Mihaly Csikszentmihalyi’s seminal work ‘Flow: The Psychology of Optimal Experience’, which provides a comprehensive exploration of this phenomenon. He defines flow as a state of complete absorption and engagement, where individuals experience a deep sense of enjoyment and fulfilment. He identifies key components of flow, including clear goals, immediate feedback, a balance between challenge and skill, a feeling of control, and a loss of self-consciousness.
Abraham Maslow described ‘peak experiences’ as profound moments of transcendence and self-actualization, where individuals feel a deep connection to the universe and a sense of harmony within themselves. Martin Seligman introduced the concept of ‘positive psychology’, which emphasizes the importance of cultivating strengths and virtues to enhance well-being. Seligman suggests that flow experiences play a crucial role in promoting happiness and life satisfaction, as they allow individuals to fully engage their talents and passions.
Indic Wisdom
Indic wisdom offers profound insights into the concept of flow, drawing from ancient philosophical and spiritual traditions. In Hinduism and Buddhism, the notion of ‘Sukha’ and ‘DuHkha’ sheds light on the nature of happiness and suffering. DuHkha represents suffering or sorrow arising from a sense of constriction and limitation.
The word DuHkha is made up of the prefix du and the root kha. Du means ‘bad’ or ‘difficult’. Kha means ‘space’. Kha is also the hub of a wheel. When the two wheels of a chariot are not aligned and centred, one’s journey is bound to be really bumpy! In classic Sanskrit, the term duHkha is also compared to a large potter’s wheel that would wobble and screech as it spun around and did not turn smoothly. The pot will never get made!
The counterpoint of duHkha is the term sukha, which brings to mind a potter’s wheel that turns smoothly and noiselessly. Sukha refers to a state of expansion and abundance where one experiences pleasure and satisfaction. However, the goal of Yoga sAdhana is not to chase sukha and develop an aversion to duHkha. Compulsive behaviours arise out of this futile pursuit and block the flow of prANa. Yoga sAdhana aims to transcend the binary set up in one’s mind between the two and experience Ananda-Bliss.
Yoga sAdhana starts by asking one to observe one’s relationship with one’s world and take responsibility for one’s responses. The experiences of duHkha and sukha are not caused by external circumstances. The Yoga Sutras of Patanjali warns sukha anushayI rAgaH (the pursuit of pleasure causes desire) duHka anushayI dveShaH (the avoidance of pain causes aversion). One assumes that the temporary and transient experiences are enduring and the external context that caused them can be recreated. One, therefore, ends up chasing the memory of a past experience. According to Indic philosophy, the key to experiencing sukha lies in letting go of the idea that the past will be like the future – start paying attention to the here and now, be attentive to the path that’s unfolding and engaging in activities that align with one’s skills and passions. By being attentive to the unfolding reality with all of one’s senses, and by being in harmony with the emerging world one is naturally in flow. One is not being vigilant, comparing the present with the past, and hoping desperately for the future to unfold the way one wants to. Conversely, when one experiences duHkha, it is often a result of being trapped in a state of disconnection and stagnation.
Yoga Sutras of Patanjali uses the analogy of the flowing water to describe various states of mind.
l The first is the kshipta citta – the monkey mind, a river that never flows because it starts flowing in one direction only to get distracted.
l The second is the mUDha citta—a mind like mud, a stagnant pond, which is unwholesome.
l The third is the vikshipta Citta—the human mind! It is like a rain-fed river that flows intermittently.
l The fourth is the samAhita citta—the steady mind. This mind is capable of being observant and curious and sustaining attention. It does not approach the present with anticipation and fear. It is open. This is the beginning of the steady flow of the river.
This mind is now capable of dhAraNA – a mind that is fully attentive to an object of its choice. This seems like the flow state described by Csikszentmihalyi. One is goal-oriented, balanced, calm and aware. When this is sustained, the mind goes into a subtle and coherent state called dhyAna. One experiences Ananda. Ananda becomes extraordinarily insightful. This flow is compared to the way honey or oil flows from a vessel when it is poured into another. DhyAna then gradually becomes a total absorption in the object one is paying attention to -samAdhi. There are no vessels to flow from or to flow into! There is a non-dual fullness of Being.
View from Mahabharata
Draupadi is married to the five Pandava brothers, the Pandavas, each of whom represents a distinctive energy quality. She represents the psychological and existential flow of all five, she is the synergy. Through her conduct, she demonstrates the multiplicity of resources available within her and how she is in flow in different contexts. She is the collective vitality of the five brothers. In her disrobing in the Kaurava Court a true awakening takes place for the Pandavas. The shame, anger and lack of potency acts as a rallying call for deep introspection and DhArmic awakening.
Finding flow on a Yoga mat is easier than finding Flow amid turmoil and anguish. Flow is the equanimity, a presence, a non-movement, a state of co-holding both the positives and the negatives. Flow is not just happiness. We argue that flow is the vital catalyst that creates the living drama in the management of both the positives and negatives – that it exists in a Samudra Manthan, not in an isolated petri dish. We argue that flow is the hero, a stance to adharma. Flow is Ahimsa, a response of non-violence to brutal havoc and wastefulness. Flow is not repulsed or attracted to. Rather it co-holds with equanimity. Flow is a dissolution. Flow is when the musician and the instrument disappears; just the music lingers. Flow is when the two dancers fade in silhouette, just the dance is visible.
Steve Correa is an Executive Coach and author of ‘The Indian Boss at Work, Thinking Global, Acting Indian’.
Raghu Ananthanarayanan is a behavioural scientist, yoga teacher and an author of several books
