Posts Tagged ‘dancing in a dream’

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.

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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.

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R984We’ve seen many sci-fi movie scenarios where an Earthling finds themselves on another planet – and what do they do? They observe, they study, they try to figure out the meanings of things. But, as a rule, they don’t get personally involved, or think that it is about them. So how is that different to our situation? We find ourselves born on a planet hurtling through space, and we are meant to study, observe, and learn what we can, but we are not meant to get personally involved. Why? Because in a 1000 years, everything we know will be proven wrong, and everything that seemed to matter won’t matter at all. That’s why the spiritual path is important: it offers a way to become part of the things that will still matter in a million years. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: The last dream I remember I ran into an old friend of mine who kayaks a lot and I want to go out kayaking with him, at night, and he wants to spend the night with me. Usually we’ve just been friends, but it feels like in the dreamworld maybe we’ve had a relationship where occasionally we’d spend the night together.

Well, we go out kayaking, and then we seem to come to an area where I run into a woman I know and she’s been learning some dance, a rather complicated dance, from an aboriginal of some kind. And so I’m studying the dance because it requires her to kind of squat down, and get flipped over, real primitive dance, but she seems to be able to do it. And I’m interested in it, and maybe meeting the person that was showing her the dance – although I’m not sure I can do the dance.

And while I’m doing all this and the three of us are together, I realize that I think he makes love with her, and I realize that when he makes love with her there’s this thin stripe of color. It might be like a thin stripe of green, with maybe a pale white that goes down the middle, that would represent that. But if he were to make love with me it would be a different color, and maybe with other people there’s a different color yet that each thing represents.

So I’m kind of interested in that. And we’ve gone to her house. It feels like they’ve gone to bed. I’ve gone to explore the dancing, or I’ve come back to her bedroom. I think her stepmom, who has a room next door, comes into the room, so meanwhile our friend is hidden under the blanket, but the stepmother discovers him but she doesn’t seem to mind. She’s explaining why she doesn’t mind.  And that’s all I remember of the dream. It was just an odd little dream where I was studying trying to see these different colors and the dance.

John: The theme behind the dreaming, as a general subject matter, is that of atmosphere. Now what I mean by atmosphere is you’re having to feel what it’s like under different scenarios, and so you’re not actually contending with things anymore. You’re more recognizing the characteristics, and mannerisms, in the environment that you’re in, which means that a part of you is free.

In other words, you’re able to travel, or to move about, as opposed to being overwhelmed or contending with something specific that you have to burn off as a dross. Now, it’s not entirely true, because in the watching you’re still pondering these different colors of which the effect of a particular mannerism upon you would have a certain way in which you would correlate, and relate, and be brought into having to contend with life. But this is more your way, actually, of understanding a freedom.

And you could take all of these traits and you could say, okay, on one hand is the trait of something that is looking for something, that feels that it’s missing something, and so it doesn’t know what it’s looking for and so it settles. It finds itself ending up going from this to that, settling for this or that, always looking but never really finding the pure light, or what it is that it really needs.

And then there’s another part that takes and conducts itself with a certain free flow, and in this whole thing, you know, you’re kayaking which means you’re on a path, or on a journey, and to you these are things that are perceivable along the journey. In other words, there’s another friend that you run into that has a free flow, that dance. It has a throwback memory in terms of how it is to just let things flow, or hang out.

And so you have these two extremes in yourself and, technically, you’re somewhere in-between – and you’re not sure if you should be in-between. In other words, you’re able to watch and see that something which is free tends to sometimes then get caught up by something that is needy, and what that tends to look like in terms of the effect that rubs off, and you’re starting to see that there is this kind of vibrational world, or reality, and it’s a reality in which one’s relatability is color-oriented.

You have the lower chakra colors and the higher chakra colors, and they all contain information, and within the information is a certain way of functioning, and relating. And you’re able to denote that if you were to appease yourself of that particular need of this other, that it would have another particular aspect effect, definitional quality of light effect, upon you.

And so you’re coming to know, and you’re coming to recognize, being kind of as a traveler, rather than taking on specific identifications, you’re coming to know that it is in the traveling that everything is important, what is important is important. In other words, a beingness in any particular way has its limitations. Sure, there’s the part that can do the sophisticated dance that hearkens back to the aboriginal and an ancient memory and whatnot, but that still is trying to hold onto something – but it’s freer.

And this relates to the part of what you see in life, the part of one’s self that has a deeper, inner knowingness, but still leans on that knowingness as if it’s a somethingness. And because it still leans on that, it is still subject to the effects of another part of one’s self, or extreme, in life, in which people don’t know any better that they’re just going about looking for this, that, or the other for satisfaction purposes – thinking that’s the end all be all, and find momentary satisfaction, but don’t realize that what they settle for in that momentary satisfaction, or coming together, is another kind of limited spectrum of being, or trance, and that one can go from one mode to another mode.

And yet as a traveler watching everything going on in life you’re able to see how it’s like this, or it’s like that, and so you fortunately have a freedom to be able to travel, to kayak, to basically bicycle about things because you have a sense that there is something more. Now you have this sense of something more because you can tell this by being a good watcher, by being able to see that if it’s like this, it’s like this, if it’s like that, it’s like that, and you’re able to denote what that actually signifies vibrationally, or as a color.

And so you’re coming to know it in the feminine way of a quality of how it is that you notice, in terms of how you are able to be, or carry, yourself. It is a type of seeing, but it’s a subjective type of seeing. In other words, you’re not taking and making clearcut black-and-white distinctions. You’re just noting it, and in noting it you’re letting go of it. In noting it you’re seeing to be something, recognizing it to be something, and some part of you as a traveler quality knows that anything that is denotable like that has its limits.

You don’t need to know what that is, how to octave that. You don’t need to play a good, better, or best. You’re just drawing a general assessment of that, and you notice that no matter what you do to shift this way, or that way, it is always something that has a particular effect, or quality, and what you’re looking for as a traveler is something that has no effect and no quality upon you.

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