Posts Tagged ‘connecting to inner vibrational energies’

root_system_of_8d_string-randallfly-netThe imagery in Jeane’s dream shows her traversing different levels in a building, entering different rooms, and trying on hats. It serves as a reflection of the different levels in us, and the different energetic levels of the universe. The challenge is to be able to carry ourselves on all these different levels, while maintaining an inner location (shown as the wearing of the hats), as a way to bring the vibrational energies through us and into life.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: My dream seems to take place in this really large building that has several levels to it, and it’s almost like the buildings they have marble and almost like a museum, and that on some higher floors, and in certain rooms, there are ancient artifacts and things from other cultures, almost like a mystery to them.

You don’t know really what they’re about, but at the same time, there are little alcoves in places where there are fairly feminine things going on, like where women sell these hats that have been made in France that you can try on, and they make you feel very feminine and feathery.

I don’t know, I really kind of like these hats, but I just have to steal moments to kind of remember where the hat shops are, and go in and try on a hat. Then I seem to have to be running to go look at some exhibit, or into a room or maybe even you experience the energy of certain mysteries or things.

It’s not like this is a place I’m really familiar with, but there are people that are showing us around and we seem to be on a schedule that they’ve derived, and you never quite know which floor you’re going to be on, or what room you’re looking into. And then sometimes I’ll lose you because maybe I was kind of enthralled by the energy of a room and I turned around I didn’t know where you had gone to.

At the same time, there’s a small group of us that are broken off, and someone’s going to take us to a special event that night rather than go to where the rest of the group is going. And we’ve met with them someplace on one of the lower floors.

We’re given a few minutes to clean up, and I go into this room that’s like a bathroom, but then I realize that I’ve been cleaning up and everything, but I really should have stepped in the shower and done it faster.

So now I feel like I’m running out of time, and my hair still feels a bit of a mess, but I just have to deal with it that way. The smaller group of us is going to go on one last kind of tour of some rooms that we hadn’t seen, and they take us up to this upper floor.

I go into a room where you kind of go through the doorway and then you step through curtains and you’re standing under an arch, and there are really old things in here. And there’s something about the energy of it, I’m soaking it up to the length of time that I realize that I have been keeping a line of people waiting, so then I’m not sure where you have gone to, so then I dash up to a higher floor, and there are some women trying on the hats there.

I haven’t really asked you about getting a hat, and there are these small little cap-like hats made out of feathers that are very pretty, and then there’s a very big floppy one like you would almost see at the racetrack with maybe some other design on it that makes you feel very feminine.

I haven’t really checked with you, and now I don’t know where you’ve gone, because I really do want one of these hats and now I’m looking for you. You aren’t at the last exhibit, and then I go into another room, and now I’m not sure where we are all supposed to meet to go to whatever show we’re going to that night, so it feels like I’m now going down the steps of the museum.

My best thought is to go back to where we all first gathered because that might give me a clue as to where we go next, or maybe that’s where you will all be.

That’s about all I remember. It had so much movement going on because there would be the room with the hats, and then there would be the rooms that had the ancient feeling to them, and all these different levels.

John: What you’re doing is you’re using the hats to show that you’re supposed to take on an overall role, or presence, or demeanor, or appearance, and you’re supposed to extend this out. It’s like a responsibility that you carry as an energetic.

It’s an energetic that you free flow with, back and forth on various levels. It is something that you’re looking at, and feeling, because, somehow or another, you feel charged with the responsibility of having to carry this quality of yourself, to exude this particular quality of yourself, in the environment that you have the ability to traverse on many, many, many levels.

You have this in relationship to hearing, and grasping, and carrying an understanding that comes through kind of a set of instructions, or insight, that comes through to you, that you then take, from those instructions, that you just take that in as an aspect of the overall.

What reflects is this demeanor and way that you carry that energy, the overall effect of that energy, into all of these different rooms, or all of these different levels. So you’re bringing something through, I mean that’s the process that you’re doing, is you’re bringing something through, but the energetic of it is you are putting yourself under a self-examination.

In other words, there are obviously energetic issues in this in terms of bringing the hats, or the presence of something, straightaway through. There are issues there, and so you’re unsettled. You’re energetically unsettled because you’re compelled to keep and maintain, sustain, you’re duty bound to carry this through, to bring this through to the various levels.

It’s kind of like an echo, of a vibrational footprint of your being, that you’re compelled to have to live or carry through. Now, you’re carrying it through, as an overall presence, as something that just touches and affects, just by its beingness.

You’re not bringing something through in terms of a kind of particularity that helps the overall, the beingness, the vibration, this overall vibrational sense is what is important to you, and for you, in terms of how you are meant to be, in terms of a role and responsibility that you see yourself as being innerly charged with, in other words to go from room to room, to be consistent with, to sustain.

So you feel this about yourself in terms of the overall presence, energetically and vibrationally, and you see this outside of the schematic of detail. You see this just as a stage of being, and that you have to keep and maintain and sustain this state of being. You have to live this, this being like a hat. You have to live this from room to room. You can’t lose track of that as you go from room to room.

If you do lose track, you feel a little lost or disoriented, so you’re gauging that. I mean, you’re actually measuring what it’s like to be like this from room to room, from level to level, because there are certain levels in which it’s not that hard probably to be with the hat, but there are other levels in which that is hard to do.

And so you have to bring it through. You have to bring it down, and you have to bring it through. It has to be brought all the way through in terms of the energetic that you have to hold.

If I were to label this dream, it’s kind of like a shaking dream. You’re being shaken to the recognition of this: this is who you are, and how you are, in terms of a process of intertwining, that you have to do, that you feel compelled, that is kind of like your motif of bringing something.

This is how you connect, this is how you relate, this is what you’re all about. This is kind of like your spiritual role, or something, and so you’re measuring yourself in this, as you’re trying to bring this from the top levels on down. You are actually measuring yourself in it.

It may not look like you’re measuring yourself in it because you’re doing it in an overall way. In terms of general overallness, the feminine is always trying to accommodate, and accommodate, and accommodate, as she is trying to bring something through, so she’s always trying to give herself space to bring this something through.

It’s an odd octave in which you cannot not be kind of out there, subject to whatever it is that’s taking place as you’re shifting about, and shifting about, and shifting about trying to sustain or maintain that. In other words, it’s not your thing to deal with the particulars of this. You just have to sustain and maintain that energetic.

Your dream is such that you can tell when you’re askew in terms of doing this, and so in that regard it is helping you tighten up on the recognition.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Vibrational Sense

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Jeane: In my main dream, I keep coming back to feeling that I’m in a foreign country, like Egypt, with my family. We seem to be excavating an area and, in my mind, this area has two sections to it, a lower part and a higher part.

Right at the dividing line between the two is a statue of a woman lying on a bed. It might be her husband’s bed; he’s dying and she has come to lie down on the side of his bed.

Well, that’s one form the woman takes. I want her to take another form: if she stood up she would become a woman with the head of a god, or the head of an animal representing a god as they have in Egypt. I want her to take that form – then she’ll have a different energy. And I want to be able to take that form of the statue back with us when we leave.

But I can’t seem to get her to change into that form. Or, perhaps, I’m afraid that if I do the authorities won’t let us take her back home. I seem to really be working on how to get her changed into this other form, and then figuring out how to get the statue home if I do.

John: Why would the authorities stop you from taking her back if she changes into the other form?

Jeane: I guess because it would be an Egyptian artifact and we’d be taking it out of the country.

John: But they wouldn’t mind you taking it out if it’s the lying-down version?

Jeane: That’s right. If she hasn’t changed into that form, it feels like it would be okay. I also have the sense that the version of her lying down is taken from the lower section of the excavation, where the version with the godhead would come from the higher section.

John: The theme of the dream is how to connect to an inner energetic that can then permeate, or exude, into life. And this connection is accessible only when everything is quiet.

In other words, as long as there are reactions (noise), or limitations imposed in terms of how things need to be, then the ability to hear this kind of inner dialogue is lost. I’m not stating it very well, but that’s the deeper part of it.

So a part of you is identifying with trying to hold on to a particular energetic that’s caught in the (outer) reflection of things. You have the masculine aspect (the dying husband) and the feminine aspect (the woman lying down). The feminine is trying to do something to save, or help, or assist the masculine. In so doing so, she’s supporting something that should be let go of, and distracting herself from becoming who she needs to become.

To become that person, she must rise up and bring forth her full powers and her full inner connection – like the goddess. In other words, she must free her energy from what’s holding her down or holding her back. The lying-down woman is trying to support or sustain something in her environment that she deems important, which is a masculine energy, but that’s actually preventing her from being able to find the depths inside herself because she finds herself instead having to take into account the characteristics of something that’s struggling, or dying, or is in some capacity restricted. So she is constraining her glory by trying to heal that situation.

If she can rise above that, and just be who she is, then, in her glory, she shines to such a degree that she becomes like a treasure and that’s a treasure that’s precious to all humanity.

The key about ancient Egypt is that everything reflects an awakening to something at a deeper level. The whole society was aimed at a spiritual journey. Today, in Egypt, a person could react to the mannerisms, and the heat, and the beggars on the street, and allow those distractions to take away from the deeper inflection of something that’s trying to come through.

This dream is saying that a part of you needs to stand up, to come out in its full glory. And it’s something that’s being held back by ideas, or concepts, or psychologies – i.e., personal indulgences of one type or another – that are trying to keep something alive even though it’s astray. Therefore, that blurred energy is keeping you from standing and being the treasure that you are meant to be.

Symbolically, what seems to be triggering this is the story we heard of a woman in the age of the pharaohs who did all kinds of wonderful things in her day; she expanded the empire and reached beyond the shores of Egypt. She did it with a certain quality, which you could sense in the pictographs.

In other words, she had a quality of glory that differed from the power motif of the basic pharaohs and that made an impression on you. It touched a part of your higher self, telling you that you, too, can take this inner quality that you feel inside and let it rise up and shine.

But it can’t do that if it’s caught in the indulgences of the particularities of your environment. That could mean me, or your dad (both masculine energies), and how you see the space you’re living in and the doingness that’s involved. So that aspect is in opposition to another part of you – a higher part – that has the ability to just let go and stand above all that.

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John: In this dream, I’ve returned, as an adult, to the creek I used to fish in as young boy. Back then I used to take my bike out and ride to the creek where I would catch these little six-inch fish and bring them back home.

I just did it just for the fun of catching the fish and being by myself on the creek. I didn’t really like eating the fish; it was just the process of doing it and having a flow for myself. So this dream has a nostalgic feel to it. It’s a like a vibrational relinkage to something I used to really enjoy, and an opportunity to see how I relate to those memories now.

The image has me revisiting this place from my childhood. I’m going up along the creek to visit all the old fishing holes. I’m at the upper part of the creek where, essentially, my venture is complete because I’ve reached the upper range where it’s possible to fish.

The fish from this creek come up from a millpond, so the creek becomes smaller and smaller and the fish only travel so far up. I’m sitting down at this spot; I’ve taken off my shoes and I’m laying back, almost in an interlude before I get up and head back.

Then I hear in the distance a couple of kids coming along. I realize they’re going to come all the way up to where I am. I quickly put my shoes back on.

I feel like I’ve done my best to soak up the ambiance of the past, but of course, things have changed. I’m no longer a kid and I don’t quite experience it in the same innocent way. I have barely gotten my shoes on when the kids arrive. I greet them and find out that they’re from Brazil.

The dream then shifts. In the next scene I see myself being ushered into some sort of ceremony that involves the United States. Apparently the United States is recognizing me as some sort of organized body; it’s like I’m being accepted into a League of Nations or something like that.

I’m not really sure what this is all about, other than the United States is going through the motions of an initiation, and that I’m there on behalf of Brazil. The sensation I have is that I’m the heart and soul of Brazil.

I’m hastening to get ready because this ceremony is already in progress. There’s a swearing of allegiance process and, before the final act, I have to push a tube into the crown of my head. It’s a round cylinder, and this part completes the process and the linkage. Once this has been done, everything is recognized as official.

What this dream is portraying is that there’s a vibrational connection lying dormant in me. Through the imagery, and the memory-feeling, of where I used to fish as a boy, this vibrational energy is rekindled and brought to the surface.

The process indicates that I have reached a point where I can appreciate this connective linkage. It also shows, through the second part, that I’ve now agreed to carry forward those early connections and take on a higher responsibility of service for a greater whole.

It’s interesting because the first image is a very personal memory, and in the second image what I carry with me is being recognized and acknowledged on the stage of global affairs. This is so similar to your dream yesterday (see A Type of Magic) in that you began by feeling unsure of your connection to the vibrational essence represented by belly dancing, i.e., you needed practice.

Then in the second part of your dream, you had grown in your ability to hold that essence and had begun to exude it outwardly in a way that could positively affect others. So we both transformed the personal into the universal, which shows an ability to take responsibility for what we radiate into the world, and bring energies into life as a service to creation.

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