December 24, 2025 • 25 mins
An introduction to the idea and foundations of the twelve techniques that we're going to be using to convey spirit dance on these new short episodes of the Woven Energy Podcast on Shamanism, as well as an explanation of why we are doing it this way. In future shorts some of the episodes will be accompanied by instructional videos on Patreon.
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Episode Transcript
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Speaker 1 (00:09):
Hello, and welcome to the woven Erngie Podcast on Shamanism.
My name's Dimond Smith and I'll be the host for
this short episode, which is the second of our new
sero just short episodes. And I was thinking a lot
about what to call this episode, but given that it's
actually Christmas Eve when I'm recording, I'm calling it twelve
(00:33):
Techniques for Christmas. What we're talking about in this one
is level three technique, and I think this is a
good place to start doing a slightly different approach to
the podcast. Podcast itself covers level one and level two
in a lot of detail. For those that don't know
what we're talking about level one, level two, join myself.
Early in the podcast broke down a view of progression
(00:58):
towards shamanism into seven levels, which is somewhat traditional, not
all over the world, in various different places, And the
podcast itself as it stands at the moment, has an
awful lot of detail on level one and level two.
So if you just go back to episode one of
the podcast and start working forwards, you'll get into that
(01:19):
these shots. This idea of introducing a set of techniques
for spirit dance as opposed to analys spirit dance that
we can teach in more ways than simply the podcast,
for instance, by making videos of them, put them on patteryon.
This type of stuff is a progression from that. The
(01:43):
idea that we originally had for this podcast was to
help people, to help people practice shamanalism, give them a
path or a way that they could follow to make
progress with shamanism. And although level one and two you
could say our basic foundational, they're actually not, because every
level in shamanism, if you want to call them levels,
(02:04):
extends upwards into the levels above it. So we've certainly
covered enough detailed for a very determined person to make
progress with level one and level two shamanic technique. We
know this because several patrons who are at a distance
from us are proven it's enough by itself. Some of
them may have an unusual level of dedication to what
(02:24):
they're doing. We know some of our patrons are very
serious about their shamanic practice, but it has indeed been
proven that what's on the podcast is enough to make
quite a lot of progress with the first two levels.
So we're talking about level three. What I've been doing
over the last couple of years is trying to come
up with a kind of approach, not a general approach,
(02:46):
because it never is with shamanism. You always have to
customize what you're doing to the people who are being
guided by the shaman. So what I've been trying to
do is come up with some sort of set of
techniques that are manageable enough in scope to get somebody
(03:07):
doing spurt dance, which is my main shamanic technical I
guess major shamanic grouping of many, many different techniques to
get them doing spurt dance to the point where they
can a progress into level four and B to get
them to the point where they can start thinking about
(03:27):
animal spirit dance, which is you may know, is a
lot more involved in simple spurt dance for those interested
in that kind of thing. Three of the techniques have
picked out come from what's known as the Saki tradition
in Japan, three more come from Mickey's tradition, and six
of them come from shingistro Yani. Given the general overlap
(03:50):
in shamanic traditions all around the world, you could say
that a lot of them also come from Mongolian and
the Siberian spurt dance and so on and so forth.
However nationalistic you are about your shamanism, as you probably know,
I'm not. It remains the fact that there are twelve
techniques that we've collected together here that exist in traditions
(04:11):
from vastly more than twelve countries if you really looked
into their origins and have their practice and where they're practiced.
So I think that demonstrates the universal scope of shamanism
in the world. And I think, as we've said before,
you know, if you take a world and imagine scattering
pepper on our globe, there's not much shamanism anywhere in
(04:33):
the world, but what there is is scattered over vast
distances all over the globe, and there's a huge amount
of consistency and the actual practical practice of shamanic technique
as opposed to the sort of and I what you
call it ethnographical anthropological study of the traits of the
(04:54):
cultures in which shamanism finds itself embedded. The consistency in
shamanism self is huge. I've been testing the selection of
techniques out with the patrons over the last couple of years.
One of the things I've been doing, among others, in
the amount of time that I've had available and tried
lots of different things. In fact, I've been trying this
(05:15):
kind of thing to come up with a sort of
representative set of techniques, you could say, since the nineteen eighties.
The early attempts that I had on this stuff were
somewhat wrong headed. I mean, for instance, I fell into
the trap of trying to come up with eight techniques,
each one of which represents one of the changes. And
(05:35):
that's a really misguided approach because, as you know, the
changes in themselves, the individual changes, you know, Squall and Guy, Jaggon, Meld,
Tournant and Kindle, Mir and Shard to give you the
full set of eight, all of those changes are weak
when they stand alone. They are strong in combination and
(05:57):
especially strong in the sort of two and one sessions.
I'm trying hard to only use English words here. Suppressing
the temptation is Japanese and Mongolian terms is quite hard
for me. But I think I'm doing okay so far,
So we'll see how that goes. The two and one pairings,
the strong, very strong two and one pairings. Jack and
Mele go together. They support each other, Tony Kild also
(06:19):
support each other. Squall and guys support each other, and
Mir and Shad act together. I wouldn't go as far
as to say they support each other because their action
is always simultaneous. Very often it's not, and that's simply
because of the nature of the energetic situations that they
act in, often in situations which an excessive energy has
built within a system. The idea of practicing multiple techniques
(06:42):
at level three without getting into animal spirit dance is
that animal spirit dances very very easy to muck up.
It's very very easy to get wrong, especially for people
from civilized settle civilizations like I come from, like a
lot you guys come from. The imagine nation. Trap is
very very strong in the animal spirit dance, more so
(07:05):
than in just regular spirit dance. So the idea is
to get a lot of the principles of spirit dance
down before moving onto animal spirit dance and looking into
the wonderful, rich, amazing world of nature. Key point of
these techniques. Of course, at level three, we're just learning
the technique, but as we get into level four, we
want to create that weave almost use the Mongolian good.
(07:29):
We want to create the weave which allows us then
to build higher levels of Shamani technique. So these twelve
I think are enough. Normally twelve wouldn't be enough. But
as I said, you know, the trap that I fell
into originally was to try and create a technique that
demonstrates each individual that their tragrams. Rather what we've got
(07:53):
now with twelve techniques that show different portfolios of the
changes acting together, different combinations to mimic or to parallel
energetic changes that happen in the natural world every day.
Part of what you try to do as a shamanist
to get close to nature, to learn from nature, and
(08:14):
what we're trying to do with these changes is parallel
some of that vastly rich complexity that goes on in
nature in terms of energetic change, internalize that within our
tellicity so that we can get a feel for those
changes when it comes to higher levels of shamanic technique,
(08:34):
and we can recognize not in our brains, but we
can recognize patterns within the changes as one moves into
another into another, and we start a crossover changes that
are outside of ourselves in the environment, at least we
initially perceive them as so. So this is the purpose
of building a good level three foundation, and as I
said it, techniques definitely wouldn't be enough for that. Twelve
(08:56):
techniques normally wouldn't be enough for that. Except for a
few characteristics or criteria of these twelve the eye stroke
we have picked out. The first thing to say about
them is they're not the easiest techniques. A lot of
them are what you might call intermediate techniques. Some of
them are reasonably basic, but they are fairly rich in
(09:19):
terms of those portfolios of and a change that go
on within each individual technique. To give a good feel
for the changes when you are practicing the techniques and
how they work together. And the final twelve, if we're
going to call them the final twelve, I'm sure knowing
me change them at some point in time. But it's
(09:40):
come out of a lot of experience of what's good
and what's bad, not in the context of spurt dance
in general, but simply in the context of for somebody
new or intermediate coming to the subject of spurt dance.
These techniques are rich enough that they can study through
them a lot a lot of the principles underlying principles,
(10:02):
for instance, physical jealousy of spirit dance. But at the
same time they promote other things, and in particular, one
of the things they promote these particular twelve is an
avoidance of the Now I'm gonna use Mongolian term we
used to say tyrak tyraq tairaq on the podcast. Now
I'm just saying shard shad shad trap. The most common beginning,
(10:24):
to be honest, the most common beginner mistake in the
whole of shamanism the world over, in my humble opinion,
is the shard chard chard trap. That is, where the
flow of the energy within the dance gets broken too often,
too quickly, and also often on a regular cadence. These
(10:44):
things are really really bad for building a weave. It's
not that you don't use shard within the web, be course,
you do every single one of the techniques that we're
talking about the twelve techniques here, I use a shod
to a certain extent, But these particular techniques enable a
movement away from that by promoting flow between one technique
and another. They promote schullicity and physical crualosity, as a said,
(11:09):
and the transitions within the techniques and between the techniques.
So the transitions within the techniques are about energetic changes
on a micro level, and the transitions between the techniques.
On a more macro level, they've been worked through so
that it's relatively easy to transition from one technique to
another without applying shard. So one of the ways to
(11:31):
think about how you might approach taking on these twelve
techniques is to study the first technique and then once
you've internalized that and you can dance freely without intention
while maintaining good cualicity, both physical and regular spiritual crialisity.
Once you get to that point, you then start learning
(11:51):
the second technique. And obviously, if you don't know it already,
some of you may do, because some people have familiarity
some parts of this, for instance the tilenext signs that
we've talked about before. If you don't have familiarity, first
you learn, you internalize the technique to the point where
you can do it without thinking about it, and that's
what level three is all about. And you then learn
(12:12):
to flip from one to the other spontaneously as a
spur text. You're without a plan, without intention, and then
you start to do some kind of a spurit dance
with two techniques. That's wonderful, you know, and you see
a lot of people doing that around the world. A
lot of Shamlan's doing it. The issue is that's no
near rich enough for you to broach the subject of
(12:32):
animal spirits yet, so we keep adding, we keep going
through this process. We start with cellosity. We had a
technique that generally kills the c cillisity, and then we
work that technique back into the dance until cellisty comes
back again. We don't have to think about it, and
then we spontaneously start changing from one tech to nick
(12:54):
to another within the dance, creating a kind of weave,
a simplistic weave when you only got two techniques. And
then once that that's all become internalized, say technique one,
technique two, we then go on to technique three, that
usually kills the technique the jealousity, and so we work
that technique back in dance, and so on and so
forth until we've got all twelve techniques in there. Once
all twelve techniques are in that dance, and you can
(13:18):
do free spirit dance genuinely in a state of strong jealicity,
without thinking about it, without planning anything, without you know,
repeating any constant patterns or planned them. Turning into a farm.
Once it's truly spontaneous the dance. There's enough variety in there,
there's enough richness in there, there's all of the it
(13:38):
changes many times over in there that you could get
yourself to a position where you can start seriously thinking
about doing starting to do some animal spirit dance, and
from that point onwards, we'll be introducing different animals at
different times and so on, and this is how we proceed.
The techniques are relatively smooth to promote flow, the idea
(14:00):
being that certain of the changes, like Torrent, for instance,
really require that flow for you to properly understand them.
Torrent involves the reuse of existing energy. Well, if there's
no energy there, it's kind of hard to reuse it.
So the techniques are being picked in particular to promote
flow and to guide people away from the cha chad trap.
(14:26):
The difficulty of the selection of just a mere twelve
techniques is that in promoting the flow, they have to
create a rich weave, and this is why they're not
all beginner techniques, even though they're just like our woven
energy introduction Spurt dance. There's only twelve of them, but
(14:47):
the twelve are not what you might call beginner techniques,
they are more rich than that in order to create
a strong platform while still making the way that we
convey to people manageable in terms of there're only being
twelve of them. Obviously each one has loads of variations
and stuff, but in general there's only twelve of them,
which is a manageable amount of cover on a podcast.
(15:08):
So because they flow, another thing is if you want to,
you can do them to music. That's the kind of
thing that can be done, should be done sparingly. It's
not the greatest idea to do it to music because
of that regular cadence thing that I talked about, but
I think it's you know, it's enjoyable enough to do
every now and again if you want to. And the
(15:29):
flow can helps with that because it's you know, when
one technique's flow continuously one into another, it doesn't really
matter what the beat of the music is, and it's
the beat of the music that's going to tend towards chad.
So again, this is the flow helps stay away from
the shard chad chad trap. It's not the child's not important.
It's very important, but it's used. It's in there for
(15:51):
a reason. It's not in there for no reason, as
you see in so much what you might call bad
spirit dance the world over. In terms of these technique,
we'll be covering them one at a time, a lot
of on these shots, and then at opportune moments I
will drab drop shot videos in the Patreon as we
cover them one at a time. Though it's not necessarily
(16:12):
going to be the next twelve shots that I do
will be on the twelve techniques. It's not gonna be
like that. But we'll progress through them at a reasonable
rate and maybe come back to some because one of
the things with these there is a progression in them,
and as you learn more about the later ones, you
can come back to the earlier ones and apply some
of the learning that you've done there to make a
(16:35):
spread dance broader and more universally applicable. That's probably a
good way to put it. We're gonna continue the tradition
which I think I mentioned on the first shot of
coming up with English words for shamanic things, so Mongolian, Japanese,
and Chinese. I'm trying to discipline myself to drop those
terms and also use a few Siberian terms and stuff
(16:58):
like that. This is a personal exercise for me. I'm
so used to using those terms, I mean, getting on
for you know, well maybe maybe forty fifty years I've
been using these terms, and I worry about it because
I think the use of Mongolian words earlier in the
podcast sort of showed to a certain extent that what
(17:20):
we were talking about had a realness to it. And
we've used Japanese words as well. But on the other hand,
I really want to encourage the idea that shamanism is
a universal thing, and so if we can weird to
think about it, is if this from this point onwards,
we can extend that armor Poel tradition, which effectively came
(17:42):
up with English sounding words for the underlying principles, you know,
things like cellistee and shad and meld and these these
kind of words that we dubbed it all those years ago.
I mean it's more than a decade, no ago. Now,
if we can continue that idea and give the techniques
themselves English names, and the animals and the different aspects
of the animals and different techniques. You know, as you
(18:04):
may know, every animal spirit has a whole host of
techniques associated with every individual animal spirit has a whole
host of techniques associated with it. If we can come
with English words that describe these things, that people know
what we're talking about, we're an audio podcast, it will
be useful in two ways. Ones, it can be much
easier for new people to understand what it is we're
talking about without educating themselves and memorizing these things too much.
(18:27):
But it's also important in terms of once we get
into that, once we do get into the animals, the sheer,
colossal number of techniques, even if we do give them names,
will be completely unmanageable, and at that point in your
shamanic journey you want it to be because naming things
(18:48):
isn't what shamanism is all about, putting things in little
boxes and labeling them. So think of the techniques as
a way into the subject of shamanism. But they're certainly
not especially the names of the techniques, they're certainly not foundational.
And we talked about this before, I think on heretics
and on woven energy, how giving symbols for their trigrams
(19:10):
in the confusion tradition has led to an awful lot
of confusion. You know, we talked about Mountain as a
symbol of one of the trigrams, and heaven as a
symbol of another one, and so on. These different symbols
have led to an awful lot of misunderstanding. These things
are energetic changes in the world first, and their trigrams
(19:31):
named with symbols second. That's probably the best way to
put it. And so to get away from that kind
of thing, we're going to use English in order to
demonstrate that trying to use English for this stuff later
on in your shamanic technique as you advance, you need
to get rid of that idea as well, because it
just doesn't work. But getting back to regular spirit dance
rather than animal spirit dance, we want to create a
(19:52):
rich weave, so it starts to become a bit of
a radar for nature in our progressionating level four, level
five technique. And I think what's here, to cut a
long story shot, what's here in these twelve is enough
to be useful given that they are more rich than
what you might call most basic shamanic techniques. As I said,
we want to push the idea of techniques as combinations
(20:13):
of changes rather than categorize things. So every technique's name
that we have come up with and I wasn't alone
in this. So thanks to those that have been helping me,
especially Mayor Bartley, who's come up with a few of
the names herself, and thanks to all those guys who
helped with whole Armorbella movement back in the day, and
to everybody who's been my guinea pigs for this stuff.
(20:35):
In order to try to give the sense that something's
happening or changing, the technique every single one of the
twelves names ends in ng ing, which gives an idea
of something actually happening. Coming up with individual techniques to
characterize individual changes is really hard. I know, I've tried
it so many times. And as I've said, because changes
(20:58):
that stand alone a week undesirable in a sense, and
that's not how nature does these changes. It's the mutually
supporting relationships between the changes that make things really happen.
I mean in the real world, not just in spread dance.
It's true in the world, real world, and that's why
it's true in spread dance, particularly in terms of the
two and one pairings. So what are these techniques? Well,
(21:20):
I'm going to introduce the first one on the very
next episode, but to give you a bit of clue.
I think this is one we've we've talked about a lot,
because this particular technique is the transition between what we
called have task and tear out in the podcast. Earlier
in the podcast these two words the sort of embrace
(21:42):
and the folding wings. But we talked about those positions,
but the technique in mostionumanic techniques traditions isn't positions. The
technique is the energetic changes that go on and while
moving between those positions, or even more than that, the
(22:06):
energetic changes that underlie the movement of the body that
the body follows in order to achieve those positions or
through which the energetic patterns the weave flows in the dance.
And so the first one is going to be called
enfolding because it has the action of you know, hugger tree,
(22:29):
infolding something within your wings. That's the name that we've
come up with. And the remaining eleven are gathering, ceiling, floating, throwing, lifting, spiraling, trailing, churning, swooping, winding,
and coiling. In every case we have this inenity or
(22:51):
this in ending that implies movement, that implies transition, that
implies energetic change, because that's what these techniques are the
chain and with those twelve and a spontaneous spurt dance
building a weave, you can create something that starts to
resemble stuff that goes on in nature every day. So
(23:14):
that's the idea, and I guess you could say these
are the twelve techniques that I'm introducing for Christmas, although
I think the title of the episodes twelve Techniques for
Christmas is some of the implications kind of a It's
a little bit of a gift for our longtime listeners,
for our patrons, and I really hope as well get
into it. You can see that there's quite a lot
(23:36):
of effort gone into building this thing, to selecting these
and I really hope you both enjoy and learn from
these techniques whose purpose is simply to get you from
level three to level four and form a foundation for
(23:57):
exploring the vastly interesting and endless complexity of animal spirits,
which we'll then move on to. Okay, so just to
wish everyone and merry Christmas, quick shout out to our
latest patron, Misha. I've met up with Misha and done
(24:18):
some spirit dance with him. We did some spirit dance
with the staff and he was a great addition to
the group, so thanks Misha. And on the next one,
I think I'm going to go back through the patrons
that have joined us that I've missed. Apologies I didn't
do it on this one as usual short of time,
(24:38):
and just to say thanks ever so much to all
of our patrons. You guys are the lifeblood of this
podcast and I hope you enjoy and grow with us
as we move through this kind of transitional change in
the format of the podcast. So thanks to everyone for listening,
and very Merry Christmas to you all. Jas
Hello, and welcome to the woven Erngie Podcast on Shamanism.
My name's Dimond Smith and I'll be the host for
this short episode, which is the second of our new
sero just short episodes. And I was thinking a lot
about what to call this episode, but given that it's
actually Christmas Eve when I'm recording, I'm calling it twelve
(00:33):
Techniques for Christmas. What we're talking about in this one
is level three technique, and I think this is a
good place to start doing a slightly different approach to
the podcast. Podcast itself covers level one and level two
in a lot of detail. For those that don't know
what we're talking about level one, level two, join myself.
Early in the podcast broke down a view of progression
(00:58):
towards shamanism into seven levels, which is somewhat traditional, not
all over the world, in various different places, And the
podcast itself as it stands at the moment, has an
awful lot of detail on level one and level two.
So if you just go back to episode one of
the podcast and start working forwards, you'll get into that
(01:19):
these shots. This idea of introducing a set of techniques
for spirit dance as opposed to analys spirit dance that
we can teach in more ways than simply the podcast,
for instance, by making videos of them, put them on patteryon.
This type of stuff is a progression from that. The
(01:43):
idea that we originally had for this podcast was to
help people, to help people practice shamanalism, give them a
path or a way that they could follow to make
progress with shamanism. And although level one and two you
could say our basic foundational, they're actually not, because every
level in shamanism, if you want to call them levels,
(02:04):
extends upwards into the levels above it. So we've certainly
covered enough detailed for a very determined person to make
progress with level one and level two shamanic technique. We
know this because several patrons who are at a distance
from us are proven it's enough by itself. Some of
them may have an unusual level of dedication to what
(02:24):
they're doing. We know some of our patrons are very
serious about their shamanic practice, but it has indeed been
proven that what's on the podcast is enough to make
quite a lot of progress with the first two levels.
So we're talking about level three. What I've been doing
over the last couple of years is trying to come
up with a kind of approach, not a general approach,
(02:46):
because it never is with shamanism. You always have to
customize what you're doing to the people who are being
guided by the shaman. So what I've been trying to
do is come up with some sort of set of
techniques that are manageable enough in scope to get somebody
(03:07):
doing spurt dance, which is my main shamanic technical I
guess major shamanic grouping of many, many different techniques to
get them doing spurt dance to the point where they
can a progress into level four and B to get
them to the point where they can start thinking about
(03:27):
animal spirit dance, which is you may know, is a
lot more involved in simple spurt dance for those interested
in that kind of thing. Three of the techniques have
picked out come from what's known as the Saki tradition
in Japan, three more come from Mickey's tradition, and six
of them come from shingistro Yani. Given the general overlap
(03:50):
in shamanic traditions all around the world, you could say
that a lot of them also come from Mongolian and
the Siberian spurt dance and so on and so forth.
However nationalistic you are about your shamanism, as you probably know,
I'm not. It remains the fact that there are twelve
techniques that we've collected together here that exist in traditions
(04:11):
from vastly more than twelve countries if you really looked
into their origins and have their practice and where they're practiced.
So I think that demonstrates the universal scope of shamanism
in the world. And I think, as we've said before,
you know, if you take a world and imagine scattering
pepper on our globe, there's not much shamanism anywhere in
(04:33):
the world, but what there is is scattered over vast
distances all over the globe, and there's a huge amount
of consistency and the actual practical practice of shamanic technique
as opposed to the sort of and I what you
call it ethnographical anthropological study of the traits of the
(04:54):
cultures in which shamanism finds itself embedded. The consistency in
shamanism self is huge. I've been testing the selection of
techniques out with the patrons over the last couple of years.
One of the things I've been doing, among others, in
the amount of time that I've had available and tried
lots of different things. In fact, I've been trying this
(05:15):
kind of thing to come up with a sort of
representative set of techniques, you could say, since the nineteen eighties.
The early attempts that I had on this stuff were
somewhat wrong headed. I mean, for instance, I fell into
the trap of trying to come up with eight techniques,
each one of which represents one of the changes. And
(05:35):
that's a really misguided approach because, as you know, the
changes in themselves, the individual changes, you know, Squall and Guy, Jaggon, Meld,
Tournant and Kindle, Mir and Shard to give you the
full set of eight, all of those changes are weak
when they stand alone. They are strong in combination and
(05:57):
especially strong in the sort of two and one sessions.
I'm trying hard to only use English words here. Suppressing
the temptation is Japanese and Mongolian terms is quite hard
for me. But I think I'm doing okay so far,
So we'll see how that goes. The two and one pairings,
the strong, very strong two and one pairings. Jack and
Mele go together. They support each other, Tony Kild also
(06:19):
support each other. Squall and guys support each other, and
Mir and Shad act together. I wouldn't go as far
as to say they support each other because their action
is always simultaneous. Very often it's not, and that's simply
because of the nature of the energetic situations that they
act in, often in situations which an excessive energy has
built within a system. The idea of practicing multiple techniques
(06:42):
at level three without getting into animal spirit dance is
that animal spirit dances very very easy to muck up.
It's very very easy to get wrong, especially for people
from civilized settle civilizations like I come from, like a
lot you guys come from. The imagine nation. Trap is
very very strong in the animal spirit dance, more so
(07:05):
than in just regular spirit dance. So the idea is
to get a lot of the principles of spirit dance
down before moving onto animal spirit dance and looking into
the wonderful, rich, amazing world of nature. Key point of
these techniques. Of course, at level three, we're just learning
the technique, but as we get into level four, we
want to create that weave almost use the Mongolian good.
(07:29):
We want to create the weave which allows us then
to build higher levels of Shamani technique. So these twelve
I think are enough. Normally twelve wouldn't be enough. But
as I said, you know, the trap that I fell
into originally was to try and create a technique that
demonstrates each individual that their tragrams. Rather what we've got
(07:53):
now with twelve techniques that show different portfolios of the
changes acting together, different combinations to mimic or to parallel
energetic changes that happen in the natural world every day.
Part of what you try to do as a shamanist
to get close to nature, to learn from nature, and
(08:14):
what we're trying to do with these changes is parallel
some of that vastly rich complexity that goes on in
nature in terms of energetic change, internalize that within our
tellicity so that we can get a feel for those
changes when it comes to higher levels of shamanic technique,
(08:34):
and we can recognize not in our brains, but we
can recognize patterns within the changes as one moves into
another into another, and we start a crossover changes that
are outside of ourselves in the environment, at least we
initially perceive them as so. So this is the purpose
of building a good level three foundation, and as I
said it, techniques definitely wouldn't be enough for that. Twelve
(08:56):
techniques normally wouldn't be enough for that. Except for a
few characteristics or criteria of these twelve the eye stroke
we have picked out. The first thing to say about
them is they're not the easiest techniques. A lot of
them are what you might call intermediate techniques. Some of
them are reasonably basic, but they are fairly rich in
(09:19):
terms of those portfolios of and a change that go
on within each individual technique. To give a good feel
for the changes when you are practicing the techniques and
how they work together. And the final twelve, if we're
going to call them the final twelve, I'm sure knowing
me change them at some point in time. But it's
(09:40):
come out of a lot of experience of what's good
and what's bad, not in the context of spurt dance
in general, but simply in the context of for somebody
new or intermediate coming to the subject of spurt dance.
These techniques are rich enough that they can study through
them a lot a lot of the principles underlying principles,
(10:02):
for instance, physical jealousy of spirit dance. But at the
same time they promote other things, and in particular, one
of the things they promote these particular twelve is an
avoidance of the Now I'm gonna use Mongolian term we
used to say tyrak tyraq tairaq on the podcast. Now
I'm just saying shard shad shad trap. The most common beginning,
(10:24):
to be honest, the most common beginner mistake in the
whole of shamanism the world over, in my humble opinion,
is the shard chard chard trap. That is, where the
flow of the energy within the dance gets broken too often,
too quickly, and also often on a regular cadence. These
(10:44):
things are really really bad for building a weave. It's
not that you don't use shard within the web, be course,
you do every single one of the techniques that we're
talking about the twelve techniques here, I use a shod
to a certain extent, But these particular techniques enable a
movement away from that by promoting flow between one technique
and another. They promote schullicity and physical crualosity, as a said,
(11:09):
and the transitions within the techniques and between the techniques.
So the transitions within the techniques are about energetic changes
on a micro level, and the transitions between the techniques.
On a more macro level, they've been worked through so
that it's relatively easy to transition from one technique to
another without applying shard. So one of the ways to
(11:31):
think about how you might approach taking on these twelve
techniques is to study the first technique and then once
you've internalized that and you can dance freely without intention
while maintaining good cualicity, both physical and regular spiritual crialisity.
Once you get to that point, you then start learning
(11:51):
the second technique. And obviously, if you don't know it already,
some of you may do, because some people have familiarity
some parts of this, for instance the tilenext signs that
we've talked about before. If you don't have familiarity, first
you learn, you internalize the technique to the point where
you can do it without thinking about it, and that's
what level three is all about. And you then learn
(12:12):
to flip from one to the other spontaneously as a
spur text. You're without a plan, without intention, and then
you start to do some kind of a spurit dance
with two techniques. That's wonderful, you know, and you see
a lot of people doing that around the world. A
lot of Shamlan's doing it. The issue is that's no
near rich enough for you to broach the subject of
(12:32):
animal spirits yet, so we keep adding, we keep going
through this process. We start with cellosity. We had a
technique that generally kills the c cillisity, and then we
work that technique back into the dance until cellisty comes
back again. We don't have to think about it, and
then we spontaneously start changing from one tech to nick
(12:54):
to another within the dance, creating a kind of weave,
a simplistic weave when you only got two techniques. And
then once that that's all become internalized, say technique one,
technique two, we then go on to technique three, that
usually kills the technique the jealousity, and so we work
that technique back in dance, and so on and so
forth until we've got all twelve techniques in there. Once
all twelve techniques are in that dance, and you can
(13:18):
do free spirit dance genuinely in a state of strong jealicity,
without thinking about it, without planning anything, without you know,
repeating any constant patterns or planned them. Turning into a farm.
Once it's truly spontaneous the dance. There's enough variety in there,
there's enough richness in there, there's all of the it
(13:38):
changes many times over in there that you could get
yourself to a position where you can start seriously thinking
about doing starting to do some animal spirit dance, and
from that point onwards, we'll be introducing different animals at
different times and so on, and this is how we proceed.
The techniques are relatively smooth to promote flow, the idea
(14:00):
being that certain of the changes, like Torrent, for instance,
really require that flow for you to properly understand them.
Torrent involves the reuse of existing energy. Well, if there's
no energy there, it's kind of hard to reuse it.
So the techniques are being picked in particular to promote
flow and to guide people away from the cha chad trap.
(14:26):
The difficulty of the selection of just a mere twelve
techniques is that in promoting the flow, they have to
create a rich weave, and this is why they're not
all beginner techniques, even though they're just like our woven
energy introduction Spurt dance. There's only twelve of them, but
(14:47):
the twelve are not what you might call beginner techniques,
they are more rich than that in order to create
a strong platform while still making the way that we
convey to people manageable in terms of there're only being
twelve of them. Obviously each one has loads of variations
and stuff, but in general there's only twelve of them,
which is a manageable amount of cover on a podcast.
(15:08):
So because they flow, another thing is if you want to,
you can do them to music. That's the kind of
thing that can be done, should be done sparingly. It's
not the greatest idea to do it to music because
of that regular cadence thing that I talked about, but
I think it's you know, it's enjoyable enough to do
every now and again if you want to. And the
(15:29):
flow can helps with that because it's you know, when
one technique's flow continuously one into another, it doesn't really
matter what the beat of the music is, and it's
the beat of the music that's going to tend towards chad.
So again, this is the flow helps stay away from
the shard chad chad trap. It's not the child's not important.
It's very important, but it's used. It's in there for
(15:51):
a reason. It's not in there for no reason, as
you see in so much what you might call bad
spirit dance the world over. In terms of these technique,
we'll be covering them one at a time, a lot
of on these shots, and then at opportune moments I
will drab drop shot videos in the Patreon as we
cover them one at a time. Though it's not necessarily
(16:12):
going to be the next twelve shots that I do
will be on the twelve techniques. It's not gonna be
like that. But we'll progress through them at a reasonable
rate and maybe come back to some because one of
the things with these there is a progression in them,
and as you learn more about the later ones, you
can come back to the earlier ones and apply some
of the learning that you've done there to make a
(16:35):
spread dance broader and more universally applicable. That's probably a
good way to put it. We're gonna continue the tradition
which I think I mentioned on the first shot of
coming up with English words for shamanic things, so Mongolian, Japanese,
and Chinese. I'm trying to discipline myself to drop those
terms and also use a few Siberian terms and stuff
(16:58):
like that. This is a personal exercise for me. I'm
so used to using those terms, I mean, getting on
for you know, well maybe maybe forty fifty years I've
been using these terms, and I worry about it because
I think the use of Mongolian words earlier in the
podcast sort of showed to a certain extent that what
(17:20):
we were talking about had a realness to it. And
we've used Japanese words as well. But on the other hand,
I really want to encourage the idea that shamanism is
a universal thing, and so if we can weird to
think about it, is if this from this point onwards,
we can extend that armor Poel tradition, which effectively came
(17:42):
up with English sounding words for the underlying principles, you know,
things like cellistee and shad and meld and these these
kind of words that we dubbed it all those years ago.
I mean it's more than a decade, no ago. Now,
if we can continue that idea and give the techniques
themselves English names, and the animals and the different aspects
of the animals and different techniques. You know, as you
(18:04):
may know, every animal spirit has a whole host of
techniques associated with every individual animal spirit has a whole
host of techniques associated with it. If we can come
with English words that describe these things, that people know
what we're talking about, we're an audio podcast, it will
be useful in two ways. Ones, it can be much
easier for new people to understand what it is we're
talking about without educating themselves and memorizing these things too much.
(18:27):
But it's also important in terms of once we get
into that, once we do get into the animals, the sheer,
colossal number of techniques, even if we do give them names,
will be completely unmanageable, and at that point in your
shamanic journey you want it to be because naming things
(18:48):
isn't what shamanism is all about, putting things in little
boxes and labeling them. So think of the techniques as
a way into the subject of shamanism. But they're certainly
not especially the names of the techniques, they're certainly not foundational.
And we talked about this before, I think on heretics
and on woven energy, how giving symbols for their trigrams
(19:10):
in the confusion tradition has led to an awful lot
of confusion. You know, we talked about Mountain as a
symbol of one of the trigrams, and heaven as a
symbol of another one, and so on. These different symbols
have led to an awful lot of misunderstanding. These things
are energetic changes in the world first, and their trigrams
(19:31):
named with symbols second. That's probably the best way to
put it. And so to get away from that kind
of thing, we're going to use English in order to
demonstrate that trying to use English for this stuff later
on in your shamanic technique as you advance, you need
to get rid of that idea as well, because it
just doesn't work. But getting back to regular spirit dance
rather than animal spirit dance, we want to create a
(19:52):
rich weave, so it starts to become a bit of
a radar for nature in our progressionating level four, level
five technique. And I think what's here, to cut a
long story shot, what's here in these twelve is enough
to be useful given that they are more rich than
what you might call most basic shamanic techniques. As I said,
we want to push the idea of techniques as combinations
(20:13):
of changes rather than categorize things. So every technique's name
that we have come up with and I wasn't alone
in this. So thanks to those that have been helping me,
especially Mayor Bartley, who's come up with a few of
the names herself, and thanks to all those guys who
helped with whole Armorbella movement back in the day, and
to everybody who's been my guinea pigs for this stuff.
(20:35):
In order to try to give the sense that something's
happening or changing, the technique every single one of the
twelves names ends in ng ing, which gives an idea
of something actually happening. Coming up with individual techniques to
characterize individual changes is really hard. I know, I've tried
it so many times. And as I've said, because changes
(20:58):
that stand alone a week undesirable in a sense, and
that's not how nature does these changes. It's the mutually
supporting relationships between the changes that make things really happen.
I mean in the real world, not just in spread dance.
It's true in the world, real world, and that's why
it's true in spread dance, particularly in terms of the
two and one pairings. So what are these techniques? Well,
(21:20):
I'm going to introduce the first one on the very
next episode, but to give you a bit of clue.
I think this is one we've we've talked about a lot,
because this particular technique is the transition between what we
called have task and tear out in the podcast. Earlier
in the podcast these two words the sort of embrace
(21:42):
and the folding wings. But we talked about those positions,
but the technique in mostionumanic techniques traditions isn't positions. The
technique is the energetic changes that go on and while
moving between those positions, or even more than that, the
(22:06):
energetic changes that underlie the movement of the body that
the body follows in order to achieve those positions or
through which the energetic patterns the weave flows in the dance.
And so the first one is going to be called
enfolding because it has the action of you know, hugger tree,
(22:29):
infolding something within your wings. That's the name that we've
come up with. And the remaining eleven are gathering, ceiling, floating, throwing, lifting, spiraling, trailing, churning, swooping, winding,
and coiling. In every case we have this inenity or
(22:51):
this in ending that implies movement, that implies transition, that
implies energetic change, because that's what these techniques are the
chain and with those twelve and a spontaneous spurt dance
building a weave, you can create something that starts to
resemble stuff that goes on in nature every day. So
(23:14):
that's the idea, and I guess you could say these
are the twelve techniques that I'm introducing for Christmas, although
I think the title of the episodes twelve Techniques for
Christmas is some of the implications kind of a It's
a little bit of a gift for our longtime listeners,
for our patrons, and I really hope as well get
into it. You can see that there's quite a lot
(23:36):
of effort gone into building this thing, to selecting these
and I really hope you both enjoy and learn from
these techniques whose purpose is simply to get you from
level three to level four and form a foundation for
(23:57):
exploring the vastly interesting and endless complexity of animal spirits,
which we'll then move on to. Okay, so just to
wish everyone and merry Christmas, quick shout out to our
latest patron, Misha. I've met up with Misha and done
(24:18):
some spirit dance with him. We did some spirit dance
with the staff and he was a great addition to
the group, so thanks Misha. And on the next one,
I think I'm going to go back through the patrons
that have joined us that I've missed. Apologies I didn't
do it on this one as usual short of time,
(24:38):
and just to say thanks ever so much to all
of our patrons. You guys are the lifeblood of this
podcast and I hope you enjoy and grow with us
as we move through this kind of transitional change in
the format of the podcast. So thanks to everyone for listening,
and very Merry Christmas to you all. Jas
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