Pursuing natural health & thinking beyond the superficial. Deconstructing Culture.

I find it funny how Diana/Laura the ‘mother’ figure could say “now that I’ve got you all alone, you harlot” and got ready to unleash on me as usual using any means necessary also as usual, she added to the fact that they go quiet when I’m in the bedrooms, really quiet. Almost as if they don’t want other people to hear they’re there. Who was she afraid of talking in front of? My Mother Dearest. Who they believe is fully loaded/wired.

I have a lot to say about the ‘brotherhood’ (calling themselves of ‘man’ as a front, and who have women) from the last 6 months but who knows what will happen🙂

All they really care about is feeling insulted like typical psychopaths, and will change tactic/stance no matter what and won’t leave so whatever I say won’t ultimately matter, they’ll punish and continue as usual. They’re not allowed to get real blood on their hands though but they can watch unlimitedly, threaten, hound, carry out massive shame/humilation rituals and physically affect in other ways.

It’s funny how William doesn’t even want me to think of a certain somebody “I forbid it” or smile at another man politely who I don’t even know “don’t smile at him, I won’t tolerate it”. The thing is I never consented to these people being around (let alone existing lol), it’s all manipulation, orchestration, deception, coercion, pressure and force – so everything they do is unacceptable, unforgiveable, unpermitted. They claim my value was a $1,000,000 at ‘auction’ $500,000 at ‘street value’ and go from one tactic/storyline to another until someone ‘accidentally’ let slip “he [William] tests software on dumbass women like you” and then it all turned even nastier. Before that he was playing knight in shining armour (which I didn’t need) now it’s just total saddist psycho – and btw remember to look into ‘Hamilton’ hospital/hospices, Harvard (Cambridge agrea) Massachusetts US.

It started as a ‘handover’ between one military group and his, his being very Men in Black looking (in uniform but they wear plain clothes a lot of the time). He/they also don’t like me to mention the Peuce/Pink and Green (sometimes Red and Green) colour scheme that he initially rushed to change into (and was used by the disabled woman who called me a runt). It’s all layers of lies with them but at least the initial thing was them thinking they can ‘induct’/seed people they’ve chosen, mine was in March and then a few weeks later I was called “White-Jasper-Sun/Son” all against my will, which is also an interesting thing because they go on about free will a fair bit whilst violating it all the time.

There’s only one Jeff Hardy; one of a kind, unique, mystique.

There ain’t no other man like him. I really hate psi-ops pretending to be those they’re not and totally violating your life. I also really hate the rapist-name William Defoe who wants a son (the Brotherhood of Man ‘prince’ needs a son). If any ‘trans-dimensional’, ‘ultraterrestrial’ (or hell just US-UKmilitary, Core Central Intelligence Alliance/Allegience CCIA – lookup ‘Hamilton’) fools come-a-knocking on your body/vessel/vehicle/door just keeping refusing and don’t bite, no ‘lovebites’ (relationship operation, look it up); no blood, spinal fluid, bodily fluids nor espeically vaginal fluid (‘seeding’ ‘seedling’ ‘seeded’, even ‘superseeded’, ‘pregnancy’ is the success term).

Interesting nicknames used: Venus, (Heaven for another ‘mark’/target), Julius Ceasar an interesting play on words given the ‘cessarian’ name/method link.

(Sidenote Reminderfor the truth – memory lane:)

Warrioress Goddess Valkyrie Amazon Fighter Warrior

In any sense of the word.

Recently when I went for an unscheduled/unpermitted walk that caused too much upset to do it again (or even going to collect the post by myself) I took the long way round – a defined tourist walking route – but when I was on the highstreet (obelisk in the distance, every major denomination of Christian church & Roman Catholic plus Christian charities, reading societies etc, political parties/groups with their premises on or just off the highstreet too plus the masonic hall and some interestingly titled boutiques – many private/independent stores here) someone asked me ‘spreken ze deutsch?’

I’m not in the habit of talking to strangers unless they impose themselves, I ignored him. His interest has been sustained however until today when he finally spoke in English after I ignored his German ‘danke shein(s)’ (twice, at different times and I dont know what he was thanking me for or why the hello came afterwards) and ‘guten tag’, and in English it went a little something like this:

“You’re not who you say you are fraulein”
“Oh really, who do I say I am and who am I then?”
“You’re not an alien, but you are an exceptional human being, a very exceptional human being”
“I never said I was an alien”
“Yes you did”
“No I didn’t, I’ve been talking about goddess and cultural lineage”
“Oh”

E.T Phone Home

This year I’ve been hearing this:

But I should be doing this:

————————————————————————————————————————————–

Elephants are one of the most intelligent creatures on the planet and have a great sense of humour/irony:

The Profound Intelligence and Intuition of Elephants

http://wondergressive.com/the-profound-intelligence-and-intuition-of-elephants/

by ericfein
in Lifestyle · Philosophy
— 14 Nov, 2012

Pic: abcnews.go.com. They mourn their dead.

abcnews.go.com

Everyday, biologists are realizing with greater clarity that we are not the only self-aware and/or highly intelligent species on the planet. Many animals even score drastically higher on tests dealing with memory, language, and problem solving skills.

Elephants are one of these exceptionally intelligent species. What is especially interesting about elephants is that they seem to have an extraordinary intuition as well.

Lawrence Anthony, a legend in South Africa known as the elephant whisperer, spent his entire life saving animals and rehabilitating elephants. On March 7, 2012, Anthony died, and something incredible occurred.

Two days after his death, wild herds of elephants, 31 in total, visited Anthony’s home to say goodbye. These elephants walked over 12 miles to reach his house in South Africa. The elephants, who had not been to the house in over 3 years or more, somehow knew exactly when Anthony had passed away and came to pay their respects. The elephants carried such profound emotional gratitude for this man, their friend, that they remained at his house for 2 days and 2 nights without eating any food. Then, they simply walked back home.

When will we shed our ignorance and choose sight over blindness? When will the nonsense end? We are just animals, and we are sharing this hunk of rock and water with trillions of other separate forms of life. Drop the ego and realize that our actions affect more than just ourselves.

Elephants know the meaning of love

Pic © Dianna Sarto/Corbis.
tonyagnesi.com

A culture is no better than its woods.” – W.H. Auden

A society is no better than its zoos.” – Wondergressive

An animal is no better than the way it treats other animals.” – Wondergressive

They’re Matriarchal Because They Know Better

http://www.elephantsforever.co.za/social-order.html

Elephants are known for their superior intelligence as well as their structured social order. One of the main characteristics of the social order in the herd is that males and females live entirely different and separate lives.

Elephants are a matriarchal society; that is, one that is led by a head cow, who presides over her herd of females. Each herd is made up of mothers, daughters, sisters and aunts. They are guided by the oldest and largest female of the herd. This herd sticks closely together, rejoicing at the birth of a calf and mourning at the death of a member.

The herd of females, although maintaining close bonds among themselves, also interacts well with other herds, families, and clans. An average herd of immediate family will comprise of 5 to 15 adult elephants as well as immature males and females. As the herd grows, some members split to form new herds. In this way, families are divided and allowed to expand outwards. However, these members never forget their family roots and commit much time and effort to keeping track of their relatives through vocal and non-vocal communication.

The male, on the other hand, lives apart from the matriarchal herd, and travels alone or with other males in a bachelor pod. The drift from the herd starts during adolescence, at which time the young bulls start to spend less and less time with the herd. Eventually, the break is made completely. After this distance is established, the bulls will live solitary lives, mingling with the females of the family only for mating purposes. The bonds between the males in a bachelor pod are loosely established and loyalty is fickle. Males will frequently fight with other bulls over dominance as only the strongest are able to mate with receptive females. This ensures strong, healthy calves. When males fight over dominance, there are usually few injuries, although the fighting seems quite violent to onlookers. It is only during the intense breeding season that these encounters become somewhat more intense.

Same-sex bonding is common in elephants. This is usually in the form of affectionate trunk-entwining, kissing and placing trunks into the other animal’s mouth. Males will actually mount one another. Unlike the fleeting encounter between a bull and a cow, this mounting will last for much longer and often consists of an older adult with one or two juvenile males.

When one male splits from all other company and becomes excessively aggressive and violent, he is known as the rogue male. He will usually win at any domination battles and, therefore, mate with more females than the other bulls. This means that his offspring are strong and that the herd enjoys fairly pure genes.

Because elephants enjoy such rigid social structures and norms, they are able to form close bonds with those within their immediate herd and family, with females benefitting particularly from this security. This allows an enormous degree of trust and sanctuary within the herd.

They’re Similar to Whales (Baby whales and cows called ‘calves’ too) In Their Amazing Methods of Communication

Excerpts from:

http://www.elephantvoices.org/elephant-communication/acoustic-communication.html

How elephants communicate:
Acoustic communication
Visual communication
Tactile communication
Seismic communication
Chemical communication

Acoustic communication
Acoustic (that is, sound) signals are omni directional (i.e. they travel in all directions) and can be broadcast to a large audience including intended and unintended listeners, and those in view and hidden from view. Being short-lived and deliberate, acoustic signals are useful for giving information about an immediate situation, rather than about a constant state. Through reflection, refraction and absorption, acoustic signals are degraded by the environment in ways that are often very much greater for high frequency sounds than for low frequency sounds. Elephants are specialists in the production of low frequency sound and in the use of long-distance communication.

Elephants produce a broad range of sounds from very low frequency rumbles to higher frequency snorts, barks, roars, cries and other idiosyncratic calls. Asian elephants also produce chirps. The most frequently used category of calls, at least for African elephants, is the very low frequency rumble. You can search for, listen to and read about numerous sounds through in the Multimedia Resources section – Call Types and Contexts.

To get a sense of the range of frequencies used by elephants it may be useful to compare them with the range used by people. A typical human male’s voice in speech fluctuates around 110 Hertz (Hz, or cycles per second), a female’s voice around 220 Hz and a child’s around 300 Hz. Among elephants, a typical male rumble fluctuates around an average minimum of 12 Hz (more than 3 octaves below a man’s voice), a female’s rumble around 13 Hz and a calf’s around 22 Hz.

In normal human speech, the vibration rate may vary over a 2:1 ratio, in other words over one octave, while a singers voice may have a range of over two octaves. By contrast, the fundamental frequency within a single elephant call may vary over 4 octaves, starting with a rumble at 27 Hz and grading into a roar at 470 Hz! Including the harmonics elephant calls may contain frequencies ranging over more than 10 octaves, from a low of 5 Hz to a high of over 10,000 Hz. Imagine a musical composition with some operatic elephants!

… [The rest of this section at the original article]

Seismic communication
Seismic energy transmits most efficiently between the 10 and 40 Hz – in the same range as the fundamental frequency and 2nd harmonic of an elephant rumble. It turns out that when an elephant rumbles a replica of the airborne sound is also transmitted through the ground. Elephant sounds have been measured as traveling at about 309 m per second through air and at about 248-264 m/sec through the ground.

Experiments carried out by Caitlin O’Connell and colleagues have shown that elephants are able to pick up these seismic signals, to orient in the direction that the vibrations come from and even to respond to them appropriately.

Elephants may be able to detect these seismic vibrations, or rayleigh waves, through two possible means, bone conduction and the use of massive ossicles of their middle ears or possibly by mechano-receptors in the toes or feet that are sensitive to vibrations. The tip of an elephant’s trunk has layers of cells called Pacinian corpuscles that are extremely sensitive to vibrations and it thought to be able to detect movement as subtle as Brownian motion. Pacinian corpuscles have also been found in the elephant foot – concentrated in the front and back (toes and heel area) dermal layer. Movements or vibrations deform the layers of Pacinian corpuscles, sending a nerve signal to the brain. Although these corpuscles are found in other mammals, too, they are particularly densely packed in the tip of an elephant’s trunk.

On a sidenote – today is the memorial day for Hiroshima, the atomic bombing of Nagasaki.

I was going to try and explain at least some of the symbolism of the rose but there’s so much of it and whilst similar it varies from Order to Order, age to age. Ultimately though it’s like the opposite of the lotus – whereas the Iris/Lily/Lotus signifies knowledge an enlightenment the rose represents (also in its multitude of layers) silence and secrecy regarding knowledge.

It’s easier to use a visual aid and ‘The Adolescence of Utena’ (1999 film) is a very apt one. It’s a summarized version of the anime series (1997) ‘Revolutionary Girl Utena’ (of course based on the manga (1996-7) and it’s one big metaphor. The whole thing, there isn’t anything in it that isn’t symbolism and yet at the same time hidden in plain sight truth. Whereas the longer manga and anime can be seen as ‘coming of age’ stories (and they are exactly for some of us) the film tells it like/as it is. (Bear in mind that adolescence is the activation stage for Goddess grooming, girl becoming physical woman with the sacred blood – Red rose from White rose, Mother from Daughter – at puberty, and puberty is artificially getting younger and younger with pharma-drug-faux-food culture but especially age 15/16, the height of teenage/feminine ‘beauty’. Evil, nasty, psychotic politco-religious bastards.)

There was once an Indian girl called Anthy (Anthony – look up the meaning and origins) and she was conquered by her false brother/the masculine. Her brother was known as ‘the prince’ or the Headmaster’s son (right away you’ve got the school and indeed mystery school symbolism), he wasn’t her real brother but pretended to be – took the title, to have the association. He put her to sleep (made her into a ‘living corpse’) and raped her in that state. The thing is, she wasn’t totally asleep, we don’t even know if she was ever asleep in the way we think it – but more like in a different state of consciousness and that state took her to a different place (like how the ‘traditional’ story of Kali – a root Indian goddess, one if not the oldest still known/living in the world – being pushed into a sexual frenzy and losing herself). With the capture of Anthy things changed.

From thence a Castle of Eternity arose, a mind boggling, twisting, tardis of a school/building/place/’dimension’, before that I’d guess the question of mortality/immortality wasn’t as important. It’s with the wars of the gods and others, the bargaining, the game playing and mixed breeding where it became sought – maybe because the innocence was lost?

The Gate and in this case trap/prison

The [arch] Gate and in this case trap/prison, its shown before the first duel so representative of the outer layer/courtyard, the gate to the other two major sections of the masonic temple/kingdom.

Anyway, the cartoon shows Anthy as already captured and in ‘custody’ of her ‘brother’ (we never see the Head Master), Anthy is now what is called the Rose Bride i.e. a prize in an elite tournament of ‘duelists’ (mostly male competitors but some female) where she has to do the bidding/grant the wishes of any one that ‘wins’, they win her, they think of her as their possession rather than a living being with thoughts and feelings, and they treat her as a sex toy. Which is why when her exhibitionist, popular and well loved/admired/respected ‘brother’ rapes her she doesn’t realize she’s been raped because that’s what she’s used to and is overawed by him when actually he’s the one in awe of her power (and hence desirability) so seeking to possess it even in the most insidious ways.

Totally Rosicrucian

Totally Rosicrucian

When he sees that she wasn’t actually asleep like he’d intended he gets hysterical because he’s been caught out and doesn’t want everybody to find out, he’s already lost his keys (get to that later) and so is subject to mortality/damage/going rusty and now he’s lost his marbles *ahem*. He [nowhere near really] gets what he deserves…

Note: Anthy wears a bindi which traditionally is a sign of marriage but it’s also an unacknowledged sign of the the third eye (hence women’s sindoor is made of toxic chemicals/colours and not the men’s).

Fast forward in time and cue a rose haired (colour – Pink in the day, Rosé at night) girl who has come to the school looking for her long lost prince (by this time duellists who are participating for the title/place of the illusory/dead prince are called princes and some princesses). She’s different though, in this modern age a real Princess is called a Prince (the ‘son’, the male messianic figures etc based on the Daughter) and she’s come to the school dressed as a Prince whilst not claiming to be male. (Like in Wonder Woman.) It takes this secret Princess/Prince to rescue the old India Earth Goddess (Anthy and notice that Anthy & her ‘brother’ are the only Brown skinned characters in the film but he is lighter in bother skin and hair signifying that he is younger) i.e. the Daughter rescuing the Mother. It’s shown as a sensual relationship and most would consider it lesbian/sexual but remember the old Goddesses are sensual, they feel/experience acutely because they are one with nature (can also be thought of as a ‘revelation’/exposing/stripping the false layers) – what it’s showing is that the Daughter & Mother become one again. The Divine Feminine. They even do the ‘dance’ as well, the dance representing time, space, cosmos and which the bastard Shiva has become known for.

Utena Anthy Rose

Interestingly when Utena (the rose princess/Daughter, not the rose bride/Mother) duels she transforms, unlike the other contestants; she gets her hair back and looks more feminine/beautiful. She also has access to the a secret sword/weapon directly from the Mother. Not even the other female contestants do that because they’re not real/original women, they’re a product of the usurper society and playing the game for their own ends. Utena is the only one fighting for Anthy’s sake, wanting to be by her side because of how she is treated and to stop others from hurting her. Initially she also fights with a broom, i.e. the sweeper/cleaner goddess symbolism which has later become associated with monks in a monastery (priest schools, secret, snobby, schools where knowledge is passed on to the ‘worthy’ master-servant style – in that sense the ‘little old man/cleaner’ is always the wisest, and sometimes underestimated with his secret, smug smile – hey I’m not knocking smugness, sometimes it’s necessary…)

Showing that this is linked back to ancient India is the use of vehicles (which I tried to talk about in Momo); it’s kind of awkward to explain but modern vehicles aren’t so modern. If you lookup Vimanas for example you’ll see where the modern/streamlined version of gods/demons flying around on animals comes from. A vimana was a high-tech vehicle to travel in, they weren’t limited to sky travel, they could also be used on land and water; there’s schematics for such vehicles in old scripture (as well as a ton of ‘alien’ – not really alien though, just other beings on this planet – imagey carved in stone and drawn in artwork throughout world culture). They could be called spaceships simply because they traverse space (and water is used in the cartoon to symbolize the barrier/difference between life/death, awake/asleep worlds too) but that doesn’t make them alien as in from another planet necessarily. Basically the duellists change into cars so that they can reach the ‘outside world’, a ‘modern’ version of a horse but unlike a horse or other animal, a car is an exo-skeleton (remember the use of bones in She-Ra), a vessel. A vessel for what? Some say the spirit, others the soul, others the mind, consciousness (remember the spirit and the soul aren’t necessarily the same ‘thing’ either).

Horned and serpentine

Horned and serpentine

When Utena wins the tournament instead of owning Anthy she tries to free her, tries to take her out of the closed/false/crazy world to the ‘outside’ and so she transforms into a car (a super car – note to self: funny how a certain astrologer used a Formula One racing metaphor for me to see recently) and of course the closed world/security/surveillance tries their darnedest to stop them. Interestingly it starts off with a race track where other duellists have transformed and chase them, but they are driverless – they don’t have Anthy – they don’t have the innate power, the spirit nor the soul.

Anthy/Utena face many more obstacles and Utena is worn down badly. We can finally see the whole castle (‘castle in the sky’ which you get in a lot of these hinting stories e.g Laputa) is just a glowing ‘illuminated’ construct, a block between worlds, a distraction and the dead/illusory prince/’brother’/ghost beckons Anthy back “come back and be a living corpse, a living corpse” because that is the only way he can survive even if its only a memory, a ‘title’ that princes dreaming to fulfill his role/place fight over.

Remember the palace/castle from The NeverEnding - Story - the SAME GUY who wrote Momo.

Remember the palace/castle from The NeverEnding – Story – the SAME GUY who wrote Momo.

Needless to say there are false friends a long the way, hidden friends, fairweather friends and unlikely friends. You can never trust anybody because at one moment they’re treating you like sh*t, the next they’re apparently supporting you, you just never know, it depends on the circumstances and what they want to get out of it. The castle however is a towering inferno (Utena has been the accelerant for the Fool, the Hanged Man, the Blasted Tower and The Magician saving the High Priestess, Empress and World – adding my own tarot metaphor there) and people want out or at least change so its in their best interest to help the duo.

Utena gives Anthy ‘Hope’ (in typical Daughter style) and Anthy gives her the ‘Wisdom’/Knowledge/Experience (in typical Mother style) and together they are/have the ‘Power’.

The crosses (originally a Goddess symbol) are sneakily added amongst the roses in typical Rosicrucian fashion (the ‘hidden in plain sight’ sneaky yet totally flourishing signature ‘WE’RE HERE, WE DID THIS, LOOK AT US AND BASK IN OUR GLORY – which we took/live through vicariously’ style and remember that Anthy is the sacrifice/loss of innocence), making it appear as if they’re the backbone/structure/support for roses in a garden. (Remember some wild roses are edible – e.g. dog roses (rosa canina) which both feed/nourish you and provide/are protected in that the bulbs contain itching powder typifying Mother Nature but modernized/masculanized with the ‘dog’ which has also become an insult, using the ‘feminine’ of something as an insult and ‘dog’ being ‘man’s best friend. I’ve noted the use of cats and dogs in symbolism before but also dogs are purported to be used in bestial ways for ritual programming. The garden variety are cultivated which says it all really, the orchestrators of society, man vs Nature, Man over Nature – very Italian and Eurocentric mindset in general in its gardening ethos – ‘Europa’ meaning trapped goddess.)

All duellists are given a ‘ring’ which seals the deal (like in marriage, and those who ‘win’ the tournament are ‘engaged’ to Anthy).

The cartoon also hints at systematic abuse of the contestants/students/players or at least some of them who are groomed, bought and sold; and it’s decided when they are children by adults, including their so-called parents/guardians. The whole thing is ritual abuse.

Here’s an interesting review:

http://intersections.anu.edu.au/issue5/charlton_review.html

Intersections: Gender, History and Culture in the Asian Context

Issue 5, May 2001
Dir. Kunihiko Ikuhara
Utena: Adolescence Mokushiroku
(The Adolescence of Utena)
Colour animation, 74mins, Japanese, Japan 1998. – Reviewed by Sabdha Charlton

Anthy and the rose seal the world

Anthy and the rose seal the world

If it cannot hatch from its shell, the chick will die without ever truly being born. We are the chick; the world is our egg. If we don’t break the world’s shell, we will die without truly being born. Smash the world’s shell, for the Revolution of the World.

1. As its name suggests, revolution (kakumei) is a key theme in the suite of productions that go by the name Revolutionary Girl Utena (Shoujo Kakumei Utena). Like many other Japanese manga, it is a story that has appeared in three formats – as a printed comic (manga), a television series, and a film (known in English as Adolescence of Utena). Each of these formats tells more or less the same story, with more or less the same characters, and though there are also significant differences between the three versions, they all have in common a narrative trajectory that climaxes in a revolution that destroys the world of the story and releases the main characters into a new world. This review will concentrate on the film, with some reference to the series.

2. Adolescence of Utena is a richly detailed and visually stunning film, with a storyline so complex that it is impossible to do it justice here. It occurs in what is commonly known as an alternate universe; that is, the story and characterisations differ significantly from the series, rather than being contiguous with Figure 1. Utena, Anthy and the Rose Seal the world set up in the series. Briefly, the film revolves around a pink-haired, boyish girl called Utena Tenjou, an eighth grader at the Ohtori Academy. When she arrives at the school, she receives a ring with a rose pattern on it from the centre of a white rose. Her old boyfriend, her ‘prince’, Touga Kiryuu (who we later learn is actually dead, and thus a figment of her imagination) also possesses a ‘rose seal’ (bara no kokuin). Utena soon meets other members of the school who wear the rose seal, and she learns that the wearers of the seal must duel each other – the winner of the duel is then engaged to Anthy Himemiya, the Rose Bride (bara no hanayome).

The possessor of the Rose Bride receives her services (sexual and otherwise), but, more importantly, also possesses the ‘power to revolutionise the world’ (sekai o kakumei suru chikara). Disappointed by the failures of her own prince, Utena has decided that she wants to become a prince herself, and so duels for Anthy not because she wants the revolutionary power, but because she is angry about the way the other duellists treat Anthy when they are engaged to her. Like Utena, Anthy also has her (dead) prince – her abusive brother Akio, the chairman of Ohtori Academy and the mastermind of the Ohtori world. Anthy is drawn to Utena because of her nobility and sincerity, and Utena eventually returns this feeling. Their bond is cemented by their mutual guilt over the deaths of their princes, and together they escape both Ohtori and their princes in a climactic scene where Utena turns into a car that Anthy drives through many obstacles to eventually reach the outside world. In doing so, together they revolutionise the world of Ohtori through this act of escape.

3. This revolution involves the complete collapse of the Ohtori Academy and the castle suspended above it. This castle is significant because it promises eternity and miracles to Utena as the possessor of the Rose Bride, at the price of both their freedoms, and its destruction means simultaneously the gaining of freedom but the loss of eternal life. Although the series also involves these kinds of excessive cataclysms of disaster and emotion, the Utena movie is a site of excess even beyond the series. The film is highly intertextual – at its most basic level, this is evidenced in the way that the narrative is very difficult to understand without prior knowledge of the storylines and characterisations of the series [my comment – or without knowledge of masonic symbolism and ancient culture/history]. This means that comparisons between the two are inevitable, and thus the movie is always more than the series more obscure, more symbolic, more artistically impressive. Similarly, in the characterisations of the main characters Utena is more masculine, Anthy is sexier, and Touga and Akio more princely. This excess extends to the settings and technical codes of the movie. For example, there are masses of roses as far as the eye can see where in the series there is a simple glasshouse within which the roses are contained, and all the characters have masses more hair (except Utena who, in keeping with her more sober, masculine characterisation has her hair cropped). The architecture of Ohtori academy is angular, distorted and often shown in long shots which emphasise space and distance – indeed there are huge echoing spaces everywhere, inside the buildings and out. This excess is particularly clear in the depiction of sexuality, most notably in the ending, where the same-sex love of Utena and Anthy is graphically illustrated, unlike the series where the same-sex eroticism is limited to a subtext fed by a visual vocabulary of looks and poses. Revolution is in itself a kind of excess or uprising, and thus these excesses of characterisation, mise-en-scene and sexuality in the movie are key in producing Utena as a revolutionary girl.

4. However, revolution is figured in Utena in more subtle ways than through setting and narrative. Both the series and the movie are known for their extensive use of symbols and myths from a variety of sources. One of the major sources from which these are drawn is the work of famous manga artist Riyoko Ikeda, in particular her path breaking work The Rose of Versailles, and indeed Chiho Saito and Kunihiko Ikuhara, the creative team that authored, drew and directed both the movie and the series, cite Ikeda as a major influence on their work.[1]

The Rose of Versailles is a re-telling of the French Revolution through a fictional character called Oscar, who was born a girl but raised as a boy by her father (who was frustrated by his lack of sons). Oscar goes on to become the commander of the Royal Guard, and protects Marie Antoinette and the French court. Ikeda’s influence can be seen across many aspects of Utena, most immediately obviously in the use of roses as the primary symbolic sign, and the figure of revolution as the narrative engine of both series. Furthermore, all of the Utena series, manga and movie are subtitled in French (La Fillette Revolutionnaire). Revolution as it is invoked in Utena is thus inflected through this association with an allegorical link to a romanticised version of European history, specifically the French Revolution (which in Utena’s subtitling becomes a French revolution). Furthermore, Saito’s characters, like Ikeda’s, have angular, lean bodies, long flowing brightly coloured hair, wear close-fitting, romanticised, old-fashioned military uniforms complete with tassels on their shoulders, and regularly take part in spectacular sword fights. Their genders are similarly romanticised and fluid, and the main character in both The Rose of Versailles and Utena is a girl who wears boy’s clothes, uses the masculine self-referential pronoun boku and has a distinctly boyish way of speaking (especially in comparison to the hyper-femininity of characters such as Marie Antoinette and Anthy). Indeed, these characteristics of the two works are located within the broader tradition of shoujo manga (girls’ comics), which abounds in floral imagery, ambiguously gendered characters, and romanticised references to vaguely historical European culture.

5. The genre of shoujo manga is generally acknowledged to have been started by the ‘god’ of Japanese manga, Osamu Tezuka (best known in Australia for his Astro Boy series), and early shoujo manga was indeed mostly drawn by men. However in the 1970s a group of women known as the 49ers (because they were born in and around 1949 [my comment – notice how the re-introduction of the Divine Feminine started ‘finding’ its way into popular culture after WWII, before that it was purely secret society secret knowledge even amongst themselves]) came to prominence, and the genre of shoujo manga has been dominated by women authors and artists ever since.[2] Ikeda was one of these 49ers, and is probably the most well-known of these outside of Japan thanks to Frederik Schodt’s translation of a few pages of The Rose of Versailles in his book Manga! Manga! The World of Japanese Comics.[3] Shoujo manga is known for its fascination with human relationships, and notorious for its treatment of gender and sexuality through the sub-genre of bishounen manga (comics about beautiful boys, often with romantic, homosexual storylines). Ikeda’s work, and by extension Utena, is a twist on the beautiful boy story, in that the beautiful boy (Oscar, Utena) is actually a girl, yet stylistically and thematically both works are clearly influenced by this sub-genre. In drawing on Ikeda’s work, Utena harks back to a period in the history of manga when women artists were revolutionising the genre, carving out a space for themes not treated in mainstream boys’ and adult manga.

6. This relatively new genre of manga has received much attention in the academy. Many authors have been concerned with trying to understand why Japanese girls favour stories about subjects completely removed from their own experience – stories of love between boys, manga set in the West, and fantasy and magical storylines are those most often analysed.[4] According to these scholars, Japanese girls are so subordinated and repressed in Japanese society that they turn to shoujo manga for an escape from the limited versions of sexuality, gender and desire that are proscribed for them. The director of Utena, Kunihiko Ikuhara, echoes this when he states that the reason that the female characters turn to each other, rejecting their failed princes, reflects Japanese girls’ dissatisfaction with their position in contemporary society – ‘women no longer wish to be subordinate. Women are asserting their position in society.'[5] Utena is thus self-consciously produced from within a discourse that is concerned with women’s desires and resistances to their social positionings, and Utena’s revolution is as much about the feminist uprisings of the 1970s as it is about the French Revolution.[6] In this sense, Utena and Anthy’s escape from Ohtori is also an escape from dependence on men, and by association, on the society that privileges men. Their escape is not a simple running away, however. By refusing the world of Ohtori where they can only ‘be alive while dead’ (like their princes, Akio and Touga), they revolutionise that world – without them to prop up the fantasy of eternity and miracles that Ohtori promises, it collapses behind them (almost destroying them in the process).

7. The outside world to which Anthy and Utena escape is a utopic world where ‘there are no paths, where we can make our own paths.’ In this line the ambivalence of Utena’s revolution becomes clear, for even though it suggests that the potential to revolutionise the world lies in a rejection of dominant discourses of gender and sexuality, it does not champion the taking up of other discourses, for example that of lesbianism, despite the fact that it seems to be so clearly figured in the barely subtextual grammar of looks and shots that suggest a same-sex desire between Utena and Anthy.[7] Utena is perhaps the most popular ‘lesbian’ themed anime amongst fans of shoujo-ai and yuri (literally ‘girls’ love’ and ‘lily’, both terms used by fans to denote anime and manga that either contain female same-sex references or in which they can be read subtextually).[8] However, the application of the word ‘lesbian’ by fans, and as a descriptor of Utena reflects a specifically Western desire to interpellate the text into pre-existing notions of lesbianism and same-sex desire. Utena does not invest in discourses of lesbianism or same-sex desire – in fact it paradoxically simultaneously invokes and disavows them. Rather, Utena invests in the romantic notion of revolution as being capable of fundamentally changing the world by erasing categories of gender and sexuality, even as it invests in these very categories.

8. Utena is a brilliant fantasy, richly textured through its invocation of the symbol of revolution. It pays homage to both the history of manga, and the desires of Japanese women, and its complex, highly allegorical narrative and imagery allow for a wide range of identifications and viewing positions. While Utena’s revolution of her world with all its gender and sexuality-bound restrictions may not be available to us in the ‘real world’, this utopic fantasy is pleasure enough in itself.

Endnotes
[1] Mona, ‘Re: Utena and Ikeda Riyoko,’ in Yuri: The Yuri Mailing List, 27 February 2001, (27 February 2001).
[2] An informative site that covers the history of shoujo manga as well as information on the genre in general and some anthropological analyses, see Matt Thorn, Matt Thorn’s Shoujo Manga Home Page, 9 March 2001, (21 March 2001).
[3] Frederik Schodt, Manga! Manga!: The World of Japanese Comics (Tokyo: Kodansha International, 1983).
[4] See, for example, Tomoko Aoyama, ‘Male Homosexuality as Treated by Japanese Women Writers,’ in The Japanese Trajectory: Modernization and Beyond, ed. Gavin McCormack and Yoshio Sugimoto, Cambridge: Cambridge University Press, 1988, pp. 186-204; Midori Matsui, ‘Little Girls Were Little Boys: Displaced Femininity in the Representation of Homosexuality in Japanese Girls’ Comics,’ in Feminism and the Politics of Difference, ed. Sneja Gunew and Anna Yeatman, Boulder: Westview Press, 1993, pp. 177-96; Matt Thorn, ‘What Japanese Girls Do with Manga’, in Matt Thorn’s Shoujo Manga Home Page, 23 September 1997 (9 May 2000); Maia Tsurumi, ‘Gender and Girls Comics in Japan,’ in Bulletin of Concerned Asian Scholars 29, 2 (1997):46-55; Sandra Buckley, ‘”Penguin in Bondage”: A Graphic Tale of Japanese Comic Books,’ in Technoculture, ed. Andrew Ross and Constance Penley, Minneapolis: University of Minnesota Press, 1991; andYukari Fujimoto, ‘A Life-Size Mirror: Women’s Self-Representation in Girls’ Comics,’ in Review of Japanese Culture and Society 4, (December 1991):53-57.
[5] Cited in Shoujo Kakumei Utena Home Page, 5 September 2000, (22 March 2001).
[6] For more on feminist movements in Japan see Vera C. Mackie and Japanese Studies Centre (Melbourne Vic.), Feminism and the State in Modern Japan, Papers of the Japanese Studies Centre 22, Melbourne: Japanese Studies Centre, 1995; and Sandra Buckley, Broken Silence: Voices of Japanese Feminism, Berkeley: University of California Press, 1997.
[7] Indeed in the film the subtext becomes canon in the final scene, where ‘Utena and Anshi [do] the naked street luge while sucking face’ to quote one fan – that is, they exit the world of Ohtori Academy and the duelling arena on the remains of the car that was Utena, stark naked, kissing.
[8] It is worth noting that the other series that Ikuhara is famous for, Sailor Moon, also has a canonical female same-sex couple that is hugely popular among yuri fans.

Seal – Kiss From A Rose

Superchick – One Girl Revolution

So I went for a walk on the 3rd and upset some people just for doing so, on the way back just before I got to the entrance/exit of the site where I reside a person on a mobility scooter said ‘6 fingered runt’ as they went past, smiling at me. I didn’t know what to make of that and wasn’t really too bothered, I hadn’t received that much harassment on the walk, only once I got to the highstreet.

A few moments later a couple of boys on bicycles went past and said ‘Japanese prostitute’ well that’s obvious (the real meaning of ‘prostitute’ and Japanese has to do with World War connotations). But I thought it interesting how a ‘disabled’ person would call someone else something about disfigurement (and quite frankly I’ve always gotten on with people regardless of physical/mental characteristics, though it’s true I’ve been hankered for by particularly tall ‘people’).

Shortly after Sott posted this: https://www.sott.net/article/324181-The-mystery-of-the-6-toed-and-6-fingered-people-of-Chaco-Canyon

Natalia Klimzcak
Ancient Origins
Wed, 03 Aug 2016 17:07 UTC

Though the author originally posted it a week earlier here:

The Mysterious Extra Fingers and Toes of the Pueblo People of Chaco Canyon

http://www.ancient-origins.net/news-history-archaeology/mysterious-extra-fingers-and-toes-pueblo-people-chaco-canyon-006350?nopaging=1

27 July, 2016 – 14:50 Natalia Klimczak

6-fingered-toed-article-1

Ancient people of the Pueblo culture of Chaco Canyon, in what is now New Mexico, decorated their houses with six-digit handprints and footprints. Although it is not really known why these images were depicted in homes, researchers suggest that having an extra finger or toe made the person more important and respected in this society.

According to National Geographic, researchers were aware of the examples of polydactyly (‘many fingers’) among the Pueblo culture for many years. Several skeletal remains showing extremities with extra toes and fingers have also been found. One of the discovered remains had an ornate anklet around its six-toed foot but carried no such offering on its five-toed foot.

The team of researchers, led by anthropologist Patricia Crown of the University of New Mexico conducted the project, initially intrigued by the evidence that divine powers were attributed to polydactyls among the pre-Columbian tribes, such as the Maya.

However, according to the report, the Puebla culture did not view six-toed individuals as supernatural like the Maya, but this form of polydactyly did grant people exalted status in life and in death. The researchers maintain that people with six toes were usually associated with important ritual structures and were buried with high-status objects like turquoise.

The researchers also sought to determine how common polydactyly was among the Puebla people. They analyzed 96 skeletons excavated from the Pueblo Bonito site, the largest great house in Chaco Canyon. In this group of remains, they identified three individuals with a sixth toe on the right foot, which equates to 3.1% of the sample.

Pueblo Bonito, the largest great house in Chaco Canyon, New Mexico. (public domain)

Pueblo Bonito, the largest great house in Chaco Canyon, New Mexico. (public domain)

The researchers identified several handprints and footprints plastered into the walls and floors throughout the great houses. Moreover, an abundance of sandals, sandal-shaped stones, and images of sandals, which all include evidence of a feature to accommodate an extra toe, have been found. The 6-toed footprints and 6-fingered handprints were clearly honored elements in the society and could have held a ritual meaning.

“What is important about this study is the strong case the authors make for significance and meaning. Using biology, art, architecture, and spatial distribution … they have built a substantial body of evidence where we only had some intriguing hints before.” Kelley Hays-Gilpin, an anthropologist at Northern Arizona University concluded.

6-toed footprints behind Pueblo Bonito, Chaco Canyon, NM. Photo: 1994, Peter Faris.

6-toed footprints behind Pueblo Bonito, Chaco Canyon, NM. Photo: 1994, Peter Faris.

The researchers still don’t understand why the rate of polydactyly was higher among the Chacos than other tribes. It is also unclear whether the rate of polydactyly found in the skeletal remains from Pueblo Bonito is fully representative of the living population at the time. Therefore, the research will be continued.

The prehistoric Pueblo culture dominated the high desert of the Chaco Canyon circa 1,000 years ago. The Puebla people are still very mysterious. As April Holloway from Ancient Origins wrote:

”For over 2,000 years, ancient Pueblo peoples occupied a vast region of the south-western United States. Chaco Canyon, a major center of ancestral Pueblo culture between 850 and 1250 AD, was a focus for ceremonials, trade and political activity for the prehistoric Four Corners area. The Puebloans quarried sandstone blocks and hauled timber from great distances, assembling fifteen major complexes that are thought to have been the largest buildings in North America until the 19th century. The massive multi-storied buildings oriented to solar, lunar, and cardinal directions, the high level of community social organization, and its far-reaching commerce, created a cultural vision unlike any other seen before or since in the country. However, all of this suddenly collapsed in the 13th century when the centers were mysteriously abandoned and were never revived.

Chetro Ketl, an Ancestral Puebloan great house and archeological site located in Chaco Culture National Historical Park, New Mexico (public domain)

Chetro Ketl, an Ancestral Puebloan great house and archeological site located in Chaco Culture National Historical Park, New Mexico (public domain)

The long-held theory is that the downfall of the Chaco Canyon culture occurred because of the poor land-use and deforestation that took place to build the cities. It is popularly cited by environmentalists and others as an example and warning of how human society employs unsustainable land-use practices. However, new research published in the Proceedings of the National Academy of Sciences has drawn this perspective into question.

According to a report published in Popular Archaeology, the study conducted by scientists from the Department of Anthropology, University of New Mexico, shows that there is no substantial evidence to support the claim that the ancient Puebloan peoples, who constructed highly advanced towns and cities, simply overused their resources.”

The results of the latest research were published in the journal American Antiquity.

Top image: A petroglyph of a six-fingered hand. Red Tank Draw, AZ (Hand)

Initially I would have thought on similar lines to the comments on the original site but given people love innuendo, signs, symbols and generally being lying, deceptive, omitting, hiding, covert b*stards the comments on Sott intrigued me since they imply things people could be inferring. Those are things I hadn’t really thought of (though I was aware of failed experiments/breeding) and it makes me wonder why I haven’t come across the Pueblo people before (not that I can know everything but it seems they are a mystery in general). Then again some people want to associate me with indigenous America, bit like calling them ‘Indians’ generically I guess. Although at the same time people love to gossip, make things up, make false trails and generally lead you on/distract and I’m not going to be an ‘eager beaver’.

Linked from the article above:

Extra Fingers and Toes Were Revered in Ancient Culture

http://news.nationalgeographic.com/2016/07/chaco-canyon-pueblo-bonito-social-implications-polydactyly-extra-toes/

The Pueblo people of Chaco Canyon decorated their great houses with six-digit footprints and sandal-shaped art.

By Aaron Sidder

PUBLISHED July 25, 2016

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Pueblo Bonito, as seen from the rim of Chaco Canyon, in Chaco Culture National Historical Park, New Mexico – Photograph by Scott S. Warren, National Geographic Creative

In the great houses of Chaco Canyon, New Mexico, having an extra toe was one way to garner a lot of respect.

A unique prehistoric Pueblo culture thrived in the high desert of Chaco Canyon about a thousand years ago. Scientists have known about polydactyly among these people for years, based on images and skeletal remains showing extremities with extra fingers and toes. But past research revealed only hints about its importance to the ancient culture.

Initially intrigued by the divine powers attributed to polydactyls among the Maya, researchers led by anthropologist Patricia Crown of the University of New Mexico conducted a comprehensive review of evidence for the condition at the canyon’s sacred Pueblo Bonito site.

The findings, published today in American Antiquity, indicate that the society did not view six-toed individuals as supernatural, but this form of polydactyly did grant them exalted status in life and in death.

“We found that people with six toes, especially, were common and seemed to be associated with important ritual structures and high-status objects like turquoise,” says Crown, who is also a past National Geographic grantee.

On the Right Foot

To determine how common polydactyly was among the Chacos, the researchers conducted an analysis of 96 skeletons excavated from Pueblo Bonito during prior expeditions. The team analyzed full skeletons that were painstakingly reassembled over many years by co-author Kerriann Marden, a biological anthropologist at Eastern New Mexico University.

The anthropologists found three polydactyl individuals among the 96 skeletons, all with a sixth toe on the little toe-side of the right foot.

That may not sound like a lot, but at 3.1 percent of the Chaco population, it represents a much higher rate of polydactyly than what’s seen in modern Native Americans: Today only 0.2 percent of them are affected. More broadly, in the United States just 0.13 percent of Caucasians and 1.4 percent of African Americans are reported to have extra digits, though scientists suspect many cases may go unreported.

This six-toed footprint was found in the south wall plaster of a room in Pueblo Bonito. The plaster is discolored from a fire. - Photograph by Patricia L. Crown

This six-toed footprint was found in the south wall plaster of a room in Pueblo Bonito. The plaster is discolored from a fire. – Photograph by Patricia L. Crown

Dwellings in Chaco Canyon are also adorned with relics and imagery of feet—many of which have extra toes.

Excavations at the site have revealed several footprints and handprints plastered into the walls and floors throughout the great houses, and a number of these prints contain extra digits.

Polydactyl prints were intermingled with five-digit prints but were more frequently included at entrances to kivas (ritual rooms) and on walls adjacent to significant ceremonial structures. The location of the prints indicates that the extra fingers and toes were an honored element of the society.

The researchers also found an abundance of sandals, sandal-shaped stones, and images of sandals, which all include evidence of a jog feature to accommodate an extra toe.

And while burial treatments differed among the six-toed individuals, all of them were interred respectfully either in or adjacent to burial and ritual rooms. One of the skeletons had an ornate anklet around its six-toed foot but carried no such offering on its five-toed foot.

All told, the pedal art and ornaments suggest that polydactyly was a respected and familiar physical trait, and not merely an artistic or mythical representation.

“What is important about this study is the strong case the authors make for significance and meaning,” writes Kelley Hays-Gilpin, an anthropologist at Northern Arizona University who was not on the study team but reviewed the work for publication.

“Using biology, art, architecture, and spatial distribution … they have built a substantial body of evidence where we only had some intriguing hints before.”

Toe to Toe

The authors of the study do not understand why the rate of polydactyly was higher among the Chacos, but they hypothesize that its well-regarded presence could have made it more common.

Past research indicates that if a heritable trait does not negatively affect the individual, it is often retained in the population. Other minor developmental anomalies, like short fingers and toes, are often passed from generation to generation. And if a trait is valued in the community, as it seems was the case for polydactyly among the Chaco people, it is more likely to increase in frequency through the years.

A mold of the six-toed footprint found in the plaster wall. - Photograph by Patricia L. Crown

A mold of the six-toed footprint found in the plaster wall. – Photograph by Patricia L. Crown

However, Crown cautions that the rate of polydactyly in Pueblo Bonito may not have been fully representative of the living population at the time, and may just reflect preferential burials and artistic representation.

Marden offers another hypothesis, speculating that the frequency of extra digits in the population may indicate there was an environmental trigger in Chaco Canyon. Possible triggers could include exposure to hazardous substances during pregnancy, or specific components of a mother’s diet while pregnant.

Whatever the reason, the new research does make clear that additional digits were exalted at the time.

“This was an important part of the past,” says Crown. “People [with extra digits] were treated as special, and they were treated with a lot of respect.”

And no – I didn’t and don’t have 6 digits anywhere.