The Ezekiel Code: A Vision of Living Bones (Feldenkrais inspired) 9780978401443

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David Kaetz THE EZEKIEL CODE

A Vision of Living Bones

The Ezekiel Code A Vision of Living Bones

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And he said to me, my dear human, what do you think, can these bones come to life again? - Ezekie.l 37:3

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The Ezekiel Code A Vision of Living Bones

David Kaetz

River Centre Publishing Hornby Island, Canada -3-

Copyright© 2014 by David Kaetz All rights reserved. ISBN 978-0 -9784014 -4-3 Printed in Canada. Fourth printing . November , 2016.

For information and orders : www.davidkaetz.com davka @pobox .com

11/16/ IV

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Dedicated with great gratitude to the memory of a brilliant teacher of both-and, Rabbi Zalman Schachter -Shalomi 7"'1'

My thanks , as well, to the following people for their contributions to this project, by way of moral support, research tips, many questions, and simple kindness: Ruthy Alon Donna Blank Mischul Brownstone Rob Cohen Russe ll Delman Lucas Derks Elisabeth Haas William Hallo J"t Amos Hetz Bob Hunter Susan Kaetz J"t Arnie Lade June La Pointe Jim Lemkin Myriam Pfeffer J"t Peter Schein Elinor Silverstein Jill Swartz David Webber Alicia Rusch Gershon Winkler - 5-

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"We cannot become conscious of a feeling before it is expressed by a motor mobilization. Therefore there is no feeling so long as there is no body attitude ." - Moshe Feldenkrais, "Mindand Body," in Elisabeth Beringer (ed.) EmbodiedWisdom:The CollectedPaperof MosheFeldenkrais(Berkeley: North Atlantic Books, 2010).

"We will do (it) and (then) we will 'get it."' - Exodus 24:7, often cited by Dr. Feld enkrais. (Tr., D.K.)

"Through not observing what is in the mind of another, a man has seldom been seen to be unhappy; but those who do not observe the movements of their own minds must of necessity be unhappy ." - The Meditations of Marcus Aurelius, tr. by George Long, Bk. II

lch war zerstreut; an Widersacher In Stlicken war verteilt mein lch .... Jetzt bin ich wieder aufgebaut aus allen Stucken meiner Schande und sehne mich nach einem Bande, nach einem einigen Verstande, der mich wie ein Ding uberschaut,nach deines Herzens groEen Handen(o kamen sie 1 .) :llY1'> i1r1N i1ii1'> '>).1N T

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3) And he said to me, my dear human, what do you think, can these bones come to life again? And I answered, you are being itself, my organizing principle, I will let you answer that question.

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4) He said to me, attune yourself to these bones, and tell them: dry bones, listen within to what your own organizing principle is telling you. 5) It says, look, I will inspire you and you will come to life.

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9) Then said he to me, listen, my dear human, pay attention to the breathing . So I did. I spoke to the breath, and invited it to come in from all four directions. Come in, breath, and breathe into these slain, so that they will come to life. 10) So I tuned in as he commanded me, and the breath came into them, and they came to life, and stood up on their feet, an enormous army of them.

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11) Then he said to me, my dear human, these bones are the whole house [community] of Israel; listen to them, they are saying: "Our bones are dried up, we have lost our hope, we are clean cut off [from life]." 12) Therefore tune in to them and tell them, this is what is coming from deep within you, from your organizing principle, from Being itself. Pay attention, I will open your graves and lift you out them [out of your despair],and bring you onto the soil of Israel [home from exile]. (There are two more verses which traditionally belong to the vision of the bones (13-14). I have left them out of this presentation, as they do not further develop the archetypal motifs introduced above. In all, Chapter 37 has twenty-eight verses.)

* Plain comes from the Septuagint, a Greek translation done by a group of Jewish scholars in approximately the second century BCE. King James has valley. ** Human bones , also from the Septuagint. *** The Hebrew word ruach (017] unfolds into breath, wind and spirit. **** Septuagint: each one to its joint. King James: bone to his bone. - 19 -

Ezekiel may not have been a dues-paying member of the BabylonianAssociationof Somatic Educators(BASE),but obviously he had a good mentor, from whom we could also learn a few things. To wit: the work with people is practiced in presence and mindfulness, where one has a channel open to one's highest/deepest wisdom. Otherwise, it is just moving bones around. In this field (of presence) you enter into conscious relationship, attuning to the subjectivity of the other with care and curiosity . Through movement and sound, you help the bones find their ways into alignment. Together, you observe the changes in muscle tone, feeling and sensation. You invite the breath. You clarify the orientation in space. You lead the person into uprightness, and from uprightness into the possibility of an upright society. When brokenness is replaced by wholeness, at that moment, in that sweet spot of connectedness, the feeling of being in exile is replaced by the feeling of being at home in oneself . The holy land is when you feel whole. When your student stands up after a lesson, feeling taller and stronger, with his or her original face shining, the worry gone from the eyes, home again, alive again, ready to return to the world with a new perspective,you are a making Ezekiela happy prophet.

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IV Skeletal Consciousness,

in a Word

The word translated by the scholars of King James as bone is the Hebrew word etzem [□~Y], which also signifies self For skeletal consciousness, we need look no further. The ancient language itself is full of many-layered resonances, which, to the Hebrew ear, are second nature. The root of etzem yields to matelializ e, to take on substance.In modern Hebrew, to say in truth, in fact, in reality,you say, b'etzem. If you show up in person, you show up b'etzem. Essence is atzmut. From the same root come power (atzmah), authenticity (atzmi'ut), and independence (atzma'ut). In fact, the English word independence, which comes ultimately from the Latin, carries some of the same sense. Independence suggests that one is literally not hanging from someone or something else. Not hanging from is self-supportingor autonomous. And how else would one find this quality, if not in one's bones? As we rise from the ground, standing on our own two feet, we negate the effect of gravity;we can do this because we have learned to organize our bones in a unique way. The fact of being human implies this unique quality of anti-gravity self. organization, which is, as anyone with back problems can confirm, a work in progress. And with this quality of self-organization comes an attendant quality of cerebralorganization . We can stand because we are our bones, and when we stand, we are a self in a way characteristic of humanity. We'll come back to this theme in Chapter IX.

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V Ezekiel in his Embroidered Tunic We can speculate, but who really knows what the biblical prophets were up to? Were they dervishes, shamans, preachers, poets, or all of the above? How did they enter the prophetic state? Prayer? Dance? Herbs? Likewise, we do not know if there was one author of the Book of Ezekiel or several, or how the canonical text arrived at its current state. What we think we know of Ezekiel: he was born around 622 BCE,of priestly lineage, in Jerusalem. At the age of twenty-five he was deported to Babylon, along with thousands of his countrymen. Ezekiel then became the only Biblical prophet to prophesy in exile. He is much beloved of Jewish mystics. Now it came to pass in the thirtieth year, in the fourth month, on the fifth day of the month, as I was among the captives by the river Chebar that the heavens were opened, and I saw visions of God. Ezekiel 1:1

Ezekiel's visions are the foundation of an early trend of Jewish mysticism, which takes its name from the merkabah or merkavah (chariot or vehicle) that appeared in the heavens before his eyes. Also fond of Ezekiel are UFO researchers, with a very different take on what the prophet saw. Then there are folk singers: "Ezekiel saw the wheel, way up in the middle of the air." Ezekiel was also a scold, warning his countrymen in graphically grotesque ways to clean up their act. He also channeled a detailed architectural vision, nine chapters long, of a new temple, complete with measurements. Like the wheels in the sky, the temple vision has challenged, puzzled, bored and/or inspired generations of readers. Ezekiel also channeled a recipe for making bread with sprouted grain. This book is all about the bones. To learn how this particular vision was understood in his time, and for the ensuing 800 years, we have only the evidence of the text, various ancient translations into Greek, Aramaic, and Syriac, - 23 -

and the traditional rabbinic commentaries. Then, beginning in 1920 and continuing over the next eighteen years, archeologists from Yale University and the Academie des inscriptionset belleslettres (Paris), unearthed one of the greatest archeological finds since the discovery of Troy in the late 19u, century. Beneath the sands of Syria, they found an extremely well-preserved Roman garrison town known as Dura Europos, complete with synagogue. Dura had been a thriving, multicultural trading town, where worshippers of the various Roman divinities rubbed shoulders with Mithraists, Christians, and Jews. Sometime around the year 245 CE, a rather talented artist covered the walls of the synagogue with brilliantly-coloured murals illustrating Biblical stories. Before the discovery of Dura, it had been assumed that there was no ancient Jewish biblical art, so this particular dig caused quite a stir among scholars worldwide. The murals survived with their colours intact because they were covered with dry sand sh01tly after they were created. This was done by way of defending the town against an attack The Romans lost that battle (ca. 256 CE), and the town was abandoned for the next seventeen hundred years. We assume that the man in the picture on the facing page is the prophet Ezekiel, because a sequence of images runs along the wall-like a comic strip, only without the frames and the speech balloons-telling the story of Chapter 3 7. The stages of the vision are depicted sequentially, from left to right. The image here is from the far left of the mural. There Ezekiel stands surrounded by scattered body parts. On the right side of our picture you can see the next scene in the story already unfolding. The hand above Ezekiel's head represents an altered state, as in Ezekiel 37:1, "The hand of the Lord was upon me." Rather wonderfull y for the somatic practitioner, it also seems to suggest the familiar prescription, "please imagine that you are being lifted, as if by a string attached to the middle of your head." The man looks lengthened! His eyes appear rolled back in his head as if orienting to a new landscape. - 24 -

I have seen students rolling off the Feldenkrais table, at the close of a session, with exactly those eyes. In another chapter of his book (8:3), Ezekiel describes more precisely what happens when he is lengthened: And He put forth th e form of a hand , and took me by a lock of my head; and the spirit lifted me up between earth and h eaven.

Erwin R. Goodenough. Jewish Sym bols in the Greco-Roma n Period, Vol. 11, Symbolism in the Dura Synagogue. Illu strations. Plate XXI. © 1968. 1996. Princeton University Press. Reprinted by permission of Princeton University Press.

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In the mural from Dura Europos, the prophet's right hand , reaching down, mirrors the gesture of the (right) "hand of God," reaching down to touch him. The next "hand of God" opens to indicate the scattered parts, with Ezekiel's own right hand mirroring that very gesture. Ezekiel is responding to something that is both outside and inside of him . In these repeated images of mirroring, we see the prophet in the act of channelling a gesture from one place, or level of consciousness, into another. How brilliantly our artist reveals this process. Ezekiel is the centre of the action. The "hand of God" at his head is a metaphor for an aspect of spiritual power, a power that makes for connection, for completeness. At Ezekiel'sfeet lies humanity in fragments (verse 11: "We are clean cut off."). The hand above informs and empowers him, so that he, through his own hands (the power to act) can work (on behalf of connection and completeness) with the hands (and other parts) at his feet. In the first "frame," which shows Ezekiel entering his vision, he stands in a curious pose suggestive of Rumi's dervishes-one arm up, one arm down. How old is the practice of whirling in worship? We have no idea, but our artist is conveying- across seventeen centuries- his understanding of what a prophet is up to. Sufis have always suggested that Sufism is older than Islam. Here we see the prophet dressed in a lovely embroidered tunic (everyone else on his wall wears a toga), with a bold vertical stripe in the centre. Were Ezekiel only to whirl a bit on his wall, his tunic would float outward like a dervish's gown. Ezekiel's hair is in an Afro (everyone else on his wall has short hair), he has a (little) beard (everyone else is cleanshaven), he is whole (everyone else is in pieces).

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VI

Re-Membering The experience of reconstituting one's own dismembered body is a part of shamanic training in various parts of the world: [In Siberia] reduction to the state of a skeleton is an operation performed by the shaman-ancestors or other mythical beings, while among the Eskimo the operation is mental, attained by asceticism and deliberate personal efforts to establish concentration. In both regions alike the essential elements of the mystical vision are the being divested of flesh and the numbering and naming of the bones. The Eskimo shaman obtains the vision after a long, arduous preparation. The Siberian shamans are, in most instances, "chosen," and passively witness their dismemberment by mythical beings. But in all these cases reduction to the skeleton indicates a passing beyond the profane human condition and, hence, a deliverance from it.*

If this sounds familiar, perhaps you have heard or read the Inuit story, known as Skeleton Woman (a version of which appears in Clarissa Pinkola Estes' Women Who Run with the Wolves). In this story, the heroine experiences dismemberment and, through the intervention of a shaman, re-memberment. To remember oneself would be to put one's members back into relationship with one another. In the story of Skeleton Woman, there is also the implication of working through traumatic memories. The very word remember is a linguistic key to the indivisibility of psyche and soma.

There are also elements of dismemberment meditations in central Asian Buddhism, which itself developed out of the encounter of Indian Buddhism and the primordial Tibetan tradition called Bon. Perhaps Ezekiel's way, and the Sufi way, carry echoes of primordial traditions of the Fertile Crescent.

* MirceaEliade,Shamanism. (Princeton:Bollingen,1972) 63. - 27 -

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VII Letters that Move

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i7 Thus, one must understand that , for the Hasidic tradition , every letter is a word, every word is a universe. To read letter after letter is to feel the way things are put together , to comprehend the spaces between the letters. To read in this way, in levels, creates space in the text, opens this space up to meaning , and frees it from its heaviness and the petrification of typography . Reading in a Hasidic manner is actually a poetic experience, which tries to grasp the first faltering steps of language and the world in the act of creating themse lves, attempting to hatch into the light. - Marc-Alain Ouaknin, Tsimtsoum:Introduction a la meditation hebraique (Paris: Albin Michael, 1999). p. 99. (Tr., D.K.)

Get up, Stand up, Stand up for your right.

- Bob Marley

Another aspect of ancient healing traditions is that words are not just words, and letters, not just letters. In Hebrew, each of the 22 letters has many functions and associations . While these are phonetic letters, like Roman letters, they are also numbers, also symbols. As symbols, they derive from active images, from hieroglyphs. Kabbalists see them as the very building blocks of creation, in the way that certain molecules make up the building blocks of DNA.* * The shapes of th e Hebrew letter s have evolved over the millennia . They arrived at their current "square" form around the time of the Babylonian exile. Hebrew documents found at Dura Europos are written in this script. - 29 -

The figure at the head of this chapter is the famous Biblical tetragramma ton [;i1;i']-the four-letter and, by tradition, unpronounceable name of God-translated in King James' version as "the LORD," and often written out by scholars as YHWH or YHVH. Here the name is arranged in a non-habitual way, i.e., in standing. (Hebrew script normally moves across the page (or scroll) from right to left.) The first (top) letter of the four ('), in its original form, is called yod or yud, its name anciently signifying an arm or a hand, and the gesture of thrusting or pointing. (Hand in Hebrew is yad, a cognate of yod.) The presumed original hieroglyph for hand is still visible in the shape of the letter. The English letter "i" is a distant descendant of yod by way of the Greek iota, and carries the same sound. The English word iota, signifying a minuscule amount of something (as in not one iota!) reflects its heritage. The Hebrew letter yod, like iota, is the smallest letter in its alphabet. Its sound is also the most constricted of the vowel sounds, and it resonates highest in the body-i.e., in the head. Lift the head and pull the top of the head ... a tin y mov ement. Just allow the spine to lengthen throughout the inhalation, and also during the exhalation. - ·Moshe Feldenkrais , Lessons from Alexande r Yanai, #191.

The opening words of Ezekiel 37: il)il~-1~ ,~~ ilfl~D "The hand of the LORD [;i1;i'] was upon me," are traditionally taken to mean that Ezekiel has entered the prophetic state. If we were to read letter after letter, creating space in the text, the phrase could also be read in the following way: "the ' of ;,1;-i, was upon me" ... i.e ., the first letter (yod) of the name of God, which is also the hand (yad) of God, is sitting on top, in the head position. If we were then to follow up and stack the letters so that the

first letter is on top and the others below , then we come up again with the name of God in standing. If you are a Feldenkrais student, you may be reminded here of lessons - 30-

called "simpler," where Dr. Feldenkrais speaks of sensing "the five lines" (two legs, two arms, and the line of the spine). This simplified image of being in the vertical is concealed in full view, as it were, in the name of God . The part that forms the spine of this figure is the letter vov, whose meaning is connection. In Kabbalistic thinking, it represents verticality, a vertical flow, and-mirabile dictu-an upright posture . The letter hey, which occurs twice, has two legs (or arms), has the sound of h, the out -breath, and is said to have the inner sense of expression, manifestation, and becoming. It has the numerical value of five, which represents, in its most ancient and obvious sense, the five fingers of the hand. Thus, unsur prisingly, hey also has the literal meaning of drawing attention to something, as in the English Hey!, or Lo! Behold!Look here! The name of God has two of these two-limbed, five-fin gered letters. When the name is in the vertical, there is an upper hey and a lower hey, even as our artist shows us an upper hand and a lower hand, one mirroring, or receiving its impulse, from the other. In the upright position, the two heys shoulder girdle and the pelvis . Knowingly every Feldenkrais practitioner is thinking when he or she addresses the organization with an impulse through the pelvis. And teacher, likewise, when he or she lengthens vertical with a touch of the hand.

also suggest the or unknowingly, like a Kabbalist of the shoulders every Alexander a client into the

If, with every movement, the spine lovingly connects our inner intent with our outer action, then with every movement we are like that legendary shoemaker who , with every stitch, connected heaven and earth .

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Genesis I:27: " ... in the image of God created He him ."

This manner of engaging with text, word, and image is playful, of course. In some circles, playing with Biblical texts may be frowned upon, but play is serious business. It is how we learn to stand up and do just about everything else worthwhile. It is also a way of encountering a sense of the divine. Play is the religion of children, artists, and mystics. In the Hasidic tradition, word -juggling with your sources is encouraged.The words are sacred, therefore one plays with them and frees them into their implicit movement. Jungians call their play amplification,whereby myths, stories, artwork, and all manner of synchronous events, are brou ght into the process of understanding a dream image. One allows the symbol to unfold itself. If God had wanted us to take every word in the Bible literally, she would not have given us a brain with two hemispheres , one of which speaks exclusively in metaphors. And if she had wanted us to learn by one -dimensional teachings (dogma), rather than creativity (play), she would not have mad e us-as children, when we learn the most-so playful.

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- Vitruvian Man, Leonardo da Vinci (ca . 1490)

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VIII Who Causes to Be You say I took the name in vain I don 't even know the name - Leonard Cohen, Hallelujah

Please forgive me for asking an obvious rhetorical question : Who or what is this God, about whom there is such solemnity, strife and craziness among people in the world? As close as we can get through engaging with the name i11i1', this God is neither a who nor a what, but a form of the verb "to be. " One reading of the particular verb form is: "He who causes to be." When Moses encounters a bush burning in the desert, and hears the voice of God from the bush, he enquires after God's name. God-ju ggling words in the desert with Moses- replies with what is essentially a rearrangement of, a pun upon , his/her own name: "I am what I am. You can tell the people of Israel that 'I am' sent you to the them." That's a pretty straightforward, not to mention goodhumoured, answer on God's part. It is strange that, in several thousand years of grappling with divinity* or its absence, this answer remains largely elusive in its obviousness. The question of whether there is a God or not is rendered moot when God is not a thing to which we can attribute existence or nonexistence, but the groundof beingitself. Beneath the Jewish tradition of not pronouncing God's name is the intention not to reduce the experience of the divine to a noun, a thing, but to allow it to remain in the realm of ever-manifesting process, as a verb. To make it into a noun would be to make a fixed image , and a fixed image of God would be idolatJy. Idolatry, in the Torah, is the real issue, and not whether there exists or does not exist this or that fixed image. Moreover, also not an issue: whether ther e is a belief in the existence or non-existence of this or that fixed image. - 35 -

Idolatry interferes with real relationship. A God who is everbecoming does not allow herself to be squeezed into a fixed image . (Nor, for that matter, does a friend or lover.) In effect, says Being (along with your friend or lover), "Whatever you believe I am, I am not that. I am what I am . Call me by that name, if you dare." The The The The

Tao that can be spoken is not the eterna l Tao name that can be named is not the eternal name nameless is th e origin of Heaven and Earth named is the mother of myriad things - Lao Tsu, Tao Te Ching, Chapter 1**

Is there not some of this awareness in the way a Feldenkrais teacher works? When a client arrives with a Latin (or Chinese) name for his or her issue, it may have already become a thing, rather than a process. A process, we can engage with; a person, we can relate to. For a thing, you need a surgeon. Thou shalt not make unto thee a graven image , nor any manner of likeness, of any thing that is in heaven above , or that is in the earth beneath, or that is in the water under the earth. - Exodus 20:3

Maybe this second of the ten commandments is not about statues and paintings after all? The artist of the Dura Europos synagogue - which cou ld pass for an art gallery-obviously did not consider this injunction written in stone.

* The Hebrew word Israel (Jl'. ,nN:t)1 . .. -.. ._. -: - , . .. . :

,'~~in? ?1P-'D~l ,0~1 -il~_n1 ~n1n~~ t::i7prn .1D~Y-?N O~Y : ·: ... -.·

So I proph es ied as I w as co m~anded and as I pr o ph es ied, there was a noise, and behold a shaking, and the bones came together, each bone to its bone. Ezekiel 37:7

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