Source
- Alexander Yanai Vol 2 #54
- Reel 4, Track 3, Lesson 4
Synopsis
- A dead bird lesson. For most of the lesson you are going to the right though at the very end one imagines going to the left and then you do the variations you can remember to the left. It is different than other deadbird lessons in a number of ways including: it starts with sitting cross legged before having the feet to the left; it has hands on hips instead of having the right hand in front of the face; and at times while going to the right one has the feet to the right.
Lesson Outline
- Sections 1-2: In cross-legged sitting with hands on hips, turn shoulders and head to the right with multiple variations: shoulders only with face front, head with shoulders, head without eyes, eyes only right, fast eye movements right, and everything together. Then turn to limit and explore variations of head turning further, looking at nose bridge, and returning parts separately.
- Section 3: In side-sitting with feet to the left, turn whole body right while looking left with eyes. Variations include eyes left while body turns right, from right position move eyes left, keep eyes right and turn head left, head/eyes left while shoulders right.
- Sections 4-5: Return to cross-legged sitting to check turning range. Then make pendulum movement with top of head drawing circles on ceiling while eyes look right.
- Section 6: Turn whole body right to check range.
- Section 7: In side-sitting left, turn head, shoulders, eyes right. Tilt right ear back, left ear to sternum. Add variations of nose to right elbow, back of head to left elbow, and circles with top of head.
- Sections 8-9: Switch to side-sitting right. Turn whole body right, maintain eyes fixed at furthest point while returning shoulders and head to middle. Make circles with top of head, adding variations of ear to chest and nose to elbow movements.
- Section 10: Return to side-sitting left for final check of turning range.
Focus of Moshe’s Teaching
- Moshe emphasizes that the difficulty lies in the organization within the brain rather than physical limitations. He notes that “five movements turn the body toward the back more than if you took a crowbar and turned it.” He guides students to notice how the quality of movement improves when done with awareness rather than force, stating “The moment you can change this, you can observe the ability. Then the body can do it with equanimity.”
Related ATMs
- See also Theme Deadbird
- See also Theme Vision
- Tag Eye-differentiation
- Tag Fast-movements
- Tag Turning-in-sitting
- Tag Imagining
Resources
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