Posts Tagged ‘dancing in a dream’

Dream images can often seem strange and random, but that can be a signal that we are dealing with multiple aspects of our inner lives. Here we have dancing on stage, a ship floating below, then getting on land where there’s a food stand. Huh? Or, said another way, we want to flow through life without the focus of the ego, while grounding what arises from the depths of our unconscious – all while keeping the food of what impels us on our purposeful journey close at hand. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in this last dream, I seem to be on a stage, and the stage is like an old wooden stage. And beneath it is something like a ship where people live. 

I’m one of a troupe of performers, except rather than being a main actor in the play, another woman and I, and maybe a man, we have a job that, during the breaks in the play, we go out and we’re covered with this cloth that trails around us. And we do some twirling on the stage – and we’re completely covered up and people just see the design of the cloth as it goes across stage. 

I think mine’s kind of a deep blue, and hers might be a different color. And we kind of run into a swirling pattern on the stage. So you just see the cloth swirling, and then we might disappear behind the stage and reappear on the other side; we have some pattern like that, where we go back and forth during the break times. 

Well, one of the things about that type of work is you get kind of hot. So I had discovered that if I took a cup, and I went into one of the restrooms, there didn’t seem to be any shower that worked, but I could take this cup and I could somehow make the water swirl in a way where it created a spout and it came up and it would come down on me and refresh me – just like a shower. It was kind of an odd way to do it, but that seemed to be something that worked for me. 

Well, in the pattern of running and swirling and stopping backstage, then one of the men complains to me that the showers in the place are all broken. And I explain to him that I have found a way to kind of get refreshed with the water. But they don’t seem to feel like they can make it work that way.

So I go looking a little bit for a shower; we must be on a break. And then I notice that there’s even some broken wood and I can peek down and see that there are ship’s quarters below. And then I see a woman walking up out of some of them on a plank. And I have to be careful because the plank can break through, you have to be careful how you walk, but it’s all wooden. So I follow her a little bit and it goes to the end of an area and it goes on land. 

So then I look out and I see it’s actually leading to a little snack stand, and the man that’s running it sells coffee, and doughnuts, and stuff like that. And then I look over and I see some other men sitting around, the type of guys that just sit around and have coffee. And they’re talking and they’re saying that if the guy that works the snack stand ever leaves, that the man who owns the ship should franchise that. 

But then they’re complaining about, how can they get him to fix the bathrooms so people have showers, because I guess nobody has any showers? That was when I woke up.

John: You can see how close this is to my sleep dream, because, see, the ship represents kind of a flow in life. And the thing that performs on the stage, the aspect of you that performs on the stage, is something that sits and sweeps above all of that, and has an effect just by how it is that you’re able to swirl, and flow, like that, in a kind of surreal way, covered up in kind of a hiddenness, so that you’re not identified, per se, in this way, or that way, like everything in life is identified. 

And you find that you hold this space, and below you is the ship, or is what goes on in life in an identified way. And you are in a flow. You are like an artist performer capable of doing it, but not a type of artist that goes out there and receives accolades, or acknowledgement, or recognition – you stay hidden. 

And the understanding of the importance of the hiddenness is accentuated because it being a particular kind of flow that, initially, can sit on top of an unconsciousness, or greater depth, lying below that is accessible and touchable, can also then go into, from this kind of dream, to a dreamed condition. 

And the dreamed condition is when you go on to the land, and then there’s someone who’s got a food deal or whatever that provides a form of nourishment in an outer sense way. So it’s like when you’re the musician and able to move about, and free flow and go down through the corridors of the ship, the effect you’re having is that you’re making the ship kind of surreal. 

You’re taking the whole ship and, where it starts off with you being something that can simulate into something, go into that, effect that, touch that, that, as it’s touched then becomes akin to the space that you were in. And then, that, then, when it goes to land, or goes into the outer, or goes into a groundedness, what is needed corresponds, which is this food stand. 

And so if it’s going to go back out into the ship, then, somehow or another, this needs to be held on to as well, that this needs to be franchised, which means that it needs to exist on its level as this atmosphere of something that is intertwined exists on its level, which is another way of saying that all of that comes together there, as well. 

If it wakes up to its being just a food store, period, and that’s the only soul identity that it has, then something gets lost and it gets mired in a deviation that is separate from the whole – thinking that it can function that way. But what you’re realizing is that this expands and expands, it goes on, and it goes on, that everything is connected like this. 

So, basically, what you’re doing in your dream is you’re moving into matter, you’re moving into matter in a way that has a vibrational aspect that permeates into the quality of it all, and causes another kind of visibility, and hearing or whatever, to be denoted. 

So you look at this as a vibration, a sense of the heart kind of vibration, which starts with you just being something that has an artistic quality to you, but you maintain that in kind of a discreetness because you’re covered. And so you’re coming across in a way that can support and touch the flow of things. And, by intertwining with the flow of things, and then you are carrying that, you’re transforming that by going into that so that that flow, which resides as an aspect of the whole, when it touches something denser like the physical land, it comes from that innerness that goes into things, into the food stand, even. It affects the food stand.

So, if you think about it, here’s the food stand on the land, and the food stand is there to serve what this is all about. If there wasn’t this, then that couldn’t exist. And there’s a recognition that they both have to be. And so the idea, then, is that it has to always be taken with you – which you use the word franchise. That it’s always taken and part of you.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Able to Swirl

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Twirling-DervishOur psychologies and defense mechanisms have been put in place, by us, as protective measures. Yet when they become too automatic in us, when we are no longer conscious of when they are being activated, they can also become preventative to other, new possibilities. Said another way, sometimes the speed at which we respond, internally, is like a spinning that keeps the subtle from gaining entry. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then in the next little dream I’ve traveled on down the road, again, to another little town; it looks fairly old. And I’ve gone inside this building. 

And, initially, I’m with a man that’s a man I want to be with, that reminds me of you, but he walks away for a little while, and another man comes up to me and asks me to dance – who’s a marvelous dancer. 

And so when we start dancing, and just swirling around, I’m very taken up with it. At one point he sees you come in the building, and he pauses, as though: do I want to stop dancing? And I say, no, so I continue dancing. So I think you leave the building, because I wanted to dance a little longer. I like the twirling. 

And then it feels like it’s time. This is actually kind of like two dreams. And then it feels like it’s time to move on. And I’ve gone out and I’ve gotten in a car, and I’m driving down the road, but I realize that even though I’m with a man that feels like you, or I can be with him part of the time, I can’t be with him all the time because, as I drive the car and I look ahead, I have a son who even though now maybe he’s a teenager, and kind of sprawled across the dashboard of the car, he’s somewhat mentally deficient so he can’t really be on his own.

And because he can’t really be on his own, I have to keep a certain attention there and can’t be fully with the other man, that I identify more with you.

John: So, in this particular dream, you gave yourself the new information that deals very directly with a quality of what it is that continues to keep what is repressed in your nature repressed, or harbored. 

And it’s very, very interesting because, to begin with, you just painted a huge horizon, like the whole arena or table of things, meaning the city, the trailer, the lack of food, the French Canada, all disassociated and displaced. And now what you’re doing is you’re describing what the quality of how it is that you need to be able to feel yourself, what that quality is that facilitates you to pull in these bits, and pieces, and parts of yourself together. 

And what you’re describing is actually a type of stillness, because what you’re portraying is that you go into a delirium, a kind of amnesia, when you get caught in a certain kind of speeded-up way, that parallels. In other words, when all of a sudden you have a tendency to want to speak out over something, to react, to do something – now this is the trait outside of the dream, that is portrayed in the dream – that when you find yourself needing to lurch, or to speak out, or to race out, to bite in terms of something that is happening as an energetic in the outer, and to drown out something in the outer because this thing rises up inside of yourself. 

You keep yourself from catching up with a quietness, and a stillness, that can lead to the timing that is necessary, to a greater depth awareness of the parts of yourself that you can come closer to, you keep that from happening by taking and just projecting through. 

Now I have to look at this to the degree to which I interrupt people, and stuff like that, is the degree to which maybe I limit a deeper depth pulling into a timing balance of what can be seen inside of myself. I have to look at that, too, because I also carry that trait. 

And so this dream is pointing out that when you do that you put yourself into a type of strange amnesia. When you’re like that, you are exuding a repetitive pattern then that gets in the way of a deeper hearing, and a deeper knowing, and a deeper seeing that is inside of yourself. 

It’s almost as if you take the things that are happening in the outer, as little inflective triggers, and as soon as there’s a little inflective trigger, you bite on that. And what your dream is saying is this puts you into a trance amnesia that you don’t need to be in. If you held that, it would keep on inflecting deeper, and deeper, inside and you would have this wonderful stillness insight that could then coincide with the timing of the flow. It’s a very, very interesting trait.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Strange Amnesia

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Simon Richardson

Do we ever stop to consider how amazing we would be if we let go of all our inhibitions based on how people might judge us, or based on how we limit our expression to fit a certain norm? Our psychologies skew the total possibility of us, and our development journey wants to bring those aspects back into consideration and inner connection. Not necessarily for us to dramatically change, but because we are designed to have a tool box full of possibilities for any moment or situation that arises – rather than having just a few dozen that we trot out for everything. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I had kind of the strangest dreams. Trying to go back to the earliest one I can remember, which it feels like I know at one point in that dream I went down in my hometown, at night, to the store my dad used to have. I don’t remember a lot more about that, other than going over to a school building. And, in this school building, it feels like there’s a performance that’s supposed to be going on, and there’s going to be a lady that’s going to dance, that I know. And she danced really beautifully.

But there are some nuns, or some conservative people, in the community that don’t want her to dance because she’s kind of dressed like a little sprite, or something, and they don’t like how she’s dressed.

So they seem to distract her, and she’s disappeared. And it’s right before the time that… like I think they’ve directed here somewhere, or locked her outside, I don’t know what they’ve done with her. So I go looking for her because I know her number’s coming up pretty soon to dance, and they just don’t understand, the other people. So I go looking for her and I opened up a door and it’s all snow outside, and I’m concerned that maybe they’ve put her out there and all she had was that skimpy dance outfit on.

And I go seeking her because I feel like once they see her dance they’ll understand better; there’s  something that she’s going to bring to everything when she dances.

And then the dream shifts.

John: So to start off with you’re dealing with, first of all, having caught up and gone through your dad’s store, so that becomes like a base. Other words, that has to do with you catching up with a certain part of yourself that’s necessary for you to access, or to reach, in order to have enough of a quality of nature to be able to go even deeper, then, or to take another step.

In other words, everything goes step by step. And the part that’s the little girl that has this ability to dance, that can do this stuff that nobody else understands, that is an expression that is currently being dismissed, suppressed, and who knows what all else, is a quality that you can’t access, or you can’t reach, until you have gotten to a particular point of development first.

And so the first level of development was for you to come into a whole sense of yourself in relationship to the store. Once you had accepted, and absorbed, that, then, as a base from that, you’re able to recognize something subtler, that prior was not knowable. And that something subtler is repressed within.

In other words, when you are beaten down, or have yet to develop a certain kind of spiritual connectivity, a certain kind of magnetism, prior to accessing that, this part would not be able to come into being. But when you get to a particular point, it’s just like the whole process of awakening is such that it starts off slow, and then, to begin with, it’s something that no one knows which way it will go. I mean, you could always fall back.

And then, at some particular point, something more catches and it would be very, very difficult to fall back. And then you can reach a point where you can develop a certain kind of glow, or quality of light, that you can hang out in.

And then if you don’t hang out in that, if you don’t stay there, if you keep needing to go further, then you open up the subtle levels of yourself that aren’t ordinarily recognizable in life, you open that up and are able to bring that through for others to see, and appreciate. And they don’t even know that they need to see and appreciate it. In fact, if anything, they would be inclined to dismiss it.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Subtle Levels

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