Creative Tension

During a recent zazenkai, a student commented that Zen practice was too masculine...not feminine enough. I understood this to mean that our practice is too severe, rigid, even harsh. The practice is neither male nor female, neither harsh nor gentle. Our involvement in the practice may be harsh or gentle, but the form itself simply serves as a catalyst for maturing our innate wisdom. We can support this process by maintaining an atmosphere of creative tension - in a sense we are consciously painting ourselves into a corner so we can manifest our "best stuff." Let us investigate how this subtle practice (our inheritance from the patriarchs) serves us through posture and breath.

By sitting full lotus (Kekka-fusa) or working towards it, we create a challenging situation that can be transcended by dissolving ourselves into the posture through acute attention to and release of breath. Definitely a stretch! One has to learn to accept pain rather than resist it. Yet a wonderful thing happens. This increased attention brings us back to our breath. This in turn creates a lessening of anxiety and pain changes to sensation. But what is really interesting is the awakening of the wisdom that knows "this whole world is my content, this whole world is non other than myself." The obvious question is "why not take a comfortable position and then simply stay with one's breath?" Because we are (apparently) unable to do this or we refuse to do so. Without the catalyst of the full lotus posture, it is a rare individual who can embrace his/her breath deeply enough to affect a change. A challenging posture demands that we breath completely. One does not have a choice to pay attention or not; even daydreaming is a luxury that one cannot afford. Change happens when we are fully tested to our limits; our training helps us become free in all kinds of situations, not just when we are in the "clutch of agreeable circumstances." What individuals tend to do is simply become superficially comfortable, persist in shallow breathing, and get lost in thought. If a student moves any time he/she is in discomfort, there is no opportunity to get in touch with the pervasive restlessness that is the basis of the "I am" self. Staying stuck in choosing comfort or convenience in all situations leads to a type of comfort that is a mere shadow of the profound peace and clarity that Shakyamuni Buddha enjoyed.

Of course kekka-fusa, (described very superficially here) and breath are simply aspects of this creative tension that supports us in our practice. This creative fire is also fanned by a challenging schedule, the constant emphasis on group practice, and the form itself. When all this comes together we can be ready and willing to take full responsibility for ourselves and others.