In other words, life is a process of becoming—self-transformation, which leads us to a discovery of our true authentic self. It is a journey of evolving and becoming. In consideration of this, the Nahua concept of “flower and song” (artistic expressions such as writing, poetry, and music) is one process and an appropriate metaphor for awakening and becoming a Quetzalcóatl. All of life is energetic vibration with any individual form nothing more than an intrinsic amplitude, wave form, and frequency of vibration of the sacred power/force flowing through and encompassing all of creation—the seen and unseen worlds, the cosmos.

What this means is that our intrinsic personalized energetic vibration of this force may be transformational in our becoming and awakening—spirit singing, song-poems, chanting, and so-forth. And from this our bodies will “bud and flower”—spirit, body, and mind where our heart becomes our face. This is heart making and face making.

Join us on our Journey of Initiation to Teotihuacán and Malinalco and begin to become a person of power—a Quetzalcóatl as we awaken our deified heart where our heart becomes our face (mind). In awakening we realize our divineness and our relationship, our partnership and unity, with all other things of heaven and earth (healthy ego). This realization occurs within the heart, our Ollin or deified heart, and flow out from there to a new consciousness of being. This is a consciousness that first and foremost recognizes the unity or oneness of self and the oneness of others.

It is a consciousness that lets us know within the core of our soul the non-dualistic interpenetration of all things, which our culture and society deems being separate and opposite. Our journey will assist you in merging the mind and body (heart) into a oneness of being.

Awakening occurs in the heart not in the mind… The phrase “face and heart,” often encountered in Nahuatl texts, carries a complex metaphoric meaning based on the conception of the beating heart (yollotl , derived from the same root as  ollin , meaning movement) as the symbol of the dynamic center of the person, and the face (ixe or ixtli , not simply the physical face visible to others) as expressive of his being in the deepest sense. The physical face, therefore, had the metaphoric potential to signify one’s true face by manifesting those characteristics that made him “whole,” that is, unique and well-integrated, as a result of the transformative process by which the outer appearance came to reflect the inner, spiritual being. When this integration had been achieved, a person was said to have a “deified heart” and to be “master of himself.”

It is no wonder that an important goal of Toltec/Aztec education was to teach a person to create such a “deified heart,” thus enabling them to develop their innate spiritual potential by becoming “one who divines things with their heart,” one who infuses ordinary experience with spiritual energy. Precisely, of course, the task of the artist.

It would follow that, as León-Portilla puts it, “if the good artist is master of himself and possesses a face and a heart, he will be able to achieve what is the proper end of art: ‘to humanize the desires of the people,’ that is, to help others to understand things human and divine, and to behave in a truly human way.” Behaving in such a way would be the result of understanding one’s essentially spiritual nature and allowing that nature to express itself in the world of space and time, thereby transforming the material world into spirit. Thus, the Aztec poet, like his predecessors in the earlier cultures of Mesoamerica, was the messenger of the spirit, the transformer who had himself been transformed.