From:  tmoderator@xxxxx.xxx
Date:  Sat Aug 28, 1999  1:10 pm
Subject: Mexico City Workshop

Carlos Castaneda’s Magical Passes
A Recapitulation and Tensegrity Workshop
On the Wings of Intent: The Active Side of Infinity
October 23 and 24, 1999 Mexico City

The seers of ancient Mexico gave the name of intent, or the active side of infinity, to the part of the universe that is aware of itself. The knowledge that our link to that part of the universe brings, they claimed, comes in the form of amber-blue dust, like the dust on the wings of moths. If we are silent, we can perceive this dust, this vibratory energy, which appears to us as first an amber, then a blue-violet vibration of both hue and sound.

The effort to bring this silence is enhanced by practicing magical passes: bodily movements discovered by the seers of ancient Mexico while they were in states called dreaming, and which they practiced to bring the feeling of well-being those movements brought into their world of everyday life. The magical passes were taught to Carlos Castaneda, Florinda Donner-Grau, Taisha Abelar and Carol Tiggs by their teacher, don Juan Matus, a Yaqui shaman from Sonora, Mexico. Carlos Castaneda wrote about his apprenticeship in twelve books, the most recent of which is the Active Side of Infinity.

Among the many things that don Juan taught his students, the magical passes, they said, are the most direct and pragmatic aspect of his teachings. The magical passes taught in this workshop include a sequence that was the predilection of a seer named Olinda, who was the energetic counterpart of don Juan, and whose art was to use the vibratory energy of sound as a means of tapping into areas of awareness ordinarily veiled to us in the world of everyday life. According to seers, these magical passes allow us to suspend the usual predominance of our visual senses, and to hear another sound, along with one’s own: a voice besides the voice of the self.

This shift in frequency enhances the effect of another sequence of magical passes which participants will practice in this workshop: a series called On the Run, in a sequence which makes up part of what don Juan referred to as the ancient seers’ code. According to don Juan, practicing the magical passes of the code in an upright stance brings the possibility of standing on our own two feet, in terms of perception. It can help us to restructure our own genetic coding, activating the best of the male and female aspects of the genetic inheritance that we received from our fathers and mothers.

The instructors will also guide participants to practice the magical passes of the series known as Masculinity, which is thoroughly described in its most essential form in the book Magical Passes. They will introduce a form of the series that was the predilection of a seer named Lujan, and which employs the element of sound to bring a new facet of awareness to the sobriety and the self-reliant sense of purpose this series brings to both male and female practitioners.

According to don Juan, it is when we stand on our own feet, and begin to activate what lies within our own bodies that knowledge of the active side of infinity comes to us, floating like specks of amber-blue dust.

The workshop begins at 10 a.m. on October 23rd and ends at 4 p.m. on
October 24th. The registration fee is $170 for participants from
Mexico, and $250 for participants from all other countries. Full payment is
due before October 16th, 1999.
   

To: ixtlan@onelist.com
From: byron.z@virgin.net
Date: Fri, 29 Oct 1999 17:50:30 +0100

Dear Tensegrity Practitioners,

Here is a report of the October Mexico City 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. 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.)

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.

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.

Miles then 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 don't 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.

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.

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 Woman1 together (while woman no 2 observes, doing pass on her own), Man and Woman2 together (while woman no 1 observes), then all three together.

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 by 7. Being aware 24 hours, 7 days a week).

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 sketch from 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.)

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.

From:  PassTens@a...
Date:  Tue Feb 15, 2000  9:45 pm
Subject: A Brief Description

As advertised, the theme of the workshop was "dreaming awake". Nyei explained that this meant bringing the dreaming attention to bear on the everyday world, and that reaching the First Gate of dreaming is accomplished when one comes to the realization that the everyday world is a dream. When one becomes completely absorbed in a task, silent and unaware of the passage of time, this is dreaming awake.

Bruce Wagner opened the lectures by explaining that he lives two dreams. One is the dream of Bruce Wagner, the other his sorceric counterpart, Lorenzo Drake. He related how the Nagual would tell him that if the only dream he was able to sustain was Bruce Wagner, he was never going to make it. Only by dreaming Lorenzo Drake did he have a chance. He invited us to dream new dreams for ourselves.

Gavin told a wonderful story about discipline and the romance with knowledge. He had been assigned a menial job he considered uninteresting and beneath his abilities, but by sticking with it he gained insight into the project he would never have gained otherwise. Having a romance with knowledge means accepting the challenge of meeting it in whatever form knowledge presents itself to you.

Margarita told a very moving story about an experience she had with the Nagual. He explained to her that every one of a warrior's acts is a statement of purpose, that the warrior gives all of their attention to the task at hand. Not since Carol did her dead-on impersonation of the Nagual at the L.A. Convention Center has his presence seemed so palpable to me.

Lorenzo Drake shared a memorable event from his book of navigation with us. It was an amazing story, which I will not even attempt to paraphrase. But the "moral", I think, was his realization that through his endless repetitions of this story he had deprived it of its meaning--he was no longer "there" in it.

Miles told us about an experience he had at the sorcerer's house during a performance of the Theater of Infinity. He crossed over to the left side of the house, and had to be retrieved by Florinda. He said that it was not until later that he was able to recollect what happened over there. He was just on the threshold of the room containing the Nagual Elias' "inventions" when Florinda found him.

Nyei introduced the navigator's log. The recommendation was that practitioners spend ten minutes at the end of each day writing about waht happened to them, about anything that interested or moved them, about what they were trying to accomplish, about where they went off course, about what they might do to accomplish their aims. She reminded us of the Nagual's three favorite questions:

"What are you doing with your life?"

"What do you want?"

"What's new?"

She also asked us again not to take notes. I hope that this communique doesn't violate that request. I will not comment on the passes, except to say that they were well received by all, and the phenomenon of mass was very much in evidence as they were assimilated very quickly.

Workshops in New York (April) and Barcelona (June) were announced.

From:  "x" <byron.z@v...>
Date:  Fri Oct 29, 1999  9:50 am
Subject: October '99 Mexico City Workshop -part 1-

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.