Art is intended to guide society. Our early development as a species was principally based upon art, language and imagination. To our ancestors there would have been no barrier between the real and the imagined.
In the first place ‘Art’ was our sacred science, and the guiding force of culture…
Let me explain….
Cave paintings are some of the oldest forms of art in the world. There are many beliefs as to what they represent; including ideas about hunting and ceremonial rites, to the depiction of contact with extraterrestrial species. However, I have had many remarkable experiences with cave paintings, megaliths and petroglyphs, and this has led me to a conclusion regarding the practical nature of these early means of communication.
While man was developing the power of speech and self-reflection – along side there would have been the development of a stronger need to communicate through other forms such as drumming. It is perfectly possible that cave painting developed out of verbalization
The early experience of man was ‘Band’ culture. This is the form of society that existed before tribal societies grew up. From the beginning these societies were hunter-gatherers, but primarily they would have been nomadic in nature. With the need to hunt comes the need to move around with your prey. In north-west Europe – it is a widely documented fact, that the tribes of the British Isles, had very pronounced migration routes. In particular between Ireland, the north of England and Scotland – the Picts, Celts and the Scots, occupying various different regions throughout history. The prehistory of Britain would likely have been no different. This idea of migration can be extended throughout Europe. During the period just after the building of Stonehenge, for instance it is documented that a culture arose of itinerant Magi. Travelling around Europe with brass conical hats (much like wizards hats) these druids, possessed information regarding the movement of the heavens – knowledge which prior to this point would have been built inherently into the megalithic structures. These events happened upon the entering of the agrarian age, where for the first time societies were focusing more on growing crops and as such had the need to settle in one place for the first time. Prior to this the tribes of north west europe would have been no strangers to migration. The megalithic structures that were built before this time were generally aligned with stars. In fact most ancient monuments have some connection with the heavens. But whatever the nature of the knowledge these Structures were a means of relaying information – art represented a means of communication. But communicating what exactly?
In the first place – the very earliest form of art were handprints on cave walls. These were dated to some 40,000 years ago. Hand stencils have been found in various parts of the world from, Timpuseng cave Sulawesi, Indonesia to Cueva de las Manos located Perito Moreno, Argentina. The earliest known cave paintings/drawings of animals were at least 35,000 years old, these too found in caves in the district of Maros, located in Bantimurung district, South Sulawesi, Indonesia. The earliest figurative paintings in Europe date back to the Aurignacian period, approximately 30,000 to 32,000 years ago, and are found in the Chauvet Cave in France, and in the Coliboaia Cave in Romania.
There are also similar later paintings in Africa, Australia and South America, continuing until recent times in some places. There is a tendency worldwide for open air rock art to supersede deep cave paintings.
However these hand stencils, were more than just a means of self-reflection and self-identification. Rather they were a means of identifying yourself to others. They were a signature to allow others to know who had been present at a specific place at a specific time. People who knew you, would have also know your handprint, and from this your whereabouts. Keeping track of each others movements in this early age would have been of vital importance. This information could have been mapped by leaving these markings. Also the movements and quantity of availability of game – marked in codes known only to the other members of the tribe. This would account for animal depictions seen in some of the earliest paintings.
To some extent there would have been a link to the spiritual side of the existence for the tribe. In as much as these stencils and paintings were a description of their outer world – they would have undoubtedly been also a representation of the inner world. Perhaps visions of prey, hunting and actual places or event were depicted as the same reality. For our ancestors there was no little or no separation from the spirit; very different from our postmodernist approach of seeing spiritual practice as something separate from the rest of your life. Early man would have lived in accordance with the spirit – an existence uncorrupted and undivided by the passage of time.
So knowing where your friends family and allies were – would been an essential strategy for survival. I have no doubt – that this ritual became quite a developed science and subsequently an “art”, to the people of the Neolithic period. It would have developed alongside the growth and development of their civilisation. Bringing in more elements of ritualistic practice into sacred space. Making it more a representation of the abstract rather than the physical world. The need to map the outer world becoming less important over time as the balance tipped towards the metaphysical, as man’s success was assured.
But for the early ancestors looking to the stars for guidance – was also a cause and inspiration for how they decorated their world – perhaps they imagined messages from the gods written into the code of the celestial bodies and mapped the heavens as a direct guidance for their well-being and development too.
~ Toltec Warrior
“All I can say to you is that a warrior is never available; never is he standing in the road waiting to be clobbered. Thus he cuts to a minimum his chances of the unforeseen. What you call accidents are, most of the time, very easy to avoid, except for fools who are living helter-skelter.”
~ Don Juan Matus
The Shaman has no interest in Politics – Politics is a different system, a different matrix… The shaman practices being one with the Earth Matrix and as such has no time for such things. Which is not to say they cannot look and discuss. But when politics encroaches upon the viability of their livelihood this discussion ends and its time for a fight – Other than that, what else is there to consider ! TW
“It is getting dark. The world is very strange at this time of the day. We are very noticeable here and something is coming to us. It may seem to be wind to you, because wind is all you know. Here it comes. Look how it is searching for us. It’s something that hides in the wind and looks like a whorl, a cloud, a mist, a face that twirls around. It moves in a specific direction. It either tumbles or it twirls. A hunter must know all that in order to move correctly.
To believe that the world is only as you think it is, is stupid. The world is a mysterious place. Especially in the twilight. This can follow us. It can make us tired or it might even kill us. At this time of the day, in the twilight, there is no wind. At this time there is only power.
If you would live out here in the wilderness you would know that during the twilight the wind becomes power. A hunter that is worth his salt knows that, and acts accordingly. He uses the twilight and that power hidden in the wind. If it is convenient to him, the hunter hides from the power by covering himself and remaining motionless until the twilight is gone and the power has sealed him into its protection.
The protection of the power seals you like in a cocoon. A hunter can stay out in the open and no puma or coyote or slimy bug could bother him. A mountain lion could come up to the hunters nose and sniff him, and if the hunter does not move, the lion would leave. I can guarantee you that.
If the hunter, on the other hand, wants to be noticed all he has to do is to stand on a hilltop at the time of the twilight and the power will nag him and seek him all night. Therefore, if a hunter wants to travel at night or if he wants to be kept awake he must make himself available to the wind.”
Journey to Ixtlan Carlos Castaneda
“Therein lies the secret of great hunters. To be available and unavailable at the precise turn of the road.
You must learn to become deliberately available and unavailable. As your life goes now, you are unwittingly available at all times. To be unavailable does not mean to hide or to be secretive but to be inaccessible. It makes no difference to hide if everyone knows that you are hiding.
We are fools, all of us, and you cannot be different. At one time in my life I, like you, made myself available over and over again until there was nothing of me left for anything except perhaps crying. And that I did, just like yourself.
You must take yourself away. You must retrieve yourself from the middle of the road. Your whole being is there, thus it is of no use to hide; you would only imagine that you are hidden. Being in the middle of the road means that everyone passing by watches your comings and goings.
The art of a hunter is to become inaccessible. To be inaccessible means that you touch the world around you sparingly. You don’t expose yourself to the power of the wind unless it is mandatory. You don’t use and squeeze people until they have shriveled to nothing, especially the people you love.
To be unavailable means that you deliberately avoid exhausting yourself and others. It means that you are not hungry and desperate.
A hunter knows he will lure game into his traps over and over again, so he doesn’t worry. To worry is to become accessible, unwittingly accessible. And once you worry you cling to anything out of desperation; and once you cling you are bound to get exhausted or to exhaust whoever or whatever you are clinging to.
I’ve told you already that to be inaccessible does not mean to hide or to be secretive. It doesn’t mean that you cannot deal with people either. A hunter uses his world sparingly and with tenderness regardless of whether the world might be things, or plants, or animals, or people, or power. A hunter deals intimately with his world and yet he is inaccessible to that same world. He is inaccessible because he’s not squeezing his world out of shape. He taps it lightly, stays for as long as he needs to, and then swiftly moves away leaving hardly a mark.”
‘Journey to Ixtlan’ by Carlos Castaneda
A warrior hesitates by means of strategic necessity ~ knowing that he must retain his awareness through sobriety and detachment – in order to regain his balance and to determine his direction ~ a warrior considers the path with heart…