Archiving Module
Research Question:
What are the major themes within your dream lineage medicine?
Find examples
of patterns of symbols within your dream documentation, divination and ceremony notes, and supplemental research.
Skillshare
with the group how you are deciding to organize your symbolism in Ocean Hour, WhatsApp & Study Group on 6/15/21. Please share when you’re ready.
LO: Write a definition while naming the unseen.
LO: Creating a catalog
Tools:
Ancestral Research Slide
Presence Practice Cheat Sheet (will post by Friday)
Review & implement ceremony practices guidelines from EQUINOX Dreaming Awake, PW: dreams100620
Suggested (& Highly Recommended) Readings:
Historiography & Divination Reflection by Tyrell Blacquemoss
While I appreciate and deeply respect the careful attention to bias, perception, multiple viewpoints, historical context, etc that goes into the retelling of public history and the craft of historiography, I raised my eyebrows at the certainty with which Collingwood asserted that the past could not be experienced one more than once by different people. To hone my spiritual gift of divination required that I abolish the chains of linear time to remember the quantum “everything is everything” in my blood. As I see it, a diviner’s work is carefully observing the way spiritual information interacts with their senses. If Collingwood’s “object” also refers to a historical record, then I propose the sensations a diviner experiences are the historical record as well as a moment of time travel. When a diviner opens divination they become a bridge between past, present, and future simultaneously. The magic is in a diviner’s ability to weave the story of the sensory experience into the words that a client needs to hear at that present moment for their highest future and the elevation of their pasts.
In Art and Healing, we read Jessica Horton’s Now That We Are Christians We Dance for Ceremony: James Luna, Performing Props, and Sacred Space, and I want to revisit the below quote:
The sentiment is evident in French theorist Pierre Nora’s influential vision of the rise of modern historiography: “The remnants of experience still lived in the warmth of tradition, in the silence of custom, in the repetition of the ancestral, have been displaced under the pressure of a fundamentally historical sensibility. . . . We speak so much of memory because there is so little of it left.”17
With this knowledge and the clear understanding that my people have been doing this for thousands of years, I cannot see “history as a reenactment of past experience.” Both history and time are just as alive and breathing and malleable as you and I. In my ontology when the memories held within objects and practiced traditions begin to fade, those with the ability to embody long memories are born again - likely in the form of a diviner or a community member who tells wise stories. When a diviner tells a story during divination they are simultaneously observing a timeline and offering a new one. Due to my belief that history and time are alive, I resonated with Austin’s description of performative utterances. “I do” “I apologize” “I christen this boat” each a set of words that are the action. With the “I am” of a diviner, new worlds and paradigms are born.