chakra

“We’re not here for a long time, we’re here for a good time,” the Phoenix healer said from the Valley of the Sun. After 911 her body work client list expanded faster than the universe.

People fought to see her, absorb her hands, feel her strength releasing their anger, insecurity, frustration, confusion, sense of loss, and latent repressed hatred as she delved deep into tissues finding the blocks. Blocks of time’s compressed soul fire. Blocks of tension. Blocked chakra energy lines.

She opened them up. She rekindled their basic spiritual fire, their love, healing them as best she could under the circumstances. She let them go. It was hard demanding work. She was exhausted when she got home for tea and a soothing herbal bath.

He explored Cadiz. It was founded by the Phoenicians in 1100 BC. They called it Gadir trading amber and tin. The Romans established a navel orange base.

Greeks and Phoenicians introduced the potter’s wheel, writing, olive tree, donkey, and hen to Spain. They replaced iron with bronze. Metals became currencies. People developed agriculture as growing populations built walls, towers, and castles for security. More land and crops, more food, more children required to work soil.

Romans contributed aqueducts, temples, theaters, circuses, and baths. They gave the Iberian peninsula Castilian language based on 2,000 year old Latin.

Their desire, wanderlust and greed built roads, establishing communities to satisfy impulses for cuisine, sex, music, and trade expanding their nation state.

ancient ones

A young Anasazi girl shared her wind note vision.

My name is Kokopelli the humpbacked flute player. I am 1,000 years old. My image is found on petrogyphs or rock carvings near here. My image is also on rock paintings or pictographs in kivas, ceramics and woven baskets.

The ancient ones, the Anasazi, regard me as a symbol of fertility, a roving minstrel or trader. People also call me the rainmaker, a hunting magician, trickster and seducer of maidens.

In the Pueblo myths my hump carries seeds, babies and blankets to maidens. I wander along the upper Rio Grande between villages carrying seeds and bags of songs on my back.

Because I represent fertility I am welcomed during the corn planting season and sought by barren women but avoided by maidens. If you listen well, you will hear my flute music echoing through canyons playing traditional songs.

She disappeared along fault lines in long undulating dry washes full of sagebrush playing her flute near rainbow mesas strewn with geological strata.

bali Aga ikat

Katut knew kamben gringsing.

It took five years to weave the muted colors of reddish brown tones, eggshell and dark blue or black colors into a piece of magic cloth. In the beginning his mother gathered sunti roots and mixed them with indigo to make dyes. His father made narrow back strap looms from trees.

The women spun cotton cloth by hand. According to tradition the yarns were soaked in candle nut oil and wood ash water. They were stored for 42 days in an earthenware jar covered with a checked black and white cloth. The strands were dried for 42 days and covered with open hibiscus flowers to protect them from witches. 

Warp threads were woven up and down. Weft threads woven left and right on different frames for dyeing. Geometric stars, small crosses and flowers were woven into the threads and a very careful matching process tied or bound the different threads together to form intricate designs and patterns. 

Kamben gringsing patterns contained combinations of 14, 24, 37 or 40 fields to make healing garments for men and women in Tenganan. Katut knew there were over 20 basic designs of the cloth. His mother’s main concern was how the cloth was used in the village.   

She told him a story as they walked toward the mountain.

“The word gring means 'illness' and sing means 'not' she explained. “It is the most important social and sacred cultural symbol for the people in our village.”

Katut listened and understood kamben gringsing was their way of life. Kamben gringsing created a social identity, a relationship for their people. Ikat protected them from impurities and danger.

It allowed them to make transitions across boundaries in life’s journey. The villagers used kamben gringsing when they participated in rituals and rites of passage from birth to death.

spilled Ink

After they cut out my tongue I started writing script.

I found a compressed black Chinese ink stick with yellow dragons breathing fire. I added a little water to a grey stone surface and placed the ink in the center. 

Then, using my right hand, as Master Liu in Chengdu showed me, I turned the stick in a clockwise motion. Black ink ebbed into liquid as a drop of water rippled a pond.

After collecting ink I picked up my long heavy brown brush. Pure white hair. After soaking it in water for three minutes to relax it’s inner tension I spread out thin delicate paper.

I placed my right foot at an angle, left foot straight, my left palm flat on the table with fingers spread. I dipped the brush in the recessed part of the stone to absorb ink then slowly dragged it along an edge removing excess. 

I savored the weight and heft. My brush has it own personality and character. There are at least 5,000 characters in my written language. I have much to learn and a long way to travel with this unknowing truth.

The Midnight Court

I entertained visitors, fished the Glen Malure river in complete solitude, peeled potatoes and carrots for stews, painted watercolors, discussed road adventures with vagabonds, wrote and played chess by firelight. 

Pawn takes pawn as players attempt to control the middle of the board attacking and defending positions simultaneously. It was about position and material. We made the necessary sacrifices after the beginning game through the middle game to the end game. 

Andy, a German visitor said India was once lost in a chess game between two kings. We played in the dark of night illuminated by fireplace light as peat fires roared their way up the flue. Quick moving violent storms pummeled the place.

“That’s a dangerous move,” he said as my knight escaped a pin.

“Yes, but it’s elegant.”

“We destroy ourselves eventually.”

“Yes, as long as we enjoy the process. Your move.”

In the morning Susan related a dream from literature she was reading, by Brian Merriman, a merry man while doing her nails near the river.

“Have you heard about The Midnight Court?” 

“No,” someone said. “Tell us.”

“It’s about a fellow who falls asleep and has a dream where he is taken before a court of women who condemn him to be punished for all the men in their knowledge. How women should have the right to marriage and sex but often meet with disappointment and rejection by men who could easily have become their lovers and husbands.”