Category: intuition


Crystalline Consciousness Technique or CCT as most like to call it, is a self-empowering energy healing tool that offers individuals a way to grow their conscious awareness and the benefits of improved quality of life, accelerated learning, spiritual and psychic development, enhanced creativity, and more. It can be used with traditional medical treatments and medicines, as well as other alternative and complimentary healing systems.

When we see no way out, when we can’t “think” our way through an obstacle, like Reiki CCT allows us to feel better…

CCT works through sacred geometric healing chambers, vibrations of energy, five unique life force frequencies that offer you the opportunity to release patterns that no longer serve you while they allow you to follow the process of your growth through the stating of intentions.

The CCT practitioner holds the space–the “container”–in which growth, empowerment,  “healing,” transforming and creation take place.

Those who see energy will tell you they see gridwork, fibers, spirals, cubes and other geometric shapes of energy in and around us. They see such energies shift, transform and come in during a session.

People always want to know what the crystalline in the name refers to. It’s a vibrational reference that some people call liquid crystal.

Crystalline structures are the elemental building blocks of life arranged in an ordered geometric pattern or motif that determine their shape and name. Each has its own vibration or resonance. In mineralogy and crystallography, a crystal structure is a unique arrangement of atoms in a crystal and I feel strongly that this is like the atoms and vibrational reference that practical intuitive Laura Day uses in her Circle Meditation and in her book, The Circle.

CCT is holographic in nature, quite like in Star Trek-speak.

I think of CCT as Jedi Master training, working from the inside out, a sensing of, or gut instinct. You might also see it as having a relationship like in the movie Avatar. Whether you’re in a session, or training to be a professional practitioner, you are evolving yourself and your conscious awareness without using traditional thought processes.

CCT is a multi-dimensional experience.

CCT addresses what we are attempting to do intentionally and intuitively. It grows us.

It is spiritual practice at its best. When our thoughts, beliefs and mindsets get in the way, CCT works with us to evolve us to righting our upside-down way of being in the world. We work with our guides or our Super Intelligence.

How does CCT work? Energetically and holistically – body mind spirit. It’s a process. One session involves three phases which can be performed on a sofa, bed, or massage table–almost anywhere that provides some comfort to the one receiving.

A series of sessions might be used to work with childhood trauma or to help an injured dancer whose body for some reason has resisted healing.

CCT like Reiki can also be done distance, so anyone can receive a mini-session or full session anywhere in the world. I’ve given non-talk sessions to people on their lunch hours at work in California, New York City, and England when I’m in Ohio. I’ve also worked with groups this way through one person who sends me the intentions of any colleagues who wish to participate.

Businesses can improve teamwork and grow their unique vision in this way. Individuals and groups can meet and conduct goal-planning or visioning meetings in a CCT session and talk.

In the first phase of a CCT session, Opening, the body is prepared for deep healing. As physical therapist Marion Rosen says of her Rosen Method Bodywork, this phase in CCT helps relax the ego as the breathing changes and we open more fully to receive healing than we can do on our own.

In phase two, we do a bit of spring cleaning. Our body-mind is cleared of its debris… like clearing a field or taking out all your recycleables. This is the phase where the geometric healing chambers are invoked or called in, and where we are able to release patterns that no longer serve us. Then through the stating of powerful intentions, we bring in new energetic patterns and perspectives that better support and fit us. The mind takes a rest during this process.

Like in Avatar we feel connected to the ground of us (for one sort of image)–our divine link up–so we more easily receive what we need of a divine or spiritual nature.

Phase three is a smoothing out of the process a participant in CCT undergoes, a final polishing, a deeper opening in which we experience gratitude for all we are.

To evolve yourself, for questions about CCT, and to schedule an appointment or CCT-empowered Reiki class (classes are ongoing), please make contact with Melanie A. Stinson here or DM on twitter

I used to see disorganization as chaos. Then I read somewhere that the beginning of all creation is chaos, and creation is art.

Now I use what I see around me to give me information, reframe my perspective, turn things around, and often, to create something new.

Jumping around in what I read or what I do is no longer, “Oh gees, am I ADD?” It’s a way to do a lot of things, multi-task or what have you, complete one or two items on my “To Do” List, and be open for what’s to come.

It’s using all of me to create my life. I know I’ve chosen to do as much as I can–a little each day if possible–to shift through the piles and ideas, to toss things out into the vast oasis of the present moment.

HUNA JEDI RULE #1: Now is the moment of power.

I would love to hire an organizer and get it all taken care of. But as I look around the room I’m in now, I see a life in progress: a laundry basket, a bag of clothes to be thrown out or contributed to Goodwill, a treasure chest, and a hatbox full of remarkable objects, both natural and handmade.

outdoorzengardenI do love open space–it allows me room for swashbuckling and other reminders of what I’m all about–writing vividly.

I would like one house that is a work of art: pristine and open with large bay windows looking out on the world. However, this house could not be in the Antarctic. It might be on beachfront,  riverside or lakeside. It would have a few stunning sculptures as well as plants, just a few though, to preserve it’s openness. It would be like a meditation: clear, a deep silence about it, profoundly peaceful. It would be a house filled with Reiki and the delight of enchanted nature: probably a few large crystals and gemstones (unusual ones though like Aragonite Star Clusters, Mookite, or Aquatine Lemurian Jade).

palmspoolThis home would allow nature in. (I’m getting that nature can be chaotic; it is not all pristine.) Ahh. This home is for play, and play often needs large open space to it, so one can roam, or move expressively, or give some sort of theatrical performance.

Perhaps this is a home that’s more like a giant theater or cathedral. Is that possible? I suppose it could be if I regard this home as a sort of second one. (Of course, I wonder now, is this a kind of workplace or workspace?)

This home might allow nature in simply by being in a natural area where I might see Great Blue Heron or a place like the Everglades full of mystery and mist, and curling, weaving growth (but not too crowded together so as to allow its sense of infinity and spaciousness).

See what you think. What am I going for here? Is it a real home of wood, mortar and stone? Or is it a place to go to for alone time–like a starship above a forest but inside me, a heart(h) place?

HUNA JEDI RULE #2: This is a place4us, a place of Aloha

I don’t know about you, but I feel much better about myself in this whole escapade, and I feel more like I’m accomplishing much more than I thought I could. I might go write an adventure now or a romping dance revue. Certainly I can go go go about my busy day!

A couple links for you:

aplace4theheart

placeoffulfillmentfunfaerie-finefeelings… kid friendly (but you know those mischief makers)

Enjoy 2010 the Space Odyssey (it’s got the same numbers as the 2001 version for you note takers).

sacredspace

CHOOSE JOY!

Play the game!
Click on words images links

BREATHE SLOWLY, DEEPLY

Gaze

Allow

A PLACE 4 US

YOUR SOUL connection CONNECTION

WRAP YOURSELF IN GLOWING RAINBOWS, VIBRATIONS OF ENCOURAGEMENT, ENTHUSIASM LOVE.

LEARN GROW BE & SUPPORT YOUR HEARTFELT DREAMS, DESIRES & PASSION

Relaxing Music

real or fantasy

~~This site is a work-in-progress–

Animations on this site are not the creation of the web master

LISTEN

All text and digital art images
Copyright 2005-2009 Melanie A. Stinson

This site supports:

Serge Kahili King’s The Aloha Project
Morphoses, The Wheeldon Dance Company
The Journeywork

A Place4Us will continue to exist in 2009, bringing you new options, new sounds & new images for inspiration, joy & upliftment.

However, the favorite blog of this creator is http://pofff.com and this is the blog that will be updated more frequently & contain more actual blog posts.

So, if you stopped by here today, come dance with us at THE POFFF real soon. And if you don’t know already, the POFFF is aplace4us.

P=Place
O=of
F=Fulfillment
F=Fun
F=Friends & many other fffs where those came from (like fantasy, fairy, fearlessness & fantastico!)

–Melanie A. Stinson, Artist, Writer, Dancer & Conceptualist
using Reiki and beyond

Second in the series…

There’s nothing I like more than a day of enchantment and that’s certainly what I experienced Sunday, October 5, in the Big Apple. I knew I would attend the open class and rehearsal for Morphoses at the New York City Center, which has an incredible celebration of dance this autumn.

It was such a delight to watch ballet master Jeffrey Edwards teach company class. He used vocal sounds, and vivid vocabulary and imagery that obviously connected with the dancers. He seemed to give the dancers what they needed to prepare them for performance, something that is decidedly different from teaching dancers and sustaining them in daily class. I noticed something that perhaps only New York City Ballet ballet masters and teachers might address, what I can only call a lack of support for the upper back in the male dancers taking Morphoses’ class. Each of them had trouble on turns, losing the upper back and shoulders and therefore losing the turn.

After this classroom view, came an illuminating talk with Christopher Wheeldon, and then we were able to see Shutters Shut, which I had seen the night before. Set to a Gertrude Stein poem with voice and no music, I could again see the way in which Wheeldon is bringing in choreographers pushing the boundaries of the arts as Diaghilev once did, exploring dance in conjunction with other mediums. The dancers spoke Stein’s language and the language of the husband and wife team of Paul Lightfoot and Sol Leon.

After this, I knew I would set off to see what lay at the corner of Fifth Avenue and 65th Street, a location I had used in a poem about Duo Concertante, in what seemed like a haphazard fashion. Why had that location come to mind? I didn’t know what was there. As I walked east from City Center I saw the number 140. Again in a somewhat wily nily fashion (or was it intuition), I decided to be at that corner at 1:40 p.m. I took pictures along the way as I do, noting how certain themes arose in my head as I walked.

At 1:40 p.m., I noticed the scaffolding on one side of Fifth Avenue. Though I rather blanketly discounted it, it still worked on me from behind the scenes, for scaffolding means something is being built. On the other side of Fifth, however, I began to notice roofs within Central Park. What is this, I wondered. The trees had a mystical, almost faerie-like appearance. My heart sang, Fairyland.

What is this, I asked again. I reached stairs going down and as I began my descent saw to my complete amazement, the actor Russell Crowe talking to a slighter man. I had an internal dialogue with myself that went something like this.

“Shit, it’s Russell Crowe. What do I do?”

I discounted asking for his autograph as being simply moronic and something that someone who’d grown up in Bowling Green, Ohio, would do. Having lived in the New York metro area for some 20 years, I knew I simply would not do it. I flashed to my camera as I had been taking pictures all along.

Do I ask him if I could take his picture? As I stood there, I finally allowed the feeling of the scene to wash over me instead of focusing on some need to act. I knew he would not want his picture taken. I knew somehow not to intrude. I heard his Australian accent. I also felt and would process later the most incredible power coming from him, and without knowing what I was doing consciously, I honored it. I let the two men go ahead, still wondering what this was all about for me. They disappeared in a crowd of people that was like a scene out of Shakespeare or a film version of La Sylphide, which I have been working on in script form.

Again, I began to see England and fairyscapes. Then I turned a corner and went nuts with all that greeted me. I wished I were the best professional photographer in the world, all the while taking pictures. Children swarmed around me.

A little girl in pink came toward me and said, “There’s a slide over there. A slide!”

“I know,” I said, spying it. Of course, I took a picture with my trusty little Kodak. And then I saw them… bridges… bridges everywhere… in silver chain, lined with tree stumps and stones… some narrow… some you could never walk across your self as they bridged space or other dimensions, and the enchanted fairy realms. I had seen the sign that said, Children’s Zoo, but somehow had never been in there.

As I meandered, I came to a bridge with a fence. On one corner sat a crow. I am not making this up. I may be an urban fantasy writer with a vivid imagination, but I did not make this up.

The crow cocked his head at me. Magpie flew into my head. I was stunned that he didn’t fly away as I stood so close to him. His beak seemed a spectacular golden yellow. I took his picture. Still he didn’t fly away. Then as I continued to walk and glanced upward, I saw two pinkish-orange parrots up high that did not move. I knew immediately that they were fake. I kept walking and never looked back. I was now wondering if I really saw the crow, if the crow was real or some paper mache animated thing, and for a brief moment felt as though I were in some incredible dream. But I wouldn’t allow it to be only dream. Russell Crowe had been real, as real as we are as embodiments of energy.

At some point during this I began to hear the music from Pirates of the Caribbean. Swashbuckling music. This along with the feelings of ancient England continue to embue me even now.

The next day, I went to one of my favorite haunts, East/West Books, to pick up a crystal or two, and see what else was in store for me there. After picking up Siberian Jet, a light light stone from which I feel such peace, I held some other stones, ocean quartz, rutilated quartz, orange selenite, and others. I could not decide between them. Suddenly, a staff person appeared, and she seemed to know exactly what I needed. She opened a cabinet and procured a small piece of Danburite, a calcium borosilicate crystal. She also asked if I knew about The Book of Stones, which I did not.

She made me a copy of the page on Danburite and for some reason I asked if she’d make me a copy of the one on Moldavite, a stone I’d encountered on my last visit and with which I was working along with Peridot, both green stones. Besides writing and working with the story of La Sylphide, I have been drawn to the tales of King Arthur and Merlin throughout my life and am using this story in other writing.

This is a small part of what The Book of Stones says about Moldavite: “Throughout history, and even into pre-history, Moldavite has been regarded as a spiritual talisman… More recently, Moldavite has been viewed as a relic of the legend of the Holy Grail. In some recountings, the Grail was said to be not a cup, but a stone, an Emerald that fell from the sky. In other stories, the Grail cup was carved from the Emerald. The correspondences of the Stone of the Grail and Moldavite are clear. The ancients called all clear green gemstones ‘Emeralds,’ and Moldavite is the only such stone ever to have fallen from the sky. In history, there was even a physical ‘Grail’ discovered and brought to Napoleon, who was disappointed to find it was green glass. But, of course, Moldavite is green glass. Another chalice, this one made of gold and adorned with Moldavites, was passed down through the centuries and disappeared during the second World War…”

Well, for those with a penchant for the mystical, for history, and for tales of enchantment, such information is thrilling indeed.

What does any of this have to do with Monotones II? Something about sorcery, celestial beings, and the process of discovery. I have seen the piece performed by the Royal Ballet and the Joffrey. If you’re not a ballet dancer, you may not know its difficulty. When I saw it performed by the Morphoses cast on Saturday evening, my first thought was, I would never want to perform this ballet. I believe I’ve had that thought about it before, but couldn’t say now with which company or why. I didn’t know why until the performance of the piece ended and I turned to my friend, also a dancer.

What I noticed was that my focus went to the dancers and not to the choreography. What was lacking for me were the feelings of mystery and sacred something I have experienced when the piece is in sync and when the performance of it is also a mystery, the dancers as flawless technically as they are musical, reverent, and able to be moved deep in themselves.

I noticed ribs protruding, a kind of thinness that hurt. I noticed the largeness of the male dancers’ bodies and the nuances of their musculature. I noticed that the ballerina’s leotard was wrinkled over her solar plexus and seemed almost too large for her. I know that I thought I would never want to perform the ballet because I noted every shift from each of the male dancers that wasn’t part of the piece as choreographed. Otherwise, the dancers were technically perfect, and Wendy Whelan captured a muted kind of reverence. Muted though, not soaring, not quite resonant enough. I wondered if Wheeldon had chosen this piece as much for the dancers’ growth as for it being Ashton.

When the performance ended and I turned to my friend, she said, “They were totally wrong for this. Miscast.” When I discussed what had happened for me, we agreed that somehow that was a sign that the dancers had not been able to overcome their bodies, and whatever else was at play here. I know I felt that the ballerina would need the most ravishing and perfect body ever imagined. I don’t know if that is really true, but it is what I thought. However, when a dancer transports you, and Wendy Whelan often does this, the mind turns off and one simply experiences.

For more of this continuing tale and for the seagull’s message… please stop back.

Reiki blessed bliss card
Reiki blessed bliss card

This is the beginning of a series on reading the elements and weaving light, language, nature, and the vitality of the dance/theater experience. It is also a new kind of interactive dance and theater review.


Friday, October 3, began with a grand encounter with seagulls at South Street Seaport in New York City. Besides several teaching me about riding the air waves around the Seaport and in life in general, a seagull landed smack dab in my path and basically would not remove himself. Finally, I greeted him, and then we walked around him. Obviously, he had a message for me, which I didn’t understand till later.

Then I received the following:

Bodyscapes and Butterflies and Red, Read, Red

As the butterflies landed in droves, orange and golden, polka-dotted,
their lilac edged wings iridescent,
I knew there was nectar here, waiting:
The flowers, everywhere,
Bodies in water and the New York City falls, a treehouse in the garden,
A woman on a cell phone going round and round a revolving door.

I saw caterpillar bodies upright, not yet cocooned,
Lives in poetry flashing by as though
projected against a muted background of rainbows;
And rain, rain… that theme again…
Before the rain, After…
Dancing in the rain…
The butterflies coming in torrents
Aye, what a rush!

Polyommatus icarus fly!
Phoebis ruina disguised, never revealing your Ashtonian connections to Peru till now: enriched with Inca gold;
Yellow-ringed purple eye of the Costa Rican glasswing beckoning in faerie magic
Juxtaposed with the black-white-red of Parnassius Apollo.

Emperor moth lay for us your carpet of brown and orange,
We will ride
Yes, we will ride
On wings of air, gliding, gliding
To our calvacade, our destiny in flight…
Rising, falling
Arising again
Like fragments of an ancient bewitching sun.

–M.A. Stinson, 2008

I have to thank the company of Morphoses for their exquisite performances Friday night (and Saturday, which will be written about here and there). The company was a welcome sight for someone feeling a bit bereft of such exposure living for the time being in Toledo, Ohio. I almost don’t want to single out anyone because the dancers were so fluid, expessive, and trained to do both classical and contemporary movement. But some seemed to have a special power and having not seen them before I do wish to mention here, Beatriz Stix-Brunell, Leanne Benjamin and Edward Watson, and those I have seen before, Adrian Danchig-Waring and Edwaard Liang, who was riveting in the Molnar piece.

The evening built well, beginning with Wheeldon’s Polyphonia, which I could see was one of his earlier pieces. Why? Because the detail seemed not as rich and something about it felt faded to me. But here is a chance to express one of the things I love about Wheeldon. He learns from the past and moves on. I see it in the new work he does. I did wonder several times if he wanted an arabesque with the knee facing down that I saw on the wonderfully nuanced Wendy Whelan and Stix-Brunell, a position that speaks to me somehow about the ability to turnout from a center of power. The other dancers used a turned out arabesque and it looked more empowered, but may not have been the choreographic effect desired.

I will comment the most on the Emily Molnar piece, Six Fold Illuminate, since it was the one I twice discussed with people asking me what I thought of it. It reminded me of when I was asked the same question about the first Harry Potter book, and I launched into all the glories of it only to hear, “but it’s about witches.” I’m a ballet/modern and improvisational dancer. That piece took me deep into my body. When a piece takes me there and I want to get up on stage and dance, I do not look at anything else. I cannot. I simply experience in the present moment.

The two people I talked to found the work derivative and Christopher Wheeldon’s work more inventive. One said, “When I go to the ballet, I want to be uplifted, I want to see pretty. This was ugly.” Both agreed that Steve Reich music drives them a little crazy with its repetitiveness. However, the interesting thing to me was that one liked Merce Cunningham and can tolerate some of the music and soundscapes he uses. What seemed to be in question here and in any of the Wheeldon pieces that folks had trouble with were the piece’s purpose in being, its depth, its core, the kind of music used, and what it was about (even in abstract, ballets have “story.”)

For my commentary on Six Fold, I must move onto the new Wheeldon piece, Commedia, a tribute to Diaghilev and the Ballets Russes. Forgive me if instead of Commedia del Arte references, which were certainly there, I saw Nijinsky fauns and Bob Fosse gyration, and if I recostumed these dancers, who were decked out in evocative white leotards and tights with little black diamond shapes. I really couldn’t help it. My imagination took hold and I saw vines of ivy blossoming on some, weaving and wrapping around them. Sprites appeared, and elves, and a feeling sometimes of creatures called up from the deep mysteries of time and space like images on oracle cards.

There were moments of such frolic and joy, and the open, clean ballet body. I could see the Commedia  troupe, ruffles and all, and their variety of characterizations. I remembered how Nijinsky’s work was found disgusting and inappropriate and profoundly ugly to the audiences of that time because the movements he used had a turned-in look unrecognized by ballet traditionalists. But now we’re used to it and keeping feet parallel to each other and the look of Egyptian-tinged flatness simply references history–or at least it did so in that ballet.

So back to Six-Fold Illuminate. It was so visceral that for me, it was exquisite. Emily Molnar is a shaman. She took Wheeldon, and perhaps his references to Balanchine and New York City Ballet, and made them felt, kinesthetic and newly alive. It was as though she were building a bridge between old and new, something a shaman does.

Six Fold Illuminate. You have to ask what is the title about? I believe it’s about the transformation of the Swan Queen, of the story ballet, of ballet itself. I saw the wings in the movement later in the piece and I saw illuminated the Swan Queen at the end of the piece, a swan queen born out of the old, glistening classical one, a vibrant metaphor for something that resonates within us all still.

Knowing what Mr. Wheeldon wishes to forge, I thank him profusely for commissioning this piece, and taking what must have been a giant risk. I learned and revelled more throughout the evening because I saw it. The differences were etched more clearly for me: between that which has a modern dance contracted, earthy, sometimes gnarled in-the-body expression, and that which is almost the out-of-the-body classical ballet orientation–the flat, open chest; the port de bras; and the structured placement.

Now, if we could add the language of story and show character arc even in abstract ballet so it is more easily understood by everyone, as well as music that pleases the heart and inspires the soul (perhaps through melody), plus contributing a new language of batterie to the Molnar, bringing more of it to the Wheeldon, we would have something that would ground and send soaring even those of us who find much contemporary ballet “ugly,” distancing, and unfathomable. But then what choreographer or artist ever speaks to everyone all the time?

–Melanie A. Stinson

If you enjoyed this piece, please comment below, and come back for more. The series continues after this post.

A Place For Us contributes the following edited information on this site because it is such an important directive for parents today:

“Listen well, parents of the ’90s [and beyond]. You, too, have an exceedingly important mission to fulfill… to ensure that your children remain intuitive and stay close to nature. Don’t push them to succeed at the expense of losing their soul purpose, for our purpose is our guiding force, and without direction… children will feel lost, alone, and afraid.

“So much better for… parents to focus… children’s attention on spiritual studies, as this is their true nourishment… ensuring their growth and survival. We angels are here to help you parent, and we won’t interfere or get in the way. Simply allow us to cast a new light on difficult situations, a task we complete with joy in our hearts, simply by your open invitation for us to heal. Do not ever feel that [the Divine] doesn’t hear your prayers, for S/He sends us to your side the instant you call.”

From Healing with the Angels by Doreen Virtue, Ph.D
Chapter: Angel Blessings for Your Family

Did you stop reading the above quote because you don’t believe in angels? Notice what you feel in your body right now–your reaction to the quote.

Just for a moment, place one hand on your heart and breathe deep and slow. Allow in the inspiration. Allow in spirit. Breathe in and notice how your body feels, how your feelings change. This is called, Openness and Receiving. It is a gift we all have.

Now simply state silently or out loud, “Show me what an angel is for me today, here and now, for the language above does not resonate with me and I would like to understand.”

dancing2opt web

F-ease small optYou choose the wording, and you make it sing!

What is a Staycation? Literally what it says: you stay around or in your locale for your vacation. A Spa Vacation Day or Weekend is a bit different.

It can be an adventure that starts here–online–as you gather information about what you want to experience that’s restorative or says spa and vacation to you (and members of your family if they or someone else is included).

Here are some ideas:

Pampering

Delicious food: depending where you are–Souen in New York City;
                Poco Piatti in Perrysburg or Toledo; Nagoya Japanese Steak House

Spa products

Being on a beach, near water, or in nature: Wildwood Preserve in Toledo, Wintergarden St. John’s Woods in Bowling Green, Ohio; Nyack State Park, Rockland State Park or Central Park in New York

Exploring new places like a local bookstore or magical shop like The Happy Badger Trading Portal in Bowling Green, Ohio or East/West Books in New York City, or discovering little nook art galleries like Spectrum in the Toledo Botanical Gardens, the latest show at the Toledo Museum of Art, or something else equally cool and inspiring and maybe inside on hot summer days (such as after strolling through the Crosby Arts Festival). Smelling the roses is a fine way to go.

Something exotic

Going shopping

Seeing a Broadway show or something similar

Visits to local haunts, favorite or new: Try the 577 Foundation in Perrysburg for community gardens and an awesome biodome. There’s also a children’s garden that the fairies adore!

 

Need directions?

Make your list, and then you invent and intend. You can even try the lens “Give Yourself That Million Dollar Treatment” and ask for a spa vacation. See where it takes you–mentally, physically, energetically, spiritually.

If you’re into spending a little bit on yourself because you’re that worthwhile, you might start by having breakfast at a new little nook that seems exotic. Maybe that’s a Paneras, or Cafe Marie’s, or if you’re in Bowling Green, Ohio, Call of the Canyon.

Or maybe you’ll rise at dawn, pack up your camping gear and head for your backyard or that campground a few miles away that you always intended to visit but never have. Or maybe today’s a visit to the Butterfly House to inspire that butterfly or fairy garden you’ve been meaning to create.

You could literally give yourself a session in a spa or with a practitioner who you know brings heaven on earth, or you could travel to your bathroom, local health food store, or a beauty products haven and pick up some aromatherapy products–candles, bath beads, whatever catches your eye–and, you could also visit your local flower farm or florist or your own garden and use what you have: rose petals, any fragrant flower for a bouquet (or stay outside on your lounger and inhale, relax, visualize, and meditate). 

What totally awesome Sex in the City kind of drink comes to mind? Get the ingredients and make one. Or better yet, watch the movie and get re-inspired. Have a Girls’ Night Out. You might even add some get happy entertainment like a fairy or angel reading.

You can also play some inspiring music. Some of my favs include: Enya, Rob Thomas, Yanni, musicals like Hair Spray or Mary Poppins, and classical music like anything Mozart.

I’m listening to Josh Groban as I write this–remembering the rain and the train of thought that says, “After the Rain” Christopher Wheeldon choreography and poetry like Rumi, a night on the town, and later, some moon, cloud or star-gazing.

Hopefully this will get you started and maybe some tunes or books (curling up with a great book is vacation material to me).

Whatever you do, think “enchanted” and you’ll find something magical comes your way, for sure. Don’t forget after your power nap, to open your eyes and ears and heart to receive it!

Check out: Restoratives or

somewhere-a-place-for-us

Moving through blocks

Image © 2006 M.A. Stinson

Some people would say I’m a clairvoyant artist, a psychic intuitive… I know I can put my hands on a person and know where to go on their clothed bodies to help them relax, release worry, tension and intense headaches. I also “channel” healing images.

But then, I am also highly trained in a variety of massage forms, and psycho-spiritual and energy touch therapies like Shiatsu, Rosen Method Bodywork and Movement, advanced forms of Reiki and Crystalline Consciousness Technique (CCT), and in a sense, all artists and writers are “channelers.”

A friend of mine would say that rather than using intuition or my sixth sense, I am simply connecting into a database of learned information.

What does this have to do with clouds and loving clouds? Well, somewhere and sometime in my life I began to notice clouds, and as I trained further in Reiki and the cutting edge modality CCT, clouds became incredible to me.

I know ancient cultures, including Hawaiians, could read clouds. Clouds spoke to them, and not just about the weather and upcoming harvests or planting times.

A few years ago, I had an extraordinary experience that was, at the time, rather frightening. A flood of information came in that sounded like the greatest fantasy story ever written.

I kept hearing that I was a sylph, which when researched, seemed to be a cloud person, a sky elemental, even though I know, from being a dancer, that sylphs in ballet are woodland fairies.

Whether I’m a sylph or simply have the fantastical mind of an immensely creative person, who is a writer and artist, I don’t know. (I’ve been told I’m from another planet and wanted to live on Atlantis but being out of timing, kind of missed that period of time and landed on earth now.)

If you find yourself drawn to the sky and to clouds in particular, perhaps you’ll find yourself drawn here as my main web site, aplaceforus–thesite.com, makes its transition into this blog site.

Enjoy the mysterious, the mystical, the woo woo and total wonder of our earth, our galaxy and our consciousness, and get connected here to what you need (perhaps its a restorative), want (a tale of en’ light’ en ~ment), or are dreaming about!

Happy trails.

(and in case you came here wanting to know what it means to love clouds… ah there’s a vast repertory of reasons… links to water, air, airiness, a need for connection to inspiration… or perhaps, there are some images in the clouds that could have specific messages for you today or in the days to come)

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