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To: ixtlan@onelist.com
From: byron.z@virgin.net
Date: Wed, 9 Jun 1999 11:51:00 -0700
Dear Tensegrity practitioners,
The Energy at the Barcelona workshop was just right! (I have no other words to describe it). I was really glad to be there and it appeared
to me that so was everybody else. All the instructors were very relaxed.
Miles Reid said that Barcelona had a history of being the centre from which many navigators journeyed to far off lands. We too are navigators, he
said, but with a difference. We navigate the Infinite. He invited everybody to such a journey by doing Tensegrity.
He also thanked all of the Tensegrity participants for perpetuating the intent of the shamans of ancient Mexico by doing the magical passes.
(I looked around and it was true. There was an inflexible intent mirrored in the eyes of everybody present. Despite the human differences in
language, types of body, male, female, I could feel an abstract presence there too which united us all.)
Miles said that we are warriors venturing on our own unto the infinite worlds out there, but we all are united by a common purpose.
This theme of the solo journey (for a warrior doesn't need anyone to hold their hand), was stressed on a number of occasions. We did many passes
from the masculinity series throughout the workshop and as it was explained these passes develop the qualities of courage, sobriety, and endurance which are necessary to a warrior. They enable the vital centres to reclaim the
energy which had been dispersed, by the ware and tear of everyday life, to various areas in the human cocoon.
Miles told the story of how Carlos used to say that we all could 'dream' if only we didn't squander away our energy. What a waste! He exclaimed.
What a waste!
Gavin said that the spirit of the times dictates that today we no longer need Naguals or gurus to accomplish this task. He said that it is
possible by doing the magical passes to reclaim our energy and to be able to dream.
Brandon Scott told us how one night , in the small hours of the morning he received a phone call by Carlos Castaneda.The Nagual had something
important to discuss with him. Brandon was very tired after a hard day at work so he asked whether it would be possible to talk the next day over lunch. Carlos said it would be OK. The next day Brandon was dying to know what
the important issue was going to be. But the lunch never happened. The moment had passed! The message he said is that to be effective we have to do the magical passes not in our own good time , but at the right time, the time
of Infinity.
We began by doing the passes from the series of Intent. We learned the longform which is also shown on the new video "unbending Intent".
The following passes, from the Intent series, we practised in pairs at various time during the workshop.
1. Mixing energy by striking the floor with the Heels (MP4)
2. The Half Circle of Energy (MP22)
3. Kneading Energy with a push of the Shoulder Blades (MP24)
4. Stirring and grabbing energy from below the knees and above the head. (MP31)
5. Dragging Energy from the front of the legs. (MP37)
These passes were practised in pairs. First both parties did the pass at the same speed. Then one did the pass at double the speed while the other
did the pass at the normal speed. Both parties finished the pass at the same time.(Only one person had completed the left and right side while the other had only finished doing one of the sides)
We did the Heat series in the following manner:
First both the left and right side perform the passes at the same speed. However one has to
always observe the pass from the side that is immobile. The Left side, they explained, is the side of passion, sensitivity and exploration. The right side is the side of immediate action, sobriety and alertness. One has to
place all of one's attention on the side that is immobile so if one is doing a pass with the left side of the body one's whole being and attention is on the right side. So prior to doing any pass here was a small pause to
initiate this shift in attention.
Between the Stirring and mixing passes we mixed energy from left to right to left using tiger claws (Like the beginning of the sabre tooth tiger
pass).
After the Heat series passes were performed at the normal speed on the left and right sides, we were told that we would go deeper into the left
side. This time however the left side moves slowly and softly while the right snaps into action. (Again the attention must be on the immobile side) For stirring energy we performed the following passes in the manner I just
described:
1. Gathering energy of the left and right bodies in a circle which is perforated with the tips of the fingers (MP2) - after the two circles step
forward and then do the perforations.
2. A Wheel with the fingers contracted at the middle joints (MP9) - No step in this pass. The wheel is rotating backwards. Just as the left slow wheel is about to finish, the right one
snaps into action.
3. Smoothing energy out in front of the body. (MP10) - Do with a step forward -
4. Drawing one circle of energy laterally with the index and middle finger extended. (MP14) As the pass
finishes the knee (on the same side as the active hand) comes up to the chest pushing energy into the trunk.
5. Stirring energy around the temples. (MP15) - As the fist comes down from the temples to strike behind the
same side foot steps back and the head tilts back as the eyes glance over the shoulders at the fist.
At the end of these passes for stirring energy, do "Moving energy with the breath from the top of the head to the vital centres"
For mixing energy we did:
1. Piling energy onto the left and right bodies. (MP18)
2. Gathering energy from one body and dispersing it on the
other. (MP22) - as you strike step forward.
3. Hammering energy from the left and right shoulders on the midpoint in front of the face (MP23) - as you strike step forward.
4. Pushing energy to the sides with the elbows
(MP26) Step forward slowly with the left foot while crouching to bring the fists under the axillae then step up fast bringing both feet in alignment and simultaneously strike with the elbows to the sides, then step back fast
with the right as arms fold once again to bring the fists under the axillae and finally step back slowly bringing both feet in alignment as body straightens up and simultaneously strike with the elbows to the sides slowly.
5. Striking energy in front of the body with both fists and on the left and the right.(MP29)- Begin to step forward. As the left knee comes up both hands strike down on either side of the knee; then as the foot plants itself on
the ground twist to the left and slowly do the remainder of the pass.
At the end of the mixing of energy passes perform the Lateral breath. (MP37)
A lot of emphasis was placed on the 'Masculinity series'.
It is the only series which was practised in groups during Don Juan's time and it develops focus and sharpness of intent. (This quality of focus was clear to me while doing these passes.)
We were also shown a new form which at one point was referred to as the
"Masculinity Series in partners".
The origin of this form stems from the Nagual Lujan who was a already a master in the martial
arts before he became a Nagual and one who discovered many of the passes we practice today. His forms are characterised by precision. This form is designed to give an energetic boost to both the warriors that perform it.
Partners face each other about 3-4 feet apart. Turn the body on. Maintain eye contact throughout this pass. Hands start resting on the knees. With an inhalation the arms rise , palms touching the front of the body, until both
hands are above the head, fingers pointing to the sky, then exhaling the hands descend, palms facing up until they are level with the hips. Pause for a moment then both arms (palms facing up) extend backward till palms face the
ground and then with a sharp movement and still exhaling both hand come up till the arms are facing forward , palms facing up, arms slightly bent , as if offering something to your partner. Body is slightly stooped forward,
pivoting on the adrenals.
Do like a tiger claw with right hand , parrying from right to left, and then with the left hand parrying from left to right while at the same time 'gathering energy with the soles of the left
foot and moving it up the right inner leg. This is done once and then the foot rests on the ground.
Using both hands the partners strike three times simultaneously using the heels of the palms( similar to the strike in
MP19 of the Heat series) to the height of the opponents shoulders(x3), chest(x3), and belly(x3).
Slightly stooping forward, do a circular parry with the right hand (similar to the first move in the 'predilection of the
right body), then a larger circle with the left hand, and repeat again first right then left.
Step back on the left leg and assume a defensive posture where the right leg and hand are very close to each other,elbow to
knee (a bit like 'cat stance ' in martial arts). Opponents are measuring each other. Right foot goes back and resume the stance this time left leg is in front and hands switch position too.
Both parties advance towards
each other taking to sliding steps forward while the back foot drags behind. So they have stepped past each other step and they are now back to back.
(They cant see each other).
Starting on the left side they do 'pushing down a pole of energy (MP7).
Repeat on the right side.
Repeat this pass another four times.
Both partners turn around so they are facing each other again. Using both hands
one does 'polishing a high table with the palms(MP3)(x3) while the other does 'Using a cutting tool in each hand'(MP2). (x3). Swap sides and repeat the sequence (1,2,3)
Then starting with the left, both parties
simultaneously do 'cutting energy with one hand at a time'(MP8)(LR,LR,LR).
Then starting with the left hand on top both parties simultaneously do pulling a rope of energy(MP6) To do this one starts with the hands in the
'up' position of the pass while
the other starts with the 'down' position of the pass. Do the pass 3 times and then swap hands so that the right hand is on top.
Still facing each other assume the position to do
'striking energy with a spike of energy'(MP10) Beginning with the left hand up (Left fists of both parties are almost touching other person's chin) Do the pass 3 times with the left hand and 3 times with the right hand.
Starting with the left hand do 'using a plane of energy'(MP9) x3
Repeat on the right side.
One partner does 'cutting a circle of energy' while the other does 'Slashing energy with a sword-like cut'(MP22) Do these 5
times swords interweaving. (Do not swap sides).
Both parties do 'cutting energy in an arc'(MP 21), three times on the left and three times on the right.
Both parties do 'the sledgehammer', one after the other 3 times.
Both parties turn so they are facing the same direction and together do 'the digging bar' 5 times.
While on the topic of the 'Masculinity Series'
here is the order of the passes from the masculinity series which Gavin showed us, at some point during the workshop, after we had done the 'Legs rule vitality' and which he said brought sobriety and confidence. (Especially
after the recapitulation) After each pass was done about 10 times and there was a 'lull' at the end of each pass to allow the energy from various parts of the human cocoon to 'come back' to our vital centres.
1.Pushing down a pole of energy
2.Polishing a high table
3.Using a cutting tool in each hand (both hands together)
4. (As above but one hand at a time)
5. Pulling a rope of energy
6.Striking energy with a spike of energy
7. Using a plane of energy (each side back and forth x10)
8.Cutting a circle of energy
9..Slashing Energy with a sword-like cut
10. Cutting energy in an arc.
11.The Sledgehammer
12.The Digging bar of energy.
During the Barcelona workshop we were encouraged to write down any questions me may have about the practice of the magical passes and the recapitulation. Apparently
the instructors were inundated with questions and so there were two formal sessions when they answered some of these questions. Here is a sample:
Q: What about times when doing recapitulation is so difficult that it
feels like one is in 'a fog', or 'dark world'. How does one overcome that?
A: Experiences that are too difficult to deal with can have the effect of creating an overload on the mind and so creating a 'shutdown' effect which
is experienced either as a 'fog' or by causing the body to fall asleep because it simply can't cope. Create a new list and put such experiences there under the label 'fog' and recapitulate other events which are lighter.
Recapitulation is not torturing oneself! Intend to find a way to deal with these experiences, put them 'on the back burner' and Intent will show the way forward. Later when one has more energy one can return to these 'heavier'
events and deal with them easily. We were also encouraged to be inventive in overcoming such obstacles by becoming more observant in our daily lives. One practitioner ( a psychotherapist) found that his recapitulation not only
helped him digest the events in his daily life but that it actively showed him new ways in dealing with his patients and their problems. For instance he introduced his patients to ways of 'breathing' while recounting their
experiences. ( I think that is what was said).
Brandon told the story of how there was an event from his childhood that had been traumatic and which he didn't want to go near. It concerned a bully at school who used to
threaten to beat him up. He had resorted to 'hiring' an other kid which was stronger than him to protect him. Of course he had to give him money, sweets and food in return. All the turmoil and feelings associated with this
event were too much for him to recapitulate. When he told Carlos about this, the Nagual suggested that he go and observe young children at play. As it happens he used to organise children's parties and so he had a 'front seat
view' of the way children interacted with one another. After observing the children play he felt like he was no more important than they were. Having lost his self importance he was able then to recapitulate his early school
experiences, and overcome this energetic block. On a similar note we were told that if for instance one cannot visualise clearly the interactions that one has in the office or working environment, next time you go to work pay
attention and observe your surroundings. What does your chair look like? What is the ceiling like? If you pay attention next time when you recapitulate it will be easier to put yourself in the picture.
Also it was
stressed that recapitulation hones the dreaming attention. It was said that 'dreaming is the art of being in the present, now'.
It was stressed that it is impossible to give detailed instructions about the process of
recapitulation because one has to learn what works best for oneself. Let the recapitulation dictate what you should do. Some find it easy to recapitulate by continuously moving the head to and fro, whereas others prefer to set
the scene first, observe it and finally to do one sweeping breath. Others also do a clearing breath where one seals the event energetically by moving the head to and fro without breathing. For some a crate is necessary for
others not. Still some prefer to do the recapitulation when walking, others sitting, and others lying down. All of these approaches are viable. Just do it!
We were asked to find what our 'passion' is. The left body is
passionate. Everyone has a predilection which is one's passion. If there is something that you always wanted to do but were afraid of doing, now is the time to have a go. It could be painting, or singing, or dance..... We don't
have much time. Death is always stalking us, explore, be passionate about life.
Doing what one is passionate about feeds into the recapitulation and enables one to use caches of energy which are not often used. Brandon
Scott told the story of how at the beginning of his apprenticeship with Carlos while he was a student of psychology he really wanted to know how the shamanistic techniques could be used in conjunction with psychotherapy. so he
asked him whether they could discuss these issues over coffee. Carlos said yes but first Brandon had to do a collection of magical passes for one week. Carlos had said to him: 'Look at your hand, it is the hand of an
intellectual. You have to learn to move your body'. So Brandon thought that was a ploy and that he had been rebuffed went home disappointed but he did the passes anyway. By the end of the week he felt like a different man. His
body had straightened up and he moved with a confidence that he had never felt before. Indeed after that week had passed the Nagual said that now they could talk and he asked him: 'What is your passion?' 'What is it that you
really like doing best?' Brandon said: 'Reading. Exploring the world of psychology'. Up to then he had studied psychology but he had concentrated only on what he liked, things that he agreed with. However Carlos told him to
read absolutely everything about the subject , not only what he personally found interesting. He had to read as wide as possible. He had to have a romance with Knowledge.
Gavin talked about how discipline is to do with
being able to focus one's energy, the ability to feel wonder. He told us (very passionately), how discipline is not a robotic soldier-like behaviour.(He imitated the marching of soldiers and how the sergeant puts on his white
gloves and checks for dust everywhere). This he said is dumb.
One day the Nagual had asked him and some of the other instructors to clean the attic of a house. First it had to be cleaned and then painted. Gavin went
about the task by being excruciatingly fussy about the minutiae of the details. He would clean every speck of dust and pick up every little fluff of the insulating material that covered the floorboards. He was so absorbed in
himself and his 'cleaning crusade' that he mistakenly stepped in between the floor joists and went though the insulation and the plaster ceiling landing -lucky for him- on Florinda's bed which was located on the floor below!
That taught him a lesson.
One question was : 'why are the instructors perpetuating the myth that men are strong and macho while women are frail and only good for working in the kitchen and having babies?' There was
laughter all around at the end of this question and in his answer Brandon stressed that short of the ritual of courtship, women were capable of doing anything. Moreover women have a direct connection to the 'left body', a
connection that men have to work very hard for.
Concerning questions about the relationship with the family unit , we were encouraged to be in the best of terms with our parents and have respect for what they had done
for us.
Q:How can one be with your group?
A: You are part of our group. There is no advantage that we have over you. We all have an appointment with Infinity
Q: Is the assemblage point important to shamans?
A: The assemblage point is everything to the shamans today as it was also for the ancient shamans of Mexico.
After the seminar had ended the instructors divided the participants into different speaking groups (German,
English, Spanish and French) and they answered various questions. Some of the questions in the English speaking group were answered by Rylyn and Rene.
Q:' How should one practice the not doing passes? There used to be an
emphasis on the lull, now the not doing passes are done at normal speed.'
A:Listen to your body! There is no rule as such. Be flexible about the practice.
Q:Do women's periods stop?
A: No, but their cycle may change.
Q: What is Intent? What is the Intent of the Universe?
A: We can only speak of the Intent of the shamans of ancient Mexico. That is what we know. Broadly speaking it has to do with
many worlds, not just the human world, it has to do with freedom and perhaps that is also true for the Intent of the Universe.
Should we put the passes together in our own order or maybe also do passes that we see in our
dreams?
A: Although we often dream of doing passes we refrain from inventing our own sequences. Because participants throughout the world do the same passes in a particular order we can 'dream together'. Nevertheless if you
have the energy to invent your own passes go ahead so it.
How do the three witches teach you? Do they teach you directly, in dreaming, how?
We don't call on them, they call us. We may get a phone-call ,we have
meetings before workshops. They let us get on with it , they supervise us from afar.
Q:Is it true that you don't wash or bath
A:Maybe on some occasions........
I can't remember the question but part of the answer was:
One of the cool things about tensegrity is that you are free to explore doing things in different ways. There are no set rituals. Also you may find in doing so
that once you move the assemblage point to a different position it remains fixed in that new position there and so you learn a whole new way of 'doing'. That is how old patterns of behaviour can be changed.
Q:Where is the death defier?
A:The Death defier is here but he is not energetically available. He chooses freely to be in this world. His gift to Carlos Castaneda was that Carlos could leave the door open for anyone who
wished to enter the warriors way to freedom.
I would be very interested to know what other questions were asked in the
other groups( Spanish, German, French etc)
The Legs rule vitality.
(These passes were done before and after recapitulation.Each pass was repeated 10 times)
1. Starting position. Lying down both hands in fists, back of the knuckles of one hand almost touching the forehead the inside of
the fist of the other hand almost touching the navel. Inhale and swap the position of both hands, exhale and swap position of hands once again.while doing this use the power of the abdomen to move the arms.
2.Starting
with the right leg, keep the whole leg straight and start making small outward spirals which gradually get larger and larger. Then reverse the direction so that the large inward spirals become smaller and smaller until you
reach the starting position once again. Repeat with the left leg.
3.Similar to 'a wheel with the fingers contracted at the middle joints'(MP9-Heat series), but in a lying down position.
4. This is very similar to
the previous pass but this time both hands -the fingers contracted at the middle joints- are very close -Right over Left-(almost touching), they start about the height of the forehead and both together strike down in a circular
fashion towards the navel.
5. Same but place Left hand over the Right.
6. Right knee comes up to the chest, then it drops to the right almost touching the ground then the leg straightens out,(like a push kick)so
that now both legs are at a 45 degree angle and finally the right leg circles inwards until both legs are next to each other in the starting position.
Repeat 10 times on each side.
7. Left and right short stabbing punches one after the other,at the height of the vital centres.
8. As above but this time both hands punch together delivering their blows to the vital centres.
9. Sit up straight
and repeat the previous pass.(stay in the sitting up position for the remainder of this series)
10. Both legs are straight. Then the right leg rises over the left leg, the right knee bends and the right foot plants
itself on the ground to the left of the left knee. (x10 and repeat with the other leg)
11.Version 'B'. This time both legs swing together first the left over the right, gathering momentum, until both legs end up tied
like 'a knot', knees bent as far as possible the right heel almost touching the left hip and the left heel almost touching the right hip! At the end of this pass lower the top knee towards the ground causing the lower part of
the spine to move/twist. (This is a great pass for loosening up stiff hips and good for those with lower back problems, but do with care)
12. Sitting up straight, knees bent and soles of the feet almost touching (this
pass can also be done sitting cross legged ), both arms rise up and cross in front of the face (you are looking at your wrists, hands are in fists), then both hands separate with great force so that the fists strike downwards
past their respective hip, (this move could also be described as tearing a sheet of cloth in twain ); the second part of this pass is that the fisted hands after having delivered their blow continue to rise in a circle above
the head and from there the hands open and both hands strike down simultaneously at an area in front of the navel , with the palms open and facing the ground.
Gazing
At various points during the workshop we
did the gazing pass. It is important to sit or stand in surroundings where if one looses one's balance one will fall on a soft surface. This gazing is deceptively powerful and so take it easy.
The strange thing I found
about this pass is that although I didn't fully understand the actual procedure that we were asked to follow, it was very effective in removing all the tiredness that I felt at the time and also it opened up my vision so that I
was looking anew at what was in front of me. The world seemed fresh and new again. These are the instructions as I remember them and if anyone else has a more accurate version please post it.
Begin by shutting the eyes
tight , then open them as wide as possible and finally let the eyes half close so that the vision is 'soft'. Circle the eyes twice clockwise and twice anticlockwise. Open the mouth as wide as possible and close it again,making
sure the jaw is relaxed and the tongue is on the roof of the mouth.
Look at the horizon and let your eyes rest slightly above it.
Be aware of the area above the horizon as a sweeping curve which from above the eyes
droops down either side of the shoulders.
Now this curve is part of an ellipse which continues all the way to the feet. (Essentially you are facing an oval) (It is possible that the instructor also said that there were two
inclined oval areas one in front of every eye)
The gazing consisted in systematically exploring the oval(s) with the eyes in a zig-zag pattern from top to bottom in the vertical plane and in depth. So one may begin at the
top of the oval move to the eyes to the left side of the oval , then across to the right edge, across the centre to the extreme left edge , down to the left, across to the right and back up to the
centre).
This was done a
couple of times and the same process was followed investigating the oval which is parallel to the ground (depth).
I can't be more specific, try it and see.
The Areas of Mystery and Sound
( Do these
passes lying down. Knees can also be bent, soles of the feet on the ground. For all the following passes it helps to use the 'leather weight' placed on the area of the navel. It is also possible to do these passes without the
weight).
Prior to recapitulation we did the following passes investigating the areas of mystery. We were told that there had been a warrior in Don Juan's group named 'Olanda' (I think that was the name) and that her
predilection had been singing. In fact she had studied Opera in Europe. She was described as having been both 'serious and mysterious' and the following passes using sound were attributed to her. It was said that these passes
can make us aware of the vibratory force of intent and that the sounds that we produce interfere with and can completely stop our inner dialogue, so that one attains inner silence.
1. Do the first pass from the second
category of 'devices used in conjunction with specific magical passes' (MP17). As you vibrate the fingers hum the lowest possible sound that your capable of producing.
2. Do the second pass from the second category of
'devices used in conjunction with specific magical passes' (MP18). As you vibrate the fingers hum the lowest possible sound that your capable of producing.
3. Hands are in fists with the first joint of the index finger
protruding. Place them at the space in between the top to ribs, under the armpits, at the height of the sternum. Vibrate that area and then press continuously while at the same time also hum the lowest possible sound that your
capable of producing. At the end of this pass both arms shoot out to the sides and the humming stops.
4. The next area of mystery is at the back of the neck.( if you tense the neck muscles you can feel a hollow spot high
up on either side , place the little finger where the ear lobes are and that spot is where your index finger is ) Placing the index and middle fingers on that spot on the left and right sides vibrate and at the same time hum a
medium pitch note.
5.The next area of mystery is below the ears and at the end of your jaw line. Again vibrate and at the same time hum a medium pitch note.
6. The next area is the temples (about two fingers away
from the height of the eyes).Vibrate with a high pitch sound.
7.Vibrate with the right index and middle fingers on the middle of the brows (3d eye) and hum a high pitch sound, then change hands and press with the left
index and middle fingers on the middle of the brows. Using thumb, index and middle fingers, finish by dragging out from that area any 'poisonous' thought- forms and flick them away.
8.Begin by circling with the right
index and middle fingers on the crown of the head ,then press with the same fingers of the left hand. At the same time hum a high pitch note. Finish by drawing a 'thread' from the crown and flicking it up into infinity.
9. This pass was executed in total silence throughout. Place the index and middle fingers of both hands on the 'hollow' area underneath the back of the skull and gently vibrate and then press first the left then the right then
left again and right again. The arms can either remain there or come to rest by the navel (while you still visualise them being at the back of the head). Go into inner silence.
Listening to the haunting sound of a
classical guitar playing a piece of free improvisation in the flamenco style ended this pass and brought to a close the last session on the Saturday evening. ( I found later that the piece comes from 'the Waverly Consort' 1492.
-EMI
CDC 7545062)
On the Sunday morning after doing the pass 'dusting one's link with intent' the word 'Intento' was intoned using a whisper, the speaking voice, a low bass sounding voice, a high pitch sounding voice,
a relaxed singing voice.
The use of sound will be explored further at the next workshop in San Diego.
A new breath for the 'Affection of the Earth Passes'
Begin by exhaling all the air out, hands
come down to respective knees and breath in deeply as one rises the hands come out to the sides unfolding the wings and then they close in again as the finger tips come towards the V spot while exhaling.
Inhaling do 'packing
energy on the womb'(MP5-womb series) First do the circular move chest to navel , then squeeze 'the ball' exhaling and then strike it twice still exhaling. Arms cross over the ball then they rise above the head (still crossed)
and finally with an inhalation the energy is ripped open (hands in fists) and then with an exhalation the energy is wiped onto the vital centres. (pancreas, spleen, liver and gallbladder)
The rest of the breaths were essentially the same as shown in Boston
Finally on the Sunday we were treated to an elegant show of dancing by Darien and Alexander who clearly have a predilection and passion for dancing.
They were dressed in the style of the 1920's and danced as a couple to a Big Band piece of jazz from the swing era 'Cherry' by Henry James. It was hilarious! All the moves came from Tensegrity passes and at the end of their
dance all participants were invited to join in the dance. Once again to end the workshop the same two dancers this time in 15th Century costumes danced an incredible dance this time to 'early music from the medieval era' , a
dance which was full of passes from most of the series and they were soon joined by Rylyn who dressed in a belly dancing attire danced 'the predilection of the left body' while at the same time playing the castanets. It was
spellbinding! As it was described this dance showed the harmony that exists between the right and left bodies
I would like to say 'thank you' to Cleargreen, the instructors the three disciples of Don Juan and all the
participants for a truly magical workshop. It marks for me the close of one chapter and the beginning of another in the active side of Infinity.
The fruit of the seeds of Intent of the shamans of ancient Mexico can now be seen everywhere.
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