welcome to

Vocal Chaos Magic

a liberation workshop


location + details

September 6, 2017 | 7:30PM | Austin, Texas

5509 Northdale Dr. | Austin, Texas 78723

Light your candle and place it before you to consecrate your space for practicing magic.


chapter 1.

Electric Fire Breath

Expand lung capacity & become a clear conduit

This ancient Tibetan breathing technique is the last of the Six Yogas of Naropa. It honors the fierce female deity, Kali. Tummo literally translates to Tum (Courage) and (Mo) the feminine. This technique builds inner-fire by building the electrical charge in the body.

You'll enjoy longer durations of meditative states, deeper breath for longer vocal notes, increased endurance, mood elevation, increased control of adrenal responses, higher body pH levels, and countless other benefits.

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Poetic theory: Electricity connects to the clearest conduit, the tallest tree, a lightning rod, an enlightened person. When we increase our electric charge and practice compassion for all beings, we become a clearer conduit, making us more attractive to the electricity abound: other people's hearts, distant lightning storms, birds, dragon flies, etc. Practice this technique to become a powerfully influential sorcerer. 

This is the light version. To learn more, sign up for private coaching.


1. Breath

Inhale fully (100%) for 35 sequential breaths. When you exhale, just release to about 30% (don't push out all the way out). You may feel dizzy or experience muscle contractions and tingles. It's all O.K. Focus on the energy, following it through the sensations in your body. As you breath, try to keep your shoulders relaxed while stretching your chest and upper belly muscles. Make the breath circular. Use a mudra, index finger to thumb, to help capacitate the charge.

Females: imagine the breath entering through your cunt and exiting through your heart.

Males: image the breath entering through your heart and exiting through your cock.

2. Witness

After you 35th breath, exhale naturally and wait. Notice the effects of the oxygen alkalizing your body. You might explore timing yourself to see how long it takes before for you need to inhale. Recording retention times gives you a map of your progress. You'll find, with practice, your retention times effortlessly grow longer and longer.

3. Final hold

When you need to breath, inhale fully and hold for 10-15 seconds. Release and breath normally. Witness the effects of the practice on your body and mind.

4. Repeat

Repeat this process (steps 1-3) two additional times. For best results, do three rounds each morning when you wake up. Practice on an empty stomach when possible.

WARNINGS: Do not do this under water, in a shower, or anyplace where suffocation could happen. Do not do this while driving. You'll feel lightheaded and dizzy. Do this at your own risk. 

4-02.

Warm-Ups

Rousing the phoenix

After the inner-fire meditation, our body is smoldering with electrical charge that begs to ascend into a thunderhead. The voice is your phoenix, the catalyst. It rises up from your charged core into your burning heart. As we lift our voices, our tongues lick the heavens with the flames of our heart song. The phoenix sleeps hard and heavy. It must be roused from its slumber by gently prodding its true beastly will. Don't force it. Honor it by giving allowing it to relax and wake slowly.


Practice Rousing the Phoenix after practicing the Electric Fire Breath. Begin when you're ready to start engaging your voice after a lull. This technique is a great warm-up before vocal performances, incantation rituals, public speaking, and meeting the day. If you struggle with "stuck voice", keep a ritual practice ritual before you leave your bed. 

Give yourself a stretch and a squeal. Explore sounding your voice high and low with multiple yawns. Give each yawn your full presence and witness how it pleases your voice to express in yawns and stretches. As you stretch, sound the feelings of resistance. If you feel like grunting or squeaking like a rusty hinge, do it! Sound what feels good. This wakes up the voice and honors the nature of your inner beast. Notice, when you relax into stretching and yawning, your voice can swing higher, lower and louder than you might expect. Practice throughout the day whenever you feel inspired to wake your voice and play with your range.

 

 

chapter 2.

Beacon Meditation

Grounding to strengthen the current

Combining Kung-Fu standing meditation and the power Brahma Vihāras, we become powerful lightning rods for connectivity and influence.

We'll explore a Taoist 10-point meditation and the "four immeasurables" or "divine abodes."

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2-01.

10 point Zhan Zhuang posture

building the lighthouse, grounding the current

 

This ancient Chinese meditation practice builds life force energy, mental clarity, and whole body strength. The alignment strengthens the body's electric capacitors. As we sing, we expel lots of generative (creative) energy. Reinforcing these capacitors helps us replenish the energy and strengthens the channels for natural movement and healing.

Practice five to ten minutes a day. Taoist masters practice an hour daily for 600 days.


  1. Feet shoulder width and a half apart
  2. Knees bowed out and stacked above the ankles
  3. Pelvis rotated to align parallel to the front of the room
  4. Perineum tucked up and in
  5. Shoulders back and down with the clavicle "smiling"
  6. Tongue on the roof of the mouth
  7. Head top suspended
  8. Arms holding an invisible ball in front of the heart, palms facing down and in, towards the diaphragm -  angled like roof shingles
  9. Wrists straight, fingers relaxed
  10. Belly relaxes and expands with long, slow breaths through the hollow flute of the spine

2-02.

brahmavihāras

igniting the lamp in the Lighthouse

loving-kindness or benevolence | compassion | empathetic joy | equanimity

 

The brahmavihāras (sublime attitudes, lit. "abodes of Brahma") are a series of four Buddhist virtues and the meditation practices made to cultivate them. They are also known as the four immeasurables. The Brahma-viharas are:

  1. Loving-kindness (Pāli: mettā, Sanskrit: maitrī) is active good will towards all
  2. Compassion (Pāli and Sanskrit: karuṇā) results from Metta, it is identifying the suffering of others as one's own
  3. Empathetic joy (Pāli and Sanskrit: muditā): is the feeling of joy because others are happy, even if one did not contribute to it, it is a form of sympathetic joy
  4. Equanimity (Pāli: upekkhā, Sanskrit: upekṣā): is even-mindedness and serenity, treating everyone impartially.

Focusing intently on the Brahma Viharas is an excellent practice to combine with movement meditations. You're encouraged to integrate this practice into your mundane routines and yogic practices.

2-03.

10 point posture + brahmavihāra fusion

the candle on the water - becoming the beacon

 

Integrating energy and compassion

Inhale - Grounding in solid 10-point posture

Exhale  - Push energy down, palms facing down moving the energy through the feet into the earth

Inhale  - Pull fists in, thumbs facing up, to each side of the waist - pulling energy into power center in belly

Exhale - Push out stress and disease out with flat palms facing forward or out to the sides

Inhale - Return hands to shingled position pulling compassion into the heart

Pause here for a few breaths to witness the influence of the movement on your energy

This completes one round.


 

refine your the 10-point posture as you repeat each round and add intention

Round 1 - practice round

Round 2-3: focus on loving kindness and affection towards an acquaintance 

Round 4-6: focus on compassion towards a perceived enemy

Round 7-9: focus on a friend having great joy and peace

Round 10-12: focus on receiving equanimity, compassion, and poise within yourself

Each round may expand to repeat rounds in multiples of four so you can dedicate more energy and time to each individual. This practice may also be used to cultivate connectivity to the sentient spirits in lightning, wind, water and planets. 

chapter 4.

techniques and archetypes

mimic the moon

Our non-dual reality begs the conversation about the vast and varied characters that color our lives. These characters infiltrate our subconscious mind, absconding our psyche in dream-states. Careful observation and mimicry of archetypal expression helps to bring our sub conscious desires into our light. As we grow more keen with identifying the key vocal expressions of the characters in our lives, we gain a better understanding of how these spirits influence our subconscious. We discover the patterns in their inflection, the vulnerability in their dissonant tones, the authenticity in their vocal posturing. We discover the subtle dramas of each teacher as they offer lessons of the archetype.

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Take out your note pad. As we review each vocal technique, create a single character to represent each flourish. It can be as simple as a triangle, wavy line, double line or figure 8. Make it something you can easily remember for the association. We'll use your character later when designing a sigil.

4-04.

Cultural Flava's

gritos mexicanos

The goal of a grito is to express joy and excitement with a nod to laughter. The first sound is typically held as long as possible, leaving enough breath for a trailing set of trills, or in this case, laughing sounds.

Pretend like you just took a shot of tequila. Holler the "Ah ha ha ha hayi" sound, as though you're laughing but sustain the first note. 


Ululations

Ululations are conducted much like the word sounds, "ULULULULULULiiiiii!" Articulate the phrase as quickly as possible, as loudly and as high in pitch as possible. Ululations are used in balkan and Middle-Eastern flourishes. 

Trills and Meends

Similar to an ululation, but without the consonant sound and more like a quick shake of a single note or rapid alternation to the note above. Pretend like you're a goat. Say "Ba ah ah ah ah." Try running through the vowels as a goat and explore pitch. Trills were very popular in England around the late 1800s. Think Snow White, singing over the wishing well, or Tony Tim singing Daisy Bell.  We also hear trills in old American blues music, classic Mongolian music and Indian Music. In Indian, Alankaar vocal ornamentations, an sliding undulation between two consecutive notes is known as a meend.

Mordents

Like trills but a rapid alternation between two non-consecutive notes. Often used in Middle-Eastern and Indian vocalizations. Like a yodel but without the hard flip.

Vibrato

Simply, an oscillation in pitch. Vibrator is a common vocal flourish that became very popular in American jazz as a derivation of the popular trill. Its slightly slower in pace. It is a common flourish, pervasive in Indian and Middle-Eastern and Celtic vocal stylings. Start with a "ya ya ya ya" and make it faster, and ore subtle, using the back of your throat to make the sound, rather than the front portion that makes the Y. Some people find success by nodding their head Yes to drill the technique. 


Yodels

If you haven't been able to yodel, try pretending like you're scooby doo - moves from the lower diaphragm (chest voice) to the upper part of the throat (falsetto). Or try moaning like your Mom just gave you a bunch of chores to do, sighing down in pitch, "Oh Mama!"

Just to relax into the high parts, let out a YEHAW, like a true Texan. Repeat: "Oh Dee Oh - Dee I Dee Ay - Hay - Yay Yodel oh Ho Dee...." (Smile on the Dee) to hit the note easier. 

Yodels are not just inherent in Country and Western music. They're also very common in Flamenco music to emphasize extreme passion and heart ache. And in Bavarian music, yodels were used to call to fellow sheep herders across mountain sides. The counter of the low chest voice compels the higher pitch to project further, maximizing volume.


Jazz & POP ornamentation

In American jazz, we get lots of  sliding - Good Morning Heart Ache. The human voice is one of a very few "instruments" that can achieve and actual glissandi slide.  In Be-bob we accent off beat, achieving a jazzy cadence. 

In Pop and R&B ornamentation, we practice runs - flourishes of extra notes. As opposed to jazz, pop uses less sliding and  more exaggerated punch on the notes, giving it the poppy feel. 


Alankaar Ornamentations

Meend - Slides from one note to the next, like a trill but with more tonal and sliding.

Khatka - Subtle bend from one note to the next, breaks or jerks - like a trill but more tonal.

Zamzama - used in sitar often - cluster of several katkas together throughout a melody, usually the same sequence of notes.

Murki - several notes sung together quickly, like a run - traditionally, too many can take away from the seriousness of the piece

Andolan - slowing down of the notes into more crooning hums to emphasize seriousness of the melody

Gamak: hallmark of Indian classical music - shadow of the note to emphasize the note, like a shake leading up to the main note.

Chapter 5.

Tonal Magic

Sound literally makes geometric shapes. Just as sound waves actually make shapes, our words influence the shape of our world by charming perception and planting thought-seeds to take form. For thousands of years, the Vedas were sung because the mind may remember ideas easier through melody and rhyming. A rhymed melody can violate one's daily life by captivated the mind. We can disrupt patterns in our own daily lives by creating catchy limericks that influence our subconscious to align with our conscious will. Here we'll explore the anatomy of vocal soundings. We'll explore the power of jingle writing as incantations, sigil magic and character channeling to deepen our connectivity to earth spirit and one another. 


5-01.

Anatomical influence

The soft pallet in the back of the upper part of the mouth where the nasal passage meets the upper mouth. Snort back some phlegm! Thats your soft pallet doing the work. Many people sing with the muscle in the soft pallet activated. This causes a nasally sound, which can be great fun. Explore singing with the active soft pallet to achieve the sound of a disgruntled Popeye.

If you don't want the nasally sound and you want a richer more guttural tone, pretend you're an "Emu - Gu, Gu, Gu, Gu," make the "G" clearer to take it out of the nasal-region. Explore shifting pitch using the "G" consonant.  Notice how the soft pallet relaxes when the lower-back part of the tongue makes the G sound.

Chest voice or full voice

This is conversational voice we use when we're doing things like ordering a drink a bar. Usually we are yelling but we can also speak or sing from this part of our voices. When people say, "use your diaphragm", this is what they mean. Folks who have trouble hitting low notes or feeling heard in a loud room can rely on chest voice to project the sound when the pitch is lower. 

Falsetto or Head Voice

Falsetto or head voice is sung using the upper part of the voice before the lower larynx is engaged. When we sing our gritos we are using falsetto. Falsetto can easily achieve the higher notes while singing softly whereas the headvoice/chestvoice would have to amplify to achieve the same high note. 

Skilled singers train in the space between full voice and falsetto, exploring volume to shift up pitch and mood. 

Overtones

Choose a fundamental note using your chest voice - try switching slowly from O to E and practice in either an enclosed space, or a space with white noise so you can hear yourself better because the overtones are harder to hear from your own head and easier for others to hear. Eventually you'll isolate the movement to just the back of the tongue. O to the E sound creates a subtle harmonic of the fundamental note.

a note on Cymatics

Sound waves actually make geometric shapes that correspond to Yantras and mandalas. It is strongly recommended that you research the physics behind sound and let yourself be moved by the implications.

 

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5-03.

weird channels

shapeshifting 101

You are not who you think you are. The many archetypes of our existence share the reigns, driving the oxen of our physical body across the wild frontier of life. The road is long and not one archetype can drive the whole way. They get tired, bored, or simply aren't qualified to drive for long. Archetypes must work as a team to balance the load. When we deliberately observe and inhabit our archetypes, they are exalted and brought into balance. When we give our broken, missing, and dangerous archetypes a platform for expression, they are less likely to create out of turn. For instance, when we cast a magic spell, if we are unconsciously rejecting a part of ourself that deeply needs to be expressed, that archetypes creation is likely to dominate our spell. If you are getting "bad" results in magic, its likely that one of your key archetypes needs compassion and a constructive platform for expression.


As we move through life, we create through twelve primary archetypes. Four of the twelve are common among everyone: Child, Victim, Saboteur, and Prostitute. Take some time to create a gesture or hand movement that exemplifies one of our four common archetypes. Think of a short rhyme, a jingle to represent your chosen archetype. Since we are all embodying these archetypes in our lives, compose the jingle as if the archetype is actually moving through you. For instance, the prostitute might traditionally sing something like,"If you want to buy my wares, follow me and climb the stairs." But in the case of working through your life, the prostitute might be more likely to say something like, "I'll work all night with the corner office in my sight."

As you write your jingle, think about the tones your Archetype might make, the accents they would use, the pitch of their voice. Think about what makes them sad, joyous, belonging. Dwell on their pain and create a sound from that motivation. What would they want to sing and rhyme to make sure it gets stuck in your head?


Knights of the round table

Now you'll choose 8 more. As we review the list, the ones most true will stand out on the page, stand out in my voice. Consider that while some may seem negative, we are the ones who decide what negative really means. For instance, the saboteur has it's royal place at our round table and serves us all in both positive and negative ways, much like the child.

An Abridged list of Archetypes

Actor
Anarchist
Bureaucrat
Caregiver
Companion
Crone
Detective
Diplomat
Dreamer
Fool
God
Healer
Historian
Knight
Magician
Matriarch
Muse
Networker
Patriarch
Poet
Priest
Prophet
Puck
Rebel
Revolutonary
Sadist
Scholar
Seductress
Servant
Sidekick
Storyteller
Thief
Tyrant
Visionary
Wizard

Addict
Artist
Beggar
Child
Coward
Crook
Dictator
Disciple
Eternal
Gala
Goddess
Herlad
Innovator
Liberator
Martyr
Midas
Mystic
Nun
Pilgrim
Politician
Prince
Prostitute
Puppet
Redeemer
Robot
Sage
Scout
Seeker
Settler
Slave
Student
Tramp
Vampire
Warrior
Zombie

Alchemist
Avenger
Bully
Clown
Craftsperson
Damsel
Dilettante
Diva
Boy/Girl Evangelist
Gambler
Gossip
Hermit
Judge
Lover
Masochist
Monk
Nature Boy/Girl
Olympian
Pioneer
Predator
Princess
Provocateur
Puritan
Rescuer
Saboteur
Samaritan
Scribe
Seer
Shaman
Spoiler
Teacher
Trickster
Victim
Witch

Click here for a detailed description of over 70 archetypes, including most of those in the above list.


  • What events or personal characteristics led me to choose this archetype?
  • How long has this archetypal pattern been a part of my life?
  • What role has this archetype played for me?
  • Which prominent people have interacted with the aspect of my nature supported by this archetype? (For instance, if it’s the Teacher archetype, think of the people who have played important roles in your own education or inspired you to be a teacher to others.)
  • What relationship might it have to my personal unfinished business – to those people I haven’t forgiven, or to events in the past that I can’t let go of? And might this archetype now help me in healing those situations?
  • What myths, fairy tales, or spiritual stories that have meaning for me do I associate with this archetype?
  • Has this archetype appeared in my dreams?
  • Does thinking of this archetype make me feel empowered or disempowered?

You should also look for spiritual resonance in your archetypes. Ask yourself:

  • What impact has this archetype had on my spirituality?
  • What have I learned about my own shadow aspect through this archetype?
  • Has it caused me to block or forgo change that needs to happen?
  • What immediate guidance might this archetype have to offer me in the present moment?

After questioning each prospective archetype, weed out those that are not genuinely part of your intimate support team, and then return to the list to select replacements. Continue this process until you have eight archetypes that you feel confident play a major role in your life. Combined with the four survival archetypes, you now have your 12.


Now that you've chosen your eight additional archetypes, choose the one you have the most negative or shameful feelings about. Repeat the jingle writing experiment for this archetype. After this class is complete, consider creating a jingle and sigil for every archetype at your round table.

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Chapter 5.

Enchantment styles

your clearest channel for the medium

What a boring world it would be if we all charmed the heavens the same? Consider that your perspective, your angle, your style, is the most conductive medium for electric connection you could hope for. 


“Insist on yourself; never imitate. Your own gift you can present every moment with the cumulative force of a whole life's cultivation; but of the adopted talent of another you have only an extemporaneous half possession. That which each can do best, none but his Maker can teach him.” 
― Ralph Waldo EmersonSelf-Reliance

Oh blessed imitation! While a large portion of this course will focus on mimicry and imitation, our ultimate end, is supreme reverence for the divine beast within. Shamelessly releasing this beast in vulnerable sound will consecrate our truest will. Here, we'll explore a handful of enchantment styles. As we review each style, notice the sensations in your body. Let yourself be moved by the style that is most haunting.

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3-01.

The vocalist


embellished melodies, flourished accents, styling of the ages

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 Examples: Ella Fitzgerald, Mike Patton, Grace Slick, Leon Redbone, Bessie Smith

The vocalist is a master of their inherent instrument. Rich melodic prowess, intricate embellishments, flourished accents and timeless styling of the ages are all hallmarks of the vocalist's enchantment style. They spend much of their magic crafting time drilling pitch and refining technique, inducing rich states of hypnosis in the kaleidoscopic charm of tone, refracting holographic around the skull.

This enchantment technique is particularly effective when working with individuals with PTSD, autism or Aspergers or people who are easily over-stimulated. Hypnotic repetition provides a grounding framework that calms an over-active nervous system. If you're enchantment style is the performer, focus intently on training, drilling, recording and editing your own vocals and consider private coaching.


3-02.

The Performer


Possessed by charisma, potent with conviction

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Examples: Axel Rose, Madonna, David Bowie, Prince, Eartha Kitt

The Performer has a clear understanding of the power of their conviction. They mean what they say. Importance is placed on being moved by their spirit, riled to the heavens. Communicating the heart of the message is more important than the quality of the sound. They fill their space with presence and pizazz. Endurance training is a primary focus, supporting wild, unabashed spirits as they are channeled to connect.

This enchantment style powerfully captivates large crowds and diverse parties. The power of the Performer's stage presence ensnares dulled-senses and easily distracted audiences. Great for festivals, bacchanals and protest rallies. The performer is keenly aware of the space they do not inhabit. They master the art of the tease.

There are two types of performers to review:

  • Poised - These Performers work with choreography often. They build on their pregnant pauses and engage the crowds head on with calculated movements and strategic connection and tease. Think, Madonna's hand gestures, Eartha Kitt's eye contact, Bowie's stoic gaze.
  • Impassioned - These Performers get so caught up in the spirit of their conviction, they refuse to control the demon's effects on their body. You can tell these performers by their uncivilized flailing and involuntary bodily reactions. See Elvis' rogue leg, Axel Rose's undulation, Prince's head shakes.

If you're most inspired by this performance style, train your endurance by singing while riding bikes, treading water or hiking. Instructing vinyasa yoga classes will train your voice to maintain composure in odd positions. For more in-depth performance art training, consider private coaching.


3-03.

The Storyteller


poetic journeys, reflective ballads, articulate discourse

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Examples: Salt-N-Peppa, Leonard Cohen, Fairport Convention, Mc Frontalot, Lilly Allen

Storytellers draw attention to the story over themselves as performers, focusing on phrasing and inflection and character accents. Stories almost always enchant via conflict, analogies and sensory engagement. Lyrics paint sensual experiences in theatric poetry. This is the oldest form of vocal enchantment. For thousands of years, the Hindu and Indus cultures passed down their sacred Vedic stories in song before the ballads were documented in Sanskrit. Ballads are a hallmark of American folk music, bypassing illiteracy and informing slaves and immigrants of their family histories. Now, the hip-hop movement builds on Storytelling more than any other genre. Wit and poetic prowess are essential to powerful storytelling.

Storytelling is a prime enchantment for education and attentive audiences with a keen ear for cadence and flow. Listening rooms, speak-easies, hip-hop jams, class rooms, and campfires are appropriate venues for the Storyteller. Folks most inspired by this performance style should focus on phrasing, freestyle poetry, arrangement and songwriting skills. For more in-depth Storytelling training, consider private coaching.


3-04.

The Musician


Strategic dissonance, Precise theory, Percussive diction

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Examples: Rahzel, Andrew Bird, Azam Ali, Sting, Ruben Van Rompaey, Cab Calloway

The Musician builds on the vast and varied sounds that emanate from the face and body. Indian Bol singers capture the sounds of the tabla in phrases like "Tickety" and "Rim" to mimic the sound of the drums. Beat Boxers mimic 808 kits, record scratches, and DJ effects to embellish their enchantments. Ultimate the sounds emanating from the Musician occur as inhuman.  There is yet another type of Musician in the context of vocal chaos magic.

The alternate vocal Musician builds on music theory to convey a cultural style that may traditionally be conveyed by actual musical instruments. We see this in jazz singers who mimic complex sax melodies with vocal "skat, du-dat" sounds. East Indian vocalists use embellishments to mimic the Sitar and other instruments. Most Indian music is modal, with a single melodic line and no harmonic parts. The modes are called raga, and each raga is a complicated framework of melodic rules.

This highly hypnotic enchantment often relays as inhuman. It's best employed to enhance meditations and yogic practices and fascinate communion with elements. Witnessing a Vocal Musician's call-and-response with an actual musician is awesome. Classic Go-Go form: entice crowd engagement by calling vocal embellishments and inviting the crowd to repeat in unison, a la Cab Calloway.

5-03.

honoring the beast

euphony in tongues

Take the melody for Happy Birthday. Sing it slowly, in as many fake languages as you can possibly imagine, enjoying exploring the accents, pace, volume, ornamentations and most importantly, meaning. Notice how the removal of our native language tends to free the meaning up for more authentic resonance.  The words tend to sound better and we genuinely express happy birthday.  This is because its coming from a place of more creative freedom. 

Lets explore a slightly less joyous melody, using our fake language. Sing your jingle for your shamed archetype in tongues.

Take a few breaths and choose another archetype that you feel shameful about. Maybe its just a part of you that you haven't honored so much lately. Maybe it's a part of you that you feel least likely to own as an archetype. Take a few more breaths using the electric fire technique, focusing on giving this Archetype your full attention. Ask your heart what this archetype most needs to express. Take a few more breaths and sound a melody to honor that need. It can be as weird and dramatic as your archetype needs to feel fully expressed. Imagine you are singing this melody to a sentient lightning storm that will strike when you are most true to your archetype. Sing in tongues to fuel your conviction. Explore pregnant pauses, volume and ornamentation.

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5-04.

sound sigils

the blessing & invocation

Here we set our intentions for magic. We've been cultivating this intention to harmonize our subconscious with our consciousness through the electric fire breath and the beacon meditation. When our intention is aligned with the truest will, we get more of what we want because our hearts are compassionately connected with the anima mundi. Today we'll create a short mantra and a sigil to facilitate our connection to earth spirit and the electric hearts of one another. 

Return to the page in your book where you made your characters. Take nine electric fire breaths, focusing your intention on the part of yourself that you feel needs the most love. Remember: breath in through your heart and out through your cock if you are a male, breath in through your cunt and out through your heart if you are a female. On the last exhale, sound out from the part of yourself that needs the love. Let that part make any sound it needs in order to feel deeply and thoroughly heard by the rest of you.  Create a phrase or lyric, complete with flourishes, that resounds exactly what the part of you that needs love needs to resound. Do not use human language. Let the beast sound like it needs to sound. Repeat the phrase again and again, exploring flourishes that give the phrase more and more authenticity and vulnerability. Imagine you are sounding to a sentient lightning storm that will strike when you sound most authentically.

Write your phrase down. You can use the english alphabet or your own alphabet. Use the characters you created to articulate the flourishes. Continue sounding the phrase as you write. Write the phrase again, but this time, cut out all characters that feel excessive, leaving only the shapes that feel most true to what is needed. Repeat again and again. Finally, write the shapes and characters on top of one another, making sure to give each line the space it needs to communicate your conviction as you sound. Simplify or embellish as needed. 

When you feel you've created a sigil that fully expresses your most authentic desire, hold it to your heart and breath. Your sigil will act as satellite for all the love you may recieve. 


Becoming the storm

Place your sigil in the center of the room. Take nine electric fire breaths. The electricity is building into a thunderstorm in your heart. Your voice is the phoenix, thunderbird, building energy as you focus on the reverence, the love, the gratitude you have for everything you may grieve. When you make your next sound, sound with all the love you have to give. Join hands. Gaze at the sigils in the center of the circle. Sound.

Return to your spot before our candle. Take a boy to honor yourself and the courageous work you've done. Take a bow to honor your fellow tribe members. Take a boy to honor the nature of universe to support your magic. Blow out the candle.