06-06-2012, 12:01 AM
Set back the center art piece i tapped Is a ( ) Mora. It gave a different vision then the Two headed eagle (two paths) and Tree man figure tonight. I guess thats why it hangs near e( ) catlet one (they are married). I tapped it three times the central figure is a colorful moth with three wings and one eye moth (ive long known represented me and my siblings are like bees or butterflys.) Its a readable piece he made it for my parents wedding. ( ) mora is still alive? i might try and contact him.
I thought it was a Ramón Medina Silva. ( ) is awake. She thinks thats the man my parents met in guadlarja in 1978. When i had my trip to mexico at two. She says theres some yarn painting stuff in a box somewhere i need to look. Im trying to clsoe the fallout from the last two nights of dreaming out. Shes never heard of carlos casteneda too funny. Either had i though lol.
http://www.dhushara.com/book/genaro/genaro.htm
Introduction: The Trickster
"The superhuman culture heroes of North American mythology also behave as tricksters, using cunning and stealth to steal fire, outwit monsters or play tricks on others. Many peoples have developed these trickster tales into a separate body of myth, and in some areas, such as the Northwest coast, the culture hero and trickster are sometimes regarded as separate beings. ... Because the trickster is usually the same as the culture hero, he is usually called by the same name: Great Hare, Nanabush or Glooskap in the Woodlands, Rabbit in the Southeast, Coyote on the Plains and in the West, Spider on parts of the Plains, and Raven, Blue jay or Mink on the Northwest coast. Despite his different guises, he exhibits similar characteristics across the continent, the same tales occurring in widely separated areas. He can be a crafty joker and a bungler, who is usually undone by his own horseplay or trickery, ending up injured or even dead - only to rise again, seemingly none the wiser for his experience. At times utterly irreverent and idiotic, the trickster's doings highlight, in an entertaining context, the importance of moral rules and boundaries. Many trickster myths are extremely vulgar" (Willis 227).
One character who behaves simultaneously as shaman culture hero and trickster on many levels is Carlos Casteneda in his allegory with Don Juan. Here he ranges from the extremes of the nagual as superhuman shaman to the trickster as allegorist
"Don Juan was looking straight at don Genaro. His gaze was fixed. His eyelids were half-closed. He was sitting very erect with his hands resting between his legs, on the edge of the rock. I leaned over a little bit to see the two young men. Don Juan made an imperative gesture with his hand to make me get back in line. I retreated immediately. I had only a glimpse of the young men. They seemed to be as attentive as he was. Don Juan made another gesture with his hand and.pointed to the direction of the waterfall. I looked again. Don Genaro had climbed quite a way on the rocky wall. At the moment I looked he was perched on a ledge, inching his way slowly to circumvent a huge boulder. His arms were spread, as if he were embracing the rock. He moved slowly toward his right and suddenly he lost his footing. I gasped involuntarily. For a moment his whole body hung in the air. I was sure he was going to fall but he did not. His right hand had grabbed onto something and very agilely his feet went back on the ledge again. But before he moved on he turned to us and looked. It was only a glance. There was, however, such a stylization to the movement of turning his head that I began to wonder. I remembered then that he had done the same thing, turning to look at us, every time he slipped. I had thought that don Genaro must have felt embarrassed by his clumsiness and turned to see if we were looking. He climbed a bit more toward the top, suffered another loss of footing, and hung perilously on the overhanging rock face. This time he was supported by his left hand. When he regained his balance he turned and looked at us again. He slipped twice more before he reached the top. From where we Were sitting, the crest of the waterfall seemed to be twenty to twenty-five feet across" (Casteneda 1971 125).
It is my impression that this special condition of the shaman cannot be faked - that not only he himself but his companions really do know whether or not a man who lays claim to being a mara'akame has what the Huichol call "balance"- that special, ineffable capacity to venture without fear onto the "narrow bridge" across the great chasm separating the ordinary world from the world beyond" (Furst 152).
( ) told me of a dream, her s( ), a collapsing bridge, etc. It stuck with me a week now. Came back in context. And a new doctor.
RdeM: I suppose his biggest trick on you was feeding your waterfall story right back to you.
BGM: That was a very interesting incident. I mean, it never crossed my mind that his description of don Genaro on the waterfall proved anything except that I was doing good fieldwork because I had come up with an observation and interpretation so much like his. When he said, "Oh, that's just like don Genaro," it was very validating for me.
RdeM: How do you feel about it now?
BGM: The feeling of validation remains, the feeling that we were both talking about the same serious and important manifestation of Mexican shamanism.
RdeM:Even though his part of it was made up on the spot, the feeling of mutual understanding and significance remains.
BGM: Yes.
RdeM: He must have a remarkable ability to resonate to things people tell him.
BGM: Oh, he does.
RdeM: The stories he makes up exactly fit the person he is talking to.
BGM: They're mirrors. It's happened over and over. So many people describe their conversations with Carlos, saying, "I know just what he's tailing about." But each one tells you something different, something that is part of his or her own world, which Carlos has reflected. ... His allegories, the stories he tells, seem to validate everybody.
"In the summer of 1966 Ramon gave us a memorable demonstration of the meaning of "balance." He took us to a spectacular waterfall, with a sheer drop of hundreds of feet to the valley below. This, he said, was "specially for shamans." While the other Huichol grouped themselves in a semicircle in a safe place some distance from the edge, Ramon removed his sandals and, after making a series of ritual gestures to the world directions, proceeded to leap -"fly" might be more appropriate - from one rock to another with arms stretched wide, often landing but a few inches from the slippery edge. Occasionally he would disappear behind a great boulder, only to emerge from an unexpected direction. Or he would stand motionless at the extreme limit of a massive rock, wheel about suddenly and make a great leap to the other side of the rushing water, never showing the slightest concern about the obvious danger that he might lose his balance and fall into space. We were frankly terrified, even annoyed, at such "foolhardiness," but neither his wife nor the other Huichol watching showed any real apprehension. The demonstration ended as abruptly as it had begun, without any explanation of Ramon's strange behaviour. " (Furst 152-3, Meyerhoff 44) "The mara'akáme must have superb equilibrium otherwise he will not reach his destination and will fall this way or that"' - Barbara Meyerhoff (Halifax 233, Meyerhoff 44)
"The following day he asked if we thought he had been showing off. He said, "Perhaps you thought, 'Ah, Ramon is drunk with too much beer.' But no. I took you there to show what it means 'to have balance.' So you could see and understand. Because when one crosses over as a shaman one looks below, and then one perceives this great abyss filled with all those animals waiting to kill one. Those who do not have balance are afraid. They fall and are killed." In order to render intelligible something he feared our cultural experience might not have prepared us to understand, he had decided to give us a physical demonstration-a kind of literal translation-of a phenomenon basic to shamanism wherever it occurs" (Furst 153).
Il snap pictures latter if i can. Of the art piece. Im posting in a shifted state. Or was. Sorry. Im not even sure what the point is as i come out. the conversation the other night what i was grilling CC about before i went to the pool. that must be it.
I thought it was a Ramón Medina Silva. ( ) is awake. She thinks thats the man my parents met in guadlarja in 1978. When i had my trip to mexico at two. She says theres some yarn painting stuff in a box somewhere i need to look. Im trying to clsoe the fallout from the last two nights of dreaming out. Shes never heard of carlos casteneda too funny. Either had i though lol.
http://www.dhushara.com/book/genaro/genaro.htm
Introduction: The Trickster
"The superhuman culture heroes of North American mythology also behave as tricksters, using cunning and stealth to steal fire, outwit monsters or play tricks on others. Many peoples have developed these trickster tales into a separate body of myth, and in some areas, such as the Northwest coast, the culture hero and trickster are sometimes regarded as separate beings. ... Because the trickster is usually the same as the culture hero, he is usually called by the same name: Great Hare, Nanabush or Glooskap in the Woodlands, Rabbit in the Southeast, Coyote on the Plains and in the West, Spider on parts of the Plains, and Raven, Blue jay or Mink on the Northwest coast. Despite his different guises, he exhibits similar characteristics across the continent, the same tales occurring in widely separated areas. He can be a crafty joker and a bungler, who is usually undone by his own horseplay or trickery, ending up injured or even dead - only to rise again, seemingly none the wiser for his experience. At times utterly irreverent and idiotic, the trickster's doings highlight, in an entertaining context, the importance of moral rules and boundaries. Many trickster myths are extremely vulgar" (Willis 227).
One character who behaves simultaneously as shaman culture hero and trickster on many levels is Carlos Casteneda in his allegory with Don Juan. Here he ranges from the extremes of the nagual as superhuman shaman to the trickster as allegorist
"Don Juan was looking straight at don Genaro. His gaze was fixed. His eyelids were half-closed. He was sitting very erect with his hands resting between his legs, on the edge of the rock. I leaned over a little bit to see the two young men. Don Juan made an imperative gesture with his hand to make me get back in line. I retreated immediately. I had only a glimpse of the young men. They seemed to be as attentive as he was. Don Juan made another gesture with his hand and.pointed to the direction of the waterfall. I looked again. Don Genaro had climbed quite a way on the rocky wall. At the moment I looked he was perched on a ledge, inching his way slowly to circumvent a huge boulder. His arms were spread, as if he were embracing the rock. He moved slowly toward his right and suddenly he lost his footing. I gasped involuntarily. For a moment his whole body hung in the air. I was sure he was going to fall but he did not. His right hand had grabbed onto something and very agilely his feet went back on the ledge again. But before he moved on he turned to us and looked. It was only a glance. There was, however, such a stylization to the movement of turning his head that I began to wonder. I remembered then that he had done the same thing, turning to look at us, every time he slipped. I had thought that don Genaro must have felt embarrassed by his clumsiness and turned to see if we were looking. He climbed a bit more toward the top, suffered another loss of footing, and hung perilously on the overhanging rock face. This time he was supported by his left hand. When he regained his balance he turned and looked at us again. He slipped twice more before he reached the top. From where we Were sitting, the crest of the waterfall seemed to be twenty to twenty-five feet across" (Casteneda 1971 125).
It is my impression that this special condition of the shaman cannot be faked - that not only he himself but his companions really do know whether or not a man who lays claim to being a mara'akame has what the Huichol call "balance"- that special, ineffable capacity to venture without fear onto the "narrow bridge" across the great chasm separating the ordinary world from the world beyond" (Furst 152).
( ) told me of a dream, her s( ), a collapsing bridge, etc. It stuck with me a week now. Came back in context. And a new doctor.
RdeM: I suppose his biggest trick on you was feeding your waterfall story right back to you.
BGM: That was a very interesting incident. I mean, it never crossed my mind that his description of don Genaro on the waterfall proved anything except that I was doing good fieldwork because I had come up with an observation and interpretation so much like his. When he said, "Oh, that's just like don Genaro," it was very validating for me.
RdeM: How do you feel about it now?
BGM: The feeling of validation remains, the feeling that we were both talking about the same serious and important manifestation of Mexican shamanism.
RdeM:Even though his part of it was made up on the spot, the feeling of mutual understanding and significance remains.
BGM: Yes.
RdeM: He must have a remarkable ability to resonate to things people tell him.
BGM: Oh, he does.
RdeM: The stories he makes up exactly fit the person he is talking to.
BGM: They're mirrors. It's happened over and over. So many people describe their conversations with Carlos, saying, "I know just what he's tailing about." But each one tells you something different, something that is part of his or her own world, which Carlos has reflected. ... His allegories, the stories he tells, seem to validate everybody.
"In the summer of 1966 Ramon gave us a memorable demonstration of the meaning of "balance." He took us to a spectacular waterfall, with a sheer drop of hundreds of feet to the valley below. This, he said, was "specially for shamans." While the other Huichol grouped themselves in a semicircle in a safe place some distance from the edge, Ramon removed his sandals and, after making a series of ritual gestures to the world directions, proceeded to leap -"fly" might be more appropriate - from one rock to another with arms stretched wide, often landing but a few inches from the slippery edge. Occasionally he would disappear behind a great boulder, only to emerge from an unexpected direction. Or he would stand motionless at the extreme limit of a massive rock, wheel about suddenly and make a great leap to the other side of the rushing water, never showing the slightest concern about the obvious danger that he might lose his balance and fall into space. We were frankly terrified, even annoyed, at such "foolhardiness," but neither his wife nor the other Huichol watching showed any real apprehension. The demonstration ended as abruptly as it had begun, without any explanation of Ramon's strange behaviour. " (Furst 152-3, Meyerhoff 44) "The mara'akáme must have superb equilibrium otherwise he will not reach his destination and will fall this way or that"' - Barbara Meyerhoff (Halifax 233, Meyerhoff 44)
"The following day he asked if we thought he had been showing off. He said, "Perhaps you thought, 'Ah, Ramon is drunk with too much beer.' But no. I took you there to show what it means 'to have balance.' So you could see and understand. Because when one crosses over as a shaman one looks below, and then one perceives this great abyss filled with all those animals waiting to kill one. Those who do not have balance are afraid. They fall and are killed." In order to render intelligible something he feared our cultural experience might not have prepared us to understand, he had decided to give us a physical demonstration-a kind of literal translation-of a phenomenon basic to shamanism wherever it occurs" (Furst 153).
Il snap pictures latter if i can. Of the art piece. Im posting in a shifted state. Or was. Sorry. Im not even sure what the point is as i come out. the conversation the other night what i was grilling CC about before i went to the pool. that must be it.