Raam Dev

Hello, future.

Traveling by Intuition

A big part of how I create and travel involves tapping into energies, these invisible and hard to describe forces that seem to connect my physical self with another realm, a realm that, if I could see it, I imagine would look like strings of energy crisscrossing each other and linking together other, highly focused endpoints, all changing in response to the location, the environment, and the energies of the people who were present.

Trying to describe these invisible forces always conjures up images similar to those neuron maps of the brain and the maps of the Internet, only instead of being fixed and static, they’re alive and moving, constantly changing, like a universe inhaling and exhaling, birthing new galaxies with each breath.

I believe that we all have the ability to feel and sense these energies, to receive their signals and tune into them, to redirect and focus them like a magnifying glass focusing otherwise weak beams of sunlight.

When I travel, I feel the different energies and forces present in each place. But there seems to be a catch: I usually can’t feel or tap into them until I’ve settled down for a few weeks.

When I’m moving from one place to another — flying in an airplane, riding on a train, or doing a road trip — the energy generated by the motion is itself extremely powerful and chaotic. This chaotic energy seems to obscure the more stable energy that I can feel when I stop moving, the energy that I feel when I begin creating within a framework of daily routines.

Whenever someone asks me how I decide where I’m traveling to next, my response is always the same: I travel by intuition. I don’t travel to check off a list of places, or to experience a set of cultures, or to taste different foods. I travel by intuition. But what does that mean? What does it mean to ‘travel by intuition’?

It means that when I connect with the energy of a particular place, I allow myself to linger, to tap into the creative energies and allow them to change me, to give me fuel for creating and contemplating and growing until something (usually my intuition) tells me it’s time to move on. In traveling for the past three years, I’ve recognized that the “time to move on” feeling usually occurs within three months.

I’m convinced that I’m not the only one who taps into these energies and I suspect that various places around the world known for attracting artistic and intellectual types are that way because they’re actually strong sources of this invisible energy, sources that most of these people are unknowingly tapping into by living and working there. I suspect that cities appear where they do for the same reasons.

When I arrived in Tasmania a little over a month ago, I could tell within the first few hours that the energy here was strong. I wasn’t at all surprised when I learned that Tasmania is fast becoming known for attracting artistic types.

However, I was caught off guard when, within the first week of arriving, I felt an unrelenting desire to cancel the rest of my travel plans — a week in Perth and a month in Thailand — to spend more time here in Tasmania.

Now, after spending six months in Australia, I’m preparing to leave to visit family in the United States. I’m thinking about where I’ll go next in January and the only place that keeps calling back to me is Tasmania... and I haven’t even left yet.

Why Tasmania? I’m really not sure. All I can say is that my intuition tells me that I should return, that something says this is where I should be and that this is where I will find the creative energy that I need. Creative energy that I need for what? I’m not sure of that either. That too feels like an invisible force present in my future but undefinable to the present.

The Park of Skeletons and Giant Trees

There’s a park here in Hobart that I’ve walked through maybe a dozen times since arriving in Tasmania a few weeks ago. It’s a beautiful park with manicured gardens and strips of black pavement that crisscross bright green grass that always seems to be freshly cut.

But there’s also something quirky about this park. Stone structures that look like giant gravestones are occasionally thrown about and there are different types of trees growing in seemingly random locations.

I walked through the park today and stopped to read a small metal placard that was embedded into a stone at the base of one of the smaller trees. It said the tree was planted in 1932. That’s eighty years. I put my hand on the tree and looked up at it with a new sense of respect and admiration. Eighty years old and still young and strong.

I continued my walk and looked around at the other elderly giants surrounding me. Some of these trees must be hundreds of years old.

The park is a common route used by both commuters and students traveling to and from work and school. My host, who often walks through the park on her way to and from work, mentioned to me once that it would be a fun project to take photos of the trees while looking up at the sky from underneath them, and then trying to identify where in the park each photo was taken.

I find myself always looking up when I pass through a park now.

Perspective has a strange way of changing how we think about the most obvious things, those things that we take for granted and pass over, or under, without thought or pause for reflection.

At the other end of the park I came across a sign with more information and some historical background about the area. In 1804, the park began as Tasmania’s first cemetery, but became badly neglected within a few years and fell apart. Escaped convicts would occasionally vandalize the graves and sometimes they would even climb into coffins to hide from pursuing police.

The city of Hobart continued to grow and expand around the cemetery and before it was turned into a recreation area in 1925, nearly 900 people had been buried there. A few of the prominent gravestones were repaired and now they share the landscape with several giant trees, including American Redwood, Elm, Spruce, and Tasmania’s native, and giant, Blue Gum tree.

Nine hundred people. I tried to imagine that number of skeletons resting underneath the beautiful green grass, the roots of these giant trees weaving in and out of them, slowly converting what was once a living breathing human back into the basic elements. I’ll never walk through St. David’s park the same way again, as my perspective has been permanently shifted by the few words on that deteriorating sign.

It doesn’t take much to alter our view of the world, to shift our reality in such a great way that what we see and feel changes so dramatically that we become a different person, making different choices and thinking different thoughts. But a change in our perspective always starts with present-minded observation, with understanding where we are right now in relation to something else.

I walked though that park many times, but it wasn’t until I slowed down to understand and observe my surroundings that I acquired a new perspective and a new appreciation for the park.

In the same way, unless I remain curious and present to the activities in my day-to-day life, I may end up walking through unaware and oblivious to the great depth and richness that exists all around me and within my life.

Tasmanian Street Musicians

Yesterday I walked to the Salamanca Market in Hobart, Tasmania, a street market that opens every Saturday. Much like everything else I’ve experienced here in Tasmania, the market had ‘calmly dramatic’ feel to it, filled with three hundred stalls and bustling with thousands of people, yet not feeling one bit chaotic or rushed.

There were lots of street musicians strewn about. There was a teenage girl on the flute, a young man singing to an acoustic guitar, an older gentleman attempting to play the ukulele, and another selling CDs.

After walking around a bit, I noticed the young man with the acoustic guitar had joined another young musician. The two men, who did not seem to know each other, started playing as one, carefully watching each other as they tried to find a rhythm.

A few of these musicians seemed comfortable performing, but there were many others who made it obvious they were struggling with stage-fright. I remember seeing a young man sitting on a bench through one of the stalls, set back away from the crowds as he quietly sang to himself and tapped on his guitar. I wondered what he was thinking.

At one end of the market there was a young girl, perhaps ten or eleven, holding a violin and glancing around nervously. She found the courage to start playing just I walked past her and several people turned as they heard the music, their faces going from curious to astonished when they saw her age.

Walking down Kennedy Lane, into Salamanca Square where families gathered to relax around a water fountain, there was a young boy band playing. One boy on the drums, one on the keyboard, and two more standing up with guitars. The lead singer wasn’t more than eight, his flushed red face and closed eyes telling me he didn’t want to see all the people stopping to smile at him. His singing was horribly off pitch, but his soul made that irrelevant.

Down the other end of Kennedy Lane, down the quiet narrow end with tall stone walls on either side blocking the already diffused sunlight, there was another musician standing in the shadows. I recognized him immediately from my walks around the city earlier in the week. But I had never seen his face. Or was it a girl? I couldn’t tell. He wore a expressionless white mask, baggy jeans, and a faded blue sweatshirt with the hood pulled over. The only thing more unsettling than his ghostly appearance was the tune that he added to the scene. Picking gently at a closely clutched guitar, he played with the sound of each string ever so carefully, clearly having more experience than a casual passerby would notice. Perhaps that’s why he wore an expressionless white mask.

I walked around the market a few more times, not really knowing where I was going or what I was looking for. Around the middle of the market, at the end of a closed street, there were two men playing music and generating a crowd. Not being much for crowds myself, I stepped off to the side, a bit behind the musicians. There I noticed several guys in black suits sitting on the ground, with bags of wires and instruments and other musical equipment sitting on the street around them. As they laughed and watched the crowd, I realized they were next in line, awaiting their turn in the spotlight.

It was here, facing in the same direction as the musicians, that I noticed a man in the crowd step up and throw some money into a guitar case. He smiled and stepped back into the crowd to continue watching. There was something about his posture that told me he was standing there simply to encourage others to step up and give. Not many did.

Every single one of the musicians I had walked by, from the young girl playing the violin, to the person picking at the guitar in a white mask, had a bucket or instrument case in front of them collecting donations. But I hadn’t given anything.

As I ate breakfast this morning, I reflected on all the musicians I walked by and I felt bad for not giving anything, especially not to the children. I realized that even if I had given money to every single one of the musicians, it wouldn’t have amounted to more than a few dollars.

But how much hope and validation might I have given in the process? What if my giving something meant that one of those children felt inspired to see their dreams through? How could any amount of money be valued higher than that possibility?

Perhaps the problem lies in my relationship to money. Perhaps deep down inside there is still a lot of insecurity and scarcity that I’m not recognizing, a part of me that is reluctant to give because I’ve spent so much of my life living in fear of not having enough.

I do have enough. In fact, I have more than enough.

Next week I’m going back to the Salamanca Market. I’m going to give something to every musician that I can find. In fact, maybe I should make this a permanent habit, to always give something to street musicians. Unlike beggars, they’re clearly offering something in return. Instead of just asking, they’re creating something and hoping that you’ll find value in it.

But more likely than not, they’re also asking for you to support their dream, to show them that it’s a dream worth working towards.

All dreams are worth working towards and I believe there is no better way to invest in others than to help them achieve those dreams. What’s your dream and how are you working towards it? Let me know and I will send you something. (Please include your PayPal email address.)

Friends are More than Contacts

The dictionary defines 'friend' as "a person whom one knows and with whom one has a bond of mutual affection". A bit further down there is another definition: "a contact associated with a social networking website".

One reason I recently deleted my Facebook profile was that having so many "friends" on Facebook was turning everybody into a contact.

I began to recognize that in the name of simplicity, social networks are severely degrading what it means to have 'friends' and that they're slowly, friend-by-friend, psychologically training us to believe that 'friend', 'contact', and 'acquaintance' are all same. They're not.

Friends are more than contacts.

(Note that I haven't entirely abandoned Facebook: I'm still sharing my work through my Facebook Page.)

A Writers Manifesto

I, am a writer, and this, is my manifesto. 

I write to explore and I publish to share.

I write to develop an intimate relationship with my mind, to make sense of that which doesn’t, and to explore the intangible in a tangible form.

Writing creates a conduit, a channel that guides and gives focus to an otherwise chaotic spillway of thoughts. I seek to understand, but to understand I must first learn. To learn, I must first listen. To listen, I must first empty.

A mind which is not empty has no room to listen.

I respect the power of language because I am a craftsman of words. I build cathedrals of letters and paint cities with vibrations.

I am always striving to improve my craft. I treat it with care, because my craft holds magic. I do not rush, because here, there be dragons.

I honor those who have come before me, but I recognize that we all drink from the same potent river of timeless wisdom, a place from which all writers quote.

I publish to share my creations, to give life to the lifeless and wings to the wingless. I release only the most flightworthy of work because I take pride in fine craftsmanship.

I know that my perspective adds value to the life of my reader. I know that others read with anticipation because, as I’ve learned firsthand, finding someone who sees the world through our eyes gives validation to our very existence.

I share my work to set it free and to amplify its potential to change the world.

I, am a craftsman of words, and this, is my manifesto.

I write to explore and to understand the intangible. 

I publish to share and inspire freedom.

Life Isn't Safe

We all die. We all get hurt, make mistakes, and experience pain that seems impossible to overcome. Life isn’t safe, but a life spent trying to avoid all risk and discomfort is the best way to avoid living at all.

It’s true that some risks are not worth taking, but most risks will mean the difference between living a life on repeat and creating a life forged in sweat, on the steps to a breathtaking summit.

So believe in something impossible. Dream. Search for meaning in your actions. Apologize and forgive. Find harmony in moving forward. Risk. Take action. Do something worthy of your own admiration. But most of all, love, and embrace who you are.

Life is short, and it’s fragile, but it’s worth it.