Playing Indian classical music is my favourite mindfulness practice. The intense attention on the form and feel of the raga I am playing is a way of transcending my mind. It is a search for the innermost core of the raga, just as mindfulness is a search for the innermost core of my being, what Osho and the Zen masters call ‘no-mind’. Outwardly the form of each raga is simply a set of rules about which notes may be used, which of these emphasized, and a set of restrictions about which way they may be approached from each other. Yet many great artists have commented on the curious sense that, rather than being created, a raga is something to be explored as if it pre-exists beyond the act of performance.