Omega II: Visiting with the Sages
Day 2 - Afternoon Session - Part 2

by Alisa Joaquin

Arnie went on to say, "As he was saying (referring to David) when you have these different injuries and so forth, and these different experiences in life, you become more and more aware of what happens with your energy. And as you become more aware what happens with your energy you have these different enlightenments or many experiences and lessons. That's how you move forth this whole process of cultivation. So in this session we'll be talking about the different emotions that are related back with this process of chi cultivation. I know that what happens in life, many times emotions can get in the way of your training. And what happens is that also the connection with your mind. Certain mental blocks get in the way of your energy. Like not being able to connect with the energy through mental concentration for instance. Settling the monkey mind (the chattering), that's what they call it in the Tao. So by learning more and more, like practicing the wu ji for instance, you can penetrate down in through working with the energy of these different emotions. So later in this session we will be doing these five or six clearing sounds that work with the tissues, with the organs. In the Chinese medical model, each one of these organs houses a different emotion. For instance, for the water element, we have the kidneys. Kidneys house fear. In the liver, the liver houses anger and frustration and resentment. The heart houses over excitation. The lungs house grief, sadness, and disappointment. The spleen; worry. So all of these actually are reflected in the tissues. So, the tissues of bone for instance relate to the kidneys. When fear strikes us, the bones can be, uh, they say weakness in the bones takes place. And with the spleen, the muscles. With the heart, it manifests in through the vessels. With the liver into the nerves, tendons, and ligaments. Lungs, the skin. Those are interesting; some people have different things happening on the surface of the skin. And these are reflecting back to the lungs.

"There was one story of a friend, well actually one of my teacher's students. What happened was his student saw that one of his children had some rash on the skin. And what happened is he was able to actually take his rash and remove it energetically. And then his child was able to feel the clearing. But what happened as a result, he ended up getting the rash. These are some of the interrelationships that take place with the energy field. I know that, Rob, maybe you had some experience with emotions and clearing and so forth?"

Rob didn't reply at first, it was as if he had zoned out there for a moment or he was so tuned in that he did not hear Arnold's question and that it did not register at first. He was actually in the middle of catching up on something so Arnold asked him the question again.

Rob replied, "Oh sure. Without emotions for me . . . (someone sneezed here which made it difficult for me to hear what he was saying at first, but he went on to say the following) I apply myself with getting my emotions, my energy and emotions together. I apply myself accordingly. If I'm tired or depressed my kung fu won't look so alive. But I'm up and something's going on (Rob got up and really moved around, doing some of his Mantis style moves) and next things you know, WOW, everything's happening. I can play it loud. And I can apply myself through an art form; maybe I can play with more zest. Maybe a musician will go into areas he's not used to going into. It's that ability to express yourself through emotion. That's what it means, that's my spiritual belief. That's what's keeping me from strangling each other. With these, within our cellular structure, we have that ability to get it out. Blues is a good indication of that; he's getting out his emotions. Laughing is another way of getting it out. It's maintaining a sense of humor and applying that to your ability to express yourself. Without that ability, some of us are better frugally, others need the ability to express ourselves physically to get the I Am Thou. You know, cleanse our spirit emotionally that way. That's how I apply myself and maintain sanity."

Arnold then stated to Rob that he had been working with David for quite some time doing kung fu.

David piped up and said, "God, is he really?"

And then Rob replied, "I think I was 20, I'm 42. I'm 29 again. He's 39 again (pointing to David Carradine).

Arnold asked, "Is there any experiences you remember relating back specifically to emotions over the 22 years you've trained together?"

Rob stated, "We're like Ties and Keaton. We understand each other. If there is any, we approach it so naturally that, we haven't butted heads on any issue if ever."

David said to Rob, "No. I don't understand why anybody can butte heads with you."

Everyone laughed at that.

And David continued with, "No, I've seen it happen. But I've never understood how it can be. I always figured there's got to be something really desperately wrong with somebody who cannot get along with Rob Moses."

In the background you can hear Rob say thank you.

Arnold then asked, "When you did the whole, later, Legend Continues Kung Fu series, what was that? I mean I would imagine that emotions would have ran pretty high on the set. What was that like?"

Rob stated that it was not that easy to talk about.

David replied, "Well, you know, the thing is, there was always something emotional that you had to deal with. There were moments of great joy, freedom, jumping at everything, but there was a constant repetition of frustration, of blocking. All these things every day that had to be overcome. It was like a war, 18 hours a day that we were doing. And the new people. The one thing about doing a television series is that you have a new director every week. And this is your director; your new Master comes in. And, here you got 80 or a hundred people who have been doing this every day for a couple of years or so. And this new kid comes in and starts to think of his problem in the first place and he actually has to slip in to a piece of really well oiled machinery that's just flowing on, and everybody knows everybody and he has to actually run that for a week and produce 43 minutes of brilliant film to tell a story. But on the other hand there's also the thing of this idiot comes in here and thinks he can tell us something. And you deal with that all the time. And every once in a while there's someone, one of those hundred people who are one of the new actors, somebody who just cannot get the lesson, who cannot relate kindly, you know, just can't flow with it, or is mean or lying or maybe stealing or something. You somehow straighten that person out. And not to fire him, you know, or exile that person, but try to include that person in the spirit that we have here. Come on; get into the spirit guy. How many people did I rehire that they fired. That became my job, the rehiring."

Rob concurred with this and David said, "Yeah, there was one guy I had to go and tell him, 'Look, I can't save your job. This one time I can't do it.' But I remember we had an assistant director who would get very emotional about things and he was always right. And I think you remember Phil Meade, the guy with the twitch? (Yeah, yeah-Rob said in the background) I think I rehired him three times when they fired him and then one time he quit. And I had to talk him back, you know. First I'm talking everyone back in and we need this guy, we can't let this guy go, then he quits. I think it was right after I rehired him once. And I had to go talk him back in again."

Rob said, "He was so animated. There was somebody who asked him one time. So said I could not warm up next to that guy if we were being cremated together."

David really laughed at that.

Then David said, "A little caustic personality. The first time he was fired, I remember he was telling some director that he couldn't do something or other. That was Mario Hobins uh whatever."

"Yeah that's it," Rob said.

"He was from Malta," David stated, "That little island on the edge of the Mediterranean there. And he talked like this all the time (becoming very animated-I wish you could hear the accent that David was doing) ZIS IS NOT MOVIE MAKING. In that kind of mood, this guy Phil Meade is making him do something in a certain way. And he got so angry working in a supermarket, and there were all these racks, unless racks of bread. They were part of the props and we were going to have a gun battle and blow up all these loaves of bread, was the idea. And he got so angry that he knocked down the rack of bread that was next to him. All the rest of them went down like dominos, he just destroyed the whole set. And so they fired Phil Meade and I went, 'What you fire him for, it was the director that destroyed the set.' And that was the first time. That was a good excuse, the fact that he, it was the other guy. But in other words, he was so caustic when somebody else did something wrong they'd say, 'Well Phil Meade was in the room, get rid of him!' A lot of stuff, a lot of wonderful stuff though. That was four years of, I mean we lived a whole life, a thousand lives."

Rob commented, "A real blessing."

End of Day 2 - Afternoon Session - Part 2

Alisa Joaquin Copyright@2001.
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