although it's been said many times, many ways, enlightenment is meeting Buddha face to face. When the ancestor Eihei Dogen first met his Chinese master, Ru Jing, the teacher said to him, the Dharma gate of direct transmission, face to face, between Buddha and Buddha, ancestor and ancestor is now fully realized.

[01:08]

This was a ceremonial performance. Later, Ru Jing and Dogen did another ceremony, face-to-face transmission. And this ritual performance of Buddha meeting Buddha is enlightenment. Buddha is Buddha meeting Buddha. We say the Buddha, the Buddha, or the Buddha is Buddha meeting Buddha.

[02:30]

That's the world-honored one. That meeting, playful, creative ceremony is Buddha, is enlightenment, is helping others, is understanding that others are our self. Our self. It's a common kind of a phrase in English to say empty ceremony or empty ritual. It's usually meant as some kind of disparaging, like ritual and ceremony are worthless, or rote, rote ceremony, empty ceremony. But in the Buddha Dharma, we

[03:39]

ceremony is empty. Our ceremonies are empty. But they're not only empty, they're also emptiness. Our forms and ceremonies are emptiness. Not only are our forms empty, in other words, you can't find them if you look carefully, but they are emptiness. They are the highest truth, which you can't find either. Ceremony is emptiness. Emptiness is performed. Emptiness needs to be performed in order to be realized. So realizing emptiness is not a mental event.

[04:43]

It is an existential realm of performance. I like to use the example of dancing. Particularly the tango is appropriate since we know it takes two to tango. that the tongueros have perceptions. They are not human, they have perceptions. They may perceive their partner, they may perceive the dance, but they don't need to perceive the dance. The dance is a perception of the dance. We who are watching can also perceive the dance, but the dance we perceive is not the dance.

[05:55]

The dance is the existence of the dance. It's not a perception, but you can perceive it, but you can recognize it. But what you're recognizing is not the dance itself, is not realization itself. When you're really into the dance, when you're really into the understanding that others are yourself, you don't necessarily think, oh, others are myself. Some people would say, you do not think that, but I think you might. If you have a vision of emptiness, that's good, but it needs to be performed.

[07:03]

We do these performances here, the performance of sitting Buddha or sitting Zen student. We do that form and if somebody tells us that it's empty, we say okay. Because we say okay when they say it's empty, we understand that it's a ceremony. It's not the real thing, the real sitting. It's just a ceremony, an empty ceremony. And it's just emptiness. And yesterday I used the example of, like I said, somebody says, what about your hair on fire?

[08:30]

And I said, I thought of the firefighters, the fire-putter-outers. They want to put the fire out. They want to protect the beings. But do they think it's an empty ceremony? They might. They do think it's an empty ceremony. They're bodhisattva firefighters. And then they go into the fire and they meet the beings there and they help them. But they also transmit the Dharma at the same time. To say, I'm here in the fire to show you to practice in empty ceremonies with you. I'm here to teach you the ritual performance of emptiness in the midst of fire.

[09:37]

They have these, what do you call, action figures or superhero toys for little children now. And there's kind of an alternative to that called rescue heroes. So instead of, like, people who are really good at destroying other people, they have, like, various kinds of superheroes that are really good at rescuing people. And, like, one of them is a firefighter. He looks just like, you know, one of the superheroes, except he's got a fireman. They also have female superhero fire department people. And one of the rescue heroes is standing outside of a burning building and somebody says, how can you go in there? And then he has this flashback in his mind where you see him in a burning house when he's a little boy and through the flames

[10:57]

comes this being through the flames and comes up to him and carries him out of the flames. So because of that being coming to him, now he wants to enter the flames and bring others out. He didn't answer the question. I think actually maybe he does answer the question. He said, so how can you do that? He said, because once someone came in to get me and I vowed to do the same, to go into the flames and carry being. So that's bodhisattva vow, but the bodhisattvas' meditation to realize that vow in such a way that they not only bring beings out of the fire, but they also teach the bodhisattvas are meditating on the empty ritual that they're doing when they go into the burning buildings or the burning forest.

[12:11]

They teach beings They may or may not get them out of the fire. They themselves may or may not get out of the fire. But if they meet the being in the fire and they transmit face to face, then they're a successful bodhisattva. If they go into the fire and lose track of the ceremony, an empty ceremony, an empty ceremony demonstrating emptiness in the fire, if they miss that, well, then they just confess and repent. Missed that one. I got the point.

[13:21]

I missed my main job. firefighting situation is just the pretext in which to convey the teaching. The teaching that this person is myself, not myself. Myself. So these various situations are opportunities and tests to see if we can remember the truth when we're performing the ceremony. Because we have to pay attention to the details of the ceremony, like where to put the feet, where the fire's going, where the fire is going, where the bodies are,

[14:25]

the look on the face, the posture. We have to watch all these things, and sometimes when we watch these things, the mind flickers and we forget, maybe. We can't grasp anything. We forget that we're using this form to show emptiness. Or the other problem would be using this form to show emptiness and then not pay attention to the form because it's just a form to show emptiness. How do you give your full attention to the form without losing sight of the emptiness? It's pretty hard. In fact, you might have for just a flicker and then go back. And yesterday, Marshall came up and said, he pulled a story from Masando Kai, where he says, I think, merging with sameness, equality is still not enlightenment.

[15:42]

So when we say that understanding that others are yourself is not just with equality. It's understanding that others are yourself and performing it. Understanding that others are yourself, the full understanding of that is to perform it. And you are performing things. Every moment, your mind's conjuring up a story of the world and your relationship to it. That story is happening. You're actively doing that. Is that story telling that it's going on? Is that the performance of others or myself? It can be. If you have the story, Others Are Myself, do you see that that story is the performance of Others Are Myself?

[16:53]

So this play is always easily lost. But it also can be found again So we are here practicing empty rituals, practicing ceremonies which are emptiness. If you wish to offer any other ceremonial performances, you are welcome to do so.

[18:11]

I wanted to share with everyone that today is my son's birthday. He was born 28 years ago. And he's a very special blessing in my life. And every year when I come to Sushim... Is that because of Zazen? I'm not sure. Is it? It's because of the ceremony of satsang. As you know, Rob, when he was about 16 years old, he gave me lots of problems. Lots of blessings, did you say? Yes. Which is, he kind of forced me to come here.

[19:38]

So I owe the practice to him. Yes. And now he's given me two beautiful grandsons. So I guess what I wanted to say is, in the midst of pain and why something is happening. There is really something good that is happening above and beyond the deep pain that you see at that moment. You just have to sit and be patient. And you have to make your sitting a painting of sitting. But before you make it into a painting.

[20:43]

But now that you've been sitting for a while, we can now maybe mention that you've been... it's a painting of sitting that you've been doing. Well, when you say... I'll take it back. Okay. The pot is really not the pot, right? The pot that I see is not the pot. Is that what you're saying? You're saying a painting of the pot. But what's the point of it? Buddha. Please explain. Carolyn will explain. Was that a why question?

[21:47]

No, I just have, I have a person who explains things for me. It's Carolyn. Want to come up here, Carolyn? Mm-hmm. to make an appointment with her. Everybody plays so hard to get around here, you know. Thank you. Do you sometimes play hard to get? Always. Yeah, play hard to get. That attracts certain people very well. Iran, Iran.

[22:55]

Mary, Mary, Yes, you may. As long as it's empty. It doesn't have, it's empty. Is this a painting? Is this going to be a painting of a song? It is. Good. Would you tilt your microphone horizontally, please? There's one other horizontal. There you go. Like this, like this. It has different meaning of what she said about the pyre, but it's another. It has another meaning. Okay. Please sing if you like. Can I be there, please? Can I what? Can I stand there? Can I stand there? Can I? Oh, can you stand there? Yes. Yes, please. Fire, fire, look at, look at, put on water, put on water.

[24:22]

Thank you for your teachings. I find that some days I have just great faith in the teachings. I feel very committed to practicing. And then it can come out of the blue, all of a sudden I feel like, oh no, you know, the faith seems to be gone. And it comes back again, but it kind of goes and comes. That doesn't worry me too much as long as I stay here. So, because I can keep practicing and coming back to it. May I say something? Please. When the faith goes, it's not too late to say, I gave it away.

[26:10]

You may not want to. If you give it away, it's here again, even though it's gone. You're demonstrating that you trust the practice of giving. if you don't miss, if you don't keep, it will still be given to you again, but you don't have to wait for it to come back. As soon as you lose it, say, oh, no, no, I didn't lose it, I gave it. Another question. Being playful. Is being flexible the same as being playful? What I just demonstrated would be being playful. To turn a loss on its... To turn it from a loss to not a gain, because that's not really turning on its head.

[27:27]

To turn it from a loss to a gift. To make all losses gifts. That's playful. Hey, I lost something just now. No, I didn't. I gave it. You're relaxed enough to, like, slip out of that, slip out of that, that you lost something, and play with it. But sometimes you think, no, I can't relax with losing my health, with losing my whatever. I can't relax with that. Okay. Okay, then relax with that. Oh, yes, I can relax, yeah. Oh, it's a gift. I didn't lose it. Yeah, so playfulness has to be there in order to not get caught.

[28:29]

We need to be relaxed to play. And if you're not relaxed, say, well, I'm not relaxed. But in certain states of pain, sometimes we forget to be playful. And if other people are in pain, sometimes we think, no, I can't be playful when they're in pain. I can't be relaxed when they're in pain. But that's what they need. They need somebody to come and teach them to relax in their pain and be playful with it. If they're in pain and can't, they themselves are tense. But sometimes you look at them and they're in pain and you don't feel like it's respectful and kind to be relaxed when they're in pain. Sometimes they say, hey Joe, want to play? They've already relaxed and they would like you to join them. Really?

[29:32]

It's okay? I can relax even though you've got this great pain? Mm-hmm. I want to playmate. Fully realize the Buddha way. So when you truly understand that others are yourself, all, everybody, what happens to liking and disliking, loving and hating people?

[30:42]

What happens to liking? Liking turns into a playful performance. And the same with disliking. And the same with disliking. Yeah. It becomes an empty ceremony, which is performing emptiness. But it's still there. Not anymore. Now something else. Moment by moment, forms are given. And the question is, is this a ceremony? If it is, then it's emptiness too. Then you're enacting the highest truth.

[31:44]

This feeling, this thought, this body posture is unfolding the truth. these words unfolding the truth, these thoughts unfolding the truth. If it's a thought of like, this thought of like is a ceremony, a play. I like you. Or I don't like you. That's the unfoldment of emptiness. And that's a ceremony of I don't like you. I don't like you. I hate you. I hate you, hate you, hate you, hate you. I'm pouring water on the hate. And then you say, ceremony. Don't be silly. You do the empty ceremony.

[32:47]

Don't be silly. And I do the empty ceremony. Yes, sir. and you do the empty ceremony. Stupid. And then I say, Gamsam Nida. Gamsam Nida. Did you come? I pretended to come.

[33:49]

You pretended to come? Yeah. Are you going to pretend to meet Buddha face to face now? Yeah, I think so. Okay. Then put that horizontally, please. Like this? Yeah. Okay. My pure land is not destroyed, but the multitude see it being burned entirely, worried, terrified, and miserable. Such ones are everywhere. Such ones are everywhere for the time being. And did you come to practice ceremonies with them? Yeah, yeah. So that phrase has been going around my mind. I was wondering if you can talk something about it. Talk something about it? Yeah, say something. I already did. Did you hear what I said? I hear it, but I don't quite find the understanding.

[34:56]

Do you know anybody who sees their world burning up? Have you met anybody like that? Yeah, I think so. I also meet people whose world seems to be burning up. So then I go. I play with them. I play Bodhisattva precepts with them. Like I go for refuge in Buddha. We say it, we do that ceremony, I go for refuge in Buddha. I go for refuge in Dharma. I go for refuge in Sangha. So this Pure Land is

[35:59]

If you say the refuge and you understand that the refuge is a performance of going for refuge, empty, ungraspable, then these words create the Pure Land with the other person. And you show them something to say and show them how to say the form as unfolding the highest truth. And then they join the ceremony and they create the Pure Land with you. You do it together. Thank you for your paintings.

[37:12]

You're welcome. On Venus Day you teach. Could you speak up, please? I can't hear you. Yes. On Venus Day. On what day? Wednesday. Oh, Wednesday. Wednesday you teach. I thought you said Venus Day. Maybe. Yeah, maybe Venus Day. Yeah. She's sharing the room with us.

[38:15]

You teach others are myself. First, we have to hear it and to understand it, then to meet it, and then to get it and go by yawn, and there was a small fraction of get it. And what happened, I found me back sitting on the cushion, but inside full of playfulness. And then it came one of the joyful moments in my life I had.

[39:19]

And I would like to share this story. Can I ask if everybody heard that? You didn't hear it? She heard some teachings about understanding others And then when you went and sat, you felt full of playfulness? When I get it, a fraction of a moment that others are myself, when I get it, a fraction of a moment, it happened that I found me back sitting on my cushion. you found yourself back sitting on your cushion full of playfulness. Inside. Inside. Outside it was the same. Outside it was the same. Yeah. The same form. Yeah.

[40:19]

But inside it was playfulness. Yes. And then? And then it came through my mind a little story, one of the playful stories I had in my life. A story of playfulness comes to your mind? Yes. And I would like to share this little story. Sharing this story, the performance of this story? Yes. Okay. Can I stand up? Yes, you may. Thank you. Teacher says you may stand up. It was a military group. And two military cars came and they had military boots. And I said, I really like such a military boot. And then they went into my tent and came out with two bikes. You have to imagine, two bikes.

[41:22]

And I said, not a bike, a boot. And then they looked at me like that and laughed. And I said, sorry? Excuse me. I have a story I wanted to share and a request.

[42:28]

But first, I want to say, My story has nothing to do with that, but I thoroughly enjoyed that I could hear parts of it that I knew. My story... is about the story, the song you sang yesterday. And that was about how to paint a bird. Was that the title of it? And I had an understanding all the way through until you got to the part where if the bird does not sing, that's a sign the painting was not good. I didn't get that at all this morning. After three days of increasing samadhi, I suppose, on the cushion now and then, I could stay there.

[43:42]

on the first or the second, but it was before breakfast. I was not in physical pain. Sometimes I am, but that wasn't why I could not... I just... I couldn't... I just almost couldn't sit there. I gave up and I moved my hands to my knees as slowly as I could and then tried to leave them there and not move them. This is a Zen adventure story. Yeah, well, it's a lesson, I think. But it's my story for now. And I didn't fidget too much, but I had to move something. So I didn't. We're on the edge of our seat. Yeah, well. What's going to happen now? Will she move? I was on the edge of my seat. I was on the edge. Yeah, it is a cliffhanger. And the person next to me, after a while, you know, you get sore, and sometimes we will shift position and...

[44:57]

and sit like this for a while near the end. I can frequently tell when the period is about to end when I see somebody do that. That clues me in. But what I did then was I resumed my mudra for her and for me. She had some physical pain, I didn't have any, and I was able then to go back and hold my mudra for the rest of the zazen because I could do it for her as well as me. I don't think it was then. Sometime later, when the thought came to me, that I now understood what that meant, that if the bird does not sing, there's something wrong with the painting. This must not have been a story at that moment that was the kind of story that leads to better stories and better karma.

[46:08]

I think I've heard you say that we hope to make our stories better and better. And good stories will lead to better stories for us and all beings, I suppose. But also bad stories can lead, cared for properly, spawn good stories. Well, this one certainly did, because I realized that The pain wasn't the pain. My story needed to be changed, that was all. It was the story. It wasn't the pain, it was the story, and I understood what that meant. The bird did not sing. The painting was not right. And I would like, my request is on behalf of anyone else who would like to know this, I would like to know who wrote that?

[47:17]

Jacques Prévert. Could you spell it, please? Prévert. Yeah, I'll spell it. Just a second. Okay. Where can I get... I want to read the poem. I'll give you one. I'll give you the poem. Oh. Jacques Prévert is spelled P-R-E with a little thing on the top. V-E-R-T. Jacques Prévert. Translated by Larry Ferlinghetti. Very good. There's other translations too. And here's the French. . Now you have it. Keep it well.

[48:19]

Hello? How's this? How's this? All right. This is how I was trained, you know. I've been trained to... If according with sameness is still not enlightenment, and... other people are myself, I realized, I think I've been making some kind of category error, which is that thinking other people are myself, I think that other people have the same reactions and preferences as me. So when I've gone around trying to... It's been kind of frustrating. Oh, that's the problem. Because I think that, you know, they should kind of, you know, want the same temperature in the room as me and that kind of thing.

[50:17]

And when they fling open the window, out of it. So I wanted to say that. Thank you for saying that. Well, thank me. I want to say also... You know, where it says about Buddha being not peering very often and being kind of this big, long, dreary struggle in a rainy day up a mountain, and Buddha doesn't come very often. Well, isn't it because, doesn't it say that's because people don't expect Buddha to come more often? Isn't that why it's such a difficult time? Because they don't expect it? I don't know if it says that.

[51:18]

Should we check? Yes. Can I read it? Can you find it quickly? To those who see the Buddha, only after I speak of the Buddha as being difficult to meet. So the first, I don't know the original, but the first part says, to those who see the Buddha only after long intervals. So isn't that their choice? Couldn't you choose to see Buddha more often? I suppose you could choose to see more Buddha more often. Do you want to choose to see Buddy more often? Well, yeah.

[52:21]

Okay. Has the decision been made then? Yeah. Okay. Thank you for listening to the show. I've got to make an appointment. I have to make an appointment. Oh. No. I don't think you're going to put... Did you say Buddha just then? Yes. Yes. I'm having a great deal of difficulty with robes and also... Me too.

[53:35]

I'm glad to hear that. Do you love the difficulty? No. I'm going to teach you how. You offering? You offering? Yes, I am offering. Oh, man, you drive a hard party. This is a very special place, and it's a really nice environment. It's a nice building, and it's nice robes, and it's nice postures and all of that. And it's just too nice. Yeah, it's just too nice. And, you know, it's like I just sort of feel a little, I'm a little more grungy, you know. I wish. You wish it was more grungy?

[54:37]

Yeah. I believe you. Huh? I believe you. Yeah. And then when it gets grungy, sometimes we go and we get close to the grunginess, and we start interacting with the grunginess. Well, that's fun. Yeah, it's really fun. It's like when I see the grunginess, and I'm kind of like, I'm too busy to deal with the grunginess. Then I feel a little uncomfortable. But, yeah, this is one of them. I've always been getting grungy, and I've been coming even close to the grunginess, and it's really fun. And sometimes that's called repairing the robe. Sometimes it's called, see this little place here? Sometimes it's called repairing the robe. Sometimes it's called washing the robe. That buying cloth over there, you know? I washed it recently.

[55:38]

And the attendant says, are you washing a Zagua day? Every day I was washing one of those things and hanging them on the fence in front of the house. Really fun, you know, really fun washing these robes. And also, It's taking care of them. And then they get in it because they're so nice. But if it's special about taking care of them, that's to me the difficulty. It's not special. It's grunge work. Grunt work. It's grunty. Well, that's cool. Yeah, it is cool. It's really cool. You know, we have our Zen adventures, you know, like will she move, you know. We have our Zen difficulties. Wash the grungy stuff. Get in there, you know, and take care of it. These are our forms to verify emptiness.

[56:42]

That's what these robes are for, is to prove that you understand emptiness. I wish the rope would disappear. You wish the rope would disappear? Yeah, and the grunginess. You wish there'd be no more tests of your understanding of emptiness. I know, yeah, I do know. And I'm here to encourage you to face the grunginess to go away. It's a very grungy thought. It's not loving the robes to wish they would go away. To wish that they would stay and not get dirty is not loving them. To wish that we don't have to wash them anymore is not loving them. To wish that they would never tear is not loving them. But loving them is difficult because they are changing all the time and they require our full attention.

[57:49]

But that's not a problem. It's wrapping oneself. It feels, you know, the sense to me is like the Iron Maiden. Yeah. You know, that's the sense. And then wearing... Can I level that sense? That's the difficulty. Yeah, that's the difficulty for you. That's your dirty robe. Yeah. I'd prefer not, but... You want to be the Iron Man instead? Not the one. He's cool, he's cool. No, man. In January, Al said, how do I... You give it away. Thank you. You're welcome. You're welcome. Happy to challenge you. And thanks for challenging me.

[58:56]

...to me that living in Ritual, ceremonial playfulness is liberating. That occurs to you? Yes. It occurs to me too. Because living there is no risk. That's not true. That's not true. That's right. And while you're here, I just wanted to ask you in public, did you make that statue of the Buddha? I did.

[59:56]

You did make it? Yes. I thought you made it. There were some other people helping me. Oh, other people helped you, yeah. He couldn't have made that by himself. Actually, an awful lot of people. Yeah, a lot of people were helping you. The whole universe. The whole universe helped him do it, so that's how you were able to do it. Yes, otherwise. Yeah, and I thought, why would he give it to me if he didn't make it? And so I assumed you did make it. And I looked at it and I thought, well, of course he made it. It looks like him. But actually, now you know it's not true. And now I know. It's just a story. And now I know it's a true story. Well, as is often the case in such circumstances, I have countless thoughts, of course.

[61:49]

Yes. But generally, none of them seems worthy of the group's attention or as entertaining. Are my thoughts entertaining you? Very, very entertaining, yes. Great. Yeah, thank you. That's why I'm here. I didn't know that's why you came. I thought you came to settle into a mobile. Well, that too, but it's your entertaining thoughts that encourage me to do that. Okay, great. Well, I'm so happy to hear that. Oh, yeah. You didn't know? I didn't know. I'm just kidding you. Well, so... Often I'm sitting back there in the bleachers with nothing to say and also feeling like I don't want to remain in the bleachers.

[62:55]

I want to express myself. You want to come out of the ceremonial space. Exactly, in the spotlight. Yeah. And I was going to ask you for some advice in how to express myself when I have nothing to say. but I've been up here for about two minutes now. I would suggest you come up here, stand in the middle of the ceremonial space, and just go... I said don't do that, don't say fi. But you can go ahead and say fi if you want to. Go ahead. Okay. Okay. Stephen, would you bow before you leave to the group?

[63:58]

Whoever. So that's one of the wonderful things about meeting Buddha face to face, is you get to be in the spotlight. It isn't just the group on the stage that's in the spotlight. Everybody can come up and be in the spotlight. That's the point. being in the place of practicing together, meeting Buddha.

[65:10]

And since we have the ceremonial forms, we can do that. Whereas at a rock concert, if everybody comes up on the stage, it might be the group. No more rock concerts for those people. But we have forms. Bowing, before and after, things like that. Respecting other people's space. We have a form, and we use these forms to be playful. And then everybody can participate. Even if you don't come up, you can participate because you're sitting in the Buddha's form. And when you sit in Buddha's form, you're meeting Buddha face to face. In this display everybody's invited to be a participant and an observer, a witness and a participant.

[66:10]

In this situation when you're witnessing, you're participating. The Buddha is a witness. Meeting face to face, witnessing each other face to face. And extending that face-to-face transmission into every moment is our vow. Into every moment with every being, meeting Buddha face-to-face. And it's just no big deal. It's an empty ritual. Nothing can hinder the empty ritual. get facilitated. And there's always a risk of forgetting it and getting lost and being unmindful.

[67:18]

That's part of it too. But one could say that one is deeply encouraged by your performance of the ceremony of sitting meditation. You are wholeheartedly maintaining the essential working of the Buddha way. It is inconceivably wonderful what we are doing together here. Your contribution is extremely helpful. And other people's contribution to you is extremely helpful in a kind of middle way. Extremely. Of course. So as we say in the

[68:26]

precept ceremony after the people make their commitments, may you always be like this. And in the olden times, back in the sixties, when our dear teacher was alive still, when the hippies heard about the Zen Master, they came to the Zen Center. Particularly over, I'm talking about the Zen Center before it was on Page Street, when it was over in Japantown. The hippies came to see the Zen Master. And a lot of hippies walked around barefoot. So they came into the zendo barefoot, and of course their feet were kind of black from walking in the street.

[69:35]

And Suzuki Roshi said, please wash your feet. And the hippies thought, this isn't a Zen master. And they were right, it wasn't. It was just Suzuki Roshi. saying, in the ceremony of Zazen, we wash our feet before we practice. Wash our feet, wash our hands, wash our face. It's part of the ceremony. So, I ask you, please, wash your feet during Sashim, wash your hands, and wash your feet. and of course, your mind. And then come into the room and bring your ceremonial prepared body to do the ceremony.

[70:38]

There's ceremony. And when you do the ceremony of washing your feet, you meet, this is a ceremony where you meet Buddha face to face, or in this case, foot to foot. are hand to foot. This is toe to toe. So please, you don't have to do it during every kin hin, but maybe at least once a day. And I think more than once a day would be fine, too. At least once a day, wash your hands, before coming into this room, where everybody else's feet will be on the surface, where your feet are, and where we touch our feet with our hands and bring our feet and our hands to the center and, you know,

[71:43]

So this is just part of our ceremony. It's a ceremonial detail, which I invite you to practice in a playful way and realize that the ceremony of washing your feet is . And also, the ceremony of washing your feet can realize the ultimate truth. you're invited to realize ultimate truth. Please. May our intention be the greatest and the greatest.

[72:28]

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