Magical Passes ©1998 by Carlos Castaneda.

The Third Series: First Group - The Center for Decisions.

The most important topic for the shamans who lived in Mexico in ancient times, and for all the shamans of don Juan's lineage, was the center for decisions. Shamans are convinced, by the practical results of their endeavors, that there is a spot on the human body which accounts for decision making, the V spot- the area on the crest of the sternum at the base of the neck, where the clavicles meet to form a letter V. It is a center where energy is rarefied to the point of being tremendously subtle, and it stores a specific type of energy which shamans are incapable of defining.

They are utterly certain, however, that they can feel the presence of that energy, and its effects. It is the belief of shamans that this special energy is always pushed out of that center very early in the lives of human beings, and it never returns to it, thus depriving human beings of something perhaps more important than all the energy of the other centers combined: the capacity to make decisions.

In relation to the issue of making decisions, don Juan expressed the hard opinion of the sorcerers of his lineage. Their observations, over the centuries, had led them to conclude that human beings are incapable of making decisions, and that for this reason, they have created the social order: gigantic institutions that assume responsibility for decision making. They let those gigantic institutions decide for them, and they merely fulfill the decisions already made on their behalf.

The V spot at the base of the neck was, for those shamans, a place of such importance that they rarely touched it with their hands; if it was touched, the touch was ritualistic and always performed by someone else with the aid of an object. They used highly polished pieces of hardwood or polished bones of animals, utilizing the round head of the bone so as to have an object of the perfect contour, the size of the hollow spot on the neck. They would press with those bones or pieces of wood to create pressure on the borders of that hollow spot. Those objects were also used, although rarely, for self-massage, or for what we understand nowadays as acupressure.

"How did they come to find out that that hollow spot is the center for decisions!" I asked don Juan once.

"Every center of energy in the body," he replied, "shows a concentration of energy; a sort of vortex of energy, like a funnel that actually seems to rotate counterclockwise from the perspective of the seer who gazes into it. The strength of a particular center depends on the force of that movement. If it barely moves, the center is exhausted, depleted of energy.

"When the sorcerers of ancient times," don Juan continued, "were scanning the body with their seeing eye, they noticed the presence of those vortexes. They became very curious about them, and made a map of them."

"Are there many such centers in the body, don Juan?" I asked.

"There are hundreds of them," he replied, "if not thousands! One can say that a human being is nothing else but a conglomerate of thousands of twirling vortexes, some of them so very small that they are, let us say, like pinholes, but very important pinholes. Most of the vortexes are vortexes of energy. Energy flows freely through them, or is stuck in them. There are, however, six which are so enormous that they deserve special treatment. They are centers of life and vitality. Energy there is never stuck, but sometimes the supply of energy is so scarce that the center barely rotates."

Don Juan explained that those enormous centers of vitality were located on six areas of the body. He enumerated them in terms of the importance that shamans accorded them.

The first was on the area of the liver and gallbladder; the second on the area of the pancreas and spleen; the third on the area of the kidneys and adrenals; and the fourth on the hollow spot at the base of the neck on the frontal part of the body. The fifth was around the womb, and the sixth was on the top of the head.

The fifth center, pertinent only to women, had, according to what don Juan said, a special kind of energy that gave sorcerers the impression of liquidness. It was a feature that only some women had. It seemed to serve as a natural filter that screened out superfluous influences.

The sixth center, located on top of the head, don Juan described as something more than an anomaly, and refrained absolutely from having anything to do with it. He portrayed it as possessing not a circular vortex of energy, like the others, but a pendulum-like, back-and-forth movement somehow reminiscent of the beating of a heart.

"Why is the energy of that center so different, don Juan?" I asked him.

"That sixth center of energy," he said, "does not quite belong to man. You see, we human beings are under siege, so to speak. That center has been taken over by an invader, an unseen predator. And the only way to overcome this predator is by fortifying all the other centers."

"Is it not a bit paranoiac to feel that we are under siege, don Juan?" I asked.

"Well, maybe for you, but certainly not for me," he replied. "I see energy, and I see that the energy over the center on the top of the head does not fluctuate like the energy of the other centers. It has a back-and-forth movement, quite disgusting, and quite foreign. I also see that in a sorcerer who has been capable of vanquishing the mind, which sorcerers call a foreign installation, the fluctuation of that center has become exactly like the fluctuation of all the others."

Don Juan, throughout the years of my apprenticeship, systematically refused to talk about that sixth center. On this occasion when he was telling me about the centers of vitality, he dismissed my frantic probes, rather rudely, and began to talk about the fourth center, the center for decisions.

"This fourth center," he said, "has a special type of energy, which appears to the eye of the seer as possessing a unique transparency, something that could be described as resembling water: energy so fluid that it seems liquid. The liquid appearance of this special energy is the mark of a filter-like quality of the center for decisions itself, which screens any energy coming to it, and draws from it only the aspect of it that is liquid-like. Such a quality of liquidness is a uniform and consistent feature of this center. Sorcerers also call it the watery center.

"The rotation of the energy at the center for decisions is the weakest of them all," he went on. "That is why man can rarely decide anything. Sorcerers see that after they practice certain magical passes, that center becomes active, and they can certainly make decisions to their hearts' content, while they could not even take a first step before."

Don Juan was quite emphatic about the fact that the shamans of ancient Mexico had an aversion that bordered on phobia about touching their own hollow spot at the base of the neck. The only way in which they accepted any interference whatsoever with that spot was through the use of their magical passes, which reinforce that center by bringing dispersed energy to it, clearing away, in this manner, any hesitation in decision making born out of the natural energy dispersion brought about by the wear and tear of everyday life.

"A human being," don Juan said, "perceived as a conglomerate of energy fields, is a concrete and sealed unit into which no energy can be injected, and from which no energy can escape. The feeling of losing energy, which all of us experience at one time or another, is the result of energy being chased away, dispersed from the five enormous natural centers of life and vitality. Any sense of gaining energy is due to the redeployment of energy previously dispersed from those centers. That is to say, The energy is relocated onto those five centers of life and vitality."

Magical Passes ©1998 by Carlos Castaneda.

The Third Series: First Group - The Magical Passes for the Center for Decisions.

1. Bringing Energy to the Center for Decisions with a Back-and Forth Motion of the Hands and Arms with the Palms Turned Downward. The arms shoot out to the front at a forty-five-degree angle with an exhalation, the palms of the hands facing down (fig. 125).

Then they are retrieved to the sides of the chest, under the axilla, with an inhalation. The shoulders are raised in order to main the same degree of inclination (fig. 126).

In the second facet of this movement, the arms are extended downward with an inhalation, and pulled back with an exhalation.

2. Bringing Energy to the Center for Decisions with a Back-and-Forth Motion of the Hands and Arms with the Palms Turned Upward

This magical pass is like the preceding one, and it is executed in exactly the same fashion, except that it is done with the palms of the hands turned upward (fig. 127).

The inhalations and exhalations are also exactly as in the preceding movement. Air is exhaled as the hands and arms move forward at a forty-five-degree level of inclination, and it is inhaled as the arms move backward. Then air is inhaled as the hands and arms move downward, and exhaled as the hands and arms retrieve.

3. Bringing Energy to the Center for Decisions with a Circular Motion of the Hands and Arms with the Palms Turned Downward

This magical pass begins exactly like the first one of this group, except that when the hands reach their fully extended position, two complete circles are drawn with the hands and the arms going away from each other to reach a point about six inches beyond the rib cage. When the hands complete the circles (fig. 128), the arms are retrieved to the sides of the rib cage under the axilla.

This magical pass consists of two facets. In the first, air is exhaled as the circles are drawn and inhaled as the arms are retrieved backward. In the second, air is inhaled as the hands and arms draw the circles and exhaled as the arms are retrieved.

4. Bringing Energy to the Center for Decisions in a Circular Motion of the Hands and Arms with the Palms Turned Upward

This magical pass is exactly like the preceding one, with the same two facets of inhalation and exhalation, but the two circles are drawn by the hands and arms with the palms of the hands turned upward (fig. 129).

5. Bringing Energy to the Center for Decisions from the Midsection of the Body

The arms are bent at the elbows and kept high, at the level of the shoulders. The fingers are kept loosely pointing toward the V spot, but without touching it (fig. 130).

The arms move in a teeter-totter fashion from right to left and left to right. The motion is not accomplished by moving the shoulders or the hips, but by the contraction of the muscles of the stomach, which moves the midsection to the right, to the left, and to the right again, and so on.

6. Bringing Energy to the Center for Decisions from the Area of the Shoulder Blades

The arms are bent, as in the previous movement, hut the shoulders are rounded so that the elbows are heavily drawn toward the front. The left hand is placed on top of the right. The fingers are held loose, pointing toward the V spot without touching n, and the chin juts out and rests on the hollow spot between the thumb and index finger of the left Figure 130 hand (fig. 131).

The bent elbows are pushed forward, extending the shoulder blades, one at a time, to the maximum.

7. Stirring Energy Around the Center for Decisions with a Bent Wrist

Both hands are brought to the V spot on the base of the neck, without touching it. The hands are gently curved; the fingers point at the center for decisions. Then the hands begin to move, the left first, followed by the right, as if stirring a liquid substance around that area, or as if they were fanning air into the V spot with a series of gentle movements of each hand; these movements are accomplished by extending the whole arm laterally and then bringing it back to the area in front of the V spot (fig. 132).

Then the left arm strikes out in front of the V spot, with the hand turned sharply inward, using the wrist and the back of the hand as a striking surface (fig. 133).

The right arm executes the same movement. In this manner, a series of forceful blows are delivered to the area right in front of the V spot.

8. Transferring Energy from the Two Centers of Vitality on the Front of the Body to the Center for Decisions

Both hands are brought to the area of the pancreas and spleen, a few inches in front of the body. The left hand, with the palm turned upward, is held four or five inches below the right one, which has the palm turned downward. The left forearm is held at a ninety-degree angle, extended straight out to the front. The right forearm is also at a ninety-degree angle, but held close to the body, so that the fingertips point to the left (fig. 134).

The left hand makes two inward circles about a foot in diameter around the area of the pancreas and spleen. Once it has completed the second circle, the right hand shoots out to the front and strikes with the edge of the hand, to the area an arm's length in front of the liver and gallbladder (fig.135).

The exact same movements are performed on the other side of the body by reversing the position of the hands, which arc brought to the area of the liver and gallbladder, with the right hand circling and the left hand striking forward to the area an arm's length in front of the pancreas and spleen.

9. Bringing Energy to the Center for Decisions from the Knees

The left hand and arm draw two circles about a foot in diameter in front of the V spot, a bit toward the left (fig. 136).

The palm of the hand is facing downward. Once the second circle has been drawn, the forearm is raised to the level of the shoulder and the hand strikes away from the (ace, diagonally to the right, at the level of the V spot, with a flick of the wrist, as if holding a whip (fig. 137). The same movements are performed with the right hand.

Then a deep inhalation is taken, and an exhalation follows as the hands and arms slide downward until they reach the tops of the knees, with the palms facing up. A deep inhalation is taken there and the arms are raised, with the left arm in the lead; the right arm crosses over the left as they go over the head until the fingers rest on the back of the neck. The breath is held as the top of the trunk moves three times in succession in a teeter-totter motion; the left shoulder goes down first, then the right, and so on (fig. 138).

Then the air is exhaled as the arms and hands move back downward to the tops of the knees, again with the palms of the hands facing up.

A deep inhalation is taken, and then the air is exhaled as the hands are raised from the knees to the level of the V spot, with the fingers pointing toward it, without touching it (fig. 139).

The hands are brought once more to the knees with an exhalation. A final deep inhalation is taken and the hands are raised to the level of the eyes, and then brought down to the sides as the air is exhaled.

The next three magical passes, according to don Juan, transfer energy which belongs only to the center for decisions from the frontal edge of the luminous sphere, where it has accumulated over the years, to the back, and then from the back of the luminous sphere to the front. He said that this energy transferred back and forth goes through the V spot, which acts as a filter, utilizing only the energy that is proper to it and discarding the rest. He pointed out that because of this selective process of the V spot, it is essential to perform these three magical passes as many times as possible.

10. Energy Going Through the Center for Decisions from the Front to the Back and the Back to the Front with Two Blows

A deep inhalation is taken. Then the air is slowly exhaled as the left arm strikes out at the level of the solar plexus, with the palm of the hand turned upward; the palm is held flat and the fingers are together.

Then the hand is clasped into a fist. The arm moves to the back, striking from the height of the hips with a backhand blow (fig. 140). The exhalation ends as the hand opens.

Another deep inhalation is taken. A slow exhalation follows while the palm of the open hand, still in back of the body, taps ten times as if lightly hitting a solid round object. Then the hand is clasped into a fist before the arm moves to the front in a swing-like punch that strikes an area in front of the V spot, an arm's length away from it (fig. 141).

The hand opens as if releasing something held in it. The arm moves down, back, and then over the head and strikes with the palm down in front of the V spot, as if breaking whatever it has released. The exhalation ends then (fig. 142).

The same sequence of movements is repeated with the right arm.

11. Transferring Energy from the Front to the Back and the Back to the Front with the Hook of the Arm

A deep inhalation is made. Then the air is slowly exhaled as the left .inn moves forward with the palm of the hand turned upward. The hand is quickly clasped into a fist. The fisted hand rotates until the back of the hand is turned upward and strikes over the shoulder to the back. The fisted palm faces upward. The hand opens and turns to face downward, and the exhalation ends. Another deep inhalation is taken. Then a slow exhalation begins as the hand, made into a downward hook, scoops three times, as if rolling a solid substance into a ball (fig. 143).

The ball is tossed upward to the level of the head with a flick of the hand and forearm (fig. 144), and quickly grabbed with the hand bent again at the wrist like a hook (fig. 145).

The arm moves to the front, then to the height of the right shoulder and strikes forward to an area right in front of the V spot an arm's length away from it, using the wrist and the back of the hand as a striking surface (fig. 146).

The hand then opens as if to release whatever it had trapped, and the arm moves down to the back and over the head to strike it with great force with the flat palm. The exhalation ends as the whole body shakes with the force of the strike. The same movements are repeated with the other arm.

12. Transferring Energy from the Front to the Back and the Back to the Front with Three Blows

A deep inhalation is taken. A slow exhalation follows as the left arm strikes forward with the hand open, the flat palm turned upward. The hand is quickly clasped into a fist, and the arm retrieves as if to deliver an elbow blow to the back. Then it moves laterally to the right and delivers a side punch with the forearm rubbing on the body (fig. 147).

The elbow is retrieved again as if to deliver an elbow blow to the back. The arm is extended and moved out to the left side and to the back, to deliver the fourth blow behind the body with the back of the fisted hand. The exhalation ends as the hand opens (fig. 148).

A deep inhalation is taken again. A slow exhalation follows as the hand, bent downward into a hook, scoops three times. Then the hand grabs as if it were clasping something solid (fig. 149).

The arm swings to the front at the level of the center for decisions. It continues to the right shoulder; there the forearm makes a loop upward and delivers a back-fist blow to the area in front of the V spot, an arm's length away from it (fig. 150).

The hand opens as if to release something that it was clasping. Then it moves down, goes behind the body, comes above the head, with the palm of the hand down, and smashes whatever it released with a forceful blow of the open hand. The slow exhalation ends there (fig. 151).

The same movements are repeated with the right arm.

Magical Passes ©1998 by Carlos Castaneda.

The Third Series: Second Group - The Recapitulation.

The recapitulation, according to what don Juan taught his disciples, was a technique discovered by the sorcerers of ancient Mexico, and used by every shaman practitioner from then on, to view and relive all the experiences of their lives, in order to achieve two transcendental goals: one, the abstract goal of fulfilling a universal code that demands that awareness must be relinquished at the moment of death; and two, the extremely pragmatic goal of acquiring perceptual fluidity.

He said that the formulation of their first goal was the result of observations that those sorcerers made by means of their capacity to see energy directly as it flows in the universe. They had seen that there exists in the universe a gigantic force, an immense conglomerate of energy fields which they called the Eagle, or the dark sea of awareness. They observed that the dark sea of awareness is the force that lends awareness to all living beings, from viruses to men. They believed that it lends awareness to a newborn being, and that this being enhances that awareness by means of its life experiences until a moment in which the force demands its return.

In the understanding of those sorcerers, all living beings die because they are forced to return the awareness lent to them. Sorcerers throughout the ages have understood that there is no way for what modern man calls our linear mode of thinking to explain such a phenomenon, because there is no room for a cause-and-effect line of reasoning as to why and how awareness is lent and then taken back. The sorcerers of ancient Mexico viewed it as an energetic fact of the universe, a fact that can not be explained in terms of cause and effect, or in terms of a purpose which can be determined a priori.

The sorcerers of don Juan's lineage believed that to recapitulate meant to give the dark sea of awareness what it was seeking: their life experiences. They believed that by means of the recapitulation, however, they could acquire a degree of control that could permit them to separate their life experiences from their life force. For them, the two were not inextricably intertwined; they were joined only circumstantially.

Those sorcerers affirmed that the dark sea of awareness does not want to take the lives of human beings; it wants only their life experiences. Lack of discipline in human beings prevents them from separating the two forces, and in the end, they lose their lives, when it is meant that they lose only the force of their life experiences. Those sorcerers viewed the recapitulation as the procedure by which they could give the dark sea of awareness a substitute for their lives. They gave up their life experiences by recounting them, but they retained their life force.

The perceptual claims of sorcerers, when examined in terms of the linear concepts of our Western world, make no sense whatsoever. Western civilization has been in contact with the shamans of the New World for five hundred years, and there has never been a genuine attempt on the part of scholars to formulate a serious philosophical discourse based on statements made by those shamans. For instance, the recapitulation may seem to any member of the Western world to be congruous with psychoanalysis, something in the line of a psychological procedure, a sort of self-help technique. Nothing could be further from the truth.

According to don Juan Matus, man always loses by default. In the case of the premises of sorcery, he believed that Western man is missing a tremendous opportunity for the enhancement of his awareness, and that the way in which Western man relates himself to the universe, life, and awareness is only one of a multiplicity of options.

To recapitulate, for shaman practitioners, means to give to an incomprehensible force- the dark sea of awareness- the very thing it seems to be looking for: their life experiences, that is to say, the awareness that they have enhanced through those very life experiences. Since don Juan could not possibly explain these phenomena to me in terms of standard logic, he said that all that sorcerers could aspire to do was to accomplish the feat of training their life force without knowing how it was done. He also said that there were thousands of sorcerers who had achieved this. They had retained their life force after they had given the dark sea of awareness the force of their life experiences. This meant to don Juan that those sorcerers did not die in the usual sense in which we understand death, but that they transcended it by retaining their life force and vanishing from the face of the earth, embarked on a definitive journey of perception.

The belief of the shamans of don Juan's lineage was that when death takes place in this fashion, all of our being is turned into energy, a special kind of energy that retains the mark of our individuality. Don Juan tried to explain this in a metaphorical sense, saying that we are composed of a number of single nations: the nation of the lungs, the nation of the heart, the nation of the stomach, the nation of the kidneys, and so on. Each of these nations sometimes works independently of the others, but at the moment of death, all of them are unified into one single entity. The sorcerers of don Juan's lineage called this state total freedom. For those sorcerers, death is a unifier, and not an annihilator, as it is for the average man.

"Is this state immortality, don Juan?" I asked.

"This is in no way immortality," he replied. "It is merely the entrance into an evolutionary process, using the only medium for evolution that man has at his disposal: awareness. The sorcerers of my lineage were convinced that man could not evolve biologically any further; therefore, they considered man's awareness to be the only medium for evolution. At the moment of dying, sorcerers are not annihilated by death, but are transformed into inorganic beings; beings that have awareness, but not an organism. To be transformed into an inorganic being was evolution for them, and it meant that a new, indescribable type of awareness was lent to them, an awareness that would last for veritably millions of years, but which would also someday have to be returned to the giver: the dark sea of awareness."

One of the most important findings of the shamans of don Juan's lineage was that, like everything else in the universe, our world is a combination of two opposing, and at the same time complementary, forces. One of those forces is the world we know, which those sorcerers called the world of organic beings. The other force is something they called the world of inorganic beings.

"The world of inorganic beings," don Juan said, "is populated by beings that possess awareness, but not an organism. They are conglomerates of energy fields, just like we are. To the eye of a seer, instead of being luminous, as human beings are, they are rather opaque. They are not round, but long, candle-like energetic configurations. They are, in essence, conglomerates of energy fields which have cohesion and boundaries just like we do. They are held together by the same agglutinating force that holds our energy fields together."

"Where is this inorganic world, don Juan?" I asked.

"It is our twin world," he replied. "It occupies the same time and space as our world, but the type of awareness of our world is so different from the type of awareness of the inorganic world that we never notice the presence of inorganic beings, although they do notice ours."

"Are those inorganic beings human beings that have evolved?" I asked.

"Not at all!" he exclaimed. "The inorganic beings of our twin world have been intrinsically inorganic from the start, the same way that we have always been intrinsically organic beings, also from the start. They are beings whose consciousness can evolve just like ours, and it doubtlessly does, but I have no firsthand knowledge of how this happens. What I do know, however, is that a human being whose awareness has evolved is a bright, luminescent, round inorganic being of a special kind."

Don Juan gave me a series of descriptions of this evolutionary process, which I always took to be poetic metaphors. I singled out the one that pleased me the most, which was total freedom. I fancied a human being that enters into total freedom to be the most courageous, the most imaginative being possible. Don Juan said that I was not fancying anything at all - that to enter into total freedom, a human being must call on his or her sublime side, which, he said, human beings have, but which it never occurs to them to use.

Don Juan described the second, the pragmatic goal of the recapitulation as the acquisition of fluidity. The sorcerers' rationale behind this had to do with one of the most elusive subjects of sorcery: the assemblage point; a point of intense luminosity the size of a tennis ball, perceivable when sorcerers see a human being as a conglomerate of energy fields.

Sorcerers like don Juan see that trillions of energy fields in the form of filaments of light from the universe at large converge on the assemblage point and go through it. This confluence of filaments gives the assemblage point its brilliancy. The assemblage point makes it possible for a human being to perceive those trillions of energy filaments by turning them into sensorial data.

The assemblage point then interprets this data as the world of everyday life, that is to say, in terms of human socialization and human potential.

To recapitulate is to relive every, or nearly every, experience that we have had, and in doing so to displace the assemblage point, ever so slightly or a great deal, propelling it by the force of memory to adopt the position that it had when the event being recapitulated took place. This act of going back and forth from previous positions to the current one gives the shaman practitioners the necessary fluidity to withstand extraordinary odds in their journeys into infinity. To the Tensegrity practitioners, the recapitulation gives the necessary fluidity to withstand odds which are not in any way part of their habitual cognition.

The recapitulation as a formal procedure was done in ancient times by recollecting every person the practitioners knew and every experience in which they had taken part. Don Juan suggested that in my case, which is the case of modern man, I make a written list of all the persons that I had met in my life, as a mnemonic device. Once I had written that list, he proceeded to tell me how to use it. I had to take the first person on the list, which went backwards in time from the present to the time of my very first life experience, and set up, in my memory, my last interaction with that first person on my list. This act is called arranging the event to be recapitulated.

A detailed recollection of minutiae is required as the proper means to hone one's capacity to remember. This recollection entails getting all the pertinent physical details, such as the surroundings where the event being recollected took place. Once the event is arranged, one should enter into the locale itself, as if actually going into it, paying special attention to any relevant physical configurations. If, for instance, the interaction took place in an office, what should be remembered is the floor, the doors, the walls, the pictures, the windows, the desks, the objects on the desks, everything that could have been observed in a glance and then forgotten.

The recapitulation as a formal procedure must begin by the recounting of events that have just taken place. In this fashion, the primacy of the experience takes precedence. Something that has just happened is something that one can remember with great accuracy. Sorcerers always count on the fact that human beings are capable of storing detailed information that they are not aware of, and that that detail is what the dark sea of awareness is after.

The actual recapitulation of the event requires that one breathe deeply, fanning the head, so to speak, very slowly and gently from side to side, beginning on one side, left or right, whichever. This fanning of the head was done as many times as needed, while remembering all the details accessible. Don Juan said that sorcerers talked about this act as breathing in all of one's own feelings spent in the event being recollected, and expelling all the unwanted moods and extraneous feelings that were left with us.

Sorcerers believe that the mystery of the recapitulation lies in the act of inhaling and exhaling. Since breathing is a life-sustaining function, sorcerers are certain that by means of it, one can also deliver to the dark sea of awareness the facsimile of one's life experiences. When I pressed don Juan for a rational explanation of this idea, his position was that things like the recapitulation could only be experienced, not explained. He said that in the act of doing, one can find liberation, and that to explain it was to dissipate our energy in fruitless efforts. His invitation was congruous with everything related to his knowledge: the invitation to take action.

The list of names is used in the recapitulation as a mnemonic device that propels memory into an inconceivable journey. Sorcerers' position in this respect is that remembering events that have just taken place prepares the ground for remembering events more distant in time with the same clarity and immediacy. To recollect experiences in this way is to relive them, and to draw from this recollection an extraordinary impetus that is capable of stirring energy dispersed from our centers of vitality, and returning it to them. Sorcerers refer to this redeployment of energy that the recapitulation causes as gaining fluidity after giving the dark sea of awareness what it is looking for.

On a more mundane level, the recapitulation gives practitioners the capacity to examine the repetition in their lives. Recapitulating can convince them, beyond the shadow of a doubt, that all of us are at the mercy of forces which ultimately make no sense, although at first sight they seem perfectly reasonable; such as being at the mercy of courtship. It seems that for some people, courtship is the pursuit of a lifetime. I have personally heard from people of advanced age that the only ideal that they had was to find a perfect companion, and that their aspiration was to have perhaps one year of happiness in love.

Don Juan Matus used to say to me, over my vehement protests, that the problem was that nobody really wanted to love anybody, but that every one of us wanted to be loved. He said that this obsession with courtship, taken at face value, was the most natural thing in the world to us. To hear a seventy-five year old man or woman say that they are still in search of a perfect companion is an affirmation of something idealistic, romantic, beautiful. However, to examine this obsession in the context of the endless repetitions of a lifetime makes it appear as it really is: something grotesque.

Don Juan assured me that if any behavioral change is going to be accomplished, it has to be done through the recapitulation, since it is the only vehicle that can enhance awareness by liberating one from the unvoiced demands of socialization, which are so automatic, so taken for granted, that they are not even noticed under normal conditions, much less examined.

The actual act of recapitulating is a lifetime endeavor. It takes years to exhaust the list of people, especially for those who have made the acquaintance of and have interacted with thousands of individuals. This list is augmented by the memory of impersonal events in which no people are involved, but which have to be examined because they are somehow related to the person being recapitulated.

Don Juan asserted that what the sorcerers of ancient Mexico sought avidly in recapitulating was the memory of interaction, because in interaction lie the deep effects of socialization, which they struggled to overcome by any means available.

Magical Passes ©1998 by Carlos Castaneda.

The Third Series: Second Group - The Magical Passes for the Recapitulation.

The recapitulation affects something that don Juan called the energy body. He formally explained the energy body as a conglomerate of energy fields that are the mirror image of the energy fields that make up the human body when it is seen directly as energy. He said that in the case of sorcerers, the physical body and the energy body are one single unit. The magical passes for the recapitulation bring the energy body to the physical body, which are essential for navigating into the unknown.

13. Forging the Trunk of the Energy Body

Don Juan said that the trunk of the energy body was forged with three strikes delivered with the palms of the hands. The hands are held at the level of the ears with the palms facing forward, and from that position they strike forward, at the level of the shoulders, as if they were striking the shoulders of a well-developed body. The hands then move back to their original position around the ears, with the palms facing forward, and strike the mid-trunk of that imaginary body at the level of the chest. The second strike is not as wide as the first one, and the third strike is much narrower, because it strikes the waistline of a triangular-shaped trunk (fig. 152).

14. Slapping the Energy Body

The left and the right hands each come down from above the head. The palm of each hand bears down, creating a current of energy that defines each arm, forearm, and hand of the energy body. The left hand hits across the body to strike the left hand of the energy body (fig. 153) and then the right hand does the same. It hits across the body to strike the right hand of the energy body. This magical pass defines the arms and forearms, especially the hands, of the energy body.

15. Spreading the Energy Body Laterally The wrists are crossed in the shape of a letter X in front of the body, almost touching it. The wrists are held bent backwards at a ninety-degree angle to the forearm, at the level of the solar plexus. The left wrist is on top of the right one (fig. 154). From there, the hands spread to the sides in unison, in a slow motion, as if they met with tremendous resistance (fig. 155).

When the arms reach their maximum aperture, they are brought back to the center, with the palms turned at a ninety-degree angle in relation to the forearms, creating in this fashion the sensation of pushing solid matter from both sides to the center of the body. The left hand crosses on top of the right as the hands get ready for another lateral strike.

While the physical body as a conglomerate of energy fields has super-defined boundaries, the energy body lacks that feature. Spreading energy laterally gives the energy body the defined boundaries that it lacks.

16. Establishing the Core of the Energy Body

The forearms are held in a vertical position at the level of the chest, with the elbows kept in close to the body, at the width of the trunk. The wrists are snapped back gently, and then forward with great force, without moving the forearms (fig. 156).

The human body, as a conglomerate of energy fields, has not only super-defined boundaries, but a core of compact luminosity, which shamans call the band of man, or the energy fields with which man is most familiar. The idea of shamans is that within the luminous sphere, which is also the totality of man's energetic possibilities, there are areas of energy of which human beings are not at all aware. Those are the energy fields located at the maximum distance from the band of man. To establish the core of the energy body is to fortify the energy body in order for it to venture into those areas of unknown energy.

17. Forging the Heels and the Calves of the Energy Body

The left foot is held in front of the body with the heel raised to mid-calf. The heel is turned out to a position perpendicular to the other leg. Then the left heel strikes to the right as if a kick with the heel were being delivered, about six or seven inches away from the shinbone of the right leg (figs. 157, 158).

The same movement is then executed with the other leg.

18. Forging the Knees of the Energy Body

This magical pass has two facets. In the first facet the left knee is bent and raised to the level of the hips, or if possible even higher. The total weight of the body is placed on the right leg, which stands with the knee slightly bent forward. Three circles are drawn with the left knee, moving it inward toward the groin (fig. 159).

The same movement is repeated with the right leg.

In the second facet of this magical pass, the movements are repeated again with each leg, but I Ins time, the knee draws an outward circle (fig. 160).

19. Forging the Thighs of the Energy Body

Beginning with an exhalation, the body bends slightly at the knees as the hands slide down the thinks. The hands stop on top of the kneecaps, and then they are pulled back up the thighs to the level of the hips with an inhalation, as if they were dragging a solid substance. There is a slight quality of a claw to each hand. The body straightens as this part of the movement is executed (fig. 161).

With the opposite breathing pattern, the movement is repeated, inhaling as the knees bend and the hands go down to the tops of the kneecaps, and exhaling as they are pulled back.

20. Stirring Up Personal History by Making It Flexible

This magical pass stretches the hamstring and relaxes it by bringing each leg, one at a time, bent at the knee, to strike the buttocks with a gentle tap of the heel (fig. 162).

The left heel strikes the left buttock, and the right heel strikes the right one.

Shamans put an enormous emphasis on tightening the muscles of the backs of the thighs. They believe that the fighter those muscles, the greater the facility of the practitioner to identify and get rid of behavioral patterns that are useless.

21. Stirring Up Personal History with the Heel to the Ground by Tapping It Repeatedly

The right leg is set at a ninety-degree angle with the left. The left foot is placed as far as possible in front of the body as the body almost sits on the right leg. The tension and contraction of the back muscles of the right leg are maximum, as is the stretching of the back muscles of the left leg. The left leg taps the ground repeatedly with the heel (fig. 163).

The same movements are then executed with the other leg.

22. Stirring Up Personal History with the Heel to the Ground by Sustaining That Position

The same movements are executed in this magical pass as in the previous one, again with each leg, but instead of tapping with the heel, the body is kept at an even tension by holding the stretch of the leg (fig. 164).

The following four magical passes, since they entail deep inhalations and exhalations, have to be done sparingly.

23. The Recapitulation Wings

A deep inhalation is taken as both forearms are raised to the level of the shoulders, with the hands at the level of the ears, palms facing forward. The forearms are held vertically and equidistant from Figure 164 each other. An exhalation follows as the forearms are pulled back as far as possible without slanting them in any direction (fig. 165).

Another deep inhalation is taken. Within the duration of one long exhalation, both arms each draw a winglike semicircle, beginning with the left arm moving forward as far as it can be extended and then laterally, drawing a semicircle to the back as far as possible. The arm makes a curve at the end of this extension and returns to the front (fig. 166) to its initial resting position by the side of the body (fig. 167).

Then the right arm follows the same pattern within the same exhalation. Once these movements are completed, a deep abdominal breath is taken.

24. The Window of Recapitulation

The first part of this magical pass is exactly like the preceding one; a deep breath is taken with the hands raised to the ear level, with the palms facing forward. The forearms maintain a perfect verticality. This is followed by a long exhalation as the arms are pulled backwards. A deep inhalation is taken as the elbows are extended laterally at the level of the shoulders. The hands are bent at a ninety-degree angle in relation to the forearms, the fingers pointing upward. The hands are slowly pushed toward the center of the body until the forearms cross. The left arm is held closer to the body and the right arm is placed in front of the left. The hands create in this fashion what don Juan called the window of recapitulation: an opening in front of the eyes that looks like a small window, through which, don Juan affirmed, a practitioner could peer into infinity (fig. 168).

A deep exhalation follows as the body straightens; the elbows are extended laterally and the hands are straightened out and kept at the same level as the elbows (fig. 169).

25. The Five Deep Breaths

The beginning of this magical pass is exactly like the previous two. At the second inhalation, the arms go down and cross at the level of the knees as the practitioner adopts a semi-squatting position. The hands are placed behind the knees; the right hand grabs the tendons in back of the left knee, and the left hand, with the left forearm on top of the right, grabs the tendons in back of the right knee. The index and middle fingers grab the outer tendons there and the thumb is wrapped around the inner part of the knee. The exhalation ends then, and a deep inhalation is taken, accompanied by pressing the tendon (fig. 170). Five breaths are taken in this fashion.

This magical pass causes the back to be straight and the head to be in alignment with the spine, and is used to take deep breaths that fill the top as well as the lower part of the lungs by pushing the diaphragm downward.

26. Drawing Energy from the Feet

The first part of this magical pass is exactly the same as the beginning of the other three of this series. On the second inhalation, the forearms go down and wrap around the ankles, going from the inside to the outside as the practitioner adopts a squatting position. The backs of the hands rest on top of the toes, and in this fashion, three deep inhalations and three deep exhalations are made (fig. 171). After the last exhalation, the body straightens as a deep inhalation is taken to finish the magical pass.

The only glow of awareness left in human beings is at the bottom of Their luminous spheres, a fringe that extends in a circle and reaches the level of the toes. With this magical pass, that fringe is tapped with the Kicks of the fingers, and stirred with the breath.

Magical Passes ©1998 by Carlos Castaneda.

The Third Series: Third Group - Dreaming.

Don Juan Matus defined dreaming as the act of using normal dreams as a bona fide entrance for human awareness into other realms of perceiving; This definition implied for him that ordinary dreams could be used as a hatch that led perception into other regions of energy different from the energy of the world of everyday life, and yet utterly similar to it at a basic core. The result of such an entrance was, for sorcerers, the perception of veritable worlds where they could live or die, worlds which were astoundingly different from ours, and yet utterly similar.

Pressed for a linear explanation of this contradiction, don Juan Matus reiterated the standard position of sorcerers; that the answers to all those questions were in the practice, not in the intellectual inquiry. He said that in order to talk about such possibilities, we would have to use the syntax of language, whatever language we spoke, and that syntax, by the force of usage, limits the possibilities of expression. The syntax of any language refers only to perceptual possibilities found in the world in which we live.

Don Juan made a significant differentiation, in Spanish, between two verbs: one was to dream, sonar; and the other was ensueno, which is to dream the way sorcerers dream. In English, there is no clear distinction between these two states: the normal dreaming, sueno, and the more complex state that sorcerers call ensueno.

The art of dreaming, according to what don Juan taught, originated in a very casual observation that the shamans of ancient Mexico made when they saw people who were asleep. They noticed that during sleep the assemblage point was displaced in a very natural, easy way from its habitual position, and that it moved anywhere along the periphery of the luminous sphere, or to any place in the interior of it. Correlating their seeing with the reports of the people who had been observed sleeping, they realized that the greater the observed displacement of the assemblage point, the more astounding the reports of events and scenes experienced in dreams.

After this observation took hold of them, those sorcerers began to look avidly for opportunities to displace their own assemblage points. They ended up using psychotropic plants to accomplish this. Very quickly, they realized that the displacement brought about by using these plants was erratic, forced, and out of control. In the midst of this failure, nonetheless they discovered one thing of great value. They called it dreaming attention.

Don Juan explained this phenomenon, referring first to the daily awareness of human beings as the attention placed on the elements of the world of everyday life. He pointed out that human beings took only a cursory and yet sustained look at everything that surrounded them.

More than examining things, human beings simply established the presence of those elements by a special type of attention, a specific aspect of their general awareness. His contention was that the same type of cursory and yet sustained "look," so to speak, could be applied to the elements of an ordinary dream. He called this other, specific aspect of general awareness dreaming attention or the capacity that practitioners acquire to maintain their awareness unwaveringly fixed on the items of their dreams.

The cultivation of dreaming attention gave the sorcerers of don Juan's lineage a basic taxonomy of dreams. They found out that most of their dreams were imagery, products of the cognition of their daily world; however, there were some which escaped that classification. Such dreams were veritable states of heightened awareness in which the elements of the dream were not mere imagery, but energy-generating affairs. Dreams which had energy-generating elements were, for those shamans, dreams in which they were capable of seeing energy as it (lowed in the universe.

Those shamans were able to focus their dreaming attention on any element of their dreams, and found out, in this fashion, that there are two kinds of dreams. One is the dreams that we are all familiar with, in which phantasmagorical elements come into play, something which we could categorize as the product of our mentality, our psyche; perhaps something that has to do with our neurological makeup. The other kind of dreams they called energy-generating dreams. Don Juan said that those sorcerers of ancient times found themselves in dreams which were not dreams, but actual visitations made in a dreamlike state to bona fide places other than this world - real places, just like the world in which we live; places where the objects of the dream generated energy, just as lives, or animals, or even rocks generate energy in our daily world, for a seeing sorcerer.

Their visions of such places were, however, for those shamans, too fleeting, too temporary, to be of any value to them. They attributed this flaw to the fact that their assemblage points could not be held fixed for any considerable time at the position to which they had been displaced. Their attempts to remedy the situation resulted in the other high art of sorcery: the art of stalking.

Don Juan defined the two arts very clearly one day when he said to me that the art of dreaming consisted of purposely displacing the assemblage point from its habitual position. The art of stalking consisted in volitionally making it stay fixed on the new position to which it had been displaced.

This fixation allowed the shamans of ancient Mexico the opportunity to witness other worlds in their full extent. Don Juan said that some of those sorcerers never returned from their journeys. In other words, they opted for staying there, wherever "there" might have been.

"When the old sorcerers finished mapping human beings as luminous spheres," don Juan said to me once, "they had discovered no less than six hundred spots in the total luminous sphere that were the sites of bona fide worlds. Meaning that, if the assemblage point became attached to any of those places, the result was the entrance of the practitioner into a total new world."

"But where are those six hundred other worlds, don Juan?" I asked.

"The only answer to that question is incomprehensible," he said, laughing. "It is the essence of sorcery, and yet it means nothing to the average mind. Those six hundred worlds are in the position of the assemblage point. Incalculable amounts of energy are required to make sense out of this answer. We have the energy. What we lack is the facility or disposition to use it."

I could add that nothing could be truer than all these statements, and yet, nothing could make less sense.

Don Juan explained usual perception in the terms in which the sorcerers of his lineage understood it. The assemblage point, at its habitual location, receives an inflow of energy fields from the universe at large in the form of luminous filaments, numbering in the trillions. Since its position is consistently the same, it stood to sorcerers' reasoning that the same energy fields, in the form of luminous filaments, converge on the assemblage point and go through it, giving as a consistent result the perception of the world that we know. Those sorcerers arrived at the unavoidable conclusion that if the assemblage point were displaced to another position, another set of energy filaments would go through it, resulting in the perception of a world that, by definition, was not the same as the world of everyday life.

In don Juan's opinion, what human beings ordinarily regard as perceiving is rather the act of interpreting sensory data. He maintained that from the moment of birth, everything around us supplies us with a possibility of interpretation, and that with time, this possibility turns into a full system by means of which we conduct all of our perceptual transactions in the world.

He pointed out that the assemblage point is not only the center where perception is assembled, but also the center where the interpretation of sensory data is accomplished, so that if it were to change locations, it would interpret the new influx of energy fields in very much the same terms in which it interprets the world of everyday life. The result of this new interpretation is the perception of a world which is strangely similar to ours, and yet intrinsically different. Don Juan said that energetically, those other worlds are as different from ours as they could possibly be. It is only the interpretation of the assemblage point which accounts for the seeming similarities.

Don Juan called for a new syntax that could be used in order to express this wondrous quality of the assemblage point and the possibilities of perception brought about by dreaming. He conceded, however, that perhaps the present syntax of our language could be forced to cover it if this experience became available to any one of us, and not merely to shaman initiates.

Something related to dreaming that was of tremendous interest to me, hut which bewildered me to no end, was don Juan's statement that there was really no procedure to speak of that would teach anyone how to dream. He said that more than anything else, dreaming was an arduous effort on the part of the practitioners to put themselves in contact with the indescribable all-pervading force that the sorcerers of ancient Mexico called intent. Once this link was established, dreaming also mysteriously became established. Don Juan asserted that this linkage could be accomplished following any pattern that implied discipline.

When I asked him to give me a succinct explanation of the procedures involved, he laughed at me.

"To venture into the world of sorcerers," he said, "is not like learning to drive a car. To drive a car, you need manuals and instructions. To dream, you need to intend it."

"But how can I intend it?" I insisted.

"The only way you could intend it is by intending it," he declared. "One of the most difficult things for a man of our day to accept is a lack of procedure. Modern man is in the throes of manuals, praxes, methods, steps loading to. He is ceaselessly taking notes, making diagrams, deeply involved in the 'know-how.' But in the world of sorcerers, procedures and rituals are mere designs to attract and focus attention. They are devices used to force a focusing of interest and determination. They have no other value."

What don Juan considered to be of supreme importance in order to dream is the rigorous execution of the magical passes: the only device that the sorcerers of his lineage used to aid the displacement of the assemblage point. The execution of the magical passes gave those sorcerers the stability and the energy necessary to call forth their dreaming attention, without which there was no possibility of dreaming for them. Without the emergence of dreaming attention, practitioners could aspire, at best, to have lucid dreams about phantasmagorical worlds. They could perhaps have views of worlds that generate energy, but these would make no sense to them whatsoever in the absence of an all-inclusive rationale that would properly categorize them.

Once the shamans of don Juan's lineage had developed their dreaming attention, they realized that they had tapped on the doors of infinity. They had succeeded in enlarging the parameters of their normal perception. They discovered that their normal state of awareness was infinitely more varied than it had been before the advent of their dreaming attention. From that point on, those sorcerers could truthfully venture into the unknown.

"The aphorism," don Juan said to me once, "that 'the sky is the limit' was most applicable to the sorcerers of ancient times. They certainly outdid themselves."

"Was it really true for them that the sky was the limit, don Juan?" I asked.

"This question could be answered only by each of us individually," he said, smiling expansively. "They gave us the tools. It is up to us individually to use them or refuse them. In essence, we are alone in front of infinity, and the issue of whether or not we are capable of reaching our limits has to be answered personally."

Magical Passes ©1998 by Carlos Castaneda:

The Third Series: Third Group - The Magical Passes for Dreaming.

27. Getting the Assemblage Point Loose

The left arm, with the palm of the hand turned upward, reaches over the area behind the shoulder blades, as the trunk leans a bit forward. Then the arm is brought in an underhanded motion from the left side of the body to the front, moving in an upward thrust in front of the face, with the palm of the left hand turned to face the left. The fingers are held together (figs. 172, 173). This magical pass is executed by each arm in succession. The knees are kept bent for greater stability and thrusting force.

28. Forcing the Assemblage Point to Drop Down

The back is kept as straight as possible. The knees are locked. The left arm, fully stretched, is placed at the hack, a few inches away from the body. The hand is bent at a ninety-degree angle in relation to the forearm; the palm faces downward and the fully stretched fingers point backward. The fully stretched right arm is placed in front in the same position: with the wrist bent at a ninety-degree angle, the palm facing downward, the fingers pointing forward.

The head turns in the direction of the arm that is kept at the back, and a total stretch of the tendons ()l the legs and arms takes place at that instant. This tension of the tendons is held for a moment (fig. 174).

The same movement is repeated with the right arm in hack and the left in front.

29. Enticing the Assemblage Point to Drop by Drawing Energy from the Adrenals and Transferring It to the Front

The left arm is placed behind the body at the level of the kidneys, as far to the right as it can reach; the hand is held like a claw. The clawed hand moves across the kidney area from right to left as if dragging a solid substance. The right arm is held in its normal position by the side of the thigh.

Next, the left hand moves to the front; the palm is held flat, on the right side, against the liver and gallbladder. The left hand moves across the front of the body to the left, the area of the pancreas and spleen, as if smoothing the surface of a solid substance; at the same time the right hand, held like a claw behind the body, moves from left to right over the kidneys as if dragging a solid substance.

Then the right hand is placed on the front of the body; the palm is held flat against the area of the pancreas and spleen. The hand moves across the front of the body to the area of the liver and gallbladder, as if smoothing a rough surface, while the clawed left hand moves again across the area of the kidneys from right to left as if dragging a solid substance (figs. 175, 176). The knees are kept bent for greater stability and force.

30. Playing Out the A and B Types of Energy

The right forearm, bent in a vertical position, at a ninety-degree angle, is centered in front of the body, with the elbow almost at the level of the shoulders, and the palm of the hand facing left. The left forearm, bent at the elbow and held in a horizontal position, is placed with the back of the hand underneath the right elbow. The eyes, without focusing on either forearm, keep a peripheral view of both of them. The pressure of the right arm is downward, while the pressure of the left arm is upward. The two forces act simultaneously on both arms; they are kept under this tension for a moment (fig. 177).

Then the same movement is executed by reversing the order and position of the arms.

The shamans of ancient Mexico believed that everything in the universe is composed of dual forces, and that human beings are subjected to that duality in every aspect of their lives. At the level of energy, they considered that two forces are at play. Don Juan called them the A and B forces. The A force is employed ordinarily in our daily affairs, and is represented by a straight vertical line. The B force is ordinarily an obscure one which rarely enters into action, and it is kept lying down. It is represented by a horizontal line drawn to the left of the vertical one, at its base, making in this fashion a reversed capital letter L.

Shamans, men and women, were the only ones who, in don Juan's view, had been capable of turning the force B, which is ordinarily lying down horizontally, out of use, into an active vertical line. And consequently, they had succeeded in putting force A to rest. This process was represented by drawing a horizontal line at the base of the vertical one, in its right, and making, as a result, a capital letter L. Don Juan portrayed this magical pass as the one which best exemplified this duality and the effort of the sorcerers to reverse its effects.

31. Pulling the Energy Body to the Front

The arms are kept at shoulder level with the elbows bent. The hands overlap each other, and they are turned with the palms down. A circle is made with the hands rotating around each other; the movement is inward, toward the face (fig. 178).

They rotate three times around each other; then the left arm is thrust forward with the hand in a fist, as if to strike an invisible target in front of the body, an arm's length away from it (fig. 179).

Three more circles are drawn with both hands, and then the right arm strikes in the same fashion as the left one.

32. Hurling the Assemblage Point Like a Knife over the Shoulder

The left hand reaches over the head to the area behind the shoulder blades and grabs, as if holding a solid object. Then it moves over the head to the front of the body, with the motion of hurling something forward. The knees are kept bent for hurling stability. The same movement is repeated with the right arm (figs. 180, 181).

This magical pass is an actual attempt to hurl the assemblage point, in order to displace it from its habitual position. The practitioner holds the assemblage point as if it were a knife. Something in the intent of hurling the assemblage point causes a profound effect toward the actual displacement of it.

33. Hurling the Assemblage Point Like a Knife from the Back by the Waist

The knees are kept bent as the body leans forward. Then the left arm reaches to the back, from the side, to the area behind the shoulder blades, grabs onto something as if it were solid, and hurls it forward from the waist, with a flick of the wrist, as if hurling a flat disk, or a knife (figs. 182, 183). The same movements are repeated with the right hand.

34. Hurling the Assemblage Point Like a Disk from the Shoulder

A deep rotation of the waist is made to the left, which propels the right arm to swing to the left side of the left leg. Then the motion of the waist, moving in the opposite direction, propels the left arm to swing to the right side of the right leg. Another motion of the waist propels the right arm to swing again to the left side of the left leg. At this point the left hand reaches back instantly with a circular motion to grab onto something as if it were solid, from the area behind the shoulder blades (fig. 184).

The left hand takes it in a swinging circular motion to the front of the body and up to the level of the right shoulder. The palm of the clenched hand faces upward. From this position, the left hand, with a flick of the wrist, makes a hurling motion, as if to hurl forward something solid, like a disk (fig. 185).

The legs are kept bent slightly at the knees and a great pressure is exerted at the back of the thighs. The right arm, with the elbow slightly bent, is extended behind the body to give stability to the act of hurling a disk. This position is held for a moment, while the left arm maintains the position of having just hurled an object. The same movements are repeated with the other arm.

35. Hurling the Assemblage Point Like a Ball Above the Head

The left hand moves back quickly to the area behind the shoulder blades and grabs something, as if it were solid (fig. 186). The arm rotates twice in a big circle above the head as if to gain impulse (fig. 187) and makes the motion of hurling a ball forward (fig. 188). The knees are kept bent. These movements are repeated with the right hand.

Magical Passes ©1998 by Carlos Castaneda.

The Third Series: Fourth Group - Inner Silence.

Don Juan said that inner silence was the state most avidly sought by the shamans of ancient Mexico. He defined it as a natural state of human perception in which thoughts are blocked off and all of man's faculties operate from a level of awareness which does not require the utilization of our daily cognitive system.

Inner silence has always been associated with darkness, for the shamans of don Juan's lineage, perhaps because human perception, deprived of its habitual companion, the internal dialogue, falls into something that resembles a dark pit. He said that the body functions as usual, hut awareness becomes sharper. Decisions are instantaneous, and seem to stem from a special sort of knowledge which is deprived of thought verbalizations.

Human perception functioning in a condition of inner silence, according to don Juan, is capable of reaching indescribable levels. Some of those levels of perception are worlds in themselves, and not at all like the worlds reached through dreaming. They are indescribable states, inexplicable in terms of the linear paradigms that the habitual state of human perception employs for explaining the universe.

Inner silence, in don Juan's understanding, is the matrix for a gigantic step of evolution: silent knowledge, or the level of human awareness where knowing is automatic and instantaneous. Knowledge at this level is not the product of cerebral cogitation or logical induction and deduction, or of generalizations based on similarities and dissimilarities. There is nothing a priori at the level of silent knowledge, nothing that could constitute a body of knowledge, for everything is imminently now. Complex pieces of information could be grasped without any cognitive preliminaries.

Don Juan believed that silent knowledge was insinuated to early man, but that early man was not really the possessor of silent knowledge. Such an insinuation was infinitely stronger than what modern man experiences, where the bulk of knowledge is the product of rote learning. It is a sorcerers' axiom that although we have lost that insinuation, the avenue that leads to silent knowledge will always be open to man by means of inner silence.

Don Juan Matus taught the hard line of his lineage: that inner silence must be gained by a consistent pressure of discipline. It has to be accrued or stored, bit by bit, second by second. In other words, one has to force oneself to be silent, even if it is only for a few seconds. According to don Juan, it was common knowledge among sorcerers that if one persists in this, persistence overcomes habit, and thus, it is possible to arrive at a threshold of accrued seconds or minutes, which differs from person to person. If the threshold of inner silence is ten minutes for a given individual, for instance, then once this threshold is reached, inner silence happens by itself, of its own accord, so to speak.

I was warned beforehand that there was no possible way of knowing what my individual threshold might be, and that the only way of finding this out was through direct experience. This is exactly what happened to me. Following don Juan's suggestion, I had persisted in forcing myself to remain silent, and one day, while walking at .UCLA, I reached my mysterious threshold. I knew I had reached it because in one instant, I experienced something don Juan had described at length to me. He had called it stopping the world. In the blink of an eye, the world ceased to be what it was, and for the first time in my life, I became conscious that I was seeing energy as it flowed in the universe. I had to sit down on some brick steps. I knew that I was sitting on some brick steps, but 1 knew it only intellectually, through memory. Exponentially, 1 was resting on energy. I myself was energy, and so was everything around me. I had canceled out my interpretation system.

After seeing energy directly, I realized something which became the horror of my day, something that no one could explain to me satisfactorily except don Juan. I became conscious that although I was seeing for the first time in my life, I had been seeing energy as it flows in the universe all my life, but I had not been conscious of it. To see energy as it flows in the universe was not the novelty. The novelty was the query that arose with such fury that it made me surface back into the world of everyday life. I asked myself what had been keeping me from realizing that I had been seeing energy as it flows in the universe all my life.

"There are two issues at stake here," don Juan explained to me, when I asked him about this maddening contradiction. "One is general awareness. The other is particular, deliberate consciousness. Every human being in the world is aware, in general terms, of seeing energy as it flows in the universe. However, only sorcerers are particularly and deliberately conscious of it. To become conscious of something that you are generally aware of requires energy, and the iron-hand discipline needed to get it. Your inner silence, the product of discipline and energy, bridged the gap between general awareness and particular consciousness."

Don Juan stressed, in every way he was able, the value of a pragmatic attitude in order to buttress the advent of inner silence. He defined a pragmatic attitude as the capacity to absorb any contingency that might appear along The way. He himself was, to me, the living example of such an attitude. There was not any uncertainty or liability that his mere presence would not dispel.

He reiterated every time he could that the effects of inner silence were very unsettling, and that the only deterrent to this condition was the pragmatic attitude which was the product of a superbly pliable, agile, strong body. He said that for sorcerers, the physical body was the only entity that made any sense to them, and that there was no such thing as a dualism between body and mind. He further stated that the physical body involved both the body and the mind as we knew them, and that in order to counterbalance the physical body as a holistic unit, sorcerers considered another configuration of energy which was reached through inner silence: the energy body. He explained that what I had experienced .it the moment in which I had stopped the world was the resurgence of my energy body, and that this configuration of energy was the one which had always been able to see energy as it flowed in the universe.

Magical Passes ©1998 by Carlos Castaneda.

The Third Series: Fourth Group - The Magical Passes That Aid The Attainment Of Inner Silence.

36. Drawing Two Half-Circles with Each Foot

The total weight of the body is on the right leg. The left foot is placed half a step in front of it, and it slides on the floor, drawing a half-circle to the left; the ball of the foot comes to rest almost touching the right heel. From there, it draws another half-circle to the back (fig. 189).

These circles are drawn with the ball of the left foot. The heel is kept off the ground, in order to make the movement smooth and uniform.

The movement is reversed and two more half-circles are drawn in this fashion, starting from the back and going to the front. The same movements are executed with the right foot after the whole weight of the body is transferred to the left leg. The knee of the leg that supports the weight is bent for strength and stability.

37. Drawing a Half-Moon with Each Foot

The weight of the body is placed on the right leg. The left foot goes half a step in front of the right one, drawing a wide semicircle on the ground around the body from the front, to the left, to the back of the body. This semicircle is drawn with the ball of the foot (fig. 190).

Another semicircle is drawn from the back to the front, in the same fashion. The same movements are executed with the right leg, after transferring the weight to the left leg.

38. The Scarecrow in the Wind with the Arms Down

The arms are kept extended laterally at the level of the shoulders with the elbows bent and the forearms dangling downward at a strict ninety-degree angle. The forearms swing freely from side to side, as if moved by the wind alone. The forearms and the wrists are kept straight and vertical. The knees are locked (fig. 191).

39. The Scarecrow in the Wind with the Arms Up

Just as in the preceding magical pass, the arms are extended laterally at the level of the shoulders, except the forearms are turned upward, bent at a ninety-degree angle. The forearms and wrists are kept straight and vertical (fig. 192).

Then they swing freely downward to the front (fig. 193) and upward again. The knees are locked.

40. Pushing Energy Backward with the Full Arm

The elbows are acutely bent and the forearms held fight against the sides of the body, as high as possible, with the hands held in fists (fig.194).

As an exhalation is made, the forearms are fully extended downward and backward as high as possible. The knees are locked, and the trunk bends slightly forward (fig. 195).

As an inhalation is made, the arms are then brought forward to the original position by bending the elbows. Then the breathing is reversed as this movement is repeated; instead of exhaling as the arms are pulled backwards, an inhalation is taken. An exhalation follows as the elbows are bent and the forearms are brought upward against the axilla.

41. Pivoting the Forearm

The arms are held in front of the body with the elbows bent and the forearms vertical. Each hand is bent at the wrist, resembling the head of a bird, which is at eye level, with the fingers pointing toward the face (fig. 196). Keeping the elbows vertical and straight, the wrists are flipped back and forth, pivoting on the forearms, making the fingers of the hands move from pointing at the face to pointing forward (fig. 197).

The knees are kept bent for stability and strength.

42. Moving Energy in a Ripple

The knees are kept straight, and the trunk stoops over. Both arms are kept dangling at the sides. The left arm moves forward with three ripples of the hand, as if the hand were following the contour of a surface with three half-circles on it (fig. 198).

Next, the hand cuts across the front of the body in a straight line from left to right, then from right to left (fig. 199), and moves backward at the side of the body with three more ripples, drawing in this fashion the thick shape of an inverted capital letter L - at least six inches thick. The same movements are repeated with the right arm.

43. The T Energy of the Hands

The two forearms are held at right angles right in front of the solar plexus, making the shape of a letter T. The left hand is the horizontal bar of the letter T with the palm turned upward. The right hand is the vertical bar of the letter T with the palm turned downward (fig. 200).

Next, the hands turn back and forth at the same time with considerable force. The palm of the left hand is turned to face downward, and the palm of the right hand is turned to face upward, both hands maintaining the same letter T shape (fig. 201).

These same movements are executed again, placing the right hand as the horizontal bar of the letter T and the left hand as the vertical one.

44. Pressing Energy with the Thumbs

The forearms, bent at the elbows, are held right in front of the body in a perfectly horizontal position, maintaining the width of the body. The fingers are curled in a loose fist, and the thumbs are held straight, cradled on the curled index fingers (figs. 202, 203).

An intermittent pressure is exerted between the thumb and the index finger and the curled fingers against the palm of the hand. They contract and relax, spreading the impulse to the arms. The knees are kept bent for stability.

45. Drawing an Acute Angle with the Arms Between the Legs

The knees are locked, with the hamstrings as fight as possible. The trunk is bent forward, with the head almost at the level of the knees. The arms dangle in front and, moving repeatedly forward and backward, they draw an acute angle with its vertex between the legs (figs. 204, 205).

46. Drawing an Acute Angle with the Arms in Front of the Face

The knees are locked, with the hamstrings as fight as possible. The trunk is bent forward, with the head almost at the level of the knees. The arms dangle in front of the body and, moving repeatedly from the Kick to the front, they draw an acute angle, with its vertex in front of the face (figs. 206, 207).

47. Drawing a Circle of Energy Between the Legs and in Front of the Body

The knees are kept locked, with the hamstrings as fight as possible. The trunk is bent forward, with the head almost at the level of the knees. The arms dangle in front of the body. The two arms cross at the wrists, the left forearm on top of the right one. The crossed arms swing back between the legs (fig. 208).

From there, each one makes an outward circle in front of the face. At the end of the circle, the arms point forward, the left wrist on top of the right one (fig. 209).

From there, they draw two inward circles that end between the legs, with the wrists crossed once more in the initial position.

Then the right wrist is made to rest on top of the left one, and the same movements are repeated.

48. Three Fingers on the Floor

The arms are brought slowly over the head as a deep inhalation is taken. A slow exhalation begins while the arms are brought all the way down to the floor, keeping the knees locked and the hamstrings as fight as possible. The index and middle fingers of each hand touch the floor a foot in front of the body, and then the thumb is also brought to rest on , the floor (fig. 210).

A deep inhalation is taken while that position is held. The body straightens, and the arms are raised above the head. The air is exhaled as the arms come down to the level of the waist.

49. The Knuckles on the Toes

The arms are raised above the head as a deep inhalation is taken. As the air is exhaled, the arms are brought all the way down to the floor, keeping the knees locked and the hamstrings as fight as possible. The knuckles are brought to rest on top of the toes as the exhalation ends (fig. 211).

A deep inhalation is taken while that position is held. The body straightens, and the arms are raised above the head. The exhalation begins when the arms are brought down to the level of the waist.

50. Drawing Energy from the Floor with the Breath

A deep inhalation is taken as the arms are raised above the head; the knees are kept bent. The exhalation begins as the trunk turns to the left and bends down as far as possible. The hands, with the palms down, come to rest around the left foot, with the right hand in front of the foot and the left hand behind it; they move back and forth five rimes as the exhalation ends (fig. 212).

A deep inhalation is taken then, and the body straightens as the arms move over the head. The trunk turns to the right, and the exhalation begins as the trunk bends down as far as possible. The exhalation ends after the hands move back and forth five times by the right foot. Another deep breath is taken, and the body straightens up as the arms move above the head and the trunk pivots to face the front; then the arms come down as the air is exhaled.