Episode #519: Friedgard Lottermoser, a German student of Sayagyi U Ba Khin, describes the unique character of meditation at the International Meditation Center (IMC) in Rangoon between 1959 and 1971. Unlike the large,standardized courses later developed by S. N. Goenka, U Ba Khin taught only one ten-day course a month to small groups. Each student received individualized instruction based on temperament and background. “He went by feeling,” Friedgard recalls, noting that he could sense a student’s meditative progress even from afar. She contrasts U Ba Khin’s flexibility and adaptability with Goenka’s standardized system of recorded discourses and fixed schedules centered on a single technique.

When political restrictions prevented U Ba Khin from traveling abroad after Ne Win’s 1962 coup, he could not realize his own dream of teaching dhamma outside Burma. So he trained several non-Burmese teachers to undertake this mission, as well as Goenka, who as an Indian businessman was able to obtain a passport. In particular, Goenka’s organizational talent and charisma transformed meditation into a vast global network. Yet Friedgard stresses that U Ba Khin never intended his teaching to be wholly standardized; he expected these teaching disciples to adapt the practice to their own cultures.

In explaining the technique, Friedgard cites a pamphlet, The Essentials of Buddha Dharma in Meditative Practice, written by U Ba Khin where he outlines ten stages of vipassanā insight. These range from theoretical understanding (samasana) to deep dissolution (bhaṅga) and ultimately to detachment and realization. Unlike Goenka, he placed less emphasis on equanimity and more on “continuity of awareness—anicca with feeling.”

Friedgard also goes into great detail about her friendship with Ruth Denison, an U Ba Khin disciple who adapted vipassanā for Western students through movement and mindful walking. Though Denison and her teaching approach was controversial in the conservative, Burmese Buddhist community at IMC, Friedgard believes U Ba Khin would have understood such adaptations. His genius, she says, lay not only in teaching meditation but in trusting that each culture must find its own expression of the Dhamma.