SEPTEMBER, 2005

 

Mythic Prelude:

Aquarian Frequencies

It's time to look at frequencies of sound and feeling again, for the first time here since The Scale of Emotional Frequencies in June, 2003, and to see a little more about why the UFC's signature phrase, Keep Holding That Frequency, will get increasingly relevant from now through 2006.
There are, as always, at least two ways of looking at this. To a fear-blocked person who has been poisoned to something between jitters and paranoia by the endless Control by Dread scenarios of corporate government, business and media, any hint that spiritually centered people will have to hold high frequencies of feeling immediately suggests that we are in for rumble, bumble and doom, a cascade of natural disasters, war and insurrection, amateur night for crooks and bombers, economic catharsis and more other woes than one could shake a burning stick at, and that's assuming we still have trees and can get sticks.
To those on the other hand, who are opening or actually opened in love, any hint that we will do well to hold our frequencies high offers an opportunity to lift the collective frequency of Earth and her people into the upper range from courage through love and joy to serenity and bliss. Will we arrive soon at some magic moment that serves us, on a silver plate with orchids and blueberries, an easy shot at ascension? Of course not, as both of the outcomes we've just glimpsed will have to play like a fugue, starting with fear scenes followed by chaos, comedy and blest relief, in the same way that the theatre goes dark before the lights come on to start the play, and our journey takes us through tears and chills, sighs and belly laughs before we're done and we get to leave the hall because we've seen it all. And we will. As we do, it's worth remembering that so many of our words, like chaos, have the same kind of double nuance now, depending on one's perception. For the fearful, the word means that order has collapsed into anarchy, bloodshed and ruin. For the loving, one advantage of chaos is that the weirder it gets, the more creative possibilities it brings. All of this comes down, evidently, to whether one intends to flee the wave of change, or surf it.
It's best to do a skim-through on this, on a day (Sept. 8, 2005) when 80% of New Orleans is under water, the price of premium gasoline in the United States is over $3 a gallon in Hawaii and has hit $6 in Georgia, Iraq can't agree on a constitution and broods on civil war, and people all over the Middle East await the aftermath of the presidential vote that Egypt held yesterday. This "election" will help decide whether Egypt remains a "stable pro-American democracy" still led by President Hosni Mubarak, or is driven sooner not later to an unstable something else by the growing frustration and misery of the Egyptian people. The bald fact that one sees endlessly here is that most of Egypt's people who do not want to see his military police state run -- if that is the right word in this regime of iron control and oily ineptitude -- for another six years, until Mubarak is still in power after 30 years, at the age of 83.
What does all this have to do with holding frequency? We shall soon see. For now, a word on Egypt's election is worthwhile. Its pattern fits the current world trend. It will be replicated in other places, and is an fact a classic Aquarian magic show that well illustrates a key Uranian principle: that smoke and mirrors are, and will be, an essential tool of rule for tyrants and reformers alike, as both are more engaged in a battle of perception than they are in actual political, social or even economic struggle. The facts are worth a note in passing. Mubarak, a successful air force general in Egypt's 1973 Yom Kippur War and a favored colleague of Anwar Sadat, came to power when Sadat was assassinated in 1981. The bond between the two men was so close that any idea of Mubarak's complicity in Sadat's murder has always been thought wild and implausible by almost all Egyptians. After completing his first term as President, Mubarak has been "re-elected" three times, running unopposed. He has never proposed a Vice President for approval by Egypt's national legislature, the Majlis al-Shaab (People’s Assembly) even though the Egyptian constitution requires him to do so.
Hopes of change among progressive people, in and outside Egypt, were buoyed early this year when the Mubarak government declared that for the first time, opposing candidates would be allowed to run against the President. This was enough for Americans who wanted a pro-corporate head of state in Cairo. Egyptians checked the shwaya print and smelled the scam at once. Would-be candidates would be eligible to run only if they collected a required number of signatures from national legislators. And Mubarak's faction, of course, controlled enough seats in the Majlis to insure that nobody else could get enough signatures to campaign against him. The outcry against this scam soon led the National Democratic Party to ease the rules and allow candidates to run as long as they had no chance whatsoever to win. Only one popular progressive leader might have drawn millions of votes -- but he has been kept in jail on kangaroo charges since last year.
The spreading swamp of corruption and abuse has now grown so fetid that even in this dry, dreamy country, a political movement called Kefaya ("Enough!") has brought hundreds of demonstrators to the streets, moving the army and police to crack down with provocateurs, beatings and arrests. So far the pot is not seething, and only the little bubbles have come. But for every Kefaya protestor who is in the streets, there seem to be a thousand more who are whispering Enough from the shadows. The turnout at the polls yesterday was low. It is too early to tell whether Egypt will go on for years more as a textbook case of what a New York acting teacher told me: that when you stuff your anger, it turns into depression. One sign that someone sees a potential for unrest is that the American and Egyptian armies have planned a joint military exercise called Bright Star that will start the day before Sept. 11, and end just in time to get Egyptian troops home for Ramadan. Do such maneuvers usually last over three weeks? Never -- unless someone is expecting more than Enough trouble.
Egypt could be one intense place when I go back there, and it will need keepers of frequency. What does this mean? A frequency simply means the upper and lower curves of an oscillating sound wave, as measured in Hertz (Hz) or other units per second. The tone of A, for example, is in the range of 440 to 443 Hz on a piano keyboard, depending on what kind of music one is playing. Deeper sounds have lower frequencies, and a soprano tone that can shatter a wine glass has a higher frequency number. Higher still are radio waves, which vibrate at Kilo-Hertz (kHz) levels, and cosmic waves and electromagnetic radiation from stars and other celestial bodies, which may move at Mega-Hertz (MHz) cycles of millions of waves a second. At the other end of the scale, Earth vibrates at an extremely low frequency, called ELF. Why such an immense range of possible frequencies, from only a few waves per second to several million? Because everything in the material universe is in molecular motion, even seemingly inanimate bodies like metals and stones. If it exists, it moves, and if it moves, it resonates with sound, even if we're unable to hear it. Everything has its "signature sound," or usual rate of vibration, and under some conditions its frequency may go up or down. So far, so simple. The challenge and the excitement are in the implications.
The spiritual effects and healing powers of sound frequencies are among the many ideas that seem to be new, coming from today and tomorrow's surge of Aquarian illumination. But such ideas are really very old, and are being rediscovered now after having been lost for centuries, even millennia. Typical of today's new work in the zone between science and spirituality is Mike Adams' The 10 Most Important Emerging Technologies for Humanity, which superbly introduces ten varieties of "vibrational medicine," but does not suggest just how long music therapists have been using sound frequencies to treat physical and emotional dis-ease. We know that the Greeks used specific musical modes to induce different states of feeling, from martial courage to reverent awe to the mood for love, long before Congreve -- not Shakespeare! -- wrote that "Music hath charm to soothe the savage breast."
Finding the Words at Last
We know from the Hermetica and other ancient sources that Pythagoras, who had learned about the harmonic cycle of musical tones during his twenty years in Egypt, used his bowls, bells, anvils and other instruments to diagnose a person's "weak" or "missing tone" that signified trouble in a specific part of the body, then administered the deficient tone through music to bring both body and soul back into harmony. The Greek master is said to have cured many hundreds of people in this way. And he would likely understand well some of the "new" sound therapies that are being developed today, such as Robert Lloy's use of the "Platonic" geometric solids in Scalarwave MiraCoil forms that stimulate the etheric fields around the human body in order to remove the emotional programs that manifest as physical illness. Lloy's most widely-used technique, based on the premise that "What's in your voice is in your life," takes a recorded sample of the visitor's voice, then runs it through computer analysis to determine what chemical frequencies need a boost, and, sure enough, creates a CD that one can use to fortify the weak or missing tones in his physical and emotional fields.
The same is true in the fledgling science of cymatics, which simply means the study of wave phenomena, but is now often understood to mean the science of physical patterns produced by the action of sound waves in a medium. One way to think of cymatics is that if offers us a way not only to hear sound, but to see it in the ripples and other shapes it creates in water and sand. The term cymatics was coined by Hans Jenny (1904 - 1972). But the principle is far more ancient, as David Elkington reports in his indispensable In the Name of the Gods. The crucial experiment was performed in the King's Chamber of the Great Pyramid by British sound scientist John Reid, who stretched a membrane over the "sarcophagus", covered it with fine sand, then struck the stone box and observed in the sand the unmistakable shapes of the ankh and other hieroglyphic symbols. And as Jonathan Goldman has proved, the sacred syllable Om, sounded at the proper tone, produces the cymatic master pattern of triangles known as the sri yantra. The science of cymatics is nothing new. Only the word is.
One can go on and on with this. The ancients envisioned their seven planets not as bodies moving through the zodiac, much less as moving around the Sun, but imagined that the Earth was surrounded by a concentric set of crystal spheres in which the planets were embedded, so that as each sphere turned, the planet moved within it, and the whole system produced a chord of harmonious tones that only God and the angels could hear, and human beings could only approximate in their seven notes spanning the octave between humanity on Earth and God in heaven. Now one can buy CD recordings of the radio waves emitted by the planets. The sounds have always been there. What does this have to do with our planet's need for keepers of frequency, and for the notion that there are such things as "Aquarian" frequencies? Everything, and nothing. There are no Aquarian frequencies, of course, just as there are no tones that are Piscean, or Taurean, or belong solely to any zodiac sign, or any epoch within the holistic Great Year that moves now from the Piscean Age into Aquarius.
The Great Chord of Being
Students of English literature have likely heard in this phrase an echo of The Great Chain of Being, E. M. W. Tillyard's classic study of the Elizabethan "world picture." The people of Shakespeare's time imagined that the universe was an orderly hierarchy of things and life forms arranged in static, unchanging tiers by God, who fashioned the cosmos in an elegantly linked sequence beginning at the bottom with clods and rocks, then ranging upward through plants, animals, human beings and angels to God at the top. Each of these categories had its own sub-hierarchy, with lions above bears and eagles outranking ducks, just as kings, popes and princes are exalted over minstrels, birdcatchers and scribes. It was understood that each person or animal was expected to obey divine order by staying in its place, and that human beings and the natural world would live together in peace as long as they did -- but that willful men who tried to rise above their station would upset not only the rule of law, but the whole cosmic structure. Shakespeare's tragedies are filled with bizarre events like the one reported in Macbeth, when "A falcon, towering in her pride of place / Was by a mousing owl hawk'd at and killed." How could a falcon possibly be defeated by an owl? Only if divine order had already been broken in a realm where thanes are ambushed by doglike men who can't spell murder. The Duke of Cornwall in King Lear is shocked to meet his death at the hands of "my villein" rather than a man of noble blood -- but then any groundling could have seen this coming, when moral order has been so bloodily violated that nature delivers a storm to match the chaos that human passions have already poured.
These hierarchic concepts are not "Piscean." They are primordial. They were venerable in Sophocles' time, when the plague that ravages Thebes in Oedipus the King has been brought by the murderer whom Oedipus is fated to find. What makes much of today's spiritual sound science Aquarian in its emphasis is not the sounds themselves, but the libertarian idea that human beings, in everything from their social status to their vibrations to their very nature, have a freedom and mobility that they would not have dared to imagine in earlier epochs of our history. The key idea, that as we change our frequencies we can change our states of thought and feeling, even our states of being and the heart tunes held in common by whole communities, really is new, and gains traction now as we come closer to understanding the numbers.
Some of the figures were already coming into focus, though not yet widely known, 40 years ago, when every hempie in the loft knew the feeling, if not the numbers, for the way the heart can soar or sink from good vibrations and heavenly harmonies to downers, dumps, bummers and every tone between. Now the numbers are falling into place. Practitioners of meditation and conscious breath, sound healing and other vibrational therapies know that we can move our brain states from beta to theta to delta, and back to routine waking consciousness. And David Hawkins' Power vs. Force has now pointed the way to what could become the Holy Grail of today's spiritual science: the exact sound frequency of every emotion in the heart. Hawkins makes no claims about this, but only proposes in his system of kinesiology that all states of feeling can be placed on a number scale ranging from shame at 0 to anger at 250 to joy and bliss at the top of the scale.
If a person can consciously move his emotional numbers up, and may well be responsible for learning to do so, then he may also cause his feelings to crash, or allow others to bring them down. This opens up a whole Pandora's harp of dark possibilities and paranoid fantasies about how dominator governments, media giants and other corporations have already found the numbers, and are methodically using them to control their societies by keeping the people within the lower bands of envy, grief and fear, and making sure that when the needle swings up into rage, suitable scapegoats and targets can be found.
There are urban legends too about how sound masters in Europe in the 1920's, especially in Austria, worked out the numbers and figured out exactly what music frequencies and other sound would induce dread, courage, fear, love, grief, envy and rage and all the rest -- and then suppressed their results for fear that the Nazis might take power and misapply them. There have been rumors ever since about which countries are using vibration control of their people -- assuming, that is, that a populace who have been controlled, disempowered and dumbed down for decades can be said to be still vibrating. It could not be more clear that one way to rob societies of their vigor is to take away their sound. Now the premises to be tested are whether the restoration of one's natural sound will increase the quality of his or her health, vigor and courage; whether a number of voices joined in transformative sound can alter the emotional frequency of a much larger group, or an entire city; and whether sound ceremonies held simultaneously around the world, or rolling around the planet from one time zone to another, can actually bring and anchor the frequencies of love, courage, joy and compassion, thereby raising the collective frequency of all sentient beings.
Egypt Sings Again
Egypt is one of the testing places, and has been for a long time. The priests of Heliopolis, Denderah and other temples knew the ancient science of vibration, and they built resonating chambers in which to perfect it, training themselves through a kind of vocal weight lifting to sing with their maximum resonance and power. One of these may have been the tombs of Akhnaten's high court officials at Beni Hassan. These hollowed-out mountains of stone are in Minya in central Egypt, not far from the site where the ruins of Akhnaten's capital would be if there were anything still there at all. The long walk at Beni Hassan up the hill stairs suggests there must be something good up there, but there's no hint of anything to see until one hits the rough trail and sees the first barred door, so small that it's hard to imagine much on the other side.
To see how big the space inside the door really is, imagine that you're the tomb builder, and your team has just started work by marking the outline of a narrow doorway on the rock wall of the mountain. At first only one man at a time can work on cutting out the doorway, then chiseling deeper until he's far enough in that other men start cutting to the sides, then bring ladders that grow into scaffolds to cut away the upper room. As the first tons of small rock pieces come out the door, then many more tons as the weeks pass, there are now dozens of men inside, working to cut out the rough shape, then smooth the walls into a perfectly regular and perfectly huge stone box. When the chiseling is done, and the walls are ready for the relief painters, the room is now some 40 feet wide, over 50 feet deep and about 30 feet high. It is so spacious that the alleged King's burial Chamber in the Great Pyramid could fit inside it a dozen times and more. One cannot help wondering, when even kings as mighty as Tuthmosis III were interred in burial rooms much smaller than these -- did the Egyptians cut these spaces out of the living rock to create something other than tombs? Did the builders design the rooms to accommodate dozens, even hundreds of people at one time? If so, for what purpose?
There's a colorful possibility in one corner of the first room, where I linger as the rest of the tour group follows the official Egyptologist around the walls. Here at eye level are the famous musician paintings of Beni Hassan, showing in elegant, beautifully-colored pictures what the harps and flutes of the Amarna period looked like, and what kinds of mudra-like hand forms the singers used to communicate with the players. The next question, as I look at these uniquely graceful images, are inescapable: did Akhnaten's sacred orchestra use this room for music performance or ceremony? Was this room, and maybe the others adjoining it, built expressly as a resonating chamber that might tune and clear each of the people present, even exalt them to divine frequencies of sound?
To test this premise, I drift out the door and over to the next tomb, where I give the guy with the Kalashnikov a few pounds to let me inside the room before the rest of the group arrives. I go in and sing: the Invocation of Ma'at and the ancient pharaonic Salutation to the Sun, the seven sacred vowels that seem to be almost the same among Egyptian/Coptic, Tibetan and other traditions, and some chants from Hawaiian, which may be the most vowel-intensive of all living languages. My voice grows bigger, and the walls add harmonics until it seems that the room itself has somehow multiplied one bass tone into a gigantic chord of at least 12 harmonics. My voice has never sounded so big, nor has my body ever had so much breath and energy. If the room can make one voice sound like this, what might it do with a hundred voices in unison or in harmony? Was this room actually designed, like the monasteries of medieval Europe, to be a kind of sonic powerhouse that was used to tune and train keepers of frequency in Akhnaten's Egypt?
Until we know, we train one another as stronger and more confident keepers of frequency for the time this year and next that the late Peter Jennings may have had in mind when "courage" was the last public word he spoke. For an extremely valuable take on current and near future events and some of what may be expected of us now, the essential new text from the Star Elders is Aluna Joy Yaxk'in's article "Awakening Elemental Consciousness," which is particularly persuasive on the high importance of gathering for communal sacred work in autumn exquinox week, especially on Sept. 17, 18 and 21.
One thing is clear enough, no matter what differences of language and culture, awareness and belief we may need to cross in the years to come. Fear isolates, and it deadens sound, which is why we have cliches like stunned silence and struck dumb with fear. Love, on the other hand, unites us and stokes our courage to speak and sing. This is why, under present conditions, sacred frequencies of sound are not just a pleasant pastime, a spiritual fashion trend or a good idea. Whether one sings at home or far away from it, with small groups or with millions linked in global ceremonies of sound, the sounds that we sing from our legs, heart and soul will be crucial to our liberation.
When the voice is locked in fear, the soul can't fly. And when the voice is truly free, living in the larger circle of love that embraces all others, the flight to freedom can become effortless, no matter how impossible that may seem at this moment when the world is flooded with fear. Love lifts. Have a pleasant flight. Keep holding that frequency.

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     Copyright 2005 Dan Furst. All Rights Reserved.