I think that the deepest teaching in Human Design is the understanding of what chemistry is. We need to be able to get it across to our students—and I'm not talking about our casual interaction with introducing Design to people—that you can only truly handle the emotional system when you accept that it is a chemistry and not a reason, the way in which it operates. The same thing is true of what it is to be individual at any level, because the chemistry is melancholic.
Over the years, what I've tried to do is create a kind of black-and-white binary, melancholy here, creativity there. And my approach has been that if you're operating correctly then you can transform that melancholy by turning it into a creative process. It doesn't mean that the sadness goes away, but it means that the sadness itself can be interpreted as something beneficial. In other words, it becomes your muse. It’s one of those archetypes of creativity that sadness is never very far away from the creative process. It is in the chemistry.
This course is not just about mechanics, it’s about a deeper understanding of consciousness, to be able to recognize that in each individual the melancholy, that chemistry of melancholy, is the source of the potential spark itself. And because of that, that melancholy always carries this sense that life is not worth it.
This whole process of being alive, of having to look after the fragility of being in one of these forms, dealing with our bodies and their problems, dealing with the material plane, all the things that come with being a bio-mechanism. At the same time, most people are not-self and are unhealthy in that process.
It's so important to see that one of the main reasons people are not open to the truth is that they do not believe it's anything different than what they've heard before. And they don't think that it's going to change anything. Most people that go to a reading of any kind do not expect truth, because they don't really expect the truth is around. They’re ready to see that there’s a little hint of this and little hint of that.
The whole thing about the individual process is that it carries with it this “it could be better, it could be different; there's somewhere to go.” Why do you think that the moment you release somebody from their melancholy into creativity, something new emerges? The gods look after me by allowing me to filter music, because in the filtering of music I can assume that I'm being mutative. It’s a lie, because the music is always there. And there are no new tunes, they’re all old tunes, but I don't like to tell myself that. I like to think that “Oh, this is a new song.” I love that; I really do.
This is the way in which we heal the spirit. No other design than individuality is so concerned about the spirit. You have the 55th gate and the 25th gate, and they are specifically about the spirit. And we have to heal the spirit of individuality. Now, we have to. One of the ways, obviously, that you do that is by being in alignment with your nature, so your not-self is not going to take the instrument of this melancholy and turn it into all kinds of deep problems and terrible decisions. That's what it does.
This is where the magic is for us, our unique individual little universes where we can be perfect within that context. And the whole creative direction of humanity has to go towards the perfection of what it is rather than the dream of what it can be.
So, for emotional beings, first let them see there is a deep mutation that is possible for them. It’s cosmetic, we know. But still, it's a deep mutation to finally get to the point of accepting your limitation. We all have a design, and we all have a design in time. And there's nothing we can do about that. We are here to accept our design in time, and to live it fully as deeply as we can. That's its magic.
Ra Uru Hu was the Human Design System’s founder and messenger. Ra dedicated 25 years of his life to the development and teaching of the System around the world until he passed away in 2011.
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