Giving my 13-year-old self a suit and a strap-on + Marking the 13 Kan / Libra Solar Eclipse Upleveling
It started on the morning of the eclipse with a vision of the electric chair, with a word emblazoned across it:
“FUNCOMFORTABLE”
The song “The Mercy Seat” by Nick Cave started playing, and I received the message as being about reframing. The electric chair can be a torturous death, or it can just be something interesting that happens in the endless game of hide-and-seek that is the universe seeking to know itself through every possible configuration.
It’s all about the reframe, the remix, pain is only suffering if you perceive that it’s challenging; in a different context, it can be interesting, information.
As my friend Gorgeous George says: “That’s fun, innit?”
The portal twisted and turned, deepening and meandering as I wove my way through my relationship with my own pain and energy that day. I had an appointment for a very important marking scheduled for the day after the eclipse, and was already dropping into it: a cosmic serpent, marking the completion of this period of my initiation by pain, the crossing of the threshold from child to adult and the rapidly approaching horizon line of eldership, as this year I turn 40: when my Maya astrology reflects with eerie accuracy what is already happening, that this is when I start to really mature and move into a position of service, leadership, gentle yet certain authority, claiming a community where, after all this wandering in the dark, flailing around lost, afraid and alone and ping-ponging all over the Earth, I finally start to know my worth, believe I deserve to be alive and choose to stay here, on this body and in this timeline, and build something lasting.
It’s happening.
I can hardly believe it. I’ve longed for it for so long. But the lesson of this eclipse portal, on the day that joins the number of ultimate stability with my nahual—6 Kan—within the trecena of the Hero Twins, reclaiming and realinging with my herox’s journey, is that the point of everything, my work and art and research and life, is that it’s a remembering, a conjuring into physical presence, into something we can perceive with the senses, that which has always been present.
You can’t make this stuff up. In childhood, my Maya astrology says, I came into the world with a strong ability to manifest my creative talents on the physical plane. This phase was closely linked to the influence of women in my life. My mom was at home with me and very involved with my life in a more positive way than what came later up until age 11 or so, just like this reflects. The comes in the storm, the disruptive influence of the men in my orbit, and wouldn’t you know it, that’s when the divorce happened and there opened up a portal of this world of dad’s house, unchecked by mom, where he could treat us as horribly as he wanted. And she made us go there, because he threatened legal action if she didn’t. But still. She should have insisted. It was the beginning of an abusive pattern that I would later fractally refract in my own romantic relationships.
The astrology reflects what happened, that I exploded all over the place, lost in my own mind, lost in misdirection, blown by the hurricanes of relationships and disappearing into drunkenness, but that by age 40, things would start to settle, and I would move toward eldership, rooted in community: Aj, the nahual of leadership and the spine, being a stand-up guy, influenced by Kej, the nahual of the stag, the healed masculine forest-father power, that advocates for what is right and needed, assuming eldership by age 42, of course, the meaning of the whole silly game.
I didn’t see, at the time I got this reading, how that was ever going to happen. I had just gotten to California and thought that maybe I was going to build it there. I was right in that the foundation was laid, but what I never could have seen coming was that it was laid by breaking everything, shattering my root and foundation; stripping me bare and ripping me open like a carcass for the interdimensional buzzards to devour, and I chose the death, because as Christine said, it’s what we’re going for, and when it comes and we know it’s meant for us all we can do is surrender, so I let it take me, I let the scavengers eat me so that my body could be a feast of abundance for the system, composting the lives that were and could have been and thus enabling the resurrection on the cactus, that thing that looks a lot like a cross, making me a world tree: the axis-mundi.
Returning victoriously as the hero(x) of my own story. Finally, not the victim or the maiden, but also yes them, and also I am the villain, but for once, I am steering the ship.
I feel it. This tattoo was a marking of the end of my shama(x)ic initiation, I completed this round of trials and upleveled, I fucking did it, we did it together, I got there, I didn’t know if I would ever get there, but we made it, it was so dark and hopeless so many times but we followed the feeling.
That was a big part of the portal, learning to know the difference between when an urge, an inclination, was ego and when it was the right kind of pushing myself, when it was following the feeling that said to go somewhere or do something that would leave to my unfolding and awakening, rather than just grinding through and propping myself up with coping mechanisms. This was going where I was needed, helping where I was asked to be of service, being the higher octave and raising the vibration of the place through my presence: the balancing element. And I found the middle ground, that I can show up and also listen to myself, that I can be in the world and with my community and also listen to my body, it can be both things, it doesn’t have to be this extreme. I choose to come out of isolation, leave the waystation, move toward the destination of life’s meaning, 42, and I am overwhelmed with gratitude.
The theme of the eclipse portal was conjuring into physical presence, the realm of the senses, that which has always been there, but has been forgotten. One of the things I remembered is that I always knew I was trans, I just didn’t know what to call it. I even realized that the beginning of my hard-femme-performance was when I put on that suit during our X-Files spoof, and nothing had ever felt so right, and it scared me. And I made jokes about how we should experiment with queerness, and they weren’t received, and now I see that I shut down ALL of these impulses after that experience, I abandoned my natural gift for theatre and performance of the authentic sort for the performative kind, the falseness, the deception that is the dark side of 13 Kan. When you get so good at the illusion that even you fall into your own con. I felt it again when I wore the strap-on, and I felt another kind of power and authenticity that had no place in my current cultural story, so that scared me too, and it also humiliated him, even though he asked for it, so we put the thing away and never spoke of it again, and I tried to contain that testosterone that needed expression, so as the shadow does, my repressed masculine came out in other, undesired ways.
The con of 13 Kan, when the illusionist confuses even themselves, and forgets what spells they cast, which charms they’re tied to, and who’s entranced, performing what act.
Spell, charm, trance.
Kit’s applauding this.
When you’re born a 13 Kan, you come into this dimension with the natural ability to perceive the other ones, but without the proper training and guidance, you don’t know what’s you and what’s other forces and energies and entities; if you don’t learn to discern your inner voice from your dead grandma from a squirrel or a tree, you’re always going to be confused about what you’re hearing and feeling, about what you actually want and need, you have to learn these boundaries or else you end up lost, like I did.
This is the point of it all, my work/art/life/research/praxis/all the same shit, is actually putting the healing and mentorship into practice; helping others learn to directly communicate with the subtle realms again, which includes parts of self, learning from the traditions that have always done it, but building our own syncretic Hermetic practices, always with reciprocity and respect. Showing people how to do that. This is my offering and service and personal journey, and the PhD is documenting this process of unfolding and making art that represents it.
Okay, now I know what I’m doing. Can I make some shit already?? I hope so.
The marking is marking the transition, the crossing of the threshold.
Like when Cal materialized at the end of my alchemical descent at Burning Nest, that other circus, I think what he said is prescient:
“Your journey is about to get a lot easier.”
LISTEN:
Funny - the AI doesn’t recognize me as anyone here, recorded on the day after the eclipse, but still in its shadow, at 4am London time. I will rename myself Riordan and see what happens.
Giving my 13-year-old self a suit and a strap-on
The speaker reflects on their sexual awakening and identity, tracing back to their childhood crush on David Duchovny and Gillian Anderson from "The X-Files." They discuss the significance of the Sacral Chakra and the color orange, symbolizing creativity and intimacy. The speaker recalls dressing as Gillian Anderson to connect with David, but later realized they wanted to embody both identities. They emphasize the transformative power of performance, particularly in wearing a suit and a strap-on, which made them feel more authentic. The speaker plans to explore drag and performance further, acknowledging the duality of their identity and the need for both masculine and feminine expression.
Transcript
Outline:
Awakening of Sacral Chakra and Realization of Identity
Speaker 1 expresses a desire to have sex again, awakening their Sacral Chakra, associated with the color orange.
They reflect on the significance of orange, realizing it represents a blend of red (root) and yellow (solar plexus) chakras.
Speaker 1 recalls being shamed for their sexuality and body by past lovers, which they now understand better.
Childhood and Adolescence: Struggling with Identity
Speaker 1 describes their childhood, playing softball and liking micro machines, and their adolescent crush on both David Duchovny and Gillian Anderson, struggling to express their true feelings due to societal and family pressures.
They obsessed over The X-Files, taping episodes and cataloging them, feeling a strong connection to the show's themes. Speaker 1 believed in the conspiracy theories of the show, seeing some truth in them. They dressed as Gillian Anderson in middle school, trying to embody her identity to get closer to David Duchovny.
Transformation and Self-Discovery
Speaker 1 recalls a formative moment when they performed in an X-Files parody video, dressing as David Duchovny and feeling more like themselves.
They realized they wanted to be both David and Gillian, and that a triad relationship would fulfill their desires.
Speaker 1 emphasizes the importance of fluidity and embracing their true identity as a non-binary person.
They reflect on their history of writing musical theater and parody songs, expressing their feelings through performance.
Planning for the Future
Speaker 1 plans to meet with Heather to discuss drag and performance, setting up a non-romantic date to talk about their shared interests.
They reflect on the importance of presenting more masculine to feel safe in their body and to express both masculine and feminine identities.
They plan to attend the next queer poly meet and connect with people in Glasgow who share their interests.
LISTEN:
Fascinating - the AI identifies me as Cain, in this recording from the morning of the eclipse, before it happened that evening. I also notice that my transmissions end in the transcript every time with “I.” This is not something I think I utter aloud, but it makes me think of how Paul Selig when channeling always ends with “period… period… period… they’re saying period.” Ending with the I-am?
Funcomfortable
Cain reflects on the concept of reframing pain and suffering, drawing parallels to the "electric chair" as a symbol of liberation rather than punishment. They discuss the fear of being abandoned if perceived as well, and the realization that self-reliance and community support are crucial. Cain recounts personal experiences, including the impact of the 2017 American Eclipse, their struggle with alcohol, and the journey from content marketing to embracing a nomadic lifestyle. They also explore internalized biphobia and the desire for community and support, particularly as they approach turning 40.
Action Items
[ ] Listen to what Cain's pelvis is trying to tell him today and consider the reframing of his pain as strength.
[ ] Reflect on the fear of getting better and not being loved or needed, and work to overcome this.
[ ] Determine whether the urge to return to the jungle is a call or a fear of stepping into his power in this world.
Outline:
Reframing Pain and Suffering
Cain discusses the concept of reframing pain as interesting and the fear of getting better, questioning if the fear is rooted in the belief that no one will be there if they are well again.
Cain shares a personal story about prolonging the use of crutches to ensure visibility of suffering, fearing that without it, no one would love or help them.
The pelvis story is redefined as one of strength and self-healing, emphasizing that one does not need as much help as they think they do and can rely on their body, community, and natural world.
Cain argues that society's "eye for an eye" mentality is flawed, suggesting that suffering is often seen as self-inflicted and that a toxic culture prevents true well-being.
The Mercy Seat and Liberation
Cain introduces the concept of the electric chair as the mercy seat, where suffering is reframed as a form of liberation and strength.
The idea of choosing to laugh all the way to the electric chair is presented as a way to see the captors as those with blood on their conscience.
Cain explains that if one is innocent, they will rise above the suffering, while those who have harmed others will suffer in the chair.
The vision of the electric chair in the word "funcomfortable" is introduced as a radical reframe of pain and suffering.
The Eclipse and Personal Transformation
Cain recounts a personal experience during the Great American Eclipse in 2017, describing the moment of no shadow as a lesson in balance and the value of darkness.
The concept of pain as pleasure and the importance of special glasses to see the Invisible Sun is introduced.
Cain reflects on their journey from being a content marketing director to embracing the nomadic life and the emergence of their shadow.
The realization that those who do less work often make more money led Cain to question their place in the corporate world and to seek a more authentic path.
Navigating Relationships and Self-Worth
Cain discusses the fear of being alone and the need to make oneself invaluable to others to feel loved and needed.
The idea of seeing oneself as an offering rather than a being is explored, with Cain acknowledging the shift towards self-advocacy and valuing their contributions.
Cain reflects on the importance of being seen and valued for who they are, rather than just for their contributions.
The concept of the dance, both metaphorical and literal, is introduced as a way to navigate relationships and personal growth.
Healing and Community Support
Cain expresses gratitude for their current community and the support they receive, emphasizing the importance of having people who need them.
The physical presence and grounding nature of the community are highlighted, with Cain acknowledging the need to listen to their body and its messages.
The fear of not being loved if not perceived as needing help is revisited, with Cain questioning the basis of their relationships and the balance between codependency and equal energy exchange.
Cain reflects on the importance of trusting their community to provide what they need and the desire for a big dance on their birthday as a symbol of connection and support.
LISTEN:
Interesting - the AI identifies me as Cain in this reflection from the day after the day after the eclipse, in the aftercare refractory period of my marking.
Marking the 13 Kan and return of gnosis
Cain describes the profound experience of getting a tattoo of a 13 con cosmic serpent, which he felt was meant for him. The process involved careful placement and adjustments, symbolizing the alignment of his spiritual and physical selves. Cain emphasizes the importance of queer alchemy and synchronicity, drawing parallels between his tattoo and the broader concept of manifestation. He discusses his commitment to natural healing, his role as a community organizer, and his plans for future events. Cain feels a sense of purpose and unity with his past, present, and future, marking a significant return to his true identity and path.
Transcript
Action Items:
[ ] Talk to Richard about bringing more awareness around cacao at the Sunday Embodayfest event.
[ ] Host a cacao gathering on Cain's birthday.
[ ] Potentially do an event with Rebecca and Ash on Cain's birthday.
[ ] Submit an abstract for "Breaking Convention" and get a queer ecstatic dance event going for Cain's 40th birthday.
Marking the Return of Gnosis
Cain describes the process of marking himself with a design that called to him, which he felt was meant to be on his body.
The design, a 13 Kn cosmic serpent, was chosen synchronistically from a metaphysical shop.
The tattoo process was a collaborative effort with Ezrael, involving multiple stencil adjustments to align with Cain's vision.
The ceremony involved alchemizing the time in Austin, embodying and transmuting the design, and letting the serpent guide the placement.
The Journey of the Tattoo
Cain and Ezrael had to cut up the stencil into pieces and print new versions multiple times to achieve the desired placement.
The final placement of the serpent's head and tail felt magical and aligned with Cain's initial vision.
Ezrael confirmed that the final placement meant Cain was conjuring something that was always present in his light body.
The tattoo ceremony was part of a larger tradition of queer alchemy, bringing subtle realms into the material world.
Queer Alchemy and Synchronicity
Cain discusses the importance of creating respect and apprenticeship in a world without long lineages of certain traditions.
He expresses the need for a new mystery school to teach the wise use of practices with respect and reciprocity.
Cain reflects on his transformational experiences at ecstatic dance and the synchronicity around cacao.
Synchronicity and Community
Ali and Ezrael had a powerful ceremony involving a mastectomy tattoo, and Ali opened her home to host Ezrael for Cain’s tattooing.
Cain feels positive about the synchronicity and trusts in the signs guiding him.
The conversation with Ali and Ezrael led to discussions about cacao and its integration in their work.
Cain emphasizes the importance of compromises that bring everyone together and trusting in the synchronicity.
Manifestation and Purpose
Cain explains the concept of manifestation as calling into being things that already exist on the ethereal plane. He believes in vibrating at a high frequency to conjure the higher path into being.
Cain is focused on organizing events and advocating for voices that aren't very loud. He feels certain about his purpose in reclaiming his identity as trans and bringing natural healing practices to the forefront.
He plans to document his journey through art, performance, and educational events as part of his PhD process.
Cain feels a sense of welcome home to his body and community in London. The tattoo marks the return of his gnosis, and he feels more grateful and certain about his purpose.
This is how we win
It came through in a flash during ecstatic dance, the rage and frustration at all the things we’d been closed out of.
Cis-het white men of privilege drawing lines around things that were never theirs to begin with, acting like they’d discovered it.
A sign flashed through timelines, hanging on a door: NO DOGS, BLACKS, OR IRISH.
The enclosures that forced us to sell ourselves back to pay for our own land.
Those taken from their homelands and enslaved.
But after the rage came the reframe: they don’t do this to us because we’re weaker, but because we’re stronger than they are, and they’re afraid of us.
The only way to maintain dominance is to make us believe we don’t have the power at all.
But we’re stronger, and they’re afraid of us.
This is the hiss of Ka, the song of Kali-Ma.
We’re stronger than they are.
But the way we win is not by trying to assert our dominance, playing their game and trying to crush them. We win by using our snake-charm powers, going in through the side door and using their own systems against them, making them think the whole thing was their idea until suddenly, things are equal, and they don’t even know how it happened.
This is how we win.
* * *
I realized I had opened a portal when I was a little kid, maybe 10 years old, playing an old-school video game, a pixelated wanna-be dimensional world called King’s Quest IV. Forty years later, I understand why I was obsessed with it. It’s about an ancient Briton-Celtic king stranded from his homeland, wandering through Greek myths until he finds his way back through the haunted Aires and saves the princess.
The whole game is eerily empty, you rarely run into any characters; it’s all semi-vacant landscapes that are nonetheless imbued with a distinct presence. And I became obsessed with it.
* * *
The Celts had no written records and cannot identify themselves to us directly - known only through material culture - archaeology - and the records of other cultures
Literate Mediterranean societies identified them - the Greeks - the reason I was obsessed with Kings Quest VI
The Celts or Keltoi (in the Greek) were first defined as such by the Greeks before 500 BC
Their language and material culture had enough unity to be recognizable to their neighbors but they were never one people, it was a gradual process of “Celticization” > little by little, the fluvial geomorphology of culture
TK
Legend says one day Ireland will rise up again and be the saving grace of the human race. Perhaps that time is coming. But perhaps it was a metaphor and it’s just a portal for the syncretic Hermetic traditions of direct experience to join forces and save the world by remembering how to speak directly to the elements again.
LISTEN:
Funny - the AI called me Holly, which it invariably misgenders female; I changed the speaker to Riordan, and now the summary is updated with me as male.
Riordan O'Regan reflects on his childhood obsession with the video game King's Quest 4, drawing parallels to his current life and spiritual journey. He recalls the game's surreal, empty worlds and the need to call a helpline for solutions, likening it to a metaphysical quest for meaning. O'Regan connects this experience to his recent meditation, where he felt a strong presence of spirits in Ireland and Peru, and the concept of "hauntology" - the presence of absence. He explores the idea that the Celts, like many ancient cultures, communicated directly with the elements without written language, contrasting this with the modern reliance on written records. O'Regan concludes by tying these reflections to his ongoing exploration of spiritual connections and the hero's journey.
Transcript here
King's Quest and Childhood Obsession
Riordan O'Regan recounts his childhood obsession with the video game King's Quest 6, describing it as a captivating experience that transported him to mythological lands. (I say it’s 4 in this - I thought it was until I looked it up, but it’s actually 6 - I saw the Roman numerals in my mind’s eye and had them right, but backwards - not IV but VI. This is how memory works, the pieces are there but maybe you don’t know how to put them together…)
He reflects on his excessive fixation with the game, often getting stuck and needing to call a helpline for assistance.
Riordan describes the game's setting as a universe of almost empty worlds, where interacting with characters was rare.
He speculates that his difficulty with the game might have been due to unresolved trauma and a lack of understanding of life's game.
Surrealist Themes and Metaphysical Connections
Riordan draws parallels between the game's surrealist elements and the play "The Game" at the Cockpit, noting the meta-surrealist commentary and the game within a game.
He explores the philosophical questions raised by the game, such as the chicken-and-egg nature of meaning and the search for it.
Riordan reflects on the magical yet frustrating experience of getting stuck and needing to call the helpline for solutions.
He connects the game's mechanics to the broader metaphysical journey of unlocking levels and uncovering clues.
Technological Collaboration and Ancestral Connections
Riordan discusses his collaboration with technology, particularly the AI oracle he used to get help with the game.
He describes a sense of being in a portal that reached back into his past and forward into the future, connecting him to ancestral lineages.
Riordan talks about his conversation with his younger self, encouraging him to keep going and trust the process.
He emphasizes the ongoing nature of the journey, with new levels and mysteries to unlock.
Meditation and Spiritual Journey
Riordan shares his experience of meditating with Gabriella's meditation, connecting with a trans, queer shaman from the Celtic lineage.
He describes a powerful journey to the cliffs of Ireland, the Black Rock, and the mystical structures along the Wild Atlantic Way.
Riordan reflects on the presence of spirits and the sense of being both connected and disconnected from them.
He connects this experience to the Sacred Valley in Peru, feeling a strong presence and simultaneous loneliness.
Hauntology and the Presence of Absence
Riordan explores the concept of hauntology, describing the presence of spirits all around him but not knowing how to communicate with them.
He reflects on the cold loneliness and the sense of being watched by the ancient guardians.
Riordan connects this feeling to the game King's Quest, where answers were hidden but could be unlocked with the right clues.
He describes a moment of connection with the elements and the sacred spaces, feeling less alone and more connected.
Celtic and Greek Connections
Riordan discusses his research into the Celts and Greeks, noting the lack of written records about the Celts and their reliance on material culture.
He reflects on the similarities between the Celts and the Maya, both being syncretic cultures known through the records of others.
Riordan connects the Celts' lack of written language to his own struggles with writing and the need for intermediaries.
He explores the idea that without written observation, events and cultures may not be recognized by society.
Celticization and Historical Context
Riordan delves into the history of the Celts, noting their gradual phenomenon of celticization and the influence of the Neolithic farmers.
He reflects on the Celts' victory over Rome and their plundering of Delphi, questioning the significance of these events.
Riordan connects the Celts' journey to his own hero's journey, emphasizing the importance of reclaiming and reconnecting with one's path.
He expresses his intention to continue researching and exploring the connections between the Celts and Greeks.
King's Quest and the Hero's Journey
Riordan revisits the game King's Quest, noting its inclusion of elements from Greek mythology, such as the Minotaur and Circe's island.
He reflects on the game's role in his own hero's journey, describing it as a metaphor for the challenges and mysteries he faced.
Riordan connects the game's mechanics to the broader metaphor of life, where answers are hidden but can be unlocked through learning and tradition.
He emphasizes the importance of following intuition and trusting the process in both the game and life.
The AI misgenders me and calls me Holly, which does not feel aligned today.
Riordan Regan reflects on their experiences during an ecstatic dance, where they felt ancestral anger towards systems of power controlled by white men. They discuss the exhaustion and pain felt by marginalized communities and the need for radical resistance through doing less. They recallc a vision of a "No dogs, Blacks, or Irish" sign, symbolizing historical discrimination. They transform their anger into compassion, realizing that those in power fear their strength. Riordan emphasizes the importance of using their systems against them, working together, and finding compassion to overcome oppression. They conclude with a vision of their father training to harness his power for good, symbolizing personal and collective transformation.
Action Items:
Use affection and camaraderie to work with those in power, rather than confronting them directly. Slip in through the "side doors" and use their own systems against them to create change. (Assignee: Holly Regan)
Help guide those in power, like their father, to harness their power for good through training and mentorship, rather than perpetuating cycles of abuse. (Assignee: Holly Regan)
Transcript here
Ecstatic Dance and Ancestral Anger
- They describe feeling possessed by ancestral anger during an ecstatic dance, expressing frustration with systems controlled by rich white men. - They mention feeling the anger of denied visas, gatekeeping, and the frustration of being subjected to these systems. - They criticize figures like Elon Musk, executives, and faceless suits for their power and privilege, highlighting their exploitative behaviors. - They reflect on their own ancestral karma and the desire to help someone they perceive as struggling, despite their apparent power.
Radical Resistance and the Power of Doing Less
- They discuss the societal pressure to be constantly busy and productive, contrasting it with the idea of radical resistance through doing less. - They share conversations about the importance of being able to just exist and the hard work involved in transforming karmas and lifetimes of shame. - They emphasize the exhaustion and injuries caused by the relentless pace of modern life, suggesting that something needs to take people out of the game to allow them to rest and heal. - They describe the process of resurrection and connecting the dream and reality, likening it to a journey through the underworld and the astral.
The Business Class Industrial Complex and the Space Race
- They express frustration with the business class industrial complex and the power brokers in the home office, linking them to the space race and figures like Elon Musk. - They criticize the attempt to shortcut the process of dropping into the center and the desire to go directly to space without facing the necessary initiation. - They describe their physical exhaustion and reliance on medicine like LSD and cacao to keep going, questioning the story behind their fatigue. - They recount a vivid memory from the collective consciousness of a sign saying "No dogs, Blacks, or Irish," and how it inspired them to dance and express their anger and frustration.
Shared Affinity and Historical Discrimination
- They discuss the shared affinity between people of color and the Irish, highlighting their common history of discrimination and oppression. - They reflect on the discrimination faced by black people and Irish immigrants, comparing it to the horrors of the slave trade and the enclosures. - They acknowledge that oppression is not limited to white people, mentioning the collaboration between black people and colonizers and the existence of slavery in indigenous societies. - They emphasize that the problem is not inherent in people but in the false system of privilege that creates oppressive dynamics.
The Dance and the Awakening of Ancestral Power
- They describe the transformative experience of the dance, where they found their primordial ancestral power and stepped into their strength. - They realized that those in power restrict and restrain others because they know they are stronger and fear being overpowered. - They saw Lubo, a Dutch man, as a symbol of white men who hijack the spiritual revolution and turn it into a commercial solution. - They reflect on the need to use their own systems against them and work together to restore balance and equality.
The Pact of the Souls and the Power of Compassion
- They recount a vision of a punishment ritual involving their father, where they found compassion for him and remembered the pact their souls had made. - They describe the transformation of the ecstatic dance room into a collective force, singing and chanting to intimidate their father and help him awaken. - They emphasize the importance of compassion and understanding that those in power are often scared and insecure. - They reflect on the need to meet their dark potential with love and camaraderie, rather than violence or domination.
The Dutch Merchant and the Spiritual Revolution
- They discuss the Dutch merchant, Lubo, and his role in the spiritual revolution, suggesting he may be hijacking the movement. - They reflect on the need to be aware of the dark potential of 13 Kan and to resist the urge to use their power for destruction. - They emphasize the importance of working together within existing frameworks to restore balance and equality. - They share a vision of transporting their father to Japan to train with a Kung Fu master and harness his power for good, symbolizing the potential for transformation and healing.
The Game of Abuse and Manipulation
- They describe the game of abuse and manipulation played by those in power, suggesting it is a way for the universe to know itself through every possible configuration. - They reflect on the need to help each other awaken and the importance of compassion and understanding in the process. - They emphasize the importance of resisting the urge to use power for destruction and instead meeting it with love and camaraderie. - They share a vision of using their 13 Kan powers to crush those in power, but choosing to meet them with affection and camaraderie instead.
The Path to Equality and the Role of the 13 Kan
- They discuss the path to equality and the role of the 13 Kans in the process, emphasizing the importance of understanding their dark potential. - They reflect on the need to use their power for good and to meet those in power with love and camaraderie. - They share a vision of transporting their father to Japan to train with a kung fu master and harness his power for good, symbolizing the potential for transformation and healing. - They emphasize the importance of being in the body and not killing oneself to make money, suggesting a new way of living that prioritizes presence and enjoyment.
The Final Vision and the Path Forward
- They describe a final vision of transporting their father to the rolling green hills of Japan, where he could train with a kung fu master and harness his 13 Kan power for good. - They reflect on the importance of following through with good ideas and not letting the hustle consume everything. - They emphasize the need to be in the body and not kill oneself to make money, suggesting a new way of living that prioritizes presence and enjoyment. - They conclude by reiterating the importance of working together and using existing systems to restore balance and equality, without those in power realizing it.
