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State Trance

State Trance

Ecstatic Trance Postures

Although I had practiced yoga for a number of years, I did not make much of a connection between the physical asanas as methods for exploring the world of spirit until I began working with indigenous shamans and discovered an ancient and little-known practice where body postures are used to guide what are known as shamanic journeys: special states of trance or meditation through which we can access our inner selves or, as the shamans say, ‘journey to other worlds’.

My own experiences were profound and showed me that there was, indeed, something new and different about these body postures; something I had not discovered in yoga practice, so I began to research these postures, finding just two published works on the subject: Where The Spirits Ride The Wind, by Dr Felicitas Goodman, and Ecstatic Body Postures by her student, Belinda Gore.

With these two sources to guide me, I began conducting experiments of my own and introducing these new asanas to participants on my shamanic workshops, to test the claims of Goodman and Gore that these postures could, indeed, transport people to other worlds. This article is based on my findings.

TRANCE POSTURES

"Great beings who inhabit the realm of spirit that we call the Alternate Reality have been around for thousands of years, helping humans through our journeys here on Earth; and hunter-gatherer and horticultural peoples around the world have documented their presence and preserved the means of access to them through their artwork on cave walls, in totem poles, in delicate gold or silver work, or in simple pottery. Their images have been perpetually in front of our eyes", says Belinda Gore.

Even so, the true nature of these images was only rediscovered 30 years ago by anthropologist Felicitas Goodman, in part as an outcome of her research into glossolalia ('speaking in tongues'). Goodman found that statues, carvings, and paintings from a number of different ancient cultures, most of which had had little or no contact with each other, nevertheless featured images of people in postures with which similar or identical to each other. Goodman's hypothesis, therefore, was that these postures represented coded instructions on how to produce consistent trance-like effects. Her studies led her to many countries, and to trying out these body positions practically with hundreds of participants worldwide. Her findings suggest that the figures represented in the sort of artwork that Gore describes are, in fact, ritual body postures which enable ordinary people to enter non-ordinary consciousness and experience the inner (or spirit) world.

These postures produce a common effect, according to Goodman, because they all share one thing in common: the human body, the basic structure and functioning of which has remained unchanged since the time of our most ancient ancestors. The nervous and endocrine systems are, in fact, all much the same as they were 30,000 years ago, a fact which enables modern city dwellers to enter the ‘other worlds’ as effectively, and through the same neural doorways, as Neolithic medicine women and shamans throughout history.

Goodman identified several prerequisites for a successful trance experience, many of which will be familiar to you from your standard yoga practice:

• The establishment of a sacred space - not necessarily a church, an altar, or other 'power place', but a place of sacred intent, which is entered with the expectation or intention of an experience which is in some way ‘non-ordinary’ (such as a yoga class!)

• A repetitive sound should be used as an auditory cue to the nervous system to shift into non-ordinary reality. The rattle or drum is typically used by shamans, but relaxation CDs, such as those we might play in a yoga class, would work just as well

• A method for silencing inner dialogue and the chattering of the mind is essential. In some of the churches where Goodman did her research, prayer served this purpose, but meditation works just as well. In her experiments, Goodman used a meditative breathing practice like pranayama to focus on the breath and quieten the mind

• The key factor, however, is that people need a shared approach to the exercise, a belief system to be part of, which acts to shape the trance state into a spiritual experience. The use of ritual body postures provided this common thread by overcoming individual and cultural differences to transform the experience into a spiritual one. Trance postures worked for everyone irrespective of their worldview or belief systems. In the words of Belinda Gore: "Agnostic computer programmers could undergo a shamanic [experience] during the fifteen minutes of an ecstatic trance session".

TRANCE EXPERIMENTS

In my own experiments, I asked students in my shamanic classes to try a few of these ritual postures, selected from the 39 in Belinda Gore's book, describing only the positions themselves, not the purpose they were supposed to serve, to see what experiences these students had. The ones I chose were:

• The Tattooed Jaguar, dating from Mexico, circa 1400 BC, which is considered a shapeshifting posture that gives us a view of reality from the perspective of a Big Cat. Through it, in Gore's words, "many individuals become sensitised to the non-human world and grow in rapport with the animals".

• The Tennessee Diviner, dating from Europe circa AD 700, is a divinatory posture which puts people in touch with a spirit who offers advice on ritual. This spirit can be "short tempered, brief and even cryptic" but is "generous with exacting details" concerning specific healing rituals.

• The Realm of the Dead posture, from fifth century BC Germany, mediates journeys into the spirit world, where "The traveller… begins to rise into a new form and a new life".

So you can, if you wish, try these postures for yourself, here are the instructions:

The Tattooed Jaguar

Kneel with your legs spread so your knees form a 'V' and your right big toe crosses over the left big toe. Rest your buttocks on your heels and bend forward slightly at the waist.

Curl your hands the amount needed to hold an imaginary medium-sized candle. Place your curled left hand palm down on your left knee and your right hand on your right knee, tilted upwards slightly (so if you were actually holding a candle, it would point at 45 degrees towards your other leg). Keep your elbows relaxed and slightly bow your arms. Face forward with eyes closed.

The Tennessee Diviner

Begin by kneeling, then raise your right knee and place your right foot sole down on the floor beside your left knee. Continue to kneel on your left knee, with buttocks resting on your heel.

Place your left hand palm down on the left knee and right hand palm down on the right knee, but slightly to the left of the kneecap.

Cock your head very slightly to the right as if wanting to look over your right knee. Keep your eyes closed and protrude your tongue a little between slightly parted lips.

The Realm of the Dead

Stand with feet parallel about 6 inches apart and point your toes straight ahead. Keep your knees slightly bent.

Place your right hand over your waist with the ball of the hand covering your navel and your middle finger extending along the waistline. Your left arm is against your chest, with the palm of the hand against your chest so it rests just above your right arm and parallel to it. Keep your upper arms relaxed and close to your body. Face forward with your eyes closed.

RESULTS

My students all reported markedly different effects to the ones normally experienced using standard approaches to meditation or shamanic journeying. "Each individual was successful in gaining a different perspective than normal and in terms of where they went spiritually, the journeys were intense", said one workshop participant who also introduced the postures to her yoga group.

The Realm of the Dead posture (described to my students only as the 'RoD', so as not to disclose its purpose) produced a characteristic meeting with "spirit guides", this yoga teacher continued. Another of my participants, who could only hold this posture for a short time due to a prior injury, commented: "I got an impression of the incredible vastness of time and space rushing towards me, as if I was travelling at a very fast rate of speed through space. I saw blackness and stars that were very far away from me… I didn't think I really got anything in that short time, but since you asked specifically, I realise I did - and the impression is staying with me".

The most intense of all postures was the Tattooed Jaguar, a shapeshifting posture for experiencing reality through the eyes of a cat. "I journeyed in this posture and met the 'Mother Jaguar'", said one student. "It was incredible. I was fully grown but compared to the size of the mother, I was a six week old kitten".

The Tennessee Diviner (described to students as 'Tennessee D') - a divinatory posture, as the name suggests - on the other hand, had a more limited effect. In retrospect, this is not so surprising. The essence of divination is to hold a question in mind during the journey and without knowing the purpose of the posture, this was impossible. Students mentioned only an "intense experience” and a feeling of "lightness".

I wonder how your own results compare.

CONCLUSION

It seems clear from the experiences of students, and from Goodman’s own research, that these postures do produce qualitatively different experiences to those normally found in meditative practice, that each posture was different in itself from others, and that the effects experienced are consistent with the findings of Goodman and Gore.

Some postures by their very nature do seem to open a specific doorway to particular otherworldly territories or states of being, and if this is so, our distant ancestors had access to a vast knowledge that we can only guess at today – although practice may help us get closer to their experiences and to their knowledge of other realms.

A State Of Trance Official Podcast Episode 103

Trance Vol

Trance Vol

Liberate Da Isles Mon! Trolls Take Back the Echo Isles

There's no stopping the war drums in World of Warcraft as the Darkspear trolls prepare to reclaim their long lost homeland from the clutches of an evil necromancer. In the upcoming Patch 3.9.0, one of the last updates before the Cataclysm expansion, the Darkspears will seek the help of their Horde allies and a powerful loa god to retake the Echo Isles once and for all.

 

But the sorcerer Zalazane won't give up his hold on the Echo Isles easily. Commanding an army of Darkspear trolls he has enslaved using voodoo magic, Zalazane hopes to pit the tribe against one another and keep the advancing Darkspears at bay.

 

Zalazane had once been loyal to the Darkspear tribe but his research on dark magic gave him illusions of grandeur that he had the right to subdue his own people for personal gain. What Zalazane hasn't counted on though is the tenacity of Vol'jin, the current leader of the exiled Darkspear trolls.

 

Vol'jin has begun a massive recruitment campaign across the Horde faction and has turned the quiet Sen'jin Village into a bustling base of operations.

 

Spy Frogs, Troll Druids and a Loa Spirit

According to initial testing of Patch 3.3.5 at the public test realms, the Echo Isles quest line begins in Sen'jin Village where Horde players will be asked to capture frogs for the troll lieutenant Vanira. These frogs will serve as spies for the Darkspears since Vanira can attune her eyesight to the frogs', enabling her to see the goings-on in the Echo Isles and plan the best time for attack.

 

You also get to meet a strange tiger, which turns out to be the druid troll Zen'tabra. The inclusion of troll druids into the Echo Isles campaign is a smart move for Blizzard since it will give a great back story for this newest race-class option.

 

Zen'tabra joins the cause and enlists her troll druid friends, further bolstering the forces at Sen'jin Village. But the most powerful ally to join the Darkspears will be the loa spirit Bwonsamdi who watches over the tribe, both living and dead. Bwonsamdi is first unsure whether you will be able to defeat Zalazane but after proving your mettle in combat, the loa spirit finally relents and lends his strength for the last push deep into the Echo Isles.

 

The Storming of Echo Isles

Having gathered enough troll warriors and allies to match Zalazane's forces, Vol'jin invades the Echo Isles for the final confrontation. Vanira, Zen'tabra and Bwonsamdi all provide back-up in what has been described as the troll version of the Battle for the Undercity.

 

The storming of Echo Isles will be a phased encounter and will feature opponents ranging from packs of hexed trolls to the mini-boss Jun'do the Traitor. Zalazane will also attempt to conjure an impenetrable force field that will protect him from harm, but let's just say it won't do him any good and he will at last get a taste of his own bad mojo.

 

It remains to be seen whether the hexed trolls can be brought back from their trance, but it is suspected that killing Zalazane—plus the help of the Darkspear witch doctors—could be enough to free the enslaved trolls.

 

The Echo Isles campaign has been a long time coming and trolls around Azeroth are thrilled to no end. No more squatting in Orgrimmar or being the only Horde race without a city to call their own. Now, Vol'jin and his Darkspear trolls will taste liberation—and get a breezy, tropical town to call home in Cataclysm.

Dj RazZaH - Future Trance Vol. 44 Remix

Sampler Vol

Sampler Vol

Tin Whistle Sampler Vol. 1

Masterpieces Vol

Masterpieces Vol

The Elephant Celebes

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The Elephant Celebes
Max Ernst, 1921
Oil on canvas
125.4cm 107.9cm (49.37in 42.48in)
Tate Gallery, London
The Elephant Celebes (or Celebes) is a 1921 painting by the German Dadaist and Surrealist Max Ernst. It is among the most famous of Ernst's early surrealist works and "undoubtedly the first masterpiece of Surrealist painting in the De Chirico tradition." It combines the vivid, dreamlike atmosphere of Surrealism with the collage aspects of Dada.

Description and influences
Giorgio de Chirico was an inspiration for the early Surrealists, and Celebes' palette and spatial construction show his influence. The painting also attempts to apply Dada's collage effects to simulate different materials. Ernst's realistic portrayal of the constituent elements produces a hallucinatory effect that he associated with collage, and was trying to achieve in this painting. Regarding the art of collage, Ernst said, "[It is] the systematic exploitation of the coincidental or artificially provoked encounter of two of more unrelated realities on an apparently inappropriate plane and the spark of poetry created by the proximity of these realities."
The central focus of the painting is a giant mechanical elephant. It is round and has a trunk-like hose protruding from it. The figure's round body was modeled after a photograph in an anthropological journal of a clay corn bin from a southern Sudanese tribe, the Konkombwa. Celebes suggests "ritual and totemic sculpture of African origin", evidenced by the totem-like pole at right and the figure's bull horns. The painting uniquely combines found imagery and tribal elements.
Ernst's creature has a frilly metallic cuff or collar, and a horned head and tail. The low horizon emphasizes the creature's bulk, and the gesture of the headless mannequin introduces the viewer to the figure. The mannequin wears a surgical glove, a common Surrealist symbol. This nude figure may have a mythological connotation, suggesting the abduction of Europa by Zeus while disguised as a bull. The mostly empty sky contains more incongruities: there are two fish "flying" at left (one writer considers the scene to be underwater). The black shape to the right of the fish looks like an oncoming airplane, and there is a trail of smoke in the right part of the sky. These may be allusions to the "mechanical terror of the war experience" which led to Ernst writing, "On the 1st of August 1914 Max Ernst died. He was resurrected on the 11 November 1918 as a young man who aspired to find the myths of his time." Celebes, then, seems to represent the myth of destruction.
"Celebes" was once the popular name for the island of Sulawesi, one of the Greater Sunda Islands of Indonesia. Ernst told Penrose that the title Celebes was derived from the opening words of a German schoolboys' rhyme with sexual connotations:
Der Elefant von CelebesHat hinten etwas gelebesDer Elefant von SumatraDer v?gelt seine GrossmamaDer Elefant von IndienDer kann das Loch nicht finden
The elephant from [C]elebeshas sticky, yellow bottom greaseThe elephant from Sumatraalways fucks his grandmammaThe elephant from Indiacan never find the hole ha-ha
In this context, the totemic pole may be interpreted as a phallic symbol.
History
The painting's less common but original title is Celebes, according to inscriptions on the front and back of the canvas. Ernst painted Celebes in Cologne in 1921. The French poet and Surrealist Paul uard visited Ernst that year and purchased the painting and took it back to Paris. Eluard would buy other of Ernst's paintings, and Ernst painted murals for Eluard's house in Eaubonne. It remained in Eluard's collection until 1938 and was then purchased by the English artist Roland Penrose. It has been in the collection of the Tate Gallery, London since 1975 and is displayed in the Tate Modern. The back of the canvas is decorated with some doodles that are seemingly unconnected to the subject matter on the front of the canvas, including two figures holding golf clubs adjacent to the word "GOLF" .
Sources
^ a b Wilson, Simon (Mar. 1978). "'Dada and Surrealism Reviewed' at the Hayward Gallery". The Burlington Magazine 120 (900): 178+181184. 
^ a b c d e f Jeffett, William (1990). "Max Ernst" in James Vinson (ed.), International Dictionary of Art and Artists vol. 2, Art. Detroit: St. James Press; pp. 86465. ISBN 1-55862-001-X. 
^ a b c Klingseohr-Leroy, Cathrin (2004). Surrealism. Taschen. p.50. ISBN 3822822159. 
^ Walther, Ingo F., & Robert Suckale (2002). Masterpieces Of Western Art: A History Of Art In 900 Individual Studies From The Gothic To The Present Day. Taschen. p.608. ISBN 3822818259. 
External links
Tate Gallery 
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VIDEO GAME MASTERPIECES Vol. 10 - Side 3 - Part 1 (VGM Theme Music)

You Get

You Get

when you break a mirror do you get bad luck ?

is it true that when you break a mirror you get 7years bad Luck ?

Nope...

That was a myth/superstition started by the aristocracy to keep the lowly born servants from breaking their crap.

"Helga... I know that you can't read and never spent a day in school... So if you break that mirror, you will have 7 years of bad luck."

Paramore that's what you get lyrics