{"id":7362,"date":"2023-05-03T08:46:51","date_gmt":"2023-05-03T05:46:51","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=7362"},"modified":"2023-05-03T12:46:40","modified_gmt":"2023-05-03T09:46:40","slug":"experiente-in-registru-oriental","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=7362","title":{"rendered":"Experien\u021be \u00een registru oriental"},"content":{"rendered":"
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S-a \u00eent\u00e2mplat ca \u00een ultimii ani s\u0103 \u00eent\u00e2lnesc tot mai mul\u021bi oameni care practic\u0103 arte mar\u021biale (Karate, tai chi sau taekwondo), yoga sau alte metode de medita\u021bie, relaxare \u0219i cultivare a s\u0103n\u0103t\u0103\u021bii fizice \u0219i spirituale (eu \u00eens\u0103mi urmez cu regularitate cursuri de Pilates \u0219i terapia yumeiho!), \u00eencuraja\u021bi fiind de faptul c\u0103 s-au deschis unit\u0103\u021bi specializate (s\u0103li de sport cu aceste profiluri, s\u0103li de fitness cu includerea unor asemenea cursuri), precum \u0219i de crearea de centre de medita\u021bie indian\u0103 sau de organizarea de retreat<\/em>-uri ca parte a unei excursii de team-building; sunt c\u00e2teva experien\u021be de sorginte oriental\u0103, aflate la \u00eendem\u00e2na celui interesat \u2013 a\u0219a cum bun\u0103oar\u0103, indic\u0103 \u0219i existen\u021ba c\u00e2torva centre de medita\u021bie chiar \u00een Oradea: Vipassana, Ari, Hare Krishna, Omni Yoga Studio \u2013, sau facilitate de accesul la cursuri de medita\u021bie online (exemplul oferit de Internet la o cercetare sumar\u0103: Sahaja Yoga, reprezent\u00e2nd \u201euniunea minte, trup, suflet, \u00eentre om \u0219i univers\u201d, dup\u0103 cum o descrie site-ul de referin\u021b\u0103). Henri Lefebvre vede via\u021ba cotidian\u0103 ca fiind compus\u0103 din suma bunurilor (commodities<\/em>) pe care le consum\u0103m \u00een spa\u021biul real care ne este alocat (vezi Moran, 2005: 128), acesta cuprinz\u00e2nd registre tradi\u021bionale sau inovative, structurate s\u0103 creeze o schem\u0103 personal\u0103 a unui stil de via\u021b\u0103, \u201eliber ales de fiecare individ, f\u0103r\u0103 a face apel la vreo legitimitate istoric\u0103\u201d (Friedman, 1994: 35), sau, \u00een cazul personajelor de roman, un stil ales \u00een conformitate cu anumite inten\u021bii auctoriale, menite s\u0103 stabileasc\u0103 identitatea cultural\u0103 a acestora, cel mai adesea dimensionat\u0103 de practicile \u0219i rutina vie\u021bii de zi cu zi.<\/p>\n\n\n\n

\u201eToate lucrurile bune vin din Orient\u201d,<\/em><\/strong><\/h4>\n\n\n\n

sus\u021bine unul dintre personajele lui G.K. Chesterton (1985: 246), \u00eentr-o perioad\u0103 \u00een care paradigma postmodern\u0103 nu ap\u0103ruse \u00eenc\u0103 (anul publica\u021biei c\u0103r\u021bii este 1914) ca s\u0103 sus\u021bin\u0103 traiectoriile de reconfigurare a tradi\u021biilor culturale, de recunoa\u0219tere valorizat\u0103 a altor culturi dec\u00e2t cea personal\u0103,  de reg\u00e2ndire a imaginii celuilalt<\/em> \u0219i a vizibilit\u0103\u021bii acestuia.<\/p>\n\n\n\n

\u00cen c\u0103r\u021bi, ca \u0219i \u00een realitate, exist\u0103 \u00een zilele noastre o tendin\u021b\u0103 accentuat\u0103 de a \u00eencuraja amplificarea \u0219i r\u0103sp\u00e2ndirea bunurilor comerciale \u00een materie de produse, servicii sau experien\u021be, indiferent de pozi\u021bionarea lor istoric\u0103 sau geografic\u0103, \u00eentru satisfacerea apetitului consumatorilor (personaje sau cititori) pentru diversitatea \u0219i varietatea cultural\u0103; este o direc\u021bie oferit\u0103 generos sub umbrela globaliz\u0103rii, cu \u00eendemnul celebr\u0103rii unui pluralism \u0219i a unei diversit\u0103\u021bi aproape nelimitate, stabilite ca o \u201evariant\u0103 de a asigura coeziune social\u0103 \u00eentre grupuri diferite etnic \u015fi cultural prin recunoa\u0219terea \u015fi valorizarea diversit\u0103\u021bii\u201d (Reitz, 2009: 1); \u00eenseamn\u0103, de fapt, acceptarea particularit\u0103\u021bilor culturale din varii domenii ca o provocare intelectual\u0103, cognitiv\u0103, ca \u00een exemplul oferit (\u0219i publicitat de The New Yorker<\/em> \u00een num\u0103rul din 23 august, 2021), anume c\u0103 \u201eS\u00e2mb\u0103t\u0103, 21 august 2021, la 10.00 diminea\u021ba, Muzeul Brooklyn g\u0103zduia o or\u0103 de yoga pe sc\u0103rile din fa\u021ba intr\u0103rii vizitatorilor de la acea or\u0103\u201d.<\/p>\n\n\n\n

C\u00e2nd autorii \u00ee\u0219i expun personajele explor\u0103rii, chiar a adopt\u0103rii, altor culturi (\u00een exemplele noastre, cele orientale), o fac pentru a oferi cititorilor o nou\u0103 perspectiv\u0103, diferit\u0103 \u0219i diferen\u021biat\u0103, de \u00eent\u00e2lnire cu acestea, a\u0219a cum se \u00eent\u00e2mpl\u0103, bun\u0103oar\u0103, \u00een cazul particip\u0103rii la o \u0219edin\u021b\u0103 de medita\u021bie budist\u0103 \u00eentr-un centru din Elve\u021bia, descris\u0103 de Ann Pratchett: \u201eZen-Dojo Tozan se afl\u0103 \u00eentre Sarnen \u015fi Thun (…), \u00een mijlocul ierbii \u00eenalte \u015fi al florilor albastre. Ocupa o caban\u0103 mare, ridicat\u0103 sus, pe coama unui munte. Fusese casa de vacan\u021b\u0103 a unui bancher din Z\u00fcrich. Vara, el \u015fi so\u021bia lui \u00eenotau \u00een lac cu cei cinci copiii ai lor, iarna schiau, iar \u00een restul anului (…), se a\u0219ezau to\u0163i \u0219apte pe perne zafu (rotunde, moi), \u00eenchideau ochii \u015fi-\u015fi cur\u0103\u021bau mintea la fel cum aerul de munte \u00eenvior\u0103tor le sp\u0103lase pl\u0103m\u00e2nii. Casa a fost cedat\u0103 unui trust pentru a crea Zen-Dojo Tozan (…). De dou\u0103 ori pe an, centrul g\u0103zduia \u0219edin\u021be de retragere, c\u00e2nd \u00eenchiria un autobuz pentru a-i duce \u015fi a-i aduce pe vizitatori de la pensiunea din Thun.\u201d (Patchett, 2019: 287).<\/p>\n\n\n\n

Op\u021biunea ca retreat<\/em>-ul, aceast\u0103 perioad\u0103 de deconectare de la obliga\u021biile diurne, de evadare din spa\u021biul \u0219i activit\u0103\u021bile cotidiene s\u0103 fie \u00eentr-un ashram, un ermitaj deschis tuturor celor dornici s\u0103 urmeze un propov\u0103duitor, \u00eei inspir\u0103 pe participan\u021bi (personaje\/cititori) s\u0103 experimenteze ineditul \u00eentr-o form\u0103 autentic\u0103, dup\u0103 un ritual original, neschimbat, a\u0219a cum \u00eel descrie Elizabeth Gilbert \u00een memoriile sale; acesta \u00eencepe \u00eentotdeauna cu: \u201earati<\/em> de diminea\u021b\u0103, prima rug\u0103ciune a zilei, care se intoneaz\u0103 \u00een fiecare zi la\u00a0 ora 3.30, c\u00e2nd ashramul se treze\u0219te\u201d (Gilbert, 2016: 144). Medita\u021bia poate lini\u0219ti \u0219i echilibra mintea dac\u0103 se urmeaz\u0103 anumite exerci\u021bii fizice \u0219i spirituale, deprinse \u00een urma unor cursuri de ini\u021biere, de preferin\u021b\u0103 intensive, ca cel urmat de Holly Cousins, unde ea a \u00eenv\u0103\u021bat principiul de baz\u0103 al practicii: \u201eInspiri, expiri, e\u0219ti atent la respira\u021bie \u015fi la\u0219i g\u00e2ndurile s\u0103 vin\u0103 \u015fi s\u0103 plece f\u0103r\u0103 s\u0103 le analizezi\u201d (Pratchett, 2019: 289); a\u0219a \u00eencearc\u0103, la r\u00e2ndul ei, s\u0103 \u00ee\u0219i instruiasc\u0103 mama, pe Teresa, care, \u00eens\u0103, nu e preg\u0103tit\u0103 s\u0103 urmeze rigorile metodei, c\u0103ci dup\u0103 ce \u201es-a a\u0219ezat l\u00e2ng\u0103 fiica sa pe o pern\u0103 \u015fi a \u00eenchis ochii (…), mai \u00eent\u00e2i i-a zburat g\u00e2ndul la durerea din genunchiul st\u00e2ng\u201d, apoi \u201es-a sim\u021bit \u0219ocat\u0103 de faptul c\u0103 mintea \u00eei r\u0103t\u0103cea f\u0103r\u0103 \u021bint\u0103, de parc\u0103 st\u0103tea pe marginea autostr\u0103zii, scotocind prin gunoi, dup\u0103 care se oprea vr\u0103jit\u0103 de fiecare ambalaj de gum\u0103 de mestecat lucios\u201d, ca \u00een final s\u0103 se trezeasc\u0103 \u201eg\u00e2ndindu-se la salata de fasole de la cin\u0103\u201d care era \u201eun soi cu boabe roz, pe care nu le mai v\u0103zuse din copil\u0103rie\u201d (290).<\/p>\n\n\n\n

Spa\u021bii de medita\u021bie<\/strong><\/h4>\n\n\n\n

Spa\u021biul fizic \u00een care personajele evolueaz\u0103 \u00een materializarea exerci\u021biilor lor de medita\u021bie este reconfigurat \u0219i redimensionat \u00een conformitate cu profilul centrului ales pentru reculegere, respectiv, pentru acoperirea nevoilor spirituale (\u0219i culturale, uneori) ale acestora; Joan Ashby experimenteaz\u0103 valen\u021bele propriei sale alterit\u0103\u021bi la Dharamshala, re\u0219edin\u021ba lui Dalai Lama, const\u00e2nd dintr-un \u201etemplu, o m\u0103n\u0103stire, un muzeu, o bibliotec\u0103 \u0219i arhiva aferent\u0103 (…). Un cort alb (…)  \u00eei g\u0103zduie\u0219te pe credincio\u0219ii care se adun\u0103 aici zilnic (…). La intrarea principal\u0103 a templului, doi idoli a\u0219eza\u021bi \u00een postur\u0103 de medita\u021bie m\u0103rginesc statuia de piatr\u0103 a lui Buddha\u201d (Wolas, 2017: 336, trad. mea). Interiorul templului epitomizeaz\u0103, \u00eentr-un fel, percep\u021bia pe care o are ea despre Orient, a\u0219a cum deseori o cli\u0219eiza Edward W. Said ca fiind un loc romantic, exotic, populat de fiin\u021be neobi\u0219nuite, b\u00e2ntuit de amintiri \u0219i obsesii, sus\u021binut de experien\u021be deosebite (vezi Said, 1989: 36); ca atare Joan Ashby se las\u0103 antrenat\u0103 \u00een descifrarea \u00eensemnelor din interiorul l\u0103ca\u0219ului dominat de puterea resim\u021bit\u0103 prin prezen\u021ba lui Dalai Lama \u0219i a celorlal\u021bi idoli ai s\u0103i: \u201ePrima \u00eenc\u0103pere e luminat\u0103 de l\u0103mpi micu\u021be, \u0219i e p\u0103truns\u0103 de mirosul uleiului din ele \u0219i al fumului emanat. Scrieri \u0219i picturi acoper\u0103 pere\u021bii (…); sunt imnuri sacre \u0219i mantre, precum \u0219i reprezent\u0103ri picturale ale \u00eenv\u0103\u021b\u0103turilor budismului\u201d (Wolas, 2017: 337). Este locul experien\u021belor complexe, menite s\u0103-i echilibreze spiritual pe cei care decid s\u0103 urmeze aceast\u0103 cale, exerci\u021bii care pot \u00eensemna o kora<\/em> chiar la \u00eenceputul traseului, o sesiune de medita\u021bie de jur \u00eemprejurul templului, apoi un ocol \u00een sensul acelor de ceasornic, pe urm\u0103 rotirea \u201etuturor ro\u021bilor rug\u0103ciunilor \u00een sensul acelor de ceasornic pentru a trimite rug\u0103ciuni \u00een toate direc\u021biile\u201d (338).<\/p>\n\n\n\n

Pentru a-\u0219i g\u0103si un guru care s-o ajute s\u0103-\u0219i reorganizeze destinul (dac\u0103 a\u0219a ceva e posibil s\u0103 se \u00eent\u00e2mple!), Elizabeth Gilbert a ales pelerinajul la un templu indian, ce implica participarea ei la cursurile organizate \u00een ashram \u0219i la ritualurile de \u00eenchinare \u201ela o statuie de-a lui Siddha Yogi (sau Maestrul Des\u0103v\u00e2r\u0219it), <\/em>cel care \u201eprin anii \u201920 a \u00eenfiin\u021bat o tradi\u021bie a \u00eenv\u0103\u021b\u0103turii sacre \u0219i care e \u00eenc\u0103 venerat ca un sf\u00e2nt \u00een toat\u0103 India\u201d (Gilbert,  2016: 152). \u00cen mod alternativ, cuplul Salinger \u2013 Claire and Jerome David \u2013 a optat pentru un templu din Maryland (b\u0103nuiesc c\u0103 asem\u0103n\u0103tor cu cel din San Marco, CA., the Swami Self-Realization Fellowship<\/em>\/Fr\u0103\u021bia Swami de \u00eemplinire de sine, la care m-a dus prietena mea Smaranda F.), o cl\u0103dire nesemnificativ\u0103 din c\u0103r\u0103mid\u0103 ro\u0219ie, situat\u0103 \u201e\u00eentr-un cartier mai nevoia\u0219 (…), mobilat\u0103 s\u0103r\u0103c\u0103cios\u201d (Slawnski, 2012: 266; trad. mea), unde cei doi au participat la serviciul religios \u0219i la medita\u021bie, dup\u0103 care au primit de la Swam Premananda (un fel de terapeut energetic specializat) \u201einstruc\u021biuni asupra exerci\u021biilor de respira\u021bie (…) \u0219i o mantra pe care s-o repete\u201d (266), precum \u0219i primele lec\u021bii despre \u00eemplinirea de sine.<\/p>\n\n\n\n

C\u00e2nd autorii exhib\u0103 interesul personajelor lor pentru tehnici \u0219i practici orientale de echilibrare fizic\u0103, moral\u0103, spiritual\u0103, presupunem c\u0103 nu fac dec\u00e2t s\u0103 \u00eei ancoreze \u00een contextul spiritului epocii noastre, modelat de for\u021bele globaliz\u0103rii (sau localiz\u0103rii?!), de procesul acaparator al digitaliz\u0103rii, de ambiguitatea, relativitatea \u0219i incertitudinile unui postmodernism \u00een destr\u0103mare (se vorbe\u0219te de meta-, respectiv, de post-postmodernism). A\u0219adar, refugiul \u00een practici \u0219i exerci\u021bii de medita\u021bie orientale substan\u021bializeaz\u0103 azi nevoia de evadare, de reg\u0103sire a sinelui pentru c\u0103, a\u0219a cum observ\u0103 c\u0103pitanul irlandez Patrick Dalroy, \u201eopulen\u021ba Orientului ofer\u0103 \u00eentreaga ambian\u021b\u0103 necesar\u0103 aventurii\u201d (Chesterton, 1985: 118).<\/p>\n\n\n\n

Referin\u021be<\/strong><\/h4>\n\n\n\n
    \n
  • Chesterton, G.K., 1985 (1914), Hanul zbur\u0103tor, <\/em>Bucure\u0219ti: Editura Univers (trad. Antoaneta Ralian)<\/strong><\/li>\n\n\n\n
  • Friedman, Jonathan, 1994, Cultural Identity & Global Process,<\/em> Londra: Sage Publications<\/strong><\/li>\n\n\n\n
  • Gilbert, Elizabeth, 2016 (2008), M\u0103n\u00e2nc\u0103, roag\u0103-te, iube\u0219te,<\/em> Bucure\u0219ti: Humanitas (trad.  Alexandra Baciu)<\/li>\n\n\n\n
  • Moran, Joe, 2005, Rading the Everyday, <\/em>Londra: Routledge<\/li>\n\n\n\n
  • Patchett, Ann, 2019 (2016), Comuniune<\/em>, Bucure\u015fti: Editura Humanitas Fiction (trad. Rodica \u015etefan)<\/li>\n\n\n\n
  • Reitz, Jeffrey G., 2009, Assessing Multiculturalism as a Behavioural Theory<\/em>, \u00een Multiculturalism and Social Cohesion. Potentials and Challenges of Diversity<\/em>, Springer Science+Business Media, Toronto<\/li>\n\n\n\n
  • Said, Edward W., 1989, Orientalism. Western Conceptions of the Orient, <\/em>Londra: Penguin Books<\/li>\n\n\n\n
  • Slawenski, Kenneth, 2012, J.D. Salinger. A Life<\/em>, New York: Random House Trade Paperbacks<\/li>\n\n\n\n
  • Wolas, Cherise, 2017, The Resurrection of Joan Ashby<\/em>, Londra: The Borrough Press<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

    Un articol de Magda Danciu<\/p>\n","protected":false},"author":8,"featured_media":7364,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[52,58],"tags":[85,1610,86],"coauthors":[1239],"class_list":["post-7362","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rubrici","category-save-as","tag-magda-danciu","tag-nr-2-2023","tag-save-as"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/05\/zen.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7362","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7362"}],"version-history":[{"count":4,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7362\/revisions"}],"predecessor-version":[{"id":7373,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7362\/revisions\/7373"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/7364"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7362"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7362"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7362"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=7362"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}