WomenEmpoweredThroughSacredDance~ATeacher’sJourney

Abstract:

ThisarticlegoesintomypersonaljourneyoftheMandalaDanceofthe21PraisesofTarafromfirstwitnessingit,tothendancingit,andtheprogressionintoleadingandteachingit.IstartwiththebeginningsoftheDance,andthesubsequentgrassrootsblossomingofitthroughouttheworld.IexplorehowtheDanceisameditationalmovementjourneyofdeeptransformation,andhowitaffectsthepeopledancingitaswellastheoneswitnessingit.WhoisthismythologicalTaraandhowhasherinfluencecometousdownthroughtheages?FeelingthedepthoftheVajrayanaBuddhistpracticestransmittedtousfromTibet,andhowthatformsthefoundationofadancethatcallstocontemporarywomenandmenofallages,isatopicworthyofexploration.ThehonoringofthedancebyTibetanBuddhistmasterswarrantsitsplaceinmodernsociety.

Keywords:

Tara

TibetanBuddhism

MovementMeditation

Mandala

Mudra

Transformation

"Iseedancebeingusedascommunicationbetweenbodyandsoultoexpresswhatistoodeeptofindwords..."--RuthSt.Denis

"Towatchusdanceistohearourheartsspeak,"--HopiIndianSaying

"Danceisthehiddenlanguageofthesoul."--MarthaGraham

TheBeginningsoftheMandalaDance

Itwasanotherbrilliantsunny,balmydayinMaui,HI.,USA,myhomeforthepasteightyears.IwassittingonthegrassylawnoverlookingthevastnessofthePacificOceanmeetingthehorizonofaclearazurebluesky.Itwas1986andwhatIdidn’trealizethenwasthatIwasabouttowitnessthebirthofamovementmeditationthatwouldgrowtoover90circlesthroughouttheworld,andnourishtheheartsandmindsofthousandsofpeople.TheMandalaDanceofthe21PraisesofTarawas

offeredtoHisEminenceTaiSituRinpoche(theheadofoneofthefourmainTibetanBuddhistlineages)(1).Afterwardshesaidhehadneverseensuchanexpressionofdevotionthroughdance.

HespokewithPremaDasara(themaincreatorofthedance)(2)atlengthafterthedance.Hetoldherthatshewouldteachworldwide,thatthedancewouldgroundaFestivalofPrayerlikethegreatTibetanMonasteries,acycliccelebrationofpeace,protectionandabundancefortheworldcommunity.

Atfirst,thisallcameasquiteasurprisetoPremaDasara.AttherequestofherteacheronMaui(LamaTenzin)(3),shebegantostudythetextofthe21praisesofTara.(4)Asadancer,shejustcouldnotsitstilltomeditateandhesaidthatwasfine–walkthehillsanddothepractice.WhenTarastarteddancingbeforeherandwithinher,thecreativeimpulsetookrootandthestirringsofadancebegantopercolate.AfriendofPrema’sdreamtofagoldenspiralallnightandapproachedPrematoaskifthismeantanythingtoher.Alightwentonandthechoreographyofthecurrentversionofthedancewasborn.Itwasmeanttobeinclusive,notonlyfortraineddancers,butanyoneinterested.(Dasara2010:5–9)

Inthenextfiveyears,thedancewasofferedtoallthevisitingLamas(5)andteachersthatcametoMaui–allgavetheirblessingsandencouragementafterwitnessingthedance.

PremaandtheMauiTaradancersofferedthedanceonceagainforHisEminenceTaiSituandheproclaimedthatthisisasacreddance,acham(theTibetanwordforsacreddance),wherepeoplecanexperiencealevelofmeditativeabsorptiongivingrisetoanaccumulationofmeritandwisdom.Hegaveherhisblessingsandencouragedhertostartanorganization,whichbecameTaraDhatu.Heexplainedthatthedanceisalineagepracticeandthattheorganizationwouldhelphertakecaretomaintaintheintegrityofthepreciousdharmawithinthedance.

PremahadbeguntotravelandteachtheMandalaDanceofTaraaroundtheworld.HerfirstoutofcountrystopwasduringtheKalachakrainitiationinToronto.DuringtheceremoniesHisEminanceJomgonKongtrulaskedhertoteachthedancetoTibetanwomenandchildreninSikkim,attheKarmapa’s(6),monastery.

WordofmouthmovedquicklyandsooninvitationsforPremaweremorethanshecouldmanage.InSeattle,AnahataIradahofferedtoprovidelivemusic,andforthenexttenyearscontributedherexquisitemusicaltalentaswellasfilmmakingandnetworkingtofurtherthereachofthedance.PremaandAnahata(amentorinthe

1)TaiSituRinpocheistheheadoftheKagyuLineage.ThefourmainlineagesofTibetanBuddhismareNyingma,Kagyu,Sakya,Gelug2)PremaDasara–founderandspiritualandcreativedirectorofTaradhatuorganization3)LamaTenzinwasaRimeteacher–nonsectarian.HefoundedtheMauiDharmaCenterinHI.4)tolearnaboutall21praises,seethebook,“DancingTara”byPremaDasara5)LamaisatitleofateacherofdharmainTibetanBuddhism.SimilartotheSanskrittermGuru,orteacherofaspiritualpath.6)theKarmapaisthe17thincarnationinalonglineofKagyuteachers.Histitlemeans,“theembodimentofalltheactivitiesoftheBuddhas”.

DUP(DancesofUniversalPeace)),begantotraveltogetheraroundtheworld.TheyhadanopendoortoalloftheDUPcirclesthatalsoengageinsacreddance.TheMandalaDanceofthe21PraisesofTarabegantocatchfirewhereveritwasoffered.

Descriptionofthedance

TheMandalaDanceofthe21PraisesofTaraisauniqueformofmeditativepractice.Participants‘become’TarabydancingHer21Praises.TheyembodyafeltsenseofthegoddessTarabyengaginginritualhandandbodygesturescalledmudras.ThemeaningoftheSanskritword‘mudra’translatesas‘closure’or‘seal’.Manypeoplethinkofmudrasasonlyhandmovements,butintruthwhenweuseourwholebodyasamudraweareaffectingtheenergyflowofthepsycho-physicalconstituentsofourBeing.

WebeginbythedancersinvokingTarawithinacrescentmoonmandala.MandalaisaspiritualandritualsymbolinHinduismandBuddhism,representingtheUniverse.It’slooselytranslatedas‘circle’,yetitcanalsodepictasquare,orinsomecases,acrescentmoon.AftercallingonTaratocomeandshareherblessings,thedancerswalkintoaspiralshape,formingasetofconcentriccircles.Seenfromabove,thispartoftheMandalaisshapedlikethepeacesymbol.PreparedtodanceasTara,onebyonethedancersarebornoutoftheintricatemandalaformationtodanceoneofthePraisesofTaraasanofferingtotheworld.Eachpraiseisfourlines,about1minutelong.Thatoneminutecanfeellikeatimelesseternitywherethedancerandthedanceareone.BydancingTara’spraises,dancersrevealtheirinnernatureasanaspectoftheGoddessTara.ThebodymovesandTaraappearsthroughthemovements.Itisnotsomethingchanneledfromwithout,itissomethingthatarisesfromwithin.

Thedancersprogresstothepointoftheir“birthing”(steppingoutofthespiraltodancetheirpraise)followingaspiralformation.TheSpiralisanancientsymbolofthefeminineprinciple.Thespiralholdstheform,thestructure;theinterpretationofthepraisesinviteseachperson’screativity.Usingourbodieslikethisinaritualdancecreatesadeeptransformationonmental,emotional,andspirituallevels,therebyleadingtoanexpansionofconsciousness.Welosetheidentificationwiththesmallselfandbecomeonewiththedeity.Eachdancerchooses(orattimesisassigned)apraiseandcreatesherownchoreography.Asanexample,HereisPraisenumberfifteen,TaraisSerenePeace:

PraisehertheonewhoisBliss,Virtue,andPeace

Heractivityisthepeacebeyondsuffering

WiththepuresoundsofOmandSoha

Shepurifiesallnegativityandguilt

Eachwomanfeelsintowhatthismeanstoherandhowshecanbestportraythat

throughhermovements.

PhyllisMosesdancingSerenePeaceattheannualKauaiTaraCamp.Photographer unknown Byembodyingthedifferentqualitiesintoherlife,it’sasifaseedisplanted.Wewatertheseseedswithdevotion,mindfulness,andcontemplationsoastoripenourinherentwisdomandcompassion.Wefeelthepowerofthequalitiesinourbody.

AnaspectofTantra(7)isthatitutilizesallthesenses.Foraformalofferingdance,wehavecolorfulcostumes,generallysari’s(8)areused,butthereareotherelegantcostumesdesignedandusedbygroupsaroundtheworld.EachTaraisdepictedbyacertaincolor(i.e.CentralTaraisgreen,SerenePeaceiswhite.).

Tonasket2ndAnnualTaraFestival2014.lefttoright:MaryEngel,Carmella,Spurlin,BeckyWatts,Phyllis(center),LifeHasMeaning,KimAbbey,JuliaSanderson,SuIanello,JennSteinshouer.PhotographerJamesMoore

Inpreparationtoofferthedance,wesetasideatwohourtimeperiodtodresshelpingeachotherwithmakeup,crowns,etc.Weadornourselvestoenhancethefeelingoftransformationintothedeity.Inmanytraditionaldancesoftheworld,peopletakehourstopreparefortheofferingdance,whichispartoftheritualtransformation.Ittakesatleastaweekendtolearnandattune,tobemorereceptiveandawareofthequalitiesthatwearemanifestingtogetherbeforeofferingaMandalaDancetothecommunity;althoughPremapreferstodothisinaweeklongretreat.

WhoisTara,andhowdoesshestillappear?

BuddhaShakyamuni(around500BC)gavemanyteachingsaboutTara.SheisknownasTheGreatMother,theSwiftProtectress~Shewhoremovesallfears.SheisknownasMothersinceshehelpstobirthourowninherentwisdomandcompassion;torealizethetruenatureofwhoweare.(9)Taraisacknowledgedinmanydifferentcultures.SheisspokenaboutinIndia;sheisthemotherGoddessintheDruidreligion;sheisaseagoddessinPolynesianmythology;wefindtheHillofTarainIreland~whichwastheritualsiteoftheancienthighkingsthere;therearerivers,mountains,andvillagesnamedafterher.TherearelegendsinIndiaandTibetthatTaracomesfromanotherstarsystem,orthatshewasbornfromthetearsof

Avalokiteshvara(10).Andineachcircumstanceshevowedtoreturnlifeafterlifeinthebodyofawoman,untileveryBeingisliberated.

GreenTaraThangkhaWhyarethere21praisesofTara?Itisasymbolicrepresentationof21techniquesthattheBuddhataughttoattainenlightenment.Itisalsosaidthatwehave21‘knots’inoursubtleenergysystem,andbysayingthemantraofTara,itisonewaytobegintountietheknots.Thisisthemoreexperientialqualitiesthatarenoteasilyspokenabout.Manywritingstalkabouttheouter,inner,andsecretmeaningofTara’spraises(Sherab&Dongyal2007:53-171).BecauseofthestronglydevotionalcharacterofTibetanBuddhists,thisTaramantra

isknownbyalmosteveryoneandsaidfromthetimetheyareyoung(Shaw2006:345-350).ManyTibetanswhenfleeingTibetundertheChineseinvasion,said7)Tantrahasabroadrangeofdefinitions,thesimplestisthatitisthenamegivenbyrecentscholarstoastyleofmeditationandritualwhicharoseinIndia.Anothersimplewaytodescribeitisthedefinitionmeaning‘thread’.Thethreadthatunifiesalloflife.8)about6yardsofsilk,wrappedanddrapedgracefullyoverthebody.AtraditionaldressofIndia9)fromTara’sEnlightenedActivitybook,andWikipedia–aboutTara10)AvalokiteshvaraistheBuddhaofCompassionthatjustbyrecitingTara’smantratheirliveswerespared,ormiraculouscircumstanceswouldarisethathelpedthemescape(Sakya1990:298-306).FromthetimeoftheBuddhauntilnow,whentheteachingsgetlostordissipate,newteachingsarerevealed,teachingsthatareappropriatetothecurrenttimes.Inthe1800’sChogyurLingpahadavisionandthispracticeofTarawaswrittendown.(TulkuOrgyenRinpoche2007:14).ItisthistextthattheMandalaDanceisbasedupon.PeoplethroughouttheageshavefeltthispoweroftransformationthatTaraevokes,evenifthey’renotawareofheroriginsormeaning.Backgroundofthedance

Asoneofmyteachers,DzogchenPonlopRinpochesaid,“PureBeingislikewater,thesamenomatterwhatthecontainer.Yetthecontainercanbeaporcelaincup,afinechinateacup,orastyrofoamcup”(11).Eachtraditionemergesfromaculturalcontext.Whatevervehicleorcontainerweuse,it’sbeneficialtorememberaspaciousviewofwhereweaimtogo.BuddhisminVietnam,India,Tibet,Japan,Thailand,Mongolia,China,orKoreaallhaveaflavoroftheirparticularcountry.Therearemanyformsofpractice,allhaveoneessence.

OnMaui,inthemid-eightiestherewasacommunityofpeople,mainlanderswhohadmovedtherebecausewewantedadifferentlife,alifeclosertotheland,awayfromthestressesofmodernsociety(andthiswasbeforecomputersandiphones!!).ThisexodusarrivedintheHawaiianislands,startingasearlyasthelate60’s–atimeofmanyinnovativechangesinourAmericanculture.

ThelocalHawaiians,ameltingpotofthePolynesianculturewithChinese,Japanese,Philipino,andPortuguesesettlers,heldthelandtobesacred.Theprinciplesthatinformedthatculturewerethoseofaloha~toshareoursacredbreathwitheachother,tohonortheEarth(theaina),tofeeltheinter-connectednesswithnatureandeachother.

Oursubculturewithinthissubculturedrewclose.Wesharedsomuchofourlivestogether:raisingourchildren,startingschoolsforthem,growingourfood,andgatheringtogetherforspiritualcommunion,alongwithplayfulsojournsinthecleansingoceanandjunglepools.

WeweresearchingfortruthandsomeonerequestedHisEminenceKaluRinpoche(12)topleasesendusateacher.WeweregivenawonderfulandpreciousTibetan

Buddhistteacher,LamaTenzin(14),whosefarseeingvisions,createdaripplethat

11)spokenataretreatinSeattle,WA.2005

12)KaluRinpoche(1905–May10,1989)wasaBuddhistlamaintheKagyutradition,meditationmaster,scholarandteacher.HewasoneofthefirstTibetanmasterstoteachintheWest.

13)14)LamaTenzin(1938-2001)wasthefirstresidentteacheroftheMauiDharmaCenter.HestudiedintheGelukandKagyutraditionsandtaughtinaRimestyle(inclusiveofalltraditions)hasspreadandcontinuestoinfluencethousandsofpeopleworldwide.Thesheerhumilityand‘behindthescenes’countenanceofLamaTenzinwasatestimonytothepoweroftheseBuddhistpracticesthathesosincerelyandlovinglywantedtosharewithus.AtfirstLamaTenzindidnotknowwhattodowiththiswildbunchof‘barbarians’,freedomlovingrebelsatheart.ItwasLamaTenzinthatencouragedPremaDasaraafterwitnessingherpresentationoftheclassicalOdissidancetrainingshereceivedinIndia.ShecreatedtheMandalaDanceasanofferingtohim,neverexpectingittobecomesuchaphenomena.Hecontinuedtoencourageheruntilhisdeathin2001.

OfferingtheMandalaDancetoLamaTharchinRinpocheandLamaTenzin,1992;PremaDasarainredinfront.Photographerunknown

IntheTibetanBuddhisttraditiontherearetwowaysthatteachingsaretransmitted,throughkama(passedfromteachertostudent,orparenttochild),andterma(teachings‘appearing’toindividualsattherighttimetobenefitbeingsofthatgeneration).InthedayswhenVajrayanaBuddhismwasarrivinginTibet,therearestoriesoffemaleteachersrevealingsacreddancetermaswhichtheysharedwiththeirstudents,wearingcolorfulcostumesanddancinginthetemplesorwithinthecharnelgrounds~sharingtheprecioustransmissionoftheDharma(14).

Wefeelverymuchinthatsamelineofexperience.Weareagroupofpeoplewhohavenoqualmsinrelinquishingtheoldformsofpractice.Weareonnewsoil,plantingtheseedsofharmonyandcompassion,cultivatingourinnerwisdomsogenerouslyshowntousbyourpreciousteachers,thepioneerswhohavebroughttheDharmatotheWest.

Personaljourney,reconnectingwiththedance

WhenIsawtheMandalaDanceofTarain1986,itwasthethirdtimethedancehadbeenofferedonMaui.Ihadheardaboutit,yetmychildwasquiteyoungatthetimeandIwasnotabletogetawaytoattendthepractices.Isatwithmybabyonthegrass,nearHETaiSituRinpocheandfoundthedanceasenchantingformeasitwasforthedancersinthedance.Thereweremomentswhereanyseparationbetweenobserverandobservedfellaway.Iwascarriedintothemeditativeabsorptionofthedancersandfeltmyheartopeningasthepowerofthepracticewastransmittedthroughthedancers.IthoughtIwouldbetooshytoeverwanttogetupanddanceinsomethinglikethis,soIwasgratefultofeelasifIwasapartofitwhilesimplyobserving.

AfterreceivingencouragementfromHETaiSituRinpoche,theMandaladancecontinuedtobeofferedtothecommunity,inaonceayearFestivaloftheGreatMother;aswellastovariousspiritualteachersthatcametotheisland,oneofwhichwasLamaTharchinRinpoche(15)

14)mentionedbyLamaTsultrimAllioneataweekendretreatonWhidbeyIsland,Sept.2014

15)LamaTharchinRinpoche(1936-2013)wasaDzogchenmasterofVajrayanaBuddhism.HewasthetenthlineageholderoftheRepkongNgakpas.Thisisafamilylineageofyogis,orhouseholders,andwasthelargestcommunityofnon-monasticpractitionersinTibet.

ImadeaheartconnectionwithLamaTharchinRinpochein1993,whenhecametoMauiandtheMandalaDancewasfirstofferedtohim.AdearfriendinvitedmetoparticipateintheOfferingGoddess’Dance,oneofthepreliminaryopeningdancesthatprecededtheofferingoftheMandala.Itwasmuchlessofatimecommitment,andoursons’couldplaytogetherwhilewepracticedthedance.

Couldithavebeenthedancethatsoftenedmyheartandhelpedmetoreceivethemagnitudeoftheteacher?AfterofferingthedanceandtakingteachingsfromthisLama,myheartflewopenandIstarteddoingthengondro(16)practices,whichtheteachersoftenspokeaboutbutIthoughtweretoolong,toocomplicated,andjust‘notmything’!AfterfeelingtheblessingsofLamaTharchinRinpoche,ItoobegantodanceinthefullMandalaofTara.

Flashforwardtotheearly2000’s.After21yearslivingonmybelovedHawaiianIslandofMaui,IwantedachangeandfeltitwastimetodropbackintothecultureIhaddroppedoutofsolongago.MysonwasreadyforhighschoolandIthoughtit

wouldbegoodforhimtogetatasteofpopularAmerican,mainlandculture.Iwantedtoexpandmyhorizonsprofessionallyandtouchmorepeoplelives’andtobeclosertotheTibetanBuddhistteacherthatsolovinglytookmeunderhiswing.

Mymovetothemainlandwasexcitingandatthesametimeabitofashock.ThiswasnotthecultureIdroppedoutof21yearsearlier,itwasnowevenmorespeedy,runbytechnology,andoverrunwithmallsandmateriality.MyBuddhistpracticekeptmegroundedandsane,maintainingmybodhisattvavows(17).MyattitudetowardstheMandalaDancehadshifted.Ifeltthatitwasathingofthepast,aremoteandfunpastimewithmyIslandfriends,fromatimewhenwealllivedamoreleisurelylife.IforgotabouttheMandalaDanceanddovefurtherintotraditionalBuddhistretreatsintheVajrayanatradition.

ItwasafteraoneweektraditionalVajrayanaBuddhistretreattaughtbyLamaYesheWangmousingthesadhana(18)shetranslatedfromtheDudjomlineagetermaofYesheTsogyal(oneofthemostcelebratedfemalefiguresofVajrayanaBuddhism),thatIreturnedtoSeattleandheardthatPremaDasarawasintowntoteachtheMandalaDance.Ithoughtitwouldbeagoodopportunitytoseeheragainandalsoparticipateinthedancethathadbeensuchaninformativeexperienceofmylife.

Thedancetookonawholenewdimensionthistime!!Aftertillingthesoilofmymindwiththeseatedsadhanaallweek,hereIwasLIVINGtheexperienceoftheDeityYogapractice!IamakinestheticlearnerandinparticipatingintheMandalaDanceitbroughtthetraditionalpracticestolifeinadeeperwaythaneverbefore.

16)theextensivefoundationalpracticesofVajrayanaBuddhism17)Bodhisattvavowsarethewishtonotonlyeradicateones’ownsuffering,buttoalsoworkforthebenefitofallbeings.18)sadhanameansadailyspiritualpractice;canincludemeditation,mantra,contemplationorstudyingtexts.

TheMandalaDanceisbuiltuponthetraditionalformatofacompletesadhana;apracticethatstartswithmotivation,refuge,bodhisattvavows,andgoesintothemainbodyofthepractice–recitationofmantra,etc.,evenincludingtonglen–takingandsending;andthenconcludeswiththedissolutionofthepractice(allisempty),weariseagainastheDeity,anddedicatethemeritsofthepracticeforthebenefitofallBeings.BokarRinpoche(anotherbelovedLamathatPremaDasarahadstudiedwith),saidthatthisdancebringsmanyblessingstoallwhowitnessthedance~noseparationbetweenobserverandobserved,justasIhadexperienced.

MaureenFreehill,ownerofButopia,onWhidbeyIsland,WA.center-PhyllisMoses,toherright-DianaFerdana.Photographerunknown

BokarRinpochewasverysupportiveofthepracticeandguidedPremainintensiveretreatsbasedonTara(Dasara2010:9).

IntraditionalVajrayanapracticetherearethecreationandcompletionphasesofpracticewiththedeity.TheMandalaDancebroughtthattolifeformethistime,feelingexperientiallyinmybones,sotospeak,thatwhichIthoughtI‘understood’intellectually.Nowbothsidesofmybrainwereinsync,alongwithmyembodiedexperienceofbodhicitta–thenobleheart.Ialsorealizedthatafterthesemanyyears

Ihaddriftedaway,Premakepttravelingandspreadingthedance,

TogetherwithAnahataIradah,PremahadorganizedPilgrimagestoIndiaandNepal.ThedancewasofferedtotheTibetansindiasporaincludingmanyLamasandRinpoches.AtDharamasala,theydancedfortheDalaiLama.HeevenmettheminaprivateaudienceandgiftedTaradhatuwithabeautifulTarastatueinappreciationfortheirwork.Myeyesopenedtoadeeperunderstandingofthepowerofthispractice.IhadaninklingofwhyTaiSituRinpochehadencouragedPrematocreateanorganizationandkeeptheteachingsclosetoher~anewlineagewasbirthed!Thepowerofthepracticehadgrownthroughtheyears,embuedwiththeblessingsofsomanyexaltedteachers.Tarahadmagnetizedmeclosertoherheart!

AtthistimetherewasamonthlycircleinSeattleandwhenIcould,Istartedgoingtoit.Butafteracoupleyears,thewomanwhostartedit,movedandthecircledissolved.IfelttheabsenceandwaspromptedbyTaratostartacircleandholdthepost,sotospeak.Thiswasnotlikeme,butIfiguredthatevenifnooneshowedup,itwasmycommitmenttoTara,andthat’swhereitallstarted.

Lefttoright:KimJacobs,SuIanello,JennSteinshouer,Mary,Leah,PhyllisMoses(center),LauraleeCarey,Spurlin,MaryEngel,LifeHasMeaning,JuliaSanderson.Photographerunknown

Dagmola(asJamyangSakyaislovinglycalled),thewifeofJigdralRinpoche,headoftheSakyalineage,hasadeepaffinitywiththegoddessTara.ShedevelopedafriendshipwithPremawhohadledthedanceinthetempleformanyyears.SheaskedPrematomaketheMandalaDanceayearlytraditionattheSakyaMonasteryofSeattleandthistraditionhasbeenmaintained.

IamnowoneofseveralseniorteacherstrainedtoleadtheweekendMandala

Offerings.(19)Premapreferstoconcentrateonleadinglongerretreats.ThisyearshewillbeleadingretreatsinMayinBrazil,inJuneinBali,inAugustonthenorth

19)theTaradhatuorganizationrecognizesupto4levelsofteachers.Asalevel3teacher,onecansharethedancepublicly.AllteachershavebeentrainedbyPremaDasara.

shoreofKauai,andinNovembernearTucsonArizona(20).LearningtheteachingsandthebackgroundofhowVajrayanaBuddhismworkswiththemindandsubtleenergybody,laysaveryrichfoundationtoexpressourselvesthroughthedance.BecausewehavehadsomanydancersattendsomeoftheretreatstherehavebeenmanycreativeconfigurationssuchastwoMandala’sformedwherethedancerscomeoutanddancetheirpraisetogether.WhentheMandaladanceisofferedpublicly,onlywomendanceintheMandala.Premaenvisionedthisasadanceofempowermentforwomen,butsomanymenalsowantedtoparticipatesoshecreatedapositionforthementobeapartofthedancebydancingasprotectorsaroundthemandala.Thiscreatesabeautifulsynergyofmale/femaleenergies,sinceweeachhavebothsideswithinusandweareallstrivingtobalancethesesides.Welearnaboutthismoreindepthwhenwestudythe5Buddhafamilies,theDakasandDakini’s~thesymbolicexplanationsofhowbesttoworkwiththeMysteriesofthishumanlife.

WhenIfirstdoveintothetraditionalVajrayanapractices,IparticipatedintheLingDrodances(astaughtbyLinLerner).IaskedLinhowshebecameinvolvedinteachingtheLingDrodances,afterall,they‘appeared’tobesimplefolkdancestoouruntrainedwesterneyes.LinsaidshewasstudyingmoderndanceincollegeandshesawtheTibetansperformingthesedances,andthoughttoherself,“IwanttoknowwhoistheDancerbehindthedance”,whichledheronthenoblepathofdedicatedpractice(Lerner1983:50-57).TheTibetansbyandlargeareaveryembodiedculture.Theirrefinedcultivationofthemselvesshowsintheeffectstheyhaveonpeoplewhenperformingtheirdances.Traditionally,theLamadanceswereonlyperformedbymen.WomencoulddotheDakinidances,butthesewerelimited.

TheMandalaDanceofthe21PraisesofTaraisassistingusincultivatingandintegratingthepoweroftheseancientteachings,sowetoocanembodythisrichspiritualheritageofcultivatingawarenessanddevelopingthenoblemind.Ourpotentialiscultivatedwhenwearewiththesublimeteacherswhoseunshakableconfidenceinouroriginalperfectionhelpsustorecognizethesequalitieswithinourselves.Webecomeentrained(21)andgetatasteofourinherentpossibilities.AtsomepointweneedtoalsohavethisunshakeableconfidenceinourTrueNature,whichgivesrisetocompassionforallBeingswhoperhapshavenotyetrecognizedthisinthemselves.WhenwecallonTarainthisveryembodieddance,wecanmoreeasilybecomeher.Ifwearenewtothedanceandareamongstexperienceddancers,it’sasifwearecarriedalong.Weareabletomovebeyondtheconceptualmindbecausetherearesomanymovingpartstothedancethatwelearntorelyontheintuitivemindandletthepracticepenetrateourbody.Byworkingwitheachofthe

20)forupdatedinfo:http://www.taradhatu.net/eventsupcoming-events/prema-dasaras-schedule/

21)entrainingisaprocessoffallingintosynchronicitywithwhat’saroundyou.Beingincorporatedandsweptalonginitsflow.

21praises,webegintoseethesequalitiescometolifeinourinteractionswithothers.

Spurlindancingpraise#8-DestroysNegativity.Tonasket,WA.2014.Photographer-JamesMoore

AsintraditionalBuddhistpractice,thisdanceisnotaboutbolsteringtheego.Whenwetaughtforaweekatthe13thSakyadhitaBuddhistWomen’sConference,oneprofessionaldancerwalkedintotheclassandwassurprisedthatmostofthewomendidnotlooklikedancers!Hereshewas,havingperformedherBuddhistdancesinmanyprestigiousconferences,andperhapshavingabitofarroganceaboutthat.Whatsherealizedafterparticipatinginthedance,wasthatitwasn’tabouthow‘professional’shewas,itbecameadeeplyhumblingandenliveningexperienceforher.Workinginagroupmovementmeditationpracticelikethisalwaysshowsusmoreaboutourmind.Wecanparticipateinthepurificationsofthe7branchofferings,buthowdowereactifwefindthatsomeonetookourcostume,orkeepsmessingupanddistractingus?Oldpatternstendtoberevealed,suchaswhenLila*whohadbeendancingformanyyears,woundupinthecentralTaraposition,shewasalwaysbackwards(facingtowardsthebackofthecircleratherthanthefront).Latersherevealedthatshewasabreechbaby–facingthewrongway!Rita*kept

findingfaultwithAnne*infrontofher,whowoundupnotreturningthenextday.It’sveryrarethatsomeonewouldnotreturn,andthenwefindoutfromRitathathermotherhadabandonedhertooandthiswomanAnne,wholefthadthesamenameasRita’smother!

It’sonethingtohaveourmindswanderwhenwesitonourowncushion,butquiteanotherthingwhenwehaveahighlysynchronizedchoreographywhereweeachdependuponeachother.Theriverstonesbecomesmoothbybumpingupagainsteachother.Thispracticehelpsfillintheblindspotswemighthavewhenweareonlysittingonthecushion.MovementanddanceisacomplementarypracticetotraditionalBuddhistpractices.OneofthethingsIloveabouttheMandalaDanceofthe21PraisesofTaraisthatitcastsawidenet.ManypeoplearedrawntoitthatarenotevenfamiliarwithBuddhism.AndovertimetherearethosethathavebeendrawninandcontinuetoexploretheBuddhistpath,eventothepointofbecomingnuns.We(meaningtheTaradhatuorganization)havehadwomenofallagesdance,fromthetimeoftheirfirstmensesupto86yearsold.Wehaveonedanceleaderwhoteacheswomenwithdisabilities.Everyonehasthesamedesirestofeelmorewisdomandcontentment,tonavigatethechallengesthatlifebrings.Dancedoesnotneedtobelimitedtoacertainbodytypeorage.TheBuddhasaidthatthebodyholdsmuchwisdom.Howwelearntolistentothatwisdomispartofthepathofawakening.

*nameshavebeenchanged

Theblessingsoftheteachers

IntheinterviewwiththeDalaiLama(inDharamsala,India2001ontheDVDTheQuietRevolution),hespokeabouthowTaraislikethewind,andwhenwedanceandsinghermantraweareworkingwiththesubtlewindsofourenergysystem,clearingany‘knots’sothatwecanabideinthewisdomchannels.

OnthelastTaradhatupilgrimagetoIndia(Jan/Feb.2013),wehadtheincrediblegoodfortunetomeetwithPremaDasara’sOdissidanceteacherwhoshehadnotseenin25years.Averyskilledandhumbleman,GuruRamaniRanjanJenawasdelightedseeingwhatPremahadcreated.Hesaidhealwaysknewshewouldnotdosomethingtraditional.Wemetwithhimatthe64YoginiTempleofHirapur,India,anancientopenroofedcirculartemplededicatedtothegoddess,withbeautifulstonecarvingsoneveryinchwithinthewalls.Weallfeltlikewewerepartofalonglineageofdancers.EveniftheDevadasi’s(22)goundergroundatsomepointsofhistory,thedancer’sstillemerge!WefeltnoseparationaswedancedforPrema’steacherundertheclearbluesky,surroundedbytheremnantsofanancientcivilizationthathonoredthefeminine.

Oneteacherlikenedthespiritualpathtodyingafabricindigo.Youfirstdipthewhiteclothintothedyeanditcomesoutlightblue.Youdipagainandtheshadebecomesalittledarker.Youkeepdippingtheclothuntilfinallyitbecomesadeep

richindigoblue.Asweencounterthesepractices,wekeepdippingandcultivatingaspiritualvitality.Thisgivesusthepowertobreakthroughpatternsthathinderusfromrealizingourtruenature.Whenwelookatathangkha(23),ithaslayeruponlayerofsymbolicmeaning.Eachcultureworkswiththesymbolsthatspeaktothesubconsciousmind.Justaswhenalakeiscalmwecanseetothebottom,whenourmindiscalm,wecanexperiencetheluminosityofthemind.Thereare2placesintheMandaladancewherewedissolvethevisualizationandletgointoemptiness.InSanskritit’scalledshunyata,theunmanifest,yetcapableofgivingrisetoallphenomena.WithinBuddhistpractice,thereisaplacewhereweletgoofthevisualizations,wedon’tevenwanttogetattachedtothat!

InVajrayanaBudhhismweoftenhearabouttheouter,inner,andsecretpractices.Whatismeantbysecretisnotnecessarilythatyoucan’ttellanyone,butit’snotuntilyouactuallydothepractice,thattheexperientialsecretsarerevealed.Whenwedothesepracticeswearetransportedtoatranscendentstatethatisnoteasilyspokenabout.Thisiswhattantrais;weuseallofthesenses,andallofourexperiencesonthepathtoweaveaseamlessintegrationofspiritualityintoeveryexperienceofourlife.

Thepromiseofthispracticeliesineachpersons’experienceandwhatthisopensupforthem.Realizationisneverstatic,everyonestrivesfortheopportunitytotastethetranscendentandnuminousqualitiesthatliewithin.Lifeasksustobeflexible,andthisiswhattheBuddhistpracticesworkwith.Challengesarisewhenwetryto

22)Devadasimeans‘servantofGod’,andthatisthetermusedtodescribetheancientTempledancers.

23)athangkhaisapaintingoncotton,orsilkappliqué,usuallydepictingaBuddhistdeity,scene,ormandalaofsomesort.

quantify,intellectualize,andcategorizewhatisnew,tofititintomoretraditionalforms.Westandontheshouldersofwhowentbeforeus,yetwealsoneedtolookaheadandintegratethecreativeandinnovativeaspectsofourselvesandwhatourculturehastooffer.

TheexperienceofthisdancewassowellarticulatedinastatementbyKatieCarterfromSeattle,WA.:

“Wordscannotexpresshowmuchthisweekendhasmeanttome.SundayeveningandallMondayIwasstillinoursacredspacebaskinginthefeelingofthedanceandwithTara.Iwasnervousbeforewedancedandatonepoint,IlookedupatTara.MynervesfellawayasIletgoandwelcomedHerwithin.TofeelHerandforthosemomentsbeHerwasincrediblypowerful.Thankyouso,somuchforsharingthedancewithus;itwastrulyanhonortobeapartofthiswonderfulweekend.”

Lefttoright:KarenLindquist,KatieCarter,PhyllisMoses,SarahBien,Rev.JudithLaxer,SuzieScollon,MichaelDouglas(protector).SeattleMarch2014,photographerunknown

ThedanceisspreadingthroughthemagnetismofTara’sgrace.LamaZopaRinpochehasthenunsathismonasteryinNepaldancingit.HethenaskedhisstudentsinTonasket,WA.tolearnthedanceandholdanannualTaraFestivaltobenefittheircommunity.Ithasbeenmyprivilegetoleadtheminfulfillingthisrequest.

2014TarafestivalinTonasket.Lefttoright:JuliaSanderson,MaryEngel,Carmella,Spurlin,JennSteinshaouer,LifeHasMeaning,PhyllisMoses,BeckyWatts,SuIanello,KimAbbey.PhotographerJamesMoore

OurJapanesedancersofferedtheseprayersatthesiteoftheFukishimanucleardisaster.Thelistgoeson,asthedarknessofthesetimesabound,theLightandupliftmentofTara’spraisesresound.WewillagainattendtheSakyadhitaWomen’sConferenceinIndonesiain2015,andplansarebeinglaidtohavea5dayprayerfestivalinBrazil~aMonlam,wherethelongsadhanaofthe21Praiseswillbedancedby108dancersandTara’smantrawillberepeatedforthewholelengthofthemonlam(prayerfestival).

Toexploremoreaboutthedance,weinviteyoutogoto:www.taradhatu.org

IfyoufindyourselfbeingdrawntolearnmoreaboutTaraexperientially,gotothewebsitetofindacircledancingnearyou.

PhyllisMoseshasbeeninprivatepracticeasaHealthEducatorforthepast25years.WithaPsychologydegreebackground,andasalongtimeBuddhistpractitioner,sheisweavingtogetherherextensiveexperiencebyteachingyoga,HypnoBirthing,workingwithacuttingedgemedicaldeviceforoptimumhealth,aswellaspaintingrainbowsilkscarves.SheisaLevelThreeTaraDhatuTeacherandleadsacircleofdanceinthePugetSoundAreaofWA.ShealsoleadstheMandalaDanceofthe21PraisesofTarawheneverandwhereversheiscalledtoshareit.Sheworkswithpeoplethroughskypeandphoneaswell.www.phyllismoses.com