México 99

Dear Tensegrity Practitioners,
Here is a report of the Mexico workshop.

I guess I will always remember this workshop from the first and last magical
pass that we did. They are the same pass which resembles
'Drawing an acute angle with the arms between the legs',
No 45 from the Westwood Series. The only difference is that the body begins
from an upright posture with the arms up high in a V shape ,
tips of the fingers pointing to the sky, then we bend from the waist making
a V, the point of which is in the halfway between the heels, and then
inhaling we rise to the starting position.
The reason I find this pass indicative of the workshop as a whole is because
it felt as if as a group during the course of a weekend we grabbed
the energy which was round our toes and ankles and then somehow raised the
band of awareness  all the way above the head. (At least that was my
perspective.)

After a few warm ups Miles said that it was a privilege to be in Mexico to
do tensegrity with us.
He said that the San Diego workshop had created an energetic explosion and
that there was a new mood of sobriety amongst practitioners world-wide. The
mass of practitioners have moved energetically beyond the limitations of
culture and geographic boundaries.
He was very excited and said that Mexico was the ideal venue for this
workshop, that the energy of the place could help us in making the abstract
flight. We were about to dream together and that the passes that we were
about to do had been 'dreamt specifically for Mexico.
He said that we have to intend ourselves forwards , develop a cloak of
confidence. As the Nagual used to say: 'There are no victims here, today
there is only time for freedom.'

We learned a form which in its entirety combined passes from Inner Silence,
Recapitulation, Dreaming .
In the first part that we learnt we combined Silvio Manuel's dance steps
with
passes from Inner silence in the Westwood series.
The sequence was :
'Drawing an acute angle with the arms between the legs', No 45 from the
Westwood Series.
The body begins from an upright posture with the arms up high in a V
shape , tips of the fingers pointing to the sky, then exhaling we bend from
the waist making a V, the point of which is in halfway between the heels,
and then
inhaling we rise to the starting position. Do this once.'

No 38. Scarecrow with arms down (arms flop to count of  3)

No 39.Scarecrow with arms up (once up, once down , exhaling all the air on
the down)
Hands go the waist and do

No 37  Drawing half moon . Left foot starts forward ,then draws a half moon
backwards,
weight goes on to the left foot and the right foot also draws a half moon
backwards,
then right foot forwards, weight moves onto right leg and left foot again
repeats the half moon sequence ( Left foot forward ,then draws a half moon
backwards, weight goes on to the leftt foot and the right foot also draws a
half moon backwards,
then right foot forwards, weight moves onto right leg) , left foot forwards
and then back to starting
position feet parallel.

Silvio Manuel's first pass.
Begin by pivoting on the ball of the left foot so that the inside of the
heel moves in an anticlockwise direction and the whole left leg ends facing
the left at 90 degrees to the right leg.
The motion was described as striking a match, so the heel stays in contact
with the ground throughout.
Do this pass fast moving both feet to a rhythm of  3:
Left, right, left and then Right, left, right.

No 41. Pivoting the forearm so that (the beak of the bird ) faces away from
you , towards you, away from you.
Follow the fingers with your eyes.
The next Silvio Manuel's pass is as follows: feet form like a 'T'
The weight moves from the ball of the Left foot in front to the heel of the
back foot and back again to the ball of the front foot. (1,2)  AND then
we take a step so that the right foot now leads and repeat the swaying
motion.
In total do this 6 times (take 6 steps in all) while walking a complete anti
clockwise circle.
(To me it feels like the rhythm of the steps are 1,2 AND -stepping- 1,2 AND
1,2 AND......)
At the same time while doing this pass with the feet the hands also do No 43
'the T energy of the hands.
With each step the palms change directions facing upwards and downwards.

Now this whole sequence is repeated backwards:
No 41, Silvio Manuel nos. 1, 37, 39,38,45.

One comment made was that The passes from Inner Silence were Taisha's
'favourite ones.'
Particularly when her mind was full of doubts, she would collect all her
fears, doubts and concerns, make them into a big luminous ball using her
hands and then would place that ball outside her Tensegrity practice area.
That way she could attain inner silence.

The next form we did was the masculinity form in partners as done in
previous workshops.This form belonged to the Nagual Lujan.
When Carlos used to do these passes he would become aware of  Lujan's energy
body watching.
These passes were also done by the two partners wearing masks. (No personas
are involved.)

(Barcelona notes).
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 place right foot behind theleft foot and rotate so that now
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. The rhythm is (1,1.)...(2,2) ....(3,3)  First
one
person does the pass and then the other follows on straight away.

Both parties do 'the sledgehammer', one after the other 3 times.
(On the Left and then on the Right).

Both parties turn so they are facing the same direction and together do 'the
digging bar' 5 times.

The next form that we did was a continuation of the Inner silence form. This
time we did passes from the recapitulation. These were done with partners of
the same sex. ( they can also be done alone.)
The rhythm for each pass is fourfold.(1,2,3,4). The sequence was:

No. 13 Forging the trunk of the energy body. With the left hand each both
make 4 strikes simultaneously to the shoulders, the chest, the waist, the
trunk. (You observe your partner's hands.)Then repeat with the right hand.
(rhythm 1,2,3,4)

No 14. Slapping the energy body.
Strike with Left hand, Right hand, Left hand, Right hand. (rhythm 1,2,3,4)

No 24 The window of recapitulation.
As you do the window you lean to the left , to the right, to the left to the
right. (rhythm 1,2,3,4)
Between leaning you return to the neutral (vertical position).
In so doing partners criss-cross each other and you have to keep your
attention on your partners moves.

No 5. Bringing energy to the Centre of decisions from the midsection.
As the elbows move up and down the knees bend so the whole move looks
like a concertina going down and up.
The rhythm again is fourfold. 1,2 left hand then right hand come up  to the
V spot . 3,4 is going down and up while elbows move up and down
simultaneously.

No 6. Bringing energy to V spot from the area of the shoulder blades.
Project shoulders left, right, left, right

No 17. Forging the heels and calves. left, right, left, right

 No 18. Forging the knees. left, right, left, right (always inward circles).

No 19. Forging the thighs. 1)Down inhaling 2)up exhaling 3)Down inhaling
4)up exhaling

Repeat all the passes above but this time to a twofold count. (1,2)

No13 strike left: shoulders hips, right: shoulders hips
No14 Slap left, slap right
No 24 Window to the left, window to the right
No5.bring energy to the Vspot(count of 1), down and up wabble (count of 2)
No6.Bringing energy to V spot from the area of the shoulder blades.
Project shoulders left, right
No 17. Forging the heels and calves. left, right
 No 18. Forging the knees. left, right, (inward circles).

No 19. Forging the thighs. 1)Down inhaling 2)up exhaling

The following series of passes belong to the Nagual Elias.
He was a 'dreamer' and capable of going to other universes and bringing back
strange objects.
Carlos used to say that the Nagual Elias used to go for 'trips to the
junkyard of Infinity'.

He also lived in two places (North and Southern Mexico) simultaneously. He
could do this because of the command that he had over his double.

These eight passes are called 'Tracing the map of the Body' and were
performed by the Nagual Elias before dreaming.
They awaken centres in the feet, ankles, shins, knees, all the way up to the
buttocks.
The area on the left leg between the toes and knee is like a tentacle
capable of perceiving energy directly.
At this stage it is important to experiment, finding, opening and using
these centres without preconceptions.

To do these passes take off your shoes and socks.

1.a) Sit up straight on the floor. Legs bent in front of you.
(Do passes on one foot at a time.)
Press the hollow area at the sole of the foot. Press using thumb and the
rest of the fingers of the hand. You can also use both hands to press from
above and below simultaneously.
b)Press at the base of each toe. Also separate one toe from another.
c)Pull the skin ,'membranes', between toes. (Like teasing the web on 1st
video)

2.a) Sitting up on the mat, move your buttocks out of the way so that you
are sitting up straight in a balanced position. Legs are straight.
b)Stretch legs in front of you so that the heels are off the ground and calf
muscles are active.
Stretch open the toes of both legs as much as possible so that they are open
like a fan (the centre of the fan is the hollow space at the sole of the
foot)
As you stretch breath to a long count of 15, stretching and sensing.
c)To 'trace the map' you tap lightly on the toes ,the shin and the knees up
and down the leg.
d)Repeat this stretching three times.

3.a) Start from the sitting up position where both legs are straight out in
front of you. Make sure the buttocks are out of the way.
 Point the toes away from you on each leg successively stretching
the tendons of the instep and knees.
b)Bend one leg and bring the sole of the foot near to the groin. (The sole
of the foot is in full contact with the ground as if you're standing on it.)
Once again point the toes of the straight leg away from you stretching the
tendons of the instep and knees.
After each stretch reverse the motion so that the toes point towards the
eyes and you are stretching the calf muscles.
Do three stretches.

b) With both arms you grab the leg that is straight around the ankles and
let the weight of the upper body relax forwards at the same time stretching
the leg and pointing the tip of the toes forward away from you. Exhale while
you stretch, and count to 15.
c)Then relax and let the toes and ankle move backwards so that now the toes
are pointing towards your eyes. Stretch again inhaling to the count of 15.
d)Trace the map by tapping on the centres all the way from the ankles to the
knees.
Repeat the process three times for each leg.

-At this point we got up and used the left leg as a tentacle to 'see' energy
in the Hall.
(I pivoted on the right leg and explored the area all around me in a
circular fashion by using the left shin area-expose the flesh to the air-)
It was recommended that after tracing the map we try to track energy in the
rooms that we occupy in our daily lives.
It was also remarked that this was the first time that so many
practitioners try to 'see' energy with their left legs!

4.a) sitting up on the mat bend both legs so that soles of the feet are
facing each other but not touching. (recapitulation position).
Press and massage all the tendons from the ankles to the knees. Try and
relax all stiff areas (like the Achilles tendon at the back of the calf)
b)Trace the map by tapping on the centres all the way from the ankles to the
knees
c) Grab all the energy from these centres (inhaling) and smear /press it on
the Right vital centre(exhaling).
At the same time as you apply the energy on the centre you twist the body
from the waist towards the centre where you are applying the energy .i.e.
right.
Repeat the process for the left side.

5. This pass is called 'moving with the motion of the Ocean of Awareness'.
a) Start from the position where you are sitting up straight with both legs
straight out in front of you.
Bend the legs so that the soles of the feet are slightly leaning towards
each other.
Gently place hands around the ankles so that fingers are pressing on
tendons. (As in the last pass in the Intent series). The edge of the elbows
are pressing against the inside of the knee joints.
b)While inhaling curve the body so that head comes towards the chest and the
spine arches inwards as if becoming a ball. Maintain pressure on tendons
while inhaling deeply.(Arms stretch out as the torso moves backwards even
though the fingers keep the same position pressing on the tendons.)
c) On the exhalation the body curves the other way so that the head leans
back as the chin comes up, the chest opens up and the small of the back
arches outward (exposing the tail). The fingers also release the pressure on
the tendons in the ankles.
Both the inhalation and exhalation are accompanied by a 'to and fro' rocking
of the body as it moves in time with the ebb and flow of the 'Ocean of
Awareness'.

6. Lie on your back with both feet extended.
a)Dip the toes of the left foot into the Stream of Awareness.
b)Flick the energy upwards so that the energy comes to your ankles and then
both legs propel the energy
up high by moving legs like on a bicycle as if cycling backwards.
c)When both legs reach the vertical position use both hands to grab the
energy from the ankles, shins, knees and thighs and rub it on both vital
centres. (feet stay relaxed in a vertical position at this point.)
d) Trace the map by tapping on the centres on the front and back  of the
heels, shins and calves,  knees, thighs and buttocks
e)Let soles of the feet rest on the ground and move head gently left to
right as many times as you feel is necessary.
Use this position to recapitulate.

7. a)Tuck one leg under the buttocks so far that you could grab the ankles
from the other side.
The other leg is straight as you lie on your back.
b)Maintaining the stretch on the bent leg breath in and out deeply to the
count of 15.
c)Both arms extend outward and then come from the sides (like bringing
energy to the centre of decisions in the Westwood series),
to bring energy to the mid-section area.
To do this the fingers of both hands dig deep into the area below the navel.
As you press take a long inhalation to the count of 15 and
exhale to the same count maintaining even pressure.
f)The fingers now move up around the thorax and spread themselves
around the ribs.
As you inhale slowly to the count of 15 the fingers help to stretch open the
chest and as you exhale the fingers help to push and contract the chest
wall.
g)  Trace the map by tapping on the centres on the thigh of the bent leg.
h)Grab the energy from the bent thigh with the hand  (same side of the
body).
Hand turns into a fist holding energy;
i)The leg that tucked under frees itself , it straightens out and makes a
big circle over and across the body and over the other leg (that was
straight) and comes to rest
on the other side of the body,  on the ground at the height of the waist or
higher.
j) The fisted hand rubs the energy on the vital centres.(same side).
Repeat on the other side.

8). a)Lie on your back with both feet extended.
Bend one leg and bring the sole of the foot near to the groin. (The sole of
the foot is in full contact with the ground as if you're standing on it.)
b)Push the other foot straight up , in a vertical position and use the
other leg (with soles of feet on the ground) as a lever to push as high as
possible. Also place the hands of the same side leg as you are stretching on
the waist to help with the push.
c) Stretch the leg up as high as you can and point toes to the sky and keep
the stretch while you breath deeply. Momentarily relax the leg by bending
the knee. Then resume the stretch again by straightening the leg once
again. Point the toes towards the eyes to maximise the stretch. Breath to a
count of 15.
d) Trace the map by tapping on the front and back of the vertical leg from
heel to the buttocks.
e)Keeping the leg straight lower it and extend it side-ways so that the
groin area opens up.
Then continuing in a large circle bring the straight leg over and across the
other leg to the other side of the body around the height of the waist or
higher. (The other leg now is bent and knee in contact with the floor)
Keep both shoulders in contact with the ground so that you are stretching
the whole waist area.
To help with the spinal twist the opposite hand to the straightened leg
grabs hold of the opposite hip and pulls with an even pressure. Breath
deeply and evenly to a count of 15 as you stretch.
f)With the free hand (same side as the straightened leg) 'trace the map' by
tapping  on the back of the thigh and buttocks area in an oval direction.

Miles talked about the series of passes called 'On the Run.'
This title describes the condition of being in those warriors
who place themselves under the shadow of  the bird of freedom.

There is a vibrating force in the universe which simultaneously holds the
constituent parts of our being together and apart.
Doing these passes :'On the Run' - or 'the code'-, reorders the flow of
energy in us because we are contacting that same vibratory force.
The walking form of the code that was done in San Diego and the form that we
were about to practice here in Mexico were capable  to reorder our flow of
energy
and to 'restructure' our genetic blueprints.
In particular the part of the code (The sixth part -there are six parts in
total-) that was dreamt specifically for Mexico was like an energetic door
to 'mummy and daddy'.
It would make one 'see' what it is to be a Man or Woman.

The part of the code that was shown in San Diego (First part), had to do
with restructuring the energetic possibilities that we received from our
parents at conception.

Throughout our lives we yearn for that which was lacking at the moment of
our conception.
We try to get it through stimulants such as sugar, caffeine and friends who
are always complimenting us.
But that is not the only avenue....

We might have been born as 'bored fucks' but we dont have to live and  die
as 'bored fucks'.
We could participate in an energetic speculation.
Originally Miles and Zaia were invited by the Nagual to take part in this
energetic speculation.
They formed the team of 'awareness through harmony'. This name was given to
them because there is no competition between the man and the woman. They are
in perfect harmony. Such a team was energetically possible but very rare.
Soon other teams were formed amongst the instructors.

It is possible to reach Knowledge anew .
But only when one is empty, in that lull, do new changes happen.
We are capable of having a new syntaxis. An example of two contrasting
syntax systems are presented in the introduction of 'The active Side of
Infinity'.

Miles said that we practitioners  are now at the stage where we can 'sign
our own documents'.
We can take responsibility for our own actions.

Miles read a note written by Zaia in which she said that even though she was
unable to be  physically present at the workshop her energy body would be
there with us doing the passes. As the Nagual had said the left body has a
different order of time. It is possible to be at two places simultaneously.
(The uncanny thing is that in my memory of the Mexico workshop Zaia is there
doing the passes along with the rest of the instructors. I saw that happen
at least twice. She was there alright!)

The form of the code that was practised lying down was the 'inorganic form'.
It had been shown first because it didn't make great demands on balance or
breathing.
The walking form of the code on the other hand has to contend with the force
of gravity and also makes demands on one's  ability to breath deeply and
evenly.

The Code
Opening:
a)Stand in the basic Tensegrity stance: Feet shoulder width apart, knees
slightly bent, pelvis tucked in, chin tucked in.
Elbows are up high, bent, at the height of the centre for decisions,
parallel to the ground. Palms are facing the ground also at the height of
the centre for decisions, fingertips are almost touching.
b)Do 6 small backward shoulder rolls while breathing rhythmically and
slowly.
c)place one hand in front of the other still at the height of the V spot.
Do backward rapid circles, hand over hand to a steady count of 6.
d)From there open the chest inhaling and then as you exhale strike with
fingers of both hands simultaneously to the area in front of the vital
centres (about 15cm away from the body).
Tense the abdominal muscles as you pierce with the fingers.
Do six strikes in total.
As you strike the hands are crossed over each other left over right, then
you un-cross and on the next strike the hands are crossed over each other
right
over left and so on. With each criss-cross strike you strike to an area
lower than before so that by the 6th strike you are bent at the waist
striking at the height of the thighs.
e)Standing up straight palms come up almost cupping the ears and you strike
downwards as fingers end at hip level pointing to the ground. Do this
downward strike with both hands simultaneously 6 times in all.
The whole motion is like No16 Establishing the core of the energy
body -Westwood series-Only the range of movement is a lot bigger starting
from the ears and finishing by the hips.
f)On the sixth strike lift the energy with both hands all the way up to the
neck and rustle the fingers over the V spot.

Pass no 1.
a)Stand in the basic Tensegrity stance. Inhale and at the same time pull
back right arm so that
elbow is pulled backwards with the fingertips touching the right vital
centre.
The right hand is cocked in the shape of a knife.(fig366 MP)
b)(Exhaling), the right hand always keeping contact with the body slides
diagonally from the right vital centre towards navel.
At the same time the left knee rises to waist height as you prepare to take
a step forward to the left.
The right hand continues its journey  sliding from the navel onto the top of
the left thigh , using it as a ramp it slides past the knee and projects the
energy into infinity with a rising motion (exhaling all the air out).
c) the left leg then lowers taking a step forward and the left heel plants
itself onto the ground.At the same time the left and right hands get ready
in knife positions by their respective vital centres.

d)Repeat the pass with the left hand whilst taking a step forward with the
right.
e)Once again repeat the pass with the right hand and taking a step with the
left.

You have now taken three steps forward.
f)Repeat the whole process three more times but taking three steps back.
(6 steps in total).

The breathing throughout this pass is normal. Inhale and exhale in a natural
way.
(The breathing indications for this pass, in brackets are optional; it is
the way in which I understand the breathing).

Pass no 2
a)From the basic Tensegrity stance inhale while raising the whole left arm
behind you and over the head till the arm is hovering above the head and
continue the movement downwards till the palm is at the height of the left
vital centre in front of the body. (like no10 in Heat series MP).The fingers
of the left palm should be facing to the right.
At the same time as the arm movement the left leg rises and the point of the
toes touches the ground lightly in front of you. (Preparing to take a step).
b)Exhaling the left leg takes a full step forwards, planting foot squarely
on the ground while at the same time the right hand repeats the same
movement that the left hand did and strike down towards the left vital
centre.
c)Repeat the whole pass but this time after the point of the toes of the
left foot touches the ground lightly in front of you  the step is  backwards
instead of forwards.
This pass is done three times forward and back with the left leg, then three
times forward and back with the right leg.

There are two ways of doing the whole pass: a) Very slowly with deep
breathing. -when inhaling and moving the arms and legs the body should feel
weightless. When exhaling the whole body should feel centred and connected.
b) The pass is done dynamically, fast using tendon energy. Use the lower
abdomen muscles to keep a low centre of gravity.
When inhaling and raising the hands make the moves as big as possible so
that the air is circulating throughout the body especially the shoulder
blades . (Where we have hidden wings)
Pass No 3
a)Inhaling both hands rise above the head and then exhaling strike
forcefully in front of the body at the height of the vital centres.(Like the
first part of the last pass in the intent series No90 MP)The  fingers of
both hands point to each other palms facing the ground.
At the same time as you strike you step forwards with the left leg.
b) Repeat the same hand movements but this time step back with the left leg.
Do this pass three times with the left leg (front, back,front, back,front,
back) and three times with the right leg.

Again there are two ways of doing this  pass: a) Very slowly with deep
breathing. -when inhaling and moving the arms and legs the body should feel
weightless. When exhaling the whole body should feel centred and connected.
b) The pass is done dynamically, fast using tendon energy. Use the lower
abdomen muscles to keep a low centre of gravity.

Closing
Essentially the same moves as in the opening but all the movements are done
in the opposite direction.
a)Stand in the basic Tensegrity stance: Feet shoulder width apart, knees
slightly bent, pelvis tucked in, chin tucked in.
Elbows are up high, bent, at the height of the centre for decisions,
parallel to the ground. Palms are facing the ground also at the height of
the centre for decisions, fingertips are almost touching.
b)Do 6 small forward shoulder rolls while breathing rhythmically and
slowly.
c)place one hand in front of the other still at the height of the V spot.
Do forward rapid circles, hand over hand to a steady count of 6.
d)From there open the chest inhaling and then as you exhale strike with
fingers of both hands simultaneously to the area in front of the vital
centres (about 15cm away from the body). Do six strikes in total. As you
strike the hands are crossed over each other left over right, then you
un-cross and on the next strike the hands are crossed over each other right
over left and so on. With each criss-cross strike you strike to an area
higher than before so that by the 6th strike you are standing up straight
striking at a height slightly above the head.
e)Standing up straight palms come down below the knees and you strike
upwards as fingers flick energy up to the sky. Do this
upwards strike with both hands simultaneously 6 times in all.
The whole motion is like No16 Establishing the core of the energy
body -Westwood series-Only the range of movement is a lot bigger starting
from the knees and finishing high above the head.
f)On the sixth strike bring the energy with both hands down to the
neck and rustle the fingers over the V spot.

Dreaming Passes - Lead by Erin and Darian
The third and last group of passes to follow those of Inner Silence and
recapitulation were the Dreaming passes from The Westwood series and they
were performed
in groups of threes. Two of the same sex and one of the opposite sex.
 So if there were a man and two women you would perform this series of
passes as follows:
Man and Woman no1together , (while woman no 2 observes, doing pass on her
own )Man and Woman no2, (while
woman no 1 observes),
then all three together.

No27 'getting assemblage point loose' do this four times (left, right,
left,right) while watching your partner's hand.
(Its a short movement the hand comes straight up into the dreaming position
without grabbing energy from behind as shown in the book.)(rhythm:1,2,3,4)
No 35 hurling the assemblage point like a ball . Do this with the left hand
only.
Grab from behind (count 1) and hurl (count 2). At the end of the hurling
motion the hand rests on your partners right shoulder.
Silvio Manuel's dance step: Look behind your left shoulder while at the same
time lifting the sole of your left leg backwards and to the left side (as if
you were about to kick your left buttock with your left heel). Look at the
sole of the left leg.(count 3)
Repeat on the right side. (count 4)
No 33 Hurling the AP like a knife from the back by the waist.
As you hurl with the left hand you also step with the right leg. Repeat with
the right hand and left leg.(Men step forward twice , women step back
twice.)(count1,2)
No32 Hurling the AP like a knife over the shoulder. As you hurl with the
left hand you also step with the right leg.
Repeat with the right hand and left leg.(Men step back twice , women step
forward twice.)(count 3,4)
No 30 Playing out the A and B types of energy.
Standing up straight do the pass on the left (count 1)then  on the right
(count2), observing your partner's hands
No31 Pulling the energy body to the front.
Circle hands around each other only once then punch, first the left(count 3)
hand then the right(count 4).

When you do the dreaming passes as a group you face each other.
When you do the Silvio Manuel pass the left hands are forming a central pole
on which you
lean while looking at the soles of the feet.

The Magical Passes of the Nagual Woman Olinda

Nyei and Reni led the evening session. She said that Olinda was Don Juan's
counterpart.
She was and is a being that travels on sound.
When you see her from the front she appears as big and solid as a mountain
and yet she is as light as the dust on the wings of a moth.
When glimpsed in profile she appears as a vertical line of emperor blue
light.
( During the seminar there were reports from practitioners that they had
seen the instructors bathed in light.
Some said that they were within a violet coat others saw an amber light
emanating from their hands.)
'Olinda makes a buzzing sound  '..zzzzzzzz..... and that sound is the herald
of a moth like being, the guardian of the second attention.

Olinda was sitting on her favourite bench in the plaza of Tula one sunny
morning and she started to buzz.
Next moment she looked up to the sky and she saw the stars. It was night.

Another sunny day while sitting on her bench a young child approached her
and asked her whether the stars that we saw at night are still there during
the day.
To her this was, and is, a haunting question.
Because awareness is  always present even when we do not pay attention.
(Later during a question and answer session Nyei said that awareness is
24 -7-.
Being aware 24 hours ,7 days a week).

Do the following preparatory passes :
Bend forwards from the waist and relax the head, shoulders , arms, lower
back.
Bend the knees slightly and place the palms of both hands on the ground in
front of you. Breath deeply.
(You can also pant fast rhythmically engaging your lower abdomen).
Then the hand rest on the ankles as you continue to breath deeply.
Move the hands up to the knees breathing .
Arms come up to the hips. Do little hip thrusts backwards and forwards and
up to the sides left and right.
Straighten up the body.

All the Olinda passes can be done standing up or sitting down. (They were
done both ways)
a)Rub the hollow of the palms with the thumbs
b)Rub thumbs together then both of them across the eyebrows from top of nose
to top of the ears.

c)Rub the palms of the hands together , make heat, and apply it to your face
and wipe from the centre outwards.
Disperse the excess by flicking your fingers outwards.

d)Rub index fingers together and then slide them from top of the nose down
to the cheekbones.

e)Rub the thumb, index and middle finger of each hand together and then
pinch eyebrows from the top of the nose outwards.
f)Rub the thumb, index and middle finger of each hand together and rub the
cheekbones upwards towards the temples
g)Rub the thumb, index and middle finger of each hand together and then pull
on the earlobes downwards and the top of the ears upwards.
h)Again rub the palms of the hands together , make heat, and apply it to
your face and crown and wipe from the centre outwards.
Disperse the excess by flicking your fingers outwards.
i)Shake each leg in turn getting rid of all tensions.

j)Do No9 Bringing energy to the Vspot from the knees -Westwood series- Bring
the energy up three times

Olinda's passes with sound . (These were done facing a partner)
-see also other excellent notes published on the net for comparison-

1. 'Olinda whispers': zzzzzzzz...Make the sound continuous all the way from
below the navel. Hands are placed as in No18 of the second category of
devices for inner silence.

2.'And all the moths answer': zzz...zzzz...zzzz.....Make the medium sound
zzzin
spurts from the chest. Hands are placed as in No17 of the second category of
devices for inner silence.

3.Next hands of both hands are  in fists with the middle joint protruding.
Place it
under the armpits at the height of the sternum (where it is sensitive if you
press). Make the continuous sound zzzzzzzz but it goes up and down in pitch
like a wave; keep the sound going and then suddenly cut it short as the arms
shoot out to the sides (as in figure 64 of pass 28 intent series)

4.Stroke the neck muscles,below the ears,( along the jugular vein) up and
down while making  a zzzzz sound that starts from the groin area and rises
up to the crown of the head . The pitch also rises from low to high. Its an
intermittent sound.

5. Pressing under the hollow of the ears , top of the jaw-bone make a
piercing zzzzzz sound which is continuous

6.Pressing at the temples, relieving tension from the eyes make a
zzz.....zzz......zzz... sound which is short and intermittent as stabbing in
various directions. As if stabbing with the eyes all around.

7.Without sound vibrate with the right hand the third eye are;
then pressing with the left hand on the same spot make a continuous fairly
high ....zzzzzzzz..sound  that goes up and down in pitch like a wave.

8.Without sound vibrate with the right hand on the crown of the head; Extend
the right hand like a tentacle the wrist is bent, (the thumb, index and
middle fingers are together.)
Pressing with the left hand on the same spot make the
highest....zzzzzzzz..sound  possible. Keep buzzing while the left hand also
extends like a tentacle in a similar manner to the right hand. Both hands
move like antennas up and down while you buzz.

9. In silence vibrate the back of the scull vigorously.Left then right ,
left, then right again.
Place tips of the thumbs under the earlobes and use the palms of the hands
to listen.
Move the hands slowly up and down (from the ears to around the waist )
whilst listening intently.

All these passes were done in partners.
At the end of the passes we were given the command to find our hands in our
dreams that night and also to continue finding our hands after the workshop
was over. When we found them ,(or before , to help us find them) we should
also make Olinda's buzzing sound.
It was explained that there are hidden caches of dreaming attention at the
back of the throat.

During a question answer session there were various reports of how people
got on with this task.
Some reported the next day that they had found their hands in their dreams
that night.
Others had gone back to their hotel and gone straight into snoring.
Others had remained aware of being asleep all through the night.
Others had woken up intermittently to do the Olinda passes gone back to
sleep to find their hands, woken up after realising they hadn't found their
hands; They did the passes again, then gone back to sleep and so on.

The important thing is for each practitioner to do the passes of his own
choosing -you sign your own documents-,
and to try to find his hands in dreaming and do the buzzing sound. In so
doing you are on a dreaming journey.

On the final day of the Mexico workshop we repeated all the passes that we
had learned on the previous day.

In the final session the instructors said that they would now present a
sketchfrom the Theatre of Infinity.
A lot of people had asked whether it was possible for them to create their
own theatres of Infinity.
The instructors said that they had been trained very hard for many years by
the Nagual Carlos Castaneda to learn how to fix the assemblage point in
a new position to be able to act in the theatre of Infinity.

What they would teach us today was a particular form that we would all be
able to perform together in the Theatre of Infinity. It combined all the
passes  from inner silence, recapitulation, dreaming and Silvio Manuel's
dance steps that we had been learning throughout the weekend.
(Indeed learning this form gave me an inkling as to the amount of hard work
it takes to learn how to move the assemblage point and fix it so that the
acting becomes second nature. As to 'dreaming ' the right story and  the
moves to go with the acting as the instructors had done that is  in my
opinion creativity in its highest expression.)

First the instructors performed the scene themselves.

The story comes from the Active Side of Infinity where Carlos visits a
brothel and watches a 'madam' perform a dance naked in front of a mirror.
When he later told Don Juan about what he had witnessed and how deeply it
had affected him Don Juan had said that indeed that was a story fit enough
to
last more than a lifetime and that it could be placed into the diary of
Infinity.
In one way or another we all spend our lives doing our dance in front of
Infinity.

The story begins with a young girl who is bored and full of self pity.
She dances alone .( The moves from Inner silence)
Then a girlfriend of hers drops by to play with her.
(The moves from the recapitulation in partners of the same sex
-fourfold rhythm and then twofold rhythm-)

Suddenly a man appears.
He is looking for courtship and he begins to  show off  and dance
and first with one of the girls
(dreaming sequence in pairs of opposite sex), then the other
(dreaming sequence again). There is competition between the two girls.

Suddenly two other beings who are not interested in courtship but in energy
for dreaming appear and join in the dance.
(Dreaming sequence done by everyone together).

Then they all leave and the girl is now left again all alone to dance her
dance in front of the mirror of Infinity.
(The inner silence moves backwards)

The complete list of moves already described is:

Alone

'Drawing an acute angle with the arms between the legs', No 45 from the
Westwood Series.
Do this once.'

No 38. Scarecrow with arms down (arms flop to count of  3)

No 39.Scarecrow with arms up (once up, once down , exhaling all the air on
the down)
Hands go the waist and do

No 37  Drawing half moon  sequence.(1,2,3,4, ....1,2,3,4)

Silvio Manuel's first pass.
Left, right, left and then Right, left, right.

No 41. Pivoting the forearm so that (the beak of the bird ) faces away from
you , towards you, away from you.

Silvio Manuel's pass and No 43 'the T energy of the hands.
(take 6 steps in all) while walking a complete anti-clockwise circle.

With partner of same sex

No 14. Slapping the energy body.
Strike with Left hand, Right hand, Left hand, Right hand. (rhythm 1,2,3,4)

No 24 The window of recapitulation.
As you do the window you lean to the left , to the right, to the left to the
right. (rhythm 1,2,3,4)

No 5. Bringing energy to the Centre of decisions from the midsection.
1,2 left hand then right hand come up  to the V  spot .
3,4 is going down and up while elbows move up and down
simultaneously.

No 6. Bringing energy to V spot from the area of the shoulder blades.
Project shoulders left, right, left, right

No 17. Forging the heels and calves. left, right, left, right

 No 18. Forging the knees. left, right, left, right (always inward circles).

No 19. Forging the thighs. 1)Down inhaling 2)up exhaling 3)Down inhaling
4)up exhaling

Filler Pass: Do No 3 'grinding energy with a sideways slide of the feet'
(Intent series) and No29 'Enticing AP to drop by drawing energy from
adrenals and transferring it to the front'.Do these two passes
simultaneously to a fourfold rhythm :Four slides to the left with four wipes
and four slides to the right with four wipes

Repeat all the recapitulation passes but this time to a twofold count. (1,2)

No13 strike left: shoulders hips, right: shoulders hips
No14 Slap left, slap right
No 24 Window to the left, window to the right
No5.bring energy to the V spot(count of 1), down and up wobble (count of 2)
No6.Bringing energy to V spot from the area of the shoulder blades.
Project shoulders left, right
No 17. Forging the heels and calves. left, right
 No 18. Forging the knees. left, right, (inward circles).

No 19. Forging the thighs. 1)Down inhaling 2)up exhaling

With partners of opposite sex do dreaming passes:

No27 'getting assemblage point loose' do this four times (left, right,
left,right) rhythm:1,2,3,4

No 35 hurling the assemblage point like a ball . Do this with the left hand
only.
Grab from behind (count 1) and hurl (count 2). At the end of the hurling
motion the hand rests on your partners right shoulder.

Silvio Manuel's dance step: Look at the sole of the left leg.(count 3)
Repeat on the right side. (count 4)

No 33 Hurling the AP like a knife from the back by the waist.
As you hurl with the left hand you also step with the right leg. Repeat with
the right hand and left leg.(Men step forward twice , women step back
twice.)(count1,2)

No32 Hurling the AP like a knife over the shoulder. As you hurl with the
left hand you also step with the right leg.
Repeat with the right hand and left leg.(Men step back twice , women step
forward twice.)(count 3,4)

No 30 Playing out the A and B types of energy.
Standing up straight do the pass on the left (count 1)then  on the right
(count2), observing your partner's hands

No31 Pulling the energy body to the front.
Circle hands around each other only once then punch, first the left(count 3)
hand then the right(count 4).

Finally on your own do the inner silence sequence of passes backwards.

No 41, Silvio Manuel nos. 1, 37, 39,38,45.
 The hands end as they began. Arms high, in a  V formation with palms open
fingers pointing to the sky

All of these passes were done to a 1930s jazz piece of music.
Unfortunately I don't know the title of the piece or the performer.
It would be nice to get this piece of music so that we can do the passes in
groups to the music.
If someone can help here it would be appreciated.

We danced these passes over and over alone and with each other till at the
end we managed to begin and end at the same time all together!

The energy of this workshop was truly staggering. The energy started low,
about the level of the toes and it then spiralled up and up over our heads
until the last hour became truly timeless,  such was the concentration of
the instructors and participants.
The heat in the place (it was not a warm day either) rose higher and higher
as the
assemblage points moved.
Erin who was leading the session kept shouting 'one more time!' as we danced
the passes over and over again.
There was real enthusiasm there not the lemonade type that soon fizzles out!
Bravissimo to all!

That and a lot more happened at the Mexico City workshop.

I forgot to include the following two passes:
One is an extra filler pass and the other one is the last of Olinda's passes
with sound. (no 10)

Filler Pass: Do No 3 'grinding energy with a sideways slide of the feet'
(Intent series) and No29 'Enticing AP to drop by drawing energy from
adrenals and transferring it to the front'.Do these two passes
simultaneously to a fourfold rhythm :Four slides to the left with four
wipes.
Then at the end of the 4 slides  do No 28 'Forcing the assemblage point to
drop down'
first to the left (for a count of 2) and then to the right (for a count of
2), then repeat No3 and No 29
this time sliding from left to right.

The rhythm of this sequence is again foorfold.
1,2,3,4 sliding  to the left and wiping,
1-drop-, 2-look behind-
1,2,3,4 sliding  to the right and wiping ,
1-drop-, 2-look behind-

Repeat all the recapitulation passes but this time to a twofold count. (1,2)
.................snip.........................................

Olinda's sound passes
..............snip................
9. In silence vibrate the back of the scull vigorously.Left then right ,
left, then right again.
Place tips of the thumbs under the earlobes and use the palms of the hands
to listen.
Move the hands slowly up and down (from the ears to around the waist )
whilst listening intently.

10. Do No 43 'The T energy of the hands'
While you are rotating  the hands slowly and observing them intently
make a continuous zzzzz sound.

....................snip................................