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LABYRINTHS & REINCARNATION
(90 minutes)

One of the oldest occult symbols on earth, the Labyrinth was once the principle vehicle of mystical celebration. In "LABYRINTHS & REINCARNATION" you will enter the ancient world of the religious dance of mystical at-one-ment, the oldest celebration on Earth. The myths of antiquity encode the story of entheogenic re-birthing ceremonies practiced in ancient Labyrinths. The true history of the Labyrinth, from ancient Siberia to the labyrinth dances of the medieval period, is explored in all of its true esoteric glory. This is the portal to the world of the ancient Hieros Gamos, the alchemical marriage of incarnation.

Anthropologist John Layard triggered interest in the Melanesian sand designs of Malekula (the largest island in the Vanautu chain of islands in Melanesia) with his discoveries in the early 20th century.
“Melanesian† sand drawings and associated myths had an uncanny resemblance to the labyrinth patterns and associated myths found in Crete, Central Africa, Scandinavia, Ireland and Scotland. It was the complex of parallels — not just similarity in diagrams — that was intriguing. For some still-poorly understood reason, megalithic cultures (roughly 1000 – 300 B.C.E) seem to have settled on the labyrinth as the key to the spiritual control of thresholds.”
Consider this example taken from the research of British anthropologist John Layard. The "tic-tac-toe" figure on the left is from Malekula; the one of the right is a tattoo pattern from Tamil Nadu (southern India). Layard thought the Tamil Nadu design "technologically degraded" as compared to the one from Malekula; the latter is a true maze, is produced by a single line and looks more complicated on the whole. The object on the left is from Malekula; the one on the right is the "pavitram" kolam. The two figures are curiously similar. It’s as if one figure is a remembered version of the other. The connection between kolams and Malekula sand-figures was not noticed by Layard (who was unaware of the existence of kolams), but by F. A. Richards. The latter had heard about the Malekulan figures at a meeting of the Cambridge Anthropological Club in 1927; he immediately sent Layard two Indian books filled with kolam diagrams. Also at that meeting was an Indian lady, one Mrs. Gnana Durai. In her words:

“The mind ‘sees’ the infinitely small fundaments structure of the aetheric fabric, projecting it into a visual play of fluid geometric ‘form geometry’, which underlays other visual data interpreted from the eyes. This fluid geometric filter alters the visual information being fed to the brain, by the eyes, and as our brains interpret the imagery we see with our eyes, underlaid by this form geometry, this has often interpreted as a burring (heat waves) or melting illusion. The heat rising off a desert, which distorts what we see in the distance, is commonly experienced visual analogy."
“The mind ‘sees’ the infinitely small fundaments structure of the aetheric fabric, projecting it into a visual play of fluid geometric ‘form geometry’, which underlays other visual data interpreted from the eyes. This fluid geometric filter alters the visual information being fed to the brain, by the eyes, and as our brains interpret the imagery we see with our eyes, underlaid by this form geometry, this has often interpreted as a burring (heat waves) or melting illusion. The heat rising off a desert, which distorts what we see in the distance, is commonly experienced visual analogy."
The incarnating consciousness is subjected to the aetheric medium as it enters into a body. The ancient rebirthing ceremonies (endogenic ego-dissolution experiences, often associated with sensory deprivation), such as the ancient gnostic-Christian tradition of the “baptism of fire,” all refer to these same experiences. Those entering back into the physical body, experience their mind/spirit following the ‘crooked paths’ (Thoth) of the labyrinth of aetheric consciousness, as they drop back into their bodies. Because they were not dead prior to this experience, they recall the experiences. For this reason the symbol of the gammadion (we prefer tetraskellion) is the single, globally recognized symbol ,of the re-birthing rituals of the ancients. This symbol records the human experience of our ancestors and they voyages to inner space, as remembered through the oldest religious ceremony on earth, the labyrinth dance.

This dance of rebirth is also linked to the alchemical wedding, or Hieros Gamos (Greek). Hence, we should not be surprised to find this connection was retained in the mythos of ancient cultures who were separated by the devolutionary decay of modern ideas and secular practices, those that replaced the earlier, cosmic religious mindset of archaic times.

As more evidence for these claims, we invite the note what these diagrams represent to their respective cultures. In Malekula, the sand-diagrams represent labyrinths marking the boundary between the end of one life and the beginning of the next.

Join us at Tetraskele for the first esoterically insightful overview at the mythos of the labyrinth in modern times. Learn to understand the very process of re-birthing, and what the ancients knew concerning life, death, and the world between. Join us for LABYRINTHS & REINCARNATION, another mind-bending occult seminar from your friends at Tetraskele, inc.
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