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What am I doing in Southern France? · Remember Why You Are Here

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When we can understand the ways in which our ancestors
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thought about themselves, about the world, the way they experienced the world,
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the awareness in general that they had access to,
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we reconnect with our potential as humans,
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and we reconnect with what's possible for us in the future.
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So why don't you come inside the caves with me.
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Hello and welcome back to Remember Why You Are Here,
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a podcast for seekers and sensitives where you can relax, receive,
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reconnect yourself,
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and remember the most important thing of all - why you're here.
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I'm Asia Suler, author, earth intuitive,
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and very recently researcher who has
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skipped across the pond overseas to research my next book.
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So if you've been following along on the podcast or if you're over on
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my email list where I've been sharing even more that I've been on sabbatical
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for the last several months working on my next book. So in
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this very personal episode,
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I'm going to pull back the curtain to reveal what I've been doing on my
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sabbatical, what this next book is actually about,
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and I want to talk to you about this thing that has been my special interest for
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the last six years,
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a time period that I truly believe is here to guide us all,
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and that is the Upper Paleolithic.
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So have you ever had a dream come true,
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something you've been wishing for, praying towards,
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putting on your altar, leaning into dreaming about? Well,
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for me, this trip was a dream come true.
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I have been wanting to take this trip to Southern France,
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to the Dordogne Valley,
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to visit these sites from the Upper Paleolithic
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for six years. First the pandemic came in,
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and then I got pregnant and I had my daughter,
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and I knew it was going to take time before I was ready
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to take this trip,
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ready to be away from her. This was the first time I had been
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away from my daughter for longer than just a few days.
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So it was a really big deal for me.
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I just feel so blessed and honored that this happened. Travel,
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especially solo travel, especially pilgrimage,
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is really at the heart of who I am. It's something that's so important to me.
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So getting to take this trip was just absolutely unbelievably a dream come
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true,
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and it has really taken me into the next phase of
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writing this next book. So in this part of southern France,
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there is an unbelievable wealth of archeological sites from this time period
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that we call the Upper Paleolithic.
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I was going there to visit these caves, these painted caves,
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these caves that were anointed, consecrated by our ancestors.
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For this next book,
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which I'm excited to talk to you a little about,
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actually give you a little bit more about what I am writing about. But first I
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want to ground us in what is the Upper Paleolithic.
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If you're not familiar with that term,
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let's really dive in there because it's so rich and
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so fascinating.
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And I really think once we start connecting
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to those who I call the deep ancestors,
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it's almost like there's no going back because we start to see ourselves
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differently. The Paleolithic as a period of time is very vast.
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It goes from about 3 million years ago until about 10,000 years ago.
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So that's a really big span of time,
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the specific period of time that I have been studying,
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and that as at the heart of this book is the Upper Paleolithic.
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So the Upper Paleolithic is a timeframe from about 50,000 years ago
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to about 12 to 10,000 years ago.
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And this period of time is when we know
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humans,
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homosapiens spread around the world. Left Africa
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went to literally every corner of the globe.
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Homosapiens arrived in Europe about 45,000 years ago,
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and when they arrived, they were not alone. They, when they arrived,
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the continent was already inhabited by Neanderthals and these humans had
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lived in Europe for hundreds of thousands of years.
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So Europe at that time was very different than Europe
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is now, because we were in the midst of the last great ice age.
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So there were huge caps of ice that came
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really far down into the consonant of Europe,
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and it made it so that it was really the southern swath of Europe that
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was inhabitable,
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and that includes the valleys of Southern France,
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and they would've looked completely different than today.
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So this would've been cold step and tundra
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grasslands with huge herds of animals, mammoths,
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reindeer, bison, aurochs, horses.
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Many of these beings feature in the paintings in
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southern France in these caves, and I want to talk about them in a little bit,
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but it's important to know that the reason why there's
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such
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a dense accumulation of sites in places like Southern France is because
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this is where the consonant itself was inhabitable at that period of time.
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The humans who entered Europe at that time,
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who around the world were entirely modern humans.
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They were just like us. We are the same in body,
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in nervous system, in brain, in soma,
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in imagination and creativity.
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And this is something that I feel really passionate about
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talking about because so many of us were handed such
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strong caricatures of what it means to be a caveman
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growing up. And it's completely wrong.
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It's completely opposite the reality of these
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incredibly sophisticated, intelligent,
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creative, innovated,
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frankly cosmopolitan people who spread
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throughout the world had the ability to go to every single continent and bring
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with them just incredibly intricate traditions
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of artistry, philosophy, adornment,
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ancestral wisdom, traditions that likely stretched back millennia.
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So connecting with these deep ancestors is actually incredibly potent and
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powerful for us. Now, they have a lot to teach us now,
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and part of my passion for the last six years has been learning about this time
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period and realizing that so much that I had been handed about the deep past was
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completely wrong. So we know that
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these deep ancestors were living in hunting and gathering bands of
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about 20 to 40 people,
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but that they would also have times of the year where they would meet up in
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really large groups, accumulations of people for gatherings,
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for I imagine coming together to flirt with one
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another and to make connections and to trade and to trade
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ideas. We know that they had trade routes that spread hundreds of miles to the
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coastlines,
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which at that time was much further out than they are now because so much water
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in the world was locked up in those glaciers that in order to receive,
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for example, seashells,
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which were a really popular trade item at the time from the coast,
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we would've gone so much further in order to be able to trade those items.
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So they had textiles,
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they had bead industry workshops,
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they had really sophisticated painting tools, pigments,
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brushes,
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sponges for dobbing on the paint. So I'm sharing
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all of this to just start to rewrite this
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really fossilized and
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frankly controlled narrative of what our deep ancestors were like.
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A lot of what we're handed this information when we look at our deep ancestors
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is very much flavored by the colonial
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narrative that existed in European
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anthropology around the turn of the last century.
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And so it's really important that we start to unpack all of this and actually
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see just how profoundly intelligent,
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capable, creative, sophisticated these deep ancestors are.
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We know they likely had larger brains than us. They were taller than us,
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healthier than us.
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They had yet to develop all the zoological diseases that we have now,
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and just like a tiny little example into
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the level of sophistication that they had,
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but also the level of leisure time that they likely had.
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So this is something that we guesstimate that
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likely they were only spending about four hours of their day in subsistence
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activities and activities like gathering food and preparing food and all of
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that. And so they had so much more what we would call leisure time,
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but creativity, time, innovation time. Here's just a little example.
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There is a really famous grave site in Russia, the Sungir grave site,
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and there's a man and two children buried there.
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There was so many beads in this grave site. Thousands of beads each bead,
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each one of these beads that would've likely been sewn onto their clothing took
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about 45 minutes to make. If we think about that,
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the beads that were buried with the two children,
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it would've taken around 3,500 hours to make that many
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beads. So this is just like a portal into understanding
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this life way of our deep ancestors, of our ancient ancestors.
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So I went to Southern France in particular to visit the painted caves.
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If you've ever seen Werner Herzog's film, cave of Forgotten Dreams,
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you're probably familiar with these caves,
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but there is an incredible collection of caves,
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some of which are still open to the public that feature paintings
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from this time period.
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So we're talking paintings from about 40,000 years ago to about 12,000
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years ago. So that's a really vast period of time,
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and I want to bring your attention, your awareness to that,
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that we're talking about a 30,000 year
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span of creating art inside of these caves.
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And we're going to come back to that in just a moment.
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But I want to talk for a second about why these caves for me. Well,
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I had a vision six years ago in a meditation
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where I actually came out of one of these caves and was a little bit like,
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where am I? What's going on? This wasn't even where I intended to go,
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and it sparked this huge passion in me for
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learning about these caves,
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learning about the art inside of these caves who created them reading every book
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about the possible hypotheses of what these different paintings represented or
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what they could mean.
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So the oldest known painted cave that
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has been discovered is Chauvet Cave in France,
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and this is about 35 to 30,000 years old.
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So what's really interesting about Chauvet is that up until its discovery in the
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nineties, the caves we had discovered previously,
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like Lascaux for example,
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were much closer to the current day. And so we had this assumption,
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which we tend to replicate a lot,
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this assumption that we evolved over time and that we got more artistry,
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more skill, and that it was sort of this upward projection.
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But when we found Chauvet, this incredibly old cave,
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and we saw the intricate
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artistic skill inside this cave,
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it completely rewrote this whole narrative about this trajectory of
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humanity just keeps evolving. And we started out very basic,
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and now we're getting more and more evolved.
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And actually what we're seeing is that this intricate artwork that was created
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later on was just a continuation of this tradition. And so in this way,
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everything's always moving in a cycle, right? And it's good to question,
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to ask ourselves, is it that we're continuing to evolve now?
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Or is it actually that we're being asked to
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evolve and get in touch again with the kind of intelligence,
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artistry and creativity that we inhabited in the
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past? Are we more evolved than our deep ancestors,
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or have we actually taken a step back and there's a clarion call I feel
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inside of me now to reconnect with these deep ancestors
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so that we can continue to evolve,
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but we can evolve in the way perhaps humans were meant to evolve.
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We can remember that pathway. So what's really interesting about these caves,
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and one of the reasons why they've been so profoundly studied beyond the fact
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that they're exquisite and absolutely stunning is because
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the artwork,
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the material from the past has lasted so well.
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And this is something about the archeological record. Things disappear.
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Things are lost, things get broken.
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What we know and what we can see is just a tiny little sliver glimpse into the
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past that is completely based on what survives thousands of years.
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So one of the things I do want to point out here though is that there was
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a continuation in the artistic style,
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but also within the subject matter during this entire timeframe,
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this 30,000 year timeframe. So just to put this in perspective,
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Chauvet is as old compared to Lascaux as Lascaux
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is to us today.
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So that right there is a 15,000 year time period.
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We're talking about more than a thousand generations.
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We're creating art with similar subject matter,
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similar animals, similar style.
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There were stylistic conventions of the time.
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So we have to imagine that whatever this culture,
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this belief system, this mythology was,
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and we'll never know for sure what this mythology was,
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we can surmise at least that as Gregory Curtis puts
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it in The Cave Painters,
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that it was so fulfilling and profound that it lasted for more than
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20,000 years.
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We'd be hard pressed to find anything within our culture,
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within our belief systems that have lasted longer than maybe even just a handful
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of thousand years, let alone 20,000.
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So this is profoundly interesting to me, right
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in a time where we feel so unfulfilled,
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many of us where we feel adrift,
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what was it that our deep ancestors were attuned to,
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had the capability of seeing experiencing
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within themselves within the world that was that fulfilling,
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that profound, that anchoring, that meaningful,
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that an artistic tradition flourishing out of that belief system lasted that
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long. So why don't you come inside the caves with me?
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While I was in France,
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I got to visit seven different sites at each one was completely different,
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but each one was also similar.
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Each one had similar themes,
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similar energy, but also similar feeling to them.
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So all of these caves now have doors set into their walls.
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One of the reasons why this particular region and southern friends was so
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popular is that there are limestone caves that make for really easy living.
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People at that time did not live inside the caves.
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They lived in the rock shelters on the outside of the caves.
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They lived in the south facing rock shelters at the time. It was very cold.
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You would want the sunlight coming in.
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You'd want your fire at the mouth of the rock shelter to be able to protect
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yourself and provide heat because it was steppe tundra.
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You'd be able to be at the mouth of this cave, this rock shelter,
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and look out over the entire valley, which is a really cool,
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really thing to remember.
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This is the sight line that these people had from their homes.
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We are pretty sure now that most of these rock shelters were also elaborately
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decorated, but that has survived because of weather and time.
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But what is deep inside the caves has survived.
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So we know that these ancestors
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went very deep inside these caves that they
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explored the length of a football field down into the earth,
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and more that they went into these caves and into some of the most difficult
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passages of these caves with oil lamps that likely
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lasted around an hour and a half, maybe two hours.
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These oil lamps were in their simplest forms stone that had been
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carved out with animal fat and a wick,
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and they would carry the stone lamp sometimes crawling on their bellies for a
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long time, deep, deep into these caves.
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So oftentimes they chose to create images
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in the deepest, darkest places.
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They chose to move beyond the entryway deep into these
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caves. And one of the most fascinating things
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I've found about being there in person, because I've been researching,
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looking at pictures for so many years now, but seeing it in person,
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you really understand that they weren't creating these images
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like we create images now where we have a blank canvas.
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They were co-creating these images with the cave.
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So inside of these caves are
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incredibly,
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highly skilled depictions of bisons,
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horses, mammoths. There are aurochs,
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there are lions. Every once in a while,
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a caricature of a human.
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Humans were not very flushed out.
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They were not the center of this artistic
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tradition, which is an interesting point unto itself.
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There are dots, there's symbols,
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there are spirals, there are hand prints.
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But what is interesting to me is that the stars of the show
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are the animals by and large.
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And what they did is they looked
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for the ways in which these animals were emerging from the cave
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walls. So rather than clearing off a space that they could
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create themselves as whoever the individual was,
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instead they looked for places in the cave
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walls and the drips of minerals and the sheen of
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calcite that already looked like an animal.
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And then at times, they drew the minimum,
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the minimum possible line to just bring that shape
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out of the wall.
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And what's incredible is that you often get one go at creating that line.
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And so these people must have practiced for thousands of hours to be able
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to, with one stroke,
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so perfectly capture the exact form
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of a horse or the exact outline of a buffalo.
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It's perfection is astounding in many places.
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And they were masters at perspective.
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So they would draw things specifically so that it could
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be seen in a particular way from a particular angle.
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So at times they were aware of what angle it was being looked at. They would
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create certain effects so that it would look in proportion depending on where
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you were standing.
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They created distance and depth with their artwork.
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They created techniques like the trompe-l'œil effect that we wouldn't see again
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until much later, until the explosion of the Renaissance. In Europe,
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images were sometimes made to look like they were coming out of a
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crack or they were rounding the corner in a cave or that it looked
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different from one side versus another that the face of an animal would
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transform. So from one angle it would be a buffalo. And from another,
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it almost looks like a human profile.
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Artists would deliberately abstract elements in the cave.
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So we know, and I mentioned this earlier,
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that humans were deliberately abstracted, very much so on purpose,
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abstracted.
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There is no full depiction of a human full realistic depiction of a
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human from head to toe anywhere within these caves within this vast period of
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time. But they'd also deliberately abstract things to have it look
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further in the distance, like your eye wouldn't see as many details.
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So you deliberately abstract part of an animal,
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set it behind another one so that you can tell you're looking at a tableau.
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So there's this whole element here inside the caves of interacting with
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the unseen and asking yourself what is more important,
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what is seen versus what is hidden?
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Because once you go inside these caves and you start to see the proliferation of
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these images,
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what they chose to bring out of the stone to show you what they were
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seeing, you realize,
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you start to see animals everywhere.
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You start to see shapes and faces absolutely everywhere you look.
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And so in this way, there was this interaction,
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this playful interaction with the unseen.
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And this is something that I feel really passionate about talking about because
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most of us, if we learned anything about these caves growing up,
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it was that they were likely some sort of hunting magic that
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was being performed. And in most of this literature,
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talking about these caves as hunting magic, as sympathetic magic,
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it's specifically proposed that it was men inside of these
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caves making the images so that they'd be successful in the hunts.
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But we know now that that is not true.
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So in certain time periods,
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some of the most depicted animals, mammoths, horses, bison,
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were not the animals that people were by and large eating during some of these
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time periods.
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90% of the bones that were found in archeological
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digs are reindeer.
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People very easily were subsiding off of reindeer.
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It was a super easeful life, pretty sure about that. And yet,
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reindeer are actually not very commonly depicted inside of these paintings.
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They're pretty rare. And so
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this whole idea that it was this one specific purpose for the caves is
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completely incorrect.
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We also know through new research that is actually able to measure
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hand and hand widths that the people
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inside these caves were not predominantly men,
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but actually most of the hands that we have measured are predominantly
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women,
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and that we know that there were whole families going inside these
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caves that children created art,
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that baby's hands were placed on the walls with
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careful outlines made of them. So these places
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were actually much more communal,
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much more relational,
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much more egalitarian than we had imagined before
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or than certain people had imagined before.
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And also the depictions of these animals inside the
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caves.
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What I want to express about it now after having been there in person, is that
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the thing that touched me the most is the depth of these animals'.
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Benevolence inside of these animals' faces,
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they're drawn with such sensitivity, such intelligence,
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such sentience. Each one is their own character.
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Each single animal is their complete own character.
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And instead of depicting these animals as being
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struck down in a hunt, the thing that we see over and over and over again,
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the most recurrent theme you could say of these caves,
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our gentle meetings, gentle meetings,
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two animals or more, coming together,
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seeing one another overlapping one another.
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This is another interesting thing about the caves,
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is they didn't have the same conventions around subject hood that we do.
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They weren't trying to just have one image of one creature. In fact,
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it was clearly much more valued to see
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how they would overlap. So there will be a horse on
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top of a bison, on top of an auroch,
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and they'd share certain lines and other lines would branch out.
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And so it was actually way more about the overlap,
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way more about the meeting, the singular,
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the individual,
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so much less important than the meeting of these animals,
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the gentleness of
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a horse that is pregnant,
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a grave mare looking out among her sisters,
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the tenderness of a male reindeer licking the top
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of a female reindeer's head.
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So this completely rewrite so much of what we're handed,
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this really like sketchy,
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incomplete,
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and inaccurate viewpoint that were handed about our ancestors,
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what they created,
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what their mythology was based on was so clearly something steeped
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in reverence for the sentience of the living world of animals,
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of the individuality, of characters, of these animals,
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of the sacredness, of gentle meetings.
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There's humor inside of these caves. There's playfulness,
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and I'm here to report that being inside the caves,
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we so often think that caves are these scary places.
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They're dark and they're dangerous and all of that.
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But my experience of being inside these caves,
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especially times when we turned off all the lights and we just sat there,
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it was wombic. I felt so held,
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I felt, I felt so sheltered, I felt so seen.
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And so to me, walking through these caves,
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it actually was this experience of going deeper into what felt like the hips of
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the earth, what really did feel like this sheltering, welcoming, warm, womb
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space.
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And so I guess my invitation in talking about this
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is to invite you deeper into
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your deep ancestors, into your past.
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And then to know that by connecting with these deep ones,
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you're going into this place that is not scary or fraught or
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so intensely different from you, that it's difficult to connect,
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that it's actually going into this more wombic like space,
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this space that is sheltering, that is warm,
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that is inviting,
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that is filled with benevolence and gentleness,
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and really this invitation for gentle meetings.
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I'm feeling this very strongly as I'm working on this book that there is a
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strong invitation
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back into a gentle meeting with our own deep ancestors. And so
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this is what I've been working on. This is what my book is about.
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My book is about the deep ancestors, how they thought,
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thought about themselves, how they thought about the world.
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It's about what I'm calling paleolithic consciousness.
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How did these deep ancestors think?
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We know that the paleolithic as a time period comprises 99%
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of human history.
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This is who we were for 99% of our history and embody in
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Soma in brain and nervous system.
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We are exactly the same as these deep ancestors.
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And so this call for me began about six years ago, as I mentioned,
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to start understanding this time period so I could start understanding the
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consciousness in whatever way I have access to start understanding the
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consciousness of my own deep ancestors.
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And this is about understanding the past for sure.
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It's about reconnecting with these ancestors,
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these ancestors who I believe really want to work with us. But it's also about
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the future.
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Because when we can understand the ways in which our
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ancestors thought about themselves, about the world,
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the way they experience the world, the self-awareness,
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the awareness in general that they had access to,
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we reconnect with our potential as humans and
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we reconnect with what's possible for us in the future.
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I've heard a lot of archeologists say it's not a matter of
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if we will one day return to the stone age, but a matter of when.
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That might be very far in the future. It might not, who knows?
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But what I know is that for me,
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connecting with these deep ancestors has opened up so many gateways,
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so many doorways for me has opened up so many ways of
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thinking that I deeply need in my own life to flourish. And what I see,
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the wisdom, the perspective, the consciousness of our ancestors,
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what is being given to us,
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the messages that are coming through for us now is it's like being given a lamp
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to move through whatever's to come,
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to move through whatever feels dark or hidden before us.
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So this is what I've been working on.
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I imagine it might take me another few years to be totally honest,
32:25
to finish this book. There's a lot I want to say.
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There's a lot I need to research.
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So it's feeling very tender to talk about this book
32:34
now and what it is that I'm creating,
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but it also feels so life-giving to share this with
32:41
you.
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I'm so grateful for all the ways in which I've been supported on the sabbatical.
32:46
I literally could not have done this without all of your support.
32:50
Every time you leave a rating, every time you leave a review,
32:55
every time you buy something off the website,
32:58
all of those things are just so profoundly helpful for me in being able to do
33:03
this. And I have so much gratitude. Thank you, thank you,
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thank you for supporting me in this. And I'm curious,
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as we are still in what I consider so season,
33:15
this season from the Celtic perspective of connecting with the ancestors,
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I'm curious how this is landing with you,
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if it's stretching your understanding of the time period in which you can
33:27
connect with your ancestors in which you can communicate with them.
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So if you want to share with me, feel free to leave a comment here,
33:36
or you can head on over to my website,
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asiasuler.com/remember and leave me a voicemail.
33:42
I love getting voice notes over there,
33:44
and since I am so close now to the end of my sabbatical,
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I'm excited to be diving back in there.
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I'm also going to be starting to create new content for next year here on
33:54
the podcast. If there's something you want to suggest,
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something you're excited about, please let me know about that.
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We are about to enter the holiday season.
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If you are feeling benefic and would like to leave a review
34:08
or some stars for this podcast, it helps so much and it means so much to me.
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So thank you for listening.
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Thank you for being the person that you are.
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This light coming from the deep past,
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you are one of the descendants that your ancestors prayed for,
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and I'm so grateful that you're here. I'm so grateful that we are doing this
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excavation together and this exploration and this pilgrimage deeper into life.
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And may what I shared today. And may,
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what's opening for you within your connections with your own deep ancestors,
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just lead you deeper into the meaning of your own life,
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into the kind of fulfillment that is awaiting you in this lifetime
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and into that deep remembering of the most important thing of all
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why you're here.