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Ayahuasca-lite? Why cacao ceremonies are showing up all over L.A.

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Ayahuasca-lite? Why cacao ceremonies are showing up all over L.A.

Walking barefoot across the cool tile floor, her silver face gems twinkling in the sunlight, sound bath practitioner and energy healer Maya Andreeva distributed paper cups filled with brown liquid to the 20 mostly youngish adults seated on yoga mats and blankets on the ground.

They had gathered this Saturday morning on Abbot Kinney Boulevard in the courtyard behind the Japanese skincare store Albion Garden to attend Echoes of the Heart, a two-hour cacao, breathwork and sound bath workshop that promised to guide participants toward “deep self-exploration, energetic healing and profound relaxation.”

“Just allow yourself to feel the intention within you,” said Greta Ruljevaite, founder of the wellness brand Xpansion who co-led the workshop with Andreeva. “Speak it into the cacao, your intention, your wisdom, what you choose to let go of. Anything and everything: Speak it into the cacao.”

Maya Andreeva and Greta Ruljevaite, co-leaders of the Echoes of the Heart workshop, put their intentions into cups of cacao.

(Jean Marc Bertolet)

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Around the room, participants gazed reverently into their paper cups, some of them mouthing words silently.

“Now bring it up to your heartspace, connecting to your heart,” she continued, as ambient music droned in the background. “Bring it down to the earth for grounding, and then back to your heartspace. … One more inhale together … and drink your cacao.”

With great gravity, they drank.

Over the next two hours the group was first led by Ruljevaite through a breathwork series, and then a sound healing session facilitated by Andreeva. The cacao part of the workshop may have been minimal, but afterward, attendee Saim Alam said the warm, slightly bitter beverage deepened his experience of the event.

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“I was genuinely in such a state of bliss the whole time,” he said.

Cacao, the main ingredient in chocolate, has been showing up at an increasing number of wellness events in the L.A. area in recent years. In March alone, Angelenos can attend a Women’s Circle and Cacao Ceremony in Hollywood, a Women’s Day Goddess Circle and Cacao Ceremony at the Grove, a New Moon Cacao Renewal Ceremony at Yoga NoHo Center and the Somos Cacao Ceremony at an undisclosed location in Woodland Hills.

Small edible flowers float on the surface of a cup of cacao.

Small edible flowers float on the surface of a cup of cacao at a recent cacao, breathwork and sound healing workshop in Venice.

(Deborah Netburn / Los Angeles Times)

If you want to make the drink yourself, Holy Cacao sells Ecuadorean cacao at farmers markets in Hollywood, Mar Vista, Malibu and Marina del Rey. Local farmers market vendor Arcana Apothecary sells a $60, one-pound block of cacao that is made entirely by women in Guatemala, and pure organic cacao powder is available at Erewhon.

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“People hosting cacao experiences continues to grow,” said Nick Meador, who sells ceremonial-grade cacao (an unofficial designation that suggests minimal processing) online through Soul Lift Cacao, the company he founded in 2018. “People want something that gives them a sense of embodied spirituality and cacao is so gentle, you can’t even say there are side effects.”

Practitioners claim that consuming cacao opens the heart, helping drinkers feel more compassionate, blissful, energized and loving. And because it does not have psychedelic properties like other substances labeled “plant medicines,” it is a safe and easy way to experiment with consciousness-altering natural compounds. Consider it ayahuasca lite.

“I was genuinely in such a state of bliss the whole time.”

— Saim Alam, cacao ceremony attendee

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“It’s not like any drug I’ve ever taken,” said Kat Ho, who started leading cacao ceremonies in 2021 after being introduced to the drink during the pandemic by an influencer on YouTube. “It’s so mild. Your mind feels a little more loose and you feel a little more clear in the things you want to do.”

When folklorist Taylor Burby was researching cacao ceremonies for her recent graduate thesis, she found that more than 89% of the 118 participants she interviewed said they like to consume cacao because it is a legal, more accessible plant medicine.

People sit on a studio floor holding cups.

Attendees of a cacao, breathwork and sound healing workshop hold cups of cacao at their heart center.

(Jean Marc Bertolet)

“If you take mushrooms you don’t know what’s going to happen,” Burby said. “With cacao you might feel yourself getting warmer or giddy or peaceful, but you have more control over your experience.”

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The physical effects of cacao have not been studied as much as coffee, but research suggests that chemical compounds present in cacao can affect mood by increasing both alertness and cognition, and also improve cardiovascular health by lowering blood pressure. And because cacao has much less caffeine than coffee, fans say it gives them an energetic boost without making them jumpy.

“I can feel my shoulders drop, my chest opens,” Andreeva said. “I have felt the energy running through my body like little tingles in spaces where I don’t usually feel that.”

Making ceremonial cacao is a multistep process that traditionally begins with fermenting the seeds of the cacao fruit in their own pulp, drying them in the sun, roasting them over an open fire and then grinding them until they form a paste, which gets poured into a mold to harden.

To prepare the cacao for the Echoes of the Heart workshop, Ruljevaite used a ball of cacao that she had purchased on a recent trip to Guatemala. The night before she meditated over the dark brown sphere, filling it with intentions, and then shaved it into small pieces; mixed it with warm water, oat milk, a little manuka honey and vanilla; and then frothed it. She brought it to the event in an electric Crock-Pot. Just before serving, she and Andreeva whistled over it for a few moments, infusing it with “light language” to give it more potency. Then they ladled the liquid into small cups.

In South and Central America cacao is often served mixed just with water, but without any sweeteners it’s very bitter.

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“Our Western tastebuds are not really ready for the traditional experience of cacao,” Andreeva said. “Anywhere I’ve gone in L.A. to drink cacao, it’s never just been raw.”

Archaeological evidence suggests that cacao has been cultivated in Mesoamerica for at least 5,000 years. It was served at betrothals and other celebrations and was a favorite drink of Maya and Aztec nobility, especially in places where it had to be imported, said Rosemary Joyce, a recently retired professor of anthropology at UC Berkeley and an expert on the history of cacao. Texts from the 16th century show the plant was used by Indigenous people medicinally to treat an array of ailments and cacao was consumed in rituals and ceremonies, mostly to repair relationships between the human and spirit worlds, she said.

Joyce has been offered traditional cacao while doing fieldwork in Honduras.

A woman in a hat ladles cacao from a pot.

Maya Andreeva, a sound bath practitioner and yoga teacher, ladles cacao from a pot into a paper cup.

(Deborah Netburn / Los Angeles Times)

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“It tastes like medicine — there’s no way around it,” she said.

Despite its storied history, her research suggests that ancient uses of cacao in Mesoamerica bear little resemblance to the rituals many Westerners are crafting today.

“It’s a tricky area,” she said. “The ceremonies they did required cacao, but the purpose of the ceremony was not to commune with the spirit of cacao or have it come down and take over your body. That’s a very Western notion.”

Most modern-day cacao ceremonies trace their origin to Keith Wilson, a geologist, adventurer and founder of Keith’s Cacao, who became known as the “Chocolate Shaman.” Wilson, who died last year at his home in Guatemala, claims he was contacted by the cacao spirit in 2003 and given the mission of reintroducing ceremonial cacao to a world that had mostly forgotten about it. He began serving cacao to visitors on his porch, and friends started calling them “cacao ceremonies.” Over time, the area around Lake Atitlán where he settled became known for its cacao ceremonies. Visitors brought the practice back to their home countries.

Meador prefers to label his cacao events “cacao experiences” or “modern cacao ceremonies” to make it clear they are not derived from ancient Indigenous rituals.

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“I don’t want to be like a policeman,” he said, “but I teach people to be careful with the words we choose. There are many voices in the conversation and there are people in the U.S. who don’t really actually know that much about it.”

Today in L.A., cacao ceremonies are often paired with other healing modalities such as breathwork, yoga, meditation and dance. Some facilitators will evoke the spirit of cacao, who is supposed to be loving, nurturing and even a bit promiscuous. Burby, the folklorist, once heard it described as “the grandmother that still has sex, rather than the grandma who is over and done and retired.” A facilitator might remind attendees that cacao is a heart opener, that after drinking it one might feel warm, clear and more alert. But after that, anything goes.

“There are just as many ways to practice as people practicing,” Burby said.

Back at Echoes of the Heart, Andreeva and Ruljevaite make it clear they are far from cacao experts. But they had both had positive experiences with the drink and wanted to share it with those who attended their workshop.

“I see it as this beautiful welcoming bridge back to yourself,” Ruljevaite said. “And with a lot of prayers and intention infused in it, and the power and reverence of the community, it heightens and amplifies its benefits.”

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Terry Tempest Williams on why women with big ideas get labeled ‘crazy’ : Wild Card with Rachel Martin

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Terry Tempest Williams on why women with big ideas get labeled ‘crazy’  : Wild Card with Rachel Martin

A note from Wild Card host Rachel Martin: I met Terry Tempest Williams about 25 years ago at a writer’s conference in Yosemite Valley. I was a young reporter who was there to do a story about how literature was addressing climate change and she made such a huge impression on me. I had never heard someone talk about the natural world the way Terry did and she had a spiritual depth I hadn’t encountered in my life at that point.

To this day, Terry’s writing always reorients me towards what is good, what is beautiful, and what is true. Her newest book is called “The Glorians.”

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Meow Wolf taps famed L.A. animation house for its new Los Angeles venue

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Meow Wolf taps famed L.A. animation house for its new Los Angeles venue

For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward skewering our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.

The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.

It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.

As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.

“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”

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Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.

An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.

(Gabriela Campos / For The Times)

Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”

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“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”

Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.

“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”

Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.

In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.

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“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”

Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Phimémon Martin, and Jun Ioneda.

Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.

Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.

“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”

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Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center

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Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center

The Kennedy Center on June 28, with its facade signage still covered by a tarp and scaffolding.

Alex Wroblewski/AFP via Getty Images


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Alex Wroblewski/AFP via Getty Images

On Wednesday, a federal appeals court denied President Trump’s request to stop the removal of his name from Washington, D.C.’s Kennedy Center. The signage on the building has been covered with tarp and scaffolding since June 13, but in a court filing last month, the center’s current executive director said that Trump’s name has been removed.

In their decision, three judges from the U.S. District Court of Appeals for the District of Columbia Circuit said that the president had failed to prove that the arts center would be “irreparably injured” without Trump’s name attached to it.

NPR requested comment from the Kennedy Center, but did not receive an immediate reply.

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This latest round of court decisions is part of the ongoing litigation filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. In a statement emailed Wednesday to NPR, Beatty said: “Today’s ruling again affirms that this administration’s efforts to rename the Kennedy Center were unlawful. His name no longer desecrates this sacred memorial, which belongs to the American people. Now it is time for the Trump administration to accept this, comply with the law, and take the tarps down.”

In previous court filings, Trump’s legal team had asserted that removing the president’s name from the arts complex, both on the physical building and in its digital materials, would inflict irreparable harm in both time and money already spent. In the denial, the three judges — Patricia Millett, Robert Wilkins and Gregory Katsas — wrote that since Trump’s name has already been removed, “a stay would not avert those harms.”

Furthermore, Trump had claimed that without his name attached, future fundraising would be threatened “and [will] contribute to the financial decline of the Center.” In response, the appeals judges wrote: “Appellants, however, have failed to support this assertion with any specific facts or evidence. They offer only the conclusory assertions of the Kennedy Center’s Executive Director that were made in a factually unsupported declaration.” The center’s current executive director, Matt Floca, specializes in physical plant management.

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