SERIES
OF THE WOMB
- PRACTICE FOR AWAKENING OF THE ENERGY OF THE WOMB
https://www.youtube.com/watch?v=xziT5uhDXao&app=desktop
https://www.youtube.com/watch?v=xziT5uhDXao
tensegrity first series -
preparation - by Dmitry - Russia (прекрасная презентация магических
пассов) - pass -
переход из одного состояния в другое!
https://www.youtube.com/watch?v=zyuPVBwJp10
tensegrity forms 12,9,8 by Dimk - by Dmitry - Russia (прекрасная презентация магических
пассов)
https://www.youtube.com/watch?v=R30eRlgiBzE
OTHER VIDEOS
AT THE VERY END OF THIS PAGE !
"Magical Passes" -
CARLOS CASTANEDA
http://imiedged.webs.com/documents/CarlosCastanadaMagicalPasses.pdf
The Practical Wisdom of the Shamans of Ancient Mexico
CARLOS CASTANEDA was the author of ten bestselling books, including the
acknowledged classic "The Teachings of Don Juan" and most recently "The
Art of Dreaming" and "Magical Passes". He departed on his Definitive
Journey in 1998.
CONTENTS
Introduction•1
Magical Passes•9
Tensegrity•21
Six Series of Tensegrity•29
The First Series: The Series for Preparing Intent •37
The First Group: Mashing Energy for Intent•40
The Second Group: Stirring Up Energy for Intent • 49
The Third Group: Gathering Energy for Intent•58
The Fourth Group: Breathing In the Energy of Intent•66
The Second Series: The Series for the Womb•71
The First Group: Magical Passes Belonging to Taisha Abelar•75
The Second Group: A Magical Pass Directly Related to Florinda
Donner-Grau•79
The Third Group: Magical Passes That Have to Do Exclusively with Carol
Tiggs•81
The Fourth Group: Magical Passes That Belong to the Blue
Scout•84
The Third Series: The Series of the Five Concerns: The Westwood
Series•89
The First Group: The Center for Decisions•90
The Second Group: The Recapitulation •102
The Third Group: Dreaming •115
The Fourth Group: Inner Silence•127
The Fourth Series: The Separation of the Left Body and the Right Body:
The Heat Series •139
The First Group: Stirring Energy on the Left Body and the Right
Body•143
The Second Group: Mixing Energy from the Left Body and the Right Body
•154
The Third Group: Moving the Energy of the Left Body and the Right Body
with the Breath•165
The Fourth Group: The Predilection (preference) of the Left Body and
the Right
Body•172
The Five Magical Passes for the Left Body•173
The Three Magical Passes for the Right Body•187
The Fifth Series: The Masculinity Series •194
The First Group: Magical Passes in Which the Hands Are Moved in Unison
but Held Separately•197
The Second Group: The Magical Passes for Focusing Tendon
Energy•204
The Third Group: The Magical Passes for Building Endurance •210
The Sixth Series: Devices Used in Conjunction with Specific Magical
Passes •217
The First Category •219
The Second Category •224
INTRODUCTION
ПРЕДИСЛОВИЕ
Почти половину этой
книги я перевела и потихоньку переведу остальную часть на русский.
ВСЁ ХОРОШО ДО ТЕХ ПОР,
ПОКА КАРЛОС НЕ ВПАДАЕТ В СВОЮ РАЦИОНАЛЬНУЮ ФИЛОСОФИЮ. ТУТ НАЧИНАЕТСЯ
ПОЛНАЯ
НЕРАЗБЕРИХА ИЗ-ЗА ЕГО ЛЮБВИ К ТЯЖЕЛОВЕСНОМУ ЗАУМНОМУ, АКАДЕМИЧЕСКОМУ
ЯЗЫКУ! НУ И СКУКА! К ЭТОМУ ВЫВОДУ Я ПРИШЛА, ПЕРЕВОДЯ КНИГИ КАРЛОСА
КАСТАНЭДЫ И КНИГИ ЖЕНЩИН-КОЛДУНЬ ИЗ ГРУПП ДОН ХУАНА И КАРЛОСА. ЖЕНЩИНЫ-КОЛДУНЬИ В ЭТОМ
ПЛАНЕ ПОСТУПАЮТ ТАК: МЕНЬШЕ СЛОВ - БОЛЬШЕ ДЕЛА ! МЕНЬШЕ УДАРЯЮТСЯ В
ФИЛОСОФИЮ, А БОЛЬШЕ В ПРАКТИКУ (и, кстати, Дон Хуан был такой же) !
1-4
Don
Juan Matus, a master sorcerer, a nagual, as master sorcerers are called
when they lead a group of other sorcerers, introduced me to the
cognitive world of shamans, who lived in Mexico in ancient times. Don
Juan Matus was an Indian, who was born in Yuma, Arizona. His father was
a Yaqui Indian from Sonora, Mexico, and his mother was presumably a
Yuma Indian from Arizona. Don Juan lived in Arizona until he was ten
years old. He was then taken by his father to Sonora, Mexico, where
they were caught in the endemic Yaqui wars against the Mexicans. His
father was killed, and as a ten-year old child don Juan ended up in
Southern Mexico, where he grew up with relatives. At the age of twenty,
he came in contact with a master sorcerer. His name was Julian Osorio.
He introduced don Juan into a lineage of sorcerers, that was purported
to be twenty-five generations long. He was not an Indian at all, but
the son of European immigrants to Mexico. Don Juan related to me, that
the nagual Julian had been an actor, and, that he was a dashing person
- a raconteur, a mime, adored by everybody, influential, commanding. In
one of his theatrical tours to the provinces, the actor Julian Osorio
fell under the influence of another nagual, Elias Ulloa, who
transmitted to him the knowledge of his lineage of sorcerers. Don Juan
Matus, following the tradition of his lineage of shamans, taught some
bodily movements, which
he called magical passes to his tour disciples:
Taisha Abelar, Florinda Donner-Grau, Carol Figgs, and myself. He taught
them to us in the same spirit, in which they had been for generations,
with one notable departure.
he eliminated the excessive
ritual, which had surrounded the teaching and performance of those
magical passes for generations.
Don Juan's
comments in this respect
were, that ritual had lost its impetus (stimulus), as new
generations of
practitioners became more interested in efficiency and
functionalism.
He recommended to me, however, that under no
circumstances should I talk about the magical passes with any of his
disciples or with people in general. His reasons were, that the magical
passes pertained exclusively to each person, and, that their effect was
so shattering, it was better just to practice them without discussing
them. Don Juan Matus taught me everything, he knew about the sorcerers
of his lineage. He stated, asserted, affirmed, explained to me every
nuance of his knowledge. Therefore, everything I say about the magical
passes is a direct result of his instruction. The magical passes were
not invented. They were discovered by the shamans of don Juan's
lineage, who lived in Mexico in ancient times, while they were in
shamanistic states of heightened awareness. The discovery of the
magical passes was quite accidental. It began as very simple queries
about the nature of an incredible sensation of well-being, that those
shamans experienced in those states of heightened awareness, when they
held certain bodily positions, or when they moved their limbs in some
specific manner. Their sensation of well-being had been so intense,
that
their drive to repeat those movements in their normal awareness became
the focus of all their endeavors. By all appearances, they succeeded in
their task, and found themselves the possessors of a very complex
series of movements that, when practiced, yielded them tremendous
results in terms of mental and physical prowess. In fact, the results
of performing these movements were so dramatic, that they called them
magical passes.
They taught them for generations only to shaman
initiates, on a personal basis, following elaborate rituals and secret
ceremonies. Don
Juan Matus, in teaching the magical passes, departed
radically from tradition. Such a departure forced don Juan to
reformulate the pragmatic goal of the magical passes. He presented this
goal to me not so much as the enhancement of mental and physical
balance, as it had been in the past,
but as the practical possibility
of redeploying energy. He explained, that such a departure was due to
the influence of the two naguals, who had preceded him. It was the
belief of the sorcerers of don Juan's lineage, that there is
an inherent amount of energy, existing in each
one of us, an amount,
which is not subject to the onslaughts of outside forces for augmenting
it or for decreasing it.
They believed, that this quantity of energy
was sufficient to accomplish something, which those sorcerers deemed to
be the obsession of every man on Earth: breaking the
parameters
of normal perception. Don Juan Matus was convinced, that our incapacity
to break those parameters was induced by our culture and social milieu.
He maintained, that our culture and social milieu deployed every bit of
our inherent energy in fulfilling established behavioral patterns,
which didn't allow us to' break those parameters of normal perception.
"Why in the world would I, or anyone else, want to break those
parameters?" I asked don Juan on one occasion.
"Breaking
those parameters is the unavoidable issue of mankind," he replied.
"Breaking them means the entrance into unthinkable worlds of a
pragmatic value in no way different from the value of our world of
everyday life. Regardless of whether or not we accept this premise, we
are obsessed with breaking those parameters, and we fail miserably at
it, hence the profusion of drugs and stimulants and religious rituals
and ceremonies among modern man."
"Why do you think we have
failed so miserably, don Juan?" I asked.
"Our
failure to fulfill our subliminal wish," he said, "is due to the fact,
that we tackle it in a helter-skelter way. Our tools are too crude.
They are equivalent to trying to bring down a wall by ramming it with
the head. Man never considers this breakage in terms of energy. For
sorcerers, success is determined only by the accessibility or the
inaccessibility energy. Since it is impossible," he continued, "to
augment our inherent energy, the only avenue open for the sorcerers of
ancient Mexico was the redeployment of that energy. For them, this
process of redeployment began with the magical passes, and the way they
affected the physical body."
Don Juan
stressed in every way
possible, while imparting his instruction, the fact, that the enormous
emphasis the shamans of his lineage had put on physical prowess
(отвага, удаль) and mental well-being had lasted to the
present
day. I was able to corroborate the truth of his statements by observing
him and his fifteen sorcerer-companions. Their superb physical and
mental balance was the most obvious
feature about them. Don Juan's
reply, when I once asked him directly, why sorcerers put so much stock
in
the physical side of man, was a total surprise to me.
I had always thought, that he himself was a spiritual man.
"Shamans
are not spiritual at all," he said. "They are very practical beings. It
is a well known fact, however, that shamans are generally regarded as
eccentric, or even insane. Perhaps, that is what makes you think, that
they are spiritual. They seem insane, because they are always trying to
explain things, that cannot be explained. In the course of such futile
attempts to give complete explanations, that cannot be completed under
any circumstances, they lose all coherence and say inanities. You need
a pliable body, if you want physical prowess and level headedness," he
went on. "These
are the two most important issues in the lives of
shamans, because they bring forth sobriety and pragmatism: the only
indispensable requisites for entering into other realms of perception.
To navigate, in a genuine way, in the unknown necessitates an attitude
of daring, but not one of recklessness. In order to establish a balance
between audacity and recklessness, a sorcerer has to be extremely
sober, cautious, skillful, and in superb physical condition."
The superb physical
condition, that
don Juan had steadily advocated from the first day of our association,
the product of the rigorous execution of the magical passes, was, by
all indications, the first step toward the redeployment of our inherent
energy. This redeployment of energy was, in don Juan's view, the most
crucial issue in the lives of shamans, as well as in the life of any
individual. Redeployment
of energy is a process, which consists of
transporting, from one place to another, energy, which already exists
within us. This energy has been displaced from centers of vitality in
the body, which require that displaced energy, in order to bring forth
a
balance between mental alertness and physical prowess. The shamans of
don Juan's lineage were deeply engaged with the redeployment of their
inherent energy. This involvement wasn't an intellectual endeavor, nor
was it the product of induction or deduction, or logical conclusions.
It was the result of their ability to perceive energy as it flowed in
the Universe.
1-4
Дон
Хуан Матус, Мастер Колдун, Нагуал, как называются Мастера Колдуны,
когда они ведут группу других Колдунов, познакомил меня с
познавательным миром шаманов, кто жил в Мексике в древние времена. Дон
Хуан Матус был индейцем, кто был рождён в Yuma, Arizona. Его отец был
индейцем Яки из Соноры в Мексике, а его мать была индианкой Юма из
Аризоны. Дон Хуан жил в Аризоне пока ему не исполнилось 10 лет. Тогда
он был взят его отцом в Сонору, Мексика, где они попали в события войны
индейцев Яки с мексиканцами. Его отец был убит и 10летним ребёнком он
попал к родственникам в Южную Мексику, где и вырос. В 20 лет случай
свёл его с Мастером Колдуном. Его имя было Julian Osorio. Он познакомил
Дон Хуана с Линией Колдунов, которая свидетельствует о 25 поколений
Колдунов. Он вообще не был индейцем, а сыном европейских иммигрантов в
Мексике. Дон Хуан рассказал мне, что Нагуал Джулиан был актёром и что
он был франтоватый, лихой персоной -
мимик, рассказчик-юморист, обожаемый всеми, влиятельный командующий. В
одном из его театральных туров по провинциям, актёр Julian Osorio попал под влияние другого Нагуала Elias
Ulloa, кто передал ему знания своей Линии Колдунов. Дон Хуан Матус следовал
традициям его Линии Шаманов, учился некоторым телесным движениям,
которые он
называл - Магические Пассы своим 4м ученикам:
Taisha Abelar, Florinda Donner-Grau, Carol Figgs и мне. Он учил нас им
в том же духе, в котором их разучивали поколениями, с одним
примечательным исключением: он убрал ненужный ритуал, которым
поколениями было пропитано обучение и исполнение этих Магических
Пассов. Замечаниями Дон Хуана в этом отношении были: ритуал потерял
свой стимул, так как новые поколения практикантов стали более
заинтересованы в эффекте и функциональности. Однако, он рекоммендовал
мне, чтобы ни при каких обстоятельствах, мне не следует говорить о
Магических Пассах ни с одним из его учеников или с обычными людьми. Его
причины были в том, что Магические Пассы подходили всецело
индивидуально к каждой личности, и что их эффект был настолько
ошеломляющим, что было разумнее просто практиковать их, не обсуждая их.
Дон
Хуан Матус научил меня всему, что знал о Колдунах его Линии.
Он утверждал, объяснял мне, подчёркивал каждый ньюанс своих знаний.
Поэтому, всё, что я говорю о Магических Пассах, является прямым
результатом его инструкций. Магические Пассы не были
изобретены. Они были открыты шаманами Линии Дон Хуана, кто жил в
Мексике в древние времена, когда они находились в состояниях
Повышенного Сознания. Открытие Магических Пассов было вполне случайным.
Оно началось с очень простых вопросов о природе невероятного ощущения
благосостояния, которое те шаманы испытывали в тех состояниях
Повышенного Сознания, когда они находились в определённых телесных
положениях, или когда они двигали свои конечности в какой-то особой
манере. Их ощущение физического баланса
было таким интенсивным, что их желание, повторять такие движения в
своём обычном сознании, стало фокусом всех их поступков. По всему было
видно, что они преуспели в своих заданиях, и обнаружили, что владеют
очень сложной серией движений, которые, если практикуются, приносят им
огромные результаты в смысле ментальной и физической удали и отваги. По
правде говоря, результаты исполнения этих движений были настолько
поразительными, что они назвали их Магическими Пассами. Они столетиями лично обучали только
учеников шаманов этим Пассам, на персональном уровне, следуя запутанным
ритуалам и секретным церемониям. Дон
Хуан Матус, обучая Магическим Пассам, совсем отошёл от традиций. Такой
шаг заставил Дон Хуана пересмотреть цель Магических Пассов. Он
представил эту цель мне не только как увеличение ментального и
физического баланса, как это было в
прошлом, но и как практическую возможность передвинуть свою энергию (с
краёв своего Кокона в его центр, там, где тело). Он объяснил, что такое
введение стало возможным благодаря влиянию двух Нагуалов, его
предшественников (Нагуал Джулиан и Нагуал Элиас). Колдуны Линии Дон
Хуана верили, что в каждом из нас с рождения имеется определённое
количество энергии, которое оберегается от ударов внешних сил и
остаётся неизменным до конца жизни.
Они верили, что это количество энергии было достаточно, чтобы
достигнуть такого, что те Колдуны считали должно быть навязчивой идеей
каждого человека на Земле: сломать границы обычного Восприятия.
"С какой стати, я или кто-то другой захочет ломать те границы?" спросил
я Дон Хуана однажды.
"Слом тех границ - неизбежно для Человечества," ответил он.
"Уничтожение этих границ означает вход в немыслимые миры практической
ценности, ни в коем случае, не отличающейся от ценности нашего
Повседневного мира. Неважно согласимся мы с этим заявлением или нет, мы
- одержимы Сломом тех Границ, но нам это пока не удаётся, отсюда и
распространение наркотиков и стимулирующего алкоголя, а также
религиозных ритуалов и церемоний в современном обществе."
"Почему, как ты думаешь, мы провалили, Дон Хуан?" спросил я.
"Наш провал в осуществлении наше тайного желания," добавил он, "из-за
того, что мы подходим к этому делу - шаляй-валяй. Наши инструменты
слишком примитивны: это как пытаться сломать стену головой. Человек
никогда не рассматривает этот Слом в смысле Энергии. Для Колдунов,
Успех определяется только возможностью, способностью получения или
неспособностью получения Энергии. Так как невозможно увеличить нашу
врождённую энергию, единственным путём, открытым Древним Ясновидящим
Мексики, было Перемещение своей врождённой Энергии. Для них этот
процесс Перемещения начался с Магических Пассов, и с того, как они
влияли на физическое тело."
Дон Хуан подчёркивал любыми возможными путями, пока давал свои
инструкции, тот факт, какое огромное внимание уделяли шаманы его Линии
на физическую удаль, отвагу и ментальное равновесие, которое
продолжается по сей день. Я смог подтвердить правоту его заявлений
наблюдениями за ним и его 15ю Колдунами-соратниками. Их превосходный
физический и ментальный Баланс был самой показательной чертой в них.
Ответ Дон Хуана мне, когда я однажды прямо спросил его, почему
Колдуны уделяют столько внимания на физическую сторону человека, просто
поразил меня. Я всегда думал, что он был духовным человеком.
"Шаманы совсем не духовные," сказал он. "Они - очень практичные люди.
Однако, это хорошо известный факт, что Шаманы обычно считаются
эксцентричными и даже сумасшедшими. Наверное это то, что заставляет
тебя думать, что они - духовные. Они кажутся ненормальными, потому что
всегда стараются объяснять вещи, которые невозможно объяснить. В
процессе таких бесполезных попыток дать полное объяснение, которое не
может быть закончено ни при каких обстоятельствах, они теряют всю свою
связанность-согласованность и ругаются. Тебе нужно поддатливое тело,
если ты хочешь физическую отвагу-удаль и уравновешенность," продолжал
он. "Это - две самые важные цели в жизни Шаманов, потому что они
приносят трезвость и практицизм: единственнственные незаменимые
качества для входа в другие Миры Восприятия. Чтобы летать по настоящему
в Неизвестности, необходимо отважное отношение, но не безшабашное.
Чтобы установить Баланс между
смелостью и безшабашностью, Шаманам приходиться быть чрезвычайно
трезвыми, осторожными, опытными и в превосходной физической форме."
"Но почему в прекрасной физической форме, Дон Хуан?" спросил я. "Разве
желание или Воля путешествовать в Неизвестное недостаточно?"
"Нет в твоей вшивой жизни!" ответил он довольно грубо. "Просто подумать
встать лицом к Неизвестному - уж не говоря о том, чтобы войти в него,
требует стальные нервы и тело, которое в состоянии держать такие нервы.
Какой смысл только иметь желание, если у тебя нет ментальной
настороженности, живости,, физической отваги и достаточно разработанные
мускулы?"
Превосходная физическая форма, о которой Дон Хуан постоянно говорил с
первого дня нашего знакомства, результат серьёзных упражнений
Магическими Пассами, был по всем показателям, первым шагом к переброске
нашей врождённой энергии. Переброска энергии была, по мнению Дон Хуана,
самым решающим фактором в жизни шаманов также, как и в жизни любого
человека. Переброска энергии - это процесс, который состоит из
передвижения энергии с одного места на другое, энергии, которая всё
время в нас существует. Эта энергия в течении жизненных проблем отошла
от жизненных центров, находящихся в середине тела, на края
Человеческого Кокона, и эти центры требуют возврата этой энергии, чтобы
внести баланс между ментальной бдительностью, проворством и физической
отвагой. Шаманы Линии Дон Хуана были глубоко вовлечены в переброске
своей врождённой энергии. Это занятие не было интеллектуальным вызовом,
не был результатом логических заключений. Это был результат их
способности воспринимать энергию, как она текла во Вселенной.
5
"Those
sorcerers called this ability to perceive energy as it flowed in the
Universe - Seeing," don Juan explained to me. "They described Seeing,
as a state of heightened Awareness, in which the human body is capable
of perceiving energy as a flow, a current, a wind like vibration. To
See energy, as it flows in the universe, is the product of a momentary
halt of the system of interpretation proper to human beings."
"What is this system of interpretation, don Juan?" I asked.
"The
shamans of ancient Mexico found out," he replied, "that every part of
the human body is engaged, in one way or another, in turning this
vibratory flow, this current of vibration, into some form of sensory
input. The sum total of this bombardment of sensory input is then,
through usage, turned into the system of interpretation, that makes
human beings capable of perceiving the world the way they do. To make
this system of interpretation come to a halt," he went on, "was the
result of tremendous discipline on the part of the sorcerers of ancient
Mexico. They called this halt Seeing, and made it the cornerstone one
of their knowledge. To see energy as it flowed in the Universe was, for
them, an essential tool, that they employed in making their
classificatory schemes. Because of this capacity, for instance, they
conceived the total Universe available to the perception of human
beings as an onion like affair, consisting of thousands of layers. The
daily world of human beings, they believed, is but one such layer.
Consequently, they also believed, that other layers are not only
accessible to human perception, but are part of man's natural heritage."
Another
issue of tremendous value in the knowledge of those sorcerers, an
issue, which was also a consequence of their capacity to see energy as
it flowed in the Universe, was the discovery of the human energetic
configuration. This human energetic configuration was, for them, a
conglomerate of energy fields agglutinated together by a vibratory
force, that bound those energy fields into a luminous ball of energy.
For the sorcerers of don Juan's lineage, a human being has an oblong
shape like an egg, or a round shape like a ball. Thus, they called them
luminous eggs or luminous balls. This sphere of luminosity was
considered by them to be our true self - true in the sense, that it is
irreducible in terms of energy. It is irreducible, because the totality
of human resources are engaged
in the net of perceiving it directly as energy.
5.
"Те
Колдуны называли эту способность воспринимать энергию,
как она текла во Вселенной - ВИДЕНЬЕМ," объяснил Дон Хуан
мне. "Они описали ВИДЕНИЕ, как состояние Повышенного Сознания, в
котором человеческое тело способно воспринимать энергию как Течение,
как Поток, как Вибрацию Ветра. ВИДЕТЬ энергию, как она течёт
во Вселенной
- это результат моментальной остановки системы интерпретации
свойственной людям."
"Что такое система
интерпретации, Дон Хуан?" спросил я.
"Шаманы Древней Мексики обнаружили," ответил он, "что каждая часть
человеческого тела занята, так или иначе, в превращении этого
вибрационного течения в какую-то форму воспринимающего ввода. Общая
сумма этой бомбардировки чувствительного ввода, потом через
использование, превращается в систему интерпретации, которая делает
людей способными воспринимать мир, как они это делают. Заставить эту систему интерпретации
остановиться,"
продолжал он, "было результатом колоссальной дисциплины со стороны Шаманов Древней Мексики.
Они называли эту остановку ВИДЕНИЕМ и сделали это краеугольным камнем
своих знаний. ВИДЕТЬ энергию, как она течёт во
Вселенной, был для них необходимый инструмент, который они применяли,
составляя свои классификации и планы. Благодаря этой способности,
например, они представляли всю Вселенную, предназначенную для
восприятия людей, как лук, состоящий из тысяч слоёв. Повседневный Мир
людей, верили они, это - один из этих слоёв. Вследствии этого, они
также считали, что другие слои не только воспринимаемы человеком, но
также часть человеческого натурального наследства."
Другая сторона огромной ценности в знаниях тех Колдунов, результат,
который также был следствием их способности ВИДЕТЬ энергию, как она течёт во
Вселенной, было открытие человеческой энергетической формы. Эта человеческая
энергетическая форма была для них скоплением Энергетических Полей,
склееных вместе вибрационной силой, которая ограничивает те Энергетические Поля в
Светящийся Шар Энергии. Для Шаманов Линии Дон
Хуана, человек имеет удлинённую форму яйца или круглую форму как шар.
Поэтому они называли их светящиеся яйца или светящиеся шары. Эта сфера
Светимости рассматривалась ими, как наш настоящий облик - правдивый в
смысле, что он - неподдающийся, в смысле энергии. Эта сфера -
несокращаема, потому что Тотальность человеческих источников занята в
сети Восприятия её прямо как энергию.

6-7
Those
shamans discovered, that on the back face of this luminous ball there
is a point of greater brilliance. They figured out, through processes
of observing energy directly, that this point is key in the act of
turning energy into sensory data and then interpreting it. For this
reason, they called it the assemblage point (better to call it -
Perception Point, LM), and deemed, that perception is indeed assembled
there. They described the assemblage point, as being located behind the
shoulder blades, an arm's length away from them. They also found, out
that the assemblage point for the entire human race is located on the
same spot, thus giving every human being an entirely similar view of
the world. A finding of tremendous value for them, and for shamans of
succeeding generations, was that the location of the assemblage point
on that spot is the result of usage and socialization. For this reason,
they considered it to be an arbitrary position, which gives merely the
illusion of being final and irreducible. A product of this illusion is
the seemingly unshakable conviction of human beings, that the world,
they deal with daily, is the only world, that exists, and that its
finality is undeniable.
"Believe me," don Juan said to me once,
"this sense of finality about the world is a mere illusion. Due to the
fact, that it has never been challenged, it stands as the only possible
view. To see energy, as it flows in the universe, is the tool for
challenging it. Through the use of this tool, the sorcerers of my
lineage arrived at the conclusion, that there are indeed a staggering
number of worlds available to man's perception. They described those
worlds as being all-inclusive realms, realms, where one can act and
struggle. In other words, they are worlds, where one can live and die,
as in this world of everyday life."
During the thirteen years of my
association with him, don Juan taught me the basic steps toward
accomplishing this feat of seeing. I have discussed those steps in all
of my previous writings, but never have I touched on the key point in
this process: the magical passes. He taught me a great number of them,
but along with that wealth of knowledge, don Juan also left me with the
certainty, that I was the last link of his lineage. Accepting, that I
was the last link of his lineage implied automatically for me the task
of finding new ways to disseminate the knowledge of his lineage, since
its continuity was no longer an issue. I need to clarify a very
important point in this regard: Don Juan Matus was not ever interested
in teaching his knowledge; he was interested in perpetuating his
lineage.
His three other disciples and I were the means -
chosen, he said, by the spirit itself, for he had no active part in it
- that were going to ensure that perpetuation. Therefore, he engaged
himself in a titanic effort to teach me all he knew about sorcery, or
shamanism, and about the development of his lineage. In the course of
training me, he realized that my energetic configuration was, according
to him, so vastly different from his own, that it couldn't mean
anything
else but the end of his line. I told him, that I resented enormously
his
interpretation of whatever invisible difference existed between us. I
didn't like the burden of being the last of his line, nor did I
understand his reasoning.
"The shamans of ancient Mexico," he said
to me once, "believed that choice, as human beings understand it, is
the precondition of the cognitive world of man, but, that it is only a
benevolent interpretation of something, which is found, when awareness
ventures beyond the cushion of our world, a benevolent interpretation
of acquiescence. Human beings are in the throes of forces, that pull
them every which way. The art of sorcerers is not really to choose, but
to be subtle enough to acquiesce. Sorcerers, although they seem to make
nothing else, but decisions, make no decisions at all," he went on. "I
didn't decide to choose you, and I didn't decide, that you would be the
way you are. Since I couldn't choose, to whom I would impart my
knowledge, I had to accept, whomever the spirit was offering me. And
that person was you, and you are energetically capable only of ending,
not of continuing."
He maintained, that the ending of his line had
nothing to do with him or his efforts, or with his success or failure
as a sorcerer seeking total freedom. He understood it as something,
that had to do with a choice, exercised beyond the human level, not by
beings or entities, but by the impersonal forces of the
Universe.
Finally, I came to accept what don
Juan called my fate. Accepting it
put me face to face with another issue, that he referred to as locking
the door when you leave. That is to say, I assumed the responsibility
of deciding exactly, what to do with everything, he had taught me, and
carrying out my decision impeccably. First of all, I asked myself the
crucial question of what to do with the magical passes:
the facet of
don Juan's knowledge most imbued with pragmatism and function. I
decided to use the magical passes and teach them to whoever wanted to
learn them.
6-7
Те
Шаманы обнаружили, что на задней стороне этого Светящегося Шара-Кокона
есть Точка невероятного блеска. Они сделали вывод через процесс
наблюдения напрямую, что эта Точка - Ключ в действии превращения
энергии в воспринимающую нами информацию и с последующим её переводом
для нас. Из-за этого они назвали её - Составляющей или Собирающей
Точкой (лучше называть - Точкой Восприятия, ЛМ), и считали, что
Восприятие и в самом деле образовывается там.
Они описывали Точку Восприятия расположенной за лопатками, на длину
руки назад от них. Они также выяснили, что Точка Восприятия для всей
Человеческой расы расположена в Человеческом Коконе на одном и том же
месте для всех, таким образом давая каждому человеку совершенно
одинаковое представление о нашем мире.
Находка, огромной для них цены и для Колдунов последующих поколений,
была в том, что присуствие Точки Восприятия на этом месте является
результатом социализации-общения и использования. По этой причине они
считали, что эта Точка находится в произвольном, неустойчивом
положении, которое просто создаёт иллюзию как окончательное и
непреодолимое. Результат этой иллюзии - кажущееся непоколебимое
убеждение людей, что мир, с которым они имеют дело каждый день,
единственный мир, который существует, и что его конец неминуем.
"Поверь мне," сказал Дон Хуан мне однажды, "это чувство конца мира -
просто иллюзия. В результате того, что этот мир никогда не был в
настоящей опасности, он является единственным возможным вариантом. ВИДЕТЬ энергию, как она течёт во
Вселенной, это и есть инструмент для вызова её на поединок. С использованием этого
инструмента (ВИДЕНИЯ) Колдуны моей Линии пришли к заключению, что и в
самом деле имеется немыслемое количество миров, представленных
восприятию человека. Они описали те миры, как всё в себя включающие
области, где можно действовать и бороться. Другими словами, это - миры,
где можно жить и умереть, как и в нашем Повседневном Мире."
В течении 13и лет моего общения с ним, Дон Хуан научил меня базовам
шагам в направлении к достижению этого БОЛЬШОГО ИСКУССТВА - ВИДЕНИЯ. Я
обсуждал те шаги во всех своих книгах, но никогда не затрагивал
ключевой момент в этом процессе: МАГИЧЕСКИЕ ПАССЫ. Он научил меня
огромному их количеству, но вместе с богатством этих знаний, Дон Хуан
также оставил меня убеждённым, что я был последним звеном его Линии.
Приняв, что я был последним звеном его Линии, автоматически заключало
для меня задание: найти новые пути: распространить знания его Линии,
так как их продолжение уже не было возможно. Мне нужно объяснить очень
важный момент в этом вопросе: Дон Хуан Матус никогда не был
заинтересован учить своим знаниям; он только хотел увековечить свою
Линию.
Другие его ученики и я были помощью - избранными, как он говорил, самим
Духом, так как он не играл в этом активной роли - которая должна была
гарантировать это увековечивание. Поэтому он сам проделал титанические
усилия, чтобы обучить меня всему, что он знал о Колдовстве или
Шаманизме, и о развитии его Линии.
В процессе моей тренировки, он понял, что моя энергетическая структура,
форма, конфигурация, согласно ему, настолько отличалась от его
собственной, что это только означало конец его Линии. Я сказал ему, что
мне ужасно не нравилась его интерпретация какой-то невидимой разницы,
существующей между нами. Мне также не нравился груз - последнего его
Линии - я не понимал ход его мыслей.
"Древние Ясновидящие Мексики," сказал он мне однажды, "верили, что
выбор, как люди понимают, это - непременное условие познавательного
мира человека, но это только положительная интерпретация чего-то, что
найдено, когда сознание осмеливается за пределы безопасности нашего
мира, положительная интерпретация неохотного согласия. Люди в агонии
сил, которые тащат их в разные стороны. Искусство Колдунов не то, чтобы
выбрать, а быть достаточно хитрым, чтобы быть покорным. Колдуны,
хотя и казалос, что они ничего не делают, а только принимают решения,
не принимали никаких решений," продолжал он. "Я не решил выбрать тебя,
и я не решил, что ты будешь таким, какой ты есть. Так как я не мог
выбирать, кому я передам свои знания, мне пришлось согласиться с тем,
кого мне предлагал Дух. И этим чеовеком был ты, и ты, по своей
энергетике, способен только закончить нашу Линию, а не продолжать её."
Он упирал на то, что конец его Линии не имел ничего общего с ним или с
его усилиями, с его успехом или с его провалом, как Колдуна, ищущего
полную Свободу.
Он понимал это как то, что нужно делать выбором, тренированным вне
человеческого уровня, не существами или сущностями, а нейтральными
силами Вселенной.
Наконец, я согласился с тем, что Дон Хуан называл моей судьбой.
Принятие этого поставило меня лицом к лицу с другой проблемой, которую
он называл - закрывать дверь, когда уходишь. Это значит, что я беру на
себя ответственность решать точно, что делать со всем тем, чему он меня
научил, и выполнять моё решение безукоризненно. Прежде всего, я задал
себе решающий вопрос: что делать с Магическими Пассами: аспект знаний
Дон Хуана наиболее насыщенный активной практикой и функцией. Я решил
использовать Магические Пассы и учить им тех, кто хотел их выучить.
8
My decision to
end the secrecy,
that had
surrounded them for an undetermined length of time was, naturally, the
corollary of my total conviction, that I am indeed the end of don
Juan's lineage. It became inconceivable (unbelievable)to me,
that I should carry secrets, which were not even mine. To shroud the
magical passes in secrecy was not my decision.
It was my
decision, however, to end
such a condition. I endeavored from then on to come up with a more
generic form of each magical
pass, a form suitable to everyone. This resulted in a configuration of
slightly modified forms of
each one of the magical passes. I have called this new configuration of
movements Tensegrity, a
term, which belongs to architecture, where it means "the property of
skeleton structures, that
employ continuous tension members and discontinuous compression members
in such a way, that each
member operates with the maximum efficiency and economy."
In order to
explain, what the
magical passes of the sorcerers, who lived
in Mexico in ancient times are, I would like to make a clarification:
"ancient times" meant, for
don Juan, a time ten thousand years ago and beyond, a figure, that
seems incongruous (inharmonious, incompatible with surroundings), if
examined
from the point of view of the classificatory schemes of modern
scholars. When I confronted don Juan
with the discrepancy between his estimate and what I considered to be a
more realistic one, he
remained adamant in his conviction. He believed it to be a
fact, that people, who lived in the
New World ten thousand years ago, were deeply concerned with matters of
the Universe and Perception,
that modern human has not even begun to fathom. Regardless
of our differing
chronological interpretations, the effectiveness of the magical passes
is undeniable to me, and I
feel obligated to elucidate the subject strictly following the manner,
in which it was presented to
me. The directness of their effect on me has had a deep influence on
the way, in which
I deal with
them. What I am presenting in this work is an intimate reflection of
that influence.
8
Моё
решение покончить с тайной, которая сопровождала их неопределённое
количество времени, было, естественно, результатом моей полной
убеждённости, что я и в самом деле, в конце Линии Дон Хуана. Для меня
это было невероятным, что мне придёться нести секреты, которые даже не
были моими. Держать Магические Пассы в секрете - не было моим решением.
Однако, моим решением было покончить с таким условием. С того момента я
прилагал все усилия, чтобы найти более общую форму для каждого
Магического Пасса, форму, подходящую для всех. В результате вышла
конфигурация, слегка изменённая форма каждого из Магических Пассов.
Я назвал эту новую форму движений - Тенсегрити, название, которое
принадлежит архитектуре, где это означает "свойство скелета структур,
которые принимают на себя членов с постоянной упругостью и исключают
членов сдавливания так, что каждый член оперирует с максимальной
эффективностью и экономией."
Чтобы объяснить, что такое Магические Пассы Колдунов, кто жил в Мексике
в древние времена, мне нужно прояснить: "древние времена" означало для
Дон Хуана десять тысяч лет тому назал и даже раньше, цифра, которая
казалась негармоничной с нашим окружением, если сравнивать с точкой
зрения плановых классификаций современных учёных. Когда я столкнул Дон
Хуана с несоответствием между его оценкой и тем, что я считал более
реалистичным, он остался несокрушимым в своём убеждении. Он глубоко
верил тому факту, что люди, кто жил в Новом Мире десять тысяч лет тому
назад, были до такой степени заинтересованы в делах Вселенной и в
Восприятии, во что современный человек даже ещё не начал вникать.
Несмотря на нашу разницу в хронологической интерпретации, эффективность
Магических Пассов для меня - несомненна, и я чувствую себя обязанным
объяснить предмет, строго придерживаясь манере, в которой это было
представлено мне. Прямота их эффекта на меня, имела глубокое влияние на
путь, которым я имел дело с ними. То, что я представляю в этой работе,
это - интимное отражение того влияния.
MAGICAL
PASSES - МАГИЧЕСКИЕ ПАССЫ
9-10
The first time don Juan talked to me at length about magical
passes was when he made a
derogatory comment about my weight.
"You are way too chubby," he said, looking at me from head to toe
shaking his head in disapproval.
"You are one step from being fat. Wear and tear is beginning to show in
you. Like any other member
of our race, you are developing a lump of fat on your neck, like a
bull. It's time, that you take
seriously one of the sorcerers' greatest findings: the magical passes."
"What magical passes are you talking about, don Juan?" I asked. "You
never mentioned this topic to
me before. Or, if you have, it must have been so lightly, that I can't
recall anything about
it."
"Not only have I told you a great deal about magical passes," he said,
"you know a great number of
them already. I have been teaching them to you all along."
As far, as I was concerned, it wasn't true, that he had taught me any
magical passes all along. I
protested vehemently.
"Don't be so passionate about defending your wonderful Self," he joked,
making a ridiculous gesture
of apology with his eyebrows. "What I meant to say is, that you imitate
everything I do, so I have
been cashing: in on your imitation capacity. have
shown you various magical passes, all along, and you have always
taken them to be my delight
in cracking my joints. I like the way you interpret them: cracking my
joints! We are going to keep
on referring to them in that manner. I have shown you ten different
ways of cracking my joints," he
continued. "Each one of them is a magical pass, that fits to perfection
my body and yours. You could
say, that those ten magical passes are in your line and mine. They
belong to us personally and
individually, as they belonged to other sorcerers, who were just like
the two of us in the
twenty-five generations, that preceded us."
The magical passes don Juan was referring to, as he himself had said,
were ways, in which I thought
he cracked his joints. He used to move his arms, legs, torso, and hips
in specific ways, I thought,
in order to create a maximum stretch of his muscles, bones, and
ligaments. The result of these
stretching movements, from my point of view, was a succession of
cracking sounds, which I always
thought, that he was producing for my amazement and amusement. He,
indeed, had asked me time and
time again to imitate him.
In a challenging manner, he had even dared
me to memorize the movements
and repeat them at home, until I could get my joints to make cracking
noises, just like his. I had
never succeeded in reproducing the sounds, yet I had
definitely, but
unwittingly, learned all the
movements. I know now, that not achieving that cracking sound, was a
blessing in disguise, because
the muscles and tendons of the arms and back should never be stressed
to that point. Don Juan was
born with a facility to crack the joints of his arms and back, just as
some people have the
facility to crack their knuckles.
"How did the old sorcerers invent those magical passes, don Juan?" I
asked.
"Nobody invented them,"
he said sternly. "To think, that they were invented,
implies instantly
the intervention of the mind,
and this is not the case, when it comes to those magical passes. They
were, rather, discovered by
the old shamans. I was told, that it all began with the extraordinary
sensation of well-being, that
those shamans experienced when they were in shamanistic states of
heightened awareness. They felt
such tremendous, enthralling vigor, that they struggled to repeat it in
their hours of vigil (watch
during
sleeping hours). At first," don Juan explained to
me once, "those shamans believed,
that it was a mood of
well-being, that heightened awareness created in general.
9-10
В первый раз Дон Хуан
говорил со мной долго о Магических Пассах было, когда он сделал
унизительное замечание о моём весе.
"Ты слишком полнощёкий," сказал он, осматривая меня с ног до головы и
неодобрительно качая головой. "Ты - один шаг от того, что будешь
толстым. Изношенность уже начинает проглядывать в тебе. Как любой
другой представитель нашей расы, ты накапливаешь кусок жира на шее, как
бык. Пришло время, чтобы ты отнёсся серьёзно к одному из великих
открытий Колдунов: к Магическим Пассам."
"О каких Магических Пассах ты говоришь, Дон Хуан?" спросил я. "Ты
никогда мне об этом не говорил. А если и говорил, то вскользь: я не
могу ничего такого вспомнить."
"Я не только очень много говорил о Магических Пассах," сказал он, "ты
уже знаешь большое их количество. Я тебя учил им всю дорогу." Что
касается меня, это было неправда, что он всю дорогу учил меня каким-то
Магическим Пассам. Я рьяно протестовал.
"Не будь таким страстным, защищая своё прекрасное Я," пошутил он, делая бровями смешной жест извинения.
"Что я хотел сказать: ты имитируешь всё, что делаю я, поэтому я
рассчитывал на твою способность имитировать. Я всю дорогу, показывал
тебе разные Магические Пассы, и ты всегда считал их моим удовольствием
трещать моими суставами. Мне нравилось, как ты интерпретировал их :
треск моих суставов! Мы будем продолжать ссылаться на них в той же
манере. Я показал тебе 10 разных вариантов, как трещать моими
суставами," продолжал он. "Каждый из них - Магический Пасс, который в
совершенстве подходит моему телу и твоему.
Ты можешь сказать, что те 10 Магических Пассов в твоей Линии и в моей.
Они принадлежат нам лично и индивидуально, как они принадлежат другим
Колдунам, кто были точно как мы двое в 25 поколении, которые
предшествовали нам."
Магические Пассы, на которые ссылался Дон Хуан, как он сам сказал, были
методами, которыми, как я думал, он разминался и хрустел своими
суставами. Бывало,
он двигал свои руки, ноги, грудь и бока особым образом, как я понимал,
чтобы достигнуть максимального растяжения своих мускулов, костей,
связок и сухожилий. Результатом этих растягивающих движений была серия
щелчков и хруста, которые, я всегда думал, он проделывал для моего
развлечения и удивления. На самом деле, он снова и снова просил меня
имитировать его. Он даже провоцировал меня запоминать его движения и
повторять их дома до тех пор, пока я не заставлю мои части тела
производить, такие же как у него, щелчки и хруст. Мне никогда это не
удавалось, однако я определённо научился всем движениям. Теперь я знаю,
что не достигнув тех хрустящих звуков, было удачей, потому что мускулы
и сухожилья рук и спины никогда не должны быть напряжены до такой
степени. Дон Хуан был рождён с лёгкостью хрустеть и щёлкать своими
суставами и спиной точно также, как некоторые люди рождены способностью
щёлкать костяшками своих рук.
"Как старые Колдуны изобрели эти Магические Пассы?" спросил я.
"Никто их не изобретал," ответил он сурово. "Думать, что они были
изобретены, сразу включает вторжение ума, а это не тот случай, когда
касается этих Магических Пассов. Скорее они были обнаружены старыми Колдунами. Мне сказали, что всё
это началось с экстраординарного самочувствия, которое испытывали те
шаманы, когда были в состояниях Повышенного Сознания. Они чувствовали
такую непередаваемую, завораживающую живость, что они пытались
повторить это во время сна. Сначала те шаманы верили, что был настрой
прекрасного самочувствия, которое создавало Повышенное Сознание в
общем."
11-12
Soon, they found out, that not all the states of shamanistic heightened
awareness, which they
entered, produced in them the same sensation of well-being. A more
careful scrutiny revealed to
them, that whenever that sensation of well-being occurred, they had
always been engaged in some
specific kind of bodily movement. They realized, that while they were
in states of heightened
awareness, their bodies moved involuntarily in certain ways, and, that
those certain ways were
indeed the cause of that unusual sensation of physical and mental
plenitude."
Don Juan speculated, that it had always appeared to him, that the
movements, that the bodies of
those shamans executed automatically in heightened awareness, were a
sort of hidden heritage of
Humankind, something, that had been put in deep storage, to be revealed
only to those, who were
looking for it. He portrayed those sorcerers as deep sea divers, who
without knowing it, reclaimed
it. Don Juan said, that those sorcerers arduously began to piece
together some of the movements,
they remembered. Their efforts paid off. They were capable of
re-creating movements, that had
seemed to them to be automatic reactions of the body in a state of
heightened awareness. Encouraged
by their success, they were capable of re-creating hundreds of
movements, which they performed
without ever attempting to classify them into an understandable scheme.
Their idea was, that in
heightened awareness, the movements happened spontaneously, and, that
there was a force, that
guided their effect, without the intervention of their volition. Don
Juan commented, that the
nature of their findings always led him to believe, that the sorcerers
of ancient times were
extraordinary people, because the movements, that they discovered, were
never revealed in the same
fashion to modern shamans, who also entered into heightened awareness.
Perhaps this was because
modern shamans had learned the movements beforehand, in some fashion or
another, from their
predecessors, or perhaps, because
the sorcerers of ancient times had
more energetic mass.
"What do you mean, don Juan,
that they had more energetic mass?" I asked.
"Were they bigger men?"
"I don't think they were
physically any bigger," he said, "but
energetically, they appeared to the eye of a Seer as an Oblong Shape.
They called themselves
Luminous Eggs. I have never seen a Luminous Egg in my life. All I have
seen are Luminous Balls. It
is presumable, then, that Human has lost some energetic mass over the
generations."
Don Juan
explained to me, that to a
Seer, the Universe is composed of an
infinite number of energy fields. They appear to the eye of the Seer as
luminous filaments, that
shoot out every which way. Don Juan said that those filaments
crisscross through the Luminous
Balls, that Human Beings are, and, that it was reasonable to assume,
that if Human Beings were once
Oblong Shapes, like Eggs, they were much higher, than a Ball.
Therefore,
energy fields, that
touched Human Beings at the Crown of the Luminous Egg, are no longer
touching them now, that they
are Luminous Balls. Don Juan felt, that this meant to him a loss of
Energy Mass, which seemed to
have been crucial for the purpose of reclaiming that hidden treasure:
the magical
passes.
"Why are the passes of the old shamans
called magical passes, don
Juan?" I asked him on one
occasion.
"They are not just called magical passes,"
he said, "they are magical!
They produce an effect, that
cannot be accounted for by means of ordinary explanations. These
movements are not physical
exercises or mere postures of the body; they are real attempts at
reaching an optimal state of
being. The magic of the
movements," he went on, "is a subtle change,
that the practitioners experience on executing them. It is an ephemeral
quality, that the movement
brings to their physical and mental states, a kind of Shine, a Light in
the Eyes. This subtle
change is a Touch of the Spirit. It is, as if the practitioners,
through
the movements, re-establish
an unused link with the Life Force, that sustains them."
He further explained, that another reason,
that the movements are
called magical passes, is that by
means of practicing them, shamans are transported, in terms of
perception, to other states of
being, in which they can sense the World in an indescribable manner. "Because of this quality, because of this
Magic," don Juan said to me,
"the passes must be
practiced not as exercises, but as a way of beckoning Power."
"But can they be taken as physical
movements, although they have never
been taken as such?" I
asked.
"You can practice them any way you wish,"
don Juan replied. "The
magical passes enhance awareness,
regardless of how you take them. The intelligent thing would be to take
them, as what they are:
magical passes, that on being practiced, lead the practitioner to drop
the mask of
socialization."
11-12
Вскоре они поняли, что
не все состояния Повышенного Сознания Шаманов, в которые они входили,
производили в них то же самое прекрасное самочувствие. Более тщательное
обследование показало им, что когда случалось это ощущение прекрасного самочувствия, они всегда занимались
каким-то особым телодвижением.
Они поняли, что пока они были в состояниях Повышенного Сознания, их
тела невольно двигались определёнными путями, и что именно те движения
и были причиной того необычного ощущения физического и ментального
подъёма."
Дон Хуану всегда казалось, что движения, которые тела тех шаманов
автоматически проделывали в Повышенном Сознании, были скрытым
наследством Человечества, то, что глубоко хранилось, чтобы быть
открытым только тем, кто это искал. Он сравнивал тех Колдунов с
глубинными пловцами, кто не зная, обнаружил это. Дон Хуан сказал, что
те шаманы скурпулёзно начали составлять один за другим те движения,
которые они помнили. Их усилия не были напрасны.
Они были способны воссоздать движения, которые казались им
автоматическими реакциями тела в Повышенном Сознании. Воодушевлённые своим
успехом,
они были способны воспроизвести сотни движений, которые
они исполняли, даже не пытаясь их классифицировать в понятную таблицу.
Их идеей было, что в Повышенном Сознании движения возникают
случайно, и что существует сила, которая способствует их эффекту, не
вторгаясь в их желания. Дон Хуан добавил, что природа их находок всегда
заставляла его думать, что Древние Ясновидящие были экстраординарными
людьми, так как движения, которые они обнаружили, никогда не были
открыты, в той самой манере, современным шаманам, кто также входил в Повышенное Сознание.
Наверно это было потому, что современные шаманы учили движения заранее,
в той или другой манере, от их предшественников, или может быть потому
что Древние Ясновидящие
имели больше энергетической массы.
"Дон Хуан, что ты имеешь ввиду: у них была больше энергетическая
масса?" спросил я. "Они были крупнее размером?"
"Я не думаю, что они были физически крупнее," ответил он, "но
энергетически, они являются глазу Ясновидящего удлинёнными
формами Яиц. Они называют себя -
Светящиеся Яйца. Я никогда в жизни не ВИДЕЛ Светящееся Яйцо. Всё, что я
ВИДЕЛ, были Светящиеся Шары. Похоже, человек потерял какую-то
энергетическую массу за поколения."
Дон Хуан объяснил мне, что для Ясновидящего,
Вселенная состоит из бесчисленного числа Энергетических Полей. Они
являются глазу Ясновидящего как Светящиеся Волокна, которые
выбрасываются отовсюду. Дон Хуан сказал, что те Волокна проходят сквозь
Светящиеся Шары людей, и что это - в порядке вещей придти к заключению,
что если Коконы людей когда-то были овальной формы, как Яйца, то они
были намного выше, чем Шар. Поэтому Энергетические Поля, которые
когда-то затрагивали людей в Короне-Чакре Светящегося Яйца (верхушка
головы), теперь больше не затрагивают их, с тех пор как они стали
Светящимися Шарами.
Дон Хуан чувствовал, что для него это означало потерю энергетической
массы, которая, казалось, была решающей для возврата того скрытого
богатства:
МАГИЧЕСКИЕ ПАССЫ.
"Почему Пассы старых шаманов называются Магическими, Дон Хуан?" спросил
я его однажды.
"Они не только называются магическими пассами," ответил он, "они -
волшебные! Они производят эффект, который не может быть засчитан с
помощью обычных объяснений. Эти движения - не физические упражнения или
просто позы тела; они - реальные попытки достигнуть оптимального
состояния самочувствия. Магия этих движений," продолжал он, "это - еле
заметные изменения, которые ощущают практиканты, исполняя их. Это -
недолговечное качество, которое приносит движение физическому и
ментальному состоянию, своего рода, Луч, Свет в глазах. Эта незаметная
перемена и есть ПРИКОСНОВЕНИЕ ДУХА! Это как-будто практиканты, через
движения вновь устанавливают неиспользованную связь с Жизненной Силой,
которая их поддерживает."
Дальше он объяснил, что другая причина, почему движения называются
Магическими Пассами в том, что с помощью их
практики, шаманы транспортируются
(в смысле Восприятия) в другие состояния существования, в которых они
могут чувствовать мир в неописуемой манере.
"Из-за этого качества, из-за этой Магии," сказал Дон Хуан мне, "пассы
должны практиковаться не как упражнения, а как способ призвать Силу."
"А можно ли к ним относиться как к физическим движениям, хотя они
никогда такими не были?" спросил я.
"Ты можешь практиковать их как хочешь," ответил Дон Хуан. "Магические
Пассы увеличивают Сознание, вне зависимости, как ты к ним относишься.
Умная вещь была бы относиться к ним как к тому, что они на самом деле
являются: МАГИЧЕСКИЕ ПАССЫ которые, после практики ведут практиканта к
выбрасыванию маски общения (социализации)."
13-14
"What is the mask of socialization?" I
asked.
"The veneer, that all of us defend and die
for," he said. "The veneer
we acquire in the world. The
one, that prevents us from reaching all our potential. The one, that
makes us believe we are
immortal. The Intent of thousands of Sorcerers permeates (spread or
flow throughout) these
movements. Executing them, even in a casual way, makes the Mind come to
a halt."
"What do you mean, that they make the Mind
come to a halt?" I asked.
"Everything, that we do in the world," he
said, "we recognize and
identify by converting it into
lines of similarity, lines of things, that are strung together by
purpose. For example,
if I say to
you fork, this immediately brings to your mind the idea of spoon,
knife, tablecloth, napkin, plate,
cup and saucer, glass of wine, chili con carne, banquet, birthday,
fiesta. You could certainly go
on naming things, strung together by purpose, nearly forever.
Everything we do is strung like this.
The strange part for Sorcerers is, that they see, that all
these lines of affinity, all these
hues of things strung together by purpose, are associated with human's
idea, that things are
unchangeable and forever, like the word of God."
"I don't see, don Juan, why you bring the
word of God into this
elucidation. What does the word of
God have to do with what you are trying to explain?"
"Everything!" he replied. "It
seems to be, that in our minds, the
entire Universe is like the word of God: absolute and unchanging. This
is the way we conduct
ourselves. In the depths of our minds, there is a checking device, that
doesn't permit us to stop
to examine, that the word of God, as we accept it and believe it to be,
pertains to a dead World. A
live World, on the other hand, is in constant flux. It moves. It
changes. It reverses itself. The
most abstract reason, why the magical passes of the Sorcerers of my
lineage are magical," he went
on, "is, that in practicing them, the body of the practitioner
realizes, that everything, instead
of being an unbroken chain of objects, that have affinity for each
other, is a current, a flux. And
if everything in the Universe is a Flux, a Current, that Current can be
stopped. A dam can be put
on it, and in this manner, its flux can be halted or deviated."
Don Juan explained to me on one occasion
the overall effect, that the
practice of the magical
passes had on the Sorcerers of his lineage, and correlated this effect
with what would happen to
modern practitioners. "The
Sorcerers of my lineage," he said,
"were shocked half to death
upon realizing, that practicing
their magical passes brought about the halt of the otherwise
uninterrupted flux of things. They
constructed a series of metaphors to describe this halt, and in their
effort to explain it, or
reconsider it, they flubbed it. They lapsed into ritual and ceremony.
They began to enact the act
of halting the flux of things. They believed, that if certain
ceremonies and rituals were focused
on a definite aspect of their magical passes, the magical passes
themselves would beckon a specific
result. Very soon, the number and complexity of their rituals and
ceremonies became more
encumbering, than the number of their magical passes. It is very important," he went
on, "to focus the attention of the
practitioner on some definite aspect of the magical passes. However,
that fixation should be light,
funny, void of morbidity and grimness. It should be done for the hell
of it, without really
expecting returns."
He gave
the example of one of
his cohorts, a Sorcerer by the name of
Silvio Manuel, whose delight and predilection (preference) was to adapt
the magical
passes of the Sorcerers of
ancient times to the steps of his modern dancing. Don Juan described
Silvio Manuel as a superb
acrobat and dancer, who actually danced the magical passes.
"The
Nagual Elias Ulloa," don
Juan continued, "was the most prominent
innovator of my Lineage. He was the one, who threw all the ritual out
the window, so to speak, and
practiced the magical passes exclusively for the purpose, for which
they were originally used at
one time in the remote past: for the purpose of Redeploying Energy. The
Nagual Julian Osorio, who
came after him," don Juan continued, "was the one, who gave ritual the
final death blow. Since he
was a bona fide professional actor, who at one time had made his living
acting in the theater, he
put enormous stock into, what Sorcerers called the shamanistic theater.
He called it the theater of
Infinity, and into it, he poured all the magical passes, that were
available to him. Every movement
of his characters was imbued to the gills with magical passes. Not only
that, but he turned the
theater into a new avenue for teaching them. Between the Nagual Julian,
the actor of Infinity, and
Silvio Manuel, the dancer of Infinity, they had the whole thing pegged
down. A new era was on the
horizon!
The era of pure Redeployment!"
Don Juan's explanation of Redeployment was,
that human beings,
perceived as conglomerates of energy
fields, are Sealed Energetic Units, that have definite boundaries,
which don't permit the entrance
or the exit of energy. Therefore,
the energy existing within that
conglomerate of energy
fields, is all, that each human
individual can count on.
13-14
"Что такое маска
социализации?" спросил я.
"Внешний лоск, маскировка, налёт, облицовка, наружный
слой, который все мы защищаем и за что мы умираем," ответил он. "Эту
маскировку мы приобретаем, живя в мире. Маскировка (как вести себя, к
примеру), которая останавливает нас от достижения нашего потенциала.
Маскировка, которая заставляет нас верить, что мы -
бессмертны. Интэнт тысяч Колдунов пропитывает эти движения. Выполняя
их, даже просто так, они заставляют ум остановиться."
"Что ты имеешь ввиду: они заставляют ум
остановиться?" спросил я.
"Всё, что мы делаем в мире," сказал он, "мы узнаём, переводя это в
линии похожести, в линии вещей, связанных вместе одной целью. Например,
если я скажу тебе:
вилка, это сразу представит в твоём мозгу вилку, нож, скатерть,
салфетку, чашку с блюцем, бокал вина, мясо в чили соусе, банкет, день
рожденья, праздник.
Ты конечно можешь продолжать называть вещи, связанные вместе целью
почти бесконечно. Всё, что мы делаем, вот так связано. Странная вещь
для Колдунов в том, что они видят: все эти линии похожи, все эти
оттенки вещей, связаные вместе целью, объединены человеческой идеей,
что вещи не меняются и навсегда, как слово - бог."
"Дон Хуан, я не понимаю, почему ты внёс в это объяснение слово - бог.
Какое отношение имеет слово - бог к тому, что ты пытаешься объяснить?"
"Всё!" ответил он. "Похоже, что в наших мозгах вся Вселенная как слово
- бог: абсолютная и неизменная. Так мы ведём себя. В глубине наших
мозгов, есть контролирующий механизм, который не разрешает нам
остановиться и проверить, что это за слово - бог, которое мы принимаем
и верим, что оно относится к мёртвому миру. Живой мир, с другой
стороны, в постоянном потоке. Он двигается, меняется, идёт вспять.
Самая абстрактная причина, почему Магические Пассы Колдунов моей Линии
- магические," продолжал он, "это - что, практикуя их, тело практиканта
понимает, что всё, вместо того, чтобы быть прочной цепью предметов,
которые имеют родство друг с другом, является Течением, Потоком. И если
всё во Вселенной - это Течение, Поток, то этот Поток может быть
остановлен. Дамба может быть поставлена на него и таким образом, это
Течение может быть замедлено или повёрнуто." Дон Хуан объяснил мне, по
этому поводу, общий эффект, который практика Магических Пассов имела на
Колдунов его Линии, и устанавливает соотношение этого эффекта с тем,
что произойдёт с современными практикантами.
"Колдуны моей Линии были
шокированы почти до смерти, поняв, что практикуя их Магические Пассы принесло остановку,
обычно непрекращающегося потока вещей. Они сконструировали серию
метафор, чтобы описать эту остановку, и в их попытке объяснить или
пересмотреть это, они провалили это. Они влезли в ритуал и в
церемонию, они начали разыгрывать акт приостановки течения вещей. Они
верили, что если определённые церемонии и ритуалы будут сфокусированы
на определённую сторону их Магических Пассов, то сами Магические Пассы
притянут особый результат. Очень скоро количество и сложность их
ритуалов и церемоний преобладало над количеством их Магических Пассов.
Очень важно," продолжал он, "сфокусировать внимание практиканта на
какой-то определённой стороне Магических Пассов. Однако, эта фиксация
должна быть лёгкой, смешной, без мрачности, без страшного и зловещего.
Это должно делаться ради удовольствия и веселья, не ожидая реально,
ничего взамен." Он дал пример одного из своих товарищей, Колдуна по
имени Сильвио Мануэл, чьим удовольствием и предпочтением было:
адаптировать Магические Пассы древних Колдунов шагам его современного
танца. Дон Хуан описал Сильвио Мануэл, как
классного акробата и танцора, кто реально танцевал Магические Пассы.
"Нагуал Элиас Уллоа," продолжал Дон Хуан, "был самым выдающимся
иноватором моей Линии. Он был тем, кто выбросил все ритуалы в окошко,
так сказать, и практиковал Магические Пассы исключительно ради цели,
для которой они когда-то в прошлом использовались: для цели Переброски
Энергии. Нагуал Джулио Осорио, кто был после него," продолжал Дон Хуан,
"был тот, кто дал ритуалам окончательный смертельный удар. Так как он
был настоящим актёром-
профессионалом, кто в одно время зарабатывал на жизнь будучи актёром в
театре, он сделал огромный вклад в то, что Колдуны называют Театром
Шаманов.
Он назвал это Театром Бесконечности, и в него он вложил все Магические
Пассы, которые были знакомы ему. Каждое движение его участников было
насыщено до краёв Магическими Пассами. И не только это: он превратил
театр в новую форму обучения Магических Пассов. Между Нагуалом Джулиан,
Актёром Бесконечности,
и Силвио Мануэл, Танцором Бесконечности, они всё это держали в руках.
Новая Эра зарождалась на горизонте! Эра полной Переброски своей энергии
в тело!"
Объяснение Переброски Энергии Дон Хуаном заключалось в том, что люди,
воспринимаемые как Скопления Энергетических Полей, которые имеют
определённые границы, эти границы не позволяют выходу или входу
энергии. Поэтому энергия, существующая внутри этого Скопления Энергетических Полей,
это - всё, на что каждый индивидуал может рассчитывать.
15-16
"The
natural tendency of human beings," he
said, "is to push their
energy away from the centers of
vitality, which are located on the right side of the body, right at the
edge of the rib cage on the
area of the liver and gallbladder; on the left side of the body, again,
at the edge of the rib
cage, on the area of the pancreas and spleen; on the back, right behind
the other two centers,
around the kidneys, and right above them, on the area of the adrenal
glands; at the base of the
neck on the V spot, made by the sternum (breastbone) and clavicle
(collarbone); and around the
uterus and ovaries in Women."
"How do human beings push this
energy away, don Juan?" I
asked.
"By worrying," he replied. "By
succumbing to the stress of everyday life.
The duress of daily actions takes its toll on the body."
"And what happens to this
energy, don Juan?" I asked.
"It gathers on the periphery of
the Luminous Ball," he said, "sometimes
to the point of making a thick bark like deposit. The magical passes
relate to the total Human
Being as a physical body, and as a Conglomerate of Energy Fields. They
agitate the energy, that has
been accumulated in the Luminous Ball and return it to the physical
body itself. The magical passes
engage both the body itself, as a physical entity, that suffers the
dispersion of energy, and the
body as an Energetic Entity, which is capable of redeploying, that
dispersed energy. Having energy
on the periphery of the Luminous Ball," he continued, "energy, that is
not being redeployed, is as
useless, as not having any energy at all. It is truly a terrifying
situation to have a surplus of
energy stashed away, inaccessible for all practical purposes. It is
like being in the desert, dying
of dehydration, while you carry a tank of water, that you cannot open,
because you don't have any
tools. In that desert, you can't even find a rock to bang it with."
The true magic of the magical
passes is the fact, that they cause,
crusted-down energy, to enter again into the centers of vitality, hence
the feeling of well-being
and prowess, which is the practitioner's experience. The Sorcerers of
don Juan's lineage, before
they entered into their excessive ritualism and ceremony, had
formulated the basis for this
redeployment. They called it saturation, meaning, that they inundated
their bodies with a profusion
of magical passes, in order to allow the force, that binds us together,
to guide those magical
passes to cause the maximum Redeployment of Energy.
"But don Juan, are you telling me, that
every time you crack your
joints, or every time I try to
imitate you, we are really redeploying energy!" I asked him once,
without really meaning to be
sarcastic.
"Every time we execute a magical
pass," he replied, "we are indeed
altering the basic structures of our Beings. Energy, which is
ordinarily crusted down, is released
and begins to enter into the vortexes of vitality of the body. Only by
means of that reclaimed
energy can we put up a dike, a barrier to contain an otherwise
uncontainable and always deleterious
flow."
I asked don Juan to give me an
example of putting a dam, on what he was
calling a deleterious flow. I told him, that I wanted to visualize it
in my mind.
"I'll give you an example," he
said. "For instance, at my age, I should
be prey to high blood pressure. If I went to see a doctor, the doctor,
upon seeing me, would
assume, that I must be an old Indian, plagued with uncertainties,
frustrations, and bad diet; all
of this, naturally, resulting in a most expected and predictable
condition of high blood pressure:
an acceptable corollary of my age. I don't have any problems with high
blood pressure," he went on,
"not because I am stronger, than the average man or because of my
genetic frame, but because my
magical passes have made my body break through any patterns of
behavior, that result in high blood
pressure. I can truthfully say, that every time I crack my joints,
following the execution of a
magical pass, I am blocking off the flow of expectations and behavior,
that ordinarily result in
high blood pressure at my age. Another example I can give you is the
agility
of my knees," he
continued. "Haven't you noticed how much more agile I am, than
you? When it comes to moving my
knees, I'm a kid! With my magical passes, I
put a dam on the current of behavior and physicality, that makes the
knees of people, both men and
women, stiff with age."
One of
the most annoying
feelings I had ever experienced was caused by
the fact, that don Juan Matus, although he could have been my
grandfather, was infinitely younger,
than I. In comparison, I was stiff, opinionated, repetitious. I was
senile. He, on the other hand,
was fresh, inventive, agile, resourceful. In short, he possessed
something, which, although I was
young, I did not: youth. He delighted in telling me repeatedly,
that young age was not youth,
and that young age was in no
way a deterrent to senility.
15-16
"Людская естественная
склонность," сказал он, "это - отталкивать свою
Энергию прочь от жизненных центров, которые находятся на Правой Стороне
тела, как раз на краю грудной клетки, в
районе печени и желчного пузыря; на Левой Стороне тела, снова на краю
грудной клетки в районе селезёнки и поджелудочной железы;
на спине, прямо сзади других двух центров, вокруг почек и прямо над
ними, в районе надпочечников; в основании шеи на углублении V,
образованным грудной костью и воротниковой костью; и вокруг Матки и
Яичников у женщин."
"Как люди отталкивают эту энергию прочь, Дон Хуан?" спросил я.
"Беспокоясь, переживая," ответил он. "Поддаваясь стрессу Повседневной
Жизни. Принуждение к каждодневным действиям сказывается на теле."
"И что происходит с этой энергией, Дон Хуан?" спросил я.
"Она скапливается на краях Светящегося Кокона человека," сказал он,
"иногда до такого, что там откладывается толстый слой, как кора.
Магические Пассы имеют отношение ко всему человеку: и к его физическому
телу, и к его Скоплению Энергетических Полей.
Они разрыхляют энергию, которая отложилась в Светящемся Коконе и
возвращают её в само физическое тело. Магические Пассы
вовлекают оба: само тело, как физическую сущность, которое страдает от
рассеивания энергии,
и тело как Энергетическая сущность, которое способно переместить,
возвратить эту разбросанную энергию. Имея энергию на краю Светящегося Кокона," продолжал он,
"энергию, которая не была переброшена, также бесполезно, как и не иметь
её совсем. Это поистине ужасная ситуация: иметь избыток энергии,
отложенный в сторону, неиспользуемый для всяких практических целей. Это
как быть в пустыне и умирать от жажды, имея при себе канистру воды,
которую ты не можешь открыть, потому что у тебя нет никаких
инструментов. В этой пустыне ты не можешь найти даже камень, чтобы
разбить канистру."
Настоящая Магия Магических Пассов в том,
что они заставляют, покрытую коркой, энергию снова войти в жизненные
центры, отсюда и чувство удали, отваги, благополучия и здоровья, что
является опытом практикантов. Колдуны Линии Дон Хуана, до того как
войти в свои излишние ритуалы и церемонии, сформулировали базу для этой
Переброски. Они называли это - НАСЫЩЕНИЕ, означающее, что они наводняли
свои тела Магическими Пассами,
чтобы позволить Силе, которая скрепляет наши клетки вместе, вести те Магические Пассы
совершить максимальную Переброску
Энергии.
"Но Дон Хуан, ты мне говоришь, что каждый раз, когда ты щёлкаешь своими
суставами, или каждый раз когда я имитирую тебя, мы реально
перебрасываем энергию!" спросил я его однажды, не имея ввиду сарказма.
"Каждый раз когда мы
исполняем Магический Пасс," ответил он, "мы и в
самом деле меняем базовую структуру наших существ. Энергия, которая
обычно откладывается коркой, освобождается и начинает входить в
жизненные порталы нашего тела. Только с помощью этой, вновь
приобретённой энергией, можем мы соорудить дамбу, барьер, чтобы
сдержать неконтролируемое и всегда вредное течение."
Я попросил Дон Хуана привести пример того, как сооружать дамбу на том,
что он называет вредным течением. Я
сказал ему, что хочу представить это в голове.
"Я дам тебе пример,"
сказал он. "Например, в моём возрасте я уже должен быть жертвой
высокого давления. Если бы я пошёл к врачу, то доктор, после осмотра
меня, предположил бы, что я, должно быть, старый индеец, обеспокоенный
неприятностями, неопределённостями и плохой диетой; всё это,
естественно, отражается в ожидаемом и предсказуемом высоком кровяном
давлении: ожидаемого естественного следствия моего возраста. У меня нет
никаких проблем с высоким кровяным давлением," продолжал он, "не потому
что я сильнее обычного человека или из-за моей генетической структуры,
а потому что мои Магические Пассы заставили моё тело
проходить через любые вариации в поведении, результатом которых
является высокое кровяное давление. Я могу откровенно
сказать, что каждый раз когда
я щёлкаю своими костями, следуя исполнению Магического Пасса, я блокирую поток
ожиданий и поведения, которые обычно являются результатом высокого кровяного
давления в моём возрасте.
Другой пример я могу тебе дать - это быстрота, проворство моих колен,"
продолжал он. "разве ты не заметил насколько
я более ловкий, чем ты? Если мы разберём движение моих колен, я - мальчишка! С моими
Магическими Пассами я
ставлю дамбу на поток поведения и всего физического, что делает колени
людей, и женщин, и мужчин, с возрастом негнущимися."
Одно из самых неприятных чувств, какие я когда-либо испытывал, было то,
что Дон Хуан мог бы быть моим дедушкой, но он был неизмеримо моложе,
чем я.
Для сравнения, я был не эластичный, высокого мнения о себе,
повторяющийся. Я был дряхлым. С другой стороны, он был свежим,
изобретательным, живым, ловким, находчивым. Короче, он владел тем, чем
я, хоть и моложе него, не владел: молодостью. Он получал удовольствие,
рассказывая мне не один раз, молодой возраст был не был молодостью, и
что молодой возраст не был преградой к старческому маразму.
17-18-19
He pointed out, that if I watched my fellow men carefully and
dispassionately, I would be able to
corroborate, that by the time they reached twenty years of age, they
were already senile, repeating
themselves inanely.
"How is it possible, don Juan," I said, "that you could be younger,
than I?"
"I have vanquished (defeated) my mind," he said, opening his eyes wide
to denote bewilderment. "I
don't have a mind to tell me, that it is time to be old. I don't honor
agreements, in which I
didn't participate. Remember this: It is not just a slogan for
Sorcerers to say, that they do not
honor agreements, in winch they did not participate. To be plagued by
old age is one such
agreement."
We were silent for a long time. Don Juan seemed to be waiting, I
thought, for the effect, that his
words might cause in me. What I thought to be my psychological unity
was further ripped apart by a
clearly dual response on my part. On one level, I repudiated (отвергал)
with all my might the
nonsense, that don Juan was verbalizing; on another level, however, I
couldn't fail to notice how
accurate his remarks were. Don Juan was old, and yet he wasn't old at
all. He was ages younger than
I. He was free from encumbering thoughts and habit patterns. He was
roaming around in incredible
worlds. He was free, while I was imprisoned by heavy thought patterns
and habits, by petty and
futile considerations about myself, which I felt, on that occasion, for
the first time, weren't
even mine. I asked don Juan on another occasion something, that had
been bothering me for a long
time. He had stated, that the
Sorcerers of ancient Mexico discovered
the magical passes, which were some sort of hidden treasure, placed in
storage for a Human to
find. I wanted to know, who would put something like that
in storage for a Human. The only
idea, that I could come up with, was derived from Catholicism. I
thought of God doing it, or a
guardian angel, or the Holy Spirit.
"It is not the Holy Spirit," he said, "which is only holy to you,
because you're secretly a
Catholic. And certainly it is not God, a benevolent father, as you
understand God. Nor is it a
Goddess, a nurturing Mother, watching over the affairs of men, as many
people believe to be the
case. It is rather an
Impersonal Force, that has endless things in
storage for those, who dare to seek them. It is a Force in the
Universe, like Light or Gravity. It
is an agglutinating factor, a Vibratory Force, that joins conglomerate
of energy fields, that human
beings are into one concise, cohesive unit. This
Vibratory Force is the factor, that doesn't allow the entrance or
the exit of energy from the
Luminous Ball. The Sorcerers of ancient Mexico," he went on, "believed,
that the performance of
their magical passes was the only factor, that prepared and led the
body to the transcendental
corroboration of the existence of that Agglutinating Force." From don
Juan's explanations, I derived the conclusion, that the Vibratory
Force he spoke about, which agglutinates our fields of energy, is
apparently similar to what
modern-day astronomers believe must happen at the Core of all the
Galaxies, that exist in the
Cosmos. They believe, that there, at their Cores, a Force of
Incalculable Strength holds the Stars
of Galaxies in place. This Force, called a "Black Hole," is a
theoretical construct, which seems to
be the most reasonable explanation, as to why Stars do not fly away,
driven by their own rotational
speeds. Don Juan
said, that the old Sorcerers knew, that Human Beings,
taken as conglomerates of
energy fields, are held together not by energetic wrappings or
energetic ligaments, but by some
sort of Vibration, that renders everything at once alive and in place.
Don Juan
explained, that
those Sorcerers, by means of their practices and their discipline,
became capable of handling that
Vibratory Force, once they were fully conscious of it. Their
expertise
in dealing with it became so
extraordinary, that their actions were transformed into legends,
mythological events, that existed
only as fables. For instance, one of the stories, that don Juan told
about the ancient Sorcerers
was, that they were capable
of dissolving their physical mass by
merely placing their full consciousness and Intent on that Force. Don
Juan stated that, although
they were capable of actually going through a pinhole, if they deemed
it necessary, they were never
quite satisfied with the result of this maneuver of dissolving their
mass. The
reason for their
discontent was, that once their mass was dissolved, their capacity to
act vanished. They were left
with the alternative of only witnessing events, in which they were
incapable of participating.
Their
ensuing frustration, the result of being incapacitated to act,
turned, according to don Juan,
into their damning flaw: their obsession with uncovering the nature of
that Vibratory Force, an
obsession driven by their concreteness, which made them want to hold
and control that Force. Their
fervent desire was to strike from the ghostlike condition of
masslessness, something which Jon Juan
said could not ever be accomplished. Modern-day practitioners, cultural heirs of
those Sorcerers of
antiquity, having found out, that it
is not possible to be concrete and utilitarian about that Vibratory
Force, have opted for the only
rational alternative: to become conscious of that Force with no other
purpose in sight, except the
elegance and well-being, brought about by knowledge.
"The only permissible time," don
Juan said to me once, "when modern-day
Sorcerers use the Power of this Vibratory Agglutinating Force, is when
they burn from within, when
the time comes for them to leave this World. It is simplicity itself
for Sorcerers to place their
absolute and total consciousness on the binding Force with the Intent
to burn, and off they go,
like a puff of air."
17-18-19
Он указал мне: если я внимательно и бесстрастно понаблюдаю за моими
товарищами-мужчинами, я смогу подтвердить, что к 20 годам они уже
дряхлые, повторяют себя глупо и бессмысленно.
"Как это возможно, что ты можешь быть моложе меня, Дон Хуан?"
"Я победил свой мозг," ответил он, широко открывая глаза и показывая
недоумение. "Мне не нужно тебе докладывать, что настало время
постареть. Я не приветствую соглашения, в которых я не участвовал.
Помни это: это не только девиз для Колдунов, говорить что они не
приветствуют соглашения, в которых они не участвовали. Быть наказанным
старым возрастом - одно из таких соглашений."
Мы молчали долгое время, Дон Хуан, похоже, ждал эффекта, который его
слова могли произвести на меня. То, что я думал, было моё
психологическое единство, было ещё больше разорвано на части явно
двойным ответом с моей стороны. С одной стороны, я отвергал со всей
своей силой бессмыслицу, которую Дон Хуан извергал;
однако с другой стороны, я не мог не заметить, насколько аккуратными
были его замечания. Дон Хуан был стар и всё-таки, он совсем не был старым: он был на много
лет моложе меня. Он был свободен от мешающих мыслей и привычек. Он
шагал по невероятным мирам и был свободным, тогда как я был в неволе
тяжёлых мыслей и привычек, мелочных и бесполезных оценок себя, которые
я чувствовал в этом случае, впервые, были даже не мои. В другой раз я
спросил Дон Хуана то, что беспокоило меня долгое время. Он заявил, что
Колдуны древней Мексики обнаружили Магические Пассы, которые своего
рода являлись скрытым богатством, находящемся в тайнике, чтобы его
нашёл человек. Я хотел знать, кто положит такое в тайник для человека.
Единственная идея, которая пришла ко мне в голову, происходила из
католицизма. Я подумал, что бог сделал это или ангел-хранитель, или
святой дух.
"Это не святой дух," сказал он, "кто только
святой для тебя, потому что ты по секрету - католик. И явно это не бог,
добрый отец, как ты понимаешь бога. Это также не богиня-кормящая мать,
смотрящая за делами людскими, как многие этому верят. Это, скорее,
нейтральная Сила, у которой нескончаемый арсенал вещей в запасе для
тех, кто смеет искать их. Это - Сила во Вселенной, как
гравитация-притяжение и Свет. Этот склеивающий фактор,
Вибрационная Сила, которая соединяет Накопления Энергетических Полей,
которые являются людьми, в одну связующую, сжатую единицу. Эта Вибрационная Сила -
фактор, который не позволяет вход или выход энергии из Светящегося Шара. Колдуны древней
Мексики," продолжал он, "верили, что исполнение их Магических Пассов было единственным
фактором, который приготовил и повёл тело к, переступающим пределы,
подтверждению существования той Склеивающей, Связывающей Силы."
Из объяснений Дон Хуана я пришёл к заключению, что Вибрационная Сила, о
которой он говорил, которая склеивает наши Энергетические Поля,
вероятно похожа на то, что современные астрономы верят должно случаться
в Ядре всех Галактик, которые существуют в Космосе. Они верят, что там,
в их Ядрах, Непомерная Сила держит звёзды Галактики на местах. Эта
Сила, называемая - ЧЁРНАЯ ДЫРА - теоретическая конструкция, которая
кажется наиболее достоверным объяснением, почему звёзды не разлетаются
в разные стороны, в силу их собственных скоростных вращений. Дон Хуан
сказал, что древние Колдуны знали, что люди, взятые как Скопления
Энергетических Полей, держатся вместе не энергетической оболочкой или
энергетическими волокнами, а какой-то вибрацией, которая тут же делает
всё живым и зафиксированным на месте. Дон Хуан объяснил, что те
Колдуны, с помощью своей практики и своей дисциплины, стали способны
иметь дело с этой Вибрационной Силой, как только они полностью её
осознали. Их опыт с ней стал таким экстраординарным, что их действия
трансформировались в легенды, мифы, которые существовали только как
сказания. Например, одна из историй, которую Дон Хуан рассказал мне о древних Колдунах была,
что они были способны растворить свою физическую массу, просто устремив
своё полное сознание и Интэнт на ту Силу. Дон Хуан добавил, что
хоть они и были способны пройти через игольное ушко, если они считали
это необходимым, они никогда не были вполне удовлетворены результатами
этого манёвра - растворение своей массы. Причина их неудовлетворённости
была в том, что как только их физическое тело растворялось, их
способность действовать - исчезала. Им оставалось только наблюдать за
событиями, в которых они не могли учавствовать. Их недовольство от
результата - быть неспособными действовать - превратилась, согласно Дон
Хуану, в их проклятую ошибку: в их безумную, всепоглощающую одержимость
раскрыть природу той Вибрационной Силы, одержимость, происходящая от их
конкретности, которая заставляла их планировать: как держать и
контролировать эту Силу. Их пылкое желание было ударить с их
нефизического состояния призраков, то что
Дон Хуан сказал, никогда не может быть достигнуто. Современные
практиканты, культурные наследники тех древних Колдунов
выяснив, что это невозможно: быть конкретным и практичным в отношении
этой Вибрационной Силы, выбрали единственную рациональную альтернативу:
осознавать эту Силу ни с какой другой целью, кроме элегантности и
благополучия, принесённого знанием.
"Единственное разрешённое время," сказал мне Дон Хуан однажды, "когда
современные шаманы используют Мощь этой Вибрационной Связующей Силы -
это когда они сгорают изнутри, когда приходит им время покинуть этот
мир. Это - сама простота для Колдуна - наложить своё абсолютное и
тотальное сознание на Связующую Силу с Интэнтом, чтобы сгореть, и они
уходят как дуновение ветра!"
Tensegrity
21
Tensegrity is the modern version of the magical passes of the shamans
of ancient Mexico. The word
Tensegrity is a most appropriate definition, because it is a mixture of
two terms, tension and
integrity: terms, which connote the two driving forces of the magical
passes. The activity created
by contracting and relaxing the tendons and muscles of the body is
tension. Integrity is the act of
regarding the body as a sound, complete, perfect unit. Tensegrity is
taught, as a system of
movements, because that is the only manner, in which the mysterious and
vast subject of the magical
passes could be faced in a modern setting. The people, who now practice
Tensegrity, are not shaman
practitioners in search of shamanistic alternatives, involve rigorous
discipline, exertion (exercise,
put into
vigorous action),
and
hardships. Therefore, the emphasis of the magical passes has to be on
their value as movements, and
all the consequences, that such movements bring forth. Don Juan Matus
had explained, that the first
drive of the Sorcerers of his lineage, who lived in Mexico in ancient
times, in relation to the
magical passes, was to saturate themselves with movement. They
arranged every posture, every movement of the body, that they could
remember, into groups. They
believed, that the longer the group, the greater its effect of
Saturation, and the greater the need
for the practitioners to use their memory to recall it.
The shamans of
don Juan's lineage, after arranging the magical passes
into long groups and
practicing them as sequences, deemed (consider, считали), that this
criterion (мерило) of
Saturation had fulfilled its purposes, and they dropped it. From then
on, what was sought was the
opposite: the fragmentation of the long groups into single segments,
which were practiced as
individual, independent units. The manner, in which don Juan Matus
taught the magical passes to his
four disciples - Taisha Abelar, Florinda Donner-Grau, Carol Tiggs, and
myself - was the product of
this drive for fragmentation. Don
Juan's personal opinion was, that
the benefit of practicing the long groups was patently obvious; such
practice forced the shaman
initiates to use their kinesthetic memory. He
considered the use of
kinesthetic memory to be a real
bonus, which those shamans had stumbled upon accidentally, and which
had the marvelous effect of
shutting off the noise of the Mind: the Internal Dialogue. Don Juan had
explained to me, that the
way, in which we reinforce our Perception of the World and keep it
fixed at a certain level of
efficiency and function, is by TALKING TO OURSELVES. "The
entire Human Race," he said
to me on one occasion, "keeps a
determined level of function and efficiency by means of the Internal
Dialogue. The Internal
Dialogue is the Key to maintaining the Assemblage Point (Perception
Point, LM) stationary at the
position shared by the entire Human Race: at the height of the shoulder
blades, an arm's length
away from them. By accomplishing the opposite of the Internal
Dialogue," he went on, "that is to
say Inner Silence, practitioners can break the fixation of their
Assemblage Points, thus acquiring
an extraordinary fluidity of Perception."
The practice of Tensegrity has been arranged around the performance of
the long groups, which in
Tensegrity have been renamed series to avoid the generic implication of
calling them just groups,
as don Juan called them. In order to accomplish this arrangement, it
was necessary to reestablish
the criteria of Saturation, which had prompted the creation of the long
groups. It took the
practitioners of Tensegrity years of meticulous and concentrated work
to reassemble a great number
of the dismembered groups. Reestablishing the criteria of Saturation by
performing the long series
gave, as a result, something, which don Juan had already defined as the
modern goal of the magical
passes: the Redeployment of Energy.
ТЕНСЕГРИТИ
21-22
Тенсегрити - современная форма Магических Пассов шаманов древней
Мексики. Слово Тенсегрити - самое
подходящее определение, потому что оно смесь двух значений: напряжение
и целостность: термины, которые означают две двигающие силы Магических Пассов. Активность,
произведённая сжиманием и разжиманием сухожилий и мускулов тела - это
напряжение. Целостность-полнота - это действие, касающееся тела, как
настоящей, полной, совершенной единицы. Обучают Тенсегрити, как системе
движений, потому что это - единственная манера, с помощью которой
таинственная и огромная тема Магических Пассов может быть истолкована
в современных условиях. Люди, которые сейчас практикуют Тенсегрити - не
шаманы-практиканты в поисках альтернативы шаманизма, включают железную
дисциплину, энергичные упражнения и житейские трудности. Поэтому
ударение Магических Пассов должно
быть на их ценность, как движений и всех последствий, которые такие
движения приносят. Дон Хуан Матус объяснил, что первым мотивом Колдунов
его Линии, кто жил в древней Мексике, в
отношении Магических Пассов, было:
пропитать себя движением. Они разработали в группы каждую позу, каждое
движение тела, которое они могли вспомнить. Они верили, что чем длиннее
группа, тем больше её эффект НАСЫЩЕНИЯ ЭНЕРГИЕЙ, и тем больше, для
практикантов, нужда запомнить и использовать свою память для исполнения
этой группы. Шаманы Линии Дон Хуана, после группирования Магических Пассов в
длинные цепочки и выполнения их как последовательности, считали что это
- мерило НАСЫЩЕНИЯ осуществило
свои цели и они бросили это. С того дня то, что искали, было
противоположным: фрагменты длинных групп соединяли в отдельные
сегменты, которые практиковались, как индивидуальные, независимые
единицы. Манера, в которой Дон Хуан Матус учил Магические Пассы своих
4х учеников - Taisha Abelar, Florinda Donner-Grau, Carol Tiggs и меня -
было результатом этого новшества фрагментации. Личным мнением Дон Хуана
было то, что ценность практикования длинных групп была просто
очевидной; такая практика заставляла шамана начинать использовать его
мускульную память. Он считал использование мускульной памяти - чувства мускула -
настоящей помощью, на которую те шаманы случайно наткнулись и которая
прекрасно отстраняла шум мозга:
ВНУТРЕННИЙ ДИАЛОГ. Дон Хуан объяснил мне, что путь, каким мы закрепляем
наше восприятие мира и держим его зафиксированным на определённом
эффиктивном уровне функционирования, это - ГОВОРЯ С САМИМ СОБОЙ.
"Вся человеческая раса," сказал он как-то мне, "сохраняет определённый
уровень функционирования и эффективности с помощью Внутреннего Диалога.
ВНУТРЕННИЙ ДИАЛОГ - это
Ключ к сохранению Точки Восприятия в том неподвижном состоянии, в
котором находится вся человеческая раса: посередине на высоте лопаток и
на длину руки от тела. Достигнув
противоположное Внутреннему Диалогу," продолжал он, "Внутреннего
Молчания, так сказать, практиканты могут сломать фиксацию их Точек
Восприятия, таким образом приобретая экстраординарную текучесть
Восприятия."
Практика Тенсегрити была
сформулирована вокруг исполнения длинных групп, которые в Тенсегрити были
переименованы в серии, чтобы избежать общей тенденции называть их
просто группы, как их называл Дон Хуан. Чтобы достигнуть такого
распорядка, было необходимо переоценить мерило Насыщения, которое
подсказало создание длинных групп. Это взяло практикантам Тенсегрити годы
тщательной и сконцентрированной работы, чтобы перестроить большое число
расчленённых групп. Переосновывание мерила Насыщения методом исполнения
длинных серий, дало в результате то, что Дон Хуан уже определил как
современную цель Магических Пассов:
ПЕРЕБРОСКА ЭНЕРГИИ.
23-24
Don Juan was convinced, that this had always been the unspoken goal of
the magical passes, even at
the time of the old Sorcerers. The old Sorcerers didn't seem to have
known this, but even if they
did, they never conceptualized it in those terms. By all indications,
what the old Sorcerers sought
avidly and experienced as a sensation of well-being and plenitude when
they performed the magical
passes was, in essence, the effect of unused energy, being reclaimed by
the centers of vitality in
the body. In Tensegrity, the long groups have been reassembled, and a
great number of the fragments
have been kept as single, functioning units. These units have been
strung together by purpose - for
instance, the purpose of Intending, or the purpose of Recapitulation,
or the purpose of Inner
Silence, and so on - creating in this fashion the Tensegrity series. In
this manner, a system has
been achieved, in which the best results are obtained by performing
long sequences of movements,
that definitely tax the kinesthetic memory of the practitioners. In
every other
respect, the way Tensegrity is
taught is a faithful reproduction of the
way, in which don Juan taught the magical passes to his
disciples. He inundated them with a
profusion of
detail and let their minds be
bewildered by the number and
variety of magical passes taught to them, and by the implication, that
each of them individually
was a pathway to Infinity. His disciples spent years overwhelmed,
confused, and above all
despondent, because they felt, that being inundated in such a manner
was an unfair onslaught on
them.
"When I teach you the magical
passes," he explained to me once, when I
questioned him about the subject, "I am following the traditional
Sorcerers' device of clouding
your linear view. By saturating your kinesthetic memory, I am creating
a pathway for you to Inner
Silence. Since all of us," he continued, "are filled to the brim with
the doings and undoings of
the World of everyday life, we have very little room for kinesthetic
memory. You may have noticed,
that you have none. When, you want to imitate my movements, you cannot
remain facing me. You have
to stand side by side with me, in order to establish in your own body,
what's right and what's left.
Now, if a long sequence of movements were presented to you, it would
take you weeks of repetition
to remember all the movements. While you're trying to memorize the
movements, you have to make room
for them in your memory by pushing other things out of the way. That
was the effect, that the old
Sorcerers sought."
Don Juan's contention was, that if
his disciples kept on doggedly practicing the magical passes, in spite
of their confusion, they
would arrive at a threshold, when their Redeployed Energy would tip the
scales, and they would be
able to handle the magical passes with absolute clarity. When don Juan
made those statements, I
could hardly believe them. Nevertheless,
at one moment, just as he had
said, I ceased to be
confused and despondent. In a most mysterious way, the magical passes,
since they are magical,
arranged themselves into extraordinary sequences, that cleared up
everything. Don Juan explained,
that the clarity I was experiencing, was the result of the Redeployment
of My Energy. The concern
of people, practicing Tensegrity nowadays, matches exactly my concern
and the concern of don Juan's
other disciples, when we first began to perform the magical passes.
They
feel bewildered by the
number of movements. I reiterate to them, what don Juan reiterated to
me
over and over: that what is
of supreme importance is to practice, whatever Tensegrity sequence is
remembered. The Saturation,
that has been carried on, will give, in the end, the results sought by
the shamans of ancient
Mexico: the Redeployment of Energy, and its three concomitants - the
Shutting off of the Internal
Dialogue, the possibility for Inner Silence, and the Fluidity of the
Assemblage Point. As a
personal assessment,
I can say, that by
Saturating me with the magical
passes, don Juan
accomplished two formidable feats: оne,
he brought to the surface a
flock of hidden resources, that I had,
but didn't know existed, such as the ability to concentrate and the
ability to remember
detail; and two, he gently broke my
obsession with my linear mode of
interpretation.
"What is happening to you," don
Juan explained to me, when I questioned
him about what I was experiencing in this respect, "is, that you are
feeling the advent (arrival)
of Inner Silence, once your Internal Dialogue has been minimally
offset. A new flux of things has
begun
to enter into your Field of Perception.
These things were always there, on the periphery of your general
Awareness, but you never had
enough energy to be deliberately conscious of them. As you chase away
your Internal Dialogue, other
items of Awareness begin to fill in the empty space, so to speak. The new Flux
of Energy," he
went on, "which the magical passes have
brought to your centers of vitality, is making your Assemblage Point
more fluid. It's no longer
rigidly palisaded. You're no longer driven by our ancestral fears,
which make us incapable of
taking a step in any direction. Sorcerers
say, that energy makes us free,
and that is the absolute
truth."
23-24
Дон Хуан был убеждён, что это всегда было негласной целью Магических Пассов, даже
во времена древних Колдунов. Древние Колдуны похоже
этого не знали, но даже если знали, они никогда не понимали их в том
смысле. По всем показателям то, что Древние Колдуны жадно
разыскивали и испытывали, как ощущение здоровья и всего хорошего, когда
они выполняли Магические Пассы, был, в
сущности, эффект неиспользованной энергии, востребованной жизненными
органами тела.
В Тенсегрити длинные
группы были перегруппированы, и большое число фрагментов были сохранены
как отдельные функционирующие единицы. Эти единицы были связаны одной
цепочкой с целью, например, Интэнта или Пересмотра (Recapitulation), или с целью
Внутреннего Молчания и т.д., таким образом создавая Тенсегрити серии. В
такой манере была достигнута система, с которой были получены самые
лучшие результаты, исполняя длинные цепочки движений, которые
определённо напрягают чувство мускула, память позиций практикантов. В
любом другом отношении, то, как обучают Тенсегрити, является
настоящей копией того, как учил Дон Хуан Магическим Пассам своих
учеников. Он наводнил их изобилием деталей и дал свободу их умам
удивляться количеству и разнообразию Магических Пассов,
преподаваемых им, и причастность каждого из них индивидуально - как
тропа в Бесконечность. Его ученики проводили годы обескураженными,
запутанными и, прежде всего, подавленными, потому что они они
чувствовали, что наводнёнными в такой манере, было несправедливым
насилием над ними.
"Когда я учу тебя Магическим Пассам," объяснил он мне как-то
раз, когда я спросил его о них, "я следую традиционному инструменту
Колдунов: затуманиваю твоё линейное мышление. Насыщая твою память
мускула, я образую тропу для тебя во Внутреннее Молчание. Так все мы
наполнены до краёв doings и
undoings Повседневного Мира, у
нас остаётся очень мало места для чувства мускула. Ты наверно заметил,
что у тебя его совсем нет. Когда ты хочешь имитировать мои движения, ты
не можешь оставаться глядящим на меня. Тебе приходиться встать рядом со
мной, чтобы установить в твоём собственном теле, что правое, а что
левое. А сейчас, если тебе показать длинную цепочку движений, для тебя
это возьмёт недели повторения, чтобы запомнить все движения. Пока ты
пытаешься запомнить движения, тебе приходиться освободить в своей
памяти место для них, сталкивая другие вещи с пути. Это был эффект,
который искали древние Колдуны."
Убеждением Дон Хуана было, что если ученики продолжают упрямо
практиковать Магические Пассы,
несмотря на свою запутанность, они прибудут к порогу, когда их
Переброшенная Энергия перевесит весы и они в полной ясности смогут
иметь дело с Магическими Пассами.
Когда Дон Хуан сделал такие заявления, я едва мог поверить в это. Тем
не менее, в какой-то момент, как он и говорил, моё замешательство и
уныние исчезли. Самым мистическим путём Магические Пассы, так
как они магические, построили себя в экстраординарные цепочки, которые
всё прояснили. Дон Хуан объяснил, что ясность, которую я испытывал, был
результатом Переброски моей энергии (к жизненным органам).
Озабоченность людей, практикующих Тенсегрити в наши дни,
точно соответствует моей озабоченности и беспокойству других учеников
Дон Хуана, когда мы впервые начали выполнять Магические Пассы. Они
были поражены количеством движений. Я повторял им то, что Дон Хуан
повторял мне снова и снова: что практика, какой-то из заученных цепочек
Тенсегрити, имеет колоссальную
важность. Насыщение, которое происходило, в конце концов даст те
результаты, которые искали шаманы древней Мексики: Переброска Энергии и
его три сопутствующие: закрыть Внутренний Диалог, возможность для
Внутреннего Молчания, Маневриность Точки Восприятия. Как личную оценку,
я могу сказать, что наводнив меня Магическими Пассами, он
достиг две колоссальные вещи: одна - он поднял на поверхность кучу
скрытых источников, которые у меня были, но о существовании которых я
ничего не знал, так например, способность концентрироваться и
способность помнить детали; и вторая - он мягко сломал мою зависимость
в моей линейной интерпретации.
"Что с тобой происходит," объяснил Дон Хуан мне, когда я спросил его о
том, что я испытывал в этом отношении, "это то, что ты чувствуешь
прибытие Внутреннего Молчания, как только твой Внутренний Диалог стал
минимально парализован. Новый поток вещей начал входить в твоё Поле
Восприятия. Эти вещи всегда были на краях твоего обычного сознания, но
у тебя никогда не было достаточно энергии, чтобы намерено осознавать
их. Как только ты прогонишь свой Внутренний Диалог, другие предметы
сознания начнут заполнять пустое пространство, так сказать. Новый Поток
энергии," продолжал Дон Хуан, "который Магические Пассы принесли твоим жизненным центрам,
делает твою Точку Восприятия более подвижной. Точка Восприятия больше
не огорожена массивным забором. Ты больше не поддаёшься нашим древним
страхам, которые делают нас неспособными сделать шаг в любом
направлении. Колдуны говорят, что энергия делает нас свободными, и это
- абсолютная правда."
25-26
The ideal state of Tensegrity
practitioners, in relation to the
Tensegrity movements, is the same,
as the ideal state of a practitioner of shamanism in relation to the
execution of the magical
passes. Both are being led by the movements themselves into an
unprecedented
culmination. From
there, the practitioners of Tensegrity will be
able to execute, by themselves, for whatever effect they see fit,
without any coaching from outside
sources, any movement from the bulk of movements, with which they have
been saturated; they will be
able to execute them with precision and speed, as they walk, or eat, or
rest, or do anything,
because they will have the energy to do so. The execution of the
magical passes, as shown in
Tensegrity, doesn't necessarily requirea
particular space or
prearranged time. However, the movements should be done away from sharp
currents of air. Don Juan
dreaded currents of air on a perspiring body. He firmly believed, that
not every current of air was
caused by the rising or lowering of temperature
in the atmosphere,
and, that some currents of air were actually caused by conglomerates of
consolidated energy fields,
moving purposefully through space. Don
Juan was convinced, that
such conglomerates of energy fields possessed a specific type of
Awareness, particularly
deleterious, because Human Beings cannot ordinarily detect them, and
become exposed to them
indiscriminately. The deleterious effect of such conglomerates of
energy fields is especially prevalent in a large metropolis, where they
could be easily disguised
as, if nothing else, the momentum, created by the speed of passing
automobiles. Something else to bear in mind when practicing Tensegrity
is, that
since the goal of the magical
passes is something foreign to Western Human, an effort should be made
to keep the practice of
Tensegrity, detached from the concerns of our daily world. The
practice of Tensegrity should not be
mixed with elements, with which we are
already thoroughly familiar, such as conversation, music, or the sound
of a radio or TV newsman
reporting the news, no matter how muffled the sound might be. The
setting of modern urban life
facilitates the formation of groups, and under these circumstances, the
only manner, in which
Tensegrity can he taught and practiced in the seminars and workshops,
is in groups of
practitioners. Practicing
in groups is beneficial in many aspects and deleterious in
others. It is beneficial,
because it allows the creation of a consensus of movement and the
opportunity to learn by
examination and comparison. It is deleterious, because it fosters the
reliance on others, and the
emergence of syntactic commands and solicitations, dealing with
hierarchy.
Don Juan conceived, that
since the totality of human behavior was ruled by language, human
beings have learned to respond to
what he called syntactic commands, praising or deprecatory formulas,
built into language - for
example, the
responses, that each individual makes, or elicits in
others, with slogans such as 'No
problem, Piece of cake, It's time to worry, You could do better, I
can't do it, My butt is too big,
I'm the best, I'm the worst in the world, I could live with that, I'm
coping, Everything's going to
be okay' etc.
Don Juan maintained, that what Sorcerers have
always wanted, as a basic rule
of thumb, is to run away from activities derived from syntactic
commands. Originally, as don Juan
described it, the magical passes
were performed by the shamans of ancient
Mexico individually and in solitariness, on the spur of the moment or
as the necessity
arose. He taught them to his disciples in the
same fashion. Don Juan stated, that for
the shaman practitioners, the challenge of performing the magical
passes has always been to execute
them perfectly, holding in mind only the abstract view of their perfect
execution. Ideally,
Tensegrity should be taught and practiced in the same fashion. However,
the conditions of modern
life and the fact, that the
goal of the magical passes has been
formulated to apply to a great number of people, make it imperative,
that a new approach be taken.
Tensegrity should be practiced in whatever form
is easiest: either in
groups, or alone, or both. In
my particular case, the practice of Tensegrity in very large groups has
been more, than ideal,
because it has given me the unique opportunity of witnessing something,
which don Juan Matus and
all the Sorcerers of his lineage never did: the effects of Human Mass.
Don Juan and all the shamans
of his lineage, which he considered to be twenty-seven generations
long, never were capable of
witnessing the effects of Human Mass. They practiced the magical passes
alone, or in groups of up
to five practitioners. For them, the magical passes were highly
individualistic. If the number of
Tensegrity practitioners is in the hundreds, an Energetic Current
is nearly
instantaneously formed among
them.
25-26
Идеальное состояние практикантов Тенсегрити, в отношении движений Тенсегрити, такое же идеальное
состояние как практиканта шаманизма в отношении исполнения Магических Пассов. Оба ведут себя движениями в
беспримерную кульминацию. Оттуда практиканты Тенсегрити смогут сами
исполнять для какого эффекта, они будут видеть, это подходит, без
всякой тренировки от внешних источников, любого движения из всего числа
движений, которыми их наводнили; они смогут исполнять их также точно и
быстро, как они ходят, едят, отдыхают или делают что угодно, потому что
у них будет энергия это делать. Исполнение Магических Пассов, как
показано в Тенсегрити, необязательно требует
особое место или назначенное время. Однако движения должны делаться
вдали от резких порывов ветра.
Дон Хуан ужасался течению воздуха на потное тело. Он твёрдо верил, что
не каждое течение воздуха было вызвано повышением или понижением
температуры в атмосфере, и что некоторые потоки воздуха в
действительности были вызваны Скоплениями Объединённых Энергетических
Полей, целенаправленно двигающихся сквозь пространство. Дон Хуан был убеждён,
что такие Скопления Энергетических Полей
обладали особым видом сознания, особенно разрушительным, потому что
люди обычно не могут их обнаружить, и становятся подверженными их
ударам без разбора. Разрушительный эффект
таких Скопления Энергетических Полей
особенно преобладает в огромных городах, где они могут легко
замаскироваться, скажем, под звук быстро проезжающих шумных
автомобилей. Кое-что держать в уме, когда практикуешь Тенсегрити, так как цель
Магических Пассов - это
что-то иное для Западного человека, нужно сделать усилие практиковать Тенсегрити, полностью
отключившись от проблем нашего Повседневного Мира. Практика Тенсегрити не должна
быть смешана с элементами, с которыми мы уже прекрасно знакомы:
разговор, музыка, звук радио или репортёра телевидения, неважно каким
бы тихим не был этот звук. Ситуация современной городской жизни
облегчает формирование групп и при этих обстоятельствах, единственным
способом, которым можно обучать Тенсегрити и практиковать в
семинарах, это группами практикантов. Практика группами - полезна по
многим показателям и неполезна по другим. Она - ценная, потому что
позволяет создание согласованности движения и возможности выучить на
примере и сравнении. Это не полезно тем, что такая ситуация
вырабатывает зависимость от других и возникновение команд и настойчивых
просьб, связанных с чинопочитанием. Дон Хуан понимал, что так как
тотальность человеческого поведения правилась языком, люди научились
реагировать на то, что он называл общепринятые популярные
выражения-команды, похвальные или неодобрительные формулы, встроенные в
язык - например: ответы, которые каждый индивидуал делает, или вызывает
у других с девизами как: "'No
problem, Piece of cake, It's time to worry, You could do better, I
can't do it, My butt is too big,
I'm the best, I'm the worst in the world, I could live with that, I'm
coping, Everything's going to
be okay'и т.д." Дон Хуан
утверждал: то, что всегда хотели Колдуны как основу, это - избегать
действий, происходящих от таких команд. Когда-то, как это описывал Дон
Хуан, Магические Пассы
индивидуально исполнялись шаманами древней Мексики и в одиночестве,
вдруг неожиданно или когда это было необходимо. Он учил Магическим Пассам своих
учеников в той же манере. Дон Хуан заявлял, что для шаманов-
практикантов, вызов желание исполения Магических Пассов всегда
были исполнить их в совершенстве, держа в уме только абстрактный образ
их совершенного исполнения. Идеально, Тенсегрити должны
обучать и практиковать в той же манере. Однако, условия современной
жизни и тот факт, что цель Магических Пассов была
сформулирована, чтобы применить их к огромному числу людей, делает
необходимым - подойти к этому по новому, по другому. Тенсегрити должно практиковаться в
той форме, в какой легче всего: в группах или одному, или и так, и так.
В моём случае, практика Тенсегрити в очень больших группах
была более, чем идеальна, потому что она дала мне уникальную
возможность быть свидетелем того, что Дон Хуан и все Колдуны его Линии
никогда не видели и не делали: влияние Человеческой Массы. Они
практиковали Магические Пассы в
одиночку или группами до 5и человек. Для них Магические Пассы были
очень индивидуальны. Если число практикантов Тенсегрити в сотнях, то Течение
Энергии почти мгновенно формируется среди них.
27
This Energetic Current, which a
shaman could easily See, creates in the
practitioners a sense of urgency. It is like a Vibratory Wind, that
sweeps through them, and gives
them the primary elements of purpose. I have been privileged to see
something I considered to be a
portentous sight: the Awakening of Purpose, the energetic basis of
Human. Don Juan Matus used to
call this Unbending Intent. He taught me, that Unbending Intent is the
essential tool of those, who
journeyed into the Unknown. A very important
issue to consider when practicing
Tensegrity is, that the movements must be executed with the idea, that
the benefit of the magical
passes comes by itself. This idea must be stressed at any cost.
At the
beginning, it is very
difficult to discern the fact, that Tensegrity
is not a standard
system of movements for developing the body. It indeed develops the
body, but only as a by-product
of a more transcendental effect. By redeploying
unused energy, the magical passes can
conduce the practitioner to a level of Awareness, in which the
parameters of normal, traditional
perception are canceled out by the fact, that they are
expanded. The
practitioner can thus be allowed even to enter into unimaginable
Worlds.
"But why would I want to enter
into those Worlds?" I asked don Juan, when
he described this post-effect of the magical passes.
"Because you are a creature of
Awareness, a perceiver, like the rest of
us," he said. "Human Beings are on
a journey
of Awareness, which has been momentarily
interrupted by extraneous forces. Believe me, we are Magical Creatures
of Awareness. If we don't
have this conviction, we have nothing." He further explained, that Human
Beings, from the moment their Journey of
Awareness was interrupted, have been caught in an eddy, so to speak,
and are spinning around,
having the impression of moving with the current, and yet remaining
stationary. "Take my word," don Juan
went
on, "because mine are not arbitrary
statements. My word is the result of corroborating, for myself, what
the shamans of ancient Mexico
found out: that we Human Beings are Magical Beings."
It has taken me thirty years of
hard discipline to come to a cognitive
plateau, in which don Juan's statements are recognizable and their
validity is established beyond
the shadow of a doubt. I know now, that Human Beings are Creatures of
Awareness, involved in an
evolutionary Journey of Awareness, Beings indeed unknown to themselves,
filled to the brim with
incredible resources, that are never used.
27
Энергетическое Течение, которое шаманы могли легко ВИДЕТЬ, создаёт в
практикантах чувство срочности. Это как Вибрационный Ветер, который
проносится через них, и даёт им начальные элементы цели. У меня была
привилегия: видеть то, что я считаю необыкновенным зрелищем:
Пробуждение Цели-Интэнта, энергетическая база человека.
Дон Хуан Матус когда-то называл это НЕСГИБАЕМЫЙ ИНТЭНТ. Он учил меня,
что НЕСГИБАЕМЫЙ ИНТЭНТ - это
необходимый инструмент для тех, кто путешествует в Неизвестность. Очень
важная вещь - иметь ввиду, когда практикуешь Тенсегрити: движения должны
исполняться с мыслью, что ценность Магических Пассов
обнаружится сама собой. Эта мысль должна подчёркиваться всячески.
Вначале очень трудно различить тот факт, что Тенсегрити не
стандартная система движений для развития тела. Она
конечно развивает тело, но только как побочный абстрактный эффект.
Перебрасывая неиспользованную энергию, Магические Пассы могут вести практиканта к
Уровню Сознания, в котором границы нормального, традиционного
восприятия анулируются тем фактом, что они расширены. Таким образом,
практиканту может быть даже разрешено войти в невероятные миры.
"Но почему я захочу войти в те миры?" спросил я Дон Хуана, когда он
описал этот эффект Магических Пассов.
"Потому что ты существо Сознания, восприниматель, как и мы все," сказал
он. "Люди постоянно
находятся в путешествии Сознания, которое на момент было прервано
посторонними силами. Верь мне, мы - Магические Существа Сознания. Если
у нас нет этого убеждения, то мы - ничто." Он объяснил ещё, что люди с
момента, когда их путешествие прерывается, захвачены в вихревое
движение, так сказать, и крутятся кругом под впечатлением, что
двигаются вместе с течением, и всё-таки неподвижны. "Верь мне,"
продолжал Дон Хуан, "потому что мои заявления не произвольны. Моё слово
- результат подтверждения для самого себя того, что шаманы древней
Мексики выяснили: что мы, люди - Магические Существа."
Мне взяло 30 лет жёсткой дисциплины, чтобы придти к познавательной
платформе, в которой заявления Дон Хуана узнаваемы и их достоверность
установлена без всякого сомненья. Сейчас я знаю, что люди - Существа
Сознания, заняты эволюционным путешествием Сознания, Существа, на самом
деле, незнакомым самим себе, до краёв наполненные невероятными силами,
которые они никогда не используют.
THE
SIX SERIES OF
TENSEGRITY
ШЕСТЬ СЕРИЙ
ТЕНСЕГРИТИ
p. 29
The
six series, which are going to be discussed are the
following:
1. The Series for Preparing Intent
2. The Series for the Womb
3. The Series of the Five Concerns: The Westwood Series
4. The Separation of the Left Body and the Right Body: The Heat Series
5. The Masculinity Series
стр. 29
ШЕСТЬ СЕРИЙ, которые
будут обсуждаться, следующие:
1. Серии для приготовления Интэнта
2. Серии для Матки
3. Серии пяти важных Значений : Серии в Westwood
4. Разделение Левого Тела и Правого Тела
5. Серии Мужественности
6.
The Series for Devices Used in Conjunction with Specific Magical Passes
6. СЕРИЯ ПРИЁМОВ
ИСПОЛЬЗУЕМЫХ В СОЧЕТАНИИ С ОСОБЫМИ МАГИЧЕСКИМИ ПАССАМИ
The particular magical passes of Tensegrity, that comprise each of the
six series conform with a
criterion of maximum efficiency. In other words, each magical pass is a
precise ingredient of a
formula. This is a replica of the way, in which the long series of
magical passes were originally
used; each series was sufficient in itself to produce the maximum
release of Redeployable Energy.
In executing the magical passes, there are certain things, that must be
taken into consideration, in
order to perform the movements with maximum efficiency:
1. All the magical passes of the six series can be repeated as many
times, as desired, unless
otherwise specified. If they are first done with the left side of the
body, they must be repeated
an equal number of times with the right side. As a rule, every magical
pass of the six series
begins with the left side.
Особые
Магические Пассы Тенсегрити, которые включают в себя каждые 6 серий,
согласовываются с критерием максимального эффекта. Другими словами,
каждый магический пасс - точный компонент формулы. Это копия
последовательности, в которой длинная серия магических пассов была
когда-то использована; каждая серия была самодостаточной, чтобы
произвести максимальное освобождение переброшенной, с одного места на
другое место, энергии. При исполнении магических пассов, есть
определённые вещи, которые должны быть приняты во внимание, чтобы
исполнять движения с максимальной пользой:
1.
Все магические пассы шести
серий могут быть повторены столько, сколько захочется, если нет
каких-то других указаний. Если они сначала сделаны на Левой Стороне
тела, то они должны быть повторены одинаковое количество раз на Правой
Стороне. Как правило, каждый магический пасс этих шести
серий начинается на Левой
Стороне.
2. The feet are kept separate by a distance equivalent to the
shoulders' width. This is a balanced
way to distribute the weight of the body. If the legs are spread too
far apart, the balance of the
body is impaired. The same thing happens if they are too close
together. The best way to arrive at
this distance is to begin from a position, where the two feet are close
together (fig. 1). The tips
of the feet are then pivoted on the fixed heels and opened in a letter
V shape (fig. 2). Shifting
the weight to the tips of the feet, the heels are pivoted out to the
sides an equal distance (fig.
3). The tips of the feet are brought into parallel alignment, and the
distance between the feet is
roughly the width of the shoulders. Further adjustment may be necessary
here in order to reach that
desired width and to get the optimal balance of the body.
2. Ноги
- на ширине плеч, это - баланс для распределения веса тела. Если ширина
между ногами слишком большая, то баланс теряется. То же самое случится,
если ноги слишком близко друг к другу. Самый лучший путь к положению
баланса - это поставить ноги вместе (1), затем максимально галочкой
развести мыски ног в стороны (2) и потом максимально развести пятки в
стороны, а мыски внутрь (рис.3). Это и будет ваша ширина плеч - то есть
баланс.

3. During the
execution of all the magical passes of Tensegrity, the knees are kept
slightly bent,
so that when one is looking down, the kneecaps block the view of the
tips of the feet (figs. 4, 5),
except in the case of specific magical passes, in which the knees have
to be locked. Such cases are
indicated in the description of those passes. To have the knees locked
doesn't mean, that the
hamstrings (either of 2 tendons of the rear hollow of the human knee)
are
injuriously tense, but rather, that they are locked in a gentle way,
without unnecessary force.
This position of bending the knees is a modern addition to the
execution of the magical passes,
one, that stems from influences of recent times. One of the leaders of
don Juan Matus's lineage was
the Тagual Lujan, a sailor from China, whose original name was
something like Lo Ban. He
came to Mexico around the turn of the nineteenth century, and stayed
there for the rest of his
life. One of the Women Sorcerers in don Juan Matus's own party went to
the Orient and studied
martial arts. Don Juan Matus himself recommended, that his disciples
learn to move in a disciplined
fashion by taking up some form of martial arts training. Another issue
to consider in reference to
the slightly bent knees is, that when the legs are moved forward in a
kicking motion, the knees are
never whipped. Rather, the whole leg should be moved by the tension of
the muscles of the thighs.
Moving in this fashion, the tendons of the knees are never injured.
3. Во время исполнения
всех Магических
Пассов Тенсегрити, колени - слегка согнуты, так что, если смотреть
сверху вниз, колени загораживают вид мысков (рис.4,5), кроме случаев
особых Магических
Пассов, в которых колени должны быть связаны. Такие случаи описаны в
тех пассах. Иметь колени связанными, не значит что подколенное
сухожилие (одно из 2х сухожилий задней впадины-полости человеческого
колена) ранимо напряжено, а скорее что они мягко связаны, без лишней
силы. Это положение сгиба коленей - современное дополнение к исполнения Магических
Пассов, исходит из современного влияния. Один из лидеров Линии Дон
Хуана Матус был Тagual Lujan, моряк из Китая, чьё настоящее имя было Lo
Ban. Он прибыл в Мексику в
конце 19 века и остался в Мексике до конца своих дней. Одна из
Женщин-Ясновидящих из группы Дон Хуана Матус поехала
на Азиатский Восток изучать Военные Искусства. Дон Хуана Матус сам
рекоммендовал, чтобы его студенты учились двигаться в
дисциплинированной манере, тренируясь какой-нибудь формой Военного
Искусства. Другую вещь нужно рассматривать в
отношении немного согнутых коленей - это: когда ноги двигаются вперёд в
виде пинка, колени никогда не объединены. Скорее вся нога должна быть сдвинута напряжением
мускулов бёдер. Двигаясь в этой манере, сухожилия ног никогда не
повреждено.
4.
The back muscles of the legs must be tensed (fig. 6). This is a very
difficult accomplishment.
Most people can learn quite easily to tense the front muscles of the
legs, but the back muscles of
the legs still remain flaccid (weak). Don Juan said, that the back
muscles of the thighs are where
personal history is always stored in the body. According to him,
feelings find their home there and
get stagnant. He maintained, that difficulty in changing behavior
patterns, could be easily
attributed to the flaccidity of the back muscles of the thighs.
5. While
performing all these magical passes, the arms are always kept
slightly bent at the elbows
- never fully extended - when they are moved to strike, preventing, in
this manner, the tendons of
the elbows from becoming irritated (fig. 7).
4.
Задние мускулы ног должны быть напряжены (6). Это очень трудно
достигнуть. Многие могут легко научиться напрягать передние мышцы ног,
но задние мышцы ног всё же остаются слабыми. Дон Хуан сказал, что
задние мышцы бёдер в теле всегда хранят личную историю человека.
Согласно ему, чувства находят там своё пристанище и застаиваются. Он
утверждал, что трудности в изменении форм поведения, можно легко
отнести к слабости задних мускулов бёдер.
5. Во время исполнения всех этих магических пассов руки всегда держать
слегка согнутыми в локтях - и никогда полностью вытянутыми - когда они
двигаются, чтобы ударить, предотвращая таким образом, сухожилия локтей
от раздражения.
6. The
thumb must always be kept in a locked position, meaning that it is
folded over the edge of
the hand. It should never stick out (fig. 8). The sorcerers of don
Juan's lineage considered the
thumb to be a crucial element in terms of energy and function. They
believed, that at the base of
the thumb exist points, where energy can become stagnant, and points,
that can regulate the flow of
energy in the body. In order to avoid unnecessary stress on the thumb
or injury resulting from
jolting the hand forcefully, they adopted the measure of pressing the
thumbs against the inside
edges of the hands.
7. When the hand is made into a fist, the little finger is raised to
avoid an angular fist (fig. 9)
in which the middle, fourth, and fifth fingers droop. The idea is that
in making a square fist
(fig. 10), the fourth and fifth fingers have to be raised, thus
creating a peculiar tension in the
axilla, a tension, which is most desirable for general well-being.
(The axilla is an anatomical region under the shoulder joint, where the
arm connects to the shoulder. It contains a variety of neurovascular
structures, including the axillary artery, axillary vein, brachial
plexus, and lymph nodes).
6.
Большой палец всегда должен быть в защитном положении, означая, что он
должен быть сложен и введён внутрь ладони (8). Колдуны Линии Дон Хуана
рассматривали большой палец критическим элементом в смысле энергии и
функций. Они считали, что в основании большого пальца существуют точки,
где энергия может застояться, и точки, которые могут регулировать
течение энергии в теле. Чтобы избегать излишнее напряжение на большой
палец или ранение в результате сильной встряски руки, они стали
прижимать большой палецк внутреннему краю ладони.
7. Когда мы
делаем кулак, мизинец поднимается, чтобы избежать наклонного кулака
(9), в котором средний, четвёртый пальцы и мизинец - опускаются. Идея в
том, что делая квадратный кулак (10), четвёртый палец и мизинец нужно
поднять, таким образом создаётся странное напряжение в axilla, что очень желательно
для общего самочувствия.
8. The hands, when they have to be opened, are fully extended. The
tendons of the back of the hand
are at work, presenting the palm as an even, flat surface (fig. 11).
Don Juan preferred a flat palm
to counteract the tendency (established, he felt, through
socialization) to present the hand as a
hollow palm (fig. 12). He said, that a hollow palm was the palm of a
beggar, and that whoever
practices the magical passes is a warrior, not a beggar in the
least.
9. When the fingers have to be contracted at the second knuckle and
bent fightly over the palm, the
tendons on the back of the hand are tensed to the maximum, especially
the tendons of the thumb
(fig. 13). This tension of the tendons creates a pressure on the wrists
and forearms, areas which
sorcerers of ancient Mexico believed were key in promoting health and
well-being.
10. In many Tensegrity movements, the wrists have to be bent forward or
backward to an
approximately ninety-degree angle by contracting the tendons of the
forearm (fig. 14).
This bending
must be accomplished slowly, because most of the time the wrist is
quite inflexible, and it is
important that the wrist acquire the flexibility to turn the back of
the hand to make a maximum
angle with the forearm.

8.
Руки, когда они должны быть открыты, полностью вытянуты. Сухожилия
тыльной стороны руки - в работе, представляя ладонь как ровную, гладкую
поверхность (11). Дон Хуан предпочитал плоскую ладонь, чтобы
противостоять склонности (основанной, как он чувствовал, обществом)
держать ладонь чашкой (12). Он говорил, что ладонь чашкой - рука
нищего, и кто практикует магические пассы, воин, а не нищий.
9. Когда пальцы нужно сжать во второй костяшке и согнуть над ладонью,
сухожилья на тыльной стороне напряжены до максимума, особенно сухожилие
большого пальца (13). Это напряжение сухожилий создаёт давление на
запястья и на верхнюю часть руки, места, которые старые Колдуны Мексики
считали ключом к здоровью и благополучию.
10. Во многих
движениях Тенсегрити запястья должны быть согнуты вперёд или назад на
примерно 90 градусов, сжав сухожилья руки (14). Этот сгиб должен быть
достигнут медленно, потому что большую часть времени запястье не
сгибается, и это важно, чтобы запястье приобрело гибкость, чтобы
повернуть руку тыльной стороной и сделать максимальный угол рукой.
11.
Another important issue in the practice of Tensegrity is an act, which
has been termed turning
the body on. This is a unique act, in which all the muscles of the
body,
and specifically the
diaphragm, are contracted in one instant. The muscles of the stomach
and abdomen are jolted, as are
the muscles around the shoulders and shoulder blades.
The arms and legs
are tensed in unison with
equal force, but only for an instant (figs. 15, 16). As practitioners
of Tensegrity progress in
their practice, they can learn to sustain this tension for a while
longer. Turning
the body on has nothing to do with the state of perennial bodily
tension, that seems to be
the mark of our times. When the body is tense with preoccupation or
overwork, and the muscles of
the neck are as hard as they can be, the body is not in any way turned
on. Relaxing the muscles or
arriving at a state of tranquillity is not turning the body off,
either. The idea of the sorcerers
of ancient Mexico was that with their magical passes, the body was
alerted; it was made to be ready
for action. Don Juan Matus termed this condition turning the body on.
He said, that when the
muscular tension of turning the body on ceases, the body is turned off
naturally.

11. Другая важная деталь
в практике Тенсегрити - это движение, которое называли - Завести Тело.
Это - уникальное движение, при котором все мускулы тела и, особенно
диафрагмы, моментально сжаты. Мускулы желудка и живота встряхиваются
также, как и мускулы вокруг плеч и лопаток. Руки и ноги напряжены в
унисон с равной силой, но только на момент (15,16) По мере прогресса в
практике, практиканты Тенсегрити могут научиться держать это напряжение
немного дольше. Завести Тело - не имеет
ничего общего с состоянием постоянного напряжения в теле, которое,
похоже, стало отличительной чертой нашего времени. Когда тело напряжено
заботами, проблемами, работой, и мускулы шеи неимоверно твёрдые, тело
ни в коей мере не заводится. Расслабление мускулов или вхождение в
состояние покоя - также не заводит тело. Идея Колдунов Древней Мексики
была в том, что с их магическими пассами , тело было на готове; тело
заставляли быть готовым к действию. Дон Хуан Матус называл это
состояние: Завести Тело. Он
говорил, что когда напряжение мускулов при состоянии - Завести Тело
-
прекращается, тело естественно отключается.
12. Breath and
breathing were, according to don Juan, of supreme
importance for the sorcerers of
ancient Mexico. They divided breath into breathing with the tops of the
lungs, breathing with the
midsection of the lungs, and breathing with the abdomen (figs. 17, 18,
19). Breathing by expanding
the diaphragm they called the animal breath, and they practiced it
assiduously, don Juan said, for
longevity and health. It was
don Juan Matus's belief, that many of the health problems of modern man
could be easily
corrected by deep breathing. He maintained that the tendency of human
beings nowadays is to take
shallow breaths. One of the aims of the sorcerers of ancient Mexico was
to train their bodies, by
means of the magical passes, to inhale and exhale deeply. It is highly
recommended, therefore, in
the movements of Tensegrity, that call for deep inhalations and
exhalations, that these be
accomplished by slowing down the inflow or outflow of air, in order to
make the inhalations and
exhalations longer and more profound. Another important issue,
concerning the breathing in
Tensegrity is that breathing is normal, while executing the Tensegrity
movements, unless otherwise
specified in the description of any given magical pass.
12.
Дыхание, согласно Дон Хуану, было величайшей важности для Колдунов Древней
Мексики. Они разделяли дыхание на дыхание верхней частью лёгких,
дыхание серединой лёгких и дыхание животом-диафрагмой (17,18,19). Дыхание с расширением
живота-диафрагмы они называли - дыхание животного, и они практиковали
его постоянно, говорил Дон Хуан, для долголетия и здоровья. Это было
открытие Хуана Матуса, что многие проблемы со здоровьем современного
человека можно легко исправить глубоким дыханием. Он утверждал, что
склонность современных людей - это неглубоко дышать. Одна из целей Колдунов Древней Мексики
была: тренировать свои тела с помощью магических пассов, вдохнуть и
выдохнуть глубоко. Поэтому, во время движений Тенсегрити, очень
рекоммендуются глубокие Вдохи и Выдохи и это должно быть достигнуто
замедлением потока воздуха внутрь или наружу, чтобы сделать Вдохи и Выдохи дольше и
более глубокими. Другая важная деталь,
затрагивающая дыхание в Тенсегрити, это то, что дыхание нормальное во
время движений Тенсегрити, если только это не оговорено в описании
данного магического пасса.
13. Another consideration in performing the Tensegrity movements is the
realization, that has to
come to practitioners, that Tensegrity is in essence the interplay
between relaxing and tensing the
muscles of choice parts of the body, in order to arrive at a most
coveted physical explosion, which
the sorcerers of ancient Mexico knew only as the energy of the tendons.
This is a veritable
explosion of the nerves and tendons below or at the core of the
muscles. Given that Tensegrity is
the tension and relaxation of muscles, the intensity of the muscle
tension and the length of time,
that the muscles are kept in that state, in any given magical pass,
depends on the strength of the
participant. It is recommended, that at the beginning of the practice,
the tension be minimal and
the length of time as brief as possible. As the body gets warmer, the
tension should become greater
and the length of time extended, but always in a moderate fashion.
13.
Другая деталь в исполнении движений Тенсегрити -
это понимание, которое должно придти к практиканту, что Тенсегрити это,
в сущности, игра между напряжением и расслаблением мускулов,
выбранных частей тела, чтобы прибыть к наиболее скрытому физическому
взрыву, который Колдуны Древней Мексики
знали только как энергию сухожилий. Это - настоящий взрыв нервов и
сухожилий ниже или в середине мускулов. Зная, что Тенсегрити - это
напряжение и расслабление мускулов, интенсивность напряжения мускулов и
период времени, в котором мускулы держатся в таком состоянии в любом
магическом пассе, зависит от силы самого практиканта. Рекоммендуется в
начале практики, чтобы напряжение было минимальным и длина времени как
можно короче. Когда тело нагреется, напряжение должно стать сильнее и
отрезок времени - удлинён, но всегда постепенно.
THE
FIRST SERIES - The Series for Preparing
Intent
ПЕРВАЯ
СЕРИЯ - СЕРИЯ ДЛЯ ПРИГОТОВЛЕНИЯ ИНТЭНТА
p.37
Don Juan Matus
stated, that human beings as organisms perform
a stupendous maneuver of perception, which, unfortunately, creates a
misconception, a false front;
they take the influx of sheer energy in the universe at large and turn
it into sensory data, which
they interpret according to a strict system of interpretation, that
sorcerers call the human form.
This magical act of interpreting pure energy gives rise to the
misconception, the peculiar
conviction of human beings, that their interpretation system is all
that
exists. Don Juan elucidated
this phenomenon with an example. He said that tree, as tree is known to
human beings, is more
interpretation than perception. He pointed out, that for human beings
to
establish the presence of
tree, all they need is a cursory glance, that tells them hardly
anything. The rest is a phenomenon,
which he described as the calling of intent, the intent of tree; that
is to say, the interpretation
of sensory data pertaining to the specific phenomenon, that human
beings
call tree. He declared, that
the entire world of human beings, just as in this example, is composed
of an endless repertoire of
interpretations, where human senses play a minimal role. In other
words,
only the visual sense
touches the energy influx, which comes from the universe at
large, and
it does so only in a cursory
fashion.
Стр.
37 (большая часть
последующих страниц мне непонятна ввиду, запутанного усложнённого
языка, который иногда невозможно перевести! ЛМ)
Дон
Хуан Матус заявлял, что люди, как организмы, выполняют немыслемый
манёвр восприятия, который, к сожалению, приводит к неправильным,
ложным понятиям: люди берут поток настоящей энергии во всей Вселенной и
превращают его в чувствительную информацию, которую они интерпритируют
согласно строгой системе перевода, которую Колдуны называли -
ЧЕЛОВЕЧЕСКАЯ ФОРМА. Этот магический акт перевода чистой энергии даёт
повод к неправильному пониманию, к любопытному убеждению людей, что
существует только их система перевода. Дон Хуан объяснил этот феноменон
примером. Он сказал, что дерево, как дерево знакомое людям, больше
интерпритация, чем восприятие. Он указал, что для людей - установить
присуствие дерева - всё, что нужно, это - беглый, поверхностный взгляд,
который едва говорит о чём-то. Остальное - это феноменон, который он
описал как - ЗОВ ИНТЭНТА, Интэнта Дерева; как говориться, интерпретация
чувствующей информации, относящейся к особому феноменону, который люди
называют дерево. Он доказывал, что весь людской мир, как в этом
примере, состоит из бесконечного репертуара интерпретаций, где
человеческие чувства играют минимальную роль. Другими словами, только
визуальное ощущение затрагивает энергию прилива, которая приходит из
всей Вселенной, и она так делает только в поверхностной манере.
He maintained, that the majority of the perceptual activity of human
beings is interpretation, and
that human beings are the kind of organisms, that need only a minimal
input of pure perception, in
order to create their world; or, that they perceive only enough to
trigger their interpretation
system. The example, that don Juan liked the best, was the way in which
he said we construct, by
intending, something as overwhelming and as crucial as the White House.
He called the White House
the site of power of today's world, the center of all our endeavors,
hopes, fears, and so on, as a
global conglomerate of human beings - for all practical purposes, the
capital of the civilized
world. He said, that all this wasn't in the realm of the abstract, or
even in the realm of our
minds, but in the realm of intending, because from the point of view of
our sensory input, the
White House was a building, that in no way had the richness, the scope,
the depth of the concept of
the White House. He added, that from the point of view of the input of
sensory data, the White
House, like everything else in our world, was cursorily apprehended
with our visual senses only;
our tactile, olfactory, auditory, and taste senses were not engaged in
any way. The interpretation,
that those senses could make of sensory data in relation to the
building, where the White House, is
would have no meaning whatsoever. The question, that don Juan asked as
a sorcerer, was where the
White House was. He said, answering his own question, that it was
certainly not in our perception,
not even in our thoughts, but in a special realm of intending, where it
was nurtured with
everything pertinent to it. Don Juan's assertion was, that to create a
total universe of intending
in such a manner was our magic.
(большая часть последующих страниц мне непонятна ввиду, запутанного
усложнённого языка, который иногда невозможно перевести! ЛМ)
Он
настаивал, что большая часть воспринимаемой деятельности человека - это
интерпретация, и что люди - это своего рода организмы, которым нужен
минимальный толчок полного восприятия, чтобы создать свой мир; или, что
их восприятия достаточно, чтобы возбудить их систему интерпретации.
Пример, который Дон Хуану нравился больше всего, был путь, которым мы
конструируем с намерением, что-то вроде ошеломляющего и критического
как Белый Дом. Он называл Белый Дом местом могущества современного
мира, центром всех наших достижений, надежд, страхов и т.д., как
глобальное скопление людей - для всех практических целей, столица
цивилизованного мира. Он сказал, что всё это
абстрактным миром и даже миром нашего разума, а миром наших намерений,
потому что с точки зрения ощутимого вложения, Белый Дом было зданием,
которое ни коим образом не имело богатство, масштаб, глубину самой идеи
Белого Дома. Он добавил, что с точки зрения вложения ощутимой
информации, Белый Дом, как и всё остальное, в нашем мире было
определено поверхностно только нашими визуальными чувствами; наши
слуховые, обонятельные, осязаемые, вкусовые чувства ни коим образом не
были задействованы. Интерпретация, что те чувства могли создать
ощутимую информацию в отношении здания, где находится Белый Дом, никак
не будет иметь значения. Вопрос, который Дон Хуан задал как
Ясновидящий, был: где Белый Дом находится. Он сказал, отвечая на свой
собственный вопрос, что он явно был не в нашем восприятии, даже не в
наших мыслях, а в особом мире намерения, где его растилисо всем
необходимым для него. Заключение Дон Хуана было: создать целую
Вселенную намерения в такой манере, было нашей магией.
Since the theme of the first series of Tensegrity is preparing the
practitioners for intending,
it's important to review the sorcerers' definition of intending. For
don Juan, intending was the
tacit act of filling out the empty spaces left by direct sensory
perception, or the act of
enriching the observable phenomena by means of intending a
completeness,
that doesn't exist from the
point of view of pure perception. The act of intending this
completeness was referred to by don
Juan as calling intent. Everything, he explained about intent, pointed
to
the fact, that the act of
intending is not in the realm of the physical. In other words, it is
not part of the physicality of
the brain or any other organ. Intent, for don Juan, transcended the
world we know. It is something
like an energetic wave, a beam of energy, which attaches itself to us.
Because of the extrinsic
nature of intent, don Juan made a distinction between the body as part
of the cognition of everyday
life and the body as an energetic unit, which was not part of that
cognition. This energetic unit
included the unseen parts of the body, such as the internal organs, and
the energy, that flowed
through them. Don Juan asserted, that it was with this part that energy
could be directly perceived.
He pointed out, that because of the predominance of sight in our
habitual way of perceiving the
world, the shamans of ancient Mexico described the act of directly
apprehending energy as seeing.
For them to perceive energy, as it flowed in the universe, meant, that
energy adopted
non-idiosyncratic, specific configurations, that repeated themselves
consistently, and that those
configurations could be perceived in the same terms by anyone, who Saw.
(большая часть
последующих страниц мне непонятна ввиду, запутанного усложнённого
языка, который иногда невозможно перевести! ЛМ)
Так как тема
Первой Серии Тенсегрити это - приготовить практикантов для
намерения, то важно пересмотреть определение намерения Колдунами. Для
Дон Хуана намерение было подразумеваемым актом, заполнить пустые
пространства, оставленные прямым чувствительным восприятием, или актом
обогащающим наблюдаемый феноменон с помощью намерения законченности,
которая не существует с точки зрения чистого восприятия. Дон Хуан
называл действие намерения этой полноты - ЗВАТЬ ИНТЭНТ. Всё, что он
объяснял об Интэнте, указывает на факт, что действие намерения не
находится на физическом уровне (Первое Внимание). Другими словами, это
не часть физического мозга или любого другого органа. Интэнт для Дон
Хуана превосходит, нам знакомый, мир. Это что-то вроде энергетической
волны, луч энергии, который прикрепляет себя к нам. Из-за природы
Интэнта, Дон Хуан сделал различие между телом, как часть знания
Повседневной жизни, и тело, как энергетическая единица, которая не
является частью этого знания. Эта энергетическая единица
включает в себя невидимые части тела, как например внутренние органы и
энергию, которая течёт через них. Дон Хуан считал, что именно этой
частью тела эта энергия может быть воспринята напрямую. Он указал, что
ввиду доминирования зрения в нашем привычном способе восприятия мира,
Древние Ясновидящие описывали акт напрямую схватывать энергию, как
ВИДЕНИЕ. Для них воспринимать энергию, как она течёт во Вселенной,
значило, что энергия приняла особые формы, которые себя постоянно
повторяли, и что те очертания могли быть восприняты таким же образом
любым, кто ВИДЕЛ.
The most important example don Juan Matus could give of this
consistency of energy in adopting
specific configurations was the perception of the human body, when it
was seen directly as energy.
As it was already said, shamans like don Juan perceive a human being as
a conglomerate of energy
fields, that gives the total impression of a clear-cut sphere of
luminosity. Taken in this sense,
energy is described by shamans, as a vibration, that agglutinates
itself
into cohesive units. Shamans
describe the entire universe, as being composed of energy
configurations,
that appear to the seeing
eye as filaments, or luminous fibers, that are strung in every which
way
without ever being
entangled. This is an incomprehensible proposition for the linear mind.
It has a built-in
contradiction, that can't be resolved: How could those fibers extend
themselves every which way and
yet not be entangled? Don Juan emphasized the point, that shamans were
able only to describe
events, and that if their
terms of description seemed inadequate and contradictory, it was
because of the limitations of
syntax. Yet their descriptions were as strict, as anything could be.
The
shamans of ancient Mexico,
according to don Juan, described intent, as a perennial force, that
permeates the entire universe - a
force, that is aware of itself to the point of responding to the
beckoning or to the command of
shamans. By means of intent, those shamans were capable of unleashing
not only all the human
possibilities of perceiving, but all the human possibilities of action.
Through intent, they
realized the most far-fetched formulations.
Самый важный пример этого постоянства энергии Дон Хуан мог дать, в
приёме особых форм, было восприятие человеческого тела, когда оно видно
прямо как энекргия. Как уже было сказано, Ясновидящие как Дон Хуан,
воспринимают человека, как скопление энергетических полей, которое даёт
полное впечатление вырезанной сферы Света. Взятой в этом смысле,
энергия описана Ясновидящими как
ВИБРАЦИЯ, которая склеивает себя в связанные единицы. Ясновидящие описывают
всю Вселенную, как составленную из энергетических форм,
которые появляются глазу как волокна, которые протягиваются в любом
направлении, никогда не запутываясь. Это - невероятное предположение
для линейного, физического ума. Это имеет встроенное противоречие,
которое не может быть объяснено:
как могут те волокна распространяться и никогда не запутаться? Дон Хуан
подчеркнул эту проблему тем, что Ясновидящие были
способны только описывать события, и если их описания были
недостаточными и противоречивыми, то это из-за ограниченности слов в
языке. Однако, их описания были такими же строгими и точными, как любое
другое описание. Ясновидящие Древней
Мексики, согласно Дон Хуану, описывали Интэнт как вечную силу, которая
пропитывает всю Вселенную -
Сила, которая себя осознаёт до такой степени, что отвечает зову или
команде Ясновидящих. С помощью
Интэнта, они поняли большинство неестественных формулировок.
Don Juan taught me, that the limit of man's capability of perceiving is
called the band of man,
meaning, that there is a boundary, that marks human capabilities as
dictated by the human organism.
These bound are not merely the traditional boundaries of orderly
thought, but the boundaries of the
totality of resources locked within the human organism. Don Juan
believed, that these resources are
never used, but are kept dominated by preconceived (form opinion
beforehand) ideas about human
limitations, limitations, that
have nothing to do with actual human potential. Don Juan stated, as
categorically as he was able
to, that since perceiving energy as it flows in the universe is not
arbitrary or idiosyncratic,
Seers witness formulations of energy, that happen by themselves and are
not molded by human
interference. Thus, the perception of such formulations is, in itself
and by itself, the key, that
releases the locked-in human potential, that ordinarily has never
entered into play. In order to
elicit the perception of those energetic formulations, the totality of
human capabilities to
perceive has to be engaged.
Дон Хуан научил меня, что ограничение человеческой способности
воспринимать, называется ЧЕЛОВЕЧЕСКИЙ ПОЯС, означающий, что есть
граница, которая отмечает человеческие способности, как диктует
человеческий организм. Эта граница - не граница в обычном понимании, а
границы Тотальности ресурсов, спрятанных в человеческом организме. Дон
Хуан верил, что эти ресурсы никогда не используются, а хранятся,
доминируемые предполагаемыми идеями об ограниченности человека,
ограниченности, которая не имеет ничего общего с реальным человеческим
потенциалом. Дон Хуан заявлял категорически, что так как воспринимаемая
энергия, когда течёт во Вселенной, не черта стиля или каприза,
Ясновидящие были свидетелями формирования энергии, которое происходит
само по себе, а не формируется человеческим вмешательством. Таким
образом восприятие таких формирований само по себе Ключ, который
освобождает, спрятанный в
человеческом организме, потенциал, который обычно никогда не попадает в
игру. Чтобы добиться восприятия тех энергетических формаций,
Тотальность Человеческих Способностей - воспринимать, должна быть
применена.
The Series
for Preparing Intent
is divided into four
groups
СЕРИИ ДЛЯ ПРИГОТОВЛЕНИЯ ИНТЭНТА РАЗДЕЛЕНЫ НА 4 ГРУППЫ
The first is called Mashing
Energy for Intent.
The second is called Stirring Up
Energy for
Intent.
The third group is called
Gathering Energy for
Intent
The fourth group
is called
Breathing In the Energy of Intent.
Первая группа называется - МЕСИТЬ ЭНЕРГИЮ ДЛЯ ИНТЭНТА
Вторая группа называется - СМЕШИВАНИЕ ЭНЕРГИИ ДЛЯ ИНТЭНТА
Третья группа называется - НАКОПЛЕНИЕ ЭНЕРГИИ ДЛЯ ИНТЭНТА
Четвёртая группа называется - ВДЫХАНИЕ ЭНЕРГИИ ИНТЭНТА
The
First Group: Mashing Energy for Intent
p.40
Don Juan gave me
explanations, which covered all the nuances
of every group of magical passes, which are the core of the long
Tensegrity Series.
"Energy, which is essential for handling intent," he said, when he was
explaining to me the energetic
implications of this group, "is continuously dispelled from the vital
centers located around the
liver, pancreas, and kidneys, and settles down at the bottom of the
luminous sphere, that we are.
This energy needs to be constantly stirred and rerouted. The sorcerers
of my lineage were very
emphatic in recommending a systematic and controlled stirring of energy
with the legs and
feet. For them, long walks, which were an unavoidable feature
of their lives, resulted in an excessive
stirring of energy, which did not serve any purpose. Long walks were
their nemesis for this reason,
and the inflow of excessive energy had to be balanced by the execution
of specific magical passes
performed while they were walking."
Don Juan Matus told me that this set, which consists of fifteen magical
passes, whose function is to
stir energy with the feet and legs, was considered by the shamans of
his lineage to be the most
effective way of doing what they called mashing energy. He stated, that
each of the steps is a
magical pass, which has a built-in control for the mashing of energy,
and that practitioners can
repeat these magical passes hundreds of times, if they so desire,
without worrying about an
excessive stirring of energy. In don Juan's view, energy for intending,
that was stirred up
excessively, ended up further depleting the centers of vitality.
ПЕРВАЯ ГРУППА:
РАЗРЫХЛЯЕМ ЭНЕРГИЮ ДЛЯ ИНТЭНТА
Стр. 40
Дон Хуан дал мне объяснение, которое покрывало все ньансы каждой группы
магических пассов то, что является Ядром длинной серии Тенсегрити.
"Энергия, которая необходима для манипулирования Интэнта," сказал он,
когда объяснял мне энергетические вовлечения этой группы, "постоянно
рассеивается из жизненных центров, находящихся вокруг печени,
поджелудочной железы, почек, и оседает на дне Светящегося Человеческого
Кокона. Эта Энергия должна быть постоянно размешена и перенаправлена.
Ясновидящие моей Линии были очень настойчивы, рекоммендуя
систематическое и контролируемое Смешивание Энергии ногами. Для них
долгие прогулки, которые были неизбежны в их жизни, служили результатом
в избыточном смешивании энергии, что было бесцельно. Длинные прогулки
были их разрушением по этой причине, и поток избыточной энергии
приходилось балансировать выполнением особых магических пассов,
исполняемых во время прогулки." Дон Хуан сказал, что эта группа,
которая состоит из 15 магических пассов, чья функция - это смешивать
энергию ногами, считалась Ясновидящими его Линии самым эффективным
способом делать то, что они называли - разминать, раздавливать энергию.
Он констатировал, что каждый из шагов - это магический пасс, который
имеет встроенный контроль для разминания энергии, и что практиканты
могут повторять эти магические пассы 100 раз, если захотят, не
беспокоясь об избыточном смешении энергии. По мнению Дон Хуана, завершается тем, что энергия для намерения,
которая была излишне смешана, ещё больше лишает энергии жизненные
центры.
1. Grinding
Energy with the
Feet
The body pivots on
the balls of the feet from left to right
and right to left in unison for a moment in order to gain balance. Then
the weight of the body is
shifted to the heels, and the pivoting is done on them from then on,
with the toes slightly off the
ground while swiveling, and touching the ground, when the feet reach
the
maximum slant. The arms are
kept bent at the elbows with the hands pointing out, palms facing each
other. The arms move with an
impulse from the shoulders and the shoulder blades. This movement of
the arms in unison with the
legs, as in walking (the right arm moves when the left leg moves, and
vice versa), accounts for a
total engagement of the limbs and the internal organs (figs. 20, 21). A
physical by-product of
grinding energy in this fashion is an increase in circulation in the
feet, calves, and thighs up to
the groin area. Shamans throughout the centuries have also used it to
restore flexibility to limbs,
that were injured in daily use.
1. РАЗМИНАНИЕ ЭНЕРГИИ НОГАМИ
Тело поворачивается на
подушках ступней слева-направо и справа-налево в унисон с поддержкой
баланса. Затем вес тела сдвигается к пяткам, и поворот делается на них
с того момента, с, немного поднятыми от пола, пальцами ног, пока
поворачиваем и дотрагиваемся до пола, когда ступни достигают максимум
наклона. Руки держим согнутыми в локтях и пальцами - вперёд, ладони -
друг к другу. Руки двигаются с импульсом от плечей и от лопаток. Это
движение рук в унисон с ногами, как при ходьбе (правая рука двигается,
когда двигается левая нога и наоборот), включает полное использование
конечностей и внутренних органов (20, 21). Физическое достижением,
разминания энергии в такой манере, является увеличение циркуляции крови
в ступнях, в икрах и в бёдрах до самого паха брюшной полости.
Ясновидящие столетиями также это использовали, чтобы реставрировать
гибкость конечностей, которые были изношены ежедневным
использованием.
2. Grinding
Energy with Three
Slides of the Feet
The feet are swiveled on the heels, in the same manner as in the
previous magical pass, three
times. There is a pause that lasts an instant and then they are
swiveled three times again. It is
important to notice that in all the first three magical passes of this
series, the key issue is the
engagement of the arms, which move back and forth briskly. Making the
grinding of energy a
discontinuous affair increases its effect. A physical by-product of
this magical pass is a quick
surge of energy for instances of running or fleeing danger, or for
anything that requires a quick
intervention.
2. МОЛОТЬ ЭНЕРГИЮ ТРЕМЯ ПОВОРОТАМИ НОГ В СТОРОНЫ С ПАУЗОЙ
Ступни поворачиваются на
пятках в той же манере, как и в предыдущих магических пассах, 3 раза.
Затем пауза на мгновенье, и потом ступни поворачиваются ещё 3 раза.
Важно знать, что во всех первых трёх магических пассах этой
серии, ключевая вещь это - занятость рук, которые двигаются вперёд и
назад быстро. Делая промалывание энергии прерывистым за счёт паузы,
увеличивает его эффект. Физический результат этого магического пасса -
это быстрый прилив энергии для бега или убегания от опасности, или для
всего того, что требует быстрого вмешательства.
3. Grinding
Energy by a Sideways
Slide of the Feet
Both feet, pivoting on the heels, move to the left; they pivot on the
balls of the feet to the left
again. Next, they pivot a third time, still to the left, but on the
heels again (figs. 22, 23, 24).
The sequence is reversed by pivoting on the heels to the right; next,
on the balls of the feet to
the right; and then on the heels again, to the right. A physical
consequence of these three magical
passes is the spurring of the circulation in the total body.

3. МОЛОТЬ ЭНЕРГИЮ ТРЕМЯ
СКОЛЬЗЯЩИМИ ПОВОРОТАМИ НОГ В СТОРОНЫ
Обе ступни
поворачиваются на пятках, двигаясь влево; и снова налево они
поворачиваются на подушках ступни. Следующее, ступни поворачиваются
снова на пятках и снова влево (22,23,24). Теперь в обратной
последовательности поворачиваемся на пятках вправо, затем на подушках
ступни вправо, и снова поворачиваемся на пятках и снова вправо.
Физическим результатом этих трёх магических пассов будет: усилить
циркуляцию энергии во всём теле.
4.
Mixing Energy by Striking the Floor
with the Heels
This magical pass resembles walking in place. The knee moves up briskly
while the tip of the foot
rests on the ground. The weight of the body is carried by the other
leg. The body weight shifts
back and forth, resting on whichever leg stays put, while the other one
performs the movement. The
arms are moved in the same fashion, as in the previous magical pass
(fig. 25). A physical
consequence of this magical pass and the following one is very much
like that of the three
preceding magical passes: a sensation of well-being, that permeates the
pelvic region after
performing the movements.

4. СМЕШИВАНИЕ ЭНЕРГИИ
УДАРАМИ ПЯТОК ОБ ПОЛ
Этот магический
пасс напоминает ходьбу на месте. Колено быстро двигается вверх, пока
мысок ступни покоится на полу. Вес тела - на другой ноге и двигается
туда-сюда, оставаясь на неподвижной ноге, пока другая нога выполняет
движение. Руки двигаются в той же манере, как и в предыдущем магическом
пассе (25). Физический результат этого магического пасса и следующего -
очень напоминают три предыдущих магических пасса: ощущение хорошего
самочувствия, которое проникает в область таза после исполнения этих
движений.
5.
Mixing Energy by Striking the Ground
with the Heels Three
Times
This magical pass is exactly like the preceding one, with the
exception,
that the movement of the
knees and feet is not continuous. It is interrupted after the heels are
brought to the ground three
times, in an alternating fashion. The sequence is left, right, left -
pause - right, left, right,
and so on. The first five magical passes of this group allow
practitioners a quick surge of energy,
in cases when energy is needed in the midsection or the groin, or, for
instance, when they need to
perform a long-distance run or a quick climbing of rocks or trees.
5. СМЕШИВАНИЕ ЭНЕРГИИ
УДАРАМИ ПЯТОК ОБ ПОЛ 3 РАЗА
Этот Магический
Пасс точно такой, как и предыдущий с исключением, что движение колен и
ступней не продолжительное. Оно останавливается после того, как пятки
касаются пола 3 раза, каждой пяткой по очереди. Последовательность:
левая, правая,левая - пауза - правая, левая, правая, и т.д. Первые пять
Магических Пассов этой
группы дают практикантам быстрый прилив энергии, в случаях когда
энергия нужна в средней части тела или в пахах, или например когда им
нужно сделать быстрый пробег на длинную дистанцию или быстро на гору
или дерево.
6.
Gathering Energy with the
Soles of the Feet and Moving It Up the Inner
Legs
The soles of the left and the right foot move alternately up the inner
part of the opposite leg,
almost brushing it. It is important to arch the legs a little bit by
standing with the knees bent
(fig. 26). In this magical pass, energy for intending is forced up the
inner side
of the legs, which shamans
consider to be the storage place of kinesthetic memory. This magical
pass is used as an aid to
release the memory of movements, or to facilitate retaining the memory
of new ones.
6. СОБИРАНИЕ ЭНЕРГИИ
ПЯТКАМИ СТУПНЕЙ И ТРАНСПОРТИРОВКА ЕЁ ВО ВНУТРЕННИЕ ЧАСТИ НОГ
Пятки Левой и
Правой ног двигаются по очереди во внутреннюю часть противоположной
ноги, почти трясь об неё. Важно немного искривить ноги аркой, стоя с
согнутыми коленями (26). В этом Магическом Пассе энергия
для намерения сфорсирована вверх внутренней стороны ног, в место,
которое шаманы считали хранилищем мускульной памяти. Этот Магический Пасс
используется как помощь, чтобы освободить память движений или облегчить
закрепление памяти новых движений.
7. Stirring
Energy with the Knees
The knee of the left leg is bent and swung to the right as far as it
can reach, as if to give a
sideways kick with the knee, while the trunk and the arms arc gently
twisted as far as possible in
the opposite direction (fig. 27). The left leg is then brought back to
a standing position. The
same movement is performed with the right knee, alternating then back
and forth.
7. СМЕШИВАНИЕ ЭНЕРГИИ
КОЛЕНКАМИ
Колено Левой ноги -
согнуто и свешивается над Правой ногой настолько, насколько возможно её
достигнуть, как-будто дать коленом пинок в сторону, а тело и руки мягко
откинуты в противоположную сторону насколько возможно (27). Левая нога
возвращается назад и встаёт. То же самое движение исполняется Правой
ногой, по очереди назад и вперёд.
8. Pushing
the Energy Stirred
with the Knees into the Trunk
This magical pass is the energetic continuation of the preceding one.
The left knee, bent to the
maximum, is pushed up as far, as possible into the trunk. The trunk is
bent slightly forward. At the
moment the knee is pushed up, the tip of the foot points to the ground
(fig. 28). The same movement
is performed with the right leg, alternating then between the two legs.
Pointing the foot to the
ground ensures that the tendons of the ankles are tense, in order to
jolt minute centers there,
where energy accumulates. Shamans consider those centers to be perhaps
the most important in the
lower limbs, so important, that they could awaken the rest of the
minute
energy centers in the body
through the performance of this magical pass. This magical pass and the
preceding one are executed
together for the purpose of projecting the energy for intending
gathered with the knees up into the
two centers of vitality around the liver and the pancreas.
8. ТОЛКАНИЕ ЭНЕРГИИ,
СМЕШАННОЙ КОЛЕНКАМИ, В ТЕЛО
Этот Магический Пасс - это
энергетическое продолжение предыдущего. Левое колено, согнутое
до максимума, толкается вверх как можно выше в живот и в грудь. Тело
слегка согнуто вперёд. В этот момент колено толкается вверх, носок ноги
направлен к полу (28). Такое же движение исполняется Правой ногой,
чередовать между обоими ногами. Направление ноги на пол, обеспечивает
чтобы сухожилья лодышки напряглись, чтобы встряхнуть мелкие центры там,
где аккумулируется энергия. Шаманы считают те центры наверно самыми
важными в нижних конечностях, настолько важными, что эти части могут
разбудить остальные мелкие центры в теле, исполняя этот Магический Пасс. Этот Магический Пасс и предыдущий исполняются
вместе с целью проектирования энергии для Интэнта,
собранными коленями вверх в два жизненных центра вокруг печени и
надпочечников.
9. Kicking
Energy in Front and
in Back of the Body
A front kick of the left leg is followed by a hook kick to the back
with the right leg (figs. 29,
30). Then the order is reversed and a front kick is made with the right
leg, followed by a hook
kick to the back with the left leg. The arms are
kept to the sides, because this magical pass engages only the lower
limbs, giving them flexibility.
The aim is to lift the leg, that kicks to the front as high as
possible,
and the leg that kicks to
the back also as high as possible. When executing the back kick, the
trunk should bend slightly
forward to facilitate the movement. This slight bending forward of the
trunk is used, as a natural
means of absorbing the energy stirred with the limbs. This magical pass
is performed to aid the
body when problems of digestion arise, due to a change in diet, or when
there is a need to travel
over great distances.
9. ТОЛКАНИЕ ЭНЕРГИИ
За пинком вперёд
Левой ногой следует пинок назад согнутой Правой ногой (29, 30). Затем -
в обратном порядке: за пинком вперёд Правой ногой, следует пинок назад
согнутой Левой ногой. Руки держим вдоль тела, потому что этот Магический Пасс
затрагивает только нижние конечности, придавая им гибкость. Цель в том,
чтобы поднять ногу, ударяющую вперёд, как можно выше, и ногу, которая
пинает назад, тоже как можно выше. Когда выполняешь пинок назад, тело
должно немного согнуться вперёд, чтобы облегчить движение. Этот
небольшой наклон тела вперёд используется как естественная помощь в
поглощении энергии, смешанной конечностями. Этот Магический Пасс
выполняется, чтобы помочь телу, когда возникают проблемы переваривания
из-за смены в диете или когда есть необходимость путешествовать на
огромные расстояния.
10.
Lifting Energy from the Soles of the
Feet
The left knee is bent acutely as it is lifted toward the trunk, as far
up as possible. The trunk is
bent slightly forward, almost touching the knee. The arms jut down,
making a vise that grabs the
sole of the foot (fig. 31). The ideal would be to grab the sole of the
foot in a very light
fashion, releasing it immediately. The foot comes down to the ground as
the arms and hands, with a
powerful jolt that engages the shoulders and pectoral muscles, lift up
along the sides of the legs
to the level of the pancreas and spleen (fig. 32). The same movements
are performed with the right
foot and arm, lifting the hands from the feet to the level of the liver
and gallbladder. The
movements are performed alternating between the two legs.
As in the case of the
previous magical pass, bending the trunk forward
allows the energy from the soles of the feet to be transferred to the
two vital centers of energy
around the liver and the pancreas. This magical pass is used to aid the
attainment of flexibility,
and to relieve problems of digestion.

10.
ПОДНЯТИЕ ЭНЕРГИИ С ПОДОШВЫ НОГИ
Согнуть
левое
колено до предела и поднять колено как можно выше к, слегка согнутому,
корпусу тела, почти трогая его. Руки спущены вниз и захватывают нижнюю
часть ноги (31 - как прихваткой). Идеально - если схватить подошву ноги
очень легко и сразу освободить после мощной встряски, в которой
учавствуют плечи и грудные мускулы. Нога
опускается на пол, пока руки с
согнутыми пальцами поднимаются вдоль боковой стороны ног до уровня
поджелудочной железы и селезёнки (32). Те же самые движения исполняются
с правым коленом и руками, поднимающимися от подошвы ноги до уровня
печени и желчного пузыря. Движения выполнять попеременно между обоими
ногами. Также как и в предыдущем упражнении, наклонение корпуса вперёд
позволяет энергии от нижней части ног быть переданной в два жизненных
центра энергии вокруг печени и поджелудочной железы. Этот магический
пасс используется, чтобы помочь приобрести гибкость и устранить
проблемы усвоения пищи.
11. Pushing
Down a Wall of Energy
The left foot, with the knee acutely bent, is lifted to the height of
the hips; then it pushes
forward with the tip of the foot arched upward, as if pushing away a
solid object (fig. 33).
As
soon, as the foot is brought down, the right foot is lifted in the same
fashion and the movement is
repeated, alternating the feet.
11. ТОЛКАНИЕ ВНИЗ
ЭНЕРГЕТИЧЕСКОЙ СТЕНЫ
Левая нога, с сильно
согнутой коленкой, поднята на высоту боков; затем она толкает вперёд
мыском ноги, согнутой вперёд, как-будто отталкивает плотный предмет
(33). Как только нога опускается, Правая нога поднимается точно также и
движение повторяется, чередуя ноги.

12.
Stepping Over a Barrier of Energy
The left leg is nimbly lifted as if going over a hurdle, which is
located edgewise in front of the
body. The leg makes a circle from left to right (fig. 34), and once the
foot lands, the other leg
is lifted to perform the same movement.
12. ШАГАЕМ ЧЕРЕЗ БАРЬЕР
ЭНЕРГИИ
Левая нога проворно
поднята, как-будто собираетесь через кучу, которая находится на краю,
впереди тела. Нога делает круг слева-направо (34), и как только нога
приземляется, другая нога поднимается - исполнить то же самое движение.
13. Kicking
a Lateral Gate
This is a kick-push with the soles of the feet. The left leg is lifted
to mid-calf and the foot
pushes to the right of the body as if to hit a solid object, using the
total sole of the foot as a
striking surface (fig. 35). The foot is retrieved then to the left
side, and the same movement is
repeated with the right leg and foot.
13. ПИНАЕМ В БОКОВЫЕ
ВОРОТА
Это - пинок-толчок
подошвами ног. Левая нога поднимается до середины голении и нога
толкает вправо, как-будто ударяет прочный предмет, используя всю
подошву ноги как ударный предмет (35). Затем нога направляется на Левую
сторону и то же самое движение повторяется Правой ногой.

14.
Cracking a Nugget of Energy
The left foot is lifted with the tip pointing acutely to the ground.
The knee protrudes straight
forward, deeply bent. Then the foot descends with a controlled motion,
striking toward the ground
as if it were cracking a nugget (fig. 36). Once the tip of the foot
strikes, the foot is returned
to its original standing position and the same movement is repeated
with the other leg and
foot.
14. РАЗБИВАЕМ СГУСТОК
ЭНЕРГИИ
Левая нога поднята с
мыском, направленным точно в пол. Колено выдаётся прямо вперёд, и
сильно согнуто. Затем нога опускается под полным контролем и ударяет
мыском прямо в пол (несильно), как-будто разбивает сгусток (36). Как
только мысок ударил, нога возвращается в своё обычное положение стоя и
то же самое движение повторяется с другой ногой.
15.
Scraping Off the Mud of
Energy
The left foot is lifted a few inches above the ground; the entire leg
is brought forward and then
pushed backward sharply, with the foot lightly brushing the ground, as
if it were scraping something
off the sole of the foot (fig. 37). The weight of the body is carried
by the opposite leg, and the
trunk leans a bit forward, in order to engage the muscles of the
stomach,
as this magical pass is
executed. Once the left foot returns to its normal position, the same
movement is repeated with the
right foot and leg. Shamans call the last five magical passes of this
group Steps in Nature. They
are magical passes, that practitioners can perform as they walk, or
conduct business, or even as
they are sitting, talking to people. Their function is gathering energy
with the feet and using it
with the legs for situations in which concentration and the quick use
of memory are required.
15. СОСКАБЛИВАЕМ
НЕНУЖНУЮ ЭНЕРГИЮ С НОГ
Левая нога поднята на
несколько см над полом; вся нога выдвинута
вперёд и затем отталкивается назад, подошвой слегка вытирая
поверхность, как бы стирая что-то с подошвы ноги (37). Вес тела - на
противоположной ноге и тело наклоняется немного вперёд, чтобы
использовать мускулы живота, пока этот Магический Пасс выполняется. Как
только Левая нога возвращается в обычное положение, то же самое
движение выполняется Правой ногой. Шаманы называли последние пять Магических Пассов этой
группы - ШАГИ В ПРИРОДЕ. Это Магические Пассы,
которые практиканты могут исполнять пока ходят или делают дела, и даже
сидя и разговаривая с людьми. Их функция - собрать энергию ногами и
использовать её ногами в ситуациях, в которых нужны концентрация и
быстрое применение памяти.
The
Second Group: Stirring Up Energy for Intent
The ten magical passes of the second group have to do with stirring up
energy for intending from
areas just below the knees, above the head, around the kidneys, the
liver and pancreas, the solar
plexus, and the neck. Each of these magical passes is a tool that stirs
up exclusively the energy
pertinent to intending, which is accumulated on those areas, Shamans
consider these magical passes
to be essential for daily living, because for them, life is ruled by
Intent. This set of magical
passes is perhaps for shamans what a cup of coffee is for modern man.
The slogan of 'in day, "I'm
not myself until I drink my cappuccino," or the slogan of a past
generation, "I'm not awake until I
drink my cup of Java," is rendered for them as "I am not ready for
anything until I have performed these magical
passes." The second group of this
series begins by the act, that has been termed turning the body on.
(See p.34 figs. 15, 16)
ВТОРАЯ
ГРУППА: СМЕШИВАНИЕ ЭНЕРГИИ ДЛЯ ИНТЭНТА
Десять магических
пассов Второй Группы имеют дело с размешиванием энергии для Интэнта из
районов чуть ниже колен, над головой, вокруг почек, печени и
поджелудочной железы, солнечного сплетения и шеи. КАЖДЫЙ ИЗ ЭТИХ
МАГИЧЕСКИХ ПАССОВ - это инструмент для смешивания исключительно энергию
нужную для намерения-цели, которая аккумулируется в тех районах.
Ясновидящие считали эти магические пассы необходимыми для ежедневной
жизни, потому что для них жизнь рукоаодствуется Интэнтом. Эта группа
магических пассов для Ясновидящих то, что чашка кофе для современного
человека. Такие слова как "Я не приду в себя без чашки капучино!" или
слова прошлого поколения "Я не проснусь, пока не выпью мою чашку
какао!" для Ясновидящих было равнозначно словам "Я ни к чему не готов,
пока я не выполню эти магические пассы". Вторая группа этой серии
начинается с действия, которое называлось 'завести тело'. (стр. 34 -
фигуры 15-16)
16.
Stirring Up Energy with the
Feet and the Arms
After
the body has been
turned on, it is held in a slightly stooped-over position (fig. 38).
The
weight is placed on the right leg, while the left leg makes a complete
circle, brushing the ground
with the tips of the toes, and landing on the ball of the foot, in
front of the body. The left arm,
in synchronization with the leg, makes a circle, the top of which goes
above the level of the head
(fig. 39). There is a slight pause of the leg and arm and they draw two
more circles in succession,
making a total of three (fig. 40). The rhythm of this magical pass is
given by counting one, slight
pause, one-one, then a very slight pause, two, pause, two-two, then a
very slight pause, and so on.
The same movement is performed with the right leg and arm. This magical
pass stirs energy at the
bottom of the luminous ball with the feet, and projects it with the
arms to the area just above the
head.
16. СМЕШИВАНИЕ ЭНЕРГИИ НОГАМИ И РУКАМИ
После того, как тело
было разбужено, оно должно быть слегка наклонённым вперёд (38). Вес
тела - на Правой ноге, пока Левая нога делает полный круг, вытирая пол
кончиками пальцев ног, и приземляясь на подушку ступни впереди тела.
Левая рука в унисон с Левой ногой делает круг, верхушка которого
проходит над уровнем головы (39). Затем небольшая пауза ноги и руки, и
они делают ещё два круга один за другим, в сумме - три (40). Ритм этого
магического пасса: 1 небольшая пауза,
1-1 ещё меньше пауза, 2 пауза, 2-2 меньше пауза, и т.д. То же самое
движение исполняется Правой ногой и рукой. Этот магический пасс
смешивает ногами энергию на дне Светящегося Кокона и передаёт её руками
в район над головой.
17. Rolling
Energy on the
Adrenals

The
forearms are placed
behind the body, over the area of the kidneys and adrenals. The elbows
are
bent at a ninety-degree angle and the hands are held in fists, a few
inches away from the body,
without touching it. The fists move downward in a rotational fashion,
one on top of the other,
beginning with the left fist moving downward; the right fist follows,
moving downward as the left
fist moves back up. The trunk leans slightly forward (fig. 41). Then
the movement is reversed, and
the fists roll in the opposite direction as the trunk leans slightly
backward (fig. 42). Leaning
the body forward and backward in this fashion engages the muscles of
the upper arms and the
shoulders. This magical pass is used to supply the energy of intending
to the adrenals and kidneys.
17. КАТИМ ЭНЕРГИЮ В НАДПОЧЕЧНИКИ
Руки сзади тела над
почками и надпочечниками. Локти согнуты под углом в 90 градусов, руки
сжаты в кулаки и отходят от тела на несколько см не дотрагиваясь до
тела. Кулаки крутятся, сначала Левый кулак вниз, затем Правый кулак
вниз - один над другим, затем вверх Левый кулак, за ним Правый. Тело
слегка наклоняется вперёд (41). Затем кулаки крутим в обратную сторону,
а тело слегка отклоняется назад (42). Наклоняя тело вперёд и назад,
заставляет работать мышцам верхней части рук и плечам. Этот магический
пасс используется для снабжения энергией намерения почкам и
надпочечникам.
18.
Stirring up Energy for the
Adrenals
The trunk is bent forward, with the knees protruding beyond the line of
the toes. The hands rest
above the kneecaps, the fingers draping over them. The left hand then
rotates to the right over the
kneecap, making the elbow protrude as far forward as possible in
alignment with the left knee (fig.
43). At the same time, the right forearm, with the hand still above the
kneecap, rests its full
length over the right thigh, while the right knee is straightened
engaging the hamstring. It is important to move only the knees, and not
to swing the rear end from side to side. The same movements
are performed with the right arm and leg (fig. 44). This magical pass
is
employed for stirring up the energy of intending around the kidneys and
adrenals. It brings the
practitioner long-range endurance and a sensation of daring and
self-confidence.

18. СМЕШИВАНИЕ ЭНЕРГИИ ДЛЯ НАДПОЧЕЧНИКОВ
Тело наклоняем вперёд,
колени выдаются вперёд дальше линии мысков пальцев. Руки отдыхают чуть
выше коленных чашек, а пальцы свешиваются на коленные чашки. Затем
Левая рука поворачивается локтем вправо над коленной чашкой, заставляя
локоть максимально выдвинуться в линию с Левой ногой (43). В то же
самое время Правая рука всё ещё над коленной чашкой покоится во всю
длину на Правом бедре, пока Правое колено выпрямляется, вовлекая
коленное сухожилие.
Важно двигать только
колени, а не качать зад из стороны в сторону. Такое же движение
исполняется с правой рукой и ногой (44). Этот магический пасс
употребляется для смешения энергии намерения вокруг почек и
надпочечников. Это приносит практиканту длительную выносливость,
чувство смелости и уверенность в себе.
19. Fusing
Left and Right Energy
A deep inhalation is taken. A very slow exhalation begins as the left
forearm is brought in front
of the shoulders, with the elbow bent at a ninety-degree angle. The
wrist is bent backward as
acutely as possible, with the fingers pointing forward, and the palm of
the hand facing to the
right (fig. 45). While the arm maintains this position, the trunk is
bent forward sharply until the protruding left
arm reaches the level of the knees. The left elbow must be kept from
sagging toward the floor, and
must be maintained away from the knees, and as far forward as possible.
The slow exhalation
continues, as the right arm makes a full circle over the head and the
right hand comes to rest an
inch or two away from the fingers of the left hand. The palm of the
right hand faces the body and
the fingers point toward the floor. The head is facing downward, with
the neck held straight. The
exhalation ends, and a deep breath is taken in that position. All the
muscles of the back and the
arms and legs are contracted as the air is slowly and deeply inhaled
(fig. 46). The
body straightens up as an exhalation is made, and the complete magical
pass is started again
with the right arm. The maximum stretch of the arms forward permits the
creation of an opening in
the energetic vortex of the center of the kidneys and adrenals; such an
opening allows the optimal
utilization of redeployed energy. This magical pass is essential for
the redeployment of energy to
that center, which accounts, in general terms, for an overall vitality
and youth of the body.
19. Сплавляем вместе
Левую и Правую Энергии
Глубокий Вдох, начинаем
очень медленный Выдох, когда Левая рука поднята впереди до уровня плеч
и локоть согнут на 90 градусов. Запястье отогнуто как можно дальше
назад, пальцы - вперёд, а ладонью - вправо (45). Пока рука в этом
положении, тело резко согнуто вперёд
20.
Piercing the Body with a
Beam of Energy
The left arm is placed against the body in front of the navel, and the
right arm just behind the
body at the same level. The wrists are bent sharply, and the fingers
point to the floor. The palm
of the left hand faces right, and the palm of the right hand faces left
(fig. 47). The fingertips
of both hands are raised briskly to point in a straight line forward
and backward. The whole body
is tensed and the knees are bent at the instant that the fingers point
forward and backward (fig.
48). The hands are kept in that position for a moment. Then the muscles
are relaxed, the legs are
straightened, and the arms are swiveled around until the right arm is
in front and the left behind.
As at the beginning of this magical pass, the fingertips point to the
floor, and are raised again
briskly to point in a straight line forward and backward, again with a
light exhalation; the knees
are bent. By means of this magical pass, a dividing line is established
in the middle of the body,
which separates left energy and right energy.
20. Пронзаем тело Лучом
Энергии
Левая рука ложится на
тело впереди пупка, а Правая рука на тело сзади, на том же уровне.
Запястья максимально согнуты и пальцы смотрят вниз на пол. Ладонь Левой
руки лицом вправо, а ладонь Правой руки лицом влево (47). Кончики
пальцев обеих рук быстро поднимаются спереди и сзади в одну линию. Всё
тело напрягается, колени согнуты в момент, когда пальцы указывают вперёд и назад (48). На
момент руки держатся в этом положении. Затем мускулы расслабляются,
ноги выпрямляются, и руки меняют положение: Правая рука - впереди,
Левая - сзади. Также как вначале этого магического пасса, кончики
пальцев направлены в пол, и снова быстро поднимаются в одну прямую
линию - спереди и сзади, снова с лёгким Выдохом; колени согнуты. С
помощью этого магического пасса, основывается разделяющая линия
посередине тела, которая разделяет Левую Энергию (волнистую) от Правой
Энергии (Круговую).
21.
Twisting Energy Over Two Centers of
Vitality
It's a good idea to begin by placing the hands facing each other, as a
device to keep the hands in
line. The fingers are kept open and clawed, as if to grab the lid of a
jar the size of the hand.
Then the right hand is placed over the area of the pancreas and spleen,
facing the body. The left
hand is placed behind the body, over the area of the left kidney and
adrenal, also with the
palm
facing the body. Both wrists are then bent backward sharply, as the
trunk turns as far to the left
as possible, keeping the knees in place. Next, both hands pivot at the
wrists in unison, in a
side-to-side movement, as if to unscrew the lids of two jars, one on
the pancreas and spleen,
and
the other on the left kidney
(fig. 49).
The same movement is executed
by reversing the order, putting the left
hand in the front, at the
level of the liver and
gallbladder and the right arm in the back at the
level of the right
kidney. With the aid
of this magical pass, energy is stirred on the
three main
centers of vitality: the
liver and gallbladder, the pancreas and spleen, and the kidneys and
adrenals.
It is an
indispensable magical pass for those, who have to be on the lookout. It
facilitates an all-around
awareness and it increases the practitioners' sensibility to their
surroundings.
21. Изгибаем энергию на
двух жизненных центрах
На Левой Стороне тела
хорошая идея сложить руки ладонями друг к другу, как средство держать
руки в
линию (49). Пальцы держим открытыми и согнутыми, как-будто хватаем
крышку банки размером с руку. Потом Правая рука кладётся на район
поджелудочной железы и
селезёнки слева тела, ладонями к телу. Левая рука кладётся
сзади тела, сверху района Левой
почки и Левого надпочечника, также
ладонью к телу. Оба запястья резко сгибаются назад, когда тело
поворачивается как можно дальше влево, держа колени на месте.
Следующее, обе руки вращают запястья в унисон, как-будто откручиваешь
крышки 2х банок, одна на селезёнке
и поджелудочной железе, другая - на
Левой почке и Левом надпочечнике (49). То же самое движение
делается
на Правой Стороне тела: Левая рука впереди на уровне печени и желчного пузыря и
Правая рука сзади на уровне Правой
почки. С помощью этого магического пасса энергия смешивается в
трёх главных жизненных центрах:
в печени и в желчном пузыре, селезёнке и поджелудочной железе,
в почках и надпочечниках. Это - необходимый магический
пасс для тех, кто в поисках. Он облегчает сознание практикантов и
увеличивает чувствительность к их окружению.
22. The
Half-Circle of Energy
A half-circle is drawn with the left hand, commencing in front of the
face. The hand moves slightly
to the right until it reaches the level of the right shoulder (fig.
50). There the hand turns and
draws the inner edge of a half-circle close to the left side of the
body (fig. 51). The hand turns
again in the back (fig. 52) and draws the outer edge of the
half-circle, then returns to its
initial position (fig. 53). The complete half-circle is slanted from
the level of the eyes, in
front, to a level below the rear end, in the back. It is important to
follow the movement of the
hand with the eyes. Once the half-circle drawn with the left arm is
completed, another one is drawn
with the right arm, surrounding the body in this fashion with two
half-circles. These two
half-circles are drawn to stir energy and to facilitate the sliding of
energy from above the head
to the region of the adrenals. This magical pass is a vehicle for
acquiring intense, sustained
sobriety.
22. Полукруг Энергии
Полукруг рисуем Левой
рукой, начиная впереди лица. Рука слегка двигается вправо, пока она не
достигнет уровня правого плеча (50). Там рука поворачивается и рисует
внутренний край полукруга близко к Левой части тела (51). Рука снова
поворачивается сзади (52) и рисует внешний край полукруга, затем
возвращается к своей первоначальной позиции (53). Полный полукруг
рисуем на уровне глаз, впереди, на уровень ниже заднего конца сзади.
Важно следовать движению руки глазами. Как только полукруг,
нарисованный Левой рукой завершён, ещё один рисуется Правой рукой,
окружая тело таким образом, двумя полукругами. Эти два полукруга
рисуются, чтобы смешать энергию и облегчить скатывание энергии над
головой в область надпочечников. Этот иагический пасс - средство
достижения интенсивной и постоянной трезвости.

23.
Stirring Energy Around the Neck
The left hand, with the palm facing upward, and the right hand, with
the palm facing downward, are
placed in front of the body, at the level of the solar plexus. The
right hand is on top of the
left, nearly touching it. The elbows are bent sharply. A deep breath is
taken; the arms are raised
slightly as the trunk is made to rotate as far to the left as possible
without moving the legs,
especially the knees, which are slightly bent in order to avoid any
unnecessary stress on the
tendons. The head is kept in alignment with the trunk and shoulders. An
exhalation begins as the
elbows are then gently pulled away from each other to a maximum
stretch, keeping the wrists
straight (fig. 54). An inhalation is taken. An exhalation begins when
the head is turned very
gently to the back to face the left elbow, and then to the front to
face the right elbow; the
rotation of the head back and forth is repeated two more times as the
exhalation ends. The trunk is
turned to the front, and the hands reverse position there. The right
hand is made to face upward
while the left hand is made to face downward, on top of the right one.
An inhalation is taken
again. The trunk is then turned to the right, and the same movements
are repeated on the right.
Shamans believe that a special type of energy for intending is
dispersed from the center for
decisions, located in the hollow V spot at the base of the neck, and
that this energy is
exclusively gathered with this magical pass.
23. СМЕШИВАНИЕ ЭНЕРГИИ
ВОКРУГ ШЕИ
Левая рука с
ладонью вверх и Правая рука - ладонью вниз перед телом на уровне
солнечного сплетения. Правая рука сверху Левой, почти её трогая. Локти
согнуты. Глубокий Вдох, руки слегка подняты, тело повернуть влево до
максимума, не двигая ноги, особенно колени, которые слегка согнуты,
чтобы избежать давления на сухожилия. Голову держать на одной линии с
телом и плечами. Выдох начинается когда локти медленно и на максимум
отходят друг от друга в разные стороны, держа запястья прямыми (54).
Вдох, затем начинаем Выдох, когда голова очень мягко повёрнута назад,
чтобы смотреть на Левый локоть; и потом вперёд смотреть на Правый
локоть; вращение головой влево-вправо повторяется ещё пару раз, пока
заканчивается Выдох. Тело поворачивается вперёд и руки меняют
положение: Правая рука - ладонью вверх, а Левая - ладонью вниз и над
Правой ладонью. Снова Вдох. Затем тело поворачивается вправо и то же
самое движение повторяется справа. Колдуны верили, что особый вид
энергии для Интэнта к сожалению, разбрасывается из центра решений,
находящийся в углублённом основании шеи (V) и что эта энергия обратно
возвращается этим магическим пассом.

24.
Kneading Energy with a Push of the Shoulder Blades
Both arms are placed in front of the face, at the level of the eyes,
with the elbows bent enough to
give the arms a bowlike appearance (fig. 55). The trunk is bent forward
slightly, in order to allow
the shoulder blades to expand laterally. The movement begins by pushing
the left arm forward, while
it is kept arched and tense (fig. 56). The right arm follows; and the
arms move in an alternating
fashion. It is important to note that the arms are kept extremely
tense. The palms of the hands
face forward and the fingertips face each other. The driving force of
the arms is created by the
deep movement of the shoulder blades and the tenseness of the stomach
muscles. Shamans believe, that
energy on the ganglia around the shoulder blades gets easily stuck and
becomes stagnant, bringing
about the decay of the center for decisions, located on the V spot at
the base of the neck. This
magical pass is employed to stir that energy.
24. Замешивание энергии
толканием лопаток.
Обе руки - перед лицом
на уровне глаз, локти достаточно согнуты, чтобы придать рукам вид дуги
(55). Тело слегка наклонено, чтобы позволить лопаткам расшириться в
бока. Движение начинается с толчка Левой рукой вперёд, пока она - аркой
и напряжена (56). Правая рука следующая; и руки двигаются вперёд-назад
по очереди. Важно запомнить, что руки очень напряжены. Ладони рук
смотрят вперёд и кончики пальцев обеих рук смотрят друг на друга.
Мотивирующая сила рук создаётся глубоким движением лопаток и
напряжением мышц желудка. Колдуны верили, что энергия на нервном узле,
центре вокруг лопаток легко застаивается, принося распад центру для
решений, расположенному в V месте в основании шеи. Этот магический пасс
делается, чтобы смешать эту энергию.
25.
Stirring Energy Above the Head and
Cracking It
The left arm moves in a relaxed fashion, making two and a half circles
above and around the head
(fig. 57). Those circles are then cracked with the outer edge of the
forearm and the hand, which
comes down forcefully, but very slowly (fig. 58). The impact is
absorbed by the stomach muscles,
which are tensed at that moment. The muscles of the arm are kept tight,
in order to avoid injuries
to the tendons, which could occur, if the muscles of the arm were
loose,
or if the arm were whipped.
Air is exhaled lightly as the arm strikes downward. The same movement
is repeated with the right
arm. The energy stirred and cracked in this fashion is allowed to seep
downward over the entire
body. When practitioners are overtired, and can't afford to go to
sleep, executing this magical
pass dispels sleepiness and brings forth a sensation of temporary
alertness.
25. СМЕШИВАНИЕ ЭНЕРГИИ
НАД ГОЛОВОЙ И СДАВЛИВАНИЕ ЕЁ
Левая рука расслаблено
двигается, делая два с половиной круга над и вокруг головы (57). Те
круги потом разбиты внешним краем ладони, которая опускается с силой,
но очень медленно (58). Удар берут на себя мышцы
желудка, которые напрягаются в этот момент. Мускулы руки напряжены,
чтобы избежать повреждения сухожилий, что может произойти, если мускулы
руки были расслаблены. Лёгкий Выдох, когда рука ударяет вниз. Такое же
движение повторяется с Правой Рукой. Энергия смешивается и разбивается
в такой манере, и позволяет просачиваться вниз, через всё тело. Когда
практиканты слишком устали и не могут позволить себе заснуть,
выполнение этого магического пасса рассеивает сонливость и приносит
ощущение временного возбуждения.
The
Third Group: Gathering Energy for Intent
The nine magical
passes of the third group are employed to
bring to the three centers of vitality around the liver, the pancreas,
and the kidneys the
specialized energy, which has been stirred up by the magical passes of
the previous group. The magical passes of this group must be performed
slowly and with
ultimate deliberation. Shamans
recommend that the state of mind on executing these passes be one of
total silence and the
unwavering intent to gather the energy necessary for intending. All of
the magical passes of the
third group begin with a fast shake of the hands, which are held at the
sides of the body, with the
arms hanging at a normal position. The hands shake as if the fingers
were vibrating downward, taken
by a tremor. A vibration of this nature was thought to be the means to
stir energy around the hips
and also the means to stimulate minute centers of energy, where energy
could get stagnant on the
backs of the hands and the wrists. The overall effect of the first
three magical passes of this
group is one of general vitality and well-being, since energy is
carried to the three main vital
centers in the lower part of the body.
ТРЕТЬЯ
ГРУППА: СОБИРАНИЕ ЭНЕРГИИ ДЛЯ ИНТЭНТА
Девять магических
пассов третьей группы делаются, чтобы принести особую энергию трём жизненным центрам:
печени, поджелудочной железы и почек, энергия, которая была смешана
магическими пассами предыдущей группы. Магические пассы этой группы
должны выполняться медленно и со взвешенностью, с обдумыванием и с
предельной осторожностью. Ясновидящие рекоммендуют, чтобы состояние ума
во время этих пассов было в абсолютном молчании и в несгибаемом Интэнте
(несгибаемой ВОЛЕ), чтобы собрать
энергию, необходимую для намерения. Все магические пассы третьей
группы начинаются с быстрой тряски рук, пальцев, которые опущены вдоль
тела. Руки трясти, как-будто пальцы вибрируют вниз. Такая вибрация -
это помощь в смешении энергии вокруг бёдер и также помощь в
стимулировании крошечных центров энергии там, где энергия может
застояться на верхней части рук и на запястьях. Общий эффект первых
трёх магических пассов этой группы - общая жизнедеятельность и
здоровье, так как энергия вносится в три главные жизненные центры
нижней части тела.
26.
Reaching for Energy Stirred
Below the Knees
A deep inhalation is taken as the
hands shake.
A small jump forward is made with the left leg, which is propelled by
the right one. The trunk is
bent markedly forward, and the left arm is stretched out to grab
something that is almost at the
floor level (fig. 59). The left leg is then retrieved to a standing
position, and the left palm
brushes immediately over the vital center of energy on the right: the
liver and gallbladder. The
same movement is repeated with the right leg and arm, brushing the palm
over the vital center on
the left: the pancreas and spleen.
26.
ДОСТИГАЕМ ЭНЕРГИЮ, СМЕШАННУЮ НИЖЕ КОЛЕН
Трясём руки. Делаем небольшой прыжок вперёд левой ногой и отталкиваемся
от пола
правой ногой. Тело согнуто очень низко вперёд и левая рука вытянута
схватить то, что почти у пола (59).
Левая нога выпрямляется и левая ладонь сразу втирает пойманную энергию
в жизненные центры на правой стороне: печень и желчный пузырь. То же
самое движение повторяется с правой ногой, и правой рукой втираем пойманную энергию в
жизненные центры на левой стороне: поджелудочная железа и селезёнка.
27.
Transporting Front Energy to
the Adrenals
A deep inhalation is taken
while the hands shake. Then the left arm
shoots straight in front of the
body; it the level of the shoulders with the palm of the hand turned
toward the left, as all the
air is sharply exhaled
(fig. 60). Next, a very slow
inhalation begins,
while the wrist rotates from
left to right, making a complete circle, as if scooping a ball of solid
matter
(fig. 61). Then the
inhalation continues
while the wrist rotates back again to its initial
position with the palm
facing to the left. Next, as if carrying the ball, the left arm makes a
semi-circle, keeping the
same shoulder level; this movement ends, when the back of the bent left wrist
is placed over the left
kidney. It is important that the continuous inhalation be
made
to last
for the duration of the
swinging of the arm from front to back. As this swinging movement is
executed, the right arm makes
a circular movement to the front of the body, ending when the back of
the bent wrist is brought to
touch the area just above
the pubis. The head is turned to the left to
face the back (fig. 62).
Next, the left hand, which is holding the ball, turns to face the body
and smashes the ball against
the left kidney and adrenal.
The palm is then gently rubbed over that
area, as an exhalation
is
made. The same movement is executed by reversing the arms and turning
the head to the right.
27. ПЕРЕНОСИМ ПЕРЕДНЮЮ
ЭНЕРГИЮ К НАДПОЧЕЧНИКАМ
Берём глубокий Вдох,
пока
руки трясутся. Затем Левая Рука выстреливает вперёд, прямо перед телом;
рука - на уровне плеч, ладонь руки повёрнута влево и весь воздух резко
выдыхается (60). Начинаем очень медленный Вдох, пока
запястье двигается
слева направо, делая полный круг, как бы вырезая шар плотного вещества
(61). Потом Вдох продолжается,
пока запястье ладонью влево делает
полукруг в обратную сторону, в первоначальное положение (как-будто
берёт
мороженое из контейнера округлённой ложкой). Движение заканчивается,
когда тыльная сторона согнутого Левого запястья кладётся на Левую почку. Длинный Вдох, чтобы
перенести Левую руку спереди-назад, на Левую
почку. Правая согнутая ладонь делает круговое движение
вперёд тела,
и кладётся тыльной стороной в
район слегка выше женского полового органа. Голова повёрнута Влево,
чтобы видеть сзади, Выдох
(62). Потом Левая рука (с согнутым запястьем),
которая держит шар, мягко втирает энергию
шара в Левую почку и
в Левый надпочечник и возвращается вперёд
тела.
Вдох. То же самое
движение делается
с Правой рукой и поворотом головы Вправо.

28.
Scooping Energy from the Left and
the Right
A deep inhalation is taken
as the hands shake. The arms
are moved to the sides of the body
and then raised with the
hands curled inward toward the
body, brushing upward against the torso to reach the armpits, as a deep
inhalation is taken (fig.
63). Next, the arms are extended laterally, with the palms down, as the
air is exhaled
forcefully.
A deep inhalation is
taken then as the hands are cupped and made to
rotate on the wrists until the
palms face up, as if scooping something solid (fig. 64). Next, the
hands are brought back to the
shoulder level by bending the elbows sharply as the inhalation
continues (fig. 65). This movement
engages the shoulder blades and the muscles of the neck. After holding
this position for a moment,
the arms are extended laterally again, with a sharp exhalation. The
palms face front. The palms of
the hands are cupped and made to rotate backward, again as if scooping
a solid substance. The
slightly cupped hands are brought back to the shoulder level as before.
These movements are
repeated one more time, for a total of three. The palms then rub gently
over the two vital centers
around the liver and
around the pancreas
as the air is exhaled.

28. СНЯТИЕ ЭНЕРГИИ СЛЕВА
И СПРАВА
Глубокий Вдох. Руки
вдоль тела,
трясутся, потом они поднимаются и трут бока тела до подмышек, руки
скрученные внутрь тела (63). Руки - в стороны, ладони вниз, ноги - на
ширине плеч, сильный Выдох. Опять глубокий Вдох, пальцы сгибают ладони
как чашки и руки крутятся в запястьях, пока ладони не будут смотреть
вверх, как-будто снимать что-то плотное (64). Потом руки притянуть
обратно к плечам - ладони на уровне плеча, резко согнув локти, пока не
закончится Вдох (65). В этом движении учавствуют лопатки плеч и мускулы
шеи. На момент держать это положение, руки снова вытягиваются в
стороны, резкий Выдох. Всё это движение повторяется ещё два раза
(ладони рук снова в форме чашки и т.д. ...). Затем ладони мягко
растирают два жизненных центра: печень и поджелудочную железу
во время Выдоха.
29.
Cracking the Circle of Energy
Shaking hands, inhilation.
A circle is made by moving the left arm to the right shoulder (fig.
66), then close around the
front of the body to the back (fig. 67) and out again to in front of
the face (fig. 68). This
movement of the left arm is coordinated with the same movement done
with the right arm. Both arms
move in an alternate fashion, creating a slanted circle around the
total body. Then a backward step
to the left is taken with the right foot, followed by a step to the
right taken with the left foot,
so as to turn around to face the opposite direction. The left arm is
arched then around the left
side of the circle, as if the circle were a solid object movement which
the left arm presses
against the armpit and chest area. The right arm then performs the same
on the right side, treating the circle as if it were a solid object
(fig. 69). A deep breath
is taken, and the circle is cracked from both sides by tensing the
whole body, especially the arms,
which are brought together to the chest. The palms then rub gently on
the respective centers of
vitality on the front of the body as the air is exhaled. The
uses of
this pass are quite esoteric,
because they have to do with the clarity of intent needed for decision
making. This magical pass is
used for spreading the energy of decisions accumulated around the
neck.

29. РАЗРЫВ КРУГА ЭНЕРГИИ
Трясём руками и Вдох. Полукруг сделан,
двигая
Левую руку к Правому плечу (66), затем Левую руку двигаем по кругу
обратно, как можно дальше за спину (67), глазами сопровождаем движение
Левой руки. И снова двигаем Левую руку по кругу к Правому плечу перед
лицом (68). Это движение Левой руки координируется поочерёдно с таким
же движением, сделанным Правой рукой, создавая крук под углом вокруг
всего тела. Затем делается шаг назад влево и поворачиваем тело на 180
градусов, чтобы смотреть в противоположную сторону. Левая рука
сгибается аркой влево, образуя Левую Сторону Круга (как-будто круг
материальный). Правая рука затем делает то же самое на Правой Стороне
(69). Глубокий Вдох взят и круг раздавлен с обоих сторон напряжением
всего тела, особенно руками, которые двигаем к груди. Потом ладонями
мягко растираем на жизненных центрах впереди тела: печень и желчный пузырь - селезёнку и поджелудочную железу,
делаем Выдох.
Использования этого Пасса - довольно эзотерические,
потому что они имеют отношение к ясности Интэнта, необходимое для
принятия решений. Этот Магический Пасс используется для распространения
энергии решений, аккумулирующихся вокруг шеи.
30.
Gathering Energy from the Front of the Body, Right Above the
Head
A deep inhalation is taken
as the hands shake. Both arms are brought to
level of the face with
clenched fists, crossed in an X, with the left arm closer to the face,
and the inside of the fisted
palms toward the face. The arms are then extended a few inches to the
front as the wrists are made
to rotate on each other until the fisted palms are facing down (fig.
70) From this position, the
left shoulder and shoulder blade are extended forward, an exhalation
begins. The left shoulder is
pulled back as the right one comes forward. Next, the crossed arms are
lifted above the head and
the exhalation ends.
A slow, deep inhalation
is taken as the crossed
arms make a complete circle,
moving to the right around the front of the body, almost to the level
of the knees, then to the
left, and back to their initial position, right above the head (fig.
71). Then the arms are
forcefully separated as a long
exhalation begins (fig. 72). From there,
the arms move as far back
as possible, as the exhalation
continues, drawing a circle which is
completed when the fists are
brought to the front to the level of the eyes, with the inside of the
fisted palms toward the face
(fig. 73). Then the arms are crossed again. The wrists pivot on each
other as the hands are opened
and are placed against the body, the right hand on the area of
the
pancreas and spleen,
and the
left hand on the area
of the liver
and gallbladder. The body bends
forward at the waist, at a
ninety-degree angle, as the exhalation
ends (fig. 74). The use of this
magical pass is twofold:
First, it stirs energy around the shoulder blades and transports it to
a place above the head. From
there, it makes the energy circulate in a broad circle that touches the
edges of the luminous
sphere. Second, it mixes the energy of the Left and the Right by
placing it on the two centers of
vitality around the pancreas
and the liver, with each hand on the
opposite center. Mixing
energy in such a
fashion provides a jolt of great magnitude to the respective centers of
vitality. As the
practitioners became more proficient in their practice, the jolt
becomes more acute, and acquires
the quality of a filter of energy, which is an incomprehensible
statement, until this pass is
practiced. The sensation that accompanies it could be described as
breathing mentholated
air.


30. Собирание энергии с
передней части тела прямо над головой
Глубокий Вдох, руки
трясутся. Обе руки крест-накрест, Левая рука кладётся на Правую, с
сжатыми кулаками двигаем вверх и вперёд до уровеня лица. Левая
рука ближе к лицу и также её внутренняя сторона, сжатой в кулак, ладони
смотрит в лицо. Затем руки вытянуты полностью вверх выше головы, Выдох заканчивается. Медленный, глубокий
Вдох и начинаем двигать обе скрещенные руки влево-вправо до 20
раз
(р.70). Останавливаемся, руки над головой, и ими начинаем делать полный
круг вправо впереди тела, останавливаемся - руки над головой (71).
Затем руки с силой отделяем на два кулака, сжатыми ладонями смотрят от
лица, начинаем длинный Выдох
(72). Двигаем кулаки назад насколько можно
и ими рисуем круг слева и справа, а теперь 2 кулака смотрят в лицо
(73). Затем руки - опять крест-накрест. Запястья вращаются друг на
друге, когда руки открываются и кладутся на тело: Правая рука на - селезёнку и поджелудочную железу , Левая рука на - печень и желчный пузырь. Тело наклоняется
вперёд в талии на 90 градусов, Выдох заканчивается (74).
Использование
этого магического пасса двойное: первое, он смешивает Энергию вокруг
лопаток и транспортирует её в место выше головы. Оттуда, он заставляет
энергию циркулировать в широком кругу, который затрагивает края нашей
Светящейся Сферы. Второе, он смешивает энергии Левой Стороны и Правой Стороны, накладывая
её на два жизненных центра: печень и поджелудочную железу , каждой рукой на
противоположный центр. Такое смешивание энергий ведёт к огромной
встряске в этих жизненных центрах. Когда практиканты
становятся более опытными в этой практике,
встряска становится более чувствительной и приобретает качество фильтра
энергии, что непонятно до тех пор, пока этот пасс не проделан
достаточно долго. Ощущение, которым он сопровождается, можно описать,
как дышать ментоловым воздухом.
31.
Stirring and Grabbing Energy from
Below the Knees and Above the
Head
An inhalation is taken as the
hands shake. Both hands are brought up by
the sides of the body to
the level of the waist, and held relaxed. The knees are bent as the
Left hand
is pushed downward with the wrist turned so that the palm faces
outward, away from the body, as if
it were reaching into a bucket full of liquid substance. This movement
is performed at the same
time that the Right hand shoots up above the head with equal force; the
Right wrist is also turned,
so that the palm faces outward, away from the body (fig. 75). A slow
exhalation begins when both
arms reach their maximum extension. The wrists are returned with great
force to a straight position
at the same time that the hands clasp into fists, as if grabbing
something solid. Keeping the fists
clenched, the exhalation
continues, while the Right arm is brought down
and the Left arm is brought
up to the level of the waist, slowly and with great strength, as if
wading through a heavy liquid
(fig. 76). Then the palms rub gently on the areas of the liver and
gallbladder and the pancreas and
spleen. The knees are straightened and the exhalation ends at
this
point (fig. 77). The same
movement is executed by shifting the arms; the Right arm plunges
downward while the Left arm pushes
upward. The
energy for intending that is extracted from below the knees and above
the head in this magical
pass can also be rubbed on the areas of the left and right kidneys.
31.
СМЕШИВАНИЕ И ЗАХВАТ ЭНЕРГИИ ИЗ ПОД КОЛЕН И НАД ГОЛОВОЙ
Вдох во время тряски рук.
Обе руки поднять вверх по
бокам тела до талии и держать их расслабленными. Колени согнуты, когда
Левая рука устремляется вниз с запястьем, повёрнутым так, чтобы ладонь
смотрела наружу тела...в то же время Правая рука выбрасывается вверх
над головой с одинаковой силой; Правая ладонь тоже
смотрит наружу тела (75).
Начинается медленный Выдох,
когда обе руки достигают своей максимальной
растяжки.
Запястья с большой силой медленно возвращаем обратно в позу готовности,
сжимая ладони
в
кулаки,
как-будто схватив что-то плотное. Держа кулаки сжатыми, продолжаем
выдыхать, доведя Правую и Левую руки до талии медленно с большой
силой, как-будто проводим
руки через тяжёлую жидкость (76). Потом ладонями мягко растираем район
печени, желчного пузыря,
поджелудочной железы и селезёнки. Колени
выпрямить и Выдох
заканчивается в этот момент (77). Те же самые
движения выполняются, меняя руки: Правая
рука устремляется
вниз с запястьем,
повёрнутым так, чтобы ладонь смотрела наружу тела, в то же
время Левая рука
выбрасывается вверх над головой с одинаковой силой. В этом
магическом пассе, энергия
намерения сделать это,
вытащенная снизу, из-под колен и над головой, может быть втёрта в
районы левой и правой почек.
32. Mixing
Energy of the Left
and the Right
An inhalation is taken as the
hands shake. The left arm reaches
diagonally to the extreme right
above the head and in line with the right shoulder as an exhalation
begins (fig. 78). The hand
grabs as if clasping a handful of matter, yanks it out, and brings it
to a position above the head
and in line with the left shoulder, where the exhalation ends. The left
hand remains clasped, and a
sharp inhalation is
taken as the left arm circles backward (fig. 79),
ending in a fisted position
at the level of the eyes. The fist is then brought down with an
exhalation to the
vital center
around the pancreas, slowly, but with great force, and the palm rubs
softly on that area (fig. 80).
The same movement is repeated with the right arm, but instead of moving
in a backward circle, the
right arm moves in a frontward circle. In the belief of shamans,
the
energy of the two sides of the
body is different. The energy of the left is portrayed as being
undular, and the energy of the
right as being circular. This magical pass is used to apply
circular energy to the left and undular energy to the right, in
order to strengthen the centers of vitality around the liver and
pancreas by the inflow of slightly
different energy.

32.
СМЕШИВАНИЕ ЭНЕРГИЙ ЛЕВОЙ И ПРАВОЙ СТОРОН
Вдох во время тряски
рук. Левая рука диагонально устремляется максимально вправо над головой
и в линию с правым плечом, когда начинается Выдох (78).
Рука как-будто схватывает полную руку вещества в кулак, выдирает его и
переносит его в положение над головой и в линию с левым плечом, где
заканчивается Выдох. Левая рука остаётся
сжатой и делаем
короткий Вдох, пока Левая рука делает круг
назад (79),
заканчивая в кулачном положении на уровне глаз. Затем
кулак с Выдохом опускаем
вниз к жизненному центру
вокруг поджелудочной
железы медленно, но с большой силой, и ладонь мягко трёт это
место
(80). То же самое движение повторяем правой
рукой, но вместо кругового
движения назад, правая
рука движется круговым
движением вперёд. Колдуны верили, что, энергия обоих сторон тела
-
разная.
Энергия Левой Стороны представлена как - волнистая, а Энергия Правой
Стороны - как круговая вроде завихрения. Магический
Пасс используется, чтобы дать круговую
энергию Левой
Стороне и волнистую
энергию - Правой
Стороне, таким
образом подкрепить жизненные центры
вокруг печени и
поджелудочной железы внедрением другой энергии.
33.
Grabbing Energy from Above the Head
for the Two Vital
Centers
A deep inhalation is taken as the
hands shake.
Starting at the level of the ear, the left arm circles forward twice
(figs. 81, 82) and is then
extended over the head, as if to grab something. As this movement is
executed, a deep breath is
taken, winch ends at the moment, that the hand grabs upward, as if to
fetch something above the head.
Don Juan recommended, that
the
eyes select, with a quick glance upward,
the target for the hand to
grab. Whatever is selected and grabbed is then yanked forcefully
downward and placed over the vital
center around the pancreas and spleen. The air is exhaled at this
point. The same movement is
performed with the right arm, and the energy is placed over the center
around the liver and
gallbladder. According to shamans, the energy of intent tends to
gravitate downward, and a more
rarefied aspect of the same energy remains in the area above the head.
This energy is gathered with
this magical pass.
33.
ЗАХВАТ ЭНЕРГИИ НАД ГОЛОВОЙ ДЛЯ ДВУХ ЖИЗНЕННЫХ ЦЕНТРОВ
Начиная
на уровне уха, Левая
рука делает круг вперёд дважды (81, 82), глубокий Вдох и затем,
вытягивается над головой, как-будто что-то схватить. Тут Вдох
заканчивается. Дон Хуан
рекоммендовал, чтобы быстрым взглядом вверх,
глаза выбрали то, что рука хочет схватить. Что было выбрано и
схвачено,
затем с силой вырвано и растёрто по жизненным центрам вокруг
поджелудочной железы и селезёнки. В этот момент - Выдох. То же
самое
движение исполняется правой рукой и энергия растирается в центры вокруг
печени и желчного пузыря. Согласно Колдунам энергия Интэнта
стремится
падать вниз, и более рафинированная, очищенная сторона этой же энергии
собирается в районе - над головой. Эту энергию мы и собираем этим
магическим пассом.
34.
Reaching for Energy Above the Head
A deep inhalation is taken as the
hands shake.
The left arm is extended upward as far, as possible, with the hand
open,
as if to grab something. At
the same time, the body is propelled upward with the right leg. When
the jump reaches its maximum
height, the hand turns inward at the wrist, making a hook with the
forearm (fig. 83), which then
slowly and forcefully scoops downward. The left hand rubs immediately
around the vital center of
the pancreas and spleen. This movement is performed with the right arm
in exactly the same fashion,
as it was done with the left. The right hand immediately brushes across
the vital center around the
liver and gallbladder. Shamans believe, that the energy stored around
the periphery of the luminous
sphere, that human beings are, can be stirred and gathered by jumping
forcefully upward. This magical
pass is used, as a help to dispel problems brought about by
concentrating on a given task for long
periods of time.
34.
ДОСТИГАЕМ ЭНЕРГИЮ НАД ГОЛОВОЙ
Левая
рука вытянута вверх как можно выше, с открытой ладонью, как бы что-то
схватить. В то же время тело прыгает вверх с правой ноги. Когда прыжок
достигает максимальной высоты, рука в запястье поворачивается внутрь,
образуя крюк (83), который потом медленно, но с силой несёт энергию
вниз. Левая
рука сразу втирает эту энергию в жизненные центры вокруг
поджелудочной железы и селезёнки. То же
самое движение исполняется правой рукой в той же манере. Правая
рука сразу втирает эту энергию в жизненные центры вокруг печени и
желчного пузыря. Колдуны верили, что
энергия, хранящаяся вокруг окружности Светящейся Сферы человека, может быть
смешана и собрана, с силой прыгая вверх. Этот магический пасс
используется как помощь разгонять, рассеивать проблемы, возникающие от
концентрации на каком-то задании долгое время.
The
Fourth Group: Breathing In the Energy of Intent
ЧЕТВЁРТАЯ ГРУППА:
ВДЫХАЕМ ЭНЕРГИЮ ИНТЭНТА.
The three magical
passes of this group are for stirring,
gathering, and transporting energy for intent from three centers -
around the feet, on the ankles,
and right below the kneecaps - and placing it on the centers of
vitality around the kidneys, the
liver, the pancreas, the womb, and the genitals. The recommendation to
practitioners on the
execution of these magical passes is that since they are accompanied by
breaths, the inhalations
and exhalations should be slow and profound; and that there should be a
crystal clear intent on the
part of the practitioners that the adrenals receive an instantaneous
boost while the deep breaths
are taken.
Три магических
пасса этой группы - для смешивания, скапливания и транспортировки
энергии для Интэнта из трёх центров: вокруг ступней, на лодыжке ступни
и прямо под коленными чашками - и втирание этой энергии в жизненные
центры вокруг почек, печени, поджелудочной железы, матки и половых
органов. Совет практикантам при исполнении этих магических пассов: так
как они сопровождаются дыханием, Вдохи и Выдохи должны быть медленными
и глубокими; также должен быть кристально-ясный Интэнт со стороны
практикантов, что надпочечники получают мгновенное вливание энергии, то
есть помощь-поддержку, когда Вдохи-Выдохи глубокие.
35. Dragging Energy from the
Kneecaps Along the Front of the
Thighs
A deep inhalation is taken as
the arms hang by the sides and the hands
waver in a continuous
tremor, as if stirring a gaseous matter. An exhalation begins as the
hands are lifted to the waist,
and the palms of the hands strike down in unison, on each side of the
body, with great force (fig.
84). The arms are only slightly bent, so that the palms of the hands
are a few inches below the
stomach. The hands are three or four inches apart, held at
ninety-degree angles with the forearms,
the fingers pointing forward. Slowly and without touching, the hands
make one circle inward toward
the front of the body; the muscles of the arms, stomach, and legs are
fully contracted (fig. 85). A
second circle is drawn in the same fashion as the air is totally
expelled through clenched teeth.
Another deep inhalation
is taken, and the air is
slowly exhaled as
three more inward circles are
drawn in front of the body.
The hands are then retrieved to the front
of the hips, and they slide
down the front of die thighs with the heels of the palms, fingers
slightly turned up, all the way
to the kneecaps. The air is
fully exhaled then. A third
deep inhalation
is taken while the tips of
the fingers press the bottom of the kneecaps. The head is held facing
downward, in line with the
spine (fig. 86). Then, as the bent knees are straightened, the hands,
with the fingers clawed, are
dragged up the thighs to the hips, as the air is slowly exhaled. With
the last portion of the
exhalation, the hands are then brushed on the respective centers
of
vitality around the pancreas
and the liver.

35.
ВЫТАСКИВАНИЕ ЭНЕРГИИ ИЗ КОЛЕННЫХ ЧАШЕК ВДОЛЬ ПЕРЕДНЕЙ ЧАСТИ БЁДЕР
Глубокий
Вдох, когда руки висят вдоль тела, и долго трясём пальцы,
как-будто смешиваем газ. Выдох
начинается, когда руки поднимаются до
талии, и ладони рук плашмя в унисон ударяют с
большой силой вниз по обеим сторонам тела (84). Руки только немного
согнуты, так что ладони рук несколько см ниже желудка. Руки расставлены
только на несколько см, и сгибаем их в запястьем под углом в 90
градусов ладонями вниз, пальцы направлены вперёд. Медленно и не касаясь
друг друга, ладони делают круг внутрь, впереди тела; мускулы рук, желудка и
ног полностью напряжены (85). Второй круг проделат точно также, пока
воздух полностью не выйдет
через стиснутые зубы. Берём следующий глубокий
Вдох и воздух медленно выдыхается пока рисуются вовнутрь ещё три
круга
перед телом. Тогда обе ладони, подушечкой ставятся впереди бёдер и
затем сползают вниз передних бёдер до коленной чашечки. Затем воздух
полностью выдыхается. Третий
глубокий Вдох берётся, когда кончики
пальцев давят на низ коленных чашечек. Голову держать лицом вниз, в
линию с позвоночником (86). Затем, когда согнутые колени выпрямляются,
руки с согнутыми пальцами, тащутся вверх бёдер к бокам, пока
воздух медленно выходит. С
последней порцией Выдоха, руки втирают
энергию в соответствующие жизненные центры вокруг поджелудочной железы
и печени.
36.
Dragging Energy from the Sides of
the Legs
A deep inhalation is
taken as the hands, held by the sides of the body,
shake with a continuous
tremor. The hands strike down exactly as in the previous magical pass.
An exhalation begins there,
while the hands draw, in a similar fashion, two small outward circles
by the sides of the body. The
muscles of the arms, stomach, and legs are tensed to the maximum. The
elbows are held fight but
slightly bent (fig. 87). After the two circles have been drawn, all the
air is expelled, and a deep
inhalation is taken. Three more outward circles are drawn as the
air is
slowly exhaled. The hands
are then brought to the sides of the hips. The fingers are slightly
raised as the heels of the
hands rub all the way down the sides of the legs, until the fingers
reach the outside knobs of the
ankles. The head is facing downward, in line with the body (fig. 88).
The exhalation ends
there,
and a deep inhalation is
taken with the index and middle fingers
pressing the bottom of the knobs
(fig. 89). A slow
exhalation begins as the hands, with the
fingers clawed, are dragged up the sides of the
legs to the hips. The exhalation
is completed while the palms are
brushed on the two respective
centers of vitality.

36.
ВЫТАСКИВАНИЕ ЭНЕРГИИ ИЗ БОКОВ НОГ
Глубокий
Вдох пока трясём руками вдоль тела. Выдох начинается, когда
руки поднимаются до
талии, и ладони рук плашмя в унисон ударяют с
большой силой вниз по обеим сторонам тела. Ладони также делают по бокам
тела таких же два небольших, но внешних круга (то есть круги - не
внутрь,
а наружу). Мускулы рук, желудка и ног напряжены до максимума. Локти
отставлены и слегка согнуты (87). После того, как два круга сделаны,
весь воздух выдыхается
и берётся глубокий Вдох.
Делается ещё три круга,
пока воздух медленно
выдыхается. Затем руки переносим на бока бёдер.
Пальцы немного подняты, пока подушечки ладоней трут бока ног, спускаясь
вниз, пока пальцы не достигнут внешнюю шишку-лодышку. Голова смотрит
вниз в линию с телом (88). Тут заканчивается Выдох и берётся глубокий
Вдох с указательным и средним пальцами, давящими на нижнюю часть
шишки-лодышки
(89).
Начинается медленный Выдох,
когда пальцы рук сгибаются и скребут бока
ног, поднимаясь к бёдрам. Выдох
заканчивается, пока ладони трут два
соответствующих жизненных центра.
37.
Dragging Energy from the Front of
the
Legs
Again, a deep inhalation is
taken as the hands, held by the sides of
the body, are shaken. Both
arms make a circle by the sides of the body, beginning toward the back,
and going over the head
(fig. 90) to strike forcefully in front of the body with the palms down
and the fingers pointing
forward. A slow exhalation
begins there, while the hands, starting with
the left, move forward and
backward three times in alternating succession, as if sliding over a
smooth surface. The exhalation
ends, when the heels of both hands are touching the rib cage
(fig. 91).
A deep inhalation is taken
then. The left hand moves in a sliding motion to the left, followed by
the right hand sliding to the
right; this sequence is executed a total of three times in alternating
succession. They end with
the heels of the palms against the rib cage, the thumbs nearly touching
each other (fig. 92). Next, both hands are made to slide down the front
of the legs, until they reach the tendons on the
front of the ankles (fig. 93). The exhalation ends there. A deep
inhalation is taken as the tendon
is tensed by lifting the big toe, until the tendon seems to pop up; the
index and middle fingers of
each hand vibrate the tendons by pressing on them (fig. 94). With the
fingers clawed, the hands are
dragged up the front of the legs to the hips as a slow exhalation
begins. The palms are gently
rubbed on the centers of vitality as the exhalation ends.

37.
ВЫТАСКИВАНИЕ ЭНЕРГИИ С ПЕРЕДНЕЙ ЧАСТИ НОГ
Глубокий Вдох, пока трясём руками вдоль
тела. Обе руки делают круг по сторонам тела, начиная сзади и через
голову (90), чтобы ударить с
силой впереди тела ладонями вниз, а пальцами вперёд. Медленный Выдох когда
сначала Левая рука, а потом Правая рука двигаются вперёд-назад по
очереди 3 раза, как-будто гладят поверхность. Выдох заканчивается, когда
подушечки обоих рук дотрагиваются до грудной клетки. Затем Вдох, Левая рука гладит
влево, за ней Правая рука гладит вправо, и так 3 раза по очереди.
Подушечки ладоней заканчивают на грудной клетке (91), большие пальцы
почти касаются друг друга (92). Обе руки скользят вниз по переди ног,
пока не достигнут сухожилий в передней части лодыжки (93). Выдох заканчивается и
берётся глубокий Вдох, когда сухожилие напрягается за счёт поднятия
большого пальца ноги, пока сухожилие в лодыжке не выделится.
Указательный и средний пальцы каждой руки приставлены к этому сухожилию
на ногах и вибрируют, нажимая на них (94). Пальцы сделать как когти и
скрести когтями рук вверх по передней части ног до верхней части боков,
медленный Выдох.
Ладони мягко трут жизненные центры, Выдох закончен.
THE SECOND
SERIES - ВТОРАЯ СЕРИЯ
The Series for the
Womb
71
According to don
Juan Matus, one of the most specific
interests of the shamans, who lived in Mexico in ancient times, was
what they
called the Liberation
of the Womb.
He explained,
that the Liberation of
the Womb entailed the awakening of its
secondary functions, and that since the primary function of the Womb,
under normal circumstances,
was reproduction, those
sorcerers were solely concerned with what they
considered to be its
secondary function: Evolution. Evolution,
in the case of the
Womb, was, for them, the awakening and full
exploitation of the Womb's capacity to process Direct Knowledge - that
is to say, the possibility
of apprehending sensory data and interpreting it directly, without the
aid of the processes of
interpretation, with which we are familiar. For shamans, the moment, in which
practitioners are transformed from
Beings, that are socialized to reproduce into Beings capable of
evolving, is the moment when they
become conscious of Seeing Energy as it flows in the Universe. In the opinion of shamans,
Females can See Energy directly more readily,
than Males, because of the effect of their Wombs. It is also their
opinion, that under normal
conditions, regardless of the facility, that Women have, it is nearly
impossible for Women or for
Men to become deliberately conscious, that they can See Energy
directly. The reason for this
incapacity is something, which shamans consider to travesty: the fact,
that there is no one to
point out to human beings, that it is natural for them to See Energy
directly. Shamans maintain, that
Women,
because they have a womb, are so versatile,
so individualistic in their ability to see energy directly, that this
accomplishment, which should
be a triumph of the human spirit, is taken for granted. Women are never
conscious of their
ability. In
this respect, males are more proficient.
СЕРИИ ДЛЯ МАТКИ
71
Согласно Дон Хуану, один из самых особых интересов у шаманов, кто жил в
Мексике в древние времена, было то, что они называли - ОСВОБОЖДЕНИЕ МАТКИ.
Он объяснил, что ОСВОБОЖДЕНИЕ МАТКИ включало в себя
пробуждение её второй функции, и так как первая функция Матки, при
обычных обстоятельствах, была размножение, то те Колдуны интересовались
только тем, что считали
её второй функцией: Эволюция. Эволюцией в случае с Маткой, для них было
ПРОБУЖДЕНИЕ и полное применение способностей МАТКИ проработать
ПРЯМЫЕ ЗНАНИЯ, так сказать, возможность схватывать чувствительную
информацию и интерпретировать её прямо, без помощи процессов
интерпретации, с которыми мы знакомы. Для Шаманов момент, в котором
практиканты трансформируются из существ, которых обучили размножаться,
в существа, способные эволюционировать, это момент, когда они
становятся сознательными ВИДЕНИЯ ЭНЕРГИИ, как она течёт во
Вселенной. По мнению Шаманов, женщинам легче ВИДЕТЬ энергию напрямую,
чем мужчинам, благодаря способности их Маток. Это также их
мнение, что в обычных условиях, несмотря на лёгкость, которую имеют
женщины, для женщин или для мужчин почти невозможно стать нарочно
сознательным до такой степени, чтобы ВИДЕТЬ энергию напрямую. Причина
для этой неспособности - это то, что Шаманы считают искажением: тот
факт, что нет никого, кто укажет людям, что это естественно для людей -
ВИДЕТЬ энергию напрямую. Шаманы утверждают, что женщины, так как у них
есть МАТКА - настолько многогранны, настолько индивидуальны в их
способности ВИДЕТЬ ЭНЕРГИЮ НАПРЯМУЮ, что это достижение, которое должно
быть триумфом человеческого духа, берётся как - само собой
разумеющееся. Женщины никогда не осознают свою способность. В этом
отношении мужчины - более умелые, искусные, ловкие.
The Series for the Womb is divided into four sections, which correspond
to the three Female
disciples of don Juan Matus: Taisha Abelar, Florinda Donner-Grau, and
Carol Figgs; and to the Blue
Scout, who was born into don Juan's World.
The first is composed of three magical passes belonging to Taisha
Abelar;
the second is composed of one magical pass directly related to Florinda
Donner-Grau;
the third, of three magical passes, that have to do exclusively with
Carol Figgs;
the forth, of five magical passes, that belong to the Blue
Scout.
The magical passes of each section are pertinent to a specific type of
individual, Tensegrity has
rendered them capable of being utilized by anybody, although they are
still slanted in the
direction of the type of person, that each of those four women is.
СЕРИИ
ДЛЯ МАТКИ
РАЗДЕЛЕНЫ НА 4 СЕКЦИИ, КОТОРЫЕ СООТВЕТСТВУЮТ ТРЁМ ЖЕНЩИНАМ-СТУДЕНТКАМ
Дон Хуан Матус : ТАИША АБЕЛАР, ФЛОРИНДА ДОННЕР-ГРАУ И КЭРОЛ ТИГГС И
ГОЛУБОЙ РАЗВЕДЧИК, кто был принят в мир Дон Хуана.
Первая серия состоит из 3х Магических Пассов, принадлежащих Таише
Абелар.
Вторая серия
состоит из одного Магического Пасса, имеющего отношение напрямую с
Флориндой Доннер-Грау.
Третья серия из 3х
Магических Пассов, принадлежащих Кэрол Тиггс.
Четвёртая
серия из 5ти Магических Пассов, принадлежащих голубому разведчику.
Магические Пассы каждой секции, подходящие к особому типу индивидуала,
Тенсегрити делает их способными быть использованными кем угодно, хотя
они всё ещё
склоняются в направлении типа человека, каким каждая из тех 4х женщин
является.
The First
Group : Magical Passes
Belonging to Taisha Abelar
p.76
The three magical
passes of this group are geared to
gathering energy for the womb from six specific areas: the left and
right front of the body, the
left and right sides of the body at the height of the hips, and from
behind the shoulder blades and
above the head. The explanation, that the shamans of ancient Mexico
gave was, that energy,
especially suited for the Womb, accumulates on those areas, and that
the movements of these magical
passes are the appropriate antennas, that gather that energy
exclusively.
Первая
группа: Магические
Пассы, принадлежащие Таише Абелар
стр.
76
Три Магических Пасса
этой группы приспособлены собирать энергию для Матки с 6ти особых
районов: Левый и Правый перёд тела, Левая и Правая Стороны тела на
высоте бёдер, сзади лопаток и над головой. Объяснение, которое шаманы
древней Мексике дали, было, что энергия, особенно подходящая для Матки,
аккумулируется в тех районах, и что движения этих Магических Пассов -
подходящие антенны, которые собирают исключительно эту энергию.
1.
Extracting Energy from the
Front of the Body with the Index and Middle
Fingers
The
first sensation, that a Tensegrity
practitioner seeks, while executing this magical pass, is a pressure on
the tendons of the back of
the hand, a sensation, which is obtained by opening the index and
middle
fingers as far, as possible,
while they are fully extended. The last two fingers are curled over the
palm of the hand, and the
thumb holds them in place (fig. 95). The magical pass starts by placing
the left foot in front of the body
in a T position,
perpendicular to the right one. The left arm and the left leg make a
series of synchronized forward
circling movements. The leg circles by first lifting the ball of the
foot, and then the whole foot,
and a step is taken, that rolls forward in the air and ends on the
heel, with the toes up, as the
body leans forward, creating pressure on a muscle on the front of the
left calf. In synchronization with this movement, the left arm rotates
forward
over the head, also making a
complete circle. The index and middle fingers are fully extended, and
the palm faces to the right.
The pressure on the tendons of the back of the hand has to be
maintained with maximum stress during
the entire movement (fig. 96). At the end of the third circling
movement of the arm and foot, the
entire foot is placed on the ground with a forceful stomp, shifting the
weight of the body forward.
At the same time, the arm shoots out in a stabbing motion, with the
index and middle fingers fully
extended and the palm of the hand facing right; the muscles of the
entire left side of the body are
kept tense and contracted (fig. 97). An
undulating movement is made, as if drawing, with the two extended
fingers pointing forward, a
letter S, that is lying on its side. The wrist is bent so, that the
fingers point upward once the S
is completed (fig. 98). Next, the wrist bends so, the fingers again
point forward and the S is cut
in half with a horizontal stroke of the two fingers from right to left.
Then the wrist is bent so
the two fingers point upward once more, and a sweeping movement is made
from left to right with the
palm turned toward the face. The palm of the hand is turned to face
outward, as the arm sweeps from
right to left. The left arm is retrieved to the level of the chest, and
two forward stabbing
motions are executed with the fingers fully extended and the palm of
the hand facing downward. The
palm of the hand is turned toward the face once more, and the hand
sweeps again from left to right
and from right to left, exactly as before. The body leans back
slightly, shifting the weight to the back leg. Then
the hand, with the two
fingers curved like a claw, reaches out at waist level in front of the
body, as if to grab
something, contracting the muscles and tendons of the forearm and hand,
as if forcefully extracting
some heavy substance (fig. 99). The clawed hand is retrieved to the
side of the body. All the
fingers of the hand are then fully extended, with the thumb locked and
the fingers separated at the
middle and fourth fingers, making a letter V, which is brushed over the
womb, or over the sexual
organs, in the case of men (fig. 100). A quick jump is made to shift
legs, so that the right foot
is in front of the left one, again making a T. The same movements are
repeated with the right arm
and leg.

1. Извлекаем энергию впереди тела указательным и средним пальцами
Первое ощущение, что
Тенсегрити практикант ищет, пока выполняет этот Магический Пасс, - это
давление на сухожилья задней части руки, чувство которое получено
раздвиганием указательного
и среднего пальцев, как можно шире, когда они полностью вытянуты.
Последние два пальца согнуты и опираются в ладонь, а большой палец
прижимает их к ладони (95). Магический Пасс
начинается, ставя Левую ногу перед телом в позицию Т, перпендикулярно
Правой ноге. Левая рука и Левая нога делают вперёд серию круговых
движений. Нога начинает круг, сначала поднимая подушку ступни, и затем
всю ногу, и берётся шаг, который делает круг вперёд в воздухе с
пальцами вверх, когда тело наклоняется вперёд, создавая давление на
мускулы переда Левой икры. В синхронизации с этим движением, Левая рука
вращается вперёд через голову, также делая полный круг. Указательным и средним
пальцы полностью вытянуты и ладонь повёрнута вправо. Давление на
сухожилия
на заднюю часть рукидолжно сохраняться с максимальным давлением в
течение всего движения (96). В конце третьего кругового движения руки и
ноги, вся нога становится на землю, сильно топнув и передвигая вес тела
вперёд. В то же время рука вырывается вперёд колющим движением с указательным и средним
пальцами полностью вытянутыми и ладонь руки повёрнута вправо; мускулы
всей Левой части тела сохраняются напряжёнными и сжатыми (97). Делается
волнистое движение, как-будто рисуешь двумя, вытянутыми вперёд,
пальцами букву S, которая лежит на боку. Запястье согнуто так, что
пальцы указывают вверх, как только S закончена (98). Потом
запястье сгибается так, что пальцы снова указывают вперёд и S разрезается пополам
горизонтальным ударом двух пальцев справа-налево. Затем запястье
согнуто так, что два пальца снова указывают вверх, и делается сметающее
движение слева-направо ладонью, повёрнутой к лицу. Ладонь руки
повёрнута лицом наружу, пока рука сметает справа-налево. Левая рука
вернулась на уровень груди, и два прокалывающих движения вперёд
совершаются полностью вытянутыми пальцами и ладонью руки вниз на землю.
Ладонь руки снова повёрнута к лицу и рука снова сметает слева-направо и
справа-налево, также как раньше. Тело слегка наклоняется назад,
перекладывая вес на заднюю часть ноги. Потом рука с двумя пальцами,
согнутыми как когти, вытягивается впереди тела на уровне пояса,
как-будто схватить что-то, сжимая мускулы и сухожилья руки, как-будто с
силой выжимая какое-то тяжёлое вещество (99). Когтистая рука берётся
обратно к боковой части тела. Затем все пальцы руки полностью вытянуты,
с прижатым большим пальцем и с пальцами, разделёнными средним и
четвёртым пальцами, делая букву V, которые трут поверх Матки, или
поверх половых органов, в случае мужчин (100). Быстрым прыжком меняем
ноги, так что Правая нога впереди Левой, и снова составляет букву Т. Те
же самые движения повторяются с Правой рукой и ногой.
2.
Jumping to Stir Energy for the Womb
and
Grabbing It with the Hand
This magical pass begins by placing the right foot perpendicular to the
left one in a T position. A
tap is made with the right heel; this tap serves as an impulse for a
small hop of the right foot,
which ends with the right toes pointing forward, followed immediately
by a one-step lateral hop of
the left foot, that ends with the left heel on the ground,
perpendicular
to the right foot. The rest
of the left foot touches the ground, shifting the weight to the left
leg, as the left arm moves in
a grabbing motion to clasp something in front of the body with a clawed
hand (fig. 101). The hand
then rubs gently on the area of the left ovary. A tap of the left heel
serves as an impulse for a
sequence of movements, that is a mirror image of the preceding ones.
Energy stirred up by the motion
of the feet in this magical pass bounces upward, is caught with each
hand in turn, and is placed
over the uterus and the left and the right ovaries.
2. Прыгать, чтобы
помешать энергию для Матки и схватить её рукой
Магический Пасс
начинается,
ставя Правую ногу перед телом, перпендикулярно Левой
ноге в позицию
Т . Удар сделан Правой пяткой; этот удар служит как стимул для
невысокого прыжка Правой ступнёй, который заканчивается пальцами Правой
ступни, направленными вперёд; сразу следует один шаг боковой прыжок
Левой ноги, который заканчивается Левой пяткой на земле,
перпендикулярно Правой ступне. Остальная часть Левой ступни
дотрагивается до земли, перенося вес на Левую ногу, пока Левая рука
двигается хватающим движением и захватывает что-то впереди тела
когтистой рукой (101). Затем рука мягко трёт место Левого яичника. Удар
Левой пяткой служит стимулом для последовательности движений, которые
являются зеркальным отражением предыдущих движений. Энергия, смешанная
движением ступней в этом Магическом Пассе
отпрыгивает вверх, схватывается каждой рукой по очереди и кладётся на
Матку и Левый и Правый яичники.
3.
Slapping Energy on
the Ovaries
The third magical pass begins by circling the left arm over the head,
to the back, in toward the
shoulder blades, and out again to the front, until it reaches the level
of the chin; the palm faces
up. The hand draws another circle, that goes up and over toward the
right; it continues downward,
all the way to the right waist and then sweeps upward over the head,
completing the figure of a
number eight. The palm flips to face the front (fig. 102). Then the
hand descends forcefully, as if
slapping the area just in front of the left ovary (fig. 103). The hand
then brushes gently on the
area of the left ovary. The same pattern is repeated with the right
arm.
3. ПОХЛЁСТЫВАНИЕ ЭНЕРГИИ
НА ЯИЧНИКАХ
Третий Магический Пасс начинается с круговых движений
Левой рукой над головой, к спине, к лопаткам и снова вперёд, пока не
достигнет уровня подбородка; ладонь смотрит вверх. Рука рисует ещё один
круг, который поднимается вверх и вправо; рука продолжает вниз, всю
дорогу к правой стороне талии и затем сметает вверх через голову,
заканчивая фигуру 8-восьмёрки. Ладонь хлопает, слегка ударяет, чтобы
глядеть вперёд (102). Затем рука опускается с силой, как-будто шлёпает
место как раз впереди Левого яичника (103). Затем рука мягко трёт место
Левого яичника.
The
Second Group: A Magical Pass Directly Related to Florinda
Donner-Grau
In this group, there is only one magical pass. The effect of this
magical pass is utterly congruous
with the personality of Florinda Donner-Grau. Don Juan Matus regarded
her, as being very
straightforward, so to-the-point, that sometimes her directness became
unbearable. Her activities in
the sorcerers' world, as a consequence of her directness, have always
been geared toward the goal
of evolution, or the transformation of the womb from a receptacle and
promoter of fertility to an
organ of awareness, through which thoughts, which are not part of our
normal cognition, can be
processed.
ВТОРАЯ ГРУППА:
МАГИЧЕСКИЙ ПАСС, ИМЕЮЩИЙ ПРЯМОЕ ОТНОШЕНИЕ К ФЛОРИНДЕ ДОННЕР-ГРАУ.
В этой
группе есть только один Магический Пасс. Эффект этого Магического Пасса
полностью подходит личности Флоринды. Дон Хуан Матус считал её очень
прямолинейной, настолько дотошной своей немецкой пунктуальностью, что
иногда её прямота становилась невыносимой. Вследствии её прямоты, её
действия в мире Колдунов всегда были направлены прямо к цели Эволюции
или трансформации Матки из сосуда и двигателя
оплодотворения-размножения в орган Сознания, через который мысли,
которые не являются частью наших обычных знаний, могут быть усвоены.
4. Sphinx
Paws
This magical pass begins with a quick, deep inhalation. The air is
sharply exhaled with a forceful
strike of the wrists to the front of the body. This is achieved with
the hands turned downward
sharply, at right angles to the forearms; the fingers point to the
ground, and the striking surface
is the backs of the hands at the wrists. The hands are pulled upward to
the level of the shoulders, the palms
facing forward, in a straight
line with the forearms. A deep inhalation is taken. The hands are held
in this position as the
trunk turns to the left. The hands then strike, with the palms down, to
the level of the hips (fig.
104). The air is exhaled sharply. The hands are raised above the
shoulders again as the trunk turns
to the front, and a deep inhalation is taken. With the hands still
above the shoulders, the trunk
is turned to the right. Next both hands strike, with the palms down, to
the level of the hips as
the air is exhaled. Both hands move then to the right of the body, with
the palms slightly
cupped and turned to the
left, as if to scoop a liquid substance. Both arms move from right to
left to right, drawing the
figure of a reclining number eight in front of the body. This is
achieved by first moving the arms
all the way to the left, following a twist of the waist, and then
returning back to the right,
following a reverse twist of the waist. The slightly cupped palms are
turned to face the right, as
if to continue scooping a liquid substance in the opposite direction
(fig. 105). As the figure eight is completed, the left hand stops to
rest on the
left hip, while the right arm
continues moving to the right; the arm goes up over the head and makes
a big loop to the back that
ends when the hand is brought back to the front, to the level of the
chin; the palm of the hand
faces up. The hand continues moving, making another loop to the left,
going in front of the face,
over the left shoulder. Next it moves in a straight line across the
body at the level of the hip,
cutting through the figure eight (fig. 106). From there, the palm moves
back toward the body and is
made to slide over the right ovary, as if the hand were a knife that
comes to rest in its sheath.
The exact same movements are performed, but striking to the right side
of the body first, in order
to allow the left arm to execute the last movement.

4. ЛАПЫ СФИНКСА
Этот Магический Пасс начинается с быстрого
Вдоха. Резкий Выдох с сильным ударом запястий по переду тела. Это
достигнуто руками, резко повёрнутыми вниз под прямыми углами к верхней
части рук; пальцы направлены в землю, и ударяющая поверхность это -
задняя часть запястий. Руки подняты вверх на уровень плечей, ладони
смотрят вперёд на прямой линии с верхней частью рук. Глубокий Вдох.
Руки держим в этом положении, пока туловище поворачивается влево. Затем
руки ударяют ладонями вниз на уровень боков (104). Резкий Выдох. Руки
снова подняты выше плечей, когда туловище поворачивается вперёд и
берётся глубокий Вдох.
Руки всё ещё выше плечей и туловище поворачивается вправо.
The
Third Group: Magical Passes That Have to Do Exclusively with Carol
Tiggs
The three magical passes of the third group deal with the energy, that
is directly on the area of
the womb. This emphasis makes these three magical passes
extraordinarily potent. Moderation is
strongly recommended, in order to bring the sensations of awakening the
womb to a manageable level.
In this fashion the linear-minded interpretation of these sensations,
as
premenstrual pangs or
heaviness on the ovaries can be avoided. Don Juan Matus told his three
female disciples, that the secondary
functions of the womb, upon being
awakened by the appropriate magical passes, give the sensorial input of
discomfort, but that what
takes place at an energetic level is the influx of energy into the
vortex of the womb. Energy which
has, up to this point, remained unused and on the periphery of the
luminous sphere is suddenly
dropped into that vortex.
ТРЕТЬЯ ГРУППА: МАГИЧЕСКИЕ ПАССЫ,
КОТОРЫЕ ИМЕЮТ ОТНОШЕНИЯ ИСКЛЮЧИТЕЛЬНО К КЭРОЛ ТИГГС
Три Магических Пасса Третьей
Группы имеют отношение к энергии, которая прямо в районе
Матки. Это ударение делает эти три Магических Пасса
экстраординарно мощные. Постепенность очень рекоммендуется, чтобы
произвести ощущение Пробуждения Матки к управляемому уровню. В такой
манере линейного мышления интерпретация этих ощущений, как болей
менструации или тяжесть в яичниках, можно избежать. Дон Хуан Матус
сказал своим трём женщинам-студенткам, что вторая функция Матки, помимо
Пробуждения
подходящими Магическими
Пассами, даёт чуствительное ощущение неудобства, но то, что возникает
на энергетическом уровне, и есть прилив энергии в Портал Матки.
Энергия, которая до этого момента оставалась не использованной и на
краях Светящейся Сферы, вдруг падает в этот Портал.
5.
Packing Energy on the Womb
The first magical pass begins by bringing the two hands to the area of
the womb. The wrists are
bent sharply, and the hands are cupped, the fingers pointing to the
womb. The two hands are
extended so that the tips of the fingers point toward each other. Then
they make an ample circle,
first going upward and out, and then down, with both hands together,
ending right over the womb
(fig. 107). Next, the hands separate to the width of the body (fig.
108), and are brought
forcefully toward the center of the womb, as if a thick ball were being
squashed. The same movement
is repeated, and the hands are brought closer together, as if the ball
were being further squashed.
Then it is torn apart by a powerful movement of the hands, which grab
and rip (fig. 109). The hands
are then brushed over the area of the uterus and the ovaries.
5. УПАКОВЫВАТЬ ЭНЕРГИЮ В
МАТКУ
Первый Магический Пасс начинается: кладём обе
руки на Матку. Запястья резко согнуты и ладони чашкой, пальцы указывают
на Матку. Обе руки вытянуты так, что кончики пальцев указывают друг на
друга. Затем они делают полный круг сначала вверх и наружу, а затем
вниз, обе руки вместе, заканчивая прямо над Маткой (107).
Потом руки расходятся на ширину тела (108), и с силой привести прямо в
центр Матки, как-будто толстый шар был раздавлен. То же самое движение
повторяется и руки принесены ближе вместе, как-будто шар ещё больше
сдавлен. Затем он разорван на части сильным движением рук, которые
хватают и рвут (109). Руки затем проводим по району Матки и яичников.

6.
Stirring and Guiding Energy Directly into
the Womb
This magical
pass begins
with an
exhalation as the arms are stretched out in front of the body, with the
backs of the hands
touching. A deep breath is taken as the arms move laterally away from
each other, drawing
half-circles, which end with the forearms touching in front of the body
at the level of the chest,
and the arms extended forward with the elbows slightly bent. The palms
face up. Then the trunk
bends forward slightly as the forearms move backward, so that the
elbows
are moored on the solar
plexus with the forearms still touching, side by side (fig. 110). Next,
a slow exhalation begins,
which must last through the following movements: The back side of the
left wrist is placed on top
of the inner side of the right wrist, maneuvering the arms to make the
figure of the letter X; the
wrists rotate so that the palms circle in toward the body, and then
back out to face front, without
losing the X shape of the wrists; the left hand ends up on top of the
right one (fig. 111). The
hands are made into fists and separated vigorously (fig. 112), and then
brought to the area of the
left and right ovaries as the exhalation ends.
6. СМЕШИВАТЬ И
НАПРАВЛЯТЬ ЭНЕРГИЮ ПРЯМО В МАТКУ
Этот
Магический Пасс
начинается с
Выдоха, пока руки вытянуты впереди тела, задняя часть рук дотрагивается
друг к другу. Глубокий Вдох взят, пока руки двигаются
по диагонали прочь друг от друга, рисуя полукруги, которые
заканчиваются руками, прикасающимися впереди тела на уровне груди, и
руки вытянуты вперёд, с слегка согнутыми локтями. Ладони смотрят друг
на друга, затем тело слегка наклоняется вперёд, пока руки отодвигаются
назад, так что локти сомкнулись на солнечном сплетении с руками, всё
ещё дотрагивающимися друг к другу (110). Следующее - начинается
медленный Выдох, который должен продолжаться все следующие движения:
внешняя сторона Левого запястья кладётся на вершину внутренней стороны
Правого запястья, маневрируя руки, чтобы сделать букву Х; запястья
крутятся так, что ладони крутятся по направлению к телу, и затем назад
лицом вперёд, не теряя букву Х на запястьях;
Левая рука перекладывается наверх Правой руки (111).
Руки сжимаются в кулаки и быстро расходятся по сторонам (112), и затем
направить их на Левый и Правый яичники, пока заканчивается Выдох.

7.
Squeezing Out Injurious Energy from the Ovaries
The left hand is held in front of the body with the palm up.
The elbow
is bent at a right angle and
tucked against the rib cage. The index and middle fingers of the left
hand are extended, while the
thumb holds the other two fingers against the palm. The two extended
fingers of the left hand are
grabbed from underneath by the right hand, and squeezed as if drawing
something from the base of
the two extended fingers of the left hand and making it move to the
tips (fig. 113). Then the right
hand shakes vigorously whatever it drew from those two fingers with a
backhanded, downward striking
motion on the right side of the body. The left thumb releases the other
two fingers, and the hand
is held in a letter V shape, with the index and middle fingers
together, and the fourth and fifth
fingers together. The palm of the hand is lightly brushed over the area
of the left ovary. The same
movements are repeated with the right hand. For the second part of this
magical pass, the trunk is bent sharply
for, ward. The left arm hangs
in between the legs, the elbow cushioned against the umbilical region.
Exactly the same movements
performed in the first part of the magical pass are executed again,
except this time the two
extended fingers of the left hand are grabbed by the right hand from
above (figs. 114, 115). The
same movements are repeated on the right.
7. ВЫДАВЛИВАЕМ НАРУЖУ
ВРЕДНУЮ ЧУЖУЮ ЭНЕРГИЮ ИЗ ЯИЧНИКОВ
Левая
рука ладонью вверх держится перед телом. Локоть согнут на 90 градусов и
поставлен к грудной клетке. Указательный и средний пальцы Левой руки
вытянуты, пока большой палец прижимает другие два пальца к ладони. Два
вытянутых пальца Левой руки хватаются под низом Правой рукой, и сжимают
их, как-будто выдавливая что-то из основания двух вытянутых пальцев
Левой руки и заставляя Правую руку двигаться к кончикам пальцев (113).
Затем с Правой руки сильно стряхиваем вниз с правой стороны тела то,
что выжали из основания тех двух пальцев. Левый большой палец
освобождает другие два пальца и рука принимает форму буквы V, с
указательным и средним пальцами вместе, а также безымянный и мизинец
вместе. Ладонь руки легко потирает Левый яичник. Те же самые движения
повторяются Правой рукой. Для второй части этого Магического Пасса тело
резко сгибается для выимки. Левая рука свисает между ногами, локоть
покоится в области пупка. Точно такие же движения, исполняемые в первой
половине Магического Пасса, снова исполняются, кроме как в этот раз два
вытянутых пальца Левой руки схвачены Правой рукой сверху (114,115). Те
же движения повторяются на Правой.

The
Fourth Group: Magical Passes That Belong to the Blue
Scout
The magical passes of this group are the natural conclusion
of the
whole series. An impersonal mood
is the driving force of this group of passes. The inhalations and
exhalations are sharp, but not
deep, and the movements are accompanied by an explosive hissing sound
of air being
expelled. The value of the Blue Scout's magical passes resides in the
capacity of
each of them to give the
womb the hardness that it requires in order to arrive at its secondary
functions, which can be
easily defined, in the case of the Blue Scout, as the ability to be
alert without pause. The
criticism of sorcerers about our normal state of being is that we seem
to be perennially on
automatic pilot; we say things that we don't mean to say, we ignore
things that we shouldn't
ignore. In other words, we are aware of what surrounds us only in very
short spurts. Most of the
time, we function on sheer momentum, habit, and that habit is, in
essence, to be oblivious to
everything. The idea of the sorcerers of ancient Mexico was that, in
women, the womb is the organ
that can resolve this impasse, and for that, it needs to acquire
hardness.
8.
Drawing Energy from the Front with
Insect
Antennas
The index and middle fingers are held by the sides of the chest in a
letter V position, while the
thumbs press the other two fingers against the palms; the palms are up
(fig. 116). Next, the palms
turn downward, and the two fingers strike out in front of the body, as
a sharp exhalation is made,
with clenched teeth and a hissing, whistlelike sound (fig. 117).
A deep
inhalation is taken as the
hands are retrieved with the palms up to the sides of the chest. The
same movement is repeated one
more time, and the palms of the hands are brushed on the area of the
ovaries, with the fingers
separated between the middle and fourth fingers.
9. Drawing
Energy from the Sides at an
Angle
This magical pass begins by pivoting on the right foot and putting the
left leg in front, at a
forty-five -degree angle. The right foot is the horizontal bar of the
letter T, and the left foot,
the vertical. The body rocks back and forth. Then the left elbow is
bent, and the hand is brought
to the level of the chest with the palm up. The index and middle
fingers are held in the shape of
the letter V The thumb holds the other two fingers against the palm
(fig. 118). A strike is made,
leaning the body forward sharply. The palm of the hand turns down as
the fingers strike. The air is
exhaled with a hiss (fig. 119). An inhalation is taken as the hand
retrieves to the side of the
chest with the palm up. The palm of the hand is then lightly brushed on
the left ovary, with the
fingers separated between the middle and fourth fingers. A
jump is
taken to switch feet and face a new direction to the right, still at a
forty-five
degree
angle. The same movements are repeated with the right arm.

10. Drawing
Energy Laterally with an
Insect
Cut
The
hands
are held on the sides of the chest, with the index and middle fingers
of each hand in a V shape and
the thumbs holding the other two fingers against the palms. The palms
face up. Remaining at the
level of the chest, the hands are pivoted on the heels of the palms and
brought to face each other.
Next, a hissing exhalation is made as both arms are fully extended
laterally, with the palms facing
the front, The index and middle fingers are moved with a cutting motion
as if they were indeed
scissors, as the exhalation ends in a whistlelike fashion (fig.
120). An inhalation is taken as the arms are retrieved; the elbows are
down,
and the arms come to rest on
the sides of the body by the chest, hands pointing sideways (fig. 121).
Next the hands are pivoted
on the heel of the palm so the index and middle fingers point to the
front. The fingers are then
separated at the middle and fourth fingers, and a hissing exhalation is
made as the palms of the
hands brush over the area of the ovaries.

11.
Drilling Energy from Between the Feet with Each Hand
A
deep inhalation is taken. A long hissing
exhalation follows while the left hand descends with a rotating
movement of the wrist, which makes
the hand resemble a drill that seems to perforate a substance in front
of the body between the
legs. Then the index and middle fingers make a two-pronged claw and
grab something from the area
between the feet (fig. 122) and pull it upward, with a deep inhalation,
to the level of the hips.
The arm moves over the head to the back of the body and the palm is
placed on the area of the left
kidney and adrenal (fig. 123). The left hand is held there while the
right hand performs the same
movements. Once the right hand
is placed on the area of the right kidney and adrenal, an inhalation is
taken. The left hand moves
over the head to the front of the body, and brushes, with the fingers
separated at the middle and
fourth fingers, over the left ovary. This movement of the arm from back
to front is accompanied by
the whistlelike sound of a sharp exhalation. Another deep inhalation is
taken, and the right hand
is brought to the right ovary in the same fashion.
12.
Drilling Energy from Between the
Feet with
Both Hands
This
magical pass is similar to the preceding one, except that instead
of performing the movements separately, the hands execute the drilling
movements in unison. Then
the index and middle fingers of both hands make two-pronged claws, and
grab something from the area
between the feet at the same time. They return to the level of the
hips, and then circle around the
sides of the body to the area of the kidneys and adrenals; a deep
breath is taken as the palms rub
those areas (fig. 124). Then an exhalation is made as the arms draw
another circle around the sides
of the body to the front to brush the area over the left and right
ovaries with the fingers of each
hand separated at the middle. Again, this movement of the arms from
back to front is accompanied by
a whistlelike exhalation.

The
Third Series: The Series of the Five Concerns: The Westwood
Series
One
of
the
most important series for the practitioners of Tensegrity is called The
Series of the Five
Concerns. A nickname for this series is The Westwood Series, given to
it, because it was taught
publicly for the first time in the Pauley Pavilion at the University of
California at Los Angeles,
which is located in an area called Westwood. This series was conceived
as an attempt to integrate,
what don Juan Matus called the five concerns of the shamans of ancient
Mexico. Everything, those
sorcerers did, rotated around five concerns: one, the magical passes;
two, the energetic center in
the human body called the center for decisions; three, recapitulation,
the means for enhancing the
scope of human awareness; four, dreaming, the bona fide art of breaking
the parameters of normal
perception; five, inner silence, the stage of human perception, from
which those sorcerers launched
every one of their perceptual attainments (accomplishments). This
sequence of five
concerns was an arrangement,
patterned on the understanding, that those sorcerers had of the world
around them. One of the
astounding findings of those shamans, according to what don Juan
taught, was the existence in the
universe of an agglutinating (form, join together) force that binds
energy fields together
into concrete, functional
units. The sorcerers, who discovered the existence of this force,
described it as a vibration, or a
vibratory condition, that permeates (spread, pass through openings)
groups of energy fields and glues
them together. In terms of this arrangement of the five concerns of the
shamans of
ancient Mexico, the magical
passes fulfil the function of the vibratory condition those shamans
talked about. When those
sorcerers put together this shamanistic sequence of five concerns, they
copied the patterning of
energy, that was revealed to them, when they were capable of Seeing
energy, as it flows in the
universe. The binding force was the magical passes. The magical passes
were the unit, that permeated
through the four remaining units and grouped them together into one
functional whole. The Westwood
Series, following the patterning of the shamans of ancient Mexico, has
consequently been divided
into four groups, arranged in terms of their importance, as envisioned
by the sorcerers, who
formulated them: one, the center for decisions; two, recapitulation;
three, dreaming; four, inner
silence.
ТРЕТЬЯ СЕРИЯ: СЕРИЯ 5и
ИНТЕРЕСОВ: СЕРИЯ ВЕСТВУД
Одна
из наиболее важных серий для практикантов Тенсегрити называется - СЕРИЯ 5и ИНТЕРЕСОВ.
Укороченное название этой серии - Westwood Series, данное ей, так как
оно было обучено публично в первый раз в павильоне Pauley университета
Лос Анжелеса в Калифорнии, США, который находится в районе Westwood. Эта серия
The
First Group: The Center for Decisions
The
most
important topic for the shamans who lived in Mexico in ancient times,
and for all the shamans of
don Juan's lineage, was the center for decisions. Shamans are
convinced, by the practical results
of their endeavors, that there is a spot on the human body which
accounts for decision making, the
V spot-the area on the crest of the sternum at the base of the neck,
where the clavicles meet to
form a letter V. It is a center where energy is rarefied to the point
of being tremendously subtle,
and it stores a specific type of energy which shamans are incapable of
defining. They are utterly
certain, however, that they can feet the presence of that energy, and
its effects. It is the belief
of shamans that this special energy is always pushed out of that center
very early in the lives of
human beings, and it never returns to it, thus depriving human beings
of something perhaps more
important than all the energy of the other centers combined: the
capacity to make
decisions.
In relation to the issue of making decisions, don Juan expressed the
hard opinion of the sorcerers
of his lineage. Their observations, over the centuries, had led them to
conclude that human beings
are incapable of making decisions, and that for this reason, they have
created the social order:
gigantic institutions that assume responsibility for decision making.
They let those gigantic
institutions decide for them, and they merely fulfil the decisions
already made on their
behalf.
The V spot at the base of the neck was, for those shamans, a place of
such importance that they
rarely touched it with their hands; if it was touched, the touch was
ritualistic and always
performed by someone else with the aid of an object. They used highly
polished pieces of hardwood
or polished bones of animals, utilizing the round head of the bone so
as to have an object of the
perfect contour, the size of the hollow spot on the neck. They would
press with those bones or
pieces of wood to create pressure on the borders of that hollow spot.
Those objects were also used,
although rarely, for self-massage, or for what we understand nowadays
as acupressure.
"How did they come to find out that that hollow spot is the center for
decisions?" I asked don Juan
once.
"Every center of energy in the body," he replied, "Shows a
concentration of energy; a sort of
vortex of energy, like a funnel that actually seems to rotate
counterclockwise from the perspective
of the seer who gazes into it. The strength of a particular center
depends on the force of that
movement. If it barely moves, the center is exhausted, depleted of
energy.
"When the sorcerers of ancient times," don Juan continued, "were
scanning the body with their
seeing eye, they noticed the presence of those vortexes. They became
very curious about them, and
made a map of them."
"Are there many such centers in the body, don Juan?" I asked.
"There are hundreds of them," he replied, "if not thousands! One can
say that a human being is
nothing else but a conglomerate of thousands of twirling vortexes, some
of them so very small that
they are, let's say, like pinholes, but very important pinholes. Most
of the vortexes are vortexes
of energy. Energy flows freely through them, or is stuck in them. There
are, however, six which are
so enormous that they deserve special treatment. They are centers of
life and vitality. Energy
there is never stuck, but sometimes the supply of energy is so scarce
that the center barely
rotates."
Don Juan explained that those enormous centers of vitality were located
on six areas of the body.
He enumerated them in terms of the importance that shamans accorded
them. The first was on the area
of the liver and gallbladder; the second on the area of the pancreas
and spleen; the third on the
area of the kidneys and adrenals; and the fourth on the hollow spot at
the base of the neck on the
frontal part of the body. The fifth was around the womb, and the sixth
was on the top of the
head.
The fifth center, pertinent only to women, had, according to what don
Juan said, a special kind of
energy that gave sorcerers the impression of liquidness. It was a
feature that only some women had.
It seemed to serve as a natural filter that screened out superfluous
influences.
The sixth center, located on top of the head, don Juan described as
something more than an anomaly,
and refrained absolutely from having anything to do with it. He
portrayed it as possessing not a
circular vortex of energy, like the others, but a pendulumlike,
back-and-forth movement somehow
reminiscent of the beating of a heart.
"Why is the energy of that center so different, don Juan?" I asked him.
"That sixth center of energy," he said, "doesn't quite belong to man.
You see, we human beings are
under siege, so to speak. That center has been taken over by an
invader, an unseen predator. And
the only way to overcome this predator is by fortifying all the other
centers."
"Isn't it a bit paranoiac to feel that we are under siege, don Juan?" I
asked.
"Well maybe for you, but certainly not for me," he replied. "I see
energy, and I see that the
energy over the center on the top of the head doesn't fluctuate like
the energy of the other
centers. It has a back-and-forth movement, quite disgusting, and quite
foreign. I also see that in
a sorcerer who has been capable of vanquishing the mind, which
sorcerers call a foreign
installation, the fluctuation of that center has become exactly like
the fluctuation of all the
others."
Don Juan, throughout the years of my apprenticeship, systematically
refused to talk about that
sixth center. On this occasion when he was telling me about the centers
of vitality, he dismissed
my frantic probes, rather rudely, and began to talk about the fourth
center, the center for
decisions.
"This fourth center," he said, "has a special type of energy, which
appears to the eye of the seer
as possessing a unique transparency, something that could be described
as resembling water: energy
so fluid that it seems liquid. The liquid appearance of this special
energy is the mark of a
filterlike quality of the center for decisions itself, which screens
any energy coming to it, and
draws from it only the aspect of it that is liquidlike. Such a quality
of liquidness is a uniform
and consistent feature of this center. Sorcerers also call it the
watery center.
"The rotation of the energy at the center for decisions is the weakest
of them all," he went on.
"That's why man can rarely decide anything. Sorcerers see that after
they practice certain magical
passes, that center becomes active, and they can certainly make
decisions to their hearts' content,
while they couldn't even take a first step before."
Don Juan was quite emphatic about the fact that the shamans of ancient
Mexico had an aversion that
bordered on phobia about touching their own hollow spot at the base of
the neck. The only way in
which they accepted any interference whatsoever with that spot was
through the use of their magical
passes, which reinforce that center by bringing dispersed energy to it,
clearing away, in this
manner, any hesitation in decision making born out of the natural
energy dispersion brought about
by the wear and tear of everyday life.
"A human being," don Juan said, "perceived as a conglomerate of energy
fields, is a concrete and
scaled unit into which no energy can be injected, and from which no
energy can escape. The feeling
of losing energy, which all of us experience at one time or another, is
the result of energy being
chased away, dispersed from the five enormous natural centers of life
and vitality. Any sense of
gaining energy is due to the redeployment of energy previously
dispersed from those centers. That
is to say, the energy is relocated onto those five centers of life and
vitality."
The
MAGICAL PASSES FOR THE CENTER FOR DECISIONS
1. Bringing Energy to the Center for
Decisions
with a Back-and-Forth Motion of the Hands and Arms with the Palms
Turned Downward
The arms shoot out to the front at a forty-five-degree angle with an
exhalation, the palms of the
hands facing down (fig. 125). Then they are retrieved to the sides of
the chest, under the axilla,
with an inhalation. The shoulders are raised in order to maintain the
same degree of inclination
(fig. 126). In the second facet of this movement, the arms are extended
downward with an
inhalation, and pulled back with an exhalation.
2. Bringing Energy to the Center
for Decisions with a Back-and-Forth
Motion of the Hands and Arms with the Palms Turned Upward
This magical pass is like the preceding one, and it is executed in
exactly the same fashion, except
that it is done with the palms of the hands turned upward (fig. 127).
The inhalations and
exhalations are also exactly as in the preceding movement. Air is
exhaled as the hands and arms
move forward at a forty-five-degree level of inclination, and it is
inhaled as the arms move
backward. Then air is inhaled as the hands and arms move downward, and
exhaled as the hands and
arms retrieve.

3.
Bringing Energy to the Center for Decisions
with a Circular Motion of the Hands and Arms with the Palms Turned
Downward
This
magical pass begins exactly like the
first one of this group, except that when the hands reach their fully
extended position, two
complete circles are drawn with the hands and the arms going away from
each other to reach a point
about six inches beyond the rib cage. When the hands complete the
circles (fig. 128), the arms are
retrieved to the sides of the rib cage under the axilla.
This magical pass consists of two facets. In the first, air is exhaled
as the circles are drawn and
inhaled as the arms are retrieved backward. In the second, air is
inhaled as the hands and arms
draw the circles and exhaled as the arms are retrieved.
4.
Bringing Energy to
the Center for Decisions in a Circular Motion of the Hands and Arms
with the Palms Turned
Upward
This magical pass is exactly like the preceding one, with the same two
facets of inhalation and
exhalation, but the two circles are drawn by the hands and arms with
the palms of the hands turned
upward (fig. 129).
5.
Bringing Energy to the Center for
Decisions
from the Midsection of the Body
The arms are bent at the elbows and kept high, at the level of the
shoulders. The fingers are kept
loosely pointing toward the V spot, but without touching it (fig. 130).
The arms move in a
teetertotter fashion from right to left and left to right. The motion
is not accomplished by moving
the shoulders or the hips, but by the contraction of the muscles of the
stomach, which moves the
midsection to the right, to the left, and to the right again, and so
on.

6.
Bringing Energy to the Center for
Decisions
from the Area of the Shoulder Blades
The arms are bent, as in the previous movement, but the shoulders are
rounded so that the elbows
are heavily drawn toward the front. The left hand is placed on top of
the right. The fingers are
held loose, pointing toward the V spot without touching it, and the
chin juts out and rests on the
hollow spot between the thumb and index finger of the left hand (fig.
131). The bent elbows are
pushed for, ward, extending the shoulder blades, one at a time, to the
maximum.
7.
Stirring Energy Around the Center for
Decisions with a Bent Wrist
Both
hands
are brought to the V spot on the base of the neck, without touching it.
The hands are gently
curved; the fingers point at the center for decisions. Then the hands
begin to move, the left
first, for, towed by the right, as if stirring a liquid substance
around that area, or as if they
were fanning air into the V spot with a series of gentle movements of
each hand; these movements
are accomplished by extending the whole arm laterally and then bringing
it back to the area in
front of the V spot (fig. 132). Then the left arm strikes out in front
of the V spot, with the hand
turned sharply inward, using the wrist and the back of the hand as a
striking surface (fig. 133).
The right arm executes the same movement. In this manner, a series of
forceful blows are delivered
to the area right in front of the V spot.

8.
Transferring Energy from the Two
Centers of
Vitality on the Front of the Body to the Center for Decisions
Both
hands are brought to the area of the
pancreas and spleen, a few inches in front of the body. The left hand,
with the palm turned upward,
is held four or five inches below the right one, which has the palm
turned downward. The left
forearm is held at a ninety-degree angle, extended straight out to the
front. The right forearm is
also at a ninety-degree angle, but held close to the body, so that the
fingertips point to the left
(fig. 134). The left hand makes two inward circles about a foot in
diameter around the area of the
pancreas and spleen. Once it has completed the second circle, the right
hand shoots out to the
front and strikes with the edge of the hand, to the area an arm's
length in front of the liver and
gallbladder (fig. 135). The exact same movements are performed
on the other side of the body by reversing the position of
the hands, which are brought to the area of the liver and gallbladder,
with the right hand circling
and the left hand striking forward to the area an arm's length in front
of the pancreas and
spleen.

9.
The
left
hand and arm draw two circles about a foot in diameter in front of the
V spot, a bit toward the
left (fig. 136). The palm of the hand is facing downward. Once the
second circle has been drawn,
the forearm is raised to the level of the shoulder and the hand strikes
away from the face,
diagonally to the right, at the level of the V spot, with a flick of
the wrist, as if holding a
whip (fig. 137 ). same movements are performed with the right
hand.
Then a deep inhalation is taken and an exhalation follows as the hands
and arms slide downward
until they reach the tops of the knees, with the palms facing up. A
deep inhalation is taken there
and the arms are raised, with the left arm in the lead., the right arm
crosses over the left as
they go over the head until the fingers rest on the back of the neck.
The breath is held as the top
of the trunk moves three times in succession in a teeter-totter motion;
the left shoulder goes down
first, then the right, and so on (fig. 138). Then the air is exhaled as
the arms and hands move
back downward to the tops of the knees, again with the palms of the
hands facing up.
A deep inhalation is taken, and then the air is exhaled as the hands
are raised from the knees to
the level of the V spot, with the fingers pointing toward it, without
touching it (fig. 139). The
hands are brought once more to the knees with an exhalation. A final
deep inhalation is taken and
the hands are raised to the level of the eyes, and then brought down to
the sides as the air is
exhaled.
The next three magical passes, according to don Juan, transfer energy
which belongs only to the
center for decisions from the frontal edge of the luminous sphere,
where it has accumulated over
the years, to the back, and then from the back of the luminous sphere
to the front. He said that
this energy transferred back and forth goes through the V spot, which
acts as a filter, utilizing
only the energy that is proper to it and discarding the rest. He
pointed out that because of this
selective process of the V spot, it is essential to perform these three
magical passes as many
times as possible.

10.
Energy Going Through the Center for
Decisions from the Front to the Back and the Back to the Front with Two
Blows
A deep inhalation is taken. Then the air is slowly exhaled as the left
arm strikes out at the level
of the solar plexus, with the palm of the hand turned upward; the palm
is held flat and the fingers
are together.
Then the hand is clasped into a fist. The arm moves to the back,
striking from the height of the
hips with a backhand blow (fig. 140). The exhalation ends as the hand
opens.
Another deep inhalation is taken. A slow exhalation follows while the
palm of the open hand, still
in back of the body, taps ten times as if lightly hitting a solid round
object. Then the hand is
clasped into a fist before the arm moves to the front in a swinglike
punch that strikes an area in
front of the V spot, an arm's length away from it (fig. 141). The hand
opens as if releasing
something held in it. The arm moves down, back, and then over the head
and strikes with the palm
down in front of the V spot, as if breaking whatever it has released.
The exhalation ends then
(fig. 142). The same sequence of movements is repeated with the right
arm.

11.
Transferring Energy from the Front
to the
Back and the Back to the Front with the Hook of the Arm
A deep
inhalation is made.
Then the air is slowly exhaled as the left
arm moves forward with the palm of the hand turned upward. The hand is
quickly clasped into a fist.
The fisted hand rotates until the back of the hand is turned upward and
strikes over the shoulder
to the back, The fisted palm faces upward. The hand opens and turns to
face downward, and the
exhalation ends.
Another deep inhalation is taken. Then a slow exhalation begins as the
hand, made into a downward
hook, scoops three times, as if rolling a solid substance into a ball
(fig. 143). The ball is
tossed upward to the level of the head with a flick of the hand and
forearm (fig. 144), and quickly
grabbed with the hand bent again at the wrist like a hook (fig. 145).
The arm moves to the front,
then to the height of the right shoulder and strikes forward to an area
right in front of the V
spot an arm's length away from it, using the wrist and the back of the
hand as a striking surface
(fig. 146). The hand then opens as if to release whatever it had
trapped, and the arm moves down to
the back and over the head to strike it with great force with the flat
palm. The exhalation ends as
the whole body shakes with the force of the strike. The same movements
are repeated with the other
arm.

12.
Transferring Energy from the Front
to the
Back and the Back to the Front with Three Blows
A
deep inhalation is taken. A slow exhalation follows as the left arm
strikes forward with the hand open, the flat palm turned upward. The
hand is quickly clasped into a
fist, and the arm retrieves as if to deliver an elbow blow to the back.
Then it moves laterally to
the right and delivers a side punch with the forearm rubbing on the
body (fig. 147). The elbow is
retrieved again as if to deliver an elbow blow to the back. The arm is
extended and moved out to
the left side and to the back, to deliver the fourth blow behind the
body with the back of the
fisted hand. The exhalation ends as the hand opens (fig. 148).

A deep inhalation is taken
again. A slow exhalation follows as the hand,
bent downward into a hook, scoops three times. Then the hand grabs as
if it were clasping something
solid (fig. 149). The arm swings to the front at the level of the
center for decisions. It
continues to the right shoulder; there the forearm makes a loop upward
and delivers a back-fist
blow to the area in front of the V spot, an arm's length away from it
(fig. 150). The hand opens as
if to release something that it was clasping. Then it moves down, goes
behind the body, comes above
the head, with the palm of the hand down, and smashes whatever it
released with a forceful blow of
the open hand. The slow exhalation ends there (fig. 151).
The same movements are repeated with the right arm.
The
Second Group: The
Recapitulation
The
Recapitulation,
according to what don Juan taught his disciples, was
a technique discovered by the sorcerers of ancient Mexico, and used by
every shaman practitioner
from then on, to view and relive all the experiences of their lives, in
order to achieve two
transcendental goals: one, the abstract goal of fulfilling a universal
code that demands that
awareness must be relinquished at the moment of death; and two, the
extremely pragmatic goal of
acquiring perceptual fluidity.
He said that the formulation of their first goal was the result of
observations that those
sorcerers made by means of their capacity to see energy directly as it
flows in the universe. They
had seen that there exists in the universe a gigantic force, an immense
conglomerate of energy
fields which they called the Eagle, or the dark sea of awareness. They
observed that the dark sea
of awareness is the force that lends awareness to all living beings,
from viruses to men. They
believed that it tends awareness to a newborn being, and that this
being enhances that awareness by
means of its life experiences until a moment in which the force demands
its return.
In the understanding of those sorcerers, all living beings die because
they are forced to return
the awareness lent to them. Sorcerers throughout the ages have
understood that there is no way for
what modem man calls our linear mode of thinking to explain such a
phenomenon, because there is no
room for a causeand-effect line of reasoning as to why and how
awareness is lent and then taken
back. The sorcerers of ancient Mexico viewed it as an energetic fact of
the universe, a fact that
can't be explained in terms of cause and effect, or in terms of a
purpose which can be determined a
priori.
The sorcerers of don Juan's lineage believed that to recapitulate meant
to give the dark sea of
awareness what it was seeking: their life experiences. They believed
that by means of the
recapitulation, however, they could acquire a degree of control that
could permit them to separate
their life experiences from their life force. For them, the two were
not inextricably intertwined;
they were joined only circumstantially.
Those sorcerers affirmed that the dark sea of awareness doesn't want to
take the lives of human
beings; it wants only their life experiences. Lack of discipline in
human beings prevents them from
separating the two forces, and in the end, they lose their lives, when
it is meant that they lose
only the force of their life experiences. Those sorcerers viewed the
recapitulation as the
procedure by which they could give the dark sea of awareness a
substitute for their lives. They
gave up their life experiences by recounting them, but they retained
their life force.
The perceptual claims of sorcerers, when examined in terms of the
linear concepts of our Western
world, make no sense whatsoever. Western civilization has been in
contact with the shamans of the
New World for five hundred years, and there has never been a genuine
attempt on the part of
scholars to formulate a serious philosophical discourse based on
statements made by those shamans.
For instance, the recapitulation may seem to any member of the Western
world to be congruous with
psychoanalysis, something in the line of a psychological procedure, a
sort of selfhelp technique.
Nothing could be further from the truth.
According to don Juan Matus, man always loses by default. In the case
of the premises of sorcery,
he believed that Western man is missing a tremendous opportunity for
the enhancement of his
awareness, and that the way in which Western man relates himself to the
universe, life, and
awareness is only one of a multiplicity of options.
To recapitulate, for shaman practitioners, means to give to an
incomprehensible force-the dark sea
of awareness-the very thing it seems to be looking for: their life
experiences, that is to say, the
awareness that they have enhanced through those very life experiences.
Since don Juan could not
possibly explain these phenomena to me in terms of standard logic, he
said that all that sorcerers
could aspire to do was to accomplish the feat of retaining their life
force without knowing how it
was done. He also said that there were thousands of sorcerers who had
achieved this. They had
retained their life force after they had given the dark sea of
awareness the force of their life
experiences. This meant to don Juan that those sorcerers didn't die in
the usual sense in which we
understand death, but that they transcended it by retaining their life
force and vanishing from the
face of the earth, embarked on a definitive journey of
perception.
The belief of the shamans of don Juan's lineage was that when death
takes place in this fashion,
all of our being is turned into energy, a special kind of energy that
retains the mark of our
individuality. Don Juan tried to explain this in a metaphorical sense,
saying that we are composed
of a number of single nations: the nation of the lungs, the nation of
the heart, the nation of the
stomach, the nation of the kidneys, and so on. Each of these nations
sometimes works independently
of the others, but at the moment of death, all of them are unified into
one single entity. The
sorcerers of don Juan's lineage called this state total freedom. For
those sorcerers, death is a
unifier, and not an annihilator, as it is for the average man.
"Is this state immortality, don Juan?" I asked.
"This is in no way immortality," he replied. "It is merely the entrance
into an evolutionary
process, using the only medium for evolution that man has at his
disposal: awareness. The sorcerers
of my lineage were convinced that man could not evolve biologically'
any further; therefore, they
considered man's awareness to be the only medium for evolution. At the
moment of dying, sorcerers
are not annihilated by death, but are transformed into inorganic
beings: beings that have
awareness, but not an organism. To be transformed into an inorganic
being was evolution for them,
and it meant that a new, indescribable type of awareness was tent to
them, an awareness that would
last for veritably millions of years, but which would also someday have
to be returned to the
giver: the dark sea of awareness."
One of the most important findings of the shamans of don Juan's lineage
was that, like everything
else in the universe, our world is a combination of two opposing, and
at the same time
complementary, forces. One of those forces is the world we know, which
those sorcerers called the
world of organic beings. The other force is something they called the
world of inorganic
beings.
"The world of inorganic beings," don Juan said, "is populated by beings
that possess awareness, but
not an organism. They are conglomerates of energy fields, just like we
are. To the eye of a seer,
instead of being luminous, as human beings are, they are rather opaque.
They are not round, but
long, candlelike energetic configurations. They are, in essence,
conglomerates of energy fields
which have cohesion and boundaries just like we do. They are held
together by the same
agglutinating force that holds our energy fields together."
"Where is this inorganic world, don Juan?" I asked. "It is our
twin world," he replied. "It occupies the same time and space as our
world, but the type
of awareness of our world is so different from the type of awareness of
the inorganic world, that we
never notice the presence of inorganic beings, although they do notice
ours."
"Are those inorganic beings human beings, that have evolved?" I
asked.
"Not at all!" he exclaimed. "The inorganic beings of our twin world
have been intrinsically (inherent)
inorganic from the start, the same way, that we have always been
intrinsically (inherent)
organic
beings, also
from the start. They are beings, whose consciousness can evolve just
like ours, and it doubtlessly
does, but I have no firsthand knowledge of how this happens. What I do
know, however, is that a
human being, whose awareness has evolved, is a bright, luminescent,
round inorganic being of a
special kind."
Don Juan gave me a series of descriptions of this evolutionary process,
which I always took to be
poetic metaphors. I singled out the one, that pleased me the most,
which was total freedom. I
fancied a human being, that enters into total freedom to be the most
courageous, the most
imaginative being possible. Don Juan said, that I was not fancying
anything at all-that to enter
into total freedom, a human being must call on his or her sublime
(supreme, majestic) side, which, he said, human
beings have, but which it never occurs to them to use.
Don Juan described the second, the pragmatic goal of the recapitulation
as the acquisition of
fluidity. The sorcerers' rationale behind this had to do with one of
the most elusive subjects of
sorcery: the assemblage point, a point of intense luminosity the size
of a tennis ball, perceivable
when sorcerers see a human being as a conglomerate of energy
fields.
Sorcerers like don Juan see, that trillions of energy fields in the
form of fit, aments of light
from the universe at large converge on the assemblage point and go
through it. This confluence of
filaments gives the assemblage point its brilliancy. The assemblage
point makes it possible for a
human being to perceive those trillions of energy filaments by turning
them into sensorial data.
The assemblage point then interprets this data as the world of everyday
life, that is to say, in
terms of human socialization and human potential.
To recapitulate is to relive every, or nearly every, experience that we
have had, and in doing so
to displace the assemblage point, ever so slightly or a great deal,
propelling it by the force of
memory to adopt the position that it had when the event being
recapitulated took place. This act of
going back and forth from previous positions to the current one gives
the shaman practitioners the
necessary fluidity to withstand extraordinary odds in their journeys
into infinity. To the
Tensegrity practitioners, the recapitulation gives the necessary
fluidity to withstand odds which
are not in any way part of their habitual cognition.
The recapitulation as a formal procedure was done in ancient times by
recollecting every person the
practitioners knew and every experience in which they had taken part.
Don Juan suggested that in my
case, which is the case of modern man, I make a written list of all the
persons that I had met in
my life, as a mnemonic (assisting) device. Once I had written
that list, he proceeded to tell me how to use it.
I had to take the first person on the list, which went backwards in
time from the present to the
time of my very first life experience, and set up, in my memory, my
last interaction with that
first person on my list. This act is called arranging the event to be
recapitulated.
A detailed recollection of minutiae is required as the proper means to
hone one's capacity to
remember. This recollection entails getting all the pertinent physical
details, such as the
surroundings where the event being recollected took place. Once the
event is arranged, one should
enter into the locale itself, as if actually going into it, paying
special attention to any
relevant physical configurations. If, for instance, the interaction
took place in an office, what
should be remembered is the floor, the doors, the walls, the pictures,
the windows, the desks, the
objects on the desks, everything that could have been observed in a
glance and then
forgotten.
The recapitulation as a formal procedure must begin by the recounting
of events that have just
taken place. In this fashion, the primacy of the experience takes
precedence. Something that has
just happened is something that one can remember with great accuracy.
Sorcerers always count on the
fact that human beings are capable of storing detailed information that
they are not aware of, and
that that detail is what the dark sea of awareness is after.
The actual recapitulation of the event requires that one breathe
deeply, fanning the head, so to
speak, very slowly and gently from side to side, beginning on one side,
left or right, whichever.
This fanning of the head was done as many times, as needed, while
remembering all the details
accessible. Don Juan said that sorcerers talked about this act as
breathing in all of one's own
feelings spent in the event being recollected, and expelling all the
unwanted moods and extraneous
feelings that were left with us.
Sorcerers believe, that the mystery of the Recapitulation lies in the
act of inhaling and exhaling.
Since breathing is a life-sustaining function, sorcerers are certain,
that by means of it, one can
also deliver to the Dark Sea of Awareness the facsimile of one's life
experiences. When I pressed
don Juan for a rational explanation of this idea, his position was,
that things, like the Recapitulation, could only be experienced, not
explained. He said, that in the act of doing, one can
find liberation, and that, to explain it, was to dissipate our energy
in fruitless efforts. His
invitation was congruous with everything related to his knowledge: the
invitation to take
action.
The list of names is used in the recapitulation as a mnemonic (assisting) device that propels memory
into an
inconceivable (unbelievable)
journey.
Sorcerers'
position in this respect is that remembering events that have
just taken place prepares the ground for remembering events more
distant in time with the same
clarity and immediacy. To recollect experiences in this way is to
relive them, and to draw from
this recollection an extraordinary impetus that is capable of stirring
energy dispersed from our
centers of vitality, and returning it to them. Sorcerers refer to this
redeployment of energy that
the recapitulation causes as gaining fluidity after giving the dark sea
of awareness what it is
looking for.
On a more mundane level, the recapitulation gives practitioners the
capacity to examine the
repetition in their lives. Recapitulating can convince them, beyond the
shadow of a doubt, that all
of us are at the mercy of forces which ultimately make no sense,
although at first sight they seem
perfectly reasonable; such as being at the mercy of courtship. It seems
that for some people,
courtship is the pursuit of a lifetime. I have personally heard from
people of advanced age that
the only ideal that they had was to find a perfect companion, and that
their aspiration was to have
perhaps one year of happiness in love.
Don Juan Matus used to say to me, over my vehement protests, that the
problem was that nobody
really wanted to love anybody, but that every one of us wanted to be
loved. He said that this
obsession with courtship, taken at face value, was the most natural
thing in the world to us. To
hear a seventy-five-year-old man or woman say that they are still in
search of a perfect companion
is an affirmation of something idealistic, romantic, beautiful.
However, to examine this obsession
in the context of the endless repetitions of a lifetime makes it appear
as it really is: something
grotesque.
Don Juan assured me that if any behavioral change is going to be
accomplished, it has to be done
through the recapitulation, since it is the only vehicle that can
enhance awareness by liberating
one from the unvoiced demands of socialization, which are so automatic,
so taken for granted, that
they are not even noticed under normal conditions, much less examined.
The actual act of
recapitulating is a lifetime endeavor. It takes years to exhaust the
list of people, especially for
those who have made the acquaintance of and have interacted with
thousands of individuals. This
list is augmented by the memory of impersonal events in which no people
are involved, but which
have to be examined because they are somehow related to the person
being recapitulated. Don Juan
asserted that what the sorcerers of ancient Mexico sought avidly in
recapitulating was the memory
of interaction, because in interaction lie the deep effects of
socialization, which they struggled
to overcome by any means available.
The
MAGICAL PASSES FOR THE RECAPITULATION
The Recapitulation affects something, that don Juan called
the Energy
Body. He formally explained
the energy body, as a conglomerate of energy fields, that are the
mirror image of the energy fields,
that make up the human body, when it is Seen directly, as energy. He
said, that in the case of
sorcerers, the physical body and the Energy Body are one single unit.
The magical passes for the Recapitulation bring the Energy Body to the
physical body, which are essential for navigating into
the Unknown.
13. Forging the Trunk of the Energy Body
Don Juan said, that the trunk of the
energy body was forged (начать постепенно) with three strikes delivered
with the palms of the hands. The hands are held
at the level of the ears with the palms facing forward, and from that
position they strike forward,
at the level of the shoulders, as if they were striking the shoulders
of a well-developed body. The
hands then move back to their original position around the cars, with
the palms facing forward, and
strike the midtrunk of that imaginary body at the level of the chest.
The second strike is not as
wide as the first one, and the third strike is much narrower, because
it strikes the waistline of a
triangular-shaped trunk (fig. 152).
14. Slapping the Energy
Body
The left and the right hands each come down from above the head. The
palm of each hand bears down,
creating a current of energy that defines each arm, forearm, and hand
of the energy body. The left
hand hits across the body to strike the left hand of the energy body
(fig. 153) and then the right
hand does the same: it hits across the body to strike the right hand of
the energy body. This
magical pass defines the arms and forearms, especially the hands, of
the energy body.
15.
Spreading the Energy Body
Laterally
The
wrists are
crossed in the shape of a letter X in front of the body,
almost touching it. The wrists are held bent backwards at a
ninety-degree angle to the forearm, at
the level of the solar plexus. The left wrist is on top of the right
one (fig. 154). From there,
the hands spread to the sides in unison, in a slow motion, as if they
met with tremendous
resistance (fig. 155). When the arms reach their maximum aperture, they
are brought back to the
center, with the palms turned at a ninety-degree angle in relation to
the forearms, creating in
this fashion the sensation of pushing solid matter from both sides to
the center of the body. The
left hand crosses on top of the right as the hands get ready for
another lateral strike. While the physical body as a
conglomerate
of energy fields has superdefined boundaries, the energy
body lacks that feature. Spreading energy laterally gives the energy
body the defined boundaries,
that it lacks.

16.
Establishing the Core of the Energy
Body
The
forearms are held in a vertical position at the level of the chest,
with the elbows kept in close to the body, at the width of the trunk.
The wrists are snapped back
gently, and then forward with great force, without moving the forearms
(fig. 156).
The human body, as a conglomerate of energy fields, has not only
super-defined boundaries, but a
core of compact luminosity, which shamans call the band of man, or the
energy fields with which man
is most familiar. The idea of shamans is that within the luminous
sphere, which is also the
totality of man's energetic possibilities, there are areas of energy of
which human beings are not
at all aware. Those are the energy fields located at the maximum
distance from the band of man. To
establish the core of the energy body is to fortify the energy body in
order for it to venture into
those areas of unknown energy.
17. Forging the
Heels and the Calves of the Energy Body
The
left foot is held in front of the body with the heel raised to
midcalf. The heel is turned out to a position perpendicular to the
other leg. Then the left heel
strikes to the right as if a kick with the heel were being delivered,
about six or seven inches
away from the shinbone of the right leg (figs. 157, 158). The same
movement is then executed with
the other leg.

18.
Forging the Knees of the Energy
Body
This
magical pass has two facets. In the first facet the left knee is
bent and raised to the level of the hips, or if possible even higher.
The total weight of the body
is placed on the right leg, which stands with the knee slightly bent
forward. Three circles are
drawn with the left knee, moving it inward toward the groin (fig. 159).
The same movement is
repeated with the right leg.
In the second facet of this magical pass, the movements are repeated
again with each leg, but this
time, the knee draws an outward circle (fig. 160).
19. Forging the Thighs of the Energy
Body
Beginning
with an exhalation, the body bends slightly at the knees as
the hands slide down the thighs. The hands stop on top of the kneecaps,
and then they are pulled
back up the thighs to the level of the hips with an inhalation, as if
they were drag. ging a solid
substance. There is a slight quality of a claw to each hand. The body
straightens as this part of
the movement is executed (fig. 161). With the opposite breathing
pattern, the movement is repeated,
inhaling as the knees bend and the hands go down to the tops of the
kneecaps, and exhaling as they
are pulled back.

20.Stirring Up Personal History by
Making It
Flexible
This
magical pass stretches the hamstring and relaxes it by bringing
each leg, one at a time, bent at the knee, to strike the buttocks with
a gentle tap of the heel
(fig. 162). The left heel strikes the left buttock, and the right heel
strikes the right
one. Shamans put an enormous emphasis on tightening the muscles of the
backs
of the thighs. They believe
that the tighter those muscles, the greater the facility of the
practitioner to identify and get
rid of behavioral patterns that are useless.
21.
Stirring Up Personal History with
the Heel
to the Ground by Tapping It Repeatedly
The right leg is set at a ninety-degree angle with the left. The left
foot is placed as far as
possible in front of the body as the body almost sits on the right leg.
The tension and contraction
of the back muscles of the right leg are maximum, as is the stretching
of the back muscles of the
left leg. The left leg taps the ground repeatedly with the heel (fig.
163). The same movements are
then executed with the other leg.
22. Stirring Up Personal History with
the Heel
to the Ground by Sustaining That Position
The
same movements are executed in this magical pass as in the previous
one, again with each leg, but instead of tapping with the heel, the
body is kept at an even tension
by holding the stretch of the leg (fig. 164). The following four
magical passes, since they entail
deep inhalations and exhalations, have to be done sparingly.

23. The Recapitulation Wings
A
deep inhalation is taken as both forearms are raised to the level of
the shoulders, with the hands at the level of the ears, palms facing
forward. The forearms are held
vertically and equidistant from each other. An exhalation follows as
the forearms are pulled back
as far as possible without slanting them in any direction (fig. 165).
Another deep inhalation is
taken. Within the duration of one long exhalation, both arms each draw
a winglike semicircle,
beginning with the left arm moving forward as far as it can be extended
and then laterally, drawing
a semicircle to the back as far as possible. The arm makes a curve at
the end of this extension and
returns to the front (fig. 166) to its initial resting position by the
side of the body (fig. 167).
Then the right arm follows the same pattern within the same exhalation.
Once these movements are
completed, a deep abdominal breath is taken.

24. The Window of
Recapitulation
The
first
part of this magical pass is exactly like the preceding one; a deep
breath is taken with the hands
raised to the ear level, with the palms facing forward. The forearms
maintain a perfect
verticality. This is followed by a long exhalation as the arms are
pulled backwards. A deep
inhalation is taken as the elbows are extended laterally at the level
of the shoulders. The hands
are bent at a ninety-degree angle in relation to the forearms, the
fingers pointing upward. The
hands are slowly pushed toward the center of the body until the
forearms cross. The left arm is
held closer to the body and the right arm is placed in front of the
left. The hands create in this
fashion what don Juan called the window of recapitulation: an opening
in front of the eyes that
looks like a small window, through which, don Juan affirmed, a
practitioner could peer into
infinity (fig. 168). A deep exhalation follows as the body straightens;
the elbows are extended
laterally and the hands are straightened out and kept at the same level
as the elbows (fig.
169).

25. The Five Deep
Breaths
The
beginning of this magical pass is exactly like the previous two. At the
second inhalation, the arms
go down and cross at the level of the knees as the practitioner adopts
a semi-squatting position.
The hands are placed behind the knees; the right hand grabs the tendons
in back of the left knee,
and the left hand, with the left forearm on top of the right, grabs the
tendons in back of the
right knee. The index and middle fingers grab the outer tendons there
and the thumb is wrapped
around the inner part of the knee. The exhalation ends then, and a deep
inhalation is taken,
accompanied by pressing the tendon (fig. 170). Five breaths are taken
in this fashion.
This magical pass causes the back to be straight and the head to be in
alignment with the spine,
and is used to take deep breaths that fill the top as well as the lower
part of the lungs by
pushing the diaphragm downward.
26.
Drawing Energy from
the Feet
The
first
part of this magical pass is exactly the same as the beginning of the
other three of this series.
On the second inhalation, the forearms go down and wrap around the
ankles, going from the inside to
the outside as the practitioner adopts a squatting position. The backs
of the hands rest on top of
the toes, and in this fashion, three deep inhalations and three deep
exhalations are made (fig.
171). After the last exhalation, the body straightens as a deep
inhalation is taken to finish the
magical pass. The only glow of awareness left in human beings is at the
bottom of
their luminous spheres, a
fringe that extends in a circle and reaches the level of the toes. With
this magical pass, that
fringe is tapped with the backs of the fingers, and stirred with the
breath.

THE
Third Group: Dreaming
Don
Juan
Matus defined dreaming as the act of using normal dreams as a bona fide
entrance for human
awareness into other realms of perceiving. This definition implied for
him, that ordinary dreams
could be used as a hatch, that led perception into other regions of
energy different from the energy
of the world of everyday life, and yet utterly similar to it at a basic
core. The result of such an
entrance was, for sorcerers, the perception of veritable worlds, where
they could live or die,
worlds, which were astoundingly different from ours, and yet utterly
similar.
Pressed for a linear explanation of this contradiction, don Juan Matus
reiterated the standard
position of sorcerers: that the answers to all those questions were in
the practice, not in the
intellectual inquiry. He said, that in order to talk about such
possibilities, we would have to use
the syntax of language, whatever language we spoke, and that syntax, by
the force of usage, limits
the possibilities of expression. The syntax of any language refers only
to perceptual possibilities
found in the world in which we live.
Don Juan made a significant differentiation, in Spanish, between two
verbs: one was to dream,
sonar; and the other was ensoilar, which is to dream the way sorcerers
dream. In English, there is
no clear distinction between these two states: the normal dreaming,
sueno, and the more complex
state that sorcerers call ensueflo.
The art of dreaming, according to what don Juan taught, originated in a
very casual observation
that the shamans of ancient Mexico made when they saw people who were
asleep. They noticed that
during sleep the assemblage point was displaced in a very natural, easy
way from its habitual
position, and that it moved anywhere along the periphery of the
luminous sphere, or to any place in
the interior of it. Correlating their seeing with the reports of the
people who had been observed
sleeping, they realized that the greater the observed displacement of
the assemblage point, the
more astounding the reports of events and scenes experienced in
dreams.
After this observation took hold of them, those sorcerers began to look
avidly for opportunities to
displace their own assemblage points. They ended up using psychotropic
plants to accomplish this.
Very quickly, they realized that the displacement brought about by
using these plants was erratic,
forced, and out of control. In the midst of this failure, nonetheless
they discovered one thing of
great value. They called it dreaming attention.
Don Juan explained this phenomenon, referring first to the daily
awareness of human beings as the
attention placed on the elements of the world of everyday life. He
pointed out that human beings
took only a cursory and yet sustained look at everything that
surrounded them.
More than examining things, human beings simply established the
presence of those elements by a
special type of attention, a specific aspect of their general
awareness. His contention was that
the same type of cursory and yet sustained "look," so to speak, could
be applied to the ele- merits
of an ordinary dream. He called this other, specific aspect of general
awareness dreaming attention
or the capacity that practitioners acquire to maintain their awareness
unwaveringly fixed on the
items of their dreams.
The cultivation of dreaming attenti . on gave the sorcerers of don
Juan's lineage a basic taxonomy
of dreams. They found out that most of their dreams were imagery,
products of the cognition of
their daily world; however, there were some which escaped that
classification. Such dreams were
veritable states of heightened awareness in which the elements of the
dream were not mere imagery,
but energy-generating affairs. Dreams which had energy-generating
elements were, for those shamans,
dreams in which they were capable of seeing energy as it flowed in the
universe.
Those shamans were able to focus their dreaming attention on any
element of their dreams, and found
out, in this fashion, that there are two kinds of dreams. One is the
dreams that we are all
familiar with, in which phantasmagorical elements come into play,
something which we could
categorize as the product of our mentality, our psyche; perhaps
something that has to do with our
neurological makeup. The other kind of dreams they called
energy-generating dreams. Don Juan said
that those sorcerers of ancient times found themselves in dreams which
were not dreams, but actual
visitations made in a dreamlike state to bona fide places other than
this world-real places, just
like the world in which we live; places where the objects of the dream
generated energy, just as
trees, or animals, or even rocks generate energy in our daily world,
for a seeing
sorcerer.
Their visions of such places were, however, for those shamans, too
fleeting, too temporary, to be
of any value to them. They attributed this flaw to the fact that their
assemblage points could not
be held fixed for any considerable time at the position to which they
had been displaced. Their
attempts to remedy the situation resulted in the other high art of
sorcery: the art of
stalking.
Don Juan defined the two arts very clearly one day when he said to me
that the art of dreaming
consisted of purposely displacing the assemblage point from its
habitual position. The art of
stalking consisted in volitionally making it stay fixed on the new
position to which it had been
displaced.
This fixation allowed the shamans of ancient Mexico the opportunity to
witness other worlds in
their full extent. Don Juan said that some of those sorcerers never
returned from their journeys.
In other words, they opted for staying there, wherever "there" might
have been.
"When the old sorcerers finished mapping human beings as luminous
spheres," don Juan said to me
once, "they had discovered no less than six hundred spots in the total
luminous sphere that were
the sites of bona fide worlds. Meaning that, if the assemblage point
became attached to any of
those places, the result was the entrance of the practitioner into a
total new world."
"But where are those six hundred other worlds, don Juan?" I
asked.
"The only answer to that question is incomprehensible," he said,
laughing. "It's the essence of
sorcery, and yet it means nothing to the average mind. Those six
hundred worlds are in the position
of the assemblage point. Incalculable amounts of energy are required to
make sense out of this
answer. We have the energy. What we lack is the facility or disposition
to use it." I could add that nothing could be truer than all
these
statements, and yet, nothing could make less
sense. Don Juan explained usual perception in the terms in which the
sorcerers
of his lineage understood
it: The assemblage point, at its habitual location, receives an inflow
of energy fields from the
universe at large in the form of luminous filaments, numbering in the
trillions. Since its position
is consistently the same, it stood to sorcerers' reasoning that the
same energy fields, in the form
of luminous filaments, converge on the assemblage point and go through
it, giving as a consistent
result the perception of the world that we know. Those sorcerers
arrived at the unavoidable
conclusion that if the assemblage point were displaced to another
position, another set of energy
filaments would go through it, resulting in the perception of a world
that, by definition, was not
the same as the world of everyday life. In don Juan's opinion,
what human beings ordinarily regard as perceiving is rather the act of
interpreting sensory data. He maintained that from the moment of birth,
everything around us
supplies us with a possibility of interpretation, and that with time,
this possibility turns into a
full system by means of which we conduct all of our perceptual
transactions in the world. He pointed out, that the assemblage
point is not only the center where perception is assembled, but
also the center where the interpretation of sensory data is
accomplished, so that if it were to
change locations, it would interpret the new influx of energy fields in
very much the same terms in
which it interprets the world of everyday life. The result of this new
interpretation is the
perception of a world which is strangely similar to ours, and yet
intrinsically (inherent)
different. Don
Juan
said that energetically, those other worlds are as different from ours
as they could possibly be.
It is only the interpretation of the assemblage point which accounts
for the seeming
similarities. Don Juan called for a new syntax that could be
used in order to express this wondrous quality of
the assemblage point and the possibilities of perception brought about
by dreaming. He conceded (admited),
however, that perhaps the present syntax of our language could be
forced to cover it if this
experience became available to any one of us, and not merely to shaman
initiates. Something related to dreaming that was of
tremendous
interest to me, but which bewildered me to no
end, was don Juan's statement that there was really no procedure to
speak of that would teach
anyone how to dream. He said that more than anything else, dreaming was
an arduous effort on the
part of the practitioners to put themselves in contact with the
indescribable all-pervading force
that the sorcerers of ancient Mexico called intent. Once this link was
established, dreaming also
mysteriously became established. Don Juan asserted that this linkage
could be accomplished
following any pattern that implied discipline. When I asked
him to
give me a succinct explanation of the procedures involved, he laughed
at
me.
"To venture into the world of sorcerers," he said, "is not like
learning to drive a car. To drive a
car, you need manuals and instructions. To dream, you need to intend
it."
"But how can I intend it?" I insisted.
"The only way you could intend it is by intending it," he declared.
"One of the most difficult
things for a man of our day to accept is a lack of procedure. Modern
man is in the throes of
manuals, praxes, methods, steps leading to. He is ceaselessly taking
notes, making diagrams, deeply
involved in the 'know-how.' But in the world of sorcerers, procedures
and rituals are mere designs
to attract and focus attention. They are devices used to force a
focusing of interest and
determination. They have no other value."
What don Juan considered to be of supreme importance in order to dream
is the rigorous execution of
the magical passes: the only device, that the sorcerers of his lineage
used to aid the displacement
of the assemblage point. The execution of the magical passes gave those
sorcerers the stability and
the energy necessary to call forth their dreaming attention, without
which there was no possibility
of dreaming for them. Without the emergence of dreaming attention,
practitioners could aspire, at
best, to have lucid dreams about phantasmagorical worlds. They could
perhaps have views of worlds,
that generate energy, but these would make no sense to them whatsoever
in the absence of an
allinclusive rationale, that would properly categorize them.
Once the shamans of don Juan's lineage had developed their dreaming
attention, they realized that
they had tapped on the doors of infinity. They had succeeded in
enlarging the parameters of their
normal perception. They discovered that their normal state of awareness
was infinitely more varied
than it had been before the advent of their dreaming attention. From
that point on, those sorcerers
could truthfully venture into the unknown.
"The aphorism," don Juan said to me once, "that 'the sky is the limit'
was most applicable to the
sorcerers of ancient times. They certainly outdid
thernselves."
"Was it really true for them that the sky was the limit, don Juan?" I
asked.
"This question could be answered only by each of us individually," he
said, smiling expansively.
"They gave us the tools. It is up to us individually to use them or
refuse them. In essence, we are
alone in front of infinity, and the issue of whether or not we are
capable of reaching our limits
has to be answered personally."
THE
MAGICAL PASSES FOR DREAMING
27. Getting the Assemblage Point Loose
The
left arm, with the palm of the hand turned upward, reaches
over the area behind the shoulder blades, as the trunk leans a bit
forward. Then the arm is brought
in an underhanded motion from the left side of the body to the front,
moving in an upward thrust in
front of the face, with the palm of the left hand turned to face the
left. The fingers are held
together (figs. 172, 173).
This magical pass is executed by each arm in succession. The knees are
kept bent for greater
stability and thrusting force.

28.
Forcing the Assemblage Point to Drop
Down
The
back is kept as straight as possible. The knees are locked. The left
arm, fully stretched, is
placed at the back, a few inches away from the body. The hand is bent
at a ninety-degree angle in
relation to the forearm; the palm faces downward and the fully
stretched fingers point backward.
The fully stretched right arm is placed in front in the same position:
with the wrist bent at a
ninety-degree angle, the palm facing downward, the fingers pointing
forward.
The head turns in the direction of the arm that is kept at the back,
and a total stretch of the
tendons of the legs and arms takes place at that instant. This tension
of the tendons is held for a
moment (fig. 174). The same movement is repeated with the right arm in
back and the left in
front.
29.
Enticing the Assemblage Point to
Drop by
Drawing Energy from the Adrenals and Transferring It to the
Front
The
left
arm is placed behind the body at the level of the kidneys, as far to
the right as it can reach; the
hand is held like a claw. The clawed hand moves across the kidney area
from right to left as if
dragging a solid substance. The right arm is held in its normal
position by the side of the
thigh.
Next, the left hand moves to the front; the palm is held flat, on the
right side, against the liver
and gallbladder. The left hand moves across the front of the body to
the left, the area of the
pancreas and spleen, as if smoothing the surface of a solid substance;
at the same time the right
hand, held like a claw behind the body, moves from left to right over
the kidneys as if dragging a
solid substance.
Then the right hand is placed on the front of the body; the palm is
held flat against the area of
the pancreas and spleen. The hand moves across the front of the body to
the area of the liver and
gallbladder, as if smoothing a rough surface, while the clawed left
hand moves again across the
area of the kidneys from right to left as if dragging a solid substance
(figs. 175, 176). The knees
are kept bent for greater stability and force.

30.
Playing Out the A and B Types of
Energy
The
right
forearm, bent in a vertical position, at a ninety-degree angle, is
centered in front of the body,
with the elbow almost at the level of the shoulders, and the palm of
the hand facing left. The left
forearm, bent at the elbow and held in a horizontal position, is placed
with the back of the hand
underneath the right elbow. The eyes, without focusing on either
forearm, keep a peripheral view of
both of them. The pressure of the right arm is downward, while the
pressure of the left arm is
upward. The two forces act simultaneously on both arms; they are kept
under this tension for a
moment (fig. 177). Then the same movement is executed by reversing the
order and position of the
arms.
The shamans of ancient Mexico believed that everything in the universe
is composed of dual forces,
and that human beings are subjected to that duality in every aspect of
their lives. At the level of
energy, they considered that two forces are at play. Don Juan called
them the A and B forces. The A
force is employed ordinarily in our daily affairs, and is represented
by a straight vertical line.
The B force is ordinarily an obscure one which rarely enters into
action, and it is kept lying
down. It is represented by a horizontal line drawn to the left of the
vertical one, at its base,
making in this fashion a reversed capital letter L.
Shamans, men and women, were the only ones who, in don Juan's view, had
been capable of turning the
force B, which is ordinarily lying down horizontally, out of use, into
an active vertical line. And
consequently, they had succeeded in putting force A to rest. This
process was represented by
drawing a horizontal line at the base of the vertical one, to its
right, and making, as a result, a
capital letter L. Don Juan portrayed this magical pass as the one which
best exemplified this
duality and the effort of the sorcerers to reverse its effects.
31.
Pulling the Energy Body to the
Front
The
arms
are kept at shoulder level with the elbows bent. The hands overlap each
other, and they are turned
with the palms down. A circle is made with the hands rotating around
each other; the movement is
inward, toward the face (fig. 178). They rotate three times around each
other; then the left arm is
thrust forward with the hand in a fist, as if to strike an invisible
target in front of the body,
an arm's length away from it (fig. 179). Three more circles are drawn
with both hands, and then the
right arm strikes in the same fashion as the left one.

32.
Hurling the Assemblage Point Like a
Knife over the Shoulder
The
left
hand reaches over the head to the area behind the shoulder blades and
grabs, as if holding a solid
object. Then it moves over the head to the front of the body, with the
motion of hurling something
forward. The knees are kept bent for hurling stability. The same
movement is repeated with the
right arm (figs. 180, 181).
This magical pass is an actual attempt to hurl the assemblage point, in
order to displace it from
its habitual position. The practitioner holds the assemblage point as
if it were a knife. Something
in the intent of hurling the assemblage point causes a profound effect
toward the actual
displacement of it.
33. Hurling the Assemblage Point Like a
Knife
from the Back by the Waist
The
knees
are kept bent as the body leans forward. Then the left arm reaches to
the back, from the side, to
the area behind the shoulder blades, grabs onto something as if it were
solid, and hurts it forward
from the waist, with a flick of the wrist, as if hurling a flat disk,
or a knife (figs. 182, 183).
The same movements are repeated with the right hand.

34.
Hurling the Assemblage Point Like a
Disk
from the Shoulder
A deep
rotation of the waist is made to the left, which propels the right arm
to swing to the left side of
the left leg. Then the motion of the waist, moving in the opposite
direction, propels the left arm
to swing to the right side of the right leg. Another motion of the
waist propels the right arm to
swing again to the left side of the left leg. At this point the left
hand reaches back instantly
with a circular motion to grab onto something as if it were solid, from
the area behind the
shoulder blades (fig. 184). The left hand takes *it in a swinging
circular motion to the front of
the body and up to the level of the right shoulder. The palm of the
clenched hand faces upward.
From this position, the left hand, with a flick of the wrist, makes a
hurling motion, as if to hurl
forward something solid, like a disk (fig. 185).
The legs are kept bent slightly at the knees and a great pressure is
exerted (exercise, put into vigorous action) at the back of the
thighs. The right arm, with the elbow slightly bent, is extended behind
the body to give stability
to the act of hurling a disk. This position is held for a moment, while
the left arm maintains the
position of having just hurled an object.
The same movements are repeated with the other arm.

35. Hurling the Assemblage Point Like a
Ball
Above the Head
The
left
hand moves back quickly to the area behind the shoulder blades and
grabs something, as if it were
solid (fig. 186). The arm rotates twice in a big circle above the head
as if to gain impulse (fig.
187) and makes the motion of hurling a ball forward (fig. 188). The
knees are kept bent. These
movements are repeated with the right hand.
THE
Fourth Group: Inner Silence
The Don Juan
said that
inner silence was the state most avidly sought by
the humans of ancient Mexico. He defined it as a natural state of human
perception in which
thoughts are blocked off and all of man's faculties operate from a
level of awareness which doesn't
require the utilization of our daily cognitive system.
Inner silence has always been associated with darkness, for the shamans
of don Juan's lineage,
perhaps because human perception, deprived of its habitual companion,
the internal dialogue, falls
into something that resembles a dark pit. He said that the body
functions as usual, but awareness becomes
sharper. Decisions are
instantaneous, and seem o stem from a special sort of knowledge which
is deprived of thought,
verbalizations.
Human perception functioning in a condition of inner silence, according
to don Juan, is capable of
reaching indescribable levels. Some of hose levels of perception are
worlds in themselves, and not
at all like he worlds reached through dreaming. They are indescribable
states, inexplicable in
terms of the linear paradigms that the habitual state of human
perception employs for explaining
the universe.
Inner silence, in don Juan's understanding, is the matrix for a
gigantic step of evolution: silent
knowledge, or the level of human awareness where knowing is automatic
and instantaneous. Knowledge
at this level is not the product of cerebral cogitation or logical
induction and deduction, or of
generalizations based on similarities and dissimilarities. There is
nothing a priori at the level
of silent knowledge, nothing that could constitute a body of knowledge,
for everything is
imminently now. Complex pieces of information could be grasped without
any cognitive
preliminaries.
Don Juan believed that silent knowledge was insinuated to early man,
but that early man was not
really the possessor of silent knowledge. Such an insinuation was
infinitely stronger than what
modern man experiences, where the bulk of knowledge is the product of
rote learning. It is a
sorcerers' axiom that although we have lost that insinuation, the
avenue that leads to silent
knowledge will always be open to man by means of inner
silence.
Don Juan Matus taught the hard line of his lineage: that inner silence
must be gained by a
consistent pressure of discipline. It has to be accrued or stored, bit
by bit, second by second. In
other words, one has to force oneself to be silent, even if it is only
for a few seconds. According
to don Juan, it was common knowledge among sorcerers that if one
persists in this, persistence
overcomes habit, and thus, it is possible to arrive at a threshold of
accrued seconds or minutes,
which differs from person to person. If the threshold of inner silence
is ten minutes for a given
individual, for instance, then once this threshold is reached, inner
silence happens by itself, of
its own accord, so to speak.
I was warned beforehand that there was no possible way of knowing what
my individual threshold
might be., and that the only way of finding this out was through direct
experience. This is exactly
what happened to me. Following don Juan's suggestion, I had persisted
in forcing myself to remain
silent, and one day, while walking at UCLA, I reached my mysterious
threshold. I knew I had reached
it because in one instant, I experienced something don Juan had
described at length to me. He had
called it stopping the world. In the blink of an eye, the world ceased
to be what it was, and for
the first time in my life, I became conscious that I was seeing energy
as it flowed in the
universe. I had to sit down on some brick steps. I knew that I was
sitting on some brick steps, but I knew it only
intellectually, through memory.
Experientially I was resting on energy. I myself was energy, and so was
everything around me. I had
cancelled out my interpretation system.
After seeing energy directly, I realized something which became the
horror of my day, something
that no one could explain to me satisfactorily except don Juan. I
became conscious that although I
was seeing for the first time in my life, I had been seeing energy as
it flows in the universe all
my life, but I had not been conscious of it. To see energy as it flows
in the universe was not the
novelty. The novelty was the query that arose with such fury that it
made me surface back into the
world of everyday life. I asked myself what had been keeping me from
realizing that I had been
seeing energy as it flows in the universe all my life.
"There are two issues at stake here," don Juan explained to me, when I
asked him about this
maddening contradiction. "One is general awareness. The other is
particular, deliberate
consciousness. Every human being in the world is aware, in general
terms, of seeing energy as it
flows in the universe. However, only sorcerers are particularly and
deliberately conscious of it.
To become conscious of something that you are generally aware of
requires energy, and the iron-hand
discipline needed to get it. Your inner silence, the product of
discipline and energy, bridged the
gap between general awareness and particular consciousness."
Don Juan stressed, in every way he was able, the value of a pragmatic
attitude in order to buttress
the advent of inner silence. He defined a pragmatic attitude as the
capacity to absorb any
contingency that might appear along the way. He himself was, to me, the
living example of such an
attitude. There wasn't any uncertainty or liability that his mere
presence would not
dispel.
He reiterated every time he could that the effects of inner silence
were very unsettling, and that
the only deterrent to this condition was the pragmatic attitude which
was the product of a superbly
pliable, agile, strong body. He said that for sorcerers, the physical
body was the only entity that
made any sense to them, and that there was no such thing as a dualism
between body and mind. He
further stated that the physical body involved both the body and the
mind as we knew them, and that
in order to counterbalance the physical body as a holistic unit,
sorcerers considered another
configuration of energy which was reached through inner silence: the
energy body. He explained that
what I had experienced at the moment, in which I had Stopped the World,
was the resurgence of - my
Energy Body, and, that this configuration of energy was the one, which
had always been able to See
Energy as it flowed in the Universe.
THE
MAGICAL PASSES THAT AID THE ATTAINMENT OF INNER
SILENCE
36. Drawing Two Half-Circles with Each Foot
The
total
weight of the body is on the right leg. The left foot is placed half a
step in front of it, and it
slides on the floor, drawing a half-circle to the left; the ball of the
foot comes to rest almost
touching the right heel. From there, it draws another half-circle to
the back (fig. 189). These
circles are drawn with the ball of the left foot. The heel is kept off
the ground, in order to make
the movement smooth and uniform.
The movement is reversed and two more halfcircles are drawn in this
fashion, starting from the back
and going to the front.
The same movements are executed with the right foot after the whole
weight of the body is
transferred to the left leg. The knee of the leg that supports the
weight is bent for strength and
stability.
37.
Drawing a Half Moon with Each
Foot
The
weight of the body is placed on the right leg. The left foot goes
half a step in front of the right one, drawing a wide semicircle on the
ground around the body from
the front, to the left, to the back of the body. This semicircle is
drawn with the ball of the foot
(fig. 190). Another semicircle is drawn from the back to the front, in
the same fashion. The same
movements are executed with the right leg, after transferring the
weight to the left
leg.

38. The Scarecrow in the Wind with the
Arms
Down
The
arms are kept extended laterally at the level of the shoulders with
the elbows bent and the forearms dangling downward at a strict
ninety-degree angle. The forearms
swing freely from side to side, as if moved by the wind alone. The
forearms and the wrists are kept
straight and vertical. The knees are locked (fig. 191).
39. The Scarecrow in the Wind with the
Arms
Up
Just
as in the preceding magical pass, the arms are extended laterally
at the level of the shoulders, except the forearms are turned upward,
bent at a ninety-degree
angle. The forearms and wrists are kept straight and vertical (fig.
192). Then they swing freely
downward to the front (fig. 193) and upward again. The knees are
locked.

40. Pushing Energy Backward with the
Full
Arm
The
elbows are acutely bent and the forearms held tight against the
sides of the body, as high as possible, with the hands held in fists
(fig. 194). As an exhalation
is made, the forearms are fully extended downward and backward as high
as possible. The knees are
locked, and the trunk bends slightly forward (fig. 195). As an
inhalation is made, the arms are
then brought forward to the original position by bending the
elbows.
Then the breathing is reversed as this movement is repeated; instead of
exhaling as the arms are
pulled backwards, an inhalation is taken. An exhalation follows as the
elbows are bent and the
forearms are brought upward against the axilla.
41. Pivoting the Forearm
The
arms are held in front of the body with the elbows bent and the
forearms vertical. Each hand is bent at the wrist, resembling the head
of a bird, which is at eye
level, with the fingers pointing toward the face (fig. 196). Keeping
the elbows vertical and
straight, the wrists are flipped back and forth, pivoting on the
forearms, making the fingers of
the hands move from pointing at the face to pointing forward (fig.
197). The knees are kept bent
for stability and strength.

42. Moving Energy in a
Ripple
The
knees are kept straight, and the trunk stoops over. Both arms are
kept dangling at the sides. The left arm moves forward with three
ripples of the hand, as if the
hand were following the contour of a surface with three half-circles on
it (fig. 198). Next, the
hand cuts across the front of the body in a straight line from left to
right, then from right to
left (fig. 199), and moves backward at the side of the body with three
more ripples, drawing in
this fashion the thick shape of an inverted capital letter L-at least
six inches thick.
The same movements are repeated with the right arm.

43.
The T Energy of the
Hands
The
two
forearms are held at right angles right in front of the solar plexus,
making the shape of a letter
T. The left hand is the horizontal bar of the letter T with the palm
turned upward. The right hand
is the vertical bar of the letter T with the palm turned downward (fig.
200). Next, the hands turn
back and forth at the same time with considerable force. The palm of
the left hand is turned to
face downward, and the palm of the right hand is turned to we upward,
both hands maintaining the
same letter T shape (fig. 201). These same movements are executed
again, placing the right hand as
the horizontal bar of the letter T and the left hand as the vertical
one.

44.
Pressing Energy with the
Thumbs
The
forearms, bent at the elbows, are held right in front of the body in a
perfectly horizontal
position, maintaining the width of the body. The fingers are curled in
a loose fist, and the thumbs
are held straight, cradled on the curled index fingers (figs. 202,
203). An intermittent pressure
is exerted (exercise,
put into
vigorous action) between the thumb and the
index finger and the curled fingers against the palm of the
hand. They contract and relax, spreading the impulse to the arms. The
knees are kept bent for
stability.
45.
Drawing an Acute Angle with the Arms
Between the Legs
The
knees
are locked, with the hamstrings as tight as possible. The trunk is bent
forward, with the head
almost at the level of the knees. The arms dangle in front and, moving
repeatedly forward and
backward, they draw an acute angle with its vertex between the legs
(figs. 204, 205).
46.
Drawing an Acute Angle with the Arms
in
Front of the Face
The
knees
are locked, with the hamstrings as tight as possible. The trunk is bent
forward, with the head
almost at the level of the knees. The arms dangle in front of the body
and, moving repeatedly from
the back to the front, they draw an acute angle, with its vertex in
front of the face (figs. 206,
207).

47.
Drawing a Circle of Energy Between
the
Legs and in Front of the Body
The
knees
are kept locked, with the hamstrings as tight as possible. The trunk is
bent forward, with the head
almost at the level of the knees. The arms dangle in front of the body.
The two arms cross at the
wrists, the left forearm on top of the right one. The crossed arms
swing back between the legs
(fig. 208). From there, each one makes an outward circle in front of
the face. At the end of the
circle, the arms point forward, the left wrist on top of the right one
(fig. 209). From there, they
draw two inward circles that end between the legs, with the wrists
crossed once more in the initial
position.
Then the right wrist is made to rest on top of the left one, and the
same movements are
repeated.

48.
Three Fingers on the
Floor
The
arms
are brought slowly over the head as a deep inhalation is taken. A slow
exhalation begins while the
arms are brought all the way down to the floor, keeping the knees
locked and the hamstrings as
tight as possible. The index and middle fingers of each hand touch the
floor a foot in front of the
body, and then the thumb is also brought to rest on the floor (fig.
210). A deep inhalation is
taken while that position is held. The body straightens, and the arms
are raised above the head.
The air is exhaled as the arms come down to the level of the waist.
49.
The Knuckles on the Toes
The
arms
are raised above the head as a deep inhalation is taken. As the air is
exhaled, the arms are
brought all the way down to the floor, keeping the knees locked and the
hamstrings as tight as
possible. The knuckles are brought to rest on top of the toes as the
exhalation ends (fig. 211). A
deep inhalation is taken while that position is held. The body
straightens, and the arms are raised
above the head. The exhalation begins when the arms are brought down to
the level of the
waist.
50.
Drawing Energy from the Floor with
the
Breath
A deep
inhalation is taken as the arms are raised above the head; the knees
are kept bent. The exhalation
begins as the trunk turns to the left and bends down as far as
possible. The hands, with the palms
down, come to rest around the left foot, with the right hand in front
of the foot and the left hand
behind it; they move back and forth five times as the exhalation ends
(fig. 212). A deep inhalation
is taken then, and the body straightens as the arms move over the head.
The trunk turns to the
right, and the exhalation begins as the trunk bends down as far as
possible. The exhalation ends
after the hands move back and forth five times by the right foot.
Another deep breath is taken, and
the body straightens up as the arms move above the head and the trunk
pivots to face the front;
then the arms come down as the air is exhaled.

Fourth
Series - The Separation of the Left Body and the Right Body:
The Heat
Series
Don Juan
taught his disciples that for the shamans who lived
in Mexico in ancient times, the concept that a human being is composed
of two complete functioning
bodies, one on the left and one on the right, was fundamental to their
endeavors as sorcerers. Such
a classificatory scheme had nothing to do with intellectual
speculations on the part of those
sorcerers, or with logical conclusions about possibilities of
distribution of mass in the
body.
When don Juan explained this to me, I countered that modern biologists
had the concept of bilateral
symmetry, which means "a basic body plan in which the left and right
sides of the organism can be
divided into approximate mirror images of each other along the
midline."
"The classifications of the shamans of ancient Mexico," don Juan
replied, "were more profound than
the conclusions of modem scientists, because they stemmed from
perceiving energy directly as it
flows in the universe. When the human body is perceived as energy, it
is utterly patent that it is
composed not of two parts, but of two different types of energy: two
different currents of energy,
two opposing and at the same time complementary forces that coexist
side by side, mirroring, in
this fashion, the dual structure of everything in the universe at
large."
The shamans of ancient Mexico accorded each one of these two different
kinds of energy the stature
of a total body, and spoke exclusively in terms of the left body and
the right body. Their emphasis
was on the left body, because they considered it to be the most
effective, in terms of the nature
of its energy configuration, for the ultimate goals of shamanism. The
shamans of ancient Mexico,
who depicted the two bodies as streams of energy, depicted the left
stream as being more turbulent
and aggressive, moving in undulating ripples and projecting out waves
of energy. When illustrating
what he was talking about, don Juan asked me to visualize a scene in
which the left body was like
half of the sun, and that all the solar flares happened on that half.
The waves of energy projected
out of the left body were like those solar flares-always perpendicular
to the round surface from
which they originated.
He depicted the stream of energy of the right body as not being
turbulent at all on the surface. It
moved like water inside a tank which was being slightly tilted back and
forth. There were no
ripples in it, but a continuous rocking motion. At a deeper level,
however, it swirled in
rotational circles in the form of spirals. Don Juan asked me to
envision a very wide,
peaceful-looking tropical river, where the water on the surface seemed
barely to move, but which
had shattering riptides below the surface. In the world of everyday
life, these two currents are
amalgamated into a single unit: the human body as we know it.
To the eye of the seer, however, the energy of the total body is
circular. This meant to the
sorcerers of don Juan's lineage that the right body was the predominant
force.
"What happens in the case of left-handed people?" I asked him once.
"Are they more suitable for the
endeavors of sorcerers?"
"Why do you think they should be?" he replied, seemingly surprised by
my question.
"Because obviously, the left side is predominant," I said.
"This predominance is of no importance whatsoever for sorcerers," he
said. "Yes, the left side
predominates in the sense that they can hold a hammer with their left
hand very effectively. They
write with their left hand. They can hold a knife with their left hand,
and do it very well. If
they are leg shakers, they can certainly shake the left knee with great
rhythm. In other words,
they have rhythm in their left body, but sorcery is not a matter of
that kind of predominance, The
right body still rules them with a circular motion."
"But does left-handedness have any advantages or disadvantages for
sorcerers?" I asked. I was
driven by the implication built into many of the Indo-European
languages of the sinister quality of
left-handedness.
"There are no advantages or disadvantages to my knowledge," he said.
"The division of energy
between the two bodies is not measured by dexterity, or the lack of it.
The predominance of the
right body is an energetic predominance, which was encountered by the
shamans of those ancient
times. They never tried to explain why this predominance happened in
the first place, nor did they
try to further investigate the philosophical implications of it. For
them, it was a fact, but a
very special fact. It was a fact that could be changed."
"Why did they want to change it, don Juan?" I asked.
"Because the predominant circular motion of the right body's energy is
too friggin' boring!" he
exclaimed. "That circular motion certainly takes care of any event of
the daily world, but it does
it circularly, if you know what I mean."
"I don't know what you mean, don Juan," I said.
"Every situation in life is met in this circular fashion," he replied,
making a small circle with
his hand. "On and on and on and on and on. It's a circular movement
that seems to draw the energy
inward always, and turns it around and around in a centripetal motion.
Under these conditions,
there's no expansion. Nothing can be new. There is nothing that cannot
be inwardly accounted for.
What a drag!"
"In what way can this situation be changed, don Juan?" I
asked.
"It's too late to be really changed," he replied. "The damage is
already done. The spiral quality
is here to remain. But it doesn't have to be ceaseless. Yes, we walk
the way we do, we can't change
that, but we would also like to run, or to walk backward, or to climb a
ladder; just to walk and
walk and walk and walk is very effective, but meaningless. The
contribution of the left body would
make those centers of vitality more pliable. If they could undulate
instead of moving in spirals,
if only for an instant, different energy would get into them, with
staggering results."
I understood what he was talking about, at a level beyond thought,
because there was really no way
that I could have understood it linearly.
"The sensation that human beings have of being utterly bored with
themselves," he continued, "is
due to this predominance of the right body. The only thing left for
human beings to do, in a
universal sense, is to find ways of ridding themselves of boredom. What
they end up doing is
finding ways of killing time: the only commodity no one has enough of.
But what's worse is the
reaction to this unbalanced distribution of energy. The violent
reactions of people are due to this
unbalanced distribution. It seems that from time to time, helplessness
builds furious currents of
energy within the human body, which explode in violent behavior.
Violence seems to be, for human
beings, another way of killing time."
"But why is it, don Juan, that the sorcerers of ancient Mexico never
wanted to know why this
situation happened?" I asked, bewildered. I found what I was feeling
about this inward motion to be
fascinating.
"They never tried to find out," he said, "because the instant they
formulated the question, they
knew the answer."
"So they knew why?" I asked.
"No, they didn't know why, but they knew how it happened. But that's
another story." He left me
hanging there, but throughout the course of my association with him, he
explained this seeming
contradiction.
"Awareness is the only avenue that human beings have for evolution," he
said to me once, "and
something extraneous to us, something that has to do with the
predatorial condition of the
universe, has interrupted our possibility of evolving by taking
possession of our awareness. Human
beings have fallen prey to a predatorial force, which has imposed on
them, for its own convenience,
the passivity which is characteristic of the energy of the right
body."
Don Juan described our evolutionary possibility as a journey that our
awareness takes across
something the shamans of ancient Mexico called the dark sea of
awareness: something which they
considered to be an actual feature of the universe, an incommensurable
element that permeates the
universe, like clouds of matter, or light. Don Juan was convinced that
the predominance of the
right body in this unbalanced merging of the right and left bodies
marks the interruption of our
journey of awareness. What seems for us to be the natural dominance of
one side over the other was,
for the sorcerers of his lineage, an aberration, which they strove to
correct. Those shamans
believed that in order to establish a harmonious division between the
left and the right bodies,
practitioners needed to enhance their awareness. Any enhancement of
human awareness, how. ever, had
to be buttressed by the most exigent discipline. Otherwise, this
enhancement, painfully
accomplished, would turn into an obsession, resulting in anything from
psychological aberration to
energetic injury.
Don Juan Matus called the collection of magical passes which deal
exclusively with the separation
between the left body and the right body The Heat Group: the most
crucial element in the training
of the shamans of ancient Mexico. This was a nickname given to this
collection of magical passes
because it makes the energy of the right body a little more turbulent.
Don Juan Matus used to joke
about this phenomenon, saying that the movements for the left body put
an enormous pressure on the
right body, which has been accustomed from birth to ruling without
opposition. The moment it is
faced with opposition, it gets hot with anger. Don Juan urged all his
disciples to practice the
Heat Group assiduously, in order to use its aggressiveness to reinforce
the weak left
body.
In Tensegrity, this group is called The Heat Series, in order to make
it more congruous with the
aims of Tensegrity, which are extremely pragmatic on the one hand and
extremely abstract on the
other, such as the practical utilization of energy for well-being
coupled with the abstract idea of
how that energy is obtained. In all the magical passes of this series,
it is recommended to adopt
the division of left and right bodies, rather than left and right sides
of the body. The end result
of this observance would be to say that during the execution of these
magical passes, the body that
doesn't perform the movements is kept immobile. However, all its
muscles should be engaged, not in
activity, but in awareness. This immobility of the body that is not
performing the movements should
be extended to include its head; that is to say, to the opposite side
of the head. Such immobility
of half of the face and head is more difficult to attain, but it can be
accomplished with
practice.
The
series is divided into four groups.
The
First Group: Stirring Energy on the Left Body and the
Right Body
The Second Group: Mixing Energy from the Left Body and the Right Body
The Third Group: Moving Energy of the Left Body and the Right Body with
the Breath
The Fouth Group: The Predelection of the Left Body and the Right Body
The
First Group: Stirring Energy on the Left Body and the Right Body
The
first group comprises sixteen magical passes, that stir
the energy of the left body and the right body, each independently from
the other. Each magical
pass is performed with either the left arm or the right arm, and in
some cases with both at the
same time. The arms never go, however, beyond the vertical line, that
separates the two
bodies.
1. Gathering Energy in a Ball
from the Front of the Left and the Right
Bodies and Breaking It with the Back of the Hand
With the palm of the hand slightly curved and facing the right, the
left arm circles inward twice
in front of the body (fig. 213). All the muscles of the arm are held
tense as this circular motion
is executed. Then the back of the hand strikes forcefully to the left
as if breaking the top of a
ball gathered with the movement of the arm (fig. 214).
The hand strikes a point an arm's length away from the body above the
shoulders, at a
forty-five-degree angle. While this strike is being executed, all the
muscles are kept tense,
including the muscles of the arms, a tension that permits controlling
the strike. The impact is
felt on the areas of the pancreas and spleen and the left kidney and
adrenals.
The same movements are repeated on the right side, and the impact is
felt on the areas of the liver
and the right kidney and adrenals.

2. Gathering Energy of the Left
and Right Bodies in a Circle Which Is Perforated with the Tips of the
Fingers
The left forearm is held in front of the body, at a ninety-degree angle
in relation to it. The
wrist is kept straight. The palm of the hand faces to the right as the
fingers point to the front.
The thumb is kept locked. As in the previous magical pass, the forearm
circles twice, going from
the left up to the level of the shoulder and turning toward the center
of the body (fig. 215). The
elbow is then quickly pulled all the way back, and the circle drawn by
the forearm is perforated by
the tips of the fingers in a forward thrust (fig. 216). The elbow is
moved all the way back once
more in order to gain striking power, and then the hand shoots forward
again.
The same sequence of movements is performed with the right
arm.

3. Hoisting Left and Right Energy
Upward
Both knees are slightly bent. The left knee is then raised to the level
of the pancreas, fully
bent, while the foot is held with the toes pointing to the ground. At
the same time that this
movement is performed, the left forearm shoots upward until it reaches
a point at a
forty-five-degree angle with the body; the elbow is kept tight against
the body. Both the leg and
the arm move in total synchronicity, jolting the midsection (fig.
217).
The same movements are repeated with the right leg and the right
arm.
The tendency of energy is to sink, and it is of great importance to
spread it upward to the
midsection of the body. It is the belief of shamans that the left body
is ruled by the area of the
pancreas and spleen, and the right body by the area of the liver and
gallbladder. Shamans
understand this process of hoisting energy as a maneuver to energize
those two centers
separately.
4. The Up-and-Down
Pressure
The left elbow is raised in front of the body to the level of the
shoulder, bent at a ninety-degree
angle with the forearm. The hand is clenched in a fist, and the wrist
is bent toward the right as
acutely as possible (fig. 2 18). Using the elbow as a pivot by keeping
it at the same position, the
forearm is bent downward until it reaches the area right in front of
the solar plexus (fig. 219).
The forearm then returns to the upright position. The same movement is
performed with the right
arm.
This magical pass is used to stir up the energy that exists in an arc
between a point just above
the head and in line with the left shoulder and a point right above the
solar plexus.

5. The Inward Turn
The first part of this magical pass is exactly like the first part of
the preceding one, but
instead of bending the forearm downward, it is made to rotate inwardly,
making a complete circle,
pivoting on the elbow at a forty-five-degree angle with the body. The
top of the circle is at a
point just above the car and in line with the left shoulder. The wrist
is also made to rotate as
the circle is drawn (fig. 220).
The same movement is performed with the right hand.
6. The Outward Turn
This magical pass is almost identical to the preceding one, except that
instead of turning the left
forearm to the right to make a circle, it turns to the left (fig. 221).
It makes what don Juan
called an outward circle, as opposed to the circle made in the previous
magical pass, which he
called an inward circle.
The same movement is performed with the right hand.
In this magical pass, the energy stirred is part of the arc of energy
dealt with in the two
preceding magical passes. The fourth, fifth, and sixth magical passes
of this group are performed
together. Shamans have found out, by means of their seeing, that human
beings have enormous caches
of unused energy lying around inside their luminous spheres. They have
also found out, in this
manner, that these magical passes stir the energy dispersed from the
respective centers of
vitality-the one around the liver and the one around the pancreas-which
stays suspended for quite a
while before it begins to sink down to the bottom of the luminous
sphere.

7. A High Push with the Fists
The arms are held in front of the body at the level of the shoulders.
The hands are fisted with the
palms turned toward the ground. The elbows are bent. The left hand
strikes forward with a short
punch, without first retrieving the elbow to gain strength. The left
hand is retrieved to its
initial position; the right hand follows with another similar punch and
is then retrieved to its
original position (fig. 222). The strike of the fists comes from the
contraction of the muscles of
the arms, shoulder blades, and abdomen.
8. A Low Push with the
Fists
The elbows are bent at a ninety-degree angle and kept at the level of
the waist. They don't touch
the body, but are kept an inch or two away from it. The hands are
clenched in fists with the palms
facing each other. The left forearm moves to strike in a short punch,
driven by the muscles of the
stomach, which contract in unison with the muscles of the arm and the
shoulder blade (fig. 223).
After striking, the forearm is retrieved instantly, as if the punch has
generated the force to push
the arm back. The right arm moves immediately afterward in the same
fashion. just as in the
preceding pass, the elbows don't move back to gain striking strength;
the strength is derived
solely from the muscular tension of the abdomen, arms, and shoulder
blades.

9. A Wheel with the Fingers Contracted
at the Middle
Joints
The elbows are kept at the level of the waist over the areas of the
pancreas and spleen, and the
liver and gallbladder. The wrists are kept straight; the palms of the
hands
face each other while the
fingers are tightly clenched at the second knuckle. The thumbs are
locked (fig. 224). The elbows
move forward and away from the body. The left hand circles in a
vertical rasping motion, as if the
bent knuckles were rasping a surface in front of the body. Then the
right hand does the same. The
two hands move in an alternate fashion in such a manner (fig. 225). The
muscles of the abdomen are
kept as tight as possible in order to give impetus to this
movement.
10. Smoothing Energy Out in
Front of the Body
The flat palm of the left hand, which faces forward, is raised to a
level just above the head, in
front of the body. The palm slides downward in a slanted line and comes
to the level of the
pancreas and spleen, as if it were smoothing out a vertical surface.
Without stopping there, it
continues moving to the back; the body rotates to the left to allow the
arm to come fully over the
head. The hand, with the palm facing downward, then comes down with
great force, as if to slap a
rubbery substance in front of the area of the pancreas and spleen (fig.
226).
Exactly the same movements are performed with the right arm, but using
the area of the liver and
gallbladder as the striking point.

11. Hitting Energy in Front of the Face
with an Upward Thrust of the
Fist
The trunk turns slightly to the left in order to allow the left arm two
full backward rotations
going first to the front, above the head, then to the back, where the
palm turns slightly inward as
if to scoop something from the back (fig. 227). The movement ends at
the second turn with an upward
thrust of the fisted hand in front of the face (fig. 228). This magical
pass is repeated with the
right arm in exactly the same sequence.

12. Hammering Energy in Front of the
Left and Right
Bodies
One and a half forward circles are made with the arm, followed by a
downward strike; the body
rotates slightly in order to allow the left arm a full rotation
starting from its initial position
by the side of the thigh to the back, above the head, to the front, and
again to the side of the
thigh. As this circle is made, the palm is made to rotate at the wrist
as if the hand were scooping
up some viscous matter (fig. 229). From its initial position, the arm
moves again to the back and
above the head, where the hand turns into a fist that strikes down,
with great force, at a point in
front of and above the pancreas and spleen, using the soft edge of the
hand like a hammer as the
striking surface (fig. 230).
The same movements are repeated with the right arm.

13. Drawing Two Outward Circles
of Energy and Smashing Them by the
Navel
Both arms move in unison up the front of the body, out to the sides,
and around, like a swimming
stroke, to draw two winglike circles at forty-five-degree angles to the
front of the body (fig.
231). Then the circles are broken at the bottom, at the level of the
navel, with a forceful strike
of both hands. The hands are bent at a ninety-degree angle in relation
to the forearms, with the
fingers pointing forward. The force of the strike makes the palms of
the hands come within a few
inches of each other (fig. 232).

14. Drawing Two Circles of Energy
Laterally with the Index and Middle
Fingers Extended
The index and middle fingers of both hands are fully extended, while
the third and fourth fingers
are held by the thumbs against the palms.
The arms circle in unison from their normal position at the sides to
above the head and then
laterally to the sides of the body at forty-five degree angles toward
the back (fig. 233). When the
full circle is nearly completed, the fingers contract into fists,
leaving the second knuckles of
the middle fingers protruding. The movement ends as the fists, with the
palms facing the body,
strike forward and upward, to the level of the chin (fig.
234).

15. Stirring the Energy Around the
Temples
A long inhalation is taken. An exhalation begins as the arms are
brought to a point above the head,
where they clasp into fists; the palms of the fisted hands face the
front of the body. From there
they strike downward with a back-fist blow to a point right above the
hips (fig. 235). The fisted
hands move to the sides of the body, drawing lateral half-circles that
bring the fists to an area a
few inches in front of the forehead and five or six inches away from
each other. The fisted palms
face outward (fig. 236). While the exhalation still lasts, the fists
are brought to rest on the
temples for an instant. The body leans backward a bit by bending
slightly at the knees to gain
spring and momentum, and then the arms are brought forcefully down,
without straightening the
elbows, to strike behind the body on either side with the backs of the
fisted hands (fig. 237). The
exhalation ends there.

16. Projecting a Small Circle of Energy
Out in Front of the
Body
From its natural position by the side of the thigh, the left arm moves
outward laterally; the palm
of the hand faces the right. It draws a small circle as the palm turns
downward, comes to the area
of the pancreas and spleen, and continues moving left to the level of
the waist. The elbow
protrudes acutely (fig. 238a); the hand turns into a fist. The palm of
the fisted hand faces the
ground. The fist strikes with a short blow to the front, as if to
pierce the circle it has drawn
(fig. 238b). The movement is continuous; it is not interrupted
when the hand turns into a fist, but stops only
when the punch has been delivered. The blow gives an intense jolt to
the center of vitality located
around the pancreas and spleen. The same movement is executed
with the right hand, the strike of which jolts the liver and
gallbladder.
The
Second Group: Mixing Energy from the Left Body and the Right
Body
The
second group consists of fourteen magical passes that
mix the energy of both bodies at their respective centers of vitality.
The shamans of ancient
Mexico believed that mixing energy in this fashion makes it possible to
separate the energy of both
bodies more readily by dropping unfamiliar energy into them, a process
which they described as
exacerbating the centers of vitality.
17. Bunching Necessary Energy
and Dispersing Unnecessary
Energy
This magical pass entails movements that could best be described as
pushing something solid across
the front of the body with the palm of the hand, and dragging it back
across the front of the body
with the back of the hand.
It starts with the left arm kept close to the body, by the waist, with
the forearm bent at a
ninety-degree angle. The forearm is brought closer to the body as the
movement begins, and the hand
is bent back at the wrist. The palm of the left hand faces right; the
thumb is locked. Then, as if
a great force were opposing it, it moves across the body to the extreme
right, without the elbow
losing its ninety-degree angle (fig. 239). From there, again as if a
great force were opposing it,
the hand is dragged as far left as it can reach without losing the
ninety-degree angle of the
elbow, with the palm still facing the right (fig. 240).
During this entire sequence of movements, the muscles of the left body
are contracted to the
maximum, and the right arm is held immobile against the right leg. The
same sequence of movements
is repeated with the right arm and hand.
18. Piling Energy onto the Left
and Right Bodies
The weight is placed on the right leg. The knee is slightly bent for
support and balance. The left
leg and arm, which are kept semitense, sweep in front of the body in an
arc from left to right, in
unison. The left foot and the left hand end at a position just to the
right of the body. The outer
edge of the left foot touches the ground. The fingertips of the left
hand point down as the sweep
is made (fig. 241). Then both the left leg and the left arm return to
their original
positions.
The exact sequence is repeated by sweeping the right leg and arm to the
left.

19. Gathering Energy with One Arm and
Striking It with the
Other
Don Juan said that with this magical pass, energy was stirred and
collected with the movement of
one arm and was struck with the movement of the opposite arm. He
believed that striking, with one
hand, energy which had been gathered by the other, allowed the entrance
of energy into one body
from sources belonging to the other body, something which was never
done under normal
conditions.
The left arm moves up to the level of the eyes. The wrist is slightly
bent backwards; in this
position, going from left to right and back again, the hand draws the
figure of an oval, about a
foot and a half wide and as long as the width of the body (fig. 242).
Then the hand, with the palm
facing down, moves across at eye level from left to right as if cutting
through, with the tips of
the fingers, the figure which it has drawn (fig. 243).
At the moment that the left hand reaches the level of the right
shoulder, the right hand, which is
held at waist level with the cupped palm turned upward, shoots forward,
striking with the heel of
the hand, to hit the spot in the middle of the oval drawn by the left
hand, as the left hand is
slowly brought down (fig. 244). As it strikes, the palm of the right
hand is facing forward, and
the fingers are slightly curved, permitting in this fashion the
necessary contour of the palm to
strike a round surface. The strike ends with the elbow slightly bent,
to avoid overstretching the
tendons. The same movements are performed beginning with the right
arm.

20. Gathering Energy with the
Arms and Legs
The body pivots slightly to the right on the ball of the right foot;
the left leg juts out at a
forty-five-degree angle, with the knee bent to give a forward slant to
the trunk. The body is made
to rock three times, as if to gain momentum. Then the left arm scoops
downward as if to grab
something at the level of the left knee (fig. 245). The body leans
back, and with that impulse, the
lower part of the left leg, from the knee down, is brought close to the
groin, almost touching it
with the heel; the left hand swiftly brushes the vital area of the
liver and gallbladder, on the
right (fig. 246).
The same sequence of movements is repeated with the right leg and arm,
which bring the gathered
energy to the center of vitality located around the pancreas and
spleen, on the left.

21. Moving Energy from the Left and the
Right Shoulders
The left arm moves from its natural position hanging by the left thigh
to the right shoulder, where
it grabs something, and the hand turns into a fist. This movement is
propelled by a sharp twist of
the waist to the right. The knees are slightly bent to allow this
turning movement. The acutely
bent elbow is not allowed to sag, but is kept at the level of the
shoulders (fig. 247). Propelled
by a straightening of the waist, the fist is then moved away from the
right shoulder in an upward
arc, striking, with the back of the hand, a point slightly above the
head and in line with the left
shoulder (fig. 248). The hand opens there as if to drop something that
is held in the
fist.
The same sequence of movements is repeated with the right arm.

22. Gathering Energy from One Body and
Dispersing
It on the Other Beginning from its natural position by the left thigh,
the left arm draws an are
from left to right, crossing in front of the pubis, until it reaches
the extreme right. This
movement is aided by a slight turn of the waist. From there, the arm
continues moving in a circle
above the head, to the height and level of the left shoulder. It cuts
across then to the level of
the right shoulder. There, the hand turns into a fist, as if grabbing
something, with the palm down
(Fig. 249). Next, the fist hits a point at the height of the head, an
arm's length away from it.
The blow is delivered with the soft edge of the hand, using the hand as
if it were a
hammer.
The arm is fully extended, but slightly curved at the elbow (fig. 250).
The same movements are
repeated with the right arm.

23. Hammering Energy from the Left
Shoulder and the Right Shoulder on the
Midpoint in Front of the Face
The left arm is moved above the head. The elbow is bent at a
ninety-degree angle. The hand turns
there into a fist, with the palm facing upward. Then it strikes from
the left, with the soft edge
of the hand, the division line of the left and right body, in front of
the face. The body leans
slightly to the left as this strike is made (fig. 251). The fisted hand
keeps on moving until it
almost touches the right shoulder; the palm turns there so that it
faces downward. Then it makes a
similar strike, this time from the right; the body leans to the right
(fig. 252).
This same sequence of movements is repeated with the right
arm.
A reservoir of neutral energy can be built by this magical pass,
meaning energy which can easily be
used by either the left body or the right body.

24. A Strike with the Hand Fisted at the
Second
Knuckle
Both arms are lifted to the level of the neck, the elbows held at
ninety-degree angles. The hands
are held with the fingers bent at the second knuckle and held tightly
over the palm (figs. 253,
254). From this position, the left hand strikes. The strike is a
powerful swing made to the right,
across the line of the right shoulder, but without greatly moving the
arm. The arm is driven by a
powerful rightward twist of the waist (fig. 255).
The right arm moves in the same fashion beyond the line of the left
shoulder, driven by an
instantaneous leftward twist of the waist.

25. Grabbing Energy from the Shoulders
and Smashing It on the Centers of
Vitality
The left arm moves to the right shoulder, and the hand turns into a
fist, as if grabbing something
(fig. 256). The elbow is kept bent at a ninety-degree angle. Then the
fist is forcefully brought
back to the left side by the waist (fig. 257). It stays there for an
instant to gain impulse, and
then the fist shoots across the body to the right, the fisted palm
facing the body, to strike
through a point by the area of the liver and gallbladder (fig. 258).
The same movement is repeated
with the right arm, which strikes across the area of the pancreas and
spleen.

26. Pushing Energy to the Sides with the
Elbows
Both arms are brought to the level of the shoulders, the elbows bent
sharply and protruding
straight out. The wrists are crossed making a letter X, the left
forearm on top of the right one.
The hands, clenched into fists, touch the pectoral muscles at the edges
of the axillae; the left
fist touches the edges of the right axilla and the right fist the edges
of the left axilla (fig.
259). The elbows are then forcefully brought out to the sides in line
with the shoulders, as if to
give an elbow blow to the sides (fig. 260). This movement is
repeated with the right arm on
top of the left.

27. Drawing Two Inward Circles of Energy
in Front of the Body and
Crushing Them Out to the Sides
As a deep breath is taken, the arms circle in unison from their natural
position at the sides of
the thighs, to the line that separates the left and the right bodies.
This movement ends with the
forearms crossed over the chest. The fingers are kept tightly together,
pointing upward, the thumbs
locked; the wrists are bent at ninety-degree angles. The left arm is on
top of the right one. The
locked thumb of the left hand touches the pectoral muscle of the right
body, and the locked thumb
of the right hand touches the pectoral muscle of the left body (fig.
261). The inhalation ends
there. A quick exhalation is made as the arms are spread apart
forcefully with the hands clenched
into fists, each striking, with the back of the hand, a point on the
respective sides above the
head (fig. 262).
The same movements are repeated with the right arm on top of the
left.

28. Striking Energy in Front of the Body
and on the Left and Right with
Both Fists
The hands are clenched into fists at the level of the waist. The palms
of the fists face each
other. Both hands are lifted to the level of the eyes and strike
forcefully downward in unison at
two points in front of the groin; they hit the target with the soft
part of the fists (fig. 263).
From there, the arms swing in unison, making an upward arc to the left
as the whole trunk leans
toward the left, following the impulse of the arms. The fists strike
with the knuckles (fig. 264).
The fists return to deliver another blow to the same points in front of
the groin. From there, the
arms swing in unison, making an upward arc to the right as the whole
trunk leans toward the right,
following the impulse of the arms. The fists strike with the knuckles.
The fists move one more time
to deliver a blow with the soft edge of the hands to the same two
points in front of the
groin.

29. Striking Energy in Front of the Body
with Both Fists and on the Left
and the Right
The beginning of this magical pass is exactly like the preceding one
(fig. 265). Once the strike is
completed, both arms are lifted like hammers to the level of the head,
and the trunk is made to
turn sharply to the left. The two fists strike two points in front of
the left hip (fig. 266). The
arms lift again to the height of the head, the palms of the hands are
opened, and they descend to
strike the same two points (fig. 267). The arms are raised again to the
level of the head. The
hands rum into fists to strike the same points once again. The forearms
are raised to the level of
the head, the body turns to face the front, and the fists are slammed
down on the same points in
front of the groin.
The same sequence of movements is repeated with the trunk turned
sharply to the right.

30. Smashing Energy with the Wrists
Above the Head and on the Left and
the Right
Both hands are raised above the head, with the wrists touching and the
palms curved as if holding a
ball (fig. 268). Then the trunk turns to the left, as both arms move
sharply to the left of the
waist without disengaging the wrists, which rotate on each other to
accommodate the new position of
the hands. The palm of the left hand faces upward, and the palm of the
right hand faces downward
(fig. 269). Both arms are moved to the point above the head again,
still without disengaging the
wrists, which rotate to adopt their initial position.
The same sequence of movements is performed by bringing the hands
sharply to a point to the right
of the waist. The movement ends by bringing the hands back to their
starting position above the
head.
The
Third Group: Moving the Energy of the Left Body and the Right Body with
the
Breath
The
third group consists of nine magical passes that employ
inhalations and exhalations as their driving force to either further
separate or join the two
bodies. As already stated, in the view of the sorcerers of don Juan's
lineage, putting a dab of
energy from one body into any vital center of the other creates a much
sought-for momentary
agitation in that center. The sorcerers of ancient Mexico, according to
what don Juan taught,
considered this mixing to be extremely beneficial because it breaks the
fixed, routine input of
those centers. Those sorcerers felt that breathing is a key issue in
the separation of the left
body and the right body.
31. The Breath for the Upper
Fringe of the Lungs
The arms, with the hands clenched into fists, are raised to the
forehead with a deep inhalation;
the palms of the fisted hands face down. The fists are three or four
inches from each other, right
in front of the forehead, as the inhalation ends (fig. 270). An
exhalation is made as the arms
spread forcefully to two lateral points to the sides and even with the
shoulders (fig. 271). The
hands relax and open. The wrists cross in front of the head and a deep
inhalation is taken as the
arms make two big circles the length of the arms, going from the front,
up over the head, and to
the sides. The inhalation ends as the hands come to rest by the waist,
with the palms up (fig.
272). A slow exhalation is made then, while the hands are raised along
the edges of the rib cage,
to the level of the axillae. The exhalation ends as the shoulders are
pushed up, as if the force of
the hands were making them rise (fig. 273).
This breath is a true bonus because it allows the mobilization of the
upper part of the lungs, a
thing which hardly ever happens under normal conditions.

32. Offering the Breath
The left arm draws a circle as a deep inhalation is taken. It moves
from the front to above the
head, to the back, to the front again; as the arm rotates, the trunk
turns to the left, to allow
the arm to move in a full circle. The inhalation ends when the circle
is completed. The palm of the
hand is held at the level of the chin; it faces up, and the wrist is
bent at a ninety-degree angle.
The posture of the practitioner is that of one who is offering
something which is placed on the
palm. The trunk is bent forward (fig. 274). The palm of the hand is
then turned to face down, and
an exhalation begins while the arm moves slowly and powerfully downward
(fig. 275) to rest on the
left side by the thigh; the palm is still facing down, and the back of
the hand maintains the
ninety-degree angle in relation to the forearm.
The same sequence of movements is executed with the right arm.

33. Moving Energy with the Breath from
the Top of the Head to the Vital
Centers
The wrists of both arms are slightly bent; the palms of the hands are
semicurled. With the hands in
this position, the tips of the fingers brush upward along the front of
the body and over the head
as a deep inhalation is made (fig. 276). When the arms reach their full
extension above the head,
the hands are straightened and the wrists are turned back at a
ninety-degree angle. The inhalation
ends there. While the hands are brought down, the air is held, and the
index finger of each hand is
raised; the other fingers are held against the palm, bent at the second
knuckle, and the thumbs are
locked. Both arms are retrieved to the level of the chest, with the
back of the hands against the
axillae.
A deep exhalation begins then as the arms are slowly extended straight
forward until the elbows are
gently locked. A deep inhalation then is taken as the hands are
retrieved back to the position
against the axillae, still with the index fingers raised, the wrists
bent backwards, the palms
facing forward. A slow exhalation begins while the hands move upward in
a circle that first reaches
above the head and then continues downward, making a complete forward
circle without changing the
position of the index fingers. The hands come to rest by the sides of
the rib cage (fig. 277). The
exhalation ends as the hands are pushed downward to the sides of the
hips.

34. Shattering Energy with the
Breath
As a deep inhalation is taken, the left hand moves in a wide side
circle from the front, to above
the head, to the back. The trunk turns to the left to facilitate the
full rotation of the arm. The
inhalation ends when the arm has made a full rum and stops at a place
to the side of the head and
above it. The palm of the hand faces forward; the wrist is slightly
turned back (fig. 278). A slow
exhalation begins then as the arm makes another wide side circle in the
opposite direction, going
from the front down to the back, then above the head, and to the front
again. When the circle is
completed, the arm is brought to a point just in front of the right
shoulder as the exhalation
continues. The palm is facing the body and lightly touches the right
shoulder (fig. 279). Then the
arm shoots out laterally with the hand clenched in a fist and strikes,
with the back of the hand, a
point an arm's length away from the left shoulder at the height of the
head (fig. 280). The
exhalation ends there.
The same sequence of movements is repeated with the right arm.

35. The Monkey Breath
The knees are slightly bent. The arms are lifted slowly over the head
as the upper part of the
lungs is filled with air. Then the knees become locked and the body is
fully extended upward. This
breath can be taken either with the heels on the ground, or on the tips
of the toes.
The breath is held as the arms move downward and the body stoops
lightly forward, contracting the
diaphragm; the knees are bent again. The exhalation begins when he
hands reach the level of the
waist. At the same time, the index fingers are extended and point to
the round;, the other fingers
are contracted over the )alms of the hands. The hands continue moving
downward as all the air is
exhaled (fig. 281). While exhaling, the diaphragm is held tight in
order to avoid pushing it
downward with the exhaling air.
36. The Altitude Breath
The legs are held as straight as possible. An inhalation begins while
the shoulders slowly rotate
from he front to the back with the arms bent at the elbows. When the
rotation and the inhalation
end, the arms are kept in the initial position (fig. 282). The
exhalation begins by raising the
hands to the level of the shoulders and extending the arms as far
forward as possible with the
palms facing the ground.
Next, an inhalation is taken as the palms of the hands are turned
upward. The elbows are bent and
pulled all the way back, and the shoulders are raised. The inhalation
ends with the maximum upward
stretch of the shoulders (fig. 283).
An exhalation is made as the palms are turned to face the ground and
the hands and shoulders push
downward; the hands are bent backward at the wrists as far as possible,
and the arms are held
straight at the sides of the body.

37.
The Lateral Breath
As an inhalation begins, the arms move from their natural position by
the sides of the thighs in a
circle toward the center of the body, ending with the arms crossed; the
palms face outward, and the
wrists are fully bent so that the fingertips point upward (fig. 284).
The inhalation continues
while the two arms are pushed out laterally. As the arms move, the
palms of the hands first face
forward; when the movement ends, they face away from each other. The
inhalation ends at the maximum
extension of the arms. The body is kept as erect as possible (fig.
285).
An exhalation is made by bending the arms at the elbows as the palms of
the hands, with the
fingertips raised upward, come toward the center of the body, pass it,
and cross to end at the
opposite edges of the body. The left forearm is on top of the right.
The body is contracted at the
midsection, and the knees are bent (fig. 286).

38.
The Butterfly Breath
The arms are bent at the elbows and held in front of the chest. The
left forearm is held above the
right one without touching it; the wrists are straight and the hands
are clenched into fists. The
knees are bent, and the body stoops forward markedly (fig. 287). As an
inhalation begins, the arms
separate and move up over the head and out to the left and right. As
the inhalation continues, the
arms straighten as they circle, going down, to the sides, and around
the shoulders, and then fold
back to their initial position over the chest. Maintaining their
position, the arms are raised over
the head, as the breath is held and the body straightens at the waist
(fig. 288). Then the arms are
brought down to the level of the umbilical region as the body goes back
into the initial
stooped-forward position, with bent knees.
The body holds that stooped-forward position steadily, and an
exhalation is made by repeating the
same movements of the arms done for the inhalation. As the air is
expelled, the diaphragm is kept
in a tight position.

39.
Breathing Out Through the
Elbows
At the beginning of this movement, the legs are kept straight. As a
deep breath is taken, the arms
make outward circles above the head and around the sides of the body.
The inhalation ends with the
arms pointing straight out to the front, elbows bent, at the level of
the waist. The palms are held
straight and facing each other; the fingers are together.
An exhalation begins as the hands point to the ground at a
forty-five-degree angle. The knees are
bent and the body leans forward (fig. 289). The exhalation continues
while the arms, bent at the
elbows in a ninety-degree angle, are raised over the head. The body
straightens and leans backward
slightly. This is achieved by bending the knees, rather than arching
the back. The exhalation ends
with the abdominal muscles tensed to the maximum; the head is tilted
slightly backward (fig.
290).
Practicing this breath creates the sensation that air is being expelled
through the
elbows.

The
Fourth Group: The Predilection (preference) of the Left Body and the
Right
Body
This
group is composed of five magical passes for the left
body executed in a sequence, and three magical passes for the right
body. According to don Juan
Matus, the predilection (preference) of the left body is silence, while
the predilection (preference)
of the right
body is
chatter, noise, sequential order. He said that it is the right body
which forces us to march,
because it likes parades, and it's most delighted with choreography,
sequences, and arrangements
that entail classification by size.
Don Juan recommended that the performance of each movement of the
magical passes for the right be
repeated many times, as the practitioners count, and that it is very
important to set up beforehand
the number of times in which any given movement is going to be
repeated, because prediction is the
forte of the right body. If the practitioners set up any number
beforehand and fulfil it, the
pleasure of the right body is indescribable.
In the practice of Tensegrity, however, both the magical passes for the
left body and the magical
passes for the right body are performed in complete silence. If the
silence of the left body can be
made to overlap onto the right body, the act of saturation can become a
direct way to enter what
don Juan called the most coveted state that the shamans of every
generation sought: inner
silence.
THE FIVE MAGICAL
PASSES FOR THE LEFT BODY
The
magical passes for the left body have no individual
names. Don Juan said that the shamans of ancient Mexico called them
just magical passes for the
left body.
The first magical pass consists of fifteen carefully executed brief
movements FOR THE LEFT
BODY . Since
the magical passes for the left body are done in a sequence, they are
going to be numbered
sequentially.
1. The left arm moves laterally about a foot away from its natural
position by the thigh (fig.
291).
2. The palm is turned sharply to face the front as the elbow is
slightly bent (fig. 292).
3. The hand is raised to the level of the navel and cuts across to the
right (fig. 293).
4. The hand is turned sharply until the palm faces down (fig.
294).
5. The hand cuts across from right to left with the palm of the hand
facing down (fig.
295).
6. The wrist turns sharply to the right; the hand is cupped, as if to
scoop something, and the
movement of the wrist makes it move upward with a jolt (fig.
296).
7. The arm is raised in an arc in front of the line dividing the two
bodies to the level of the
eyes, a foot away from it, with the palm of the hand facing left (fig.
297).
8. The wrist turns, making the hand face forward (fig. 298).
9. The arm goes out over the head, draws a lateral circle, and returns
to the same position in
front of the eyes with the palm of the hand facing left (fig.
299).
10. The wrist moves again to make the palm of the hand face forward
(fig. 300).
11. The hand moves down toward the left, in a slight curve to the level
of the shoulders, with the
palm facing the ground (fig. 301).
12. The wrist is turned so the palm faces up (fig. 302).
13. The hand cuts to the right, to a point in front of the right
shoulder (fig. 303).
14. The wrist moves again, turning the palm down (fig. 304).
15. The hand sweeps down to a position about a foot in front of the
left hip (fig. 305).


The
second magical pass is composed of
nine movements FOR THE LEFT
BODY .
16. The hand is retrieved and touches the crest of the hip (fig.
306).
17. The elbow moves out laterally, and the wrist, by a sharp down, ward
movement, turns the palm to
face the left. The palm of the hand is cupped, the fingers slightly
spread (fig. 307).
18. The arm makes a full circle, going over the head from front to
back. The hand returns to the
crest of the hip with the palm facing up (fig. 308).
19. The elbow moves out laterally again, and another quick movement of
the wrist turns the palm to
face the left again (fig. 309).
20. The hand moves to the side to make a circle as if scooping some,
thing. At the end of the
movement, the hand returns to a position at the crest of the hip with
the palm facing up (fig. 3
10).
21. The bent elbow moves sharply to the left at the same time that a
quick turn of the wrist turns
the hand back; the fingers, slightly curved, point to the back; the
palm is hollowed and faces up
(fig. 311).
22. Then the elbow is fully extended to the back while the palm of the
cupped hand still faces up
(fig. 312).
23. While the arm is still fully extended, the wrist turns over slowly,
making a full rotation,
until the palm faces up again (fig. 313).
24. This movement resembles pulling the arm out of a sleeve. Leading
with the elbow, the arm draws
a circle from back to front, and the movement ends with the palm of the
hand up, at the level of
the edge of the rib cage, and the bent elbow touching the edge of the
ribs (fig. 314).

The
third magical pass is made up of
twelve movements FOR THE LEFT
BODY .
25. The hand moves in an are to the right with the palm facing up, as
if cutting something with the
tips of the fingers, stopping a foot past the right edge of the rib
cage (fig. 315).
26. The palm of the hand is turned to face the ground (fig.
316).
27. The arm moves in an arc to the left and then all the way to the
back (fig. 317).
28. The palm of the hand is hollow, the arm is fully extended, and the
turn of the wrist makes the
hand into a scoop (fig. 318).
29. The hand moves above the head, following a diagonal course from the
back to the front that ends
above the right shoulder at the level of the head (fig. 319).
30. The hand is straightened out and the wrist is contracted to place
it in a ninety-degree angle
with the forearm. The hand descends this way from above the head to the
right of the waist (fig.
320).
31. The palm is turned briskly downward (fig. 3 2 1).
32. The arm swings in a half-circle all the way to the left and to the
back (fig. 322).
33. The palm turns up (fig. 323).
34. The arm swings to the front, to the same position on the right, a
foot away from the rib cage
(fig. 324).
35. The hand is turned so the palm faces the ground again (fig.
325).
36. The arm swings to the left and returns to the same point behind the
back on the left side (fig.
326).


The
fourth magical pass consists of
fifteen movements FOR THE LEFT
BODY .
37. The arm swings in a big circle to the front, above the head, and to
the back, and ends at a
point about a foot away from the left thigh (fig. 327).
38. The head is turned to the left. The elbow is bent sharply and the
forearm is raised to the
level of the eyes, with the palm of the hand facing outward, as if
shielding the eyes from light
glare. The body stoops forward (fig. 328).
39. The head and trunk rotate slowly all the way to the right, as if to
look in the distance with a
shield over the eyes (fig. 3219),
40. The head and trunk rotate again to the left (fig. 330).
41. The palm of the hand is quickly turned to face up as the head and
trunk move to look straight
forward (fig. 331).
42. Then the hand cuts a line in front of the body from left to right
(fig. 332).
43. The palm is turned to face down (fig. 333).
44. The arm sweeps to the left (fig. 334).
45. The wrist is turned again in order to have the palm facing up (fig.
335).
46. The arm cuts another are in front of the body to the right (fig.
336).
47. The position of the hand is changed again; the palm faces down
(fig. 337).
48. The arm sweeps again to the left (fig. 338).
49. The palm is turned to face upward (fig. 339).
50. The arm makes a line across the front of the body to the right
(fig. 340).
51. The palm is turned to face down (fig. 341).


The
fifth magical pass is made up of
twenty-five
movements FOR THE LEFT
BODY .
52. The hand draws a large circle in front of the body, with the palm
of the hand facing forward as
the circle is drawn. The movement ends at a point in front of the right
shoulder; the palm is
facing up (fig. 342).
53. The elbow turns up as the wrist and hand turn to face down. The
palm of the hand is slightly
hollowed (fig. 343).
54. The hand draws an oval-shaped line from right to left as if
scooping a chunk of matter. When it
comes to the position where it started, the palm is facing up (fig.
344).
55. The hand drops to the level of the groin, fingers pointing to the
ground (fig. 345).
56. The palm of the hand is turned to face the body (fig.
346).
57. Then it moves, following the contour of the body, fingers pointing
toward the ground, to a
place four or five inches away from the left thigh (fig. 347).
58. A quick turn of the wrist makes the palm face the thigh (fig. 348).
59. The head turns to the left as the hand is raised, as if rubbing the
fingers along a straight
surface, to the level of the eyes (fig. 349).
60. From there, it descends at an angle to a point slightly to the left
side of the groin. The head
follows the movement of the hand (fig. 350).
61. The hand is raised again to the level of the eyes, at an angle. It
reaches a point exactly on
the division line of the left and right bodies, right in front of the
eyes, a foot and a half away
from them (fig. 351).
62. The hand descends again at an angle, to a point in front and
slightly to the right of the groin
(fig. 352).
63. The hand is raised again, drawing another slanted line, to a point
in front of the eyes in line
with the shoulders; the head follows the movement to the right (fig.
353).
64. The hand descends in a straight line to a point a foot away from
the right thigh (fig.
354).
In the seven preceding movements, three peaks have been drawn, the
first one on the left, the
second one on the very center dividing line, and the third to the
right.
65. The hand changes position so the palm faces left (fig.
355).
66. The hand is raised to draw a curved line that fits exactly in
between the right and center
peaks drawn before (fig. 356).
67. There the palm of the hand is made to face the right (fig.
357).
68. The hand descends to the level of the groin and stops at the
dividing line between the left and
the right bodies (fig. 358).
69. The palm changes directions there again and faces left (fig.
359).
70. The hand is raised to a point between the middle peak and th left
peak at the level of the eyes
(fig. 360).
71. The palm is turned to face right (fig. 361).
72. The hand descends all the way down to the point in front of th
thigh where it began (fig.
362).
The peaks drawn in the eight movements of this second phase ar slightly
round, as opposed to the
very angular peaks drawn before.
73. The hand is turned once more to have the palm face forward (fig.
363)
74. The arm moves over the head as if to pour on the right face and
body an invisible substance
(fig. 364).
75. The hand is dropped down (fig. 365). Making a half-circle, the
elbow rotates to the back (fig.
366).
76. As if it were a knife going into its sheath, the hand slides over
the center of vitality around
the pancreas and the spleen (fig. 367).
THE
THREE MAGICAL PASSES FOR THE RIGHT BODY
The
first magical pass for the
right body consists of five movements
FOR THE RIGHT BODY .
1. The right hand, at a ninety-degree angle to the forearm and with the
palm facing front, makes a
complete circle from left to right, to the level of the right car, and
comes to rest at the same
position that it started, about a foot in front of the waist (fig.
368).
2. From there, the arm moves in a sharp arc at the level of the chest
by acutely bending the elbow.
The palm faces the ground; the fingers are held together and straight
with the thumb locked. The
index finger and thumb nearly touch the chest (fig. 369).
3. The forearm moves briskly away from the chest so that the elbow is
bent at a forty-five-degree
angle (fig. 370).
4. The hand rotates on the wrist; the fingers point to the ground for
an instant and then flip up
above the head, as if the hand were a knife (fig. 371).
5. The hand descends. Using its outer edge as if it were a cutting
tool, it cuts to the level of
the navel (fig. 372).

The second magical pass for the right
body consists of the following
twelve movements
FOR THE RIGHT BODY .
6. From the side of the waist, the hand shoots out to a point in front
of the body. At the arm's
maximum extension, the fingers separate (figs. 373, 374).
7. The arm is retrieved to the level of the waist. The elbow protrudes
back, sharply bent (fig.
375).
8. The hand is turned so that the palm faces up (fig. 376).
9. The arm is extended forward with the palm open and facing up (fig.
377).
10. With the palm still facing up, the arm returns again to the level
of the waist (fig.
378).
11. The palm is turned to face downward (fig. 379).
12. The arm makes a full side circle, going to the back, above the
head, and to the front, and ends
in front of the navel by slamming the palm down as if it were hitting
something solid (fig.
380).
13. The palm is turned toward the body, in a movement that resembles
the action of gathering
something on the right body (fig. 381).
14. The arm is raised above the head as if the hand were a knife that
is being wielded (fig.
382).
15. It makes a diagonal cut to the midpoint in front of the body, a
foot and a half away from it.
The palm is facing left (fig. 383).
16. The hand, with the palm straight, is raised to the level of the
face, in a straight line (fig.
384).
17. It makes a diagonal cut with the palm slightly slanted downward to
a point in front of the edge
of the right body, a foot and a half away from it (fig. 385).


The third magical pass for the right
body is made up of twelve
movements
FOR THE RIGHT BODY .
18. The right arm, with the elbow sharply bent toward the right and the
hand held with the palm
toward the body, moves in an are from the right side to a point in
front of the solar plexus (fig.
386).
19. Pivoting on the elbow, the forearm makes a quarter of a circle
downward, turning the palm to
face the right side (fig. 387).
20. The arm makes a small outward circle, from left to right, going up,
then down again, and ending
with the palm by the waist, facing up (figs. 388a, 388b).
21. Another circle from the front to the back is made. It ends up at
the point where it started,
with the palm of the hand facing up (fig. 389).
22. The palm is turned to face down (fig. 390).
23. The hand then moves slowly to the front (fig. 391).
24. The wrist is turned so the palm faces the left. With a straight
palm, fingers held tightly
together, and thumb locked, the hand is raised straight up as if it
were a knife (fig.
392).
25. Then it draws a small convex arc to the left, so that the palm
flips to face right, and cuts
straight down just to the left of the line drawn previously, to the
level of the navel (fig.
393).
26. With the hand still facing right, it moves upward and retraces the
same line it drew before
(fig. 394).
In the preceding three movements, a long oval figure has been
drawn.
27. Then the hand cuts down, as if to cut off one-third of the long
figure (fig. 395).
28. The palm turns to face right again (fig. 396).
29, It scoops whatever it has cut and has turned into a ball, and
splashes it on the front of the
right body (figs. 397, 398).
30. The hand is dropped down to the crest of the right hip (fig.
399).
31. The hand rotates as the arm makes a half-circle going from the
front (fig. 400) to the back,
stopping behind the right shoulder (fig. 401).
32. As if it were a knee going into its sheath, the hand slides over
the energy center around the
liver and gallbladder (figs. 402, 403).


THE
Fifth Series: The Masculinity Series
Masculinity was the name given to a specific group of
magical passes by
the shamans, who first discovered and used them. Don Juan thought that
perhaps it was the oldest name given to any such group of magical
passes. This group was practiced originally for generations only by
male shaman practitioners, and this discrimination in favour of male
shamans was done not out of necessity, but rather for reasons of ritual
and to satisfy an original drive for male supremacy. Nevertheless, this
drive was soon terminated under the impact of enhanced perception.
The well-established tradition of this group of magical passes being
practiced only by men persisted in a pseudo-official way for
generations while it was being practiced on the sly by female
practitioners as well. The old sorcerers' rationale for including
females was that for reasons of strife and social disorder around them,
the women needed extra strength and vitality, which they believed was
found only in males who practiced this group of magical passes.
Therefore, women were allowed to execute the movements as a token of
solidarity. In don Juan's time, the division lines between males and
females became even more diffused. The secrecy and exclusivity of the
old sorcerers was completely shattered, and even the old rationale for
allowing women to practice these specific magical passes could not be
upheld. Female practitioners performed these magical passes openly.
The value of this group of magical passes the oldest named group in
existence - is its continuity. All of its magical passes were generic
from the beginning, and this condition provided the only instance in
don Juan's lineage of sorcerers in which a whole party of shaman
practitioners, whatever their number may have been, were allowed to
move in unison. The number of participants in any party of sorcerers,
through out the ages, could never have been more than sixteen.
Therefore, none of those sorcerers were ever in the position to witness
the stupendous energetic contribution of human mass. For them, there
existed only the specialized consensus of a few initiates, a consensus
which brought in the possibility of idiosyncratic preferences and more
isolationism.
The fact that the movements of Tensegrity are practiced in seminars and
workshops by hundreds of participants at the same time has given rise,
as stated before, to the possibility of experiencing the energetic
effects of human mass. Such an energetic effect is twofold: not only
are the participants of Tensegrity performing an activity that unites
them energetically, but they are also involved in a quest delineated in
states of enhanced awareness by the shamans of ancient Mexico: the
redeployment Of energy. Performing these magical passes in the setting
of seminars on Tensegrity is a unique experience. It permits the
participants to arrive, pushed or pulled by the magical passes
themselves and by the human mass, at energetic conclusions never even
alluded to in don Juan's teachings.
The reason for calling this set of movements Masculinity is its
aggressive quality, and because its magical passes are very brisk and
forcefully executed, characteristics easily identified with maleness.
Don Juan stated that their practice fostered not only a sensation of
well-being, but a special sensorial quality, which, if not examined,
could easily be confused with strife and aggressiveness. However, if it
is carefully scrutinized, it is immediately apparent that it is,
rather, an unmistakable sensation of readiness that places the
practitioners at a level from which they could strike toward the
unknown.
Another reason that the shamans of ancient Mexico called this group of
magical passes Masculinity was because the males who practiced it
became a special type of practitioner who didn't need to be taken by
the hand. They became men who benefited indirectly from everything they
did. Ideally, the energy generated by this group of magical passes goes
to the centers of vitality themselves, as if every center made an
automatic bidding for energy, which goes first to the center that needs
it the most.
For don Juan Matus's disciples, this set of magical passes became the
most crucial element in their training. Don Juan himself introduced it
to them as a common denominator, meaning that he urged them to practice
the set unaltered. What he wanted was to prepare his disciples to
withstand the rigors of journeying in the unknown.
In Tensegrity, the word Series has been added to the name Masculinity
to put it on a par with the other series of Tensegrity. The Masculinity
Series is divided into three groups, each consisting of ten magical
passes, The goal of the first and second groups of the Masculinity
Series is the tuning of tendon energy. Each of these twenty magical
passes is short, but extremely focused. Tensegrity practitioners are
seriously encouraged, as the shamanistic practitioners of ancient times
were, to get the maximum effect from the short movements by aiming to
release a jolt of tendon energy every time they execute them.
"But don't you think, don Juan, that every time I release this jolt of
energy, I'm actually wasting my tendon energy, and draining it out of
me?" I asked him on one occasion.
"You can't drain any energy out of yourself," he said. "The energy that
you are seemingly wasting by delivering a jolt to the air is not really
being wasted, because it never leaves your boundaries, wherever those
boundaries may be. So what you're really doing is delivering a jolt of
energy to what the sorcerers of ancient Mexico called our 'crust,' our
'bark.' Those sorcerers stated that energetically, human beings are
like luminous balls that have a thick peel around them, like an orange;
some of them have something even harder and thicker, like the bark of
an old tree."
Don Juan explained carefully that this simile of human beings being
like an orange was somehow misleading because the peel or the bark that
we have is located inside our boundaries, just as if an orange had its
peel inside the orange itself. He said that this bark or peel was the
crusted. down energy that had been discarded throughout our lifetime
from our vital centers of energy, because of the wear and tear of daily
life.
"Is it beneficial to hit this bark, don Juan?" I asked.
"Most beneficial," he said. "Especially if the practitioners aim all
their intent at reaching that bark with their blows. If they intend to
shatter portions of this crusted-down energy by means of the magical
passes, that shattered energy could be absorbed by the vital centers of
energy. The magical passes of the third group of the Masculinity Series
are broader, more extensive. What practitioners need in order to
execute the ten magical passes of the third group is steadiness of the
hands, the legs, and the rest of the body. The aim of this third
series, for the shamans of ancient Mexico, was the building of
endurance, of stability. Those shamans believed that holding the body
steadily in position while executing those long movements gives the
practitioners a foothold from which they can stand on their own. What
modem practitioners of Tensegrity have found out through their practice
is that the Masculinity Series can be executed only in moderation, in
order to avoid overtiring the tendons of the arms and the muscles of
the back.
The First
Group:
Magical Passes in Which the Hands are Moved in Unison but Held
Separately
The Second Group:
The Magical
Passes for Focusing Tendon Energy
The Third Group: The
Magical
Passes for Building Endurance
The First Group: Magical Passes in Which
the Hands are Moved in Unison, but Held Separately
1. Fists Above the Shoulders
The hands are held by the sides, clasped into fists, the palms facing
up. They are raised then to a point above the head by bending the
elbows so the forearms are at a ninety-degree angle with the upper
arms. The driving force of this movement is equally divided between the
muscles of the arms and the contraction of the muscles of the abdomen.
As the fists are raised and the muscles of the front of the body are
tensed, the body leans slightly backward by bending the knees (fig.
404). The arms, with hands fisted, are brought down to the sides of the
thighs by straightening the elbows a bit; as the arms move down, the
body leans forward, contracting the muscles of the back and the
diaphragm (fig. 405).

2. Using a Cutting Tool in Each Hand
The hands are made into fists, with the palms facing each other at the
level of the waist (fig. 406). From there, they move in a downward
strike to the level of the groin, a foot and a half away from it,
always keeping the width of the body as the distance between the fists
(fig. 407). Once the fists strike, they are retrieved to the position
where they started by the edge of the rib cage.
3. Polishing a High Table with
the Palms of the Hands
The arms are raised to the level of the axillae. The palms of the hands
face down. The elbows, acutely bent, protrude sharply behind the back
(fig. 408). Both arms are brought briskly, forward to the maximum
extension, as if the palms were actually polishing a hard surface. The
hands are kept at a distance which equals the width of the body (fig.
409). From there, they are retrieved with equal force to the position
where the movement begin (fig. 408).

4. Tapping Energy with Both Hands
Both 'arms are raised to the front, at the level of the shoulders. The
hands are held in angular fists, meaning that the position of the
fingers slants down heavily as they are held against the palm of the
hands. The thumbs are held on top of the outer edge of the index
fingers (fig. 410). The palms of the hands face each other. A sharp
jolt of the wrists makes the fists go down slightly, but with great
force. The level of the wrists never changes; in other words, only the
hand pivots down on the wrists.
The counter movement is to raise the fists with a jolt without changing
the position of the wrists (fig. 411).
This magical pass is, for shamans, one of the best sources for
exercising the tendon energy of the arms, because of the number of
energy points that exist around the wrists, the backs of the hands, the
palms, and the fingers.

5. Jolting Energy
This magical pass is the companion to the preceding one. It begins by
raising both arms to the front at the level of the shoulders. The hands
are held in angular fists, just as in the preceding magical pass,
except that in this one, the palms of the hands are turned to face
downward. The fists are moved in toward the body by a jolt of the
wrists. Its counterbalancing movement is another jolt of the wrists
that sends the fists outward so that the thumbs make a straight line
with the rest of the forearm (fig. 412). In order to execute this
magical pass, it is required that the muscles of the abdomen are
intensely used. It is the action of those muscles which actually
directs the jolting of the wrists.
6. Pulling a Rope of Energy
The hands are held in front of the body, at the line that separates the
left and the right bodies, as if they were holding a thick rope that
hangs from above; the left hand is on top of the right (fig. 413). The
magical pass consists in jolting both wrists and making the hands jerk
down in a short, powerful movement. As this movement is executed, the
muscles of the abdomen contract, and the arms drop down slightly by
bending the knees (fig. 414).
Its counterbalancing movement is a jerk of the wrists that jolts the
hands upward as the knees and the trunk straighten up a bit (fig. 413).

7. Pushing Down a Pole of Energy
The hands are held to the left of the body, the left hand at the level
of the ear, eight or nine inches above the right hand, which is held at
the shoulder. They are held as if they were grabbing a thick pole. The
palm of the left hand faces the right; and the palm of the right hand
faces left. The left hand is the leading hand, by virtue of being on
top, and guides the movement (fig. 415). The muscles of the back by the
area of the adrenals and the muscles of the abdomen contract, and a
powerful push sends both arms downward to the side of the right thigh
and the waist, as if they were indeed holding on to a pole (fig. 416).
The hands change, position there; the right hand moves to a place by
the right ear and becomes the leading hand, and the left moves below,
by the shoulder, as if the hands were changing poles. The same
movements are repeated.

8. Cutting Energy with One Hand at a
Time
The fists are raised on the sides until they touch the edge of the rib
cage; the palms of the fists face each other (fig. 417). The left arm
moves down in a diagonal line to a point two feet away from the thigh
(fig, 418); then it is retrieved (fig. 417). The right arm immediately
performs the same movements.

9. Using a Plane of Energy
The left hand is raised to the level of the navel and made into a fist;
the elbow is bent at a ninety-degree angle and is held close to the rib
cage (fig. 419). The right palm moves as if to slam on top of the left
fist. The right hand stops an inch away from the left (fig. 420). Then
it moves four or five inches in front of the fist, in a sharp, cutting
movement, as if cutting with the edge of the hand (fig. 421). The left
arm is retrieved all the way back by making the elbow protrude backward
as far as it can, while the right hand is also retrieved, following the
left hand and keeping the same distance (fig. 422). Then, maintaining
the same distance between the hands, both the left and the right arm
shoot forward to a point a foot and a half or two feet away from the
waist.
The same movements are repeated with the fist of the right arm.

10. Striking Energy with a Spike of
Energy
The left arm is raised to the level of the shoulders with the elbow
bent at a ninety-degree angle. The hand is held as if it had the hilt
of a dagger in its grip; the palm faces down. The elbow strikes
backward in an arc to a point at the height of the left shoulder, at a
forty-five-degree angle behind it (fig. 423). Then the arm returns with
a strike along the same arc to its initial position.
The same movement is repeated with the other arm.
The
Second Group: The Magical Passes for Focusing Tendon Energy
11. Clasping Hands
Both forearms are brought forward in front of the navel. The bent
elbows almost touch the rib cage. The hands are made to clasp, the left
hand on top. The fingers of each hand grab the other hand forcefully
(fig. 424). All the muscles of the arms and the back are contracted.
Then the tense muscles are relaxed and the hands change positions so
that the right hand is on top of the left, without letting go of each
other, using the hard part of the palm at the base of the fingers as a
pivoting surface; the muscles of the arms and back are contracted
again.
The same movements are repeated, beginning with the right hand on top.
12. Left and Right Body Clasp
The forearms are brought in front of the body, again at the level of
the navel. This time, however, the right forearm is held extended out
in a straight line with the hip. It is held close to the rib cage while
the left forearm, with the elbow away from the body, puts the left hand
over the right one in a clasping position. Great pressure is applied to
the palms and the fingers of each hand by the tension of the muscles of
the arms, the back, and the abdomen. The tension is relaxed, and the
hands are made to pivot on each other's palms, as they move across the
body from right to left. There, they are forcefully clasped again,
using the same muscles, this time with the right hand on top (fig.
425).
The same movements are repeated from this position.

13. The Sharp Turn of the Two Bodies
The hands are clasped at the level of the waist, to the right. The left
hand is on top of the right. In this magical pass, the squeeze of the
hands is not as pronounced as the one in the two preceding ones,
because what is sought is a sharp rum of the two bodies, rather than
the sharp strikes of the two preceding passes.
The clasped hands are made to draw a small circle to the right that
goes from the front to the back, and ends in the same position where it
started. Since the leading hand is the left hand, by the fact that it
is on top, the circle is drawn following the impulse of the left arm,
which pushes the hands out first to the right, and around in a circle
to the right of the body (fig. 426). Then the clasped hands move across
the front of the body to the left side. Another circle is drawn Figure
426 there, again following the impulse of the left hand. Being on top,
it pulls the other hand to make a circle that goes to the back first,
out to the left, and back to the place where it started (fig. 427).
The same sequence of movements is performed with the right hand in the
lead, starting at the left by the waist. This time, the impulse of the
right arm is followed in order to draw the circle, which goes to the
left first, and then back to the same place where it started (fig.
428). The clasped hands move across the front of the body to the right
side by the waist. There, following the impulse of the leading hand,
they are pulled back, then to the right, and back where they started,
making a circle (fig. 429). It is important that as the circles are
drawn, the trunk of the body is turned sharply to the side. The legs
remain in the same position, without compensating for the turn by
letting the knees sag.

14.
Pushing Clasped Energy with the
Elbow and Forearm
The hands are clasped by the right side at the level of the shoulder.
The upper part of the right arm is held tight against the chest, and
the elbow is sharply bent with the forearm held in a vertical position.
With the palm of the right hand facing up, the back of the hand is held
in a ninety-degree angle with the forearm (fig. 430).
The elbow of the left arm is extended in front of the left shoulder,
held at a ninety-degree position. The two hands clasp forcefully (fig.
431). The right arm slowly pushes the left one forward by straightening
the elbow quite a bit. At the same time that the clasped hands are
pushed forward, the left shoulder and shoulder blade are also pushed
forward to maintain the ninety-degree angle of the left elbow (fig.
432). The right arm retrieves the left hand to the initial position.
The clasped hands are shifted to the left side by pivoting on the
palms, and the same movements are repeated there.

15. The Short Stab with the Hands
Clasped
The hands are clasped at the right side, just as in the preceding
magical pass. This time, however, the hands are at the level of the
waist, and the right arm, instead of slowly pushing the left one
forward, stabs fast (fig. 433). It is a powerful movement that requires
the contraction of the muscles of the arms and the back. The clasped
hands are brought forcefully to the left, as if to augment the driving
force of the left elbow, which is pushed all the way to the back (fig.
434). The clasped hands move around the front of the body to the right,
as if to aid again a powerful movement of the right elbow which is
thrown all the way to the back.
The same sequence of movements is performed by starting it on the left
side with the right hand in the lead.
It is important to note that when the clasped hands are stabbed to the
front, the hand at the bottom gives the direction, but the force is
supplied by the leading hand, which is on top.

16.
Jolting Energy with Clasped Hands
The hands are clasped to the right; the right elbow and upper arm are
held against the side of the rib cage. The elbow of the right arm is at
a ninety-degree angle with the extended right forearm. The left elbow
is also held at a ninety-degree angle, at a straight line away from the
left pectoral muscle (fig. 435). The right arm lifts the left one,
changing the position of the elbows from a ninety-degree angle to a
forty-five. The clasped hands reach the level of the right shoulder
(fig. 436). Then they are made to jolt with a very short movement in
which only the wrist is involved. The clasped hands hit down, but
without changing the level at which they are held (fig. 437). From
there, the clasped hands are retrieved to the left near the waist, in a
forceful movement that makes the left elbow protrude at the back (fig.
438). The wrists are rotated and the hands made to pivot on each other,
reversing their position. The same movements are repeated on the left.

17. Jolting Energy by the Knees
The hands are clasped to the right by the thigh. They change positions
slightly by the supporting right hand, which is on the bottom, becoming
slightly more vertical with a twist of the wrist, held in check by the
pressure of the left hand (fig. 439). Both hands swing to the left,
following the contour of the knees, and deliver a strike, the potency
of which is enhanced by a downward pull of the wrists (fig. 440).
The hands change position by rotating on each other's palms, and the
same movements are repeated from left to right.
18. Driving Down a Spike of
Energy
The hands are clasped vertically with the left hand in the lead, at a
point about a foot from the navel, right on the division line between
the left and right bodies. Both hands are lifted a few inches with a
slight jolt made by bending the wrists without moving the forearms.
Then they are brought down with the same jolt of the wrists (fig. 441).
This magical pass engages the deep muscles of the abdomen. The same
movements are performed with the right hand in the lead.

19. Using the Hands Like a Hatchet
The hands are clasped at the right. Both are lifted to the level of the
shoulder (fig. 442). Then they deliver a diagonal strike that takes
them to the level of the left hip (fig. 443).
The same movements are done on the left.
20. Hammering a Spike of Energy
The hands are clasped at the right. They swing to the level of the
shoulders, aided by a rotation of the trunk to the right. Making a
small vertical circle in front of the right shoulder, the hands are
brought to the division line between the two bodies and down to the
level of the waist as if to hammer a spike of energy there (fig. 444).
The same movements are done on the left side.
____________________________________
В
ПРИСУСТВИИ НАГУАЛА, ТЫ МОЖЕШЬ ВИДЕТЬ СВОЕГО ДВОЙНИКА ('THE OTHER')
СПЯЩИМ БЕЗ ПРОБЛЕМ, НО КОГДА ДВОЙНИК В ДЕЙСТВИИ, ТО ЛУЧШЕ В
ПРИСУСТВИИ НАГУАЛА: ОН ЭТОМУ ПОМОГАЕТ.
"...He said, that
mold of human was like a gigantic die (stamping device - штамповочная
машина), that stamps out (штампует) human beings endlessly, as if they
were coming to it on a mass-production conveyor belt. He vividly mimed
the process, by bringing the palms of his hands together with great
force, as if the die molded a human being each time its two halves were
clapped. He also said, that every species has a mold of its own, and
every individual of every species molded by the process shows
characteristics particular to its own kind. But these accounts, however
beautiful, are flawed by the gross and despairing mistake of believing
the mold of human to be an omnipotent, omniscient creator; and so is
the interpretation of the old Seers, who called the mold of human a
friendly spirit, a protector of human. He said, that the new Seers are
the only ones, who have the sobriety to See the mold of human and
understand, what it is. What they have come to realize is, that the
mold of human is not a creator, but the pattern of every human
attribute, we can think of, and some, we cannot even conceive. The mold
is our God, because we are, what it stamps us with, and not, because it
has created us from nothing and made us in its image and likeness.
Anyone, who Sees the mold of human, automatically assumes, that it is
God. He called the mystical experience, a chance Seeing, a one-shot
affair, that has no significance whatsoever, because it is the result
of a random movement of the assemblage point. He asserted, that the new
Seers are indeed the only ones, who can pass a fair judgment on this
matter, because they have ruled out chance Seeings and are capable of
Seeing the mold of man as often, as they please. They have Seen,
therefore, that, what we call God, is a static prototype of humanness
without any power. For the mold of human cannot under any circumstances
help us by intervening in our behalf, or punish our wrongdoings, or
reward us in any way. We are simply the product of its stamp; we are
its impression. The mold of man is exactly, what its name tells us it
is, a pattern, a form, a cast, that groups together a particular bunch
of fiberlike elements, which we call human. What he had said, put me in
a state of great distress. But he seemed unconcerned with my genuine
turmoil. He kept on needling me with, what he called the unforgivable
crime of the chance, Seers, which makes us focus our irreplaceable
energy on something, that has no power whatsoever to do anything...He
called me pious and careless and said, I would make a great priest; now
I could even pass for a spiritual leader, who had had a chance Seeing
of God. He urged me, in a jocular (jolly) way, to start preaching and
describe, what I had Seen, to everyone. In a very casual, but seemingly
interested manner, he made a statement, that was part question, part
assertion. "And the man?" he asked. "You can't forget, that God is a
male. Very cozy, eh?" don Juan added, smiling. "God is a male. What a
relief...He thought, that if I were a woman, I would See the mold of
human, as a woman."
"...For instance, the Nagual Julian got the Gait
of Power (from the Death Defier). With it, he could activate or make
dormant the emanations inside his cocoon, in order to look young or old
at will. Don Juan explained, that the Death Defiers, in general, went
as far, as rendering (give or make available) dormant all the
emanations inside their cocoons, except those, that matched the
emanations of the Allies. In this fashion, they were able to imitate
the Allies in some form. Each of the Death Defiers we had encountered
at the rock, don Juan said, had been able to move his assemblage point
to a precise spot on his cocoon, in order to emphasize the emanations,
shared with the Allies, and to interact with them. But they were all
unable to move it back to its usual position and interact with people.
The tenant, on the other hand, is capable of shifting his assemblage
point to assemble the everyday world, as if nothing had ever happened.
Don Juan also said, that his benefactor was convinced (and he fully
agreed with him), that, what takes place during the borrowing of
energy, is that the old Sorcerer moves the Nagual's assemblage point to
emphasize (stress) the Ally's emanations inside the Nagual's Cocoon. He
then uses the great jolt of energy, produced by those emanations, that
suddenly become aligned, after being so deeply dormant. He said, that
the energy locked within us, in the dormant emanations, has a
tremendous force and an incalculable scope. We can only vaguely assess
the scope of that tremendous force, if we consider, that the energy,
involved in perceiving and acting in the world of everyday life, is a
product of the alignment of hardly one-tenth of the emanations, encased
in human's cocoon.
"What happens at the moment of death is, that
all that energy is released at once," he continued. "Living Beings at
that moment become flooded by the most inconceivable (unbelievable)
Force. It is not
the Rolling Force, that has cracked their gaps, because that Force
never enters inside the Cocoon; it only makes it collapse. What floods
them is the Force of all the emanations, that are suddenly aligned,
after being dormant for a lifetime. There is no outlet for such a giant
Force, except to escape through the gap. He added, that the old
Sorcerer has found a way to tap that energy. By aligning a limited and
very specific spectrum of the dormant emanations inside the Nagual's
cocoon, the old Seer taps a limited, but gigantic jolt.
"How do you think he takes that energy into his own body?" I asked.
"By
cracking the Nagual's gap," he replied. "He moves the Nagual's
assemblage point, until the gap opens a little. When the energy of
newly aligned emanations is released through that opening, he takes it
into his own gap."
"Why is that old Seer doing, what he's doing?" I asked.
"My
opinion is, that he's caught in a circle, he can't break," he replied.
"We got into an agreement with him. He's doing his best to keep it, and
so are we. We can't judge him, yet we have to know, that his path
doesn't lead to freedom. He knows that, and he also knows, he can't
change it; he's trapped in a situation of his own making. The only
thing he can do is, to prolong his Ally-like existence as long, as he
possibly can."
"Tensegrity is an art: the art of adapting
to one’s own energy, and to each other’s energy in
a way, that
contributes to the integrity of the community, that we are" - Carlos Castaneda
THIS
EXTRACT ABOUT MAGICAL PASSES IS
FROM CASTANEDA'S BOOK "MAGICAL PASSES", WHICH YOU
CAN FIND ON THIS PAGE :
"It is
very
important," he (Don
Juan, the teacher of Carlos Castaneda) went on, "to focus the
attention of the practitioner on some definite aspect of the MAGICAL
PASSES. However, that fixation
should be light, funny, void of morbidity and grimness. It should be
done for the hell of it,
without really expecting returns."
He gave the example of one of his cohorts, a Sorcerer by the name of
Silvio Manuel, whose delight
and predilection (preference) was to adapt the magical passes of the
Sorcerers of ancient times to
the steps of his modern dancing. Don Juan described Silvio Manuel as a
superb acrobat and dancer, who actually danced the magical passes.
"The Nagual Elias Ulloa," don Juan continued, "was the most prominent
innovator of my Lineage. He
was the one, who threw all the ritual out the window, so to speak, and
practiced the magical passes
exclusively for the purpose, for which they were originally used at one
time in the remote past:
for the purpose of Redeploying Energy (redeploy - to move from one
combat zone to another). The
Nagual Julian Osorio, who came after him," don Juan continued, "was the
one, who gave ritual the
final death blow. Since he was a bona fide professional actor, who at
one time had made his living
acting in the theater, he put enormous stock into, what Sorcerers
called the shamanistic theater.
He called it the theater of Infinity, and into it, he poured all the
magical passes, that were
available to him. Every movement of his characters was imbued to the
gills with magical passes. Not
only that, but he turned the theater into a new avenue for teaching
them. Between the Nagual
Julian, the actor of Infinity, and Silvio
Manuel, the dancer of
Infinity, they had the whole thing pegged down. A new era
was on the horizon! The era of
pure Redeployment !"
"How
do human beings push this energy away,
don Juan?" I asked.
"By worrying," he replied. "By succumbing to the stress of everyday
life. The duress of daily
actions takes its toll on the body."
"And what happens to this energy, don Juan?" I asked.
"It gathers on the periphery of the Luminous Ball," he said, "sometimes
to the point of making a
thick bark like deposit. The magical passes relate to the total Human
Being as a physical body, and
as a Conglomerate of Energy Fields. They agitate the energy, that has
been accumulated in the
Luminous Ball and return it to the physical body itself. The magical
passes engage both the body
itself, as a physical entity, that suffers the dispersion of energy,
and the body as an Energetic
Entity, which is capable of redeploying that dispersed energy. Having
energy on the periphery of
the Luminous Ball," he continued, "energy, that is not being
redeployed, is as useless, as not
having any energy at all. It
is truly a terrifying situation to have
a surplus of energy stashed away, inaccessible for all practical
purposes. It is like
being in the desert, dying of dehydration, while you carry a tank of
water, that you cannot open,
because you don't have any tools. In that desert, you can't even find a
rock to bang it with."
The true magic of the magical passes is the fact, that they cause,
crusted-down energy, to enter
again into the centers of vitality, hence the feeling of well-being and
prowess, which is the
practitioner's experience. The Sorcerers of don Juan's lineage, before
they entered into their
excessive ritualism and ceremony, had formulated the basis for this
redeployment. They called it
saturation, meaning, that they inundated their bodies with a profusion
of magical passes, in order
to allow the force, that binds us together, to guide those magical
passes to cause the maximum
Redeployment of Energy.
16
"But don Juan, are you telling me, that every time you crack your
joints, or every time I try to
imitate you, we are really redeploying energy!" I asked him once,
without really meaning to be
sarcastic.
"Every time we execute a magical pass," he replied, "we are indeed
altering the basic structures of
our Beings. Energy, which is ordinarily crusted down, is released and
begins to enter into the
vortexes of vitality of the body. Only by means of that reclaimed
energy can we put up a dike, a
barrier to contain an otherwise uncontainable and always deleterious
flow."
I asked don Juan to give me an example of putting a dam on what he was
calling a deleterious flow.
I told him, that I wanted to visualize it in my mind.
"I'll give you an example," he said. "For instance, at my age, I should
be prey to high blood
pressure. If I went to see a doctor, the doctor, upon seeing me, would
assume, that I must be an
old Indian, plagued with uncertainties, frustrations, and bad diet; all
of this, naturally,
resulting in a most expected and predictable condition of high blood
pressure: an acceptable
corollary of my age. I don't have any problems with high blood
pressure," he went on, "not because
I am stronger, than the average man or because of my genetic frame, but
because my magical passes
have made my body break through any patterns of behavior, that result
in high blood pressure. I can
truthfully say, that every time I crack my joints, following the
execution of a magical pass, I am
blocking off the flow of expectations and behavior, that ordinarily
result in high blood pressure
at my age. Another example I can give you is the agility of my knees,"
he continued. "Haven't you
noticed how much more agile I am, than you?
When it comes to moving my knees, I'm a kid! With my magical passes, I
put a dam on the current of
behavior and physicality, that makes the knees of people, both men and
women, stiff with age."
One of the most annoying feelings I had ever experienced was caused by
the fact, that don Juan
Matus, although he could have been my grandfather, was infinitely
younger than I. In comparison, I
was stiff, opinionated, repetitious. I was senile. He, on the other
hand, was fresh, inventive,
agile, resourceful. In short, he possessed something, which, although I
was young, I did not:
youth...
Barcelona
- June 1997. Tensegrity workshop of Barcelona
20 to 22 June 1997
http://ttzlibrary.yuku.com/topic/492/Barcelona-June-1997#.WAntI-h96Uk
Before going on, I have to mention that I was influenced by three
factors when writing this report. First, it was my first workshop, a
workshop I waited for years. The
expectation of participating to one, when I first heard about it in 94,
has evolved from urgency, along with personal obligation, to a quite
expecting hope. Now, I do no longer put an emphasis on the idea of
following a workshop. Consequently, I started here in Barcelona with
the intention of not doing. No notes, nor attention to the schedule or
other printed papers. Just enjoy being here, and let other personal
concerns hidden. Second, I did somewhat doubt how time had evolved
during the seminar.
It was like being out of time. I'm not sure anymore when exactly this
or that were told. Therefore I will try to arrange the different
speeches and explanations in the order we attended them. The third
thing, is the way our ego do filters our experiences. This account is
in fact more my personal view of the workshop.
The Workshop
The workshop was taking place in a huge sport hall, located near the
beach. Around 700 people were attending the seminar. I was dazzled to
notice that they were coming from all horizons. It was like looking at
crowd in the street: a mixture of young, old, fat, slim, outsiders,
cultivated, distressed, fortunate. No common sign linked to nagualism's
interest. We were really representing the human races. At least half
were Spanish, many Italian, and people from all of Europe, including
Russia. I met some American veterans as well. I noted that most of the
workshop participants weren't aware at all of
the companions of Castaneda, the books of Florinda and Taisha, nor have
they heard about former Tensegrity workshops in USA. Some of them were
a little confused, and were looking for some link from the content of
CC books to the actual teaching trend (end of lineage, new sorcerer
paradigm, etc...). I can understand them. We already found much
contradiction in the whole series of CC books. Their moods are
implacable, frightened and somewhat somber. And now, the witches told
us different things. Like, we can do it by our own, even with our
family, and Sex is not strictly forbidden. If the workshop had started
with some explanation of the current affair, many attendees could have
better followed it. Seminar language was Spanish. Translation was
available, in form of small personal devices, linked by radio to the
translator. It was the first time I used such devices. I spent the
workshop half hearing French with my left ear, and the right one
interpreting the original Spanish. It gave me some dual sound's view of
the workshop. Thus, I enjoyed this new sensorial dimension a lot.
Organization was a la American, enough staff to coordinate
pragmatically the seminar. Security guard were controlling access with
metal detector. I do not forget, the Information desk, the shop selling
T-shirts, books and videos, sandwiches and drinks during breaks. All
the staff was smiling and willing to help. They all were very concerned
of the good timing of the workshop, crunching time from lecture, if we
were late. The workshop was evolving in four phases: small lecture,
teaching of
Tensegrity movement, breaks and show of the Theater of Infinity. The
Element (3 young men, Brandon, Miles and ?) and the Energy tracker (6
women, divided in three group of two, Talia, Kylie...) were teaching us
Tensegrity movement. To follow them better, they were divided on three
small platforms. Each session was lasting between 1hr to 1h30, and
sometimes more. Florinda and Taisha were never present during the
practice. The two witches were holding lectures between the Tensegrity
session. The Element and Energy tracker got also timeslot for short
speech. They were performing certainly most of the seminar work. It
seems that the Castaneda group is putting on the new young breed of
sorcerers. The Element and the Energy tracker seem to be confident for
explaining us Sorcerer Truth. Florinda was apparently the real figure,
fading out Taisha Abelar's
appearance. They are both small, very thin and chest less. Florinda is
both young and old, full of energy, stepping back and forth across the
small platform, staring at us, smiling, punctuating her story with
mimics and humorous expressions. Taisha performed in total two lectures
seated in front of a table, which was put for the occasion on one of
the platform. She's as smiling and as easy in words than Florinda.
After having read many workshops accounts and heard friends talking
about her, I believed that she was younger looking and energetic.
Maybe, she was here in Barcelona not really with us, doing some witches
tricks....
Introduction Lecture. The Nature of the Magical Passes
"My name is Florinda. I know that you know my name. I'm not silly.
Sorcerers state their names out loud when facing the unknown. We are
beings who are going to die. By stating our name. We build a bridge to
eternity. This bridge, or link to the infinity is built with the intent
of the sorcerer. This act implies taking total responsibility, building
an inflexible intent. There is nothing personal in this act. It's a
pure statement. We are a group, not a group sharing personal concerns.
We are a unit
linked energetically. We do have the same goal, the same purpose, a
common embedded intent. It's not linked to everyday life, where people
think as individual. We are a group, but we live apart. We only come
together to practice."
"Castaneda is empty,
he's here
and not here,
most of the time in the second attention. He's acting like a channel.
30 years ago, when we were under Don Juan influences we witnessed the
same emptiness of the Nagual. He was an Illusion, not existing in the
daily life. For some of us, it was likewise a ghost. We were afraid of
this reality. It was above our comprehension. Nowadays, we do
experience it, and realize and experiment what Don Juan has
accomplished. It took us 30 years."
Florinda then explains us the
truth of the energetic cocoon and
the
assemblage point (I will shorten this part, as it's already well
explains in CC's literature). "We are a luminous cocoon. The outside
border is roughly at arm's distance from our physical body." Florinda
moves her arm around her to virtually display the cocoon. "Seers see on
the surface of the cocoon a bright spot, the size of a tennis ball, the
assemblage point. This spot is where the perception takes place.
Everyone has the assemblage point at roughly the same spot, an arm
distance behind us, at the level of our shoulder. The assemblage point
allows us to perceive a consistent world. It collects and assembles the
filament of energy that flow through the universe." She added that
awareness is a glow shinning along the luminous cocoon. Ideally the
whole luminous sphere should be shining, like the sorcerer's ones.
Socialization, language and our ego do keep awareness at a minimum. The
awareness shine at the level of our feet (it means at the lower portion
of our luminous cocoon). The inner dialogue is the most responsible
factor. It makes us perceive a limited world. A consequence is that
understanding is not enough. Everything is filtered through the Me.
What we understand, think or judge is our inner talk. As long as we
rely on Me, there is nothing to talk about, nothing to understand. Real
understanding is a matter of raising our energy level. Everything in
sorcery is a question of energy level.
"Sorcery is in fact to navigate. We aren't gurus, nor masters, even not
spiritualists. Spiritualists are people working through the Me. We are
perceivers. We don't know where we are going, it's above our
intellectual level. We are after Freedom, something very abstract. We
are navigators of the unknown. We have summarized the sorcerer practice
into Recapitulation and Tensegrity. The goal of Tensegrity is to simply
attain inner silence. The numbers of movements saturate our memory,
which help us stopping our inner dialog and attain inner silence. We do
have to cumulate many inner silences, until a threshold is reached,
where our energy level raises. This stage is stopping the world, where
the assemblage point starts to move. Then we are able to see the
energy, as it flows through the universe. As we practice this
awareness, we enhance manifold our capacity to evolve. Direct knowledge
is a gift available, which gives us the real potentiality to evolve by
our own, without any help from teacher or master."
Florinda then talked about the Eagle, this universal forces which lead
everything and specifically life. Florinda continued that the Eagle is
only a representation. "For sure something exists out here, an
abstract forces which dispense life, and disintegrate it when we die.
This force dispenses life, and is after the growing awareness or
experiences. However, the disintegrating force doesn't need the vital
energy. The way to separate the vital energy from experience is
recapitulation.
Recapitulation is to relive the life experience, and in remembering,
repeating and reliving them, to give to the force what it wants, the
experiences."
A woman asked about
how to
breathe for the Recapitulation. Florinda said it is not that important.
"Do not attach at details. Do it ! Recapitulation can be done at every
moment, everywhere. It's a huge task, which never end. The
Recapitulation is mandatory. Another good point is that it forces the
assemblage point to move slightly, to the place where it was in the
moment you are recapitulating. It's a good exercise to dislodge the
assemblage point. Recapitulation is a way to attack self-importance.
The Recapitulation and Tensegrity sorcerer passes are practices we can
use to enhance our Awareness, our Energy level. The Recapitulation
trains us to remember more and more about our past interactions with
people. We then see our old familiar patterns, our behaviors, which are
endless, repeated throughout our life. Being aware of these patterns
help us to remove the Me, to be more fluid and free. Recapitulation
does as well recapture all the energy we spent in past interactions.
When practiced together with Tensegrity passes, which are body
manoeuvers intended to move energy, we begin to realign our energy and
reduce our self-concerns, then we will be able to attain inner silence,
and see how the energy flow through the universe.
Mini-lecture entitled the effect
and the mood created by the
Magical
Passes. This lecture was very short. The Element told us the same
topics, when teaching us the movements, which were completed during
this talk by Florinda.
"We are insular energy beings, born with a certain amount of energy.
This energy is what we have all our life. We don't loose this energy,
nor do we gain more. Nothing in our daily life can steal us energy.
When we feel tired, it is not that we loose energy outside, rather our
energy leaves our vital center, then disperses to the inside border of
our cocoon, at the extreme limit of it. For seers it's looks like
orange peel or wood bark. This happens mainly due to the activity of
our current daily life, and definitely due to our self-importance and
our inner babbling. The more we loose energy from our vital center, the
more it agglutinates to the inside border of the luminous cocoon. With
time, this energy forms a hard membrane. After a while during the
course of our life, it causes decrepitude of our physical bodies. We
then become more and more weak until we die. One of the Tensegrity
goals is to bring back the external energy to were it belongs, into our
vital center. Tensegrity movement breaks down the crust of the energy
accumulated to the border of the cocoon and brings back this energy to
our vital center. Punch or shot with hand, motion's style breaks the
outside energy. Massage or incoming movement to the body release
freeing up energy to our center. The six vital centers are:
-- The womb, only for woman. (The man's sexual organ is not a vital
center)
-- Around the pancreas and the spleen
-- The liver
-- Around the kidney and adrenals
-- The V-spot which is the small indentation at the base of the throat
-- And the top of the head
I didn't understand if the organs are the vital center, or if they are
linked to it. I heard as well that we have other vital centers, which
are minor, and mostly linked to the six mentioned above. Tensegrity
does not deal with the center on the top of the head. The energy on
this center moves back and forth. I know from previous workshop notes,
that this center is in possession from entities, named Flyers. At the
Barcelona workshop, this subject wasn't brought up.
Evolution
We are no longer evolving. They decided to give us Tensegrity and
Recapitulation to give a chance to the humanity to evolve. Humanity
will disappear, because we do not evolve anymore.
One of the reasons
for humanity not evolving anymore is that we are bored fucks and
because woman has lost the second function of her womb. By bored fuck
they mean that most of the humanity was born during annoyed conception.
Our parents, we, all humans, do not take love as a magical act. The
mother should have an orgasm during the love act, in order to conceive
high-energy children.
Saturation
This theme was expressed many times throughout the workshop and
apparently applies not only to Tensegrity. We were taught around 200
movements. I have been completely saturated with these numerous passes,
most of them short. Complete attention was required. This is by itself
a good sorcerer practice, not easy for us, poor baby shrouded in our
concern and our ego. I confess to have completely loose my attention
the last hour on the first day, thus I apparently missed the Serie of
Left and Right body. Saturation was the main topics of this workshop.
We were taught that learning a huge amount of movements do flood our
memory. This constrains the inner dialogue and helps to interrupt it. I
do understand what they mean with this concept. We were taught so many
movements, which induce at least, to me, a complete saturation of my
capacity to keep my mind in control. I stopped to try remembering the
good order and orchestration of the 6 Tensegrity series. At the end of
the workshop, during the exercises, instead of being somewhat upset not
being capable to keep up with the movements, I let myself go, release
my inner dialog and feel very good. I was very frivolous, ready to
laugh when looking at other participants, imitating, as they were able
the passes. I saw how we were all concerned with our ego. I saw
frustration on some people's faces. I was like them the first day. I do
understand why Lectures are so short. Practice is more important. I
believe this workshop was not intended to hear what is already in books
or to ask questions. It was intended to give us a glimpse of Inner
silence through saturation. Anyway, I have now (back at home) real
sorcerers challenge : Since my mind does not remember, I rely on my
body knowledge to recover the passes we learned during this stupendous
workshop.
Lecture: The role of dreaming and stalking in the discovery and
development of the Magical Passes.
Taisha started her talk with the interpretation system, which is also
designate as the human mould. This system allows intersubjectivity to
take place: we, all humans perceive the same world, because we share
the same position of the assemblage point. The assemblage point moves
in sleep, but always returns to the same spot, unless you practice the
art of dreaming, which is the utilization of dreams as an practice to
enter other realms.Taisha continue on with the origin of the art of
Tensegrity:
"10000 years ago, the old sorcerers discovered during journeys in Dream
that certain movements, involving positions of the arms and legs
produced a feeling of well being. These movements came spontaneous
without any act of will from them, induced by some direct link to
knowledge. The old sorcerers spent a stupendous effort to reproduce
these movements in the daily awareness. After many efforts they
succeeded. These passes were very powerful, so effective, they named
them: The Magical passes. From generation to generation, they began to
surround the Magical passes with a somber mood, with mystery, with
ritual. They kept this practice very secret. As time was passing, more
and more ritual and ceremony was shrouding around this secret
knowledge. The original mood of the passes was lost."
Taisha told us that women did most of the movements, men were not
allowed to assist these ceremonies. Only recently men started to
practice Tensegrity.
"The new practitioners have removed the rituals, refined the movements
to meet modern mood. Modern sorcerers are seeking purposes, efficacity
and pragmatism. That's why we decided to teach Tensegrity to anyone who
wanted to learn.
What is necessary is not ritual, somber manoeuver but agility of the
body and the mind. The original intent of the magical passes is intact
and here, present, available to all who practice to produce well-being,
harmony and strength, and to achieve the highest goal to enter other
realms."
Energy redeployment
Florinda talks about strategic choices in the shamans world. She first
tells us a story. She explained that in Venezuela she was very
adulated. Not only she was delightful and intelligent, but in addition
she was a woman driving cars like men. She loved cars. She was the best
concerning driving. She raced with one
of the best race champion of her time. She didn't want to say her name
so not to figure out her actual age (this was a joke, to punctuate the
woman's age obsession).
She said : "I was the best. I received from my father a Porsche, and I
was very good at it. I was very touchy concerning car. I never wanted
Castaneda or friends to drive me, for I didn't want them to know where
I was going. I was told that I didn't have to use a car in LA. There
were buses. Buses are pussy, slow. How can we travel in the city of LA
? We need a car in LA....!! One day, I bought a new car, didn't have
the time to take an insurance, and went to the old Florinda. We drove
together to the nearby mountains. The old Florinda asked me if she
could have a try. Reluctant, I gave her the key. The old Florinda
managed then to run off the road down a small ravine. The car was
completely destroyed."
Florinda told us she was so ill to see her new car useless, no
insurance to get her money back. And no more money to buy a new one. "I
was crazy, upset. My life broke down. After a while, something happened
to me. I began to use collective transport, to be driven by other, and
not drive anymore. I saw the life in another angle. Since then, I never
drove again. 15 years now. This was a strategically move. This is an
example of what we have to do to move out from our daily
preoccupations. Each one of us has something, which can be used as a
strategically manoeuver."
After the workshop while waiting for my airplane to return home, I
recollected this talk; and an inspiration suddenly came to my mind.
Personally, I never wear watch, an old habit fostered when I was an
adolescent outsider. Watch is for people glued in the active life. I'm
cool. Clock is not for me. Clock does influence the energy as it flows
along our arms. During the workshop, I was internally reproaching
people to do movement with their big watch. How can they do Tensegrity
with watch, was I asking. Years ago, when I started to work, I was
always looking after the time. I have not to be late at work, may not
forget a rendezvous. Unaware, I spent a lot of energy seeking for the
time. When I left the workshop Sunday afternoon, I decided to buy a
watch. I've found a tiny strategically manoeuver.
Men and Women
We have 6 main energetical centers. Men lack one, the sixth one, the
womb, which belongs to Women. This center gives women a better link to
the Spirit, therefore it is easier for our sisters to progress. Men
have to give a lot more effort to be a shaman than women. This gives
them in balance, when reaching the shaman level a definitive advantage,
due to the effort to be put on. Men have more awareness of the
different steps it takes to evolve. Florinda told us that Men spent
their time on details to understand. That's why they build marvelous
things found in our daily world. Men are overwhelmed with what they
have built. Women due to their facilities to understand (to have a
direct link to the knowledge) have more and more hidden this facility,
because it's easy for them. With time, they have completely lost their
talent. Socialization does restrict women to use the second function of
their Womb. Florinda was very humoristic on this subject, as well as
with other topics. She spoke in small sentences, often punctuating her
talk with a succession of single words, like a burst of image. I
remember when she was describing herself under the time with Don Juan:
"I was the most
important person.
You know how
women are ! I'm beautiful. Nice ! The best ! Once, I thought that Don
Juan was impotent. I was very concerned for this. He was strong, still
good looking despite his age. He was always alone, no girlfriend. I
decided to advise him. With my best knowledge, very confident, proud of
myself, I asked Don Juan to see a psychanalyst, a doctor, who could
take care of him. Don Juan laughed a lot, he put his pants down to show
me his attribute, which were apparently very functional (he was able to
erect his penis immediately). I was so upset, so angry ! Furious ! He
put me really in place. Afterward I started to change about what women
think of themselves."
Florinda told us that the second
function of
the womb is to a great extend very active during menstruation.
Traditionally, in our society, the woman is isolated during that
period. Some culture fasten women in a dark room. Women are dirty, they
do smell bad. Women are bizarre, and those men throughout ages have
alienated this cycle feature of women. During this state woman have an
enhanced capacity to Dream, to move their assemblage point, a direct
link to knowledge. Certain cultures in some ways admit this truth, like
for example the Yaquis, when a group of women were having menstruation
at the same time, they came together to decide important matters of the
tribe.
Shamanistic Theater
The two youngest girl made two performances of shamanistic theatre, in
which they danced, among others, some Spanish folk songs with spanish
dresses and, executing magical passes in such an volatile manner that
the passes were the dance itself. This performance was very appealing,
funny and ingenious. The rest of the Trackers, Brandon and Miles, in
pairs, performed long magical passes, one particularly was exceptional,
an exhibition with knives. Tensegrity does reveal many aspects, this
one was very warrior like.
At the end of the workshop, just after the show, Florinda started to
dance as well, quickly followed by all the audience. The workshop ended
with an explosion of joy, people dancing all over the place.
Mixed notes
Throughout the workshop, we were told many remarks and comments, to
reiterate concept already explained during lectures, or to punctuate
many facets of the art of Tensegrity. Saturday night, Florinda and two
young men belonging to the Element were as well available for a short
Q&A session. One of the girls of the Energy tracker told us
that
Castaneda has already finished his new book. Translations are currently
ongoing. Date release should be end of 97 or early 98
(what I understand is that they wait until the translations are done,
in order to release the new book).
I noticed that
water
supply got
significant rules during orations. Before any speech, they drank a gulp
of water. Water supply in bottles or cans was available everywhere in
the area of the workshop. And if during a talk water was absent the
witches asked by sign to the Tensegrity staff for it. During discourse,
when concluding a topic, or moving to another point of the discussion,
they paused to satisfy their thirst. It was done naturally, remarking
their action with diverting comments about being thirsty or droughty. I
heard somewhere at the end of the workshop, that drinking water often
is important. It's very important for sorcerers. I surely agree, seeing
them by my eyes pursuing this rule.
"You
can remember all
the moves you have
learned if you reach inner silence. Do the passes as you remember,
don't look for details. It's not that important. Do it each day.
Extreme concentration should be applied. Passes should be performed
with great precision, with the whole body. Movements involving strike,
blow or a la karate kick, must be done with great force, hence
the move should stop before the end of the course. Harm can result if
we do not pay attention. You must avoid the exercises to become
routine. You can practice in group, however be careful of
socialization. Do not wait for results. Change is a slow process. The
body with time, will grow up, be more flexible and stronger. The passes
do give a well being, a better concentration, vigilance and attention.
Some movement's deal with the left energetical body, these passes are
done with the left arm or legs. Someone asked what about left-handed.
The reply was very clear, we deal with the left area of the energetical
body. What counts is the physical interaction with the left area, so I
do understand that left and right-handed doesn't matter with
Tensegrity. One question was what should we eat. Florinda replied that
sorcerers eat everything.
We aim not to eat sugar, alcohol, tea, coffee, etc..."Everyone should
find his own balance. It's up to you to take yourself in charge, to
find what is good for you. Don Juan from time to time used to drink a
beer. Well, we don't have to get drunk... Alcohol is bad, coffee is
bad, sugar is bad, ... chocolate is good!"
A woman asked in an hysterical
and laborious manner, what about
the
Eagles devouring us, children being killed in accidents, war
devastating many innocent. Why they have not a chance, etc... Florinda
laughed, and just passed by to another question. Later, to a similar
question, Brandon told us, it us up to us to experiment how the Energy
flow through the Universe. Then we will be able to interpret on our own
the universal forces, which dissolve us when we die. Someone else asked
if we could manage with our relationships, families, etc... while
pursuing sorcery ? Florinda said absolutely not, just start where you
are: "Do Tensegrity during one year, then start recapitulation."
A woman asked what
happened with
women that
had been operated on and the uterus removed. Florinda answered that
those women have to follow the same long and laborious way as men, who
also do not have a womb.
Another woman asked how Brandon
and the other Elements and Energy
Trackers are here and now involved in sorcery ? If they are entail
completely in Tensegrity and sorcery. Florinda, which was in the middle
of the two young men, replied:"No, all of them do work and live like
anyone. They don't live
together. I don't know were these young men do live, and what they do,
which jobs. They do Tensegrity, and because they do it impeccably, they
are here with us in this workshop. We do need an interpretation system.
We are perceptors, and such
without an interpreting system we would not be able to assemble a
complete world. When seeing the energy flowing through the universe, we
would not be able to arrange our perception. Perception will be
chaotic."
Tensegrity due to
it's nature can
heal sickness and pain.
Personal summary
I met an old friend at the workshop who abandoned everything for
Tensegrity. This person moved out from Europe and settled in LA. I was
impressed of such a radical choice. After what I heard at the workshop
I do understand that the Elements and Energy Trackers have done more or
less similar choices. The possibility to reach the level of CC's clan,
is not an illusion, it's real. We can attain Freedom. We can intent to
be like the new followers, and be like them. I would like to perform
similar moves. Hence, my life has taken another turn: I have a family
in charge, and such move implies being selfish ! I struggled since
years with this paradox: How to evolve in Nagualism and be responsible
for a family ? During the workshop, due to a rise of my energy level I
found a solution: why to not use my life as it is actually ? This is a
form of stalking. Others can say Controlled Folly. I do not like this
term. I prefer to say I want to enjoy, learn and be aware of what is
happening around me, or be aware how I'm acting or re-acting with my
fellow men. I intent to be aware of my inner structure in order to
perfect my act, to temper my mood and to better look after my family. Florinda once said
acting
impeccably is to
pull your energy out of the social order. I find another answer in
Taisha's book: When you act impeccably you aim to your energetical
body, because perfection is already a quality of our double. If your
act is impeccable then your action in the society doesn't affect you:
the energy balance is at your side. Everything is possible. We are born
in a magical world, and we are already magicians ! Daniel
CARLOS
CASTANEDA'S TENSEGRITY -- THE WESTWOOD SEMINAR - July 1996
http://ttzlibrary.yuku.com/topic/493/Westwood-July-1996#.WAsbreh96Uk
A note on the notes: I wrote this stuff down after getting home from
the seminar. I left a lot out but still, it seemed that someone else
might like to read them. I did not write them verbatum this time so
please for give the lack of detai and any errors you might perceive.
There is some irrelevant personal comments so don't pay attention to
them. Sincerely V.
CARLOS CASTANEDA'S
TENSEGRITY -- THE WESTWOOD SEMINAR
On July 20, 1996 a group of about 700 persons met for a week long
seminar with the nagual Carlos Castaneda and his group which included
Carol Tiggs, Florinda Donner, Taisha Abelar and the Energy Trackers - a
group of 8 women and 6 men who would lead the seminar's movement
sections. Each day would usually begin with a lecture of about 1 to 2
hours though on one occasion Carlos talked for 3 hours until lunch, a
welcome gift. Each of the women seers gave lectures that outlined their
particular orientation into the sorcerers' world. Carol conceptualized
the seers realm as the capacity to see energy as it flows in the
universe. Florinda, a phenomeno
nally direct being discussed our
unalterable position and the need for the utilization of the fact that
we are beings that are going to die. Carlos stated that we are, at our
cores, perceivers of energy and that through silence we can break the
ties that bind us to our habitual interpretation system and on our
habitual self reflection. Taisha Abelar presented to us the possibility
of entering into other worlds, other peels of the onion. She outlined
the ways, in which this is done and provided the realization of this as
a bona-fide possibility. The auditorium was arranged with four platform
stages. Four, according
to Carlos is a number representing permanence. On each stage were two
energy trackers. The women formerly known as the chacmools were there
as well as the blue scout (Brett) and two new members. They were all
very lean and thin with short hair. Their movements were very powerful
and were executed with their best effort. Carlos said, that we would
cover five core areas during the seminar.
These five areas he said held all that was necessary to reach the
desirable state of inner silence and to encourage the regrowth of the
energy body. The five areas are:
1.TENSEGRITY
2.DECISIONS (area for)
3.THE RECAPITULATION
4.DREAMING
5.INNER SILENCE.
Carlos
Castaneda
spoke about the
differences between men and women. Women have a straight bar of energy
running from back to lower center by the womb. Men, unlike women, have
a
swanlike curvy bar of energy, which relates to their complexity and
vulnerability. In both men and women, however, this bar of energy
appears to Seers, to be damaged. They have been broken or mangled
(mutilated, disfigured). In
women the break is uniform and about eight inches in length. It was
pointed out, that in all women wherever they may live i.e USA, Japan,
Russia, the South Pole, wherever, all (except Argentinians {a joke}),
had this problem, this break in their energy bar. The question then is
why and what or who, is responsible. In men also there is damage and
the breaks in this bar of energy can be seen.
In a later lecture, as Carlos
discussed the
flyers, entities, that consume our sheen of awareness, the breaks in
our
energy bar were further explained. Carlos said that it was due to the
maneuvers of the flyers, that the damage was universal. He said, that
once someone asked him about, whether or not he should be celibate, and
Carlos replied, that he already was. He said, that most of us are only
masterbators. The damage to that bar keeps us from having real orgasms,
real jolts of energy. He pointed out, that we do the same thing, the
flyers do to us, to our own pets. We castrate them, we fix them so they
won't go outside the yard and will like us. They are controllable,
until
they die. Those breaks in our energy are one of the means the flyers
"fix" us. The results from these breaks are lowered energy and
frigidity in men and in women. Carlos Castaneda reported, that their
are
so many women haters. Women hate other women and men hate women too, a
comment, that caused a great deal of laughter. He talked about the TV
show, where two cops just love each other to death and the woman is put
in the show as a hooker or dies or something, and everyone loves it.
Women are insignificant or incidental in the movies, he said. And he
said, that the break in women results in women being frigid. Carlos
said, that sex was for
procreating. It is our bodies
one best
shot and that people, as a result of a cogent (powerful, forcibly
convincing) leap or shift, do it for
deleterious reasons i.e.., recreation. This results in energy being
lost. Carlos says it does not matter, if one has sex, unless you have
made the decision (see V spot) to become a warrior/sorcerer. Carlos
Castaneda stress a number of times and with vehemence, that we suspend
judgment. He implored us to not heal anybody (joking), lend energy, do
yoga or chi kung, etc. for just the next few days and said, that after
the seminar they could get as mad or upset, as they wanted, and hate
Carlos Castaneda. But for the length of the seminar he requested, we
refrain from our judgments and criticisms. I feel it is important, that
I state that before coming to the seminar, I
had resolved to do, just what he had asked regarding judgment. Last
year
at the three week encounter with Carlos and his people, I feel, I was
incapable of getting the most out of the seminar. I could list many
reasons and variables and yet they would all point to a single reason.
I was battling the "me" problem. On the one hand there would be a part
of me that knew Carlos was right on target. Another part of me wanted
to hurt them, to discredit or disprove them. It was as if there was a
voice in my mind which sounded like my mind itself that was doing
everything possible to inject doubt, hate, whatever it took to block
out their efforts. This to me, after a year of fighting, I would not go
there with my "know-all" attitude. Carlos himself stated at the
beginning of the seminar that the energy was not as bad as it had been
in the past. He said our loud ME!!! was now a more quiet and subdued
"me" and would, if we kept it up, become a tiny little "me". So it
seemed that I was not the only one who was leaving their greatness,
their wonderfulness, their uniqueness, at the door this time. People
stress their "ME" idealities in their acts, Carlos stressed. This
occurs as the sheen of awareness that should, right fully cover our
luminous cocoons, is eaten down below our toes. It is this area, this
last vestige of our sheen of awareness, where the focus on our
self-reflection occurs. The new nagual said that now, a year after
Culver City, that persons big "ME" had been reduced to a little "me"
and that it would get smaller and that many persons energies were in a
position to shift to something else. Carlos talked about the assemblage
point and the band of man, a strip of energy that is about a foot wide
running down the luminous egg. He talked about alignment of new worlds
and the force that holds us and galaxies together. He talked about
psychology and developmental psychology and the socialization process
along with what it does to us. Examples included the little girl who,
at five years old says "Mommy I'm bored". He talked about what
"audacity" really was to him, that holding the little flame of one's
awareness against that immense and terrifying universe was true
audacity. He said that Don Juan would say "because its all I have".
That, he said is real audacity. The idea of some absolute "Word of God"
or the like, was terrifying to him. Finalities were something he
abhorred. Carlos said that we are in a
universe that is changing every second.
A humorous story was told about a class he was once teaching in an
auditorium-like classroom. There were three girls in there that
fidgeted a lot. He said their dogs, which they took with them there,
were the perfect students not moving during the entire class. He said
that they were or thought they were witches. Some guy came up to Carlos
and said "Carlos, what if I told you that someone was fucking with your
mind?" Carlos replied "Well, I think, I, I, I,,, I think I'd like it".
The guy tried to convince Carlos that they were doing something and
told him, no matter what, not to scratch his ear. So Carlos started
scratching his ear in class finally going bananas. Once someone, maybe
that same guy asked Carlos "Carlos, what do you think about eeevill?"
Carlos replied "I, well, I, I don't know, I think I like it". Finally
Carlos told us that there is no good and no evil. There is only energy
out there and a predatorial universe. It is useless to get mad at it.
Another very humorous story involved Don Juan's maneuvers to get Carlos
to quit smoking. Don Juan told Carlos that they were going for a trip
to the desert and that he (Carlos) should take plenty of cigarettes.
Carlos wrapped up a magnificent bundle of cigarettes in foil because
the old nagual told him that coyotes would smell the tobacco and carry
them off. The first night the coyotes carried off Carlos' bundle and
the next day they spent looking for it. Carlos was going crazy for a
cigarette. Don Juan told him that there was a town nearby and they
could go there and get some cheap Mexican cigarettes there if Carlos
did not mind smoking them. Carlos, at that point would have smoked
anything and was reduced to making noises, hardly able to talk at all.
Unfortunately, somehow Don Juan lost their way and they could not find
the town. By then quite a number of days went by and their concern
turned to simply staying alive. In the light of that new development,
Carlos eventually forgot about his craving and finally told Don Juan
"you know, I don't even want a cigarette now". With that, don Juan said
"its time to go home". The highway was only a mere twenty feet away.
They had gone in circles. The center of energy between the toes is
where we all are" don Juan
told Carlos. "But for men it depends on which way their dick is
pointing". "It could be a little to the right or the left" Carlos
actually tried to determine where his was. Carlos laughed recounting
this and the other ways Don Juan would amuse himself. Carlos also joked
about, how people think, they can "lend and heal" with their energy.
"Carlos, let me heal you with my energy".
"Your energy is weak Carlos.
I can Heeaal you". Stupid ideas all relating to our insane beliefs,
that we are unique and special. Carlos said, that he was well on his
way to becoming a professor. He had
his hush puppies, his jacket with the patches on the sleeves, as well,
as
a pipe. To top it all off, he had a leather briefcase. When he told Don
Juan, he said
"You look ridiculous". We all have this weird tendency
and obsession to "look for love" Carlos
said. We sell ourselves. If someone says "I love you", that's it, we
give them everything. Carlos said his mother was a communist and that
she freed him by dying when he was 5 years old. He said that because of
her, he would never be able to stay in the penthouse. It was this
social mentality that influenced his consideration that for only four
or five mortals to escape in the way of Don Juan's lineage, was
unacceptable for him...Carlos talked about youth being related not to
age but to vitality. He
told us how Don Juan was infinitely younger than him. He, Carlos, was
chubby and don Juan said
"You're kind of chubby. Why don't you do the
magical passes?". Carlos replied "what magical passes. What are you
talking about don Juan?' Don Juan reminded Carlos of the way he taught
him to crack his joints. That was his entrance into the realm of the
magical passes. Carlos said that the idea that he and Kylie sat around
thinking up the movements was absurd. He explained that the passes,
Tensegrity, were a generic form of the sorcerers' ancient magical
passes previously shrouded in secrecy. In ancient times the passes were
designed for specific temperaments and body types. Carlos Castaneda
stated to us, that he is closing shop and that don Juan
never got to deal with mass like he was doing with us. This meeting,
this mass was an explosion for him, an explosion of something else. He
told us that this person (referring to the image of Carlos Castaneda on
the stage) was an apparition. He said "I'm already gone. All I have to
do is shut my eyes". He talked about his appointments with Infinity and
said that he and the rest were not even friends with one another. They
just got together for the seminars and sometimes they went to the
movies. He was only the chauffeur, the bus boy. Carlos talked some
about violence and movies with stars like Arnold
Swartzenegger who never got hit by all the high tech. machine gun
bullets and weapons fired at him. Carlos pointed out that in the movies
of today they obligatorily say "let's kick ass!" and "Fuck you". In his
time, he said, all they could say was "gee wiz!". A member of the
Spanish speaking audience said to Carlos something to
the effect that it made her sad, that the lineage was ending. Carlos
replied, that it made him sad too. Carlos told us, that he used to eat
17 bacon sandwiches a day and he
smoked, since he was eight. He joked about, how he would say "let me
catch my breath". Panting, he would lite up a cigarette and puff madly
on it. Carlos said, that rituals obscured the real issues.
Taisha Abelar talked about Inorganics and
the
fact, that we have the capacity to move into other layers of the onion,
so to speak. For Carlos it is the fact that - we are perceivers, for
Florinda that - we are beings, that are going to die - and for Carol
that - we can stop the world to see energy as it flows in the
Universe.Taisha mentioned Glovis and Flebis (sp?), two allies or
inorganic
beings, who she says, have accompanied her or attached themselves to
her
awareness, not as leeches though. She said, that they are impeccable
and
are dealing with her world which, for them, is the unknown. Taisha said
they would hover outside the jet plane on the wings discovering its
speed. But now she gets them to go inside, just, they will not put on
their seatbelts. Taisha described three ways to move in and out of the
cousins world
(inorganic realm). The cousins, she said are very much like us, but
inorganic, slower and infinitely older. their world is as is our own, a
layer of the onion. The three ways are dreaming (a natural hatchway),
internal silence, and finding cracks in the world. Florinda in her
lecture said that all of them had a mini-breakdown before Taisha's
lecture. Taisha wanted to bring this huge pigeon, one with no legs, to
the lecture. Florinda said during her evening lecture, that Taisha got
it in some other world and it was as big as a dog. She said that we, or
some of us, might not even have been able to see it but that they had
at least left it in the car. She said, it moved by waddling on its
belly. Taisha spoke of a place, where there
are three legged dogs.
Florinda said, that those things are very sophisticated and never to
make fun of a three legged dog. In that world it is not nonsensical. It
is a part of that world. Taisha
said, that in the sorcerers
house, that
they always talked about another wing of the house and that she, with
her reporter mentality of the time, was interested in the how, what,
where, why, factual questions and in finding no wing, believed that the
sorcerers in their house in northern Mexico were referring to a
potential or maybe a past wing. She took her tools and looked, tapping
on walls for secret passageways and digging outside for an old
foundation, etc. She concluded, finding nothing, that they were all
cracked or lying. But one day she was pushed by one of the sorcerers of
don Juan's party into this room, a room without four walls and yet it
was a room where the walls were undulating. There was a man on the
floor moving like a marionette and besides him were two disc like
things which were trying to imitate him. Her body or her awareness told
her this, since the discs had no head or limbs. The man was don Genaro
and she said the floor was pristine like it had never been walked on.
For them, the sorcerers, the room was their entrance to the other
world. Taisha said there were cracks, vortices of sorts into the other
world,
all over the place, even on there in the San Bernadino mountains and
near the botanical gardens at UCLA. She joked about almost making us a
map to the spot. Taisha described how she was going up this hill there
where the water no longer flowed. The energy, the flowing energy was
still there however, making cars go much faster than normal. She ended
up in another layer of the onion and finally left. She said that,
finding oneself in such a position i.e., having gone through a crack,
one has to be sober and use the tools of a warrior when doing this kind
of thing. One can choose to look around or one can return by simply
sitting still or staying put Taisha said warriors do not lose their
minds, that that is a result of obsession with the self. One needs
energy though. Taisha told the story
of how once
she and
Carlos were driving to the airport and they found themselves placed far
away from there, even though they had been close. Carlos used to be a
cab driver before and did not get lost so they concluded that something
had happened. Taisha, during the incident had said "We flew! We flew!"
and Carlos just said something like "You did it again Taisha!"
Two friends of theirs, a microbiologist and an insurance salesman, two
ordinary persons, came to Carlos with a story of, what had happened to
them. They had been driving on the highway. The landscape seemed wrong
or different to them after a while and they tried to turn back found,
that they could not find the way. They were on this gravel road and
decided to go to this cottage, they saw, and ask. As they drove up to
the
cottage a monstrous looking and very tall man was at the door and his
voice was weird. He was saying "Go back". Go back". They were so
frightened, that they just backed up out of there and out of that other
layer of the onion. Taisha said there was a front door and a back door
into that realm. One
door was dreaming and she joked about having to get in line and say
"Get out of my way!" Dreaming was one of those doors then. Taisha
talked about the third way of entering these worlds, which is Inner
Silence. She talked about a blackness, that would occur, when one's
inner threshold was reached anywhere from ten minutes to an hour. One
could find oneself in another layer, as she and Florinda had done.
Florinda wanted to leave the mall, they had found, but couldn't, until
Taisha had finished her inspection shopping. Taisha spoke of other
worlds, infinite worlds out there, perceivable and potential via shifts
or movements of the assemblage point. In
one world people would sit in a sort of gallery to watch the Sunrise,
as it took up two thirds of the horizon. There was already a Sun
in the sky and the giant rising Sun did not burn anything or affect in
ways, like our own Universe would. Taisha mentioned, that that
early on in her apprenticeship, the
sorcerers would say the other world(s) were not in "this space". But
she, with her mentality, thought they meant, that the other worlds were
in another galaxy or something. She found out though. She talked about
a new technology of another world, where people, working for a company
there, named Soni, were watching what, at first, looked like a drive in
movie picture, but turned out to be a projected image; projected from
some distance behind. Many worlds to go to, when one gains the energy
and the control and the sobriety. Taisha
told us, that we each had to
take these individual journeys and then,
maybe, we'd all leave together.
Florinda talked about the fact, that we are beings, that are
going
to die. We act immortal, so we don't do anything. She told the story
of,
how old Florinda told her not to drive a car and how she drove her car
off a cliff. Her brand new car with no insurance. How they locked her
out of the house and she cried, since it had never been locked on her.
And then how she had found it open. How her hammock was gone and she
cried again. Florinda discussed practical actions, such as old
Florinda's dramatic
actions or how speaking her name "my name is Florinda Donner" were
gestures for It. This reminded us of this or towards the feeling of the
sorcerers' world. She talked about her car, John Tuma, Genaro, finding
the perfect
husband, energy, family and no kids, awareness is physical, men sublime
joke but... knowing knowledge, so one can't let it go. Professors,
egomania, a weird apparition of a woman in her house, sobriety, not
loosing one's mind. She said "oh hell, another navigator". Taisha said,
they gave her a nickname "Wow wow". It meant, she thought,
either, that she whined like a baby, or barked like a dog. She said,
she'd rather be the dog. Florinda
mentioned, how they, the
four of them, were not real for the sorcerers, unless they were
standing
right in front of them. Carlos,
she said, is not there anymore. Florinda said, that it was
fascinating to see the change. The old Nagual was like that, when she
met him. But to see it happen, to Carlos, was very weird. Florinda
said, that warriors do think, ponder, consider... but when they
act, they don't care about outcomes. Sometimes they forget, why they
are
doing, what they are doing. Carol Tiggs' song: "I've been bad, I've
been bad, I should be punished, until I am dead, and when I am dead, I
should be punished some more."
A song we sang a few times with Carol, the Nagual Woman tonight. She
was dressed in black, seemingly overflowing with energy. Like the
others, she had short cropped hair and was lean, catlike. She looked
better, than last year. After a few words she brought out the starlight
trackers. They were the blue scout and the mother of the little girl.
The blue scout is CC's daughter and the other is the cyclic being from
last year, I think. They had leather gloves with silver tips on each
finger as well, as mod looking, mirrored sunglasses (snake eyes). They
were strange looking and serious about the form they did, which, we
were
told, was the snake. Then Renata and Nyie Murez did the crab set. They
were the pre-dawn trackers and squeaked, as they did their strange set.
Carol spoke after they were done. Oh, by the way, Florinda and Taisha
seemed very delighted with the sets. Anyhow, Carol said that properly,
the order should have been that set, the Crab first and then the snake
and then the next, which was a knife set, but that costume changes
necessitated the order. The knife set involved double daggers and was
very beautiful, and was Carol indicated, originally done with human
bones, rounded on one end for the V-spot, with writing. The Nagual
Luhan
designed them as attempts to kinesthetically get to the state of
Internal Silence and to the abstract, he substituted metal knives.
Carol later in the lecture said, that the sets gave some energy for the
things she would say and do that night. Carol talked about her
absolutely terrible "me", when she first met don
Juan. She said he'd make up derogatory nick names for her, but she
would
always try and make them into something admirable. Names like
"Prickwithears", or "Seven Layer Butt", or "Fat Butt". Ultimately,
Carol pointed out, that our minds, no matter our perceived notions, are
all alike. Carol described
the Flyers, the
awareness, that consume us as food. She said, that they should be
called
the Leapers or the Jumpers, because that's what they do. She said their
awareness is so heavy, that it sinks right through us like lead. She
was repulsed by them. When their friend, Tony gave her a picture to
show CC, she thought, that to see one in a photo was very horrible. The
Flyers keep us in Humaneros (pro:Umaneros), like we keep chickens in
galleneros. Those humaneros are cities. She said it was
strange, how we thought, it was "that's stupid", that
there could be such entities. Even stranger, how weird, that we
viciously
cling to beliefs like gods, god, and guilt (thus the song), that have
nothing to do with us or our wellbeing. She told a joke about the god
Thor (I'm Thor). The Flyers give us our minds -
one size fits
all - Carol said, which she really did not like. It was, as she said
this, that I realized my suspicions about the vibrating plate over the
heads of people.
Carlos in the morning had said, that there was a center
of energy, unlike the swirling centers of liver/pancreas, spleen,
adrenals (and womb for women), at the top of our heads, which moves
side to side faster than our heart beats. I realized that that was the
energy center or false mind we identify with the "me", given to us by
the Flyers. Carol said that we imitate our captors and impose horrible
fates on our
pets. That we castrate and fix, declaw and defang and descent them so
they will be docile and like us until they die. So they won't try and
leave. She said sorcerers of old found this out and that don Juan hated
them, as they had sold out to that they themselves wouldn't be eaten.
He
said, that they were the caretakers of this knowledge and sold out to
them for personal gain and power. The picture of the Flyer was the
omen, they needed for them to tell more
about the Flyers. Carol said, that like a cheap B movie, she had said
to CC, "but what do they want with us?"
She said, that they all were skeptical and did not do anything about
them for a long time (as apprentices). But when they finally 'saw' them
they were horrified. Those things with their heavy awareness sunk right
through us. Carol's conclusion to the question of whether or not they
ate other organic beings was no, because of the unique nature of the
human energy, which was like a giant cutout or machine stamp, something
like clear edges. "Why?" How the hell should I know why? They just do
it seems. The sorcerers did know and discover one thing the Flyers
detested,
which was and is awareness grown via discipline. The magical passes do
this. The recapitulation does this. Inner silence does this. Mankind,
said Carol, could possibly return to his pre-sentient state, as a
brilliant and fully covered entity, luminous, and escape the cosmic
manglers (those, who mutilate). Carol
was being funny, singing and joking, obviously pleasing her
cohorts a great deal. A great deal of her information was vital and
struck home. Bullseye! Besides the critical jumper information, was the
horrible sense of self-importance we maintain, wasting gobs and gobs of
energy. Who loves me? Who will see and tell me how special and
wonderful I am, when or how can I get picked? One day they'll see, how
much I've changed, and apologize. They'll see how wonderful I am!" It
really is disgusting and not our fault, according to CC and Carol.
But it would be our fault, since we know, not to do anything about it.
At one point in the lecture Carol said "no, I'm not going to talk about
it", obviously talking to someone on the stage, that we could not see.
She told the story about her and some man, a musician and how she
supported him, looking for love, I think.There are beings in the
Universe(s), that are predators and
they go throughout the Universe looking for food. Carol picked four
people and made them look into her eye before having them fall
backwards into a state of silence. Her act plunged the whole audience
into silence. The group got up and left. That silence was palpable and
stayed with me for the rest of the night. It was great.."
Report
on the Tensegrity Workshop held in Mexico City, in
May 19-21, 1995.
http://ttzlibrary.yuku.com/topic/491/Mexico-City-May-1995#.WAxWBOh96Uk
A Tensegrity seminar was given this past weekend in Mexico City (19-21
May) at the Sheraton Maria Isabel hotel in the heart of the city the
three Chaacmools were present along with Florinda, Taisha and Carol
Tiggs. The event draw 1,000 people. and it consisted of three evening
talks (Friday Carol, Saturday Taisha and Sunday the event was closed by
Florinda), and two Tensegrity sessions one on Saturday for 500 people
and another session on Sunday for the other 500 people. This sessions
started at 9 am and ended at 6 pm following the conferences at 8 pm. To
keep the reports short i'm going to start with the event that took
place on Friday 19th, which corresponded to Carol Tiggs talk. The big
ballroom that was rented at the hotel for the ocassion was packed full
with over a thousand people because they let in people without tickets
this day. The gruop (Florinda, Taisha, Carol, Kylie, Renata, Nyei and a
couple more associates) arrived at 8:30 Carol and a translator sat on
the stage and the others remained in the first two rows, which were
reserved for them just in front of the stage. Carol started the talk
presenting herself to the people and then recited a 'poem' in spanish
and then in english wich draw everybody's attention...Then she spoke
about when she first meet CC (Carlos Castaneda) at the Alameda park in
Mexico City and how
DJ hooked her first with a loud 'burp' and then with his eyes, and let
her know that she was a 'double' woman and that CC was energetically
the same as her. Then she told us about her disappeareance for more
than ten years from this world and she said that for her it had been
like a dream, but that time lost it's significance during that event.
"When i was back from these place i found myself in Tucson Arizona ten
years later, it was hard for me even to recognize the place, but i'm
sure that DJ knew beforehand, that this was going to happen, because he
made me hide plastic packs with money in different parts of this and
other towns, which at the time seemed to be absurd for me, but at this
moment i understood perfectly, so i went and retreived one of these
packs and with this money i went to L.A. and lurked there for a while
like in a zombie state, until i found out, that CC was going to give a
lecture at the Phoenix bookstore at Santa Monica and i went. CC saw me
and he talked for two hours without knowing, what he said, because he
was astonished to see me there. Carlos and i used to find ourselves in
Dreaming laying in bed naked in a strange room, there was also this
little girl, that came into the room shouting 'not again mummi'. When
things were getting out of hand in this weird world Carlos had me jump
into the bed and shouted 'twirl Carol twirl', and we both started
twirling, until we woke up in our bed". She also mentioned an american
actor from the 30's or 40's, who smoked a pipe and this character also
became a regular in that world, where she and CC went in Dreaming. This
old man, who spoke with a certain accent, used to call Carol "honey"
and also used to call Carlos "shorty".
Carol: "...like any other visit to this world, it started when we found
ourselves naked in that bed, suddenly we heard someone coming, Carlos
got himself inside a closet, that was in the room, he wanted to hide
from whoever was coming, but he was not able to shut the door from the
inside. At that moment the little girl came into the room shouting as
ever 'not again mummi', she went directly to the closet and shut the
door closed right on Carlos's nose. At that moment i heard the
footsteps of the old man with the pipe, he entered the room and said
"whats up honey", i noticed, that he had a newspaper in his hand and i
became intrigued with it, i tried deperately to catch a glimpse of it
trying to figure out in what language was it written or what was the
date on this publication, i knew, that Carlos will be very interested
in this newspaper, because since he is scientifically oriented, he
would love to corroborate whatever info from this world in "our real
world". So i dont know where i got the nerve to snatch the paper from
his hand, as the old man was leaving the room and hurried to lay it
flat on the bed to see its contents. There were color pictures of
people, but when i fixed my attention to the text i noticed, that the
characters were not the alphabet we use, they where some sort of
"symbols" like spirals, triangles and circles. I was so excited, that i
wanted Carlos to see it, so i went to the closet to let him out, but i
noticed that there was no door knob or anything to open it, i started
to get anxious, that the old man would come back when i heard Carlos
voice comming from inside the closet instructing me about a dark spot
on the floor, that i had to step on. I looked down at the floor and i
saw the dark spot, which looked like a button, i steped on it and the
door opened and Carlos jumped out with feline agility. I showed him the
newspaper and he was perplexed. All he told me was "this is real
Tiggs... this is real". We heard footsteps again and we jumped into the
bed and started to twirl like the other times, until we woke up in our
beds...in order to get in and out of these
"other worlds" one must be very
sober and in control, because if you "hooked" to something in that
world (like the newspaper), you will be lost in that world, because you
will forget, where you come from, and you will end up living and dying
in
this world. That is why the path of the warrior needs to be
impeccable,
because when you become a navigator, you can not afford any mistake.
This world was very similar to ours, because people also got old and
died. Actually we saw the little girl grow up."
Carol also revealed, that CC is writing another book, when she said,
that
"Carlos is naming a chapter of the book, he's now writting "The return
of Carol Tiggs".
"...Energetically CC and I have been very distant for the past three
years. Some time ago Carlos made an energetic jump and maybe this is,
what has kept us apart (energetically), but three weeks ago I again
woke up in this strange world...we are (energetically) a strand of
energy, that is cyclic and it expands through the different worlds,
which are like the layers of an onion, and it seems,
that in this other layer of the onion, we (CC and Carol) have found a
couple of beings, that share this other world, as we share this world,
and we see ourselves in this world like humans, but this is due to our
tendency to "anthropomorphisize", but maybe the creatures on this world
have a different mold, than ours. The point is, that our "perception"
goes with us even, when we go to other "layers of the onion"".
This day the Tensigrity Workshop got started for half of the people,
enrolled in the workshop (total of 1,000). It consisted of one morning
session from 9am to 1:30pm hours and an afternoon session
(3:30pm-6:00pm) for review of the exercises, taught in the morning
session. The chacmools arrived alone (Florinda dropped in later just to
watch) and started a series of warming up exercises and then begun
teaching 14 new passes, which they said "where specially intended for
the peolple, who lives in the Valley of Mexico at this particular
time". When people started asking questions about this matter, Kylie
responded with the next story.
"...life is like a river with cristaline
water, people keep on picking up the stones at the bottom of the river
and treasure them without knowing, that the most precious part of it is
its water, which can not be held or kept. All you can do is flow with
it. The water is the Nagual and the stones are the Tonal, we must learn
to let the Tonal in its place, so we can go with the Nagual...". After
this story people gave a good thought, before asking a question. The 14
passes shown were:
1- Using Energy with the Foot
2- The Gate to Stars
3- The Gait of Power
4- Defining the Width of the Energy Body
5- Circle Within a Circle
6- Axing the Energy
7- Up and Low Blow of Energy
8- Amassing Energy
9- The Energy House
10- Storing Energy
11- The Animal Step
12- The Pyramid of Energy
13- The Sorcerers Breath
14- The Sorcerers Window
They finished the afternoon session with a superb performance of four
parts of the "Tensigrity of Affection" by Reni and Nyei Murez. Evening
talk by Taisha Abelar:
"When Seers "see" they See, that "stalkers" have like a "shawl" of
luminous fibers, hanging down from their shoulders, and "dreamers" look
like, if they had a "hawaiian skirt" of luminous fibers hanging down
from their waist....
I am a "stalker". My teachers were a woman named
Clara and a man called Emilito, in order to start my apprenticeship i
had first to stop the "voladores" (flyers) from eating my Awareness.
Don Juan used to say, that as we, humans, keep the chickens in
"gallineros" (henhouses), the voladores keep the humans in "humaneros"
to do the same thing, that we do to chickens.... according to the old
Nahual (DJ), when we are born, our luminous ball shines brightly with
the light of Awareness, but as we grow old and enter the social world,
creatures, who share our world, are called by the "Seers" the
"voladores". They feed of our Awarness, until they only leave the shine
in our luminous egg to the height of our heels (so, they eat us down to
our heels), DJ said that this awarness is enough for living in the
social world because it is the Awarness of self-reflection. The problem
for the Man of Knowledge is to find a way to stop the "voladores" from
eating whatever new Awarness grows on top of the heels (yes, it does
grow back). This Awareness is so easy to eat by the voladores, because
of self-pity and a "poor-baby" attitude towards life and ourselves, so
one way to stop the "voladores" is thrugh disciplined acts like
Recapitulation and Tensegrity. By doing these disciplined acts we
generate a kind of Awareness, that is not the kind of what the
voladores like, so now you can begin to grow your Awareness higher than
your heels without worry, that the "voladores" will "eat" it, as long,
as you behave impeccably as a warrior. Carlos is always on the look for
people, that have developed their
Awareness over the heels, and one day somebody told him, that there was
a "guruess" (a woman guru), that lived in LA, she was very popular and
had "lots" energy. She was having success recruiting many people for
meditation. Carlos took the three of us (Carol, Florinda and I) to see
this woman, and when we "saw" her we noticed, that her Awareness was
just like everybody else's. The brightness was only up to her heels,
the only different thing, that we "saw" was that this woman had a
larger, than normal, assemblage point (Perception Point) and this
resulted on a big big EGO, that made her into an egomaniac, so that she
could belive and also make others believe, that she had powers of
"enlighting" people." Then with the help of Kylie, Taisha showed a
picture of a "volador"
taken at the Teotihuacan piramids during the equinox ceremony last year
by a friend of theirs. It looked like a flying humanlike
shadow
on top of the crowd). This is a particular good place for "voladores"
to feed, because it is filled with "self-importance". Everybody there
is feeling, that "his/her energy" is been used to who knows what (like
"saving the world" purpose). Or maybe they feel so important, because
they are the receptacles of the "cosmic energy", that is sent by the
gods through the heavens to the "choosen ones", that are there for the
taking. Also other good places to find "voladores" are funeral homes,
where people gather to indulge in self-pityness and "poor-baby"
attitude. It is not their fault, it is just the way it is. That's why
when we come across a situation like this, we must be "aware" (through
the continuos practice of Recapitulation) of what is going on, and not
fall prey to our own "self-importance" or "self-pity", which will make
us vulnerable to the "voladores". That's why we do not need rituals,
"cleansings", "protections", "amulets", "talismans", etc. The best
possible protection and offering to the spirit, that you can get rid of
your "self-importance" and to follow and impecable path "a path with a
heart". I lived on top of trees at the sorcerers' house for two years
as part
of my training as a stalker. The stalker is a master on the fixation of
the assemblage point into a different position. When you sleep the AP
moves naturally, unless you start "Dreaming", for which you need to
store some energy through the techniques we've already mentioned, you
will not be aware of this movement. Now after you are aware, that your
AP has moved in order to get advantage of its new position, you need to
fix it there, and that's Stalking. When i lived up in the trees, one of
the most unusual things that moved my AP to a new position was the
fact, that i lost the reference point of the "horizon". All i could
perceive was the folliage and the sky, the ground was
always "down". Whereas we normally move when we are stuck to the ground
in a four directions system, living in the top of the trees you enter a
six directions moving system, because i was not allowed to touch the
ground. This made my AP to move and to be fixed in a new position. The
AP, as the "Seers" see it, has a brilliant side, which in men is
oriented towards the inside of the "luminous ball" and in women this
bright side of the AP is pointing outward. Due to my living in the top
of the trees my AP started to twist inward
to man's orientation, when DJ "saw" that, he made me do another
stalking in order to correct this. He sent me to live to a mexican
town, where Nelida lived as a wealthy high society woman, very well
known in this town. I was to became her niece, who came to live with
her to find a husband. So they taught me everything about being
"feminine", the art of make-up, cooking, good manners, knitting,
dancing, to play the piano and even i had french lessons. We used to go
to all of the high-society parties and i was displayed as
a well educated girl in search of the right man, until one day after
six months of arriving to this town, i met an excommunicated priest,
who was having deep emotional troubles. All I had to think was to hung
him from a tree to try to help him. This was a big scandal in town, so
DJ "saw", that it was time to change the strategy and he told me, that
since i still wanted to have "everybodies attention" he was going
arrange Stalking for me, that will either cure me or will kill me, so
he set me up to be a beggar. They started by changing my nice white
dress for a "rag", then they put all kind of sticky things in my hair.
I remember, that Emilito came with the idea of putting chewing gum in
my hair, while Nelida put grease on my skin, so i will look darker and
dirty. After they had "dress me" to be a beggar, DJ called a woman
called "Alfonsina", who was a beggar in town, he told her, that i was
crazy and that they could not have me any more with them, so DJ gave
this woman some money and told her to take care of me. I left with this
woman and i remember she told me "you don't seem to talk much
eh...that's good i think, that we will get along fine..." so we arrived
at her home and i was terrified. It was the worst dirtiest and
smelliest place i ever saw. She lived in a 6 by 6 room made of
cardboard and tin, on the dirt floor there were two straw mats,
crawling with insects. It was so horrible, that i was compelled to
leave. I ran to the house, but when i got there the servants told me,
that everybody had gone to a long trip, but that it might be possible
to still find them in downtown. I immediatelly ran to downtown and to
my relief i saw Nelida's car stopped in a corner waiting for the red
light to change, i got to the car and saw DJ, who was driving and
begged him to let me off this crazy stunt, i told him, that i did not
want to be a beggar and that all this was going too far, that
Alfonsina's house was a "shit-hole" and that i did not want to spend a
night there. DJ looked at me with fixed eyes and told me, that it was
the design of the Spirit for me to do that, so that i either succeded
or i will not see any of them again. He reached into his pocket and
threw me a coin and said: "Go and find what you have to find. You will
see, that people will give you their money, but they will despise you
for what you are. There's always the other side of the coin: if you
find somebody that really cares for you, then you will have succeded in
your task, and you will learn not to be seeking attention for yourself
anymore".
The light changed and they left, i stood there at the main plaza
thinking, that i had no option, but to go back to Alfonsina and play
the roll of a beggar impeccably without any expectation or concern
about when it is going to end or what is going to happen. I was
prepared to be a beggar for the rest of my life, if that's what the
Spirit wanted for me. I arrived to Alfonsina's house, she was kneeling
down in front of the
wood stove and was preparing some corn "tortillas" to eat. Without
saying a word she handed me a "tortilla" and i sat down quietly and
started to eat. Since we were in a small town i needed to have a
history behind me, so this is what Alfonsina told the people. I was her
crazy daughter, that used to live in the big city with her father, but
now the father died and they sent her to me. So i started calling
Alfonsina "mama" and everyday i came back to the house i will say
"hello mama this is what i collected today" and i gave Alfonsina
everyday whatever i got from the day of begging. Life was hard as a
beggar, i had to fight other beggars for a good corner to beg.
Alfonsina told me, that the best places to beg were outside restaurants
or sport clubs (gyms). She said, that when people had a good meal or
well exercise, they will give to the poor. Also she said, that churches
were not good places, because people already gave to church and that
they would prefer to give to the church, than to the beggars. Alfonsina
also taught me to carry always a small pack of wood to use it as a
shield when i was attacked by other beggars, because i was invading
their territory, this little pack of wood happened to be very useful
for this purpose. I always liked to go to church, not to beg, but to
see a very beautiful woman, that came everyday, she had something, that
draw my attention to her. As i became more in depth with my beggar
role, i started to hear "people's thoughts" and i could hear things
happening a block from where i was. One day i was begging outside
church and this beautiful lady came out and spoke to me, she wanted to
take me to her home to wash me and to give me clean clothes, but i
refused for sometime, until one day i remembered what DJ told me about
"genuine concern" and i accepted to go to her house. The lady
immediatelly put me into the shower and got rid of the rags i was
wearing. As water started to fall on my body and the dirt dissapeared
from my skin, the lady was horrified, that i was a "white girl".
She screamed "What have they have done to you?" I was speechless, the
lady then gave me a "cardigan" dress and a big sum of money and told me
to go back to wherever a came from, but to get off the streets. I went
back to Alfonsina and handed her the money. I told her as always "mama,
mama look what i collected today". When she looked at me, she fainted,
when she got back, she said "you've been touched by an angel". She
became ill and i took her to Nelida's house. There i found DJ, Nelida
and all the others. Nelida took Alfonsina to her bedroom to give her
attention. I stayed at the living room with DJ, i was anxious about
what was going to happen to Alfonsina, because at that time i knew,
that i loved her unconditionally, up to this time i did not know what
love was. I tried to relay this to DJ, but it seemed, that he already
knew my feelings and he told me, that i had succeded in my task and
that i don't need to go with Alfonsina anymore, that Alfonsina had a
daughter, that loved her truly, but to Alfonsina this daughter had died
today. At this time i knew, that in the sorcerers' world things come
and
things go and one has to flow without attachments.
Guillermo.
Tensegrity
Seminars - Omega Institute - October 1997
These
note were taken after Zaia Alexander lecture at the Omega workshop on
10/11/97. Zaia Alexander gave a short explanation of the male/female
configuration known as "Awareness through harmony". She stated that it
was not possible for Carlos Castaneda and Carol Tiggs to have a
harmonious relationship, as she and Miles Reid share, because Carol
Tiggs would dominate Carlos Castaneda. Zaia explained, that she and
Miles were very similar energetically and they had found the line, that
connected them. She stated, that she had been going through a most
trying time in her life when she found Miles. She also elaborated on
the fact, that human beings can find their counter parts and can
discover great strength when finding that being. In Ancient times
females dominated the males and were very powerful, but because they
have lost their sobriety, they fell from power and the males kicked
them out physically. Since that time the value of the male/female
relationship has never been explored. Zaia said, that there are
currently two pairs of practitioners, who are in a position to take
advantage of the "Awareness through harmony", yet whenever they are
near each other they despise each other. This delights Carlos Castaneda
to no end for he takes advantage of this and keeps them together for
long periods of time. Zaia stated, that those practitioners are so
alike, that they even beads of sweat form on their faces in the same
place. The shamans code is a series of 18 not-doing magical passes.
Instead of naming those passes, the Shamans of olden times would give
them numbers and would scramble the order to give themselves great
awareness. Zaia made a comment at this point about self-proclaimed
teachers
teaching Tensegrity. She gave an example of a man, who she had heard
had been to two practice groups and was now teaching Tensegrity, and of
a woman in Mexico, who was teaching a magical pass, that Zaia tried to
replicate for the audience. It involved sticking your finger in your
mouth and then pulling it out making a POPING noise. Zaia's attempt was
unsuccessful yet utterly funny. These self-proclaimed teachers where
trying to be teachers. Zaia explained the difference between a Teacher
and Practitioner. A teacher is someone, who teaches something they
learned ages ago, but a Practitioner is someone, who shows what they
have learned and they themselves practice and live by. These so called
teacher, who were trying to be recognized as the 'best.' "Noone is the
best" she stated with authority. "Infinity is the best!!" She said,
that the Shamans' Code could not be done outside this workshop. That it
would be futile to replicate what we were going to do. Those magical
passes were going to be peformed "for our awareness only, one could be
selfish in such situations, but it was a different kind of selfishness."
Tensegrity
Seminars, Mexico City - January 1996
Mexico City Workshop -
1/27-29/96
(A brief impression, by someone who actually attended)
Six to seven hundred people gathered Friday night in a large ballroom
at the Centro Asturiano (next to the Hotel Nikko) in Chapultapec Park
to hear the Nagual's first lecture.
It was scheduled to run from 8 to 10 PM, but most of the crowd was
already in their seats by 6:45 PM, and the lecture and questions ran
considerably over, until about 10:40 PM.
Castaneda covered a lot of the same ground, that those of us who have
been to prior workshops have heard before, and he appeared to be just
as funny and commanding in Spanish as he is in English. The crowd,
however, was different in attitude from a typical U.S. workshop. During
the question period, a few people shouted their questions at Castaneda,
sometimes before he finished answering a prior question. And the same
kinds of questions seemed to be asked repeatedly with only slight
variations in wording (e.g., "Why should I do Tensegrity?" and "How
should I do Tensegrity?"). Sample answer: "The only way to do
Tensegrity is to _do_ it." Other sample questions: "Is don Juan now a
UFO?" "Are the Witches like UFOs?"
It was fascinating to watch how Castaneda handled an aggressive,
sometimes edgy crowd without once losing his cool or raising his voice.
He managed to dispense with even the most obnoxiously phrased question
with light, yet pointed, humor. A drawback for the non-Spanish-speaking
participants, of whom there were apparently more than the organizers
anticipated, was that there was an insufficient number of official
translators, and that the few translators who were available were not
native English speakers. Fortunately a number of us had varying degrees
of proficiency in Spanish and were able to correct the translators'
errors. And the translations seemed to get better as the weekend wore
on.
Saturday morning at 9 AM, Castaneda spoke again briefly to a smaller
crowd, approximately 400. He prepared us for the movements and
suggested that we suspend judgment and try them. As he left the stage,
he spotted many of us from the States, who have attended the workshops
in Los Angeles, and greeted us warmly. There was some surprise in the
room, and, I sensed, delight, when the five women, the Energy Trackers
-- who took to the three raised stages to trade off demonstrating the
movements -- included Nyei and Reni Murez and Kylie Lundahl. Joining
them were two young women, one of whom was called Erin (who apparently
hails from Argentina), and the other, whose name I didn't catch, who is
Italian. They taught us eight passes that morning, which were intended
to strengthen the legs -- "our base." We did multiple repetitions of
all the passes, and were told that we could do as many reps as we
wanted in our own practice, as long as we stopped after 20 or so at a
time to do a finishing movement (like the one used throughout the first
video) to settle the energy back through the whole body. Each of these
passes was a fairly simple movement, and no names were given for any of
the passes. Contrary to a prior report from a non-eyewitness, the
Trackers patiently took lots of questions from the crowd on how to do
each pass. Also contrary to that "report," neither Nyei nor Reni ever
struck me as having any difficulty keeping up with the other Trackers.
In my view, all five seemed well prepared and hugely energetic,
although the new Italian Tracker seemed a bit nervous initially and was
presumably less accustomed than the others to instructing huge crowds.
At some point that morning, Philip, who prior workshop participants
will remember as a translator for the Spanish speakers, joined Kylie on
the center stage to help translate instructions (which Kylie, Nyei and
Reni gave in English, and Erin gave in Spanish), and to help
demonstrate the movements. (By Saturday afternoon a number of women
around me were commenting on how well Philip performed the passes and
that it was "nice to have a guy up there" for a change.)
After the lunch break, Castaneda again came to speak and to respond,
apparently, to a report he'd had of the angry departure of an Italian
participant during the morning session. He reminded us that it's not
the warrior's way to get angry and that it is only a manifestation of
self-importance to become angry and leave in a huff. Tensegrity
instruction then continued, and we reviewed the morning's passes and
then learned four additional passes, that involved a few more steps
than the morning's simple movements. The Saturday night lecture was
moved to 8:30 PM. Castaneda started taking questions early on, and
seemed to captivate the audience with his stories, jokes. Since
Castaneda mentioned at one point that the Valley of Mexico (in which
Mexico City is situated) is the "epicenter," a few questioners asked
what made this area special. As I understood it, the Nagual explained
that since the "energy ceiling" [related to the altitude?] of the area
was so high, unusual perceptions and events often happened on their
own. He also reported that his vision clears up there, whereas after
two days back in Los Angeles it's bad again. As he has previously
explained, his vision problem is the result of the injury he suffered
in one eye as a result of spinning to perceive in the 360-degree-world
that he has described in prior workshops. (Interestingly, he also
indicated that he never experiences the 360 degree world in his
dreaming when he is in Mexico City.) The Nagual also answered a lot of
questions about the Flyers, and acted out a wonderful story of an
encounter he had in Mexico City with a witch of another lineage shortly
after La Gorda's death that suddenly brought him clarity as to what had
happened and where to go from there.
[Back at my hotel room Saturday night, after an intense day of
Tensegrity instruction, and then running through the day's passes on my
own before going to bed, I experienced a high degree of the visual
distortions that I sometimes get after a long set of Tensegrity here.
This experience gave me some feel for what the Nagual had said about
the Valley of Mexico being a place where anything could happen.]
Castaneda cited this as an example of how our Flyer-installed minds
make us lumbering and heavy, weighing us down with "mental
masturbation." He said that a Chinese word for this was "manfifa," and
he then used that word several times as a more gentle way to point out
this activity...the Energy Trackers were indicating that they would try
to spend the In the few minutes remaining, instead of taking questions,
Kylie led a fast and vigorous run through of several of the passes we
had learned. I stayed in Mexico for an additional few days, traveling
to Tula and visiting several sites in Mexico City that I'd read about
in Castaneda's books. I continued to have a number of experiences that
reminded me of the Nagual's comments about the effect of the energy
ceiling in that area. All in all, it was the most vivid and unusual
short vacation I've ever had. Genrich
P.S.: The Spanish word for Tensegrity, that appears on my Mexico City
T-shirt is "Tensigridad."
Tensegrity
Seminars - Pomona 'Not-Doings' Workshop , February 7th & 8th,
1998
"I am
Florinda
Donner-Grau," Florinda said as the applause died down. She welcomed us
to the 33rd Tensegrity seminar and workshop, the first of which was
held in 1994. Before that they had met with people in informal groups
but hadn't gotten anywhere, so they decided to teach in a more formal,
regimented fashion. She went on to give a short history of how the
teaching of Tensegrity had come about. It all started when Carol came
back and changed everything. Her return was an unprecedented occurrence
in the lineage of the sorcerers up to that point. She had apparently
left with don Juan's party ten years before, thus fulfilling her role
as the Nagual woman of Castaneda's party. Carol's sudden reappearance
was quite a shock and threw open doors energetically for all of them as
far as what was possible. It also confirmed once and for all that the
four of them -- Florinda, Taisha, Carlos and Carol -- were in fact the
end of don Juan's lineage. Carol's return is what gave them the energy
and motivation to publicly open up and reveal the secrets of the
sorcerers' world, which they had been so meticulously taught by don
Juan and his party of warriors. Carol's return meant there was no
longer reason to keep their knowledge of the magical passes veiled in
secrecy. The challenge for them had been to take the four separate
individualized lines of passes they had been taught and render them
usable to anyone, while removing a certain morbid aspect that lingered
from the mood of the sorcerers of ancient Mexico, who had originally
discovered the passes in their dreaming practices. This is where the
Energy Trackers and Elements came in. Their work over several years is
what enabled a transformation of the passes into what we now know as
Tensegrity, and allows them to be taught to anyone who is interested.
There's currently a new configuration of two instructors, that will be
teaching the not- doing passes, in addition to Miles and Zaia. Their
names are Nuri Alexander and Haley Alexander Van Austin. These two are
the same, not because they look alike but because their energy is
exactly the same. The team of Miles and Zaia are referred to as
'Awareness through Harmony'. The team of Nuri and Haley are referred to
as 'Awareness through Sameness'. We believe the ancient sorcerers knew
of such an occurrence, but don't think that don Juan or the 27
generations of sorcerers before him ever saw it," Florinda said
concerning Nuri and Haley. "The effect of these two is so powerful,
that we guarantee that everyone will feel the effects of the not-doing
passes, because of them. If not today, then after you leave the
workshop." Even Carlos feels the impact of Nuri and Haley leading the
not-doing passes. When he is with them they apparently have a dramatic
effect on his awareness. He says they take him and smash his head into
the ceiling again and again, until it goes into the attic and he
reaches a new level of Awareness. He has gone into fits of rage over
their effect on him. because he's too old to be affected by these young
people! Florinda thinks what Carlos is really mad about is change,
though. None of us really like to change. She went on to say, that they
had thought the not-doing passes taught in August were the final
versions, but, as happened to don Juan and Julian before him, the more
they focused on remembering the not-doing passes in order to teach
them, the more complete versions of the forms slowly emerged. In the
past, the not-doing passes were taught to disciples in order for them
to reach a new level of awareness. After this enhanced level of
Awareness was achieved, the not-doing passes were immediately
forgotten, until the need arose for them to be recalled and taught to
others in turn by the next generation. Florinda commented, that The
Series of the Five Concerns, which we were about to learn, nicknamed
the Westwood Series for where it was originally taught, was a very
important series, one which was extremely complementary to the practice
of the not-doing passes. It stirred up energy in all directions. The
sorcerers of ancient Mexico, and those, who came after, all considered
the unique saturation engendered by the Westwood Series to be vital in
performing the passes for not-doing. After Florinda concluded her short
lecture, which she read primarily from notes (much to all the
translators' relief: they only had to ask her to slow down once, she
departed through the side entrance to enthusiastic applause. The almost
one thousand attendees then spread out across the huge room after a
short break and took their places around the three platforms. Three
Elements -- Brandon, Jules and Gavin -- walked out and took their
places. Brandon, on the center platform with the live mic, then led in
the instruction of the individual Westwood Series passes as portrayed
in the book, Magical Passes. After lunch and a few words from Lorenzo,
some of which were about the availability of a Vivaldi CD at the
bookstore tables in back that participants would really appreciate
after this evening, Taisha came out to speak. She introduced herself by
saying, "I am Taisha Abelar." She went on to explain that for the last
six months, since the August workshop, she's been Ann Marie Carter, one
of three stalking personalities. The other two are Anna Maria Cordova
and Sheila Walters. Taisha wanted to give us an example of the all
inclusive world, that is created when a stalker enters into another
persona. She told a story of what had happened to her recently.
Anne Marie promised a friend of hers, that she would put up some
kitchen cabinets. She got involved in the measuring, figuring of angles
(few of which were 90 degrees), figuring the height of the cabinets,
collecting and computing a long list of numbers. She then went to a
giant cabinet wholesaler and worked through the dizzying array of
cabinets they had available. After all this was done, Ann Marie wanted
to treat herself to lunch. Taisha at this point explained that Ann
Marie treats herself very, very well. She used to go out and Carlos
would wonder what Ann Marie was treating herself to now. "If he only
knew!" Taisha exclaimed. Ann Marie went to a very nice restaurant down
by the ocean, and was
seated at a table. The hurried waitress ran over, gave Ann Marie a menu
and said, "It doesn't matter how bad my day is, a sorcerer walks in and
I'm walking on a cloud." The waitress was gone in a flash to wait on
another table. Ann Marie thought to herself, 'What? Who is she talking
about?' She looks around and sees a man behind her and wonders if that
is the sorcerer the waitress is talking about, but decides, 'No, he
doesn't have the lean look of a sorcerer.' As Taisha related this part
of the story she gestured around her lower midsection to indicate a
paunch or a big ass. When the waitress comes by again, Ann Marie says,
"Excuse me, what was it you said to me before?" The waitress again
says, "It doesn't matter how bad my day is, a sorcerer walks in and I'm
walking on a cloud."
All of a sudden, as if through a haze, Ann Marie remembers something.
She remembers Taisha Abelar as if Taisha is a dream. Ann Marie asks the
waitress if she has ever been to a seminar (not mentioning what type of
seminar she is talking about). The waitress says, "Oh yes, I've been to
two of them." The waitress then starts asking Ann Marie questions about
recapitulation, but Ann Marie is clueless to help her. She knows that
Taisha knows all about it and is desperately trying to bring Taisha
back but because she is so deeply 'in' Ann Marie, she can hardly
remember anything, and ends up being of little help to the waitress.
She doesn't want to disappoint the waitress and tries to be Taisha. She
skips desert because Taisha never eats sugar, and even ends up picking
at some lettuce and a hamburger patty when what she really wanted, and
the whole reason she had gone to that restaurant, was the hazelnut
torte. Taisha went on to explain that what we need to move the
assemblage point from one persona to the other is DETACHMENT, FLUIDITY, ENERGY
She said the reason they all called don Juan the old Nagual is that he
had four separate personas, one of which was unique to each disciple.
Taisha believed that he could live an entire lifetime in one of those
personas, but he was fluid and switched between them as he saw fit. For
Taisha he was John Michael Abelar, for Carol he was Melchior
Yowkeeskay, for Carlos he was Juan Matus, and for Florinda he was
Mariano Aureliano. Taisha went on to talk about our names, how we learn
to identify with them, how they pin us down. She pointed out that many
of us are named after someone else, and with that name often come
expectations to be like the person we're named after. She said that we
are stuck in the persona we create for ourselves, that we are attached
to our names and family history. We will go to great lengths to explore
our family tree and talk proudly of great uncle Omar, the pioneer.
Taisha told us that there is a company, that will for a fee guarantee
finding royalty in your family tree.
'Doña Perfecta' by Benito Perez Galdos is a novel Taisha
went on to
talk about. It's been translated into English, but the Spanish version
is better. Cleargreen wanted to get it to offer at the bookstore but
it's out of print. They're looking at re-publishing it so they can have
it available in the future. It's the story of a 'perfect woman'. A
woman who, in her own eyes, can do nothing wrong. Everyone around her
makes mistakes and it is doña Perfecta's self-appointed
responsibility
to 'help' these people, trying to get them to behave in her 'perfect'
way. Taisha says she keeps a copy of the book by her bedside and reads
it every night (sparingly, of course, because it's painful to see
oneself). Taisha also read from notes during her short lecture, but not
quite as
much as Florinda had (which Florinda mainly did for the benefit of the
translators). Her notes were more of an outline, which she glanced at
from time to time while pacing around behind the podium telling
stories. Florinda had started things out on a somewhat concrete level,
then Taisha launched off from her foundation into the abstract. Taisha
concluded her short lecture and left through the side entrance. After
her talk, the three Elements completed showing the individual Westwood
passes, then led us in the long form version, which had been changed
slightly since it was last shown at Omega in October and LA in August.
After repeating the long form several times we took a break, after
which a serious spreading out of the participants began. It was
dim-the-lights, roll-out-the-mats, time! The six huge video projection
screens came alive, and shortly thereafter Nuri and Haley walked out to
the center platform. When everyone was settled in, like a bunch of
extras on some strange movie set, the lights in the arched ceiling
dimmed and light shown on the center platform revealing on-screen the
image of Nuri and Haley laying down wearing dark sunglasses. Nuri gave
a short talk. She spoke eloquently and passionately, in a calm sort of
way, about what had become the Elements and Energy Tracker's primary
motivation -- the enhancement of awareness. Everything else in their
daily lives was secondary to this single-minded pursuit. It was their
purpose.
"This is how we live. We don't
do one thing
and say another. This is our life." She then led instruction of The
Legs Rule Vitality.
The next not-doing series to be taught, Unbending Purpose, was led by
Haley. Before doing so she spoke briefly about vitality and awareness
and how enhanced awareness heralds true behavioral change. She also
spoke of the explosive, eruptive nature of the revised versions of the
passes, saying they were more appropriate to our time.
As participants
filed out for the dinner break, there was little doubt that this was
going to be an 'intensive' seminar/workshop. People walked off in
different directions looking for food; some to the van pulled up on the
right side of the building, some to the Sheraton for its restaurant, or
Cleargreen sponsored buffet set up in nearby rooms, others drove off to
points unknown as the sun slowly set on a graying southern California
sky. During the dinner break it began to rain. The Los Angeles area was
catching the southern part of yet another El Niño inspired
storm.
Workshop attendees walked and trotted back into Building 5 with
umbrellas, coats and other things over their heads, or in some cases,
nothing at all. The sound of rain on the roof from inside the large
hall was soothing. As participants settled down on their mats, mostly
thin blue ones, Nuri and Haley came out and got situated on the center
platform, which was being projected onto the six video screens. After a
few minutes, the lights were dimmed. On the handout attendees had been
given, there were three series of
not-doing passes listed. Nuri and Haley had been teaching them in
reverse order from the list, so the first one on the list was now being
taught -- The Running Man. Nuri made a few comments about the series
before beginning. She said The Running Man series was sufficient in and
of itself, that of the different not-doing series it was the most
important and could be practiced by itself. She said the shamans of
ancient Mexico had discovered that what they considered 'filler'
passes, ones that they were done in between the others, like the 'back'
pass where one pulled one's feet back and held them tense to a count of
20, were actually the most powerful. The ancient sorcerers had hence
collected them together in The Running Man series. Nuri said that
performing The Running Man series delivered a weird, mysterious punch.
She went on to make a few comments about coveting awareness and
vitality, then she and Haley, wearing sunglasses as before, lay down
and began instruction. Very few words were used and very few questions
were asked, perhaps two or three. The mood was amazingly quiet for as
many people as there were, all laying down moving their legs and feet
to the sound of rain in the dimly lit hall. Looking up into the
three-story high bowed ceiling, there was a certain tensegrity-like
feel to its construction. After going through The Running Man
series a few times, Nuri sat up and explained that in ancient times The
Running Man would sometimes be performed to sounds, whether sounds of
nature, such as wind or rain, or the sound of music. The speed and
rhythm at which the passes were executed would be determined by the
sound. The execution of the passes would then become non-volitional,
she said, and dictated by the sounds of nature or whatever music was
being played. Nuri went on to say that we were now going to do The
Running Man series one last time to the music of Vivaldi's Four
Seasons*. She made comments about the feet not often having a chance to
experience joy and freedom, and that they would be ending The Running
Man series on the next to the last piece so that we could listen to the
end in silence and let our feet exult! She also sang a bit of verse
from the song, 'Tomorrow'. Some participants later commented that they
weren't into classical music, or that it was too loud, but the sound
quality in that cavernous space was superb. The music mixing with the
steady down-pour of rain pounding on the roof was mesmerizing. A
certain non- volitional movement indeed seemed to take over, and during
the motionlessness of the last movement almost a thousand pairs of feet
exulted in the beauty of it all. Sometime during the evening, a
thousand-year-old oak tree in Encino fell over in the pouring rain. The
next day dawned mostly clear and fair. A podium was set up on the
center platform when attendees arrived, so they settled in on the floor
in front and to the side of it. Lorenzo came out and made a few brief
announcements, then left abruptly. One participant was heard asking,
"What the hell did he say?" Shortly thereafter, Carol walked in to an
enthusiastic standing ovation. She introduced herself then said, "You
brought the roof down last night!" She explained that she was standing
against the wall in back by the entrance watching us practice The
Running Man series when suddenly a chunk of the ceiling fell on one of
the participants. He jumped up and started brushing himself off.
Someone next to him turned and said, "Wow, what kind of omen was THAT?"
Carol quickly and mischievously said to the audience, "I'm not going to
go into that." Carol commented that it was weird to see people she
loved up on the screens looking so strange and foreign, as if they were
floating in the air with their dark sunglasses. (The not- doing pass
instructors wore dark sunglasses because of the strong spotlights that
were on them.) She went on to talk about Miles and Zaia, and the
energetic configuration that they shared, which made it possible for
them to present the 'On the Run' series as a harmonious team. She
called them Mila and Zaio and said that it was rare that a man and a
woman could work together with no underlying need for one to assert
themselves over the other. To illustrate her point she performed a
quick skit, where she played both the man and the woman talking to one
another. She said that as soon as a man and woman are put in a room
together, something like the following takes place.
Woman: "Does he like me?"
Man: "I wonder if she notices me? Hey baby, you going with anyone?"
Woman: "No . . ."
Man: "Oh yeah? Really?"
Woman: "Yes, I've been saving myself for you."
On and on. Such deep-seated roles leave little room for getting away
from a social competitiveness, that always seems to lurk just below the
surface. What Miles and Zaia represent are a team, that has done just
that. They don't try to out-do each other or take control, that's why
they're referred to as 'Awareness through Harmony'. Carol said, as
Florinda had regarding Nuri and Haley, that what Miles and Zaia were
going to teach us later, the On the Run series of not-doing passes,
would have a long lasting and powerful effect -- if not now, later.
Carol went on to say that it was amazing to see the participants learn
the passes so quickly. Talk about mass!
"The four of us could never remember what don Juan showed us," she
said. "He said that we were incapable of not only remembering, but also
of even thinking. The old Nagual would show us a long pass and then
say, 'Okay, now you do it.' We four would hem and haw and one of us,
who was very articulate, I'm not going to mention names, but HE would
try to save us by buying time asking questions about the pass. He would
say, 'Don Juan, when you did that last movement, were you using your
forearm or your wrist?' Don Juan would look at him and say, 'I was
using my arm, my wrist and my dick. Now do it!'" Carol said that all
she used to remember were don Juan's insults. Don Juan's contention
was, that they couldn't remember anything. They couldn't conceive a
complete thought or hold anything in their minds. Not only couldn't
they remember the passes, they couldn't concentrate long enough to
think. This state of scattered attention is due to a lack of energy,
which is what the magical passes help restore. At one point Carol said,
"You people must be sore."
She said it was okay to smile at your muscles. After that you could
even smile at your liver, your adrenals, etc. [Here are some
interesting comments, after-the-event:
"It's called the Inner Smile
meditation. Begin
by getting a smiling feeling around the eyes, then the mouth, then let
it spread down through the body -- first down the front line, through
the thyroid, thymus, heart, lungs, liver, kidneys/adrenals,
spleen/pancreas, bladder and genitals (there are a couple of alternate
sequences, that could be done -- slightly different order of organs).
Then the middle line through the entire alimentary tract, then down the
back line through the brain and spine. The purpose is to cultivate the
positive virtues associated with those organs according to five-element
theory. Also, it's to cultivate health in all the organs by sending
them positive thoughts, i.e. to focus one's intent on health and
feeling good rather than on sickness, as a way of changing unconscious
negative internal dialogue. Also consider -- 'The qi follows the yi'
(classical saying) -- the energy goes wherever you focus your attention
and intent, so you can bring healing energy to any of your organs."
Carol said they live minute-to-minute and see each day with awe and
wonder; each moment is precious. "Even if it is a bad day," she said,
"it is a splendid day, and we love it."
Carol said they always thank those, who are important to them. "Because
each day is so precious," she said, "we thank those around us, who we
may never see again. Thank you. Sorcerers also say good bye. Another
corny saying - Aufwiedersehn." With this sentiment, Carol concluded her
short lecture and walked out the side entrance. When the applause died
down and attendees had spread out once again,
the three Elements returned and reviewed the Westwood series passes.
Following that, Nuri and Haley came out and reviewed The Legs Rule
Vitality and Unbending Purpose till the lunch break. After lunch, the
remaining part of the afternoon which concluded the workshop, consisted
of Miles and Zaia teaching the 18 unnamed On the Run series, or Run of
the Running Man passes. These passes would later be broken up into
groups of three, each of which would be book-ended by a set of 'opening
and closing' passes. The twelve 'opening and closing' passes were
taught at once, as were the 18. In the end, the 18 were performed not
in the order they were taught, but in the order of the Sorcerers' Code
with the 'opening and closing' passes bracketing them into groups of
three. This series of 30 passes was then performed four times through,
vocal cues alternating in each round between Miles and Zaia, till 4pm
or so rolled around..
________________________
72
Since it is more difficult for them to See energy directly, when they
do accomplish this feat, they
don't take it for granted. Therefore male sorcerers were the ones, who
set up the parameters of
perceiving energy directly and the ones, who tried to describe the
phenomenon.
"The basic
premise of sorcery," don Juan said to me one day, "discovered by the
shamans of my lineage, who
lived in Mexico in ancient times is, that we are Perceivers. The
totality of the human body is an
instrument of Perception. However, the predominance of the visual in us
gives to Perception the
overall mood of the eyes. This mood, according to the old
Sorcerers, is merely the heritage of a
purely predatorial state.
The effort of the old Sorcerers,
which has lasted to our days, was geared toward placing themselves
beyond the Realm of the Predator's Eye. They conceived the Predator's
Eye to be visual par excellence, and
that the Realm beyond the Predator's Eye is the Realm of Pure
Perception, which is not visually
oriented."
On another occasion, he said,
that it was a bone of contention for the
sorcerers of ancient Mexico, that Women, who have the organic frame,
the Womb, that could
facilitate their entrance into the Realm of Pure Perception, have no
interest in using it. Those
shamans viewed it as a Woman's Paradox to have Endless Power at her
disposal and no interest
whatsoever in gaining access to it. However, don Juan had no doubt,
that this lack of desire to do
anything wasn't natural; it was learned (mind manipulated, LM).
The aim of the Magical Passes for the Womb
is to give the Female
practitioners of Tensegrity an inkling (hint), which has
to be more, than an intellectual titillation, of the possibility of
canceling out the effect of
this noxious socialization, that
renders Women indifferent.
Nevertheless, a warning is in order; don Juan Matus advised his Female
disciples to proceed with
great caution when practicing these Magical Passes. The
Magical Passes for the Womb are Passes, that foster (promote) the
Awakening of the secondary functions of the uterus and ovaries, and
those
secondary functions are the apprehension (understanding) of sensory
data and the interpretation of them.
Don Juan called the Womb the
Perceiving Box. He was as
convinced, as the other Sorcerers of his lineage, that the uterus
and ovaries, if they are pulled out of the reproductive cycle, can
become tools of Perception, and
become indeed the Epicenter of Evolution. He
considered, that the first step of
Evolution is the acceptance of the premise, that human beings are
Perceivers. It was not redundancy
on his part to insist ceaselessly, that this has to be done before
anything else.
72
Так как это труднее для них ВИДЕТЬ энергию напрямую, когда они
достигают такого большого искусства, они не берут это как - само
собой
разумеющееся. Поэтому мужчины-Колдуны были теми, кто установил
параметры восприятии энергии напрямую, и те, кто старался описать
феномен.
"Основная предпосылка Колдовства," сказал мне как-то Дон Хуан,
"обнаруженная шаманами моей Линии, кто жил в Мексике в древние времена,
что мы - ВОСПРИНИМАТЕЛИ. Тотальность человеческого тела -
инструмент Восприятия. Однако, доминирование визуального в нас придаёт
восприятию общее настроение глаз. Это настроение, согласно Древним
Ясновидящим, просто наследство чисто характера хищника. Усилия Древних Ясновидящих, которые продолжались
до наших дней, были направлены к тому, чтобы самим попасть за пределы
мира Глаз Хищника. Они понимали Глаз Хищника, как
визуальное наравне с превосходством, и что мир за пределами мира Глаз
Хищника - это
мир чистого восприятия, который не визуальной ориентации."
В другой раз он сказал, что это было настоящим удовольствием Колдунов
Древней Мексики, что женщины, у кого была органическая структура -
МАТКА, которая могла облегчить их вход в мир чистого восприятия, не
были заинтересованы использовать её. Те Колдуны рассматривали это как -
противоречивое положение женщин : иметь бесконечное могущество в
своих руках и никакого интереса в приобретении входа туда. Однако, Дон
Хуан не сомневался, что это отсуствие желания что-то делать, не было
натуральным; это было заучено. Цель Магических Пассов для Матки - дать
женщинам-практикантам Тенсегрити намёк, который должен быть больше ,
чем интеллектуальное возбуждение возможности анулирования эффекта
этого общения, которое делает женщин такими безразличными. И тем
не менее готово предупреждение; Дон Хуан Матус советовал своим
женщинам-ученицам продолжать с особой осторожностью, когда практикуешь
эти Магические Пассы. Магические Пассы для Матки - это Пассы, которые
способствуют Пробуждению Второй Функции Матки и яичников, и те вторые
функции - понимание чувствующей информации и их интерпретации. Дон Хуан
назвал Матку - воспринимающий ящик. Он также был убеждён, как и другие
Колдуны его Линии, что Матка и яичники, если они выключены из цикла
размножения, и в самом деле становится Эпицентром Эволюции. Он считал,
что первый шаг Эволюции - это принятие предпосылки, что люди -
Восприниматели. Это не было чрезмерностью с его стороны, всё время
настаивать, что это должно быть сделано, прежде всего остального.
73
"We already know, that we are Perceivers.
What else can we be?" I would
say in protest every time
he insisted.
"Think about it!" he would reply every time
I protested. "Perception
plays only a minute role in
our lives, and yet, the only thing we are for a fact is Perceivers.
Human beings apprehend energy
at large and turn it into sensory data. Then they interpret these
sensory data into the World of
everyday life. This interpretation is what we call Perception.
The shamans of ancient Mexico, as
you already know," don Juan went on, "were convinced, that
interpretation took place on a Point of
intense brilliance, the assemblage point, which they found,
when they saw the human body as a conglomerate of Energy Fields, that
resembled a Sphere of Luminosity.
The advantage of Women is their
capacity to transfer the interpretation
function of the assemblage point to the Womb. The result of this
transfer function is something,
that cannot be talked about, not because it is something forbidden, but
because it is something
indescribable. The Womb," don Juan continued, "is veritably in a
chaotic state of turmoil, because
of this veiled capacity, that exists in remission from the moment of
birth, until death, but which
is never utilized. This function of
interpretation
never ceases to act and yet it has never
been raised to the level of full consciousness."
Don Juan's assurance was, that the shamans
of ancient Mexico, by means of
their magical passes, had raised among their Female practitioners the
Interpretive Capacity of the
Womb to the level of Consciousness, and by doing this, they had
instituted an evolutionary change
among them; that is to say, they had turned the Womb from an organ of
reproduction into the Tool of
Evolution. Evolution is defined in the world of modern man as
the capacity of
different species to modify
themselves through the processes of natural selection or the
transmission of traits, until they can
successfully reproduce in their offspring the changes brought about in
themselves. The evolutionary
theory, that has lasted to our day, from the time it was formulated
over a hundred years ago, says,
that the origin and the perpetuation of a new species of animal or
plant is brought about by the
process of natural selection, which favors the survival of individuals,
whose characteristics
render them best adapted to their environment, and that the evolution
is brought about by the
interplay of three principles.
73
"Мы
уже знаем, что мы - Восприниматели. Кем ещё мы можем быть?" говорил я
ему, протестуя каждый раз, когда он настаивал.
"Подумай об этом!" отвечал он каждый раз, когда я протестовал.
"Восприятие играет только небольшую роль в нашей жизни, и всё же,
единственная вещь и это факт мы - Восприниматели. Люди схватывают
энергию повсюду и превращают её в воспринимающую информацию. Потом они
интерпритируют эту информацию в Повседневный мир. Эта интерпретация и
есть то, что мы называем Восприятием. Шаманы Древней Мексики, как ты
уже знаешь," продолжал он, "были убеждены, что интерпретация
происходила на Точке интенсивного блеска, Точке Восприятия, которую они
обнаружили когда они УВИДЕЛИ человеческое тело как скопление
Энергетических Полей, похожее на Шар Светимости. Приемущество у женщин
- это их способность переносить функцию интерпретации Точки Восприятия
в Матку. Результат этой функции перевода - это что-то, о чём невозможно
говорить, не потому что это запрещено, а потому что это что-то
неописуемое. Матка," продолжал Дон Хуан, "по правде говоря, в хаотичном
состоянии беспорядка, из-за этой скрытой способности, которая
существует в спячке со дня рождения до смерти, но которая никогда не
используется. Эта функция интерпретации никогда не прекращает
действовать и всё же, она никогда не поднимается до уровня полного
сознания."
Убеждением Дон Хуана было, что шаманы Древней Мексики, с помощью их
Магических Пассов подняли среди своих практикантов-женщин способность
Матки к интерпретации на уровень сознания и, сделав это, они произвели
эволюционную перемену в них; они превратили Матку из органа размножения
в Инструмент Эволюции. Эволюция в мире современного человека
определяется, как способность разных видов изменять себя процессами
естественного отбора или передачей черт до тех пор, пока они не смогут
успешно повторять в своих детёнышах перемены, происшедшие в них самих.
Теория Эволюции, которая продолжалась до наших дней, с того времени,
когда она была сформулирована более 100 лет тому назад, говорит, что
возникновение и сохранение новых видов животных и растений произошло в
результате процесса естественного отбора, в котором выживают те,
характеристики которых лучше всего адаптируются к своему окружению, и
что эволюция происходит игрой 3х принципов.
74
First, heredity, the conservative force, that transmits similar organic
forms from one generation
to another; second, variation, the differences present in all forms of
life;
third, the struggle for existence, which determines, which
variations confer advantages in a
given environment. This last principle gave rise to the phrase still in
current use: "the survival
of the fittest." Evolution, as a theory,
has
enormous loopholes; it leaves tremendous room
for doubt. It is at best an open-ended process, for which scientists
have created classificatory
schemes; they have created taxonomies ( to their hearts' content. But
the fact remains, that it is a
theory full of holes. What we know about
Evolution doesn't tell us what Evolution
is. Don Juan Matus
believed, that Evolution was the product of
Intending at a very profound level. In the case of
Sorcerers, that profound level was marked
by what he had called Inner Silence.
"For instance," he said, when he was
explaining this phenomenon,
"Sorcerers are sure, that
dinosaurs flew, because they intended flying. But what is very
difficult to understand, much less
accept, is that wings are only one solution to flying, in this case,
the dinosaurs' solution.
Nevertheless, this solution is not the only one, that is possible. It's
the only one available to
us by imitation. Our airplanes are flying with wings imitating the
dinosaurs, perhaps, because
flying has never been intended again since the dinosaurs' time. Perhaps
wings were adopted, because
they were the easiest solution."
Don Juan was of the opinion, that if we
were to intend it now, there is
no way of knowing, what
other options for flying would be available besides wings. He insisted,
that because Intent is
Infinite, there was no logical way, in which the mind, following
processes of deduction or
induction, could calculate or determine what these options for flying
might be. The magical
passes of the Series for the Womb are extremely potent, and should be
practiced sparingly. In ancient times, men were
barred from executing them. In more
recent times, there has been a tendency among Sorcerers to render (make
available) these Magical Passes more
generic (general), and thus the possibility arose, that they could also
be of service to Men. This
possibility, however, is very delicate and requires careful handling,
great concentration, and
determination. The
Male practitioners of Tensegrity, who teach these Magical Passes, have
opted, because of their Potent Effect, to practice them by brushing the
energy, that they generate only lightly on the area of the genitals
themselves. This measure
has proven to be enough to provide a beneficial jolt without any
profound or deleterious
effects.
74
Первое, наследственность, законсервированная сила, которая передаёт
одинаковые органические формы из поколения в поколение; второе,
вариации, разница присуствует во всех формах жизни; третье, борьба за
существование, которая определяет каким вариациям даровать приемущества
в данном окружающем мире.
Этот последний принцип можно сказать фразой:"выживают самые живучие."
Эволюция, как теория, имеет много ошибок; она порождает много сомнений,
много классификаций, много всего лишнего для их удовольствия и т.д. Но факт остаётся: теория
остаётся только теорией. Что мы знаем об Эволюции, не говорит нам, что
такое Эволюция. Дон Хуан Матус верил, что Эволюция - это результат
намерения на очень глубоком уровне. На примере Колдунов, этот глубокий
уровень был помечен тем, что он называл ВНУТРЕННЕЕ МОЛЧАНИЕ.
"Например," сказал он, когда он объяснял этот феномен, "Колдуны
уверены, что динозавры летали, потому что они намеревались летать. Но
что очень трудно понять, и ещё меньше - принять, что крылья -
единственное решение для полёта, в этом случае, решение динозавров. Так
или иначе, это решение не единственное, которое возможно. Это
единственное приемлемое для нас имитацией. Наши самолёты летают с
крыльями, имитируя динозавров, наверно потому что летать - никогда не
было намерением снова со времён динозавров. Может быть крылья были
приспособлены, потому что они были самым лёгким решением."
У Дон Хуана было мнение, что если бы мы пожелали это сейчас, невозможно
было бы знать, какой другой выбор для полёта был бы помимо крыльев. Он
настаивал, что так как Интэнт - бесконечен, то не было логического пути
75
Don Juan explained, that the
Sorcerers of his lineage, at a given
moment, allowed Males to practice these Magical Passes, because of the
possibility, that the energy
engendered (generated) by them, would awaken the secondary function of
the Male sexual organs. He said, that
those Sorcerers considered, that the Secondary Function of the Male
sexual organs is not at all
similar to that of the Womb; no interpretation of sensory data can take
place, because the male
sexual organs hang outside of the cavity of the body.
Because of these particular
circumstances, their conclusion was, that the secondary function of the
male organs is something,
which they termed Evolutionary Support: a sort of springboard, that
catapults Men to perform
extraordinary feats of what Sorcerers of ancient Mexico called
Unbending Intent, or clear-headed
purpose and concentration.
Bидео о книгах Кастанеда, Магических Пассах и Остановке Внутреннего
Диалога на русском :
КАРЛОС КАСТАНЕДА - Искусство сновидения
/АУДИОКНИГА (неполная)
https://www.youtube.com/watch?v=dtc_IzTpAyQ
КАРЛОС КАСТАНЕДА - Безмолвное знание
/АУДИОКНИГА (неполная)
https://www.youtube.com/watch?v=VbXbubQM13Q
Кастанеда Карлос - Огонь изнутри, часть
1 Sep 22, 2015. Кастанеда Карлос. Аудиокнига "Огонь изнутри"
(неполная) - слушать онлайн. Книга 7. Исполнитель: Илья Бобылев
https://www.youtube.com/watch?v=jIQHb6pvaYQ
Кастанеда Карлос - Огонь изнутри
(неполная), часть 2 Sep 22, 2015
https://www.youtube.com/watch?v=v6ma6MeKICg
Кастанеда Карлос - Второе кольцо силы
(аудиокнига - неполная).
https://www.youtube.com/watch?v=kUd52tltSWA
Карлос Кастанеда Второе кольцо силы Книга 5
Часть 4 May 4, 2016
https://www.youtube.com/watch?v=XICGaDKZhaA
Карлос Кастанеда Второе кольцо силы Книга 5
Часть 5
https://www.youtube.com/watch?v=VQMuqpxp8NQ
Карлос Кастанеда Второе кольцо силы Книга 5
Часть 10
https://www.youtube.com/watch?v=2yqi8Eoo740
Карлос Кастанеда Дар Орла Книга 6 Часть
1 May 4, 2016
https://www.youtube.com/watch?v=t9gzXskN9SY
Карлос Кастанеда Дар Орла Книга 6 Часть 2
https://www.youtube.com/watch?v=GSSgVz1qjU4
Кастанеда Карлос - Путешествие в Икстлан
(аудиокнига - неполная). Книга 3 Sep 16, 2015
https://www.youtube.com/watch?v=y6k1d3upqIY
Кастанеда Карлос - Отдельная реальность
(аудиокнига - неполная) Книга 2 Sep 11, 2015
https://www.youtube.com/watch?v=cClKI2hAhwg
Кастанеда Карлос - Сказки о силе
(аудиокнига - неполная). 17, 2015
https://www.youtube.com/watch?v=fgEduKonK1k
Карлос Кастанеда - Активная сторона
бесконечности. Часть 1 Jun 9, 2015
https://www.youtube.com/watch?v=JRK9DHs4OBM
Карлос Кастанеда - Активная сторона
бесконечности. Часть 2 Jun 9, 2015
https://www.youtube.com/watch?v=1-ymRK8YjMA
Карлос Кастанеда - Активная сторона
бесконечности. Часть 3
https://www.youtube.com/watch?v=UeLlvELfoYw
Карлос Кастанеда - Активная сторона
бесконечности. Часть 4
https://www.youtube.com/watch?v=BlDP4e9LMlc
Кастанеда 10 - Активная сторона
Бесконечности - Aug 29, 2015
https://www.youtube.com/watch?v=YnVeWK7WPFk
Карлос Кастанеда — Хищники - Aug 28,
2014. Карлос Кастанеда — Активная сторона бесконечности
https://www.youtube.com/watch?v=dsabdQCgO9E
Кастанеда. Неделание Jan 23, 2014.
Практика "Неделания" - великолепный, безупречный инструмент. Он
позволит тебе чувствовать, что ты живешь в уникальных преобразованиях и
иметь гибкий ум даже при самых тяжелых рутинных загрузах - Юрий
Диоген.
https://www.youtube.com/watch?v=5epb39l93xw
Интервью последователя Карлоса Кастанеда.
Sep 1, 2011. Второй шаг в расследовании! Карлос Кастанеда и его
невероятные магические методики! Мы ищем людей, которые это попробовали
использовать..
https://www.youtube.com/watch?v=XkbmIKZV84I
Recommended
vidеos in english and their
descriptions :
Carlos
Castaneda's Tensegrity Volume №1 - 12 Movements
https://www.youtube.com/watch?v=gbdhZZKvA5c
Tensegrity
- Twelve Basic Movements #1
https://www.youtube.com/watch?v=ibi-J74NyTw
1. Helping Flow of Immunity is a minor movement, that
stimulates flow
of immunity, sites of energy, that keeps one awake; stimulates flow of
saliva and glands under the chin; flushes toxins out.
2. Lobster's Strike is a minor movement, reaches
layers of sensation
prior to sensation of a human; strike has to come all the way from the
kidneys; its a vibratory movement, that shakes the entire body; this
type of vibration keeps the body in an optimal state of wellbeing.
3. The Ball of Energy - is a major movement.
This movement rounds up the dispersed energy, that exists
around
the body, which makes it into a concrete unit, that described as a
Ball.
This pass exercises glands around pectorial muscles (chest muscles) and
axilla (an armpit) and it is essential for priding (thriving, excellent
condition) of Immunity System. It starts from the wrists almost
touching one another. One is perpendicular to the other. Make sure that
each wrist is fully extended backwards; the elbow is mobile, the elbow
follows the hand; start with the left hand over the right one and begin
counting (5 times). Notice when the movements end, the hands are like
claws, that rip the Ball of Energy apart. Do the movement 5 times and
rub (the Energy) on upper part of chest around throat; repeat it
another 5 times and rub energy on the liver/gallblader areas and
pancreas/spleen areas; repeat it another 5 times and rub the energy on
the area of the genitals.
4. Teasing the Web (Snapping the
Web, Dispersing Energy. Getting Rid of Unwanted Energy).
It is a major movement. This is another very old technique to reach the
layer of sensation prior to that of a human. Its function is to excite
countless sites on the wrists and hands, which brings general health
and wellbeing. There are 3 parts to Teasing the Web.
Snapping the Web.
This movement
creates kind of itching on the membrane between the fingers. Since
humans don't have membrane there, the movement proports (harmonise,
balance) to transport one to a very ancient level of sensation by
activating vague memory of the membrane. Start from the left hand,
notice, that the little finger of the left hand is between the third
and the little fingers of the right hand. The left index finger is
locked with the thumb of the right hand. Do this movement 5 times with
one hand, then do it 5 more times with the other hand.
Dispersing Energy.
The energy, that
has been awakened in hands by Snapping the Web, then dispersed
throughout the arms and body itself by pressing sites of energy on the
back of the hands. Press 5 times on the back of the hand, then 5 times
on the other one.
Getting Rid of the
Excess. Any energy,
that is released into the body itself, always has an unpredictable
effect, so it's more, than necessary to release any excess. Do this
movement 5 times with the left thumb on top, then 5 times with the
other hand with the right thumb on top.
5. Rolling Energy is
a minor movement.
Rolling the hands forward gives the body its Energy depth. Pushing the
hands out to the side, determines its Energy width. The position of the
hands to be avoided is the curling up of the palm, the palm means to be
straight, flat. Maintain that position. Do 5 short rolls to the front;
then 5 long rolls to the front; push out to the sides also 5 times.
6. Massaging the Glands around
the Shoulder Blades is a minor movement.
Position of the arm up at the shoulder level. Isolate and squeeze the
muscles surrounding the shoulder blades.
7. The Axis Breath is a major
movement.
This Magical Pass is of utmost importance, because it moves the Earthly
Terminal of invisible Axis of the Energy, that surrounds the body, from
its site on the ground and then projects it out to the Infinity (Axis
is a straight line, around which Earth or body rotates). It
acts on the
Earthly Terminal, so the Energy is floating, rather than grounded. It
is a belief, that the Vertical Axis of Energy goes through the ground
to a point of just behind the genitals. As the hands begin to come
down, the index fingers push against one another into a down position.
Once they reach the eye level, the eyes make contact with the finger
tips and maintain that gaze for the entire movement. The hand pose at
the centre of the body, as the body bends down. Point the fingers that
spot on the ground. By keeping the eyes fixed on the fingers, the eyes
and the fingers pull the Terminal of that Axis of Energy. Begin to move
it up, pulling its bottom end with fingers. Place it then on the centre
of the body. Follow the tip of pointed fingers with the eyes to keep
the energy there. Bring the hands up then and touch the knuckles of the
thumbs with the lips. Rest the tips of the fingers on the forehead.
Extend the head back fully with the legs straight and exhale. Inhale as
the arms and hands snap upwards. Projecting the earthly Terminal of
Energy out into Infinity. Use the eyes and the stomach to
send it
out. Inhale as the arms sweep up; exhale as they begin to lower, posing
at the eye level. As they pose at the centre of the body, inhale,
exhale, as they begin to lower. As forearms rest on the legs, inhale
and exhale 3 times; inhale as the hands begin to come up posing at the
centre, exhale. Inhale as they come up, exhale, inhale as the arms snap
up.
It is almost like on the picture below, only the Vertical Axis
of the Earthly Terminal doesn't quite go through the ground
to a point just behind the genitals.

8. Forging the Central Power of
the Body is a minor movement (forging means slowly advancing,
increasing power of the body).
Cradle the crown of the head on the right bent up arm. Keep the back
straight and fully extended. This movement brings the Energy of the
right side of the body into the head and the Energy of the left half
into the adrenals. By shifting arms back and forth, the energy of the
adrenals is mixed with the energy of the head.
9. Two Prongs on the Face is a minor movement (prong means sharply
pointed part of the body, fingers, to tackle the problem).
This movement promotes youth, it also clears out the toxins, that are
held in the face from stress and tension, and it replaces old cells.
Place the thumbs up under the chin and push upward. Place the Index and
Second Finger next to the eyes and press inwards; hold it and release.
10. Reaching the Energy Hole above the Head is a major movement.
Inward Spirals. Left hand is moving in spirals clockwise (3 times) with
right hand moving in spirals anti-clockwise (3 times). This is another
one of most important Energy Passes. It has to do with the transfer of
Energy from the outside the body to the body itself. There are secret
caches of Energy right above the head and on both sides of it. It is
believed, that this Energy has two kinds: dark and light, heavy and
fluffy. The dark and heavy is above to the right of the head. The light
and fluffy is above to the left of the head. The dark and heavy Energy
is outward bound; the light and fluffy Energy is inward bound. The aim
of this pass is to use these types of Energy for the total revamping of
the body (revamping means restoring, patching up).
The first is Inward Spirals. 3 Inward Spirals close to the legs; 5
Inward Spirals - up. Inhale when the arms snap up. Then 5 Inward
Spirals - down and press arms to legs, snap the arms up, fists facing
each other.The second is Outward Spirals: 3 Outward Spirals close to the legs, 5
Outward Spirals up.
Inhale while grabbing outward, fists don't face each other. 5 Outward
Spirals down. Arms along the sides, flatten the
palms, snap the arms up.
11. Infinity Breath is a major
movement.
By concentrating attention on the hands, inhale and bring the Energy
from the ground, from bottom of the feet, up the spine and continue at
the back, circling it over the head and, finally, posing it over the
forehead. Exhale, as one brings the hands and the energy down the front
of the body, moving them over the genitals to the ground and from the
ground out into Infinity. Inhale in order to bring and place the Energy
on the back. This inhalation is for strength. Exhale to bring solidity
to the front. The push of the lungs releases things, that are not
needed, out into Infinity. This Pass brings fluidity to the front and
strength to the back.
12. The Antenna is a major
movement.
Another extremely mysterious pass, which has to do with the Level of
Awareness prior to humans. The men and women of ancient Mexico
maintained, that there is Enormity of Energy in the Universe, coming
from the silent and invisible sources - Dead Stars. This pass allows
one to utilize it. Of all the many passes, that are known, this one had
been selected, because it is believed, that with it one can get the
Energy, that is outside the Realm of common sense in the world of
everyday life.
In this pass the hands act as antennas, pulling and
reaching for that energy. To warm up, the right thumb rubs at the base
of the left thumb. The little finger and the thumb pressed together,
snap out to the front 3 times. There are 2 positions for the hand: the
two middle fingers are pressed against the thumb, the two fingers are
pulled back tight. Tension is on the back of the hand, the wrist is
either fully extended back or pulled all the way back. Pull the wrists
all the way back, straighten them as the arms extend. The wrists remain
straight. One and a half circles to the front, and two circles to the
back, 3 sets. Wrists extended back, straighten the wrists. Isolate and
squeeze the muscle, surrounding the shoulder blades to move the arms. 3
short exhales, inhale, exhale, inhale, exhale, inhale for the circles
in the front, exhale for the two in back. Inhale, exhale as the hands
snap out to the front, inhale, exhale, inhale as they pull, exhale.
Tensegrity
- Redistributing Dispersed
Energy №2 - 9 Movements
The movement, that you are about to see, have been taken directly from
other movements, which shamans-Seers, who lived in Mexico in ancient
times, used to call Magical Passes. Everything we know about those
movements was taught to Carlos Castaneda, Taisha Abelar, Florinda
Donner-Grau and Carol Tiggs by Don Juan Matus, a Yaque Indian Shaman
from the state of Sonora, Mexico. Don Juan 4 disciples in turn taught
the 3 of us everything they know about those Magical Passes. The Seers
of ancient Mexico performed these Passes in order to condition their
bodies and minds for activities pertinent to shamanism. Shamanism was
understood by them as the acquired capacity to expand the limits of our
normal perception. The peculiarity of the Magical Passes, which is most
meaningful to us is, that by practicing them one can become aware of
some cohesive force, that binds together the conglomerate (collection
into a cohesive mass) of Energy Fields, that we are. This Binding
Effect is something similar to what modern day astronomers believe
happens at the Core of every Galaxy, that exists in the Cosmos. The
believe, that at that Core a Force of incalculable strength holds the
Stars of Galaxies in place. This Force, called a Black Hole, is a
theoretical construct, which seems to be the most reasonable
explanation of why Stars don't fly away, driven by their own rotational
speed. Likewise the conglomerate of Energy Fields, that we are, is kept
in place cohesively by a tremendous binding Force, without which, Seers
believe, we would explode from within and vanish like a puff of air.
The Seers of antiquity were capable of handling that Force once they
became conscious of it. Their expertise of in dealing with it became so
extraodinary, that their actions were transformed into legends.
Mythological events, that can only exist as fables. After years of hard
work and dedication, the 3 of us, guided by Don Juan's 4 disciples,
were able to rescue the Magical Passes from the esoteric setting and
adupt them to more conventional surroundings. The result of this
restoration process we have called Tensegrity, which to us is the Art
of using the Magical Passes for the purpose of becoming conscious of
Binding Force, which holds the human being together as a concrete unit.
In our first volume '12 Basic Movements to Gather Energy and Promote
Wellbeing' we dealt with complete Magical Passes and with fragments of
Magical Passes, which were used to arrive at a minimum Awareness of
what Seers believe is the counterpart of our body. They call it the
Energy Body. Seers argue, that we can learn to perceive the Energy
directly as it flows in the Universe, and that when we do this, we are
capable of perceiving a human being as a conglomerate of Energy Fields,
that resembles a Luminous Sphere. The Energy Body is an identical
Luminous Sphere, which exists at a very great distance from us.
(I don't believe that, she talks in linear terms. There is no Time and
Space, there are no meters/kms/light years. Our Energy Bodies are not
'a great distance away from us', but usually close to us a level up in
vibration, unless our Energy Bodies need to go to even higher or lower
vibrational levels, LM).
Seers maintained, that we are not complete, until the Energy Body is
with us and, that the performing the Magical Passes we can bring the
two closer to each other. In this volume we are going to deal with the
utilization of internal Energy, that has been dispersed by the wear and
tear of daily living. From the Core of the Luminous Sphere to the
periphery of it. To make use of our own Energy, that is normally
inaccesible to us, is considered by the Seers to be the most important
step towards wellbeing and Completion.
1. A STRUCTURE MADE OUT OF ENERGY
With our first Magical Pass 'A STRUCTURE MADE OUT OF ENERGY' we aim at
creating a structure in our immediate Energy Horizon. Seers give the
name of Energy Horizon to the Energy Fields, which are immediately
adjacent to us, when we are perceived as Luminous Spheres. This Magical
Pass is basic, Seers say, because it creates a dwelling, sort of speak,
for the Energy Body. Their idea is, that our Energy Bodies has been
separated from us at birth and pushed away by antagonistic Forces. By
creating a Magical Energetic Dwelling, Seers believe, we put out an
invitation for the Energy Body to come closer to us. The emphasis of
this first Magical Pass is on the area of the kidneys
and adrenals. By making the body stoop (bend forward and downwards
from the waist),
slightly forward we create an adequate pressure on that area, then the
body is brought to a vertical position with the upper chest fully
extended. The back straight, the eyes looking onward fiercly. The eyes
are always kept looking to the front with as much fiercness, as
possible. Seers say, that the eyes must reveal our Unbending Intent.
The next movement brings even greater pressure to the adrenal area,
because the arms shoot out in front, then bend the elbows with
tremendous force. The greater the force, the greater the effect on the
adrenal area. The trunk's straightened up when the arms are raised
above the shoulders, as if carring a tray. The palms are then turned
over with great force, the hands cross over one another and the arms
are extended laterally. The hands are brought down then, and pressure
is brought to bear again on the adrenals by stooping the trunk slightly
and bending the knees. The Magical Pass is closed with a quick lateral
movement of both arms.
2. THE SEERS WINDOW
Our second Magical Pass 'THE SEERS WINDOW'is performed to create an
Energetic Opening to the outside of the Luminous Egg. Seers maintain,
that by executing this Magical Pass we are actually capable of
manufacturing, sort of speak, a momentary Opening for peering into
Infinity. This Opening, Seers maintain, is a crucial value to
establishing contact with the Force, that sustains our lives and gives
us nurturance, purpose, vitality, name it. A Force, Seers call, Intent.
Upon creating this Opening, Seers yell the word 'Intent', which, they
say, is laid as a bridge from a human being over Infinity to Intent.
Intent !!!
The hands come together gently at the centre of the body. The thumbs
are held firmly over the palm and only the edges of the hands touch.
Next, both hands are moved to the sides, as if touching a flat surface,
that extends to the end of the arm's aperture and closes again to the
centre of the body. The left arm does the same movement alone or the
right one is kept at the same level at the middle of the body. The same
movement is executed with the right hand. The hands are then moved from
the centre, until they are the width of the body apart, held in a
vertical position with the palms facing each other. The left palm
moves, as if feeling the exterior edge of the window's frame. Then the
right hand does the same thing. The left hand moves in an arc, pivoting
on an elbow of interior edge of invisible window frames inward, upward
and downward once. The right hand does the same movement. Then both
hands are raised above head with the palms facing the sky. The hands
come together at the inner edges and both are extended to the side, as
if facing the interiour upper edge of a window's frame. They are held
in the centre point again and the left hand performs the same movement,
then the right hand. Both hands join each other again, the hands draw a
small circle until the palms are down, and as if resting on the
invisible window seal. The upper trunk stoops forward, holding the
kidneys area as the pivoting centre, as if one were peering through a
window and the word 'Intent' is shouted. Immediately afterwards a step
back is quickly taken. Intent !!!
3. RALLYING DISPERSED ENERGY
The third Magical Pass 'RALLYING DISPERSED ENERGY' is performed in
order to rally (assemble) the Energy, that has been dispersed by the
wear and tear of interactions in daily life. This Rallying can get us
from lethargic state to one of great alertness. Rallying Dispersed
Energy means to move it by making it rotate, in order to place it on a
projection of the solar plexis, which is situated in arm's length in
front of us on the periphery of a Luminous Sphere. Seers believe, that
Storing the Energy there is the surest way to make it available at a
moment's notice.
Both hands are brought together with Great Force over the right
shoulder with the left hand on top of the right. Then they are bought
diagonally across the body, as if one is holding an invisible axe to
the area above the left knee. Dispersed Energy is sturred with the
round counter-clockwise movement of both hands held together. Both
hands, fluxed (fused) together, are pulled back to the area of liver
and gallbladder
and then they are shut out to the point directly in front of the solar
plexis. Notice, that the arms strike out with the knuckles of the right
hand in a gesture of delivering a blow.
4. PIECING THE TWO COLUMNS OF
ENERGY
The fourth Magical Pass, called 'PIECING THE TWO COLUMNS OF ENERGY',
rallies dispersed Energy by deliberately poking it at centres, that
Seers consider to be - Key Spots.
In other words, the dispersion of Energy to the periphery of a Luminous
Sphere results in a formation of definite pockets of Energy, which
Seers poke in order to allow it to diffuse (disperse) and be rallied
more easily. Poking is not done with the hands, although the hands and
the arms are used, but it is done with the Energy he call 'tendon
energy', for lack of a better name, which streams out of the limbs,
when they are projected out with sufficient force.
The fourth Magical Pass begins with the vibratory movement of both
hands. Vibration's generating from the axis of the forearm, the left
arm turns in front of the body, sturring dispersed Energy and then
pokes high into the Column of Energy to the right of the body. A
Column, the Seers say, resembles the dripping of a candle. The right
hand moves backwards, in order to allow the left hand a maximum
explosion of tendon energy. The left arm rotates backwards one and a
half times in the opposite direction and pokes low at the same Column
of Dispersed Energy. The same movements are repeated with the right
arm, poking high and low at the other Column of Dispersed Energy on the
left side, that looks like the one on the right. The right hand with
the fingers, pointing to the ground, draws a circle around the body
from the left to right, followed by the left one. Then the left hand
draws the same circle, followed by the right hand. Right forearm rolls
the Ball from top to bottom, followed by the left hand. Both hands hold
the Ball of Energy on solar plexis and, first, push it in, then pull it
out forcefully and push it on into projection of the solar plexis on
the outer edge of the Luminous Sphere.
5. AWAKENING THE CENTRE OF
FEELING
The Seers' idea, that sustains our particular series of Magical Passes,
is that, due to the effect of daily life, our internal Energy, which is
a must around the area of the kidneys and adrenals, is dispersed to the
periphery of our Luminous Spheres. This dispersion doesn't mean in any
way a loss of Energy, but rather a loss of our facility to gain excess
to it.
The fifth Magical Pass 'AWAKENING THE CENTRE OF FEELING' has to do with
the deliberate calling of the dispersed Energy on the periphery of the
Luminous Sphere in order to bring it to a specific centre of feeling.
This centre is located on the left side, right above the edge of the
ribcage at the height of the upper tip, on the pancreas and spleen. A
Spot, which Seers believe, is the upper centre of feelings. With this
movement we are preparing the bond of indisputable affection, that must
exist between the body that we know, and the Energy Body, that we don't
know, but which every one of us intuits. In our fifth Magical Pass we
keep the knees slightly bent, in order to allow the body stability. The
hands join in a forceful, yet very controlled movement, they come
together and pierce the dispersed Energy, accumulated right in front of
us. They rip it upwards and they turn it clockwise to stur it. The
hands come down to midsection to the stomach level, then they are
turned over with the right hand on top. They cut upwards in a
ripping movement and then they are brought to the area of the pancreas
and spleen. From there the hands push out to the sides and they rip,
what Seers consider to be the heaviest concentration of Dispersed
Energy, the Energy, that accumulates next to
the left and right side of the body. Seers refer to that concentration
as Columns of wasted Energy, that give you impression of dried up
drippings of gigantic candles. The hands are brought again to the
centre of the body, they rip
upwards, they stur the Energy once again in a clockwise direction and
they brought once more to the pancreas and spleen areas and then they
are projected out to the front of the body.
6. TRANSFERRING ENERGY TO THE
ASSEMBLAGE POINT
Our sixth pass 'TRANSFERRING ENERGY TO THE ASSEMBLAGE POINT' deals with
the transfer of dispersed Energy from the frontal area to the back in
order for this force to serve as a crutch (support) for the Assemblage
Point
(which
is really Sun Energy
Point of your Spirit, Assemblage Point feels like a conveyor belt at a
plant. We can only perceive with the help of the Sun Energy in us!
There is no any other way! I need to say, that some sentences in her
speech I couldn't understand, because of the use of rare and complex
words, which I find unnecessary. The truth needs simple and short
explanations, easily perceivable by everyone.
I had a hell of translating numerous complicated words, while reading
Castaneda books and now again, the same trouble. LM).
When
Seers perceive
human beings as Luminous Spheres, it becomes evident to them, that
there exist, on already Luminous Sphere, a spot of even more intense
Luminosity, the size of a tennis ball, habitually located at the height
of the shoulder blades an arm's lenght behind them. Seers are
thouroughly satisfied with their conclusion, that it is there, on that
spot, that perception is assembled, and that is why they call that spot
the Assemblage Point. By deliberately displacing the Assemblage Point
to another place away from its habitual position, Seers did prove to
themselves, that it is there that Perception is assembled. The end
result of this manuver is the perception of a world, that is quite
different, than the world of daily affairs. Seers have explained its
difference by their observation, that when the Assemblage Point is on
its habitual position billions of Energy Fields from the Universe at
large converge there, giving, as a result, the world we know. But when
the Assemblage Point is displaced to another location on the periphery
or the inside of the Luminous Sphere, other sets of billions of Energy
Fields, that resemble luminous fibres, converge there, giving as a
result the perception of another world. Transferring Energy from the
front to the back, Seers believe, solidifies the position of the
Assemblage Point in all of us. Especially in the case of extremely
sensative persons, whose Assemblage Point shifts irratically and who
are incapable of disciplining themselves. As they gain more Awareness,
however, the same Energy, that served as a crutch, serves as a factor,
that expedites (facilitates) the peaceful and deliberate displacement
of the Assemblage Point.
The Magical Passes are always begun with the left arm. The reason for
us is, that the left side of the body is always lagging (fall behind)
behind the right one in terms of power and prosperity (?). For the
Seers of antiquity the reason was, that we are inexterebly (?) heading
for by a lateral die-cemetry (what?). The left body is being
unavoidably shrunk by the right one, if we don't engage our conscious
effort to bounce us (why to bounce?). This pass 'TRANSFERRING ENERGY TO
THE ASSEMBLAGE POINT' begins by raising the left arm with the palm
facing the ground. The palm turns sharply upwards as the elbows pull
backwards. Next, the left arm shoots out with the palm facing upwards
and the wrist held immobile as straight, as possible, keeping the elbow
bent. The left forearm is raised to the level of the eyes, as if it was
a mirror, in which we can see ourselves. We stare at the palm of the
hand for a moment, then the hand closes into a fist, that pivots 45
degrees to the right. The elbow is raised, until the upper arm is
parallel to the ground and the fist points downwards still twisted at
an angle. The right hand had been placed over the left shoulder as a
support or buttress of sorts, while the left arm pivots, as it is
twisted, until the fist reaches the area of the right adrenals. At the
count of three the right hand dislodges itself from the shoulder and in
an elegant arc it moves to the front of the body while the left arm
straightens and joins the right at the same height and they are both
retrieved to the sides of the body. The exact same movements are
repeated with the right side of the body.
7. BRINGING ENERGY DOWN FROM
ABOVE THE HEAD TO THREE DIFFERENT AREAS ON THE FRONT PART OF THE BODY
Our seventh Magical Pass 'BRINGING ENERGY DOWN FROM ABOVE THE HEAD TO
THREE DIFFERENT AREAS ON THE FRONT PART OF THE BODY' brings dispersed
Energy from the top of a Luminous Sphere to 3 areas on the body: the
chest, the stomach area and the groin. Seers say, that this is the
most direct way to arrive at a quick charge of Energy. Energy, that has
been dispersed to the area just above the head, is, according to Seers,
an extremely active, extremely agressive Energy, or rather the fact,
that Energy from other parts of the Luminous Sphere had been transfered
to the area above the head, makes that Energy extra volatile
(explosive), highly charged. To place that Energy on those 3 areas of
the body, Seers say, ensures a quick and effective reaction on our
part.
This movement 'BRINGING ENERGY DOWN FROM ABOVE THE HEAD TO THREE
DIFFERENT AREAS ON THE FRONT PART OF THE BODY' begins with the raising
both hands with the arms stretched downward and the arms are raised at
the elbows, until the hands almost touching the shoulders. The index
finger and thumb are kept extended, while the other fingers are bent
nearly touching the thumb. All the air from the lungs is exhaled, and
the deep breath is taken while the left arm extends totally in front of
the body, and the right arm, bent at the elbow, is thrust (pushed)
backwards. A full extention of the shoulders is obtained in this
manner. All the air is exhaled then and as the left arm is retrieved
all the way to the back and the right arm is extended fully onward.
Another breath is taken while the right arm is retrieved to the
shoulder and the left one is pushed to the same level. With both arms
at the level of the shoulders, the left arm is extended straight
upwards with the index finger pointing to the zenith (highest point
above). All the air of the lungs is expelled (forced out) at this
point, an inhalation is taken as the arm is lowered to the shoulder.
The exact movement is repeated with the right hand. Then all of the
fingers are extended upwards. The left arm shoots up again as
the
fingers point to the zenith. All the air in the lungs is exhaled, the
fingers claw as if grabbing a handle and a deep inhalation is taken as
the arm is pulled downward, until the hand, still holding an invisible
handle, is lowered to the level of the shoulder. The same movement is
executed with the right arm. And when both hands are held together at
the same level, the air, inhaled with the last movement, is held in the
lungs. While the left and the right hands come together twice, as if
mixing a paste. The hands slide over the breast with a deep exhalation.
The hands move to the midsection, fingers touching, a deep inhalation
is taken. Then the hands slide over the midsection from the centre to
the sides of the body as all the air is exhaled from the lungs. The
hands go to the groin area, fingertips touching, another inhalation is
taken and then hands slide over the groin to the hips, as all the air
is once again expelled from the lungs. Notice that the elbows are kept
full backwards and the chest is fully extended.
8. PULLING AND WRAPPING THE
INTERNAL FIBERS OF ENERGY
Our eighth pass
is called 'PULLING AND WRAPPING THE INTERNAL FIBERS OF ENERGY'. Seers
support the idea, that the Totality of the Universe is composed of
Energy Fields, that could be described almost in a visual sense as
resembling luminous threads of infinite length. Seers say, that such
Energy Fields can never be broken, that they could only be stretched
and bent. With this, rather complex, Magical Pass Seers aim at pulling
and stretching thread-like Energy Fields, that exist inside the
Luminous Sphere in order to buttress (support) areas, which they
consider to be essential for withstanding the redirection of dispersed
Energy. Such as the areas around the shoulder blades and the shoulders,
where ganglia (any centre of power, nerves' bundle, cystlike tumour)
are heavily concentrated. Another area of equal value is the area of
the knees and ankles, on which all the physical support of the body
rests.
First both arms are raised, as if they were holding two thin vertical
fibers. The left arm is placed on the right shoulder and the right arm
is immediately placed behind on the right adrenal. Notice, that both
hands must be kept, as if they are pulling two invisible vertical
cords. The first is a tug onward, and another one is a backward tug,
that counterbalances the first one. A deep breath is taken with the
first, and an exhalation is made on the second. Then the left hand
wraps the invisible cord around the back of the neck and comes down to
rest on the area of the pancreas and the spleen. Then the right hand
wraps the invisible cord around the back of the neck and comes to stop
at the left clavicle. The back of the left fist touches the left
adrenal and the same movement of tugging forward with an inhalation and
pulling backwards with the inhalation is done. The right fist is
holding the invisible cord, moves around the back of the neck and come
to rest over liver and gallbladder. The left fist and its invisible
cord wrap around the back of the neck from the left to the right and
come to rest over the pancreas and spleen. The arms are brought down
and forearms are raised again, holding another set of invisible
vertical cords. And the same movements are performed again, starting
with the right arm, pulling the invisible cord, that goes over the left
shoulder to the adrenals. When the four movements have been repeated
and the fists are held over the pancreas and liver, they are pulled
forward to the initial beginning position. The right leg is raised with
the bent knee and the invisible cord is tied over the knee once from
the outside to the inside of the leg. One more time from the inside to
the outside of the foot and it ends with the final turn from the inside
to the outside of the raised knee. The right hand is helding the
initial position of this movement, while the left ties the invisible
cord on the left knee in a mirror image of what was done with the right
leg. When the clenched hands are in initial position, they are brought
together over the solar plexis, forcefully interlocking the knucles and
creating the pressure in the hands over the solar plexis. A deep breath
is taken. The pass ends by exhaling and bringing the open hands to the
sides with the palms up.
9. THE STELLAR HATCH
Our
last Magical
Pass called 'THE STELLAR HATCH' is the final stage of our Energy
Manipulation. Seers believe, that our basic Energy can not be
diminished or augmented (increased). It can only be transfered from one
area to another. One of the most remarkable accomplishments of the
Seers, who lived in Mexico in ancient times were, that they found
methods to stur all the Energy accumulated on the periphery of the
Luminous Sphere. This statement examined in light of our logical
reasonableness of everyday life is non sensical, but it was not non
sensical for the Seers in question. They claimed, that by opening
themselves to the influence of the Energy from the Stars, they were
creating a condition, by which the external forces bore on (weight on,
conduct) them. Their Energy was not increased in any measure by
external forces, but those external forces exerted (put into a vigorous
action) a specific pressure on the periphery of their Luminous Spheres,
a pressure, that was translated into sturring to the maximum their
dispersed Energy, crusted through the years on that periphery, and
rendering it ready for Energetic Manipulation. Buttressing (supporting)
a body to withstand the effect of this redistribution is to Seers
something of Key Importance, hence (as a result) the value of our
preceding (coming before the time) Magical Pass, which achieves this
purpose. This movement is begun by looking down, as if one were perched
in a
high place, looking at a spot on the ground, located between the feet
many stories below. The hands are kept at the sides of the body. The
eyes begin to pull up invisible pumped (gained, moved up) Energy,
perhaps the size of a tennis ball. It is raised to the chest at the
level of the chin. The head is kept lowered with the chin to the chest.
The invisible Ball of Energy is held on that position on the chest, by
a jutting (projecting, protruding) movement of the head. Then it is
taken by the chin, raised to the level of the eyes and the eyes push it
to the zenith as the head moves backward. Once that Ball of Energy is
held to the zenith, the arms proceed (create) the kind of Opening in
the Energy Ceiling above the head. The left arm moves with the edge of
the hand like a knife and cuts an Opening. The right hand is pushed
down when at the same time to help create a slicing force. The left
hand moves down as the right hand is raised to produce the same cutting
effect.
Then the left hand is raised and both hands go through the slits in an
Energy. Next, the right hand moves back as the left hand moves to the
front in the circular motion, propelled by a twisting of the torso.
This is completed by the movement of the right hand to the front and
the left hand to the back. In this manner a Hatch is opened in an
Energetic Ceiling. The lid to that Hatch is lowered and comes to rest
on the chest. The Ball of Energy then shoots out, pushed by the eyes
through the Opening into Infinity. Three seconds are counted for the
Ball to reach its destination and three seconds more are counted, until
it returns and lands with an impact (collision) on the back of the
neck. Air is inhaled as the shoulders are lifted and an exhalation is
made as the shoulders drop. Then the lid is picked up from the chest,
placed back in its position and Opening is sealed by moving the hands
and the torso from right to left, and then left to right, and then to
the centre. The next movement is to lower hands to the sides of the
body.
The Ball of Energy, that is held on the back of the neck is unhooked by
pushing it forward. This is done with another jutting movement of the
head. Then the Ball drops all the way down to its original position on
the ground several stories below. A count of 3 seconds is taken, then a
deep inhalation is taken by raising the shoulders and the tops of the
lungs as the arms with the hands, bent at the wrist, extend outwards
from the sides of the body, creating a pressure behind the ears, that
gives the sensation of breathing through gills (fish lungs). This is
followed by an exhalation, and the arms come back to the sides of the
body.
Carlos Castaneda's
Tensegrity, Volume №3 - 8 Movements
Energetically Crossing From One Phylum To Another
Tensegrity to us is an Art, an Art in
utilising in a modern setting, some Magical Passes, discovered and
developed by Seers, who lived in Mexico in ancient times. The
performance of the Magical Passes was and still is the mean to allow
our Consciousness to focus on a Binding Force, that consolidate the
different components of Energy Fields of a Human Being into a concrete
and definite unit. Modern men has found out through the research of
scientists, that there is a Binding Force, that holds together the
component element of an atom. By the same token, the component element
of cells are held together by a similar force, and are driven to
combine themselves in the tissues and organs. The Seers, who lived in
Mexico in ancient times belived, that Human Beings taken as
Conglomerates of Energy Fields are held together by some Energy, some
Force, some Power, that cements those Energy Fields into one single
energetic unit. Those Seers taught from generation to generation up to
the present day, that enhanced Awareness is the end result of
cancelling out our system of interpreting energy as sensory data. This
system, which is taught to us from the moment we are born up to the
time when we become experts in handling it, gives us, as a consequence,
the coherent perception of the world we know. To cancel it out means,
that we can perceive energy directly as it flows in the Universe
instead of interpreting it as sensory data. And now Seeing the Energy directly, as it flows in
the Universe, is the perception of a Human Being as a Luminous Sphere,
that is to say as a conglomerate of Energy Fields, held together as a
Luminous Ball. The interest of those Seers of Antiquity was the
pragmatic utilisation of whatever Force is holding the Luminous Sphere
together. They said, that the Sphere was not held together by wrappings
or energetic bindings, but by some sort of vibration, that rendered
everything at once alive and in place. Their obsession to find out the
nature of that Vibratory Force, was tinted by the concretness, that
made them want to hold and control it. Modern day practitioners of the
Art of those Seers of Antiquity have found out, that it is not possible
to be concrete and utiliterian about that Vibratory Force. They have
opted for the only rational thing, that one can do: nearly to
become concsious of that Force with no other purpose inside except the
elegance and wellbeing, brought about by Knowledge. The Movements, that
we are going to present are an orderly sample of attempt, made by Seers
of Ancient Times to catch a glimpse from a different angle of the
Force, that binds us together. We have reinterpreted their manuver in
basing ourselves on a modern day taxonomy of the animal kingdom.
We have concluded, that those Seers attemped to leave the Phylum pour
data, to which Human Beings belong and enter into the Phylum arthrobite
(?)...
(Too
many words! At times I find it frustrating, extremely difficult to
understand what she is trying to say. I also find the language she uses
too academic, unnecessarily complex. She seems to address only men, not
women, brushing off the Females' efforts in all that. It could be done
with more simple, popular words! Don Juan had no education and yet with
simple words and examples he could teach his students for years! The
whole presentation is too gloomy! LM.)
1.
Opening Oneself to Intent
This is a basic Magical Pass, which is been altered minimally for
presentation. It's called Opening
Oneself to Intent
, because that is what is literally accomplished with this Pass. The
idea of Seers is, that Intent is a perennial Force, that exists in the
Universe like Gravity or Electromagnetism, and that this Force obeys
solicitations (thoughtfulness) of men, if they are made with
determination and
persistence. The cognitive mood of those Seers of ancient Mexico seems
to have preceded the agricultural revolution and the advent (arrival) of
applicants. To proficiate in order to seek help was not part of
their cognitive system. For them the only possible approach was to
order Intent, to tell it what to do. Their artistry however, (to be
continued)...
2. Pouring Intent into 2 pouches of the Body
3. Breaking the Alignment of the Left and Right Bodies
4. Realigning the Left and the Right Bodies
5. Stabbing Energy in Search of a New Position of the Perception Point
(Assemblage Point)
6. Preparing to Cross Over
7. The Butterfly
8. The Female and Male Winged Being
Ниже видео о
книгах Кастанеда, о Магических Пассах и Остановке
Внутреннего Диалога на русском .
Почему нужно дать отдых голове от всяких мыслей, образов, звуков,
внутренних разговоров с самой
собой или с другими? Да потому, что на это бессмысленное занятие уходит
вся наша жизнь, уходит вся
наша энергия, все наши эмоции, ведь создать даже одну мысль
инопланетянам нелегко, а мы создаём
горы мыслей, которые повторяются, часто мучают нас и сводят нас с ума.
Что нас толкает на это?
Чужеродное Внедрение, часть нашего мозга, которая совсем не наша.
Tensegrity Constellation Group Тенсегрити Карлоса
Кастанеды
Feb 25, 2014
Tensegrity - Modern version of ancient knowledge developed by Carlos
Castaneda
(subtitles: Azerbaijani, German, French, Estonian, Croatian, Polish,
Spanish, Georgian,
English)
Мы стоим на пороге новой эпохи, которая положила свое начало 21.12.2012
и хотим поздравить
https://www.youtube.com/watch?v=5mFHepLtYE8
Тенсегрити Карлоса Кастанеды. 12 основных движений
тенсегрити. Apr 29, 2013. Больше
познавательного видео смотрите на сайте http://infodoza.com
https://www.youtube.com/watch?v=XYwJCPqffUk
Тенсегрити. 12 базовых движений Jun 10, 2015ю
Тенсегрити -
это cистема телесных движений,
дыханий и позиций тела, называемых магическими пассами.
Согласно утверждениям Карлоса Кастанеды магические пассы открывали
шаманы древней Мексики, находясь
в состоянии повышенного осознания. Они выполнялись с целью дости
https://www.youtube.com/watch?v=ONVAcJyQJ2E
Тенсегрити Карлоса Кастанеды. 12 основных движений
тенсегрити. Apr 29, 2013 Комплекс
упражнений тенсегрити развивает и собирает у практикующего необычайно
высокий уровень энеригии и
осознаности, что неизменно возвращает человеку здоровье и порождает
ощущение избытка сил. Именно
энергия является основой здоровья человека, его жизни, возможностей и
судьбы в целом. Долгое время
Карлос Кастанеда, по указанию дона Хуана Матуса, представителя толтеков
- линии магов древней
Мексики, отбирали наиболее эффективные магические пассы из тех, что
были открыты древним магам. В
итоге все отобранные движения были упорядочены Карлосом в полноценную
технику психологической и
энергетической подготовки, которая получила название ТЕНСEГРИТИ
https://www.youtube.com/watch?v=XYwJCPqffUk
Tensegrity - The Butterfly #4
https://www.youtube.com/watch?v=1OySbaRR7eI
Tensegrity
- The Vibration Of Intent #5
https://www.youtube.com/watch?v=2VVIkt30AUM
Tensegrity
first series - preparation
https://www.youtube.com/watch?v=zyuPVBwJp10
Tensegrity: The Wheel of Time - Dec 3, 2014. Magical Passes, performed
by Ukrainian and Russian
Tensegrity Facilitators & Friends. For many ancient traditions,
time is like a wheel, which we
can turn with our intent---to live a new dream, a new experience of
reality. Practicing this series
helps us to subtly, consistently make that turn.
https://www.youtube.com/watch?v=9fI-mEe5D
Active Side of Infinity Carlos Castaneda audio book (book is
not full - книга не полная)
https://www.youtube.com/watch?v=nS_9B8q76v4
Carlos Castaneda Interview with Theodore Roszak 1969
https://www.youtube.com/watch?v=ymylx-nrldc&t=309s
The Sorcerers'
Crossing A Woman's Journey - Taisha Abelar - Audiobook (full book)
https://www.youtube.com/watch?v=BRsUAWs08Eo
Taisha Abelar radio
Interview. Aug 14, 2017
https://www.youtube.com/watch?v=aej8oHv9F74&app=desktop
The
Witch's Dream A Healer's Way of Knowledge - Florinda Donner Grau
–
Audiobook (full book) - FlorindaDonnerGrauTheWitch'sDream.jpg
https://www.youtube.com/watch?v=jEhEdvMI70U
Florinda Donner
Grau - Being in Dreaming: An Initiation into the Sorcerers' World-
Audiobook (full book), Jan 8, 2019
https://www.youtube.com/watch?v=tpbv8WtD5fU
THE ART OF DREAMING
By Carlos Castaneda Audiobook (full book)
https://www.youtube.com/watch?v=Ksnj_hMuHks
Carlos Casteneda
The Active Side of Infinity audiobook, (not full book), 2016
https://www.youtube.com/watch?v=2VUHGgQJRjc&t=505s
The Teachings of
Don Juan a Yaqui Way of Knowledge by Carlos Castaneda Audiobook
https://www.youtube.com/watch?v=XJLJXDRP_58
A Separate Reality,
Carlos Castaneda - Conversations with Don Juan Audiobook (full book)
https://www.youtube.com/watch?v=9EbOl5qc9Zg
The Power of
Silence by Carlos Castaneda Audiobook, (full book)
https://www.youtube.com/watch?v=T5t7wG4BaWA
Eagle's Gift by
Carlos Castaneda Audiobook, (full book) Oct 21, 2018
https://www.youtube.com/watch?v=F0rWWhltfQ0
Journey to Ixtlan
by Carlos Castaneda. Audiobook (full book)
https://www.youtube.com/watch?v=sInUoPsAxDQ
The Fire From
Within by Carlos Castaneda Audiobook, (full book)
https://www.youtube.com/watch?v=_5YWG8J4iL0
Tales of Power by
Carlos Castaneda Audiobook, (full book)
https://www.youtube.com/watch?v=Dwexf4lDd0E
The Second Ring of
Power, Carlos Castaneda, Audiobook, (full book)
https://www.youtube.com/watch?v=lFRkz8wO27w
THE WHEEL OF TIME:
THE SHAMANS OF ANCIENT MEXICO, THEIR THOUGHTS ABOUT LIFE, DEATH AND THE
UNIV
https://www.youtube.com/watch?v=Vc3pUANpZbQ

tensegrity first series -
preparation - by Dmitry - Russia
https://www.youtube.com/watch?v=zyuPVBwJp10
tensegrity forms 12,9,8 by Dimk - by Dmitry - Russia
https://www.youtube.com/watch?v=R30eRlgiBzE
Tensegrity Constellation Group
Тенсегрити Карлоса Кастанеды Feb 25, 2014
Tensegrity - Modern version of ancient knowledge developed by Carlos
Castaneda
(subtitles: Azerbaijani, German, French, Estonian, Croatian, Polish,
Spanish, Georgian, English)
Мы стоим на пороге новой эпохи, которая положила свое начало 21.12.
2012 и хотим поздравить
https://www.youtube.com/watch?v=5mFHepLtYE8
Magical passes: the
heat series 4. The fourth group: The predilection of the left body
(preference) and
the right body. Jun 2, 2019
https://www.youtube.com/watch?v=KkrigsTW0E0
carlos castaneda's tensegrity vol 2
https://www.youtube.com/watch?v=7A8PVXRL26g
Carlos Castaneda's Tensegrity Vol 3
https://www.youtube.com/watch?v=Td1qx8-bLTw
SERIES OF THE WOMB - PRACTICE FOR AWAKENING OF THE ENERGY OF THE WOMB
https://www.youtube.com/watch?v=xziT5uhDXao
SERIES OF THE
WOMB
- PRACTICE FOR AWAKENING OF THE ENERGY OF THE WOMB
https://www.youtube.com/watch?v=xziT5uhDXao&app=desktop
Magical passes: the center for decisions
https://www.youtube.com/watch?v=CbRaqQPj6mw
Tensegrity:
The Wheel of Time. Magical Passes performed by Ukrainian and Russian
Tensegrity Facilitators & Friends. For many ancient traditions,
time is like a wheel, which we can turn with our intent - to live a new
dream, a new experience of reality. Practicing this series helps us to
subtly, consistently make that turn.
https://www.youtube.com/watch?v=LukImQbfTCY
Magical passes: the earth form
https://www.youtube.com/watch?v=f9YporAlD04
Magical passes: the source form
https://www.youtube.com/watch?v=qX7Udq3-R2M
Magical passes: hearing energy
https://www.youtube.com/watch?v=Gbpi0VUn6lo
Magical passes: stalking the self
https://www.youtube.com/watch?v=7lw8IFRxZwQ
Magical passes: a warrior's gesture of magical intent
https://www.youtube.com/watch?v=2q11KfhO554
Magical passes: the sun form
https://www.youtube.com/watch?v=BHeIrz0p5hI
Magical passes: the binding and unbinding form
https://www.youtube.com/watch?v=bmSqsVvuYfk
Magical passes: the wheel of time
https://www.youtube.com/watch?v=pYQLD70oZII
Magical passes: opening our world
https://www.youtube.com/watch?v=SObYHUr7sPw
Magical passes: the cubic centimeter of chance
https://www.youtube.com/watch?v=s-UEyPG1PBw
Magical passes: the wings of affection
https://www.youtube.com/watch?v=JZKV4AZL4ak
Magical passes: Mapping
https://www.youtube.com/watch?v=L08PpfL1Sfs
Magical passes: jumping into the abyss
https://www.youtube.com/watch?v=Azw0HaUnre0
Magical passes: mixing galaxy
https://www.youtube.com/watch?v=JPLISyoC7Cc
Magical passes: Running man
https://www.youtube.com/watch?v=NAkMZ5i-ZLA
Magical passes: the dolphin form
https://www.youtube.com/watch?v=nmeSEBSRWZ
Magical passes: South wind
https://www.youtube.com/watch?v=u2UOMLZcSlU
Сarlos Сastaneda's
Тensegrity vol. 2 - yes
https://www.youtube.com/watch?v=7A8PVXRL26g
Сarlos Сastaneda's
Тensegrity vol. 3 - yes
https://www.youtube.com/watch?v=Td1qx8-bLTw
SERIES OF THE WOMB
- PRACTICE FOR AWAKENING OF THE ENERGY OF THE WOMB
https://www.youtube.com/watch?v=xziT5uhDXao&app=desktop
Magical passes:
jumping into the abyss. The sequence presented at the "What is your
nightmare?" workshop, 2007 in Bath UK.
https://www.youtube.com/watch?v=Azw0HaUnre0
Magical
passes: The Wheel of Time. The sequence presented at the
“Experience
your place in the lineage - Following the trail of the plumed serpent:
OLMEC” workshop, April 2018 in Mexico.
https://www.youtube.com/watch?v=pYQLD70oZII
Magical passes:
South wind. Jul 19, 2020
https://www.youtube.com/watch?v=u2UOMLZcSlU
Magical passes:
stalking the self. Jan 20, 2019
https://www.youtube.com/watch?v=7lw8IFRxZwQ
Magical passes: the
wings of affection. Jan 8, 2019
https://www.youtube.com/watch?v=JZKV4AZL4ak
Magical passes:
steps in nature. Aug 31, 2019
https://www.youtube.com/watch?v=mV6Gre8F9kM
Magical passes: the
heat series 4. The fourth group: The predilection of the left body
preference)
and
the right body. Jun 2, 2019
https://www.youtube.com/watch?v=KkrigsTW0E0
3 Magic Passes for
Dreaming. Nov 8, 2014
https://www.youtube.com/watch?v=4vpyoMCQADk&app=desktop
Magic passes for
the face
https://www.youtube.com/watch?v=E7lidkvPpRk&app=desktop