Magical Passes (10 page)

Don Juan explained that the sorcerers of his lineage, at a given moment, allowed males to practice these magical passes because of the possibility that the energy engendered by them would awaken the secondary function of the male sexual organs. He said that those sorcerers considered that the secondary function of the male sexual organs is not at all similar to that of the womb; no interpretation of sensory data can take place because the male sexual organs hang outside of the cavity of the body. Because of these particular circumstances, their conclusion was that the secondary function of the male organs is something which they termed evolutionary support: a sort of springboard that catapults men to perform extraordinary feats of what sorcerers of ancient Mexico called unbending intent, or clearheaded purpose and concentration.

The Series for the Womb is divided into four sections which correspond to the three female disciples of don Juan Matus: Taisha Abelar, Horinda Donner-Grau, and Carol Figgs; and to the Blue Scout, who was born into don Juan's world. The first is composed of three magical passes belonging to Taisha Abelar; the second is composed of one magical pass directly related to Florinda Donner-Grau; the third, of three magical passes that have to do exclusively with Carol Figgs; and the (mirth, of five magical passes that belong to the Blue Scout. The magical passes of each section are pertinent to a specific type of individual, Tensegrity has rendered them capable of being utilized by anybody, although they are still slanted in the direction of the type of person that each of those four women is.

The First Group : Magical Passes Belonging to Taisha Abelar

The three magical passes of this group are geared to gathering energy for the womb from six specific areas: the left and right front of the body, the left and right sides of the body at the height of the hips, and from behind the shoulder blades and above the head. The explanation that The shamans of ancient Mexico gave was that energy especially suited for the womb accumulates on those areas, and that the movements of these magical passes are the appropriate antennas that gather that energy exclusively.

1. Extracting Energy from the Front of the Body with the Index and Middle Fingers

The first sensation that a Tensegrity practitioner seeks while executing this magical pass is a pressure on the tendons of the back of the hand, a sensation which is obtained by opening the index and middle fingers as far as possible while they are fully extended. The last two fingers are curled over the palm of the hand, and the thumb holds them in place (fig. 95).

The magical pass starts by placing the left foot in front of the body in a T position, perpendicular to the right one. The left arm and the left leg make a series of synchronized forward circling movements. The leg circles by first lifting the ball of the foot, and then the whole foot, and a step is taken that rolls forward in the air and ends on the heel, with the toes up, as the body leans forward, creating pressure on a muscle on the front of the left calf.

In synchronization with this movement, the left arm rotates forward over the head, also making a complete circle. The index and middle fingers are fully extended, and the palm faces to the right. The pressure on the tendons of the back of the hand has to be maintained with maximum stress during the entire movement (fig. 96). At the end of the third circling movement of the arm and foot, the entire foot is placed on the ground with a forceful stomp, shifting the weight of the body forward. At the same time, the arm shoots out in a stabbing motion, with the index and middle fingers fully extended and the palm of the hand

facing right; the muscles of the entire left side of the body are kept tense and contracted (fig. 97).

An undulating movement is made, as if drawing, with the two extended fingers pointing forward, a letter S that is lying on its side. The wrist is bent so that the fingers point upward once the S is completed (fig. 98). Next, the wrist bends so the fingers again point forward and the S is cut in half with a horizontal stroke of the two fingers from right to left. Then the wrist is bent so the two fingers point upward once more, and a sweeping movement is made from left to right with the palm turned toward the face. The palm of the hand is turned to face outward, as the arm sweeps from right to left. The left arm is retrieved to the level of the chest, and two forward stabbing motions are executed with the fingers fully extended and the palm of the hand facing downward. The palm of the hand is turned toward the face once more, and the hand sweeps again from left to right and from right to left, exactly as before.

The body leans back slightly, shifting the weight to the back leg. Then the hand, with the two fingers curved like a claw, reaches out at waist level in front of the body as if to grab something, contracting the muscles and tendons of the forearm and hand as if forcefully extracting some heavy substance (fig. 99). The clawed hand is retrieved to the side of the body. All the fingers of the hand are then fully extended, with The thumb locked and the fingers separated at the middle and fourth

fingers, making a letter V, which is brushed over the womb, or over the sexual organs, in the case of men (fig. 100).  A quick jump is made to shift legs, so that the right foot is in front of the left one, again making a T. The same movements are repeated with the right arm and leg.

2. Jumping to Stir Energy for the Womb and Grabbing It with the Hand

This magical pass begins by placing the right foot perpendicular to the left one in a T position. A tap is made with the right heel; this tap serves as an impulse for a small hop of the right foot which ends with the right toes pointing forward, followed immediately by a one-step lateral hop of the left foot that ends with the left heel on the ground, perpendicular to the right foot. The rest of the left foot touches the ground, shifting the weight to the left leg, as the left arm moves in a grabbing motion to clasp something in front of the body with a clawed hand (fig. 101). The hand then rubs gently on the area of the left ovary.

A tap of the left heel serves as an impulse for a sequence of movements that is a mirror image of the preceding ones.

Energy stirred up by the motion of the feet in this magical pass bounces upward, is caught with each hand in turn, and is placed over the uterus and the left and the right ovaries.

3. Slapping Energy on the Ovaries

The third magical pass begins by circling the left arm over the head, to the back, in toward the shoulder blades, and out again to the front until it reaches the level of the chin; the palm faces up. The hand draws another circle that goes up and over toward the right; it continues downward, all the way to the right waist and then sweeps upward over the head, completing the figure of a number eight. The palm flips to face the front (fig. 102). Then the hand descends forcefully, as if slapping the area just in front of the left ovary (fig. 103). The hand then brushes gently on the area of the left ovary. The same pattern is repeated with the right arm.

The Second Group: A Magical Pass Directly Related to Flormda Donner-Grau

In this group, there is only one magical pass. The effect of this magical pass is utterly congruous with the personality of Florinda Donner-Grau. Don Juan Matus regarded her as being very straightforward, so to-the-point that sometimes her directness became unbearable. Her activities in the sorcerers' world, as a consequence of her directness, have always been geared toward the goal of evolution, or the transformation of the womb from a receptacle and promoter of fertility to an organ of awareness, through which thoughts which are not part of our normal cognition can be processed.

4. Sphinx Paws

This magical pass begins with a quick, deep inhalation. The air is sharply exhaled with a forceful strike of the wrists to the front of the body. This is achieved with the hands turned downward sharply, at right angles to the forearms; the fingers point to the ground, and the striking surface is the backs of the hands at the wrists. The hands are pulled upward to the level of the shoulders, the palms facing forward, in a straight line with the forearms. A deep inhalation is taken. The hands are held in this position as the trunk turns to the left. The hands then strike, with the palms down, to the level of the hips (fig. 104). The air is exhaled sharply. The hands are raised above the shoulders again as the trunk turns to the front, and a deep inhalation is taken. With the hands still above the shoulders, the trunk is turned to the right. Next both hands strike, with the palms down, to the level of the hips as the air is exhaled.

Both hands move then to the right of the body, with the palms slightly cupped and turned to the left, as if to scoop a liquid substance. Both arms move from right to left to right, drawing the figure of a reclining number eight in front of the body. This is achieved by first moving the arms all the way to the left, following a twist of the waist, and then returning back to the right, following a reverse twist of the waist. The slightly cupped palms are turned to face the right, as if to continue scooping a liquid substance in the opposite direction (fig. 105).

As the figure eight is completed, the left hand stops to rest on the left hip, while the right arm continues moving to the right; the arm goes up over the head and makes a big loop to the back that ends when the hand is brought back to the front, to the level of the chin; the palm of the hand faces up. The hand continues moving, making another loop to the left, going in front of the face, over the left shoulder. Next it moves in a straight line across the body at the level of the hip, cutting through the figure eight (fig. 106). From there, the palm moves back toward the

body and is made to slide over the right ovary, as if the hand were a knife that comes to rest in its sheath.

The exact same movements are performed, but striking to the right side of the body first, in order to allow the left arm to execute the last movement.

The Third Group : Magical Passes That Have to Do Exclusively with Carol Figgs

The three magical passes of the third group deal with the energy that is directly on the area of the womb. This emphasis makes these three magical passes extraordinarily potent. Moderation is strongly recommended in order to bring the sensations of awakening the womb to a manageable level. In this fashion the linear-minded interpretation of these sensations as premenstrual pangs or heaviness on the ovaries can be avoided.

Don Juan Matus told his three female disciples that the secondary functions of the womb, upon being awakened by the appropriate magical passes, give the sensorial input of discomfort, but that what takes place at an energetic level is the influx of energy into the vortex of the womb. Energy which has, up to this point, remained unused and on the periphery of the luminous sphere is suddenly dropped into that vortex.

5. Packing Energy on the Womb

The first magical pass begins by bringing the two hands to the area of the womb. The wrists are bent sharply, and the hands are cupped, the lingers pointing to the womb.

The two hands are extended so that the tips of the fingers point inward each other. Then they make an ample circle, first going upward and out, and then down, with both hands together, ending right over the womb (fig. 107). Next, the hands separate to the width of the body (fig. 108), and are brought forcefully toward the center of the womb as if thick ball were being squashed. The same movement is repeated, and the hands are brought closer together, as if the ball were being further squashed. Then it is torn apart by a powerful movement of the hands, which grab and rip (fig. 109). The hands are then brushed over the area of the uterus and the ovaries.

6. Stirring and Guiding Energy Directly into the Womb

This magical pass begins with an exhalation as the arms are stretched out in front of the body, with the backs of the hands touching. A deep breath is taken as the arms move laterally away from each other, drawing half-circles which end with the forearms touching in front of the body at the level of the chest, and the arms extended forward with the elbows slightly bent. The palms face up. Then the trunk bends forward slightly as the forearms move backward so that the elbows are moored on the solar plexus with the forearms still touching, side by side (fig. 110). Next, a slow exhalation begins, which must last through the following movements: The back side of the left wrist is placed on top of the inner side of the right wrist, maneuvering the arms to make the figure of the letter X; the wrists rotate so that the palms circle in toward the body, and then back out to face front, without losing the X shape of the wrists; the left hand ends up on top of the right one (fig. 111). The hands are made into fists and separated vigorously (fig. 112), and then brought to the area of the left and right ovaries as the exhalation ends.

7. Squeezing Out Injurious Energy from the Ovaries

The left hand is held in front of the body with the palm up. The elbow is bent at a right angle and tucked against the rib cage. The index and middle fingers of the left hand are extended while the thumb holds the other two fingers against the palm. The two extended fingers of the left hand are grabbed from underneath by the right hand, and squeezed as if drawing something from the base of the two extended fingers of the left hand and making it move to the tips (fig. 113). Then the right hand shakes

vigorously whatever it drew from those two fingers with a backhanded, downward striking motion on the right side of the body. The left thumb releases the other two fingers, and the hand is held in a letter V shape, with the index and middle fingers together, and the fourth and fifth fingers together. The palm of the hand is lightly brushed over the area of the left ovary. The same movements are repeated with the right hand.

For the second part of this magical pass, the trunk is bent sharply forward. The left arm hangs in between the legs, the elbow cushioned against the umbilical region. Exactly the same movements performed in the first part of the magical pass are executed again, except this time the two extended fingers of the left hand are grabbed by the right hand from above (figs. 114, 115). The same movements are repeated on the right.