Festival FUMETTI Nantes 2026
27 mai -> 30 mai, expositions, tables rondes, entretiens, concerts
Maison FumettiManufacture des tabacs, 6 cour Jules Durand, Nantes, France
seen from China

seen from Türkiye
seen from Germany
seen from Germany
seen from Germany
seen from Germany
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seen from Saudi Arabia
seen from China
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seen from Türkiye

seen from China
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seen from United States

seen from United States
seen from Yemen
seen from China
seen from United States
seen from Türkiye
seen from Türkiye
Festival FUMETTI Nantes 2026
27 mai -> 30 mai, expositions, tables rondes, entretiens, concerts
Maison FumettiManufacture des tabacs, 6 cour Jules Durand, Nantes, France

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Kangling (Thigh Bone Trumpet )The Kangling is made from human bone tibetan silver with two small gem stones teardrop in shape possibly red jade and turquoise . Socket end of the bone has embossed upon it a dragon on either side . On the top of the bone socket on either side there is a circular hole which appears to go all the way down into the bone.
It is used in Tibetan Buddhism for various chöd rituals as well as funerals performed by a chöpa. The leg bone of a criminal or a person who died a violent death is preferred. Alternatively, the leg bone of a respected teacher may be used. The kangling may also be made out of wood.
The kangling should only be used in chöd rituals performed outdoors with the chöd damaru and bell. In Tantric chöd practice, the practitioner, motivated by compassion, plays the kangling as a gesture of fearlessness, to summon hungry spirits and demons so that she or he may satisfy their hunger and thereby relieve their sufferings. It is also played as a way of cutting off of the ego.
Stomp attachment’s head
A3. Drawing inks on cartridge paper

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Where the practice of chöd differs in relation to working most forms of traditional Craft, however, is in its relation to overcoming of (or total death of) the ego. In the Bön text, The Laughter of the Skygoers (The Laughter of the Khandros), the sādhanā prompts the practitioner to “…to blow the kangling to summon all the spirits and invite them to the feast…abide in the state of non-duality of emptiness and appearances and dance on the head of the demon of grasping - your mistaken belief in an existing identity or self.” However, witchcraft as its core is culturally transgressive. Generally, for many Craft groups (and indeed, within many pagan belief systems as well) ego is not something to be transcended (as in orthodox Buddhism), but rather something to be balanced and refined (see the teachings of Austin Osman Spare and his ideology surrounding the Zos and the Kia). This approach is necessary in order to focus one’s pursuits on higher values of creativity, truth, and spiritual empowerment. This is not to say that sacrifice or work on the part of the witch is not pertinent. As we’ve seen, “To consider adversity as a friend is the instruction of Chöd. The same can be certainly be said of the Craft. The sacrifice of an individual’s time and devotion to a relationship with the Arte Magical, their working tools, and their chosen deities as of chief concern. Chumbley states that, "All genuine practitioners of magick, whatever their persuasion, would agree that Time must be sacrificed if one is serious about the pursuit of any magical discipline.
The Deadful Banquet - Sacrifice, Luciferian Gnosis & The Sorcery of the Bone Trumpet by Johnny Decker Miller
Chöd – Bardo Thodol
Label: Old Captain – OCCD34 Format: 2 × CD, Compilation, Limited Edition Country: Ukraine Released: 31 Aug 2017 Style: Dark Ambient, Industrial, Tribal
The Tibetan word "Chöd" means "to cut off' or "to slay", represented in icons by the victory banner and ritual knife. In Chöd, an adept symbolically offers the flesh of their body in a form of a tantric feast. The skin of the practitioner's body represents surface reality or maya: it is cut from bones, the true reality of the mindstream. The similarities between the Chöd ritual and the prototypical initiation of a shaman are obvious, although there is an essential difference between the two: the shaman's initiation is involuntary, whilst a Chod(pa) chooses to undertake the ritual death of a Chod ceremony as a will. Traditionally, Chöd is regarded as challenging, potentially dangerous and inappropriate practice for meditating practitioners. An external Chöd is to wander in fearful places where there are deities and demons, whereas an internal Chöd offers one's own body as food to the deities and demons: the Ultimate Chöd is to realize the true nature of the mind and cut through ignorance.
Enter the charnel fields of the obscure monk of the Chöd project to witness the offering of a corpse to the vultures of the tradition that inspires terror. The object of ignorance, the root of samsara, which is holding the "I" as truly existent must be killed as the inner enemy, delusions, and the way of the dharma practice: to achieve liberation, ultimate happiness, cessation of all the sufferings, rebirth and death.
Pure occult Evropean tradition in flesh and bones to hurt you. Filed alongside Zero Kama or Ain Soph. Raw, elemental, primordial 22 tracks / 100 minutes of the original ritual retrieved from 1996-1999 DAT-tapes. The layout is executed by Mauro Berchi (Eibon Records). A 300 2CD edition of Chöd's legacy in a 4-panel matte-laminated Digipak.
Buy: http://gh-records.com/ritual/1942-choed-bardo-thodol.html
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