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Writing "Scarlet Dragon 2" keeps red fresh in my mind. With this in mind it makes sense that I would notice a strange pattern in current film posters, today, while standing in line at my local theater to see "Yes Man" (StarRing ZOoey (a OZ resonator who stared in "Tin Man", an OZ remake! Double OZ, nice!) Deschanel and Jim Carrey (JC)).
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One of the walls of the theater saw numerous posters out of which emerged a red line/strip/band/tape theme.
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On mentioning this observation to Jim he reports:
"the red road is the indigenous path for the good life. it is the path of the sundancer. respect for all life.
healthy living etc.. it is the indigenous way..."
"The path to wellness in indigenous communities is often referred to as the Red Road; a journey and way to well-being that First Nations people must travel in order to be truly well and healthy human beings. The Lakota traditionally embrace the Red Road, a holistic philosophy that integrates health-related phenomena in an inclusive, circular path of living and dying (Kavanaugh, Absalom, Beil, & Schliessmann, 1999). Likewise, the philosophy of the Red Road is embraced by many indigenous people from all nations as the proper way to live according to the traditional instructions received by Native people. For many, it is seen as the only way that Native people will continue to exist as nations, communities, and human beings, distinct from other surrounding cultures."
Perspectives on wellness: journeys on the Red Road
Winnipeg Sun Article
Mmmm, interesting.
I would interpret this as similar to what I recently heard Echart Tolle talk about when referring to the 'tightrope of the Now'. The awakened human stays alert and present, grounded in the ever changing eternal moment. He walks the 'tightrope of the Now'. Things (thoughts and situations) come and go yet an ever present sense of Self beyond all form remains.
This is also the Christian narrow road to heaven and wide road to hell. The narrow road is a focused awareness which humbly honors the context of the Moment. Hell is the wide road, a sense of self violently tortured by the identity under stress of attachment to ever changing forms.
Aronofsky's "The Fountain" speaks of this when the Mayan priest invokes the "Road To Awe".
Dorothy Gale walks this same road - The Yellow Brick Road - from which she must not stray, on her way to OZ and the Emerald City (Heaven/NOw).
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Later