Reflexive Perspective: Turkish Oil Wrestling

Here is something I wrote a while back. This was based on wrestling. It was something I started, but this will be a part of Reflexivity for grappling is an art form in culture. Enjoy the read and the videos. i hope you like it.

Grappler's Quest: Turkey  
History & Analysis of Yagli Gures

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FRENCH
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JAPANESE

The sport of wrestling is a national sport in Turkey, which represents its history and its culture in every shape and form of Turkish culture. This year's 2011 World Wrestling Championships in Freestyle and Greco-Roman wrestling will be held in Istanbul on September 12 - September 18. There will be men and women from countries all over the world to compete for the prize of being a world champion in the three different style (Women only compete in freestyle while the men compete in Freestyle and Greco-Roman) and a chance to compete in the Olympics. This year's tournament will determine the wrestlers who will compete in the Olympics. The video promo below is what the host country of Turkey will provide for the competitors in Istanbul this coming September. Too note: The 2012 Olympics will be held in London, which is only 2496 Kilometers from Istanbul (about 1551 Miles).

HISTORY

The sport of "oil wrestling (a.k.a. Yagli Gures)," camel wrestling, and Olympic wrestling (Freestyle & Greco-Roman) are the disciplines practiced in Turkey. The Kirkpinar Yagli Gures is held annually in late June to early July in a town called Kirkpinar near the city of Edirne, Turkey (which is about 250 km west of Istanbul); long ago, the city of Edirne was the hub of the Ottoman empire, which borders Bulgaria and Greece. 

There are many stories surrounded around when the sport started in Turkey. For instance, the sport of Yagli Gures traces back to 2650 B.C. in Egypt and Assyria. As techniques and styles were developed by the many different Turkish ethnic groups traveling in and out of Turkey from Central Asia to Western Asia-Anatolia; the introduction of  the olive oil and leather clothing Kispet (hand-made leather pants required for this style of wrestling) was brought by the Seljuk turkas who conquered Anatolia. Thus, the style of Yagli Gures was permanently affixed to Turkish culture.

This story behind how this annual tournament began in Kirkpinar; again my research led me to this online article about Yagli Gures entitled, "Beauty and the Brawn" from an Hong Kong Student "English-only" publication called "The Standard." This article dates back to September 16, 2006. In this article, here is what was written:

[In]1360 when Suleyman, grandson of Osman Gazi - founder of the Ottoman Empire - returned with 40 of his troops from a successful battle to capture Rumelia. En route back to Constantinople (Istanbul), they rested overnight at Samona, now part of Greece. 

As burly warriors did in those days, they wrestled to pass the time, fighting in pairs on a "winner stays on" basis. The final two were clinched in a fight for hours, as conceding even in a friendly grapple was as dishonorable as retreat during war. It was a long drawn-out affair and eventually even their mates drifted off to sleep.

But when they awoke the next morning, they were shocked to discover that both men had died in a deathly embrace while fighting. As wrestling is deemed to be the perfect preparation for battle and, therefore, honoring Allah, they were considered as martyrs and buried on the spot.

One year later, their friends returned to the spot to pay their respects and were astonished to find that 40 freshwater springs had appeared in the meadow where the graves should have been.

They named the area Kirkpinar - Turkish for 40 springs. After Edirne was conquered in 1361, wrestling was performed annually to honor the two wrestlers, making it arguably the longest-running annual sporting event in the world.

This story is the heart and soul of the sport in Turkey. The existence of Yagli Gures in Turkey is a sport that traces back in history of the culture's existence from Central Asia to Western Asia to Anatolia to Africa and parts of Europe during the Ottoman empire rule. Too note, Yagli Gures remains as one of the oldest running sporting competitions in the world, today. However, what is Yagli Gures?

ANALYSIS

System of Yagli Gures

 

Yaglis Gures is a wrestling system that is based on the domination of an opponent. The matches between the pehlivans (competing wrestler  in different categories) had no time limits until 1975. In 1975, there was an time limit added for the baspehlivans (head wrestler) matches that are limited to 40 minutes; if  no winner is declared within the 40 minute time limit, then the wrestlers continue for an additional 7 minutes with scores recorded. Whoever can score the most points in this extra 7 minutes will be declared a winner, but if, no point is scored then there will be a sudden death-type match "golden point." For the other pehlivan weight categories, the time limit is 30 minutes, and the same rules apply as the baspehlivans, when there are no points scored in the 30 minute and in the extra 7 minute period, then a "golden point" match will decide the winner.

Uniform

The pehlivans are required to wear a kispet, and are covered in olive oil from head to toe. Once dressed and dosed in olive oil, the pehlivans take to the field in a large stadium in Kirkpinar in a ritual dance, similar to what Mongolians and Japanese wrestlers do as pre- and post-match ritual dances. These ritualistic movements are warm-ups prior to pehlivan's match.

 

Furthermore, an interesting theory of the olive oil covering the pehlivans bodies date back to the fall of Roman Empire. According to English philosopher Bertrand Russell, there was a spread of malaria that cause the fall of the Roman Empire; he speculated that: 

  

The principal cause of this was an infestation of mosquitoes carrying malaria. To live at sea level during those times was considered a death wish. Many different remedies were utilized to combat against these mosquitoes infestations. However, the people of Anatolia would apply oils to their body for protection from these mosquitoes thus, the style and the art of Turkish oil wrestling was born.

 
Regardless of Bertrand's story-theory, there is still the lingering question of why the pehlivans rub olive oil on each other prior to there matches? What if, there is any culture or spiritual significance to this pre-pehlivan match ritual?

Tekke

During the Ottoman Empire, wrestlers were trained in a Tekke, which is schools where pehlivans learn the art and the philosophies of the sport of Yagli Gures. The training was in wrestling technique, and in character building a pehlivan must develop while they compete and aren't competing in a way as to represent the way of Yagli Gures. The basic understanding of Yagli Gures is that a man must find harmony and balance inside and outside of competition; henceforth, the oil rubbing ritual prior to the competition symbolizes the mutual respect and balance, which fortify that in Yagli Gures, "man is not just matter, but is a spirit."

Before these pehlivan compete at Kirkpinar, they compete in other competitions prior to the major festival event at Kirkpinar. The referees, at these various competitions, will study each and every pehlivan's techniques, so that they can categorize them into certain groups, not weight categories. For your information, the traditional pehlivan will have an apprentice (criak) to train with until they retire from "the arena of the brave" then the apprentice will take their master's place in competition.

Prizes & Titles

The winning pehlivan at the annual tournament in Kirkpinar in the baspehlivan (head wrestler) group receives a cash prize of $14,000 Turkish Lira (which is roughly over USD $8,622.54 ) and a giant gold medal; yet, the increasing popularity of the Yagli Gures (second to football) in Turkey has made it a lucrative sport. A good pehlivan could earn $4,870,950 Turkish Lira a year (US $3 million).

The funding, cash prizes for the Kirkpinar tournament are provided by a bank or municipality (mainly Edirne Belediye) . But, the Aga (usually a wealthy landowner) will provide sponsorship and prize money for the tournament through the municipality. On the final day of the festival, there is a bidding war over the symbolic Ram attended by Agas from all over Turkey. The Aga are dressed in the ancient Ottoman outfits with a sword, knee-high boots, and a fancy embroided jacket.The highest bidding Aga will become the number one sponsor for next year's tournament. This Aga will welcome guest and house them at a hotel, have a big feast, and organize the festival. In addition, the Aga in Edirne has the decision making power to stop matches, disqualify pehlivans, and cancel the event if Aga deem it as necessary.

My Conclusion

I have gained more of an understanding of the sport from a Turkish culture perspective in my own journey as a grappler while studying the various cultures and styles practiced in the world. There exist this intrinsic code of conduct and lifestyle that attracts the pehlivan to their sport of Yagli Gures. All these men, young and old, are participating in a sport rich in the roots of Turkey, and staining every root in the grass fields of Turkey with the blood, sweat, and tears of the past pehlivan heroines of Yagli Gures. 

This ancient art of combat that has traveled from various Turkish cultures to its central Mecca in Kirkpinar; this combat requires its combatant to be bathed in oil with his fellow opponent in a baptism of chivalrous, rivalry, and superioity in the human spirit to be forge onto the very ground, grass fields of mother earth. Where every man who walks the field before a match a pehlivan touches their hand to the ground an back to their forehead as a blessing to the earth in respect for providing them with the resources necessary to grant them the strength and the vigor to compete in Yagli Gures on this very arena.

When the opportunity arrives for me to travel, to witness, to experience, and to take in every morsel of this cultural experience of Yagli Gures tournament in Kirkpinar. It will be, as if, I have become a part of history and gain a deeper perspective on my goal, my quest, and my vision as a wrestler. I have studied some videos of the unorthodox techniques performed in Yagli Gures by pehlivans young and old. There are some similarities to American folk style, Freestyle, and Greco-Roman styles of wrestling. Also, I see there are parts of sambo or judo that have range in their technical system.

The discipline instilled in each pehlivan is the goal any grappler in any discipline should aspire to. The accolades will be provided as time grows with the cultivation of skill, of will, and of spiel. For many centuries, and numerous decades this sport has existed and continued competitions without fail in its country of Turkey. Thus, stapling the power that it hold in Turkish culture with the Turkish people. I hope to have a heart, a soul, and a character as solid and as strong as these pehlivans who battle on the grass fields and stadiums in Turkey every day of their lives from youth until retirement. A life without the grass field is a life lost in Turkish Yagli Gures; yet, the grass fields and stadium in Kirkpinar will forever live on as the crowds anticipate and the pehlivan escalate unto the grass fields; so will the growth of the history of Yagli Gures remain in Turkey as a document to the strength of culture in a world dying in cultural validity.

FOOTAGE OF YAGLI GURES 2012

Reflexive Perspective: Illuminations - Sufi Rituals

Reflexive Perspective:

Sufi Rituals in Harar

A Film By Vincent Moon

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 SUFISM: What is it?

In the book Sufism: Message of Brotherhood, Harmony, and Hope they describe the following, "A Sufi is one who conceives of life as an experience in eternity-one who holds that the soul, even in life, can unite with the Divine." Thus,the Sufi Rituals in the city of Harar in Ethiopia holds an importance in stabling their community. The message behind these ascetic practices of the Sufi are to find a commune with God as a pure Being, and the with Self as a living being of these spiritual practices.

Furthermore, the word Sufi (or Sufism) has a myriad of definitions, but from the book Islamic Thought, An Introduction, they define Sufi as, "one who embraces those tendencies in Islam, which aim at direct communion between God and Man." Too add, the training of a Sufi is one of a 'traveling path,' while on this path, one is to shed their Self of the former personality or being they once harbored. In doing so, one would gain a betterment of the Self, and this would aid in a betterment of the community one resides, in accord, with their communion with GOD.

The video below will emphasis the point I have conveyed, the experience one must live, and the example of what it takes to find this spiritual communion with GOD and the Self in the practice of Sufism in Harar, Ethiopia.

NOW ETHIOPIA •• ∆ ••• ILLUMINATIONS ••• ∆ •• (((ብርሃን))) from Vincent Moon / Petites Planètes on Vimeo.

I would also like to point out that the Sufi ascetics have extreme ascetic practices and beliefs. Of these five basic beliefs, one them was displayed in this video such as: spending much time in prayer and recitation of the Qur'an as a means of drawing near to God, as well as prayer in the form of remembrance of GOD (dhikr).

These practices are to guide the Sufi in their path to renunciation of the world from it daily pleasures, and desires that would lead a one into total disillusionment. The virtues of patience, poverty, and resignation must guide the Sufi into that closeness of the Self and Allah (GOD).

PROJECTION

I would like to point out how this video pinpoint what I consider "isotoric." As I have defined, the isotoric is 'an equitable quality the Self contains in a moment of immersed euphoria, whether active or inactive, in any present space or time.' The Sufis are sharing a quality of ascetic practices in vocal recitations from the scriptures of the Qur'an (Koran). This same quality is practiced amongst Buddhist monks while they recite mantras from the Buddhist scriptures of China, Japan, Tibet, Nepal, and Thailand, etc. 

This recitation of scripture, use of the drum, and eating the Khat, all share a commonality to what Native Americans practice during vision trances; henceforth, whatever culture around the world me may travel, there is always a gathering of sorts. The emphasis of these gathering is to have a communion with the Self and GOD. This holy-trinity-tribunal-of-sorts, focus on their community, should render certain information and guidance from the spirits (GOD) to bless them where they reside and the environment they inhibit. 

Even in a retrogressive community such as Harar, Ethiopia, there is this understanding that we must focus on the Self, and rid ourselves of the manifestation that keeps us prisoner; yet, this gathering is to teach us that life doesn't stop at just one communion for this must be a habit, a habitual progression of the Self, in order, to better the culture and the environments we all may roam and/or reside.

 MERCI POUR LE VINCENT MOON,

VOYAGE DANS L'INCONNU
JUSQU'À CE QUE LE FILM NEXT, 

AUSSI LONGTEMPS!

REFLEXIVITY TERM

Isotoric: Is an equitable quality the Self contains in a moment of immersed euphoria, whether active or inactive, in any present space or time.

REFERENCES

Nasrollah S., F., Faramarz S., F., & Fariborz S., F. (1976). Sufism: Message of brotherhood, harmony, and hope. (1st ed.). London, UK: A.S. Barnes and Co., Inc.

Saeed, A. (2006). Islamic thought, an introduction. New York: Taylor & Francis.

Reflexive Perspective: Tewahido Fasika

Reflexive Perspective:  

 TEWAHIDO FASIKA  

a film by Vincent Moon
 FRENCH

JAPANESE

I was on Facebook this Sunday morning checking my feed. I noticed there was another one of Vincent Moon's films in the feed. I figure I would take a peek at what Vincent has created, and to my surprise this was another masterpiece from Monsieur Vincent! Qui, grand travail (with a French Accent)!

While watching this film, a light bulb lite in my mind; I came up with this keen idea to provide a little historical commentary of what the film represents in culture's environment. So, I am about quickly research the film's ritual history.

However, here is the film that I watched. It's entitled, "Tewahido Fasika." It's only 15 minutes long, but what a wonderful piece of cinematic work captured by Vincent during this Easter Sunday Ritual in Ethiopia.

NOW ETHIOPIA •†•†• TEWAHEDO FASIKA •†•†• (((ፋሲካ))) from Vincent Moon / Petites Planètes on Vimeo.

HISTORY

The Fasika is an festival-holiday celebrating the resurrection of Jesus. In Ethiopia, this Fasika has been a longstanding holiday with the Ethiopian Orthodox Tewahido Church. This celebration of Easter marks the calculation of the Western Cultures celebration of Easter, also. Yet, Fasika is a much more significant holiday than Christmas in Ethiopia Orthodox for the resurrection of Christ plays a prudent in role in their theology.

Also, Fasika practice a 56-day fasting, which intensifies their ritual experience; this includes on eating of animal products or meat of any kind (this includes no butter, eggs, or drinking milk). The strict measures of this diet is includes the practitioner eats one meal of vegetables and lentils during the fasting period.

Thus, Good Friday starts off by people attending church, in order, to break the long fast. Attached to this, the faithful congregation will do ceaseless bowing that renders one exhausted in energy. On Saturday night, there is the  Paschal Vigil that has hours of dancing and music into the early morning hours.

At 3:00 am, everyone returns home to prepare breaking the fast.  At about midnight, a chicken is slaughtered in symbolism of the celebration. On Sunday morning, a sheep is slaughtered for the Sunday morning feast.

This slaughtering of the sheep derives from a foreshadowed testament of the Old Testament: Genesis 22. There is the story of Abraham's near sacrifice of his song, which was replaced with a sheep that was sent from the heaven as a substitute for sacrificing his son.

Furthermore, this celebration of Easter in Ethiopia is represent Christ 40 days and 40 nights. The celebration is attached with people having food and locally-brewed alcohol that includes honey.

Just too note, there is a second Fasika which is celebrated, unofficially, during the following week.

PROJECTION 

This cultural celebration from Ethiopia represents the very nature of religious practices all over the world. The hold a significant power over the town or city they reside. This practice is what keeps the tides in this country strong. Furthermore, this represents how the practices done in Ethiopia is no different than the practice of Orthodox Christianity here in the states, Europe or Latin America, etc.

Also, you can accompany the processes of acculturation, enculturation and coculturation (Check out my coculturation blog to explain more) as to what this film represents when the filmmaker, Vincent Moon, accomplishes with his camera, the illusive mechanized iris he carries on his shoulders.

So, if you meet an Ethiopian who tells you stories of how they practiced Easter Sunday, which include rituals of lit candles, dancing, and music in the wee hours of the night; that would follow a sacrificing of a chicken and lamb. You better believe this is the whole truth, and nothing more.

I am glad Vincent made this film. I remember in my interview with him: Reflexive Process: Interview; Vincent mentioned his trip to Ethiopia. This was one of the creations of that trip. This man is on a mission. I just want to share in the fruition of his works and travels. Once again, Vincent Moon represents Filmmaking culture in its majesty. 

Merci, encore une fois Vincent Moon; pour ce film.

La paix!

REFLEXIVITY PHRASE

Coculturation: is the process of acculturation and enculturation by influencing, an individual or a group with initiation into a culture based on their beliefs, attitudes, creeds, politics, and social rules while existing in that culture's environment."

REFERENCES

Fasika. (2013, March 01). Retrieved from http://en.wikipedia.org/wiki/Fasika 

Abeba tours ethiopia-festivals & holidays. (2009-2013). Retrieved from http://www.abebatoursethiopia.com/es/node/64

Asceticism Part 2: Physiological

Asceticism Part 2: Physiological

 According to the Taoist teachings of China, the radiant energy of the cosmos is concentrated within the body of men in the form of a spiritual essence. - The Astral Body, Benjamin Walker p. 50
 

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FRENCH

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Where does physiological apply in asceticism?

The human body is an enigmatic projection of its own sovereignty.This quality humans contain within themselves is a inquisition we should consider in dire objectivity. The means to ascertain this "soulful" treasure is something that can be compromised by monetary commerce or adorned on a t-shirt. This process is a cyclical advancement in Reflexivity.This advancement is an achievement of the "Self;" this self, I discuss, is representative of one's own 'soul.'

The ascetic techniques to gain this power is what i will discuss in this blog. I want to emphasis this as a "Diet." This "Diet" should be a perpetual, steady process of unveiling and procuring the 'Self" with knowledge, nourishment, and vitality in the body-mind-spirit aspects of ascetic practices.

Mind you all, I live in a Western culture, however, I will have the word "Diet" represent a nuance, refreshment, a progression in detachment. I wish for this blog to implement the enlightenment of one's "Self" through techniques of detaching one from habitual practices that have de-allowed health in mind-body-spirit.

Henceforth, I will discuss information from a couple of sources based: the seven Chakras,  the astral body (auras), and the Tibetan Book of the Dead. All these source will focus upon ascetic practices in reference to the body-mind-spirit; this cohesion in the vessel will propagate the very things that the physiological science invest in educating the masses in health of mind-body-spirit. The human body is a vessel of conscious and unconscious qualities that produces quantities of sovereign matter.Now,  let's see what qualities, in matter of the vessel, we will find resources for ourselves and the environments we reside.

Before I begin this inquisition, let's take a trip back for just a minute or two. For instance, have some of you read Reflexive Thought #11.  I wrote this about a couple months ago, last year to be exact. In this blog, I introduced a term "the Pleasure Ion." As I defined, the Pleasure Ion is the developing elation the body cultivates from the spiritual energy within; an energy that is procure from physicality within the human body from either an conscious or an unconscious euphoria.

Too add, I mentioned the three derivatives of obtaining the Pleasure Ion - these derivative are in pursuit of what would represent a "life force" or "euphoria;" they are:

• Mind (Synergetic) - the active state of imagination projecting the will of one's quality in existence within the vessel.
• Body (Kinetic) - the active motion in physical exercises and physical therapy of the vessel from the use of energy within.
  
• Spirit (Cardiotic) - the active respiration of the breath cycling throughout the vessel in a continual process of surplus-storage of energy within.
  

The application of these three derivatives will bring into fruition the qualities the vessel contains within. This discovery of the Self,  while resident on the earth, is the unique embodiment of the Pleasure Ion.

This minor piece of review should wet the senses just a bit. The Pleasure Ion represent a small icon of what you can discover in ascetic practices of the mind-body-spirit matter. There is another bridge you must cross, in order, to ascertain this wealth of knowledge. This fountain of vitality is awaiting your arrival. If, you want to know how to get there, then you start by reading the information below. This will start the journey on to the path of enlightenment. Shall we begin?

CHAKRA

Chakras are the body's energy stations. These stations are located in seven areas of the human body. Each locations have single function: http://www.chakraenergy.com/chart.html. These Chakras are great suppliers and stores of energy.

The flow of energy in your body is connected to emotional and physical events that result in bodily reactions. Thus, in Hindu and Buddhist tradition thought it is believed that body is contain in two different forms: a physical form and a energy form.

Leaning how to regulate this energy is a basic tenement in aligning the seven energy centers known as Chakras. Practicing simple meditation and yoga technique will allow this alignment to continue its even flow. This alignment will allow you body energy to continually maintain benefits in your physical survival, your sexuality, your ambition, your drive, your feelings of compassion and love, your ability to communicate, your imagination, and spirituality.

Therefore, you should practice different techniques in yoga, meditation, a diet rich in leafy green vegetables, drink plenty of water, drinking herbal teas such as peppermint and sage, chakra or sensual massage, aromatherapy, and writing a journal of your dreams.

THE ASTRAL BODY

 
Gerhard Dorn, an alchemist, expressed the belief that men have in them an invisible substrate unlike anything found in nature that represented their essential selves. "Within the human body," he said, "there is hidden a certain metaphysical substance known only to a very few." (Cavendish (1967), P. 173)

The idea of Chakras is to storage and supply energy in the vessel-we know as the human body. The Astral Body is like a 'fluidic spirit' separate from the physical state of the vessel. The Astral Body represents the non-physical state the body contains in life and in death.

In producing this Astral Body, there are certain exercises you could practice to procure the Astral Body such as: rhythmic breathing, looking inward mentally, and concentrating on the space between your eyes. These same technique are used as warm-up exercises during Hatha Yoga-I remembered these techniques when I practiced Hatha Yoga at SFSU under Instructor CAUGHLAN

These techniques, along with a slough of others, are central to the existence of the Astral Body; also know as "aura." This aura would be more like a vehicle of the soul. It protects the body from invasions of certain creating an imbalance of both forms-this being the physical and astral.

Furthermore, the Astral Body is a shield, protector of the Self, the soul. This form is just as important as the physical form. Anything that penetrates the Astral field into the physical will cause havoc to the balance created by the ascetic practices maintaining health. The importance of Astral Body is just as dire as the alignment of the Chakras.

TIBETAN BOOK OF THE DEAD 
(Below is Part 1 & 2 of the movie by narrated Leonard Cohen based on the Tibetan Book of the Dead)
PART 1

 

PART 2

The Tibetan Book of the Dead offers an ascetic guidance in mythological realms of the Self. The book mentions the Five Elements. These elements are: Fire, Air, Water, Earth, and Ether. These elements are the function essential to the path of Enlightenment and Emancipation , as stated in the Bardo Thodol.

However, the Buddhist view declares there are the Three Buddha Bodies, which are standard analysis of the mind-body-spiritual continuum in attainment of enlightenment-in terms of Reflexivity the projections of the inner state of the Self.

These Three Buddha Bodies are:

• Truth Body: Phase: Death; Sleep-State; Waking Trance.

• Beatific Body: Phase: Between; Dream-State; Waking magic Body.

• Emanation Body: Phase: Life; Waking-State: Waking Gross Body.

These Buddha bodies are attained through ascetic practices of yoga, meditation, and diets consisting of herbal teas, vegetables, and fruits, etc. Thus, you can learn through these concepts how to enter from one state to the next. You will learn how your body can be a guiding tool, an vessel of alchemy.

Also, there is the Body-Mind complex in Tibetan Book of the Dead, which are projected in three forms:

• Gross (the body of the flesh, blood, bone, and other substances that can decode the five main elements).
• Subtle (this roughly correlates to the central nervous system).
• Extremely Subtle (the indestructible crop; tiny energy pattern existing normally in the center of the heart wheel or complex).

This information represents what the vessel can accomplish in a physical-to-non-physical forms. It entails the quality that is contain and the quantity of sovereignty within the vessel.

PROJECTION

All three sources that I choose for this blog are just small in comparison for the number of other things one can practice to achieve this perfection, enlightenment in body-mind-spirit unification. There is so much more you can learn and I hope the information I have provided can help guide some of you in the direction you seek for wherever your journey will take you.

My main function is for any who read this to ascertain these practices, and philosophies as a "Diet" of the Self. Yes, even the soul needs a bit of a tune-up.

These ascetic physiological practices are central to any one's longevity. The answer has always come from within. The solutions have always existed within. The journey has always started from within. There is no substitute for such a phenomenon, the Self. It's unique in its conceptualized existence. If, you choose to live in an ascetic manner you will have to devote your total attention, give your utmost sacrifice, and have complete patience. This is essential in an "Diet;" you must be willing to sacrifice whatever is necessary to ascertain the desired result.

This isn't something that will happen in an instance. The practice from beginning to end will result in what you have given to it. Whether whole-heartedly or half-assed, the result is the projection of your complete attention to detail, to practice, to everything you have provided in this transformation of the Self. If, you have confidence in your ability to ascertain goals this will not be a problem. If, you lack confidence, and want to change your life, this is just the exercise you need to reflex upon in projections. This is the "Diet" you would need to eliminate the body-mind-spirit of its malignancies.

The present is at hand. The opportunity is revealed. The only thing left is to decide: you want to live or do you want to die? This is the first step in asceticism: learning to detach, letting go of the present self in its dysfunction. Yes, non-acceptance of your defeated state. This is a "Diet" of the Self.

This video is Sarah M. Moser. She represents Eclipsism, yet, exemplifies the Pleasure Ion. This exemplifies one of the projections ascertained by this "Diet" of the body-mind-spirit.

Now that we may have a bit clearer understanding of the effective state of asceticism  in the physiological realm, let's pose another inquisition: the psychological. They go hand-in-hand. Therefore, this is the question to consider for the next blog: How does asceticism influence the psychological? Here is something to reflect on until my next blog; the way the mind can develop a sharp outlook on the Self, the culture, and the environment its surround upon daily. What projections would one's psyche gain from this experience?

REFLEXIVITY TERMS

Pleasure Ion: the developing elation the body cultivates from the spiritual energy within; an energy that is procure from physicality within the human body from either an conscious or an unconscious euphoria. 

Projection: is an icon, quality that is ascertained from a reflection; the conclusive detail from an observation of phenomenon or isotoric epsidoes, etc. 

Eclipsism: is the total embodiment of SELF, of culture, and of environment developed by rigor through practice, sacrifice, and study of a physicality, physical discipline, in order, to obtain knowledge and enlightenment via the human body.

REFERENCES

Rosen , B. (2007). A gaia busy person's guide chakras: Finding balance and serenity in everyday life. London, UK: Gaia Books Ltd.

Walker, B. (1977). Beyond the body: The human double & the astral planes. New York City, New York: Routledge & Kegan Paul, Limited.

Thurman, R. (1994). The Tibetan Book of the Dead: Liberation through understanding in the between. New York: Bantam Books.

Reflexive Thought #10 - Isotoric Ebb

Reflexive Thought #10 - Isotoric Ebb

I was on a the Metro Bus 754. I was on my way to Post Office to mail off some  paperwork. I have gained this knack for observing everything in any space I observe. Much like a camera taking film, this endeavor has been quite the exercise in its own right. The view outside my window is rich in images, objects, and activity. It's reflexive of a temperance in the spaces I occupy. These moments explicate the isotoric. Isotoric means "an equitable quality the Self contains in a moment of immersed euphoria, whether active or inactive, in any present space or time." Be advised that the Self could be active or inactive in it's position while in this state.



For instance, this video clip I recorded while riding the bus is to capture this priori, isotoric. I see this woman in comfort while "crocheting." Also, the images of a street corner during a Wednesday morning. I was engulfed in this idea I call isotoric. While recording these images, I remained objective; yet, I noticed how I was able to garner some emotional content contained in these organic splashes of surreality. It was relaxing, peaceful, and serene. This isotoric ebb created a muse from it's intrinsic environmental structure while active in it's present culture.

Endnote

There seem as nothing could broken. Hence, if one wants to excitate their isotoric ability, they must acknowledge the existence of the Self. From this priori, the Self can enhance this capability in an autonomous, fixated, and infused convention. This influx of emotion are derivative of the ego-complex, "the Self." This spark is the introduction to the isotoric existence. A mediation into meditation in space and time.

-Isotoric, the ability in credence and vision

I will have more to discuss about the isotoric phenom and what will represent in Reflexivity (Reflexive Psychology). Also, the meaning behind Panoptism and its relation to the isotoric.

Reflexivity (Reflexive Psychology) term:

Isotoric - an equitable quality the Self contains in a moment of immersed euphoria, whether active or inactive, in any present space or time.

Coculturation & 

Cultural Transformation: 

What more do they 

entail in the observation of culture?

As I stated in the previous blog coculturation is the process of acculturation and enculturation by influencing, an individual or a group with initiation into a culture based on their beliefs, attitudes, creeds, politics, and social rules while existing in that culture's environment."

From the lexicon, I, further, want to clarify what coculturation provides, compared and paired with acculturation and enculturation, in the process of cultural transformation. Now, cultural transformation is when an act or a process changes an individual, a group, or an event as they are conforming to a foreign culture's norms, beliefs in the guise of appearance, nature, and characteristics while gaining acceptance within the culture parameters in foreign or native environments.

In coculturation, there is a process that exist for an individual or a group who is evolving in this phenomenon. There are three phases in the coculturation process:

• Phase 1 (Primary level): This is the beginning stage where one have been introduced into the culture by an epiphenomenon. The time frame is 6 months to 2 years.
• Phase 2 (Secondary Level): This is the intermediate stage when one is progressing through the process of a cultural within the parameters of the epiphenomenon. The time frame is over 2 years to 5 years.
• Phase 3 (Third Level):  This is the advanced stage when one has progressed the process of the cultural within the epiphenomenon to full bloom. The time frame is over 5 years to 7 years.

I want to inject that Phases 1 and 2 are developed within the parameters, range of the acculturation and enculturation processes; but Phase 3 is the prudent stage, in which, time allows the individual, the group, or the event to cultivate the required knowledge and trust necessary for existence in a culture's environment, in order, to strike relativity in a native stance compared to having a novice, foreign stance of the culture, itself. 

Phrase 3 is probably the most important, because the definition states "one have to live in that foreign culture and environment, in order to achieve total cultural transformation." However, Phases 1 and 2 can be accomplished outside of the foreign culture in the native culture the observer exist in (counter-culture, cultural club or organizations for examples).

One has to complete all three phases to be considered totally "coculturated." For example, a student(s) at a high school who join a Spanish club are in the process of only Phase 1. Depending on the length of time as a member and the amount of training in the language and cultural history and ideas, one can only begin to tap into Phase 2 and possibly Phase 3. Although, there exist foreign exchange programs for students to live in the foreign culture for a semester or a fiscal school year; allowing these student(s) time to develop an understanding of the culture in it's raw environment. 

The thing here is some student will remain to live in the culture's environment while others return to their native environment with the experience and training oof the culture's language and ideas. That key piece of evidence is where coculturation hits a snag of sorts with this limbo in only Phase 1 and 2; once one steps into Phase 3, there is there is the totality of commitment to consider. One has to be truly engulfed in the process to be "culturated (transformated)."

In truth, coculturation can only be achieve if you follow the Phases completely. There are no short-cuts. if, one wants to be "ethnated" they must allow total commitment and follow the process to total completion. If, one can't finish Phase 3 then the reward will not come into total fruition of coculturation.

My next blog will be based on a phrase I call the "pleasure ion." One wonders what does it mean? What does this principle of pleasure refer to? Well, you will have to wait until the next blog.

Here is a little clip to introduce one to what may be a pleasure ion:

Also, I will be holding a writing contest real soon. Stay tune to these blogs. I will give details in about a month! There is a cash prize and a grand prize that is a new laptop computer. Over $500 dollars in prizes will be given away! Stay tuned!

I wrote this piece for a different website close to a year ago. I wanted to include a video. Well, this video (documentary) should explain what I wanted to convey with this article. The context should point out acculturation, enculturation, and coculturation processes of cultural transformation of the Self . This is one aspect of Reflexive Psychology.

Furthermore, in Reflexive Psychology, this is where culture collides with environment. What is unveiled is how environments influence, or is influenced, by culture. Even though, this is sexual in nature. The point is validly clear. Culture and environment goes hand in hand with the main aim being survival, power, and family. This phenomenon of "family" or "ban" is a stable for sex culture; henceforth, exotic-erotic dance, a.k.a. stripping. Enjoy the article and the film. 

THE STRIP GAME




The world of erotic dance

“. . . .it’s unheard of for one who has such inclination to be inclined to start a rebellion. The gentlemen [women] devote his [or her] efforts [are] the root[s], for once this root[s] is [are] established the Way will grow there from. Being as a good son [daughter] and obedient as a young man [woman] is perhaps, the root of a man’s [woman’s] character.” - -Confucius

What could be more entertaining then watching a woman or a man sensually move their bodies in arousal of one’s pleasure, or awaken one’s desire? Is there a connection for this act of sensual arousal or is this all business; nothing more than an income for the dance to fulfill their immediate living expenses to survive?
   
    As we know, Strippers (whether male or female) dance for money to pleasure their spectator’s voyeuristic endeavors. Strippers have been portrayed as “Whores”, “Home-wreckers”, “Sluts”, and “Teases”, etc. I admit every business has a good side and/or a bad side to them, but there is always a means to justify the sweat and the long hours these dancers put into preparing for their performance and their audience.

Erotic Dancing, as the definition states, is “[1] a major category or classification of dance forms or dance styles, where the purpose is the stimulation or arousal of erotic or sexual thoughts or actions.”  Furthermore, what more can I introduce in this piece to clarify thoughtful comprehension of this sexual phenomenon? I plan try to introduce, in both Parts, printed-electronic sources, a video clip, a movie, photos, and personal stories from various personalities who ascribe to this lifestyle, and how its impact upon their lives in an abstract and a concrete influence is key to understand the phenomenon and the performers. What can history provide for us about Erotic Dancing?

History of Erotic Dance culture.

    Erotic Dancing, (Striptease) has existed for close to 400 years. The evidence of its existence was recorded [7] in Thomas Otway's comedy The Soldier's Fortune (1681) a character says: "Be sure they be lewd, drunken, stripping whores". This insertion is the prime example of the existence of erotic dancing in an esoteric societal presence.
    There is the existence of a mythological story about erotic dancing in the “Dance of the Seven Veils of Salome;” as stated, “[7] at each of the seven gates, she removed an article of clothing or a piece of jewelry. As long as she remained in hell, the earth was barren. When she returned, fecundity abounded….” There is a quote in the Holy Bible from the New Testament, about erotic dancing, in Mark 6:21-22 that states, “[1] Finally [,] the opportune time came. On his birthday Herod gave a banquet for his high officials and military commanders and the leading men of Galilee. When the daughter of Herodias came in and danced, she pleased Herod and his dinner guests.”
    And lastly, [1] Ancient Greece set the tone for erotic dancing with a lawgiver named ‘Solon’ that state, “[He] established several classes of prostitutes in the late sixth century B.C. Among these classes of prostitutes were the auletrides, who were dancers, acrobats, and musicians. The auletrides served as early examples of the tradition of using dance to sexually excite men, with striptease included in the performance.”
    All these historical facts have provided supple information that leads us to the next phase of this discussion on erotic dancing. This investigation can slowly open the can of worm into this taboo world of seduction with the reclusive behaviorism centered upon a lifestyle dedicated to the’ servicing’ of desires for men and women. Yet, one could ponder the thought of a supernatural, spiritual entity existing in this dynamic of dancer and spectator, a sort of worship unveiled in these environments of the American underbelly in society. So, where does the erotic becomes exotic and at what cost? What is gained and how much is expected at the cost of these dancers and these spectators?

What are the costs for exotic eroticism?

When anyone visits a strip club they are there for an experience of pleasure, and relaxation from the world outside the establishment walls; this sanctuary from the constraints of daily ‘status quo’ is exclusive and, always, in high-demand.  Realization is the simple the principle to function as sedative of anxiety and stress from everyday life. The customer is allowed the time to unwind from their day for they could not receive at their private residence; however, the cost, for such an extreme lifestyle, can estimate variously.
    As I read from the book ‘Striptease Culture’ by Brian McNair, it was stated, “[8] the ‘pink pound’ is one manifestation of the fact that the pleasurable, recreational dimensions of sexuality have long made it the lucrative object of capitalist entrepreneurship, based on the transformation of desire and the promise of sexual pleasure into various types of commodity.” From this insert, we can narrow one’s assumption that erotic dancing has constructed a massive economic foundations; the money made, in this industry, is there and those who are willing to display themselves as products are able and freely with the small price attached to it.
    However the amount of this price tag for refuge-pleasure, a relevant peculiarity is the etiquette a dancer contains in her professional facade, which is ascribed with the territory of being a dancer. They must display gratitude, be ‘thankful’ to there customer much like a customer who has been ‘serviced’ a meal or drink. The key word is ‘serviced.’ This is an industry, like any, and people are being ‘serviced’ for their time; just as the product advertised, there will be a relationship derived from the ‘supply-demand’ ethic.
    For instance, I remember researching a subject for my sexuality paper and I watched a DVD of an adult film titled, “Asia Noir 3” that featured, the subject,  an adult star named Takako (a.k.a. Jade-Blue Eclipse); this DVD featured an interview with Takako, in which, she discussed various subject pertaining to her lifestyle as an erotic dancer and a adult film actress. She mentioned in this interview, “I feel, what I do, is giving a ‘service’ to my customers, nothing more.” Her professional attitude and unique personality was one of the powerful aspects of her [in]famous celebrity in the sex industry in San Francisco. As any other business, when an erotic dancer gives a private dance, striptease or performance on stage it is very important these dancers show respect and show gratitude to their customers. Their customers are their money-line and their attitude will produce results accordingly.
    The average salary for an erotic dancer depends on their qualifications as a dancer, just like any professional position, such as:
·    Experience (Years of dance expertise)

·    Establishment (Club a dancer works)

·    Attitude  

·    Appearance (Body type/Performance costume)

·    Skills (Type of dance style-format)

·    Schedule (Availability/Hours to perform)

[10][11] The pay will be effectual by the same attributes I have stated about; henceforth, the average an erotic dancer makes a night could range from 0$ to $7000; an average night could range from $200 - $800 (3-4 nights a week); an average week could range from $600 - $2400; and an average month could range from $2400-$9600; furthermore, their yearly salaries could equal or surpass a six-figure range.
    The money factor is one major influence, but the performance factor leads to an even greater motivation. These dancers opportunity for expression in front of a group is an accolade that serves a greater treasure, itself. The performance is a pleasure, and release similar to the constraints for an artist to render subconscious communication, tell a story, or express a thought; too add, from McNair’s book ‘Striptease Culture’ a discussion about women artist in the book solidify my point, “[8] Women have, historically, been ‘underarchievers’ in art because they have lacked not talent so much as social, economic and cultural power to be artists in a male-dominated world.”  That sentence expresses the fact why erotic dancing is a popular occupation for women (however, men are dancers as well, but their sexual orientation could be a mood factor to easily choose this profession) and how important it is for some of these dancers, artist to exist as they have been.
    Some of these dancers are seizing these occasions for this moment, this forum, and this style to be vivid as artist and shine as performers while escalating towards something greater in their lives. How great could they become? Better yet, what does this culture offer these erotic dancers, in life, that many other avenues can’t provide?

What does Erotic Dance culture provide?

  These erotic dancers have created a culture, a place in the world, where they can feel safe, secure, and comfortable about their personalities inside and outside of the establishments they work. Whenever a group of individuals are a part of a group they call it many things: a unit, a gang, a brotherhood/a sisterhood, an order, and a clique, but these words lead to one major focal nomenclature – “FAMILY.”

     The vital aim is to sustain cultural strength; by continual increase of dividends, and forging stout relationships with the clients, and amongst the dancers themselves. The support base for this community, of taboo-sex culture, has many powerful tides with many prominent figures in the cities these establishments exist. As Krishnamurti has stated in his book On Love and Loneliness, “[12] so can our minds fine freedom? Can our minds be tremendously alive and clear, perspective? – not[,] the perception that we have gathered from others, from philosophers, psychologists, and the so-called spiritual teachers, who are not spiritual at all. When there is a quality of deep, passionate freedom, then sex has its own place.” This community is the freedom and the space many seek in their private fantasies of pleasure. These dancers understand what they are providing is a therapeutic remedy for the clients in need of their moment in sanctuary; however, this relation is vice-versa for the dancers themselves have gained motivation and self-confidence from the attention of their clients and their dividends they received from their performance.
    The erotic dance culture is just like any other culture. They want to find a place in this world where they can express, provide a source of livelihood (income), and enjoy the many freedoms people would on a regular basis. Most of these dancers seek this position as a quick dividend-growth opportunity toward affording advancement opportunities in their life. It’s very interesting and very inspiring to acknowledge many of these dancers are not prostitutes, not drug addicts, or gangster’s girlfriend. They come from good families (some who know about their lifestyle), are dance performers (different dance disciplines), are actors-actresses, and are students; who are seeking to fortify their incomes for a more sustainable future. However, where will this culture be in the future? Will there be an existence of an erotic dance club in 10 years?
When will the dancer’s flame burn out?

   What future awaits the Erotic Dance culture?

The economy has brought a drastic shift with a momentous derailment of prosperity; regardless of this fact, there exist many erotic dance establishments with many clients seeking adult entertainment. As McNair points out in ‘Striptease Culture,’ “[8] Anthony Giddens has correctly observed that ‘sexuality is a terrain of fundamental political struggle and also a medium of emancipation.’” Sexuality has a strong attachment to the socio-political duality of American culture.  The nuance phrase ‘sex sells’ runs sublimely in the hearts and the minds of the clients, of the dancers, and the business owners of these establishments, understanding this need of private and of sexual sanctuary for a particular group of individuals is a key selling point. It’s historical, spiritual, and traditional in one shell; however, the voice and the stories of the erotic dancers, themselves, are another side of the coin. 
     I focused much of the discussion on the socio-political facet of this phenomenon, yet I had no room in this article to express who these dancers are, as people. Therefore, I will discuss more in Part 2 in that area with plenty stories and plenty explicative tidbits of information about these dancers, in a personal scope;  yet, will this better explain why these people have become erotic dancers? Will this add clarity to a subject about a lifestyle many consider obscene, obscure, and oblivious to morality? As I write this piece there is some man or woman right now dancing their time away for a means unknown to them, but what is certain for them as they continue to dance their time away in an establishment in some part of a city distant from our lives, but encompassed in their world?

REFERENCES

[1] Erotic dancing. (2010, August 11). In Wikipedia, The Free Encyclopedia. Retrieved 16:55, August 25, 2010, from http://en.wikipedia.org/w/index.php?title=Erotic_dancing&oldid=378339825

[2] Striptease. (2010, August 24). In Wikipedia, The Free Encyclopedia. Retrieved 16:56, August 25, 2010, from http://en.wikipedia.org/w/index.php?title=Striptease&oldid=380738598

[3] Krishnamurti, Jiddu. (1994). On love and loneliness. HarperOne.

[4] McNair, Brian, Librarian-at-Large, University, Librarian, University, Division, British, Services, British, & Bibliography, Council. (2002). British national bibliography. Psychology Press.

[5] Confucius, Confucius, & Lau, Dim. (1979). The Analects (lun yü). Penguin Classics.

[6] Testimonial, Student. (2009, May 13). How much Money do strippers make?. Retrieved from http://www.stripandgrowrich.com/blog/tag/how-much-does-the-average-stripper-make/

[7] Avalon, Rebecca. (2010, May 9). Stripper wages - how much money do strippers make?. Retrieved from http://ezinearticles.com/?Stripper-Wages---How-Much-Money-Do-Strippers-Make?&id=4259406