A Wonderful Trip to Macau in October 2012 — a journey, both in terms of actual travel and a move towards a vaguely sensed destination of the heart – by Paul Fraser

If someone outside the Pangu Shengong community were to ask me how the Macau and Hong Kong trip was, they’d most likely expect an answer that sounds like a travel guide book: Macau has a wonderful blend of classical Chinese culture with its Portuguese colonial history, making for fascinating architecture, exquisite cuisine and warm, friendly people. There are bustling casinos with lurid signs, animated people and an atmosphere that makes Las Vegas pale by comparison. Hong Kong is one of the world’s most cosmopolitan cities. It is a shopper’s dream with wide, seemingly endless streets filled with shops selling everything from clothing and jewelry, to silks, herbs and all forms of entertainment. The public transportation system is startlingly clean, efficient and punctual. These two cities are, by traveler’s standards, user-friendly places to visit.

There are photos to back all of this up: a beautiful 17th century church in Macau, the view from the highest point in Hong Kong showing towering buildings skirting the harbor, a group of people sharing a lavish meal and lively conversation. As far as these descriptions go, they are accurate. These are wonderful places to visit, teeming with atmosphere and culture just waiting for an eager tourist to absorb.

And the Pangu Shengong guidebook? How might that read?

Anyone who has ever had the good fortune to spend a significant amount of time with Master Ou would probably begin by saying that the experience is…well…beyond what is usual. In what way? That can be hard to put into words. Perhaps the words “otherwordly” or “ethereal” come up. A sense that this may very well be a turning point in one’s life often lingers at the edge of awareness. There are strong Qi sensations which may be difficult to describe to someone who hasn’t had experience with a strong Qi field: tingling, warmth, a feeling of relaxation coupled with heightened senses of sight, scent and sound. Beyond that, and particular to Pangu Shengong, is a strong sense of connection with other students, that we are somehow closer in this gathering as Master Ou’s profound love for his students permeates our very hearts and souls.

This was our starting point, a journey, both in terms of actual travel and a move towards a vaguely sensed destination of the heart.

Arrival in Hong Kong and waiting for the next ferry for Macau was, for me, exceptional because of what I didn’t experience: feelings of fatigue and stiffness after a long flight and the disorientation of another time zone. I felt perfectly normal even though I would not characterize myself as a “good flier.” We took the ferry to Macau and were met by a group of students holding bouquets of flowers and offering welcoming smiles. We were sorted into various minivans and conveyed to our hotel.

The next day we met for lunch with a larger group of students, and in the evening we had an even larger banquet. In both cases, what struck me was how utterly comfortable and welcome I felt. This was to be a theme throughout the entire trip. We came from different countries, with different backgrounds and languages, and yet my feeling was that we were not so different at all, I felt as if we were all very good friends. Even with people I had not met before it seemed, upon meeting them, that some part of me had been looking forward to seeing them.

Soon after, it was time for Master Ou’s calligraphy exhibition. Try to imagine one thousand works of Qi-infused elegance covering every available space on all four walls of a large exhibition space. I felt as if I had stepped into a great sea of Qi; it permeated all of me. I felt hot, cold, disoriented, sharply focused, happy, solemn, giddy, sacred…and that describes the first minute or so! Once the formal exhibition began, the room was filled with hundreds of PGSG students. Some of them were seeing Master Ou in person for the very first time and were thrilled to shake his hand. Photo after photo was snapped and still people kept coming and still Master Ou smiled warmly next to anyone who came forward.

After about a half hour a large table was set up and Master Ou began to demonstrate his calligraphy technique. Carefully, he dipped his brushes in the black ink. He used one brush about the size of a house painting brush and made a huge elegant character on a large piece of rice paper. With smaller brushes he wrote poetry off to the side. The room buzzed and hummed with the Qi being generated by this demonstration. Some stood off to the side, palms up, eyes closed, absorbing Life as it permeated the crowd. Others stood, transfixed, at the graceful elegance flowing from the tips of the brushes. Soon after, a news crew came to interview Master Ou. During the interview he chanted a short poem by Li Bai. Through it all, many people lined up and placed their orders for the calligraphies. By the exhibition’s end on the following morning, when nearly one thousand more people came to view and experience, all of the pieces had been spoken for.

The exhibition could easily have gone on, but the next day was the day of the concert.

The concert hall at Fisherman’s Wharf was filled to its 2,000 seat capacity. The day before, those of us who were due to perform had rehearsed at the hotel with the musicians. The rehearsal seemed to go well enough. Master Ou offered us a bit of advice for overcoming any nervousness we might have over performing:

Connect with his heart.

Remember that the purpose of all singing is bring happiness to people, and the purpose of this particular style of singing is to spread more love and healing to people.

Know that it is truly and honor to be a student of Pan Gu’s.

Be sure to smile. This closes the gap between the one performing and the audience. It helps communicate from one heart to all hearts.

Watching all of the people file in and take their seats, I felt Master Ou’s advice would be put to the test!

The concert was more of an elaborate production than I anticipated. There were camera crews reproducing the images on two wide screens on either side of the hall so that no one would be without a good view and so the entire performance could be recorded. Photographers were snapping pictures and many of Master Ou’s students were on hand to assist with logistics. Things proceeded smoothly. Master Ou began by welcoming his students warmly, and proceeded to transmit love, kindness and healing through his chants and music. A familiar feeling of slight intoxication began to permeate my senses. I felt relaxed, happy and quite oblivious to the passage of time even though some part of me knew that we, his American students, would be performing soon, too.

The first from America to perform was my wife, Anisha. Now, I’m sure I have some bias, but I describe Anisha like this:

She stands about 5’2″ tall, gorgeous dark eyes, lustrous hair, an enchanting, disarming smile and creamy coffee colored skin handed straight down through her Indian lineage. Mix that with her Australian birth, a move to America at age 9, a love of dance, music, theater, piano lessons, classical voice training and a heart that opens in the face of all beauty and you get this otherworldly sonorous harmonic melting pot that is somehow destined to perform. Toddlers follow her with their eyes as she walks by. Men cast sidelong glances, trying to stealthily appreciate a radiance they don’t understand, and women wonder what she’s doing with me when she could, clearly, have anyone. You’d want her in your troupe. She adds to the entourage.

She certainly did not disappoint.

She smiled warmly, greeted the audience, and began with a chant from Master Ou’s first chanting CD, “Heavenly Destiny.” She recited and then chanted; the audience was drawn in. Then came the song, “Surabaya.” The music began and it was apparent that Anisha loved the song, Master Ou and the chance to communicate that love to so many people. She sang with a depth and power that touched the audience. Towards the end of the song, where the lyrics speak to the deep connection and love between teacher and student, Master Ou appeared on stage and sang with her. He walked slowly across the stage, amidst applause, met Anisha, and they finished the song together, holding hands. None of this had been prearranged. Master Ou appeared on stage at just the right moment, and used this timing to convey the very deep sentiments in the lyrics, and the audience responded. After the song and Anisha’s departure from the stage, Master Ou mentioned to the audience that even though Anisha did not speak or understand Cantonese, it was her heart’s understanding that allowed her to learn the song and sing it with such deep feeling.

Master Ou continued to perform for two more sets, and then it was my turn. Since I first heard it, I had a strong affection for the Su, Dong Po poem, “Prelude to the Moon.” (Also translated as “Mid-autumn Moon.”) If someone had asked why, I couldn’t have answered. I loved the translation of the poem, but I was drawn to the poem long before I knew its meaning. As I was onstage, fresh from Master Ou’s strong gifts of healing and Anisha’s elegant performance, I felt some of its meaning more deeply: that love and true connection between people exist and are strong whether we are in close proximity or not. That love, like the radiance of a full moon, touches far more deeply and over much greater distances than I supposed. This feeling stayed with me throughout my short presentation. I was and am so very grateful for this gift.

Jason and Robert showed most easily how cultural and language gaps can be bridged with a simple open heart and a warm willingness to engage the audience. The crowd cheered in many places and the pair elicited laughter and applause throughout. I had the thought that the two should expand their performance and take it on the road!

Perhaps one of the most touching moments came when Master Ou appeared on stage as a wanderer, and told us some of the hardships he had to endure, both within himself and out in the world, in trying to teach people his methods of healing and to convey his message of love and kindness. At the end of his story, a young boy came and presented Master Ou with a large bouquet of flowers and hugged him, as if to welcome him home.

Jessica, Winnie, Karen, Rose, Jason, Amita and Mandy sang “Dreamland Waltz” as a group. The sound and the visual effect of a group of people from so many different places and so many walks of life performing together, was…family, a representation that the barriers aren’t important. What becomes important is our willingness: a willingness to come together, to love, to make friends, to move beyond superficial means of communication and appearance and know each other with our hearts. How many times have I head Master Ou lecture on and demonstrate this very concept? And yet, in this sea of Qi, kindness, love and friendship, it made sense because I didn’t try to know it, I was able to feel it. The gifts just kept right on coming.

The concert itself lasted about four hours. (Better than Springsteen!) We were tired, elated, Qi-intoxicated, buoyant, and aware that something beyond our senses, deep and profound, had taken place. It seemed to solidify the already growing relationships of Master Ou’s Chinese students and us. We had a celebratory dinner (hosted by Fernando, a student of Master Ou’s from Macau who owns a restaurant and would receive a stellar review from The New York Times if they ever were astute enough to make their way over to his place). Together we laughed, ate, drank and did our best to communicate between photos. The closeness grew. With each new gathering I felt adopted by these new friends. They went far out of their way to make us feel welcome, showing us around, having group Qi Gong practice, swapping stories, and telling us about the island of Macau, and, later, Hong Kong.

The next few days were devoted to sight seeing. All of that is perhaps better written in a standard guide book and certainly well worth the trip!

Later, we were standing together with Master Ou at the airport in Hong Kong. He smiled and asked if we were happy. “Very happy!” was the general reply. He said that it was his vision that his students become one big family, that culture and language are transcended and that our hearts communicate what is beyond what we can speak.

Our journey, both inner and outer, long, rich, fulfilling and immensely satisfying, came to an end. And like all experiences with Master Ou, was also a beginning.