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body—see how open and vulnerable you can allow yourself to be and how much of this person you can take in. Lastly, slowly reverse the process, going from the open vowels, to just hum and ah, then just hum, and finally, allowing the hum to slowly diminish to pure breath, inhaling and exhaling together in synchronization. Partner Sounding with Instruments Preparation: Gather several sound and sensory devices and have them close at hand. This may include Tibetan bowls, chimes, bells, drums, and rattles, as well as musical instruments. If you don’t have many formal instruments, you can also use glasses and bowls (with and without water), mugs, pots, or wooden spoons. Be creative, selecting objects based on the pleasing tones they produce whether played, struck or rubbed. Also it is great to have a selection of other sensory objects, like feathers, soft fabrics, aromatic flowers, and essential oils. Before beginning, be sure to set your intentions together using the guidelines above. Start with one partner lying down with a cloth or eye cushion placed over his/her eyes. If at any time, the listener is uncomfortable, he/she should feel free to say so out loud so that the partner can make adjustments. Begin to create sounds around your partner, not too loud or too close to the ears. With chimes and small to medium Tibetan bowls, you can even place them on the body. Continue to synchronize your breath with your partner while still playing sounds. Allow your mind to relax and intuitively play the sounds in the order and variety that will best serve your partner in this moment. Keep sounds gentle and soft, allowing enough space in between for them to ring out and resonate with one another, but avoid periods of silence here, as this can create anticipation or tension in the listener. It is ideal to create a steady, slow and almost rhythmical pattern to create maximum sonic support for your partner. Once the sound play has finished, use a large feather to stroke or brush the auric field of your partner from head to toe without touching the body. While doing this, visualize that you are clearing away any energetic debris that may have come to the surface during the sound massage. Next take a drop or two of your favorite essence or essential oil and rub between your hands. Quietly ask your partner to take a deep breath as you circle your


i n n e r h e a l i n g palms about four inches above his/her face, over the body, and down to the feet. Visualize that you are sealing the auric field with this beautiful fragrance. To complete the session, gently touch your partner’s shoulder and ask him/ her to move the fingers and toes. When ready, your partner can remove the eye cushion. After sound work with either voice or instruments, it is very important to allow space for the blessing of silence at the end of these exercises. It is in the silence after the sounds have ended where some of the most profound healing and connection can occur. Resisting the urge to immediately fall back into idle conversation, have the courage to hold the silence together for awhile, or possibly an entire evening. You may be surprised to discover a deeper level of intimacy together that words cannot begin to express. Joule L’adara is the founder of Sounding Circles in Hawaii. Carmelle Moore is the creator of VoiceMoves Yoga and facilitates InterPlay throughout Australia. Elvina Munir is Elvina Munir playing energy chimes on the body the founder of Harmonic Healing and manufactures beautiful sound healing instruments. Kieran Riordan is a Transpersonal Psychologist with a practice in Byron Bay. Joule, Carmelle, Elvina and Kieran will be co-facilitating the Sounding Circles Retreat in May 2010 at Kalani on the Big Island, Hawaii:


F E B R UA RY 20 10

Vision Magazine February 2010 Edition  
Vision Magazine February 2010 Edition  

Vision Magazine Your Green and Holistic Community Resource - February 2010 Edition