The Indigo Festival Israel 2010 Movie

This short documentary feature is part of a promotional DVD about "The Indigo Festival" held in Israel !

Featuring: Younger Brother, Madboojah Project, Shpongle, Man With No name, Extrawelt, Tikal, Haltya, Mad Professor, URINIMU, James Monro, Mascaline, U-Recken, Huda G, Perfect Stranger, Laroz Sound System and many more.

... much thanks to our friend Ronen Rasta for sharing this on Facebook !


Reference : The Indigo Festival ~ Israel

Related Posts :

• Psychedelic Trance Festivals : Earthdance
• BoOm Festival 2006, Portugal : We Are One Movie
• Electronic Awakening : A Documentary about our Trance~Formation !
• Shanti Jatra 2011 Organic Festival Nepal
• Entheogen : Awakening The Divine Within
• The Ladakh Confluence Festival 2010

Electronic Awakening : A Documentary About Our Trance~Formation !

In Electronic Awakening, director Andrew Johner lifts the veil on an underground spiritual movement that has developed within electronic music cultures worldwide. This close encounter with the mysticism of rave questions the origin of religion, and offers insight into future of man's spirituality. It investigates this culture's significance to the prophecies of 2012, how this bizarre and sacral relationship to electronic music has evolved the group overtime, and where it all seems to be leading them...

Electronic Awakening features interviews and footage from...

Daniel Pinchbeck Alex Grey Terence McKenna Ken Kesey Erik Davis Starhawk Michael Gosney Dr. Robin Sylvan Goa Gil Mark Heley Dr. Chiara Baldini Dr. Graham St John Dr. Anthony D’Andrea Garth of Wicked DEFSF Techno Alliance Moontribe Pioneers Sobey Wing LuxVibes and many more...

with Graphics from Doctor Spook and Paradise 2012

Music by Crystal Method, Vibrasphere, Androcell, Random Rab, Jason Knight, Govinda & TBD !

Here's a brilliant article by the film maker Andrew Johner ...

Where's the Party in 2012?

Perspective on the Electronic Music Culture's relationship to the 2012 meme

For years a great cross-section of the human population has been curious about the date December 21st, 2012. Much of this curiosity has been recently satisfied through a multitude of books, films, and scholarly theory. However, another question remains in a curious mist of uncertainty.

Where's the party going to be the night of the grand Halabaloo?
In the summer of 2006 I began working on a documentary film as part of a project to finish my degree in anthropology. The subject of my research was the spirituality of electronic dance music culture. Having never been to an electronic music event, let alone listened to much electronic music, I traveled out to the West Coast of the United States for the first time with a handful of tickets to parties and festivals I had never heard of to document the mystical undercurrent of the scene.

A whole myriad of prophetic, esoteric conceptions and beliefs awaited.

Downstream from counter-culture, new age, and general psychedelic phantasmagoria, an ocean of free-form spiritual narratives created a web of neo-mystical realities, a whole multitude of micro-religious frameworks that all in some way weaved into the metaphysics of dance-floor transcendentalism.

As I trekked from party to party, whether they were intentionally spiritual gatherings deep in the mountains, or outlandish hedonic revivals in concrete jungles of urban society, I began to hear rumors circulate about a party on December 21, 2012. The idea of wild super-massive rave at an ancient ruin the day of our envisioned doomsday, as well as beginning, seemed to link to a general tone of prophetic belief that made up a major part of the esoteric trace within the rave community.

There was an obvious influx of mysterious ideologies circulating around the Mayan Calendar which permeated the scene. I immediately questioned the presence of so much Mayan mythology within the community, and also the adoption of the 13th Moon Dream Spell calendar. The Calendar, created from time codes hidden within the original Mayan Calendar, had stimulated a movement for peace through the adoption of a ‘new time' in New Age, and other spiritually bent fringe groups all over the world. The Dream Spell Calendar had also become prominent in the rave scene. Party flyers were dated with Mayan glyphs, Mayan art and other Mayan symbology was displayed around dance floor décor, clothing, and artwork, and other externalized traces of an internal belief structure manifesting within the scene.

Within the mathematical cosmogony of the DreamSpell, pervades the principle that our species is about to transcend ordinary third-dimensional existence, into a forth-dimensional, or in some translations, a fifth-dimensional reality.

It was a bizarre idea to encounter, and it was even more bizarre to have an ecstatic dancing experience progenerate this notion.

The adoption of the Dream Spell Calendar, also posts a neo-apocalyptic narrative circumventing the end-date of the Mayan Calendar in 2012, while at the same time hosting a mathematical philosophy of a major shift in human cognition through the transformation from which a higher-dimensional existence would ensue during our alignment to the center of the Galaxy on December 21, 2012.

“When all this information came in, it just seemed to fit what we were already doing, evening though it had no real connection, the idea worked.”
–DJ Solus September 2006

I am at a festival called Lightning in a Bottle, an electronic music festival outside Santa Barbara. I am sitting with a group of people inside a tent between a propane lantern that blazes with a low electric hiss. The pumping thunder of mega-watt speakers' pound through the nylon tent walls. Just outside, a sea of people dance in a giant clearing amidst laser beams and flashing neon lights. The roar of their celebration amidst pulsating electronic rhythms echoes the futurism of a ‘techno-tribe' emerging.

From interview to interview, my own perceptual interpretation of transcendent ritual through festive cultural rupture rang a shared mental picture as to what the experience meant for people.

The owner of the tent leans over the lantern, shadows disappear from his face and he looks directly into my eyes and begins to speak with a tone of affirming gravity,

“This is my family. The world that we build out here is the real world for us. People say that 2012 is the end of the world, but we all know that it is the end of their world and the beginning of ours”

Through my ethnography of the electronic music culture, I had been observing a movement towards a primordial return, integrating a ritual technology as a mode of transformation. It was my belief that the kinetic engagement of the dance itself was the main source of esoteric undercurrents which permeated the scene. Of course psychedelics play a huge role, but the experience had on the dance floor created by intense movement and electronic dance music was the real cultural source for a shared vision of future transcendence into an alternate dimension of reality altogether.

The integration of the phenomena and phantasm that encompasses the self-guided dogma incorporated in the 2012 initiative weaves so neatly into the transcendental impression these sonic environments encapsulate. When looking closely at the initiative of the 2012 meme, a new world-view of collective spiritual transcendence is indication of the honest expression of the cultures internal desire to alter their perception.

In the face of a quickly changing environment which instinctually demands a transformation of the ways in which humanity both perceives and carries out his existence, the idea of global destruction and creation has long fed into the mythologies of human groups as apart of this internal expression for dramatic change.

Never before in the history of humanity have we seen a single millenarian idea so widespread. Yet, a prophecy of global transformation would require a global culture to bare its vision, and the electronic dance community appears to be one of the many appropriate carters of the revelation.

Another interesting facet of the integration of this new ‘mythos' with the electronic dance community, is the move to outdoor environments, and the integration of intentional ritual and ceremony to their night-long ecstasies. This juxtaposition gives the party experience an authentic communal, as well as tribal sensation, one that implies meaning and value to the experience. With this experience comes a temporary transformation of the perception of the individual undergoing the experience. Cognitive processes are gently and sometimes savagely altered.

As the techno-shamanic psychedelic environment integrates into a social-cultural framework, identities change on individual and collective levels as the music itself takes the mind of the individual into an experience of alternate planes of thought, the myriad of techno-tribal cultural identities swarm in around the dance itself, and reality is but for the instant of a weekend ‘shifted.'

The integration of psychedelics into these events allows one to further integrate their imagination into the experience of the environment that surrounds them, in a cyclical feedback relationship between the experience and the experience. Systems of belief and thought are replaced, both temporarily and permanently. The environment yields to an alternate dimension of being, and the experience, though brought on through an arsenal of synthetic arrangements, momentary replaces traditional perceptual frameworks. Memory of the experience remains and over time evolves cognition.

We live in what we believe to be is real. Every time someone experiences reality in the mystical playing field generated at these parties, the more the experience integrates back into the ‘familiar.' The concept of consciousness shifting, takes on a very subjective nature as dance ritual reinforces the pragmatism of the experience.

As conversation of a shift in the collective reality of the dance community ensues, the number 2012 pops up in more and more conversations. The party becomes a vehicle for the collective transformation of an entire human group as their collective memories build up a shared perception of a new experience.

It's an old trick in human behavior that corresponds with the inner workings of our minds. For thousands of years, cultures and their traditions all over the world have used music and dance as part of the ritual and ceremony for the integration, and stability of their tribal structures. Key to this article, it not only promotes community, is promotes the subjectification of their mythologies and their prophecies.

What man is actually interpreting through the development of a mythos is not an interpretation of a particular vision or story but the energetic experience of the dance itself. What one experiences in an ecstatic state of trance is the experience of their internal desires. Since our internal desires are primordial, they are instinctually connected with nature and the environment around us.

Thus, as our environment changes, and we see threat to our current cognitive processes and cultural value systems; the alteration of our belief structures through a hyper-onslaught of groundbreaking scientific information, the desubjectification of religious systems, a globalization of the sacred, the meltdown of the industrial world, and environmental threats, transformation of mind and spirit permeates the internal psyche within these spaces of liminality.
The tribal experience of dancing beyond the realms of the ego produce a strong feeling of connection with community through music, and the rupture of traditional cultural systems that seem to no longer be working. This creates a Petri dish for the development of new cultural frameworks and the reordering of the groups cognitive processes to better adhere to the changing environment. Dance is an instinctual human behavior to demoralize and reframe perception as a means of evolution of mind and body.

Myth is product of ritual, it is the interpretation of these eternal desires for change. Myth is the narrative of a primeval reality, translating deep spiritual desires, moral craving, social and the practical requirements for social transformation. Myth expresses, enhances, and codifies belief.

In turn, myth creates reality.

Consciousness requires narrative. Individual consciousness and the collective human consciousness requires the framework of a story in order to direct its initiatives for change. When one's current reality is threatened with drastic alteration it naturally begins to weave narratives of explanation that will offer hope and resolution to guide its actions through the transformation.

The millenarianism that is character of the dance community displays this very quality of the development of a transcendental mythology as a means of reframing its own cognitive processes to alter mind, body, and spirit to better suit our own personal interface with the environment.

Dance-based millenarian movements have happened throughout history, in cultures all over the world. When the Lakota Natives were threatened with oppression and reservation life, they immediately reacted with the development of a pan-Indian religion known as the Ghost Dance. It was characterized by the emergence of a prophecy that a particular ritualized dance would bring a peaceful end to the Anglo expansion, the return of the Buffalo, the salvation of the community, leaving the earth filled with food, love, and faith. This narrative was typified by clean living, honesty, and cross-cultural cooperation as a means of salvation and resolution alongside the dance itself.

For the dance community to adopt the undercurrent of a similar narrative proves a structural framework to the development of mythos as a form of cultural revitalization. Though the salvation of humanity and the world lies within our individual change in lifestyle as a means of adhering to the shifting environment, the characterization of death and rebirth into a new world fits the prophetic initiative as well: Salvation through dancing.

Though the dance community has added the awareness that the process of bringing about such change, will not come through a mystical transformation but through the cultural rupture brought on by the act of ritualized dancing itself. The intentionality of the culture reads into the natural magic of sound, and its influence on neurological states. Experienced within a large group it creates a bond of the collective psyche and the subconscious initiative of the group permeates through the experience.

Consciousness instinctively fabricates new translations of experience, the development of new ideas of origin, and prophetic direction.

Humanity naturally begins to weave new stories for itself as the environment surrounding the collective subject changes.

An interesting coincidence, in 1987 a event known as the Harmonic Convergence, was held by New Age groups all over the world to usher in an era of awakening into love and unity through divine transformation that would be fully awakened on December 21st of 2012. That same year of 1987 has historically been identified as the birth of the rave scene. It was the year that the ecstatic experience of a ritualized dance became popularized in urban youth all over the world, the beginning of a culture which defined its own initiative as a revolution of peace, love, unity, and respect, through the ecstatic unification of sound, mind and body as a collective group.

For years the numeric value two thousand twelve has been whispered on the edges of dance floors all over the world. It is most apparent in the psychedelic trance community as an underlying mythos that defines the revolutionary synergistic electro-fusion of mind body and spirit.. The 2012 narrative is a form of interpretation most commonly now used to define the experience and the worldview that permeates the reawakening of a primordial experience.

Again I am in-between parties, staying in a cabin in Mount Shasta conducting and interview with the Shan-man, owner of The Village Oracle in Weed, California. We are sitting out in the sun, the icy tip of Mt. Shasta beaming in the background.

We are talking about the integration of the 2012 mythology into the cultural framework of the electronic dance community, and the role that the parties actually are playing in the process of global awakening into a new mode of thinking. He describes the party as a welcome mat, “They are like a doorway in,” he describes, a doorway that leads into a mystical world of archaic, magical phantasmagoria that the experience of transition into indicates not only transformation of the self, but the world to follow.

He states later in the interview, “We know that we are all heading towards one huge gathering.”

What I see as one of the most interesting features of the 2012 initiative in terms of the electronic dance community is the idea of a synchronized global gathering on the date the calendar ends, December 21, 2012. On that date the earth lines up with the sun, which lines up with the Pleiadian Star system and the elliptic of the galaxy; a celestial alignment that the earth has never before experienced.

The Dance community already celebrates a model of this end-date ritual, called Earth Dance. This is another synchronized party linking 360 dance-floors all over the world as an intentional ceremony for peace. Though this ritual is conducted annually, the preparation for an even larger synchronized dance ritual to celebrate a celestial event as rare as our alignment to the center of the galaxy offers an interesting notion that humanity should very quickly becoming aware of. This will be the most massive, pan-human ritual ushering transformation in the history of human kind.

With the constant development of the mythos surrounding the 2012 meme, what will such preparation, and practice of such a ceremony alter of the consciousness of those participating in the ritual?

The alignment of dance rituals to celestial events is traditionally the source of a mythologies link to the stars. Which means, that our collective human narrative is fashioned and reshaped by the movement of the stars. Meaning that our collective human story is a translation of this energetic experience of the cosmos. How will the energetic experience of the alignment be translated?

The creation of new myth perhaps, a new story of human kind.
So to answer the introductory question, as to the location of the partyI have heard several rumors.

Some rumors have entitled it "The Party at the End of Time". The collective pattern of gossip seems to congeal to 7 principal locations.

There is word that these locations may very well be planetary chakra points. To my knowledge, these points are Titicaca Lake between Bolivia and Peru, Mount Shasta in California, Uluro Kattjuta, the big red rock in the middle of Australia, The Tor in Glastonbury, The Great Pyramid in Egypt, and Mouth Kailash in Tibet, and Kuh-e-malek Siah a not so tall mountain located in the Tri-point area of Iran, Afghanistan and Pakistan. These are the main points to my knowledge, however I have also heard of the Haleakala Crater, the El Tule, Table Mountain, Bali, Mount Fuji, and the Sergiev Posad in Moscow to be locations also.

Wherever the party is, and no matter what happens on December 21st 2012, the most important and beautiful part is that people from all walks of life, from all different cultures and countries will be United in a dance, a celebratory ritual to usher in the Galactic New Year, and a new dawn for mankind. Because when it comes to mankind's own part in the great theater of the 2012 alignment, if anything on our part is going to bring about any real and dramatic change, a massive global rave sounds like a damn fine go at it.

If anyone has any other information to share of the massive Party at the End of Time, I would very much like to include it in my documentary for all the world to see.

Please forward all information to: Jeronimo@TheFederationOfEarth.com


References :

• Electronic Awakening
• Mushroom Online

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Shanti Jatra 2011 : Organic Festival Nepal

"Shanti Jatra Full Moon Festival 2011" (3 Days 2 Nights : Nepal - October 11,12,13 - 2011) is back with a brand new avatar. The Shanti Jatra Organic Festival Nepal: October 2011, is all set to be a vibrant and upbeat celebration of music, food, and creativity.

Wonderful things manifest when you are in tune with the ebb and flow of life. Organics is the understanding of this finely tuned structure be it an expression of the arts, food, wine, spirituality, business or environment.

South East Asia's premier alternative electronic music festival is back!

Two years after the untimely demise of one of the founding members which led to the festival being cancelled, the crew took some time off to regroup and thought over to recreate the magic of this wonderful gathering.

The result, an interesting and fresh concept based on organic life style emerged along with supporting Visit Nepal Tourism Year 2011.

Along with the 2 stages, Main (Dance) and Chill, there will be another stage called New Age Arena where there will be Group Shamanic healers from worldwide, Workshops on Organic life style, meditation and group yoga sessions.
Organic food stalls , organic bar and display of organic food grown in Nepal will be the other key areas of this gathering.

As always we will provide an eclectic and diverse lineup for the main stage and chill wherein all the genres and sub genres converge into one. Our motto will and always will be the same, that We are one!

Our aim is to create the colourful setting with the same amazing and friendly vibes, which captivated many imaginations thoughts in our previous editions, in a new and exciting way under the breathtaking landscape of Nepal.

Come join us once again to recreate those magical moments. We welcome you back!


Lineup For Shanti Jatra Organic Festival 2011 ....


LIVE:

ELECTRYPNOSE (2to6 Records, Switzerland)
ENICHKIN PROJECT (Avatar Records, Russia)
HYPER FREQUENCIES (Mechanik Records, France)
PARA HALU (Psylife Music, Hungary)
IMAGINARY SIGHT (Glowing Flame Records,Macedonia)
MALICE IN WONDERLAND (2to6 Records, Austria)
White Wizard (Delhi)
BRAINDROP (Omveda/Occulta Records, India)
VAEYA (Glitchy Tonic/Occulta Records, India)


DJ:

WICKED SOUND SYSTEM (Agartha Records, India)
MASH/Pulse (Omveda Records, India)
COSMIC TANDAV (Omveda/Rudraksh Records, Dubai)

DjKranti Nepal ( Revolution Records, Nepal)
Djane Payal ( Revolution Records, Nepal)
DjVibe Ktm


Chill:

ELECTRYPNOSE (Suntrip Records, Switzerland)
ENICHKIN (Avatar Records, Russia)
YIDAM (Liquid Frequency, India)


More acts to be added..

IMPORTANT : We are aware of the fact that a lot of people had purchased the tickets for the previous edtion and were not issued refunds.

PLEASE NOTE THAT ALL THOSE WHO PURCHASED THE TICKETS FOR SJ 2009 , will keep the same for this edition and entry will be FREE!

In case you do not wish to participate, please do get in touch with us immediately and we shall refund the amount through the family of Rodney Mathias, who is taking care of the refunds.


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• Sound, Synchronicities & Shamanism

The Ladakh Confluence Festival 2010

The Ladakh Confluence is a festival of music, art, green living and culture showcasing an effective way towards growth without compromising our values for nature and sustainability ....

The Ladakh Confluence 2010 will take place in the scenic expanse of the trans-Himalayas this July. Mark your calendars, prep your backpack and gear up for four days of music, art, nature and culture in the highest mountains.

The second edition of the Confluence comes back bigger, stronger and greener between July 15-18. Musicians, artists and travelers from around the world will unite in the breathtaking mountain kingdom for an incredible cultural experience. We’re looking forward to having you there.

Over the next few weeks we’ll share with you details of all the acts we have in store, details of how you to get here and of course, ways in which you can get involved.

Stay tuned ! Join us on Facebook and Twitter for regular updates.

Woohoo!
The Confluence Family

The Ladakh Confluence Festival 2009 ...

The Ladakh Confluence 2009 Slideshow

The 2010 Lineup ...

MANU DELAGO

http://www.manudelago.com/

CHRISTOPH PEPE AUER

http://www.christophauer.at/

KARSH KALE

http://www.karshkale.com/

VIKKU VINAYAKRAM

http://www.youtube.com/watch?v=B6UiH6o6t6Y

RAJASTHAN ROOTS

http://www.rajasthanroots.com/

YOUNG MUSICIANS OF THE WORLD

http://www.youngmusiciansoftheworld.org/

SOMETHING RELEVANT

http://www.somethingrelevant.org/

JAMIE CATTO

http://www.myspace.com/jamiecattomusic

THE SUPERSONICS

http://www.thesupersonics.net/

More artists to be added soon !

Reference : The Ladakh Confluence Festival


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The Wonderland Experience : A Goa Trance Movie

The Wonderland Experience is an absolutely classic cult feature film on the psychedelic world of Goa at the end of the 20th century. The story is about a boy called Charlie who is looking for his missing father in Southern India and finds himself in a surreal and comic psychedelic world.




Synopsis

During a trip to India to visit his father, a young man wakes up on a sun-drenched beach, unsure of where he is or how he got there. Before long he finds himself on an extraordinary journey meeting a series of ever more peculiar characters, in the search for his Dad. Eventually, riddled with confusion and haunted by recurring flashbacks of a party he can't remember, he heads into the jungle, where he's been told his father is waiting for him. Only one thing is certain: all is not what it seems.
The story is a gently surreal and comedic tale based loosely on 'Alice in Wonderland' and 'Through the Looking Glass' by Lewis Carroll. The film was shot entirely in Goa, India, which with it's fantastic range of natural locations, provides a varied and continuously beautiful backdrop to the action. The Wonderland Experience is an upbeat celebration of life, travelling and parties. Written and produced by Andrew brown and directed by Ben Hardyment.



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Liquid Crystal Vision : Our Psychedelic World !

Liquid Crystal Vision is a movie about our psychedelic world and the magical alchemy of consciousness with the sacred ritualistic use of plant based psychedelics to invoke mystical vibrations of the trance dance experience. Liquid Crystal Vision fuses the ancient and the future. It blends scenes of exotic places such as Angkor Wat, Goa, Laos, Japan, and others with superb graphics, sounds, performances, and channeled interviews.

Liquid Crystal Vision presents dancing as one of the means to initiate a far-reaching personal evolution. It contrasts control versus freedom. The impact of the mystical arts movement on planetary consciousness is highlighted during the 60 minutes play time. Liquid Crystal Vision makes an artistic and political statement that leaves a strong imprint on the audience.

Liquid Crystal Vision was inspired by the controversy of the incredible magic experienced during the psychedelic experience and the conditioned fear programming among the general public about psychedelic drugs.



Shamans, Pagans and Mystics used sacred medicines in ritual all over the world for centuries to communicate with higher forces. Psychedelics have the ability to wake people up to the fundamental truth of life. They can induce a deep mystical understanding and inspire a spiritual evolution in human beings when used in the right environment with proper guidance!

The filmmakers believe that through the use of entheogenic substances one can find liberation from the "known"! Anthropological studies suggest that most of our religions originated from a mystical experience that was most likely induced by the ingestion of psychedelic plants, such as mushrooms, cacti, fungi etc. Psychedelics can create blissful feelings when used and not abused! In the Vedic text (Sanskrit writings) it is suggested that union with GOD can be achieved through psychedelic drugs as well.

Unfortunately even today the world is still ruled by power, money, ignorance, and greed, instead common sense, love, and wisdom! Governments control the media that spreads bogus propaganda to support unreasonable laws - just to brainwash the taxpayer and consumer population. This creates global turmoil, destruction and religious wars that need to end NOW! It is overtime for a mystical evolution that brings global unity! Time to be honest and truthful! Time to transcend differences, time to celebrate beauty! Eat a mushroom and dance. To prohibit self-discovery is madness! This is why Liquid Crystal Vision was created!



A Sadhu gives an initiatory explanation about a mystical dance ritual that has its roots in India, but spread all over the world today. Followed by Raja Ram from Shpongle, the Infinity Project, and the Yeti, who gives an explanation about healing and higher consciousness, magnificent images of carved Apsaras and Monks in Angkor Wat (Cambodia) flash by. A beautiful dancer is moving to the rhythm of the music while a holy man from India gives a great description of the mystical state. Famous musicians and key figures of the scene explain scientifically what it all means to them. Gregory Sams articulates how people have their own spiritual experiences when going into trance.


Famous Youth from Killing Joke explains how it all started years ago in Goa. Through a 3-D visual gate the film changes drastically into a part that is called: "Globalization". Pagans sing magical songs at the historical opening on summer solstice in Stonehenge, before the imagery blows the audience away with a mind-expanding interview of Alex Grey! A visual interlude of 3-D graphics leads to Dr. Spook, who says exactly what the filmmakers are trying to get across to the public! Images of people wildly dancing to undomesticated drumming rhythms with sculptures of burning skulls and a Shaman talking to the audience brings us to the legendary musicians of System 7, who explain in incredible detail how sound is used in the music to manipulate brainwaves and to entrain people.

Liquid Crystal Vision goes backwards as it comes towards the ending, because it's created as a geometrical fractal, so sounds begin to repeat and characters come back to finish their story. Various individuals explain what effect partying has on them. This gives the viewer a feeling of how great the unity experience really is! Liquid Crystal Vision tells us that the visions experienced during the mystical experience have to be integrated into daily life to really have a lasting effect! The final rap is to a live set of Banco de Gaia, where a fire spinner is projected onto the oldest Buddhist temple in Laos. Suddenly, the film turns backwards at light speed until it reaches the first image of the film, where the final question is asked !

"Synopsis of the Movie"

Goa Gil

For me when I come to the party and I set up the altar and I sprinkle the Ganga water and say the mantra and make the offering to the cosmic spirit, the whole party becomes the offering, the music becomes the offering, the dance becomes the offering. The cosmic spirit should come to the place and bless all of us! The longer it goes on the more the trance comes and it comes to a point where every song is so perfect in the moment - it's timelessness. So perfect you start to get chills up your spinal column and up your skin and everybody's getting it all at once - it’s like a cosmic orgasm! Then at some point it comes like a bolt of lightning, like a shock of lightening through everybody all at once —cccchhhhh… and that’s when the seed is being planted in everyone’s subconscious that will hopefully grow and flower and make people more aware of themselves, there surroundings, the crossroads of humanity, and the needs of the planet. This is what our Goa party, our holy ritual is all about. And this is what we are trying to achieve with it!

Alex Grey

This piece is about ten years old. It's called Theologue - the union of human and divine consciousness weaving the fabric of space and time in which the self and its surroundings are embedded. That’s the subtitle... Rather long...

What I try to do in the work is to show the interpenetration between the physical dimension and the more metaphysical dimensions. In the body it shows up as the acupuncture meridians points and chakras auras and halos and things like that. This particular painting is one of my favorites because it came from an experience I had some time ago, it was a high dose LSD experience and I was wearing a blindfold seated in a lotus posture. I was staring into this… it was a device I invented called a mind fold. It's just a light type blindfold with space to open your eyes, so you look into total darkness, but somehow I was seeing an electric grid that was all along the horizon - just this incredible kind of perspective grid.

And it seemed that I was projecting this at the same time as I was seeing it outside, but I was in my head, so it was very confusing, but I felt like this is the loom of space and time. This is like when you dream! You are dreaming in space and so you are always creating space. Somehow our mind is creating the space that we are surrounded by, so how to visualize that? It was solved by putting this kind of seated Buddha there and having the horizon line - the vanishing point of the horizon line of the perspective be synonymous with the cone of perception that’s spreading out. It’s appearing to project the space that he is seated in.


Raja Ram

This is a search to find ways of changing our own minds and triggering our inner feelings that are going to come out one way or another... If you want to be a yogi — be a yogi! If you are going to take drugs, that’s what you are going to do, if you want to be straight that’s what you are going to be!

The main thing is, the whole game is to alter our consciousness to get higher and to go to those other dimensions, to fulfill our potential. And one of the ways we can do this is through music, because it’s healing and elevating, and it will take people to a higher realm of consciousness, if they let it!


Source : Liquid Crystal Vision


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Boom Festival 2008 We Are All ~ Dancing On Liminal Ground By Erik Davis

'Dancing On Liminal Ground by Erik Davis'

This year’s Boom festival compelled at least 25,000 people to make the long trek to a hot and dusty corner of Portugal near the Spanish border, where they decamped along the shores of a large lake whose presence mitigated the ferocity of the sun and the sear environs. The bi-annual festival has been running for over a decade, and it has long been recognized as one of the more underground and intentional of the larger festivals devoted to psytrance—that intensely trippy electronic dance genre whose ferocious metronomic beat sends dancers surging and stomping through interdimensional portals fringed with swirling sonic filigrees and creepy “lurker at the threshold” samples.


As befits the mind-melting aspirations of this potent and popular subgenre, Boom’s dominant subcultural tone is neotribal: a rave-inflected millennial florescence of hippie shit like long hair, dreads, feral fashion exotica, chai shops, massage booths, copious cannabis consumption, and paganish New Age tantric mysticism.

I gave a talk at the Liminal Village, one of half a dozen various stages and sound systems that defined the cultural ecology of the festival. A large tent surrounded by delightful gardens and bamboo temples that had been created in the weeks running up to the festival, the Liminal Village did the important work of injecting discourse, practices, workshops, discussions, and images—through both a visionary art gallery and a film series—into the festival environment. This learning center takes advantage of the fact that outdoor festivals are liminal zones, in-betwixt and in-between. With their peculiar blend of hedonic utopia and aimless refugee camp, the festival creates a space-time warp that allows people to glimpse new possibilities, to receive new map points, to reformat their expectations of themselves, and of the slippery dream of reality as well.

The Liminal Village formalized this process, advancing global countercultural concepts, practices, and politics in a subcultural space that is geared to the experience and desires of hundreds of thousands of predominantly young people around the planet. Much of this material was too woo for my tastes, with too much fuzzy talk of “the coming shift” and the “emerging culture” (as my friend Zariat pointed out, culture is always emerging). The calendrical fetish of 2012—the shamanic Y2K that even wacky Christian end-times preachers are now starting to invoke—reared its literalist head. At the same, though, I believe we need to work with the meta-consciousness implied by these urgent and millennialist memes, and was happy to lend my voice on a talk about the origins and character of apocalypse consciousness that remained, as far as I know, unrecorded (doh!). The basic message? Wake up and dream.

Orbs at Boom Festival 2008

I am not a big psytrance fan, and found the main stage this year even less dance-inducing than usual, thought that may have been due to a decision to restrict my psychoactive diet (almost) to hash spliffs and caffeine. Properly off your face, and especially with eyes closed, the electronic precision and charka tweaking techniques of a good psytrance set can rewire a psychedelicized nervous system as powerfully as, say, a fat balloon of nitrous oxide—and for a much longer stretch of time. But I find it all too insistent, machinic, and alienating, perhaps because my trance dance body was shaped by the far more organic slop of the Grateful Dead. Boom provided some of that live band energy with the Sacred Fire stage, though every time I swung by, it just sounded like dorky world fusion. I preferred the Groovy Beach stage, which a wide range of electronic booty music ranging from stanky breaks to dubstep to minimal techno laced with Boards-of-Canada melancholy, as well as some impressively dreadful pop cheese to boot. My favorite set, from a DJ whose name I was too time-damaged to ever track down, was devoted to witty and sinuous tech funk, a playfully polyrhythmic splice of techno, electro, and breaks that resurrected some old school disco moves—including the deeply charming handclap—in a spirit not so much of irony as innocent exuberance.

Orbs at Boom Festival 2008

Boom features a lot of visible consumerism. Attendees were confronted with a long line of reasonably good food-stalls, dozens of vendors providing the latest twists and turns of neotribal fashion’s feral mutations, and lots of beer stands. Given that Burning Man is just around the bend, I could not resist noting how much the alternative mall undercut the self- and clan-reliance that makes playaspace feel so much farther away from conventional reality. Though Burning Man encourages its own breed of mindlessness, and though vending allows many travelers to escape the empire of conventional work, a lot of Boom attendees were clearly coasting on the usual urban logic of consumption and distraction.

Perhaps this explains the depressing fact that there was litter everywhere, a pervasive and ugly webwork of crap that undermined the rhetoric and practice of environmental awareness that otherwise sets the Boom apart from most corporate festivals. The festival organizers provided compost toilets, recycling stations, and generators powered with veggie oil recycled from the previous festival. There were problems of course—the compost toilets were unclean, a nasty bug attacked many a GI tract, while other low impact strategies seemed to have principally reflected a need to cut costs. Still, the Boom folks were clearly set on making a difference. But the trash skeins of beer cans, plastic water bottles, cigarette butts and other moop—which the far larger and more chaotic Burning Man manages to largely avoid—reflected how much work it takes to draw festival-goers out of engrained and thoughtless behaviors.

Orbs at Boom Festival 2008

There were a few other obvious differences from the West Coast freak festivals I know best. On the plus side, there was hardly any visible police presence, and, given that the consumption of drugs has been effectively decriminalized in Portugal, this made for the refreshingly free and open consumption of cannabis. On the other hand—and somewhat surprisingly—the crowd seemed a bit more uptight with their bodies and physical display. The freak costumes were more generic, there was less body modification, and there was nary an exposed bosom or hairy ass to be found, even though hundreds of people were swimming in the lake every hot afternoon. I got the sense that young Europeans were more distant from their hippie forebears than we are in the West Coast.

Of course, Europe has exceptional performers, and hoopers, jugglers, and fire dancers all performed at the Theatroom, a large stage devoted to alternative performance arts. There were also a number of interactive art pieces and inventive, low-cost structures, many created from recycled materials. Near the Liminal Village stood one flower-shaped device around twelve feet high, which my pal Spoon dubbed the “trance machine.” Cords attached to each of its “petals” could be yanked on, triggering a single track that the collective crowd of cord-yankers could mix into a thumping tune.



Next door was a long, low-slung tent that concealed the Kaleidoscopic Creature, a theatrical experience which I had caught the previous year at the UK’s notoriously muddy Glade festival. After entering and sitting down at one end of the tent, the small audience is treated to an interdimensional rocket-ride produced by a ingenious and decidedly analog blend of mirrors and puppetry. Despite (or because of) the low tech, the Creature conjures up more cosmic awe, organic metamorphosis, and mythopoetic sentience than any festival art I have ever seen. A big fat gold star to the French crew.

Given that Boom is essentially a week-long trip-party for young people, I was most interested in checking out how different crews with somewhat different agendas created cultural spaces and cognitive feedback loops designed to raise and clarify the consciousness, intentionality, and environmental awareness of these budding hedonists. The Liminal Village and the Healing Center did this through talks and workshops and films, while the harm reduction crew who staffed Cosmic Care created a safe space staffed with experienced crisis managers able to care for most of the psychoactive casualties without calling in the heavy guns.

Free publications and a variety of gardens introduced attendees to the philosophy and practice of permaculture, hopefully focusing the often nebulous rhetoric about “planetary consciousness” into practical expressions. But as the litter proved, there is still a large gap between attendees who are tuned into these intentional processes and the ones who are there to party and feel no compulsion to open their ears to the good news/very bad news that in-your-face environmental consciousness demands. Again I thought of Burning Man, which, for all the faults and fuck-ups and toxic trash, does a great job of inculcating a basic ethic of personal responsibility, and at the very least programs people to pick up their trash.



The most bid for sanity in the swirling dynamics of the Boom was a drug-testing unit set up by Energy Control, a dynamite Spanish harm reduction crew centered in Barcelona. Inside a teepee at the edge of a spit of land, where a somewhat dodgy bridge made of empty metal barrels led to the Sacred Fire stage and yet another healing center, Energy Control set up a simple and inexpensive thin layer chromatography lab. Using only a very small amount of materials dropped off by attendees, Energy Control could set brand claims against chemical reality. Tiny red stars sold as mescaline (an impossibility given the weight of an effective mescaline dose) were revealed to be LSD, while a lot of the Ecstasy sold featured mixtures of caffeine and other bunk rather than MDMA. As an advisory board member for Erowid—which had a booth alongside Energy Control—I was tickled pink with this direct injection of rational data into the psychoactive feedback loops of desire and consumption that characterize this offline, down-and-dirty festival. Look for an extensive interview with the Energy Control crew in the next edition of Erowid Extracts.

Finally, all this talk of drugs would be incomplete if I did not relate an experience I had with a substance that came my way through the happenstance that festivals breed—what the visionary artist Luke Brown called “syncronnections.” Changa is a DMT-containing smoking mixture developed in Australia that is being touted, with fair reason, as “smokable ayahuasca.” Unlike freebase DMT, changa is a dried plant mixture containing crushed leaves from the ayahuasca vine Banisteriopsis Caapi, along with other herbs, which were not identified on the colorful sticker of my plastic baggy but that sometimes include the Mexican dream herb Calea Zacatechichi and the South American Justicia Pectoralis. A solution of DMT is then most likely enfused into this smoking mixture. As with the ayahuasca brew, the vine provides the MAO inhibitor that modifies and extends the sometimes beautiful and always bizarre flash of DMT, which, given changa’s Oz origins, is most likely sourced from acacia.



Along with a friend, I said hello to changa on the last night of the festival. We sat on a small hill facing away from the sound systems and towards the lake, where the bulbous moon—which had been almost entirely eclipsed the night before—glittered on the water like a quicksilver mist. In the distance glowed the lights of a medieval mountain town with the somewhat ominous name of Monsanto. The smoke was sweet, and the entrance into the vestibule of the tryptamine palace was smooth but strong, and I slid gently along DMT’s inside-outside Mobius strips of sentient energy with more clarity and with less anxiety than usual. My fingers folded into spontaneous mudras and the breath of fire sparked without will. Then the vibrating weave of nature’s alien mind fluttered and unfolded us and set us gently back on the scraggly hillside, where the crickets and their ambient chirp-track trumped the distant thump of machines.

Boom !


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