Cynthia Broshi wrote the captioned article for the Fall 2008 issue of The Main Central Jin Shin Jyutsu Newsletter (number 62).
I don’t know about you, but listening is a challenge for me. Listening to pulses is an even bigger challenge!
Dear readers, you need to buy this issue. I am going to quote part of it…to tweak your interest…but you need to possess this issue and study what Cynthia has written – and drawn.
I always suggest that you purchase Main Central issues, but i STRONGLY suggest you purchase this particular issue, read it, study it, practice it, read it again, use it as a guide as you fine-tune your listening skills.
You need this issue.
You can obtain it at http://www.jsjinc.net.
“When drawing the Pulse, I sometimes include arrows, to indicate direction of movement. So in study group last week I decided to break the exercise down further. “Today we’re going to draw the directionality in the Pulse,” I announced. “You mean the movement between bustline and waistline and hipline?” Corliss asked. Innocently (I’d never actually done this specific exercise) I nodded, “Yes, the direction of energy flow amongst bust, waist and hipline. You might also hear this as direction within the voice each finger feels in the Pulse.”
While, in the Art of Jin Shin Jyutsu, we listen to both Left and Right Pulse simultaneously (we are always listening to the relationships within Totality), to make this exercise easier we listened to, and drew, the sides separately, in four steps:
- Left Descending (Superficial) Pulse
- Right Descending (Superficial) Pulse
- Left Ascending (Deep) Pulse
- Right Ascending (Deep) Pulse
Soon as I set my pen to paper I realized I couldn’t isolate directionality from other aspects of the Pulse.”
(Here, dear reader, follows 3 pages of drawings with explanations. This is why you need to purchase this issue of the Main Central.)
“Mary says, “Pulse listening is Science and Art.” Perhaps you’ll want to experiment with drawing the Pulse. Be the Fun with it. Don’t lose heart if your first results look discouraging. As Mary says, “To succeed, double your failure rate.” I assigned myself this exercise and gave up many times over about a ten year period.. When I finally stuck with it, it wasn’t long before it became useful. The key for me was deciding that it really was okay to do a very poor, inaccurate drawing of the Pulse. The drawing is only a means, it’s simply a tool to help me listen listen Listen LISTEN LISTEN LISTEN Listen listen listen.
A pianist studies scales and chords (relationships of tones) so she can more fully understand a composer’s music. We study the Pulse, and this Art in its entirety, so we can more fully understand the Creator’s music. When a pianist sits down to give the music voice, she’s no longer thinking scales and chords. She’s listening and singing, soul to soul. When we sit down for hands-on we only know we will hear a unique music, the creation, in this breath, of this unique Being. At this point, even if this is my first day in my first class, I can let go of being a student, I can let go of being a scientist, I can let go of what I know and what I don’t know. I AM the Artist. I may hear direction of movement, I may hear Safety Energy Lock 9, I may hear a summer ocean in the moonlight, I may hear red, I may hear Capricorn tango-ing with Scorpio. I simply listen. And with the first flow my heart delivers to my mind I open the Text, and with my hands I sing along. Sing and listen.”
Dear student, dear reader: you need this issue of the Main Central.
Thank you, Cynthia.
Thank you, Mary.
Thank you, David.
Gassho, Namaste, Blessings