ON-LINE LEARNING PROGRAM Certificate in Sound Therapy (C.ST) Module 3 Tibetan Singing Bowls
CONTENTS Page Learning outcomes for Module 3 3 History and composition of Tibetan singing bowls 4 Number seven and planetary associations 5 The therapeutic sounds of the singing bowls 7 How to work with and play the singing bowls 8 Contra indications for the use of Tibetan singing bowls 9 Symbolic direction 10 Further study 11 Colour of Sound Institute contact details 11 Colour of Sound Institute, 2011 Page 2
LEARNING OUTCOMES FOR MODULE 3: To learn about the history and philosophy of Tibetan singing bowls. To learn the techniques of how to work with Tibetan singing bowls. To learn how to work with friends, family and individually for healing, meditation and personal development using Tibetan singing bowls. To experience working with Tibetan singing bowls during meditations and individual experience. To learn about the contra indications when working with friends and family. To gain firm and secure foundations with which to develop individual skills, experience, understanding and knowledge in order to be a professional, proficient and positive sound therapy practitioner. Colour of Sound Institute, 2011 Page 3
HISTORY AND COMPOSITIONS OF TIBETAN SINGING BOWLS: Tibetan singing bowls have their origins in the Himalayan region and are believed to date back many centuries, but their history is shrouded in mystery with very little written information available. Tibetan religious and spiritual philosophies entered Western culture as a result of the invasion of Tibet by China in 1950 and the subsequent move by the spiritual leader of Tibet, the Dalai Lama to Nepal who placed the Tibetan government in exile. As a result widespread awareness and interest in Tibetan Buddhism (a unique Buddhist movement with its roots in ancient India) was opened up. This combined with many Tibetan Lamas travelling to Western countries teaching about their unique culture and religion beliefs attracted many followers. These teachings involved ritual objects that are used in Tibetan Buddhism practices. Many of these were sacred sound instruments, including Tibetan singing bowls. Tibetan singing bowls, which are believed to be used by Tibetan Buddhist lamas, monks and nuns, were available for the first time, in increasing numbers to Westerners. The history of metal tools dates back to the Bronze Age in China (2500 BC 200 AD) where much technical advancement was taking place in the working and production of metal objects, implements, tools and weapons. The ancient Chinese population adhered to their religious and spiritual belief that all things have an innate life form or energy, which they call chi. Therefore in the production process each precious object and tool would have been invoked with various energies and blessed and consecrated according to the person the tool was created for including astrological associations. At some point in this period of history somewhere in the Himalayan region it is thought that the first metal singing bowls were created and which may have been oval in shape. The way in which Tibetan astrology came in to being was through the understanding of astrology and its associations which originate from a combination of wisdom contained within the ancient scriptures of the Vedas, a body of Hindu text believed to be thousands of years old and are some of the oldest written text found by man. The Hindu scriptures detail information about the raga, a sacred form of Indian music, which is used for spiritual purposes, and which they believed reflects the movements and sounds of the planets. The notation system of the Hindus assigned a note to each of the planets. As the ancient Hindu systems were passed throughout the Himalayan region and entered into Tibet, this ancient spiritual knowledge would have been deciphered and translated become ingrained into the Tibetan community, and eventually Tibetan Buddhism replace the major Bonpo religion of the previous ages. The influences of the Bonpo into Tibetan Buddhism are evident and this combined with the Chinese astrological concepts came together in the creation of not only Tibetan Buddhism but also the creation of Tibetan singing bowls and their astrological associations and indeed sacred sounds as part of the Tibetan Buddhist philosophy, practices, development and devotion. Tibetan singing bowls which have a unique combination of metals are so called because they originate from Tibet and when played they sing or create beautiful harmonic tones and overtones. It is believed that traditionally the Tibetan bowls were hand made from a combination of seven metals. The making of the Tibetan bowls is a ancient art form with each individual family having their own Tibetan singing bowl recipe for the weights of each of the traditional seven metals. The family s production techniques and methods as well as blessings and consecrations are more than likely to be unique and held within the privacy of the makers and passed down only from generation to generation. It is believed that since the invasion of Tibet many of the ancient family lines of Tibetan bowl makers have ceased with the destruction of many of the traditional ways. However some families escaped to Nepal and have continued to produce Tibetan singing bowls in the traditional ways. It is also believed that some of the families stayed in Tibet and continue to this day in secrecy producing singing bowls in the ancient way. Because of the popularity of the Tibetan bowls in the West there are many bowls out there which are not produced in the traditional way by ancient Tibetan bowl makers and one should be mindful of the origin of the bowls and where possible ensure that the bowls are not from a source of machine made mass production which have been made to look like old or distressed Tibetan bowls. This is of course difficult for the everyday person difficult to ascertain and therefore the place with which the bowls were acquired should be able to help you in this matter. Although the Tibetan singing bowls have traditional metal combinations it is likely that each family used the metals in unique combinations in terms of weights and according to their location and availability of metals at that point in time. Therefore each maker would have unique signature bowls, which are individual to that family and which could be recognised instantly by the maker or someone from its line. There are certain bowls which have mantras or words carved into different parts of the bowls and other bowls which have lines at varying different levels around the outside and inside of the bowl. There are other bowls, which have deities inscribed into the bottom of them and which have different colours from every possible shade and tone of gold to browns and charcoal colours. Therefore every maker s bowls are unique, but also each bowl is unique through the hand-made method of Colour of Sound Institute, 2011 Page 4
production forming unique shapes and patterns, creating an individual bowl aligned with that specific point in time and associated astrological connections. It is thought that a great deal of the Tibetan bowls for sale today are new bowls which are either produced by traditional makers using ancient techniques or by modern craftspeople without ancient knowledge and or by machines which can mass produce Tibetan style singing bowls. Often the newer bowls are made to look old using various techniques and this is usually for two reasons, firstly because the bowls may be trying to pass off as being older than they are and secondly because the Western market wants bowls that look like the old and ancient bowls. The metals used and weights contained with the newer bowls are thought to still contain the seven metals but whether their weights are correct according to the ancient ways is unknown and the likelihood of the bowls being created according to astrological significance is quite low. a Tibetan bowl Ancient Tibetan singing bowls are difficult to acquire and very expensive with most ancient bowls either in Buddhist communities where they belong or in private collections or museums around the world. It is best to be mindful if a supplier is trying to pass off an old or ancient bowl for relatively small sum of up to $100 or so as it is unlikely that these bowls are old or ancient and it is very unlikely that you would be able to buy such a bowl for this amount of money. This is not to say that these bowls are bad or you cannot use them for therapeutic sound purposes, because if their sound is good and it resonates with you then it will be perfect, but be mindful of unscrupulous or misinformed suppliers that overcharge and mislead. The modern bowls, which are largely those played and available to most western people, still ring using the same technique as the ancient bowls. The sounds of the modern bowls are not as beautiful and harmonic as the ancient bowls, which have deep and powerful harmonic tones and overtones. These modern bowls contain within them the original intention behind the creation of the ancient Tibetan singing bowls. Therefore it is this original intention or blueprint which can be developed with the use of either Tibetan mantra, chanted into the bowl when played, or the adding of Djwal Khul aura-soma quintessence (which invokes the Tibetan ascended master and contains the enlightened wisdom of ancient Tibet). The intention which you give to these bowls plays an important role and with the intention of honouring and devoting your work to the ancient Tibetan masters and makers of these beautiful instruments you will invoke this ancient energy into your bowls. THE NUMBER SEVEN AND PLANETARY ASSOCIATIONS: The number appears frequently in sound therapy and is seen as a number, which is mysterious, mystical and powerful. There are seven chakras, colours of the rainbow, notes on the scale and days of the week as well as the seven spheres of existence. The cells of the human body are also renewed every seven years and therefore seven can be seen as a number which also relates to cycles of evolution and growth which is very appropriate to sound therapy in general, which manifests vibrations which are ultimately transformational whether through healing, personal growth or spiritual development. The Tibetans assign each of the seven metals used in the production of Tibetan singing bowls to one of the planets of the solar system and therefore each of the metals incorporated invokes the energies associated with each planet. This planetary connection clearly shows the immense knowledge and understanding which the ancient Tibetans utilised in the creation of these ancient sound instruments. The Tibetan singing bowls should be seen as being universal instruments which when played their vibrations are symbolic of our devotion and surrender as multi-dimensional beings created by a universal Divine consciousness. The playing of the bowls strengthens our connection to everything that is contained within the whole universe and reminds us that we are all connected and not separated, and even though the planets are millions of miles away we can resonate and vibrate to, and with, their own Divine energies and invoke the energy of each of the planets in the solar system into the sound therapy work that we do in order to bring balance and harmony. Colour of Sound Institute, 2011 Page 5
Pythagoras is a famous figure in history whose theories still hold strong today. Pythagoras seemed to believe that everything within the whole universe is vibrating and therefore has an individual and unique sound. These sounds include each planet in our solar system and were named the sounding of the spheres. The sounding of the spheres is literally being played out when we are working with the Tibetan singing bowls where the macrocosm of the planet s vibrations are being manifest in the microcosm of the Tibetan singing bowl, which is linked through its seven metals to the seven planets. The traditional metals used in the creation of Tibetan singing bowls and their planetary associations are shown on table 3 below: Table 1 METAL PLANET ASSOCIATION SYMBOLISM Gold Sun Sunday Heart of our Universe, intuitive wisdom, self expression and strength. Psychological symbol of the personality, deepest essence of the spirit, sound is crackling, roaring and hissing. Male Silver Iron Mercury Tin Copper Lead Moon Monday Mars Tuesday (French Mardi) Mercury Wednesday (French Mercredi) Jupiter Thursday (French Jeudi) Venus Friday (Freya) Saturn Saturday Emotions, cycles of birth, life, death and rebirth. Expression & creativity. Will, action, propulsion, power, sexuality. Selfassurance, adventure and freedom. The physical level. Messenger of the Gods. Intellect, thinking, knowledge and speech. Power over matter. Immortality and durability. Largest planet, universal wisdom, evolution, growth, development, life force, alertness and trust. Love, beauty, warmth, sensuality, growth in nature. Conscience, self-discipline and duty. Materialism, rigidity and sorrow. The shadow self which we choose not to see. Closure in all stages. energy (Yang). Tides, seasons and movement. Reflective energy and rhythms of life. Female energy (Yin). Aggression, rage, strength and enthusiasm. The will to live. Process of combustion. Male energy (Yang). Transfer of information and communication. Achieve balance and reconcile opposites. Androgynous. Sound is quick and bird-like. Higher spiritual values, mystical experiences, expansion, growth towards perfection. Sound is majestic like an organ. Creativity and the arts. Inner peace and rest. Female aspect (Yin). Feeling of isolation and can lead to introversion. Awareness of limitations. Depression and being alone. Satan/Devil who forces us to see who we truly are. Division and death. Sound is deep and frightening thunder. Male energy (Yang). Some Tibetan singing bowls and particularly old and ancient bowls are believed to have an inclusion of iron ore, not from the Earth directly but from meteorites, which landed on the planet many millions of years ago. This iron content, whose source is outer space, would have its own unique vibration dictated according to the unknown origin of the meteorite. This meteorite iron inclusion whether included as a conscious or unconscious act could be seen to be invoking a particular type of Mar s energy (Mar s negative attributes are often linked to war and masculine aggression, violence and dictatorship). Is it that the otherworldly iron altered the energy dynamic of the bowls, manifesting its positive energies of dynamic, and leadership action? The use of meteorites in old and ancient bowls could also explain the almost otherworldly tones, which can be heard. Colour of Sound Institute, 2011 Page 6
THE THERAPEUTIC SOUNDS OF THE SINGING BOWLS: The bowls themselves when played create an orchestra of harmonics; they are deep and comforting and connected to the earth from which they came. The size and the thickness create the pitch, but the bowls do not have one set note. When using an electronic chromatic scale detecting device the notes can move from one note to another through their tones and overtones. This shows the different harmonics that is created within the bowl itself. The notes can also change depending on which wand is used and there are a variety of wands available. There are suede-covered wands, wooden only wands, leather wands and felt-covered wands. The wands are usually supplied with the bowls, but this means you do not get to choose the type of wand. You can buy wands individually and they come in various sizes. It is better to use the larger suede wands with the larger bowls as they play much better and do not vibrate with harsh sounds, the smaller bowls are best played with wooden wands and medium bowls can be played with both suede and wood. The Tibetan bowl wands are usually made from wood and often have other materials attached to the wood. Choosing a singing bowl is like choosing a crystal and your intuition is greatly needed in order to determine the right bowl for you. In an ideal situation you should be able to listen to and play the bowl for yourself, rather than ordering a bowl direct from a supplier. The bowl that you resonate with will be the right bowl for you and you will know instinctively which one it is. Tibetan bowls come in many sizes, weights and thickness and the bowls are usually sold by the weight. The heavier the bowl the more expensive they are and the larger, older and ancient bowls can be very pricey, so it essential that you have time to play and experience the bowl in order to decide if you are to be its guardian. The symbolism of the bowl and the wand is exactly the same as discussed in the crystal singing bowl section. It is also a good idea to be aware of and work with this symbolism when working with and playing the Tibetan singing bowls. Colour of Sound Institute, 2011 Page 7
HOW TO WORK WITH AND PLAY THE SINGING BOWLS: A Tibetan bowl is played in the same way as the crystal singing bowls where they can be either placed on the floor as detailed in the crystal singing bowl section and for the same reasons laying them out on a beautiful cloth (this cloth could be from a Tibetan source or have Tibetan or Hindu symbols, deities or mantras on them in order to honour and invoke appropriate energies). The bowls can also be played whilst holding them in the hand or placed on the physical body. They can also be placed on cushions, rings and holders specially made for them, which like the rubber ring the crystal bowl is placed on ensures that the bowl does not move around when it is played. Tibetan singing bowls should always be cleansed and cleared of prior energies before first working with the bowl, each time the bowl is played for a client and when you feel it is required. The bowls can be cleared using the methods detailed in the cleansing and clearing section of Module 1. Please be careful with oils and water ensuring that you do not stain or mark the bowls. To clean the bowls use a soft cloth, add sea salt, sand and or a small amount of lemon juice to the bowl, which can be rubbed into the inside of the bowl to remove excess dirt. As the bowls don t have specific notes unlike the crystal bowls, you can either work within the range of notes they create according to the wand that is used and match the appropriate note range according to the chakra/colour, or use your intuition when selecting and playing Tibetan bowls for the purpose of healing, transformation, meditation and spiritual development. The Tibetan bowls each have the ability to balance the whole energy system as the bowls are made of seven metals they are symphonic instruments and therefore work with a whole spectrum of notes and sounds. The different notes and sounds can come from tapping the bowls, playing the bowls, using different sizes and types of wand as well as when the bowl is played slowly or quickly and from the initial sound to the final sounds before it stops. The different sizes and thickness of the bowls create different sounds and therefore with the use of three or four different bowls a harmonic experience can be created. The bowls create many different tones and overtones when played and have the natural ability to work through the physical, energy, mental/emotional and soul energies. The use of a wand, which is usually wooden and may also be covered in various materials, is placed in the dominant hand and gently and slowly rubbed around the outside edge of the bowl in order to make the bowl sing. When you are working with Tibetan bowls it is important to firstly tune the bowls by gently tapping each of the bowls until you feel they are ready and then tap each bowl three times in order to open them, and then tap them three times at the end of the session to close the bowls and placing the wand back in the bowl to complete the ritual. When you are playing the bowl you can run the wand around the outside edge of the bowl for any length of time without fear of damaging or breaking these bowls. It is when the bowl is overplayed that the wand will scrape around the outside edge causing unpleasant sounds and this must be avoided. The experience of working with and playing the bowl will allow you to know and feel when it is time to either slow down with the wand and or move the wand away from the bowl and allow the amazing undulating tones and overtones to sound unhindered. It is not necessary to play the bowl continuously, it is far more pleasant and appropriate to move the wand around the bowl only a few times in order to manifest the sound and then allow the sounds to ebb and flow with tones and overtones created from the seven different metals contained within the bowl. Once the sound from the Tibetan bowl has slowed down or stopped you can once again gently and slowly play the bowl. It can also be appropriate to gently tap the bowl and allow it to play rather than moving the wand around the bowl and particularly with the Japanese singing bowls this is not only excellent but also very beautiful. When holding the Tibetan bowl in the palm of the hand you can move it around the body, chakras and aura in the same way as with the crystal singing bowls, allowing the flexibility of movement in and around the client. Depending on their size, the bowls can be heavy and therefore it may take time to get used to holding the bowls for a period of time or you might find that you either can t hold the bowls at all or only for a short period. The bowls can do perfectly well when played on the floor or using a bowl cushion but it is with the holding of the bowl that allows the unrestricted sounds to be heard. The placement of the Tibetan singing bowls on the front and back of the body is also excellent for deep seated, stubborn or very physical, emotional and mental conditions and once again it is important to ensure the bowls are balanced firmly and that they are comfortable for the client. The bowl when placed on the body should be played gently for the client, allowing the full sound of the bowl to complete before removing the bowl. You can also move around the room, gently walking as you hold the bowl in your hand and play it, this enables the sound to be heard in a group situation and from various points in the room, creating different sounds through the Colour of Sound Institute, 2011 Page 8
distance. This sound can also be used for clearing and balancing the energies inside the space by holding the bowl in the hand whilst it is sounding and walking around the perimeter of the room, paying particular attention to the corners where any stagnant energy will congregate (this method can also be utilised with any therapeutic sound tool and will be affective to a larger or lesser degree depending upon the sound. High-pitched tones can be linked with space clearing). The tone of the Tibetan bowls balances each of the chakras and brings each layer of the being into harmony with one another. They balance and heal the physical body and synchronise the two hemispheres of the brain. They can assist in the shattering and removal of energy, which can accumulate or become stuck in any aspect of the body, mind, heart or soul. They therefore allow old energy patterns that no longer serve us to be removed and transformed. The tones of the bowls themselves permeate the physical body to a cellular level and release blockages or stored energy allowing us to become balanced. They break up rigid energy patterns and restore the natural circular flow of energy, chi or prana throughout the body. The bowls can also facilitate us in entering into altered states of being and allow us to enter into the alpha-theta optimum healing frequency. CONTRA INDICATIONS FOR THE USE OF TIBETAN SINGING BOWLS: The following guidance on contra indications for the use of Tibetan singing bowls is similar to that relating to crystal singing bowls outlined in Module 2. If you decide to place bowls on the body always think about the motivation to do this and discuss with the client as to whether they would feel comfortable. If the person is pregnant is best to avoid any kind of body placement. If you and the client decide to go ahead, please consider the stage of pregnancy the client has reached. It is extremely inadvisable to place any type of therapeutic sound tool on the body of pregnant clients, especially in the first three months of pregnancy, where signs of the developing baby may not be evident, but this is a very delicate stage of the pregnancy, where the baby is most vulnerable. As the ear is the first organ to develop and because sound travels effectively in the medium of water, which the baby is held in, it is important when treating pregnant clients to be gentle when treating pregnant clients. It is important to ensure a safe distance from the client is maintained (at least 4 feet is appropriate) and placement of the sound tools on the body is best avoided. It is believed that there are many positive and beneficial effects to be gained from relaxation and healing sounds to the growing foetus. The advised therapy practice is gentle flowing sounds in and around the pregnant mother for the beneficial and positive effect of both mother and baby. It is also important to be aware if the client has any plates or implants in the body (metal plates in particular) as this could cause discomfort through the vibration of the sound and the implant. It is advisable to avoid placing the sound tool on the body in the area of an implant. It is in the Institute s experience of working with clients with various implants that any kind of problem is very rare, but it is important to be aware of this situation and go lightly and gently, always gaining the client s verbal and written permission. When permission is gained from the client you can continue firstly by testing the sound in the area and avoiding placement on the specific area of the plate is advised (again remembering that you will be working only with friends and family at this stage). According to the Epilepsy Action Support Services there is an extremely rare form of epilepsy, which can be triggered by sound, and it is sound reflective epilepsy where such things as bells, music, animals and car horns, etc can trigger an epileptic fit (the sound is usually very unique to the person who will usually be aware of their own triggers). This is linked to those people with brain lesions which are usually detected early in life and most clients will be fully aware of their condition and trigger s and would more than likely avoid this type of treatment. The Epilepsy Action Support Services stated that sounds used for the purposes of relaxation and healing can be extremely beneficial to the majority of people with epilepsy. Colour of Sound Institute, 2011 Page 9
SYMBOLIC DIRECTION: There is an added dimension when working with both Tibetan singing bowls, which is the understanding and concentration whilst playing of the symbolic direction, whilst the bowl is being played. This is also true of all therapeutic sound tools where the tools have the possibility of being played either clockwise or counter clockwise. The different direction the sound tool is being played invokes and is linked with particular types of energies and this energy connection can be incorporated into your sound therapy practice. It is also interesting to note in which direction you naturally want to play and also examine each treatment, healing or meditation as to the dominant direction in order to understand the energies which are being intuitively worked with. The clockwise direction represents the masculine energy, which is symbolic of the outward motion and invokes release. The masculine clockwise direction pulls energy from inside the tool and draws it out into the physical world. The clockwise energy is seen as dynamic, charging and energising and therefore has the ability to stimulate and strengthen all aspects of the being. When playing the sound tools in a healing situation the clockwise direction manifests energies which strengthen the energies of the physical body, chakras and the aura and has the ability to balance the being as a whole. The masculine energies are linked with the left-brain intellectual energy and can therefore be excellent for those who have difficulty concentrating and or are nervous during exams, tests and education. This direction when played is excellent for opening one up to new possibilities and energies. Playing in the clockwise direction allows old and or negative energies to be released in order for new positive energies to replace them. The counter clockwise direction represents the feminine principle and energy. This direction is symbolic and invokes the inward motion of receptivity. The energy of receptivity allows one to be open to all possibilities that are available to us endlessly. It is through the outward clockwise receptive direction, which allows unhelpful energies to be reflected upon and drawn out. This energy also allows one to go deep within the self and see the self for who it really is. The counter clockwise female energy can be used for the purposes of healing, transformation or spiritual development. The counter clockwise motion also invokes the energies of inner transformation, healing and change through the understanding of the different cycles and periods in life, which lead to inner growth and therefore change. The counter clockwise playing direction can assist those who find it difficult to come out of their shell and are introverted, isolated or depressed. This direction allows the energies of the bowl to be received by those who find it difficult to accept love from the self or others. This energy allows us to be open and released from those thoughts or emotions which hold us back and keep us locked in the shell of our fears and doubts. Throughout the sound therapy treatment it is the balance between the two energies which should be worked with, and therefore a flow between the two should always be adhered to. You may find that you concentrate intuitively with one direction above another and this can be helpful to assess what the client is going through during the whole process of the treatment. Balance and harmony is what we are aiming for and that is what therapeutic sound is all about and this is also true of the symbolic direction. Understanding ourselves through experience of playing therapeutic sound and understanding where we are in relation to the direction allows us to have a greater understanding and feeling of this aspect of sound therapy when working with clients. Colour of Sound Institute, 2011 Page 10
FURTHER STUDY: CDs / MP3s Tibetan singing bowls Touch of silence Tibetan singing bowls Danny Becher Klaus Wiese BOOKS AUTHOR Singing Bowl Exercises for Personal Harmony Singing bowls a practical handbook of instruction and use Singing bowls an ABC Anneke Huyser Eva Rudy Jansen Geert Verbeke COLOUR OF SOUND INSTITUTE: CONTACT DETAILS Course Director: Contact address: Tony Nec Colour of Sound Institute 12 Polscoe Lostwithiel Cornwall PL22 0HS United Kingdom Contact telephone number: +44 (0)1208 873 974 E-mail address: tony@colourofsound.org Website address: www.colourofsound.org Colour of Sound Institute, 2011 Page 11