Skip to main content

Retreating

As a mindfulness teacher I remain an eternal student, for we never ‘arrive’ at enlightenment, though we may continually pursue a deeper and richer practice.  Going on retreat is a tremendously rewarding way to do this, entering an environment dedicated to rigorous practice and lively learning. 

For me, there is something particularly special about a residential, arriving somewhere in which there is literally nowhere to go, and nothing to do, beyond entering into a different mode, with a deliberate shift of gears, mental and physical.   A week long retreat is somewhat of a luxury, as well as a challenge, and requires a degree of preparation and subsequent ‘arrival’. 

The first day is an opportunity to do just this, and having travelled to somewhere new and unknown and be in the company of a group made up of likeminded, though unknown fellow travellers, there is much excitement, and curiosity, and a feast for the mind as it goes about its usual business of planning, and judging, in spite of an explicit and conscious intention to do otherwise.  So, whilst the essence of being on retreat is revitalising and rejuvenating, there is a process to get there, and after a day spanning over 14 hours, I must conceded exhaustion, albeit a contented one. 
Coming away, and giving myself an opportunity to adopt a ‘beginners mind’, to experience the practices, guided by others, afresh and, ideally, as though for the first time is a significant component of maintaining my practice.  Just as I take my car for its service, my practice needs to be investigated, and replenished.  A retreat serves this purpose, and provides a wonderfully supportive opportunity to dust it off and blow out the cobwebs, clearing the landscape, and enabling me to see with new perspective.  The acts of intentionally creating space to attend, and deliberately slowing down, allows me a chance to ask myself some important questions, about both the direction of my practice, and my life in general. 

Comments

Popular posts from this blog

Table. Apple. Penny.

Whilst there were several places I might have been that morning, I wouldn't have been anywhere else.  The practitioner from the Memory Service arrived promptly.  I liked her instantly.    Mum was nervous.  I think I was a little, too.  It's been a difficult year.   "It's Friday, it's the fourteenth of December and I'm at home..."   No problems there.  CAMCOG, or the Cambridge Cognitive Examination is a thorough assessment tool used to assess the extent of extent of dementia, and to assess the level of cognitive impairment.  The standardised  measure assesses orientation, language, memory, praxis, attention, abstract thinking, perception and calculation.    "Table.  Apple.  Penny."   Three everyday items that were introduced at one point, and then referred to again later on.  Again, Mum was able to recall each.      I am reminded that the...

Glass half full? Glass half empty? Or perhaps the glass is broken

I am, constitutionally, a glass half empty gal.  I will always first acknowledge what I don't have, what I have lost, and what it is that I am seeking.  I tend to overlook my strengths, concentrating only on those bits of me that are underdeveloped or weak.  I refer to myself as a realist, but in doing so compliment myself and insult those who genuinely are simply realistic.  My modus operandi is to identify what's not working and acknowledge this before seeing more clearly what functions perfectly well.  This has its place: I edit others' written work pretty well.  My fastidious attention to detail serves me, and the author.  Accuracy counts, for me and I have an excellent memory.  I can remember a great many of my sessions with clients verbatim.  Even this asset is something I can, and do, diminish the true value of, by concentrating on 'I should have said...' or 'why didn't....  occur to me during the session?' Earlier this we...

Joan Miro: Emotional Art

"Painting and poetry are like love; an exchange of blood, a passionate embrace, without restraint, without defence.  The picture is born of an overflow of emotions and feelings." Miro, The Farm 'La Masia' (1921-22) I learnt a great deal about Miro on a recent visit to the Tate.  I learnt a great deal about a lot more too. Miro wanted to discover the sources of human feeling.  He described his method of creating poetry by way of painting, using a vocabulary of signs and symbols, metaphors and dream images to express definite themes he believed to be fundamental to human existence.  The exhibition displays his sense of humor and lively wit.  His chief concern was a social one; he wanted to get close to the great masses of humanity, and he was convinced that art can only truly appeal when it resonates with roots of lived experience.  "Wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly.  Courage cons...