Dr. Marc Gafni: Paper on Three Steps to the Democratization of Enlightenment
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Marc Gafni on Post-Postmodern Art: A New Article in Parabola Magazine
By Marc Gafni
Artist Claudia Kleefeld is not the first person to see the symbol of the spiral as being a portal to a vision of a coherent cosmos. She is original in that she is a first-rate, old-master-style artist with thirty years of training, who paints the spiral as an expression of an Eros of certainty that asserts the utter meaningfulness, depth, and order of the cosmos. Kleefeld’s paintings emerge from her own opened eye of the spirit and speak directly to the higher spiritual intuition of her viewers. Finally, Kleefeld is unusual in that she is part of an emergent form of art, which seeks to reveal the enchantment of a cosmos ”” a cosmos that is good, true, and beautiful.
I am delighted to present an article which celebrates the work of Claudia Kleefeld, one of the brightest shining lights in the universe of art today. My new article, “Post-postmodern Art: A Return to Belonging,” is now published in the latest issue of Parabola Magazine.
Marc Gafni’s “The Future of the Holy: From Sex to Eros” Appearing in Spanda Journal
Marc Gafni was recently featured in Spanda Journal, the peer-reviewed biannual publication of the Spanda Foundation.
The Spanda Foundation offers publications related to “sustainable advancement of peace, knowledge, and understanding.”
Marc’s article, entitled “The Future of the Holy: From Sex to Eros,” begins like this:
“Sex. Is there anything else that so grabs our rapt attention, inessantly pursues us, occupies our daydreams, fantasies, and yearnings? The kabbalists state the obvious: God is trying to get our attention. Now I am not talking about the God who sends good people to burn in hell because they slipped up on one of his impossible demands. nor even the Grandfather in heaven who hands out chocolate to do-gooders. Forget that God. The God you don’t believe in doesn’t exist. Rather, the God that exists for us is the personal erotic life force that courses through reality. The God we believe in is the vitality of eros. The God we believe in is the force for healing and transformation in the world. The God who knows our name. That is the God who so clearly calls out to us that sex is the answer.”
For the entire article, click: SPANDAJOURNAL_C&D2.0_Marc_Gafni.
See: Gafni, M. (2012). “The Future of the Holy: from Sex to Eros”, Spanda Journal, ed. S. Momo, III,1: 131-139.
Dr. Marc Gafni: Foundations for World Spirituality: Learning the Language of God (Part 1 of 5)
Editor’s note: This is the first part of 5-part essay, published as a white paper of the Center for Integral Wisdom think tank. For Part 2, Part 3, Part 4, and Part 5, follow the links.
“As the Kabbalists point out, the word Moses spelled backwards is Ha Shem, meaning ‘the name.’ Importantly, Ha-shem in biblical Hebrew also is the most common reference to God’s name. When you respond to your call and realize your soul print, fully becoming your name, you become one with God. When Moses did this, he found his voice, he became a prophet.”
By Marc Gafni
To live your story is to move from a state of slavery to freedom. Slavery is not limited to our old image of the oppressed Hebrew or black slave being whipped by the cruel master. We are all potentially free, just as we are all potentially slaves. Our intent in this brief essay is to at least begin to unpack a core intuition of the Zohar that a free person is a person who has found voice. As we shall see in the very last paragraphs of this discussion the implications of freedom are wondrous indeed!
The Hebrew name for the Passover Storytelling Ritual, which celebrates and reenacts the dynamic movement from slavery to freedom, is Pe-Sach. Renaissance mystic Isaac Luria reminded us that Pe-Sach is a combination of two words Peh, meaning “mouth,” and Sach, meaning “talk.” Pe- Sach, therefore, means the mouth that talks.
One school of Hasidic masters unpacks this idea by defining redemption as the emergence of speech. To move from a dumb and mute existence to a communal storytelling existence is to undergo redemptive transformation. “To be redeemed,” writes one mystic, “is to lead a history-making, storytelling, communing, free existence.” To be in exile is to lack history, tell no story, fail to commune, and exist as a slave, silent.
The most oft cited source for this idea is a stunning passage in the Zohar which describes the Egyptian slavery as the “exile of speech.” In Kabbalah, every biblical nation represents a different organ of the body; Egypt represents the throat. The mystics read the Hebrew word “Egypt” literally as meaning narrowness. The throat is, of course, the narrow, constricted passage between the wide spaces of the heart and mind. The narrow throat, Egypt, is thus the ideal symbol for the exile of speech. Speech remains caught in the throat, in the dark passage, and can’t make it to freedom’s gateway, the mouth. Redemption comes in the birth of the word. In the actual process of your retelling, you reclaim your story. But to be capable of retelling your story you need voice. Redemption then is the process of finding voice.
The Greatest Persecution
In the Nazi concentration camps, certain people were referred to as mules. They were so broken that, although not physically impaired, they could no longer speak. Among animals, mules are the hybrid of a horse and donkey, unable to reproduce themselves. These human, muted mules were so traumatized, their souls so mangled, that they too were unable to “reproduce themselves”–to express themselves in speech.
The great master Kalonymous Kalman of Piacezna wrote from the flames of the Warsaw ghetto that the torture of the exile is not only in the physical suffering but in the inability to cry out – the loss of voice. “The people have become mute,” he cried out in a teaching given in 1940, just weeks after his son and daughter in law and many of his disciples were brutally killed. The teaching was on the story of Joseph and his brothers in the book of Genesis. In a dream, Joseph sees “the binding of sheaves in the midst of the field. And behold my [Joseph’s] sheave, rose up.” In the simple reading of the text, this is a dream of Joseph’s future power. The bound sheaves represent the servility of his brothers while the rising of his sheave is an expression of his potency. Joseph is predicting he will be lord over his brothers. Kalonimus Kalman uses the classical interpretive method of the mystic–reading the text independent of its context (here, Joseph and his brothers) and focusing on subtle wordplays and dual meanings–to extract a deeper spiritual meaning. For Kalman, the sheaves represent his disciples. The word for sheave in Hebrew also means “mute”: “My disciples are mute in the field of the spirit.” They have lost voice. Their suffering is so intense that it defies and destroys all expression. “However,” continues the master, “my sheave–that is, my muteness–must rise.” By this he means, “I must find voice.”
Kalman sees the role of the mystic leader, himself, as retaining voice, holding on at all costs to the ability to talk. He does not mean speech in the technical sense, of which even the slave is usually capable. He refers rather to the ability to have the voice that allows you to remain the storyteller of your own tale””even in the face of Nazi horror.
Kalonymous Kalman took on this role by continuing to teach even when he couldn’t be certain anyone survived to hear him. He risked all to record his teachings and hide them in the hope they would be found by some future generation. He was continuing to tell the story. In an act of heroic protest, he refused to allow the Nazis to claim “his-story.”
Kalman’s book, along with his voice, was lost in the war. He died in the Treblinka concentration camp and his book disappeared. Although he left word that he had buried his writings before being deported, they were not to be found. That is, until almost fifteen years after the Nazi defeat when a Polish worker miraculously discovered them in a pile of rubble and somehow understood their importance. The work has since been published. Treblinka may have succeeded in killing the Master of Piacezna, but it could not kill his voice. He died but his words did not. His voice triumphed.
Voices can indeed triumph even when the storyteller dies. For a version of Kalman’s story that is completely different yet exactly the same, we turn to Alice Walker’s classic work, The Color Purple. The novel focuses on two sisters, abandoned by their father to the custody of a man referred to as Mistah. One sister gets away. The other remains behind. What keeps the captive sister from losing her soul? The letters she sends to her sister. By telling her story she avoids be sucked into the slavery’s dark and deadly vortex.
In Blaise Pascal’s words, silence is “the greatest persecution.” Silence can forge the bonds of slavery even if you have not been sold by Dad to a man named Mistah or suffered the brutality of Nazism. Whenever you give up the belief that you are special and deserve to have a voice, you become a slave. Whenever you work in a place that instills fear, whenever you are afraid to speak up and ask for what is your due, you are a slave.
This post is the first in a five-part series of posts, “Foundations for World Spirituality: Learning the Language of God.” For Part 2, Part 3, Part 4, and Part 5, follow the links.
Tears and Transformation: Toward the Redemption of a Crying God
Excerpted from Chapters 1, 10, and 11 of Reclaiming Rosh Hashanah: The Dance of Tears (forthcoming, Integral Publishers)
Photo: Pink Sherbet Photography
Summary: In this essay, excerpted from Marc Gafni’s forthcoming publication Reclaiming Rosh Hashanah: The Dance of Tears, we encounter biblical myth character Rachel and her three levels of tears of transformation: human empathy for the suffering of other human beings, human empathy for the pain of God, and empathy of God for man. These three strands of Rachel’s tears form “a sacred circle of nondual love,” according to Marc in this passage. Furthermore, these tears of redemption express a core idea in Hebrew wisdom: “The human being, by engaging the Rachel archetype and entering into the pain of the Shechina in exile, can “through his tears” realize his ontic identity with the Shechina herself, and in this very realization, be aroused to great compassion and achieve redemption.” This excerpt introduces the mystical techniques of the crying of transformation and the transformation of crying. It is by accessing these tears that we offer redemption for a crying God.
In order to fully appreciate the nature of Rosh Hashanah theatre and the dance of tears, it is necessary to point out the implicit distinction between this biblical form of holy day theatre and the concept of theatre inherited by western civilization from ancient Greece. In classical Greek theatre, the operative principle was Aristotle’s understanding of catharsis. Catharsis for Aristotle meant the purging of the emotions.
The Democratization of Enlightenment (Part 11): How to Accomplish the Democratization of Enlightenment
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The Democratization of Enlightenment (Part 10): What is Democratization of Enlightenment?
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The Democratization of Enlightenment (Part 9): Integral Embrace of Eastern and Western Enlightenment
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The Democratization of Enlightenment (Part 8): Western Enlightenment
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The Democratization of Enlightenment (Part 7): The Fallacy in the Traditional Enlightenment Teaching
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The Democratization of Enlightenment (Part 6): What is Enlightenment?
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The Democratization of Enlightenment (Part 5): Three Images of World Spirituality
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The Democratization of Enlightenment (Part 4): Who does World Spirituality address?
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The Democratization of Enlightenment (Part 3): Why World Spirituality, why now?
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The Democratization of Enlightenment (Part 2): Structure of this Teaching
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The Democratization of Enlightenment (Part 1): Introducing Evolutionary Mysticism
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Perspectives as Postmodern Revelation (By Marc Gafni)
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Every Detour is the Destination (By Tom Goddard and Marc Gafni)
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Protest as Prayer (Part 15): Did he blow out the candles?
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