n u e w i t h the m o v e m e n t , you find t h a t t h e a r c h b e c o m e s i n c r e a s i n g l y r e s p o n s i v e to it. T h e m o v e m e n t m a y n e v e r have been c o n s c i o u s l y d o n e b e f o r e , and thus may be d i f f i c u l t in the b e g i n n i n g , but as it is learned its p e r f o r m a n c e i m p r o v e s . See if it n o t o n l y g e t s to be e a s i e r , but that the e l e v a t i o n of the a r c h is a l s o m o r e e x t e n s i v e . C o n t i n u e w i t h that for a w h i l e , trying to improve the m o v e m e n t both a s to e a s e and ext e n s i v e n e s s . A f t e r that stop and r e s t . Note if the left foot now f e e l s s o m e w h a t f l a t by c o m p a r i s o n . Get up and w a l k a r o u n d a little a n d see if the f e e t m a k e n o t i c e a b l y d i f f e r e n t c o n t a c t w i t h the f l o o r . Focus your a w a r e n e s s on the a r c h e s and note a n y differences. In some c a s e s the c h a n g e will be s u b t l e , r e q u i r i n g a c u t e a n d detailed sensing. In o t h e r c a s e s it will be very easy to n o t e that t h e r e are differences. Stop w a l k i n g for a m o m e n t and j u s t s t a n d . Note if the left foot s e e m s f l a t t e r , and if o n e leg s e e m s longer than the o t h e r . If s o , w h i c h leg is i t , and why w o u l d it feel longer? If y o u a r e s e n s i n g from t h e m i d d l e o f the f o o t , then the left leg m a y feel longer b e c a u s e the p o i n t y o u a r e s e n s i n g from is c l o s e r to the f l o o r . Try to think w h e t h e r h a b i t u a l l y you base y o u r s e n s a t i o n s of y o u r b o d y ' s h e i g h t or length by s e n s i n g from the m i d d l e of the b o t t o m of the f o o t . T h e n sit down a g a i n . Now take a r o l l i n g pin or o t h e r c y l i n d r i c a l o b j e c t y o u have m a n a g e d to o b t a i n and let the m i d d l e of y o u r right f o o t rest on the c y l i n d e r . Push down lightly w i t h the foot on the c y l i n d e r b y r a i s i n g a n d lowering y o u r leg w i t h o u t , h o w e v e r , losing c o n t a c t w i t h the o b j e c t . A f t e r y o u h a v e d o n e that a t least t w e n t y - f i v e t i m e s , roll the o b j e c t w i t h y o u r f o o t , g o i n g no f u r t h e r forward than the b e g i n n i n g of the ball o f the f o o t , and no f u r t h e r b a c k w a r d than the b e g i n n i n g o f the b o t t o m of the heel. In o t h e r w o r d s , k e e p the r o l l i n g in the m i d d l e o f the f o o t , the m e t a t a r s a l r e g i o n . As y o u r o l l , e x e r t o n l y g e n t l e d o w n w a r d p r e s s u r e w i t h y o u r f o o t . T o o m u c h p r e s s u r e may c a u s e pain to the foot now o r l a t e r . T r y

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to m a k e your foot as f l e x i b l e as p o s s i b l e , so that it f e e l s as if it b e n d s and s h a p e s itself s o m e w h a t a r o u n d the cyl inder as it r o l l s . A l s o , s e e if y o u can m a k e the s e n s a t i o n s in the b o t t o m o f the foot q u i t e p l e a s u r a b l e o n e s . W o r k on i n c r e a s i n g the p l e a s u r e for a w h i l e , a n d on a l l o w i n g the foot to be as s u p p l e and as r e s p o n s i v e to the o b j e c t as p o s s i b l e . Let y o u r foot rest on the c y l i n d e r . T r y to find p o s i t i o n s on it w h i c h feel a s if they w o u l d a l l o w the f o o t to bend the m o s t , and try to find p l a c e s w h i c h m i g h t e m p h a s i z e the a r c h i n g of the f o o t . L e t t i n g the m i d d l e of y o u r f o o t rest on the cyl i n d e r , bring y o u r down to the f l o o r . Hold them there v e r y b r i e f l y , then bring t h e m up a g a i n , and c o n t i n u e doing t h a t . T h e n just rap v e r y q u i c k l y w i t h the toes on the f l o o r .

area.

toes

Roll the c y l i n d e r w i t h the foot a g a i n , rolling o v e r the m e t a t a r s a l T h e n let y o u r right f o o t rest on the f l o o r a l o n g s i d e y o u r left o n e .

Push down w i t h your left leg a n d see if by not too forceful p u s h i n g , y o u can bring a l m o s t the e n t i r e b o t t o m of the left foot down to the f l o o r . T h e n , b r i n g i n g equal p r e s s u r e t o b e a r , see if you can do that w i t h the right f o o t . N o t e w h e t h e r the right a r c h r e s i s t s the p r e s s u r e more than the left o n e d i d . At least some p e o p l e will find it q u i t e impossible to bring the right f o o t into as e x t e n s i v e a c o n t a c t w i t h the f l o o r as they a c h i e v e d w i t h the left f o o t . P l a c e y o u r right foot on top of y o u r left k n e e so that the e n d s o f y o u r t o e s p o i n t t o w a r d s the wall o p p o s i t e y o u . 5 1 i d e the foot left a bit so that it is the leg j u s t a b o v e the a n k l e that rests on the top of y o u r left k n e e . O b s e r v e the a r c h v i s u a l l y and a l s o try to s e n s e it. Flex y o u r t o e s and then e x t e n d t h e m , n o t i c i n g w h e t h e r the a r c h is a f f e c t e d m o r e by the f l e x i n g or by the e x t e n d i n g , and h o w the c h a n g e s p r o d u c e d by those two m o v e m e n t s d i f f e r . T a k e hold of the heel of the foot w i t h y o u r left h a n d , and flex and e x t e n d the t o e s w i t h the right h a n d . Y o u will p r o b a b l y be a b l e to increase the m a g n i t u d e of the m o v e m e n t s s o m e w h a t by using y o u r h a n d s . T h e toes will flex m o r e and then e x t e n d m o r e and the e f f e c t on the a r c h will be m o r e pronounced. N o w , using both h a n d s , pull the toes b a c k t o w a r d s you w i t h the right h a n d , w h i l e s i m u l t a n e o u s l y y o u p u s h y o u r heel a w a y f r o m y o u r body w i t h y o u r left h a n d . T h e n as you relax the pull b a c k w a r d w i t h the right h a n d , pull y o u r heel b a c k t o w a r d you w i t h the left h a n d , and c o n t i n u e d o i n g that so y o u increase the a r c h i n g of the foot e a c h time you push o n the heel and pull b a c k on the t o e s . T h i s c h a n g e should be q u i t e p r o n o u n c e d , and e a s y both to see a n d f e e l . Do the m o v e m e n t q u i c k l y for a w h i l e w i t h o u t s t r a i n i n g , and then put the foot down o n the f l o o r . T h e a r c h may now have increased e n o u g h on the inside of the f o o t that the f o o t tends to g o a little o n t o its o u t s i d e . M o v e it b a c k and forth

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a l o n g the f l o o r , s l i d i n g i t , s e n s i n g the f l o o r , and t r y i n g to e l i m i n a t e that t e n d e n c y to s h i f t o v e r to the r i g h t . T h e n place your foot o n the c y l i n d e r o n c e a g a i n and use your foot to roll it, k e e p i n g the c o n t a c t inside the m e t a t a r s a l r e g i o n . Let the c o n t a c t b e light and let the foot be as p l i a n t as p o s s i b l e . For a w h i l e , let the foot lean s l i g h t l y to the inside as you do t h a t . T h a t i s , there will be a little m o r e p r e s s u r e b e l o w the big toe and its n e i g h b o r than t h e r e is below the o t h e r three t o e s . Then let the f o o t roll so that you do not feel that it g o e s e i t h e r to one side or the o t h e r . S t o p r o l l i n g the c y l i n d e r and let y o u r foot rest o n the f l o o r . A l t e r n a t e l y flex a n d e x t e n d the toes a few t i m e s , o b s e r v i n g the i n c r e a s e s in the a r c h , and then once a g a i n r e s t . As u s u a l , let the hands rest on the t o p s o f the l e g s , w i t h the m i d d l e f i n g e r s at the c e n t e r of the k n e e s , and the two a d j o i n i n g f i n g e r s near the o u t s i d e s of the k n e e s . Sense how the left f o o t l i e s , and the r i g h t . S e n s e the left heel in r e l a t i o n to the ball of the left f o o t , a n d then s e n s e the right heel in r e l a t i o n to the ball o f the right f o o t . This m e a n s you a l s o sense w h a t lies b e t w e e n the heel a n d the ball o f e a c h f o o t . Note a g a i n if the left foot f e e l s flat by c o m p a r i s o n . It is n o t , of course, changed. C h a n g e has been in the right f o o t , a n d if the left o n e feels f l a t t e r w h e n you c o m p a r e , this must m e a n that the a r c h o f the right foot has i n c r e a s e d . S o m e t i m e s it is m o r e d i f f i c u l t to s e n s e the increase in the a r c h than it is to r e c o g n i z e it by c o m p a r i n g the f e e l i n g s in o n e foot w i t h t h o s e in the o t h e r . Get up a n d w a l k a r o u n d a n d n o t e w h a t y o u s e n s e . See if you can d e t e c t that the a r c h is, at least s o m e w h a t , increased in the r i g h t f o o t , e i t h e r b y s e n s i n g the a r c h itself or b y c o m p a r i n g it to the c o n t a c t of the left f o o t w i t h the f l o o r . T h o s e w h o can c l e a r l y sense the c h a n g e in the a r c h w i l l , o f c o u r s e , find it e v e n e a s i e r to c o m p a r e the d i f f e r e n c e s b e t w e e n the t w o f e e t . On w h i c h foot do you p r e f e r to m o v e ? D o y o u find the s e e m i n g l y unusual f l a t n e s s of the left foot d i s t u r b i n g , or an e n c u m b r a n c e ? N o t e w h e t h e r , b o t h w h e n w a l k i n g and s t a n d i n g , o n e side o f the b o d y seems l o n g e r , and w h e t h e r the longer side seems to be the left o n e . If such is the c a s e , the e f f e c t s of this e x e r c i s e d i f f e r for you from those of a l m o s t e v e r y o t h e r p s y c h o p h y s i c a l e x e r c i s e . A l m o s t a l w a y s , the side that is w o r k e d o n l e n g t h e n s , and is p r o p e r l y e x p e r i e n c e d as l o n g e r . In the p r e s e n t c a s e , a s I have s u g g e s t e d , the e x p l a n a t i o n for the a c t u a l l y incorrect s e n s i n g r e s i d e s in the fact t h a t the literal b a s i s for s e n s a t i o n of length is s o m e w h e r e near the m i d d l e of the f o o t . T h u s , w h e n o n e a r c h r i s e s , its d i s t a n c e from the top o f the head is d i m i n i s h e d , and the o t h e r side will feel l o n g e r . T h i s will b e the c a s e e v e n though the s i d e w i t h t h e h i g h e r a r c h is a c t u a l l y longer b e c a u s e all the w o r k h a s b e e n done on that s i d e . These feelings are

i l l u s o r y , but m a y p e r s i s t for a w h i l e u n t i l , as w i t h

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o t h e r e x e r c i s e s w h e r e o n e s i d e is w o r k e d w i t h , the n e r v o u s s y s t e m reo r g a n i z e s the b o d y , b r i n g i n g the two s i d e s back into a b a l a n c e d s e n s o r y r e l a t i o n s h i p . T h i s u s u a l l y m e a n s , in p r a c t i c e , that the side that w a s w o r k e d on loses some of w h a t it has a c h i e v e d , w h i l e the side n o t w o r k e d o n g a i n s s o m e of w h a t the o t h e r side l o s e s . T h i s is e v i d e n t l y d o n e by m e a n s o f a t r a n s f e r e n c e o f l e a r n i n g f r o m o n e h e m i s p h e r e o f the b r a i n to the o t h e r . T h a t such l e a r n i n g t r a n s f e r s a r e p o s s i b l e is e a s y to d e m o n s t r a t e , and v a r i o u s P s y c h o p h y s i c a l M e t h o d , F e l d e n k r a i s and o t h e r e x e r c i s e s r e p e a t e d l y m a k e the point. C o n t i n u e to w a l k , s t a n d a n d s i t , a n d see in, w h i c h of these t h r e e r e l a t i o n s h i p s to the f l o o r it is e a s i e s t to s e n s e w h a t has c h a n g e d in your f o o t .

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ABOUT THE AUTHOR

R o b e r t M a s t e r s has b e e n , s i n c e 1 9 6 5 , D i r e c t o r o f R e s e a r c h of T h e F o u n d a t i o n . F o r Mind R e s e a r c h , first in New Y o r k C i t y , then in P o m o n a , New Y o r k . From 1 9 6 2 - 1 9 6 6 he w a s D i r e c t o r o f T h e L i b r a r y o f Sex R e s e a r c h , New Y o r k C i t y . From 1 9 6 5 - 1 9 6 8 he was a l s o D i r e c t o r of The Visual Imagery R e s e a r c h P r o j e c t , New Y o r k C i t y . He is a u t h o r or c o - a u t h o r of e i g h t e e n b o o k s and m o r e than o n e h u n d r e d p a p e r s and a r t i c l e s d e a l i n g w i t h a s p e c t s o f human b e h a v i o r d e a l t w i t h in his r e s e a r c h and p s y c h o t h e r a p e u t i c and teaching w o r k . D r . M a s t e r s ' m a n y y e a r s o f c l o s e c o l l a b o r a t i v e w o r k w i t h his w i f e , D r . Jean H o u s t o n , in the a r e a o f m a k i n g a c c e s s i b l e a n d e x t e n d i n g latent and p r o d u c t i v e human c a p a c i t i e s , h a s made its w a y into m a n y school p r o g r a m s at all a g e levels and into p r o g r a m s for the e l d e r l y and for p e r s o n s w i t h b e h a v i o r a l p r o b l e m s , as w e l l a s for the s p e c i a l l y g i f t e d . He did p i o n e e r i n g r e s e a r c h w i t h m e s c a l i n e , LSD and o t h e r p s y c h o a c t i v e s u b s t a n c e s from 1 9 5 4 - 1 9 6 5 . His w o r k w i t h h y p n o s i s - - c l i n i c a l , e x p e r i m e n t a l a n d d e v e l o p m e n t a l - - b e g a n in 1952 a n d c o n t i n u e s up t o the p r e s e n t . The main t h r u s t of his r e s e a r c h a c t i v i t i e s has been human p o t e n t i a l s or c a p a c i t i e s — t h e study o f g e n i u s , c r e a t i v i t y , a l t e r e d s t a t e s o f c o n s c i o u s n e s s , s e n s o r y i m a g e r i e s , a c c e l e r a t e d mental p r o c e s s e s (time d i s t o r t i o n ) and p s y c h o somatic processes. For the past d e c a d e he has been e s p e c i a l l y involved in r e s e a r c h and a p p l i c a t i o n s o f p s y c h o p h y s i c a l r e - e d u c a t i o n a l m e t h o d s , part i c u l a r l y neural and s e n s o r y r e - e d u c a t i o n , a n d h a s c o n d u c t e d m a n y w o r k s h o p s and t r a i n i n g p r o g r a m s for s t u d e n t s and t e a c h e r s of his P s y c h o p h y s i c a l M e t h o d in the U . S . , Europe and A s i a . P s y c h o p h y s i c a l M e t h o d is s y n t h e s i z e d w i t h h y p n o s i s , or t r a n c e , in his p s y c h o t h e r a p e u t i c p r a c t i c e .