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An island that large and with tall mountains would probably be on every map of the world (unless it was always cloaked). It would have been a prime Pacific operations base during WWII for the Japanese or the US, and would have probably remained a US base after WWII. Being a base of some sort might explain why there are no longer Polynesian natives on the island (that we know of) considering they might have been wiped out during the war or relocated at some point in time. I'm hoping that Mr. Dah makes an appearance next season and sets us straight.

I took a couple of days off work and between doing important stuff at home I plopped down in the comfy chair and watched an episode of the Teletubbies. Okay, what show is more strange, Lost or Teletubies? I'm of the opinion that perhaps Lost was based on the land of the Teletubbies.


members.cox.net/sovpont/teletub.htm

As the author investigatedthe Teletubbies and their world he was repeatedly struck by several obviousparallels which seem to exist between the behavior, motives and environmentof the Teletubbies and the philosophy of Analytical Psychology as developedby C. G. Jung and his disciples. The purpose of this offering isto present an exposition of these synchronistic parallels in order to facilitatethe continued propagation of that esteemed psychological approach.


"Tinky-Winky,
Dipsy,
La-La,
Po:
Teletubbies, Teletubbies!
Say, 'Hello.'"

With these words the Teletubbies enter into virtually every home inNorth America. What is the psychological import of the Teletubbies'environment and behavior and how might we interpret them in Psychoanalyticterms? Let us investigate these questions and see if we cannot arrive atsome possible insights.


TELETUBBIES: CHTHONIC ARCHETYPES

The Teletubbies, like other many potentlysymbolic beings - The Greek Erinyes, Arabic djinns and German elves amongthem - have their origins in the Earth. At the beginning of eachprogram they emerge from a central hole in the top of the Teletubbie Dome- itself a Mandala of the round, full fecundity and eternal pregnancy ofthe Archetypal Great Earth Mother - and, laughingly, proclaim their being. The ability to stand and speak immediately after birth is also found inthe myth surrounding the birth of Gautama Siddhartha, the Buddha; arguablyanother Solar Child myth. Like the Python of Athena, the mysteriousprophetic vapors of the Oracle of Delphi, the Goddess Kore - Who bringsSpring upon Her emergence from Hades, and the Living Waters which Mosesbrought forth from the Rock, the Teletubbies also are chthonic Beings. They are rich in the occult wisdom of the deep Earth, who magically renewthemselves at the beginning of each program by popping out of the centralpoint of the fertile, pregnant belly of the Earth Mother Mandala. In North American Indian mythology, among the Anazazi and later the Puebloand Hopi Peoples, the kiva - a circular sacred space in the earth wherein the Ancestors and Gods are contacted - and the sipapu - the centralocculus in the ceiling from which the ritual participants enter and emerge- are substantive synchronistic parallels the Teletubbies' emergencefrom their Mandala Teletubbie Dome.
The only other mammalian life form presentin Teletubbie land are large hares. The Hare is another symbolically potent,chthonic, earth-emerger. Like the eternally reemergent Kore - daughterof Demeter- the Hare comes forth from the Earth at the beginning of Springand carries with it the archetypal charge of fertile life-renewer, Childof the Great Mother and the Solar Father. Teletubbies are synchronouswith the Hare as life-renewer, Spring bringer, fertile Anima.




THE QUATERNITY

"Over the hills
and far away,
Teletubbies
come and play...."

The Archetypal Quaternityof the Teletubbies is particularly provocative in terms of the Psychoanalyticphilosophy. As Jung noted in Mysterium Conjunctionis, "Psychologically, 'the four' are the four orientating functions of consciousness, two ofthem perceptive (irrational) and two discriminatory (rational). Wecould say that all mythological figures who are marked by a quaternityhave ultimately to do with the structure of consciousness." Thereare four Teletubbie colours, four personality symbols, four power objectsand four entrances and a central occulus to the Teletubbie dome. Similarly there are four directions and a center point, four animals representingthe four Evangelists, four Personality Types and four Alchemical colours.

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THE DOME

No study of the Teletubbieswould be complete without a consideration of the Teletubbie Dome. The Dome is a very large tumulus which sets in a valley, itself describedby four taller hills. In the far distance, no doubt to the East,stands the perpetually counterclockwise turning Solar Child Phallus' Windmill. Were it not for its architectural features - doors, windows and the occulus- and for its perfectly hemispheric shape, the Teletubbie Dome would beindistinguishable from the green, rolling hills which surround it. It is precisely these architectural devices, however, which create theform and structure of the symbolic aspect of the Dome; which make it aMandala.
Viewed from above, the TeletubbieDome as Mandala become immediately evident. A large green circleset with four tube like doors extending out slightly past the edge of thecircle/dome into each of the cardinal directions. Further back,on the top of the Dome itself and more to the center are four tube likewindows placed as high as the tops of the doors and closer to the centralocculus pointing to the Southeast, Southwest, Northeast and Northwest.The entire ensemble has a central occulus, surrounded by four windows orientedto median directions with four tube like doors oriented to the cardinaldirections and extending slightly past the edge of the circle which isitself surrounded by four hills. Four hills, doors, windows and the occulustotal thirteen (13). Traditional Numerology would further reducethat number to (1 + 3 = 4) four which Jung identifies as the number ofwholeness and completion. The Teletubbie Mandala symbolically representsboth these profoundly important qualities.
C. G. Jung notedin Mysterium Conjunctionis, 535, Section V. Adam and Eve, " Thecircular arrangement of the elements in the world and in man is symbolizedby the mandala and its quaternity structure. Adam would then be aquaternarius, as he was composed of...dust from the four cornersof the earth." This is the world circle with the luminous TranspersonalSelf as the center. It hides and manifests the ego simultaneously. "Whereas in the beginning the urobrous existed at the animal level only,so that the ego germ contained within its midst was almost hidden, in the unfolding flower of the mandala the animal tension of oppositesis overcome, transcended by a self which blossoms forth into a corollaof opposites." The Origins and History of Consciousness by ErichNeumann. This evokes the spectrum of gender-sexuality we referencedearlier.
The Teletubbie Dome is also the residenceof their community and contains their dormitory, refectory and kitchen. Within the Dome are numerous marvels: machines which sustain literallyevery aspect of the Teletubbies' lives. Chief among these machinesis the "Nu-nu" which rolls about the interior of the Dome cleaning everythingand keeping everything in working order. He manifests a pervasivecharacteristic of life in the Mandala Dome. All tasks are easilyand successfully accomplished through an interactive, universal balancebetween the organic and inorganic. They are fed by machines, cleaned andmaintained by machines. There is no dust in the Teletubbie Dome. If something spills, the Nu-nu, an intelligent machine, comes and cleansit up. The organic lives of the Teletubbies are intrinsically andintimately bound up with the function of the inorganic technology whichserves the Dome and the Teletubbies.
This synthesis of organic andinorganic elements are of interest. A "purpose" of the Mandala isto assist in the development and sustenance of the transpersonal Self. What has been described here is, in essence, a technological Edenwherein the full spectrum of Personality Types and gender possibilitiesare manifested, celebrated, nurtured, individuated and tranpersonalized. As Adam Kadmon played in the pre-Christian myth of Eden so the Teletubbies,each in their individual uniqueness, play in balance and harmony underthe gaze of and sacramentally in touch with the Solar Child.




THE TELETUBBIE EUCHARIST

The presence in the sky of the SolarChild/Sky Father Archetype (presented as an infant's face surrounded bystylistic sun's rays) carries deep mythic significance. This pre-verbaland therefore irrational/intuitive Being whose laughter instructs and directsthe Teletubbies in their ritual and community activities is symbolicallyamplified and has a critically important element on the surface of Teletubbieland: the Solar Child's Windmill Phallus. Alone and erect in splendidand unapproachable isolation, on the top of a hill visible from anywherein Teletubbie land is an enormously tall shaft at the top of which is percheda child's windmill. Usually accompanied by the Celestial Laughterof the Solar Child, the windmill rotates in a counterclockwise fashion(widdershins) and from it is emitted sparks of brilliant blue-white light:the Solar pneuma. The counterclockwise rotation is significant ofa descent into the Collective Unconscious, as Jung noted in his essay onthe Roman Catholic Mass, of the activation of Conscious awareness of theArchetypes Themselves. Additionally, this element may be synchronous withthe Solar Wind/Phallos Archetype which Jung first encountered in his wellknown treatment of a schizophrenic who dreamt of a flexible tube extendingfrom the Sun from which flowed a wind which in turn directed activitiesin the dream.
In most instances, shortly after emerging,the Teletubbies receive non-verbal instructions - through the laughterof the Solar Child - to run together towards the Solar Phallus. This isthe commencement of their community sacrament, their Eucharistic ritual. As they run up hill toward the Solar Phallus, the Teletubbies - not entirelyunlike Sts. Peter, James and John on Mt. Tabor during the Transfiguration- are laughingly knocked to the ground by the spiritual power - pneuma- of the Solar Wind . The personality symbols perched atop their headson antennae growing out of the Seat of Consciousness, the Sahasrara Chakra- glow momentarily as they writhe on the Earth giggling in delight. Clearsymbolic parallels may be seen here between this and the "slain in theSpirit phenomena" so common in televangelist religion not to mention theraising of Kundalini energy in Tantrick yoga and activation of the Crown,or Sahasrara Chakra. Having each been sacramentally touched by the SolarWind from the Solar Child's Phallus, they stand and announce theirnames - affirming their individuated personalities - each is onceagain potentiated through the glowing personality symbol on their head.
In the next rubric, the brilliantcounterclockwise spinning blue white light directs which one of the Teletubbiesshall receive transmission from and sacramental union with the Solar Child.Next, one and only one Teletubbie's personality symbol consistentlyglows and his or her navel area, where the television screen is built in,is illumined with the counterclockwise spinning sparkles of Solar Wind. This particular Teletubbie Priest is now in a transcendent state of Beingwhereby his or her Personality, while individually tranpersonalized ina unitive ecstasy, is simultaneously the vehicle whereby the entire Teletubbiecommunity is sacramentally tranpersonalized and brought together. The omphallic imagery cannot not escape us. The navel or ManipuraChakra ("City of Gems" in Sanskrit) is, in Tantrick yoga, ruled by theSun. The Solar Child's Pneuma drives the counterclockwise turningof the wheel in Teletubbie land which generates the rubrics for the Eucharist.
The navel television chakra reveals imagesof a world entirely different from Teletubbie land. More often thannot, this world is populated by children who are engaged, with minimaladult interaction, in various creative and artistic activities. Thepre-adult, pre-sexual world, confected and illuminated by the Solar Wind, reminiscent of the Christian Mandala of the Garden of Eden: is anicon of totality and innocence. The world illuminated by the naveltelevision chakra is a transcendent place, wholly other than Teletubbieland. It is indeed a "City of Gems" - innocence and creativity, playand celebration. The Teletubbie who is sacramentally with this withthis transpersonal experience, who is receiving the transmission, cannothimself see it except intuitively since it occurs in his navel but theothers can and are, in turn, enlightened and vivified by the experience. The community as a whole benefits from the sacramentalization of one ofits members to the extent that, when the transmission ends, they chant,"Again, Again, Again!" and the sacrament is retransmitted. Again the imagesof children at play, in celebration, creativity and innocenceare mysteriously transmitted through the chosen one's navel chakra.
These symbolic images, in turn, reawakenthe Mandala of the pre-Christian Garden where an hermaphroditic Adam Kadmoninnocently played and mythically created the world, naming the animalsand plants in celebration of his personality. The Archetype of Adam Kadmon/Homo Ludens emerges and mythically affirms His central place within eachTeletubbie. He is homo inter omnes, child of the eternal union ofthe Solar Child and the Earth Mother. This second coming binds the Teletubbiestogether in a "Big hug!'.
It is perhaps also significantthat the sacrament is transmitted twice. Adam Kadmon is, after all, anhermaphroditic Archetype, possessing, like Christ, the perfectionof two natures: masculine and feminine/ Divine and human. The dualtransmission of the sacrament and the subsequent celebratory binding togetherof the Teletubbies may be seen as presenting, in a transpersonal fashion,this hypostatic mythos especially through the symbolism of the "Big Hug".At the conclusion of that rubric the Eucharistic mystery is concluded andeach Teletubbie retires to his or her particular activity, each going in an opposite direction.