DIY Sound Therapy Side Tables

One of the questions I regularly receive from sound practitioners on social media is, “What are those side tables you use for your singing bowls?” Guess what? I made them! Well, I made the top bit anyway. The base is a Ludwig Orchestra Bell Stand available from just about any music shop. The top is a custom plywood and fabric creation based on percussion trap tables commonly found in major symphony orchestras. We use them for smaller instruments and mallets. These “tray tables” are generally placed on restaurant style “x-stands” or extra bells stands, like here.

Restaurant supply x-stand for serving trays

Tray Table

Cymbal table

Percussion “accessories” table (tambourine, triangle, castanets, sleigh bells pictured here)

Trap tables in context with Arizona Musicfest Festival Orchestra

When I first set-up my private practice, I knew I needed a great table for my singing bowls. I didn’t feel completely lost, having built my cymbals tables for the orchestra. Using a similar style table would bring a desirable level of portability and maneuverability that I hadn’t seen from other sound therapy set-ups. Initially, I started out with a plastic pre-fabricated bookshelf from Home Depot. I liked the stone grey color but they were heavy and the singing bowls made too much noise on them.

My first attempt at a smaller table. Zen with Ben (Tilt Gallery, Scottsdale), Fall 2019. Note: no bell stands here. The x-stands I had on hand were aesthetically clumsy.

I finally decided to build my own from scratch. My percussion tables are 2’x2.5’ which was more space than I needed for my singing bowls. Though, hilariously, I had forgotten that while I was setting up my Tempe office I was using one of the OG tables as a temporary surface for my fountain and session mallets.

I cut my plywood to 1’x3’ for the sound therapy tables. Add a layer of batting on top, then cover with fabric. Stretch somewhat tightly and finish off with furniture tacks underneath to hold the fabric in place.

Initially, I wanted to bring in a fabric with an Asian vibe. While I love the pattern, it ended up feeling really busy and unbalanced in my therapy space. I recommend simple, muted colors in natural Earth tones. The final result are 3 tables that have a low profile in my office, allow me to customize each session without feeling limited by the massage table, and structurally solid to support multiple singing bowls, bells, tingsha, and anything that comes up in a sound therapy session.

Table Pro’s:

• Exact size specifications for my bowls.

• Low profile while set-up. Collapsible for storage and transporting.

• Bells stands are sturdy.

• No instrument or mallet contact surface noise.

• Able to change with wear over time or if I get bored with the fabric.

• Drape blankets over them and they double as a sound panels while recording.

Table Con’s:

• You gotta do them yourself.

• Bell stands are slightly pricey if you aren’t already double-dipping from your orchestral equipment inventory.

• Bell stand dimensions don’t perfectly match the table dimensions, potentially leaving some edges out that can snag you or your clients.

• Stands are also on the tall side. If you have a shorter stature, they may not be to your advantage.

• Stand platform may run the risk of an unbalanced see-saw (teeter-totter) that can potentially catapult your singing bowls across the room.

Blessings, Rin Gong!

I’ve been reflecting on a series of events that unfolded yesterday at Serenity Tibet in Boulder, Colorado. I’m proud of Master Teacher Suren Shrestha for his grace and generosity in this exchange. I’m not sure how often master teachers receive vocalized validation for their actions so credit where credit is due.

Amongst the plethora of singing bowls and other Himalayan instruments around the warehouse in Boulder, are a handful of sacred sound instruments that don’t elicit the same amount of attention or esteem as the Himalayan singing bowls and gongs. A prime example of that is the Japanese “rin gong.” Unlike a bronze Himalayan singing bowl, these instruments are more known for their independent invitations of sound (as opposed to "singing") for ceremony and meditation. They’re commonly found in temples and are typically accompanied by large wooden temple blocks carved like coy fish or dragons. We only have a few of rin gongs on hand in our warehouse, and I’ve always kept my eye on the 16” because its presence is both obvious and accompanied by deeply serene energy. They are forgotten beauties. When I play it, I immediately get a sense of cherry blossom and aloeswood aromatics. It’s easy to visualize mountain mist and calm coy ponds.  

Note to self: take photos of yourself with the large, unusual instruments because someday you might have a cool story related to that instrument but then you have to rely on an old photo of a different rin gong taken in a faraway land a lifetime ago. In this case: a large temple rin gong sits at the base of the Jade Buddha in Anshan, China (Dec. 24, 2011). 

Rin gong. Jade Buddha Temple. Anshan, China. Dec. 24, 2011.

 Here’s how this situation yesterday played out:

A client came to the warehouse on recommendation of a mutual friend to search for a singing bowl that would help contribute and elevate the energy of an Aspen vacation home that was recovering from some energetic trauma on the property. The new owners of the home hired this individual to work his interior design magic and also cleanse and prepare the home, energetically. There was enough residual negative energy to cause the house to have an "uneasy vibe” and it sat on the market for a long time before the new owners committed to revitalizing the space. 

This particular designer (American) has a background as an ordained monk in the Himalayas so he wasn’t completely unfamiliar with some of the ceremonial uses of sacred sound but needed some guidance on narrowing down a bowl for the home. What caught his eye immediately was a medium-sized rin gong, which in our warehouse is akin to finding a little black needle in a massive gold haystack. 

I immediately introduced him to the large rin gong we have, knowing his intention was not only to have a utilitarian bowl to help hold and cleanse the space but to also have a zen-design aesthetic. That’s rin gong in spades. 

So we pull the bowl down from its perch and I walk him through a bit about the instrument, its history and uses. We send a video to his clients. Bam! (or rather, “Gonggg!”)…they’re hooked. Of course they are. It’s a phenomenal and unique bowl. 

The day goes by, and invoicing paperwork, etc., goes through its normal process. By the time the client is back to purchase, our master teacher, Surenji, is out of class and checking up on the daily goings-on at the warehouse. As soon as he sees the large rin gong out, he regretfully informs us that the singing bowl is not for sale. It’s a special piece, the artist isn’t producing them anymore, and he was resistant to selling it. However, Surenji decided, “I’ll reach out to the artist. If we can convince him to make one more bowl for us, I’ll be willing to let this singing bowl go to its new home in Aspen.” 

Here’s where the aforementioned grace and mindfulness comes into action. From a meditation standpoint, we train and watch for attachment. Attachment leads to suffering. This is a cornerstone of Buddhist sutras. Now, it’d be one thing if we used this singing bowl everyday in our own ceremony at Atma Buti® or if someone made an offer because they were producing a Jet Li film and they needed an authentic instrument to destroy in an epic fight scene. However, this specific situation–positive transformation–is what these instruments are made for! They put harmony into the air. They are teachers and guardians. They help us connect with both the present and the infinite. And Surenji has countless anecdotes about instruments finding their way to a new home or owner in an organic way, because “they were meant to” or it was “divine’s will.” I could see this dilemma on his face and was happy to gift him the requested space to meditate on what he wanted to do. 

In the end, Surenji realized that this situation was unique and through this instrument there was an opportunity to bring peace of mind and harmony to a tormented home. At the end of the day, that’s where the instrument would be best put to use: not as a coveted showpiece on a dusty warehouse shelf out of sight, but in a meditation-inspired, indoor zen garden, helping a family feel at home in both the house and in their mindfulness practice. By letting go of attachment to the rin gong, we honor not only the verbal accord with the client but also the intention of the artist and of the role of these instruments in our lives. 

I’m extremely proud of him and grateful to see his wisdom in action. He saw his attachment and he skillfully responded with grace and compassion. Instruments will come and go, just like people or teachers or resources, and so on. No need to force. No need to fight. Relax and let divine flow. I believe this bowl recognized an opportunity to do good. It saw where it would best serve its purpose and it made itself known. It volunteered "as tribute." It put itself out there to do its best in a tough situation. Mindful action as taught by a beautiful singing bowl. I hope we all recognize and capitalize on those opportunities to share our power for positive transformation in our own lives. 

The “Blonde Joke” is on us!

Last night I was teaching my weekly meditation class in a limited series on Insight Meditation. One of the topics we've been working with is how to deal with mental distractions in a meditation session. There are certain "maneuvers" one can employ when your mind gets restless or full of a garbage monologue. One of those maneuvers is a form of "anchoring," such as counting or labeling. Personally, I love a simple reminder to "let go." Whether it's physical tension, an emotional upset, or an ego-induced fantasy of sorts, I tell myself to just "let go." Stay with the breath. There's genius in that simplicity. Along those lines, last night we touched on labeling the breath cycle with a simple phrase of "breathing in...breathing out." This type of labeling does a wonderful job of helping to anchor you to the present moment. "Breathing in... breathing out..." This phrase triggered a memory from my childhood, in the form of the stereotypical blonde joke and I realized in that moment there is a hidden wisdom for which "the blonde" never received credit.

Here's how the joke goes*:

A blonde walks into a salon...

She asks the hairdresser for a trim. The hairdresser asks the blonde to take a seat but tells her she needs to remove her headphones.

The Blonde insists she can't remove them and the hairdresser will have to do the best job she can.

After a while the hairdresser gets frustrated and says, "Sorry, ma'am, but I really need you to remove your headphones in order for me to do a proper job".

The blonde reluctantly agrees but insists the hairdresser will need to hurry.

A couple of minutes pass as the hairdresser is snipping away, when suddenly the blonde drops to the floor, dead. After checking for a pulse and determining she is in fact dead, the shocked hairdresser curiously slips the headphones on and hears....

"Breathe in.... Breathe out.... Breathe in.... Breathe out..."

*I remember this joke a little differently. I thought the blonde was walking on the beach when the batteries in her walkman died and she dropped dead. When the detectives on the case put fresh batteries in they discovered what happened. In any case, who would have a guessed a blonde joke from my childhood would resurface as a wise anecdote in a meditation class 25 years later?

For the record, I haven't heard a "dumb blonde" joke in ages and I think that's a cool reflection of growth in our society. OR maybe I've just honed the sangha around me to a healthier place where those types of jokes don't exist. In any case, as I struggled to remember the joke for the class, it was the first time I found myself saying something to the effect of, "Do you know this joke? Maybe you're all too young..." In their defense I haven't used the term "walkman" in about 15 years. "Once upon a time there used to be these things called cassette tapes..."

What I find amazing about this joke now is the hidden wisdom focusing on the breath as a metaphor for life. Yes, in a literal way, we all know we'd die without the breath. But how crazy is it that 25 years later, from the same culture that condemned a blonde for the reminder to focus on her breath, here we are at the height of yoga, meditation, and holistic wellness emphasizing the need for that connection?! "Wanna feel better? In control? Calm and grounded? Try this! Breathe in...breathe out..." It turns out, that "dumb blonde" had it right from the beginning. The joke is actually on us.

Did you have a walkman? What was your favorite cassette?? I remember having a Weird Al tape that got pretty worn down. My favorite cassettes were book on tape narrations for stories like Tolkien's "The Hobbit," Shel Silverstein's "Where the Sidewalk Ends," and a potpourri of short stories by Maurice Sendak ("Where the Wild Things Are").

Shout-out to my dear friend, Kalla, for indulging me and documenting her "Legally Blonde" persona. Kalla is a mentor, writer, truth seeker, and recovered attorney. For more on her ascension journey, be sure to follow her on Instagram: @rekallabrate.

Bonus: A Brief History on the Walkman

Francie and Fortitutde

Francie, aka “Fortitude”

One of the most surprising aspects of working with Himalayan Singing Bowls is their clear, expressive, and unique personalities; and, especially how those personalities shift with each client. I've never been one to personify my possessions. I've never felt the desire to name my car or my instruments at the orchestra. Yes, I associate each with different stories, memories, and sonic qualities but not a personality. My triangles and suspended cymbals do not have distinct personalities. My singing bowls however...

My first set of Himalayan singing bowls came via a generous, posthumous donation as a gesture of encouragement from the family of the deceased. Those bowls already had names when they came to me, labeled with a handwritten sticker inside each bowl that have long since washed away (see previous post on cleaning your singing bowls). I have no insight into the origin of each name, but I do know that the first letter of the name was meant to correspond with the pitch of that bowl. For example, the bowl named "Gann" is tuned to a G. For the record, the tuning came first and the name to match (not the other way around).

Since I never had the impulse to name my instruments, it took an adjustment period for me to refer to each bowl by name, as opposed to size or "brand." Descriptions at the orchestra are much more literal: 6" Abel (triangle), 17" Sabian Sus (suspended cymbal), 5" Hinger (snare) for example. The names generally only refer to a limited number of possibilities. If I ask a colleague to "please pass the 6" Abel" I could only be talking about one type of instrument on stage...a 6" Abel triangle. There is no 7" or 9," or Abel xylophone for that matter. I've never heard of anyone naming their 6" Abel something like, "Kermit." It's not part of our culture in the percussion section.

(Full disclosure: there are two types of 6" Abel triangles but they're close enough that I don't think anyone would be upset I passed them mine when they wanted the Wagner model. Otherwise, they'd probably say, "Please pass the Wagner Abel.")

As my singing bowl practice grew, I acquired more than just the first few bowls. Suddenly, it was jarringly inconsistent to only have 5 bowls named and the rest without. I don't know which of my traits this orginiates from–Taurus , INFJ, or 5w6–but I can't handle having only a select number of bowls in one system and the rest as unknown soldiers. I crave categorical consistency. For the first time in my career as a musician or sound practitioner, I needed to come up with appropriate names! To continue in the tradition of my first set, I asked my Spirit Team to help me name the other bowls, following the same parameters: English(ish) names whose first letter matches the pitch of the bowl.

I sat with each bowl one-on-one in meditation, and asked for a name (that begins with the letter "__") to drop in during my session. I examined each bowl, noting every characteristic that stood out to me from the shape, color, texture, markings, history, and of course, sonic properties. Most bowls picked a name immediately. On rare occasion this process takes several meditations, but I don't mind. There's no rush on my end for the bowl to select its identity. It must be how Doctor Who feels when picking a new face. Interestingly, my antique Tibetan bowls have a stronger sense of identity than the new Nepali bowls, who remained unnamed while they "discover themselves."

Which brings me to today's story. There is one bowl in particular whose name came through a clumsy process, laced with my own insecurities, yet ultimately revealing a staggering level of synchronicity and wisdom. That bowl is a 4 7/8" Tibetan cup bowl from the 18th century, tuned to the pitch F. This is the story of Francie, aka "Fortitude."

When I set out to find its name, what presented itself immediately was, "Francie." I'm not one to insert myself into another's sense of identity. It's really not my business. But honestly, I didn't like the name at all and in a quasi-controversial move I vetoed it. I let the bowl/my team know that wasn't a very good name and to please reselect. After some time passed the name "Fortitude" came forward. That's a rockin' name! Much better than Francie. I love the imagery and embodied qualities of fortitude. However, the fact that this was its second choice has always been in the back of my mind and I've wondered if I did the bowl a disservice by vetoing its identity?

I was recently discussing this with my father because of a synchronistic event with another bowl in my possession. My dad asked a fantastic question: "Have you found any connections between a 'Francie' and 'fortitude'?" No, I hadn't even thought to look into that!

Before I go further into this story, here are some other aspects of this bowl I should highlight:

1. In the system of sound therapy I practice (as taught at the Atma Buti Sound & Vibrational school) the F bowl is used to work with the root chakra, so the F bowl is generally used on the lower half of the body. I actually have a few different-sized F singing bowls depending on how much grounding/bass I need to bring to a sound therapy session.

2. I had an entertaining evening with a friend who, while on a psychedelic substance, helped describe the personality of each of my bowls. When I played Francie/Fortitude for my friend, they described the bowl in one phrase: "Respect her temple." Enough said!

Ok, so what did our search for a connection between Francie and Fortitude reveal? Those two words are primarily linked to a speech by Pope Francis related to "fortitude" which he delivered at Vatican City in May 2014. Pope Francis (or Pope Francie as I'll be calling him from here out) describes fortitude as a trait of the "hidden saints among us." I like the idea of my singing bowls as hidden saints. Pope Francis also sees fortitude as a quality that "liberates the soil of our hearts to bear fruit" and sustain us through weakness. Fortitude is "exercised in our patient pursuit of holiness in the circumstances of our daily lives" (respect that temple!). Fortitude is often saved or extraordinary circumstances. Pope Francie emplors his audience to remember the gift of fortitude in the everyday. "This gift must be the base note of our being Christians..." BASE NOTE?! As in the base tone of F that I use to work with the root chakra?! Of course it is! Amazing...

At first, naming these instruments was a novelty, a hat nod to the woman who gifted me my first set which allowed me to start down the path I'm on. Since then I'm continuously surprised and humbled as these instruments slowly reveal themselves and their wisdom to me. Each one has a unique personality and skillset. More details about each bowl on my team can be found here: https://zenwithben.me/my-team

I'm looking forward to learning more about the latest set as they find themselves and how they integrate into my sound therapy practice.

P.S. Fun fact #3: I get a lot of compliments on how I tune my snare drums at the orchestra. I really don't think I'm doing anything miraculous. I simply had a phenomenal teacher who was renown for his knowledge and facility with orchestral snare drums. In any case, it's not uncommon for a colleague to ask me to check their drum or do a little work for them. My other secret? It's super quirky–especially because I'm not Catholic–but my drum key was actually blessed by Pope Francis. It looks a bit like a cross so I'm not sure he knew he was blessing a drum key. It's so random yet it tickles me each time I remember:

Colleague: "Your drum sounds great!"

Me: [said with the same inflection as a girl who reveals their dress has pockets] "Thanks! My key was blessed by the Pope."

Colleague: [Blank stare]

Me: [Beaming]

Muse 2 (the brain sensing headband)

My Muse EEG arrived today! I've been extremely excited to incorporate this technology into my Sound Therapy practice as part of the biodata for case studies. I'm not proposing any hypothesis yet, though I certainly have my hunches, but I see huge implications for tracking brain waves in addition to pulse, temperature, and oxygen levels throughout sound therapy sessions with instruments like the Himalayan Singing Bowls.

My immediate impressions about the Muse 2–which I opted for because I'm not conducting sleep research, and that seems to be a large factor in the the intended use of Muse 2 vs Muse S:

• sleek

• comfy rubber on the ears

• easy to fit (it rides higher on the forehead than you'd expect)

• I have no idea when it's actually charged vs charging. The guide indicates a series of 5 lights will come on but they all look on so...

As far as my session went, I had a skillful time. I haven't formally practiced in about a week as I've been finishing up other projects. I also didn't do any of my normal pre-meditation rituals (puja, aura cleansing, etc). I sat down and dove right in.

The app came preloaded with rainforest sounds. As you meditate, you can wear earbuds and get "realtime" feedback as to your state of mind through the nature of the rainforest. Active brainwaves result in more tumultuous weather whereas calm brainwaves are reflected through birds that stop by and nestle near you in your enlightened glow. The immediate downside to this system is that I'm in a desert that's beyond overdue for a good thunderstorm so when I hear rain I want more! Give me that rain! So there's some innate attachments there I had to be aware of.

Another distraction for me was I was tempted to test the parameters of the EEG. If birds come when I'm calm, how active can I push my mind and what does that sound like? But that defeats the purpose so I quickly let that idea go. I'll admit here too that I had a bit of imposter syndrome over the EEG. I've been practicing meditation for 10 years, and actively teaching others for 3 years. What if the data reflected my complete incompetence?! Placebo brain. McMindfulness. [shudders]

The main interplay I worked with was the awareness that more active brainwave function is a result of tension, either mental or physical. They play on each other. To that end, whenever I heard static through my earbuds it was a quick process to check-in physically and release any tension that may have popped up. The birds dissipated, rain starts up, and I follow-through with a quick check on my posture and surrendering to gravity. One aspect of that which remains a mystery is if the sound was reflecting tension as a result of increased pressure with each inhalation, or activity from the exhalation. I'm not clear on how Muse (or my brain, perhaps) makes that determination. It'll have to come with more play.

So, how did I do? Of my 20-minute introductory session with the rainforest soundtrack:

• Active brain wave activity: 19 seconds (there's a joke in there somewhere)

• Neutral activity: 8 min 51 sec

• Calm mind: 10 min 36 sec

• I earned 2,439 muse points (3 points for each second of "calm" and 1 point for each second of "neutral")

• 6 recoveries (transitions from active to neutral, as a result of catching the distraction)

• 57 birds

I also earned two awards, which I didn't even know would be a thing. One hand, bully for me! On the other, this further entrenches a system of "good" or "bad" meditations, which only encourages the ego-mind and the potential for negative self-talk. I prefer to frame my sessions as varying degrees of "skillful."

• Bird of Eden Award, for at least 2 birds per minute

• Serenity Award, for more than 10 minutes in a calm state...which Muse equates to about 150 natural breaths.

What I liked about the app is seeing the data immediately. Very cool. I was also pleasantly surprised to find they add a journal feature following your session. Journaling is a great tool for helping to identify trends so you can quickly move in on tension in the mind and the body as it appears. The app is very user-friendly. They set-up challenges for building a habit. These are all skillfully incorporated.

I'm not crazy about a punitive system of teaching meditation. Granted, I opted to not use their instruction (which I assume meant guided meditation prompts). There are some foundational misconceptions that seem to constantly be used to market mindfulness but in actuality only further cement those misconceptions which can lead to frustration from new practitioners. For example, the Muse box is simple and clean with the trenchant motto: "Meditation Made Easy." Except meditation isn't easy. It's simple, but it's not easy. Though now that I write this I realize they can't write, "Buckle up, it's going to suck big time for the next few years but then it'll be worth it." That's way too long for a motto! But teeing up "easy" might not be the way to proceed either. I'm very curious how someone new to the practice feels about birds to rain ratio. I could (and did) listen to either and welcome all sounds to the observation deck. My hunch is at what point does rainfall become a storm that a new practitioner can't escape from? This is all rhetorical, of course. Just like any other session, you simply work with what's there and what tries to peek its head out.

All-in-all, I'm beyond thrilled to add this technology into the sound therapy case studies. Having real-time data from each session is going to be fascinating. I've had the device for 2 hours and I can't wait to see what insights it might provide access to.

Have you worked with Muse?? What was your experience?

DIY Chime Rack

I love Koshi chimes. They're instant nostalgia. Every time I hear them it transports me to the meadow, to the beach, to Grandma's house... In the sound healing world, I often hear them lovingly referred to as "fairy dust." Just sprinkle a little fairy dust! There are four modes (note configurations) that Koshi labels with different elements: Aria (air), Ignis (fire), Terra (earth), and Aqua (water, obvi).

The main hiccup I run into with chimes like these is I never know where to keep them when I want them around but they're not immediately in use. They seem to always end up where they get in the way. My solution? A super simple rack for a drumset or orchestral cymbal stand. I think I was out $4, not counting the stand.

Materials needed:

• wooden dowel

• cup hooks

• ruler

• drill

The process was pretty straightforward process. I had a 26" length of 3/4" diameter wooden dowel. So I drilled the largest hole at 13." For a standard cymbal stand a 7/16" drill bit should do the trick. Then I drilled 4 pilot holes for my 4 chimes with the smallest bit I had. The biggest question was whether or not to drill them all parallel? Since I normally use them on a stand that's point straight at me, I decided to drill the main mounting hold 90º off from the four hook holes. That way if I needed to mount them upright at any point, I could still use the cup hooks and "top load" them.

Each chime is about 3" in diameter so I spaced my hooks out at 2" and 8" from each side.

Fun fact: if you twist your cup hooks in too tightly they will break off in the dowel. Yay!

Brass cup hook snapped while I was tightening it into place.

Note to self: try not to construct your rack 30 minutes before your sound bath meditation. Next time, plan ahead and put a beautiful light stain on the rack.

Boom stand attachment for wind chime rack

In any case, they work great and since the dowel is now essentially a large, sonic balance I'm extra glad I spaced them out so when I mindfully move one, they rest gently float into a new position.

And here they are! Ready to go in my sound therapy studio in Tempe. Cue nostalgia!

Great $4 solution that was worth the early morning trip to the hardware store. Looking for some fairy dust of your own? Check out the Zen with Ben shop! I have all 4 Koshi sets in stock with recordings so you can check them out. Aria and Aqua have a more "minor" quality, while Terra and Ignis have a more "major" sound. They all work together beautifully and I tend to pair minor and major in my sound baths to help illustrate the tension and relief of the breath.

Meditation 101: Going Solo

“In regards to meditating, how does one being doing it solo?”

I love this question so much. Like most Westerners, I began meditating with the aid of guided audio meditations. Common apps people use are: Calm, Headspace, and Insight Timer.

Pro's of Guided Audio: Available anytime to help you stay focused. Variety of teachers, styles, lengths of meditations.

Con's: You're still reliant on your phone or other technology. You may not learn what to do when you're ready to go solo. You may become bored with the same guidance. You don't look as cool on Instagram.

If you're completely new to a meditation practice, I would start with some form of guided audio (there are plenty of options available for free on youtube and Spotify) BUT set a goal for yourself for when you'd like to being to wean off that training wheel (3 months for example). 

Goin’ solo “for the gram.”

Duration of Sessions

"Short periods, many times." 5 minutes a day is significantly better than 60 minutes once a week. As you become more skillful–there is no good or bad in meditation, only more or less skillful–you will feel when 5 minutes is no longer enough and can slowly extend the time. 

When To Meditate

You'll have to play with this a bit to find a time of day that feels best for your. Try to stick with a time for at least a week to gauge whether it's the time that's off/on or you that day.

AM: you're fresh, there isn't an abundance of chaos and drama yet, it's easier to focus, and generally the city is quieter.

PM is relaxing and a nice break to check in and reset. I love the afternoons because it helps me get over the hump of the day and functions essentially like an afternoon rest period. 

Where to Meditate

Find a spot in your home that feels calm and contemplative. Bedrooms generally have that calm vibe. Kitchens, not so much. Try to meditate in the same place and the same time every day. That consistency sets a precedent (21 days to form a habit). It also charges the space with that calm, meditative energy that actually helps you when you come back to it. Every time you meditate in the same place the energy is there to help you, and in a feedback loop you put more energy back in. It's beautiful. 

How to Meditate

This is the big question, right? It's not a nap or drooling cross-legged in the corner. Meditation is an active process. There is definite technique for honing focus and concentration. First, posture is super important: "tense body, tense mind; relaxed body, relaxed mind." The super broad strokes are: an upright and noble posture, head balanced on top, eyes closed, hands in your lap, feet planted on the ground if you're sitting in a chair. 

Beyond being posture-critical, breathwork guides the mindful gaze. The entire practice consists of watching sensations that arise with and of the breath, as well as noticing how our mind respond to stillness. Thoughts arise and we let them go. If we get distracted, we bring our attention back to the breath as soon as we catch ourselves. This may happen 100x, 1000x, or 100,000,000x. Every day and every person is different. The goal is to observe without judgment or expectation. 

Beginner Exercises (5 min daily)

"Box Breath": breathe in for 4 counts, hold your breath 4 counts, exhale 4 counts, and pause 4 counts, then repeat that cycle. Notice how you feel (energy levels and other sensations) inhaling versus exhaling.

"Body Scan": working systematically from the top of your head to your toes (or vice-versa) scan for tension in the body as you inhale while inviting deeper relaxation and release of tension with each exhale. Common tension zones are around the eyes, the jaw, neck/shoulders, and hips. 

"Open Awareness": here there is no single object holding your focus. Be open and present with any and all sensations that arise. Breath, smells, sounds, sights, feelings, temperature, thoughts, memories are all fair game.

However you explore your "solo" beginning sessions, try to remember that the benefits reveal themselves with consistency and often "away from the cushion." Be gentle with yourself. Try, try again. More information or private lessons visit: www.zenwithben.me.