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TEXT FOR

ART IN THE UNDERWORLD: GODDESS SPEAKDVD produced by: Claudine Y Jeanrenaud, Ph.D., text

Judy Gardner, M. H., animation, Melanie Mulhall, M. S., editing

And Antonio Arguello, R.N., music

THE DESCENT IN SEARCH OF WOLF ART

On the Greek island of Epidaurus, the seeker and the priest of antiquity

descend into the labyrinthine basement that leads to the sea. There they

are to meet the Great Serpent of the God Asclepius and Asclepius’ wife

Hygieia in the hope to be healed.

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At Archetypos, the painters descend the padded steps of the studio in the hope

to find guidance, while silently scrutinized by the shadows stretched upon the

walls. The painters slowly penetrate the deep-sea waters of the music’s full

harmonic waves, their attention pulled by the iridescent glow of the light boxes.

The painters have left behind worries and concerns about mundane affairs with

their reserve of rewards and punishment, shoulds and what-ifs. The ego is no help

here. Instinctively they are drawn to the glow with the greatest promise of

meaning: I see a serpent, the tree of life, a flying horse, a fiery mountain...

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In a Gothic cathedral, the stain-glass speaks the solar voice of the

spirit. To read the dogma of the Christian Savior-God, the seeker raises

his gaze high above the ground, towards the nave, where ethereal light

glows from the heavens.

At Archetypos, the light box speaks the lunar voice of the Goddess. It is not sun

in the high sky that lights the box, but candle light on the floor of the underworld.

Each painter sits cross-legged, not on a chair but on the ground at eye level with

the glowing surface. The light filters through the paint, activating the paint’s

jeweled voice. Colors and sound submerge the psyche. Form appears and the

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brush caresses. Magical animals come and go, clouds form soon to acquire

moody personalities. Obediently, the painter’s brush follows, dips and serves. As

changing images demand attention, the painter is confronted with destroying to

make room for the latest demand. The dialogue has its moments of dance and its

moments of resistance. The dream-ego plays or wrestles with the dream

characters. Time has disappeared. The Goddess is speaking, the painter is

responding. The Goddess and the painter are co-creating.

WHY THE DESCENT?

IN THE HOPI PROPHECY, OUR ELDERS TOLD US

THAT THERE HAS BEEN THREE WORLDS. EACH

WAS DESTROYED BECAUSE OF DISRESPECT OF

THE CREATOR. WE NOW LIVE IN THE FOURTH

WORLD, SIGNS OF ITS DESTRUCTION ARE

AROUND US.

Either Evolve or Face Extinction!

Echoing many people’s feeling in the Western world, Barbara Marx Hubbard

warns that, given the tools of mass destruction and the degree of control over

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nature that we possess, the period of confusion in which we live is likely to lead

to annihilation unless we undergo an “ethical evolution.” Depth psychologist

Marion Woodman 2 explains that the solar myth that has ruled us for so long has

become flawed and is responsible for our imminent demise.

Is there something that would help us move toward evolution rather than

extinction? Can that something be nurtured? How do we recognize what

contents we must let go of and what contents are already part of the new us?

Thanks to psychological art historian Colin Martindale and social philosopher

Leonard Shlain, we know that major works of art have often anticipated the

changes that occurred later in collective consciousness. This pre-cognition is

attributed to the fact that art that is rooted in the unconscious holds the dormant

seeds of future potential. Jungian analyst Edward Whitmont agrees that “artistic

exhibition” is a major pathway of creation, manifestation and evolution.

Art is a crucible that holds the dormant seeds. The following describes tools to

reach and awaken those seeds so that they may eventually glow in consciousness

and become manifest. The art displayed here will, therefore, be considered from

a psycho-mythological, not an aesthetic, point of view.

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The Psychological Question is What Might Evolving look like for us?

Early twentieth century psychologist Jean Piaget showed how cognitive

development unfolds from equilibrium to disequilibrium and back to

equilibrium again. Within each state of equilibrium, cognition assimilates new

information into its pre-set categories. But when new pieces of information

present challenges, the result is the destruction of these pre-set categories and

disequilibrium. Cognition then has to accommodate by painstakingly forming a

new container at a higher conceptual level, which in turn offers more complex

ways that facilitate the assimilation of the new information.

So, on goes the evolutionary process, from undifferentiated wholeness to a

splitting apart and coming back together into a larger, more open and

differentiated conceptual system, one ready for destruction again into more

differentiated parts. In between, chaos! If the organism survives chaos, a new

form emerges once more, one that contains more information than the earlier

form.

The snake sheds its skin, the butterfly its cocoon, the child its baby teeth. This is

the never-ending story of evolution. This is also the story of God. In an effort to

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make sense of this perpetual movement, find reassurance and guidance,

mankind developed a magical tool: myth-making. As Jung put it:

Myth is preeminently a social phenomenon: it is told by the

many and heard by the many. It gives the ultimately

unimaginable religious experience an image, a form in which to

express itself, and thus makes community life possible.

In other words, myth portrays the unimaginable. It is our way of organizing

perceived reality. Perceived reality is whatever information we are capable of

understanding at a given time, and this understanding is numinous. Innocently,

Von Franz believes, we project this organization onto the realm of the divine.

To Herbert, my cat, I am Mother Lioness and the summer thunderclaps

are the terrifying roar of the Great-Lion-in-the–Sky.

Naturally, as we evolve, myth evolves, as it continues to be the projected image

of the unimaginable. We Westerners used to project our understanding of reality

onto the antics of our gods and goddesses of Olympus. Today we are

enlightened and we proclaim ourselves environmentalists, Marxists, feminists,

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existentialists or Jungian. Old myths are experienced as limiting, overly concrete,

or primitive. They are scorned or, at best, loved for their academic or aesthetic

interest but certainly seen as deficient in many ways.

But new myths, new insights, revolutionary ideas are also regarded with great

suspicion. Today we smile benevolently at Edouard Manet’s critics who called

him mad, incompetent and a prankster when he unveiled art that rebelled

against their notions about space and light. Like William Blake, we call these

“academicians’ myth stone idols”. But we are less inclined to smile when

quantum physicists tell us that we are made mostly of empty space, and that our

perception of materiality is just the present collective consensus, in other words,

a shared dream, a co-creation. The myth that we call truth is the one that

energizes us because it best fits the kind of reality we are capable of conceiving at

the moment; and Newtonian physics is still our preferred myth, the one that we,

ordinary people, call reality.

If Barbara Marx Hubbard is right, however, it is urgent that we move from the

old myth to the new one. How do we do that, given our natural resistance

against myths that challenge our worldview?

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Does myth have a suggestion?

Our mythological answer is From Kings to Wolves

The French have a charming expression: Esprit de clocher. It means steeple

worldview. It does not refer to the broader view one gets from the tip of the

steeple, but rather to the one the villagers share from beneath and around the

steeple, namely that the way of their church is the only acceptable way to live

and explain reality. The seventeenth century alchemists had a recipe that

describes just what needs to happen in order for Esprit de Clocher to crack open so

that the villagers may move to a more complex and inclusive worldview, in other

words, to evolve. One text suggests this:

Take a fierce gray wolf, which… is found in the valleys

and the mountains of the world, where he roams almost

savage with hunger. Cast to him the body of the king,

and when he has devoured it, burn him entirely to ashes

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in a great fire. By this process, the king will be

liberated; and when it has been performed thrice the lion

has overcome the wolf, and will find nothing more to

devour in him. Thus our body has been rendered fit for

the next stage of our work.

This mysterious alchemical text is actually quite clear once you have the

appropriate dictionary: The King represents the prevailing worldview or the

village church. The Wolf represents raw instinct, nature, brutish and

unprocessed energy. Socially, this is any force that passionately attacks the

worldview of the powers-that-be. It could be raging anarchism or any passionate

anti-establishment “ism”. The Wolf devours the King and revolution has

occurred. The people are taking over La Bastille; the kings of France have fallen.

The Wolf gets burned to ashes because his passion is so great! He is consumed by

his own ravenous appetite. So the revolution burns itself up in its own fire.

When this has happened three times, the Lion, or the new worldview, is ready to

emerge. It is a purified, if instinctual, form of the new King or worldview, and

therefore ready to be worked on, or built, or elaborated, manifested in this reality

and perfected, also made practical. This “next stage of our work” is the

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beginning of what the alchemists call the polishing of the philosopher’s stone, the

Great Opus. It will build a worldview that consciously incorporates more of the

opposites than before, instead of excluding them.

In the visual arts of the last two thousand years, the King, or emperor, as Thevoz

called it, has been classicism. It includes Greek architecture and later great

classical artists such as Titian and Leonardo De Vinci.

Looking at this painting, we see that the idealized photographic reality it

portrays is rooted in the Platonic aspiration for harmony, grace, balance and

perfection. Socially, its attitudinal pattern is responsible for the dominance of

rationality, self-control, linearity and faith in the Apollonian processes. Those in

turn led to the remarkable control mankind achieved over nature. Fast travel has

opened the experience of sunshine at midnight and summer in our winter, so we

know that the earth is a rotating sphere and is slightly tilted on its axis. Fast travel

also made the earth smaller. By the same token, medicine has made such

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progress that it has almost convinced us that death is the result of an error. This

is the worldview that Marion Woodman alludes to when she speaks of our solar

myth2 becoming so flawed that it might lead to our demise.

Unfortunately, the brighter the light, the closer the shadow, as we are warned by

the hexagram Chi-Chi (“After Completion”) of the I-Ching. According to this

hexagram, times of great satisfaction and perceived perfection or perfect

equilibrium usually announce a time where the slightest movement is likely to

lead to chaos. So here we are, with all religions and spiritual traditions

intellectually available to us, the ultimate openness to the wise-mind. Some

enlightened parents choose to expose their children to multiple religious choices

before their tenth birthday. Interestingly, the son of such a family was caught

with a bomb in the sole of his shoe, about to commit suicide and mass murder on

a cross-Atlantic flight. Is he an example of the fierce, ravenous, Gray Wolf in an

unexpected form?

If the King is the prevailing worldview of the moment, the Wolf is everything

that is excluded or repressed by this view. If the present worldview is solar, who

or what is the Gray Wolf for us? Depth psychologists Edinger, Woodman and

Whitmont offer that the Gray Wolf is psychological material that has been

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relegated to the underworld after having been cast down by Yahweh. Jung’s

most controversial and revolutionary essay on psychology and religion, The

Answer to Job, helps us understand this phenomenon.

In essence, Jung postulates that the myth of Job and his struggles with Yahweh is

a projection of the struggles of the Ego (Man or Job) with the collective

unconscious (God the Father or Yahweh). The God-image of the Old Testament

is described as both magnanimously loving and choleric. He can bestow the

greatest miracles, and he can also dislocate hips and kill the first-born without

any obvious awareness of the contradiction.

Jung attributes the unquestioned co-existence of such opposites to the absence of

self-reflection and self-consciousness in the God-image. Developmental

psychologists call that a pre-conscious stage which includes, but does not

differentiate between, opposites such as good and evil, masculine and feminine,

earth and sky, light and darkness.

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With the advent of Job and his sense of justice, morality and consistency, Yahweh

is confronted with His internal inconsistency and has to suffer having His

shadow side seen by man for the first time. In turn, Job suffers the wrath and

defensiveness of Yahweh. Eventually, as Job refuses to regress to his former lack

of awareness of Yahweh’s inconsistencies, Yahweh has to become aware of, and

become responsible for, the difference between His good and His evil side.

At the moment Yahweh had this awareness, the Goddess was cast down

and our present Gray Wolf was born.

Indeed, good became associated with mind over matter, perfection, linearity,

rationality and consciousness. Evil became associated with instinct, earth, the

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irrational, the emotional and madness. Women, by virtue of the fact that they are

the more earthy ones, that they bleed, give birth and cry the dead, seduce men

into bodily pleasures, and are less inclined toward linearity, were then attributed

the voice of Satan. Given that consortium with Satan they were expected to feel

evil unless they ignored their bodies and repressed their beauty, felt ashamed of

their inferiority as earthlings and deplored their imperfection.

With such a dramatic defeat of the non-rational and sensual parts of the psyche,

there is a consequence. Indeed, Jung assures us that repressed energy continues

to live in the unconscious and has many features that resemble its original form.

But how is it different?

Artists, once again, hold the answer. Consider for a moment the changing

representation of one of the faces of the Goddess, that of the Maenads, priestesses

of Dionysos and among the most non-rational figures of antiquity. First, a vase

from the Pre-Hellenic period where a Maenad clad in her ritual panther skin

presents Dionysos with a serpent (symbol of the Goddess). Reciprocally,

Dionysos presents the Maenad with a golden wine vase, later to become the Holy

Grail. The relationship is harmonious. Indeed, before the feminine became

associated with Satan, the Maenads were the personification of the sacrifice of

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the male ego for the purpose of shamanic death and the subsequent rebirth to

healing and magical power.

Later, two works from the 15th century: an engraving by Lucas Van Leyden and a

drawing by Nicholas Manuel Deutsch, The Temptations of Saint Anthony. They

represent the 4th century saint fending off evil in the form of a majestic woman

whose only give away is the tiny horns that garnish her helmet, or the claws

discretely appearing where her feet should be and alluding to the dragon which

now symbolizes Satan.

And here is Saint Augustine’s 1 reaction to this woman:

In the sixteenth year of age of my flesh… the madness of raging lust

exercised its supreme dominion over me. My invisible enemy trod me

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down and seduced me. I drew my shackles along with me, terrified to

have them knocked off.

As a result of the demotion of the non-linear and emotional, the Maenads became

possessed by the wine-God and shown tearing apart their sacrificial victims and

devouring them in their orgies.

In the contemporary psyche the energy of the Maenads basically still holds the de-

structuring aspect of the feminine. But it has turned from ritual and purposeful to chaotic,

hysterical and destructive. Interestingly, the painter William Thomas Thompson was a

fundamentalist Christian who, at the age of thirteen, began preaching at tent revivals. As

the artist shows, the dark side of the psyche, the Dark Goddess, has been temporarily

sacrificed to consciousness. The consequence is the ravenousness of that part, most likely

the feminine in the masculine psyche and the deep feminine in the feminine psyche.

This sacrifice to consciousness did not restrain the Dark Goddess. Instead She went

underground where She is about to destroy our social fabric by having children bearing

fatherless children, drug users spreading AIDS among themselves and the newborn, the

black gold from Her entrails spilled into Her life bearing oceans, smothering Her off-

springs in its goop. She embodies Herself in terrorist suicide attacks, floods and droughts,

manic inflation in the corporate world followed by the threat of economic collapse and

rivers of starved souls flooding northward, mistaking the Northern Hemisphere for the

land of milk and honey. No one is spared.

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Thus speaks the Goddess when forced into the Ravenous Gray Wolf cloak.

According to the alchemist’s recipe, our Saint-Augustine-consciousness will not

be able to survive that Wolf. The alchemist also promises that, after the Wolf has

burned away three times, there will be a rebirth of the new King in the form of a

Lion. For some, like French poet Gerard de Nerval, the burning has been

schizophrenia while for others, like Jungian analyst and author Marion

Woodman, severe physical illness. Jung calls this descent the Dark Night of the

Soul and claims that it has purpose, that it leads to the cave of initiation and secret

knowledge in order to restore the whole man.

Indeed in the case of de Nerval or Woodman, the transformation has been

profound, but what are the chances for ordinary people? Alarmingly, there is

evidence that the course of schizophrenia is more benign in non-industrialized

countries than in the United States, presumably because our barriers against the

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unconscious are more rigid than theirs. Do we want to wait until the Wolf has

destroyed those barriers entirely and finally burns away? Do we trust that the

Lion will eventually develop on his own and take the chance that the Goddess

will not turn into a parasite that eventually dies with its host? Or can we

intervene consciously?

We could rebuild the sacred temple where the Dark Goddess once enjoyed respect and

invite Her back into consciousness. In the 21st century, the Goddess is not restricted to

lust, but contains the unconscious, the visionary, dreaming, and emotion. She is the

Source as represented by the cave or the ocean. Embodied as She is in the images of Baba

Yaga of the fairy tales or Mother Kali, She stands for all instincts and, as Robert Bly puts

it, “everything we know but were never taught in school.” She is shadow energy, She is

Death and Birth, Love and Hate, She terrorizes and She likes playfulness!

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ssaaccrriiffiiccee oouurr SSaaiinntt--AAuugguussttiinnee--ccoonnsscciioouussnneessss aanndd iittss ccllaassssiiccaall wwoorrllddvviieeww iinn

tthhee sseerrvviiccee ooff tthhee DDaarrkk GGooddddeessss ooff nnoonn--rraattiioonnaalliittyy..

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There are many models in existence for voluntary descent or sacrifice. Robert Bly

calls them healthy descents, others initiation ordeals. Initiation ordeals such as

vision quests are often life threatening, and will be undertaken only after

exquisitely careful preparation. There are also numerous practices that are not

life threatening but bring about gradual change through sheer repetition. Some

of them have to be learned patiently, like Zen meditation or its opposite, active

imagination. Others are natural to mankind and have been practiced forever.

They include expressions as simple as child’s play or as complex as sacred

theater. Whitmont likens artistic play to flowers and poems that help differentiate

and expand perception. In other words, they facilitate evolution.

Instead of dark night of the soul, which implies suffering, the later practices might

be called night journeys, with night meaning the other side of waking

consciousness: the side that speaks the language of the unconscious, the side that

speaks in metaphors. Here, the adversarial relationship between the King and

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the Wolf or the rational and the instinctive is relinquished; instead, a cooperative

partnership develops between them where the King surrenders voluntarily to the

Wolf.

Art that comes from this source is moved by the forces of the underworld and

therefore takes on the shape of the life typical of that archaic part of the psyche:

the non-rational, Dionysian, image-maker. One artist stands out in this respect:

sculptor Benno Kaiser and his ephemeral sand sculptures.

Certainly, the faces of these sculptures are archaic. They speak the power of

mountains and craters, of our instinctual life, of the beast within us. Those who

have witnessed them speak of them as primitive, pre-historic, grotesque,

burlesque, disquieting, grimacing, but also majestic and noble. Kaiser himself

calls them gentle monsters. One article on Limits, borders, boundaries by Meher

Pestonji (Indian-Express Bombay, Oct. 1990) describes the sculptures as

transcending the boarder between nature and art.

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Interestingly, erected at the edge of the sea, they are meant to live but a few

hours, sitting as they do at the mercy of the next tidal waves that takes form back

to its place in the bank of memories of the great library in the sky (or the

unconscious). Indeed, these sculptures’ apparent majestic solidity surrenders

daily to the simple wave of time, whether water and wind, history or evolution.

So not only do the sculptures transcend boundaries between nature and art, but

also between conscious and unconscious life, and between life and death,

between form and non-form. It could be called Border Art, or Transcendent Art.

In Symphonies in sand, Kaiser says to Meher Pestonji: “What does time mean

anyway? How does it matter if a sculpture lasts for a day, a week, a year or a

decade? I believe in the immediacy of the moment. Everything exists for the

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moment and should allow itself to be transformed by the play of natural forces

acting on it.”

Play!

Kaiser also believes in pleasure, in laughter. In a 1995 newspaper article, Aussi

majestueuses qu’ ephemeres, Kaiser depicts himself and his friend Claude Chauvin

chuckling as they sit and watch the weather building up to the storm that will

destroy their latest creation.

Yet, Kaiser’s concentration during the work is as if his life depended on it, with

the seriousness of child at play, the child building sand castles. The Toltec

warrior calls this “controlled folly”. Kaiser calls it dreaming. And how does he

play?

By following the traces, discovering as he goes, having no pre-conceived ideas…

This is the language of the Goddess. The sand sculptures speak the voice of the

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Moon-Goddess until She reclaims their form, only to call them again the next day

through the heart of the sculptor. The sculptor bows to Her will and waits for the

next call.

This art, Jean Dubuffet claims, is “the only truly authentic art”, and calls it Art

Brut. In the language of the present document, it translates as Wolf Art. Wolf Art

in that it is the raw material of immediate inspiration, not its elaborated, refined

sellable version, a form to be placed in museum for the benefit of future

generations. “I don’t believe in art works being locked up in museums and

expected to last forever…” says Kaiser.

Playfulness, pleasure, following the inspiration, bowing to the need for change,

surrendering to, no, embracing, the inevitability of destruction and death, those

are some of the keys to the Goddess’ speak. They are the Dionysian antithesis to

the Apollonian linear planning, harmony seeking as in the classical golden rule,

refinement in the service of mankind’s comfort and pain free lifestyle. This is

what we hoped to express in the Archetypos studio: Wolf Art! But how were we

going to bring the sea and the wild storms into the studio???

Let’s take another look at alchemy for a little help on the matter.

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Take a meaningless, chaotic and wildly colored translucent painting. Slip

it between two sheets of back-lighted Plexiglas in a darkened room. Fill

the room with resounding, mind-altering music and you will have chased

the King away. Now ask a painter to outline the vision that is born from the

back-lighted image and the Wolf will have come alive. Let the Beast

create from its instinct and new life will rise!

In other words, let the music be the voice of the wind and the storms and the sea,

let the color be the sand, and let the painter be the child in his/her night journey!

The first image is that of a translucent painting, referred to here as projective

background. The next image is the resulting painting, the new life rising from the

Beast’s instinctual creation. That next image reveals how the painter used many

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of the features from the background such as the curves of the arms, the sweep of

the dress. The headdress, however, was created independently of the

background.

How powerful is the recipe?

As discussed earlier, the setting should help produce Wolf Art. In other words,

the setting should trick the ego of the painter into surrendering to the Beast of the

unconscious. To illustrate the power of this setting in producing such art, we

shall now see a series of paintings obtained with and without this setting.

Instructions given to the painters under both conditions were: “Please paint

anything you like!”

The first set was obtained from children between 12 and 14 years old.

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In the second set, the painters were adults. The first image of each set was

painted under the “without” condition (without music or projective

background), and the following ones under the “with” condition (with music

and projective background). Note the color, lines, originality and emotional

vibrancy of the content of the paintings in the “with” and the “without”

conditions.

How personal is the experience?

Ego sacrifice is not always easy. Upon introduction to the idea, painters often

question the personal authenticity of painting over someone else’s work. The

viewer may harbor the same doubt. Returning to the concept of the ego being

tricked, we might ask whether or not the trick induced a personal response. To

address the question, this part presents pairs of paintings. In each pair, two

different painters painted over the same projective background.

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Here, the projective background was shifted vertically in the second painting.

Therefore, to grasp the resemblance of the basic structure of the paintings, the

viewer must shift his/her head 180 degrees from one painting to the next. The

first figure represents a volcanic flash of high voltage light rays exploding from

the woman’s body, and especially from her throat and head. The painting was

named Feminine Intuition because of the supernatural and autonomous quality of

the energy.

The next image, Magical Swan, represents a gathering of rainbow feathered birds

around a regal swan. Note how the light flashes of feminine Intuition were

interpreted here as luminous feathers. Both paintings are joyous. While Feminine

Intuition depicts the world of light and fire, the Magical Swan depicts the world

of air and wind.

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In this pair, the projective background was shifted horizontally by 180 degrees

from the first to the second painting. The background inspired faces in both

paintings. Both paintings are wild and fierce. In the first one, an oceanic quality

produced by the emerald waves of the rising golden sunlight, the fish-like mouth

and sea-weedy hair suggested the name of Neptune.

By contrast, the next one is earthy. A giant head stares into the eyes of a sitting

silhouette. The forehead of the giant is adorned with tree-horns, the forest-green

and earth based chin is reminiscent of moist leafy floors. Thus the name of

Cernunnos, Celtic Lord of the Beasts.

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Here, for projective background, the two figures shared a flow of colors from the

upper left to the lower right. In the first one, it gave birth to a multiple or layered

face with sharp and repeated features. This suggested the name My Layered

Selves. In the second one, the painter stayed with the abstract flowing waves of

energy, which was then called Life’s Flow.

The first image depicts two converging undulating rivers headed by the dividing

Ram and gathered at the center by the energetic rings of the Eyes of God, only to

spread apart again around a field of fiery light. This painting suggests a

wrestling and uniting of fire and water.

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For this one, the projective background was shifted vertically by 180 degrees.

The painter saw a woman standing with legs and arms spread open, her head

slightly tilted to the left, looking down at her body. Her womb is a gigantic yoke-

apple with seed. It is touched, maybe inseminated, by rising fire, red as in the

first chakra. Thus the name The Apple of my Womb. Fire and earth are the principle

elements in this painting. Interestingly, another viewer saw the yoke-apple and

rising fire as the back of a man standing in front of a flame woman. Below the

yellow hat, tassels float down his muscular back.

It is obvious that the projective backgrounds imposed their structure on each

painting. It is also clear that each painter’s interpretation or vision of that basic

structure was different. In fact, the same paintings were often interpreted

differently by different viewers, as we just saw in the previous example. Indeed,

this is how projection works. As Rorschach showed us years ago, the same life

event, when portrayed by different people, can give rise to an infinite variety of

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stories. These stories or interpretations are actually a dream born out of the most

intimate reality of the interpreter.

For the DVD, contact us at:

Archetypos, P. O. Box 19527, Colorado City, CO 81019, or

Gardner Animation Specialists at www.gasanim.com, or

Dragonheart: www.thedragonheart.com

Note: this is the text for the DVD only. For full written chapter, contact Claudine

Jeanrenaud, Ph. D. at Archetypos.

Copyright: Archetypos