Expressiveness
_I: Before we start, I wanted to tell you that the task you proposed yesterday is difficult for some people… Climbing stairs.
_AM: Well, then they shouldn’t climb them.
_I: And should they do?
_AM: Walk... And if they don't walk, they clap their hands, and if they can't use their hands, they click their teeth, and if they can't, it's imagination. The idea is to pass levels, they exist in the mind, but doing them with a part of the body brings it down to the experience. Well, everything you do in the universe is recorded in action.
_I: What about inaction?
_AM: It is the counterpart of the action, and that does not mean it is exempt from reaction, since not acting is another way of generating reactions, memory, information. Inaction is the instance in which the will recognizes that not putting energy into it is the best way to allow something to take its natural course and reorder itself. Action is the instance in which putting energy into operation is considered to be what reorders the course of things. However, both opt for the same result, although in different ways. In any case, if our purpose is to manifest a new reality, action is the most optimal way to move energy. Conversely, if the purpose is to ascend to other dimensions, inaction will be the best way to rise towards the subtle, without being held down or pressured by the polarized energies of the environment.
_I: I understand... And since our path is to manifest the I AM, it is necessary to move the body.
_AM: Or perform something mechanical, such as mantric beads of a rosary, tasbih or japa-mala. The mechanism remains imprinted in the brain, registered with the intention with which it is carried out. So, any repetitive or mechanical activity is a way of registering data in the brain or cells.
_I: I understand. That is why schools use the repetition and memorization system a lot.
_AM: Yes, but in a negative way.
_I: Why would I be negative about education?
_AM: Because education is not about filling in external data, but about activating internal potentials. In terms of teaching, repetition helps memorization, but it does not generate free thinkers, but rather dependent on external data. Create people without own judgment, but group judgment. The mechanical repetition system is used as a form of meditation, in which repetition becomes a habit, and the cells recognize it as their own, with which it is integrated. However, when it comes to forming free beings, the system stops being one of inactive integration and becomes expressive action.
_I: What would it be like?
_AM: One of the 4 fundamental pillars of the universe is Expressivity. We have already seen the Expression some time ago, and the importance of what this means. “Get out of the Pressure” (ex-pressio), releasing what was contained inside. And that which is contained is trapped energy, which when released, expands, unleashing a force that we call “action”. This word is the participle (actus) of the Latin verb “agere”, which means “to move forward”, that is, to carry out. To move forward, outward, the energy that was inside under pressure, is to express it in action. When we manifest in expressive actions what happens inside, the body has the opportunity to recognize what it inhabits and act in resonance with it.
_I: This leads to expressiveness then, the activity of expressing oneself. The quality of acting expressly.
_AM: In many cultures, expressing what is inside is counterproductive, due to the moral origin of the cultures. You remember?
_I: Yes… Morality is built in relation to the adaptation to a space they call “dwelling”, and the “dwellers” build the culture based on the customs of said territory, which they call “moral” (from the Latin “moris”). = inhabit a place). Related to sowing and harvesting, tradition (what is said among several), is built based on the field, which gives the word cultivation (collere), which originates the word culture.
_AM: So, if in a place apples are planted, and all that is harvested are apples, and culture and morality have been related to the apple, when suddenly someone can't think of anything else but “bananas,” could be judged by the group.
_I: Sure…
_AM: …Unless…
_I: What?
_AM: Do it with humor.
_I: What would that be like?
_AM: What was humor?
_I: The liquids in which the ancients interpreted that they constituted the body: the “humors”, coming from humidity, humus, wet earth.
_AM: Thus, from the ancestral vision, everything that a being feels inside will be related to the order or disorder of its internal liquids, the humors. Humor is the way that some cultures found to be able to express what is inside without being judged.
_I: With laughter?
_AM: No, with any of the moods. The teachers, philosophers, educated the students through what we could call “acts”, that is, practical actions where experience allowed the assimilation of concepts. In this way, they organized and placed the ideas and concepts in a fair, harmonious way that everyone could understand. In Indo-European, order, adjust, place well, is said “ar”, which in Latin you know as “ars, artis”.
_I: The Art…
_AM: Exactly. And there was a particular art that allowed everyone to observe, see, what was happening in the humors.
_I: The Theater…
_AM: From the Greek “thea” (vision, see, observe), and “-tron” (instrument, means by which something is done). The Art of Theater was a fundamental tool for the education of the “immoral”, which transposed traditions towards the absurd, allowing humors, different from everyday feelings, to become means of learning. Theater allowed an individual to become whatever he wanted, to say what he wanted, to react in absurd ways without being judged, and to raise controversies in a subtle way. The theatricalization of reality opened the internal world to the external world, taking it out of the ceremonial and spiritual seriousness, to move it to an everyday and more earthly plane, within reach of everyone. It was the initial step to the internal freedom of the psyche, of the soul, which allowed men to behave like women and women like men, which allowed us to laugh at kings and politicians without being imprisoned, and even exalt the gods to the point of ridicule. It was a tool of social criticism, but also of human education. For thousands of years, and especially in recent centuries, the performances have diversified, inspiring, deceiving, awakening wills, exciting, opening the imagination, describing utopias, exaggerating reality, laughing at tragedies. The darkest shadows can manifest in theater, being seen simply as art. Now, a tool like this is a double-edged sword.
_I: Why?
_AM: Because an artist, actor or actress, can use theater and humorous expression as a way to hide what is truly hidden inside, or on the other hand, can use it as therapy to achieve catharsis and heal.
_I: Clearly the second option is the best…
_AM: Well... In the first one you feel safe, being able to let go of what you feel, but deny it in real life. Living with half-truths, or lies that became truths. But in the second option, those lies and truths are found in front of oneself, allowing oneself to see with awareness what is hidden inside. And the best theatrical aspect for this is the improvisation of psychomagical acts.
_I: What are they?
_AM: They are false situations, which you construct with agents randomly, and without thinking about what you are going to do with it, you launch into expressing yourself with your hands, mouth, looks, various actions, letting your interior be the guide.
_I: Ah, ok… An example?
_AM: Well, think that you have a conflict with a partner, but you don't know why, or how to resolve it. First you must identify where it comes from, but you are not ready to face the other, because you are not clear about anything. Then, you imagine that person is a tree.
_I: One that you see on the street, let's say, physically?
_AM: Yes, a real tree. And you start talking to him, using looks, hands, your whole body. You can fight with the tree, yell at it, hug it, cry, dance, sing to it, always imagining that it is the person. And then, for example, you tear off some leaves from the tree and say: “this is mine, it belonged to me, and I will take it with me.” You look for a place that you consider your own, and there you put those sheets, recovering what that person had taken from you. These acts leave an imprint on your body and mind, of knowing how to face the situation, of living the event.
_I: Like those times when there is an argument we don't know what to say, and then in the shower we come up with the best dialogues but it was too late... What you say is making that dialogue, dramatizing it.
_AM: That's right. As in a “Family Constellation” therapy, in a “Rebirth” ceremony, in an act of Psychomagic, you improvise an unreal, magical act, to make the soul, the psyche, express itself. Expressiveness invites you to make real everything that lies within, to release the pressures of the soul and spirit within the being. And the theater is the best option for this.
_I: I guess this is what today's task is about...
_AM: That's right. Remember how when you were a child, and you used your imagination to talk with dolls, pieces of wood, bricks, when the pillows were people, the trees were giants, the boxes were castles, the branches were swords. Be a child again for today, and dare to imagine.
_I: I remember that when I began to remember, when I was 12 years old, I would close the doors of the dining room to be alone, and I would play classical music very loudly, and with a broken radio antenna, I would conduct the orchestra. But even more so, I imagined incredible things that would solve all the world's problems, I imagined myself in my school, and to the sound of the songs, I could imagine how the beings of the 4 Elements appeared, came to look for me and I began a journey around the Earth looking for to the other elements. I was the Water, and the other 3 were scattered throughout other countries, and I had to find them, so I imagined the magnificent and fantastic ways in which I appeared before them, taking them all to Egypt, where I imagined that we would activate everything again as it was. before, as if by magic, all while I ran around the table, climbed onto the couch, hid behind the curtains, put on towels as capes, and used the antenna as a magic wand. And sometimes, everything would get melancholic, and I would sit in front of the faces of those people I hoped to meet one day, to hug them and tell them how much I missed them...
_AM: This is what you need to do again. At least for today. The task of our day of Expressiveness implies that you look for that place where you consider is a good place for learning, and you confront all those things that you find difficult to learn, that you refuse to see, or that you cannot express about yourself. Silenced words and truths, things you must let go, let go, those you hope to learn and take as part of yourself. And act them out, talk it all, say it, let it go, dramatize it. Make all the strange and emotional faces you need, use your hands and legs a lot, act as if you were not you, or as what you would like to be. Become a tree, an animal, a fish, a dancer, a musician, a superhero, release everything that is hidden in you, and do it consciously. Well, what arises from you is your reality, and it can become everyone's. Let your voice be free, because it will be your lyrics, verbs, words, affirmations and songs that will shape this reality. The vibration that is released by your strings caresses the waves of the quantum world that design music in the physical world. Without fear or shame, allow yourself to become the musician of your new reality. Take the broken antenna again to make it a baton, and direct the orchestra of your moods, releasing the expression of all the music that lives in you.
_I: I am the designer of my music…
_AM: In the beginning was the Mahas, the sleeping void. His dreams were three: Ham, Het, Hum; inspiration, contemplation and exhalation. His breathing became music, and by his singing, Mahas, she woke up.