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Let ter„...., Editor I'riends, here it is again - it was fun, but now we know how much work Mandana has been putting into Osho Wings month after month. Thanks, Mandana! 'I his issue was a team effort. Thanks too to all the

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peopler who gave time or supported us with their

advertising.

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The next issue, vvhich is on Tantra, hopefully will be a team/community project. So if you wish to contribute or help in any practical way, please contact me or Susheela at t he l.cela Centre . L ov e Ga rimo Editor

Ma Deva Ganmo

Contributors

M a Pre m Susheela, SwamiKaiynm, issia Rana, Swami Anand Neerava, Ma Shanti Unmani,

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OSHO is a registered I'rademark. Photos reprinted by permission of Oshu International Foundation. AII rights reserved by CupyrightHoider

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DANCE WORl(SHOP Some of you may have enjoyed thedance performance at Club Zorba in September. For everyone who participated in Nicotan's group it was a very juicy, fun finale. We met at Leela twice a week for six vveeks. After each evening of dance and movement I would feel very energised, and Nicotan brought a quality of meditation in the way he helped us to move from our minds tn be more in our bodies. Many of us had never performed in public before even after the six weeks although we wanted to do it, some of us were still very nervous on the night — especially me! But being part of the group made it easier and by the last 'Abba' number it was definitely show time! I'd like to thank Nicotan and all those who participated

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in the group as well as those in the audience who kept us smiling all night with lots of juicy feedback. Osho! Ma Shanti Unmani Contact Osho Lee!a for details of ftirthev workshops

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CENTRE NEWS Osho L eela Centre N e w s One year has passed YAHOO....YAHOO..., since we opened this centre in Eremantle, It has been an up and down experience for us, bringing juicy, exhilarating, meditative and the most beautiful moments to our community. We should like to share our gratitude and thank all our beloved friends for all the support and love we have received, We still want to create a space, where people can meet, meditate or socialise together. So, if you have any suggestions for events or possibilities, don't hesitate to share them with us. As an outcome of the past year, we realise our existing venue is not appropriate. Therefore, we' re searching for another venue, which has more possibility to expand and less es more space to play or just to hang out. If you come across some place that may be suitable please let us know. Just recently the NO-MIND Therapy Group finished, which filled the centre with a crisp and clear Buddhafield energy. We will organise all the OSHO MEDITATIVE THERAI'Y GROUPS in the near future and the WORLD­ WIDE DYNAMIC 8c MYSTIC ROSE. Just waiting for the dates to be announced. It's a shame that only a few people are coming to enjoy White Robe Brotherhood. It has developed over the last 6 months with beautiful, magnificent and unique Live Music, which is such a treat for each individual. Well even burglars are coming to meditate. Only they felt THEY should be paid for the experience &: left us minus dollars and a bit of mayhem and destruction. On Wednesday 19th N o v ember w e' re celebrating our 1st Year here at Leela's. STOP Meditation with our wonderful "Satsang" band playing live music is a not to be missed treat.

So lets see what mysteries and surprises the next year b rings. Lov e Su sh eel a 6 Ka i y u m

K irana N e w s Things have been pretty full-on at Kirana in the last couple of months with Halima's Brin>al and Tnntrn,Jagna doing another 71>oakeningand Sabah's Osho Cranio Sacral Balancing Trainnig I evel 2 with a sweet Mahaparinirvana Day celebration somewhere in-behveen. It's been great to have the energy around.

Nirala,Rana and Satyen have been cooking. Naran has come to live at Kirana and takes care of a lot of our handyman type work around the house.Satyen has been over to Cairns ~here he led a group entitled 'Love to Meditation Tantra lo Zen'. We think it's time he ran a group here! We' ve had kicl's energy around recently too with Naren's daughter, Amber (three), and Tyler (nearly hvo), Aloka's son, broadening the path between Lily's and Kirana on the times they are here. The biggest news is the imminent arrival of two rail­

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way carriages which Saguna will convert into sleeping spaces for (we think) sixteen people. They should be ready around the end of Nov/Dec and this is pretty exciting! Sindhu was hoping to organise a singing workshop after all the response she received after the celebration before the end of the year but as she's got a lot on at the moment on Sundays, it looks like it will be early next year. We are going to start having a monthly meditation day again in November. We' ll run a variety of Osho's meditations starting about 9.30am and finishing around Spm, See the Osho Wings calendar section for more details. Give us a call if you feel like a day or more away from town and your regular routine. The garden grows, the fields are still green and blue wrens are in abundance.

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Shehidu Lof 2, Coopers Lane, PO Box 702 Mullumbimby NSW 2482 Tel (066) 843 i785 • Fax (066) 843 128 E-mail oshoOom.corn.au


MEETlNG REMARKABLE FRlENDS Tvvo int.ervievvs

eerava from Osho 9/ings spoke to Gandharva in his home studio, scattered with instruments and recording equipment. Gandharva, you are a sa n n yasin an d a p r o f ess­ ional musician? Tell us a bit a b o ut y o ur c areer. Yes. I'm lucky enough to be able to make a living through music. I have played in bands since I v;as a teenager. I still play in bands (although not as much as I used to vvhen I was young), as a session musician on recordings and also do recording engineering. I compose music for theatre and dance groups and also compose music for myself. I act as musical director for theatre and community groups too. Life has presented me with a number of opportunities to teach, although I'm not a qualified music teacher. I enjoy teaching. Particularly teenagers — I try to help them to discover their own music within, rather than simply trying to copy their favorite artiste. Although copying is also a good way to learn and seems to be part of what being a teenager is all about. And, of course, you also pfay re g ufarly in satsang and celebrations for th e fo cal sannyas community? Yes I do. Has any of your m u s ic been commercially released? A number of recordings I have played on or sung on have been released commercially, but it has never been what I ~ould call "my" music. I have played or sung back-up for other people. At the moment, I am working on compiling an album of my own music which I hope will be released, but it involves a lot of work and my life is very full at the moment, so the project just keeps getting postponed. Like a mirage, it stays forever on the horizon of my life. Did you ever play for O s h o No. I took sannyas after I Ie had left His body. But when I vvas In Poona, I did play in Buddha Hali, vvith Miten and others. I had gone to Poona with quite another intention — I wanted to sit quietly and meditate and explore other areas of myself, have a break from music f' or a while. But of course quite soon I ended up playing music, anvway. Is there a diff erence for you b e t w e en p l a ying m usic commercially and p l a y ing i n a s a n n y a s context? There are two sides to my answer to that question. Yes. There is a difference in intent. In a commercial context, you are creating a product, Something that people will buy or pay to experience. In fact, the music industry

Svvami Prem Candhava and Ma Kavisha

refers to music as "product". And, I have to admit, when I was younger, it was all about sex! About being desirable. Nothing wrong with that, its quite normal when you' re young and it's what the music scene is all about. Playing for sannyasin events is different. Although I still like it to be properly organised and to sound good, the intent is not to create a product but to engage in a heart to heart communication — with the other musicians and with the other participants - and to create with them the appropriate atmosphere for the event. Its not a performance in the same

way. The other side of the answer is that for me personally, internally, there is not so much difference. As a sannyasin, as a meditator, I like everything I do to be done as well as I can possibly do it. Its about excellence. And in a way, all music is about creating or describing an emotion. The process of playing is not different. Osho has said that m u s ic is close to meditation. Is t h is true f or y o u ? Oh yes. Music is meditation. Meditation is music. They are one. I'm not saying that every time I pick up an instrument I'm in deep meditation. But it does happen. Whenever you are playing music, you have to be there in the moment, constantly. Sometimes I think that non­ musicians do not appreciate the intensity of the av'areness that you have to bring to making music. You have to be aware of what you are playing, what the other musicians are playing and how what you are doing and what they are doing interact, of what the structure of the music requires you to bc doing and of course the effect of all this on the people who may be listening, because they are part of it too. Music can also create an atmosphere that helps meditation to happen. Osho tail<ed a lot abo ut t he n ew ma n a s Zo r b a t he Buddha - combining celebration a n d meditation. Is th e re a d i f f e r ence musically, for yo u? I believe that music transcends this duality (if it is a duality). It can combine meditation and celebration at the same time. It can be bridge between them. I love the energy of sannyasin celebrations, when the non-playing participants respond to the energy of the music and their response in turn feeds back to the players and together we create this...its like a double helix of energy which just

Osho Wings — XovlDec


spirals up taking you higher and higher,,.l love it! Has becoming a sannyasin af fected your music or your approach to musie? One of the most meaningful things for me v, hich I heard Osho say was telling me to get out of my own way. I had this realisatinn "yes, that's what I' ve been doing all my life". Real music can happen when you get out of your own way and just let the music happen through you. To be a hollow b a m b o o ? Well, of course, every real musician wnuld read those words and say "yes, that's it!". But its not so easy and it of course it dnesn't a!ways happen. That's when you fall back on your skill and experience. I'm nnt putting down skill. Skill at playing your instrument is very important. That' s why we play and practice so much. Most people cannot just pick up an instrument and make beautiful music on it. I'm also not saying that people ot relatively limited tech足 nical skill cannot make real, beautiful music. But a basic

/a v i sha, a singer/songwriter with a voice %which Robyn Johnson of Radio National described as "a voluptuous, dolorous, joyous beauty", has been well known around Fremantle for years. She has become better known nationally since moving to Melbourne. Neerava spoke to her recently in Fremantle, for Osho %'ings.

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How has it be en for you p r o fessionally since you left Fremantle and mo v ed to M e l b o urne' ? Well, I' ve never been out of' work! Actually, Melbourne is a great place to live as a musician Its a very intense artistic scene. There's a big concentration of good musicians living in the city and a vibe about music and a lot happening musically. I think it has something to do with the weather being so terrible! Its so cold and it rains so much that it creates a kind of internal culture so that time which, in I'erth, you might spend windsurfing or being on the beach, you are inside and have to do something creative. Its not that Melbourne makes the best music, its just that the intensity of the scene helps. You get to meet a lot of different artists who want to collaborate. It helps me in mv own w o rk .

l 'ts great!

Ironically, I don't perform much in Melbourne, but its a good place to travel from. In the last fcw months, I' ve worked in the Northern Territory, Sydney, playing in the Blue Mountains, then I went to South Australia for a festival and now I'm here. Earlier this year I was musical director for a tireworks show in Queens!and and I did a song-writing workshop at an aboriginal community up in the very north of Snuth Australia. So its not all pe rforming your own mu s ic? I love the singer/songwriter stuff, but I like the balance

Osho W ings - X o v l D e c

level of skill is necessary. I like to play with penple who have it, Indeed, the higher the level of skill, the easier it is to get out of the way and let the music happen. You don' t have to constantly think about what you are doing. I don' t mean playing "on automatic", which can happen, particularly in a commercial context, playing without awareness...its hard to explain. ls there a relationship betwe en m u s ic and silence? Absolutely! Music, real music is about silence. It defines silence, There is a musicians' expression which I love, which is 'playing the gaps'. Music is as much about vvhat you don't play as about what you do play. I heard Osho tell us not to concentrate on his words, but on the silence be足 tween the words. That is the same concept. He spoke to bring us to the silence of meditation. And music can create the space for silence to happen in you. My music these days has more silence in it. It is the silence that makes the music.

of doing other things. I alsn do workshops, I musical direction, working with glg . m P community groups and the Italian Women's Choir. I work a lot with people for whom Fnglish is nnt their first language, so I' ve been invnlved with different musical influences, Arabic, African all sorts of stuff! Its very interesting and I feel that I learn so much on those jobs. Its very satisfying working with a big group ot people, groups where may feel they can't sing, and helping them get the confidence to do it and to see them come out, their faces glow ing, feeling "we did it, we did it!" and its such a simple thing, singing, but its so powerful and can be very healing. In our society, singing is so separated from normal life, its such a shame. I like to help people fnr whom music is not part of their every day life to get that experience, that joy. I'm in Fremantle to write songs for a play "Women nf the Waterfront" which is going to be performed by the Deckchair Theatre actually at Fremantle docks, next month, with live music every night. This is a specific job, like "we want you to write songs for these characters" - not necessarily out nf my own experience, but out nf theirs. It opens in three weeks, so I haven't got long and I have to write songs that the specific actors themselves can sing. llopefu!ly I can come up with some kind of material! How has your experience as a sannyasin affected your music, your approach to music? I was incredibly lucky to be able tn experience being with Osho when I-Ie v as in his body and I feel that in my small way I can share some of that gift in my music. I always felt that Osho gave me the courage to pursue


something that is very intangible. Music is like that; its there and then its gone. To me, everything that I'm doing now has come from my experiences with Osho. I got so much out of heing vv ith Osho, that I try to put into my music that spirit of authenticity, which I feel that he has encouraged us to put into whatever work we do, whether its mechanics, or cooking or music or whatever. When Osho was in his body and we were doing groups and living in the commune, I felt it was all about avvak«ning a certain energy in people. I'm really grateful that I had that time of divine madness, that chance to be divinely n1acl fo1' <1 M/hi le, to go 1nto that let go of ecstasy that vve had, its never lef't me and I try to bring that into my work. If I'm feeling low I can tune into that "drive-by" energy, where Osho vvould be standing there not saying anything but waving his arms and I would feel He was saying "This is it! If you can bring this energy to everything you do, then you' ve got it, or you' re on the way..." Do you put th at ex p r e ssty into yo ur songs or is it just a feeling t ha t yo u tr y t o c o n v ey? Well, on my last C D, Mermaids in the Well, there was one song that was about Osho, called Clouds of Glory.

Sannyasins will listen to it and go "Well, that sounds like its about someone we know" but I' ve noticed that when I play that song, people that wouldn't have a clue about sannyas also love the song and like singing it in the concerts — I get people to sing along the chorus (sings) "We are angels, we' ve forgotten these things, trailing clouds of glory, remembering". For me its not about being a missionary, but I'd like just to pass on some of this, like a flavour of what we got from Osho, a sensitivity that he awoke. That celebration energy. What about m e d i t a t ion e n e rgy? Osho spoke about Zorba th e B u d dh a combining celebration and meditation. Ho v v ist h at f or y o u ? For me, because my life is performing a lot, because I'm in public a lot, meditation is important to maintain a balan­ ce in my life. It helps me to have a perspechve on what I'm doing. Its an escape from the publicity, which is part of my work, but its about all these wonderful amazing things I'm doing — otherwise you start to believe, to identify with your own publicity, which is after all just a tool. On one level, people v ould look at me and say I'm successful, but I need the meditation to keep in touch with who I really am.

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OSHO REBALANCINCi body centered therapy in which I approach my client, not as a problem to be solved but as a mystery to be explored. In an atmosphere of acceptance (of what is), we begin to move into the moment. There are many ways in which this can happen. The major components are usuallyawareness supported by touch, breath, expression, movement, sound, emotion or any combination of them. Osho Rebalancing is an artistic science or a scientific art; mixing elements of both. Because the mystery of the human being is such a vast phenomenon a multidimensional approach is best. At one end there is the scientific, structural analysis of the body and it's anatomy. The other pole of the continuum is the intuitive, in the moment approach. A session can flow from one pole to the other and back again as well as combining all the elements in infinite ways. The essence of a session is it's ability to call you in; to that inner world where the real healing work is processed and put into effect through the body. To that place where a person can wonder, can feel, can just surrender to those hardly known knowings. If that person can bring a witnessing to these inner processes, much is possible. Rebalancing supports and prepares the ground for meditation by helping to create more space in our bodies and by creating more ease and alignment in gravity. These hvo outcomes alone remove a lot of' noise out of our system (body%mind). Our bodies are very closely connected to our Unconscious Mind, The body cannot lie. The body exists in present time; or at least most of it does. Yet those parts of our bodies that are uncomfortable, painful, or out of our awareness have a link to our past. There is unfinished business held in our

bodymind and expressed in that part of our bodies. So the work is to "complete the business", to bring that part to the present. Where ever there is a part of our life that we have not lived, that impulse not followed, that feeling not felt, we store the unfinished energy in our bodies and isolate it, from the rest of the body with a layer or shell of fear. This capsule of fear needs to be respected. This is best done in a climate of love and acceptance. A human being is an organic whole. The body expresses the interconnectedness of our structure, our emotions, our functioning, and our thoughts. So if we start to work with the physical structure and change that structure; this will, in time, influence our feelings, thoughts, and physical functioning. The body is the easiest to change. Osho has spoken how the body is the outside of the bodymind and the mind the inside. Having said this, all I know is that people need to be touched and an atmosphere created where they can go into the that place on the inside where the real work, the real healing and change live. Svv Afok Si d h a mo

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musician, a real master, otherwise people are technicians. „:.; XgC, One can play'the'sita'r'beautifully and you can enjoy it -it is good, an enjoyment,>"". But a person,becomes a master when his created sound brings somethirnfg~of the uncreated, when his created sound has a gospel in it:-:side by side comes the unknown, >: travelling with the, sound comes the soundless. The sou'n d y8u'will forget, but the soundless will remain with you,""",...,",," Music is born out of meditation, and so is dance. In fact, all that is be'a«utiful has come out of meditation because there is no'other way for it to come, Meditation is the door. Drown yourself in music. And don't practise it just like an art and a skill, practise it like a meditation, practise it religiously, It is the holiest of holies, " ",,: .;: '". C,

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It is th*e':. holie'st''::"ot,.:;;hvolies .'usic is a different dimension. You ran be completely drowned in it, you can become drunk with it. It is a great therapy, and it can make you whole and healthy and holy. It is a meditation, and a very natural meditation. Music was born originally out of meditation, because in deep meditation one starts f'eeling the cosmic sound, omkar, what the Zen people call 'the sound of one hand clapping'. It is not a produced sound. When two hands clap, it is a produced sound. When one hand creates the sound — without any clapping really, because there is nothing else to clap with-when the sound comes out of oneness, unity, unison, then it is natural...the cosmic sound. It is always there. When you become silent, you hear it. When you have too much noisein your head, you cannot hear it. Not that it is not there, it is always there, but you are not there. Your own noise, your own fussing mind goes on creating such barriers that the still, small voice cannot be heard. Out of that original sound, music has been created, In the East we say that all music is an effort to bring about that cosmic sound. That's why there is spirituality in Indian music, a new sensitivity which is nowhere to be found. In the Western music there is too much sexuality, it is too sensuous. In the Indian music there is too much spirituality- it is not sensuous at all, It silences you, cairns you down, cools you, and brings a breeze from the eternal... the breath of the eternal. It is an effort to give you an indication of the cosmic sound. It is just as when I am talking to you. My whole effort in talking is to bring you something that cannot be talked about, to say something that cannot be said, to bring to words something which is wordless, to define something which cannot be defined and is immeasurable. In the same way, music is an effort to say something about the cosmic sound.

";"" Music is born out of meditation, and so is dance. ln fact, all that is beautiful has come out of meditation because there is no other way for it to come.

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,,; a third dimension also, which is beyond the mind. These

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p p g L ) T ~ Hp T y O U :: .:,",-. two belong to the mind: the scientist and the artist. There ;-;;",„:,": l, ".-".: is a third dimension, invisible — "'the dimension of no-mind. ';:: j«:.c"That belongs to the mystic. That is available through

\

"i;:, t. "„~.' -~;: ,meditation.

oga Chin)naya, life can be lived in hvn ways — either;,''." ..:'

Hen c e. I say these"thik'e 'weirds have to be remembered

as ca!culafion or ai poetry, Man has twn sides to his 'P" I""': —three M's like three R's .mathematics, the lowest; music, .':;:,:;:-',"„';;,." ';~ just in the middle; and m!;djtation, the highest. A perfect .,f,",'-':.';.,'I',,' ',; human being is scientif'ic abou't"objects, is aesthetic, business, pnlitics; an'd the'ndncalculative side, which '.:::::;,";,' .:;-',i',;;­' musical, poetic about persons, and is meditative about , rji'<,,i„;:;',:" creates poetry sculPturi','rr'iusic. These two sides have not.'.'."'',': himself. Where all these three meel r reatreinicin< inner being: the caTculative'side that creates science,

yet been bridged, they have separate existences. Because of;: ": happens, this man is immensely impnvcrished, remain s

Th i s is the r e al trinity, TRIMURTI. In the East,

unnecessarily lopsided — they have to be bridged , [n scientific language it is said that your brairi has two hemispheres. The left-sidc hemisphere calculates, is mathematical, is prose; and the right-side hemisphere of the brain is poetry, is love, is song. One side is logic, th c other side is love. Onc side is syllogism, the other side is song. And they are nnt really bridged, hence man lives in a Mv effort here is to bridge these twn hcmisphcrcs. Man should be as scientific as possible, as far as thc objective world is concerned, and as musical as possible as far as the world of relationship is concerned. There are t<vo ivor!ds outside you. One is th" world n f objects: the house, the money, the furniture. The other i s the rvorld nf persons: the wife, the husband, the mother, the children, the friend With objects be scientific; never bc scientific with persons, If ynu are scientific with persons you reduce them to objects, and that is one nf the greatest crimes one can commit. If you treat your v, ife only as an object, as a sexual object, then you are behaving in a ver y

':: "'-'. Hence, l say these three words have to b e r e m e m b e r e d three

muSiC, ~uSt ln and

I

G od i s kn o w n o nly when you have come to this sy nth e s is; otherwisc, you can believe in Clod, but you will n nt kn o v . And belief is just hiding your ignorance. Knowing is transforming, only knowledge brings understanding. And know!edge is not information: knowledge is the synthesis, integration, of all jour

and becom e nnc — when this great synthesis happens, .. . ,

m e d l t a t l O n , t h e h ig h e S t ,.'

ugly way, lf ynu treat your husband only as a financial support, as a means, then this is immoral, then this relationship is immoral — it is prostitutinn, pure prostitution and nothing else. Don't treat persons as a means, they are ends unto themselves. Relate tn them — in love, in respect. Never possessthem and never be possessed by them. Don't be dependent onthem and dnn't make persons around ynu dependent. Don'tcreate dependence in any wav; remain independent and let them remain independent. This is music. This dimension I call the dimension of

Osh<r Iftfi»gs - W ov/Der

You can b e come a sacred place, ynu can hallow this bo d y an d t h i s earth; this very bndy the Buddha, this very ear th t h e Lotus I'aradisc. This is my slogan for the san ny a s ins. A sannyasin has to be thc ultimate svnthcsis of / all that God is.

Where the s c ientist and the poet and the mystic meet

t h e lo w e st th e mi d d le ;

o u tsid e . You can scc the artist, his work is also outside. But y ou c a n not see the mystic, his work is subjective. That is SARASWATI — the invisible river.

pntential .

M' s l i k e th r e e R' s :

ma t h e m a t i c s

par ti cu la r l y in India, wc worship a place where three r iver s m eet — we call it a SANGH™ , ™ eti ng P l ace. A nd the gr e a test of all of them is Preyag, where the G anges and Jamuna and Sarasv ati meet. Now, you can scc the Gan g e s and you can scc Jamuna, but Saraswati is in vi sib l e — you cannot see it. It is a metaphor! It simply rep r e s ents, symbolically, the inner meeting of the three. Ynu can scc mathematics,you can see music, but you cannot see meditation. You can see the scientist, his work is

"'

when all the three faces nf God arc expressed in you­

YOU beco me a god. Then you can declare, "AHAM

BRAI I M A SMI! — I am God!" Then you can say to the winds and the moon and tn the rains and tn the sun, "ANA'L H A (-)! — I am thc truth!" Before that, you arc only a seed. When thissynthesis happens, ynu have bloomed, blossomed — you have become the one-thnusand-petal<d lotus, the gold< n lotus, the eternal lotus, that never dies: AES DHAMMO SANA N TA NO. This is the inexhaustible law that all the buddhas have been teaching down the

ages. J i iii i i I Iii' 1 ) li(1 i I i I i ii i/ Pili/it

I lii' 3'Vitri <if tlii // i i i /i//Irt, Val

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ETURN NG TQ A story b y H i r o

R E M ANTLE

T he Osh o A c a d e m y , S e d o n a

She left Fremantle on I January 1997, v ith the strong belief that shc had 'had it' with Australia; that Europe was much more alive, morc people (that is true!) and that she needed a major changr in her life (oh! again). She sold most of her things and the rest (fifteen tca-rhests) was shipped over to L'uropc. Nothing was left behind. She was 10(3'".<i sure she would never go back to I'rcmantle. There shc was again (like many times before; a well knnwn pattern...) with her suitcase, waiting for the plane to gn back tnEurope. She wanted to scc snow again, and she saw snow again. She wanted to experience other cultures and cnuntrics, and did. There shc was in the south of France surrounded by mountains and vineyards. I'retty environment, nice food, nice weather... and nnw what? What to do? No inspiration was there, nothing rould fill the emptiness. I'or two months she meditated, ate and slept, awakening every morning to the emptiness. She realised that whatever she was seeing, judging, feeling, doing, or trying to do, was just an escape to avoid feeling empty. She realised that Australia had nothing to do with her feelings of emptiness. Everything became suddenly clear; her roots were no more in this place than another and that the very concept of 'having roots' was just another idea. So in May she decided that Perth m as as good a place as any tn settle. She chose Perth because it offers beautiful surroundings, climate, good fond and an easy lifestyle. And, of course, the beautiful Sannyas community which she had missed so much when in France... yes that's what she really came back fnr! She and Dcvamarg are now starting a new business, creating hand-made creatures called 'FlooniesT><' which they plan to sell at various markets. Oh!...a funny thing

happened as soon as they sct foot back on Australian ground; creative energy came flooding through them...white nights and rreative days! And they would like to share with you all how good it feels to bc bark here!

'Would you write something about Sedona for Wings" said Sushecla.... Well, here goes. Sedona, Arizona. A small desert town twn hours from Phoenix. Many of the earths ley lines inter­ sect there, creating vortexes of energy in certain spots, it's a sacred place to the Indian tribes of the region — it does feel dif'fcrcnt than anywhere I' ve ever been, the air fairly shimmers with energy. Huge red rocks cradle the town­ famous rocks, with names like coffee pot, the cathedral, and the 3 nuns. Thunderstorms and rainbows and the most beautiful light plays over this sculptural landscape. It is as spectacular and mystical as you could wish. So, the story goes, into this lovely place came Kaveesha, to visit her daughter. And then came others...and from this, the "Osho Academy" evolved. A mysterious university devoted to the unknown. A beautiful meditation hall, a great restaurant, a plaza, a group program, "Oshos" boutique, a real estate office and a design centre - Scdona seems to have accepted the presence nf "the orange people", w ith little or no discernible angst. And so what was once known as the MysterySchool enters a new phase.

And there I came, 3 years later, schlepping a big bag of what I could only call intractable neuroses. My first day there — Masters day, A full mnnn over the red rocks and hundreds of sannyasins sitting silently in a fairy lit garden. A biplane files over head and sends showers of rose petals into the air, we lift nur arms as the music begins, pure bliss and benediction rains down. The work there is all structured around "Thc Psychnlogy of' the Buddhas", an intense five day learning environment that is pure Osho. I can only say that the effect it had on me was similar tn having ones ears syringed nut — I realised, my gnd, I have not been hearing the Master at all. I have been thinking that I am hearing him, and talking as though I' ve heard him, and believing I know what he is talking about, yep, no problem. While mostly missing him completely.

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Worse, I have been using Him as nanny, nurse, saviour and soporific. Embarrassing. It davvned on me that I do not know what a Master really is and that the Master is just completely beyond whatever the mind can conceive. In fact, the whole process for me was one of' reawakening to the unknowable. Without realising it (although I'm sure my friends knew), I had become identified with all sorts of spiritual parts of the mind — over many years of being a disciple and seeker, perhaps it happens to all of us to some extent. Anyway, I encountered arealcrowd of wiseass knowledgeable spiritual hotshots during this process, all focused on improving me, learning how to "let go", becoming a better healer, more knowledgeable, a more skilled therapist, a committed meditator, all thinking they were understanding Osho....and alf of these have opposite parts who do not want to learn anything at all.! ln the presence of the Master, somehow the whole thing is ridiculous, these parts are so tinny, and let go simply happens — occasionally - and I do not know how this happens, and for that I am so grateful, Grateful to Osho and the incredible clarity with which the "Psycho­ logy of the Buddhas" was conceived and transmitted. It became clear in Sedona that I am completely responsible for my own transformation, for waking up. And that it does take a certain effort. Even though "easy is right". Osho has given everything that is needed. It seems time to acknowledge this, and live it - living the under­ standing that I am not the mind, day by day, moment by

moment is what I'm left with now. And all the falling into ditches that entails. I remember Osho once saying something like "why be a beggar — my job is to make emperors of you all". While in Sedona I was vvalking through a beautiful canyon early one morning, in complete bliss, and somehow could just see how unnatural it is for humans to be so trapped in the mind — as though it is all just a collective misunderstanding thathas become really outdated and almost boing! So, here I am, back in this sweet town, Fremantle, feeling fresher, lighter, and ready to go on learning. And that big bag of intractable neuroses? - well, I' ve schlepped it right on home again. What to do7 M a Dev a D h a r a

Back in the 80's I did yoga with Ma Upidesh and came into contact with other Sannyasins in Fremantle. My parents wanted to renovate their house and I discovered the existence of the Oregon Building Company at the Fremantle commune, Prabhat designed a house for them and the Oregon builders won the contract to build it. This involved lifting off the roof, blowing out the walls and rebuilding - which is exactly what then happened to me! At this time I vvas practicing Transcendental Medi­ tation and was fascinated to watch big Sam, IRahim and company meditating around the pools and ponds in the back yard. The energy was incredible. An eight foot photo of Osho was placed on the first story of the new house and I decided at that time to get married. I re­ turned to live at home for the three months prior to my wedding. As there were no rooms as yet I curled up in a sleeping bag under the photo of Osho. Whoops, fatal! I invited the Oregon builders to my wedding and it was on that day I experienced let-go for the first time on the dance floor. My gift from the builders was the Osho book, Meditation The First & Last Freedom,which came with me into the desert ~here I spent the next five years. Finding no way to create balance in my life with my husband I went to Poona for a short holiday (which extended to one year!). The day I left for this two-week vacation was 19 January 1990, the day Osho left His body. I arrived in Poona not knowing anyone and was greeted with a wall of celebration energy, so tangible you could almost touch it. Within the next few days fifteen thousand Sannyasins arrived in Poona to "Greet the Breeze of the Buddha" and in the first Sannyas celebration after He left ldis body I found myself with eighty-three others being pushed off the fence. YaHoo!

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Osho Intensive Theatre Workshop

rom eaI:re to n Reflecting back on the recent Oshn Theatre Intensive wnrkshnps I m ould have to say they were the most powerful yct. As the Osho Theatre workshops roll on into their third year they seem to gather momentum at each turn. Thc last lot of highly creative thcspians showed fearless courage that had no bounds and I v as constantly nvcrm he!mcd and astounded by these highly articulate, gorgeous beings. I also felt sn privileged and honoured tn have worked to such a depth with them and thc tears flowed regularly for me over the inherent beauty and essence portrayed on stage, Where to from here? Well, it never ends (thank you Osho) and we' ve been invited to attend the Performing Arts Market in Adelaide next February which means that Osho Theatre W.A, goes to the rest of the world! We' ll also attend if we can gct something else happening down home in Margaret I<iver. So break a leg. All my love to everybody Divy a m "My personal experience of the Osho Theatre Intensive workshops was very exciting in that I was given the space to explore aspects of myself in an environment of safety and trust which Divyam has the heart and expertise tn create right from the very beginning of the workshops. Lsing costume, theatre techniques and bodypaints we mere silently and meditatively pushed beyond our limits ­ all of us — and after so many years of this group and that group, I experienced a new, refreshing, intimate, loving and very, very creative way of opening new doors within myself. I felt very grateful to be witness to the stunning and staggeringly beautiful creativity that unfolded in everyone else who participated. I' ve always dreamed of a 'cavaranserai' of Osho's people doing roving thcatte- and

t e nment

"A fluffy flurry of theatrical fantasy passed through my mind and was given the label Osho Theatre Company by pcrsnns ofquestionable character and dress sense. Over a period that seemed like twn weekends separated by a blur of self analysis a tapestry of possibilities took shape, A holographic dimension of opportunities to express and explore. To quote Bonnie I<aitc, "...to get on into it baby down where its tangled and dark. Way on into it baby dnwn where your fears are parked." As a gaggle of unlikely characters we mere bound together by the universal motivator of ego expression. We laughed, cajoled and threatened each other to exploit every possibility that Dynamic Divyam, our beloved leader, stumbled upon tn justify her exalted position. Each moment that I spend reliving an incredible experience is framed in deference and gratitude. A unity of purpose unique in its diversity allowed each participant to grow and explore, A prnccss that while soft and subtle had the strength and power tn take each onc to their nwn personal edge of' experiencing. Sufi Sam said."Ynu can get more stinking from thinking than you can from drinking but to feel is for real." Thanks guys, Pra nava The September Osho Theatre Intensives stand out as major transformative leaps into my cxpressinn as a powerful and dynamic human being; equalled only by birthing my birthing by two gorgeous children and the first Osho T heatre Intensiv e year. No joke ! powerful beyon d and intimate tha n

w n r kshop s l a s t Th ese vvor k s h ops are descr ip ti o n and more fun an yth i ng I ' ve experienced since childhood. The depth of support, level of trust, being gently lcd towards the creative edge, exemplify the solid corncrstnncs that

after tm o years of doing the Osho Theatre Workshops, I'm hooked! I encourage everyone to come and play and ex­ perience the joy of transformation thrnugh the medium of Osho 1 hcatre." Ma Anand Geha "The Intensive gave

@:, '

me the opportuni­ ty to experience the limits of my s c t y zone and expose other parts of me in a challenging, fun and supportive setting. The Osho Theatre company­ like a good cereal, full of flakes, fruits and nuts.

I felt right at home."

12

"happenings" are b ascc l o n . I

a rn cons tan llv reminded that this is "Osho's Theatre" and "Life-in-thc-raw" director.. ~~~~ becoming a live sculpture body painted in a rock-scape off 'Ne south coast, to being "nessed rc-birthing myself; in

Jag na

Osho W ings - X o v l o e c


my very own transformation ritual / psychodrama; THIS IS LIFlio MAXIMUM POTENTIAL. YeeHa! Come, come, yet aga1n come, Love, Life and Laughter, Pra rtha na Once upon a time in a cultural centre not too far away, (down on the beauteous banks of the Swanee River in fact) there gathered a troupe of sundry misfits and seekers all enamoured with the mystical and ego enhancing art of acting, They had not arrived at this place by chance for they had heard the many pamphletted call of Divyam and her companions, Pranava a lecherous minstrel and Prarthana the many scented amazon, For two days the fair maiden and her companions struggled to impart unto her wayward pupils the secrets of the stage. But all was not

I

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oprarthana Grace has a rare ability to introduce Divine

healing energy into the body. After my first session, l

manded greater therapy and emotional challenge. And thus Divi summoned the brave knight Miguel who smote the hecklers with his mighty Buto and they were vanquished. As Sunday dawned the weary troupe embarked on one last day of perilous self-expression, risk and exposure and the sun set on a most remarkable weekend." Mo

didn't know what hit me but l knew it was great." Anand lagna, ivj.S. jnjernejjonej Group Leader

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November 8th - The next Avatar Training starts. If you want to know more about the Training. Please call Pameo for more information on 9336 3656. "The sincere person does the right thing without trying, understands the truth without thinking, acts in keeping with the moment." Tao Te Ching 9th - Satsang with Live Music at Osho Leela Be there by 11.00arn I 6th - Meditation Day 9.30am - 5,00pm Bring your own lunch, Tea & coffee provided. I 7th Nov - 22nd D e c Aligning to the Divine Feminine with Prarthana A six week journey into the most vulnerable & power­ ful aspects of our woman­ hood. Using movement, meditation & Taoist Healing Exercises. Re­

Osho W ings - N o v / D e c

uniting and strengthening the sexual, reproductive and creative force with the heart. See Ad on page 13

14th - Meditation Day 9.30am - 5.00pm Bring your own lunch. Tea & coffee provided.

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2 5th Nov - 'l 8th D e c Chi Kung & Taoist Healing with Prathana Tues & Thurs 7.15 - 8.15 A 4 week course in the Shoalin style " Pa Tuan Tsin" coupled with Taoist Healing sounds to harness earth and sky polarities. Cleanse, strengthen & re­ align the central energy centres of your body. See Ad on page 13

Awareness in the Market Place with Indi var, Starting mid-December

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Upcoming

Practitioner Training in the Third Psychology with Indivar. Starting mid­ March. Osho Theatre Intensive Stay tuned for details of the next workshops. If anyone has suggestions regarding putting on original works, etc feel free to call Divyam on 08 975 71124 '.Osho Leela Meditation Centre. ,:New Office 6 I.tbarary Hours

' ~r,'~' 'Mo 10.00-'''1.00prnjjj:,':,!'~W .",'!' Wed ',4.00.-' 630 pmgri";,'q

...'+or,info phone 9336 50900j<


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Osho Wings vol 4 nr 6  
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