As mentioned before, during the first decade of my earth-healing activity I based it on the idea of acupuncture for the earth; therefore it seemed obvious to use iron bars or, later, lithopuncture stones as physical agents. Only at the begin-ning of the 1990s did I start to replace the lithopuncture pro-cedure by a sort of acupuncture singing at places where stones could not be erected. It became evident that a group of peo-ple gathered in concentric circles around an acupuncture point can dissolve certain blockages just as well as a lithop-uncture system. The results are even more rapid.
Even during the early stages of group singing a basic for-mat emerged which I use to this day. The group is first acquainted with the complaints of the place that is to be treated. Enough time is always allowed to enable people to tune in to the situation for themselves. We then form con-centric circles around the place in question and begin singing sounds without following any musical notation. In order to work from a common basis, we restrict the sounds to vow-els. The key, the variation of tone, intervals, etc, are deter-mined by each participant as appropriate to the process. It is crucial to follow one’s own feelings and intuition. And one should also try continually to attune to the place and the group. What usually happens is that during the first stage the singing reflects the problems of the distressed place, and so it sounds discordant. As the blockages slowly dissolve and the energy pattern of the place is sorted out, the singing quite naturally becomes lighter and more harmonious. It should not stop until the very last discordance has been dissolved, which can be taken as a sign that the energy patterns of the place, too, have regained their harmony.
Although during the first period of trying out this method the singing sounded quite different at each place – probably because of their different conditions – we only knew the form
Figure 19
The author using a divining rod to demonstrate the various energy qualities of Slovenia’s coat of arms
as drawn on the ground, Bohinj 1996.
(Photo: Bojan Brecelj)
of ‘acupuncture singing’ described above. This changed dra-matically when we began cooperating with the Angel of Earth Healing through my daughter Ana. In a message of March 17th 1993 he described to us the enormous range of possi-bilities that singing holds for earth healing.To begin with, he praised music as a source of the purest and therefore also the strongest energies.
‘Musical sound has a strong power for breaking through and enables access to a place, no matter how heavily blocked and suppressed it is. Music can serve to cleanse and revitalise power points and also to regenerate a space completely. In the same way that spring revitalises the forces of nature, music too carries within itself the energy that reawakens life; there-fore sound can bring a place that has, for example, been put to sleep by destruction, oblivion and the like back to vibrat-ing, awakening and reactivation. Its pulse begins to beat again, its currents to flow.
‘Those are the general advantages of healing through music of which the power to reanimate is the most impor-tant. The effect of music in a space can be compared with the flow of the chi-energy (etheric currents) through the human body. When music runs through the body of a land-scape, bringing it back to life, the landscape is sufficiently strengthened that from a certain point onward it no longer needs sound as an accelerator, and begins to keep itself alive through its own energies. In such a case, music has achieved the most difficult moment of new beginning – unfortun-ately the landscape needs revitalisation because of your destructive urge. It is the music and its high vibrational qual-ity that can ‘force’ the landscape to resume its role and start breathing again. It works like a kind of ventilator for artifi-cial respiration. This effect can be enhanced by doing a colour visualisation along with the singing. In this way the musical vibrations are complemented and overlaid by the vibrations of the colours.’
After this message Devos introduced to us an angel of
Figure 20
The yang centre above Lake Bohinj is strengthened through harmonious singing, 1996.
(Photo: Bojan Brecelj)
healing through music called Oran; together with him he described to us and commented on four different kinds of earth-healing singing:
First cleansing singing. This form of singing is applied as an instrument for transformation when a place is buried, blocked, alienated . . . by vibrational decline. The singing begins discordantly; this is when the group tries to pick up the place from its position. Each member of the group allows the disharmonic sounds to emerge as they wish. Thus the disturbed vibrations are picked out of the energy structures of the place, even from the deeply buried layers. Slowly the discordant ‘wailing chant’ is harmonised in order to guide the destroyed vibrations that have been unearthed into a process of transformation and to enable them to resume their original patterns.
Commenting on cleansing singing, Devos stressed the necessity for the group to learn to meld with the surround-ing nature, space and place. This is the only way in which the participants will know what the place needs and how to use their voices accordingly. He said this would enable the angels and elemental beings of the place to work alongside them and give their assistance. This is why it is necessary first to get in touch with the place emotionally and only then to embark on the singing. Everyone should act as an individ-ual as well as part of the group. In this the group spirit has priority, Devos said.
Oran, the Angel of Healing through Music, stressed the meaning of disharmonies in cleansing singing and criticised our attempts to synchronise our voices as quickly as possible so that it sounded ‘beautiful’. He said we were dealing here with the homoeopathic principle whereby like is treated by like. Only through the rubbing and chafing of the many unharmonised voices against one another could the desired cleansing take place. As the purifying process continues, har-monies can eventually be introduced. Often ugly sounds and intervals are necessary as well; it is important that they are
Figure 21
Wailing chant in Bohinj, Slovenia, 1996 (Photo: Bojan Brecelj).
not sung out of a wish to destroy but out of compassion for the suffering place.
Cleansing singing is usually done in a close group, where-as resuscitation singing requires that participants are dispersed over the area being treated. This is a procedure for revitalis-ing and renewrevitalis-ing the space of a park, a garden, a buildrevitalis-ing, a forest, etc, on a vibrational level. After each participant has connected internally with the space in question, the group disperses across the area with each individual intuitively find-ing their own spot.38
When you have arrived at your own spot you intuitively choose a certain tone and begin singing it. It takes a while until everybody has ‘defrosted’ their spot, and attunement has taken place. Then you can begin to vary your chosen tone and try out the whole range of your capacities – but in this the connection to the group as a whole should not be lost.
In every case, it is good at this stage for the range of the sound spectrum to be as wide as possible, starting with very deep tones that help the space to ground itself, all the way up to very high-pitched ones that are important for alignment with cosmic vibrations. The group ends in total harmony with the entire space becoming a space of sound.
As a third option Devos and Oran described acupunc-ture singing. This is normally connected with the dissolu-tion of blockages in a certain acupuncture point where a pretty exact knowledge is necessary of which function the point holds in the space of a particular landscape. The group stands around the acupuncture point in concentric circles and directs the tone like an acupuncture needle right into that particular point in the earth. Everyone sings the same tone which has been chosen and practised beforehand according to the task at hand. This tone is kept going for some time until it is firmly anchored in the ground. One should ‘sing into the earth’ on this occasion and
concen-38. They should remain within hearing range of one another.
Figure 22
The group forms a row ready to sing on the line near Utwill at Lake Constance, 1995.
The energy line of the yang triangle,
part of the earth balancing organ at Lake Constance, was broken here.
trate on the earth; it is important to feel the strong connec-tion of your feet with the earth and to expand this connect-edness into the entire body.
When the singing has been directed into the earth’s depths in this way for some time, you begin, still focusing, to increase the sound radius by adding deeper and higher-pitched tones and by improvising. Oran recommends lining the tones up following your feelings, similar to a painter applying differ-ent colours to a canvas next to one another.
The fourth kind of group singing takes the form of singing on the line. We are dealing here with reconnecting energy lines or energy-related relationships between power focal points that belong together and have been disrupted for whatever reason. An energy line can break, for example, when a destructive act is committed in its course. Or else the dis-ruption is perhaps caused by building activities. I discovered a third case during the first earth-healing seminar in the Wendland when the Angel of Earth Healing drew our atten-tion to the fact that energy lines had been disrupted by the track of the former ‘iron curtain’ along the West German/
East German border. When we investigated the area between Wustrow and Salzwedel we could see that the former border system was so strongly impressed on a vibrational level upon the subtle organism of the landscape that despite its physi-cal dismantling it presented an insurmountable blockage for certain energy lines, although it should have vanished long before. This fatal imprinting may have been a result of the psychological terror which generations of soldiers and policemen have focused along the border. But we may well be dealing with a consciously established geomantic device like the one I mentioned in the case of the Berlin Wall. Ener-getically it guaranteed that the Iron Curtain could not be surmounted. Unfortunately nobody has addressed them-selves to dissolving it.
The technique of singing can be used to bridge a disrup-tion in energy lines. In such a case the group arranges itself
along the broken line. The person at the tail end of the chain should be standing inside the flow of the energy line where it is still whole; all the people in the row hold hands and posi-tion themselves along the assumed course of the energy line.
The last person in the line begins sounding a note that is continually repeated and which corresponds with the qual-ity of the point on which he or she stands. After a short while the next one in the row starts with his/her own tone, then follow the third, fourth, etc. Those who have already start-ed keep singing their sounds until the person at the head of the chain begins singing his or her tone. Now the members of the singing line can begin to vary their tones and produce new harmonies.
When you create a ‘singing line’ you should make sure that a harmony of the whole is reached, and at the same time you should closely tune in to how the energies of the dis-rupted line are being picked up and carried along by the waves of singing. The Angel of Healing through Music has particularly stressed that one should not proceed with singing on the line any faster than the energy can follow.