Monthly Archives: December 2016

Hopi Qawinaq: Our People the Hopi

In March 2016 Maya Daykeeper Apab’yan Tew was sponsored by Kenosis Spirit Keepers as a guest on the spiritual travel program on Hopi. He was quite taken with his experience there and just sent me his thoughts. I want to share them here to show just little difference there is between any of us at the core level.

Apab'yan Tew

Maya Daykeeper Apab’yan Tew communicating to Hopi Land through his flute, March 2016.

There has been always a problem to determine what is Mesoamerica as such.  A territory? A cultural frame? A shared philosophy between related languages? Is it an absurd idea coming from a researcher’s desk? Maybe it’s just the obsession to try to classify everything!

When eating corn,  beans and chilis in the house of a friend, I feel no distance in my heart. Moenkopi, deep in what is now the modern United States, is ⏤for me⏤the town next to where I come from. But what am I saying? I’m from Guatemala! Let me say something: I no longer care about classification. The Hopi people are also my people.

We speak same way about the wind, the water, the air. We treat the bird, the snake, the rainbow, the rain…with respect. The living and the dead. Nobody knows where the link begins for us although Hopi elders retain their oral history about that. I believe what they say! Now, I ask my own elders: Did our brothers…some brothers…go to live far to the north?

I’m waiting for answers. And I will tell you what it is said here in my heart: It will come that we are the same people. Beloved and respected elders will speak  to us all again.

⏤Apab’yan Tew

Join us for our March 15-21, 2017 Spiritual Travel to Hopi: Sacred Guardians of the World to experience what Tat Apab’yan relays here.

Categories: Global Consciousness, Hopi, Indigenous Wisdom, Maya | Tags: , , | 1 Comment

Film Review: Accordions Rising

My favorite type of novel is when an author takes obscure subject matter or a little known historical occurrence then expands upon it, slipping in a perspective to make entertaining reading. I gain knowledge in an area where I had little or none without the drudge of academic study, all in the midst of pleasure.

That’s how I felt when I stumbled upon the films of Roberta Cantow. Earlier I reviewed Clotheslines. Now she’s just released Accordions Rising. Originally, I wasn’t necessarily attracted but remembered the unique spin she put on Clotheslines, which was really a statement on the status of women. So I watched the new one and became engaged just as I do with the type of novel I mentioned.

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This filmmaker moves you well beyond the instrument’s association with street vendors, Lawrence Welk and the polka to its surprising—for me—modern-day use in orchestral, experimental, jazz and ambient music. And history? How about accordion during rituals of Vodou’s Marie Laveau? Beyond the music itself, she features the accordionists giving voice  on how they came to their instrument. These are the kind of stories I personally love, plus all the examples of its role in traditions across the world. Then there’s the power of the accordion that you can hear throughout the film. Depending on the focus of the musician, it can take you on an emotional ride. And I guarantee you’ll be tapping your foot.

I was curious as to what drew Roberta to undertake all the intense research, time and other investments a documentary requires to do well…for something so unpopular. So I wrote to her and asked. I learned as much from her answer as I did from the film. I’m sharing a bit with you here.

 Let me start with this: The accordion, I have come to understand, is far less ‘obscure to mainstream’ than one might think. In fact, although I was not able to include all of these examples due to licensing issues, the list of musicians that play or include accordions is quite long. All with names that are familiar: Beatles, Bruce Springsteen, Tom Waits, etc.  The instrument was simply not foregrounded. It certainly did fall out of favor at one time, but there has been a resurgence for the last 20-30 years.

When I began, my knowledge of the instrument was thin. I had enjoyed a set of disks called Planet Squeezebox going all the way back to the late 80’s, the accordion in every corner of the world. In the 90’s I started seeing photographs and graphic images that piqued my interest. I attended the San Antonio International Accordion Festival, and it was as if I were lit up. I loved that it had a home in so many different cultures and styles of playing. I thought that it reflected the diversity in our culture (and our world) today. I was also extremely intrigued with the people who were using the accordion differently and unexpectedly in new music and avant-garde forms. My eyes were opened wide to the versatility and various passions of the players. I felt that it didn’t deserve to be ‘maligned’ the way it was, so I set out to set the record straight. I begin the film with these words…. ‘I have often been drawn to the misunderstood….’ and that is true of the subjects of many of my films.

With both of Roberta Cantow’s films I’ve seen thus far, a major take-away: When you think you know something—if you take it at face value—you don’t know anything.

If you have Amazon Prime, you can see it for free or $2.99 otherwise. And tell her what you think in the rating and reviews section.

Categories: Creativity Strategies, cultural interests, Film Review | Tags: , , | Leave a comment

Thomas Hatathli: The Everyday Life of a Diné Medicine Man, Part II

At the end of the evening introduction to sacred Diné ways, Thomas Hatathli talked briefly about the Blessingway Ceremony he would offer the next day. He spoke of it as a cleansing, a restoration to full health, life-affirming choices and connection to all beings. Through song and prayer the ritual would provide a channel for healing.

I stood and asked Thomas if there was a way we all could best prepare and be ready for the next day’s ceremony. He said simply, “Just be you.”

I waited until he was free, then talked to Thomas privately. “I asked that question for myself. I’ve just returned from Peru. I was in a Q’ero village where I have relationships and learned of a death. I think I’m carrying a lot of grief.” I told him only that.

During time in the village in my role of group leader, I wasn’t able to really process the tragic story I’d been told of a young mother’s sudden, recent death and the devastating effect I witnessed on the dad and very young ones she left behind. Ever since, images had continually played in my mind of the event I never saw—haunting me. I couldn’t shake them, and I was experiencing a physical impact that was getting worse.

He gazed directly into my eyes. Perhaps beyond me, too. “Do you want to be my patient tomorrow?”

I wasn’t expecting this explicit invitation. I nodded yes.

“Then sit beside me tomorrow.” He asked no questions, nothing causing me to replay the painful moments.

The next day we gathered again at North Mountain Visitor Center, which backs up to the Phoenix Mountain Preserve. I found Thomas outside at the small amphitheater that opened to the land, already preparing himself.  He said this round place was a good one. At home he holds ceremonies in a hogan.

As he’d asked, I sat next to him. Others assembled in a loose circle. He took a small rug and woven cloth from a bag and laid both on the ground in front of him, one on top of the other. As he readied the space, he spoke about the turning basket he placed in the middle, the significance of the circle around its perimeter. There was a break in the circle where anything that was not life-affirming could be released to the east. He noted that some patients were afraid to let go and needed encouragement. He’d made sure to place the turning basket with its break to the east, the same as a hogan’s doorway.

Turning basket

Example of a turning basket.

Thomas inherited this turning basket from his grandfather who was a medicine man. It had to be over a hundred years old. I could only imagine how many ceremonies it had seen and the power it held. Even as the formal ceremony had yet to begin, I felt its energy reaching for us. We all were invited to place items—sacred bundles, jewelry, stones—in the turning basket; the purpose to represent each of us in this ritual, to clear any traumas or aspect out of balance.

Thomas talked about the sequence of ancient songs he would sing, the meaning of each one. The Mountain Song would come first, calling in the benevolent spirits of sacred mountains to provide protection and healing. Next would come the song he sang for himself, asking for the strength and capabilities required to sing the songs and make the prayers. The Bluebird Song was one to bring in happiness. The Returning Home Song was about returning home, to the natural order, coming home to your true Self. The prayers would come next, twelve of them.

When Thomas began to sing I closed my eyes. Before long I was lost to this world and entered the landscape this Chanter was weaving. Somewhere in there a thought swam up. I’ve heard this before. It sounds so familiar. I grasped to make the connection but couldn’t and surrendered again, letting the songs take me. At points periodically I experienced a lifting sensation as though leaving my body and thought it would fall over backwards. Somehow I remained upright. Every now and then my ears popped.

As the last song ended, I opened my eyes and knew how the songs were known to me. Icaros. Just a few weeks before I’d been with Don Alberto Manqueriapa, a respected Huachipaeri-Matsigenga spiritual leader, again in Peru as he sang the icaros during the rainforest rituals that hold the same intent of the Blessingway Ceremony. A return to the natural order. They couldn’t be the same language. Yet they were. And they held the same frequencies. They were drawn from the same place.

Thomas handed me the feathered female medicine stick to hold in my left hand and a small deerskin bundle that held dirt from the Sacred Mountain for my right hand.  As I received them extraordinary energy washed over me and I knew their power, recognized how many people had held them as I was now. The Blessingway prayers began, a continual chant until complete.

He directed me to press the medicine stick and bundle up and down both legs, then the rest of my body. Pressing them to my face would cleanse the senses and perception. To my head, purified the mind.

Thomas went to the fire made earlier and threw herbs upon the flames, a further prayer for happiness and blessings. We all went up and made an offering of corn meal. The Blessingway Ceremony came to a close.

Post Blessingway Ceremony

Post Blessingway Ceremony.

I remained seated outside for some time while others drifted back inside where we would share a meal. I didn’t trust my ability to walk. I wasn’t yet fully back in the material world. And I was assessing my state. I felt different, as though something had lifted. I was much lighter.

Three hours had passed as though mere minutes. We’d been encapsulated in a timeless bubble as the world around us went on. A short distance away people were on the preserve’s hiking trails. The parking lot had been full. I’d heard nothing but the cadence of Thomas’ words moving on the air. I felt nothing but the energy coursing through my body, taking me somewhere, and only a slight warmth from the sun. Not its increasing strength as it followed its path across the sky.

Naomi Tsosie had stayed behind, too. During the ceremony, she and a few other Diné women who were present sang softly, barely a beat behind Thomas. I later learned that these echoes are sustenance to the Chanter providing strength for them to continue, sometimes many hours or even days depending on the need.

Naomi came over to me. She gave me a sacred gift that I will always treasure. I understand the meaning. I only wish I hadn’t been so altered and could have expressed adequately how her action and kind words truly touched my heart.

Thomas knows over 500 hundred songs. He retains them in his mind, passed to him orally, not to be written down. Each having their own purpose to be drawn upon depending on the needs of the patient.

That day we experienced an abbreviated version of the Blessingway Ceremony by necessity of the circumstances. I truly get how this is a way of healing. It has had a lasting effect on my state of being, emotionally and physically.

Thomas’ level of impeccability—the care in which he spoke his words, the seamless way I absorbed their deeper meaning, how I felt the medicine he delivered—is a rarity. He would never say so himself…but I believe we were in the presence of a true Holy Man.

 ***

This is Part Two of a two-part article. To read Part One, go here.

To learn more on the Blessingway Ceremony, go here.

I wish to acknowledge Ruth Harrison, Kimberly Ewing, Nathan Shannon and Norm Meier who were present and contributed their memories of our time with Thomas, filling in where my own memory gapped.

Categories: Gratitude, Healing, Indigenous Wisdom, Uncategorized | Tags: , , , | 2 Comments

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