Monthly Archives: August 2015

The Art and the Healing Art, Part 3

In the Summer 2009, Number 65, of The Main Central Jin Shin Jyustu Newsletter, Carlos Muptualis Knorr Gutterres submitted the following article that I find amazing and enlightening. I am so grateful to Carlos and all our JSJ instructors for their love and commitment to help me/us grow and expand awareness while learning how to KNOW MYSELF BE IT IS, IS.

The Art and the Healing Art (continued)

Greater than Chiron was his disciple, Asclepius, who was transformed by tradition, from man into hero and afterwards into god. It is believed that he lived in XIIIth century B.C. in Epidaurus where he developed a unique school of medicine. His methodology was so advanced for that time that it opened doors for his most famous follower, the great Hippocrates. But what was this different method after all? The healing proposal of this legendary character was known as “nootherapy”, meaning the cure through the mind.

Asclepius believed that the body got sick because of the disharmony in thoughts. In the main entrance of his healing temple the follow sentence could be read:


Surely the famous quotation of the Latin poet Juvenal (Decimus Junius Juvenalis) “A healthy mind in a healthy body” – (mens sana in corpore sano) is inspired in the Asclepian principles which affirmed that to reach this goal you have to “know yourself“.

The great Japanese researcher Jiro Murai, who structured and developed the ancient harmonizing art nowadays known as Jin Shin Jyutsu, affirmed that only the one who knows himself is capable to be healed.

Here we find the difference between the great healing myths: Chiron and Asclepius. The first one softened his suffering, healing and teaching others, while the second one helped others to know themselves and to find their own healing. We can say that in Epidaurus, the healer was the first one to be healed through an art combining science and spirituality.

It is important to know that the universal knowledge which surrounds us must be followed by the inner universe, which is as vast and wonderful as the external one, but to access it, we must develop knowledge and feeling in a harmonized way. The ones who are interested or who dedicate themselves to “vibration medicine” should be conscious of this truth which in reality is not as new as the new age followers state. Probably it is as old as the human spirit. So, the more we identify ourselves with Asclepius who “knew himself”, the more distant we will be from Chiron, who, “treating others, tried to forget about his own pains.” And in this way we will rescue Iatrike, “the marvelous lost art”.

Thank you, Carlos.

Thank you, Mary.

Thank you, Master Jiro.

Thank you, David.

Gassho, Namaste, Blessings

The Art and the Healing Art, Part 2

In the Summer 2009, Number 65, of The Main Central Jin Shin Jyustu Newsletter, Carlos Muptualis Knorr Gutterres submitted the following article that I find amazing and enlightening. I am so grateful to Carlos and all our JSJ instructors for their love and commitment to help me/us grow and expand awareness while learning how to KNOW MYSELF BE IT IS, IS.

The Art and the Healing Art (continued)

If we limit sickness and health to just the physical body, the technicist view can be correct, since it is related to the well functioning of this wonderful “machine” which is our body. On the other hand, if we associate the malfunctioning of our body to deeper causes; like somatizing unbalanced emotional states, mental strains and traumas deeply connected to our soul or a deeply suffering human spirit, we can observe that in many cases the technique itself will not be able to rescue the lost harmony and health, because in the artist’s approach, each human being is unique and has different responses to the received stimuli. In this case, the harmony to be rescued will need a personalized treatment, because many times, in order to treat causes which affect our soul, ready-made recipes will only work as a palliative, softening the effects perceived in the body. But the real causes will remain untouched or in a latent state ready to be manifested once more.

The art of Jin Shin Jyustu focuses on these deepest of causes. But sometimes in a mechanical manner, according to the limited understanding of the beginning practitioner, he tries to transform  the treatment in a systemized way, even focusing on the causes and not on the effects. The “therapeutic” treatment however, needs to be so deep that the practitioner realizes that each case is unique and that it is an endless source of learning for him as well as for the one seeking to rescue his own harmony.

In this special meeting between these two people, both need to know that no one has the capacity to heal anyone but himself. In the vibrational medicine approach, the practitioner is just the facilitator of the self-help process of the other being, helping him to perceive causes and eliminating them in a self-transformational process. In order to be successful in this task, the practitioner should not use ready formulas, because in this case these technical procedures will be much less effective. It is important to be totally focused on the one who is there looking for help, as well as on the voice of the Superior Self. For this, the sensitivity of an artist is fundamental. This sensitivity associated with a deep knowledge of a therapeutic art can help the sufferer find their own way to harmony, inner peace and health.

The history of the healing art (Iatrike) mingles with legend, and it is important to investigate these mythical origins. The Greek-Latin mythology talks about a legendary healer: Chiron the Centaur. Chiron in Greek (Keiron) is probably a short word for Keirurgos, the one who works with his hands, or just the surgeon. This centaur was the master who taught the healing art to famous heroes like Jason, Peleus (the father of Achilles), Achilles and Asclepius. But besides all his knowledge, Chiron was the “wounded healer”, capable of healing all kinds of wounds and sufferings. Yet he could not think of his own wound without destroying himself in a terrible pain.

To be continued…

The Art and the Healing Art, Part 1

In the Summer 2009, Number 65, of The Main Central Jin Shin Jyustu Newsletter, Carlos Muptualis Knorr Gutterres submitted the following article that I find amazing and enlightening. I am so grateful to Carlos and all our JSJ instructors for their love and commitment to help me/us grow and expand awareness while learning how to KNOW MYSELF BE IT IS, IS.

The Art and the Healing Art

it is interesting to observe how words in a certain language, during their lifetime, change their meanings or end up not being used anymore. Many times, not only words but certain kinds of knowledge or human activities head to a similar end – even though many of them reappear after some centuries as being a completely new and revolutionary proposal. As an example, we can see this in the word “IATRIC”, which we still use as a suffix in words like: pediatrics, psychiatrics, etc.

Iatric” comes from the Greek word (Iatrike) meaning “the healing art”. At first sight, we can think that this word is just a synonym for the word medicineIt is very important to accurately evaluate the word art in order to notice subtle differences, because nowadays medicine is understood, treated and studied as a technically applied science. Although it has been forgotten that a long, long time ago the study, the process and the search of the living cure as an art existed, and the world “iatric” mentioned above is its testimony.

If we look up the word art in the dictionary, we will find definitions like: practical execution of an idea with perfection; or a set of rules in order to be expressed in harmony and perfection. So, “iatric” must mean: the action of restoring health with harmony and perfection. Going beyond definitions, we know that all kinds of art expressions need science and technique, because if the artist doesn’t know the processes or doesn’t master the technique, he certainly will not know how to express himself in harmony or in perfection, although he clearly feels the harmony and perfection inside himself. On the other hand, science and technique don’t need art, because they can define the steps for executing an activity following a logical procedure, and those who use these steps will certainly obtain the goal previously determined. The technique obeys well defined rules, and if they are followed, these rules will be turned into mechanical and repeated actions and be transformed in competition. In order to complete these actions, people will make big efforts in a very accurate and fast way. But art is not repetitive, because each creation is unique and its process is individual. In real art there isn’t any kind of effort or competition. The artist works in order to express himself in an individual and unique way, and his own way of expressing flows in a natural manner without any kind of effort. Picasso certainly was never motivated by expressing his art like Leonardo da Vinci, because this would be too effortful. While being himself, he just had to be.

To be continued…

Sestina Numerology

In the Summer 2009, Number 65, of The Main Central Jin Shin Jyustu Newsletter, Cynthia Broshi submitted the poem About Pulse Listening to help our understanding ~ that was posted yesterday.

Cynthia asked Carlos Gutterres to comment and here is what he had to say:

Commentary on Cynthia Broshi’s poem on page 2 (About Pulse Listening)

In the 12th century began an artistic movement to rescue the ancient wisdom, for example: Parsifal from Wolfram von Eschenbach.

The sestina is made by 6 stanzas of 6 lines,

it means we have a deep relationship with the number 36.

36 is the magic square of the Sun:

6  32  3  34 35  1

7  11 27 28  8  30

19 14 16 15 23 24

18 20 22 21 17 13

25 29 10 9 26 12

36  5  33  4  2  31

They believed this magic square had the power to manifest in this world the qualities of the Sun (Light and Vitality).

NOTE: I believe this a good reason for Mary to indicate the 36 breaths.

The final stanza of 3 lines indicates where we want to manifest those qualities: spirit (1), mind (1) and body (1).

If you add the numbers of any line, column or diagonal of the magic square you always will find: 1 1 1 .

The sequence: 6 – 1, 5 – 2, and 4 – 3, is related to another very important manifestation of the 6, the cube.

The opposite faces of any cube always will be:

6 and 1,

5 and 2,

4 and 3.

If you add the numbers expressed in the opposite faces of a cube, you always will find 7, the number of the Depth ruled by the Sun.

Thank you, Carlos.

Thank you, Cynthia.

Thank you, Mary.

Thank you, David.

Gassho, Namaste, Blessings

I’m thinking about the journey…


“The great thing in the world is not so much where we stand, as in what direction we are moving.”
— Oliver Wendell Holmes

We are all on a life-long journey. It is a search for who we are and why we are here. It is a journey that expands our consciousness.

There is an urge within each of us to move forward in life. It is an urge to become more whole, to find more meaning, and eventually to help others. It is human nature to strive for a sense of well-being.

We all go through the same growth cycles, though our experiences may appear entirely different. By understanding the process of personal and spiritual growth, we can work more effectively with the process, instead of fighting and resisting it.

“We can learn to be the catalysts for our own change.”
— Sarah Ban Breathnach

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Pulse Listening (a Sestina poem)

In the Summer 2009, Number 65, of The Main Central Jin Shin Jyustu Newsletter, Cynthia Broshi submitted the following poem to help our understanding:

Pulse Listening

Pulse whispers the secrets of the Universe, expressing creation of Being in this breath. Listen to invisible energy with the hand, through manifestation. The silent pulse of perfection is a O, spiraling head to toe, toe to head, surface to core and back again. Listen at the radius.

Listening is the act of drawing surface to core, a radius. Within 1 is the 10,000 Universe. To say that Earth resides in body, Heaven the head is to remember the months in the womb unfolding, breath elongating, separating, segmenting, building perfection as primitive streak, spine, armbud, then fingers splay to being a hand

which receives and gives. What a pleasure to touch a hand. At dawn of the Vernal Equinox the radius of light expands, likewise is the midnight of winter perfection. Before my simple touch even starts a universe of duality blends to 3: Inspire, expire, breath is life, death, transformation: Trinity. Head

towards another and all I know evaporates. Face your head to follow your senses: gates weaving mind to hand the princess, locked to the impossible task, her breath of prayer that wakes the animal knowing the radius of flax to gold, 4 corners unfold a universe, times Trinity’s Breath they’re 12, Left and Right mirroring perfection

as 72,000. I’m new here. Who’s to name perfection? Muriel says the first voice through hand to heart to head sings the mysteries of the Universe: go with that. Make a unit of 3 fingers on each hand and listen on the bone below the head of the radius, not in the flesh where blood is loud, on the bone where breath

rises to meet you. Symphony no one’s ever heard, each breath unique – tin bell in an icy cave, an infant’s perfection destroying grief, fire tumbling out the radius of Atom For Peace Galaxy, slippery sidewalk, mashed potatoes, horses racing ahead of a dank gale on a full moon calling lightly into your hand the 144,000 expressions birthing the Universe.

In this Breath we meet the Head of Perfection, wordless Hand your Radius I am O Universe.

About Pulse Listening…

“The poem on page 2 (above) is a sestina, a form popular amongst the troubadours of Medieval and early Renaissance France and Italy. The six end words, or teleutons of the first stanza are repeated in a specific order as end words in each of the five succeeding stanzas and in the final short stanza, the envoy.

If the end words of Stanza 1 are designated 1 – 2 – 3 – 4 – 5 – 6, then Stanza 2 folds them: 6 – 1 – 5 – 2 – 4 – 3. Stanza 3 folds the end words of Stanza 2 in the same manner: 6 – 1 – 5 – 2 – 4 – 3. And so on, through Stanza 6, so the teleutons are folded five times in this manner. The order of repetition in the three lines of the envoy is 2, 5 – 4, 3 – 6, 1.

The sestina form acts like a Diagonal Mediator, blending surface and core, above and below. Generation and Regeneration. The winding repetitions set up waves of breath and image. I find it invigorating to the imagination and that it naturally unfolds within itself an expression of the simple, ever-deepening, ever-expanding Art of Jin Shin Jyutsu. When I read that its roots are said to be in numerology, “but what the significance of the pattern was originally is now unknown”* I asked Carlos what he could tell us about this form.”

*Lewis Turco, An Exaltation of Forms

We shall see how Carlos responded to Cynthia’s request in our next post.

I’m thinking about the light…

…from one of my many sources of encouragement and enlightenment:

In my dream the other night, my teacher of blessed memory Reb Shlomo Carlebach asked me to give a Dvar Torah on the spot. Sometimes he would do that when he was alive. The room was crowded and I was unprepared. But I stood up and the following words came out of my mouth.  I remembered most of my words upon awakening and wrote them down as best as I could. It was an unexpected delight for me to see Reb Shlomo in my dream.
” There is a Light that is revealed in the presence of darkness. It is revealed because of the darkness that surrounds it. Without the darkness, the light could not be seen.”
” There is a greater Light that is hidden and concealed by the darkness. The darkness is simply a cover for this greater light until we have the vessels to receive this Light. This Light has to be excavated from within the darkness through mitzvot, prayer and meditation.”
This Torah was teaching me that the darkness I perceive today is just a cover for a greater light. I received intuitively the following message. Do not fight the darkness as I have been doing but rather excavate the light hidden within the darkness. The darkness has no real substance of its own. When we have the vessels to receive this greater light, the darkness will vanish.  HASHEM MELECH.

Melinda Ribner