From an Echo

How do we bring something from our inner depths into life? This dream portrays an aspect of the process: we find ourselves in a church, or you might say the sacred part of ourselves, and we are trying to create something. Meanwhile, the more everyday character of us is at the border, trying to smuggle what is needed through the security that is resisting this unfolding. In a way, we could say that we are only ever in process with ourselves. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I just remember one dream, but it was kind of an elaborate dream in that many of the things in the dream were very ornate and colorful.

And what was going on in the dream were two different scenes. And in one scene there were some guys, that were actually part of a band, and they were in a very elaborate church setting. It was interesting because in that type of church there’s just so many things that are gilded, and elaborate, and painted.

And they were in a part of the church that what they were doing is they were putting together a music album. And some of the music was kind of hidden in scrolls, or containers, that were within the church. And they were in this area that was kind of near the nave, and maybe had a railing around it. And they even had some help from some nuns, and they were pulling some stuff out and making the music, and putting it together to put on an album. And that was kind of elaborate in what they were doing. 

And then what I was doing, along with a group of women, as we were in another area of this country where this was being done, again, in kind of a square container area because we were trying to get out of a building, past security, like maybe it was a holding area at the border. And we had smuggled things, around us, that were part of what were going to be needed to make the music album. So it was things that had been done, and written, or recorded – but we had it hidden around us. 

And some of us would have to pretend to speak the local language, or not be recognized by the guards that might be going through and looking for things, because in order to make the album we needed not only what the guys were able to do openly, and we’re getting support for from the nuns and other people, but we had things that we had smuggled around us that completed the album. And we just had to get past the security guards at the border. 

And there was a lot of kind of elaborate, either clothing, or just things that had been painted, or in the church, very ornate; a kind of old world feeling to it. And then there were the women or even nuns that had disguised us, that were helping us get across the border and get through the completion of the music out of the country.

John: So what you’re describing to begin with – it’s interesting symbology – what you’re describing to begin with a sense to a depth of what you have inside of yourself, a sense that you have that sits in kind of an overallness that seems quite natural and just there. In other words, it’s like this choir, or whatever it is, that is able to effectuate something that penetrates into life, from a pristine aspect, like out of a church. 

So what that image is, is it’s a sense, in terms of a greater quality of yourself, greater overallness of yourself, that is the so to speak prime directive within, kind of like an established motif at some depth inside yourself. 

And then the other part where you’re trying to figure out how to cross into this place, in other words, bring something back across a border, where you’re feeling that there is this dance that you have to do, and it’s in a hiddenness. There is a latent focus and attention, which is what you described in the first part, but you find yourself in the outer context as having to noodle around to figure out how to come to that place where it fully opens up. 

So it’s an interesting way of reverbing, where you have a deeper insightfulness that you are trying to put your finger on, so to speak, access, bring everything to it. In other words, take back whatever it is that’s bifurcated from it that has an alluring effect, or an effect that’s trying to absorb back into itself. 

Where this is coming from is, you have to look at the theme of the dreaming last night, and the theme of the dreaming had to do with having to contend for something that’s a bit abstracted from what you have a sense of as being a greater depth. 

And so it’s from the echo of this greater depth, which is an echo that you feel, in terms of whether the heart is being struck or not in a way that’s peculiarized, it’s from an echo of a heart that knows how there is a way of being that isn’t meant to be peculiarized. It’s from that echo that there is an alluring or drawing back, of your beingness, from what you come to see, I mean, you want to go back there, but you are having to contend with, and having to sort out, or think you have to sort out is all of this border stuff between a this and that, between the inner and the outer. 

Because the other is like on an inner, and the border is like a threshold between two points between the inner and the outer. And that you’re having to try to bring something from an abstracted, denser zone, into this quality that you portray as creating music in a pristine way from a church, church being like your symbolism of having a divine orientation. 

So it’s interesting how your psyche puts this together. And what happens is as you become more and more and more attuned to something deeper and deeper and deeper within, your psyche keeps putting this together with greater and greater and greater clarity. And your symbolism will keep going deeper and deeper and deeper and deeper, and being more and more and more absolute in terms of how it adheres to, or holds onto, and abides in this deeper inner quality.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: From an Echo

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