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  • 4 min read

Updated: Apr 3, 2024


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Kuanna noticed the sixth body for the week being taken to the jungle in a funeral parade. A group of nine or ten followed the four who were carrying the corpse wrapped in cloth, singing their funeral song. Six deaths in a week; this was unusual. Kuanna resisted the urge to speak to the funeral party. After all, her tribe disowned her nine years ago for bringing misfortune to the village with the warring man that she chose to love. She had vowed to never return to the people who killed him.


So, she sat watching the road from the village into the jungle, long after the funeral party had disappeared. Their mournful song trailed off into the wilderness. Why she couldn’t leave the earshot of her village—her despicable, arrogant tribe’s village—she could never tell. Every time she tried to leave, a stubborn and unreasoned voice convinced her not to. “They will come to you”, it said. 



The next day, a seventh funeral party came, singing and weeping as they carried their dead.


The next day, a seventh funeral party came, singing and weeping as they carried their dead. 


Then followed the eighth, the ninth, and soon, the thirty-eighth within twelve days. 


Kuanna boiled a broth of turmeric, ginger and sirimani roots and poured it into her largest dried gourd bottle. She packed the near-broken one of her knives and the older one of her only two rags; she knew that she wouldn’t be able to recover them from what she was setting out to do. Then, she waited for the thirty-ninth body. It came soon. As soon as the mourners left, singing their dreadful song, Kuanna walked over to the cemetery. She crouched near the body; it was a young girl. Her skin still held a trace of warmth to Kuanna’s touch. She had only died in the last few hours, Kuanna understood. The village must be sinking into panic now; they’re abandoning the dead and rushing the rituals. Kuanna took her old blade and dug it into the girl’s body and drew a smooth line from the throat to the groin. The line swelled in red as blood started oozing out. Kuanna began to examine the corpse, prodding its interiors with her knife.



By the time Kuanna had reached the water stream, jackals had descended on the body. She heard their fervent fight for flesh in the distance. As if affected by the jackal’s urgency too, Kuanna set out to clean herself in a frenzy. That stench in the dead girl’s lungs…it wasn’t ordinary, Kuanna knew.


She poured the root boil from the gourd bottle into her palm and hurriedly rubbed it inside her nose. Then, she poured some into her mouth, gargled it in the throat and spat it out. She poured the remainder over herself and rubbed every inch of her body with it before immersing in the stream.



Kuanna lay down on her mat and gazed at the sky through the torn thatch of the roof. The cobra that dwelled with her—Naga—slithered across the floor and curled up near her neck where warmth was gathering. Kuanna still remembered the stench from the dead girl’s lungs. It was putrid and had metallic tones to it. An element was deeply corrupted. What was it? She wondered. 


That night, Kuanna dreamt of herself standing over the Earth. Its brown skin split open in a clean line that swelled with liquid red from the inside. From within it, came a flame; a red, orange and gold flame. It rose slowly into the air and halted in level with Kuanna’s eyes. Amidst the flame was water—rapidly swirling in a spiral. 


Kuanna peeled the jungle to find wakapitha berries. She finally spotted the flame-red berries on a tree adjoining the hill. She broke open one of the berries—inside, its bright red exterior faded into orange, circling the golden yellow seeds at its heart arranged in a neat spiral. Kuanna tied a long strip of rag around her waist, and formed a pocket between its folds; then, she started climbing the knotty bark of the wakapitha to collect more.

 


Kuanna placed the ground pack of medicine, tightly packed in banana leaf, in front of Naga’s face and laid down next to the cobra. She gazed into Naga’s eyes. In Kuanna’s mind’s eye, she could see the village clearly; the footpath from the jungle would get wider as it inched closer to the village. It was distinctly marked from where the road bringing carriages would meet the footpath. Beyond that, where the water wells were, there would always be women and men with pots. Nowadays, with death so thick in the air, their speech would be hurried and whispered. Some would look terrified, and others would be already broken.



In the next few days, the villagers experienced something strange. A white cobra would slither near the well, drop off small packages wrapped in leaf, and slither back into the jungle. On the first two days, no one touched the package. On the third day, a man prodded it with a stick and unravelled the leaf. Other villages looked on; they gave him mixed instructions shouting from all directions. He shushed them and dug the end of his stick into the contents of the leafy package. Then he raised the stick to his nose as excited voices cried caution around him. 


The eighth time that Naga returned from the village, Kuanna noticed that she was fed. The shape of three quail eggs in Naga’s belly was easily recognizable. The streak of white on her pink tongue meant milk. 


They have finally understood the medicine. 



The processions of bodies eventually ceased, save the occasional. Kuanna watched the stars change patterns through the broken thatching of her roof.


One night, she dreamt of a line of black ants swarming near her feet as she slept. They swarmed at her feet, spilling out of her jungle hut, beyond the jungle and teeming along the footpath from the village.



The next day, when Kuanna returned from the stream with her pot of water, there was a reed salver left in front of her jungle hut. It held fruits, betel leaves, a small bowl of rice cooked with coconut milk, plums, and nuts and six yards of crisp cotton folded neatly. 


An offering. 


Kuanna’s story was written based on the historical character Kuwēni (also known as Kuanna) linked with the legends connected to the origin of Sinhalese people in Sri Lanka. Click here to read more and to sample this as a spoken story.



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Feist's magically transformative videos evoke surreal enchantment. Alejandro Jodorowsky’s mysticly and symbolically embodied films. Frida Kahlo's transformative spirit. The esoteric knowledge of "The Teachings of Don Juan" and expanded consciousness of "The Doors of Perception". Cutting edge technology magazine "Wired". Characters like Neo (Matrix), Cobb (Inception), and Max Cohen (Pi) embody the Magician archetype in their quests. The LEGO platform, Google's "Year in Search," and Studio Ghibli as examples of embodied transformative spirits.

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Archetype → Magician


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March 2024


Artistic expressions channelling archetype in rasa

  • Feist's "Hiding Out In The Open" music video; we see Feist engaging in a series of transformations, changing her appearance and surroundings in unexpected ways that manipulate reality and create illusions. We see Feist embracing change and embracing her power to transform her surroundings and create new possibilities. Her music videos often showcase a magical or illusionary aspect. In the music video for "1234"; she dances through various scenes, with backup dancers and props appearing and disappearing in seemingly magical ways. In "My Moon My Man," Feist is shown in an otherworldly forest setting, surrounded by mysterious creatures and surreal landscapes. The video's dreamlike imagery and fantastical elements evoke a sense of magic and enchantment. 

  • Alejandro Jodorowsky: A filmmaker, writer, and spiritual guru, Alejandro Jodorowsky's work often embodies the Magician archetype through its exploration of mysticism, symbolism, and metaphysical concepts. Films like "El Topo" and "The Holy Mountain" delve into themes of enlightenment, transformation, and the journey of the self. Coincidently, Alejandro Jodorowsky cast Salvador Dali as Emperor Shaddam IV; apparently, Dali accepted the role under the condition he would be paid $100,000 per hour. The project was abandoned due lack of funding

  • Frida Kahlo: The Mexican artist Frida Kahlo is known for her introspective and deeply personal paintings, which often incorporate symbolism and elements of magical realism. Kahlo's work explores themes of identity, pain, and resilience, embodying the transformative spirit of the Magician archetype.


Published ideas of archetype in rasa


Characters channelling archetype in rasa

  • Neo (Matrix); This iconic (1999) sci-fi film explores themes of reality, control, and liberation. The character of Neo embodies the Magician archetype as he discovers his ability to manipulate the simulated reality of the Matrix, ultimately leading a revolution against the oppressive forces controlling humanity.

  • Cobb (Inception); Directed by Christopher Nolan, "Inception" (2010) delves into the realm of dreams and subconscious manipulation. The protagonist, Cobb, embodies the Magician archetype as he navigates the intricate layers of dreams, bending them to his will in pursuit of his objectives.

  • Max Cohen (Pi); Directed by Darren Aronofsky, "Pi" (1998) follows a mathematician who becomes obsessed with finding patterns in the stock market and the universe. As he delves deeper into his quest for knowledge, he embodies the Magician archetype, harnessing the power of mathematics to unlock hidden truths and confront existential questions.


Channelling the archetype in rasa for business




  • 1 min read

Updated: Jan 31, 2024


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Nisha wrung herself from the police grip, calling to Ren; ‘Boiling kettle. On my desk…get it.’ Ren stood thunderstruck. ‘Just press the button! She begged, eyes boring into him. She had that look in her eyes, and he understood it.


Ren staggered—unable to turn away from police roughing Nisha onto the backseat. He ran upstairs, in a haze of disbelief.


Upstairs, on Nisha’s computer screen, the cursor blinked awaiting instructions. E-mail; No subject. Attachment; DefenceMinistryClassified.doc. Addressed to the newspaper editor. An electric urgency hung in the air, poised. Hearing heavy boots coming up the stairs, Ren tapped, ‘Send’.


This was produced in response to a challenge to tell a story in less than 100 words. This story, all names, characters, and incidents portrayed in this production are fictitious. No identification with actual persons (living or deceased), places, buildings, and products is intended or should be inferred.


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