Magical Passes ©1998 by Carlos Castaneda.

The Fourth Series: First Group - Stirring Energy on the Left Body and the Right Body.

The first group comprises sixteen magical passes that stir the energy of the left body and the right body, each independently from the other. Each magical pass is performed with either the left arm or the right arm, and in some cases with both at the same time. The arms never go, however, beyond the vertical line that separates the two bodies.

1. Gathering Energy in a Ball from the Front of the Left and the Right Bodies and Breaking It with the Back of the Hand

With the palm of the hand slightly curved and facing the right, the left arm circles inward twice in front of the body (fig. 213).

All the muscles of the arm are held tense as this circular motion is executed. Then the back of the hand strikes forcefully to the left as if breaking the top of a ball gathered with the movement of the arm (fig. 214).

The hand strikes a point an arm's length away from the body above the shoulders, at a forty-five-degree angle. While this strike is being executed, all the muscles are kept tense, including the muscles of the arms, a tension that permits controlling the strike. The impact is felt on the areas of the pancreas and spleen and the left kidney and adrenals.

The same movements are repeated on the right side, and the impact is felt on the areas of the liver and the right kidney and adrenals.

2. Gathering Energy of the Left and Right Bodies in a Circle Which Is Perforated with the Tips of the Fingers

The left forearm is held in front of the body, at a ninety-degree angle in relation to it. The wrist is kept straight. The palm of the hand faces to the right as the fingers point to the front. The thumb is kept locked. As in the previous magical pass, the forearm circles twice, going from the left up to the level of the shoulder and turning toward tin- center of the body (fig.215).

The elbow is then quickly pulled all the way back, and the circle drawn by the forearm is perforated by the tips of the fingers in a forward thrust (fig. 216).

The elbow is moved all the way back once more in order to gain striking power, and then the hand shoots forward again. The same sequence of movements is performed with the right arm.

3. Hoisting Left and Right Energy Upward

Both knees are slightly bent. The left knee is then raised to the level of the pancreas, fully bent, while the foot is held with the toes pointing to the ground. At the same time that this movement is performed, the left forearm shoots upward until it reaches a point at a forty-five-degree angle with the body; the elbow is kept tight against the body. Both the leg and the arm move in total synchronicity, jolting the midsection (fig. 217).

The same movements are repeated with The right leg and the right arm. The tendency of energy is to sink, and it is of great importance to spread it upward to The midsection of the body. It is the belief of shamans that the left body is ruled by the area of the pancreas and spleen, and the right body by the area of the liver and gallbladder. Shamans understand this process of hoisting energy as a maneuver to energize those two centers separately.

4. The Up-and-Down Pressure

The left elbow is raised in front of the body to the level of the shoulder, bent at a ninety-degree angle with the forearm. The hand is clenched in a fist, and the wrist is bent toward the right as acutely as possible (fig. 218).

Using the elbow as a pivot by keeping it at the same position, the forearm is bent downward until it reaches the area right in front of the solar plexus (fig. 219).

The forearm then returns to the upright position. The same movement is performed with the right arm.

This magical pass is used to stir up the energy that exists in an arc between a point just above the head and in line with the left shoulder and a point right above the solar plexus.

5. The Inward Turn

The first part of this magical pass is exactly like the first part of the preceding one, but instead of bending the forearm downward, it is made to rotate inwardly, making a complete circle, pivoting on the elbow at a forty-five-degree angle with the body. The top of the circle is at a point just above the ear and in line with the left shoulder. The wrist is also made to rotate as the circle is drawn (fig. 220).

The same movement is performed with the right hand.

6. The Outward Turn

This magical pass is almost identical to the preceding one, except that instead of turning the left forearm to the right to make a circle, it turns to the left (fig. 221).

It makes what don Juan called an outward circle, as opposed to the circle made in the previous magical pass, which he called an inward circle.

The same movement is performed with the right hand.

In this magical pass, the energy stirred is part of the arc of energy dealt with in the two preceding magical passes. The fourth, fifth, and sixth magical passes of this group are performed together. Shamans have found out, by means of their seeing, that human beings have enormous caches of unused energy lying around inside their luminous spheres. They have also found out, in this manner, that these magical passes stir the energy dispersed from the respective centers of vitality - the one around the liver and the one around the pancreas - which stays suspended for quite a while before it begins to sink down to the bottom of the luminous sphere.

7. A High Push with the Fists

The arms are held in front of the body at the level of the shoulders. The hands are fisted with the palms turned inward the ground. The elbows are bent. The left hand strikes forward with a short punch, without first retrieving the elbow to gain strength. The left hand is retrieved to its initial position; the right hand follows with another similar punch and is then retrieved to its original position (fig. 222).

The strike of the fists comes from the contraction of the muscles of the arms, shoulder blades, and abdomen.

8. A Low Push with the Fists

The elbows are bent at a ninety-degree angle and kept at the level of the waist. They do not touch the body, but are kept an inch or two away from it. The hands are clenched in fists with the palms facing each other. The left forearm moves to strike in a short punch, driven by the muscles of the stomach, which contract in unison with the muscles of the arm and the shoulder blade (fig. 223).

After striking, the forearm is retrieved instantly, as if the punch has generated the force to push the arm back. The right arm moves immediately afterward in the same fashion. Just as in the preceding pass, the elbows do not move back to gain striking strength; the strength is derived solely from the muscular tension of the abdomen, arms, and shoulder blades.

9. A Wheel with the Fingers Contracted at the Middle Joints

The elbows are kept at the level of the waist over the areas of the pancreas and spleen, and the liver and gallbladder. The wrists are kept straight; the palms of the hands face each other while the fingers are tightly clenched at the second knuckle. The thumbs are locked (fig. 224).

The elbows move forward and away from the body. The left hand circles in a vertical rasping motion, as if the bent knuckles were rasping a surface in front of the body. Then the right hand does the same. The two hands move in an alternate fashion in such a manner (fig. 225).

The muscles of the abdomen are kept as fight as possible in order to give impetus to this movement.

10. Smoothing Energy Out in Front of the Body

The flat palm of the left hand, which faces forward, is raised to a level just above the head, in front of the body. The palm slides downward in a slanted line and comes to the level of the pancreas and spleen, as if it were smoothing out a vertical surface. Without stopping there, it continues moving to the back; the body rotates to the left to allow the arm to come fully over the head. The hand, with the palm facing downward, then comes down with great force, as if to slap a rubbery substance in front of the area of the pancreas and spleen (fig. 226).

Exactly the same movements are performed with The right arm, but using the area of the liver and gallbladder as the striking point.

11. Hitting Energy in Front of the Face with an Upward Thrust of the Fist

The trunk turns slightly to the left in order to allow the left arm two full backward rotations going first to the front, above the head, then to the kick, where the palm turns slightly inward as if to scoop something from the back (fig. 227).

The movement ends at the second turn with an upward thrust of the fisted hand in front of the face (fig. 228).

This magical pass is repeated with the right arm in exactly the same sequence.

12. Hammering Energy in Front of the Left and Right Bodies

One and a half forward circles are made with the arm, followed by a downward strike; the body rotates slightly in order to allow the left arm a full rotation starting from its initial position by the side of the thigh to the back, above the head, to the front, and again to the side of the thigh. As this circle is made, the palm is made to rotate at the wrist as if the hand were scooping up some viscous matter (fig. 229).

From its initial position, the arm moves again to the back and above the head, where the hand turns into a fist that strikes down, with great force, at a point in front of and above the pancreas and spleen, using the soft edge of the hand like a hammer as the striking surface (fig. 230). The same movements are repeated with the right arm.

13. Drawing Two Outward Circles of Energy and Smashing Them by the Navel

Both arms move in unison up the front of the body, out to the sides, and around, like a swimming stroke, to draw two winglike circles at forty-five-degree angles to the front of the body (fig. 231).

Then the circles are broken at the bottom, at the level of the navel, with a forceful strike of both hands. The hands are bent at a ninety-degree angle in relation to the forearms, with the fingers pointing forward. The force of the strike makes the palms of the hands come within a few inches of each other (fig. 232).

14. Drawing Two Circles of Energy Laterally with the Index and Middle Fingers Extended

The index and middle fingers of both hands are fully extended, while I ho third and fourth fingers are held by the thumbs against the palms.

The arms circle in unison from their normal position at the sides to above the head and then laterally to the sides of the body at forty-five degree angles toward the back (fig. 233).

When the full circle is nearly completed, the fingers contract into fists, leaving the second knuckles of the middle fingers protruding. The movement ends as the fists, with the palms facing the body, strike forward and upward, to the level of the chin (fig. 234).

15. Stirring the Energy Around the Temples

A long inhalation is taken. An exhalation begins as the arms are brought to a point above the head, where they clasp into fists; the palms of the fisted hands face the front of the body. From there they strike downward with a back-fist blow to a point right above the hips (fig. 235).

The fisted hands move to the sides of the body, drawing lateral half-circles that bring the fists to an area a few inches in front of the forehead and five or six inches away from each other. The fisted palms face outward (fig. 236).

While the exhalation still lasts, the fists are brought to rest on the temples for an instant. The body leans backward a bit by bending slightly at the knees to gain spring and momentum, and then the arms are brought forcefully down, without straightening the elbows, to strike behind the body on either side with the backs of the fisted hands (fig. 237). The exhalation ends there.

16. Projecting a Small Circle of Energy Out in Front of the Body

From its natural position by the side of the thigh, the left arm moves outward laterally; the palm of the hand faces the right. It draws a small circle as the palm turns downward, comes to the area of the pancreas and spleen, and continues moving left to the level of the waist. The elbow protrudes acutely (fig. 238a); the hand turns into a fist. The palm of the fisted hand faces the ground. The fist strikes with a short blow to the front, as if to pierce the circle it has drawn (fig. 238b).

The movement is continuous; it is not interrupted when the hand turns into a fist, but stops only when the punch has been delivered. The blow gives an intense jolt to the center of vitality located around the pancreas and spleen. The same movement is executed with the right hand, the strike of which jolts the liver and gallbladder.

Magical Passes ©1998 by Carlos Castaneda.

The Fourth Series: Second Group - Mixing Energy from the Left Body and the Right Body.

The second group consists of fourteen magical passes that mix the energy of both bodies at their respective centers of vitality. The shamans of ancient Mexico believed that mixing energy in this fashion makes it possible to separate the energy of both bodies more readily by dropping unfamiliar energy into them, a process which they described as exacerbating the centers of vitality.

17. Bunching Necessary Energy and Dispersing Unnecessary Energy

This magical pass entails movements that could best be described as pushing something solid across the front of the body with the palm of the hand, and dragging it back across the front of the body with the back of the hand.

It starts with the left arm kept close to the body, by the waist, with the forearm bent at a ninety-degree angle. The forearm is brought closer to the body as the movement begins, and the hand is bent back at the wrist. The palm of the left hand faces right; the thumb is locked. Then, as if a great force were opposing it, it moves across the body to the extreme right, without the elbow losing its ninety-degree angle (fig. 239).

From there, again as if a great force were opposing it, the hand is dragged as far left as it can reach without losing the ninety-degree angle of the elbow, with the palm still facing the right (fig. 240).

During this entire sequence of movements, the muscles of the left body are contracted to the maximum, and the right arm is held immobile against the right leg.

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

18. Piling Energy onto the Left and Right Bodies

The weight is placed on the right leg. The knee is slightly bent for support and balance. The left leg and arm, which are kept semi-tense, sweep in front of the body in an arc from left to right, in unison. The left foot and the left hand end at a position just to the right of the body. The outer edge of the left foot touches the ground. The fingertips of the left hand point down as the sweep is made (fig. 241).

Then both the left leg and the left arm return to their original positions.

The exact sequence is repeated by sweeping the right leg and arm to the left.

19. Gathering Energy with One Arm and Striking It with the Other

Don Juan said that with this magical pass, energy was stirred and collected with the movement of one arm and was struck with the movement of the opposite arm. He believed that striking, with one hand, energy which had been gathered by the other, allowed the entrance of energy into one body from sources belonging to the other body, something which was never done under normal conditions.

The left arm moves up to the level of the eyes. The wrist is slightly bent backwards; in this position, going from left to right and back again, the hand draws the figure of an oval, about a foot and a half wide and as long as the width of the body (fig. 242).

Then the hand, with the palm facing down, moves across at eye level from left to right as if cutting through, with the tips of the fingers, the figure which it has drawn (fig. 243).

At the moment that the left hand reaches the level of the right shoulder, the right hand, which is held at waist level with the cupped palm turned upward, shoots forward, striking with the heel of the hand, to hit the spot in the middle of the oval drawn by the left hand, as the left hand is slowly brought down (fig. 244).

As it strikes, the palm of the right hand is facing forward, and the fingers are slightly curved, permitting in this fashion the necessary contour of the palm to strike a round surface. The strike ends with the elbow slightly bent, to avoid over stretching the tendons.

The same movements are performed beginning with the right arm.

20. Gathering Energy with the Arms and Legs

The body pivots slightly to the right on the ball of the right foot; the left leg juts out at a forty-five-degree angle, with the knee bent to give a forward slant to the trunk. The body is made to rock three times, as if to gain momentum. Then the left arm scoops downward as if to grab something at the level of the left knee (fig. 245).

The body leans back, and with that impulse, the lower part of the left leg, from the knee down, is brought close to the groin, almost touching it with the heel; the left hand swiftly brushes the vital area of the liver and gallbladder, on the right (fig. 246).

The same sequence of movements is repeated with the right leg and arm, which bring the gathered energy to the center of vitality located around the pancreas and spleen, on the left.

21. Moving Energy from the Left and the Right Shoulders

The left arm moves from its natural position hanging by the left thigh to the right shoulder, where it grabs something, and the hand turns into a fist. This movement is propelled by a sharp twist of the waist to the right. The knees are slightly bent to allow this turning movement. The acutely bent elbow is not allowed to sag, but is kept at the level of the shoulders (fig. 247).

Propelled by a straightening of the waist, the fist is then moved away from the right shoulder in an upward arc, striking, with the back of the hand, a point slightly above the head and in line with the left shoulder (fig. 248).

The hand opens there as if to drop something that is held in the fist. The same- sequence of movements is repeated with the right arm.

22. Gathering Energy from One Body and Dispersing It on the Other

Beginning from its natural position by the left thigh, the left arm draws an arc from left to right, crossing in front of the pubis until it reaches the extreme right. This movement is aided by a slight turn of the waist. From there, the arm continues moving in a circle above the head, to the height and level of the left shoulder. It cuts across then to the level of the right shoulder. There, the hand turns into a fist, as if grabbing something, with the palm down (Fig. 249).

Next, the fist hits a point at the height of the head, an arm's length away from it. The blow is delivered with the soft edge of the hand, using the hand as if it were a hammer.

The arm is fully extended, but slightly curved at the elbow (fig. 250).

The same movements are repeated with the right arm.

23. Hammering Energy from the Left Shoulder and the Right Shoulder on the Midpoint in Front of the Face

The left arm is moved above the head. The elbow is bent at a ninety-degree angle. The hand turns there into a fist, with the palm facing upward. Then it strikes from the left, with the soft edge of the hand, the division line of the left and right body, in front of the face. The body leans slightly to the left as this strike is made (fig. 251).

The fisted hand keeps on moving until it almost touches the right shoulder; the palm turns there so that it faces downward. Then it makes a similar strike, this time from the right; the body leans to the right (fig. 252).

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

A reservoir of neutral energy can be built by this magical pass, meaning energy which can easily be used by either the left body or the right body.

24. A Strike with the Hand Fisted at the Second Knuckle

Both arms are lifted to the level of the neck, the elbows held at ninety-degree angles. The hands are held with the fingers bent at the second knuckle and held tightly over the palm (figs. 253, 254).

From this position, tin- left hand strikes. The strike is a powerful swing made to the right, .11 toss the line of the right shoulder, but without greatly moving the arm. 1 In- arm is driven by a powerful rightward twist of the waist (fig. 255).

The right arm moves in the same fashion beyond the line of the left shoulder, driven by an instantaneous leftward twist of the waist.

25. Grabbing Energy from the Shoulders and Smashing It on the Centers of Vitality

The left arm moves to the right shoulder, and the hand turns into a fist, as if grabbing something (fig. 256). The elbow is kept bent at a ninety degree angle. Then the fist is forcefully brought back to the left side by the waist (fig. 257).

It stays there for an instant to gain impulse, and then the fist shoots across the body to the right, the fisted palm facing the body, to strike through a point by the area of the liver and gallbladder (fig. 258).

The same movement is repeated with the right arm, which strikes across the area of the pancreas and spleen.

26. Pushing Energy to the Sides with the Elbows

Both arms are brought to the level of the shoulders, the elbows bent sharply and protruding straight out. The wrists are crossed making a letter X, the left forearm on top of the right one. The hands, clenched into fists, touch the pectoral muscles at the edges of the axilla; the left fist touches the edges of the right axilla and the right fist the edges of the left axilla (fig. 259).

The elbows are then forcefully brought out to the sides in line with the shoulders, as if to give an elbow blow to the sides (fig. 260). This movement is repeated with the right arm on top of the left.

27. Drawing Two Inward Circles of Energy in Front of the Body and Crushing Them Out to the Sides

As a deep breath is taken, the arms circle in unison from their natural position at the sides of the thighs, to the line that separates the left and the right bodies. This movement ends with the forearms crossed over the chest. The fingers are kept tightly together, pointing upward, the thumbs locked; the wrists are bent at ninety-degree angles. The left arm is on top of the right one. The locked thumb of the left hand touches the pectoral muscle of the right body, and the locked thumb of the right hand touches the pectoral muscle of the left body (fig. 261).

The inhalation ends there. A quick exhalation is made as the arms are spread apart forcefully with the hands clenched into fists, each striking, with the back of the hand, a point on the respective sides above the head (fig. 262).

The same movements are repeated with the right arm on top of the left.

28. Striking Energy in Front of the Body and on the Left and Right with Both Fists

The hands are clenched into fists at the level of the waist. The palms of the fists face each other. Both hands are lifted to the level of the eyes and strike forcefully downward in unison at two points in front of the groin; they hit the target with the soft part of the fists (fig. 263).

From there, the arms swing in unison, making an upward arc to the left as the whole trunk leans toward the left, following the impulse of the arms. The fists strike with the knuckles (fig. 264).

The fists return to deliver another blow to the same points in front of the groin. From there, the arms swing in unison, making an upward arc to the right as the whole trunk leans toward the right, following the impulse of the arms. The fists strike with the knuckles. The fists move one more time to deliver a blow with the soft edge of the hands to the same two points in front of the groin.

29. Striking Energy in Front of the Body with Both Fists and on the Left and the Right

The beginning of this magical pass is exactly like the preceding one (fig. 265).

Once the strike is completed, both arms are lifted like hammers to the level of the head, and the trunk is made to turn sharply to the left. The two fists strike two points in front of the left hip (fig. 266).

The arms lift again to the height of the head, the palms of the hands are opened, and they descend to strike the same two points (fig. 267).

The arms are raised again to the level of the head. The hands turn into fists to strike the same points once again. The forearms are raised to the level of the head, the body turns to face the front, and the fists are slammed down on the same points in front of the groin.

The same sequence of movements is repeated with the trunk turned sharply to the right.

30. Smashing Energy with the Wrists Above the Head and on the Left and the Right

Both hands are raised above the head, with the wrists touching and the palms curved as if holding a ball (fig. 268).

Then the trunk turns to the left, as both arms move sharply to the left of the waist without disengaging the wrists, which rotate on each other to accommodate the new position of the hands. The palm of the left hand faces upward, and the palm of the right hand faces downward (fig. 269).

Both arms are moved to the point above the head again, still without disengaging the wrists, which rotate to adopt their initial position.

The same sequence of movements is performed by bringing the hands sharply to a point to the right of the waist. The movement ends by bringing the hands back to their starting position above the head.

Magical Passes ©1998 by Carlos Castaneda.

The Fourth Series: Third Group - Moving the Energy of the Left Body and the Right Body with the Breath.

The third group consists of nine magical passes that employ inhalations and exhalations as their driving force to either further separate or join the two bodies. As already stated, in the view of the sorcerers of don Juan's lineage, putting a dab of energy from one body into any vital center of the other creates a much sought-for momentary agitation in that center. The sorcerers of ancient Mexico, according to what don Juan taught, considered this mixing to be extremely beneficial because it breaks the fixed, routine input of those centers. Those sorcerers felt that breathing is a key issue in the separation of the left body and the right body.

31. The Breath for the Upper Fringe of the Lungs

The arms, with the hands clenched into fists, are raised to the forehead with a deep inhalation; the palms of the fisted hands face down. The fists are three or four inches from each other, right in front of the forehead, as the inhalation ends (fig. 270).

An exhalation is made as the arms spread forcefully to two lateral points to the sides and even with the shoulders (fig. 271).

The hands relax and open. The wrists cross in front of the head and a deep inhalation is taken as the arms make two big circles the length of the arms, going from the front, up over the head, and to the sides. The inhalation ends as the hands come to rest by the waist, with the palms up (fig. 272).

A slow exhalation is made then, while the hands are raised along the edges of the rib cage, to the level of the axillae. The exhalation ends as the shoulders are pushed up, as if the force of the hands were making them rise (fig. 273).

This breath is a true bonus because it allows the mobilization of the upper part of the lungs, a thing which hardly ever happens under normal conditions.

32. Offering the Breath

The left arm draws a circle as a deep inhalation is taken. It moves from the front to above the head, to the back, to the front again; as the arm rotates, the trunk turns to the left, to allow the arm to move in a full circle. The inhalation ends when the circle is completed. The palm of the hand is held at the level of the chin; it faces up, and the wrist is bent at a ninety-degree angle. The posture of the practitioner is that of one who is offering something which is placed on the palm. The trunk is bent forward (fig. 274).

The palm of the hand is then turned to face down, and an exhalation begins while the arm moves slowly and powerfully downward (fig. 275) to rest on the left side by the thigh; the palm is still facing down, and the back of the hand maintains the ninety-degree angle in relation to the forearm.

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

33. Moving Energy with the Breath from the Top of the Head to the Vital Centers

The wrists of both arms are slightly bent; the palms of the hands are semi-curled. With the hands in this position, the tips of the fingers brush upward along the front of the body and over the head as a deep inhalation is made (fig. 276).

When the arms reach their full extension above the head, the hands are straightened and the wrists are turned back at a ninety-degree angle. The inhalation ends there. While the hands are brought down, the air is held, and the index finger of each hand is raised; the other fingers are held against the palm, bent at the second knuckle, and the thumbs are locked. Both arms are retrieved to the level of the chest, with the back of the hands against the axillae.

A deep exhalation begins then as the arms are slowly extended straight forward until the elbows are gently locked. A deep inhalation then is taken as the hands are retrieved back to the position against the axillae, still with the index fingers raised, the wrists bent backwards, the palms facing forward. A slow exhalation begins while the hands move upward in a circle that first reaches above the head and then continues downward, making a complete forward circle without changing the position of the index fingers. The hands come to rest by the sides of the rib cage (fig. 277).

The exhalation ends as the hands are pushed downward to the sides of the hips.

34. Shattering Energy with the Breath

As a deep inhalation is taken, the left hand moves in a wide side circle from the front, to above the head, to the back. The trunk turns to the left to facilitate the full rotation of the arm. The inhalation ends when the arm has made a full turn and stops at a place to the side of the head and above it. The palm of the hand faces forward; the wrist is slightly turned back (fig. 278).

A slow exhalation begins then as the arm makes another wide side circle in the opposite direction, going from the front down to the back, then above the head, and to the front again. When the circle is completed, the arm is brought to a point just in front of the right shoulder as the exhalation continues. The palm is facing the body and lightly touches the right shoulder (fig. 279).

Then the arm shoots out laterally with the hand clenched in a fist and strikes, with the back of the hand, a point an arm's length away from the left shoulder at the height of the head (fig. 280).

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

35. The Monkey Breath

The knees are slightly bent. The arms are lifted slowly over the head as the upper part of the lungs is filled with air. Then the knees become locked and the body is fully extended upward. This breath can be taken either with the heels on the ground, or on the tips of the toes. The breath is held as the arms move downward and the body stoops slightly forward, contracting the diaphragm; the knees are bent again. The exhalation begins when the hands reach the level of the waist. At the same time, the index fingers are extended and point to the ground; the other fingers are contracted over the palms of the hands. The hands continue moving downward as all the air is exhaled (fig. 281).

While exhaling, the diaphragm is held fight in order to avoid pushing it downward with the exhaling air.

36. The Altitude Breath

The legs are held as straight as possible. An inhalation begins while the shoulders slowly rotate from Figure 281 the front to the back with the arms bent at the elbows. When the rotation and the inhalation end, the arms are kept in the initial position (fig. 282).

The exhalation begins by raising the hands to the level of the shoulders and extending the arms as far forward as possible with the palms facing the ground.

Next, an inhalation is taken as the palms of the hands are turned upward. The elbows are bent and pulled all the way back, and the shoulders are raised. The inhalation ends with the maximum upward stretch of the shoulders (fig. 283).

An exhalation is made as the palms are turned to face the ground and the hands and shoulders push downward; the hands are bent backward at the wrists as far as possible, and the arms are held straight at the sides of the body.

37. The Lateral Breath

As an inhalation begins, the arms move from their natural position by the sides of the thighs in a circle toward the center of the body, ending with the arms crossed; the palms face outward, and the wrists are fully bent so that the fingertips point upward (fig. 284).

The inhalation continues while the two arms are pushed out laterally. As the arms move, the palms of the hands first face forward; when the movement ends, they face away from each other. The inhalation ends at the maximum extension of the arms. The body is kept as erect as possible (fig. 285).

An exhalation is made by bending the arms at the elbows as the palms of the hands, with the fingertips raised upward, come toward the center of the body, pass it, and cross to end at the opposite edges of the body. The left forearm is on top of the right. The body is contracted at the mid-section, and the knees are bent (fig. 286).

38. The Butterfly Breath

The arms are bent at the elbows and held in front of the chest. The left forearm is held above the right one without touching it; the wrists are straight and the hands are clenched into fists. The knees are bent, and the body stoops forward markedly (fig. 287).

As an inhalation begins, the arms separate and move up over the head and out to the left and right. As the inhalation continues, the arms straighten as they circle, going down, to the sides, and around the shoulders, and then fold back to their initial position over the chest. Maintaining their position, the arms are raised over the head, as the breath is held and the body straightens at the waist (fig. 288).

Then the arms are brought down to the level of the umbilical region as the body goes back into the initial stooped-forward position, with bent knees.

The body holds that stooped-forward position steadily, and an exhalation is made by repeating the same movements of the arms done for the inhalation. As the air is expelled, the diaphragm is kept in a fight position.

39. Breathing Out Through the Elbows

At the beginning of this movement, the legs are kept straight. As a deep breath is taken, the arms make outward circles above the head and around the sides of the body. The inhalation ends with the arms pointing straight out to the front, elbows bent, at the level of the waist. The palms are held straight and facing each other; the fingers are together.

An exhalation begins as the hands point to the ground at a forty-five-degree angle. The knees are bent and the body leans forward (fig. 289).

I lie exhalation continues while the arms, bent at the elbows in a ninety-degree angle, are raised over the head. The body straightens and leans backward slightly. This is achieved by bending the knees, rather than the back. The exhalation ends with the abdominal muscles tensed to the maximum; the head is tilted slightly backward (fig. 290).

Practicing this breath creates the sensation that air is being expelled through the elbows.

Magical Passes ©1998 by Carlos Castaneda.

The Fourth Series: Fourth Group - The Predilection of the Left Body and the Right Body.

This group is composed of five magical passes for the left body executed in a sequence, and three magical passes for the right body. According to don Juan Matus, the predilection of the left body is silence, while the predilection of the right body is chatter, noise, sequential order. He said that it is the right body which forces us to march, because it likes parades, and it is most delighted with choreography, sequences, and arrangements that entail classification by size.

Don Juan recommended that the performance of each movement of the magical passes for the right be repeated many times, as the practitioners count, and that it is very important to set up beforehand the number of times in which any given movement is going to be repeated, because prediction is the forte of the right body. If the practitioners set up any number beforehand and fulfill it, the pleasure of the right body is indescribable.

In the practice of Tensegrity, however, both the magical passes for the left body and the magical passes for the right body are performed in complete silence. If the silence of the left body can be made to overlap onto the right body, the act of saturation can become a direct way to enter what don Juan called the most coveted state that the shamans of every generation sought: inner silence.