Núñez's research within the field of ritual and psychophysical practices... have enabled him to develop a series of structures through which personal ritual contact with the self and the cosmos may be possible. He calls these structures "dynamics" because their primary effect is upon the energies within an individual, a group, and the spatial surroundings. (Middleton, 2001: 46)
The dynamics utilise mythological imagery and key psychophysical tools and actions in differing structures. Many dynamics begin with a vibratory overtone chanting to charge the energy, incorporate contemplative running as a form of meditation-in-movement, and end with the 'Corn' step from Conchero dancing. Throughout the dynamics, Núñez uses the drum and side-coaching comments to encourage mental attention and mindfulness.
Follow the links below to see edited footage of five dynamics: Tonatiuh, Itzpapalotl, Cadoceo, Cuitlapan, and Citlalmina (all editing by Eilon Morris).
This dynamic is described as 'an allegorical offering of our hearts to the sun... Our aim is to try to align our own individual energy with the energy of the sun, and through this allegorical offering, feed ourselves back with its fluid, to make contact with the best of ourselves' (Núñez, 1996: 87). Participants move through a series of actions, each with an associated visualisation or meditation. A full description can be found in Middleton, 2001: 50-54.
Itzpapalotl (Solar Butterfly)
This is a simple dynamic, structured around the image of the 'solar butterfly'. A number of elements - slow walking backwards, moving with closed eyes, the rhythm of the drum, the duration of the actions, Núñez's side-coaching comments - are designed to have a deprogramming or 'deautomatizing' (Deikman). For a discussion of this aspect of Núñez's work, see Middleton, 2008: 41-54.
Cuitlapan (Hunting the Self)
Participants engage in a series of spinal movements corresponding to reptilian, four legged, and two legged animal movement, and then in Sufi-influenced whirling, a common 'tool' within the dynamics.
Evoking the imagery of both the caduceus (two snakes entwined around a staff and used as a symbol of healing) and the ouroborus, the snake which bites its own tail, this dynamic uses backward running with eyes closed and the image of biting one's own tail in a spinal bend as a strongly deprogramming action.
Citlalmina (The archeress who shoots arrows at the stars)
Citlalmina has the most detailed score of all Núñez's dynamics. It is comprised of two 'warrior dances', set side by side in a cycle of repetitions last approximately one hour. One dance is derived from the Tibetan Buddhist monastic Black Hat Dance of the Tashi Lhunpo monastery, and was studied by Núñez during his year with the Tibetan community in exile in India. It has been utilised with the express permission of His Holiness the Dalai Lama. The second dance is a Conchero dance from Mexico, utilised with the express permission of the Conchero authorities. For a description of the development of Citlalmina, and a discussion of the form, see Núñez, 1996: 1-17, 100-104; and Middleton, 2001: 54-56). Original recording and editing by Eilon Morris.