Curses, Negative Energy and Attacks Endured.

Greetings. I was recently on another thread pertaining to this subject, and was referred to this thread by Anart, so I hope no one minds if I share some things.

I've been actively involved in traditional performance and ritual art of North India for more than 35 years. I hitchhiked there when I was 22, was initiated progressively over the years by many selfless and generous teachers (I was 1st American to be initiated in this particular old musical art form). I do this work professionally full time, and I've never joined or been brainwashed by any cult.

I have also spent quality time in Indian Country, especially Hopiland, because for most of my life it felt wierd having been born in north america and feeling no roots connection to this continent and the past, and living in Indian Country resolved that problem for me.

Both the two kinds of "Indian" cultures (east & west) are saturated with "ritual", obviously. Every action has ritual connotations and contexts. It is the "way of life", but it doesn't merely produce 4dSTS-drained automatons. It's a very complex situation.

It's very difficult for the western mind to have an overview, so difficult in fact that it's probably better for young westerners to just stay clear of "ritual" for the most part, especially newly invented occult new-age systems and previously extinct "resurrected" "ancient practices".

Today in all indigenous and traditional cultures there is heavy black magic goin on; it's not talked about all that much, but even the kids know. A lot has to do with the degeneration of parts of the cultures, loss of esoteric understanding of the meanings of the ritual forms, corrupt priesthoods, superstition, colonialism, materialism, you name it.

However: at one level, all living is ritual. Gathering with friends, breaking bread together. Holding a vigil. Hearing a concert. Process of artistic collaboration and creation. My take is that there is not just one level of ritual, and that there is ritual that is intimately connected to cultural survival, plus it's possible that PTB wants us to be PARANOID of the entire concept so as to further the erasing of indigenous knowledge of our planet's environment, which we may all need to survive/prosper.

Two short anecdotes, one about self-created ritual, and one about "curses":

In India 30 some years ago I was trying to discover the secret of a yantra-construction, working at it for months, researching every available tantra text, etc. After I finally dreamed the solution, I looked at many of the "yantra-use-manuals", but since I wasn't initiated in this area, none of it felt right. At that point in my life I also wanted to die. The yantra was for a particular major Indian goddess. I ingested one enthogenic substance, spent an undetermined amount of time merely using the yantra as a focussing and concentration-device, and what occurred was a full appearance of this Goddess enacting the entire mythic narrative in her "scriptures". I had never heard of these stories or texts. Four years ago (26 years later) I went to a "reading" of these stories, and I knew ALL of them (from the Devi Bhagavatam)! I also knew them on a deeper level than the vedantist reader. One question has always been whether this "information" exists in the LAND or the "collective-awareness" somehow (and I tapped into it), or if it has to do with my own "memory" or past life? I've no investment in either answer.

On the Hopi "rez" in '82 I had spent months just being "social" with a family, not asking any prying questions. One night they concluded I was "ok" (not going to write a book or make a movie) and opened up and laid a lot of history, mythology, symbolism, and geography on me. I "got" how all N. America is a detailed sacred landscape to them (similar to Australians) among other revelations. Previous to that I had spent time at a traditional native "resistance camp" helping the grandmothers. The next day, down in the "city" at a hotel-conference center was a presentation by a nuclear corporation - with charts and slides, a big PR campaign to assure the pubic of the "safety" of drilling for uranium 2 miles from the Grand Canyon!...Right. Mostly white audience, a few Natives. I was furious and disgusted. I went to the men's room and was suddenly standing face to face with the CEO of the nuclear corp.!! He said something like "it's good that people of opposite points of view can 'come together' and discuss our differences, blah blah..." Words just flew out of my mouth, something about "you paid drunken Indians to sign over permission to drill, and they have no authority; you're desacrating/poisoning, etc etc..." (these guys were from "Karen Silkwood" company!). Didn't matter what words came, it was just spontaneous pure emotion. I had no thought of "cursing". But I wouldn't doubt that some of the Natives had those thoughts. The upshot is: two days later I read in the paper that the CEO dude died of a heart attack! I don't know if it even had anything at all to do with me, but it was pretty shocking, and I knew how much energy I had flamed on the guy...

Anyway, what I had written in another thread on my personal experience with "ritual forms and creative improvisation" I pasted below:

...on the essence of the issue of 'what is the relevance of Ritual/Ceremony/Tradition?' (all closely related), and how these are basically 'containers' for creativity.

This is key in all my experiences with very-much-alive traditions of indigenous music, dance, storytellling, and puja ('dualistic' ritual invocation and pleasing of some visualised aspect of our individual wholeness - Self).
I see the practitioners of lineage arts working in the following ways:

1) As children they are taught and practice the rudiments of the various forms that have come down and been more-or-less agreed upon as 'getting the job done'. This alone may take many years.

2) As the form is understood and solidly established, the young artist is made aware that ONLY the form is knowable and agreed on, and that all the other details are always changing from generation to generation and from moment to moment.

3) The form is established and revealed/self-defined by the practice of infinite variations of ways to respond to what the group/individuals/audience's energetic interplay with the artist is at a particular moment. One has to be always expecting the unexpected, since the whole point is Creative Improvisation, NOT just going through the motions; and adding something to the lineage-garland for the next generation to play off of. (This is certainly NOT blocking "the spontaneity of life") When a whole community knows the 'forms' and are involved observers/participants, and are watching for the artists' creativity, they won't hang out for long if its not happening.

4) The practise of self-observation and continuous attention to the present moment is something that seems to require working-on for most of the artist's life. If one can't live daily life with disciplined focus, then it's not gonna happen when it's show time. And there's either: doing your best to honor each and every element of the agreed-on form, or violating the trust between artists. You aim for the former.

5) Even the forms change, and new forms come into being. The given forms, once intimately known, themselves suggest the next evolutionary step.

6) They don't dream of giving up the forms. The forms are "home". Your boat on the river that can take you anywhere and can be refurbished as needed. Why reinvent the wheel?

7) When the forms are used in a positive, creative and ego-less manner they 'do the job'. Whether its processing and "composting" the complete spectrum of built-up emotions, demonstrating/singing of the infinite variety of perspectives on the struggle of light and dark in this world, focusing the community on manifesting beneficial cooperation with the environment (saw a Hopi snake "dance" - before they closed 'em to outsiders - and experienced the combination of community focus, intimate and reverent contact with the snake-world, an adhered-to annual ceremonial cycle which keeps them in continuous connection to the environment, and powerful mind-altering singing - got wet when the requested rain-cloud formed in a completely clear burning blue sky as the last of 100+ snakes was sung to)...any of these results are positive cultural contributions, but not necessarily guaranteed.
No doubt any kind of social or cultural interaction among humans can be a playground for STS's. True guidance and training and apprenticeship is out there regardless of one's circumstance, and is found if desired sincerely and with a constant vigilance. Learning and passing on a craft/art is invaluable for the learning process itself.

Hoping all these threads lead to clarity and knowledge and a lessening of fear. People on this forum are some of the sharpest I've run across...no insult intended.
 
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