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.
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
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
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
The Pass To Cure Disease
Use the left hand to push out whatever it is and say "out" The left arm is at the level of the chest and makes a circle towards the front. The palm faces away from the body toward the front, like pushing a door to open it. When you feel a wall of energy in front of you, you pierce the wall with a quick movement of the left index protruding. So that the bad thing accumulated by the previous movement dissipates outside by the opening you made.
It is possible to do this movement lying.
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 two 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.