The light body never failed to help me adapt and stretch to any situation. This is no exaggeration. It boosts your creativity because it comes out of boundless energy. The light body is older and wiser than any of us. However, its energy, when properly focused, goes right into our everyday lives and energizes us on all levels.

I learned this course the “hard way”—by foot, train, and taxi—and in a foreign language, Dutch. I lived in Belgium. But it was fascinating that way. The energies were there with me, regardless of the language and circumstances. I was amazed that I could visualize with my eyes closed, which I hadn’t experienced before. The energies danced into “visions” when I least expected it, and they transported that excitement into me. As they transformed, that excited energy remained in me. So as soon as I moved back to the States, I began to teach the courses. Till I was teaching practically every light body course that the founders allowed any of their teachers to teach.

I offer you a free introductory hour in which you experience the energies yourself, still being guided by DaBen and Orin, the founding spirits. And now being watched over as well by Duane Packer and Sanaya Roman, who were their channels here on Earth until their recent passing. Come, enjoy. I always do. And I think you will too.

The photos comes from the CDs in the six-box home study program of Awakening Your Light Body created by LuminEssence, www.orindaben.com; there, Sanaya Roman and Duane Packer describe these courses they channeled into the Earth, which are now taught worldwide. Great attention is paid to keeping them authentic and not over-commercialized. Are you ready for this course? If so, please contact me. You can start immediately.

The post Now is the Time to Awaken Your Light Body appeared first on Margaret A. Harrell.

11, 12, 13

Palimpsest

Time with his old face

Death with his skull face

God with his No Face

Under my own face

—Milton Klonsky

What did William Blake have to do with The Hell’s Angels Letters book?

More than you might think. In my mind his artwork was the artbook I didn’t work on in 1971 or so. This was the artbook I did. It all went back to that.

But let’s take the story slowly.

1994. It was an unlikely event for me to be attending – called “Opening to Channel.” Living in Belgium, I had not had much experience personally with this more American practice in 1994. But I had just started taking light body experiential meditation work, which means getting to know the energy around you—your personal field—and from there subtle energy in general: how it works in us (somewhat in line with quantum theory but experientially). That’s where the first signal came that something was up about this book.

But maybe I should earlier, 1978. In the apartment of my close friend, a bit romantically, poet Milton Klonsky, whom Beat-generation author Seymour Krim described as having “an IQ that could stutter your butter.” Krim, by the way was a New Journalist, a “recorder of the scene as filtered through his intellect slanged vision.”  A fabulous author, he  taught writing a Columbia and at Iowa, and received both a Guggenheim and a Fulbright. In this somewhat shabby rent-controlled one-bedroom apartment of Klonsky, a tall bookshelf richly filled almost a wall-to-ceiling of the living room. Among the signed copies, by friends, was one by poet Marianne Moore. There he sat, in his (somewhat shabby too) maroon or gray sweater, surrounded by plates: William Blake printing plates from the Tate Gallery in London. Klonsky and Blake were two deep eccentrics, except for all his mental travels Milton did not talk to spirits the way Blake did. He did, however, get so engrossed in his work it could be almost a trance. Telling me about the illustrated manuscript, Blake’s Dante, he was working on for Harmony Books, he said: “You do the text.”

What??!! Sputter. Sputter.

The text was brief or long blocks of commentary on Blake’s engravings of Dante’s Divine Comedy. About the most erudite thing I could imagine. Certainly not housed in my brain. Plus translated excerpts. Whoo. That meant having at my fingertips all of Dante’s Comedy, plus getting into Blake’s mind at the intersections. And I didn’t know Italian. I was awed. How could he think me capable of such expertise put together wittily? He said, “Come on. I’ll introduce you to the publisher of Harmony Books. I’ll get him to give you $1,000.” $4,821 today!  Temporarily, I said yes, though I backed out when we returned from midtown, but I kept the memory. Including the awe.

Entering his apartment that afternoon now seems a kind of replica in astonishment of the opening pages of his American Review essay Art & Life: A Mennippean Paean to the Flea; or, Did Dostoevsky Kill Trotsky?—in which the natural philosopher Robert Hooke stared, in his dungeon laboratory in April 1663, as “out of the surrounding darkness” under his just-invented compound microscope he looked at a flea—“for the first time truly seen.” The flea was the carrier of the bubonic plague at the time, which he didn’t know.

Dazzled, my mind returned to Klonsky’s first Blake book: The Seer and His Visions. The erudition, the mix with street-talk, the brilliant colors and text-plus-image layout. It seered my awareness.

How does this connect to The Hell’s Angels Letters? It is one of the models underneath the book, a template peeping through, a palimpsest that started there. Or the start might have been—no, the pickup—my visit to Rome, to the da Vinci-inventions museum and the purchase of a book of illustrations/text of his imagined machines I stumbled on. Or my book of Michaelangelo’s paintings, or of my friend pop artist John (Jack) Wesley in New York. Or even, as while living in Belgium, I helped set up an exhibit for a museum, encountering their book Mozart in Belgium (in French).

Just as I began my first book by sitting in a Paris Montparnasse restaurant, Le Dôme, frequented in the past by Hemingway and Sartre, great writers and thinkers, painters, you name it, here was another, older flock of artists, this time visual, with texts digging into their great works. Sitting in that pond of art of the past ties in to The Hell’s Angels Letters, how? Underlying it in palimpsest mode. “Palimpsest,” a word I learned from Milton.

So let’s get down to it. At the channeling workshop in Ghent, Belgium, in 1994, I casually asked—in an exercise in twos—would my book be published? That is, Love in Transition: Voyage of Ulysses—Letters to Penelope, which I had worked on for nineteen years, unfinished because—what else?—of the death of Milton Klonsky (after whom my protagonist was named), after which he seemed to “come back from the dead” to initiate me. Are you following? There are a lot of winding trails like this leading up to the Letters.

The male in my Ghent channeling workshop answered, “I see a book by you in a bookstore window.” Wow.

A year later at the one hundredth-birthday celebration of the famous laboratory parapsychologist J. B. Rhine at the Parapsychology  Association convention in Durham, NC, in 1995, I had been asked to contribute, as I had known and corresponded with Rhine—letters again—and while at an evening event there I asked a parapsychologist, who said she looked for lost children for the New York City police sometimes, the same question. “Will my book be published?” SAME ANSWER. Twice now: “I see a book by you in a bookstore window.” 1995.

Fast forward to 2014. It takes patience to follow how the Universe plants. The players are getting ready in the wings as I enter Carmichael’s Bookstore in Louisville and a friend says, “Look, Margaret, your book is in the window!” Not just one book, but my two memoirs, just published in 2011, 2012, with Hunter S. Thompson as a key character, at last. In Love in Transition it had been Milton whose strange embodiments I had “memorialized.” But here came Hunter.

There, before a sparse audience on a Sunday morning (!) with most all the Gonzo Fest attendees in bed, I gave my presentation of his letters to me, the originals carried inside the plane from NC to Louisville, Kentucky. Spreading the collection, worth tens of thousands of dollars, out, I enthusiastically elaborated, letter by letter. In the audience Jinn Bug, a poet/photographer/graphic artist and importantly for our story, one who could receive energy messages, sat transfixed.

“Remember the spaces,” Hunter had written me: it meant tell the Random House production crew of Hell’s Angels (the printer worked from the manuscript hard copy) to reproduce the space around his newspaper-width quotations. Exactly. That’s an order. In the talented Jinn Bug’s mind, a vision of an artbook, formed. First of all, it was unlikely she would even be there, not often stepping into the Gonzo world. But she did. And that proved vital.

“Remember the spaces” opened up before her into—what else in our scenario?—an ART book, say, like, The Gorgeous Nothings (Emily Dickinson’s scribblings on envelopes, surrounded by barrels of space). Now, Jinn and her husband, Ron Whitehead, the founder/organizer of the Gonzo Fest, who had invited me to speak, together approached me. I had sometime back decided to write no more books without being asked, so as to get readers, not just good critical reviews. Jinn conveyed her vision, intending her role to be then complete. I stood still, rooted to the spot, captured by the image of the artbooks of the past.

A couple of years passed. I did nothing. How could I without my layout templates? Jim Bug had no interest in creating any templates, even one. But reluctantly, one day, hurrying down the airport corridor with me, she relented. (Probably to keep me interested.)

Now the winding trail wound into new corners. Keeping the waning project alive, investing it with dynamite, though so far not a single step in it had been taken, one day Jinn Bug got the idea of inviing in in Ron and Juan Thompson. She broached the idea. I said yes. They said yes. Juan’s entry miraculously guaranteed that the reprint permissions from the Estate.

Without Juan’s nod and generosity, no book.

And everyone felt the book was Hunter’s wish!

The ducks were in a row. But another year passed. I was still in that living room of Blake’s plates from the Tate Museum, or in Leonardo’s book of drawings with text, waiting for my template, the palimpsest of art books in the past standing with me. My stuck brain thought of no one to ask for templates, not yet even thinking of going to a designer. That would have been the obvious act. But I knew no Gonzo-inspired designer.  And I wanted text and template to go hand in hand.

Finally, Jinn and Ron said it was time for the editing—in the form of questions. That meant I had to write text, which was actually easy, given the familiarity I now had with the topic. Immediately, Jinn began drawing my own personal story into the book, where I had not planned on including it much. To bring me in, to widen the audience outside Gonzo, was her idea. Also, that I answer questions in written form in back-of-the-book Notes. Notes to be deleted later.

Then Ron announced he had a narrow opening to read the manuscript in six weeks. Could I be ready? Jinn added: forget waiting for the templates, she and Ron would drag text from my manuscript under and beside each illustration. All they needed was the text to drag, let them choose which. Wow. My heart dropped to the floor. My first reaction was, what a lot of trust that required of me, introvert that I was (extrovert in some ways too). But trust I had (the extroverted me) and in fact wasn’t this a collaboration? I said yes.

Also, they both insisted I leave excess material in for them to see. This required to restrain me in chains, as it were. I, of all people, identified myself by my ability to cut. One author I edited called me “scizzors lady.” How ironic. Because 1) I am an expert in cutting. It was like a trademark, my TM. A footprint of me.

I remember (painfully but gratefully) a lesson—shortcut—from Alan Rinzler, one of Hunter’s editors, who around 2009 read my memoir Keep This Quiet! in manuscript when what would become the first two volumes were still one long text. He berated the excess “ephemera.” Yes! My intuition had already told me that. So I raced through the book, cut one third, slashing away as in an overgrown vacant lot, without a glance backward, with nary a pittance of regret. This sealed the deal for me to always listen to my own intuition at a certain point—siding with it, as it nodded vigorously, if needed.

Now, with trust, trepidation, gratitude and curiosity as well, I turned in the text—at the very same time the Universe granted Ron an artist-in-residence assignment in Estonia, alone! No sooner had I turned it in than off he went.

Well, he would not back out, he soon informed me. He would edit it there, but what would happen to the plan? Unbeknownst to me he knew nothing about the plan.

So he received a text with no chapters, thus no chapter openings and closings. Now, those are  a fabulous tool I refresh myself on in bedtime mystery novels nightly. But this manuscript had no chapters, because (I thought) he was now to “place” portions of text under and around and in between the illustrations! Ron didn’t know! And I didn’t know he didn’t know. As I had only seen him a few times in person and found him rather intimidating (I admit), we had had no long phone conversations (a difficult feat in itself, as he is like a fire hydrant, the words pouring over each other).

I said, “Ron, cut anything—a paragraph, a page, a section—move paragraphs around. But please just do no line editing.

He said, “Thanks. Good to know. OK.” End of instructions.

That was the extent of the communication, except he repeated I was not to cut excess material, as he needed to see it to decide if it belonged in or not (not, definitely!).

So over in Estonia he weighed, wrestled, wondering how the text could be made “conversational,” he later said. I now know he must have meant to deemphasize any hint of anything academic. That was fine with me. A good idea.

I didn’t mention the plan that he and Jinn—now himself alone—were to drag and cut and paste my text under and beside and between illustrations. I mistakenly just assumed he had been told. Possibly Jinn thought I told him. Or that, no matter, it would all fall into place. (Which it did.)

Regardless, he sweated, then returned the manuscript with no markings. Just the finished product. A clean text. No questions.  I looked. YES.  As if my mind had been glued to his (and perhaps it was), he 100 percent agreed. Eye to eye. He deleted everything I’d shuddered at leaving in. And left in what I loved. Talk about mind meld.

But Ron was now emailing out the text for early reading. Ye gods! I hastily made chapters – with openings and closings created for dramatic effect. And by luck found designer Deborah Purdue to do Sample Pages. She just fell out of the sky. Deborah happened to live in Medford, Oregon, I soon realized—the headquarters of my light body work, from whence the Opening to Channel workshop had stemmed.

So now we entered the Art Book arena—layout, color, design fantasia. And lo and behold, as the self-organizing Universe would have it, it fell to me to drag and place the text! We were off to the races.

In the next year, in combing through agent options, I butted against my karma. I reached the spot where with earlier books I would give up. Was it karma? I began to think so. A stone wall I had to blast through. Ron masterfully pushed me, always upbeat, past every rejection letter.

Ron said, “No, keep going.” Jinn: “I think there’s a publisher out there.” What? I believed in her hunches.

And lurking in San Francisco, a needle in a haystack, he was.

(If you do not understand why the book was noncommercial, just imagine the cost of color printing. For sure, traditional publishers would, cost effectively, destroy the whole purpose of the project, by retyping, in black and white, excerpts of letters. Excerpts only. No scans. No primary documents on display, no doodles, no color. No coffee table book. Keep This Quiet! all over again. Why bother? No dice. Imagine the yawning of the Gonzo community!)

Grant Goodwine, the perfect illustrator, came in.

One year later in a phone call magic happened. I thought I was dialing a printing house to test what the color printing fee (in any case unaffordable by me; still, it didn’t hurt to ask) would be.

But the printer had a publishing arm. I’d dialed that by accident; by chance he himself picked up. He interrupted: “I’m the publisher of Norfolk Press. I want to publish your book. Do you have a manuscript?” And that was it. Next day, a contract waited. The book would come home to roost in San Francisco. Ah ha. Home to where Hunter typed the very first letter to me.  Closing the circle.

But that wasn’t the last hurdle. I signed in March 2020. COVID lurked. Frowning and forbidding. We got the book out July 18, 2020—no launch allowed.

However, then another hurdle, another karmic stop, as it were, remained. This one still in effect. Will this roadblock get lightly lifted as well? A proud, open highway? The hurdle now is how readers can get the book—available on just the publisher’s website. Ever mindful of dropping hints, the Universe showed its hand here too. An Amazon distribution center popped up right outside the Norfolk Press window—in 2021, saying: See how accessible I am. Take the leap! Charles Cunningham, the insightful, risk-taking publisher, noted the “hint.” But didn’t budge. Yet. Then one day Fat City Gallery, run by DJ Watkins out of Aspen, offered to put the book up on its site for sale. Ah ha. Another surprise in store. Moving now to Aspen, just miles from Hunter’s Woody Creek home. Are we tracing a trajectory on a map?

As we started with Blake, I think of the plots of the Universe: After his exile from Florence, “poet and politician Dante Alighieri . . . wrote his masterpiece, The Divine Comedy, as a virtual wanderer, seeking protection for his family in town after town.”

The Gospel of Thomas: (29) “Jesus says: “If the flesh was produced for the sake of the spirit, it is a miracle. But if the spirit . . . for the sake of the body, it is a miracle of a miracle.”

That is, this winding road is the path of the art of old. Hunter won fame. Celebrity. Notoriety. But for a taste of the “old way,” this might round out the picture. Michaelangelo was enormously wealthy. But most artists were not.

I cannot thank Ron enough for pushing and pushing, never washing his hands of this project. Ron always available to give his suggestions, out of years of experience. Quick, unhesitant. If I would doubt, the solution was: Ask Ron. Quick, snap of the finger, he fired back. And I would go back now to nod at my first publisher, Didi Cenuser, in Romania, as he appreciates being remembered. Who could forget him? Jinn Bug, of course, for capturing several Universe messages during this long journey, without which I don’t think the book would exist.  Thanx, one and all.

To Be Continued.

https://www.beatsupernovarasa.com/thebeats/thebeats.htm
https://www.history.com/this-day-in-history/dante-is-exiled-from-florence

The post A Palimpsest of Thanks appeared first on Margaret A. Harrell.

Duane writes:

The Luminous Body is an expansion beyond the light body. Evolving into your Luminous Body brings about a major shift in consciousness. . . . 

. . . . DaBen and many very highly evolved luminous beings will assist you in discovering your luminous body. These beings have been assembling for the purpose of working with you to assist you in understanding, opening to, and sustaining the high states of luminous body consciousness you will explore.

As you experience the light of your luminous body you will be able to experience your thoughts in new ways so you can better know those that are showing you the truth and that bring you illumination, and to recognize and immediately let go of thoughts that bring you stress or show you a more personality, limited view of the world.

To have consciousness in the luminous realms you will learn how to play with light in new ways and to bring that awareness back with you, enabling you to add more light to your daily life. This light will translate into greater certainty of what actions to take, clarity about the situations you face, more uplifting thoughts, and new ways of relating to people around you.

You will develop a new sensory system that allows you to experience vast, exquisitely beautiful luminous realms and bring this luminous energy into your daily life.

In this course learn more about freeing yourself from limiting thoughts and beliefs.

. . . . As you build your luminous body it becomes easier to stay connected to a higher, clearer light and to have the thought forms that support you in staying connected to the higher energies. Through these experiences you can move into a deeper sense of peace, beyond the limitations of language and words to describe, that is a great reward in itself.

Plus much more. I can’t begin to describe how much shift it brings, how much ease of being in the world and bringing your Presence to it. Let me know if you are interested by emailing marharrellhotmail.com. So much becomes lighter and clearer when you enter this Level of Consciousness. I love these courses.

The Self-Exciting course is described at the bottom of the front page.

The post NEW Luminous Body and Self-Exciting Classes appeared first on Margaret A. Harrell.

Travel into Realms of Light
Receive DaBen’s Individual Transmissions and
Gifts of Light from Luminous Beings for

Evolving into Your Luminous Body – orindaben.com

NEW OFFERING.

I have been offered the amazing possibility of teaching “Discovering  Your Luminous Body” and began the first class in November. Afterwards, around February, dtb, I start a new class to again introduce the Luminous Body, a potential part of your energy field that lifts everything into more light, more joy, more ease and clarity. For this second class if you are interested, please contact me. Prerequisite: Awakening Your Light Body.

It’s possible to take this either in a live class or through Skype. You will need to buy the LuminEssence downloads (guided journeys and talks) created by Duane Packer and DaBen. Total cost for that is  discounted to $200. To work with the new consciousness and the journeys and talks, there will be a class with me once a month. Again, I stress that I am incredibly honored to be allowed to teach this course. The cost for the monthly 3-hour class with me is $50 – $100 a class, depending on number of people taking. Total time: 4 – 6 months.

The Luminous Body, once you contact it and begin to assimilate it, brings great peace and high levels of consciousness into your life, sudden sparkle, suddemn moments of being lifted into divine energies.

From the orindaben.com website:

The luminous body is an expansion beyond the light body. Expanding to this level of light brings you insights into the very nature of who you are on the earth plane. As you evolve into your luminous body you can operate from a level of consciousness that allows you to more easily change your life and consciousness. You reorient your consciousness to a higher light and reach a high point above earth plane energies where you are no longer held back by mass consciousness ideas and thought forms. As your consciousness expands you can continually upgrade and improve your circumstances, make the needed changes in your relationships to bring greater peace and harmony, and create shifts in your health, body, and physical well-being.

There is no end to the levels of consciousness you can reach and the experiences you can have. All expansions of consciousness into more light change your perceptions, insights, understandings, and the way you live your life. With each shift into higher consciousness you are able to make choices and decisions, and to live a life that feels more fulfilling and rewarding.

DaBen, your guide, and many luminous beings
will assist you in evolving into your luminous body.

The post Classes in the Luminous Body – opportunity to sign up appeared first on Margaret A. Harrell.

One Tribe Fest has quickly become one of the most popular mind/body/spirit festivals around. Read  more here.

The post One Tribe Fest Speaker – Margaret Harrell appeared first on Margaret A. Harrell.

Above is the orindaben.com image on the first box of CDs that begins the light body awakening process by anchoring a “power base” so that you integrate the new frequencies and patterns you will begin to discover.

I am now for the first time offering Awakening Your Light Body and other light body classes by not-in-person tools, such as supporting you on Skype, by phone, by email and by transmissions for your success in the course and in life. If interested, just contact me by email or phone. Or through the Contact form of this site. And read further in the light body pages on this site as well.

It’s a transformative experience to take the AYLB course, as many testify. And graduate courses take you even further in expanded awareness and in well-grounded quantum leaps in life. New insights into the authentic YOU

The post NEW “Awakening Your Light Body” classes – REMOTE appeared first on Margaret A. Harrell.

Come out to the Joyful Jewel at the town square in Pittsborn, NC, November 8. The array of people below will be on hand with 20-minute free presentations.

Note: My presentation on  “Awakening Your Light Body” is at 3:20

Special feature: Lots of free things. I will be giving CDs away that contain free Orin-Sanaya Roman journeys, such as “Making Wheels of Love.” I will also be giving away free 1-hour introductory sessions in “Awakening Your Light Body.” You sign up at the event and schedule the free hour later. I am in a Giving Things Away mood. So come and enjoy learning about the light body studies I have been doing since 1992 and teaching since 2002 that originated in California and Oregon (see the description here). Also, check out the LuminEssence website. How this light body guided meditation course can change your life – making things you wish for happen much more easily. Why study the light body? You’ll find out. Why study with me? You’ll fine out. So come with questions. Here is the image of the awakened light body you can expect to have by the end of the  course.

The Joyful Jewel is right on the center circle downtown as you enter Pittsboro. And there is plenty of parking behind the corner buildings a few feet away.

THE LIST OF EVENTS – one at a time

*AMY DURSO  RUNES
Runes are ancient and magic symbols developed by Germanic and Norse tribes and used as a divination method since the Bronze age. These symbols can be a powerful tool in any spiritual practice. Learn ways to tap into your own inner wisdom for clarity, advice and inspiration by consulting the mystical energies of the runes.

*SHARON BLESSUM  WRITER, SHAMANIC PRACTITIONER, CEREMONIAL LEADER, VISUAL ARTIST, ORACLE CARDS  Individual opportunity to consult with Sharon, a seasoned Intuitive, using her new Stone Speak Oracle Cards

*BROOKSIE EDWARDS, LPC, LMFT   I NTEGRATIVE, INTUITIVE THERAPY
An approach that combines massage, hands-on-healing, trigger point, sacred sound, energy work, deep tissue and other modalities in helping you synthesize the interpersonal, spiritual and deep emotional healing that you have already been exploring. This work will help you to continue to uncover your own path to restore balance and promote good health and well-being.

*MARY ANN BUMBERA   VIBRATION IS LIFE!
All beings are a symphony of vibrations, or resonances, that make us unique. When we are out of tune, or out of balance, sound and energy healing can restore wholeness. Integrative Resonance Healing®, a method developed by Mary Ann Bumbera, Reiki Master and Shamanic Practitioner, is a method that fuses sound and various energy healing modalities to weave mind, body and spirit into harmony.

*MARTY BRODA  GAIA SPIRIT STICK HEALING
How do Gaia Spirit Wands heal? Replace mental chaos with calming peace? Lessen fears with mindful presence? Reduce stress by touching  nature’s gifts? You are invited to choose a Gaia Spirit Wand and explore its healing magic in conversation with primitive artist, Marty Broda.

*ANDREA SNYDER CREATING YOUR LOOK FROM THE INSIDE OUT  
– Inner/Outer Beauty Expert, Salon Owner, Visual Artist and Life Coach,  will help you clarify what parts of your life and self could be in need of a make-over, with 20 min Inner/Outer Beauty Consults you’ll gain a new awareness and perspective on your own unique beauty.

MARYPHYLLIS HORN  WHISPERING WITH ANIMALS
Maryphyllis Horn (a shamanic practitioner) shares stories of her own personal experiences with both tame and wild animals and the different telepathic ways we humans can be in silent communication with them.  In her talk, she will address primarily the “Road Safety” chapter, giving illustrations of how to communicate telepathically with animals to make sure they don’t jump in front of your car.”  by

TRACI PHILIPS, CHHC  ESSENTIAL OIL THERAPY
Traci will discuss how essential oils can be used everyday in the home and to promote health and wellness within the body.  She will be sharing basic information that will be an excellent starting point for anyone who is new to essential oils and wants to know how to incorporate them into their everyday routine. There will be the option to test and order essential oils, as well.

SHEILA FLEMING   MUSICIAN and EDUCATOR 
Singing is our birthright. Lifelong musician and music educator, Sheila Fleming will lead us in celebratory song—a most powerful channel to self-express from the soul, release energy from the core, and share from the heart. Sweet Communion

MARGARET HARRELL, LIGHT BODY TEACHER, AUTHOR, CLOUD PHOTOGRAPHER
Margaret teaches “Awakening Your Light Body” and other graduate energy work in the LuminEssence school, founded by Sanaya Roman and Duane Packer, who channel Orin and DaBen and whose  courses
and books are widely popular. She is also in their Discovery Group, which explores frequencies at the frontier before they become patterns on Earth.  She will introduce this work and offer to some of the people who come a free 1-hr.introductory session with her later as a bonus. You can see more of Margaret here: https://margaretharrell.com and LuminEssence here: http://www.orindaben.com.

The post The Joyful Jewel – 3:20 – Sunday, November 8 appeared first on Margaret A. Harrell.

This is an amazing opportunity. 

In 2019 I was offered – and accepted – the great honor of teaching this twenty-first century leap in consciousness in the DaBen/Duane Packer work. I opened up the first level, “Discovering Your Luminous Body,” to interested people  – in February 2020 (in person and over Zoom). Contact me if interested. I am now teaching several levels of this series: “Discovering,” “Building,” “Redefining Connections,” “Expanding” the Luminous Body. I love it all, especially in these dramatic, volatile times of risk AND OPPORTUNITY. These beautiful journeys and the consciousness they instill in you keep you on an even keel, able to navigate.

PREREQUISITE: Awakening Your Light Body.

You can also join me  – at any time –  for an “Awakening Your Light Body” course!

The first class (of 6), “Building Your Power Base,” introduces the first three vibrational energy bodies that run up the spine in positions similar to the chakras. This light energy, however, is not the same as the chakra system of kundalini:

This is one of DaBen and Orin’s most transformative spiritual growth courses. Part 1, Building Your Power Base is the place to start to transform your life and consciousness as you awaken your light body. Directly experience many higher, expanded states of consciousness. DaBen transmits energies to teach you how to activate your light body centers (not chakras). Orin provides many processes to assist you in preparing for the rapid growth that can occur as you awaken your light body.

Contact me at 919/782-9257 to learn more. Or read more on this website.

And if you have already had the course and know someone who might be interested, please let them know.

Wishing you all a wonderful finish to 2022 – may all you’re planted be reaped easily in joy. Light body work is about manifesting with ease, expressing your energy field, which means it’s important what energy you surround yourself with, compose your thoughts with, feel. That establishes attractions and protection at work all the time 24/7. More information from LuminEssence is on their website here.

I have studied their work SINCE 1992 and taught it since returning to the U.S. from Belgium in late 2001. Every year I still take the new biannual courses, keeping up with the latest work to come out of this school and be anchored in the light body grid.

For anyone who has already had “Awakening Your Light Body,” you can see a list of the other courses I teach (prerequisite AYLB) here.

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In Brahmanada: Sound, Mantra and Power, Guruji clearly explains how chanting works within us and our environment: The vibrations, the waves of sound, first affect the Akash (Ether), then the causal body, then it creates an equal effect upon the subtle and gross. When, by the effect of sound, joy is enhanced, then all kinds of tasks become pleasurable, and everything can be accomplished in a better way. It is seen that if melodious music is played while cows are being milked, their quantity is increased. By the sound of music the cobra becomes calm. Deer are tamed by the sound of music. When sound is created, if it is full of feeling, then its effect is more powerful.

The mind does not wander, once it has become engrossed in the sound. Just as water mixes in milk, so does the mind mix with the sound which becomes one with the chittakash (space in the mind).

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When you follow your intuition, you have more energy moving through you. You are in the flow, you feel alive! When you don’t follow your intuition, life can become a struggle, like swimming against the tide. You can train your intellect to listen to your intuitive knowingness, and learn not to ignore, discount, or contradict the intuitive feelings you are getting. You can trust your own inner knowingness, and make yourself the authority of what is right for you.

This course here in Raleigh with me will be starting in mid-October. Intuition is something everyone has – men and women, children, even animals. Sometimes I’d swear my dog is using it. Or he’s studied me so well he appears to be. Make a comment if you want to share an intuition you’ve followed up on and how it worked. Here’s a related observation on animal intuition:

Intuition is founded in part on astute observation—something animals are much  better at than humans. In the deadly tsunami that swept the coasts around the  Indian Ocean in 2004, for instance, few wild animals were killed. Researchers  theorize that they were tipped off by sound waves or ground vibrations and ran  for higher ground. There’s evidence that humans can sense these types of cues,  too, but we’re usually too busy paying attention to other, noisier stimuli to  notice.

Read more here

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