Divinity Atlas

Sacred Correspondences
Tzolkin Tones

Rhythmic

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Origin 1987 to 1990

Tone Six is the sixth of the thirteen numbers of the Tzolkin, the 260-day Maya sacred calendar. As the number six, it brings organic balance and flow, the rhythmic equilibrium that lets a thing work smoothly. In the traditional count the number simply modifies its day sign, but in the modern Dreamspell system of Jose Arguelles (1987) it is named the Rhythmic tone, expressing balance and equality: the stage at which the empowered intention is organized into a steady, workable rhythm. It is read as the moment of finding equilibrium, evening out the energies so that the endeavor becomes balanced, sustainable, and ready to move toward its higher purpose.

Facts
Origins
Origin Period
1987 to 1990 2Tradition: Dreamspell (José Argüelles, 1987)
Origin Period
250 to 900 CE 1Tradition: Classic Maya inscriptions
Origin Period
600 BCE to 250 CE 1Tradition: Preclassic Mesoamerican inscriptions
Origin Period
Rhythmic is the sixth of the thirteen Dreamspell tone names, but the coefficient it labels, the plain number six running through the Tzolkin's thirteen day trecena, is genuinely ancient Maya, attested on Classic Maya monuments from 250 to 900 CE and rooted further back in Preclassic use of the day count. The name Rhythmic carries none of that antiquity: it is one of the thirteen Galactic Tone names Jose Arguelles coined for his Dreamspell system, announced at the Harmonic Convergence of 1987 and published in worked out form in 1990. 2
Place of Origin
Mesoamerica. Among the Maya, the lowlands of the Yucatan peninsula, Guatemala, Belize and Chiapas, and the Guatemalan highlands. 1
Origin of the Name
In the living Kiche count this coefficient is simply the number six, waqib'. Daykeepers reckon by the number itself. 3Tradition: Highland Maya daykeeping in Guatemala
Origin of the Name
The name recorded here, Rhythmic, is one of the thirteen Galactic Tone names coined by Jose Arguelles for the Dreamspell in 1987. It is an English coinage, not a Maya term, and the Maya count has no names for its coefficients at all. 2Tradition: Dreamspell (José Argüelles, 1987)
Language
Kiche Maya 3
Language
English 2
Identity
Position
6 of 13 1
Meaning
Themes
Balance, equality 1
Status
Standing as a Comparative Category
A standard analytic category in the study of religion 1Tradition: Classic Maya inscriptions
Standing as a Comparative Category
Used, but its validity as a comparative category is disputed 2Tradition: Dreamspell (José Argüelles, 1987)
Status Today
Living tradition, practised today 3
Attestation
Meaning in the Attesting Source
The coefficient is the number six running against the twenty day signs, and it is the day six of the thirteen-day trecena the day sign opens. It carries no name. 3Tradition: Highland Maya daykeeping in Guatemala
Contested Use
Contested or Appropriated Modern Use
This page's own title is the Dreamspell tone name Rhythmic, and the keyword beside it is the Dreamspell keyword. Both belong to a system devised in 1987 and neither is Maya; the Maya coefficient is the bare number six. 2
Learn More
The Sixth Tone of the Tzolk'in

This is the sixth of the thirteen numbers, or tones, that combine with the twenty day signs to build the 260-day Tzolk'in. In living Maya daykeeping the coefficient is simply the number six, waqib', falling near the middle of the thirteen-day trecena, a point of flow and steadiness. The name recorded here, Rhythmic, and its keyword of balance and equality belong to the modern Dreamspell system of Jose Arguelles, a New Age framework from the 1980s distinct from traditional Maya practice; the daykeepers of highland Guatemala reckon by the number itself, not by these invented names. The authentic element is the coefficient six and its place in the pairing of thirteen numbers with twenty day signs that generates the 260 distinct days of the sacred count.

The sixth of the thirteen numbers that combine with the twenty day signs to generate the Tzolk'in's 260-day count, marking the sixth day of its trecena, past the midpoint of the thirteen-day cycle and moving toward its later days. Contemporary K'iche' daykeepers, the ajq'ijab' of highland Guatemala, read the trecena as a whole, not just its individual days in isolation, when interpreting a person's birth date or performing a ceremony, since the number and the day sign together, and the day's position within its own thirteen-day trecena, all contribute to the traditional reading rather than the number carrying a fixed meaning independent of context.

Sources Time and the Highland MayaBarbara Tedlock with Dreamspell: The Journey of Timeship Earth 2013Jose Arguelles

The Coefficient Six in the Count

Six is written as a bar and a dot. Beyond the notation, the sixth day of a trecena has no special standing, and this is worth saying plainly, because popular treatments of the count often assign a distinct character to each of the thirteen numbers as though the tradition supplied one.

What the sources actually record is thinner and more interesting. The Classic inscriptions give the coefficient as a numeral and nothing else; the codices use numbered days as coordinates in almanacs and tables; and living highland practice reads a day principally through its sign, with the number modifying rather than defining it, higher numbers generally understood as stronger. That is a graded scale, not thirteen separate characters.

Maya numerals are written with a dot for one and a bar for five, and the coefficient of a day is written in exactly that way in the inscriptions, set beside the day sign in its cartouche. The system is positional and includes a sign for zero, which is why the Long Count can be written as a string of places, but within the 260-day count no number above thirteen ever occurs and the notation stays simple.

Rhythmic, the modern name for this coefficient, comes from Jose Arguelles's Dreamspell of 1987, a system that assigns each of the thirteen a fixed quality and a name. That assignment is the Dreamspell's own and should not be read back into the Maya count.

Sources Maya Hieroglyphic Writing: An IntroductionJ. Eric S. Thompson with Dreamspell: The Journey of Timeship Earth 2013Jose Arguelles

Cross-Tradition Connections

Contained In

Tzolkin, Calendars

One of the thirteen numbers the count runs against the twenty day signs.

Originates in Language

Sources
1. The Maya (9th edition)
Michael D. Coe and Stephen Houston, Thames and Hudson, 2015ch. on Maya arithmetic, writing and the calendarView the Source
2. The 2012 Phenomenon: New Age Appropriation of an Ancient Mayan Calendar
Robert K. Sitler, University of California Press (Nova Religio 9:3, pp. 24-38), 2006Dreamspell tone name Rhythmic: part of Jose Arguelles's 1980s New Age system (The Mayan Factor; Dreamspell), a modern reinterpretation distinct from the traditional Maya day-count.
3. Time and the Highland Maya
Barbara Tedlock, University of New Mexico Press (revised edition), 1992Coefficient 6 (waqib') in K'iche' daykeeping; the 13-day trecena and 13x20 pairing that yields the 260-day count of the highland Guatemala ajq'ij.
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