Vibrational Sound Therapy (Group) Session, with Omananda

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This video shows one part of a three hour Vibrational Sound Therapy Group Session by Omananda that took place in Stavanger, Norway on August 21st, 2020. Each ceremony has guided elements in it, such as: breathing exercises, visualizations and Tantric meditations. This guidance facilitates the process for individuals and groups to connect with the authentic self, making it easier to remove fearful perspectives and replacing them with love. Many participants experience a peaceful silence in the end, with a heightened and vibrating body awareness that sometimes causes pains, convulsions, and ticklings as blockages are removed during sessions.
This video only covers some sound-elements. You can learn by watching how vibrational (quantum) sound therapy can be done. Omananda works with didgeridoos, tuning forks, shamanic drumming, joiking, singing bowls, and other bells and whistles. He loves to collaborate with sensitive and experienced space holders. Feathers are often used to direct the smoke of frankincense, copal, sage, bundled with intentions, to realign subtle energy fields in the most beneficial ways.
No mind-altering drugs are used during Omananda's vibrational sound-therapy sessions, but people experience lasting and powerful transformations similar to ayahuasca and peyote ceremonies. The difference here is that there is not such a huge backwards-alteration (no coming down from the altered drug-induced state). Therefore, the vibratory frequencies that alter states of consciousness immediately integrate on physical levels (the body). It makes vibrational sound therapy a useful alternative for people who do not want to take the risk of using strong psychedelic drugs in order to heal themselves.
Sound when used with the correct intention and natural vibrational medicine has the capacity to create the container and the possibility of healing the body and the mind. When used in the proper context, vibrational medicine helps to intone to the present moment and it can induce a naturally elevated, happy, and conscious state. The shamanic elements during these healing ceremonies call for Spirit(s) that induce a cleansing that sometimes can feel slightly uncomfortable, but it's completely safe and there are no entities called into the circle. Omananda does not use magic or magic spells, but mantras might be used, which are similar to magic spells, but different. They vibrate on sound levels and do not call for a vision of an entity. However, Omananda is a devotee of Shiva and he's been blessed with this cosmic vibration that he works with and is inspired by. In that sense the vibrational sound therapy groups are also channeled sessions.
For the best experience of watching this video and listening to it, use good headphones, a proper sound system, and relax to enjoy ... (Click "like" if you do and share this video on your prefered social media platforms). And for more info, please visit:
www.omananda.c...
* Most vibrational sound workshops are spontaneous collaborations between Omananda and other sound-therapists. Marie Satyami Vic was assisting Omananda in this video and session.

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9 сен 2024

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Комментарии : 4

@InTheMusicBox 3 года назад

Performance notes: 23.58'' Didge stops, sound bowl striking them in the middle begins 24.40'' Bass drum (on half notes) and tambourine (on quarter notes) starts silmuntaneously. He passes the tambourine over each body. 28.45 playing with dynamics (quiet and lous) and eventually the pattern changes until the tamburine stops. The bass drum keeps the beat steady. 29.30 '' Didge comes in again - going around the circle and doing some animal noises in the didge as well. 30.40'' Long drones on the didge start - playing with it's base frequency. bass drum still keeping the beat at around 70 bpm mezzo forte . Focusing the didge bell on certain areas on participants (heart, head) 51.10 he calls for the drum to stop 51.57 Didge stops with an animal scream and a couple of singing bowl chimes. 52.42 Some sort of aan udio clip is being played. Sounds like a very large deep sounding gong hit with soft mallets and letting it resonate into almost silence. Soon after more singing bowls (probably crystal ones) are heard in the recording, whilst he mists over participants with a spray and plays with the recording a couple of the singing bowls in the middle of the room. 55.59 After making some sort of preparation in a bowl -could be some sort of incense? such as a resin or dried herbs crused- but there is no smoke, returns to the centre of the cirlce. We can still hear the audio recording. Starts putting singing bowls on the body of participants and giving them a gentle strike or several fast rhythim strikes . Changes the bowls around the room. Probably using hard rubber mallet or wooden? 58.40 a feather is used to create shorts gusts of air towards participants.. Continues to rotate the bowls on the bodies of the participants and use feather to throw gusts of air. 1.05 the audio clip now is about a drone from the resonating frequence of a singing bowl, rather low note. 1.06 starts concentrating on a woman at the front. Gathers 3 singing bowls, two on her body and one overhead and chimes them bell-style . It;s a fifth interval going down and then the lowest bow is a bit off from being one octave down from the highest. 1.07 moves a singing bowl around the circle. Closes by playing once a high pitched singing bowl (C6) 1.08 stops recording and chants two times some words 1.10 starts whispering some words and then plays the didge 1.16 some sort of simple melody on a flute being played. Maybe the isntrument is a tin whistle - though it sounds fairly woody. 1.17 passes a large singing bowl (B4? ) to the woman, who starts walking around matching the tone initialy and then wondering off to a gently sung buche ferme melody while striking the bow ever so often. The melody has a medieval chant feel to it. 1.22 man starts ringing what looks like a tuning fork and moves it close to every participant

@InTheMusicBox 3 года назад

Performance for two people plus audio recordings. Performance notes intro: It all starts with two small hand held bells ringing. In the beginning there is no periodical sound and they are not ringing together but as we progress they are tuned in together and they ring at a fast tempo of around 250bpm - it;s like a wake up call 2.55 he settles in the middle of the circle and keeping one bell going, he bangs on several of the high pitched singing bowls in a sort of an arpege mode. F4-a4-c5 and a somewhat off tune b3 in the end 4.00 instructs woman to start singing, she sings something like a lament song in her head voice in a minor scale whils he bangs a couple of tuning forks and moves them around the heads of the participants whilst rotating them. They leave quite a bit of space to each other. Woman uses hand gestures indicating going higher while climbing up the scale. 9.48 there is a really wird and disturbing high frequency drone (probably camera equipment failure) which does not seem to be created from the instruments in the room . Probably he started an audio clip at some point and I missed it. 12.30 that frequency starts oscilating untill he stops it at 13.00 13.00 Picks up two rattle sticks and moves them fast around the circle representing different rhythms pressumably the randomness of the wind. 14.11 starts making wind noises while rattling 14.50 intructs woman to start drumming. Keeps a steady beat at around 70bpm. mezzo forte. He keeps on rattling around the cirlce whilst doing what sounds like native American shaman voicalisations. The woman makes these yodeling based screams and some bird/animal sounds. The vocalisations turn into what could be understood as glossolalia / idioglossia. 19.00 rattling stops, then voice then drumming. Silence. 19.40 Man plays the didge. 24.00 didge playing is stopped with a bang on a singing bowl and then following several singing bowl bands, the woman starts drumming silmuntaneously with the man playing the tambourine. For the rest of the performance notes, check the next comment!.

@InTheMusicBox 3 года назад

It would be interesting having an explanation about the sonic choices made in each part of this video and the rationale behind them. In any case, I just kept some notes while actively listening to this hour long performance.