Session 1837

More on Energy Centers and Color


“More on Energy Centers and Color”

Thursday, September 8, 2005 (Private/Phone)

Participants: Mary (Michael) and Victoria (Marlies)

(Elias’ arrival time is 18 seconds.)

ELIAS: Good morning!

VICTORIA: Good morning to you. How are you?

ELIAS: As always, and yourself?

VICTORIA: Oh, pretty good. I’m very excited about our discussion, particularly the last one. It seemed like it gave me a really good kick in the butt. (Elias laughs) I feel very inspired by it.

I wanted to begin with the energy centers.

ELIAS: Very well.

VICTORIA: I have been reading a lot of the transcripts and doing the exercises. I also went out and bought a book about the chakras because you mentioned that there might be some good information out there. I’ve, of course, run into all kinds of contradictions, things that they say and things that you say, and I just wanted to run some things by you.

ELIAS: Very well.

VICTORIA: First of all, when I think about the spin of the energy centers, the way I imagine it and the way I feel it is as if I were standing on the surface of the Earth at the North Pole and my spine were to continue on through the Earth and come out at Antarctica, and the spin of our chakras is the same as the spin of the Earth, kind of on a vertical axis of the spine, spinning in that direction. Is that how you mean it?


VICTORIA: I’m looking at this book and they have this very complicated system of spinning the chakras, which is different in men and women, as if the chakra were a clock on the wall. For women, the red energy center spins counter-clockwise and the next one spins clockwise, and for men, the red energy center spins clockwise and the next one spins counter-clockwise. I thought that was very complicated. Is this how they normally describe it in Sanskrit, and how will I resolve that? I want to give a workshop on the chakras, and if this is the way they normally teach it, then certainly it really flies in the face of what you say. I’m wondering how distorted other information from this book could be. I also remember you mentioning that there were tones to each energy center.


VICTORIA: In this book, it goes on to say — and this kind of makes sense to me — that the red energy center is middle C and then it simply goes up the major scale: C, D, E, F, G, A, B, all the way up to the top. Is that correct?

ELIAS: It can be translated in that manner. Understand that these are translations that individuals have formulated. In a manner of speaking, they are likened to philosophies, and there are many different philosophies concerning energy centers or what religious philosophies term to be chakras.

In this, the philosophy influences how the individuals perceive these energy centers and how they define them or describe them. That is influenced by the beliefs that are expressed in the particular philosophies. Therefore, you may incorporate one philosophy that may describe and define these energy centers in one manner, and you may connect with another philosophy that may define them somewhat differently. Some philosophies shall incorporate more of a complicated defining of and description of these energy centers. Some shall express more simplistic.

There are many different expressions that can be associated with the energy centers, which are not necessarily wrong or incorrect, such as attributing a musical note to each energy center. That is an individual translation. It is not necessarily incorrect, but it is also not absolute.

VICTORIA: Would it be different for different people, the tones? Or could it be?

ELIAS: Yes. But in what you are questioning, you are incorporating an example that is being used as more of a focal point rather than an absolute, and that may be incorporated in a general sense in which many individuals can associated a particular musical note to a particular energy center. That would be the incorporation more of a focal point, a manner in which you can focus your attention in certain associations with the energy center. It is not an absolute, and yes, that can very well vary with different individuals, but as their own focal points.

VICTORIA: In other words, whatever works. If an individual finds a tone and it seems to work, then go with it. There’s really no right or wrong. If that helps you to get in touch with that particular area, then use it.


VICTORIA: Then that can be a variable. It can make sense, this system that they use, but it doesn’t have to be like that.

ELIAS: Correct.

VICTORIA: I’ve got it from different individuals that certain vowel sounds work, and I’ve gotten different feedback, tried different ways. Some people start with an “oh” sound at the red energy center; some people start with a “you” sound and go up the energy centers chanting certain vowels. Is that also whatever seems to work, there’s no particular absolute in that? The only thing that seems absolute is the colors, but the tones not necessarily so. They’re both representative of certain vibrations, right?

ELIAS: Correct. Let me express to you, none of this information is absolute.

VICTORIA: Even the colors?

ELIAS: Even the colors, for the colors are a translation, and they are a translation of a vibration. In this, as I have expressed in offering explanations in relation to the energy centers, they do spin. In association with the colors, I have expressed that each energy center actually incorporates all colors, but one vibrational quality is more predominant. Therefore, it may be associated with a particular color, but that is not an absolute, either.

As to the tone, I have also offered information as to tone of sound that may be associated with each energy center, which that information is available to you."(1)":#1 In that, it also is a translation of a vibrational quality. Therefore, as the vibrational quality, the individual generating a particular sound, the formation of the sound matches predominantly the vibrational quality of the particular energy center. But once again, that is not an absolute and is provided merely as an expression of a focal point, for individuals express more ease in directing their attention concentratedly in association with any concept if they can incorporate a focal point to hold their attention in place, so to speak.

VICTORIA: So the importance is to hold your attention there, to whatever can hold your attention. Whether you think of the sounds of waves or the wind or a note or a color, it’s about holding your attention.

ELIAS: Correct.

VICTORIA: I also was checking the colors and how they radiate and in which direction, and I noticed pink didn’t have a particular direction that it radiates on the chart on the website."(2)":#2 Is that true that it has no particular direction?

ELIAS: Correct. Let me express to you, that energy center is what you would term to be, relatively speaking, new.

VICTORIA: I understand that. They mention it in books. Often when they talk about the green, they mention the pink...


VICTORIA: if it’s a secondary energy center.

I love colors; I love mixing and matching colors. I think of it as an artist, taking a palette of colors and mixing them. There’s pink somewhere between green and blue, which doesn’t fit into the scheme of things when you think of the rainbow, how colors naturally occur in a rainbow. Pink just doesn’t suddenly appear between green and blue, but magenta and white makes pink. Then I look at indigo, and that also doesn’t quite fit into the rainbow scheme of things, but black and blue make indigo. I look at little patterns that emerge, and I think maybe indigo also appeared at some point, as did pink, in the scheme of things. Maybe it was an energy center that wasn’t always there but it started to emerge at some point, mixing black and blue.

I’m thinking red is connected to religious, yellow is emotional, and blue is political. These are primary colors, very primary colors. They’re not secondary colors; they’re not mixed. But purple, thought focus, is a mixture of red and blue, kind of more towards the blue end of red and blue, and purple is a secondary color. Is there anything to all of this, or is that just my over analyzing? Do you see where I’m going?

ELIAS: Yes, I am understanding, and I express it is not necessarily a matter of over analyzing but allowing yourself to explore and generate a fun creation in which you translate the energy centers and how you associate with them.

VICTORIA: Is there significance to the fact that the red, being a primary color, is connected to a religious focus because it’s primary? Then there’s yellow, primary, which is emotional, and orange being mixed between the two. Like you said, they have the two elements, emotional and religious, kind of mixing together and making the orange. It’s like a palette of colors. It’s our color system. It’s what expresses who we are.

ELIAS: Yes, in a manner of speaking. If you are generating an exploration of associating certain colors, certain vibrational qualities with certain elements of the blueprint of your reality, I would express to you that the red, as a primary color, would be more associated with the base element of your blueprint being sexuality, which is the expression of all physical manifestation in all forms. The yellow, you are correct, would be the other base element of your reality, which is emotion, which is all communication in every form. The blue may be associated with the third element of your blueprint, which would be beliefs. That would also be associated with expression and projection of energy.

VICTORIA: I’ve been doing my own work with the energy centers, and I’ve thought a lot about what we talked about last time, this shield, this protection that I have. In my own work, personally, I try to bring the yellow and the purple together, because I remember you mentioning that purple is an energy center that’s very helpful in putting yellow back into place. (Elias nods) I feel somewhat of a difference. I think physically what the yellow being out of alignment translates as is problems with my neck and my shoulders. I feel there’s a little bit of a relief there although not completely, not as much as I would wish. Just to check in with you, is my yellow energy center still very much out of alignment? Am I bringing it back in?


VICTORIA: So there is some kind of success in what I’m doing?

ELIAS: Yes, yes. I may also suggest to you that you may also incorporate the pink, for that generates a calming energy, and that energy center may be incorporated in conjunction with all of the energy centers.

VICTORIA: Interesting. Why doesn’t it have a particular direction of radiation?

ELIAS: For it is associated with interconnection of all of the energy centers.

VICTORIA: I also read in the transcripts about certain exercises that you suggest. One of them was gazing at an object in the room and see if you can make it spin."(3)":#2 It’s to try to connect with our subjective state. I just want to run this by you because I don’t really have much success in any of the exercises the way you describe them.

What usually happens is I just let go and see what happens. I’ll sit in a chair and I bring my feet off the ground — for some reason that seems to help — and I’ll gaze at a candle. Usually it’ll be in the evening, and it’s calm, it’s quiet. I’ll let my focus relax, which just seems to happen naturally if I don’t think about it, and what happens with my vision is that everything splits. There’s two of everything. I’ll just let my focus relax and let it settle wherever it may. It feels like everything becomes this two-dimensional plane, and they kind of float in space. They’ll move in relationship to each other, these two objects, and they’ll come in and out. They’ll seem solid and then become more translucent, and I can see objects behind them.

Then I notice that the more I relax my focus, my eyes tend to drop and I start to feel my gaze in my third eye. Then I feel this surge of energy through my body, where I feel like I’m less opaque than I really am. I feel the energy behind the objects in the room, the energy in the chair that I’m sitting in, and I feel like I melt into it. If I gaze down at my legs, there’s this light emanating. Everything seems to be more light and energy, and I feel as if I’m riding on a wave of energy, which I feel in my legs particularly. I feel a little bit of a lift, but not really.

Then I’ll notice the sounds. I’ll notice this kind of hiss in my head, this static hiss. It gets a little louder, and then I notice the sounds that come from the street seem a little more distant, almost as if there’s this incipient sound of voices, not very discernable, but almost as if there’s voices, conversations. It’s hardly discernable at all, I can’t really make out words, but it just impresses me in that way.

This is as far as I can take it, and I just try to hold it. It feels like there’s a great surge of energy, and I feel like I’m holding back but at least I’m trying to keep that going. Usually when I recognize that it’s hard for me to hold it, it kind of disappears. I can bring myself back there and it just comes to that point. I’m wondering what exactly this is and if you have any suggestions about how I can take it further, wherever it’s going. Am I making sense?

ELIAS: Yes, I am understanding. You are developing your own methods of exercises in allowing yourself to experience less separation and allowing yourself to generate other types of experiences in which you generate an openness to more of an interconnectedness with yourself, with your environment, with your reality, and with different aspects of yourself.

In this, you generate to a point, which is not unusual, and subsequently, as you continue in the experience, you begin to generate excitement. You feel relaxed, and are, to a point. The excitement begins in moments in which your experience becomes more enhanced, and as you move further into the experience, that generates an automatic curiosity, and the curiosity triggers an element of excitement.

Now; this is not bad. But for you and many other individuals that venture into these types of experiences, it can generate somewhat of a frustration. For you wish to proceed, and at some point the experience begins to dissipate and the individual experiences somewhat of a difficulty in regenerating the experience in that moment once it has dissipated.

Now; I may express to you, as you move into this type of experience, evaluate briefly at different points whether you are actually continuing to express the same type of relaxation that you began with.

Now; as I express to you “evaluate,” I am not expressing to you to analyze or to incorporate significant thought, for that shall interrupt the experience itself, but to merely, in your terms, momentarily notice or check your energy and recognize whether your energy is continuing to be as relaxed as it was as you began the experience. In this, if you intentionally continue to focus yourself in that relaxation, that shall be helpful in abating the excitement. Once you allow yourself to accomplish moving further into this type of experience in clarity, it shall matter not if you begin to generate that excitement, for you shall have allowed yourself to hold in the experience and you shall have generated a strong enough openness with yourself that the excitement shall not interrupt that.

But the tricky element is to become familiar with holding in that relaxation and holding to that action of defocusing, but also moving that defocusing into the next step, so to speak, which would be moving into more of a focused clarity, in which you are allowing yourself to pay attention to the interconnectedness of yourself and your environment, as it is an extension of you.

Once settling into that experience of your environment being that extension of yourself — therefore, a projection of you and not separated from you — as you move further into the experience of the defocusing, which allows you that lack of separation and allows you that openness, it also allows you to expand your awareness of you as more than merely this one manifestation. As you move into that experience, that is the time framework in which you begin to generate the audible sounds of other individuals speaking. Those other individuals are other aspects of you.

Now; they may be, at times, other aspects of you now, of this focus. As I have expressed many times previously, there are countless you’s of you in...

VICTORIA: You mean alternate selves?

ELIAS: Yes, in this one focus there are countless aspects of yourself. They may be other aspects of you now in this focus, which you can tap into and offer yourself more information concerning you now, different qualities and expressions of yourself that may be latent and not necessarily expressed but that may be of interest or curiosity to you to explore.

At times, these other voices may be other focuses of you that you are allowing. They may become louder than those of other aspects of you in this focus. Not that you cannot connect with those communications also, you can, but you shall begin to notice a difference or a distinction. The audible expressions that you are experiencing that are expressed louder are, generally speaking, other focuses. Those that are softer are aspects of you in this focus.

VICTORIA: That’s good to know. From this state, is this also a good jumping point to an out-of-body experience? Is this something that could lead to that?

ELIAS: Yes, yes.

VICTORIA: So I’m kind of on the threshold, so to speak, kind of coming to that place?


VICTORIA: If I were to proceed in trying to project, should I be thinking of a place to go, to project to, or during the experience when I’m reaching this threshold just completely let go and trust that it will happen? It always seems to be this tension of how much to let go and allow and how much to control. That’s the thing that we all grapple with and that I’m grappling with, and what a lot of people were talking about, actually. I feel the surge of energy and feel like “Okay!” As soon as I recognize it, I go, “Ooh-kay! I don’t know if I can do this. Can I do this?”

ELIAS: Yes, and that dissipates the experience. You are generating an excitement, and subsequent to the excitement, once you notice the excitement...

VICTORIA: It grounds me again. I’m right back.


VICTORIA: That’s why I feel that bringing my feet off the ground somehow helps. It grounds me less, somehow.

ELIAS: I am understanding. In this also, once you generate the excitement, you begin to question.

VICTORIA: Right: “Is this really going to happen? Am I doing this right? Is this what I think it is?”

ELIAS: (Laughs) There is no right manner to create or to allow yourself a projection. In this, you may offer yourself a suggestion of a particular location that you wish to project to, or you may merely allow yourself to flow. Once you begin to generate the visualization, do not discount it.

Now; as I express “visualization,” individuals incorporate this action in different manners. Some individuals actually do incorporate an actual physical visual. Some individuals generate visual imagery that they are not actually physically looking at. As an example, some individuals generate with eyes closed actual visual pictures. Some individuals do not incorporate visual pictures at all but generate an impressional sense of the visual. Therefore, their experience, although not incorporating an actual picture, is equally as defined and real as an individual that generates an actual picture.

What becomes the snare is that individuals stop themselves quickly once they begin to incorporate the visual, for they immediately question and discount. They immediately question precisely what you have stated: “Is this real? Am I imagining this?” That is the snare point. If you allow yourself in that state of drifting to incorporate whatever you begin to manifest and not question it and merely allow it to continue to unfold, you shall allow yourself to genuinely project, and it shall become more solid — not entirely solid, but more solid — as you progress in the projection.

VICTORIA: I think at this point I’m just trying to get used to that feeling and just hold it and become familiar with it. The more I become familiar with it, the more I allow myself.


VICTORIA: I just have to get one little step at a time. But then there’s that actual projection where it seems like suddenly it’s a big leap, that trusting. What holds me back is that expectation of that big leap: “When is it going to come? Is it now? No, not yet. Is it now? No, not yet.”

I’ve thought a lot about our underlying intent of essence. I don’t know that I’ve really come upon what my underlying intent is. I think about being Sumari-belonging, Gramada-aligned, and I think there’s kind of an inherent tension between the two somehow. Of course, my thoughts go to color, because they’re two complementary or opposite colors, which creates a certain tension but excitement. It creates an aliveness, Sumari being more, as you say, extroverted, perhaps and wanting to be the center of attention, and Gramada being more held back and doing things quietly and yet affecting in a playful way, even in an artistic way, in the same way that I am a musician and also expressing myself and feeling that that’s a very important part of who I am.

Maybe this is more of an expression of my intent, not necessarily the definition of it, but I seem to feel that where I go often is finding the underlying form in all things, innovation and how it expresses itself through different mediums...


VICTORIA: ...through color, through tone. This is where I feel perhaps maybe my intent lies. I’m not sure, but this is where I’m kind of headed.


VICTORIA: Then I think of impulses and how to really detect our true impulses, which seems to be a challenge for most of us. I’m thinking that without understanding the underlying intent, it would be really hard to detect our true impulses and to go with it. Is there truth to that?

ELIAS: Yes, and I may express to you also that these families in combination with each other can actually generate a complement in expressing your creativity, also incorporating the allowance for innovative and experimental and initiative types of creativity.

VICTORIA: I feel like it’s a very interesting combination that I have, and it’s a very effective one, Sumari/Gramada.

We’re talking about colors — that seems to be a theme of discussion here — and I had a question. Often I lie on the floor and I do a lot of staring at the wall. I like doing that. I have these ceiling lights, and as I stare into the ceiling light and close my eyes — or not necessarily closing my eyes — it somehow stimulates my vision in such a way that often these colors come, and there seems to be a theme. I often get magenta first. It doesn’t take up my whole field of vision, just a dot, a noticeable sized dot. Then I’ll focus on that very specific color of magenta, very rich, very present, and then yellow will emerge in the middle of it. This is very predictable, the magenta and then the yellow — sometimes the yellow first and the magenta around it, but lately the magenta and the yellow — then focusing on it right there at my third eye, a bluish, maybe an indigo, maybe kind of a turquoise as a halo around the magenta. I’m just wondering why these colors? What is this? Is this somehow my energy centers connecting? Can you give me any feedback on what’s going on here?

ELIAS: And your impression?

VICTORIA: I get the feeling that there’s communication going on — the magenta for sure and the yellow. Perhaps this is a balance, these colors trying to come together in a balance?

ELIAS: The magenta is expressed in an encouragement for openness. The yellow is expressed in association with you, you as an individual in the wholeness of you, and the magenta being an encouraging energy of openness around you. The indigo is a soothing, cooling color that offers a supportiveness to you in that openness, generating a calming energy.

VICTORIA: So these are kind of therapeutic?

ELIAS: In a manner of speaking, for the yellow incorporates more of a vibrant and more of an excited energy.

VICTORIA: It’s very intense, yellow. It brings to mind the conversation we had last time about this protective shield. It’s really stayed with me these last three weeks since we’ve talked about it, and I’ve become more than aware of it. I think it was always on the periphery of my awareness, and now it’s become central. The suggestion that you gave me to take walks and allow a smile to come my way, I guess I saw that as letting go of needing to be in control and allowing somebody else to please you, to allow something to make me smile, which is receptive.


VICTORIA: I’m just checking in with you about how well I’m doing. Am I moving in the right direction? I do feel like things are flowing much more. I’m making more connections with people, which has been important to me. I’ve been, let’s say, coincidentally running into people on the street in a very timely manner where I’ll need to communicate something to them. I’ve been working a lot with my orange energy center, trying to send it out there. I feel that there’s a little chink in the armor here, and I’m beginning to allow more of a flow and less of a holding of my energy. Do you see that? Can you read that in me as well?

ELIAS: Yes, and I am quite encouraging of you to continue.

VICTORIA: Of course! (Elias laughs) It feels like I have a ways to go.

ELIAS: What is significant is that YOU are noticing, that YOU are recognizing differences, that YOU are aware that you are altering different aspects of yourself, and that you are beginning to generate more of an openness and less of a shielding, more of a willingness to receive.

VICTORIA: That’s so much the core of it, my willingness to receive. This is where I hold back, in the reception.


VICTORIA: Where did that begin? I don’t know. That’s another topic of discussion. (Elias laughs)

I have a dream that I’d like to discuss with you, from maybe three months ago. It was before I was going to go to this women’s herbal symposium, which was a large gathering. It started in a hut of some sort. I found myself in a room full of people, and it seemed like they were all men. Suddenly, a black man appeared with a conga, and I play the congas. He started to tune up this conga and then he started to play. I’m not really sure how the sequence of this went, but at one point I looked towards this one guy — and I think this was a trigger; I need a room full of people and then I’ll become lucid — and I said to him, “We’re in a dream now.” Then I turned to the other guy and he started to play the conga, and a note started to ring out, a very distinct note. I wish I knew what that note was, but I’m not sure. We started to do a call-and-response thing, and that went on for a while.

Then I stepped out of the hut, and there was to the left of me a gathering of people like an open-air market, mostly women, with stalls where they were selling things. I think this was in anticipation of the event I was going to go to, this women’s herbal symposium. I noticed that it was very open, very active, lots of stuff going on. I turned to the right and I heard a voice saying to me, “That’s where the men are.” It was a building that seemed vacant but it was immense, made of stone. It was very impressive, and it almost sounded a note, like “Ta-dah! Here is the building.” It felt more symbolic than real. There was this quiet, no activity, no presence of people there. Then I woke up from that dream.

It seemed like it was a two-part dream, the part when I was inside connecting with people, who seemed like actual people that I was connecting with because I remember when I told this guy we’re in a dream, I kind of got a look from him and he was like, “Huh? Yeah? Oh, are we?” Then the dream went into these other aspects. I wonder if you have any comments you can make about that.

ELIAS: And what is your impression concerning this?

VICTORIA: Maybe right-brain, left-brain activity, because I looked to the left of me and there were the women, and I looked to the right and there was a city but the men weren’t there. I’m not really sure. I have feelings but I can’t really articulate it. The part with the hut, there’s something about the call-and-response and communicating, and the tone — perhaps that was my particular tone of essence. What really comes to mind is when you want to trigger yourself and you look for certain triggers in a dream. When I become lucid in a dream, it seems like there’s always a room full of people and I have to tell people we’re lucid now — maybe because it’s my dream, I don’t know. That’s as far as I’ve gone. Tell me what you think.

ELIAS: The imagery that you are presenting to yourself in this dream is that of communication, interconnectedness, sharing, appreciating and strength. The building, the structure, is imagery that you present to yourself of strength. The imagery of engaging the music with the one group of individuals is imagery of communicating and allowing a free-flow of interaction. As you emerge into the other group of individuals, this is imagery that you are constructing in relation to communication and interaction, and that of allowing a sharing and allowing yourself to move in conjunction with other individuals in exchange, allowing yourself to exchange and also receive.

VICTORIA: This is my theme right now.


VICTORIA: Subsequently, when I went to this women’s herbal symposium, I connected musically. I played a lot of congas, which I didn’t expect. I felt I was connecting with people, which has been a struggle for me. I’m struggling with this aspect of myself of making connections with people, so this is an encouraging thing.

What about the dream trigger thing, when one becomes lucid? You mention dream triggers in your transcripts.

ELIAS: Correct.

VICTORIA: One of my dream triggers seems to be a room full of people. Is that correct?


VICTORIA: This is perhaps my need to connect, somehow all drawing into that.

I have a quick question I wanted to ask. I have a very dear friend, her name is Aureet, and I wanted to ask if you would give me her belonging and alignment.

ELIAS: And your impression?

VICTORIA: I think Sumari/Ilda, but I’m not sure.

ELIAS: Correct.

VICTORIA: My sister Susan, as well, could you also give her belonging and alignment?

ELIAS: And your impression?

VICTORIA: Well, I don’t get an impression, maybe because I know her too well. You’ll have to help me.

ELIAS: (Chuckles) Allow yourself a moment, presently; quiet yourself. What impression appears?

VICTORIA: Milumet?

ELIAS: Ah ha! This is the point of paying attention and allowing yourself, not analyzing, but allowing yourself to communicate through an impression and not doubting that. Yes, you are correct. This would be her alignment.

VICTORIA: So, belonging... What’s green, again?

ELIAS: Ilda.

VICTORIA: Ilda belonging?


VICTORIA: She works with the pendulum a lot. She feels like she’s in communication with my brother through the pendulum, but she’s frustrated because she wants it to go beyond that. I remember asking you how I can connect with essence and have an exchange. You mentioned through my dreams, which makes a lot of sense. Is there anything I can tell her that would help her to connect? She has a hard time remembering her dreams. I wonder if connecting through animals — she feels very connected with animals — might be her direction.

ELIAS: Yes. You may express to her from myself to be paying attention to creatures, for this is a manner in which other individuals that have disengaged can easily project energy and generate what you would term to be a connection. Creatures are very receptive. They also do not incorporate beliefs. Therefore, they do not limit their perception in association with beliefs. They are also very receptive to the individuals around them and generate a strong willingness to cooperate with the expression of the individuals around them. Therefore, they can be incorporated quite easily as a type of conduit or connection point between an individual within physical focus and an individual that has disengaged.

VICTORIA: We often say that dogs particularly are a reflection of their owners. They often express underlying feelings, thoughts and whatnot that are there that people don’t connect to.


VICTORIA: You see it all the time. It’s obvious to us, at least. Maybe not to the owner of the dog, but you just see it. It’s so true. You just see it so much.

Wow, I’m out of time. Again, I always get so much out of these interactions with you. I look forward to the next one, which I hope will be soon!

ELIAS: (Laughs) And so shall I!

VICTORIA: Thank you so much.

ELIAS: You are quite welcome, my friend.

VICTORIA: I wish we had more time, but I don’t want to wear Mary out!

ELIAS: (Laughs) We shall speak again.

VICTORIA: And please communicate with me in any manner in which you surprise me. I want more communication. I see your dots all the time, but play with me if you want. Go ahead!

ELIAS: Very well, so I shall. In great encouragement to you, my friend, I express tremendous affection and appreciation. In friendship, au revoir.

VICTORIA: Until next time, au revoir.

(Elias departs after 1 hour, 5 minutes.)

(1) From , 7/21/99:

ELIAS: Very well. Vibrational tone qualities associated with vibrational qualities of colors, in association to each other. Recognize that these are translations, once again, into your physical language, and not entirely accurate.

JIM: Okay.

ELIAS: Red: lo, L-O. (pronounced low) Orange: mu, M-U. (pronounced moo) Yellow: wah, W-A-H. (pronounced as rhyming with saw)

JIM: Hmm. I was close, huh?

ELIAS: Quite! Green: ti, T-I. (pronounced tee) Pink: si, S-I. (pronounced see) Blue: rai, R-A-I. (pronounced ray) Indigo: whou, W-H-O-U. (pronounced hwoo) Violet or purple: mai, M-A-I. (pronounced may) Are you wishing of black also?

JIM: Yes, please. Sumafi!

ELIAS: Nah, N-A-H. (pronounced as rhyming with saw)

(2) There is a lovely little color diagram of energy centers and the body, and a brief description of each one at

(3) This is an exercise in viewing alternate realities. The text of the exercise can be found at

©2010 Mary Ennis, All Rights Reserved

Copyright 2005 Mary Ennis, All Rights Reserved.