A Quote by Rajneesh

Forget the dancer, the center of the ego; become the dance. That is meditation. — © Rajneesh
Forget the dancer, the center of the ego; become the dance. That is meditation.
Forget the dancer, the center of the ego. Become the dance. Then the dancer disappears and only the dance remains. Then the dancer is the dance. There is no dancer separate from dance, no dance separate from the dancer.
If you want a dancer's body, dance. Dance aerobics is my favourite cardio. It's very frustrating if people think you have to become a dancer to do it - you don't.
Is there a meditation that is not the ego trying to become? Is meditation conscious if every effort implies time?
I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it.
For the Indian,dance is a personal form of prayer. When the Eagle Dancer puts on his costume,when he begins to dance to the music,he doesn't simply perform it; he actually becomes the eagle itself. The dancer is virtually inseparable from the dance.
True art means if it helps you to become silent, still, joyous; if it gives you a celebration, if it makes you dance—whether anybody participates with you or not is irrelevant. If it becomes a bridge between you and God, that is true art. If it becomes a meditation, that is true art. If you become absorbed in it, so utterly absorbed that the ego disappears, that is true art.
Dance is active meditation. When we dance, we go beyond thought, beyond mind and beyond our individuality to become one in the divine ecstasy of the union with the cosmic spirit. This is the essence of the trance dance experience.
As a dancer, I know couples that have stayed married but separated to dance on different continents. Dance in general, but ballet in particular, is such a finite career. You can't do it later in life, and it's something that I think a dancer has to have some selfishness to fulfill.
Meditation practice is like piano scales, basketball drills, ballroom dance class. Practice requires discipline; it can be tedious; it is necessary. After you have practiced enough, you become more skilled at the art form itself. You do not practice to become a great scale player or drill champion. You practice to become a musician or athlete. Likewise, one does not practice meditation to become a great meditator. We meditate to wake up and live, to become skilled at the art of living.
Meditation is the art of dying. Then your ego will be shocked. And it is also truer to cal I it the art of dying, because you r ego is not going to grow, your ego is going to die in meditation.
If you decide to become a dancer on Broadway, never say who your favorite dance partner is, because members of the media will presume you never want to dance with anybody else.
Dance is a universal language, and whether you know how to dance or grew up training in dance, you have a respect for people who love to dance, and it's also visually very entertaining to watch a great dancer.
In real meditation you forget the body. You may be cut to pieces and not feel it at all. You feel such pleasure in it. You become so light. This perfect rest we will get in meditation.
A good dancer is not necessarily defined by great technique, skill, or ability to pick up choreography but by confidence. When you feel the music, it penetrates to your soul. Everybody's a dancer. The greatest dancer is someone who is willing to dance, not afraid.
The ultimate meditation is: surrender to reality. The more you fight, the more you are in conflict with it, the more you will be a loser. In deep surrender, the ego disappears. And when the ego is not there, for the first time you become aware of that which has always been there.
What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
This site uses cookies to ensure you get the best experience. More info...
Got it!