ARTICLE
A game of universal and total creation.
In 1939, Xul Solar (1887–1963, Sagittarius) began to devise the concept of panajedrez (panchess), also known as pangame or creole chess, and finished it in the next seven years. The game involves two players who deploy their own creations, absorb or sweep away those of the other one, expand or reduce their own, and all to the extent they wish. The classic chess removes pieces from the board until the opponent is cornered and immobilized, while the pangame is an invitation to explore and unfold in company, like a philosophical meditation on one's and the partner's developments, the own space and the space of others.
It's an astrological game, since some chess pieces symbolize a zodiacal sign or planet. But it's also a linguistic creation, since some pieces are also consonant syllables, and the chess squares where they're placed on are vowel syllables. The game is also a musical creation, since some pieces are even notes and, when superimposed, form chords. And, since the pawns represent numbers, mathematical equations are also formed. At the same time, an abstract pictorial creation emerges by including intense colors. Furthermore, the squares on the board are not only vowels but also represent the degrees of the celestial circle, and thus a kind of almanac is formed, indicating days, months and years.
I. The game's structure
The board includes twelve columns by thirteen, with 156 squares associated to vowel syllables. The colors of the pieces correspond to musical notes. This is a visual representation of music, in which the artist does not adopt the traditional distinction between natural and altered sounds (sharps, flats) and, instead, structures two scales of six tones each (just as there're 12 astrological signs). However, in the traditional representation of the zodiac, the positive signs and lunar nodes are on round pieces, and the negative signs on square pieces.
In addition to the traditional chess pieces, there're also the Tri-Rook, the Counter-Rook, the Double-File, the Tri-File, and the Counter-File. Finally, each player counts on thirty pieces, plus one called "chance". They include not just colors but lines, shapes, and taps. They were handcrafted, carved from oil-painted broomstick wood, and are flat-shaped (so they can be stacked).
Another important feature of the board is that the column numbers are graphically specular, indicating that this is a game in which two total creators develop their own mirror.
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II. Dynamics in the plays
The pieces begin the game off the board, although there's a column, number 13, which is understood as the entry and exit point of the game. However, the game has no specific starting or ending zone, as players place the pieces at will, according to the creation they wish to deploy in each move and placement.
If one piece sweeps another, it assumes the latter's values, along with all the correspondences eventually assigned to it (numerical, musical, linguistic, astrological, pictorial). Considering this, and during the game, diverse dialogues are established with the other player, not only linguistic but also musical, pictorial, or astrological counterpoints, since the moves could also display each participant's birth chart.
The players' choices involve multiple references: the participant might have in mind the representation of an astrological position, but that same representation could turn into a musical sound, a pictorial combination of colors, words, or numbers... To do it, simply turn the cubic pieces on their sides, or flip them over if they only have two sides. 
For example, one of the zodiacal pieces is red and represents the A letter, number 12, Aries, and C-sharp. With all these correspondences at hand, the players not only deploy a creation according to the meaning they have in mind but also simultaneously discover different dimensions to which the distribution of pieces could refer. As the game progresses, then melodies, paintings, poems, and equations appear, depending on the multiple associations and the skill to considering them in unison.
The pieces can also be superimposed once placed on the board squares and, with or without superimposition, the set of syllables thus gathered (vowels and consonants) progressively expresses the artist's own language, the panlengua.
indexIII. Panlengua on the board
As we've seen, the game includes simultaneous languages, and in an attempt to universalize the expression, the artist added his own linguistic speech. The panlengua (panlanguage) is a phonetic creation (pronounced as it is written), has no grammar, and is based on numerical and astrological bases.
The syllables are combined at will: the consonants represent categories and ideas, while vowels add them characteristics. Furthermore, both types of letter characters can be used according to a positive or a negative polarity. In Astrology, a positive polarity is a solar one (progression and liberation), and a negative polarity is a lunar one (regression and densification). The solar polarity is driven by planetary exaltations, whereas the lunar polarity remains in the usual rulerships.
To differentiate them in the game, the lowercase "r" indicates the negative. As for the vowels, "i-u" are positive ones, and "e-o" are negative. Only the "a" indicates a neutral term. For example, "Ta" syllable translates the idea of quantity. If the idea is a lunar one (Tr), it corresponds to Jupiter and Sagittarius sign (where the planet rules). 
If the idea is a solar one (T), it corresponds to Saturn and Libra sign (where the planet is exalted). Then, the piece can undertake a solar or lunar move depending on where is placed on the board, since squares are vowels. In a solar move: Ti=little and Tu=much, and in a lunar move: Te=less and To=more.
Another example. The R letter refers to the idea of acting (Ra), where Ri=to do and Ru=to undo, Re=to exchange, and Ro=to move. Used according to the aforementioned solar order, the piece corresponds to Neptune and Leo (where the planet is exalted). But played according to the lunar order (Rr), it corresponds to Uranus and Aquarius (where the planet rules). In brief terms, the consonants indicate a zodiacal sign understood in a positive or negative polarity, and the vowels in turn indicate the tendency to deploy from that sign. Thus, it's possible to predict the partner's play, since those choices tell of the orientation taken to express the natal chart (solar or lunar one).
The correspondences between the two zodiacal orientations can be found in Xul Solar: esoteric paintings, another article dedicated to the artist's works in Art & Mancies section.
indexIV. Rules!
A creation encompasses multiple spheres or dimensions, and necessarily incorporates different parameters to regulate relations and define spaces within each of them. Basically, the panajedrez is a game to move freely between those dimensions depending on how the very game unfolds itself. And, of course, it implies applying the rules that govern each sphere.
"Knowing how to play" is much more than understanding and correctly applying each logic of operation, order, or a tactic or a strategy. The referral points to know how to move vary because they're multiple, not exclusively defined by a single sphere of the experience. The game's development could start from an astrological intention to deploy a specific aspect pattern. But the corresponding sonority of those positions of the pieces could lead to focusing the attention on the emerging melody, and then the parameter for continuing could become the move's harmonic echo. The new focus could also become the picture appreciated in the color combination, and then the parameter for playing could be a visual contrast or continuity.
"Knowing how to play" requires flexibility, a deep understanding of the different expressions or correspondences of a sound, of a color... And, of course, it also requires the ability to keep multiple perspectives at the same time. In this sense, the artist often used to wonder "What are we playing at?"
Playing at creation requires skill, knowledge, and the ability to read one's and others' displays, which are unfolded on different levels. Meanwhile, there's the chance to start a dialogue with the partner, learn about different expressions, and decide what happens to the elements of each creation. Do the pieces enter the board, remain in use, are swept away by the other player, or do they voluntarily retreat to the 13th column?
Whether or not different rules are applied also depends on the type of creation the other participant develops. Those chords could represent a dissonance for the own creation, so sweeping them away in the manner of the classic chess isn't always appropriate here, since doing so absorbs their qualities... The goal when playing at panajedrez is far beyond prevailance, victory or defeat: what effects does incorporating some part of another creation produce? What kind of elements are added when expanding the own space? It's a game of two creations meeting each other and, as such, the spirits that move and combine the pieces become a single spirit: one is not without two, and two are one.
indexNote of the author. The panajedrez is a much more complex activity than what has been mentioned here. The artist left no written instructions about the elements he included in the composition, nor how to operate with them.
Sources (11.05.25): El panajedrez, Panlengua, Revelador ensayo sobre la música en Xul Solar.
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