Session 202001072

Session 202001072
"Allow Yourself to Be You"
"Held Energy"
"Music: The Art Form of Direct Connection"

Tuesday, January 7, 2020 (Private/Phone)

Participants: Mary (Michael) and Naomi (Kallile)

ELIAS: Good morning!

NAOMI: Good morning, Elias!

ELIAS: Welcome, my friend. And how have you been proceeding?

NAOMI: I would say pretty well, actually. I've accomplished some great things, or good things, financially, and I love living where I'm living. I just have a few things I need to clear up with you.

ELIAS: Very well.

NAOMI: I want to start by asking about some focuses, just to get started here.

ELIAS: Very well.

NAOMI: Can you tell me my connection with Edvard Grieg?

ELIAS: Counterpart and observing.

NAOMI: Okay. And I saw a TV show about a woman named Naomi Lindstrom who was a stewardess who collected beads all over the world. Do I have a connection with her?

ELIAS: Counterpart.

NAOMI: Okay. And really the biggest one I would like to know about is the civil rights worker, Viola Liuzzo, who drove civil rights workers in Alabama. Do I have a connection with her?

ELIAS: Focus.

NAOMI: I thought so. I really, really felt strongly. I just almost cannot go into Alabama; it's like almost a brick wall to go down there. And I feel very strongly about the civil rights issues as well, and I like to drive, so it all fits. (Both laugh)

Now I want to ask you about voices I hear. When I'm working on medical transcriptions, the voices of the doctors sometimes resemble those of famous people, and it kind of drives me crazy because they sound almost identical to some of these people. Can you tell me, am I listening to other focuses of these famous people?

ELIAS: At times.

NAOMI: At times? Like there's one that sounds almost exactly like Dick Cheney.

ELIAS: I would say that at times they are other focuses of the people that you hear, the voices that you hear. At times they are counterparts, in strong counterpart action and ongoing counterpart actions, and that may also be the reason that you hear a different voice.

NAOMI: Okay, and also in person I've been seeing a chiropractor who reminds me so much of another friend who's actually in this focus. Are they related?

ELIAS: That would be actually the same fragmentation.

NAOMI: I wondered, because they're so similar, it's just like really uncanny to walk in that office and he sounds like him, he looks like him, he talks like him—it's pretty freaky. (Laughs)

ELIAS: I would say that that is impressive that you were paying attention and that you noticed.

NAOMI: Oh! Well, thanks. I seem to be sensitive to that sometimes.

ELIAS: And I would be acknowledging of you, my friend.

NAOMI: Well, thanks!

Now I'm going to start to get into a little bit heavier questions. I want to ask about an imposter I met online a few months ago. I was on a dating site, and I connected with this person who turned out to be an imposter, he wasn't what he said he was, and I knew it pretty quickly but it actually took me a little longer than I would have thought to realize that. It just wasn't a pleasant experience at all, and I felt like I was wasting my time with that whole process. I don't really want those kinds of experiences, and usually I'm pretty good at not allowing those into my experience, but can you tell me what I was creating there?

ELIAS: Yes. I would express that this was an opportunity for you to be engaging an experience that is not necessarily comfortable and one that you definitely don't like and don't agree with, but the opportunity to engage it differently and not simply dismiss it.

NAOMI: Can you say a little bit more about that, about dismissing?

ELIAS: Yes. That this is the automatic direction, to move in an expression of perhaps being somewhat exasperated with the situation and initially frustrated or irritated in relation to your discovery of the imposter, and then moving in a direction of relatively quickly dismissing it—dismissing the individual.


ELIAS: And this was a presentment to you, giving you an opportunity to engage differently, to not necessarily be dismissing the individual—to acknowledge that you don't agree with this, you don't like it, and that you don't want to participate with it, but approaching the situation from a different perspective, and in that having the ability to not personalize and then also not be dismissive of the individual, of the person.


ELIAS: And what I would say to you is, "Never fear. Opportunities never present themselves only once." (Chuckles)

NAOMI: Okay! Yeah, that was kind of maybe going to be a question too, like was looking for somebody online going to work for me, because I believe it can. I know it does for other people, [but] with that experience I was just about ready to hang it up with that.

ELIAS: And what I would say is, that is another piece, to not be judging experience by past experiences.

NAOMI: Funny that you should say that, because that's one of the themes of this session, another question I'm going to ask you. (Both laugh) But yeah, I see what you mean about dismissing a person, because I'm very "good" at that. (Elias chuckles) Sometimes I feel like I do it too easily and too quickly, to dismiss people.

ELIAS: But I would also say that that is a shielding action.

NAOMI: Oh, definitely.

ELIAS: Something that is learned and that you do in association with protecting.

NAOMI: Definitely. Yeah, I've created my bubble, and I'm really trying to break out of that a little bit, but I still have it around me pretty strongly.

ELIAS: But I would definitely be encouraging you, and I would be congratulating you that you keep moving in a direction to burst that bubble.

NAOMI: (Laughs) Yeah, I hope so. (Both laugh)

Okay, before we get any further into that, I wanted to ask you some questions around health and physical things.

ELIAS: Very well.

NAOMI: I started taking some soy lecithin because I understand that it's supposed to be helpful for your nervous system, but understanding that soy may not be a beneficial substance—is that a good thing that I can take, for me? Will lecithin help my nervous system?

ELIAS: And how much are you incorporating?

NAOMI: Well, it was just one tablet a day, I think it was 1200 mg, a pretty large capsule.

ELIAS: I would say that that is acceptable.

NAOMI: Okay.

ELIAS: I wouldn't suggest that you be consuming soy in food sources in significant amounts, but in relation to a supplement that is designed to be helpful in certain expressions, that is acceptable.

NAOMI: Okay. I might experiment with that for a while.

ELIAS: Excellent! Pay attention to your body consciousness and how it responds.


Speaking of substances, is the hair dye I'm using causing problems for me?

ELIAS: What I would say in relation to hair dyes is that what they tend to do over prolonged periods of time is they tend to affect the regrowth of hair.


ELIAS: Therefore, what you will likely notice is that you may notice hair thinning and not being as thick as it may have been at earlier points in your life. I would also say that the chemicals in hair dye do incorporate a tendency to be interplaying, in prolonged use, with your immune system.

NAOMI: Ohhh, okay.

ELIAS: Therefore, you may be more prone to colds or flus. In that direction, I would say that this can occur in manners that you won't necessarily notice it overtly, but you may simply think that you are seeming to be more susceptible to colds or to feeling ill, not necessarily in creating a cold, per se, but not quite creating a flu either.

NAOMI: You know, I had that experience a couple weeks ago, and I didn't know what to attribute that to.

ELIAS: That you have these symptoms that seem to be definitely some type of illness, but it isn't quite a cold but it isn't quite a flu either, but you do generate similar symptoms. That definitely can be attributed to the chemicals in hair dyes.

NAOMI: Okay. I appreciate that information.

ELIAS: You're welcome.

NAOMI: I'm thinking about dispensing with that and not using the dye anymore, but I'm in denial about my age so I still [inaudible] (Both laugh)

And then another thing health related: thermal events, or what people call hot flashes. I've been dealing with that for like 20 years, and it doesn't seem to respond to hormone treatment or anything else. I can definitely at times—but not all the time—relate it to stress or certain kinds of food. I know in the way past, in one session you said hot flashes were about women especially coming into their own at this time of life and recognizing their power from this. I'm fine with that, but after 20 years I just really don't like dealing with these things. I'm wondering if it's more about my particular energy flow, or is there something that can even that out?

ELIAS: What I would say is for you this is somewhat different than what I have expressed in relation to other individuals. I would say with you, this is a matter of held energy.

NAOMI: Uh-huh.

ELIAS: I have expressed many times that there's only so much energy you can hold; it will be expressed. It won't be contained, and in that, what I would say to you is this is definitely a situation of CONTAINING a natural expression. Are you understanding?

NAOMI: Yes, I am. I suspected that might be it, actually.

ELIAS: I would say that you have been doing this action for a considerable time framework.

NAOMI: Oh yes.

ELIAS: And this is what happens, that this expression of hot flashes or even night sweats—I would say these aren't actually hot flashes.

NAOMI: They're not hormonal.

ELIAS: They're not an expression of hot flashes in relation to hormonal changes.

NAOMI: Right.

ELIAS: It is more associated with energy that you are containing that you don't let yourself express.

NAOMI: Well, that makes perfect sense, because actually that segues right into my next question.

ELIAS: Very well.

NAOMI: Well, I will say first that in my very first session you suggested that I dance, which I know is a great energy release which I haven't been doing (both laugh). I've tried a couple things, but I haven't found anything that really fits me yet, but I'm still open to finding something there.

But in talking about energy flow, I really want to talk about music and my expression. This is an obvious question, but I'm sure if I allow myself to express music, that would help this energy flow

ELIAS: [Cut off] that definitely a matter of allowing yourself to be you and not stifling your own natural flow, your own natural expression.

Let me say to you that there are some people—and I have expressed this pastly—that incorporate what I would term to be an artist's spirit.


ELIAS: Some individuals would term that to be an artist's soul, but however you express it, whatever terminology you use, it is all the same. Some people possess a definite spirit of art, which is different from simply being an artist. And I am not discounting individuals that are artists; they definitely incorporate a talent, and their expression in that talent is important, but there is a difference between an artist and an individual that is an artistic spirit. Those individuals that incorporate an artistic spirit—art in whatever form it may take for the individual—is not simply a talent; it is a part of their being. It is a part of their natural flow. Therefore when you deny that, or when you stifle that, you are stifling a part of yourself and a natural expression of your energy, and that is a significant containment, that it will be expressed. It will find an outlet. Therefore what I would say to you, my friend, is definitely this is not hot flashes associated with hormonal changes.

NAOMI: Stifling energy; yeah. I have felt that, and I really thought that was probably the issue. And I understand that intellectually, but I really need help with getting unstuck from that, because even times when I walk past the piano and I look at it and I say, "Okay, I would feel better if I played a song," I don't. I don't allow myself to. Can you help me get past that?

ELIAS: And in your estimation, what stops you?

NAOMI: Well, there are several things. One of them is judgment of my abilities, and what's really messy is that when I feel strong in my abilities I'm almost afraid of my abilities.


NAOMI: I don't know. I've had a couple of situations where I played very strongly, and I was like I just almost couldn't handle it. I don't really know.

ELIAS: And that, my friend, is a part of that denial: "How dare you play strongly?"

NAOMI: Yeah, I know! And you know, here I go about my life and I say oh, I really appreciate strong women and I know I'm pretty strong in some areas, but when it comes right down to it I'm a little bit afraid of expressing that, I guess.

ELIAS: I understand, because as much as you appreciate that, and as much as you support that, I would say that you [cut off] it to a degree BECAUSE it has not been encouraged with you.

NAOMI: Yes, Mary and I had a really good discussion before the session about some parallels with her life and her artistic ability not being encouraged, in fact overtly discouraged. Mine was as well, only not quite as much, not as intensely. But you know, that was decades ago! (Laugh)

ELIAS: That does not matter. Time doesn't matter, and remember this: The body consciousness doesn't recognize time. That is literal. The body consciousness does not recognize time, therefore it doesn't matter if an experience was yesterday or 50 years ago; it doesn't matter. In this, this is one of the pieces that I have expressed previously that can create significant difficulties for many individuals, is that the body consciousness DOESN’T recognize time, and therefore it creates situations in which you may be experiencing feelings and even the experiences themselves, as if they were the same as when they actually happened.

NAOMI: Yes, that was really brought home when I worked on Jason's last session where he talked about triggering, the exact thing.

ELIAS: Yes. Yes. And in that, that can be very difficult, and it can be challenging addressing to that and reminding the body consciousness objectively of the difference, reminding the body consciousness of [cut off] versus a different time framework, and that is something that for a time is [cut off] to objectively, intentionally do, to generate that differentiation of time.

But in this, what I would say to you is that many times the affectingness of certain associations and certain experiences, the influences of those experiences and those associations can be actually stronger the more aware you become.

NAOMI: Oh, great.

ELIAS: Which, they can seem to be somewhat of a paradox, but it actually isn't, because the less aware you are, the more adept you are at not paying attention and at shielding.


ELIAS: And therefore you automatically move expressions in which you don't feel and you don't pay attention to your own communications. WHEREAS, the MORE aware you become, the more information you have, the more affecting those associations and those experiences can become, until you identify them and until you actually begin to address to them.

And let me also express to you this reminder about addressing to. Addressing to is, for the most part, an action that is done subjectively. The work, so to speak, is done subjectively. What you do objectively is simply pay attention and notice time frameworks and experiences that create those trigger points of touching memories, and then moving in a direction of intentionally choosing different.

But in this, the first piece is to acknowledge, first of all, that you ARE one of those individuals that is an artistic spirit. Therefore, expressing your art is as natural as sleeping, or eating, or breathing. It is a natural function. It isn't something that you simply DO. What you do is the outlet of it.

NAOMI: Oh, okay. Yeah.

ELIAS: Therefore, the outward expression of what you do is the outlet for that energy; it is allowing that energy to be expressed. When you don't do that, then you create a different outlet, such as a hot flash, because the energy REQUIRES being expressed because it is a part of your natural flow. It is a part of your being.

When I say "natural flow," that isn't simply a matter of what you like to do. (Chuckles) It isn't simply a matter of something that is comfortable for you. Your natural flow is a part of your personality.


ELIAS: It is a part of your BEING. Therefore, it is how you express yourself AS the being you are. In this, if you are an artistic spirit, that is part of your being. Expressing that is as much a part of you as any other part of your personality. You cannot divorce yourself from that. You can stop expressing it, as you have, but if you do, that energy will express itself in some other capacity.

NAOMI: Yeah, Mary and I were talking about how it's just something you can't not do.

ELIAS: Precisely! That is an excellent definition; yes. It is something you can't not do.

In that, if you DO move in the direction of stifling that, then it finds another outlet, and when it finds another outlet, that other outlet won't be as natural, and therefore it will be somewhat forced, and you will definitely feel it.

NAOMI: Yes, I have done other things I like to do, but it's not artistic and I definitely feel the stress with that.

ELIAS: And that is the point of precisely what I expressed: This isn't simply about what you like to do; this is about expressing yourself as you are.

NAOMI: Yes. Well, the help I really need is, how do I bridge that gap between being aware that I need to express it and wanting to express it and then actually going ahead and allowing that and doing it?

ELIAS: The first step is to acknowledge the feelings and to acknowledge what those feelings are signaling you to. And in that, not to "follow the feelings," [cut off] but that I would definitely say not to follow the feeling but to recognize what that feeling is signaling you to—that statement about what you aren't doing.

NAOMI: Right.

ELIAS: And then to acknowledge the feeling, because the feeling is what is very strongly influencing you not to do. Therefore, acknowledge that feeling but then intentionally move in a direction of doing different, meaning take a step. It doesn't have to be something tremendous; it doesn't mean go to the piano and play a sonata, but to do something different. Start allowing in increments that expression.

Now, what I would say to you is, when you have a feeling of being afraid of writing, go in the direction of playing.

NAOMI: Okay.

ELIAS: Because if you PLAY the music, if you allow yourself to play the music, it will eventually unblock the writing.

NAOMI: Okay.

ELIAS: You have stifled both directions.


ELIAS: But in stifling the playing, you, in a manner of speaking, double-stifled the writing. Therefore, if you allow yourself to begin playing again, eventually that will break through the block of writing, because in the playing comes inspiration.

NAOMI: Okay, I know that would work for me because they do go together, like when I write a song I do both. I do lyrics and music.

ELIAS: Correct. And, what I would also say to you is, the reason that the playing will definitely help to unblock the writing is because in order to play, you have to feel.

NAOMI: Well, yes and no. I mean, I agree, and I've done a lot of playing WITHOUT feeling, but now I understand that..

ELIAS: And I would say when you do that, how is your playing?

NAOMI: Not so great.

ELIAS: Not as good.

NAOMI: No, no, and that's one thing I've really opened up to, being able to see a lot of live music here, I've finally understood that real playing is really feeling and communicating.

ELIAS: Precisely. Precisely. If you DON’T FEEL when you play, you won't play well, and if you don't feel when you play, you won't connect with other individuals. That is what makes you successful, is the FEELING aspect of what you play, and that is what makes you successful in writing, is the feeling aspect of what you play and what you write. Without the feeling, it is not connecting, and it won't be successful.

NAOMI: I totally understand that. It's something for me to continue I don't want to say working on, but exploring because in my early life I was taught to stifle feelings as well, so that's just something to expand on.

ELIAS: Precisely, and now it is a matter of learning how to allow yourself to feel and then then allowing yourself to express what you are feeling through your music. Which, the expressing what you are feeling through your music is a natural avenue, and that will not be difficult once you allow yourself TO feel.

And let me say to you, especially in this direction of art and this expression of art in music, whether it be in relation to playing an instrument or composing music or singing, any avenue that involves music as an artistic expression, the emotion that is expressed—and remember, emotion is not the signal; emotion is the communication; the feelings are the signal—the emotion that is expressed in this art form is very obvious. It is the most unhidden and the most direct, and doesn't require translation. Therefore, it is a tremendous expression of vulnerability, because when you are genuinely allowing that flow, you are genuinely connecting. You can't help it. There IS no help for it. [Cut off] I would express that this is the one art form that is expressed explicitly for connection.

Every art form connects, but not necessarily directly, and every other art form either includes or requires interpretation. Music does not.


ELIAS: Music is direct. It is different from every other art form. In that, it is entirely open, it is exposed, it is vulnerable, it is connecting immediately, directly. And, it is the one art form that you CANNOT do simply individually. You cannot express music only for yourself.

NAOMI: Yes, I do not enjoy that. That's part of the issue, I think, is that I'm not seeking out interaction with music.

ELIAS: Music is meant to be shared.

NAOMI: Yes. Oh, definitely.

ELIAS: And the reason it is meant to be shared is because the observers or the audience of music are the other half of the participation.


ELIAS: In this, I would express that you don't necessarily have to be, let us say, directly engaging other people in relation to your music and especially in relation to practicing it in expressing it—

NAOMI: Right. And writing.

ELIAS: But you can do it intentionally but indirectly. What THAT means is that there are different avenues that you can engage. One, you can seek out some public access to an instrument; generally it would be a piano, but there are many places that incorporate pianos and that allow individuals to use them at different times. In that, that can be an easy and an excellent exercise, to be expressing your creativity, your practicing of incorporating the feeling into your music and reintegrating the feeling into your music in a public place. Even if there are not individuals around in physical proximity at a particular time in the day when you may be generating that practice, there will likely be someone that is listening. And in that, even that is enough; even if it is a janitor, it doesn’t matter. That it puts you in a situation in which you are allowing the outlet in a natural form, in a natural capacity, therefore preventing those "hot flashes," and in that, it helps you learn how to become less self-conscious and more comfortable and confident with your expressions in relation to sharing.

Now; I would also say that you can also incorporate the action of sharing—but not necessarily with humans.


ELIAS: And that equally will allow you—initially—to be connecting and to be expressing yourself in a more natural capacity. I would say that animals are an excellent participant and actually appreciate music as much as humans.

NAOMI: Okay. I've thought about getting a dog, I miss having a dog, but I think I would feel really good with a dog around.

ELIAS: I would agree, and I would express a tremendous encouragement, because I would say that this can be an excellent avenue for you in the beginning stages of reintegrating feeling into the music.

NAOMI: Wow. Okay, that's a great suggestion. I did have one dog that used to howl when I played the violin, but she's gone now, so.. (both laugh)

ELIAS: And I would say that that is a tremendous compliment.

NAOMI: Oh, really?

ELIAS: I understand that many individuals misinterpret that type of action, but in actuality that is an excellent compliment, because what the dog is doing is singing.


ELIAS: They are attempting to participate with you. They are being responsive, and they are expressing vocally a participation with you. Some will wag their tail, some will be more vocal, some will actually go to sleep. If an animal can go to sleep while you are engaging your music, they are exceptionally comfortable.

NAOMI: Yeah.

ELIAS: For ALL of these expressions are encouragements and validations. Animals are tremendously responsive to music. And I would say that canines, dogs, are VERY responsive to music. Actually, dogs and birds are more responsive to music than most animals.

NAOMI: I think I've had that experience with birds as well in my back yard, yeah.

ELIAS: Birds are very responsive to music—because they generate their own!

NAOMI: That's true! That's true.

ELIAS: And I would say that they definitely do, because in addition to many of their calls in their communications, additionally they also generate tones simply to sing.

NAOMI: Yes. I love birds, especially the mockingbird because they copy everyone else very well.

So, Elias, that's given me a lot to absorb, and I really appreciate your information.

ELIAS: You are very, very welcome, my friend. I will be generating my energy with you constantly in support and encouragement in this direction. You deserve it, and you definitely deserve to fully be you, and this is a part of you—therefore, be it.

NAOMI: Thank you so much.

ELIAS: You are exceptionally welcome. I will greatly be anticipating our next meeting and your accomplishments. (Chuckles) And I incorporate no doubt that you WILL be accomplishing.

In tremendous friendship and in great lovingness to you, my friend, my dear, au revoir.

NAOMI: I love you too. Au revoir.

(Elias departs after 58 minutes)