Pratyahara
The third and fourth Limbs are in preparation for the fifth – Pratyahara. This is where the meditator consciously withdraws from external stimuli. This is accomplished by closing one’s eyes, shutting off the outside and withdrawing from the day-to-day. The meditator moves from focused breathing like the Even Count Breathing to simply allowing the breath to move in and out naturally, on its own without thought or attempts to control. This is what is meant by “follow the breath.”
The conscious and purposeful withdrawal from outside stimulus is crucial to entering a state of meditation. As a meditator, we move from the world’s noise and stimulation to our inner world where we find our own noise and stimulation. This frustrates new and experienced meditators but it is important to remember the advice of one of my teachers, “we are all trying to meditate.” Just like learning a sleight, if you practicing and returning to your breath, you will get there.
In magic, we must withdraw from the noise and distractions too. This means turning off all unnecessary distractions. Today, one of our biggest distractions is technology: the computer, phones, instant messaging and texting and the Internet. The seductive call of message boards. social networking, YouTube, blogs and podcasts is strong. These are the “water coolers” of today. Its great to stop by and check out the latest but when it steals your time and energy, its time to shut off the feed and decide what’s important to your growth as a magician. Pratyahara is withdrawing from the outside world in solitude for practice, rehearsal and reflection.
In magic, we are blessed with enlightened masters in the instruction of practice and rehearsal. My favorites are Eugene Burger, John Carney and Jeff McBride. I recommend exploring their works. It is from some of these works as well as advice I have been given that I offer these practice pointers. I have to say that, like much of the Yoga of Conjuring, these pointers are more for me than anyone else.
Practice and rehearsal times should be mindful and planned. We should know exactly what we want to work on. This means keeping a list of the sleights, effects and routines that are in various stages of development. I keep two lists for each type of performance environment that I work: close-up and parlor. I split these two lists into material that I want to learn and practice and material that is in some stage of development. These works-in-progress can range from material I have worked for years to material that just left the previous list. My focus on the latter is refinement and rehearsal. My lists are dynamic as material come onto the practice list that may or may not make to the rehearsal list. Additionally material that moves from rehearsal into performance may drop off as I may find that it doesn’t fit me the way I thought it would. Keeping these lists keeps me focused. When it’s time to practice and/or rehearse, I turn to my list. Otherwise the stack of books, digital products, and magazines call to me and I find myself idly leafing through them.
I keep my lists in a notebook. A notebook is highly recommended by many magical teachers. My notebooks aren’t fancy. Speaking of which, when I read books or watch a digital product, I keep a record of which effects speak to me. They may end up on the “want to learn” list at some point.
One last note on practice and rehearsal that I have heard both Eugene Burger and John Carney speak to – the need that these sessions need to be regular. This is one of my struggles. I tend to go through periods of a great deal practice and rehearsal and then droughts. As both Eugene and John have both said, fifteen minutes a day is better than an hour or two a week. Like meditation, its best to start with a small amount of time to establish the habit and expand to an amount of time that works for you. Trying to jump into an hour a day probably won’t last but ten minutes may. Our lists in our notebooks are our resources on how to spend that time.
Reflection in Action:
- Take a trip to the office supply or art store and find a notebook that speaks to you.
- Make your lists of your effects and routines. Be honest with yourself and determine where each one is on the continuum from early learning stage to polished performance piece. For advice on ranking our magic, check Dan Harlan’s More Than Meets The Eye booklet.
- Keep your notebook handy when you are reading books and magazines as well as DVDs. Make note of the effects that speak to you.
