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Clearing the instinctive center

Nazrudín goes to a bank to cash a check. As it turns out, the cashier and Nasrudín knew each other from their hometown. After amicably chatting for five minutes, exchanging news from town and family, Nasrudín asks "Could I cash a check here? It is from a friend to me, and it is from this bank". "Sure, no problem," she said. "But you have to identify yourself".

Nazrudín nodes, looks at his reflection on the teller’s brass window frame, and looking back at her claims: "Yep, no question about it, it’s definitely me."

Leaving the bank, quite upset and penniless (except for a big check in his pocket), he comes to the security guard in the bank’s parking lot. "Do you know who I am?" he said in a despondent manner. "No I certainly don’t" said the unruffled guard, with a strong booming voice and with overtones of veiled threats. "In that case," said Nazrudín softly, leaning conspiratorially closer to the guard, with a tone of voice that was friendly but inquisitive—"how do you know it’s me?"

Experiment I

  1. Stand or sit in front of a mirror.
  2. Turn off all electrical lights, illuminating the room with candlelight. See that your face is visible in the mirror, but that the light doesn’t hit your eyes directly.
  3. The source of light should be to your left.
  4. Look at the person in the mirror. Keep looking at it’s left eye. Do not be afraid of what might happen. Just keep looking.
  5. Ask, every now and then, "Who are you?" Keep asking and keep looking. Keep this burning question in mind throughout all changes, all moods, all desires, all thoughts—for as long as you look at the face in the mirror.
  6. Keep this up until all you can see is yourself.

(Or, if you want to go further with, and when you are ready to go further, keep the Experiment going until you see the changeless face, the one that is more real than your own, the one that was there before your parents were born and will persist until you are 64).

Experiment II

Many contemporary people think of their ordinary consciousness as the part of them that is awake, conscious, and intelligent.  The instinctive part of the body is usually considered to be mechanical, working in darkness, unaware and as non-intelligent as a being can get.

This cannot be farther from the way the evidence at hand.  The instinctive part of the body is in charge of such minutiae and oversees events of such complexity that make the most complex endeavors seem simple in comparison.  They are on top of such quantity of detail, timing, and constant corrective measure—from whole body functions to cell events—that it couldn’t be conceived as a mechanical process.  “Instinctive” is a misnomer.  The image that word conjures is of a mechanical devise designed by a superior intelligence, but the functioning of which no longer needs the intelligence of its designer.  But the human body is constantly monitoring, adjusting, overcoming, and finding solutions.  No rest to this endeavor.  Just monitoring all the events that need to go on in the body to keep it alive seems to require a superior awareness.

For the purposes of this Experiment, let’s assume there is a conscious intelligence in charge of the instinctive processes of the body.


  1. Decide on a time frame to conduct this Experiment.  One or two weeks is recommended.
  2. Keep paper and pencil handy to record your findings and observations.



During this experiment, you will see your instinctive center as doted with its own intelligence.  You will see and deal with it as if it were another being.  Your instinctive center is an alien creature, in this earth with a purpose of its own.   You are also an alien creature, from a quite different system that IC (Instinctive Center).  You and IC have decided to be roommates for a while.  He will be in charge of the internal maintenance of the body, you in charge of providing the necessary energy for it’s functioning.  Remember, these are only your agreed upon tasks as roommates.  These are not the purposes of your being on this planet.  It’s just like with college roommates.  One is in charge of cleaning, cooking, vacuuming, etc.  Another might be in charge of getting food, beer, rented movies, etc.


Your roommate, IC, is in charge of keeping and running the house; you of providing the necessary elements for his par of the upkeep.  For the purposes of this Experiment, you will give up the some of the decisions you usually make that belong to IC in the first place.  Take three of these decisions: when to eat, when to drink, and when to sleep.


Ordinary life is in modern times arranged around artificial rhythms, obeying neither the rhythms of nature nor the internal rhythms of the body but the demands of a labor-oriented society.


While this Experiment is going on, you’ll follow IC’s command.  He will decide when to eat, when to sleep, and when to drink.  You can still make all other decisions, such as what to eat and where to sleep, but IC will be in charge of the timing.   This means you will try to avoid mechanically eating breakfast just because you woke up, or getting a beer just because the game is about to start, or going to bed just because it is 4:20 a.m. already.


You will, instead, drink when IC indicates that he is thirsty, eat when he is hungry, and sleep when he is sleepy. 


This presents a small communication problem.  You need to learn to read the signals.  You need to know when he is hungry, sleepy, or thirsty.  Not only that, you also need to be able to anticipate when he will get hungry so you have time to prepare the nourishment or get to the restaurant, and when he’ll get sleepy so you are close to a friendly bed.


This Experiment will be successful once you discover a way to communicate with IC.


The trick to achieve a good communication with IC is through rhythm.   Rhythm is one of the languages used by IC to coordinate its many parts and to accomplish multiple tasks at different levels.  By having a feel for rhythm and cadence, sequence and silence, you can begin to “hear” IC. 


Try the following Experiment alongside Experiment II:



Experiment 3


  1. Pick a part of your body.  Place your attention there.  It can be an internal organ, your blood stream, your skin, your eyes, anything or anywhere in your body.
  2. “Listen” with your attention, “feel” its rhythm. 
  3. Reproduce the rhythm you feel by drawing it.  Don’t worry about following any notions of aesthetic concern.  Just draw the rhythm in any manner you see fit.  If you are inclined, paint the rhythm as well.
  4. Now, reproduce the rhythm by singing or humming it.
  5. Reproduce the rhythm by using a “musical instrument”.  A musical instrument can be anything that makes noise: a guitar, drums, tin cans, pebbles on a pond, your hands, a rattle, a broom sweeping, etc.
  6. Finally, reproduce the rhythm by dancing to it.  Remember: dance as if no one is looking!
  7. In the course of doing Experiment II, repeat Experiment III with at least three different times.  There is no upper limit to how many times you can do this.


Experiment 4


Sit quietly in a placid surrounding. Close your eyes.  Breath normally, and pay attention to the sensations coming from your body.  Feel the pressure in specific points of your skin.   Notice how the temperature is different in different parts of your body.   Notice also how only in a few areas of your body you feel the temperature at any one time.  Realize that your other sensations seem to come at you one at a time, as your attention sweeps over them.  They are not there all the time, coming from every inch of your body.  Usually, we have an image of our body created in the imagination.  We come to adapt this image as "my perception of my own body", and imagine that this image can be felt and experienced through the sensations that come from "the body".  In reality, these sensations and physiological signals come to us separately and intermittently.  They don't come all at once forming a unified "body of sensations" that corresponds exactly with the mental image we have formed.  The next step of the exercise, then, is to imagine a body that would correspond only to those sensations you are actually perceiving at any one time.

This new body will have a different shape.  In fact, the shape itself might change every time you do this, or even change within one session.  Visualize what  such body would look like.  Make a drawing, painting, or sculpture of your new body.  With this, you will be making an artistic projection of your sensing body.  There is one fun thing you can do with this sensing body that involves music:  Put a KAOS Drone CD on.  When you listen to the music, sense how the music affects your sensing body.  Be sensitive to the different parts that are affected and in what sequence they are affected.  You might notice that this forms yet another type of body, because some of the parts of the sensing body might not be affected while other parts you did not originally noticed become exited.  This new body, the Harmonic Body, is a subtler body you can use to work with music in a much more powerful way.  The more you use it, the more equipped you'll be to work with it in higher worlds.  Try it out with different vibrations and sounds.





Definition of Clear ] Blocks and Obstructions ] [ Clearing the Instinctive Center ] Clearing the Emotional Center ] Clearing the Mental Center ] Clearing the Moving Center ] Working with the Tattwas ]

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