A Soundscape by David P. Crews
[Total run time: 1:17:00]
Ayahuasca–Rain Passage is a visionary sound experience by award-winning musician David Crews, centered on a recording made on his second venture into the Peruvian Upper Amazon to work with the most renowned and respected whole-plant spirit medicine in the world, called ayahuasca–the Vine of the Soul. A jungle rainstorm arrived to guide the ayahuasca ceremony with the energy of Yacumama, the Water Spirit of the rivers and forest, bringing power and depth to the intense visions received from Madre Ayahuasca herself.
About the Music:
“This is a minimalist and immersive ambient soundscape. I designed this to be a deliberately slow and long work to suggest to the listener the mental and spiritual space one enters when working with ayahuasca in traditional ancient nighttime ceremony (which normally lasts from four to six hours). It is based on a 24 bit digital recording, made on location, of the natural sounds environment at SpiritQuest Sanctuary on the Rio Momón, a tributary of the Amazon. It includes the evening chorus of animals and insects, a large tropical downpour, and the post-rain night chorus. This is blended with the spirit songs of the shaman and my original deep electronic music ambient elements.
“Ayahuasca is best encountered when one is surrounded by and embedded into the vast living being that is the Amazon forest. My intention was to make a long-form piece centered on that rainstorm that, while containing creative electronic musical elements, remains an experiential ambient work. Great care has been taken to blend and guide the slowly evolving moods. In ayahuasca, each participant’s specific visions are unique, so I have presented a kind of impressionistic portrayal of the vision experience, very much centered in the entraining of the mind by the rhythms and white noise of the traditional songs, the leaf rattles, and the rain. At 1 hour, 17 minutes in length, this contiguous piece is best listened to in one sitting, when one is ready for an immersive meditational and transforming experience. It also works well as a low-volume truly ambient environment.
“The icaros (spirit songs) heard in this work were also recorded on location, during actual ceremony. They are the songs of don Rober Jarama, the highly esteemed banco ayahuascuero shaman associated with SpiritQuest. I have worked with don Rober over a seven-year period. He is completely authentic and simply amazing in his dedication to traditional mestizo and tribal shamanism in the Amazon. You will hear him whistle his opening Arcana to place spiritual protection on the participants, and also some of his sung icaros that help guide the ceremony throughout the night. Also prominent are the rhythmic sounds of the schacapa, a dry-leaf rattle that helps entrain the mind as the visions progress.
“The musical elements were created with LogicPro X on a Macintosh system and include timbres created in Alchemy, Air Xpand!2, ESX-24, EWQL Symphony samples, and other instruments and modules. Performance, production, and mastering completed at JaguarFeather Studios, Austin, Texas.
“My thanks and love to maestros don Rober Jarama and don Howard Lawler, and the staff and friends of SpiritQuest in Peru.
“I hope you find this journey into the incomparable vision space of ayahuasca to be useful, sublime, and amazing. Blessings and Light!”
-David P. Crews
“A prophet is not without honor except in his own country. . .”
An observation about reintegration and sharing one’s non-ordinary experiences for good or for ill.
Anyone who has worked authentically with Ayahuasca, gaining sight and knowledge, healing and wisdom, is partaking in the mythic Hero’s Journey. He or she is a legitimate explorer–one who travels to dangerous places, passing barrier guardians, personally encountering the divine Spirit or Spirits, and willingly undergoing tests and challenges that are often terrifying and that threaten survival. When the exploration ends, we who have so ventured return to our mundane world once again, full and overflowing with what has been taken in and we are electrically charged with it. It is a boon for ourselves (this is why we took on the challenge). We wish it to be one for our friends, our family, our tribe: those who did not and would not ever cross the border we crossed; those who would or could not face the challenges and return with the great wealth.
One of the most challenging parts of the Hero’s Journey then, is the return: the reintegration into the “normal” everyday world and trying to fulfill our role as conveyors of the treasures we found and the discoveries we made during our dangerous endeavor. It does not always work, this re-entry into our old world and it can redound to our discomfiture in our relationships with others. Joseph Campbell put it this way:
“[Prior to the Hero’s return from] the mystic realm into the land of common day. Whether rescued from without, driven from within, or gently carried along by the guiding divinities, he has yet to re-enter with his boon the long-forgotten atmosphere where men who are fractions imagine themselves to be complete. He has yet to confront society with his ego-shattering, life-redeeming elixir, and take the return blow of reasonable queries, hard resentment, and good people at a loss to comprehend. . . .
. . . As dreams that were momentous by night may seem simply silly in the light of day, so the poet and prophet can discover themselves playing the idiot before a jury of sober eyes.
. . . How to render back into light-world language the speech-defying pronouncements of the dark? How represent on a two-dimensional surface a three-dimensional form, or in a three-dimensional image a multi-dimensional meaning? How translate into terms of ‘yes’ and ‘no’ revelations that shatter into meaninglessness every attempt to define the pairs of opposites? How communicate to people who insist on the exclusive evidence of their senses the message of the all-generating void?”
This, Campbell says, is “the hero’s ultimate difficult task.”
–Joseph Campbell “The Hero with a Thousand Faces” (New Jersey, Princeton University Press, 1949–Second Edition, 1968), pp 216-218.
After my first, most powerful and transformative foray into the realms of the Other, I naively presented my journey’s logs and observations to those who are close to me. The reaction was something like that one described by Campbell–the semantic and ontological challenges the very same as he outlined. Sometimes, I wonder if I should have done it, for he also wrote of the hero who might be tempted to “commit the whole community to the devil and retire again into the heavenly rock-dwelling, close the door, and make it fast. But if (an obstruction to his retreat has been placed), then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided.”
[ibid, p. 218]
And, so I continue to share what I have experienced. I do so in diverse ways, including (especially) in this blog.
Excellent video podcast with Amber Lyon of reset.me, in an engaging and fascinating interview with my dear friend and shaman maestro of the Amazon, don Howard Lawler, aka. Choque Chinchay. This is a wonderfully long in-depth discussion about Ayahuasca–what it is and isn’t and how it is properly (and improperly) approached and worked with in its native Amazon setting. Howard is a superb teacher as well as shaman and it is always a blessing to listen to his knowledge and wisdom about the great teacher plants, especially Ayahuasca. This was shot on location at the SpiritQuest Sanctuary in the Upper Amazon where I’ve twice been fortunate to travel and to engage with the great plant teachers under the care and compassion of don Howard and don Rober.
I’ve spent many hours listening to don Howard, asking my questions and having in-depth discussions about the medicine. When you listen to him, you are hearing long and deep experience from one of the most authentic of the Amazon’s medicine men, and probably the best communicator in English for and about Ayahuasca. Enjoy.
Today, I’m presenting a virtual getaway, especially for anyone stuck in this year’s snowy winter. I’m pleased to offer you my short (7 min.) nature film I shot in November on location in the beautiful country of Costa Rica.
I love waterfalls, and Costa Rica has many lovely ones, both small and very large. All are situated in rain forest settings that invoke images of a lost, green, wild world.
This film also features my original symphonic music score. Be sure to go full screen and volume up.
I hope you enjoy “Costa Rica Waterfalls”!
My posting frequency on this blog has slowed recently due to my becoming deeply involved in writing my first novel. The book, an epic science-fiction/fantasy series, is approaching completion and I will update this blog as I can, but I thought that for now I’d post some recent thoughts in the forms of a poem and a digital image or two.
Often, I find myself simultaneously holding different visions of my humanity. On one hand, I sense the melancholy (which is not the same as sadness or hopelessness) of our situation here in this physical reality. It is the conundrum of Ralph Waldo Emerson’s metaphor of the Stairs that I’ve spoken of several times in these pages. Upon those stairs, we awake and know not whence we came, nor where we are bound. It is an authentic and enduring melancholy for every person–a melancholy borne of that mystery.
On the other hand, I feel a strong imperative to constantly and consciously create real happiness and fulfillment for myself within the time I exist upon those mysterious stairs. I do so by being a creator and I live that role right now. This is the only way to be in this life that brings me (or, I will maintain, anyone else) true joy. It is what Casteneda called a “Path with Heart,” and it brings unexpected delights and challenges to us, while each of us also remains involuntarily bound to that mysterious river of time that leads us to an unknown destination.
Those two visions emerged into two different creations recently, and I thought I’d share them here while I may be away from more regular blog posts for a while.
The Melancholy observation is represented by a poem that is my take on Emerson’s Stairs. It came fully formed out of sleep and the spirit realm of dream last night. The accompanying image (above) is my digital art alteration or enhancement of a detail from one of my favorite painters, Thomas Cole. (It’s from his four panel “Voyage of Life” series from 1842.) His paintings include some directly religious elements, but I believe the idea of guidance from “outside” of ourselves is possible in many shapes and forms that cannot be empirically measured. We are, in any case, on the boat and in motion to an unseen destination.
The Creative/happiness/joy/challenge observation is an original saying and a digital artwork rendered on a moonrise photograph I took along the Caribbean coast in Costa Rica a few months ago.
May we all continue to look, wonder, and choose to make our time upon the waters of life worthwhile by creating joy.
In fragile boats
Clad with skin.
We make no stops–
Frail vessels that
Set no anchor.
The wind blows
Our measured course
Fades in mists
[David P. Crews, 2015]
[Click any image for full size.]
As a follow-up for the summer photography in my last post, I’m pleased to present a six minute film titled “Big Bend–The Scale of Time.” This is a short preview for my upcoming reflective landscape film about Big Bend National Park in Texas. I am in the process of re-shooting footage in high definition to entirely update and replace the imagery from an older film, while retaining the music track and eventually the incidental poetic script and narration elements. This HD film is hosted on Vimeo and is best seen full-screen.
The cinematography and photography in this short version all come from a brief three-day visit to the park in June, 2014. I plan to return at least twice in the coming months (for longer stays) and obtain much more footage to fill out the main feature. What imagery will I get on my next trip? In June, I didn’t expect to get caught in that dramatic lightning storm or see a cloudy, no-sunrise morning suddenly erupt into an amazing spotlit fan of golden light. Big Bend always surprises me with unexpected scenes of wild and gentle beauty that translate so very well into visual art.
I hope you enjoy my film.
A note about the music: This is my original composition and performance excerpted from the longer film. It won the Calypso Award from the Moondance International Film Festival in 2006, and also a prestigious Silver Telly Award in that same year.
I have just returned from a short visit to the wonderful Big Bend National Park in southwestern Texas, USA. I’ve been traveling here off and on since the spring of 1962, taking photos and video, hiking and camping, and doing inner work and vision quests. With some extensive new photography equipment in hand including a Nikon D5300 and a computerized slider, I’m setting out to shoot new cinematography and photography of the park in multiple seasons. This is to remake an artistic film I created some years ago using standard definition video. Now, I can remake it in full HD with professional rigging for camera moves.
I’ll post more of the video elements later, but for now, here are some of the still photographs I made this week, accompanied by some script excerpts from the original film.
I hope you enjoy them!
I urge you to click through to the larger images for much higher quality!
In Big Bend
The scale of time is different from
our time – the observers, ourselves – who come.
It is a different scale of time and of movement than
our time – our movement.
We are too fast to see it.
We cannot slow down.
There is an enchanted doorway –
a wonder and a sign.
A Temple of water
And walls of determination.
We briefly enter – and return again.
There is nothing between this sand and that yonder star
but empty space and a thin breath of blistered air.
A Weight Bears Down.
We cannot escape.
Our branches grow tough – and dark.
Our water, our blood, our thoughts
Dwindle . . . down.
The white light sears our flesh into dust,
and there is no wind to blow it away.
The desert does not sleep.
It is an endless movement – the motion of survival.
We look and listen . . . and there is
You can see it move if you are slow enough.
You can feel it, anyway,
if you are still enough.
Do not listen for it or watch for it.
This desert is young. This desert is old.
It depends on your speed, you see.
Some have come to change this land.
Some have changed it – some.
All who have come
Have Been Changed.
Some have gone now.
A fragrance lingers in secret places.
Their song echoes lightly on adobe and wood and stone.
The mesa shrugs, and it is gone.
She is clothed in riches. Bejewelled in green and yellow and brown.
An extravagance on this plate of rock – standing up, tasting the water.
Big Bend is not barren.
LIFE is everywhere in this Desert –
this Living Land.
Raising faces – arms to the air,
feeling deeply down for the lifeblood –
a watery current within.
Knowing how to keep that – and to hold it.
The desert is a mirror.
The desert is a portal.
It reflects our souls back at us,
and then offers a Way
into another Realm.
We are opened up
and slowed down.
The soft voices of the Plants can be heard.
The wordless brotherhood of the Animals is known.
The marvel of the Eternal Moment can be felt
In our very ground.
Big Bend is a Heart Land.
A place of shifting Shapes.
It is a healer of the Spirit.
A photography post for this hot summer’s day.
Here are some of my images from my last journey into an amazing landscape in southeastern Utah. Please click on any photo for a larger, better view.
I will be heading back into this area this fall to do some more photography and cinematography and I will look forward to sharing some of that with you then.
Here is a manifestly magical landscape where, as the ancients said, “There are more rocks standing up than lying down.”
Entering this land, we feel like we have stumbled into a giant, ancient, Atlantisian cityscape – thousands of massive buildings, scatter far over the rolling hills and loom profoundly next to our tiny forms. They are frozen in time as the wind and sun slowly melt the magnificent masonry into curious shapes. Long, inspiring parks of green and orange still echo the aesthetic design of a masterful and artistic urban planner. It is a scene that seems populated or that seems it should be – filled with milling crowds. When the black raven caws and the wind sighs around the rocks, however, we realize that it is too quiet for such crowds. There are few humans here. The rock pillars themselves form the sense of mass congregation.
Perhaps it is all mere sand and wind. Perhaps.
As we stand, dwarfed, by a reddened wall topped with curious minarets and colorful balanced spires, we may sense that this primordial cityscape was designed this very way by spirit beings or unknowable men and women of mystic vision, serving some need of the soul and heart that still resonates in us today. We feel the rocks ringing and singing their long songs, gazing ever into eternity.
Spirit hand prints of the Ancestral Puebloans who passed this way some 500 to 900 years ago. With time so long and slow in this magical land, it seems that the red paint should still be wet to the touch.
You can hear Time pass by in a soft and curious breeze between the painted walls.
[Click any photo for a larger view.]
Meet K’ak’ Tiliw Chan Yopaat, or in our best interpretation of his name: Kawak Sky.
Time for a travel post and photos.
Whenever I’m not focused primarily on landscapes and scenery, travel for me often involves ancient cultures and archeological sites. I’ve been scanning some of my older photo collections, and these images from the Mayan site called Quiriguá came up today. Quiriguá (our modern name for it) is a modest Mayan site in terms of architecture, but its collection of carved stelae and zoomorph stones are amazing.
Quiriguá lies in southern Guatemala, not far from its large rival city, Copán, just across the modern border to Honduras. It was declared a UNESCO World Heritage Site in 1981. Quiriguá was the first Mayan site I had the privilege to visit, and it was a good introduction to the Mayan world.
Kawak Sky was the “k’ul ahaw,” or “Holy Lord” of Quiriguá. This small city was active during the Maya Classic Period from about 200 to 900 AD, and is noted now for its important carved stone monuments. These represent the most dense collection of Mayan hieroglyphic stone stelae known to exist in one site, and the tallest freestanding stone monuments in the Americas. Stela E stands 35 feet high. The local red sandstone is solid and clear of fractures, which allowed the Mayan artisans to carve deeply and in large format.
Quiriguá was a subservient city to the much larger and more powerful Copán until Kawak Sky managed to ambush the elder king of Copán and haul him back to Quiriguá for a ritual execution. This occurred in 738 AD, establishing the independence of Quiriguá from that time forward and making Kawak Sky the most celebrated of its rulers.
It was fascinating to walk for my first time among ancient Mayan carvings and see a real ball court. At that time, I was recently married and we enjoyed climbing the carved stone steps of the central acropolis and listening to the forest birds as we soaked in the strange air of this place. It’s history, often very violent, was so different from our own culture. Yet here it lies, surprisingly close in physical distance to my own home in Texas. I’ve been to a number of other Mayan sites since this, but I never tire of the sense of wonder and history one experiences when actually walking these old cities and monuments.
In the early 1930s, author Aldous Huxley visited Quiriguá. He was also impressed by the stelae, writing:
“And there they still stood, obscurely commemorating man’s triumph over time and matter and the triumph of time and matter over man.”
Huxley, Aldous (1950) [©1934]. Beyond the Mexique Bay: A Traveller’s Journal (Reprint ed.). London: Chatto & Windus.
Bless me, O beautiful Earth.
Bless me, O beautiful Earth.
For I have come forth from You,
And, I return again to You.
Bless me, O beautiful Earth.
Bless me through my feet.
Bless me through my legs.
Bless me through my body.
Bless me through my arms.
Bless me through my hands.
Bless me through my face.
Give me your blessing
As I gaze at your beauty.
I return your blessing
With every movement and
Every sacred Word.
I am filled up with You.
Bless me, O beautiful Earth.
I am your Child.
I am Earth.
[Click any image for a larger view.]
“Every rational creature has all nature for his dowry and estate. It is his, if he will. He may divest himself of it; he may creep into a corner, and abdicate his kingdom, as most men do, but he is entitled to the world by his constitution. In proportion to the energy of his thought and will, he takes up the world into himself.”
– Ralph Waldo Emerson, “Nature”
“Beauty is the form perceived by the highest faculty of mind in the act of reflection. We naturally reside in the lap of a terrible beauty, terrible because it is devoid of sentimentality and utterly simple and just. It is also terrible because the emotion we describe as awe or wonder also has inherent within it an aspect of terror. If our ordinary experience is comfortable and banal, then revelatory experience is not, and the terror we experience at the edge of divinity in the country of the sublime is also terrifyingly beautiful.”
– Richard Geldard, “The Spiritual Teachings of Ralph Waldo Emerson”
“But to me nothing – the negative, the empty – is exceedingly powerful.”
– Alan Watts
“Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.”
– Haruki Murakami, Kafka on the Shore
“The time has come for more psychedelic explorers to come out of the closet about the benefits of these life-changing visionary plants. I want to live in a world where exploring a self-improving, 100 percent natural drug doesn’t come with jail time. Where peaceful navigation of different realms of consciousness is a basic human right.”
Genna Marie Robustelli
This is from a very interesting article I found in The Tico Times (Costa Rica) from Genna Robustelli, about the effects and healing nature of the very intense entheogen called Iboga, native to Africa. I liked this report because it is focused on the curanderismo (healing) aspects of the experience, both from a physical standpoint and from a psychological/spiritual one. Encountering Dr. Iboga, as with Mother Ayahuasca, can result in a no-holds-barred, hard-core analysis of one’s situation in life and can bring clarity and new commitment to it. These experiences are unquestionably worth the discomforts one endures, but neither is an easy path to take.
Often, so called “trip reports” from psychic or entheogenic explorers can be so subjective or symbolic to that person that they are difficult for anyone else to completely relate to. This includes my own such reports from Ayahuasca experiences. Genna’s report is nicely described and gives what I can perceive is an authentic view of the physical and visionary effects that resulted. Although intrigued by Iboga, I have gravitated to Ayahuasca and felt that Iboga may not be the right path for me. I have to say, however, that I’m tempted by this particular set, setting, and approach. I’d like to see if it could help my own situation and provide another glimpse into that Other dimension that is so tantalizingly close to us, and yet seems so alien to our common lives. Iboga is obviously another powerful chemical ‘technology’ that can reveal the operating system of our souls and bodies – opening Blake’s doors of perception to reveal not only the Infinite, but our very selves within it.
“If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.”
― William Blake, The Marriage of Heaven and Hell
“No medicinal value? No medicinal value my ass. This plant’s medicinal value is indescribable – it’s off the charts. And to abuse this plant would be an incredible feat of human determination.”
Genna Marie Robustelli
[ click image to go to the video ]
Graham Hancock is perhaps best known by millions of readers and fans as the author of “Fingerprints of the Gods,” a book that made him world famous and started a revolution in thinking about the hidden history of humanity. As Graham often puts it, we are a “species with amnesia” about our distant past, where distant means more than about four or five thousand years ago. That book came out in 1995, and much of his speculation, convincing though it was, had to remain in that mode due to lack of hard archeological evidence. He has spent his time in the years since traveling the world, trying to discover those kinds of sites and artifacts with some success, but it has only been in the last few years that several new pieces of the puzzle have come to light. These include the spectacular archeological site in Turkey called Gobekli Tepi. This site has been carbon dated to around 12,000 years in our past, which coincides perfectly with the idea of a now lost civilization that existed prior to the end of the ice age and which was destroyed by the cataclysm that caused the ice to melt and the “world of men” to flood, giving rise to our worldwide flood myths and the stories of lost lands like Atlantis.
These discoveries have prompted him to write a sequel, tentatively titled, “Magicians of the Gods,” to be published next year. Here is a video of a lecture at Greensboro College in North Carolina, USA, where he gives us an overview of the material in the original book, and then things discovered in the interim that will be part of the new sequel. This video is more than an hour, but it will hold your interest without question until the end. (After all, he’s talking about the ancient history of all mankind here, which takes a bit just to cover everything!)
There are several other instances of this current speech of Graham’s on line, including one he posted today from a presentation in South Africa, but this Greensboro one seemed to have the best technical quality overall. That said, the two brief introductory speakers’ audios are not great, but Graham’s part is just fine, so don’t give up on it.
“He found himself wondering at times, especially in the autumn, about the wild lands, and strange visions of mountains that he had never seen came into his dreams.”
― J.R.R. Tolkien, The Fellowship of the Ring
Autumn is my favorite time of year in Texas because it lasts longer than spring and the temperatures are such a relief after our hot summers, but there is little leaf color until early December, and then only a hint of the kind of color one sees in the northeast or in the mountains of the great American West. I love to make a special trip to see the aspens change in Colorado. Here is one of my photos for you – just an autumn greeting and a wish-you-well for the upcoming Thanksgiving and other holiday times.
I took this one just outside Silverton, Colorado a couple of years ago.
What does autumn go on paying for
with so much yellow money?”
― Pablo Neruda
I thought this was an interesting article from Salon.com about how our global communications technology is rapidly and energetically changing the world, but also how our perceptions and preconceptions about traditional tribal cultures are so often wrong and even insulting.
All these tribesmen really wanted after a visit to our Western culture was feather technology.
This is a digital art and photograph collage, but the stone face is an actual formation I came across in a less-traveled region of a lightly traveled hoodoo wonderland called the Bisti Wilderness Area in northwestern New Mexico, USA (commonly called the Bisti Badlands). Is it pareidolia – an accidental shape that looks like a face, or is it an expression of animism? Yes, of course, and perhaps, I think, the other as well. Having taken myself down under the skin of consensus reality and once meeting a female Spirit of the Earth, I treat such things as this with respect and honor.
~ ~ ~ ~
Spirit Stone Woman (by David P. Crews)
Once, I was wandering through time,
Threading a tortuous line through
undulations and towers of rock and clay.
Sitting, resting from my efforts,
I looked up and saw her face,
Sudden awareness chilling my arms.
A crickle of power and presence:
I had come unawares into a place
of natural holiness.
I speak. I ask permission. I look.
I gaze into the sky as She gazes.
Who has spoken with her in ancient days?
How long has she watched the stars?
For whom does she wait?
A shape sits silent, breathing another air
poised on the edge of eternity.
From the swirl of
An image I took of the moonrise over the Gulf of Mexico at Surfside Beach, Texas on October 23, 2013.
My friend, Mitch Schultz, director of the “DMT, The Spirit Molecule” film posted a link to some spectacular photos of an Iboga ceremony with the Bwiti tribe in Gabon, Africa. These are from a French journalist and photographer named Emilie Chaix.
Iboga is one of the world’s great vision-giving teacher plants, roughly comparable in power and depth to Ayahuasca, yet very different in its presentation and physical effects. An Iboga ceremony can be days long and extremely challenging to the partaker. It can also bring strong insights and learning, as well as healings, to the participant.
Click through to her site and check out this wonderful gallery of photos of the once very secret ceremony from the Bwiti tribe, who are maintaining this important world medicine tradition.
My friend, Graham Hancock, is exploring the ancient megalithic site in Turkey called Gobekli Tepe. It dates back an amazing 12,000 years to a time when conventional historians have humans in hunter-gatherer societies. Here in this very large site, we have many huge carved stones weighing 20 tons and more, arranged in numerous great circles similar to Stonehenge but much older, taking history back to the edge of the last ice age and the cometary destruction that likely caused it to end. Graham is writing a sequel to his most popular book, Fingerprints of the Gods, showing new evidence like this site that will shine new light onto our forgotten human heritage from a time before currently accepted history.
I’ve been on a bit of a ‘blogcation’ lately, but one of the things I’ve been working on is a PHOTO GALLERY of my recent trip to the Peruvian Amazon to work with Ayahuasca. This was my second trip to work at the SpiritQuest Shamanic Sanctuary, where I engaged with the great spirit medicine in five intense ceremonies. This photo tour will take you with me, showing the sanctuary, the verdant grounds and jungle, the process of preparation of the medicine, the actual ceremonies, visiting with some of the local tribespeople (Yahua, Bora, and Shipibo), and a special ceremony to work with Huachuma.
See my previous posts on this trip for more detailed information about these events. There is general commentary provided with these photos, but as this gallery is intended for a broader audience, it does not present the in-depth detail you’ll find here on my blog. There are a lot of photos in the show, and I do hope you enjoy them. I have some video and audio elements I will share later.
My final ceremony in the Amazon was not with Ayahuasca, but with the ancient medicine of the Chavin culture of the northeastern mountains and coastal areas of Peru. Huachuma is the most common local name for the plant whose post-colonial name is the San Pedro cactus. As both cacti contain mescaline, Huachuma can be considered South America’s parallel, if decidedly not equivalent, to North America’s peyote. Just as with peyote, this cactus has been used for thousands of years to bring humans into a powerful spiritual dimensional experience for healing and for enlightenment.
The ritual and ceremonial forms associated with Huachuma are based on the mesa, a literal table or layout of ceremonial power objects in the form of a cross. Much of this has been co-opted by the Catholic church and most “San Pedro Mesa” ceremonies are very syncretic and include objects, references, and appeals to Jesus, Mary, the saints, etc. My interest was to find the older, more authentic, pre-Columbian version of the cactus ceremonies, representing true ancient shamanism. In today’s Amazonian or Andean cultures, this is not easily found, but Howard Lawler is, surely, the best source for this kind of experience. He has been restoring this ancient style and level of Huachuma ritual for decades, and has been able to attain and establish a truly non-syncretic and very powerful mesa ceremony. His Huachuma Mesada Pilgrimages are intense, nearly two-week long expeditions to the ancient sacred sites in northeastern Peru to engage with the plant in the way and in the very places that the ancients did.
He also offers an introductory mesa ceremony in the Amazon for those, like myself, who are there to work with Ayahuasca but also wish to have an initiation into Huachuma. This actually makes a lot of sense, as Huachuma began in the Amazon with the concept of the water mesada.
Yacumama is the serpent spirit that represents water and the essence of life springing from the great Amazon. He is pictured as a serpent and as the serpentine river that winds through the great forest of life, enlivening all the inhabitants from plants, to animals and us. Water is the essential ingredient for life.
In Ayahuasca rituals, one works with Pachamama, the great female spirit of the plants and animals – this is Mother Ayahuasca, the “mother earth” spirit who engages, teaches, and heals within the context of the Ayahuasca medicina. When working with Huachuma, one encounters a complementary male spirit, a Grandfather Huachuma. He is expressed in the Amazonian ritual in the form of Yacumama, the essence of water.
The ritual begins at the great mesa that don Howard has created inside the ceremonial molucca at the sanctuary. This large layout begins with the lower world, then the crossbar mesa representing the middle world (our everyday dimension), and the mesa at the top representing the upper worlds. There is also a lancon or stone stela like the one at the great temple of the Jaguar. This stands at the cross point and represents the “axis mundi” or the world axis. It leads up into the heavenly realms as well as down into the unconscious worlds. The mesa is a three-dimensional map to a multi-dimensional universe.
Huachuma cactus is reduced to a liquid that is intensely bitter, but is not disgusting or nauseating as Ayahuasca is. Also, there are no dietary restrictions with Huachuma as there is in Ayahuasca. One drinks the liquid and is offered an immediate chaser of limonade – a tart and non-sweet lemonade that really helps to offset the bitterness and slight discomfort of drinking the medicine. This will be offered at various times throughout the length of the ceremony, which can take eight hours or so.
[Click on any small photo for a larger view.]
Unlike Ayahuasca, this does not occur at night with darkness and the singing of icaros. Huachuma is an animating and animist agent and it is useful to take it during daylight and, in the initial stages, get out into nature to see and experience it. We took the medicine at about two in the afternoon and after the initial rituals, immediately got into the boat for a trip some miles upriver to a tiny settlement. We pulled into the bank and walked along a long covered wooden walkway to get to the village. A few locals came out to see us and some of the kids played in the river or with a soccer ball while one boy presented a monkey for us to see. As this is happening, I was coming alive with the energy of the Huachuma medicine. A gentle rain began to fall, and the individual drops were superimposed over the verdant green fields surrounding the settlement. Each drop vibrated like electric diamonds and the greens beyond seemed to glow with life and energy. This is a very active medicine that, in this initial phase, engages us in a physical and super-awake mode that leads to a strong sense of joy and happiness.
Everything is alive! This is what animism feels like! As we returned to our boat, I settled in and took a fresh apple to eat. It’s flavor was enhanced in the same energetic manner as the objects I saw. It was delicious! A truly wonderful sunset glowed in orange and red like an open kiln under the rain clouds that began to gather.
As we motored back down the Rio Momón, that rain began to fall in earnest – a true tropical downpour. This was no ordinary rain, with or without our enhanced senses. It rained in sheets until the boat was literally encased in a tube of water. Water below the hull, water rushing the canvas above our heads as if we were under a huge waterfall, and not rain streaks, but walls of solid water on all sides of the open-sided boat. The pilot had to slow to a crawl and use his searchlights to make our way safely back to the sanctuary. Howard said that in his quarter century of living here, it was the hardest rain event he had been in on the water.
Rather than feel in danger during this huge rain, I and the others felt safe, curious, and engaged. It was obvious to us that we had truly invoked Yacumama – the Water Spirit – and he had manifested for us in a very big way.
With a safe return to the ceremonial molucca, and with darkness upon us, the next phases of the medicine began. In the presence of the mesa, we entered into a more internal space where introspection and visioning can happen. This lasts until about ten o’clock when the medicine begins to dissipate and we retreat to the dining hall for a good meal. This was the first meal in about two and a half weeks for me that had any salt in it. We had some bits of chicken that were fried with some salt, and they were truly delicious after the long diet and having just been sensitized with the Huachuma.
I feel like I have internalized much of the work I did with Huachuma and will be processing it in my life for a while to come, just as with the work with Ayahuasca. I was unable to continue on with Maestro Howard on his Mesada Pilgrimage this time, but hope and intend to do so next year. These ceremonies: five Ayahuasca, one Bobinsana, and one Huachuma over two and a half weeks, is enough for me for now. I am very happy to have had the opportunity, however, to work with Huachuma this time and experience the great Chavin Mesa and the power of this level and style of shamanism, based as it is on the very work that our ancestors were engaged in over three thousand years ago.
San Pedro ceremonies are rather common in the Andes and are generally not nearly as powerful in terms of the actual medicine used. They also blend in all the syncretic religious elements that tint the experience and give it a shape that does not originate with the plant and its spirits. I feel very fortunate to have encountered Howard’s mesa, an authentic, pre-Columbian shamanism that resonates with the power and energy of the great Spirits.
As I write this, I am in the Upper Amazon Jungle, on the Rio Momón. It is early in the morning, before dawn and there is a refreshing rainstorm cleansing the air and replenishing all the life that surrounds me. I have joined a group of eight other seekers who have converged here to work with the ancient and sacred spirit medicine called Ayahuasca. This is the first of my posts from the SpiritQuest Lodge, a spectacular facility here in Peru, designed and dedicated to the most authentic and unadulterated ancient shamanic tradition anywhere in the world encompassing Ayahuasca and other healing and teaching plants of South America.
I have come through my first of five ceremonies. Five is about the limit for anyone working in a set of ceremonies like this, so this is an intensive set of encounters with Ayahuasca. I will be presenting some brief descriptions of my experiences, but detailed analysis will have to wait until I’ve been able to integrate the experiences better. Most who come to work here are seeking healings of some kind. This is the prime modality of these plants and is a powerful reason for our human interactions with them. In my case, I have actually received bodily healings from my previous work some seven years ago. I have also been given sincere gifts of the heart from the Spirit who is an integral part of this teacher plant.
My reasons for returning are twofold. I wish to make an offering to that Spirit by my pilgrimage here and by giving my deepest thanks to her. Second, I request to learn from her and to ask her to bring energies to my life as she did seven years ago – energies that changed me and my life path profoundly. I have arrived at a new major life transition point. It is a good one and I hope to gather energy not only from within myself but from the larger holistic realm of spirit. I ask for a boost to my creative efforts in the coming years while also giving me the perspective and energies to corral my fears and overcome old habits that limit my progress.
My first Ayahuasca session was surprisingly mild. As a last minute thought while offering my Intentions to the vine, I asked the “little doctors,” or “doctorcitos” in the local parlance, to give me some help with my physical body, specifically in the lower digestive tract where I have lingering problems from some cancer surgery a couple of years ago. The doctorcitos are, to my understanding, intelligent parts of our own bodies who work at the molecular and DNA level as the maintenence crew for our systems. When they are encountered in visionary space, they are interesting characters, often very enthusiastic and helpful – anxious to “show you around.”
The onset of the visionary and spirit space in an Ayahuasca session is usually quite strong and dramatic. It can be overwhelming, but usually it feels like a strong wave that brings you up to a highly energetic state. I was waiting for this to happen, hoping for the best, but it seemed to take a very long time. I wondered if the tea was just too weak this time, but I noticed the others beginning their purging. Some were crying and otherwise dealing with the teachings and personal things of their visions, so I knew there was good Work being done and that the brew was strong. It seemed that I was to have an easier time of it tonight. Ayahuasca effects are very personalized, even though we all drink the same medicine.
Finally, the buzzing came, although slow and tentative. A very straightforward vision appeared of a few soda cans floating in a little cement gutter with a small rivulet of water. They turned this way and that, then one aligned with the channel and opened up it’s bottom to make a path for the water to flow through. The others did the same. Then the vision stopped and a series of other scenes, mostly nonsensical, took its place. I had a panoply of the type of visions that are what don Howard calls “taking out the trash,” which is the process of dumping a lot of cognitive chatter and ideation that gets in the way of deeper visions. Much of the imagery here is due to the DMT component of the tea and I saw a continuous background of intricate lines composed of vivid red, green, and blue. These formed into tiles and moved across the background in very pretty ways. This kind of geometric imagery is fun, but not meaningful. Knowing this, I realized that my session would not take me deep into Ayahuasca space this time and then it occurred to me that I had been told what this ceremony was about. That first little vision of the cans was a very plain “text message” from the doctorcitos saying something like, “Got your message, boss. We’re on the job!” They would go to work aligning my “plumbing” to make me feel better, and that is just what they did. After the ceremony was over, I spent the rest of the night in that same light vision space while dealing with purging and cleansing that, while unpleasant to do, was helpful to put my body right. This is a good thing that allows me more freedom and access to work on the deeper spiritual things to come.
Tonight, I go into the second session and I expect to be taken deeper into the space where visioning is meaningful. It may be easy or it may be hard. The Ayahuasca tea potentiates over time, becoming stronger each time we drink. The shamans here are among the best in the world, working in the old ways, and I feel truly blessed to be here in this amazing place, learning from and singing to the plants.
More updates as I go, as long as I am able to do so.