Showing posts with label Daily Practices. Show all posts
Showing posts with label Daily Practices. Show all posts

Friday, September 21, 2012

Interview with Sister Dipa

Sister Dipa will receive ordination as a bhikkhuni in October 2012. She currently resides at Mahajapati Monastery and generously agreed to answer some questions regarding her path of practice and the importance of supporting full ordination for bhikkhunis within the Theravada tradition. 

We are very grateful to Sister Dipa for her generosity in leading the BOW Buddhist Meditation Group (2004-2009), her example in putting the Buddha's teachings into practice, and her willingness to share her time and thoughtful answers with us. 

****************


This embedded video can also be viewed at Youtube HERE
A synopsis of Sister Dipa's answers can be found HERE (PDF).  

In this interview, Sister Dipa answers the following questions for our reflection:
  1. How long have you been practicing and what first inspired you to study and practice Buddhism? 
  2. What practices have been most helpful in sustaining your commitment to the path? 
  3. Tell us about your daily responsibilities at Mahapajapati. 
  4. What are some practical ways and benefits for isolated lay Buddhist communities (like ours) to be related to monastics? 
  5. What is the significance of bhikkhuni ordination to you personally and for the Buddhist community as a whole?

Monday, September 10, 2012

Beginning a Chanting Practice

This handout was meant to help someone understand some of the reasons for including chanting in a daily practice. It can also be downloaded as a pdf file


***********



1. What is chanting?

Chanting is the recitation of Buddhist texts using an agreed upon style of rhythm and intonation. This makes it more suitable for group recitation and aids memorization.

2. Are there any reasons I should NOT chant?

The Buddha always encouraged us to be aware of our intentions in whatever we do, and chanting is no exception. In the Vinaya Pitaka (ii. 108) we are warned:

Bhikkhus, there are these five dangers when Dhamma is chanted with a long, singing sound:
  • He is pleased with himself regarding that sound, (= pride)
  • others are pleased regarding that sound (they have regard for it but not for Dhamma)
  • householders look down upon him (as music is for those who enjoy sense-pleasures)
  • while trying for accuracy of sound his concentration is broken, (he neglects the meaning of what he is chanting)
  • people coming after fall into views (by emulation) ("saying: Our teachers and preceptors sang it thus" [Commentary] — a source of both pride and quarreling among later generations of Buddhists).”

"Lay Buddhist Practice: The Shrine Room, Uposatha Day, Rains Residence", by Bhikkhu Khantipalo.

3. So, why chant at all? Why has chanting remained a part of Buddhist practice across traditions and cultures?

Quite simply, chanting is a mindfulness practice, an intentional act in which we bring and keep the Buddha's teachings in mind.
  • We become familiar with the teachings, call them to mind throughout our daily activities, reflect on their meanings for our personal lives, and make choices that arise out of the wisdom of those reflections.
  • The chants become incorporated into our thoughts, speech and actions.
  • Chanting is also an act of confidence in the Buddha's teachings and in our own ability to change, a sign both of respect and commitment.
  • Chanting helps to build concentration and positive mood states and can be a very effective preparation for meditation.

4. What language should be used to chant?

It is common to learn a some chants in Pali and others in your vernacular. Chanting in Pali has the advantage of helping the practitioner become familiar with key words and phrases that occur throughout the Buddha's teachings. But chanting in your native language gives you more immediate access to the Buddha's teachings and the benefits of chanting.

5. How do I chant?

Normally, the practitioner would kneel or sit in a respectful position and bring hands together in anjali (hands together, palm-to-palm, at heart level). As for the chants themselves, different traditions will use different words, rhythms and tones. Chanting leaders, book collections of chants and audio recordings all provide good ways to learn.

6. What are some common chants?

Many lay Buddhists will memorize different homages to the Triple Gem (or the Buddha specifically) in Pali, as well as the 5 or 8 Precepts. Formal requests (e.g., for a dhamma talk or taking refuge) are also commonly used at monasteries. Teachings commonly chanted include: the Metta Sutta, Subjects for Frequent Recollection, the Dhammacakkappavattana Sutta, and the Four Requisites. For a daily practice using both Pali and English, the Salutation to theTriple Gem and Passage of Encouragement combine both devotional and didactic elements.

All of these chants (and more) can be found in chanting books and recordings, online, without charge. For example, Amaravati Monastery has placed audio recordings with an accompanying book (pdf) together for easy access (http://www.amaravati.org/teachings/audio_compilation/1958 ). The Saranaloka Foundation also offers a chanting book and a few example audio recordings (http://saranaloka.org/teaching/chanting/ ). 

Sunday, August 5, 2012

Two directly observed levels of selfing-becoming


-contributed by Joe Costello

"I teach the Dhamma for the abandoning of the gross acquisition of a self, such that, when you practice it, defiling mental qualities will be abandoned, bright mental qualities will grow, and you will enter & remain in the culmination & abundance of discernment, having known & realized it for yourself in the here & now. ... I also teach the Dhamma for the abandoning of the mind-made acquisition of a self... for the abandoning of the formless acquisition of a self, such that, when you practice it, defiling mental qualities will be abandoned, bright mental qualities will grow, and you will enter & remain in the culmination & abundance of discernment, having known & realized it for yourself in the here & now..." - The Buddha, Potthapada Sutta (DN 9)*

Just as everyone’s journey is unique, everyone’s practice seems to be different. Due to temperament or developmental history specific themes and aspects of the Dhamma can predominiate for different practitioners.

For me, one way to cultivate interest in mindfulness/concentration immersed in the flow of experience has been to frame practice as an investigation of selfing-becoming events. This is a little more complex than observing body sensations and thoughts but one has to observe body sensations and thoughts to observe selfing-becoming. The selfing-becoming process can be detected, observed, isolated and taken a part with even a moderate amount of concentration and mindfulness if the inclination and intention to do so is genuine. The Pali suttas clearly and repeatedly exhort us to critically examine self-fabrication in relation to the flow of experience.

For me anatta has always been central. I devoted a lot of years to studying and chasing the elusive “self” that seems to be at the heart of our culture and most peoples mental architecture. Despite graduate degrees in both sociology and psychology, I wasn’t ever able to locate a stable, static self anywhere. It wasn’t in the body, neurochemistry, social relations, intersubjectivity or cultural identity. It also wasn’t “in” the construction of the last three.

What I did find was lots of little bits and pieces of events and processes that are often assembled into projections of self. While I can’t speak for other practitioners, all I have ever been able to observe is just the activity of assembling and projecting. There isn’t even an assembler or a projector behind any
of this selfing-becoming activity. Any sense of self is always linked to some evanescent event of consciousness or experience. It is never stable and was always morphing and shifting around. It is always arising and passing away in the most unpredictable and inconvenient ways. The inability to control or stabilize a sense of self is something most of us are familiar with. The machinations we engage in trying to control or stabilize a sense of identity or self is often a great source of suffering.

I would like to talk about two levels or dimensions and two modes of selfing –becoming activity that I have directly observed through mindfulness. As mentioned before there are many entry points to the Dhamma. Even if you aren’t particularly inspired by this line of investigation it may inspire you to discover a theme or line of investigation that yields beneficial insights for you. We should always strive to be curious, open, respectful and encouraging about each other’s practice, even if someone’s practice doesn’t look like ours.

Blatant selfing-becoming around views or identities is usually pretty easy to spot – at least in others.
The relationship between selfing-becoming and sensory contacts is sometimes a little harder to detect because it is usually ubiquitous and more generalized. While the mindfulness-concentration feedback loop creates the right conditions for selfing-becoming to be seen for the activity it is, we have to also cultivate a sense of unconstricted curiosity and the genuine intention to see it. Mindfulness can help us to create enough space between the experience of the fabrication and the fabrication to actually make the distinction.

The two levels of selfing-becoming I have been able to detect are the diffuse-fuzzy level and the stronger, sharper object-subject levels. The edges at the diffuse-fuzzy level are softer and less defined. I most notice the diffuse-fuzzy dimension when I am sitting quietly, in between tasks, or when I am attending to some object without any particular purpose or intention. The two dimensions seem to oscillate back and forth a lot. The diffuse-fuzzy level can have an object (like gazing at the stars or out a window) but the relationship to the object is more open, softer and looser. While the level is more diffuse there is still a fuzzy but definite self-centered, self referential orientation to the experience.

The hallmark of the diffuse-fuzzy level is a more vague and neutral sense of self-reference or self-orientation. It is precisely because the vague, neutral sense of self orientation operates implicitly in the background that we have a hard time noticing it as activity at all. The activity of discriminative awareness at the diffuse-fuzzy level can be compared to the way the mass of a planet invisibly warps space-time. It is a very subtle level of distortion that can easily be missed.

At the object-subject level there is a much sharper, more clearly defined and intentional relationship between object and the sense of self. Here the sense of I or me is much stronger and more clearly defined” in relation” or “in contrast to an object. Both “in relation” and “in contrast to” show the dependent nature of this level of selfing-becoming. At this level we often relate to objects or experience in terms of wellbeing, integrity or identity. The appropriation or rejection of the object-experience is seen as imperative to preserving wellbeing, our sense of integrity or our sense of a consistent/coherent identity. Examples of this level can range from feeling like “I”really need “that” (fill in the blank) to make everything right with the world to “that” or “they” are an affront to my existence. Buddhist psychology and object-relations theory in Western psychology. The cycle of lack and desire has no end.

If we include mind as an internal sense organ and mental objects as a form of sense consciousness the second level of selfing-becoming (object-subject) wouldn’t actually have two dimensions. I have found it helpful to distinguish between selfing-becoming that arises around the Western five senses and the selfing-becoming that arises around purely mental objects. Since mental objects often arise due to sense contact the distinction may not be helpful for others.

The two modes I tend to notice at the object-subject level are the sensory consciousness mode (becoming) and idea/story consciousness mode (selfing). The sensory consciousness mode is a reaction to a sensory contact, “that is wonderful”, “this is awful”. Preference, reaction, polarization and intention really become active at this level. It is in this mode we can detect the beginnings of a becoming in relation to some contact or element of experience. If the proliferation isn’t seen and dropped here the idea/story mode generally comes on line and takes it to the next level. It does so by fashioning a distinct kind of self-projection around, in relation to, or in contrast to a particular sensory contact or element of experience. The two modes almost always interact and get entangled so that is the reason for the selfing-becoming compound here.

Selfing-becoming in the sensory consciousness mode is almost always organized around desire or aversion. When I hear an irritating noise impinging repeatedly with aversion arising and passing away enough times it seems to trigger a quick transition from the diffuse-fuzzy level to the object-subject level. Selfing-becoming proliferation starts constructing and projecting a self suffering the impingement and irritation. The self projection is dependent not only on the aversion but the ongoing sensory contact/impingement. The sensory contact and aversion are the raw materials that get woven into the fabrication of an irritated self.

The idea/story mode then often kicks in and starts generating all sorts of views and stories about why this is happening and what needs to be done about it. The self created in the “what can or needs to be done about it” story is actually slightly different than the “irritated self” construction. They are related because they share some raw materials but “what can or needs to be done about it” self starts drawing on newly proliferated materials. The two versions of self might even be merged at some point.

Selfing-becoming in the idea/story consciousness mode on its own involves selfing activity around imagined five sense sensory contacts, views, identities, mental associations, mental activity and social interactions. Selfing-becoming around social interactions includes my reactions to others and the perceived reaction of others to me.

Because the raw materials or foundations we use are using to fashion I-me mine are evanescent and constantly disintegrating the episodic sense of I-me-mine-becoming always wavering, unstable and less than real. The sense of I-me-mine-becoming is constantly flickering, oscillating in and out of existence. It is always decaying and dying. We are constantly working to keep all the balls in the air lest the uncomfortable voidness or emptiness creeps back in. Part of the magic built into the process here is that we are actively hiding the momentariness of it all from awareness. From time to time the juggling act lapses at a certain point in the cycle but due to the momentum of past kamma it always reboots. Due to fear, ignorance and compulsion, the process is never allowed it to lapse for long.

When directly observed the sense of self ebbs, flows and morphs moment to moment – object to object and contact to contact. It can be soft, vague and diffuse or constricted, florid and hard-edged. The common landing spots for the construction-proliferation of a grasping-self micro event include will-intention, the background sense of the body, movement, sense contact, habitual reactions to others, reactions from others, provocative associations, conditions, views, aversion and desire regarding pleasant/unpleasant sensations of hunger, thirst, hunger, heat and cold. The raw materials are plentiful and never seem to exhaust themselves. The thing is that all of these phenomenon are just discrete, empty, selfless bits and pieces. Even the assembly program that gets triggered is itself empty.

The message of Bahiya Sutta hits home. There really is no I-me-mine with regard to this, this or this.
The body is just the body. Sensations and reactions are just sensations and reactions in and of themselves. It is through grasping, compounding, slanting and distortion that a self is fashioned and projected from very particular bits and not others.

We choose to see and reify the assemblage but not the assembling.


This looks like a good place to bring things to a close. Hope that this has been of some help or of some benefit to others interested in anatta as a theme of practice. May your practice flourish!!!

Sukhi Hotu!

Sutta’s that illustrate the relevance of closely examining sense experience:

  • *"Potthapada Sutta: About Potthapada" (DN 9), translated from the Pali by Thanissaro Bhikkhu. Access to Insight, 12 February 2012, http://www.accesstoinsight.org/tipitaka/dn/dn.09.0.than.html . Retrieved on 5 August 2012.
  • MN 43: A monk goes to sit in a quiet place and intentially perceives the six senses and their objects as empty of a self or anything pertaining to a self.
  • MN 137: Salayatana-vibhanga Sutta: An Analysis of the Six Sense-media
  • MN 149: Maha-salayatanika Sutta: The Great Six Sense-media Discourse
  • Ud 1.10: Bahiya Sutta: About Bahiya
  • SN 35.23: Sabba Sutta: The All. The All as defined as sense consciousness
  • SN 35.24 Pahanaya Sutta: To Be Abandoned. What, exactly, is it that we must let go of? (sense bases and sense contact)
  • SN 35.80: Avijja Sutta: Ignorance. What one thing must be abandoned in order to overcome ignorance? Seeing sense bases and contact as separate.
  • SN 35.187: Samuddo (1) Sutta: The Ocean (1). What does it mean to cross over the ocean of the six senses?
  • SN 35.85: Suñña Sutta: Empty. The Buddha explains to Ven. Ananda in what way the world is devoid of anything that can rightly be called "self." Again, points to sense contact.
  • SN 35.132: Lohicco Sutta. Ven. Mahakaccana's advice on guarding the sense doors.
  • SN 12.11: Ahara Sutta: Nutriment. Sense-impression is a basic nutriment, that is a sustaining condition of life, and what is nourished or conditioned by it are feelings or sensations (vedana) which are living on that multitude of constantly occurring sense-impressions and assimilating them as pleasant, unpleasant, or indifferent.