Do you have some leftover herbs and fruits from the holidays? I invite you to make a simmer pot with me. In these cold months, pagans may enjoy looking within for some shadow work, hibernating like the bear, and spending time with the people closest to them. There is a flip side to the cold, rain, and isolation; depression, unprocessed trauma, and loneliness may also bubble to the top. When these emotions hit home, it’s time to warm the house with an aromatic simmer pot.
What’s in a simmer pot, you ask? It is entirely up to the potter; you may find yourself mixing cranberries, cinnamon sticks, rosemary, pine, apples, oranges, lemons, roses, or bay leaves. Anything with a smell that is meaningful to you belongs in the pot.
Let’s make it!
Winter Solstice Simmer Pot: For Motivation, Connectivity, and Love
Ingredients:
6oz of fresh Cranberries
4 Tangerienes
3 Cinnamon Sticks
a bundle of dried Lavander
Fill water an inch away from the top of the pot. Boil water.
Cut up Tangeriences. Crush Lavander.
Add all ingredients to the pot. Set an intention with each ingredient. Oranges for inspiration. Lavender for comfort and friendship. Cinnamon for love and spice to life. Cranberries for family and (career/passion) goals.
Allow it to boil for five minutes.
Reduce heat to simmer for 4-6 hours.
When done, you may save the cinnamon sticks in a plastic bag and put them into the freezer for the next simmer pot.
I have found that this aroma therapy magick is good for getting yourself out of your head, easing depression, and strengthing motivation. The smell is relaxing. It benefits everyone inside the house, bringing them closer together and making them more aware of their senses. The simmer pot is an excellent use of herbs and fruit that are about to expire and can be thrown into the compost afterward. Feeling a little frisky? Try sipping your tea as long as you use all-natural edible ingredients.
Saturday 2, 2024; 2 pm-2 am MushLove Crew threw a twelve-hour psytrance party at Ramp Art Skatepark in Arcata, CA. Local DJs came together with some out of town talent on the Day of the Dead, and a crowd, mixed of all ages, danced together under the continuous loop of psychedelic tunes like a space cadet’s first encounter with aliens. Sam Murphy (DJ Melting Vision), the event’s host and production manager, worked alongside Stacia, co-host and stage designer, whose creative vision transformed the space and Kale Oliver (DJ PYMANDER) project manager and CoCreator helped Sam dial in the details and logistics leading up to these events.
“[Kale] He’s our old school, Sam’s our new school, and I bridge the gaps in between! I Thoroughly enjoy Kales classic picks that stimulate a particular vibration and nostalgia while Sams strong drive to provide new music in his sets both live and weekly on Humboldt hot air (every sunday 12-2) typically has a bouncy but deep vibration ” They came together as a team and created the perfect pallet for me and the crew to enhance with Creative and interactive installs.” -Stacia
The decor was like stepping into a neon Mayan Jungle, with flowers, skulls, and mushrooms. VIP offered a smoke lounge, skate bowl, and bar. The feeling of unity, inspiration, and movement flooded my veins while dancing with my community during the waxing moon.
Music by Minds medicine, Andrus, Luzidtrip and Formless are a few of the DJs who performed. Amazing sound engineering was provided by Paul Westerman. Stacia’s stage design transported us to a neon Mayan Jungle filled with vibrant flowers, skulls, and mushrooms. The decor pulsed with energy, drawing everyone into the atmosphere. The VIP area featured a cozy smoke lounge, skate bowl, and bar, creating spaces to connect and recharge. In the warm glow of the waxing moon, a powerful sense of unity, movement, and inspiration flowed through the crowd as we danced together, embodying the spirit of community and shared joy.
Here are two questions that were asked at the party and recorded later on.
Stacia: Two of the questions you had asked me during the party were two that not only did I like being asked but I also really liked my answer. One of the questions you asked me was where do I get my flowers from? Which is, you know, a lot of them I grow myself and dry. Many of them are foraged in small bits when I’m out adventuring with my dog (such as the bunny tail grasses and yarrow on some of my most recent beach visits!) Some of them are from clients’ properties that have given me access to their gardens or saved from previous events and utilized differently. Then also for the hydrangeas, I had reached out to my community on Craigslist and basically said, I will trade my time for your blooms. I will help you reset your bush so that it can bloom better next year. And I actually had three different families reach out that I went and basically traded resetting their hydrangea bushes in exchange for blooms that will last years. And I was just really appreciative that the community supported my search for foraged materials and also was able to help a couple families who can be expecting more healthy stronger blooms next year!
Stacia: The other question you had asked me was about some of the inspiration, I’m always inspired by what I have access too and that is where the creative visualization begins and all the ideas unfold from there with trial and sometimes error until it all works !!! -And there was that whole wall surrounding the paint play table with portraits that were by a local artist, who passed away about ten years ago. His mom and I were organizing the garage and it was an emotionally bonding experience as we each took in the different portraits one by one both seeing them for our first time
-I’m going to ask his mom, who lent me that art, if she would like his name mentioned in the article [Ryan Cox], because that might be a cool way to carry on life throughout death. That art was just so emotionally intense and, and just kind of made your brain think in a way that, for me, felt very much like a searching…[trails off]
Artist Ryan Cox
Artist Ryan Cox
Artist Ryan Cox
Artist Ryan Cox
Artist Ryan Cox
Artist Ryan Cox
Stacia and I were sorting out the garage one day and we found a tightly rolled bundle of canvases. I was thinking ‘this should go but knew that I should look at what I was throwing out. We unravelled the bundle and it was a collection of portraits R [Ryan] had painted. I had never seen them before. They brought me to tears. Stacia felt them with me and [I] was moved [when] asked if she could get them out into the world. I said yes, as I know my son would want his brushstrokes, his expression to continue speaking even after his death. He was dedicated to art, music, and all that helps us see each other and love more. He pushed boundaries and was the kindest person I’ve ever known. I don’t say this because I am his mother, I say this because that’s the legacy he left us. Passion for expression, play, insight, always infused by his kindness, his huge spirit and generosity that infused his life.
-Ryan’s Mum
Adriana Orta infront of Ryan’s paintings.
Sunday, I sat down with Stacia of StaciaFlowerSolutions At Clam Beach. The interview may have started the night before, but this was a quieter, more intimate setting. As my children played with her dog, Neptune, I had a few minutes to ask her questions about her flower arrangements and her goal as an artist. You may be surprised how this artist strives for connection, collaboration, and sustainability to make her dreams of the “Avatar Jungle” come true.
Natascha: Hi, this is Natascha with the Little Lost Forest, a Humboldt County lifestyle blog. I’m here with Stacia after going to a MushLoveCrew event hosted by Sam, Kale, and Stacia. Stacia is a Creative amongst other things and she puts together floral designs and visually satisfying interactive spaces.
Hi, Stacia. How’s it going?
Stacia: I’m doing great today. How about you?
Natascha: I’m doing really well. Thank you. Last night was the Day of the Dead. How did the Spanish holiday inspire your floral arrangements?
Stacia: Day of the Dead was a great inspiration because it encompasses a lot of what I have been doing for my creations and alter spaces already. You know, there’s life and death, and then there’s us; kind of everything in the middle. And that’s what Dia De Los Muertos is about. It’s about remembering its ok to feel sad about what you’ve lost or how things have changed. But also remembering to celebrate all the joy and life and energy that was here at one time. It was a great day to know that we could hold space for what we’ve lost, even if it’s not people or animals, but even just our stories and our lives as they change. There’s death, there’s life, there’s everything in between. And together it can be so beautiful and harmonious (especially while sharing space on the dance floor)
Natascha: That’s wonderful. There are dried, dead flowers and then there’s also live flowers in your arrangements. Is that correct?
Stacia: That is correct, yeah. Dried/preserved flowers that will last multiple events and fresh cuts from that day! To be dried later Trying to curate a balance between the two for both visual aesthetic and function of being gifted or repurposed
i especially love utilizing herbs that smell good and keep the dance floor fresh
Natascha: And I noticed that some of them were glowing. Is there another aspect to your design?
Stacia: I am inspired by the Avatar Forest, and I would love to create that atmosphere for other people to enjoy! You know, these installs start out with simple enhancements with the neon, but I dream to collaborate with someone who can actually assist me with their knowledge for engineering wiring and programming and together we would be able to create it, where people can go and interact and touch it and it glows and moves and breathes.
Natascha: It sounds like interactive art. How do you, how does your audience perceive your art? What kind of feelings and emotions are you trying to inspire within them?
Stacia: Interactive is definitely on point. I’ve been getting a lot of great feedback about things that can be moved, things that can be played with. One of my highlights this year being our blacklight body paint table, leaving it out sometimes for people to help themselves, or sometimes being there to kind of start the playful process. Watching not only the flowers become neon, but the people become neon. And we’re all part of the installation and we’re all moving and playing and, you know, I’m painting, they’re painting, everybody’s painting each other, and it’s so fun to watch it spread through the crowd!
Natascha: That’s great. What are your ideas for the future with the flower arrangements?
Stacia: My ideas with flower arrangements are infinite. I love everything about flowers, whether it’s the metaphors for our lives and the way we are or, you know, the fact that they’re natural materials that we can use and repurpose. The dried flowers used at this event have made it onto multiple altar spaces across multiple genres of music, with so many different energies being absorbed into them. Our earth, our stones, our plants, it’s all absorbing and vibrating everything around us. I love creating custom anything and i’m up to the challenge! I love repurposing and my biggest dreams would be building a tribe of creators and all playing to our strengths to help people’s custom creations ,floral dreams or event ideas come true. Really- whether it’s weddings, events, storefront installs, custom celebrations and everything in between.
Natascha: Wonderful. What’s your position with the MushLove crew?
Stacia:I joined Much Love Crew as they started out this year I had a strong desire to contribute in a big way and i feel lucky to take on the roll of deco coordinator. Im passionate about psy trance and the healing its helped me with so when i met sam and learned of the vision i wanted to help make that dream come true
I feel lucky to have had some amazing inspiring people come and collaborate and volunteer their time, their energy and a willingness to be in the present moment and grow from there
You know, I have a general vision, and a plethora of materials. But the crew is like, we’re all new, we’re all coming together. It’s like, I’m sort of there to lead, but more- I just want to bring people together to make weird art and MushLove is here to bring people together to be weird and just be together.
Natascha: What is your past history with the music scene?
Stacia: Starting on the East coast, I have been involved in the music scene of all different genres for many, many years. (I remember my first event solo vision was a womp wednesday at the wonder bar in allston MA featuring wobble sauce ) after moving from MA to CA i was compelled to work with another flower i’m passionate about and I took a decent hiatus from the music scene while I was working at The Lost Whale Inn found in Trinidad gaining many of my amazing floral skills along with many other skills i utilize to chase my dreams now!. Um, and now that I dream bigger, it’s…. You put part of your heart into your passion and kind of just dream big that you can survive off of what your passionate about
Natascha: Totally. Well, is there anything else you want to add?
Stacia: I just I, I would love it if people- not even just as the MushLove psytrance thing but in general like we’re all here and there’s a lot of people that want to create together. I’m happy to hold space and gather materials and reach out if you feel inspired by anything that I do, or you have an idea that you need an assist with, I’m happy to contribute. Like other people have for me and my visions.
[Added after interview] Stacia: I’m really appreciative of the spaces I’ve been welcomed to with the intent to let my creative form flow. The trust I’ve been given by not only the properties, the teams, the crews, the volunteers and everyone in between. But just like it’s all helping me grow into a better person, too, you know? Making art is a beautiful thing. collaborating on art with other humans is even more beautiful, especially on a creative journey of helping each other grow, change, and inspire
Natascha: If somebody wants to contact you, what would be the easiest way for them to get Ahold of you? Um, probably through Instagram.
Stacia: Has my email there too and then through there. If we need a more direct contact, we can share numbers and all of that.
Everything about my daughter is spicy and wild. She is creating a storm, and her actions and movements express the full seasoned attitudes she stomps with. Running down the dirt paths into the Sunny Brea Forest my son takes off down the trail after her. Taking long running strides without resistance. Like Sonic the hedgehog on a track. The idea of siblingship drives my children bonkers. They want to push, pull, resist but they can’t help but to collide back into one another with love and compassion. Being a child even though full of wonderment and adventure it is also filled with a victim mentality, as the children blame each other every step of the way, sissy pushed me, Malakai left the water bottle not me, etc.
Under the Hunter’s moon I felt emotions stir that I had no control over. I felt so passionate about my feelings, I had to act on them, I couldn’t resist. Now in the new moon, I am wondering if I could have held back those feelings. If I was able to suppress them, hide them, until they dissipated. In the new moon I wonder what I could have done differently to not have acted on my emotion, how to be a new me, how to be a different me. I don’t regret having feelings, but I do regret not having the tools, knowledge, and power to have formulated those feelings in a different way.
All Hallows Eve is among us and we are preparing with trips to the pumpkin patch, making costumes, and preparing sweet treats for friends and family. There is nothing better than being surrounded by your best friends, and Halloween is a great time to indulge in doing fun things with the people you love. We went to the pumpkin patch and got lost in the maze. It was a relief to find the exit (I think we exited where we entered, we were that lost.) Our family and friends took their time choosing the best pumpkins. My husband chose mine, an orange and green pumpkin with lots of warts and a twisted stem. I took the kids to the haunted museum, then we went to see the witches on paddle boards. Bonding and spending time with the kids in this manner was very rewarding to me.
My daughter has been working on her Therian costume. If you didn’t know, Therian’s believe they are a non-human animal species, but are human on a physical level. They may mimic the behaviors of their animal identity. She burnt her hand with the hot glue gun making her costume and I realized even if she thinks she’s old enough (age 11) to do these things on her own, she still needs adult supervision. My son also wanted an animal costume to match his sisters. He got a wolf tail and ears, we’re going to make it out to look like Max from Where the Wild Things Are.
I’ve been sharing with my best friend/ roommate ideas for Halloween dishes. Dishes like corn fritters, pumpkin cake pops, stuffed sweet and savory butternut squash (stuffed with chicken, brussels sprouts, and beets,) pumpkin cheesecake cookies, and honey lavender white chocolate truffles. I’m fascinated with all the good recipes we can find on the internet.
On that note, my roommate cooks the best meals. He makes fish, fresh pizza, and the best tasting quinoa. I am constantly so busy from work and childcare that I can’t always perform as the best cook. But I want to cook like my roommate. I want to dedicate time in the kitchen. I want to enjoy the work. I love being a mom but it’s taxing. To find the balance that offers my children the best life possible and the healthiest options.
Last of all childcare for toddlers; It is so scary to put your children in the hands of someone else. As a substitute teacher I strive to give the kids the best experience possible. The experience I want my children to have while I’m away. Part of me doesn’t want to return to work in the New Year. I’d rather stay home with my children, so I know they are safe. Work on cooking and home life. To become a better writer and artist by dedicating time at home. My mom was a stay-at-home mom till I was four. My son doesn’t have to attend school for another year. Yet, childcare has a lot to offer too. Will I be able to work with him on his education, give him the socializing skills the school offers, and the play structure? Will I be able to keep my calm as a stay-at-home mother, or will it be a burden on my child’s and my relationship? Is there a hybrid version (stay-at-home mom + daycare) that won’t make me feel obligated to be at work? Coming to the end of the year I wonder what I can do to better my child’s lives.
Creature and Natascha sit in a home office in Eureka, CA after a craniosacral massage. Before the interview, Natascha relaxed into her second session with Creature full of powerful energy from the Hunter’s Moon. Natascha wanted to get to know this practice through the practitioner more thoroughly. Together they wrote down Creature’s bio and dove even deeper with a few interview questions. On the end of this post you can read Natascha’s experience during the massage and how she has benefited from Creature’s practice.
Natascha: Hello, welcome to the Little Lost Forest blog. Today we’re going to be interviewing Creature (they/ them) from Eureka, California, practicing massage, spiritual energy work and craniosacral therapy. It’s a beautiful cloudy October afternoon. Hello, Creature. How are you doing today?
Creature: I’m doing really well. I just gave a session not too long ago, and afterwards I feel very clean and clear and centered. Happy to be doing this with you.
Natascha: Thank you. And thank you for the craniosacral massage experience. I really appreciate that as well. What is your mission?
Creature: As far as this work goes, doing body work with people, it really is to offer what has been inherently bubbling up through me over the last decade.I’ve been getting nudges for a while now to offer healing work, and have been hesitant and insecure about it as I’ve been working through my ups and downs. I would say my mission is just to meet people where they’re at. I’m working with this concept of a mirror medicine and really just wanting to help folks get to an empowered state with themselves, with their body, mind, spirit. And I feel like I’m really just here to be a companion on that path for folks. I’m not here to heal anyone, but I’m just here to listen and respond and follow the lead of their own body and nervous system.
Natascha: Okay, thank you. What are your philosophies?
Creature: I would say that I walk a line between spirituality and politics. I don’t feel like they can be separated from me. In my own journey of healing has been very tied in with my identity as a queer and trans person, and also my journey of decolonizing as a white settler person. With those two realities, it’s also this experience of of neurodivergence that the more I embrace, I realize that I’m also embracing my healing gifts, and that being someone that doesn’t operate in dominant culture actually strengthens my role as a healer. It’s directly in opposition to a capitalist, patriarchal, society. And so I see healing and self-care and rest as resistance. And I also see the more that I let go of the expectations of what success looks like in this world, the more I listen to my inner guidance- that I have a lot more to give to other folks. So it’s really for me getting outside of my head and analytical mind and dropping more into trusting my intuition and trusting my energy and my body and my spirit and less of a like. Less of a, um, like I have. I have the answers or the tools to heal you. More like, um, something brought us together, and I’m here to be present and respond.
Natascha: How has plant medicine helped you on your spiritual journey?
Creature: Plant medicine has definitely helped me unlearn and unwind a lot. I was pretty naive and sheltered from a lot of the challenges of the world. Before I started working with plant medicine I was a big believer in college education and feeling like I needed to use that education to have upward mobility in society. But plant medicine really broke that down for me in big ways that that weren’t so much fun all the time. Now that I’ve managed to come through the… Dismembering, falling apart… I realize that there’s a lot more to me than I was aware of.
The plant medicine really helps me drop out of this analytical, judgmental state of mind that I inherited and helps me flow more, helps me dance with my reality. Helps, helps me with neuroplasticity. And was really a guiding force for me. Finding my inherent skills through my lineage that I wasn’t really aware of until I started working with plant medicine.
-Creature
Natascha: On a spiritual path, what does “doing the work” mean to you?
Creature: It means a lot of things. I think primarily it means being in my integrity, which is kind of a constant path of falling in and out of that and finding it again. There’s also lots of layers to that. I also think it’s interesting and funny that we use the word “work,” because I also like to think of it as play. It’s strange to use that word, but also, I think, good to reframe that word and take it back. There’s the work with myself and unlearning, decolonizing, returning to my integrity. Then there’s the play with with others and finding peers who are similarly on that path and learning to discern boundaries and who are healthy people to be around. When am I attracting unhealthy relationships with people? So definitely discernment is a big piece for me.
Natascha: Thank you for that. How does spirituality play a part in your massages?
Creature: I would say spirituality plays a part in most every part of it. Because in order to be present and open enough, I need to to to do the work to wind down and rest and not get all swirled up in the chaos around me. So it requires a certain preparation and lifestyle. I definitely am nowhere close to perfect in that and have my own, you know, struggles like anyone, my own addictions and coping mechanisms. But it requires me to to intentionally drop out of that and take take time to rest before and after. I experience my work as as being a channel of sorts. And so it requires that I have relationship with guides and ancestors, and that I have a practice that is familiar enough to step out of my conscious ego mind and listen and follow. And yeah, it’s, um, about recognizing the more than physical aspects of us our energy body, our emotional or spiritual body, and the many layers involved. It’s also pretty integral with the somatic quality of emotion and trauma and memory and Ancestral generational kinds of of ways that energy gets locked and trapped in our body. I guess beyond the physical layers of muscle and membrane and bones and structure of the body, everything else is entirely spiritual.
Natascha: Thank you. That’s really great to hear. How does self-care play a part?
Creature: It’s definitely essential. I struggle, you know, having regular routines sometimes deciding to commit more to this practice and this way of making a so-called career or identifying as a practitioner, um, was an impetus for me to take self-care more seriously and not put it on the back burner. Um, I spent a lot of time in fight or flight mode, you know, racing around feeling like I need to hustle in this capitalist world. And often self-care it takes a second or third or fourth and so on to all these other things that seem like a priority. This practice is teaching me that it’s actually a guiding force that once I do have a baseline of self-care that speaks to everything else that I do from that state. And and it adds to the quality of, of anything that I have to offer to the world. Whereas without that self-care, I’m more fumbling, agitated and not showing up at in as good a way as I could be.
Natascha: Who introduced you to Craniosacral practices and why did you start practicing?
Creature: Let’s see. I first encountered Craniosacral actually during ayahuasca retreat. I’d never experienced it before, but I was already struggling with, um, dysregulation from the medicine I wasn’t quite prepared for entering so quick and so deep. And there was a practitioner there who gave me some sessions that were really helpful. And since then, it’s been the primary type of therapy that has helped me integrate from my ou-of-body plant medicine trauma. And it’s also been really key to me healing some physical traumas. I have a brain injury, concussion from forest activism. And I’ve recently been able to integrate that more through craniosacral. Out of all the modalities that I’ve experienced, Craniosacral stands out as, it’s hard to compare with with other modalities because there is this there is this spiritual kind of trance state quality to it that. It rides the line between energy work and physical manipulation. I’ve been privileged to receive a couple practitioners really only want one practitioner consistently. It has been pretty inaccessible financially for me. So being able to study it in a beginner way has helped me have a relationship with that [Craniosacral therapy] and myself. So I do some of the work on myself sometimes, and I’ve even learned to, to just sense, the shifting and unwinding in my own body as I do my own meditation and self massage practice
Natascha: What can your clients expect to get out of a session? And what about multiple sessions?
Creature: A lot can happen in one session, but yeah, it’s really the multiple sessions that start to really, really ingrain and train the nervous system to do its own healing, but to keep that new shape and posture.
I would say in one session, it’s kind of like an introduction. It might be the first time ever or first time in a while that the body and nervous system has been reminded that it can adjust the way it’s holding, that it can relax on a deeper level. That it is safe to do so.
-Creature
I think it can be kind of- what’s the word?- It can be surprising to realize how much tension we’re holding and how much dysregulation we experience from the world, especially if we’re used to functioning at a pretty decent level. In my experience, I’ve spent a lot of the last decade very dysregulated, and so even one session can do a lot as far as just a little nudge or reminder that there is another way to be and exist. With multiple sessions, it’s just an opportunity to go deeper and to return to those places that we find the stillness that we’re seeking. It’s certainly not likely that after one session, we won’t just return to those old holding patterns that we’ve likely been familiar with most of our lives. So, each time we return and get that reminder, it’s more likely that we will be able to stay in those new shapes and those new postures and those new vibrations.
Natascha: Yeah. That’s great. What do you think while performing craniosacral therapy?
Creature: Oh, what do I think?
Natascha: What is going through the practitioner’s mind when they’re performing?
Creature: I would say very little. I mean, there’s definitely, um, moments where I’m wondering, like how how the client’s doing. Are they are they feeling this? Sometimes I’m like, “Oh, it’s just working.” You know, little mundane things like, you know, the temperature in the room or how much more time we have. But I would say the majority of the practice, I’m dropping out, out of thinking, and I’m going into a trance state. Um, that’s that’s familiar, you know, from plant medicine or being in ceremony where I fall into a mode with spirit more and I’m feeling the subtleties in the other person. And so my mind is going more into sensation and to feeling the depth of of tension and feeling all the knots and the twists and where those travel and almost just into my hands and not even in my head. So that’s part of why it’s so therapeutic for me as well because it allows me to step outside of that head space that our society teaches us to spend most of our time. It’s actually a huge gift to be able to drop into that state with other people because it does have a mirror effect for me, and it allows me to slow down. And I come out of a session feeling a lot more still and centered and whole then I feel most of the day when I’m not in a session with someone.
Natascha: That really resonates with me. When I got my massage, I’m much more in a state of meditation than I would be in a normal massage. So to think that you’re meditating to while I’m in this like, heightened state of meditation is just such a beautiful combination, like you said, a mirroring effect.
Creature: Yeah. It’s like like co-regulation kind of, you know, it’s that, you know, maybe someone’s coming in just regulated and I have probably some degree of dysregulation from being in the world. But the moment we like tune in there’s this balancing back and forth effect that starts to create this quality that allows for the healing process to unfold.
Natascha: How do you cleanse yourself from the client’s energy after a practice?
Creature: These are great questions. I mean, there’s ways that I do it during the session. The snapping is probably my favorite. Or just flicking the energy off. I can start to feel like pain build up in my arms if I’m, like, holding too much. And so I’ll just release that. I would say even just simple things like washing my hands, going outside and just kind of like opening up to earth energy. Yeah, just brushing myself off. Pretty pretty simple methods. I don’t really have like any sort of complex, wild way that I do that, but it’s definitely important. I definitely don’t like to go rush into something else and like to kind of take a good while to, um, just be in that state and not jump in a car or, you know, go out into, you know, go grocery shopping or something where it’s going to be overstimulating or dysregulating right away because, yeah, it’s important to feel. Let the process of returning to myself before what I might have to like accomplish for the rest of the day. But I would say like, oh, I forgot we had tea. Yeah, like tea or ingesting some sort of, like, gentle plant food. Eating is really good and helpful.
Natascha: Lovely. Where do you see yourself in the future?
Creature: Oh. Where do I see myself in the future? I see a lot of potential paths. I think the one consistent goal for me is to be on land. It’s really important for me to live with nature, live with the trees and the plants and have respite from the hustle and bustle of even a town like Eureka or Arcata. I am pretty sensitive and easily overstimulated, and this work only kind of heightens that, sometimes. It both heightens it and strengthens my capacity to have boundaries from a chaotic, frenetic energy. I really see myself living on land and having some semblance of community.
I really would like to be in alignment, in more solidarity with indigenous peoples and tribes and potentially working with food sovereignty projects and growing food and growing medicine, is really important to me.
-Creature
A lot is up in the air as far as, like how how those goals would work with a body work practice, but I’m staying open. I hope to be in a place where I am just living in reciprocity with with the land and with the people of that place.
Natascha: This is our last question. How has your healing journey positively affected your life?
Creature: My healing journey has positively affected my life just in the way that I can relate to people. I think I was pretty disconnected a lot of my life up into my 20s, and I didn’t really have a sense of purpose or understanding of the miracle of this planet that we live on. And so being able to have a personal living relationship with the earth, with trees and the plants and the animals and the other humans that relate in that way is immensely positive for me. Being able to feel connected to a lineage and like a way of existing before colonization is overall really positive. It’s it can be a challenge at times and has been fairly dark and self destructive for me at times. Just moving forward and continuing to find hope and find guidance has been able to pull me through that. And so now I feel like I have the life experience to to offer to other people, no matter where they are, on that non-linear path. And it just kind of imbues quality into most aspects of life. When I can see through that lens of, of spirit and the more than mundane reality before us it’s very easy to get weighed down by all the pressures of the world and all the toxicity of dominant culture and the ways that it seeps into communities that I’m a part of. When I returned to that simple path of just trusting what’s before me and not getting ahead of myself. Not getting too righteous about where we’re at as humans, then I’m able to, just slow down, sit back and have a more like. Just there’s a simplicity to life through that perspective that is really healing in its own right. I’m grateful for that.
Natascha: Well, thank you, Creature. Thank you for being vulnerable with us, for sharing your gifts, your service and your kindness. I really appreciate your time. I hope you have a wonderful night.
Creature: Yeahhhhhhh.
That was a lot of information for one blog post, but wait I’m not done. I want to share with you my experience with craniosacral massage. I found the results calming, my awareness heightened, and my body more capable of relaxing throughout the day.
My first session was very mesmerizing. I walked into the massage expecting a female’s presence and was happily surprised when my practitioner had the hands of a man. Relaxing on the table I started face forward. Again, I had these expectations that I would start on my back. When we began the massage there was a lot of focus on my head and face, something I had never expected before. As time went on, I noticed that I was becoming very relaxed. So relaxed, I almost fell asleep. Everything was so calming, I felt relaxed in places I didn’t know I had tension.
I think we spent a lot of time on just relaxing my mind and then body. It was like no massage I’ve ever had before. Pressure points were hit but it wasn’t the deep tissue massage I was used to, and I loved it. They flipped me over and massaged my back as well. When I came out of the massage I was beyond grateful for the experience. Even better later when I left the massage, I felt incredibly calmed, like someone had taken their time to feel my body and understand my body rather than mindlessly preform a service. This was like working with body and soul, not overlooking where the pain comes from but giving that pain attention and nurturing it’s needed to process and heal. Maybe that’s why they say they don’t do the healing but offer space for healing, I felt like my body for the first time in a long time could relax.
The second massage was after a stressful week. I was able to relax on the table, back up this time but I was not able to calm my mind. My rushing thoughts were on past and future but hardly focusing on the now. I wonder if this was because the intensive cranalsacral work that we did on the first massage was not the primary focus. This time I felt more energy shift, moving tension and emotion through the body. There was a point when I felt an intense pain in my shoulder I never felt before, not because of their touch but because like some stored trauma was raising to the service. This made me think that there is a lot more going on during Creature’s work than what’s on the surface.
Coming out of the massage I was very relaxed. My body felt great, and my mind was at ease. I felt like I trusted, bonded, and have achieved some kind of mental clarity with my practitioner. I also felt like some emotional wounds I was dealing with earlier on that week was processing. It makes me curious what multiple sessions would look like. What kind of person would I become if my body had time to process pain and emotion so that I didn’t store it in my body. I think I handled problems that arose afterwards with an honest and open hearted. More willing to go through arguments without getting heated. After I was able to relax into my bones. I really appreciate the work that Creature offers, and I look forward to working with them again in the future. I highly recommend trying carinal sacral massage and working with Creature if you want a safe, honest, and receptive light worker. It makes me wonder what I was really getting from the deep massages I’ve received over the years, was it healing my body or was it an instant gratification that wasn’t really allowing my body the time to rest, settle and reset.
Book your appointment today and get a 2 for 1 special: Creature (707) 572-7302
September 28, 2024, Eureka High School, Eureka, CA: After seeing Sage preform next to local Native students at two different Eureka City Schools during California Native American week I was able to sit down with him and Mia, a Eureka High School student, and ask him a few questions about his non-profit and his mission to showcase Native American culture and ceremony to our community. Never before have I seen cultural healing practices in educational setting. I was intrigued by these assemblies going on in Northern California schools and community centers.
Natascha: Hello! Welcome to the Little Lost Forest blog. I am here today with Sage at Eureka High School. He has been performing at schools in Northern California for California Native American/ Indian day.
Natascha: Hello Sage, thanks for sitting with us. How is your day going?
Sage: Manahu, it’s going well. Thank you.
Natascha: I just want to know, what’s your mission?
Sage: So, my mission is to help spread awareness of us as native people still being present. You know, we still have our culture. We still have a living way of sharing the traditions that our people have today, and also that we have a presence, you know, because there are many times when our people are overlooked or often seen as no longer really around. We don’t have a voice. Or there’s even where I’m from there’s this, perspective of like, oh, you guys are you’ve been defeated. You know, you need to sit quietly and, uh, it’s just a mentality that’s, you know, that’s been in people’s minds for a long time. So, my mission is to, you know, show that we’re still here. We still have strength. We still have grace. We’re still all about keeping things going. And, uh, you know, it’s about honoring the legacy of our loved ones that have gone on, the ones that have, uh, that are no longer here, that we can continue the traditions of song and dance and language and things that they taught and keep them going. So that’s what my mission is.
Natascha: And when you say we, you’re talking about your tribe? What tribe are you from?
Sage: So, I’m from the Big Pine Paiute tribe. From my mother, my late mother, Margaret Romero. And we call ourselves the Tovowahammatu Numu. And I’m also of the Taos Pueblo, the Tuah-Tahi people, people of the Red Willow. That’s the people of my late father, Andrew Romero. And we, when I say we, it’s obviously talking about my tribe, my community. But then again, you know, I don’t really have the right to speak for everybody. I’m just generally speaking, in terms of everybody that’s within our community. But, you know, I say it in a respectful way. So that’s who I mean.
Natascha: What about your culture do you feel has been lost?
Sage: Quite a few things have been lost. Where we come from, our people experience the Owens Valley Indian Wars, which was in 1862. And so, you know, fairly recent if you think about the history of the United States. And within that, our people were removed from our valley. And it wasn’t until the early 1900s, 1912, 1914, that our people started coming back because of the failure of the fort systems. They weren’t able to, you know, retain or keep our people there in a healthy manner or also just functional manner because it was so terrible back then. But back then they started putting our people back in the valley. Our people started moving back. And within that, of course, there was a loss of a lot of, you know, family members that didn’t survive the movement, the basically trail of tears of our Paiute people during that time.
Sage: And so, we lost a lot of connection to language, dances, songs, stories, things that had been passed down because obviously people that held those didn’t survive those times. So, they weren’t able to carry it on. And then with the introduction of Colonization efforts and, you know, being indoctrinated into different religions of people from different parts of the world. You know, it made our people forget about who we were and start adopting the beliefs of others because they lost a lot of the connection of the ancestors from that time. And so, you know, they started learning like Christianity and different teachings from other people.
Sage: And so, within that, there was also the effort of eliminating the Indian identity and making sure we all become a part of the general population, you know, the melting pot of America. And so, the idea was to eliminate language, eliminate culture, eliminate things that they do and just make them citizens of the United States. Work job, pay bills, retire, and that’s it. You know, you’re done. Uh, so within that, we lost a lot of culture, and now our people are really working to revitalize a lot of those things. There’s a big revitalization of language, right now. Of course, with dance and song, you see a lot of these things coming back. More people are practicing, more people are learning. Young, young ones are starting to learn earlier. And, uh, you know, that’s a big part of our culture. And we still got it going on today. But we did lose a lot in those times.
Natascha: And when you refer to the medicine, what are you referring to?
Sage: So, when I’m doing my presentations, I often talk about medicine. And as i explained to the children, it’s not about pills or a drink you have to take. It’s just the medicine to us is a spirit and the emotion. Your body, what’s around you, how you portray yourself, how you carry yourself, how you treat others. That’s a medicine. How you make people feel. And so, when you’re doing something like me sharing the hoop dance, you know, it’s, uh, affecting people differently that watch it, you know, some people will see it and they’ll see take something out. And I believe that, that’s a medicine. That feeling that I’m giving them. And so, within myself, I have to make sure I’m living in a good way. I don’t partake of any type of drugs or alcohol. Things like that, substances. Because I know that when I’m out there dancing, I want to make sure every message that’s going through my body, through the hoops is received in a good way. You know, because when you mix just like any prescription drug, you mix them wrong. You can make people sick, right? So, there’s that whole aspect of the spirit.
Sage: Same idea.
Sage: You want to make sure you’re in a good place when you’re sharing these type of things. Because that medicine, the dance, the songs, everything that helps people and that’s what it is to us.
Natascha: Well, thank you for sharing the medicine with our community.
Speaker1: Thank you.
Natascha: Do you feel like the community as a whole can and should participate in a Native American cultural celebration?
Sage: Uh. It depends. It really is dependent upon what community you’re around, because there are some ceremonies that our people keep private that we still have. And oftentimes our people will share that, this is just for our community, this is for our people. And, you know, it’s just a way of having respect given people, our people and space and time to have that just for our people. But like with the gatherings like tonight or like a powwow or a social gathering, a big time, which often happens here, that’s everybody’s welcome to come to those. So that’s always a good thing. And I think it’s a good spirit, you know, because it shows people what we do. You hear the stories, you hear the protocol. You learn how to how to act when you’re there. And oftentimes, you know, we ask people when you come to these gatherings, so make sure you’re not under any type of influence. You’re not drunk, you’re not high or anything like that. Come with a clear mind when you’re there so you can be present. And, you know, as I talked about before, medicine, how it’s important. That’s also so you can receive that good medicine and balance.
Sage: So, I think it’s good for people to come and attend to our public ones like tonight and take part and learn, you know, because as my mission is to, you know, spread awareness. If nobody’s coming, they’re not going to, you know- it’s not going to- my awareness efforts aren’t going to spread because people aren’t hearing the stories. But if people from the community non-natives are coming, they’ll hear the stories. They’ll see the perspective; they’ll experience it hands on in a sense. You know, being right there and hearing it and seeing things in person is so much more powerful than, you know, watching YouTube videos or TikToks and things like that. There’s more, you know, it has more impact upon your soul when you’re there, present with it. So that’s always good to have. So yeah, I’d encourage people to come to public, but remember the protocols and make sure you. Ask first if it’s something that the public can come to, or if it’s just for the tribe.
Natascha: Thank you. Can you tell us the story on love?
Sage: So, there’s many stories of love within our tribal peoples, and really depends on where you’re at and what time of the season it is and stuff like that. But the one I’ve been telling at the presentations, because I play the Native flute, has been a story of courtship about the efforts someone would take if they had become interested in somebody. And this comes from the Plains people.
Sage: And so, this story talks about an individual falling in love with another. And so, when that time comes and they’re of age, you know, the proper age, they’re kind of grown a little bit. And they’re given permission by their family that they could start doing these types of things. Perhaps they had gone through their puberty ceremonies, adolescent ceremonies, because that’s something you have as native people, so they’re seen as an adult.
Sage: All right. So, if you become interested in somebody you would often start learning the protocols of your family. So, one of those protocols is a flute song for those people from the plains. And the flute song would have been passed down for generations. So, their family has a song that’s specific to them. And they would go, and they would learn that song. And then once they knew it, they took time and devoted themselves to that practice. They would take the time to go to that person that they were interested in, go to their lodge, which was not just the person, but also their family, and they would sit outside it at night after the sun had gone down. And then they would begin playing that one song, and they’d play that song all through the night until, you know, the first light started coming.
Sage: And then they would take the time to go get a little rest themselves, because you’re not supposed to sleep all day just because you’re trying to be romantic. And so, they would go and rest up, and they would come back the next night, and they would do that again all through the night. And then after that they would come back again. Third night. Then they’d come back again a fourth night. So, they would do this for four nights in a row. And then after the fourth night was the time to show it out, because as they were doing that, the person being played for in the lodge, that they’d have an idea, you know, someone was interested in them, so they know, but they were never allowed to look out and see who was playing for them.
Sage: So, it was a little bit of a mystery, per se. And so, after that fourth night, the individual that was interested played the flute would go in front of everybody in the village in the middle of everybody, and they would start playing that same song over and over again in the middle of the day. And this would, you know, make people say, oh, there’s that song that was played at that lodge over there. Somebody go get that individual that was living there. Someone go find them and bring them back so they could see who’s been playing for them. And so, they would do that and that person would come back to the village and they could finally see who was playing the flute. And so, if they were interested, you know, and they accepted that courtship, all they had to do was go up to that person and take their hand in front of everybody in the front of the village, and then everybody would bear witness and say, okay, these two are now together. Let’s let them build a relationship. Let’s let them get to know each other. Nobody else tried to come and disrupt that. Let’s respect that space so that. That’s what that would be known.
Sage: And from there, that couple would begin, you know, their life, whatever their family would be, they would start creating that. And there was also the turn of maybe they weren’t interested. And if that would happen, they would simply just have to turn around and walk away. And that person in the middle with the flute would continue playing and just wait and wait and wait and maybe someone will come and tap him on the shoulder and say, it’s okay, how come you know that? Kind of give them the give them the little assurance that they’ll be all right. You know, and it’s time to stop.
Sage: So, there’s that story there.
Sage: And then they would just continue on. And I was accepted. You know, it wasn’t something that you wouldn’t try to go and protest and say, how dare you not accept my flute song? You know, you couldn’t do that. You just said accept it because it wasn’t your time. And so that’s how it was done. And that’s a story that’s passed down. And that’s the way that a lot of families were created back in the day, was using such a technique of courtship.
Speaker1: Out of curiosity. Did you ever play the flute for four days?
Speaker3: I’ve tried, yes, I’ve tried and failed, unfortunately.
Natascha: It’s awfully romantic.
Sage: Sometimes, too romantic for this day and age. [Both laughing] Yeah.
Natascha: How do you think sharing culture can unite and make our communities stronger?
Sage: As I said before, it’s about raising awareness and getting an understanding of each other. Because if you’re creating barriers, if you’re pushing people away, you don’t want to have them around. You’re never going to get a sense of connection. You’re never going to be able to form any type of relationship, whether it’s a big one or a small one or whatever. So, to be able to have that connection of seeing each other and hearing each other’s stories and feeling things on a human level, you know, that’s important because that’s what is so important about multicultural gatherings, people coming together and sharing whatever it may be. It gives you an understanding of where other people come from.
Sage: It doesn’t necessarily mean you’re going to go and, you know, um, be an appropriator go appropriate to the culture. You know, it’s not that. It’s just your understanding of what they’re doing because, you know, everybody’s life journey is different, and it’s beautiful to see all these cultures and how they became the way they are. Even within tribes, native tribes, different languages, different songs, different types of dances. But still, you know, we all respect that. We give each other space and time and understand that, oh, this is how you do it. Oh, this is how we do it. But it’s not like an argument. It’s not like, oh, we’re doing it better and we’re doing it right. No, it’s just that, oh, this is our people’s way. This is your way. That’s good, I understand that. So, I’ll give you space when I need to. You know, that’s that understanding. And I think that’s really important to have in the world today some, some connections so that people can experience each other and just see where they’re coming from. I think it’s beautiful when you can use art and culture as a way to connect to that.
Natascha: Oh, I totally agree. I’m talking about art and culture. How does art play a part in your ceremony?
I think there is a teaching of an elder that said that to us, art is our ceremony. It’s not necessarily art. It is just a ceremony. What it is, you know, our dances and our songs. You could label it as art, right? But to us, to do this dance in itself is a ceremony. There’s no distinction, there’s no separation.
Sage Romero
Sage: It’s just one thing to us. And so, to us, you know, it has to be there where we can share these things together. And, well, like you look at the sand paintings of the Diné people, how they paint with sand and my people with our baskets, how we utilize them. Again, people can see that as arts and crafts, right? But to us, there’s always a deeper meaning to these things. And there’s just it just doesn’t really make sense to me as a native person to separate them because they’re so intertwined and connected. And I think it’s just it’s pretty much just one thing to us.
Natascha: Awesome. Is there anything else you would like to add or share on culture and community to our readers?
Speaker3: I would just say continue learning about others in a good way. You know, appropriate way. Don’t be appropriator or don’t be going and stealing other people’s culture. You know, always ask permission and find out what’s proper for you to do and what’s something you can learn. And you can go and develop yourself. Make sure there’s communication. You know that’s important. But as for other things, I think it’s just important to be a part and share it. Like these gatherings like this, community gatherings, experiencing things, you know, be in the moment. That’s the important part. Be there, be there, be present. Use your eyes to watch. Use your skin to feel the wind around you, the air, the music. You know, how the drum can impact the air around you and all the things that are happening and just be there. That’s what I would say is take it in as much as it is. Take it for what it is. You know, make that effort to be a part of something and go with an open mind and a good mind and good heart. That’s all I can say about that.
Natascha: Well, thank you so much, Sage, for sharing all this awesome wisdom and stories with me.
Sage: All right. Thank you.
Sage Andrew Romero is a member of the Tovowahamatu Numu (Big Pine Paiute) and Tuah-Tahi (Taos Pueblo) Tribes. He is an accomplished Hoop Dancer/ Cultural Presenter/ Director/ Animation Artist/ Singer/ Keynote Speaker and has traveled internationally sharing the Culture of his people through song, story, dance and art. He is the founder and Director of the AkaMya Culture Groups, a Native American owned and operated 501(C)(3) Nonprofit Organization based in Tovowahamatu, Payahu Nadü (Big Pine, California).
I came to Cannifest to support my local cannabis scene, and it didn’t disappoint. Sponsored by SAFFY THC, the first Black and Jamaican-owned cannabis farm in Humboldt County that offers the community sun-grown, greenhouse-controlled dank light dep flower that can be found at Zen Humboldt and Proper Wellness. What I discovered went beyond my favorite cannabis community, local glass artists, and funky, groovy music—what truly captivated me was the underground street art culture.
Cannabis businesses, dispensaries, and farms from all over California gathered to showcase their products. Local dispensaries like Arcata Fire, Proper Wellness, Phenotopia (Santa Rosa), Zen Humboldt, Moca + The Ganjery, and Heritage (Ukiah) were all in attendance, showing the diversity and dedication of California’s cannabis industry. Many out-of-towners were surprised to see street artists painting directly on the city walls. These murals stay up until Cannifest rolls around the following year, when they are painted over, and the cycle starts again.
“It’s too bad,” Ember from Soulshine Glass remarked to me. “I really liked some of the previous art.” “Well, it’s kind of like your glass art,” I said, perhaps a bit dimly. “It doesn’t last forever.” “Well, it can,” she replied. That’s when I realized I’ve been seriously mistreating my own glass collection.
The impermanence of street art is something I find absolutely beautiful. Artists create for themselves—to express a fleeting moment, connect with their community, push boundaries, and make bold statements. Knowing their work will eventually be covered challenges them to create again and again, evolving with every piece. It’s a cycle of relentless creativity. Maybe that’s why graffiti culture pulls at my heartstrings so strongly.
This year at Cannifest, I made it a point to chat with some of the street artists to hear what they had to say about their work and the impact of this ephemeral art form.
Willow + Ember from Soulshine ArtWinning Banger
And of course, the music was on fire! The main stage lineup featured incredible performances from Lettuce, the Dirty Dozen Brass Band, Rainbow Girls, Mendo Dope, Oteil & Friends, the Nth Power, Junior Toots, the Magnificent Sanctuary Band, and a Wiyot Tribe Blessing to honor the event. Over at the Unity Stage, Deep Groove Society, Storytime Crew, Pressure Anya, One Wise Sound, Redwood Roots, and Marjo Lak kept the energy flowing.
Note from Conversations with Participants Indoor growers will tell you they’re too good for trimming—“Trimming sucks!” Meanwhile, outdoor homegrown farmers will tell you how much joy they get from trimming fat, crystal-coated nugs—“Oh yeah, I love trimming!”
Take the poll: Where do you stand on trimming?
Natascha: So. What’s your tag name?
Artist1: Eesh.
Natascha: Eesh. Can you tell me some advice about tagging to unexperienced artists?
Artist1: Get in where you fit in.
Natascha: All right. Thank you very much. I love the colors that you use. Is there anything that inspires this piece that you did today?
Artist1:Artwork and vandalism.
Natascha: Hi. I’m here with a tag artist. What was your tag name?
Artist2: Oh, I don’t have a tag name. My name is Matthew Olivieri, though.
Natascha: Okay. Thank you, thank you. Matthew. Um, this is a very distinct cube.
Natascha: What kind of cube is this?
Artist2: Well, um. That’s a different question. Um, yeah, it’s.
Natascha: Revert back to the original question.
Artist2: The original question? Um, yeah. The shape of the cube is an isometric cube.
Natascha: Yes. Thank you. And where did you learn about isometric? And, like, what inspired the isometric cube?
Artist2: Well, I actually teach a lot of, uh, I teach art at the juvenile detention facility here in town. Yeah, so I teach how to do 2D or. I’m sorry. Two. Two point perspective and three point perspective and things like that. So I’ve been working with kind of geometric stuff like this for a little while. Um, but in an educator capacity. But I kind of take my, my work home with me a little bit by drawing things like this for myself, you know? So this is actually a logo of sorts. Um, a shout out of sorts for the business that I’m starting with my cousin.
Natascha: Oh, I see it. So, so, um, and then we do.
Artist2: He does, uh, augmented reality on top of my artwork.
Natascha: Wow.
Artist2: So if you scan this QR code, you can actually activate activate the the augmented reality on your phone.
Natascha: Sweet. I’ll tag it in the blog. I really appreciate your time and your art and what you do for the community. That’s awesome. Thank you.
Artist2: Thank you.
Natascha: Hi. What’s your tag name?
Artist3: Uh, Lauren Wheeler. Oh, tag. Uh, I’m. For what? For this. Okay. Yeah. Or. Yeah. Uh, 21 bangers over Instagram.
Artist3: What does this piece mean to you- Politically.
Artist3: Politically?
Natascha: Yeah.
Artist3: Uh, I’m not into politics, so it doesn’t have anything to do.
Natascha: So is it anti-political?
Artist3: It ain’t. Anti anything. It’s it’s it’s pro thinking.
Natascha: Um, you don’t feel like there’s revolutions going on all the time when people protest and speak up?
Artist3: Well, I feel like revolutions just puts you right back into the same spot. It’s an evolution that has to happen.
Natascha: Do you think that happens within, or do you think that happens on a governmental level, on a whole country level.
Artist3: That happens within because it’s thought that put us into these spots. It’s thought that even is going on right now. Everything is only a thought and people’s been killed to think this thought for many years. And then everybody thinks the same thought about the revolt or what’s going on with the government or the money or all this thing. Right? So to evolve, you got to think drastically different and not in those terms.
Natascha: If people are looking for healing, what kind of community do you recommend to find healing in.
Artist3: The same vibration.
Natascha: All right. Thank you very much.
Artist3: Yeah. Thank you.
“The people shouldn’t confirm around the community, the community should confirm around the people.
Lauren Wheeler
Natascha: Hi. What’s your tag name?
Artist4: Uh, my name is Zevo. Z-E-V-O.
Natascha: All right. Zevo, I was wondering, what part of your culture has influenced your tag piece today?
Artist4: Uh, so I’m Chicano, and the Chicano handstyle really influenced me. The old English letters and stuff like that. It’s a big part of my culture.
Natascha: All right. It’s super dope. And where are you from?
Artist4: I’m from Santa Barbara. Socal.
Natascha: Okay. All right. Thank you so much.
Natascha: Hey, what’s your tag name?
Artist5: My tag name is Golden Flower underscore CA.
Natascha: This is a really awesome piece. What is the hand in the in the snake represent to you?
Artist5: To me it represents a connectedness with the water as well. And, yeah, the symbols of just, something humanistic or creature like. Yeah.
Natascha: What about SEON? What does that represent?
Artist5: So this is a collaboration with my friend from Chile. And so this is supposed to be some type of compass. And that is literally the country of Chile in a chili like pepper form.
Natascha: I love it. That totally brings the two pieces together. Thanks for the explanation.
Natascha: Hi Christopher, I love this piece that I’m looking at. Can you tell me a little bit about your style?
Artist 6: Um, yeah. Just try to keep it sharp and clean and vicious looking. And we’re doing, we’re doing a comic book called the Max. Kind of like a tribute to it and putting our own graffiti twist to it.
Natascha: Okay. Thank you so much. It looks sick.
Natascha: Hi, Erica. This is a really beautiful, feminine piece that you put up here at CanniFest. Can you tell me a little bit about the story behind this piece?
Artist7: Well, quick blurb. We have our queen bee and her best buds, and it’s- I’ve been messing around with doing figurative work with creature heads, alluding to a more feral side of things that we often don’t acknowledge and probably should acknowledge more.
Natascha: All right, I see that absolutely.
Artist7: -Know your monsters. I like to paint a lot of the animals that are often given a bad rep and, you know, misunderstood monsters and bees are definitely one of them. So we gave a feminine woman with a bee head and her beast buds.
Natascha: Awesome. Thank you for keeping it fresh, I love it.
Sunday, August 18th, 2024 2:35pm, Honeydew, California, Fairwind: Natascha spent the weekend at Fairwind to participate in an Ayahuasca ceremony. Afterwards she interviewed practitioners Chonon and Adelina. From her experience this plant medicine opens the third eye, allowing in information and reflection on communal living, healthy life choices, clearing chakras, and giving thanks to ones ancestors and those who have passed. You can learn more about their projects by visiting shipibocollectiveshop.com and shamanic-dream.com. The spread of this information and donations toward their tribe help keep their traditions alive.
“Plant medicine enables me to confront my triggers rather than suppressing them. It supports me in processing my trauma rather than overlooking it.”
-Natascha
Natascha: Thank you, everyone, for tuning in to the Little Lost Forest blog. Today I’m going to be interviewing Adelina and Chonon from the Shipibo tribe of the Amazon in Peru. Hello, Adelina and Chonon. Thank you for taking this time for this interview. Thank you, Albert, for translating this conversation from English to Spanish. How have your travels been so far? Where have you stopped?
Albert: ¿Cómo han sido tus viajes y a dónde has ido?.
Adelina: Oh thank you. Mhm. En mi viaje ha ido todo bien. Hemos venido acá, también tenemos un amigo. Gracias a Alberto también. Estamos acá en Arcata y después de acá vamos a ir a Utah también visitar una Amiga.
Albert: So yeah she says the travels have been great right now in Arcata California. Honeydew. Um after this she’s going to be going to Utah. And that’s where she was before this as well. They have community there and friends.
Natascha: Wonderful, thank you. What is your mission?
Albert: ¿Cuál es tu misión?
Adelina: Mi misiós es esta, ¿No? Como vuelvo a decir que he trabajado con 25 mujeres de mi comunidad y también buscar el mercado donde vender para poder ayudar a mi comunidad.
Chonon: Claro, mediante la medicina estar… Siempre conectar con la gente y una de las aazones por las que hacemos todo esto es simplemente por el amor tenemos al ser humano. Un gran amor y un gran respeto.
Albert: Gracias. So she says that her mission is well back in Pucallpa. She works with 25 other women in her community, and one of her missions is to network. And they do this all out of love. And, um, she wants to help support the community. And so she’s looking for different outlets and places to show her art and exhibit the beautiful artwork that they do make.
Natascha: Thank you. When working with plant medicine, is it grown on a farm or found in the jungle?
Chonon: Yo puedo responder esa pregunta. La medicina que nosotros hacemos, tú sabes la razón, ¿Verdad? Ahora en esta globalización de la Ayahuasca, se ha tomado especialmente en la comunidad donde nosotros vivimos a que no haya, es muy dificil de encontrar en su estado natural. Como Los antiguos, ¿Verdad? Entonces, lo que nosotros hacemos es trabajar con los tios, con la familia, ¿Verdad? Tenemos hectáreas para sembrar la medicina, la chacruna, la ayahuasca… Entonces, mediante eso, para no poder abusar de lo que está trayendo a la salud, es mejor reforestar. Asi es como nosotros hacemos la medicina.
Albert: Gracias, Chonon. So in their community, with the globalization of ayahuasca and a lot of the plants that they use, um, these plants are very rare to find in the wild. And so in order to keep them safe in the jungle, they try to keep the oldest vines alive, the plants alive and in properties of their, uh family members, they try to plant as much as they can in order to keep what’s natural alive and and to to save that.
Natascha: Thank you. How is it processed?
Albert: ¿Cuál es el proceso de hacer la medicina?
Adelina: ¿Cómo hacemos la medicina? Bueno, para hacer la medicina, nos toma alrededor de tres a cinco dias, dependiendo cuanto vamos a hacer. Nosotros lo hacemos en la selva. Siempre.
Albert: Vamos a hacer un bloqueado para… un poquito. And she says it takes about 3 to 5 days to make the medicine, depending on how much they’re gonna make. And they make it up in the jungle.
Chonon: Lo que hacemos es con ayahuasca y chacruna, esas dos únicas plantas.
Albert: So they have two ingredients. It’s ayahuasca and chacruna which uh ayahuasca is a vine. Capoeira banisters and the chacruna leaf in combination.
Chonon: Nosotros lo que hacemos primero es pues, hacemos un proceso de machacar la liana y después vamos en capas poniendo la ayahuasca… Es una olla muy grande, así. Todo eso, tal vez ponemos unos sesenta litros de agua, más o menos, todo eso se reduce a tres litros.
Albert: Okay, so they start by, um, smashing up the vine. The chacruna or the ayahuasca vine. Sorry. And, um, then they have a really large pot that they put it all in, and they put it in layers and they layer the ayahuasca and the chacruna, and then they put about 100l of water into the pot, and they cook it down until it turns into about just three liters of the medicine. So 100 will turn into like three after cooking it for 3 to 5 days.
Natascha: Well, thank you for sharing. How does art play a role in your ceremony?
Chonon: ¿Cómo hace…?
Adelina: Yeah.
Chonon: Yo voy a responder eso también.
Albert: Okay, perfecto.
Chonon: El arte es muy importante. Especialmente este arte, ¿No? Este arte viene de la ayahuasca.
Albert: She says the art is really important especially with what they have here. She said this comes from the ayahuasca.
Chonon: Entonces todo esto es la inspiracion de las vibraciones de los ícaros, de las canciones que vienen de las visiones.
Albert: So this is all inspired by the visions that come through the, um, the icaros that come through the visions of ayahuasca. When received-
Chonon: Y todo esto tiene un significado, no es un diseño que está hecho por hacer, especialmente ¿Qué significado tiene? La mayoría es a sanación, protección, traernos sabiduría de los ancestros.
Albert: She said that every design on these patterns is not just set there for looks. Every single design and shape has a meaning, um, healing, protection, um, gifts from their ancestors.
Chonon: Sí, entonces, obviamente nosotros al llevarlo a la ceremonia, es una forma de honor, de respeto hacia todos los grandes espiritus que cuidan, nos guían y nos llevan a la dirección de la medicina.
Albert: So this is all in honor of, um, their ancestors and their guides that help guide them through these ceremonies. Mhm.
Natascha: Thank you. How has the medicine strengthened the relationship between you and your daughter.
Albert: Está preguntando cómo se ayudan la medicina a poder de usted y su hija y cómo ayuda a crecer su relacion.
Adelina: Nuestros ancestros nos enseñaron también. Entonces nosotros también. Yo aprendí de mis abuelos, mis abuelos, tías, tíos. Entonces ahora a mi hija yo le he transmitido y le estoy enseñando cómo trabajar con la medicina.
Albert: So these practices have been passed down from generation to generation. Um, Adelina was taught by her grandparents and her uncles and aunts and in lieu she is also teaching her family. She also has sons and other daughters back at Pucallpa. We’re really happy to have Chanon here with her. And, um, that is just part of their culture and how they how they grow together. Mhm.
Natascha: How are you received as medicine woman in your community?
Albert: ¿Cómo eres recibida en tu comunidad como una mujer de la medicina?
Adelina: Sí, nosotros en la comunidad, hombres y mujeres casi somos… Toda comunidad hacemos medicina en nuestra comunidad.
Albert: Mhm.
Adelina: Mhm.
Albert: ¿Y Cómo eres recibida en la comunidad?
Adelina: Nos tratan bien, porque la medicina para nosotros es muy sagrado y cuando nos enfermamos, con eso nosotros sanamos. Es una sanacion muy buena. Es medicina muy fuerte, es nuestra farmacia en nuestra comunidad.
Albert: Qué bueno.
Albert: She says we’re kind of like a pharmacy in the community. They’re very well received. Um, you know, her and the whole community make a lot of medicine. And, um, when people get sick in the community, you know, the ayahuasca and the medicines that they make alongside that really help cure a lot of sickness in the community. So jokingly looked at as a pharmacy. Yeah.
Adelina: Haha.
Natascha: What is the role of the assistants? How do they enhance the experience.
Albert: The assistance of-
Natascha: During ceremony
Albert: ¿Qué es el trabajo de la existencia en ceremonia y cómo se ayuda a la experiencia?
Chonon: Bueno, el asistente forma una vital parte de la ceremonia también, especialmente cuando hay grupos mayores de 10 personas en el circulo. ¿Por qué? Porque si es menos está bien, el chamán se puede hacer cargo de todos. Pero cuando no está a su alcance de poder ver tal vez más de 20 personas digamos un ejemplo, forma un poquito de dificultad, especialmente, y eso es asi siempre, no simplemente cuando venimos acá vamos a tener un asistente. En la comunidad, en la selva con toda familia siempre hay alguien toma una dosis muy pequeña para poder cuidar de todos. Siempre va a ser importante.
Albert: So she says.
Albert: Usually when sitting down with anything less than ten people, they really don’t need assistance in any way that they can take care of everybody in that circle. But usually like ten or more people, um, they’ll have somebody that maybe drinks a little bit less in order to watch over people, because when there’s like 20 people in a sitting, you know, it’s a little bit harder for the facilitator who is sitting in the very back to have a watchful eye over everybody. So therefore there’s somebody who takes a little bit less that is there to take care of other people that are in need of assistance, thus enhancing the experience.
Natascha: How does ayahuasca represent your culture?
Albert: ¿Cómo representa el ayahuasca tu cultura?
Chonon: Oh, el ayahuasca. Bueno, como dicen los abuelos, del ayahuasca venimos nosotros.
Albert: She says, just like their grandparents say, from the ayahuasca is from which where they came.
Chonon: Entonces nosotros formamos parte, nosotros somos los hijos de la ayahuasca, dicen los abuelos. Por eso dicen que nosotros debemos practicar. No podemos hacer desaparecer este conocimiento. De la ayahuasca viene el idioma, de la ayahuasca viene el arte, de la ayahuasca viene el conocimiento de la medicinas. Abre todas las puertas hacia el conocimiento. Es la escuela de la vida.
Albert: Wow.
Albert: So ayahuasca. Gracias. Ayahuasca to them is extremely huge. It is, um, everything from which where they came. They said that it brings them their language, their songs, their culture, their art, their visions, their healing. And, it’s told by their grandparents that they need to practice with this medicine because without it they are not. You know, it is everything for them.
Natascha: That’s a very beautiful answer. Thank you. What are some struggles in your community that you would like to overcome?
Albert: ¿Cuáles son los problemas de tu comunidad que te gustaría solucionar?
Adelina: Nuestro problema ahora en las nuevas generaciones, nuestros hijos ya no quieren… El problema más grande es que ya no quieren usar nuestra vestimenta, ya no quieren hablar nuestro idioma y algunos ya no quieren practicar la medicina. Entonces, ese es el problema más grande de la comunidad ahorita y eso nosotros queremos que no se acabe la cultura, el arte y esa es mi preocupacion. Yo quiero ayudarlo. También yo quiero hacer como una pequeña escuela también para ensenarlos a ellos también.
Albert: So she says, one of the problems in her community right now that she is really working on is that the new generations and the, the younger people in their community are starting to lose sight of the practice. They don’t find as much interest in wearing the traditional garbs the garments making the art. Um, a lot of people are speaking less of their traditional language or the Shipibo language. Adelina wants to make a school to teach people to continue these traditions, to teach them the language so that they don’t lose these special traditions.
Albert: Mhm.
Natascha: Can you share with us a prayer for the earth in your native tongue?
Albert: ¿Puedes compartir un rezo para el mundo en tu idioma nativo?
Albert: Gracias.
Adelina:
Albert: That’s right. Yeah Thank you.
Natascha: If you would like to translate.
Albert: Chonon, is there any of that that you would like to translate?
Chonon: Que nos guía, que nos dé la fuerza para seguir caminando.
Albert: That they guide us and they give us the strength to continue walking this earth.
Chonon: Para poder compartir siempre la alegría, los buenos pensamientos.
Albert: To continue to share happiness and good thoughts.
Chonon: Que por favor, la gente que tiene estos malos pensamientos, guíalos hacia los buenos sentimientos.
Albert: And to please help the people with bad thoughts, to guide them into better thoughts and good states of mind.
Chonon: Así para que no haya más sufrimiento en este planeta.
Albert: To no longer have suffering on the planet.
Chonon: Por favor, guíanos una vez mas.
Albert: Again, please guide us.
Chonon: Y muchas gracias a tí, gran creador por siempre…
Albert: And thank you so much. Great creator for always-
Chonon: acompañarnos, guiarnos.
Albert: -For always accompanying us and guiding us.
Chonon: Gracias.
Albert: Thank you.
Chonon: Gracias. Gracias.
Natascha: All right. This is our last question. What is tribe life like? And what does it mean to you?
Albert: Esta es la última pregunta. ¿Cómo es el vida en una tribu? Y ¿Qué es para ustedes?
Chonon: ¿Cómo es más o menos?
Albert: ¿Cómo es la vida…?
Adelina: O cómo viven.
Speaker3: Cómo viven, sí.
Albert: Cómo viven.
Adelina: En.
Adelina: la comunidad más que todo.
Chonon: Bueno, en la comunidad… Forma dos partes, especialmente si hablamos del curanderismo, de las prácticas, es una práctica muy común. Todo Shipiru aabe qué es un curandero y tiene mucho respeto a quien practica la medicina y saben quienes somos. Y también está la comunidad que no practica la medicina. Entonces todo es un balance, todos vivimos en armonía y asi es como decimos. Especialmente cuando dicen los abuelos, en nuestra comunidad, nosotros siempre hay que compartir con nuestras abuelas… Cuando viene alguien, visita… Nosotros con mucha alegria, mucho amor. Entonces nuestra comunidad siempre trata de vivir en armonía.
Albert: Déjenme atravesar un poquito para no atravesarme. She’s saying so it’s like there’s like two parts and it’s a balance because there’s the curanderos in the community, which they are a part of the medicine and there’s people that don’t practice the medicine. And it’s really important that when somebody comes into the community that they receive them with joy and love and they bring them into the community and embrace them. And you know, everybody in the community knows that like that. The people that don’t practice medicine know the people who do practice medicine and really, um, rely on that as well. Um, so yeah, she’s saying it’s a balance.
Albert: Mhm. Mhm.
Chonon: Entonces, eso es lo que nos enseña la ayahuasca. Porque somos la ayahuasca. La ayahuasca nos enseña a tener balance en la vida. Entonces por eso en la comunidad los abuelos siempre dicen “hay que tener un balance, estar en siempre en neutro”, no podemos tampoco como explotar y tampoco en este otro, siempre en el medio.
Albert: Wow.
Albert: So she said it all comes back to the ayahuasca and what is taught by their grandparents and the people that came before them, the generations before them, is that they must remain balanced. They cannot go too far in either direction. You know, be too loud in medicine or be too quiet in the community. And so, yeah, it’s really important in the ayahuasca helps them bring balance to the community in those ways.
Natascha: Well, thank you so much for your time. Thank you for your service. Thank you for coming. I appreciate you guys.
Albert: Iraqshi.
Adelina: Iraqshi. Iraqshi. Gracias. Thank you.
Fairwind is a remote mountain retreat center, nestled in the Mattole Valley on a knoll looking out across at the King’s Range Wilderness. It has had the honor of hosting several cultural healers from different countries. Its intention is to respect all traditions and spiritual paths. This combined with the spirit of the land that has long fostered healing. The Temple is built with sacred geometry, using the trees from the location . There is also a seven circuit Labyrinth which allows visitors to engage in creating sacred space and share prayers for the benefit of all.
Little Lost Forest presents the Tea Lounge at Eclectic Farms, providing a donation-based tea and cuddle puddle space.
Eclectic Farms is a Northern California event located in the mountains of Titlow Hill, a multi-generation oasis for underground music events. The lively EDM scene hosts multiple stages and genres, artists, and play areas for performers, carnies, and lovers of nightlife. Located an hour from Cal Poly Humboldt, people aged 18-99 from all over the world and different walks of life gather to dance under the musical umbrella. Supporting local talent, Eclectic Farms is a community-made event that showcases local DJs, musicians, painters, interactive art pieces, paracord trampolines, farm living, and is placed in the heart of the Redwoods. Lasers, concert visuals, premium sound, pole dancing, aerial performers, fire dancers, and go-go dancers all enhance the main stage, while two garage stages played live music and more trap-style EDM. This year, the Mush Love Crew hosted a second stage lit with black lights, neon decor, and bodypaint with a pop-rock dance vibe. If you dare enter the tea lounge, Little Lost Forest hosts a relaxing space in a bell tent covered in local art, cushy pillows, and delectable tea.
The past three events have been out of this world. You might be familiar with some of the talent coming through Eclectic Farms. DJ and live artist Joe Mallory opened the first party in June with psychedelic ambient music. June’s headliner was Rammun, a couple from Willits who played spiritual funk rap. While Narion worked the mixing board, Luna rapped conscious, mind-expanding lyrics. Maggie fire-hooped with Humboldt Circus, and her performance was both mesmerizing and inspiring. Something about the relationship between the dancer and the fire creates a trance-like ambiance on the dance floor. LoCo Flow Fusion is a central Humboldt-based fire troupe. Bartending and performing is the incredible Boofy the Clown. Mushroom cocoa and niche tea blends offered by Ana’s Herbals. Deep, intercate tarot readings channeled by TOAD and art and firespinning by local artist @psychicmisfit.
When asking Mush Love Crew to make a statement for the blog, they gladly told us a little about themselves:
“Our June show was our first all-night outdoor party as Mush Love Crew, so that was super special. Our deco coordinator is Stacia Weener at @Staciaflowersolutions on ig, she absolutely deserves to be mentioned because our stage only looks that good because of her. We also did that one as a collaborative effort with Siskiyou Psytrance. At that party we had an international dark psy duo called Promnesia play. We also had Feral Selector from SoHumSyndicate, Agent 37 from Siskiyou Psytrance.
Our July party we collaborated with our sister crew Fractal Factory out of Oakland. Our headliner was Tugadoom, a brilliant live experimental dark psy act from South Africa originally. Also from the crew was Luzidtrip who played an outstanding forest set.
Mush Love Crew’s resident DJs are Melting Vision, Pymander, and Joe-E. I founded this crew on New Year’s Eve of 2023 with the goal of building a home for psytrance in Humboldt County. Hope this is helpful, and I’m happy to provide any more info! We’ve got another party in the works for early November!
Stacia is renowned as a found and foraged artist, creating her works using materials she finds around her. She emphasizes reusing, repurposing, and utilizing nature as much as possible. Her unique vision aligns perfectly with our Psytrance crew. Additionally, she’s very welcoming to other artists who wish to collaborate or get involved.”
I highly appreciate their ability to bring high-energy dancing and a neon atmosphere to the event. The DJs bring high-quality psytrance back to the dance floor.
Our Tea Lounge is a new addition to the Eclectic Farms parties. Our goal is to create a place to relax, revive, and connect with the community. The Tea Lounge dome tent came from a grant for the Festival of Dreams in Eureka, where many of our crew members participated in the “Wigi Dome” project. The Tea Lounge displays art by local artists, offers donation-based tea and sweet treats, and has a plethora of pillows, blankets, and small tables. I enjoy offering tarot readings in the tea lounge, along with live painting outside of the lounge. Some of the aesthetics might be familiar to those who know Little Lost Forest, with themes of the forest, the human body, and otherworldly creatures. As a team, we collaborate on art projects and strive to create immersive art so others can join in the experience of creation. In July we featured Cal Poly Artist Jolie.
This Saturday 8/10/24 we will be back on Titlow Hill. Tealulah will be joining us with @tealullahstravelingtealounge. We look forward to serving unique tea blends that stimulate or relax the mind. I expect to be showcasing ceramic sculptures by Jackalope Studios. Jackie is a Cal Poly graduate, ceramics studio artist and painter. We display paintings by Natascha and Jeremy Pearson. Natascha has been painting at EDM events since 2012 with San Diego crews Triptych, Soul Works and the Cool Cat Cafe. Jeremy is a local cannabis grower with twenty years of experience, currently working @primeexotics_dispensary off broadway in Eureka. @Orioncooksit is our team chef, who specializes in health conscious and energizing organic options. Our newest team member @disenchantedcreations is our rave mom who is embarking on a van life adventure and world schooling. Together we make the Tea Lounge a place for you to enjoy.
The Epitome Gallery 420 2nd St, Eureka, CA 95501 (707) 798-1541
The Heart of Humboldt: The Cannabis Dispensary 601 I St # B, Arcata, CA 95521 (707) 822-9330
Wok Out 307 2nd St, Eureka, CA 95501 (707) 222-6677
Zen Dispensary 437 F St, Eureka, CA 95501 (707) 407-0455
Showcase Products
American Cancer Society 611 Harris St, Eureka, CA 95503 (707) 443-2241
Arcata Farmers Market G and, 8th St, Arcata, CA 95521 (707) 441-9999 Arcata Farmers Market
Autumn by the Acres (October) Fig Tree (May) Pop Up Market (June) Truckers Parade (December) Redwood Acres 3750 Harris Street Eureka, CA 95503 (707) 445-3037
Azila’s Cauldron 122 Main St, Scotia, CA 95565 (707) 336-2023
Coffee and Chocolates 211 F St, Eureka, CA 95501 (707) 445-8600
I just came back from an amazing vacation traveling cross country with Rose @disenchantedcreations and her son, Malachai (3), and my son Malakai (2.5.) She had made the trip to New York six months prior and was inspired to begin a van life adventure. I’m also very drawn to the road so after a month of planning we came up with a sort of solid idea for our trip, with our final destination being Bernett, Texas for the Texas Eclipse 5/8/24 and the Texas Eclipse Festival. Most people probably would not have been comfortable with the loose plans we had had time to discuss and the looooong drive ahead, but we did not mind. We had four days to get to Texas from Humboldt County to be in time for the festivities. Nothing could stop us.
We packed up the van with car-camping supplies; stove, pot, pan, utensils, flashlights, floaties for the lake, propane, soap, sponge, and dishrag. Clothing for us and the kids; including diapers, cosmetics, and swimwear. Toys for us and the kids; coloring books, flow toys, toy cars, beads and tools, bingo, tablets. We also brought a children’s potty, mattress/bedding, jumper cables, and bungee cords. We used yellow totes to hold up the mattress and a few rectangular storage containers to go along the sides. At the back(trunk) was a large cloth container that contained toiletries, easy-to-access alcohol, snacks, and eating utensils. The mattress folded in at the back so the car seats fit perfectly in the middle aisle with the cooler in between the two (with enough room for the kids to look over at each other.) It took both of us to close the trunk every time it was opened, because the memory foam mattress stuck out about a foot. To say the least, the car was stuffed to the point of almost bursting, but being together with the kids on a wild adventure made it all worth it.
Malachi began the trip with “My best friend Malakai.”
You would think two toddlers would ring each other’s necks after an hour in the car in a tight space, but that wasn’t the case at all! We started at night and drove from Humboldt to Calaveras arriving at a friend’s house. This stop wasn’t on the way but the comfort and joy of seeing friends who don’t live close by began our trip on an upbeat note. The kids played in the blacklight lit art space till the wee hours of the morning until we put We’re Back: Land Before Time onto the projector and cuddled up on the couch. We knew we’d have to leave at a decent time in the morning and our time together was short, so we sucked up the time together in exchange for sleep.
The next morning the kids took their wizzes (Malachi is potty trained but Malakai is still learning) and we hopped in the car and continued our adventure. We made a pact that we would not eat fast food on this trip (the go-to for people on the road.) And this proved easy to carry out because neither of us likes fast food and we both love salads!! So we stopped at a grocery store and got an item and drink for everyone. We did not want to overfill the car with food that would go bad so buying small portions was important to us. Also, buying fruit was a must. We had a never ending supply of grapes to snack on in the middle console.
We drove to Barstow where we would make the sharp east turn toward Nevada. We stopped for Mexican Food and sat at the table for a much-needed rest. Rose and I would split our meals when we ate out, exploring each other’s likes and finding a middle ground between our dislikes. After, we hiked along the Pacific Coast Trail along the freeway. The sun was setting behind the mountain tops and I carried my son who was exhausted from the night prior. We found a metal box with a log and hand sanitizer along with many hidden cartons of water.
Back in the car, we drove into Nevada, just barely missing a friend I wanted to visit and hit a truck stop in Arizona. The truck stop was full of floodlights, and even though I considered parking between two trucks we decided to park up a road past the truck stop on top of a hill that overlooked the street. Rose was ultimately worried this first night that illegally camping on mountain tops would bother me. After the first night she knew she didn’t have to worry about my roadsleep morals. We unpacked the car seats, left them outside and placed all the other backpacks and bags on top of the bed into the front seat. The first time we did this it must have taken 30-40 minutes but with time this unpacking would go faster and faster.
We had a night of not being bothered. Sleeping very close to the ceiling of the van would seem claustrophobic but it wasn’t. We enjoyed the baby snuggles and having this time together. We packed up the car in the morning and continued to drive. It was around this time that Rose would take morning shifts and I would take night shifts, exchanging throughout the day if necessary. We drove 8.5-hour days on the way there. Stopping for an hour’s walk along the way. There was very little disagreeing and the kids were pampered by the mother not driving.
Getting into Texas we were excited for the Texas Eclipse Festival. We slept on a dirt road that night, which we figured was surrounded by farmland. We were awoken at 5 am by a man whom we begged for forgiveness and told him we would move on. He kinda laughed at us in our PJs puddled together in the car with our kids. We picked up some food that day for the weekend and checked the tire pressure, then we were ready to go into the event. The kids kept saying “Party! Party!” When we pulled up there was a line but it was moving steadily. Rose jumped out of the car and tried to hustle a ‘Family Car Camping Pass’ but the line was moving too quickly, we almost lost her. Security waved us right through not opening a door or luggage. Finding a camping spot was hard. By Friday everyone was already camping on top of one another. We had to squeeze ourselves in to fit. We did push our way into the extended family camping, we thought this was important that we were around other kids and not a bunch of wooks. After all, we are bringing our toddlers into a 40,000-person rave, it would be nice to have a safer campsite to go back to. While we were setting up camp there was no room for the pop-up, so we had to makeshift the pop-up on top of the car and utilize the little bit of space around us to put our kitchen and chairs. We immediately made friends with the people around us. A single mom was camping next to us with two children, one a toddler, and the kids hit it off and played as we settled in. Within the first hour of arrival, someone gifted us glamping passes (no we did not think to move camp) which offered us unlimited showers. This was a big win because the Browners station had a big crowd and a long line, which would have surely overstimulated my Malakai. The showers ultimately helped with our children’s cleanliness and breathing which by the end of the festival, I was concerned about Malakai’s hack.
We went out together on Friday, bringing the kids in my wagon that had wheels meant for the dirt. Right at arrival we were surrounded by young rave girls and wooked out men who gushed over our “rave babies” offering them kandy bracelets and stickers. The kids were already covered in dirt and wide-eyed. My Malakai kept trying to jump out of the wagon and was hard to keep up with. Our neighbor turned around at the top of the hill as we continued to trudge our way in. It was a very large map and the stages were incredible, art installations all along the way, pop-up tents with astronomy studies, food trucks, and art galleries. The foot traffic picked up and my Malakai would not wear his ear muffs or come when called by name. I had to call it a night as soon as the night began, while the other Malachi danced away at the sun stage, soaking it all in.
By the time Rose came back, we traded spots, and I was able to go out while she slept with the kids. I roamed around really taking an interest in the art and the tea lounge which had live music and multiple tea-serving spaces.
The next day we did this routine again, feeding the kids, walking into the festival together, and taking the kids in the wagon. I enjoyed dancing to the Desert Hearts Takeover and Malachi passed out resin gifts his mother crafted to everyone he could. While my Malakai spent his time napping in the wagon. At night I was able to see my favorite DJ Ahee and reconnect with my Triptych community.
It is different going to the festival with kids. There was a lot less partying with friends and more focus on the children, but that was okay. We’re exposing our kids to an environment they may very well seek later in life and showing them that they can make connections not on drugs and enjoy the festival from the eyes of a child. After all, children can easily be compared to an adult on L or mushrooms if you think about it.
On Sunday we went to the quarry and swam in the lake. My Malakai hadn’t done much swimming before that. He wouldn’t let go of me but also didn’t want to get out. These silly memories are so precious. When we towel-dried off there was a group next to us. I gave the three of them Tarot readings and they looked up at me wide-eyed in awe. Malakai walked around picking up rocks and throwing them as I watched to make sure they didn’t hit anyone around us. The hecklers encouraged Malakai’s naughty behavior.
Malakai and I also got some alone time at one point. We danced at kids’ camp, climbed the rickety structure, and went into the dome where a piano player played a gentle heart-lifting tune while images of astrology signs were projected against the ceiling. Malakai laid on me, surrounded by community, while looking up and cooing at the designs. Holding him in my arms I was okay with missing the psychedelic speeches, the yoga sessions, and the crowded stages. This was a time for us to be together, I no longer needed to go find the next thing, my thing was right here sitting in my lap.
Exodus on Monday morning was not expected and shocking. It was so abrupt I couldn’t think. “Tornado warning, everyone must leave!” And only hours before the eclipse. We packed up the car and debated meeting up with our friends who we hardly had any time with or some we hadn’t seen at all. But once we were in the car we were pushed out of the festival in the forever moving line on the way out. Were we going to risk the chance of being caught in a tornado with the kids? Without the kids, you’d have to drag me out of the party but with the kids… We were already on an adventure, us being together was the adventure. So fuck it, we moved on!
Outside of the venue we stopped at a gas station and found a tornado shelter (I would not have known what this was if Rose hadn’t told me) to sit on top of with the children. There were lots of festival-goers around us. We took out our glasses, popped a bottle of mead and cheered! The energy of the eclipse was heavy. We were told that animals (and children) might act strange. Malakai was fascinated with the moon, “the moon, the moon” he would say as I held his glasses and he pointed at the sky. It was all rather lovely but then the moon started traveling to the left of the sun and yes my Malakai began to misbehave, sliding down the storm drain and running around in the brush. I sat him in the car almost in tears. Was it because we left the festival frantically? Was it the eclipse? Was it the feeling of lacking the festival experience because I brought my kid? Or was it self-hatred, uncertainty? But that’s what it brought on. I sat in the car for a minute and self-reflected. It would be a long drive after this. It was time to recollect.
We stayed the night near a lake on our way to White Sand. We set up our table after putting the kids to bed. We drank and beaded rave bracelets even though it was post-party. I made a handful for my family to give out when I got home. In the morning it was so beautiful waking up parked next to the water. Maybe van life is for me. The car next to us, even though we were hours away from Bernett, had also attended the festival. The gentleman was from San Francisco and considered himself an eclipse chaser. He was so kind and friendly, another reminder of the eclectic types of people that the festival scene draws in. He also moped for us when we left, finding some of the kid’s toys and sending me a text to pick them up from San Francisco the next time I visited.
We continued on our adventure. Driving and hiking, and staying in a hotel one night for a much-needed shower and to indulge in the pool. We hiked Pyramid Mountain, and up in the snow of New Mexico. We searched for caves and found a wonderful quiet and free camping spot in the woods. We never once paid for our van camping spot outside of the festival. On the second to last day of our trip a strap was loose on the roof of the car and no matter how many things we rearranged we could not make the loud obnoxious rattling go away. This is when things became tense and we adults began to grow frustrated and butted heads. Once we pulled over safely and were able to fix the problem we came back to our senses and were able to discuss what the issue was and how to respond better next time. A big part of traveling is communication. In a small space, both parties need to admit faults and grow from the experience. It’s a utopia to believe you can get along with your road dog 100% of the time.
But, I’m proud to say we got along 95% of the time through positive reinforcement, sharing responsibilities, and strong communication.
The last night we were around Santa Rosa, 4 hours away from home and it was time to sleep. We drove 30-45 minutes off the freeway past neighborhoods and as close to a hiking trail as we could get. We unpacked the car close to midnight and as soon as we closed our eyes the rain began to pour. I couldn’t help but stress in my head that the car seats were soaking up outside. In the morning I jumped out of bed and started getting things ready. We took off the car seat covers and put them in a bag. We covered the seats in blankets and repacked the car at our fastest speed, 20 minutes. It wasn’t nearly that bad.
We ended our trip with a wonderful breakfast. I am so thankful to have spent this time with my friend Rose and her Malachi. I have done a handful of camping trips with my children and a few festivals with my oldest when she was as young as five but never have I ever taken my toddler to what can easily be considered a massive that took us through four states to get to. I am so gracious that Rose was willing to share this experience with me and that she had a nag for hiking, healthy food, and in-depth conversations. This was truly a magical experience and I encourage all families to take the plunge and travel the world outside of their comfort zone.