Saturday, 16 November 2013
By Edna Spennato
Feeling My Way to Healing Work
Though I was a land-lubber who’d grown up far from the sea in a mining town near Johannesburg, I was young, free and slightly crazy, and I loved the ocean. I also had faith in my ability to eventually stop getting violently ill every time I went out on the water, and trusted my partner, the captain of the boat, who’d built it at home in the garden and was an accomplished sailor.
We set sail in high spirits on the good ship Zaphod just days after Mandela’s release, with enough supplies of sea-sickness remedy to last until such time as I found my ‘sea legs’. There were many incredible experiences awaiting us in the two years and four ocean crossings which followed, including some ferocious storms and rather close shaves, synchronicities, meetings with friends who needed our help, or who were there to help or guide us just when we needed it most, and once, the delight of spending three days swimming with a family of more than a hundred free, wild dolphins, at an archipelago 400 miles from the nearest mainland of Brazil.
When our little boat sailed back into Cape Town harbour again at the end of this two-year voyage, it was with a sense that I had changed at some fundamental level, and felt a deep yearning to discover what it was I had come to accomplish on the planet during this lifetime.
Before leaving on the trip, I’d been fortunate to receive a scholarship to be used for a Masters degree in Fine Art at UCT when I returned, so until I had a clearer idea of what my life task entailed, and how to go about accomplishing it, I decided to go with the pre-voyage plan and register for the degree.
My proposal was to produce a series of large coloured copper-plate etchings expressing the altered states of consciousness I had experienced at sea during long periods of isolation from other people as well as external stimuli, other than the sound of the ocean and the endless skies overhead. The etchings themselves were a series of personally meaningful, but seemingly unrelated, multi-layered images shown through transparent veils of clouds and ocean.
For some time towards the end of our voyage, it had been apparent to both me and my partner that we were changing in different ways, and that our paths were diverging. We knew that our time together was coming to an end and that we were headed in different directions, and within six months of returning to South Africa, we decided to split up. I continued with my degree, which was turning out to be a demanding project requiring 12 – 14 hours each day in the studio.
During this period I became ill and was helped by a healer in Cape Town who used a combination of herbs and Reiki. Within a couple of weeks my immune system was working well again, and it was a real eye-opener for me to discover that Reiki actually worked! I had always been a natural skeptic, and needed to have direct personal experience before accepting things of a magical nature. However, the speed of my recovery was remarkable, after battling with continuous infections for months before the Reiki treatments began.
In good health again, I continued with my fine arts project, and after two years in the studio, was completing the last plate in the series of 33 etching plates, and all that remained was for the thesis to be written, and the plates to be printed on special Fabriano paper, at that moment on its way from Italy to Cape Town.
Then one night, all the copper plates (except for the almost-finished one still in my studio) disappeared from a secure storeroom at U.C.T. to which only Masters students had keys, and despite a lengthy police investigation, were never found again.
Shocked at first, I was able to accept the loss of my work with the help of a channeled reading given by a wise old man in Muizemberg, Cape Town, who has since passed over to the other side. Charlie’s guide said that the thief was another Masters student known to me, who had taken the work mainly out of jealousy, and sold the plates to a metals dealer (32 large copper plates were worth a lot of money), and he even gave me her initials (which confirmed that the thief was the person I had suspected!)
But then he said something which surprised me greatly. He said that she and I had a contract from another lifetime when I had helped her in some important way, and she had pledged to return the favour in this lifetime! Of course my jaw dropped on the ground at that statement, because I really did not consider the theft of all my hard work to be a ‘favour’, in the usual sense of the word!
But he said that my pursuit of the Masters degree was part of an earlier path, one I had been on before the ocean voyage, and that although I was not finding the degree truly fulfilling, I had doggedly pursued it, which was preventing me from embarking on my real path. In other words, the person who’d stolen all my work had liberated me from something which was no longer serving me, and literally pushed me onto the path I needed to take at the time!
So a few days later when my Tai Chi teacher, Rita Baptista (pictured on the right), invited me to join a reiki workshop she was giving the following weekend, I decided to attend it. Normally I would have spent the weekend sweating it out at the studio, but now I had nothing else keeping me occupied, and knew from experience that Reiki was a healing method that really worked. Under the wonderful guidance of Rita, I completed my Reiki 1 and later Reiki 2 training, and after a while started a small healing practice from home. Little did I know that discovering Reiki was just the first step in a long journey…
– The First Big Test –
The Earth Heal Globe Project
By Edna Spennato
During my Reiki training with the remarkable Rita Baptista, it had been amazing to discover that Reiki worked at a distance via the use of a “surrogate”, in other words, by placing one’s hands on a pillow or even a teddy bear, and directing the healing energy to the person located far away, via the surrogate which represented their physical body.
One morning I was thinking about how it may be possible to use a pillow or some such thing to send healing energy to the energy field of the Earth, when the idea just “dropped into my head” (in a way that indicated to me that my muse was behind it) that it would be wonderful to create a very special surrogate of the Earth, to send healing energy to the energy field of the planet, as a whole. But I had no idea yet what it would be made of or how it could be done.
Then early one morning, after sleeping all night under the stars next to a camp fire, the design for the Earth Heal globe arrived in a dream, complete down to the finest detail. I awoke with my skin covered in goose bumps, knowing it was something very special, because nothing had ever excited me as much as this idea. It was the closest resonance I’d ever felt to my life task.
Over the years, I’d gotten to know my muse, the gentle, feminine being who’d been there all along, providing inspiration for many creative endeavors, and I could feel her encouraging me to keep visualizing this huggable Earth. But I was aware too of the excitement of several other beings who seemed to be part of this idea, at having found a human being able to receive the idea, and also one who was mad enough to seriously consider committing to the production and distribution of a great number of these huggable earths!
The dream had shown that it was to be a realistically coloured soft sculpture of the planet, as though seen from space, without national boundaries, but showing the dragon lines (ley lines) and the major power points of the planet. I still did not really know where these might be, but in the dream my friend Natalia seemed to know which book I should access for that information, and I decided to give her a call immediately to find out which book she suggested!
The design was to be done from six watercolours of the planet, one for each of the six panels making up the globe, and the watercolours were to be created in an atmosphere of peace, whilst contemplating maps showing the entire service of the earth. It was not important for every tiny island on the earth’s surface to show in the final printed globe, but it was crucial that for the artist who painted the original watercolour to connect with intention to every part of the entire planet while doing the artwork.
Once the six watercolours had been completed, the originals were then to be photographed and colour-separated, resulting in six sets of 4-colour separations, or 24 silk-screens altogether (mama mia, this was a formidable number in anyone’s book, even for someone like me, who was an experienced printmaker, but had never produced a work on fabric using 24 screens, and certainly not an edition of hundreds, or potentially, thousands, of a consistent quality!).
The dream showed the globe with a pocket going into its center, in which the person using it could put their favorite crystal or some other magical item, and that each globe would be individually blessed with the distant Reiki symbols before being distributed.Working out the rough cost of producing the globes, I discovered that just the colour separations and silk screens alone would be very expensive, making it unfeasible to produce fewer than two hundred globes, and that these would have to be sold quickly to break even. Several thousand Rands would be required for this first run, and in the absence of funding from any other source, the only money available was my own funds, already ear-marked to cover the costs of a range of winter garments planned for a stall at Greenmarket Square, which is the way I made my living at that time. This meant that unless the Earth Heal globes literally sold like hot cakes after they hit the shelves, I could end up going bankrupt!
However, the urge to get started with the artwork was irresistible, and I began the watercolour panels and read the book Natalia had recommended, entitled Rising Out of Chaos by Simon Peter Fuller, and it not only showed the power points and ley lines of the planet, but also discussed a concept I had never heard about before, called the New Jerusalem, which the author described as “the seat of the Christ Consciousness”, currently located in the Wiltshire area of England. This was to become highly significant for me a few days later, as I describe further on.
At that time, my brother Blaise, a very sensible person not given to flights of wild imagination, who designed clothing for his own company in Cape Town, popped in to have some tea, hear about my “new idea”, and see the six watercolour panels which had by this time been completed over an intensive two-week period.
Pointing out all the reasons why I would be ill-advised to undertake this “latest escapade”, including the fact that nothing seemed to indicate the existence of a market at that time for a soft sculpture of the planet, he pleaded with me not to do it. “Stick with sweat-shirts, Edna, at least you know they’ll sell,” were his parting words as he dashed off, leaving me to ponder the situation alone at home.
His words made sense. It would be taking a huge risk to produce the globes, given the fact that the only funds available were those needed for generating a living from my stall. Yet somehow I simply could not let go of this marvelous idea, and having already completed the watercolour, I could already see the finished product in my mind’s eye.
I sat down with a sigh. This was truly one of those times when I needed a clear and unambiguous sign from my guides to indicate whether or not to go ahead with the project. Despite his good advice, nothing had ever felt more right to me in my life than this project just waiting to be manifested, but I needed a clear confirmation from my guidance before I could follow my heart on this one, seemingly against sensible logic. I decided to ask my Higher self and guides for a sign, explaining that it had to be clear and unmistakable, indicating their green light to go ahead with the project if indeed this was for the Highest Good of All, and that I’d appreciate it if the sign came through within the next couple of hours, as time was of the essence!
With that, I put on the kettle and decided to find some music to listen to while I was waiting for the sign to appear. As I placed my hand into my box of cassette tapes (this was the early nineties, before we had CDs!), I became aware that something significant was about to happen, and that I needed to “feel” which tape to choose. I tuned in, found one that felt right, pulled it out, and looked at the title. I didn’t recognise it and had never noticed it before in my box of music, so already things were starting to feel slightly magical. Later I found out that it had gotten mixed up with my tapes during a trip to Namibia in a friend’s father’s car a few weeks earlier, and ended up coming home with me by accident (and I also knew there were no “accidents”).
The cassette belonged to my friend’s father and was entitled Great Religious Hymns. “Oh boy,” I thought, when I read the title, which didn’t sound like my cup of tea at all, wondering what my guides could be planning to come up with this time! But I trusted the flow, and without reading the titles of the individual songs on the cassette, I placed it in my music system and pressed the “play” button, not really expecting any major sign from the universe to come booming through within the next minute or two.And then the music began, softly at the start and then building to a crescendo. I didn’t recognise it at first, but then I heard the words of a well-known hymn called The New Jerusalem, which is often sung in the Anglican church. It’s about the Christ Consciousness and the New Jerusalem being in England, just what Simon Peter Fuller had described in his book!
My blood “ran cold”, as they say, and goose bumps covered my entire skin. This sign was indeed unmistakable. I was being advised in no uncertain terms to “go for it” with the Earth Heal globe project, and in the next few months would produce and distribute more than two thousand of the globes, even giving one personally to the Dalai Llama when he visited Cape Town soon after the first run was completed.
But the first two that were produced were given “hot off the press” to Natalia Baker and Simon Peter Fuller, who helped me find the information I needed to bring them into manifestation.
Dreaming Synchronization Harmonics into being
It was clear that the channeling in of Reiki energy increased feelings of well being in most of my clients, but I also wanted to find a way to clear disharmonic energies from the energy field at a deep level, not only for individuals, but also for families and larger groups of people, and for animals.
More and more inspired to work with the consciousness of the Earth herself, I started to search for a distant healing method that would make it possible to clear dissonant energies from energy fields larger than the individual person, under guidance from the devas (overlighting nature spirits) and collective consciousness themselves, such as areas of land or water, or even entire countries. I knew there must be a way to do this, but my explorations of the various healing methods available at that time in Cape Town did not unearth (excuse the pun) what I was seeking.
However, by following my intuition and the signs, I was fortunate to meet and spend time with people who understood how the ancient ones had communicated with nature and with Mother Earth herself, and these included the Hopi peace emissary, Roy Littlesun (see pic below), and Credo Mutwa (pic on the left), the high sanusi (shaman) of the Zulu people, who took us to some of the amazing sacred sites in South Africa where several ceremonies combining Zulu and Hopi teachings were conducted to united the energies of Africa and the Americas.
I continued looking for the evasive healing method that I could feel existed “out there” somewhere, and began to experience a deep yearning to find an effective way to communicate with the unseen world. I could almost taste and smell the healing method I required, but still had no idea where to find it.
I guess my sincere yearning was sending a pretty clear message to the universe, and I had also shown, by throwing all caution to the wind with the Earth Heal globe project, that I would follow my heart, my dreams and the signs when inspired, and that I was willing to do the work required to bring a marvelous idea into physical manifestation.
At first, when the information started to come through, which was to become Synchronization Harmonics®, I could hardly believe that my sincere search for such a healing approach could actually have attracted the information that I needed to me, but I realised that the beings of light had at some point decided to entrust me with something they had been holding safe until the right time came to give it to people to use again.
As time went by, I began to understand that bringing through, developing and using this healing method was part of my life task, and that I had a made a contract to do so, before incarnating in this lifetime.
It started to unfold out of the blue one night in 1996 when I woke up around 2.22 am (I always remember this number because it was unusual), fresh from a vivid dream in which a group of beings of light had met with me and explained that I would be receiving, through a series of dreams over the coming weeks and months, the basic building blocks for a healing method which had once been used by the ancient Maya, but which I would knit together and develop in such a way that people could relate to, who were living in the 21st century. These light beings included Maya lords of time, who work with synchronicity and timing, Archangel Raphael, Ascended masters Kwan Yin and Lao Tsu (whose famous quote I only read later, and it really made me smile: “A journey of a thousand miles must begin with a single step”), as well as several other beings of light, some whose names I recognised, and others I did not yet know.
Over the weeks which followed that first dream, I was awoken at around the same time each night after dreaming, or more accurately, downloading the information in a visual way, which I recalled vividly after awakening, and would spend the next hour or two drawing and writing it all down,. After a couple of months, I had filled several notebooks, and they piled up to the thickness of two telephone directories. Knitting it together was going to be interesting!
At first I had no idea where to begin, but fortunately a friend who trusted me made himself available to lie on the massage table as a guinea pig through the testing process, and by dowsing and muscle-testing using his arm a few times each week, testing out the intricate maps coming through in the dreams and asking my unseen helpers how to use them, I was able to refine the source info which was coming through in the dreams, make sense of it, put it together and develop it into what was turning out to be a very easily accessible method of healing.
The beings of light showed me that this healing approach is, in several ways, fundamentally different from others being used in current times. At first I was actually flabbergasted to realise how different it actually was, having expected something slightly more like other methods I’d come across. The approach they were presenting to me was on one level intricate and complex, offering very specific information about the nature of the disharmonic energies being cleared, yet also very simple, requiring no memorizing on the part of the practitioner. The challenge for healing facilitators using this method is rather to develop the confidence needed to communicate effectively and quickly with the other (unseen) members of the team and the Higher Self of the client, using a combination of dowsing and muscle-testing (two skills which in my experience can be learned by anyone who sincerely wants to learn them).
It was presented as an approach requiring from the practitioner an attitude of humbleness and respect, to regard herself as just one member of a team of beings of light carrying out the treatment, the physical member who is in communication throughout the healing process with the other members of the team, the light beings. in this way, the approach encourages practitioners to stay out of their egos, and never to “play God”.
Each treatment process begins by asking for permission from the Higher Self of the energy field(s) being worked on, and then asking for each step in the treatment process from the Higher Self of the client and the other members of the team, via dowsing, until the end of the process. The facilitator in other words is not required to be an “expert” at anything, to work anything out, or to remember anything, but she is required to be able to communicate effectively and with trust and confidence, in order to be able to receive the information she needs to conduct the treatment process from start to finish.
The approach also allows the facilitator to stay out of her head with ease, because all the specific information coming through from the unseen world is in the form of many thousands of numbers tied to words and phrases, which the facilitator could not possibly remember with her left brain, and which are obtained by dowsing.
As time went on, I learned that it was an approach which empowers both the client and the healing facilitator, who learns to refine her own shamanistic abilities (her ability to communicate with the unseen world), rather than giving her power to “the teacher”, and relying on someone else’s connection to the unseen world.
This approach offers no procedure as such which is given to “the teacher” by unseen beings, and then handed over to her students who are expected to apply it as closely as possible, but rather an approach which enables each practitioner to receive the information she needs directly from the Higher Self of the client, step by step, as the treatment process unfolds. When the client being worked with is a group of people or animals, or a property, the facilitator receives the information directly from the collective Higher Self.
This open-ended approach also means that the treatment process is unlimited and has an infinite number of possibilities. It is as complex as the experience of the facilitator and her field of reference allows, and related to what is needed at that moment by the energy field of the client, as communicated to the practitioner by the Higher Self.
The source material for Synchronization Harmonics® came through almost 12 years ago, and I could write a lot about my experiences of using it since that time, but for the sake of brevity these stories will have to wait for a future time. I have taught this approach to about 40 people over the years and have been using it myself for private work on individual people and animals, as well as the energy fields of many houses, business, properties, bodies of water, areas of land, countries and the morphic field of the planet as a whole.
It is the healing method we teach at the Earth Heal Geoharmonic Research Project, and use for group distant healing events conducted for hundreds of people and animals on certain dates of the year.
Edna Spennato developed the healing approach known as Synchronization Harmonics®, and is the founding director of the Earth Heal Geoharmonic Research Project. She is based in Brazil and South Africa and teaches and practices her healing method, offering private treatments for individuals and groups, humans and animals, and for homes, properties, businesses and projects. She also facilitates group distant healing events regularly for the planetary energy field, including hundreds of people and animals each time, and participation in the group healing events is open to all.
First published at the Earth Heal blog on 5 November 2008.