Some Background Information

Dada Chi Portrait

I’m currently on the way to a metaphysical room cleansing. There’s a lot to say about this! For example, that there are two types of cleansing. The first is the one that many also practice at home; Just as we sweep the dust out of our physical spaces, we sweep stuck bits of thoughts and emotions out of the metaphysical spaces.

The second type is only practiced by magicians of all kinds, such as shamans and witches. This type is about intervening in the energy matrix of the place itself. Just as every person has their story, every building also has its story, as does the land on which that building stands. If we work with the energy matrix, the highest level of skill is required because we have to be absolutely sure that we know which energies are foreign here and contaminate the field. And we must be anchored and connected strongly enough to be able to manipulate the Matrix.

Like many shamans from other traditions, I wear my special robe for magic workings like today. Since I am an urban shaman and work a lot in the urban concrete areas of big cities, my robe is black from head to toe. The color black does not let any external energies through and centers you more in your own strength. Of course, it is important to put yourself in a pure state before putting on this kind of ritual robe.

A little digression about colors in the ritual: I always wear black for my tattoo rituals because my clients release a lot of energy that is not supposed to get into me, but is transformed by me and spirit during and after the ritual. The same principle applies to the Handpoke Tattoo Training, because I teach the participants to work with their Chi and to tattoo themselves, which also releases a lot of energy to transform.

On the other hand, when I talk about my Web-App, my book, or write poetry, I wear a spectrum of colors. Because these things are supposed to connect not only the user with themselves, but also all of us with each other, with life and the world.

This doesn’t mean that the work in which I wear black doesn’t also have a unifying effect. But this work is directly on people themselves, in the human skin, whereas the work in which I wear color vibrates collectively. For example, if I “only” teach working with Chi, without the handpoke tattoo component, I also wear colors.

Black does not exist in nature. What we perceive as black with the human eye is very tightly compressed dark blue pigment. The reason why city dwellers wear black more often than people from the countryside has to do with the demarcation of this color, which in smaller communities can seem not only unnecessary but even a hindrance. Isn’t it interesting that the more we move into artificial environments, the more we prefer artificial colors?

The dividing frequency of black is the reason why black should not be worn at weddings and ceremonies (e.g. Ayahuasca). Both ceremonies revolve around the element of union; Separation has no place here.

By the way, white is not the opposite of black clothing here; the opposite would be complete nudity. There are spiritual reasons why “civilized” people are rarely naked in public; It is not physiologically safe to connect with as many people as we would if we walked naked through a big city.

And yet all this artificiality has natural foundations; blue, the basis of black, is natural. Sand, the basis of concrete, is natural.

In the picture you see me in my “traditional” attire. On the one hand, I always wear the hoodie that I released a few years ago. The Symbol on it and the bands within it are white; they center my work even more.

The Symbol allows the Chi in the space I am in to flow more clearly, as well as my own.

I also wear the Astral Key “Protection” made of steel. Brass would be inappropriate here; too soft. I’ll wear brass again when I can wear colors.

After entering the room, I chant; if the melody is very arhythmic, there is a lot to do. If it is only slightly disturbed, less so. Singing is the most important tool in my kit; With it I can detect vibrations, tune into them and then invite them into the transformation.

I never work against anything, because there are no opponents. There are dissonances and there are resonances. Everything that exists has a right to exist – otherwise it wouldn’t exist. If I get involved with the energies, they get involved with me. And voluntarily transform into dimensions that are more useful to them and to people than the space in which they somehow ended up.

Only when the cleansing is complete do I smudge white sage, then Palo Santo. This is not the actual cleansing, but rather a kind of impregnation of the energy that has been restored.