Sacred Geometry

In Maya Mandala's teaching sacred geometry is the pattern of the practice: the circle, the spiral, the figure-eight — met in the body, walked and breathed together. The shape is not the content; the practice of the shape is.

Because, in Maya's teaching, the alignment is what the state needs: the body and the breath in one line let the energy carry through — and in the lack of it, the body is left with only the heavy, dense states. The geometry is the instrument of that alignment.

No — the pattern is met with the body, before it is named by the mind. The teacher walks the form, and the walk is the school: the circle is known by the steps, the spiral by the spine.

The women move through the patterns, then build mandalas with their bodies together — the movement of one, and the whole. In Maya's practice, the group connects through the parts of the body, the quality switches on, and the higher state is built with sound and breath for everyone.

The circle is the first whole: the closed form, the equality of all places, the return. In the practice it is the container of the work — the space where the pattern is walked and nothing is outside.

The spiral is the opening: the movement that grows from the center without losing the center. In the practice the spiral teaches the growth — the way the work moves higher and the old states are left behind.

Because the state lives in the body: the tension, the held experiences, the old patterns. The movement meets them there — the form of the geometry gives the release a path to follow, and the images stay the map.

The word carries the old school, and the body carries the practice. In this teaching the geometry is approached as a form of work with the state — the esoteric is the frame, the practice is the content, and the field is the body of the practitioner.

Yes — the practice is built in levels: the patterns in the circle, the body-mandalas with the group, the work of sound and breath. And for the deep layers — the family scenarios of the practice — Basics of Life 1 gives the root.

The studies of Wiltermuth and Heath (Psychological Science) found that people who move together in rhythm cooperate more and feel more connected. What the practice names the body-mandala effect, the study measures as synchrony.

Dancing is the form of the motion; the practice is the work of the state through the motion. The same circle walked one way is decoration, and walked another way is calibration — in the practice it is always the calibration.

In Basics of Life, the work goes deep, from the root — the family fields and layers. In Sacred Geometry the work goes straight up: any change and clearing can come as a byproduct of the direct movement through the pattern. The second is for the foundation that is ready.

The practices are accessible: the whole day is the body, the sound and the breath — and the geometry is walked at the pace of its own state. Women with any level of practice come to it — the body remembers what the mind does not.

When the state, the health or the mental condition is unstable, the practice waits or steps back. In serious conditions, professional care comes first; the practice can follow when the ground is ready.

Start with the circle: three minutes a day — the steps of the circle, the breath in them, the complete attention. The seminar work with geometry is the next level, and Maya's free guided meditations are the natural first step.