Tag Archives: Eastern philosophy

Writer and Artist Warriors

sunset-190922_640My younger sister Sharon died of bone cancer at the age of thirty-seven in a hospital in Honolulu, where she lived. She was a small, delicate woman who had the will of a warrior. When a doctor came to see her as she lay in her bed, he jumped back as though he had been pushed. He said to her, “I feel your power coming out to me.” But she was dying. There was no hope. Once she had been beautiful. I prayed, “Dear God, give me her pain so she will be free of it.”

I told her that I’d had writing a book in mind for a long time, but that I was very busy running the business I had started and really had no time, and that even if I did write it, it would take years to research and more years to write, and I wasn’t sure it would ever be published—the odds were against that as they are against any book being published–and I had a wife and four children to support and couldn’t afford to take a chance. And I was afraid I wouldn’t succeed, that I didn’t have what it took. But I didn’t tell her that.

She was in such pain that even the slightest, even the lightest, touch of another person on her was agony. So when I left to fly back home, knowing I would never see her again, I couldn’t kiss her. The pressure of my lips would bring her pain. I leaned over her and rested my head next to hers on the pillow. She whispered in my ear, “Dave, you write that book. I have faith in you. Write it for me.”

I returned home and organized my work space and set to work, thinking of her “Write it for me.” I told my wife, “I’ll close the business and I’ll finish the book in one year, and during that year we will have no income.” My wife said, “I understand. Go ahead. It’s important.” Nothing could stop me. What before had been a vague dream now became a purpose to devote myself to, to write a book, a good book for my little sister. It became my wife’s purpose and my children’s too. Whenever I was discouraged that purpose made me return to the book and to work till dawn, to sleep a few hours and get back to work for a year until the book was done. While I was working on it I thought, “I’m making a book Sharon would be proud of.”

I dedicated it to her with the inscription: “In memory of my sister Sharon. Just one word—courage,” and that word meant a lot to me because in this life everyday courage is so important.

Fighting to win Amazon

My book Fighting to Win: Samurai Techniques for Your Work and Life came out and has been called “an underground bestseller” because with almost no advertising it swept the country and my life was changed in so many ways. The book became known in my family as FTW. It went through multiple printings, and appeared on bestseller lists; the cover price rose and rose. FTW discussion groups took shape in big cities and remote towns in America and Europe. Articles about this strange book with the Japanese symbol “spirit” on its cover appeared in scholarly journals and popular magazines alike. The book was read by generals, governors, and dancers, writers, artists, and riveters, heart surgeons, business executives, retirees, and sales clerks. It began being included on university required reading lists. It was not about Anthropology, Physics, or Botany, but about how to live. This little book is about musha-shugyo, “training in warriorship.” It teaches the skills and passes on the insights of samurai warriors adapted to everyday life.

It is an optimistic and encouraging book. That’s how I intended it. It is full of promise, full of hope. It teaches strength and makes you strong. It says we have but one life, but this one life can be changed in an instant. It can become two lives. The life before the changes and the richer, more fulfilled and stunning life after them. We can renew ourselves and start fresh at will on a new creative course, a more fruitful course, a better course any moment we wish, putting aside disappointments, discouragements, false starts, and failures and emerging as full-blown, skilled, exceptional artists or writers. Every living thing, every artist, every writer, has an urge to grow, to realize its full potential. My life tells me that. I believe it more every day.

Warrior symbol

“Warrior” by tiseb

The book teaches us to persevere, to be brave and not hide from difficulties, but to race forward to meet them so we may overcome them all the more quickly, maintaining high spirits and complete faith in ourselves. It teaches that we must never be stationary, but must be always moving at a good clip toward a better life, never slowing down because we’re too lazy, or afraid, or self-doubting, or discouraged, or have been set back by circumstances. “When you meet calamities and rough situations, it isn’t enough simply to say you’re not flustered. Whenever you meet difficult situations dash forward bravely and joyfully.”

Readers started contacting me, and I was happy to get to know them and listen to the stories they told me. In the revised E-book edition I mention a few of their stories.

A Hollywood movie director called me and said he felt that people in that aggressive film industry had been “eating him alive.” A successful opera singer wrote me and told me she had been overwhelmed by a sudden and inexplicable fear of performing. She felt helpless. She didn’t know what to do and stopped singing. They read FTW. He became more assertive, self-confident, and successful; she overcame her fear and went back on stage and resumed her career.

A newspaper was having serious financial problems. Its existence was in jeopardy. And so the publisher was going to launch a five-day intense telephone subscription sales campaign using 100 sales people. The publisher, who was also a playwright, was confident that exposure to FTW ideas would inspire them, and had me speak to them for an hour. Following the campaign, he called me and said that the campaign had been a huge success–the staff was fired up and the result was thousands of new subscriptions. He said, “You and FTW saved the paper.”

The book teaches us the samurai concept of mo chih ch’u, “going ahead without hesitation.” It’s not looking back once you have decided on your course of action. Once you can say to yourself “This is what I want to do”—“Write the novel I’ve been talking about so long;” “Rent a studio;” “Move”– then be on your way immediately, mo chih ch ’u. Why delay when life is so brief and the most important time of your entire life is this present moment?

I shouldn’t have to ask where you intend to go in your career. I should be able to tell by watching you and hearing and reading about you. Your undeviating aim should be to reach the fulfillment of the creator’s life you can envision, letting no impediments keep you from it. You know that in this life you’ve chosen rather than the other 5,000 easier lives you could have chosen, courage is a necessity, that there really is nothing to be afraid of and no reason to hold anything back in reserve, and that the whole secret of existence is to have no fear. Getting closer each day to a more fulfilled creator’s life, becoming extraordinary, your energy and strength will be boundless. Others will let go of their dreams, but you never will. You’ll draw from deeper inside and be willing to exhaust yourself for the sake of your happiness.

You must never lose the expectation that no matter what, you will succeed. Your art will work out. Your book will be published. Your skills will get better and better, equipping you for your craft in ways you haven’t dreamed of yet. Knocked down, maintain your confidence that all will go well as long as you get up. Knocked down seven times, get up eight. For that is how a better creator’s life is reached. Like a warrior, you must only “take care that your spirit is never broken.” Never let disappointment and discouragement “penetrate to the depths.” “Wear your existence light as a feather.”

The samurai warrior spoke of internal “dragons” and “striking through the dragon’s mask.” The samurai was taught what we should take to heart: “When all psychological blocks are removed the swordsman will move without conscious effort.” When your blocks are removed you will write, paint, sculpt, or perform without conscious effort. “Success will always come if your heart is without disturbance.”The meaning of all things is within, in your mind, not something that exists ‘out there.’” After reading the book people ask themselves, or ask their friends, “What is holding me back? What are my dragons? How can I overcome them?”

dragon-149393_150Ask any small child what a dragon is and you’ll get an earful of terror and horror. You and I both believed in fire-breathing dragons until we discovered that the only place they existed was in our minds, that they were merely products of our imagination. They only “lived” and had the power to frighten us because we granted them license to. They died and no longer troubled us when we revoked their license. All obstacles inside us—in our minds–are dragons. They are no longer of the fire-breathing variety. They are now a different species entirely. But the effect of scaring us and making us draw back in horror is precisely the same. The goal of the warrior writer and artist is to strike through dragon’s masks and free himself/herself of obstacles so the mind is “free to function according to its own true nature.”

The five most powerful dragons samurai—there were women samurai too–were trained to strike through, and artists, writers and performers must train themselves to strike through, are any kind of fear, the fear of taking risks, thinking too much of what might go wrong, doubting yourself, and hesitating, particularly when that golden but fleeting opportunity appears. If the samurai was afraid, didn’t take risks, thought too much, doubted himself, or hesitated, he would lose—possibly his life–because of fear most of all. A creative person must be bold; fear cripples her: “Fear is the true enemy, the only enemy. Overcome fear and nothing can stop you.”

The one constant factor in warfare as well as a writer’s and artist’s life is uncertainty. Half the things you try to accomplish are obscured by it. Risk and danger and fear and self-doubt are always partners. You do not go into the arts if you want a secure, uneventful life of ease. In samurai swordsmanship there is a move that requires you to take two leaping steps forward and to come within a hairsbreadth of your opponent’s sword. It is not a difficult move and can bring quick and total victory, but it is rarely used. Why? Because taking the risk of coming so close to the foes blade terrifies most swordsmen. In a creator’s life, as with that sword move, it is only by edging yourself in close to danger and living more dangerously that you approach great success. Who are those artists and writers who are least satisfied with their lives? Precisely those gloomy writers and artists—and actors and dancers– who regret, now when it’s too late, being timid and playing it safe all their lives.

bird-226700_640As an artist or writer, you must have an immovable mind—a mind totally committed to facing with calmness and composure any fate, circumstance, or challenge a creator’s life throws at you. An artist’s or writer’s life is often filled with troubles. But you must never let them disable you: “Forget about death, forget about the enemy, forget about yourself, keep your thoughts motionless.” Then you will “flow with whatever may happen.” Then your craft will blossom and you will reach your destiny.

Unless you have mastered your mind and body, you cannot beat your enemies on the battlefield.” Take up one idea. Make that idea your life, recalling,  “No matter what it is, there is no hardship you can’t overcome.” Like a warrior “When crossing marshes, your only concern should be to get over them quickly.”

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

Fighting to win Amazon

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

 

 

 

 

 

 

 

8 Comments

Filed under Artists, Becoming an Artist, Blocks to Action, Boldness, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Goals and Purposes, Motivation, Personal Stories, Samurai Techniques, Success, Warriors, Work Production, Writers

Non-Attachment: The Solution to an Artist’s or Writer’s Problem

It’s a paradox that when we detach ourselves from thoughts of ourselves and how we’re coming across and do with concentration solely what’s necessary to do to create good art, many obstacles disappear and no longer trouble us. Then the work we do is infinitely better and the artist’s life we lead is infinitely happier. We just do our work as well as we can and live our life as well as we can because that’s how work should be done and an artist’s life should be lived.

“Victory goes to the one who has no thought of himself.” (Chozan Shissai, The Way of the Sword)

 Archers and Artists

bows-and-arrows-650474_640(1)Two thousand years ago Chuang Tzu wrote a description of a situation so relevant to painters, writers, dancers, and other artists of today that he could have written it this morning. He wrote that when an archer is shooting and no external prize is at stake he possesses all his skill. The moment a prize is riding on the shot, even a brass buckle, the archer becomes nervous and loses confidence. If the prize is more valuable, as a quantity of gold, “he shoots as if he were blind.”

Describe that situation to archers today and they will tell you what they tell me: “That’s exactly what happens.”

The archer’s skill hasn’t changed, but the importance the archer has attached to the prize has made him care too much. Because he is thinking more about winning the prize than simply shooting the arrow he becomes anxious and his performance suffers.

When realizing that a critic, an editor, an agent, a reviewer, a gallery owner, a potential buyer, an audience will soon be evaluating the work, for most artists, even the best and most highly regarded, the self-conscious uneasiness begins.

Crippling self-doubt and fear of not succeeding and falling in someone’s estimation are not only the archer’s, but the artist’s, major internal obstacles, haunting many artists, writers, composers, and performers, replacing self-confidence with discouragement at the first hint of possible failure, and making many magnificently talented people give up and quit their art rather than endure them.

So the question is: How can artists keep from going blind?

 What is Non-Attachment?

On the one hand, making a painting or story should be its own reward. The artist should be happy just because of the fulfillment inherent in the artistic work itself. He shouldn’t care whether the work will be liked by others, or whether he will receive public recognition and possibly wealth. But he does care, and the conflicting motivations of art for its own sake on the one hand and art for profit or other external signs of success on the other put the artist in a quandary, particularly if to achieve success he is asked to make compromises and do things he does not want to do. Is there a way to solve this quandary?

misty-364498_640To non-attach means to be totally engrossed, completely absorbed in the fulfillment of the task before you, whatever it is, and the full realization of your art and your potential, giving everything to them and nothing but them, forgetting everything else. Bullfighter Juan Belmonte, the greatest torero of his era, an artist of the bullring, wrote, “I forget the public, the bullfighters, myself, even the bull.” Japanese samurai, the most action-oriented and decisive people ever to live, were advised that to be effective in action they must “forget life in the face of an opponent, forget death, forget the enemy, forget yourself.” Free yourself from any preoccupation with yourself—your fame, your wealth– and you’ll overcome impediments to your best work because your focus will be on the work 100%, nothing left over for anything else. All your attention will be brought to bear on the one thing to be written, painted, composed, or performed.

The non-attached artist is the most conscientious of people. All actions are equally important to him or her. Non-attachment doesn’t mean to be indifferent to the results of your efforts, or not to be ambitious. Be active, be industrious, like a sculptor, make chips, be ambitious, accomplish goals, emphasize actions, get things done.

If fame or fortune, success, honors, and achievement come your way, that’s fine, that’s wonderful, that’s something to be happy about. But the mistake we make is getting caught up in them, hungering for them, clinging to them, needing them desperately and, measuring our self-worth against our ability to achieve them. If we make that mistake and don’t achieve them, we’ll feel we’re failures. Just put your mind, your spirit, your energy–your whole being–into the action at hand, the person at hand, the life at hand, the writing or painting or dancing at hand, and forget everything else.

 The Woodworker and “Outward Considerations”

woodwork-166695_640There was a master woodworker who made such beautiful works that the king himself demanded to know the secret of his art.

“Your highness,” said the woodworker, “there is no secret. It’s all very simple. When I set out to make a chair I enter the forest and look for the right tree, the tree that is waiting there to become my chair. I cut it down and set to work. I clear my mind of everything else. I become oblivious to any reward to be gained or fame I might acquire. When I’m free from such outward considerations I just do exactly what I have to do, using all my skill.”

When you free yourself from everything else, and again and again bring your concentration back to what you have yet to do, you’re at your best. The woodworker produced masterpieces, but didn’t worry about producing a masterpiece. The highest performers in field after field—business and industry and the arts–are motivated by the work itself—to do the best job possible–and not by external rewards. Even though they are more successful and receive those rewards more than other people, they aren’t driven by them.

When you work best you accept yourself with no strings attached. Finally, at last, you don’t have to prove yourself. You just do whatever is there for you to do. If you’re a woodworker you absorb yourself in creating the finest chair you can, never stopping to think of what glories will be yours when you produce a masterpiece. If you’re a baseball player you don’t worry about how cheered you’ll be if you get a hit, or what a goat you’ll be if you don’t. You just step up to the plate, keep your eye on the ball, and when it gets close you swing the bat. If you step to the podium and worry about what the audience is thinking of you, you won’t be totally focused on what you have to say, and you’ll fumble and stumble. But if you just concentrate on the words you’re speaking and speak with sincerity, you should do well.

cabbage-flower-204087_640Philosopher and mathematician Bertrand Russell, a Nobel Prize winner, wrote, “I was not born happy….In adolescence, I hated my life and was continually on the verge of suicide, from which, however, I was restrained by the desire to know more about mathematics. Now, on the contrary, I enjoy life; I might almost say that with every year that passes I enjoy it more. Very largely it is due to diminishing the preoccupation with myself.”

 The Process of Brushing Off

One person may be 25% taller than another or 25% more intelligent. We think that’s pretty significant. Yet some people are 50 or 100 times more creative than others. Creative artists are the best workers in the world. They are models of human motivation and productivity. They will work alone long hours for years, without feedback, without recognition, without praise, overcoming hardships and setbacks without flinching, always returning with high energy to the work which life has equipped them with a talent for, often producing a vast output. Yet they often meet hostility from critics of all sorts unparalleled in other fields.

English writer Rudyard Kipling would go on to establish himself as a master stylist with a staggering ability with words and to win the Nobel Prize in Literature. But early in his career a publisher wrote him: “I’m sorry, but you just don’t know how to use the English language.” Vladimir Nabokov, also a dazzling stylist, received this message from a publisher in response to Lolita: “I recommend that you bury this under a stone for a thousand years.” Many successful writers, artists, and actors, like painter Jackson Pollock, who revolutionized painting, have been told, “You haven’t an ounce of talent.”

When you non-attach you brush off such attacks, insults, and unfair criticisms because you’re not seeking anyone’s approval. If there is one thing famous artists will tell you it is that you work best and are most powerfully motivated to create and will surmount even major obstacles when you’re not thinking of anyone’s liking but your own.

Such a confident attitude gives you courage. In response to so many heartless rejection letters from editors, novelist Henry Miller, who was not one to suffer fools, said, “Who are these shits? Where do they get off telling me these things?” It is often the artist who’s not seeking approval who receives it.

 Not So Eccentric After All

Many creative people are considered eccentric when they aren’t eccentric at all. They just non-attach and are less at the mercy of people’s opinions. They genuinely don’t give a hoot what others think. Independence is a cornerstone of the creator’s personality.

Composer Igor Stravinsky was doted on by people who knew of his greatness. But he enjoyed himself more when in the company of people who’d never heard of him. Maurice Ravel, possibly the greatest piano composer of the twentieth century, was always averse to writing and talking about himself. When complimented for his creative ideas, Thomas Edison, as creative a human being as ever lived, declined credit. He said that ideas were “in the air,” and that if he hadn’t discovered them someone else would have. Of the handful of Emily Dickinson’s poems published in her lifetime, not one bore her name.

 Strategies

Practice letting go of any preoccupation with yourself. Nudge your attention away from yourself and back to the work at hand and the actions the art calls on you to perform, and you will excel. Just render the drawing; just write the novel, just perform the dance, just market your work.

  • Whatever task you’re performing say to yourself, “This one thing I’m going to do as well as I’m able. I am not concerned with myself. I am indifferent to everything but the quality of my work.”
  • Refuse to frighten yourself with anxious thoughts of all that’s riding on your success, of the honors that may be yours if you succeed, or of the horrors if you fail. Just bring your focus back to the objective at hand and watch obstacles dissolve. If wealth, fame, or accolades come your way, they will without your worrying about them.
  • Be bold in the face of harsh criticism. If you believe you’re right, stand your ground. Be unruffled under fire—cool and calm, unintimidated. Never let undeserved criticism weaken your confidence. They are wrong; you are right! We remember Rembrandt and Michelangelo; no one remembers their critics. You must never lose unshakeable confidence that you have the ability to produce quality art and will succeed sooner or later.
  • Always try to improve, but never dwell on your imperfections.
  • Place your emphasis on developing your skills to the highest possible level above everything else. The higher your skills, the higher the goals you’ll achieve and the more clearly you’ll express yourself, your vision, your voice.
  • Do what your life calls on you to do for its own sake. Engross yourself in it–big job or small job, important or unimportant, praiseworthy or not, paid or unpaid. Give freely of your talent without expecting anything in return.

CalderArtist Alexander Calder was asked why sculptors like to produce large works. He answered, “It’s more exhilarating…and then one can think he’s a big shot.” Rare are the people who can live five days without getting caught up in themselves–or five minutes. Ninety percent of what we talk about is ourselves and 95% of what we think about is ourselves. Our preoccupation with ourselves creates many of our miseries.

But when we become non-attached and focus on our work and the steady development of our talents to the exclusion of every other concern, we stop worrying about being big shots and talking and thinking so much about ourselves.

Then our work leaps up and becomes exceptional.

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

Fighting to win Amazon

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

 

Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

 

 

 

 

14 Comments

Filed under Artists, Becoming an Artist, Blocks to Action, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Goals and Purposes, Motivation, Samurai Techniques, Writers

Setting Your Artistic Potential Free

 “Think differently about yourself today than you did yesterday.”

“We should weave more of the actor into our lives.”

tool-210385_640A sculptor told me that for most of her life she considered herself average in every way. She was never the worst in anything, and never the best either. But when she stopped conceiving of herself as an average sculptor and conceived of herself as exceptional, she became exceptional and met one goal after another and had success after success. No longer considering herself average, she did what exceptional artists do–she took her art more seriously, became more ambitious and more conscientious, worked harder and learned all she could about sculpting and sculptors—took more classes, went to workshops, read. She made it a point to develop relationships with other artists and people in the field. And no longer average, her art quickly became less inhibited and freer and bolder. Her confidence grew every day, and her art came out of her more effortlessly and was of a higher quality. She gained the reputation as the hardest worker among her artist friends, and as a very bright and determined, successful woman. No one thinks of her as average.

When I was a business consultant, I once consulted with a company that had a rule that no one from one unit was to visit another unit during working hours. Signs to that effect were posted everywhere. Faced with such a ridiculous rule, the first thing people with any imagination will do is what you would do if you are an artist—they break it. But in this company you had to be very careful. Wherever you went you heard people whispering, “Whatever you do, don’t get caught out of your unit.”

Your self-concept is lot like that rule. It is like a miniature judge sitting vigilantly and unforgivingly on your shoulder, its eyes wide open, continually telling you like that company rule: “Be careful. Don’t get caught out of my definition of the kind of person you are, the kind of artist or writer you are, and of what you’re capable of and what you aren’t.” If you’re living inside a self-concept that limits your art because it is the wrong self-concept (“you’re average, not exceptional”), you’re up against a major inner obstacle that directly affects the quality of your work—your paintings, your stories, your poetry–and your ability to produce it. When you rid yourself of a limiting self-concept you’ll see other obstacles in you disappear. They will melt away.

We don’t just hold our inner views of ourselves in our mind as if they are some kind of internal ornament. No, we act as if they really are not just an opinion we’ve formed of ourselves, but the Gods-honest truth, as if they are accurate representations of ourselves. That’s the law of consistency–our self-concept and our actions are ordinarily consistent. All of your actions, and even your abilities in any area, including your art, tend to be consistent with it. We do what it tells us we can do, and shy away from what it tells us we can’t. The sculptor fashioned a new “exceptional” concept of herself and her exceptional actions became consistent with it.

The Ubiquitous “I Ams,” “I’m Nots,” and “I Can’ts”

You create and then maintain your self-concept by characterizing yourself in particular ways. You do that in the “I ams” you use when thinking or talking about yourself–“I am a generous person,’ or “I am clumsy.” And you shape it also by the “I am nots” you habitually use: “I’m not an affectionate person.” And there are “I cans” that you use when thinking or talking about your capabilities: “I can ride a bike, drive a car, and draw a lovely landscape.”

“I’m nots” lead to “I can’ts.” “Since I’m not A, I’ll never be able to do B.” “Since I’m not X, naturally I can’t do Y.” “I’m not a person who’s good with numbers, so I can’t help my daughter with her math.”

De-hypnotize Yourself

oil-painting-571164_640When under hypnosis, a timid man who’s afraid of public speaking is told and believes that he’s a confident public speaker, he is changed instantly. He speaks like an orator. He becomes what he’s told he is. His “I can’ts” disappear. Now he can. Under hypnosis we can do amazing things. We can become convinced we’re powerful and strong. Then we are able to lift heavy objects that we normally couldn’t lift. But what has really happened? Our physical strength hasn’t increased. We have merely lifted the limits we had been placing on that ability. In essence the hypnosis did not take place when we were told we could do things we didn’t believe we could. The hypnosis was taking place all the time that we believed that we did not have these abilities.

We have hypnotized ourselves into believing our self-concept—this inaudible voice in us–is reality. We’ve hypnotized ourselves into believing that we are like this when we could have been something else all along, could have been a thousand other types of persons all along, had we hypnotized ourselves differently. We created a fictional idea of ourselves, and then came to believe that idea, and then acted as if it were true when all along it was just an idea, just a notion. If we’ve hypnotized ourselves into a limiting self-concept, it’s our job now is to de-hypnotize ourselves. And that we can do.

The moment you de-hypnotize yourself and think of yourself as being something else is the moment you’re on your way to being it. A woman I know never thought of herself as a particularly good mother, but one day at the playground a woman she didn’t know said to her, “I’ve been watching you playing with your children these last weeks and wanted to tell you what a perfect mother you are.” That changed her concept of herself; “I am a good mother after all.”

Research demonstrates that as soon as people start thinking, “I am creative” instead of “I’m not creative” their creativity increases, even in a matter of minutes, and sometimes phenomenally. I’ve seen that happen hundreds of times with people of all ages from all walks of life. A group of people are given a problem to solve. They are graded and the person who graded them expresses disappointment, and says, “I really thought you’d come up with more creative solutions because I know you are very, very creative people.” Then they are asked to work on the problem again, this time developing solutions that are creative, being reminded that “My expectations of you are high because you are very creative people.”

A few minutes later they turn in their solutions and the solutions are more creative. Something miraculous has happened. The problem-solvers have abandoned their old self-concept that they hypnotized themselves into believing and have taken another which they needed in order to solve the problem creatively. The creativity that was in them all along waiting to be ignited shined through once they changed their self-concept. They have learned that they are creative after all. When an artist reaches a plateau, and doesn’t progress, it may be because his self-concept needs to be changed.

Two Strategies for Overcoming a Limiting Self-Concept

There are two methods you can use to free yourself from a limiting self-concept. One, you can change it. You can do that by trading it for another that you intentionally create that’s more beneficial, more to your liking, and that serves you better. Or, two, you can do without any self-concept at all. You do that by attending solely to the actions that life presents to you which are right there, right in front of you at every moment that need attending to. You pay no attention to this concept of yourself or that one. You pay no attention to yourself at all, but only to what needs to be done right now.

 Strategy I–The Storekeeper and the Thief: Trading in your Old Self-Concept

samurai-41200_640In Japan in the nineteenth century, storekeepers were considered lily-livered cowards and weaklings. One storekeeper became sick and tired of that reputation. To prove that it was totally false he took lessons at a martial arts dojo. He devoted himself religiously and after some years he became an expert.

After closing his shop late one night, the storekeeper and his wife started home down the dark streets. They had just turned a corner when a man holding a knife stepped out of the shadows and ordered the storekeeper to hand over his money.

At first he refused, but when the thief charged him, growling, “You miserable merchant, I’ll cut you to pieces,” the storekeeper lost his courage, fell to his knees, and began to tremble with fear.

Suddenly his wife cried out, “You’re not a storekeeper, you’re an expert in the martial arts.”

The storekeeper turned his head and looked at his wife. “Yes,” he said, “I am.”

He stood, a warrior now, totally fearless, completely calm. He let out a powerful katzu, “battle shout,” and leaped at the thief. He defeated him easily in a matter of seconds.

 Strategy II–The Teaman and the Ronin: Doing Without a Self-Concept

In feudal Japan, a servant, a poor practitioner of chado, the Way of tea, unwittingly insulted a ronin, a masterless samurai. Outraged, the ronin challenged the servant to a duel.

“I’m not a warrior,” the teaman said, “and I’m very sorry if I offended you. I certainly didn’t mean to. Please accept my apology.”

But the ronin would have none of it. “We meet at dawn tomorrow,” he said, and as was customary he handed the terrified teaman a sword. “Go practice,” said the ronin.

The teaman ran to the home of a famous sword master and told him the terrible thing that had happened.

“A unique situation,” the sword master said. “For you will surely die. The thing I might be able to help you with is isagi-yoku, the art of dying well.”

While they talked, the teaman prepared and poured tea. The masterful way he did it caught the eye of the sword master. He slapped his knee and said, “Forget what I just told you. Put yourself into the state of mind you were in as you prepared the tea and you can win this fight.”

The teaman was shocked. The sword the ronin had given him was the first he had ever held. “What state of mind?”

“Were you thinking ‘I’m a teaman?’ ” asked the master.

“No. I wasn’t thinking at all.”

“That’s it!” The sword master laughed. “Tomorrow draw your sword and hold it high over your head, ready to cut your opponent down. Don’t think you’re a teaman or that you’re a swordsman. Just listen. When you hear him shout, strike him down.”

The next morning the ronin appeared on the field and the teaman immediately raised his sword overhead, his eyes on the ronin, his ears waiting for the battle cry.

The ronin too raised his sword and stood staring at the teaman. Then he saw the determination in the teaman’s eyes and said, “I cannot beat you.” He sheathed his sword and walked away.

The teaman had taken an alternative to changing his self-concept. He didn’t exchange one concept of himself for another. He didn’t change, “I’m just a teaman and not a warrior, so how can I hope to beat this trained ronin?” to “I am a good fighter.” He forgot about having any self-concept at all. He just did what life called on him to do—be prepared to strike the ronin down.

If I am a painter applying Strategy II, I do not replace the thought, “I’m an average painter” with “I’m a great painter.” I just pick up the brush and without any self-concept at all, just use all my skill and paint.

Strategies: Change or Do Without

  • Define your artist or writer current self-concept. What is it? It’s helpful to write an essay titled, “My Current Self-Concept.” It can be a paragraph or twenty or more pages–as long as you want. What do you say and think about yourself that begins, “I am,” “I’m not,” “I can,” and “I can’t”?
  • Design a more beneficial self-concept to your own specifications. Describe in writing what you want it to be. If you want to change it you should have in mind what you want to change it to.
  • Start with the realization that you don’t have to be any particular way. You don’t have to have the opinion of yourself that you do now. You can change it, and by changing it you will change your entire life. Or you can force it to change by stepping out of it and acting differently, even in a way it would never expect you to.
  • Wholeheartedly believe in your new opinion of yourself. As soon as you see yourself in a different light and believe completely what you now see, you instantly change.
  • Remember that all behavior is an act, a performance, and you can learn to be a good actor. You can author a new play with a new part for yourself. The first part of the word “action” is “act.” We should weave more of the actor into our lives. Act as if you can and you are when you feel you can’t and you’re not. Do that for an “I can’t” and “I’m not” and you’ll prove to yourself that you can and you are. Do that time and again.
  • Be careful what you say to yourself. You are what you are because you keep telling yourself you are. When you stop telling yourself you are, you change.
  • Replace every “I just can’t” that is holding you back with a determined, “I can.” Stop telling yourself nonsense. Don’t tell yourself that you’re fated to be in the future what you’ve been in the past. Don’t think so much and tell yourself that there are forty-four things–or one hundred and forty- four things– that could go wrong. Think differently about yourself today than you did yesterday.

lotus-214619_640Strategy II

  • Do what you want to do without any self-concept at all. Just turn your attention outward. Act as if you already are the way you want to be. Act as if you’re brave and you are brave, act as if you are a person of action and you are, act decisively and you are, act confidently and you’re confident, etc. Act that way consistently, at every opportunity, without any exceptions, moment by moment. Become what you want to be.
  • Absorb yourself in the action and not in yourself. Don’t think of anything else but the action. Don’t say to yourself that you are one way or the other, a good artist or a bad artist, courageous when facing life’s setbacks or cowardly, shy or outgoing, self-doubting or confident, happy or unhappy, discouraged or confident. Just put all concepts of yourself aside with no thoughts whatsoever of yourself and do what at every moment is right there in front of you to be done. Let no inner view of yourself get in the way.
  • Take no thought of any “I am,” or “I cant’s,” or “I’m nots,” and don’t concern yourself with “What great things will happen if I succeed,” or worry about, “What bad things will happen if I fail.” Don’t worry about anything. Don’t struggle to protect your inner view of yourself: “Oh, no, I could never do that. I’m not good at that kind of thing. I would be embarrassed if I tried and failed.” Every moment and every day and all lifelong just turn your thoughts away from yourself and back to the matter at hand.
  • Bloom like a flower. A flower is not a flower all its life. It starts as a seed and becomes a flower. Every moment affords you the opportunity to set your life out in a new direction and grow into the artist you have the potential to be.

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

Fighting to win Amazon

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

 

 

4 Comments

Filed under Artists, Becoming an Artist, Blocks to Action, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Samurai Techniques, Writers

Vivekananda: Practical Thoughts of an Exceptional Man

(Born 152 Years ago today, January 12, 2015)

swami-vivekanand-390778_640

 Focus

“Take up one idea. Make that one idea your life; think of it; dream of it; live on that one idea. Let the brain, muscles, nerves, every part of your body be full of that idea, and just leave every other idea alone. This is the way to success. Hold to the ideal a thousand times, and if you fail a thousand times, make the attempt once more.”

Adversity

“Blows are what awaken us. In the majority of cases it is misery that teaches more than happiness. It is the heroic endeavor to subdue adverse circumstances that carries our spirit upward.”

Joy

“This world is just a gymnasium in which we play; our life is an eternal holiday.”

Fearlessness

“The whole secret of existence is to have no fear. Never fear what will become of you.”

Strength

“This is the question I put to every man, woman or child: Are you strong? Do you feel strong? Are you getting stronger? We suffer because we are weak.”

Freedom

“Man has freedom already; but he will have to discover it. He has it but every moment he forgets it.”

My admiration for Vivekananda (1863-1902) began many years ago with my reading a tiny paperback booklet on his teachings that I happened to pick up while in a used bookstore somewhere in the Dakotas desperately searching for something—anything—to read between flights. At that time I was experiencing great outward success in every material way, but was dissatisfied and did not know why. That magical little booklet came to mean a great deal to me, and from it I progressed to a reading of all the hundreds and hundreds of thousands of words spoken by this mesmerizing orator with a gleam in his eye who possessed “a quiet but assured air of command.”

When I find myself going astray (as I too often do) and wandering away from the deep down fundamental things, his words come to mind to rescue me, particularly, be fearless; have no fear, and “Go beyond the trifles of the world. Know that nothing can affect you. It is liberty to be affected by nothing. Be perfectly resigned, perfectly unconcerned.” In other words—if other words are needed—keep your bearings; don’t lose yourself craving what is inessential to you; don’t let superficial things and pettiness touch you; find that your life is more composed of meaningless nonsense than you have ever imagined. I think that if truly understood and taken to heart, these are among the most profound and therapeutic words ever spoken. If you and I were to “go beyond the trifles of the world” most of our worries, anxieties, fears, and doubts would fly out the window. So when things are pressing in on you from all sides and you wish them to stop, say to yourself, “Go beyond the trifles of the world” and watch what happens.

Unlike his mentor Ramakrishna, Vivekananda (born Narendranath Datta in Calcutta, India) was not a mystic. He was a spiritual man and fundamentally a teacher of how to live sincerely and honestly in this real world of work and family without losing sight our spiritual nature. The prophet of self-reliance, he was a person whose words expressed exactly who he was without phoniness, fakery, or pretense. When he died at the age of thirty-nine, the world from beggars to statesmen mourned.

“By means of the constant effort to do good to others we are trying to forget ourselves; this forgetfulness of self is the one great lesson we have to learn in life. Every act of charity, every thought of sympathy, every action of help, every good deed, is taking so much of self-importance away from our little selves.”

”Always keep your mind joyful; if melancholy thoughts come, kick them out.”

“We are responsible for what we are; and whatever we wish ourselves to be we have the power to make ourselves.”

“It is selfishness we should eliminate. I find that whenever I made a mistake in my life, it has always been because self entered into the calculation. Where self has not been involved, my judgment has gone straight to the mark.”

“It is thought which is the propelling force in us. Fill the mind with the highest thoughts, hear them day after day, think them month after month. Never mind failures…they are the beauty of life, these failures.”

“The one way out is through ourselves.

“Almost all suffering is caused by our not having the power of detachment. We must learn not only to attach the mind to one thing exclusively, but also to detach it at a moment’s notice.”

“In all these little roughnesses that we meet with in life, the highest expression of freedom is to forbear.”

“The goal of all nature is freedom and freedom is to be attained only by perfect unselfishness: every thought, word, or deed, takes us toward the goal. Have no thought for yourself, no word for yourself”

“There is no limit to the powers of the human mind. The more concentrated it is, the more power is brought to bear on one point; that is the secret. In making money, or in worshiping God, or in doing anything, the stronger the power of concentration, the better will that thing be done.”

 

Vivekananda was little known outside a small circle in India when he appeared at the Parliament of Religions in Chicago in 1893—the first time the leaders of all the world’s major religions were brought together to talk to the public about their religions. Vivekananda had a handsome face and striking appearance and drew attention the morning before he was to speak for the first time. His turn to speak came, but he excused himself and asked for more time. Later he confessed that he had stage fright: the other speakers were prestigious religious leaders who had come prepared. He had arrived with no formal credentials, unknown, with no money, no resources, no place to stay, and hadn’t prepared a speech.

Such was the overwhelming impact of his mere presence on an audience that when in the afternoon he rose to his feet at the podium and began speaking with that extraordinarily deep bell-like voice, saying “Sisters and Brothers of America,” the reaction was astonishing. Instantly the entire audience—many hundreds of people— clapped and cheered wildly. Nothing like that had occurred at the conference though all the other speakers were better known. The audience must have sensed they were about to hear the most valuable words of a most exceptional human being.

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

Fighting to win Amazon

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

 

Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

6 Comments

Filed under Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy

The Artist as Warrior

“The tramp of warriors sounded like a thousand convulsions of the earth. The shouts of warriors, the whistling of arrows, the thunder of the feet of foot soldiers and the hooves of chargers did not cease.”

“Fear is the true enemy, the only enemy.”

“When all psychological blocks are removed the swordsman will move without conscious effort.”

“The meaning of all things is within, in your mind, not something that exists ‘out there.’”
(From the Samurai Way)

martial-arts-291051_640Each time I visited a successful painter friend of mine I saw the same unfinished painting on the easel. Nothing about it changed month after month. Not a single new brush stroke touched the canvas. Then she moved away and I didn’t see her for a number of years. When we got together again I asked, “Whatever happened to that green pastel that was on your easel so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

I know a talented young writer who contacted 100 agents in hopes of getting his first book published. He had worked extremely hard on the book and it was very good. He thought of making it a trilogy, and had mapped out the next five years of writing. One agent showed interest and the writer was hopeful, but then the agent lost interest. Discouraged, doubting himself, having lost confidence, not wishing to be so disappointed again the writer stopped writing creatively and devoted himself to his teaching career.

I know an opera singer who has had a successful career, but suddenly and inexplicably after five years developed a fear of performing and for two years retired from the stage. She’s performing again but doesn’t know if that debilitating fear will ever return.

Each early morning I go into my work room upstairs and settle down to write. Now I’m in my element–confident, contented, primed and ready to work. I’ve been writing so long and have produced so many words. Generating text is second nature to me—easy, effortless, without strain. Yet, there is another emotion that is there with me some days. I pause, fold my hands in my lap, and ask myself, “What are you feeling now? Why are you hesitating?” And I answer, “I am feeling fear.”

paintings-316440_640“What are you afraid of?”

“I don’t know. Possibly that I won’t have my skills today; that I won’t be successful; that I’ll let myself down. I really don’t know.”

“Is that so important? Writing is such a small part of life.”

“Right now it is the most important thing possible.”

Bear in mind that I’ve had success writing. Also, I am no coward. I rescued a woman from a would-be rapist–chased him, caught him, fought with him, wrestled him to the ground, and held him till the police came. Yet when I sit at the computer to do the thing I do better than anything else sometimes I’m scared.

We speak of writer’s block, but that’s too narrow. There are sculptors’ blocks and actors’ blocks and ballet dancers’ blocks—the drawing back (intimidated, helpless) from the art we love and have performed many times before–being stopped by some powerful obstacle or set of obstacles that are not out there in the world, not visible to the eye, but are inside us.

The Samurai

The samurai–the finest warriors ever to walk this earth– were ordinary men and women who were trained to perform extraordinary feats of courage. Just as writers, artists, dancers, or actors face internal obstacles that interfere with their work, so did the samurai. The bulk of his or her training (there were women samurai) was devoted to overcoming those inner obstacles that are no different than the obstacles artists of all descriptions face—anxiety, procrastination, self-doubt, hesitation, fear of taking risks, discouragement, over-analysis, depression, apprehension, impatience, and more.

target-211225_640The release of the arrow is the most difficult problem archers face; they think too much, as often do artists, explaining the sudden loss of spontaneity, the sudden loss of skill. Fear is a dragon that often keeps us from success. The samurai was taught: “Strike through the dragon’s mask.”

The samurai’s mind was trained to be fudoshin—to be “immovable,” to never budge from the main goal (for the artist, to get the work done.) They were taught that when your thoughts get “caught” (toroware), or “stopped” (tomaru) on internal obstacles, you will have trouble executing any action—when your mind gets “hooked” or “snagged,” the way the opera singer’s mind was snagged for two years. Better to acquire tomaranu kokoro, “a mind that knows no stopping,” that flows smoothly from idea to idea without being stopped.

What I did in my book Fighting to Win: Samurai Techniques for Your Work and Life was to pluck the wisdom of the samurai off the battlefield and apply it to everyday modern life producing a book of musha-shugyo, “training in warriorship” so that people might overcome the internal obstacles that are troubling them.

Zen and the Samurai

The warrior class was the first segment of Japanese society to embrace Zen. From the twelfth-century on Zen became known as the religion of the samurai. What explains the fit between these two apparently different approaches to life?

Zen is many things—a religion, a philosophy, a life-style. It is also a psychology, a psychology of action, grounded on decisiveness, spontaneity, strength of will, adaptability, courage, and bravery. It was this psychological aspect of Zen which appealed most to the samurai, for to rush forward to face the enemy even if only death awaited him, he needed what Zen taught—to act without hanging back, without reservations, and with total commitment.

Warrior Artists

samurai-67662_640The elite samurai were members of the cultured, aristocratic upper classes—the daimyos, the lords. Bunbu ryodo “The united Ways of the pen and the sword” refers to the tradition of the warrior artist, master swordsmen who were also poets, calligraphers, and painters. The famed Miyamoto Musashi is considered the greatest samurai swordsman who ever lived. He was also one of Japan’s foremost artists whose work today has a place in Japan’s national art museum.

Samurai Maxims

“A warrior must only take care that his spirit is never broken.”

“Success will always come if your heart is without disturbance.”

“Let your mind be free to function according to its own nature.”

“Stick to the larger view of things. If your vision is narrow your spirit will be narrow.”

“Adversity in life is essential to training.”

“The end of our Way of the sword is to be fearless when confronting our inner enemies and our outer enemies.”

“If you walk, just walk. If you sit, just sit. But whatever you do, don’t wobble.”

You needn’t look too far or too hard to see that these maxims and the inner training of the samurai Way apply to the artist’s life. Like the warrior, if the artist is to grow, it will be from within. The artist’s work, like a warrior releasing an arrow, should be like a drop of dew falling from a leaf or a fruit falling when it’s ripe.

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

Fighting to win Amazon

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

 

Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

17 Comments

Filed under Artists, Becoming an Artist, Blocks to Action, Creativity Self-Improvement, Eastern Philosophy, Samurai Techniques, Writers

The Rabbit and the Fox, The Teacher and the Painter, and Other Lessons

Excerpts from Fighting to Win: Samurai Techniques for Your Work and Life

 

 Rabbits

rabbit-40646_640 A wise master and his student were walking through the countryside. The student pointed to a fox chasing a rabbit and said, “Oh, the poor rabbit.”

The master said, “The rabbit will elude the fox.”

The student was surprised. Maybe the old man’s mind wasn’t so sharp anymore. He said, “No, you see, the fox is faster.”

“The rabbit will get away,” repeated the master.

“What makes you think so?”

“Because the fox is running for his dinner, but the rabbit is running for his life.”

The first step is understanding we’re no different than rabbits.

 

Attention, Attention, Attention

 yoga-386611_640A layman asked a Zen master to write some words containing the greatest wisdom.

The master picked up his brush and wrote, “Attention.”

The layman was disappointed. He said, “I was hoping for something more.”

“More?” the master asked, picking up his brush and writing again— this time, “Attention. Attention.”

“That’s it?” asked the layman.

The master had been expecting that. This time he wrote it three times: “Attention, Attention, Attention.”

Your ability to choose how you will direct your attention–what you will think, how you will feel, and the best thing to do–is your most powerful skill.

 

Cherry Blossoms

cherry-blossom-254680_640The delicate cherry blossom has a very short life. It doesn’t last long in the wind that blows it from the tree. One minute it is there, then it is gone. All we have is a memory of how beautiful it was.

No getting around it: I’m a cherry blossom; you’re a cherry blossom.

 

 The Teacher and the Painter

paint-33883_1280My friend is a painter. The best teacher she ever had gave her the best advice she ever received. He looked at her as she painted and said, “You’re being too careful. Make bolder strokes.” He went away. She followed his advice. He came back and studied her work. He raised his voice and said, “Bolder.” Later he came back again and said, even louder, “Bolder! What are you afraid of?”

Our lives would change immensely if we said to ourselves most of the time, “Bolder! What are you afraid of?”

© 2014 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

Fighting to win Amazon

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379

 

Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

Waging Business Warfare812sCY9edLL._SL1500_

Click on book image to order from Amazon.com

or

http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030

 

 

Leave a comment

Filed under Becoming an Artist, Creativity Self-Improvement, Developing Talent, Human Potential and Achievement, Eastern Philosophy, Samurai Techniques