Buddhist Geeks

Vince Fakhoury Horn

Evolving Dharma in the Age of the Network www.buddhistgeeks.org

  1. -21 h

    Concentrating More & More on Less & Less

    Brian Newman opens a twelve-week jhāna course by parsing five lines of sutta into a whole curriculum—a first month of falling in love with the breath, the jhānic arc where less effort brings subtler pleasure, and the claim that any jhāna, even boundless consciousness, can be entered from a cold start once you learn how. Join Brian Newman for a live cohort of this training (or listen to the recordings)—beginning this Wednesday, September 2nd—in the PragmaticDharma.app. It’s available for all Hardcore members (@ $20/mo). 💬 Transcript Brian Newman: So we have 12 weeks to essentially parse the paragraph sutta that I just read to you, which said, “Establish mindfulness to the fore and then see if your breath is long or short.” That was like five lines. We’re going to go real deep, and we’re going to find all the detail in that and get really, really specific. We’re going to start gently though, and so for our first month we’re calling this falling in love with the breath. Just really getting tuned in to what it means to have awareness of the breath in different ways, in different parts of the body. And the reason we’re taking sort of a gentle entry is if we start to do concentration practice, and if we really kind of bear down on it, and if we try to focus on a really small point, which is what the practice is inviting us to do, there’s a tendency to get quite tight. And so instead of trying to go from wherever we are right now to kind of tight and concentrated, we’re going to ease our way in. It’s really nice to ease our way in. And part of that easing the way in is to develop some intimacy with our breath, something that we’re not so familiar with unless we’ve done a lot of concentration practice. As I say that, I’m just remembering, you know, is it pleasant to breathe? Do you find breathing a pleasant sensation? Does it feel constricted for you? Is there a way for you to change the way that you breathe so that it feels more comfortable? Permission to play with the breath a little bit if that’s going to be helpful. After those first weeks of sort of establishing what this practice is and some of the foundations, it’s going to be helpful. We’re going to be getting into the very specific jhānic flavors. And as I think many of us know, we’re going to end with the jhānic stack. The jhānic stack is just a way to talk about doing the whole up and down the stack, all eight. I think probably many of us know, but let’s take a look at what that looks like. So this is an arc. We could call this the jhānic arc. On the far left side, you can see that at the bottom on that horizontal axis, gross pleasure. Gross as in the opposite of subtle, not gross like disgusting, of course. Gross pleasure, so like big, big, big energy pleasure, and kind of high effort. To get this practice going does require some effort. We’ve got to kind of bear down a little bit to build up the momentum. As the practice develops, it actually gets easier along the way, so we sort of tend to fall into the next state, fall into the next jhāna when we’ve reached culmination of the current jhāna. And so it turns out that less effort is actually required as we move up this jhānic arc. There’s a sense of the jhāna taking over, the jhāna sort of taking us over and just moving us through this arc. And ultimately, the less effort means more pleasure, because effort tends to remove our pleasure. There’s a sense of relaxation and that subtle pleasure. One way to say this is through this practice and moving up the jhānic arc, we are going to be concentrating more and more on less and less. We’re going to be concentrating more and more on less and less. I mean, just look at the words here. If you look at the seventh jhāna, you’ll see that the concentration object is no thing, nothing. That’s quite subtle. There’s not many things that are more subtle to concentrate on than the no thing, and yet in this practice, there is something more subtle than the no thing, and that’s neither perception nor non-perception, the eighth jhāna. And so what this means is we’ll spend four months building our foundation, falling in love with the breath, and then we have — I’m sorry, four weeks — and then we have eight weeks per jhāna, essentially. So we’re going to basically take a whole week and really look at the first jhāna, a whole week and really look at the second jhāna. What you’re going to find along the way is you’re going to have preferences. This is not necessarily a linear practice. Some of you think that you have to start at the first to get the second, or you have to get to the second to get to the third. That’s not true. She will tell you that the third is incredibly accessible for some people right out of the gate, cold start. I’m going to teach you how to do this. So maybe the most shocking thing I could say up front here is one could enter any of these jhānas from a cold start once you learn how to do so. One could enter directly into the realm of boundless consciousness from a cold start, from zero. It’s not required to move through the jhānic arc, although it’s nice and less effortful to do so. Get full access to Buddhist Geeks at www.buddhistgeeks.org/subscribe

  2. 25 août

    Mindful Intuitive Movement

    Vince Fakhoury Horn introduces Mindful Intuitive Movement, the bottom-up practice he built from years of letting his body teach him how to move—the ChiRunning focuses that give the thinking mind something small to hold, the day his body refused the cushion and won, and why the only injury this practice ever gave him came from moving with aggression. 💬 Transcript Vince Horn: I’m excited to share with you this practice today called Mindful Intuitive Movement. It used to be called Spontaneous Movement. This is a technique or approach that I’ve developed, although I can’t take very much credit for it. I feel like it’s more that I started listening to my body, and trusting my body, and over many years of doing that, I sort of reflected on what my body taught me, and I’m trying to share those lessons with others in this practice. That’s just sort of essentially what it is. So really, this practice arises from the wisdom of the body. It’s a bottom-up practice. It’s not a top-down practice. That said, sometimes it’s hard to get into a bottom-up practice, right? Where you’re just trusting the wisdom of your body. Sometimes we have ideas about how our body should be moving or about what it should look like, and those ideas stand in the way of the body’s own wisdom. So a lot of the things I’ll offer with this approach are really just simple things we can focus on while we’re trying to allow the body to move us, that help us get out of our own way and get out of the way of the wisdom of the body. That’s the purpose of any sort of top-down instruction in this approach, which you’re always welcome to jettison if it then gets in the way. So that’s the invitation. I came up with this approach in part inspired by a program that I edited when I was a producer at a company called Sounds True in my 20s — it’s a spiritual media company. And I would just basically spend all day editing programs that we had recorded, and one of those programs was a program called ChiRunning by Danny Dreyer. Danny’s a longtime Tai Chi practitioner and also, like, a hardcore long distance runner, and he combined those practices together to form this thing called ChiRunning. What was interesting about his technique — ‘cause I edited every single minute of it, believe me — was that he offered these particular, what he called focuses, these little things you do while running because you can’t think too much and still run. You know, if you’ve ever run before, and I used to be a runner, so I really enjoyed this program from that point of view. It’s like you can’t be, like, thinking about all these things you’re doing while running. You’ve gotta, to some degree, just trust your body and run. But if you just trust your body, a lot of times trust in this case looks like habitual conditioning. We just trust our habits, you know, and we’re just, like, off to the races, right? So here we’re trusting something deeper than our habitual ways of moving and holding our bodies. And these focuses help us kind of do that. So for instance, Danny Dreyer in ChiRunning, he had a focus that was like something like sitting up in your seat. So while you’re running, you just keep bringing your attention back to sitting up in a seat, like getting this feeling that your pelvis is sitting up in a chair. And that kind of shift just kind of brings you forward a little bit, brings your whole torso forward, and then you feel a little... like it’s easier to run. And you just keep kind of bringing your focus back to that. He had several of these focuses, and he’d teach them in a way where you just work with one, and then at the end, you start to kind of bring them together, and you integrate them and kind of make them more intuitive and just... Then you’re doing it. You’re ChiRunning. And the focuses can kind of drop away. This is the same approach we’re going to take in this training over the course of 10 weeks. We’re going to do one focus after another. Today, I’ll offer two, called standing and grounding, and we’ll just work with these simple focuses while we trust our body and let our bodies move. That’s the basic methodology here. I want to also say this, this practice was inspired, too, by encountering work while I was at Naropa University, a Buddhist hippie college in Colorado, called Authentic Movement. And Authentic Movement was developed by a dancer named Mary Starks Whitehouse, and she ended up teaching that, I think, at Naropa at some point. Anyway, my wife found her way into one of these courses, and she was doing this thing that at the time I had no idea. It sounded totally fruity and something I was not interested in at all. Then like a few years later, I had my own experience of finally coming into the body after many years of sitting like a hardcore, rigid meditator, where I was never moved. You know, always still, hardcore, sit through the pain, and with a terrible posture, mind you, ‘cause I wasn’t in my body. I probably looked like I was in severe pain, and I was. But I was powering through it. That was kind of the model I had at the time. And I got to a point in my practice where actually even with terrible posture and being largely dissociated from my own body, I amazingly had some insights and did some good, decent practice, and that practice, where it led me was to realizing that I was totally dissociated from my own body. After several years of meditating and I don’t know how many months of silent retreat, I one day found myself trying to sit at home, and I couldn’t. I literally could not stay seated on my cushion, and I just kept falling off the cushion and like with my head laying on it, just laying there. And I’m like, “Why can’t I sit?” And I try to push myself to sit, but then I realize like, well, no, that’s not really what I’ve learned from meditation. Like, I’ve learned how to trust and relax. And so I’d sat there with this tension of trying, like on the one hand, having all these ideas about what meditation is and how I should be sitting still and doing this every day, on the other hand, my body just completely rejecting this form and being like, “No, I’m not going to do it.” And it was really crazy to me. I’d never had this experience where my body rejected my mind and actually won. So eventually I started to actually make the move of listening to my body, amazingly. Took some weeks, but I finally was like, “Okay, well, maybe if I just let my body show me what to do, it will know.” And this was a complete reverse in my thinking. And this is the purpose of this mindful intuitive movement — to learn this kind of logic, this intuitive bottom-up logic of flow. And I found that if I stopped trying to get somewhere in my practice or impose this idea of what it should look like or to be still, that actually where my practice wanted to go or where my body wanted to take me was toward spontaneous movement, toward just letting myself move and letting myself explore the full range of the body and not having a sort of prescription in mind for how that should look. That was what it looked like. And I learned many things along the way of the years of my body teaching me how to move, and that’s what we’ll be exploring over the course of this training, basically. We’ll be exploring focuses like sensing and responding. You know, how when we’re in our body do we sense into what’s happening and then allow the body to respond appropriately, like moment to moment, sensing, responding? How do we trust the emergence of movement from our body? How do we actually trust that? We’ll focus on that. We’ll focus on when aggression arises and starts to drive our movement. The only time I’ve ever hurt myself doing this practice was one night when I was doing it alone and I was quite a... There was an aggressive feeling behind the movement, like I was trying to make something happen, and then I hurt myself. And I realized, “Oh, probably those things are connected. Probably I hurt myself because of the aggressive thing behind my movement.” And I started to kinda notice when aggression was present, I’d soften around the aggression. So this is another focus, softening around aggression, not letting that become the thing that’s moving us. I haven’t been hurt since, and that’s weird to me too, because sometimes this practice I do things with my body that’s like, “What?” Like, how did the body do that or how did I do that without being hurt? How can you trust your body to move injury-free? Actually, that was the subtitle of ChiRunning, Injury-Free Running. So there’s this idea that when you actually trust the wisdom of the body and you let the body move you, it’s actually optimal. You know, this is the optimal way to move. You’re going to be injured less because you’re actually in tune with what’s the most natural way to move. We’re trusting our evolutionary heritage here. It’s like this body has a lot of wisdom, like billions of years if you believe the current narrative about where we come from. It’s like, “Oh, no, we’ve been doing this for a long time, since the Big Bang.” Life has been moving. We can trust that. We actually don’t have to be the one that knows how to do this in this practice. That’s the intuitive part. The mindful part is that we do wanna notice what’s happening, though. It’s not about becoming unconscious, although sometimes you might have moments, right, in the flow where it feels like we go unconscious. But that’s a kind of superconsciousness. It’s not unconsciousness. And when we’re superconscious, we’re aware of what’s happening even as we’re not controlling it. So that’s what we’re aiming for here, is this sort of mindful, intuitive, aware of and trusting in the flow of experience while knowing what’s arising. In this training, we’re also going to tie this

    Mindful Intuitive Movement
  3. 20 août

    The Insight Chord

    Vince Horn, Emily Horn, and Brian Newman talk through the design of their Insight Chord Retreat in Western North Carolina—why everyone will start with a single “go-to move” (of their choosing) for the first 3 days, what Brian learned about reintegration after doing daily multiplayer meditation on retreat, and how to maximize individual choicemaking on the retreat while having a solid community of practice to fall back on, including qualified teachers & dedicated peers. 💬 Transcript Vince Horn: So in the service of using the time we have wisely here, our plan today—Brian, Emily, and I wanted to have a conversation about this retreat that we’re planning in January 2027 here in Western North Carolina, on the Insight Chord. We wanted to talk a bit about some of, like, the design thinking that’s going into this retreat and how we’re planning on holding it together. And we’re happy to be tested, and we realize it’s a lot of trust that people put in teachers and communities when they go on retreat. It’s a very intimate and very suggestive space of practice, so we want to make sure we honor people’s choice-making there. Yeah, thank you, Brian and Emily, for joining me today in this. It’s great to be here with y’all. So there really are three things that we wanted to talk about. This is going to be more of, like, a free-flowing conversation, but I’ll set up the frame a little bit here for us first. If you got an email from me last week talking about this retreat, you’ll have seen that there were three points I wanted to highlight that I think make this retreat kind of unique and different from the kinds of meditation retreats you might have been on or heard about, in some ways. I’m not saying that it’s completely different and everything we’re doing is completely novel. Of course, that’s not true. The first thing that we’re doing is not novel at all. In a way, it’s just the way that we’re framing it that I think is novel, and that’s the focus on this retreat on what we’re calling the Insight Chord. This is, in a way, super traditional in the early Buddhist tradition. You’d see these three practices or these three ways of practicing: Concentration, Mindfulness, and Heartfulness, or shamatha, samādhi, vipassanā, and mettā, brahmavihāra practice. All of these things you’re going to see in early Buddhist retreats. You’re going to see them at the insight tradition. You’re going to see them on Goenka retreats. You’re going to see them anywhere you go and do an intensive retreat. These practices will show up. What I think is unique is that we see that. We see that as the unique chord or unique combination of practices that makes this early Buddhist tradition sort of distinctive. It gives it a particular sound or flavor, and we really value that flavor, the three of us, because we’ve trained deeply in that tradition. And so we wanted to kind of build this retreat around these three practices or these three ways of practicing. I’d like to open it up here in a moment just to talk about that, but I’ll just quickly name the other two points of the retreat that are distinctive. One is that we’re going to be holding a kind of tension that’s hopefully generative. Brian and I certainly found it quite generative on our last retreat, The Flavors of Jhāna, where we’re going to hold this tension between the exclusive focus in meditation—like focusing exclusively on one thing to the exclusion of everything else, narrowing your attention so that you’re just, say, with the breath or just with your mettā phrases or whatever it might be—and then on the other hand, we’ve got an inclusive focus that is broad and open. It’s like the kind of practice where you’re opening to include everything in your field of awareness. This is very similar to, like, the Zen style of shikantaza, or our social, multiplayer meditation forms, you know, where we’re meditating out loud with other people. And we’re going to hold this tension between exclusive and inclusive on the retreat, giving space for both types of practice. And then finally, we’re going to hold another tension that’s generative between what I would call here agency-maxing and community-maxing, or between agency and communion. And that is, we’re going to honor and acknowledge that each one of us are adults on this retreat who are going to be practicing our own practice, choosing how to practice. At the same time, we’re doing that together in an explicitly communal container that’s been designed over thousands of years to help make that process more efficient and more powerful. So how do we hold both agency and communion together in a way that they really serve and support each other? That’s the third thing that we’re going to be holding together as we do this retreat. So yeah, let me just open it up here to my colleagues and friends. Talk a bit about each of these three points. We can of course go one by one, or we can kind of move around as your minds do. Emily Horn: Yeah, I just want to say I’m really excited about this particular weaving together of practices. And in some ways you could really go deep on one of the three, or you can really follow, like, a traditional kind of arc. Meaning you can start with concentration, and once concentration gets really steady you can start to incline, if you choose to, to really deepen into the vipassanā or insight. In particular, you know, we’ll definitely include teachings around three characteristics like impermanence, no self, and, ugh, suffering. And then there’s going to be opportunities to really deepen with the heart. And I’ve been teaching heart jhāna practice for the last, I don’t know, couple years now, and particularly focused on how do you build concentration within the heart states. And so I’m really excited to have that a part of this retreat, and also have it as part of it in a way where you can emphasize it a lot, or you can just know that it’s happening in the background, and know that you’re held with it. So to me that feels like a really interesting way to be able to participate in a retreat, is to be able to kind of increase that sense of discernment that we all really need to increase with our practice. Like, really we’re deepening in concentration, insight, and heartfulness, and at the same time we’re also learning how to discern what’s needed in our own practice. And a lot of times I feel like the discernment part is lacking on retreats. Like, how do you really start to learn, like, what’s needed and what’s going to be beneficial to your practice? And so I’m really hoping that, being held with a teaching team with Brian and Vince and myself, that we’ll be able to support you, and really, in a sense, driving your own car. And then we’re there to really support you in not going off the sides of the cliffs or anything. We’ll have you. I feel confident in that. So yeah, that’s what comes up for me right now. Vince Horn: Kenneth, when we were leading retreats together—and Brian, you were on one of those retreats, so you know this well—we came up with this idea of the go-to move, and it was an attempt to sort of help preserve people’s agency on retreat, explicitly to say, “Hey, like, it’s up to you what you choose to do.” But if you just leave yourself in the sort of paralysis of choice where you could do anything at any time, it’s really problematic, because then you spend a lot of time worrying about what to do and if you’re doing it right, rather than actually doing something useful. So the go-to move was meant to kind of undercut that tendency to get lost in choice while still having choice preserved. And here the choice is, if on this retreat there’s any point at which I don’t know what to do, this is what I’m going to do. I’m going to do this go-to move. It’s like the thing I know I can trust that I’m good at. For me, it was Noting, and for Kenneth, I think Noting as well. But for other people, it could be focus here on the breath, or it could be back to love, or to May Love Arise. One thing I think is unique about this retreat, in addition to suggesting that y’all have a go-to move, anyone who’s on the retreat, is that we’re going to start the first few days just with the go-to move. So we’re going to invite everyone to pick the one thing you know you can do and just focus on doing that for the first three days, so that we actually have this sort of crucible of concentration that starts to build, of one-pointedness, that makes it a lot easier later on in the retreat when we start to kind of open up the teachings and open up the possibility space—to have some stability and some malleability of mind that allows that to be more fruitful. So that’s one thing that we’re—in terms of design thinking and holding together agency and community, while at the same time recognizing certain things on retreat just seem to work well, just like having just one thing to focus on for a few days before you start to kind of get experimental and start, you know, doing the freestyle jazz practice. That’s one thing I wanted to highlight there that I think kind of is important. Brian Newman: Being the resident shamatha jhāna person, I’d like to say a little bit about that. So many great meditation centers around the world have established this as a really tried and true method. They’re going to start you with three days of concentration practice and then take you into the primary practice after that. What this does is it produces a feeling of ambient concentration in the meditation hall and everywhere, in fact. And ambient concentration is something that you feel if you go into a yoga shala and they’re practicing Ashtanga. The whole room is concentrated, and it’s a bodily felt thing. We all, I think, are familiar with the proximate cause of concentration,

  4. 7 août

    The Fire Inside

    Vince Fakhoury Horn speakswith Rima Vesely-Flad about The Fire Inside: The Dharma of James Baldwin and Audre Lorde—the silence she found in her own Buddhist community when she began writing about Palestine, Baldwin and Lorde's distinction between hatred that corrodes and rage that comes from the examined life, and the question they keep returning to: how to feel it all without causing more harm. Vince Horn: So, Rima, great to see you. I’ve been really loving getting to know you as a person and also your work. I’ve been reading your book. Unfortunately, I also spilled water on my copy, so it is a little... If you see me struggling to flip through the pages, that’s ‘cause we had a bit of an accident here. But I’ve really enjoyed reading your work. Can’t wait to get into it with you. Thank you so much for your time. Rima Vesely-Flad: Yeah. Thank you, Vince. It’s been great to get to know you, too. We’re so close. Amazing. Amazing. Vince Horn: Yes, and it’s amazing as adults, we can carve out the time to hang out. So that’s sometimes the hardest part. I feel like being in middle age is, like, making time to spend with cool people, so appreciate your time. Rima Vesely-Flad: Me too. Vince Horn: So let’s talk about your new book. This is The Fire Inside: The Dharma of James Baldwin and Audre Lorde. Of course, before reading this book, I was familiar with you and your work. But it really struck me that you were writing in this book, like from the very beginning, you’re writing about Palestine and Israel, which is not something I see many Buddhists really writing about or talking about in America. So it stands out just the fact that you’re even talking about this subject. And then on top of that, you’re bringing to bear these beautiful Dharma teachings and wisdom teachings from the Black tradition of James Baldwin and Audre Lorde, bringing them to bear on this topic in the first chapter of the book, which I thought was quite courageous. And I really appreciate it, you know, as someone who has Palestinian family members and people in the West Bank I care about. So just on a personal level, really am grateful that you centered this in your writing. And I thought maybe we could start with that first chapter if you’re up for it. Rima Vesely-Flad: Absolutely. It was actually the very last chapter I wrote. I wrote this book of course over several years, but as I was concluding in real time, the genocide was taking place, and I just found myself absolutely in a state of grief and rage and was really politically active around it in ways that I hadn’t been in quite some time. Like feeling very pushed to speak out and to contact the Biden administration and representatives, people here in North Carolina who might or might not speak in Congress, and just found that I needed ways to speak out, and this is my community. The people who self-identify as Buddhist claim these traditions, these lineages, these practices, these schools of thought, and yet there was so much silence, and I felt really compelled to speak into that silence. And I know that’s something that you feel and understand in a deep way. And then also, I’m not by any stretch the first Black activist or academic or thought leader to make the connections between oppression of people of African descent whose ancestors were enslaved and people who are in a state of survival as their land is being taken in real time. So all of those connections were very present, and yet in the Buddhist world, there was so much silence, so much evasion or even erasure of what’s taking place. And it felt like it wasn’t separate from my practice, and I had to speak. Even though at the time I hadn’t even visited the West Bank. I since have, but at the time I was thinking and writing and observing and feeling from afar. Vince Horn: Yeah. Okay. I didn’t realize you’d gone to the West Bank. Wow, we’ll have to talk about that sometime. Yeah, there’s early on in the book, there’s a quote here that’s really echoing what you just shared. I thought I’d share this ‘cause it really moved me quite a bit. You said, “I, like many Black Americans, like Southwest Asian and North African Buddhists, observe that violent oppression of Palestinians can never bring safety and security to Jewish Israelis. And as a Buddhist practitioner, it’s important for me to speak out against the violence sanctioned by my government, my tax dollars. The policies of the US government do not represent my commitments. I’m horrified by the massacres in Gaza day after day, by the constant terrorizing of Palestinians in the West Bank. I think daily of Baldwin’s words, ‘You don’t know what’s happening on the other side of the wall because you don’t want to know.’” Rima Vesely-Flad: Wow. Even just hearing Baldwin’s words in that context again, it really brings me chills. And so prescient, right? So prescient in terms of just anticipating how much more extensive... At the time actually that Baldwin visited, there wasn’t a formal occupation, although there was theft of land. But this— that was 1961, and then the wall— right now the walls, the checkpoints, the just sheer magnitude of aggression and violence. Like Baldwin anticipated that, and then the myopia in Israel and in the United States. Vince Horn: Yeah. I think at the same time though as I read through your writing on this, I was really also struck that you’re really trying to hold multiple realities here at once. You know, both holding the suffering of the Palestinians and the apartheid state that you’re describing. At the same time, you have a lot of, as I do, Jewish friends and people that you care about who may not be able to hold that reality in the same way or who are struggling to in some cases. Who... and you treat that with real compassion I think in your writing and in your words. As I try to, you know, my best. And it’s, of course, important to differentiate between Jewish identity and Israeli identity, which is often, you know, merged intentionally by the State of Israel. And for many people it’s the way they’re inculturated. It seems like that was kind of an unconscious merger in a lot of folks’ identity. At least I’ve noticed that with close friends and even students in the last few years where we’ve had conversations around this. There’s been real tension. And anyway, I appreciate that you’re holding it with compassion, both realities here, not trying to sort of demonize Israelis or Jewish people. And really being aware of the antisemitism that this whole issue is also bringing about. Or it’s... I’m not sure if it’s bringing about or giving excuse to people to be bigoted. So I think it’s cool the way that you’re trying to weave those different things. And I guess I’m curious if you could say a bit about how you’re taking that approach or why that’s important to you. Rima Vesely-Flad: Yes. I start off the book talking about a relationship I had with a, I would say a mama bear, a mother figure who claimed herself, who self-identified as my godmother, and she was born in France to a very well-known filmmaker who had the opportunity for asylum in the United States, and he and his wife were granted this opportunity to flee, but were told they couldn’t take their daughter, who was my godmother Via– Vince Horn: Wow. Rima Vesely-Flad: –was sent to a convent in France. So a Jewish girl sent to a Catholic institution, and she was blamed for the war and has suffered horrific antisemitic abuse. And it scarred her indefinitely. When she came to the United States, she took off the first part of her name, just called herself Via. She died of cancer many years later, and the wounds of that period were still quite evident at the time. I just remember, I have such extraordinary memories of her and what she suffered. And so part of my compassion and empathy, which is real, is that this nation state we call Israel was founded as ostensibly a refuge for people like Via and her parents. And this is a nation state founded upon theft of land. And what it meant practically is that 750,000 Palestinians were driven from their ancestral lands, and they and their descendants still to date live in refugee camps, which I was able to visit when I went to the West Bank. These are no longer tents. They’re now concrete buildings, but stacked very high, very crowded, very narrow passages for walking, no play space for children. One of the refugee camps I visited in Bethlehem has an entryway that consists of keys welded into an arc, and these are the keys for return. People still possess the keys to their homes they were driven from 75 years ago. So to recognize the terror that took place during the Holocaust in Europe, and then to recognize the consequent suffering that was inflicted upon Palestinians, I think is not simple. Yes, safety, but one thing Baldwin says that stays with me over and over is that Palestinians should not pay for the sins of Europeans. Europeans committed the genocide, the Holocaust, and Palestinians should not have had to pay for that and should not have been driven from their lands to establish what is supposed to be a state of safety. And yet the atrocities being committed by this government and other governments, not saying that this very right-wing government is the only government that has committed atrocities against Palestinians. To say that this is a state of safety for people whose ancestors were exposed to the horrors of the Holocaust is, I think, to be very myopic, very limited. And part of what I’m trying to wrestle with is such deep confusion, like a deep state of confusion of how, if your ancestors have experienced the Holocaust, could you inflict this upon another peoples? So that’s some of what I wrestle with in this first chapter is just like— Vince Horn: Yes. Rima Vesely-Flad: —what? And I’m not the only one. Like T

    The Fire Inside
  5. 22 juil.

    Working Class Dharma

    Vince Fakhoury Horn speaks with Mushim Patricia Ikeda about working class dharma—from growing up as "the minority of Greensburg, Ohio" in a third-generation Japanese American family, to training in penniless Korean Zen temples where renovating the building was the practice. Along the way: bliss bunnies, samadhi junkies, mutual aid networks, and why affordability may be the grassroots issue of 2026. 💬 Transcript Vince Horn: Okay. So yeah, I think it was really the beginning of this year — I was teaching a retreat in Portugal with a friend. It’s our annual Pragmatic Dharma retreat. And while I was there, I had picked up recently this book called Emergent Dharma, by Dr. Sharon Suh, and I scrolled through the chapters, and I looked, and I went straight to yours, and I read it. That was the first thing I read, and I just loved hearing about your story. For me, some of the coolest part about the Dharma is hearing people’s, like, stories and their biographies and, like, their real lived experience of the Dharma, and I just felt that in your story in the chapter there — you’re talking about how you were raised, and your family, and where you came from, and how you started engaging with Buddhism, and just the whole story there, that I’ve heard now more of since I’ve gotten to know you better over this year. And really, I was just hoping we could talk about, you know, your story in part here, because the theme is working class Dharma. And when we last spoke, we decided that was a good kind of place to focus some of the conversation. But a lot of it is about your experience, really. Like, what does it mean to live in the, quote-unquote, working class in the modern world, and to also be a Dharma practitioner? And how different is that in a heritage Asian ethnic tradition than in a white convert tradition, which is more how Emily and I have come up? I think that’s an interesting conversation too, because now we’re talking about class and ethnicity — two different dimensions that are often interwoven, or braided. So anyway, could you share a bit about your story, Mushim? I know you come out of the Zen tradition, both in Japan and Korea, but how did you get into this? Was it a family tradition, or is it something that you came back to explore — like, the roots of your family’s tradition — later? Mushim Ikeda: Yeah, thank you so much, Vince. So I was born in Cleveland, Ohio in 1954, and I am, by our system — meaning Japanese Americans, by our system — a third-generation Japanese American. We count the first generation to be the immigrants, so those were my grandparents on both sides, and they’re the Issei — “ichi,” meaning one. My parents were the Nisei, meaning they were both born in the United States, and they were the Nisei — “ni,” two. Three is “san,” so I am Sansei, or third-generation Japanese American, by how we count. I was born in Cleveland, grew up in Ohio, because that’s where my father’s work took him. And we grew up very working class. In Cleveland, when I was born, my father sold Wear-Ever pots and pans from door to door, and then he got a job inspecting fruit and vegetables — perishables that were being shipped on the railroads — working for an independent company called the RPIA, Railroad Perishable Inspection Agency. And that took us down to the rural area between Akron and Canton, going a little bit toward the middle of Ohio, south of Cleveland. And most of my classmates in the public schools that I attended — I would say the majority of them were children of people from West Virginia who came north to Akron, then the tire capital of the world. Goodyear, Firestone, Seiberling — they were all there, along with Quaker Oats, which produced a very interesting smell when the wind wafted from Akron our way, with a mixture of burning rubber and toasted oats. That was the smell of my childhood. And the air pollution was incredible, producing magnificent sunsets. And that’s where I grew up. So my classmates were children of the tire factory workers for the most part, as well as some were children of the remnants of the dairy farms, the cow pastures in that area that were gradually turning into suburban housing tract lands and so forth. That was my childhood. We were in an all-white community, except for us. One of my teachers used to call our family “the minority of Greensburg, Ohio.” And at home, we had a very strong sense of who we were. We were Japanese American. We were not Japanese. We were certainly not white or middle-class Americans. We were working-class Japanese Americans. And little by little, my parents wanted us to go to college. They rose into the lower middle class, then vaguely towards the middle middle class. However, I realized as I’ve grown older that I was raised — so, this is to just be completely fair: I was formed by my parents, and I do have a prejudice, and their prejudice was against what they perceived as upper-class privileged people, which in this case meant mostly white Americans who would look down upon their fellow white Americans who had come up from West Virginia and worked in the tire factories, and certainly looked down upon us, since we were not privileged white Americans. So there we see, like, race, ethnicity, class, as always, are completely interwoven. And I freely admit I was raised to not be entitled and superior, and my parents would say snotty — like, in their words — a rich kid. Vince Horn: It seems like, immediately hearing you, the way you’re describing that, that sounds like a good thing. Mushim Ikeda: I hope so. Vince Horn: And I mean, there’s a clearly good dimension to what you’re describing that I so appreciate. I guess I’m relating to this — the way you described it, almost like there’s, like, a spectrum of experience here, where you’re talking about the white West Virginian expats who are coming over to Ohio. In terms of the sort of hierarchy of sort of caste, I guess, for lack of a better term. Mushim Ikeda: It is caste. Vince Horn: Yes. You have this sort of racialized caste system. And it seems like I can relate to what you’re saying from where I was formed, in this formation, you know. And it’s like, oh, I can see growing up with a Palestinian family, and I can see the racialized part of that, and the opportunities that were lost there, and the economic opportunities, and the bootstraps attitude — like, you gotta help yourself if you want any help; like, no one’s gonna help you. Like, all of those things were very formative. But at the same time, you know, my grandfather did well with that attitude, and he had resources. And I knew, like, I was never gonna be homeless, you know? And that was something — I had friends that didn’t have that same level of security. You know, to know that they had someone — that, you know, even if your parents, your single mom, couldn’t earn any money or got sick or something, you had people that could take care of you. That’s a huge level of security not everyone has. So I guess I’m relating to it from there — of, like, oh yeah, the further you’re down in the caste system, the less support you have, and the more, in a sense, it’s like up to you to kind of, like, hard-knuckle it through really adverse conditions that, you know, are imposed. Mushim Ikeda: Very much so. And of course, to state the obvious, we have the legacy in the United States of the World War II incarceration into internment and concentration camps of the Japanese immigrants and their children, the Japanese-American citizens. Vince Horn: Right. How did that specifically impact your family system? Mushim Ikeda: The way it impacted my family was that my mother grew up in Hawaii, on Oahu, near Pearl Harbor, and there actually is a family story, which is true — we have evidence. The attack was in the morning, and my mom’s mom, my maternal grandma, who was a Shin Buddhist practitioner — her husband, my grandpa, was a Soto Zen Buddhist practitioner. They had a mixed Buddhist marriage. So the family lore is that in the Pearl Harbor attack, Grandma was sitting on the toilet, and a giant shell, a bullet, came whizzing into the bathroom and went through the side of the porcelain enamel bathtub, and she came out screaming at the top of her lungs. Vince Horn: Oh, my gosh. Mushim Ikeda: And the family still has that unexploded ordnance. So she grew up in Hawaii, and there was no need to put the Japanese immigrants and their children into camps, because the island was a camp. What were you gonna do? Swim away? Everyone was under surveillance. Their homes were searched for illegal shortwave radios and enemy weapons. And so the joke, again, in my mother’s family, was that the FBI came, searched the house, and the kitchen was full of large knives — for cooking, of course — but they decided to confiscate my grandfather Sawada’s pocket knife as an enemy weapon. Vince Horn: Wow. Mushim Ikeda: I know. So they were like, “Ah, this is just completely stupid and asinine. Here we are.” And it was the community leaders in Hawaii — Buddhist priests, any kind of community leaders — who were arrested and taken to the continent for the concentration camps. But they were all under surveillance. So that was my mother. She was used to being under surveillance. However, they had food. And they stayed in their homes, under surveillance. And then my dad grew up on a farm in Indiana — the Ikeda Brothers Farm in Indiana — and there were too few Japanese immigrants and their children in Indiana and the Midwest, for the most part, to bother with. I think most of the deportations happened from California, and from areas with larger populations. That having been said, of course they were aware — my father’s people were aware of what was going on. And he always said that he had a memorable moment in his life when he was drafted into the Army in World

    Working Class Dharma
  6. 9 juil.

    Modern Buddhisms

    In “The Fourth Turning of the Wheel,” Vince Horn traces the Three Turnings of the Wheel of Dharma from early Buddhism to Tibetan Vajrayana, then argues we’re living through new turnings right now—the modern, postmodern, and metamodern waves of Buddhist practice—and asks what it takes to hold them all. Get access to the full Modern Buddhisms training cohort by joining the Pragmatic Dharma Sangha. 💬 Transcript Vince: So Modern Buddhisms — this title’s really in part inspired by my time at Naropa University. I should just say that up front, because being there for about four years or so in the mid-aughts really influenced me as a Dharma practitioner and then later as a teacher. When I started teaching, of course, my view had already been really molded and shaped in the halls of Naropa, you could say. Naropa was founded by a Tibetan Buddhist teacher named Chogyam Trungpa Rinpoche, who’s quite both famous and infamous for his influence on American Dharma. When I was a student at Naropa, one of the core offerings in the Religious Studies department, which is where I spent most of my time and where I got my degree, was called the First Turning, the Second Turning, and the Third Turning — the Turnings. There was a class on each one of them. I took the First Turning with Judith Simmer-Brown, who was an acharya, a teacher in that lineage, and a professor at Naropa. And it was cool to really learn in an in-depth way over six, seven months — a college class, you’re writing papers and reading a stack of books — in more depth about the tradition that I was in love with. And seeing it from the point of view, in this case, of this Tibetan model called the Three Turnings. As I said, Chogyam Trungpa was Tibetan, so this model was influential and informed a lot of the curriculum at Naropa. The Tibetan model of the Three Turnings emerges later in the evolution and history of Buddhism. So to talk about modern Buddhisms, we of course have to talk about historical Buddhisms too. We can’t just skip to the modern era — unless we’re being really hyper-modern, then we would. Then we’d be like, “Oh, yeah, it all began today. Here we are.” No. We’re going to actually kind of try to trace this back a little bit. And of course, this is such a huge area, with so much history and so many people involved, and I’m going to totally do it injustice by compressing things and making big, broad points and claims. So I just want to kind of apologize for that upfront. It’s kind of one of the things you unfortunately have to do to talk about a topic that’s so broad and make any sense at all, I think. So I’m going to try to make some sense without shredding apart reality here too badly. The way I understand it, and understood it then at Naropa, is that early Buddhism starts with the historical Buddha Siddhartha Gautama in Northern India, Nepal — modern-day Nepal. And there’s a particular kind of flavor to that early Buddhist philosophy, even as it starts to become diversified into many different schools. There were, like, 17 schools of early Buddhism intact at one point in India, just kind of all competing for meme share. And what we have now that’s kind of extant, that’s currently evolved from there, is just one of those 17 schools that came through: the Theravada school of early Buddhism. They called it the Path of the Elders, which is where most of my teachers had trained, in that lineage. This becomes known as early Buddhism, or what the Tibetans would later call the first turning of the wheel — the First Turning dharma. And why is it called the first turning? Because this is when the Buddha first taught his unique approach — what we call Buddhism now. And the wheel represents the teachings that the Buddha gave, the core of the teachings, which are the Noble Eightfold Path, sometimes compressed down to or simplified as the three trainings, the Threefold Training. The Threefold Training in what? In Ethics or Morality or Virtue, in Concentration, Meditation, and in Insight, Wisdom. These are the things that the Buddha taught, and this is the unique collection of trainings that made it Buddish. This is how you know the Buddish pattern, when you see these eight represented as the Threefold Training and this sort of unique constellation and specific ways of looking at things. In the Eightfold Path, we have two in particular that are quite important here, which are Right Intention and Right View. This is how we see and do the thing. This is how we’re seeing and doing it. So in early Buddhism there’s a particular view and intention that goes along with that view. The intention is to put an end to suffering. And the view is that it’s possible. Suffering does exist, but it’s possible to experience a cessation of suffering. The end of dukkha. And there’s a path that you follow to do that called the Eightfold Path. This is the view of early Buddhism. You’re stuck in samsara and there is freedom. It’s called nirvana. You can get out. You can have an experience of freedom. Later Buddhists don’t disagree on this point — they just disagree, I would say, on how far to extend it and how much to fall in love with our concepts about what’s happening here. The Second Turning — I remember at the very end of the First Turning course I took with Judith Simmer-Brown at Naropa, she basically delivered the big rug pull after learning all these models, the Four Noble Truths and the 12 Links of Codependent Origination — I mean, model after model after model. We’re just learning and reading texts and learning. And at the end she says, “In the next course, the second turning, they’re going to come through” — and just kind of point. And we read The Heart Sutra, and she’s like, “They’re going to point out that the problem with this whole edifice of early Buddhism is that people fell in love with their concepts and wanted to try to explain everything.” That’s what the Abhidhamma ends up becoming — this attempt to describe how everything is related. We’re going to describe and map the entire world of interdependent phenomena and describe everything in detail. And there was something about that that was problematic, which was the freezing or the reifying of that, and it said, no. Basically, like, no. This is not the move. And it negated that in a way that was meant to de-reify that tendency to kind of build mental sandcastles and to believe that our thoughts are the things that are real. And early Buddhism has this built in, in a way, because the early Buddhists say, “Here’s the right view. This is the way you need to understand things.” And that is an understanding of early Buddhism. You want to download this view and understand things this way. Practice in a way that you see that this is true — the three characteristics of experience. You want to see impermanence, see selflessness, see all this stuff. But the problem there is you’re taking the view quite seriously. It’s like, this is the right view. If you get too attached to your view — in the Second Turning, there’s a recognition that this becomes problematic, and we can describe this as emptiness: to let go of your fixed views. To realize, oh, this is more open and fluid. So the second turning emerges. It’s described in terms of non-duality of samsara and nirvana and the emptiness of views — of not believing there’s some thing over there called nirvana that’s separate from this experience of samsara. Cosmological dualism. Oh, no, that’s a problem. If that’s really true, we’ve got a problem here. The Second Turning releases the problem by pointing out that the problem is fixed dualistic thinking. Ah. Okay. Now we’re in the realm of non-duality. The view here shifts from the three characteristics in the First Turning — the Second Turning is about Emptiness and Interdependence. Compassion is just as important as wisdom in the second turning. I remember Shinzen Young explaining this in a way that really struck me. He said, “In the Second Turning, in Mahayana Zen, compassion has equal precedent — it’s equally important to wisdom.” In the first turning, wisdom was still kind of more important. It’s like an absolute teaching, and then you have the relative brahmavihāras, and there’s this sort of ranking where wisdom is kind of the highest. Here, it’s like, no, these are two dimensions of the same realization, or the same awakening. Bodhicitta. One awakening heart-mind. So, to me, this is like a correction. This is an evolution, right? And this is how it’s kind of explained in later Buddhism. This is an evolution of the tradition. What’s so interesting about the Third Turning teachings in Tibetan Buddhism to me is that they understand their own tradition as having what we would now call evolved. They didn’t use that word, evolve, and maybe they have a different understanding of it than I do. But it’s so interesting to me that they see the revolutions of the turnings. I love John Vervaeke — he’s a scholar and a cognitive behavioral therapist and psychologist at the University of Toronto. He says, “Evolution is revolution with change.” That’s the way he defines evolution. Well, the turnings are just this revolving wheel of people understanding Buddhism in new ways, in different ways over time, over a thousand plus years, two thousand plus years. The three turnings model in a sense is the tradition’s first understanding of itself as an evolutionary development. It’s something that’s evolved over time, and you can kind of look back — and what do they do in the three trainings? They say they’re all important. They don’t just reject them. In some sense you could say the Second Turning is a rejection of the First Turning, right? Or it’s a negation of it. You can understand that. Of course, when you negate something, you affirm it. That’s also import

  7. 3 juil.

    The Cost of Silence

    In “The Cost of Silence,” dharma teacher Vince Horn and guest Daniel Klein trace what it costs us—psychologically, relationally, economically, and spiritually—to withhold the truth, arguing that the small silences of the dinner table are the same debt that scales into complicity with collective harm, asking what it takes to finally stop paying it. 💬 Transcript Vince Horn: So, welcome back to the Insight Diaspora. I’m your host, Vince Fukuri-Horn. Good to be here with you again in this exploration of ... I don’t know, what is it exactly we’re exploring here, Daniel? You have to tell me. Daniel Klein: I think it’s going to be an emergent phenomenon. Vince Horn: Great. Okay. Another of those emergent phenomenons. So, no, looking forward to this conversation genuinely. We are talking about the cost of silence today. And for a little background, Daniel and I had a conversation prior to this that we aired through Buddhist Geeks, and it was called The Cost of Truth. And there we were sharing some reflections from both of our experiences, in very different positions, in this sort of Israel-Gaza — I don’t even know what to call it anymore — kerfuckle. This situation is just terrible. We’re coming at it from different places, but both had this experience of speaking up and saying things that weren’t super welcome by our social groups. And so we’re talking about the cost of that, and what happens when you speak up even though it’s not really welcomed. Today we want to explore the other side of that equation, which is the cost of not speaking up, because we also both have had that experience as well. And it’s not like we suddenly woke up one day and were like, “Okay, I’m going to speak the truth about everything, no matter what.” We’re both social humans, so we have gone through a process of learning how to speak what’s true for us. And I imagine Daniel, like myself, is still going through that process. So we wanted to talk about that today. And also, just before we jump in, I want to say a word about generosity. I’m not a huge fan of the generosity talks and Dharma things. I’ll be honest with you. It always felt weird and cringey to me. Now that I’m on the other end of it, it’s a different matter, of course. And Emily was reminding me that the Buddhist teachings start with the practice of generosity. If you look at the 10 perfections, the 10 Paramis, which are these 10 things we’re cultivating on the path, the first one is generosity. So it’s sort of foundational. And it’s foundational to this project as well. We’re doing this out of the generosity of our own hearts. We’re organizing this and having these conversations and wanting to talk about things that are not super comfortable sometimes, or popular. And we’re putting a lot on the line to do that. And we’re asking, for folks that find this valuable, to meet us there, and to see generosity as a mutual process. And so, with that in mind, I just wanted to highlight that there are really two ways, in terms of financial support, that you could consider supporting us today. One is by supporting this project directly, the Insight Diaspora, which runs through the Buddhist Geeks organization, which is an educational nonprofit. There’s a link in the chat if you wanted to become a supporting member of this project; you could do that. That money goes directly to supporting our guests. We donate to our guests to support their livelihood, and it supports us as organizers as well. And then I also wanted to highlight this organization that Daniel’s associated with. Each of these meetings, we want to highlight good organizations that are doing good work in the world. And so I wanted to mention the Soulforce Project, which promotes social justice using music and the arts. And I thought maybe, Daniel, if you could say something about this, because I know they’re your friends. Maybe what the Soulforce Project is about. Daniel Klein: Well, one of the ways that I describe them is that they’re doing the work that we’re doing, but they’re operating at the level of arts and culture. So how do we promote deep transformational work in the field of liberation and collective liberation by bringing together world-class musicians to facilitate these experiences? Run by an amazing, amazing sitar player— Vince Horn: Hmm. Daniel Klein: —who I’ve done a couple events with actually in my own home. So he’s a dear friend. Vince Horn: Okay. And is this a California-based organization as well? Daniel Klein: Yeah, Altadena. Vince Horn: Okay. Great. Awesome. And just for context, you’re based in southern California, I believe? Daniel Klein: Yes. Yeah, Los Angeles. Vince Horn: Yeah. Sorry to hear that. Having lived in Los Angeles. No, it’s a beautiful place. Daniel Klein: I’m in my little bubble. I very rarely leave my living room, and it’s very beautiful up here in Topanga. Vince Horn: Okay. Oh, yeah, you really are. Topanga is a bubble. So yeah, that’s the way to do it if you’re going to live in LA. Good. Well, again, Daniel, thank you so much for being here. This is such a delight to talk to you again. Daniel Klein: Thank you all. Vince Horn: Yeah. So I wanted to start with a quote, if that’s cool with you, Daniel, and just have you, I guess, riff on it or respond. This is the main thing that came to my mind when inquiring about the question of the cost associated with not speaking up, or not saying something which is true. This comes from a book called Trauma and the Unbound Body, by Judith Blackstone. And she says, “Children may be faced with a terrible choice: truth or love. They can limit their own senses and intelligence and be cozily embraced by the family, or they can stick to their view of reality, shutting down their heart instead of their wits and enduring the family rejection.” Daniel Klein: Hmm. Vince Horn: Yeah, you can probably see why I brought this quote up. Daniel Klein: Yeah. Very, very powerful. Very powerful indeed, because I think that it’s really in childhood that we first incur this trauma of: there is a cost associated with speaking the truth. And from my own experience as a child, that’s where my own personal self split. The authentic self, and then all of the walls and masks that I needed to perform and to put up in order to be accepted by my family — and this goes deep into our deepest abandonment and rejection wounds. Vince Horn: Yeah. Daniel Klein: And in many ways it’s these small things, obviously, that start in childhood that then scale to mass atrocities. And I always say that, “Genocide starts at the dinner table, not in the halls of politics.” Vince Horn: That’s a powerful statement. I’ve heard you say that before, actually. Yeah. How did you experience that, growing up in the West Bank? Because we talked about last time how you kind of made a break from the society and culture that you were in, in a certain way. But what happened prior to that? How was that at the dinner table? Daniel Klein: Yeah. It’s really interesting, because this process of telling the truth is a very long process. Because very often we think things, and we already have this inner clarity, but then to get to the point where you reckon with these truths publicly, there’s this in-between stage, and that’s the stage of the silence where the real suffering is happening, where you’ve had this internal shift, but you are completely misaligned on the outside. And so when it comes to genocide at the dinner table, that’s the stage where people around you could start saying really shocking things. I recall a specific conversation where a close and immediate family member was laughing at the starvation in Gaza, and there was a news headline that said that a turtle had washed up on shore. And this immediate family member said, “I thought they’re starving, they can eat the turtle.” And that’s just really the kind of joke, the kind of comment that somebody can drop. And when you’re in this in-between stage, there’s this nodding along that you have — “Hmm. Hmm. Okay.” — because you can’t really speak about it. And that’s where you’re already caught in this trap and in this cycle. Vince Horn: Yes. I’m super familiar with that. As you know, now living in the US, for the last decade or so the political polarization has been super high, and it affects these kind of dinner table relationships, where people seem like they suddenly became aware, “Oh, some of my family members are saying really awful stuff about immigrants or about people.” It’s not that they hadn’t been saying those things before. People become more bold and are willing to speak up and start to push back against stuff. But then that seems like it can lead very quickly to just the whole family system falling apart, or relationships getting strained because people start arguing about ideology. Does that make sense? It seems like there’s extremes there, like just being totally quiet, or just fighting with everyone. Daniel Klein: Yeah, and ultimately it’s all relational. The way I see everything is relational. And so there’s no doubt that when you introduce truth into a relationship that was built fundamentally on the performance or the preservation of untruth, when you introduce that into the family system, there is an inherent collapse that happens. And even though you might see the fracture, it’s actually just revealing that it was fractured all along, and you’ve just been playing along in this fractured system. And when we were thinking about the cost of truth, I was thinking into it in my own life that the cost of truth is the cost of silence. They’re two sides of the same coin. The only difference is that the cost of truth is the cost of silence paid with interest. And so the moment you choose the path of silence, or not speaking truth, that’s the moment where the conv

  8. 26 juin

    Dharma & Empire

    In “Dharma & Empire,” Mary Thanissara and Vince Fakhoury Horn trace how the structures of Empire occupy not just land but the psyche—moving from their own Irish, Palestinian, and colonial family histories to Gaza, climate, and class—and ask what a more revolutionary Dharma might require of practitioners right now. 💬 Transcript Vince Horn: So Thanissara, thank you again. Great to be here with you. Thanissara: Likewise, likewise. Really, really thrilled to plunge into this Insight Diaspora. That was a brilliant capturing of our wandering, homeless group. Vince Horn: Yes, indeed. I was curious too. I know you started off in the Ajahn Chah tradition — in the Thai Forest Tradition — as a nun in the ‘70s, and I think you were a nun for like 12 years, when I was reading. So that’s a long time. Thanissara: Yeah. Vince Horn: Do you consider yourself part of the insight meditation tradition, or were you coming up at the same time that that whole thing was coming up? Thanissara: I’ve never really designated a category for myself, other than a Dharma practitioner in quite a broad sense. And having said that, most of the development of my practice has been guided through, first of all, the U Ba Khin lineage, which was transmitted to Goenkaji — those teachers were my first teachers from Burma, Myanmar. And then through Ajahn Chah, and that was a very pivotal formation of my practice, because I was young and very shaped by that lineage and the premise that they were teaching from. And then since leaving the robes, I’ve almost entirely taught and practiced within the lay insight world. That’s been a constant adaptation and inquiry, and not a particularly easeful landing. Well, none of it’s been an easeful landing, because it’s all in transition and having to be translated on so many levels. So I guess there’s no end to that in the Dharma. Vince Horn: That really fits with how I’ve interpreted your work from afar for many years. I’ve always heard you and Kittisaro’s name mentioned together, and I’ve heard about the work you’ve been doing in South Africa and other places with activism. It has always felt like it’s been a little bit on the emerging edge of the insight tradition. You’re not quite inside, but you’re not outside either. You’re influencing but not quite. You all seem to be strange attractors in this community. And I mean that in the best possible way. Thanissara: No, it’s a good position to be in, I think, in terms of having space from having to conform, and also being able to help shift some of the parameters of what’s allowed to be discussed or what the Dharma is, from within. Also relationship to the folks that I’ve grown to know so well in that movement — having taught a lot or discussed things over many, many years. So there’s a relationship where both being in and out is an awkward reality. Vince Horn: Yeah, and I can relate to that. Thanissara: A sense of tension around that, and creativity maybe. Vince Horn: Yeah, it’s like generative tension sometimes, and other times it’s just tension. That’s my experience anyway of what you’re describing. Thanissara: Yeah, totally. Vince Horn: So we spoke recently for the first time privately, and I think it was interesting to me that the first thing we got into was our family histories. It seemed like there’s no way to really avoid talking about that. Not that I want to at this point, but we both share ancestry from the UK, from Ireland, and I know your family moved at some point to London as well. You mentioned to me that your dad was in the military and that he was posted at some point in Palestine, I believe it was. Thanissara: Yeah. Well, he was a teenage conscript. But he was trying to really escape the poverty that he grew up in, in the tenements of Dublin — which were quite infamous, and still somewhat, although they were closed down in the 1960s. And the oppression, I think, that he felt, even though Ireland was in a process of liberating itself post the 1916 uprising, and then the liberation that started about when he was born, really, 1925 or so. But it wasn’t very liberated for him. So it’s complex, and I think that’s one of the very interesting things about being both colonized, and yet shape-shifting to find a way out through becoming part of, at that time, the war effort of the Second World War. Which was a movement of idealism, but it was a movement of some feeling of needing to break set from not only the economic oppression, but the religious oppression that he grew up under. Of course, the Catholic Church was both extremely oppressive, and it was also the place that people went to for support, to find solace from this unrelenting violence and oppression that had gone on for so long in Ireland under the British. So in that process, he was posted to Palestine and around many places in the so-called Middle East. And I didn’t really know that until quite recently, actually. My elder brother is the holder of history, and somehow in discussion it came out that he was actually posted. And it was very meaningful for me. It’s like, oh my goodness, that he — and apparently one of the things he talked about that my brother remembered was the Irgun, the terrorism that was going on from the early Zionists that were settling. And of course they were also fighting the British as well, blowing up British posts and things. So that was obviously something that really went deep for him in his memory bank. But he never really talked much about any of that, as that generation didn’t. Vince Horn: Right. Thanissara: We have probably in common a lot of lost stories, as people shape-shift and assimilate. And there was also a lot of shame for the Irish fighting for the British, particularly in the Second World War. And it was hard to go home. There’s a lot written about that. They were displaced again in another sort of way, because at that point Ireland didn’t join the war effort — they didn’t want to align with the British. So it was a very complex political dynamic that was going on. Vince Horn: Yeah, that is complex. And it shines a light on the contemporary situation where Ireland is one of the few countries, and their leaders are one of the few, that actually consistently speak up on behalf of Palestinian people. They can empathize with the situation. Thanissara: Deeply, deeply. So much was shaped by so much bitterness. I mean, if you go to the west — where, when Kittisaro and I were first together, we stayed in County Mayo, which is on the far west coast of Ireland — they still talk about the great hunger as if it was yesterday. Vince Horn: Wow. Thanissara: You still see the little crofting houses that were the Black and Tans, who were very, very brutal. In fact, I think they were sent to Palestine after Ireland. You can still see where they pulled down the houses of people and threw them out as they were starving. And I still think — this is another issue — there was such a big silence about the shame of the deprivation of that. It’s only very, very recently that some of the most awful aspects of the impacts of that constructed famine or starvation, really a genocide by the British, are being discussed. While they were exporting food, and it was very, very desperate, and in the workhouses. And then part of the silence was — I remember when Frank McCourt came out with the book Angela’s Ashes, which was a while ago, but it was portraying this period of history in Ireland, the same time when my father grew up, of this extreme poverty and the struggle. And the whole of my Irish family were very upset by this, because they felt ashamed. They were like, “No, it was like —” But in fact, that portrayed some of the conditions that they were struggling with as well in the tenements. So all of these add to the complexity of lost stories, broken lineages. It’s how empire really shapes identity — not just the occupation of land, but the occupation of psyches. And how that takes up real estate in the imaginal levels of people understanding themselves, and how it shapes language and accents and lost histories, and coming to England, having to change the accent, having to pretend to be — It’s such a different — it’s like oil and water, these two cultures of Ireland and especially southern England, where he was. So in the 1950s, where things were very rigid still, late ‘40s, 1950s, when he got married, and then as post-war happened, people had families very quickly. There was no birth control, but also there was a deep reaction to all the horrors and death that was going on. Vince Horn: In terms of the story level, the way that I connect with what you’re sharing from my own background is — I’ve often thought recently that it was probably my grandmother’s experience of being — her father was Irish, from Northern Ireland, and immigrated to Canada, I think, in the late 1800s. And then my grandfather is Palestinian. I often think it’s her Irish background and his Palestinian background that allowed them to form a mixed-race couple in a time period where it literally had just become legalized, a year before or something, and it was still frowned upon culturally. What actually brought them together — it seems like they had some kind of trauma bond there. They probably weren’t conscious of that, but I can sort of see the complexity of what you’re describing there, where it’s not something you could see on just the surface of things. You’d have to understand some of the history to get what connects people. Thanissara: Totally. I think the trauma is such a splitting that you’re sort of like lost beings finding each other in this space. Perhaps you don’t consciously understand exactly. It’s a dynamic of consequence. It’s the consequences of what’s gone before, but you haven’t yet got the story or the history, or it hasn’t landed

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