A Proper Flow

g8411940How does a dream show the need and capability of the dreamer to incorporate themselves into a whole? In this example, the four directions of north, south, east, and west are used as an image of bringing all things together in a completeness. And, as we are all the characters in our dreams, getting the dancers to be in sync means that the dreamer is seeking to put different aspects of themselves into sync. In that way, a human life can mirror the processes of creation, or be less like themselves and more like the universe. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, in one dream, and I don’t know if it was the first or the second dream, it feels like I’m supposed to be… I’m participating in some kind of a contest where maybe I have to train a group of dancers or people.

Instead of training the group as one group that does things in a line, I finally figure out that the best way, or the solution, is to train the group in the form of a square. So you’d have people on one… you know the north, south, east, and west, all in a line.

And then I had to figure out a way to work with the group, training them all to be formed in that shape when they performed. That was that dream.

John: That dream’s just showing you that, in terms of holding an overallness, that it’s important that you… and in the overallness there’s a flow, and that you can’t hold the balance to that unless you take into account the wholeness, there’s four sides. And more specifically, north, south, east, and west.

You know, it’s almost like a dream that kind of infers back to an image that you had of yourself, long ago, in which you were standing there with the four winds going through you, and you were able to be empty enough so that that could just occur.

In other words, you did that in an emptiness, and in almost a stillness, just able to let that happen. And in this particular instance – and that was more of an inner image of yourself in relationship to manifestation – and this is more of an image in manifestation, in terms of how you contend with parts of yourself, that are in the outer, that need to work in a cohesion.

It’s an aspect of spirit energy being in the matter, as opposed to spirit energy flowing through you as a vehicle. Like in the image from long ago, as a vehicle in which it effuses in an environment in a way that isn’t apparent, or obvious, because you’re doing it from the standpoint of an inner emptiness – almost like higher-self transcendence.

And, in this image, it’s more like you are in the physical connecting to the matter of things in a north, south, east, and west direction, or the four flows. And, as an image of fourness, you are doing it as a completeness, or as a wholeness. And it’s an image in which you know that what needs to be whole has to be pulled together in this capacity.

In other words, for the flow to be a viable flow it has to function with a dynamic, and the underlying dynamic is the spirit energy in matter, or the spirit energy in all things. If your attention is just in one capacity, and you’re missing and not taking into account other key aspects of the wholeness of things, then you cannot properly flow.

In other words, if you had any limitations, or personal constructs, to your being when you’re standing there with the four winds going through you, the old image, the four winds wouldn’t be able to go through you if there’s any part of you still trying to effectuate the situation. In this particular case you have the spirit energy coming down into matter, all of that flow coming down into matter, and to come into matter it needs to be effusive in all directions, and in all ways, and when it is able to do so, then that’s when the flow is proper.

So this is like an image that, in keeping with the schematic of the theme of things, is where that which is normally aloof, such as a raging wind flowing through you standing on high, almost in a higher-self sense, aloof to things, but able to effectuate something. But from another plane, now, you’re down in matter able to do that.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: A Proper Flow

Against the Grain

imag0909esIn our journey to become reconnected to our source, we learn to surf over the events that might slow us down or prevent us. But it’s also more than that. When we become spiritual in our life, everything we do becomes spiritualized. That points to the idea that it isn’t what we do in life, but the reasons why we do it. Is it being done for our benefit, or for the benefit of something greater? (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I like my first dream, which was the most powerful. It feels like there’s this water with rapids that’s flowing towards almost into the ocean, like a river that goes into the ocean. And it feels like I do something that surfs over it. I was trying to surf over this river section. I never really see the ocean. I just have the sense that it does flow down and open up into something.

The river isn’t really behaving like a normal river. It’s more like it has rapids that go from one bank to the other, but it’s also flowing downward.

So I have something that it feels like I can kind of surf from one side of the river to the other on. And the rapids are huge, you know the waves. It seems like I can actually even at places where the rapids are really big, that I can get across, or even go across the top of them for a while.

I’m going from west to east. It feels like when some guys want to try to do this with me, but I can’t get that figured out. There’s something off when they try it, whether it’s because they have guns, or whether it’s something that makes it off, that’s all I can say. And so it’s frustrating.

What I have to say is it feels like the rest of the night went like that then, that whatever I was dreaming, which I don’t necessarily recall, I would get frustrated and wake up, and have a slight headache, and feel too warm, and so it was like I was trying to do something that just wasn’t quite pulling together. And so I just kept getting a headache from it.

John: The flow, whenever you’re in a flow and you’re progressing towards something, you’re going to the north. The north is considered the spiritual north, and the river of life eventually goes into a wholeness, or into something that takes in all that there is, which would be represented by the ocean.

But as you’re flowing in life, you’re also contending with the action of things, and you have to contend with the action of things again in a counterclockwise motion. In other words, if you’re in a river and you’re flowing you’re going to the north. Everyone else in life goes to the south. Everyone else also goes from east to west, in other words something comes into life and the west becomes the images and the reflections. Everything sets in life to the west, in which the affairs of the day are established. You also do that counterclockwise, which means you go all the way back to where something is coming in. And things come into life from the east, so you’re flowing from west to east.

What you’re doing is you’re portraying the means by which your overall beingness takes things in. It’s in a flow going somewhere, like following a thread, but it’s in life in which you are coming to recognize and realize the innerness that is happening first in life. So, instead of the innerness just being there and you just taking it into reflection after reflection after reflection, which is what occurs when you’re going from east to west. When you’re going from west to east, you’re reconciling the reflections to what it means in terms of an inner recognition or realization.

In other words, you’re bringing that into being. And so you’re doing that, the waves so to speak, of the ocean that go east to west, as you’re caught in the rapids, the whitewater, of a journey that is going to the spiritual north of yourself – or the mystical side of yourself.

You can’t do this just in one direction. In other words, you just can’t set your sight in terms of attempting to do this like going straight to the north. You can’t set your sight to straight do this because that would be just the masculine without the feminine. When you’re able to reconcile what is taking place in the outer, in terms of awakening the inner essence of things that you carry, that’s the ability to go from west to east and that’s the feminine nature that is able to work in manifestation. In other words, it reconciles everything that exists by the inner essence that it goes back to.

And the masculine can go and set its sight in this northern way. That’s what’s natural for the masculine, but it’s unnatural for the masculine because this is going from west to east in the terrain of a feminine use of energy. It’s a little unnatural for the masculine to do that because its attention would be more on the flow of the whitewater, let alone trying to navigate within the overallness of reconciling and intertwining back to where the inner and the outer come together – as using manifestation to do that. This is what the feminine is better able to do.

You had a portrayal where you’re working with both. You’re naturally being carried along kind of like a masculine unfoldment, or you might say the will of God kind of unfoldment, and this will of God unfoldment in that flow is things that are awakening, the reflections of things are there in manifestation that you then reconcile back to the essence, and where they originate, or come into being. You’re bringing that back.

It’s an image of going to a complete emptiness, but it’s an image of letting go. It’s a process. You’re in the process of that, however. In other words, you’re not at the ocean where there’s a nothingness. You’re not indulged in the ways of the masculine conceptualization of advancement, yet you’re in the flow of that with your attention being upon your role and responsibility, which is in manifestation, reconciling manifestation. In other words, not trying to make something out of it, but to reconcile it and bring it back to its essence.

The masculine is always trying to know what’s going on, know where it’s going, what’s going to happen, that whole bit. So it would be paying attention to the rapids. That would be the excitement for the masculine. It would be a lot of kundalini energy and whatnot getting caught up in the whole fervor of that.

But for the feminine it’s a matter of denoting what is taking place, and knowing how to leave it behind, to go from those reflections back into the emptiness, to know that everything is an indulgence or, as a teacher might say, it’s the play of the Great Mother, or the Mother Maya principle in all of life. And if you get caught in the reflections, you’re caught in the delirium. You’re reconciling that. You’re taking that back. You’re going back to whence it came, to the east. Everything rises from the east. The whole thing starts as an essential essence in the east, and then sets in the west. It’s a great image isn’t it?

The reason why it causes is a headache is the way the mind/senses work, is they work in one or the other but not both, and you mix both of those things together. Well, it’s almost impossible to do. It’s like having to go up and down at the same time. You’re mixing both of those together. In other words, your mind and your senses is confounded with things that invoke a flow into life, and things opening from the inner into the outer is by means of reflection. So now all of a sudden you’re going against the grain of that in order to reconcile backwards so that you don’t get caught up in the illusoriness of manifestation.

So, you’re going to the north, you’re following the thread back to yourself, to the emptiness, and you’re catching up with the essence behind everything that is manifestation as a reflection. You’re going from west to east. You’re doing that on a natural soul level, but when you bring your mind and senses into the equation you’d be doing the opposite in the outer, you know, left to your own devices. That has to be nauseating. That has to be difficult.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Against the Grain

The Relationship

crocIn analyzing dreams and their symbolism, it’s often the simpler aspects that can tell you more than the dramatic images. In this example, what is being noticed is the direction of things, i.e., are we going up or down? There’s a crocodile in the stream, but what is it that turns a menace into a helpful companion. So it’s not only what is happening, but the reason why things happen. It is those relationships between you – the main character – and the dream world that matter most. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Last night, early in the evening, all I was really aware of is it felt like I was listening to the Adele song “Rolling in the Deep Again,” or I was listening to her sing. That was all I remembered of early in the evening.

And then more towards morning I had this dream where I’m traveling in a car, it may even be a convertible, and I’ve gone up a hill. But when I get to the top of the hill it looks like the road is running out, and I see actually another road down below – I’m wondering if that was the one I was supposed to have taken.

And I need to get down there, so I look over to my right and sloping down this steep hill that’s more like a meadow there are some tiny tracks that look more like a path, or like a real old road, and I wonder if I can get down there and across the stream I see at the bottom. But I see a car come out way down below and do just that, so I figure, well, I’ll try it.

So I go down this steep hill carefully. I think I have like a white convertible or something. I get down to the bottom but then I have to stop right on the side of the stream. And it’s a shallow stream, but I want to cross over to confer with some people on the other side of the stream. They’re going to help me get the car across the stream now.

Well, there’s a great big, huge kind of white crocodile in the stream, gigantic, so I’m concerned about how to get across the stream without getting eaten by the crocodile – like maybe I have to skid into the stream and help push the car at this point.

To my surprise for some reason these other people and I seem to hit up a dialogue with the crocodile. At first I thought it was a male crocodile because it has this deep voice, but then we discovered it has a couple of little babies. And it seems like instead of the crocodile eating us the crocodile wants to join us, which means then we have to figure out a way to feed the crocodile of course. I’m thinking about getting some old meat and tenderizing it, or what else can we toss it to eat?

Then it seems like what we actually do is the crocodile is going to go with us. That’s that dream.

John: So is it a dream actually? Because the whole thing is is you’re making a north, south, and east to west. In other words, you’re having the depth perception of going to the north or going up, and then the roads run out, right?

Jeane: Yes.

John: And then you see them down below again as something is going on because there are roads that go down. So now you have the above and the below, and then you have to go across, which is like an east and a west now.

But in doing that, you end up at the interval, and it’s an interval in which the kundalini energy – expressing itself as a crocodile now – is there to devour you. And yet in that spark, and in that moment, is a relationship. It doesn’t have to be a relationship based upon the fear or the condition of being out of touch with that flicker that’s in-between. It’s like the idea of the crocodile going with you, that’s where you get it – at that moment.

Jeane: I think I’m going to teach the crocodile how to sing. I seem to remember that.

John: Yeah, that’s where you get it. That’s where light comes down upon light and light rises up to touch light. That’s where there’s the connection. That’s where there’s the spark.

What’s interesting about the dream is I portray it as very narrow, almost going through a doorway, which is kind of a linear way and maybe a masculine way of portraying it.

You portray it much like a good picture where it has the sense of depth perception in it, which would be when you look at a picture that’s not just a photograph but a picture that has the undulation lines. It has the above and the below working.

And then you’ve added that to the idea that there is this in-between point, that I call the doorway, but what you’ve added to it is you’ve made it bigger. I make it like a split second and real small. That’s probably the way the masculine portrays it. Who can possibly get a glimpse of something that’s just a split second? And yet you have to reside there as a soldier between the two worlds.

And you take it on as a plane of existence in a world in and of itself. This is where you and the crocodile really relate. You have your dialogue and everything going. So what you have done is you’ve taken the report that I’m giving in kind of a… from a state of shock, you’re taking it into a state of normalcy, a strange normalcy however.

In other words, that’s just the way it is kind of thing, no drama to it, not this sting of 1,000 scorpion drama or anything like that even. You and the crocodile have a rapport.

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