Primordial Parks

The Primordial Park

We are describing the cultivation of physical primordial parks that have hidden zones in which the best available practices and designs of indigenous peoples, wisdom traditions, as well as modern/post-modern soul physicians, pioneers and artists, can be soulfully and collectively applied to the visionary healing of the psycho-spiritual roots of specific man-made problems, as well as towards enhancing human potential.

We will work collectively via virtual meetings to physically create this Primordial Park, that will serve as a psychohistorical archive of endangered knowledge.  It will be a place where the public may experience and be informed by both ancient and radical contemporary modalities for exploring human potential and healing mind and culture.

To create this collaborative process we first use the internet to construct a wikki and website attractive to our community of artists, designer/engineers, biologists, land stewards and soul physicians toward developing the first Primordial Park in physical location.  This park will continuously serve a city-population and will employ rotating shifts of skillful elders, artists and environmental engineers as creators, builders, soul advocates and midwives to attend short and long-term private and public use and visitations.  Each zone of exploration will be run by small teams of skillful stewards practiced in media arts as well as mediation between worlds and peoples.

The following zones and names of zones are for evocative purposes to attract the participation of visionary artists, designer/engineers and medicine people.

* Hearths of Song and Soulful Kindling * Lucid Dreaming & Hypnagogia Practice Dens * Biomimicry Design Laboratory for Sustainable and Reviving Habitat * Soul-Retrieval and Trauma Resolution Coves  * Wallaby Dreaming Baby Care and Early Childhood Training Grounds * Rivalry Polarization, Clarification and Cross-Fertilization Station * Compassion Induction Substations * The Desert Bonfire of Public Confession * the Circulatorium for unplugging, releasing, reanimating and redistributing  *  Interactive eco-wall-maps for undamming the dammed and re-serpenting the Hyper-straightened Meanders * Delphic Oration Visitation Stations for Opening the Way * Mass Exorcism Practice Park (cross-cultural trainings and services) * Holographic Ancestral Grove of Redemptive Remembering * Unrequited Love Commiseration and Transformation Station * * bemusement park rides called the Humm of Pleasure and the Om Ah Hum Hiding-Ghost Charmer * Beds of Deep Mysteries Listening * Anamnesis Chambers (where, at the moment of perception, the soul recollects what it is that is being perceived) * Divided Self Polarization and Clarification Station * the Dreambody Process Mediation Works for People at Odds* Tents of Meeting for Wisdom Councils * The Russell Tribunal Park for Collective Healing and Revisioning * Biomimicry Costumers and Pattern Language Aesthetics Training Grounds * Wisdom Zones of Unsnarling, Unknotting and Unravelling * Awe and Gratitude Opener Ceremonial Grounds * Zone of Available Elders & Seers for Youngster’s Seeking to Open the Way * Bardo Transit Preparation Groves (for Voyagers Aimed for the Great Beyond).

What follows is a list of questions used to gather endangered knowledge from various groups of experts on best available practices from the ancestral archive that will be used to make enchanted zones that are also information-rich learning environments.

1. For anthropologists/educators: Name indigenous peoples, traditional cultures who know most about: (see list below)
2. For social architects: Name the social innovators who know most about:
3. For medicine people/scholars of methods: Name the best available practices/modalities which address:
4. For mythologists: What ancient myths address issues of:
5. For technologists/cultural historians: What sage artists, historians, filmmakers, poets, media innovators, skillfully address issues of:
6. For ecologists/wildlife biologists/environmental engineers: What natural phenomena, natural environments, wildlife are most conducive to the study of:
7. For visual artists/illustrators/architects: How would you visualize the zones listed or zones that are conducive educational environments to learning crucial skills?
8. For archivists: What photos, illustrations from history could describe the activities of the zones, or the design of spaces in listed zones?

Human Healing
Problems of:
a. Governance and collective decision making/problem solving through wisdom councils and other structures based on ecosophy and human anatomy
b. Healing amnesia and trauma (soul retrieval)
c. Healing greed (addiction and hunger)
d. Healing hatred (aversions and phobias)
e. Healing alienation (disassociative disorders and schizophrenia)
f. Eliminating rank
g. Cross-cultural pharmacology and food pharmacy
h. Architecture and sustainable habitat design
i. Early childhood education
j. Collective healing and revisioning
k. Bioremediation and Restoring habitat
l. Mediation

Human Potential
a. Lucid dreaming
b. Out-of-body travel
c. Telepathy
d. Shape-shifting
e. Faith-healing
f. Spontaneous manifestation
g. Bi-location
h. Remote sensing
i.Invisibility and camouflage

*     *      *     *     *

Visionary Elders and Pioneers design the Primordial Park
Rhythmic Arts of Remembering, Discovery, Recovery


We seek to make enduring zones and arts to protect and pass on the
knowledge of magically skillful traditions and pioneers.  We seek to bring
enlivening intelligence to traumatized places and peoples.  We do this by: 1. making a primordial park comprising strikingly memorable zones of experiential learning designed by rotating bands of visionary elders.  2. We preserve techniques of the sacred by passing them onto children in memorable ways.
These action mnemonics and exploratory games are called “Rhythmic Arts of Discovery, Remembering, Recovery”.  Rhythmic rites, roads, rhymes, rounds of discovery, remembering and recovery.

“Those who perceive the as-yet-unnamed are vagabonds.”  Stanislas
Szukawlski

New culture and languages emerge as hybrid lifeforms at the edges of
established ecosystems and cultures.   In our ailing society, the 
evolutionary pioneers, the advance guard are often hidden, unrecognized and unnamed.   To name these types of maverick explorers of soul helps to incorporate them into society. To recognize these maverick explorations as viable vocations will serve to include much-needed training and wisdom into the fabric of society. To incorporate what they know is healing for society.
  Below we name sixteen types of evolutionary pioneers who may inform
the future of education, through offering essential design elements of our Zones as well as Rhythmic Arts of Remembering, Discovery, Recovery.  (Hint: The mavericks are us.)

Zones of experiential learning at The Primordial Park are deeply
memorable places where people encounter themselves and others in different ways to learn primal, essential lessons. Like the ancient memory palaces, our zones are populated by striking images and teachings that pierce the threshold of memory. The zones of the primordial park are portals to ancient and magical ways of knowing. They are storehouses informed and designed by visionary pioneers and elders. They are sometimes attended to by living teachers.
Other times great souls may appear as projected moving portraits and
voices from the ethnohistorical media archive.

In a series of meetings at the Virginia Satir Conceptual Art Center we
invite visionary pioneers and elders to dream and design elements of
zones of the primordial park as well as rhythmic arts of learning.

Dedicated to the Kids who love Harry Potter (and little else...)
Visionary Curriculum and Living Wizards Faculty
What follows is a list of transcultural explorers of soul that we will
call:
The Strandwalkers.  (Hint #2: They are us.)

Sixteen Types of Strandwalkers: (This is not designed as a
comprehensive system of archetypes, it is simply a list of
vocations/explorers/explorations not yet included in mainstream
education.)

1. Two Spirits (androgynous elders adept at teaching mediation between
opposing forces, peoples.)
2. Nomads, Hobo Kings and Queens (teachers of tracking and survival.)
3. Spirit Doctors (mediums of disincarnate doctors, forest shamans,
psychic surgeons, saints, capable of inviting the participation of these
entities in the healing of traumatized places and peoples.)
4. Self-liberating Prison Houdinis (elders such as Hurricane Carter,
Leonard Crow Dog, Baha'ullah, who have freed selves from physical prisons by freeing themselves from psychic prisons including self-limiting beliefs and reality structures.)
5. Medicine Grandmothers (elders teaching nested orientation,
interconnectedness, timekeeping as it relates to cyclical obligations
and reciprocal maintenance)
6. Sacred Clowns (heyokeh, koshari, holy fools who through acts of
reversal turn the collective ego and falsehoods upside down so they can be known.)
7. Walk Ins and Revivers (those who have survived physical death can
transform the illusion of death and help others prepare for
between-lives transit as well as to make alliances with disincarnate kin.)
8. Devic Gardeners (adepts at reviving lands and waters due to the
sensitive awakening of faculties that allow them to listen to the intelligences of the non-human world in order to follow specific instruction from them.)
9. Blind Seers, Deep Listeners  (disabled adepts who have extended
their sense faculties into formerly uncharted terrain to benefit themselves and the human soulstream.)
10. Exorcists (elders who conduct and lead at-a-distance clearings of
haunted places and peoples, from Tibetan, Catholic, Kabbalistic,
Taoist, Aborigine and Shamanic traditions.)
11. Awakened Ones (Illumined survivors of mental illness and kundalini
awakening  have much to teach about healing the mind. They lend
nurturing and practical support to institutionalized psychonauts and their families.)
12. Soul Travelers (oneironauts/lucid dreamers, soul retrievers, astral
travellers who know the dreamlike nature of reality and can train human
co-creators of the waking dream.)
13. Alchemists (teach the integration of heavenly and earthly energies
by leading proper lives and cultivating essence.)
14.  Emissaries of the Cetacean Nation ( in continuous contact with
dolphin and whale elders taking instruction from them, teach about acoustic bioremediation of waters, lands and other bodies.)
15.  Ayahuasceros/Peyoteros (teach purification, cultivation,
preparation of sacred medicines and the potential learnings one may receive by traveling through the awakening dimensions assisted by the plant teachers.)
16.  Sineaters and Shadowcatchers (teach transformative arts of
redemption through confession, forgiveness and integration of shadow)

Recently we've been dreaming rhythmic arts of remembering, discovery
and recovery, enacted by groups of children and visiting Strandwalkers. 
Here comes different kinds of  rhythmic arts, for all kinds of learning.
They share certain elements in common. These enactments may be either elegantly spare of acoutrement or ornate in ceremony, according to the inspiration and energy of the  group creating them.  In this work I will name some of these, offer suggestions, and visualize them as invitations for teachers and parents to build their own.

Children have produced similar rhythmic arts and passed them on in
distant groves, streets and playgrounds since the beginning of time but we haven't used them in our Western schools for a while.  Today we hear hip-hop, we watch Brazilian Capoeira which is taught in rhythmic circles. The body wants to learn from variety of  experiential rhythm and content  reflecting the diversity of a rainforest, and not merely the drop-forge tempo of machines.

The object is to physicalize and musicalize the learning rite. The
learning art becomes a primal and heavenly experience, invoking invisible helpers and the spirit world.  The object is to begin by clarifying and focusing intention while bringing spiritual reinforcement to our work.  Children use call and response to develop the sincerity and authenticity of voice and gesture, reinforced by the others who return strong responses to authentic, coherent calls and gestures. Rhythmic arts take the load off teachers, the children themselves distill essential poetry from their lessons and construct rhythmic poems/songs as mnemonics in which pairs of children offer prepared pieces to the circle.   Children collectively build and enact the days rhythmic lesson circles.  They learn variety in melody and rhythm and the various forms of the works keep their nervous systems engaged by offering a complexity of interpenetrating cycles, each unique as a flower. 
There is an emphasis in discovering the essential questions and
principles in the lessons  and making rhythmic poetry of those to remember the lessons.

The first group of rhythmic arts came in a tumbling stream of names and
visualized enactments from the practical to the esoteric, working on
psycho-spiritual roots of man-made problems and survival tools such as:
1. rhythmic arts of heartfelt thinking; 2. rhythmic arts of learning
discernment; 3. rhythmic arts of nomad's math; 4. rhythmic arts of
sacred anatomy; 5. rhythmic arts of loosening tongues; 6. rhythmic arts of welcoming the newcomer; 6. rhythmic arts of mind unbinding (limiting
beliefs)  7. rhythmic arts of associative logic; 8. rhythmic arts of
mediation; 9. rhythmic arts for the child at three, seven, nine,
twelve; 10. rhythmic arts for the melancholic, sanguine, choleric, phlegmatic child; 11. rhythmic arts of alphabet running; 12. rhythmic arts of social incorporation.

Then seeking order and asking what was most important to learn at this
time, categories of arts streamed through:

1. rhythmic arts of mediation; 2. rhythmic arts of exploration;  3.
rhythmic
arts of orientation (nested orientation ominiconsiderate of all beings
including the elements and elementals); 4. rhythmic arts of liberation
(mind unbinding) ;  6. rhythmic arts of  incorporation (rhythmic arts of
welcoming); 7. rhythmic arts of redemption; 8. rhythmic arts of
exorcism; 9. rhythmic arts of survival; 10. rhythmic arts of acoustic
bioremediation; 11. rhythmic arts of reversal; 12. rhythmic arts of pattern thinking/associative logic; 13. rhythmic arts of extension; 14. rhythmic arts of sacred sleeping; 15. rhythmic arts for between-life preparation

Using the list of Strandwalkers (visionary adepts)  named above we
offer examples of names of zones and arts of learning:

1. Rhythmic Arts of Mediation
informed and led by local Two Spirits
aka Rhythmic Arts of Two Spirits
Working with sibling, race, gang, territory, resource rivalries
Essential question for zone/practice development: What rhythmic
practices, games are conducive to helping us see from the other's perspective?  How do we identify and feel the collective dream of peoples at odds?
1st teaching objective: To see from the other's perspective
2nd teaching objective: to identify  and feel the collective dream of
the factions
Zone name suggestion:  Two Spirit Mediation Zone
with film footage and music to come to know the enemy
a film about the rival team or race with music to increase compassion
for the others
followed by discussion groups and meeting with the others
or: Dreambody  Mediation Zone for People at Odds
or: Russell Tribunal Park for Collective Healing and Revisioning
or: Revival Tent for Wisdom Councils
Rhythmic arts example#1:
A poem or offering, an invocation/image projection of androgynous
guardian spirits, saints from various traditions.
Kids make offerings by asking and answering the question?
“What's the heavy matter we must purify in the heart?”
Boys Talk. Girls Listen.
Girls Talk. Boys Listen.
Change roles (costumes)
Recapitulate what others have said with most sincerity
Sincerity in voice and gesture are rewarded
Reinforcement in call and response is given
to the ones most sincere and coherent in voice and gesture.
After Boys Talk. Girls Listen etc. is complete
We ask elemental questions.
What is different? (earth)  What is changing? (water) What is reversed?
(air) What is whole? (fire)
Dedicated to children and adolescents uncertain about their gender and
gender preferences.

2. Rhythmic Arts of Exploration/Adaptation photo: Count Leo Tolstoy as
hobo
aka Rhythmic Arts of Nomads, Hobo Kings and Queens
informed by Nomads, Hobo Kings and Queens
Working with moving to new schools and unfamiliar towns
including mass migration, dislocation caused by earthquakes and
hurricanes.
informed and led by guest Nomads, Hobo Kings and Queens
(poem identifying edible plants/how to build a pump)
Essential question for building zones and rhythmic arts: How do we use
rhythmic, circular practices to explore the spirit of place and
identify and
remember the resources that live there?
1st teaching objective: sourcing Genus Locii (how to know spirit of new
places/peoples)
2nd teaching objective: survival arts memory practices
Zone name example: Zone of Nomads, Hobo Kings and Queens
Rhythmic arts example:
1. Rhythmic rite of exploration and orientation are musical
instructions of
how to enter and ground in a new school, new town, new camp
2.Sourcing Genus Locii (Geography lessons)
(seeking and finding the spirit of a new place)
Every child pair is assigned a neighborhood with its multiple layers of
ghosts and times. For example: Ancient Brooklyn, its
prehistoric/historic
wildlife, its early settlers, its first cemeteries, historical
hardships,
legendary figures, geological survey, historical events
Other child pairs map their Brooklyn neighborhood with information
necessary for survival after a flood or earthquake (What do we need? How much do we need? Where do we find it? How do we share it?)
3. Rhythmic arts of Nomad's Math
Moving from the whole to the part we follow the original experience of
number Sharing house means nomadic rhythms of trading
What does a nomad need on the road?  What does he keep and what does he trade?
How much of each?  Sizes. Quantities. 1 pot; 2 shoes; a bag of apples;
3. water purifier; 4. spark starter; 5. matches; 6. oatmeal; 7. cornmeal.
Dedicated to the new kids in school and the children who fear
homelessness or homeless people.

3. Rhythmic Arts of Trauma Resolution
aka Rhythmic Arts of Spirit Doctors
informed and led by children and trance mediums with alliances to
invisible helpers
Essential Questions for designing zones and rhythmic arts: What
effective practices for healing trauma may be applied to ceremonial forms that invite support of many incarnate and disincarnate helpers?
1st teaching objective: collective trauma  resolution techniques
(eg:EMDR)
to relieve traumatized places and peoples. Trauma resolution techniques may be embedded in sacred ceremonies that call on the help of disincarnate spirit doctors.
Zone name examples: Soul retrieval and trauma resolution coves
Rhythmic arts example#1: name the trauma and use techniques to
collectively heal the traumatized children within sacred context

4. Rhythmic Arts of Mental Liberation
aka Rhythmic Arts of Prison Houdinis
informed and led by Prison Houdinis
(photo: Moines Volants/ Flying Monks, Aperture 164)
informed and led by self-liberated ex-convicts like Hurricane Carter,
Baha'ullah, Leonard Crowdog
Essential question for designing place and rhythmic arts practice: What
are
the elements and principles and watchwords of wisdom that liberate the
mind
and soul from limiting beliefs about self and others?  How to use these
to
remember what's important together?
1st teaching objective: ways of liberating psyche from limiting beliefs
and
psychic
bondage
Zone name examples:
Wisdom zones of Unsnarling, Unknotting, Unravelling
Delphic Oration Visitation Stations
Rhythmic Arts#1: involve watchwords of wisdom rhythmically enacted
to help one another be aware of limiting belief spells
We convene Leonard Crowdog and Hurricane Carter to inform zone and
arts.

5. Rhythmic Arts of Orientation (nested life and timekeeping)
or Rhythmic Arts of Medicine Grandmothers
Led and informed by Medicine Grandmothers
1st teaching objective: expert care of all sacred children
Essential question for designing elements of zones and rhythmic arts
practices: What are the principles of timekeeping that help us remember
our
cyclical obligations to the Earth, to each other?  What are principles
of
caring well for all children of the mother and for looking out for each
other's well-being?
Zone name examples: Wallaby Dreaming Baby Care and Early Childhood
Training Grounds
Hearths of Song and Soulful Kindling
Rhythmic Art #1: How to orient in an atmosphere of care for all
creatures.
Musical arts teach checking one's immediate environment to see if there
is
enough light, air circulation, clean water, food, nourishing help in
case of
emergency
Arts teach learning to quietly check to see if the one before you has
all
that they need to be well.
Rhythmic Art or Ceremony #2: The Approach of the Ancestors Ceremony
Big ceremony including grandparents, held in school gymnasiums.
Uses lighting conducive to casting big spooky shadows.  Epic ancestral
music.
Each child is called on loudspeaker by name and sees projected image of
ancestor
with epic ancestral music. Grandparents hand the child a gift and
whisper
special knowledge about what the child has received in his character
from
the ancestors.
In a circular processional including concentric circles, children
exchange
their ancestral gifts with other children from other lines.
Rhythmic arts #3: Mnemonic tools for memorizing endangered ways of
knowing,
principles for stewardship and caring for each other.
We convene grandmothers to inform the elements and design of Zones of
Medicine Grandmothers and Rhythmic arts.

6. Rhythmic Arts of Reversal
aka Rhythmic Arts of Sacred Clowns
Led and informed by: Heyokeh, Holy Fools, Sacred Clowns or scholars
of...
Essential questions to design zones and rhythmic arts: What are the
lies of
the collective ego and how do they impoverish lives and keep us
separate? 
What are the games that teach clowning and play?
1st teaching objective: The illusions and lies of the collective ego
2nd teaching objective: Teaching sacred forms of play and clowning
Zone name example: The Temple of the Sacred Clown
is an ethnohistorical media archive including footage of well-loved
sacred
clowns
and indigenous descriptions of ceremonies including heyokeh and koshari
Rhythmic arts example#1: Procession makes mockery of adult behaviors,
exposes lies of the collective ego such as the need for the collective
ego's
recognition.
(Carol K. Anthony: The collective ego diverts the individual from
recognizing that the Cosmos fulfills his true needs by suggesting false
needs, such as the need for the collective ego's recognition.  It then
satisfies this need by granting titles, medals, degrees, and membership
in
groups which promise to recognize him.  However, these turn out to be
empty
of real nourishment, since they only nourish the ego, while keeping his
true
self enslaved and starved.)

7.  Rhythmic Arts of Bardo Preparation
aka: Rhythmic Arts of Walk Ins, Tulkus and Revivers
Informed and led by elders who have returned very differently from the
Land
of the Dead
Essential questions that inform design elements of zones and rhythmic
arts
practice: How do we theatrically create a minefield of challenges and
distractions that allow youth to navigate the dream of life?  How do we
help
each other and ourselves prepare for the next world?
1st teaching objective: We don't die
2nd teaching objective: Preparation for between-lives travel
Zone name example: Bardo Transit Preparation Groves
Rhythmic arts example#1:  Priest training for helping selves to aim the
intention and concentrate the mind through the chaotic field of the
bardo.
(the chaotic field enacted by human angels in disguise as demons).

8.   Rhythmic Arts of Earth Restoration
aka: Rhythmic Arts of Devic Gardeners
Informed and led by master gardener friends who receive guidance from
devic
elementals (fairies). Led by teachers of Steiner's biodynamic gardening
Essential questions that inform design elements of zones and rhythmic
arts
practice: What principles of master gardeners, permaculturists and
friends
of the devas can be memorized by singing and dancing?  What are the
planting
songs that help us to  connect with the spirits of individual plants
and the
devas of field and  forest?
1st teaching objective: Co-creation with Mother Earth
advanced teaching objective: Plant allelochemistry for mediation
purposes
(how plants communicate making alliances and boundary keeping with
countless
other creatures all at once)
2rd teaching objective: Techniques of Earth restoration, revival of
brown
fields and desecrated lands inviting (fairies) devic intelligence
3rd teaching objective: Biodynamic gardening and relationship of realms
and
species
Zone name example#1: Beds of Deep Mysteries Listening
or Zone name example #2: Zone of the Devic Gardeners
Rhythmic art #1: Biodynamic planting song and ritual
(teaches listening to the fairies, the wishes of the plants themselves,
the
nested cascade of elementals and creature companions.)

9. Rhythmic Arts of Sense Extension
Rhythmic Arts of Blind Seers, Deep Listeners
Led by: Psychically gifted disabled people, people who have survived
loss of
limb or loved one who have extended their beings into new terrain for
the
benefit of all beings
Essential questions that inform design elements of zones and rhythmic
arts
practice:
What have sense impaired individuals developed that may be shared with
the
human community?  How do we collectively help and incorporate those who
have
suffered a loss while learning from them?
1st teaching objective: The locus of loss is the access/axis point to
communion and awakening of new faculties assisted by invisible helpers.
2nd teaching objective: The extension and strengthening of super sense
faculties to support missing senses; the extension and strengthening of
heart/being to support others who have lost limb or sense faculties.
Zone name example #1: Zone of the Blind Seer are team-assisted practice
places for those recently disabled. These are designed to train
newcomers to
extend their abilities with the support of other faculties or
supersense
faculties.
Rhythmic arts #1: Ceremonies of social re-incorporation, that welcome
people
who are newly disabled, dispossessed, orphaned, widowed, divorced... to
enter a realm of communion with the spirit world and others who
suffered
loss.

10.  Rhythmic Arts of Distance Mass Clearing
Rhythmic Arts of Exorcists
informed and led by exorcists from Taoist,  Kabbalist, Catholic,
Aborigine
and Shamanic lines
Essential questions that inform design elements of zones and rhythmic
arts
practice:
How do we work together to safely clear large areas and individuals of
ghosts?  What are the principles of invocation and clearing that may be
used?
1st teaching objective: at-a-distance mass clearing of haunted places
and
traumatized peoples
2nd teaching: how to send suffering spirits home with help of high
spirits
and by changing the frequency of the field
Zone name example #1 is Zone of Distance Exorcism or
#2: Zone of Mass Clearings: Is the storehouse of techniques where
visitors
may gather together to enact clearing of places and peoples
Rhythmic arts #1: of Mass Clearings: Teach techniques of clearing
places and
peoples of ghosts.
Dedicated to children like Danny Kho who see and feel ghosts.

11.  Rhythmic Arts of Co-Creation
Rhythmic arts of Soul Travellers
Informed and led by local lucid dreamers, Tibetan dream yogis,
oneironauts,
soul retrievers
Essential questions that inform design elements of zones and rhythmic
arts
practice: How do we learn lucid dreaming and soul retrieval together
and
practice sacred sleep? What games and songs may help to remember the
dreamlike nature of reality?
1st teaching objective: the dreamlike nature of reality
2nd teaching objective: co-creative relationship with the waking dream
Zone name example: Lucid Dreaming  Practice Dens
Rhythmic arts of Sacred Sleep#1:
Scott Cunningham suggests the structure of dream rituals:
a. compose the question; b. compose the prayer; c. purify the self; d.
don
the special garment; e. create the altar; f. purify the bedroom; g.
make
offerings; h. make the invocation; i. Get in bed; j. assume the ritual
posture; k. determine I will have a lucid dream; l. go to sleep saying:
i am
dreaming, i am dreaming....
Dedicated to children who are yelled at for daydreaming.

12. Rhythmic Arts of Transmutation
Rhythmic Arts of Alchemists
led and informed by: local alchemists
Essential questions that inform design elements of zones and rhythmic
arts
practice:  What can we learn about the formation of bodies, the work of
heavenly and earthly energies and practices to support enlivening
tissue?
1st teaching objective: the integration of heavenly and earth energies
by
leading proper lives and cultivating essence.
2nd teaching objective: about time spirits, qualities of time.
3rd teaching objective: mediation of opposing forces
Zone name example #1: The Alchemical Circus
Rhythmic Art #1 for Incorporating Temperments: Rhythmic arts for the
sanguine child (she must fall in love with her teacher to anchor her
shapeshifting nature), the melancholic child (he must universalize his
feeling that life is suffering), the phlegmatic child (he must be
stimulated
by inspirations and input from the others), the choleric child (must be
led
by a heroic teacher).
Rhythmic Art #2: Use a mandalic operating theater to situate a complex
of
opposing forces, opposing ideas, opinions on either side of a circle. 
Let
the opposing forces become one in the middle as they change
incrementally to
become more like the other.

13. Rhythmic Arts of Social Incorporation
Rhythmic Arts of Awakened Ones
led and informed by survivors of mental illness and kundalini awakening
Essential questions that inform design elements of zones and rhythmic
arts
practice:
What songs can be sung to remember the fool's journey, to increase
understanding of human processes of breakdown and breakthrough?
1st teaching objective: the universal process of soul traversal,
breakdown
and breakthrough
Zone name examples: of the Awakened Ones
Rhythmic arts #2: of the Awakened Ones may describe the fool's journey
Ceremony for the Awakening Ones describe the breakdown and awakening
process
to assist families of institutionalized psychonauts exploring painful
psychic depths in mental hospitals and nursing homes.

14. Rhythmic Arts of the Cetacean Nation
led and informed by emissaries who are in continous contact with
dolphin and
whale elders  taking instruction from them.
Essential questions that inform design elements of zones and rhythmic
arts
practice:
What can be collectively learned about the use of sound through song
and
rhythm?  How can we collectively keep connected to the creatures of the
ocean and the wisdom of the cetaceans?
1st teaching objective: Sacred sound healing arts.  Bioacoustic
remediation
of waters and lands.
2nd teaching objective: Sacred forms of play
3rd teaching objective: Interspecies communication and telepathy.
Zone name example: Zone of the Cetacean Nation: Real time telepathic
contact
with emissaries and members of the cetacean nation.
Rhythmic arts of the Cetacean Nation #1: for learning and performing
sacred
sounding, Bioacoustic Remediation of Waters and lands and healings.

15. Rhythmic Arts of Transfiguration
Rhythmic Arts of Ayahuasceros/Peyoteros
led by medicine people from the Amazon and Andes who have long trained
in
working with potent mind-manifesting teas made from plants sacred to
them.
Essential questions that inform design elements of zones and rhythmic
arts
practice:
What principles need to be stored in collective memory so as not to
lose
ancient arts of plant teachers?  What songs may be sung to remember the
practical arts and wisdom of maintenance of these traditions?
1st teaching objective: Purification, Cultivation, Preparation of
persons
and plants seeking awakening through the plant teachers.
Zone name example:Zone of Transfiguration
Teaching sacred arts, songslines and ways of the plant teachers
Rhythmic arts of Transfiguration #1: Include the singing of icaros,
shamatas, hymns used as transport vehicles to the heavens.  Other songs
are
used as mnemonics to remember the potential learning one may receive by
traveling these roads.

16. Rhythmic Arts of Redemption (Confession and Forgiveness)
aka Rhythmic Arts of Shadowcatchers
led by serious and non-judgemental priests and holy sineaters of all
faiths
Essential questions that inform design elements of zones and rhythmic
arts
practice:
What ancient forms of public confession were effective in redeeming
individuals and eliminating hierarchical rank?  How might circular
rhythmic
practices be used to express our desire to do better with witnesses and
to
offer forgiveness?
How do we study our enemies and aversions in order to incorporate
shadow and
integrate selves into Selfhood?
1st teaching objective: the redemptive and healing properties of
confession
and forgiveness as universally practiced by both Christian and
pre-Christian
native traditions
2nd teaching objective: Self-study through study of shadow, including
fears,
phobias, enemies and aversions.
Zone name example: the Zone of Shadowcatchers
or Sacred Bonfire of Public Confession
Rhythmic arts of Redemption #1: Look to native practices, see Weston La
Barre's essay on pre-christian forms of cathartic public confession.



Lizbeth Rymland Solstice 2005

Primordial Parks

Mojo

 *