One of the strangest and most unexpected aspects of shamanic ceremony is the regurgitation of magical phlegm by the shaman. In the case of a maestro curandero with years of experience, this can be quite a powerful and surprising event to North American and European seekers, who thought they were visiting a South American retreat to drink a psychotropic plant brew and have a more sedate healing or spiritual experience.

The role of shamanic phlegm is heavily documented in Stephan Beyer’s excellent book Singing to the Plants: A Guide to Mestizo Shamanism in the Upper Amazon. Bayer recounts many examples of shamans coughing up phlegm during their healing ceremonies, usually with a great display of coughing, horking, and loud gurgling sounds. Disgusting as it sounds, the practice is integral to shamanic healing. What’s going on is completely alien to North American and European knowledge and experience, but needs to be understood.

https://www.pulsetours.c...shamanic-healing-phlegm/

Phlegm
Friday, Jan 25th, 2008
Ayahuasca, Shamanism
http://www.singingtotheplants.com/2008/01/phlegm/#
In the Upper Amazon, the restricted diet — self-denial of food and sex — is a necessary precondition for creating a relationship with the plants. What the plants give in return is their willingness to help the shaman; their icaro, their song; and phlegm. Planting and nurturing the magical phlegm is an indispensable goal of the apprenticeship training; the phlegm is the physical embodiment of fuerza, the shaman’s power.

There are a number of terms used for this shamanic phlegm. Most common is the ordinary Spanish word flema, which refers to the phlegm at its most corporeal, stored in the shaman’s chest, and manifesting the shaman’s power in physical form. It is in this phlegm that the shaman, whether healer or sorcerer, stores the virotes, the magic darts, used for both attack and defense; in the phlegm of the sorcerer are also toads, scorpions, snakes, insects — all sorts of stinging, biting, and poisonous creatures. The same substance is also called llausa and yachay. The former is the ordinary Quechua term for phlegm; the latter is the Quechua word for knowledge. The term yachay derives from the verb yacha, know, and refers specifically to ritual knowledge. The Lamista term for shaman is yachak, owner of yachay; similarly, the Napo Runa term for shaman is yachaj, one who knows.

This flema must be distinguished from mariri, which is phlegm rarefied, raised from the chest into the throat, often with the accompaniment of loud burps and belches, becoming like air, my teacher don Roberto Acho says — immaterial, vibratory, and protective. It is this mariri that extracts the magic darts, the sickness, the other evils in the patient’s body and at the same time protects the shaman from the sickness and sorcery he sucks out.

The phlegm is nourished by smoking mapacho. It is received from the maestro ayahuasquero, “like planting a seed in your chest,” don Roberto told me; nurturing one’s phlegm is like raising a plant until it is the proper size, and then maintaining it. “Flema makes you fearless,” don Roberto said. Fearlessness is a constant theme in relation to phlegm. When you have this protection, doña María Tuesta said to me, you need have no fear of anyone; the medicine grants a corazón de acero, a heart of steel. Phlegm can start to grow in the chest within months of beginning shamanic training; when smoking mapacho, the mariri may move, mysteriously, as if by itself, from chest to throat — strange burps and belches, phlegm become like air.



The rarefication of phlegm into mariri relates it to icaros, shamanic songs. Abstraction from conceptual meaning is a key feature of such music. The most powerful icaros, such as the protective arcanas, are vocally refined into silbando, breathy and almost inaudible whistles. Thus, when learning icaros, doña María told me, I should first hum the melody, or whistle it in the breathy whispering whistle of silbando, and only then learn the words, for the words are much less important than the melody. Another shaman has told his apprentices not to be overly concerned with trying to memorize the words; singing the icaros from the heart with the correct resonance and vibration is more important.

Here there is a relationship between sound and phlegm. Both are given by the plant teachers, nurtured by mapacho and ayahuasca; both range from the grossly physical and intelligible to the rarefied, refined, air-like; converge in the act of blowing, which can both cure and kill; and unite in the magical mouth of the shaman, which contains the power and wisdom of the plant spirits.

Just as the shaman’s magical phlegm, stored in the chest, is raised and rarefied into the throat in order to protect against magical attack, becoming intangible, less physical, just like air; in the same way, the more abstract, less conceptual, less overtly intelligible the icaro, the more powerful it is. Indeed, both mariri, purified phlegm, and icaro, purified song, ultimately converge upon the same condition — that of puro sonido, pure sound, which is the the immaterial and wordless language of the plants.

from Wikipedia:
Tsentsak* are stored by the shaman in his or her yachay, or phlegm, located in the chest and stomach. The tsentsak are embedded within this phlegm and either the tsentsak or the yachay may be projected out of the shaman into a victim to cause illness and death. This phlegm is the materialization of the shaman's power; it is used to remove tsentsak from the bodies of victims as well as to protect the shaman from being harmed by the tsentsak of others.

Tsentsak are only visible under the influence of a psychoactive substance called natemä, which is the Jívaro word for ayahuasca.[3] When the shaman imbibes natemä, the world of spirits becomes visible. It is at this time that sorcerers and bewitching shamans can send tsentsak to their victims, while conversely, healers and curing shamans can remove tsentsak from their afflicted patients.

Tsentsak are believed to possess their own agency and volition as living spirits that constantly desire to kill and consume human flesh.[4] A shaman must learn to control their darts lest they escape and cause unintended harm. To facilitate control of tsentsak they must be nourished by the consumption of mapacho (Nicotiana rustica), which can be smoked or imbibed as an infusion.

A shaman who does not possess the necessary restraint to swallow their tsentsak when they rise to the back of their throat will become a sorcerer or bewitching shaman, while a shaman who can learn to control these urges will become a healer or curing shaman

Tsentsak are invisible pathogenic projectiles or magical darts utilized in indigenous and mestizo shamanic practices for the purposes of sorcery and healing throughout much the Amazon Basin. Anthropologists identify them as objects referenced in emic accounts that represent indigenous beliefs. -Wikipedia

What is high dose DMT like for you?

Or what were the features of your most intense psychedelic experience?

-eg

I don't do high dose DMT anymore , mainly sub breakthrough Changa which sometimes lead to an accidental break through.
My most intense experience came when vaping DMT years ago .
I heard the carrier wave and then found myself in a mechanical place which then led to an encounter with an Alien who spoke to me. Only one sentence but that was enough.

DMT is there to activate the vine . That's how I view things now..

What did you notice that made you think of Shamanic Tendency's ?

My journey started with DMT vaping . Then moved onto Rue Alks Changa, which nearly always showed me God Code and beautiful things also.

Then I tried Vine Alks Changa . Convinced it would be the same as Rue Alks .
On the first session Aya showed herself to me, she then started looking into me to see who I was or what I was about. That freaked me out, I wont lie.

That session changed everything. I went on to have sessions where I had conversations with her.

Recently I don't speak to her or request anything, visuals etc. I just go into a very deep level of thought with blissful physical feelings .

As for my invisible arrows . I already believed I can effect people from afar, long before I discovered plants .

Cheers..

Now there is a figure pointing to my throat telling me to ignore the faint feeling I have in my throat. I am not fully aware of my body at this point, I am between worlds if you like.

I start to return to my body and senses with the slight feeling of choking. I realise then that my throat and mouth is full of saliva kind of thick saliva (sorry to be gross)