From Scarcity To Abundance: stories from the streets of Oaxaca > by Joel Catchlove

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There´s something brewing on the streets of Oaxaca. The genteel colonial centre is vividly scrawled with graffiti and much of it is political. Spray paint depicts everything from giant, masked Lucha Libre wrestlers with the caption La lucha sigue (The struggle continues), to repeated references to the Zapatistas, the indigenous-based rebel movement in the neighbouring state of Chiapas. Small, scrawny figures in the trademark Zapatista ski-masks adorn street signs, the masked face of Zapatista spokesperson Subcomandante Marcos appears in bold black on freshly painted walls, while on another, stencils depict a masked indigenous woman harvesting corn beneath the line "corn is our life". Amid the Zapatistas, another line repeats itself, in stencil or running spraypaint: Oaxaca Libre, 14 de Junio, No se olvida (Free Oaxaca, June 14, Do not forget).
 
While it scarcely registered in the Australian media, and few media outlets anywhere fully grasped the depth of what was happening, for five months in 2006, the southern Mexican state of Oaxaca was, as Al Giordano describes "a government-free zone", "not governed from above, but rather self-governed by popular assembly.” What began as a teachers´ strike for better wages and conditions grew into a massive, non-violent, broad-based social movement that drove the corrupt and universally despised governor into hiding, and laid the foundations for a truly participatory democracy. As the people of Oaxaca realised that the corrupt government needed them more than they needed it, they began a shift (to use a phrase of Oaxaca´s Universidad de la Tierra) from the scarcity of dependence to the abundance of community self-reliance.
 
Oaxaca has a heritage of community self-government in its diverse indigenous population. Four out of five municipalities in the state still govern themselves through a process of communal assemblies, known as "practices and customs" or usos y costumbres, a system that doesn´t acknowledge political parties and functions by consensus. Furthermore, as Nancy Davies describes, "statewide, the greater part of public works in four hundred small communities are still carried out by citizen tequios [the traditional indigenous system of unpaid community service] that accomplish a variety of tasks like building roads; repairing churches, bringing in the harvest; and sharing the expenses of weddings, baptisms and deaths." With state and federal levels of Mexican government apparently riddled with corruption and with governments everywhere increasingly wedded to neoliberal economic policies that privilege the health of corporations over the health of communities, the critical importance of community self-reliance is becoming increasingly clear. It is this self-reliance that two Oaxaqueño organisations, Casa Chapulin and the Universidad de la Tierra, seek to cultivate.
 


Good Bloke Weekly > Special Edition

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 Good Bloke > Special Edition

'Dogs of Rotterdam' by Barons of Tang

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The Dogs of Rotterdam from tim parish on Vimeo.

 8mm scratch videoclip for the song 'Dogs of Rotterdam' by Melbourne gypsy deathcore band The Barons of Tang. Shot at the Northcote Social Club. Produced and Edited by Tim Parish, Verb Studios.

For more information on The Barons of Tang:
http://www.myspace.com/thebaronsoftang

To find more videos and art by Tim Parish
http://www.undergrowth.org/user/verb



The Cosmic Serpent

The Cosmic Serpent

'Cosmic Serpent'
ink and gold paint
Japan, 2007

from the exhibition 'Visions of MU'

This piece was inspired by the book 'The Cosmic Serpent' by Jeremy Narby, inwhich he explores the universal myth of the serpent throughout cultures all over the world as a being which guards knowledge. While in Japan this concept resonated particularly strong as I would visit Buddhist temples with enormous and beautiful murals of serpent like dragons painted above meditation halls as a kind of gatekeeper to the deeper realms of insight. It was as if the danger and fear created by the image of the dragon were merely a test of one's courage to surpass these obstacles to gain greater insight.
-Tim


Psychedelic Research: Past, Present, Future> by Stanislav Grof

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art: Oli Dunlop

 

The use of psychedelic substances can be traced back for millennia, to the dawn of human history. Since time immemorial, plant materials containing powerful, consciousness-expanding compounds were used to induce non-ordinary states of consciousness or, more specifically, an important subgroup of them, which I call "holotropic" (Grof 2000). These plants have played an important role in shamanic practice, aboriginal healing ceremonies, rites of passage, mysteries of death and rebirth, and various other spiritual traditions. The ancient and native cultures using psychedelic materials held them in great esteem and considered them to be sacraments, "flesh of the gods" (Schultes, Hofmann, and Raetsch 2001).

Human groups, which had at their disposal psychedelic plants, took advantage of their entheogenic effects (entheogenic means literally "awakening the divine within") and made them the principal vehicles of their ritual and spiritual life. The preparations made from these plants mediated for these people experiential contact with the archetypal dimensions of reality--deities, mythological realms, power animals, and numinous forces and aspects of nature.

Another important area where states induced by psychedelics played a crucial role was diagnosing and healing of various disorders. Anthropological literature also contains many reports indicating that native cultures have used psychedelics for enhancement of intuition and extrasensory perception for a variety of divinatory, as well as practical purposes, such as finding lost persons and objects, obtaining information about people in remote locations, and following the movement of the game that these people hunted. In addition, psychedelic experiences served as important sources of artistic inspiration, providing ideas for rituals, paintings, sculptures, and songs.