If mindfulness and meditation are considered highly important as tools that create, maintain, and strengthen happiness, then for this meditator, Mind-dancing is a very effective version of both. There seem to be three types of Dancing: Fast Dancing, Regular Dancing, and Slow Dancing. While Slow Dancing has taken – or takes – years to develop and while the thoughts and feelings that constitute its center, and its strongest virtue, exist mostly on the subtle level, Fast Dancing appears to be the most markedly blissful, peaceful, and powerful one. Slow Dancing also requires a great deal of Resonance and subtlety if it is to be identified or noticed, as many people experience it without knowing. The Slow is a powerful way of fueling all of the Soul, mind, and body, but inversely it tends to be a very rigorous practice, too, and expends energy. Still it is a highly rewarding habit, it is very much worth the energy it takes up.

 

As the point of using words that describe the speed of a given type of Mind-dancing embodies the very central character of any given Mind-dancing session, Mind-dancing has a lot to do with the fact-saying, Time flies when you're having fun; in other words, the faster the mind moves while dancing, the more rewarding it is, whereas Slow Dancing has a rather mysterious nature. The Slow funnels itself mysteriously into various parts of human consciousness, but the reward of these energies (if you will), although it or they are real, remains subconscious, invisible, and thus somewhat inexplicable. As a twenty-year practitioner of meditation and mindfulness, this Brown-belt has enough of the kinds of virtues that enable immediate notice when a dance is transitioning into the Slow kind – has enough virtue that it has become apparent to him that the life force having to do with a Slow dance does and is like just that. And it is also apparent to him that Slow dancing is the strongest way of altering consciousness, of nearly directly creating events in reality, instead of going with the flow or just watching how events unfold – although what exactly those created events are is another mystery.

 

As a visual type of mindfulness practitioner, for this dancer, the three kinds of dance that are our topic always have to do with the way something that is looked at feels, as described by series of jibberish words, one or two series per single visual object – over and over for maybe 30 or 40 minutes. Of course this sounds bizarre, but it is profoundly rewarding on very obvious levels. The Slow Dancing we are discussing happens when the visual object describes itself by itself and simultaneously imparts multiple units of life force of the gentlest and subtlest type, instead of the deliberate descriptions, one after the next, that effect a Fast dance. Another point of fascination here is that Slow dancing happens most often during the Summer season, outdoors, while sweating; that is, as it is understood in Tai-chi, among many other points of a huge body of brilliant physical knowledge, sweating stimulates an association of the skin with relaxation. While Slow dancing happens around multiple visual objects, the Fast Dancing historically is easiest while staring at one object, but making jibberish of the same variable nature.

 

As Fast and Slow Dancing happen most often when this dancer is conducting the described jibberish, Regular Dancing is the most frequent form of dance, and contains mostly simply the name in common language of objects, though also some jibberish series. That is, if the dancer is looking at a door, then and tree, then a sidewalk, the words “door,” “tree,” and “sidewalk” are used. In this kind of mindfulness, the energy of the Slow and the bliss of the Fast Dancing are less abundant, and the speed is less consistent, as it is subtly variable, minute to minute. But in all three speeds of dance there are always a number of jibberish examples that make themselves into figurative versions, like dance moves, if you will, one little series transforming itself into the next. And it is with the Regular Dancing that one object label dances itself into another word or phrase. It is this type of dancing that is the best part of the Regular Dancing, granted it is hard to explain and describe – and granted all three speeds seem to require a good deal of training and practice.

 

The jibberish or plain-language dancing can also have other forms. For one example, the practitioner can imagine he/she is spontaneously receiving what is felt, what things feel like, in their psyche or subconscious, and then in their conscious mind – just the way it happens inadvertently when someone is reflecting and finding valued things, or sitting down and thinking. Or the phrase, word, or jibberish could come from looking at another person's aura/presence or that of a tree, animal, or other living thing. The dancer can imagine they are reading the thought, emotion, or state of mind of another in a sort of spontaneous way, kind of like reading people or Using the Force (as in Star Wars, if you will). And this is where Slow and/or Fast Thinking come in, which is a more expansive and variable way of using the mind, which is a more variable means of meditating and practicing mindfulness. Of course, there are very many crossovers and similarities between Mind-dancing and Slow or Fast Thinking, although Mind-dancing generally uses a greater speed, literally thought-to-thought.

 

Onward to Thinking instead of Dancing, there appear to be two kinds, the Slow and the Fast. Your writer would define the Slow as what it seems is best labelled as, normal reality. Reading the newspaper may appear to be fast, as there are a couple of words read during nearly any given second – whereas taking a walk might be described more literally as slow, since most people would associate it, in the slower-seeming sensory and mental phenomena that constitute it, as slow. And, of course, eating, sitting, looking are more of the dozens, or even couple-hundred things that are Slow Thinking. But the two adverbs, “slow” and “fast” are, very much on the other hand, largely chosen intuitively as the central operating terms for these mental phenomena. The literal use of words, like saying that reading or walking are fast, does not seem to be the right use for our two experiential-conceptual gists. Your reader has faith that Slow Thinking and Fast Thinking, as described herein will be useful for some readers.

 

But this is where our fact-saying comes in, “Time flies when you're having fun.” “Fast” Thinking, as opposed to “Slow” Thinking, in the case of the conscious reality of this writer, can also be described using many other words; for instance, words not just like, “fun,” or “rewarding,” but also like, “uncanny,” “absorbing,” “fluid,” and “compelling.” Along these lines, then, like some other seekers of insight, your writer experiences Fast Thinking while in conversation, during some kinds of exercise, while making conscious use of perceiving about external stimuli, especially other people, when philosophizing, while writing, and while playing mind-games, like with a Rubix cube or in the conscious applications of numerology. And he is curious as to what activities are “Fast” for his readers.

 

Of course, while these written descriptions of Dancing and Thinking break them down to the basics, there inevitably are differences in the way one person, and the next, practice and understand them. Interesting!