#72 The Language Of Water

In this episode we take a quick look at the upcoming woven energy spirit dance online video course and how you can use the nature of water within the context of your spirit dance.

This is the second episode on a series of the 5 elements. The first being episode 70 - The Language of Trees

Support us on patreon a get extra bits and pieces - https://patreon.com/wovenenergy

Episode Transcript

(00:05):
Welcome back to the Woven Energy Podcaston Real Practical Shamanism with Me, Joseph
Szakara and Damon Smith. We arehere once again and ask always to talk
about shamanism from the ground up.Some this week or this episode, we
are going to have a look atthe language of water. We really really
enjoyed our episode on the Language oftrees a few episodes ago, and we

(00:29):
thought it would be really cool todo like a series on this, like
the language of water, the languageof fire, the language of Earth,
whatever it may be. So soyeah, here we go the Language of
water, and there's a few thingswe want to talk about. But first
of all, Damon, we havesome patreons to thank, don't we,
So we do mate a well workthem. We always have our awesome tribe

(00:49):
of patrons to thank. Of patreons, we have a few new ones where
we've got bad Curtis as our mostrecent patron, thanks ever so much for
joining the tribe met and we alsoI can't remember whether we got round to
thanking Stefan Stringer and Joseph Farbina beforejust before Christmas, but thanks to you

(01:11):
guys as well for again joining thetribe that's wonderful. You also have a
particular group of patrons I want tothank who did another so, so just
so people aware we do infrequently wedo what not as I think, we've
got what we call the Lonston Groveand what it is is just a bit
of a hastily arranged get together forpatrons based in the UK, usually the

(01:37):
sudden half of the UK who canget to Lonston at short notice. Lonson's
in Cornwall, by the way.So one of the things I was thinking
is, I know, I knowfor our patrons for the field in the
UK and for even for people overseas. If anybody is interested in joining the
short notice list for the lons andgroves, any other patrons you think you

(02:00):
might be able to make one sometime, then I'll just put you on the
mailing list for when we So justping me in Patreon and I'll put you
on the mailing list for when wedo organize these things. We've done three
or four of them now, maybeeven five. So it's just we get
together at Lonston and usually at theweekend and we just go and do some

(02:21):
stuff in the woods. Might bespurred dance, might be something else.
But on this particular one. Onthe third of February, a particular group
of patrons acted as guinea pigs forthe new Wolven Energy Spurred Dance cost the
upcoming Woven Engie Spirit Dance course,who went through all of the content,
which was no mean feat in aday considering the content supposed to be absolved

(02:43):
over a period of weeks and sospecial thanks to Ben Dane, Dylan,
Emily Graham, Mayor Ramby and Robinare awesome crew patrons who came and helped
out with that. There's there's somepictures of it in the Patreon members area
as well. You can see thekind of it was pretty far. I
mean, you know, spread downseumantic technique. Having fun is not the

(03:07):
point, that's not the purpose ofit. But it was tremendously enjoyable.
It has to be said that hada good time as well. So yeah,
and it's good that you're putting thisinto a course. I presume it's
a video course, and it's youknow, the further along we get with
this podcast, we always talk aboutit. It's an encyclopedia, start from

(03:28):
the beginning all this stuff. Buta lot of the techniques that we do
talk about are easily easier understood invideo format, so it should be a
good addition to the energy ecosystem.Absolutely, And I also think where we've
got to in the main Woven Energypodcast episodes, we're well into level four

(03:49):
now we're talking about energy changes.We're starting to deal with energy. It
gets harder and harder to talk aboutit on a podcast. Not that it
was easy to start off with,but as you go through the stages,
gets harder and harder. So videois a lot better for this kind of
thing. And as you guys know, spirit dance is kind of my forte
when it comes to shamanism and things. She might a certainly not the only

(04:12):
thing that I do. What doesthe cost cover? Okay, So I
think the we'll talk about it maybeon this one, because I think the
Language of Water is a really reallygood way of looking at spirit dance in
general. So what it basically coversis we've done a refinement. We got

(04:34):
together a list of our favorite spiritwork, most of my favorite, but
other people who are involved as well, favorite spirit dance techniques or favorite shamanic
techniques that relate to spirit dance,and we've had a bit of it was
a very long list. Said witha very very long list, we've had

(04:54):
a process of refinement that we've gonethrough what we're trying to do. We've
talked about this, for we're tryingto pick out a group of techniques that's
sufficient to support a very rich energyweave without being overpowering or just off puttingly
huge to somebody who perhaps hasn't donea lot of spirit dance before. And

(05:20):
we gradually narrowed it down to thesame number that Miki pretty much Shamness and
Na Miki narrowed her potfolio down towe've got it down to ten techniques now,
and so on this episode, I'llgo through them, but I'll go
through them from the context of water. When you do spurt dance. We've
said that you can do base spirddance, which is about creating the lower

(05:44):
levels of It is about creating aweave, and then you use that weave
to interact with a weave within natchere. But in creating that weave, you
want a relatively broad palette. Sowe've come up with ten techniques that collectively
comes to shoot well a. Theycover off all of the energy changes that
you're ever likely to need because eachone of them has a ton of different

(06:08):
changes in it, and b theyenable your weave to become complex enough that
you could start to get some levelfour level five type of progress benefit from
it. If you internalize them allto the point where you can do them
without thinking about it, then youcould do some serious just with these ten.

(06:31):
You could do some serious shamanic spurtdance using just these ten. The
other thing is that different perspectives.So we've narrowed down the techniques to ten
because what we wanted to do whenwe move on to animal spurt dance is
introduce each animal in turn. Andwhen we introduce an animal, we don't

(06:58):
introduce a whole bunch of new techniquesfor the animal, as happens for instance
in Shingi, we introduce the sametechniques, the same ten, but flavored
by that particular animal. Now,unfortunately, our efforts at cutting down the
list a huge list of animals justmy favorite animals is like there's about forty

(07:21):
of them or something, but wehave we have we've got it down to
fifteen with the animals, so wemight ast to cut it down to that
and we may go further. Imean, the original idea was that ten
techniques, ten animals, that givesyou know, ten animal flavors on each
of ten techniques. That gives youa very very rich pool of spirit dance

(07:45):
and also a long term challenge.But they're just some animals that we don't
want to let go of. Soso it's currently fifteen. I don't know
what we have, like a publicvote or something an't but but yeah,
so, and I kind of understandhow Shingi ended up with twelve because it's
still you know, whenever you practiceanimal spurt dance, and every time I

(08:09):
try a new animal, I'm like, oh god, this is so enlightenment.
This this whichever animal it is,you know, tiger or whatever,
this is so enlightenment. You neverwant to let that one go. And
what you've done loads of them.It's it's very very hard to narrow that
list down. So you want tothink about this. If you think of
ten techniques across fifteen animals, it'sone hundred and fifty things to learn.

(08:31):
So obviously we're not going to dothat. So the way the cost will
be structured is we introduce the tentechniques bland, not entirely bland. They'll
be flavored water flavor. That's whyI'm introducing the idea on this podcast or
what what a context, what aphase, a what a view on how
these movements might be applied like flowingwater, like all the kind of energy

(08:56):
changes that go on in different watercontexts that we'll talk about. And then
maybe the next part of the coursewould be, for instance, on bear,
because relatively none of the animals areeasy, but bears one of the
easier ones, and it's very,very famous Shammon's The World Over Love bears
bears big in Mongolia for instance,and Siberia, And then thinking something relatively

(09:20):
straightforward like snake, and then maybeswallow, and then turtle, a tiger,
fox, wild bought, and sothe list goes on. And so
that's and each one of those wouldbe another course unit another course, do
you follow what I mean? Soit would end up being even though there's
only ten techniques in there per se, it would end up being absolutely colossal

(09:43):
amount of content. Now, thepurpose of that is not to overload people.
That the purpose of that is reallyso that people can get an idea
of different animals and see which oneskind of speak to them, which ones
they have a natural leaning towards whichones they might like incorporate into then samanic
practice. So we're not expecting everybodythe master fifteen animals. It's give a

(10:05):
flavor of fifteen different animals, andthen it's up to the individual person which
ones they which ones they take?Do you and as you know, different
people take the different animals. Yeah, yeah, yeah, yeah, but
you need that, you need thatbreadth there so that you can play an
experiment and find your own come upwith your own find your own animal.

(10:26):
Is that? Is that? Isthat the process to that people think of
as the spirit animal? Have youfound your spirit animal? Didn't we talk
about deeper meaning of it? Ithink we didn't. We're talking about this,
but yes, exactly. I thinkthat's where it comes from. It's
it's the animals that that that kindof speak to you. This this idea
that you know, I close myeyes and now imagine that the you know,

(10:48):
the turning lizard has come and he'sgiven me some advice and all this
kind of stuff. That's what thatkind of stuff grew out of the thing
that some people have a natural affinitytowards the energies and life patterns that some
animals exhibit and remember what we're herefor. The shamanism, always directed,
always has a purpose. We're tryingto understand, understand ourselves and the context

(11:09):
of nature, and therefore we seekto understand ourselves through animals that are quite
closely related to us. You know, on our list of fifteen, there
were no mantiss, there were nofish, there were no you know,
various other things that are but there'snothing to say that people couldn't go and
study those things. Just the relevanceto the human condition is is I mean,

(11:35):
clearly, they're further removed than monkeysand bears and things from you know,
I'm up for putting a giraffe inmate for sure. Not not currently
on the list, or camel either, unfortunate, but now you mentioned them,
I'm thinking maybe we'll have twenty animalsor something. I don't know.

(11:58):
There's a famous tribeing in Africa,that's right, the sand people. Yeah,
that's right. Yeah. So soyeah, so this is how the
initial course will be. The firsttech ten techniques different perspectives on them,
but mainly with a water kind ofperspective that you know, because that the

(12:18):
continuousness of the weave is really reallyimportant, And I know Christian wasn't quite
those that listen to the Heretics podcast, Christian wasn't quite. He started off
with the whole fire shamanism thing.Fine, but for this we're going to
start off with the water context becauseit's so useful in terms of maintaining the
weave, in terms of not fallinginto the Tyraq Tyraq Tyrak. I was

(12:43):
going to say, going to pitfallthis Mike sinkhole, isn't It's just such
an enormous uh pit of shamanic trappiness. And just so people people are aware,
tyrak is cutting and so it's arepetitive movement that that cuts well just

(13:03):
cutting the stream. It's any anythingthat cuts the stream. Yeah, so
so and water is so good atthat because when you see these movements in
context in the water, you getthe idea immediately, because water just seems
to be really really good and demonstratingeven in a visual sense, how these

(13:24):
different how these different energy changes playout in real time. And again on
the course, we'll make reference tothe Level four episodes that we've been doing,
but just give some start with someexamples. You know, most people,
incidentally, anybody listening to this.Who's new to the Woven Engine podcast.
This is not a beginner's episode,but there's nothing wrong with that,

(13:48):
just please. The Woman Engine podcastis a linear podcast, so probably here
we're episode seventy two or something.We're talking to we're dressing things that the
people have been through all of thoseseventy two episodes, or a large majority
of them would would benefit from.That's what we're talking about. So if

(14:11):
you're new to the podcast, you'revery welcome. But it's best to wind
back to episode one and start workingforwards, if that's okay. Absolutely,
Otherwise we'll be here at half ofthe episode. Every episode will be taken
up just re explaining. Yeah,exactly exactly. So let's let's zoom out,
let's take a one hundred foot view, and let me just ask you

(14:31):
the question. Then, what doyou mean by the language of water?
You've gone into it. But whatwhat shammans do is they put themselves in
a position where they take nature itselfas a teacher. So normal human beings,
I say, normal civilized human beings, we take people as our teachers.

(14:52):
We all books or something like that. Yeah, so I go to
school, I learned about different subjects, biology, chemistry, physics, usually
maths and English. Is everybody's crazyabout those two. And you know,
it would have been nice to havebeen able to learn Japanese or Mongolian in
school, but opportunity wasn't there.So these are the things that we learned,

(15:15):
but we learn them from people,and this is how civilized human beings
have been operating for a very longtime. One of the things that's created
in order to help that process oflearning from other people, and I'm not
saying there's anything wrong with it,is books. But because of our propensity
to imagination, some of those bookshave become somewhat problematic in terms of should

(15:35):
we could say world peace and stufflike that. Well, because we have
the ability to start believing things becauseof our need to be able to create
tools, which is what makes useffective as a species. One of the
things it does is we encode thatin books. But the problem is we
can record anything in books. Andone of the things that we encode in

(15:58):
books is intolerance, and you know, bigotry and various things. And I've
often said, looking at you know, the horrendous conflicts that're go on all
around the world, and people sayit's not about it's not about religion and
faith in these books. But actually, if these people didn't have different religions

(16:19):
from each other, how would theyknow who to kill? That's the thing,
that's how would they know who toshoot? And so it is all
about religion. And I think thatone of the things we can do with
the shamanic movement and the growth ofshamanism in certainly in the UK we talked
about the census and that the growthof shamanism in the UK is encourage people

(16:41):
to look more to nature as ateacher. It's not to say that human
teachers are bad. They're really usefuland I've had quite a few myself for
shamanism included, but taken in contextof nature as a teacher, you always
have a kindness. I won't sayit's a second opinion, it's a first
appear right. If nature teaches yousomething, you can take it as authentic,

(17:03):
you can take it as real.If you're like and unless you're one
of those people that believe the worldwas created by the devil, that's a
whole different issue. I don't knowwhat to do. I don't know what
to say. If you believe that, so lots of people believe lots of
things, don't they. I know, I know, but this podcast probably

(17:26):
isn't going to help you very much. So the but when we take nature
as a teacher, we can dothat in different context. We talked about
the language of trees. How cantrees help us? Well, we only
talked about a few things, youknow, but getting out in the forest,
being bathed in the terpenes, understandingthe language of the woodland and allowing
that to drive us. I mean, there's other ways. In Shamano technical

(17:48):
vuls talk about, you know,the wind among the leaves. I think
one time we talked about technique whereyou you take the movements of the branches
in the wind of a tree andyou translate them into spurad dance movement in
real time. So the wind isleading the tree and the tree is leading
you, and you're just like anempty vessel that's following along. That's kind
of one context to look at it. There's been this thing called the five

(18:11):
Elements in the far East, andthere's a five elements model in the West
as well. So there are differentfive holemans models. These are phases,
These are ways of looking at things, and so we've covered off wood,
which is the language of trees,and so on this one we're going to
do water or the language of water, but other ones that we probably do,

(18:32):
we should probably do the language offire. We've actually we've already addressed
that big time in our rose Crusianepisodes on in the theoretical sense, in
our Rosekrusian episodes on the Heretics podcast. But there's also the language of Earth,
and if we really want to tocomplete the set, there's the language
of metal, or that if youwant to be a hippie, the language
of crystals. What about the languageof wind? That's that's the other model

(18:56):
that I mentioned. There's several fiveelement models, so many, but do
you know, the language of windis very interesting because it has an awful
lot in common with the language ofwater, an awful lot and not everything
yet. So so yeah, somaybe this is like part two we did
when we did the Language of Trees. We didn't intend it to be a
multi part set, but I thinkwe could easily turn this into a multipart

(19:18):
set. So let me start offby giving some examples of the which you
know, the energy with water.If you recall a lot of our patrons
of factory, All of our patronswho get to this point in time will
have at least heard of tail,which is this embraced position that shaman's all

(19:45):
over the world use as a foundationof many different shamark practices spread dance,
but many others as well. Thedrum. We're going to be covering the
drum big time when we do ourGathering of the Tribe twenty twenty four,
which I'll give a shout out foras well, thirteenth to Sunday the nineteenth
and May this year, and we'regoing to cover a lot of drum stuff

(20:06):
on that one same format as lasttime, but instead of lots of drums
split downce, it'd be lots ofdrum stuff. And when the embrace,
the embrace energy is used, it'susually used in conjunction for tearing of the
mongolian. It's usually used in conjunctionwith half pass, which is what we

(20:29):
call the folded wings position of foldingwings or fold wings something like that.
And these two together form a patternthat is appound in a lot of natural
water movements or natural energy changes aregoing with water. You see it in

(20:51):
waves, but it's not the wavesthat are breaking on the beach. It's
those deep oceanic waves where the wateris kind of rising and falling with a
lot of power. But the movementis it's not like a breaking wave.
It's it's kind of it's very,very powerful. And this is why we
start off. I often start offteaching these two techniques and have tasks and

(21:15):
tear out embrace and fold wings.Doesn't really matter what you call them.
It does, you know in shamanism, which call them whatever you want,
but one and two if you like. But the the way and a way
I've noticed recently that you can seethese things is quite interesting. If you
get your car. If you've gota car and you park it up and
at night and you're pointing towards themoon, hopefully the full moon or something

(21:38):
like that, so you've got somemoonlight coming down from above you and it's
raining. When those rain drops hitthe windscreen, you can see their shadows
on the top of the dashboard,and those shadows when they hit they expand
out in a in it's almost acircle, except the windscreen sloping a bit,

(21:59):
so it's not perfec circle, butin a circular outwards motion. And
that is the embrace. That's theopening out the expanding energy, still with
the physical calicity on, still withthe containment on, but expanding outwards in
a in a strong, quite gradualway. That's that's the embrace. But

(22:21):
at the same time, you seea sort of black shadow in the middle
of those droplets, I mean,in the reflection on the dashboard from the
moon. You'll see that gradually shrinkthat central point. As the as the
out going expands, the central darkshadow will will shrink away down to a
very small point. And every thegreat thing is you can see there's a

(22:41):
lot of it's ruining because every singledrop that hits the windscreen will be casting
this skiny shadow. That's embrace andfold wings. So these are the two
things, the expansion and contraction ofthe energy while keeping the physical cialisity on.
I mean, that's a you know, that's a level one, two
three type of technique keeping the physicaljustice on here we're talking about level four.

(23:03):
But the containment on your energy whenyou use those techniques in the spurt
dance behaves exactly like those droplets onthe windscreen or like those deep oceanic waves.
And this is why actually just practicingthese two together, even if you're
not a martial artist, can conpicyou a fairly dangerous person because you practice

(23:27):
this a lot, you can Thisthing has a lot of power in it,
just a huge amount of power.So even if you didn't know what
you were doing, just throwing thatpower into somebody might cause them, might
cause them a bit of a problemwhen you get really good at it,
because it is a huge amount ofenergy. The we talked about this,

(23:49):
We've been talking about this concept fora while now. A friend of mine,
Bernard, who is one of mylong standing shamanism students, key students,
disciples, followers, and what youwant to call them, friends,
Shamani is by long standing shamanis afriend, and he came up with this

(24:11):
idea that, you know, tryingto explain why it seems like people kind
of quote unquote fight with spirit dance. Shaman's can fight with it, and
they don't at all. But whathe what he came up with was a
brilliant phrase which I really like,which is, you don't fight with it,
but it does look after you.And I think that's such a great

(24:33):
way to understand spirit dance. Oneof the things I've also noted with spirit
dance, which is again this learningfrom nature thing is it doesn't stop you
tripping up, it just stops youfalling down. That's kind of the way
that it works, and it's wonderfulfor this type of thing. So so,
for instance, on the Lonesome Grove, there were a lot of we
did a lot of stuff that tothe initiated observer might have looked when we're

(24:56):
doing it with just like shaman partnerdance, which is two people, it
might have looked a bit like martialarts. But then if they came along
a bit late and they saw sixpeople all in a sort of twist did
not look like that kid's game twister. It's still doing it with this continuous,
continuous flow and change of energy,then they might not thought it was

(25:18):
much lass, you know. Sowho knows, But it's best not to
care about things like that when youshamers, I've said before, worrying about
what people think of you, it'sone of the main things that's going to
kill your progress. As so withthe exercise, more to just just sort
of flow and react to the yeah, exactly, with lots of ebbs and
flows, and we were using thecontent from the course in a combined shamanic

(25:44):
dance. And so you know,learning from nature, learning from the changes
within nature. You might be reactingto the movements of the leaves of a
tree, the movements of the wind, the movements of the water, or
your partner, but your partner isalso a part of nature, and if
they're likewise reacting to going what's goingon in the natural environment, then that's
that's wonderful because you're collectively you're correctinga more complex weave than a more engaged

(26:07):
weave than you ever could as anindividual. And you know, the whole
point of shamanism, this is thenext deal ultimately to dissolve within nature.
That's the whole point of it.So that's a wateristic explanation of Arrylton half
pass. If we just start goingthrough these ten techniques in order, the

(26:32):
next one naturally comes out of that. You'll know yourself when you start doing
the embrace and the fold wings andsay you're just doing it, you know,
moving off to the left and thenyou can switch back and you move
off to the right and vice versa. You naturally find as you move between
the embrace and fold wings energy containment. Let's call them energy containment positions.

(26:53):
Dynamically, naturally, there's this kindof smaller kind of world pool of vortex
appears in and this is agolic inin Mongol. Anyone who's seen the tillan
exercise will know what I'm talking about. You've got half task embrace, sorry,

(27:15):
half task folded wings teial to embrace, and then naturally, as you're
turning, that circle just sort ofstarts to come out, and you see
this all over the place. I'veseen this in South American spurad dance.
I've seen this in Malay spirit dance. I've seen it in Japanese Spurad dance.
I've seen it, well, youknow it's not Japanese spurad dances Shamani
expert dance from Japan. I've seenMongol Siberia. This this natural vortex that

(27:42):
occurs when you maintain physical jealicity,and then that vortex then extends out into
other things. That is exactly likea whirlpool. You know, it's the
the way the energy moves in thatin that vertex, in that ergulag in
Mongol, votex in the central partof the driving force behind tilling. That

(28:07):
is, that's what we're calling thethird technique the whirlpool. But my point
here is that and I'm talking abouta real whirlpool in the water where you
see what you know, sometimes likein a damn way, you have one
of these sinkholes or in the goingdown that what they call it the Choreolis
effect or something when when when itgoes down the plug hole and it starts
because of the spin of the Earth, it starts going around in the spiral.

(28:27):
This is this is the third one, the third technique that we're picked
out. So you've got the oceanicwave thing going on with the expansion and
contraction, the expansion on the outsideof the wave and the contraction on the
centerpiece of the wave, which makesthat sort of deep oceanic powerful movement that
the ocean has mm hmm turning intothis this naturally turning into this whirlpool type

(28:53):
of effect, and you get it. We're talking about the language of air
or the language of the wind.You see that's in that what you know,
tornadoes are on storm systems. Theystart because of the rotation of the
planet. Cyclones, those type ofmovements that you can also get it with
the clouds in the air. Andyou see these great pictures of the Earth

(29:14):
from space with these these whirl pulsthey form naturally out of these natural energy
changes that go on because of thenature of nature, and you see them
all over the place. Yeah,and you see the way you're describing these
naturally reminds me of the eight energiesthat we've talked about quite a few times,

(29:34):
the eight core energies that essentially makeup how how the world works,
Squall and GEA. With squall andgia, you know, we talk about
these Clowden, but you know alot of people will know them as the
eight trigrams. I think we havetalked about them in some form of depth
in this podcast, right we have. Yeah, And I think we can
talk about them anyway because the peoplewho should be listening to this episode and

(29:59):
haven't taken if anyone hasn't taken myadvice and gone back to the episode,
what I'm apologized profusely. I thinkwe can just talk about them now.
And we know we have a lotof knowledgeable patrons. We know we have
patrons whose spirit dance is getting onfor what I would call pretty good these
days. So I think we canjust talk about them so yes, Squall
and guy Squall is very prominent inthe half task and the tar the embrace

(30:26):
and fold wings movement, that theflux between those two things, and Geyer
is very prominent in the in thevortex, the whirlpool, the circular nature.
Yes, just to key point onthat one. Incidentally, although the
wellpool naturally forms out of other things, it does in spirit dance, it

(30:48):
does in the clouds, and itdoes in the water. It naturally forms
out of other elements. It thenbecomes a driver for further changes within the
energy patterns. So even though itforms second barrely out of other energy changes,
actually it then becomes a driver offurther energy changes. So it's really
really important to understand the the whirlpoolbattery, if you like, of what

(31:14):
we do is I can't imagine aspirit dance that's, you know, properly
integrated with nature that doesn't have thischange in it. And the whirlpool is
much more strongly Geia. But ifyou think about embraced and fold wings is
embodying to a greater extent the squallaspect and the whirlpool to a great extent

(31:38):
the Guyer expect But both have bothright, they're both. Yeah, it's
about the preponderance of which changes ineach sort. I think taking those three
things as our first three techniques,HiT's a very very fundamental note in in
spirit dance. It's impossible, andI have tried. It's impossible just to

(32:00):
single out one energy change and sayhere is a technique that practices this one
energy change, and we only needtechniques and then we're sorted. I'm afraid,
do you know how many times I'vetried to come up with something like
that. That's not happening, butwhat we can happen? You just said
three. You just said three things. What's the third? I've got the
compress and they expand, And alsothe technique are spirally because we the embrace

(32:23):
is the first. And so let'ssen the reason that's not separate. I
mean, you could call the embraceand the fold wings, you could call
it one thing and call it onetechnique, but then you'd be missing out
on the the tay practice. You'dbe missing out on those you know,
level one, level two am scussedstuff that that's good for by itself without

(32:45):
the whole fold wings thing. Yes, so that's why we have them as
two separate techniques rather than just callingthe whole thing one technique. That's that's
the reason, because embrace is reallyreally useful in level one and level two.
That's probably the where where fold wingsas well, but it's a using
that level one and level two isa more advanced kind of thing, whereas

(33:05):
embraces the kind of you know,materialty is the kind of thing that beginners
want to be doing with level oneand level Yeah, and just for reference,
that's the the palms open embracing position, very much like the uh the
girl the woman on our and ourartwork, right Yeah, it's the most
famous image for the podcast, rightunfortunately not done particularly well, but it

(33:30):
gets the idea of it's the idea. Not not as bad as Julie Andrews
and the sound of music, butyou know, not that her singing is
bad. A big fan of JulieAndrews singing anyway. So so number four
what would that be? So rememberwe've got these big oceanic type of ways,
very powerful. Whether this kind ofreal power comes from in in spird

(33:53):
dance. Then if you look atif you remember where we used to practice
up by what was reservoir black morefoot Reservoir, Black Reservoir. Yeah,
we used to practice up there.And sometimes because it's a lens of war,
it's quite flat and and and whenthe wind's blowing, you don't get
these sort of big kind of youknow, beefy waves you get out in

(34:13):
the North Sea or something like that. It's it's little ripples on the top.
Yeah. And this is number four. So this is dot com in
Mongol and it's it's it has moreof a floating up and down. And
this is very useful for introducing interactionswith spot dance with things external to yourself.

(34:36):
So for instance, what I wastalking about with a branch on a
tree. You know, the windis moving the branch and you, for
instance, just put your fingertips onthe branch while you're doing your spot dance,
and as the branch moves up,your your hands moving up with it.
And as branch moves down or backand forwards or whatever, and your
your hand the fingertips are just tracing. They're not resisting the branch in any

(34:58):
way, and they're not breaking contactwith it. They're just tracing its movement.
And you know, the betradit youare, the further up the branch
you can go, I mean awayfrom the trunk of the tree. Yeah,
you're right, now, explore thattechnique and a lot of detail back
back when we were looking at leveltwo techniques, right, yeah, exactly,
go back to the level two techniquesif you want to listen to a
whole episode on that. So whatwe did at the growth where we're testing

(35:22):
this content out is we had somepartner work using the same technique. So
your partners to arms, the backsof their hands are your tree branches.
When you're spirit dancing with a partnerand it's just following their motion, they're
following your motion. And so weuse the same ripples technique dot com in

(35:43):
introducing the idea of partner spirit dance, and the idea is that neither one
person resists the other person and neitherone person breaks contact with the other person.
But the key thing is the personever stops moving. That includes the
whole body. Right. So,because you're not allowed to stop moving under

(36:07):
the rules of this sort of introductionto partner spurt dance with another shaman,
because you're not allowed to stop movingand you have to keep the energy flow
going, that makes that all verymuch more interesting than if you, because
the easiest way to do that isboth of you immediately stop moving right,
and then you're fulfilling the requirement notto break contact. But so if you
look at some of the photos andthe patrons, how you can see the

(36:30):
results of what we're talking about.It's very, very interesting, it's very
enlightenment. It's a real skill andyou could see that, I'm sure the
less experienced people it might be sayingthat you could see the skill level of
some of our patrons shining through whenwe were doing that. Yeah, it's

(36:52):
one of those things where you canyou know, as I said, you
know, can somebody do spurt down? So they're just imagining they can do
it. We talked about this earlyearly on in the podcast, the imagination
trap. Can they really do it? Well? Doing that kind of ripples
this technique number four spurt dancing withan opponent, not an opponent at let's
call it a shamanic partner. Therecan be an opponent, you know,

(37:14):
if you get to a high levelwith shamanism. You know, shamans can
test each other. As I said, shamanism should also be testable, right,
they can test each other, soyou can immediately see who has skill
who can really do it? Andyou know, if I mean all of
our patrons there were somewhat experienced.There was no one who was a complete
beginner. And but you know,you can you could easily judge skill levels

(37:39):
in that type of technique for justfrom just from doing it, you know.
And so this is what I meanby shamanism has to be testable.
And another thing I'll shout out toRamby and Emily who a while ago,
to our awesome patrons who are wentup to the we did the solstice.

(38:04):
It was the ex equinox on onPardon and Moore, and it wouldn't it
doesn't really matter what the event was. The point is we went up to
the stone circle and we started spurtdancing in there, and there were some
other people. There's some other peoplethat are doing a better spirit dance in

(38:24):
the stone circle. We you know, you could immediately see the difference in
level in ability. But if youwere in that other kind of shamanism where
there's no testing, there's no reality, is you're imagining things, then you

(38:51):
wouldn't know you could do any kindof weird movements. And you did see
some weird movements going on and lotsof tirak and all this kind of stuff.
You can dress up any way youwant, but this is where it
comes down to real shamanism. Canyou do it or not? Can you
really do it? And this ripplesdances, but that's what we're gonna call
it. I think we call itthe ripples dance, the ripple dance.

(39:14):
Yeah, this ripple dance is agreat way to see what we were talking
about when we said shamanism is testable. Either you know, if you can't
do it, it's immediately apparent,or if you're not very good at it,
or if you're moderately good at it, or if you're very good at

(39:34):
it, you know, it's immediatelyapparent in ripple dance. So I think
it's quite a good one. Andthis is just the fourth technique that we're
introducing. Obviously, it doesn't haveto be a person that you dance.
We dance with anything, a treeor whatever you like. And also the
water ripple dance can be done withreal ripples. You know, you go
out in the sea, you gotyour arms on top of the waves and
you're ripple dancing with the waves.Great, great skill set, great skill

(39:57):
set. So that's the I thinkthat's the kind of thing that you do
play with when you're a kid aswell, just like laying your hands over
the ripples of the water and lettingit guide you and stuff. It's kind
of like a I mean, youdon't know what you're doing obviously, but
it's a bit of a game thatyou can and then society sucks it all
out of you, doesn't it.It sucks you dry as you get older

(40:21):
and you get Yeah, kids arekids are masters of this stuff. I
mean very young children, absolute mastersof this stuff. So next one we
what we said is we're not goingto use any names of animals that we're
going to use as spurred animals inthe names of the Ammabellustan names of the

(40:43):
ten techniques. But it's okay touse animals that we're not going to use.
So the next technique is called fishtails. And this is like the waves
that roll in and amplified by ashallowing beach. I don't know if you
know what I mean. You know, the wave has a certain amount of
amplitude when it's out at sea,but when it rolls into the beach that's

(41:05):
getting the water is getting shallow.And shallow and shallower. The wave gets
pushed upwards and then it shoots through, especially if it's a deep one of
those deep oceanic waves that matter hitthe beach, it shoots through, there's
like a shoot through. So there'sa rising, an expansion on the shallowing
beach. The energy is raising up, it's becoming more apparent. When you

(41:30):
see it at sea, it doesn'tseem like very much, but when it
comes up on the beach, itgets like, you know, it rises
up. I won't say like amonster, but you know, Godzilla coming
out of the water, but it'ssort of expands, it becomes more prominent.
And that rise then is followed bya shoot through where the beach gets

(41:51):
slow, that the wave collapses underits own weight and it shoots through,
and that there's no or doesn't collapseunder its own weight. If it's sufficiently
powerful, just keeps shooting through,keeps going. This is exactly what a
tsunami is like. I don't knowif you saw the videos of some of
the tsunamis, for instance, theone that hit the Fukushima nuclear reactor in
his subandus thet they're not these arenot the waves that break in a pretty

(42:16):
kind of way on the beach,you know, and make a nice sound.
These are these are scary things.So the fish tells me the reason
it's called fish tails is just itlooks a bit your fingers look a bit
like the tails of fish when you'redoing this this technique as the you know,
fish showals turning in the water.But actually this is this is the

(42:37):
kind of energy that tsunami uses.So it's that build that raise up and
then the shoot through. That's thefifth technique that we're teaching on the course.
The and again can be very verydangerous. The next one is that
that vortex when you go down.I don't know if you've noticed in water,

(42:58):
but there are actually two types ofat least two types of vortices.
There's like the effect of water goingdown a plug hole or a sinkhole,
like you know in those reservoirs wherethey have the sort of overflow and it's
a big pipe out the thing andit all goes down like that and it
can start spiraling around like a worka huge bath plug. But then sometimes
if you see a water that's turningvery rapidly in a cylinder, turning around

(43:21):
very very rapidly in soilder, youget a stretching of that whirlpool into a
very very tight, thin vortex,you know what I mean. So it's
I guess the difference like between ahurricane, which would be the number three.
You know, it's got this.The hurricane's got an eye right the
eye of the hurricane where things tendto be in the center. That within
the containment, things can be verycalm, even though the outer surface of

(43:45):
the whirlpool the hurricane is quite powerfuland could be doing some very energetic stuff
within the middle as a calm.But as that gets stretched out the column,
the water column becomes taller, itturns into a very tight vortex where
there is not really any central eyeanymore. And this is like the difference
between a tornado and a hurricane.Yeah, the coiling. And this is

(44:07):
what we're calling this one coiling inwe were calling that law in Mongol,
but coiling that has cultural implications.You have to understand the cultural implications understanding,
but we said we're gonna use amabellastannnames for these things, so we
just call it coiling. It createsa very very tight, stretched vortex.

(44:28):
And again that the length of thatvortex as you pursue your energy dance.
It can be quite contained, butthen it can be stretched right out and
that sort of tends to narrow thevortex. It tends to narrow the whirlpool
of your energy, if you like. And that's a really interesting change.

(44:49):
Once you've learned a few basic techniques, that's a really really interesting change to
roll in with them within your spreaddance. What we're doing with this where
we get a couple of techniques embraceand fold wings, and then we teach
people how to put them together indifferent patterns and how to spontaneously because this
is all no scripting in this stuff. If scripting equals not to spirit dance,

(45:15):
to spontaneously put these things together,these techniques together in different increasingly complex
patterns. So this would be thelevel three in the level four stuff.
Remember this is just a hasten toadd. This is not the be all
and end all of what we're doinghere. There's a reason to all of
this, which is the level fivelevel six stuff. But at this point

(45:35):
in time, we're creating these vortices, these these different changing patterns. So
this coiling is a very very interestingone. And when you stretch that vortex
out with your energy, that vortexcan take within itself. You can get
a contraction and expansion of the threadof the vortex. So you've got the
thread of the energy going round andround to create the vortex. But within

(45:59):
the thread the vortex itself, yougot this compression. You can get this
compression and expansion of the energy.You can have swells, you can have
bends, you can have taken itaround the corner, turning that vortex over
on itself. I'm doing a wholebunch of arm movements and body movements.
Spam just sat in my chair ona podcast. But anyway, so remember

(46:19):
what I should do is just filmmyself recording this podcast if you to see
what I'm talking about. But theywill on the course anyway. So that
adds. So the technique number sixout of ten is where some real complexity
starts to get added. And sofor the word complexity also read the word
interestingness gets to get added into themix. They can they can free link,

(46:43):
they can free mix, embrace andfold wings. Then they put the
whirlpool in as a kind of driver, a sympto amount of driver of within
the weave. And then you putthe ripples in, so you get a
lot of changeability and then the abilityto raise up with the energy and shoot
through with it. That's your firstfive techniques. There's quite a lot of
variety there, but now you wantto thread them all together in a different

(47:05):
way. It's not just swapping fromone to the other. It's also introducing
a new flavor into all of them. And that's what this technique number six,
coiling us all about. Any oneof those five w any two of
those five can be threaded together simultaneouslywith the coiling energy. And so that's
what the sixth technique in the seriesis going to be. Like that vortex
am So it's like bringing all ofthe techniques together and being able to exactly

(47:28):
thread them together using specifically the coilingof the body, and the coiling creates
that. That's almost like I'm hesitantto say spiraling one technique into the other
because that's also no, but thatis what happened. That is what happens.
It's not it's not spiraling the techniques, it's spiraling the energy within the
techniques into each other. That's that'sthe idea. Yeah, so you'll see

(47:52):
put them some thought, not justinto what the ten techniques are, but
also to the order in which we'regoing to introduce them in this course.
And then the next thing is justwhat we're all familiar with when we say
waves, especially if you're from Cornwallwith our one hundred plus beaches. You
go down the beach and break there, the waves of break on the beach.
You know, that's breaking waves.So we're calling we're literally calling it
breaking waves. These are the wavesthat roll up on the beach and they

(48:15):
roll over on themselves and they splat, They sort of fall on the beach
with a nice sound that sounds wonderful. And you know, often I'll go
out and stand in the surf anddo my spirit dance there and driven by
the waves. This is the languageof water. The language of water I'm
taking through my ears as I doany other language. But it's not just
that I've got the feel on mylegs and my hands, and also that

(48:37):
the effect it has in the airand the atmosphere and all of that kind
of stush. I remember doing thisas a kid there, and I used
to exactly in the water and feelthose currents and just buffeting you this way
and that way. It's super superwonderful stuff as a kid. So technique
number seven it's just like the realwaves. It's a wonderful technique. It's

(48:59):
a lot of fun. It doesintroduce the idea of switch back what I
call switch back in the energy patterns. So basically where you take the energy
one way and then you suddenly switchit back with a little loop or coil
and then go off in another directionwith it. That's the rolling over of
the wave right just before it breaks. That's that's it. And then so

(49:20):
that's number seven. It's a lotof fun to do with that technique.
And so you know, just likethe waves are nice, that technique is
nice. And then you know,compared it, for instance, a tsunami,
then the next one is that thenext aspect, that's the breaking waves.
That's the splash. So the breakingwaves then move into splashing. Now
we've got two choices for the namefor this some some would call it splashing,

(49:45):
and it makes a lot of Armabellastyle's sense to call it splashing because
it's more understandable. But on theother hand, the Mongolian name for this
thing is way more interesting. Sorather than using the actual Mungol name,
for it, which is yes,melchee. Uh what I sort of thought
we could just give it an armorballas style name. That sounded a bit

(50:08):
esoteric or an exoteric anyway, bonecovered frog, that's what we're that's what
we're going to call it. Workingtitle anyway, bone covered frog. That's
such a cool name. That's yes, cool, but it might need some
explaining that way. Yeah, Sothe explanation is quite simple really, it's
it's actually, you know, wesaid we weren't going to put any animal

(50:30):
names, and you can do anyanimal spurt with this technique, but it
has been associated with turtle or turtlesfor a very long time, and so
it's and I remember shout out toour patron Ricard. I remember doing this
in the park with him in Stockholm. Very fun memory on a lovely day.

(50:51):
Yeah, I had a lot offun doing that, mate. If
you're listening, which probably might be, so the this this movement, it
is so obviously in Mongolia there's noturtles. There's a concept of turtles,
right because there is the whole Chineseinfluence on Mongolia, and Chinese know what
turtles are, you know, Butthere's not a lot of lakes in Mongolia

(51:15):
and those lakes. I wouldn't liketo be a turtle in one of those
lakes, you know, the onesthat there are. I'm talking about temperature
wives. So going back in theday, they've never seen a turtle,
had they, But they had seena frog, and they saw this thing
that looks a bit like a frogwith bone, like a bony shallow of
it. So hence bone covered frog. And it sounds so shamanistic that I

(51:37):
think we're probably going to stick withit as the English name one covered frog.
And again we're not using a frogas a spirit animal, so then
I don't think there's any harmlet.But this is splashing. So this is
why you take the energy pattern whicheverywhere it's been going, and you switch
back or roll over, and thenthere's just a sort of splash, a
little bit of tyrak in it,not excessive, a little bit of tiraq,

(51:58):
where the energy is sort of dissipatesitself into a different form, into
a cloud, you don't like,the spray off the waves, that kind
of thing dissipates itself. And alsothe sound, you know, and if
you're good enough that you can makea sound doing it, you know,
and once you get the energy up, you know, so especially if you
use like a drom or staff orsomething like that when you're when you're doing

(52:21):
it. Yeah, So that's theeighth one, bone covered frog, and
then the next one is like this, this sort of rapidly changing. So
anybody who's been up to Tintagil withme our grahmall no, this, he's
been up there with me. Theyou when you get down to the the
sort of place that's down at thebottom of the island of the promontory,

(52:43):
and there's like this cove that comesin and there's rocks, and the water
in there is very very powerful,and it moves into the caves like the
famous Merlin's Cave at high tide.It moves in with a lot of power
into those places. And also there'slots of rocks and like little inlets and
stuff like that, and it comesin as big waves. But then the

(53:05):
complexity of the rocks around it tendto rapidly change the nature of that power.
They don't kill the power, Theyrapidly change its nature in various weird
and wonderful ways. And it goesfrom simple to complex very very rapidly.
And so we've got this thing we'recalling fan feathers technique number nine. This

(53:27):
again, it's just what your handslook like when you're doing it. It's
just a figurative thing. It's gotnothing to do with the technique. Really
would maybe come up with a bettername for it. But this is like
rapidly changing power. So the powerdraws in everywhere one way, suddenly switch
backs, then rolls over the top, sweeps underneath, and often you'll put
a turn in your spread down saysyou're doing that. So it's really about

(53:50):
heavy power, turning it the complexpower, and then rejoining again out of
it. And I think we talkedabout this on a previous podcast, maybe
aletve of three level Fall podcasts,where sometimes threads of the main thread that
the dance can split apart into multiplethreads and then coalesce back together again into
a single single thread that has aslightly different flavor character to what came in.

(54:15):
But again, it tends to bethis one tends to be quite powerful.
You could do somebody an injury withit, even though it's not for
fighting. And so that's the ninthtechnique that was picked out, and then
the tenth one it was so hardbecause there were so many techniques. But
the tenth one is the water justgoing over the edge. You know,

(54:36):
it's the waterfall. We're calling itswooped down, but it's the waterfall where
the water just has a lot ofpower. It's moving around with torrent.
So in terms of the eight changesthat we talked about torrent, that's the
broken baseline, sol, the midline, brooken top line, yin yang Yin.
When you're reading up from the baseline, it goes over with a lot

(54:59):
of torrent, and then it's aplunge and it's sort of the power accelerates
in the motion it plunge, butalso at the same time it's it's heavy.
It changes from heavy to light.We talked about that on Askue.
There's a video already on the patronsarea that already talks about this change from

(55:22):
heavy to light and from light toheavy. But that's all in one.
It's ask great its aspects of physicaljealicity. It's kind of heaviness in lightness
and lightness and heaviness, and thewater the character of the energy and the
water. It makes that change asthe plunge happens, and so that's what
this technique is is one of manythat can demonstrate this type of a change

(55:42):
in nature, and that is thatisn't the ten technique, and that's our
complete ten techniques. So this ishow it works. You learn technique one,
then you learn technique two. Youthen learn to mix together technique one
and technique two spontaneously. Learn themovement so that you can move around your
grove wherever you're practicing in among theroom and fans a foundation. And then

(56:07):
gradually we add in another technique intothat mix. We add in the whirlpool.
We can't really not add in thewhirlpool because it kind of adds itself
in. Once somebody gave me gumsgood at those two, they start doing
the whorldpool, whether you tell themtoo or not. That adds itself in.
And then once the whirlpool's in there, then you start adding the ripples,
Then you start adding the fish tails. Then the coiling can come in.

(56:29):
Maybe you do have to point thatout because it is an energy change
that goes on within nature and thewhole tight vortext thing, and it would
be one that you could miss ifyou weren't aware of it. And then
we get to put the brake inwaves in, but every one of these.
So you get good at one andtwo, and then you get good
at three mixed in with one andtwo, and then you get four.

(56:51):
You get good at four mixed inwith one, two and three. And
that's how we progress with this course. It's not like we do one isolation,
then we do two, then wedo three. It's not like that
at all. So by the timeyou get to the end of this you
can do spurt dance with mixture ofall ten. Hopefully you get to the
point where you can do that inthe state of cualisity, maintaining the physical

(57:13):
cellisty, and then the next coursewe'll be doing all of that, flavoring
it with the best spirit. Fling. Right, let me clarify in my
mind what these ten techniques are,and I'm going to do it in a
Joe style question. So basically,you've got ten techniques, and these ten

(57:34):
techniques reflect the because we've already talkedabout the eight energy changes in quite a
lot of depth, and so theseten techniques are a way to learn the
eight energy changes in a more structuredway. Exactly. So Mickey did this
years ago. I mean, we'retalking about oh, you know, eighteen
thirties, even as back as faras the eighteen thirties, she picked out,

(57:58):
she there's this thing kagura in Japanesetradition, it means the divine music.
This is like thinking about the universe, the energy changes on the universe,
different aspects, commonly occurring energy patternswithin the energy changes in the universe
as musical instruments. And so shecalled this the ka the divine music.

(58:20):
And there were eight plus two whichmade ten. The eight were the you
know what we call about the eightenergy changes, but then the extra two
were the sort of seeds of things, Yeah, tanay and Tanai and nawashiwa,
Tanae being like the seed and tanaand nawashiwa being like the plot in
which the seed is germinated or theseed grows. The nurturing aspect of nature

(58:42):
and the creative aspect of nature puttogether. And she took those out as
another two which all together made ten. And it's called the jews end no
shugo, that that pattern in Japanese. But what's very interesting is that shugo
just means the things that give riseto things within nature. But jews n's

(59:05):
a very interesting term because jew literallymeans ten, it means ten things,
but actually jews n is a wordtaken by itself in Japanese means complete.
Yeah. So when you have jewsn, you have complete things. Yeah.
And so what we're doing with theseten techniques is a bit like what
Niki did with her Kagura spuratdowance,is we are coming up with ten things,

(59:28):
ten techniques that cover off pretty muchall of the main energy changes that
go on. I mean, youknow, and we're going through the We're
probably going to go through at leastsixty four energy changes, probably more on
this podcast. And all of thosesixty four embodied within these things. Well,
yes, I would say they arenot necessarily very prominently in some cases,

(59:50):
but the vast majority will be coveredby just these ten. Especially and
when you start mixing in the animalflavor, the animal sp it's within these
ten, then for sure all sixtyfour or more will be covered in terms
of energy changes. Once you gotthrough my my ever increasing list when it
needs to be cut down list ofanimals beautiful, Well, that sounds amazing

(01:00:17):
and I'll be looking forward to todiving into that as well. Yeah,
and I think because because our tribeare far flung, I think it's going
to be a great thing for usall to talk about and interact with each
other at a distance, because itwill give us all some sort of commonality
to a structure. Question about thestructure, A less overwhelming structure, Yeah,

(01:00:39):
I think once you take all thoseanimals in, it's pretty overwhelming.
But without the animals, yeah,a less overwhelming structure. Well, I
mean a less overwhelming structure, aless overwhelming experience than this podcast. Yeah,
and you know, you know whenyou can just go through them and
you know exactly, and how Iused to teach spread dance. It's like,
you know, this is here,now, let's do this, which

(01:01:00):
is how I learned from my teachers. You know, now here, now,
let's do this. And it's neverthe you know, you know,
it's never the same thing with me. It's because of my sort of tossial
team thing is important in shamanism,right, but it's not necessarily the easiest
way for anybody to learn what we'redoing. So this is what we're trying
to do with this couse. We'retrying to make it understandable and make a

(01:01:21):
progression for people, not the onlyprogression. There could be loads of other
progressions, but a progression that peoplecould go through to get to quite a
good place with that's the idea.Nice, nice, nice nice right then,
well, anything else to add themor not? Should we leave it
there? No? I'm all goodmate, excellent, Well, thank you
so much for listening. I hopeyou've enjoyed this one and we will of

(01:01:44):
course see you in the next one. Thank you very much. Guys.
Oh before we go, by theway, remember you can support us on
Patreon by going to patreon dot comslash Woven Energy and if you go over
there you all to get all sortsof extra bits and mobs, but it's
all laid out for you. Soif you want to support his head over
there, cheers. We'll see youthere all the BETHM.