When I was going through my yearlong training to become a clairvoyant reader, one of the fun games I started playing for my own amusement was, any time I was at a concert, to look at which chakra was most dominant in the different musicians.
In case you don’t know, or just need a refresher, we all have seven main chakras that roughly correspond to the following:
1st: at the root of the spine–safety, survival, security, grounding
2nd: around the belly button–sensuality, sexuality, emotions
3rd: at the bottom of the ribcage–male/female energy distribution, will/workspace, power center
4th: heart–love, oneness, affinity
5th: throat–the ability to communicate with oneself and others, clairaudience, telepathy
6th: third eye (center of your head)–vision, clairvoyance, the ability to see and be seen
7th: crown (top of the head)–connection to one’s higher self, connection to God, sense of knowingness
In my years of observation, most drummers and bass players are going to be operating from the first and second chakras–keeping the rest of the band grounded, but also keeping the swing funky and sexy. However, I’ve also seen highly idiosyncratic drummers like Billy Ficca of Television or Brian Blade operating from their fifth charkas–bringing a voice or eloquence to their beat-making, beyond just keeping a simple pulse.
Guitar players, especially lead electric players, are often associated with the third chakra–it’s all power, will, and dominance. But I’ve also seen someone like Nathaniel Braddock, an extremely cerebral and intelligent player, work entirely from his crown. Tom Verlaine, at least when I saw him play recently, works from his fourth chakra, not so much as an expression of love like we might normally think of it, but as an expression of his identity and oneness with the music/his instrument.
Sax players and lead vocalists are typically fifth chakra players, which makes perfect sense–they are the voices of their bands, communicating from the front of the stage, getting the songs’ melodic ideas across to the crowd. I’ve also seen, for example, the former lead singer of the Occidental Brothers Dance Band International sing from his heart chakra with a pure force of love that felt absolutely revolutionary.
Classical music is another ball of wax entirely, but just to continue with my very general overview, orchestra conductors tend to be working from their seventh charkas exclusively, albeit with very different flavors. Typically the crown chakra is the seat of one’s seniority; if you’ve ever started talking or acting like a friend when you find yourself in close quarters with them, you’re probably matching to the energy that she is running in her crown. It’s obviously handy for orchestra members to be resonating as a unit in this way, so it’s important for a conductor to set a tone and offer his or her crown chakra as a kind of beacon to follow. Which sometimes can have unexpected consequences.
A few years ago I saw a guest conductor at the Chicago Symphony Orchestra who was clearly operating as some sort of channel or medium for these CRAZY high-pitched energies that almost felt extraterrestrial. As the orchestra was tuning up that night, it felt like they were in a panic, trying to ratchet themselves up to his level of nerve-jangling intensity. It was a much, much higher level of energy than the average person would be able to sustain for any length of time.
Whereas a guy like Esa Pekka-Salonen conducts from his seventh chakra not as a way to channel anything spacy, but as a way of looking into the future, to keep pushing the art form forward.
So, that’s just a quick summary of one way I play with my clairvoyance when I go out to concerts. But it can certainly also be done in other contexts–I’ve “read” at art museums (both individual works of art and whole exhibits) and even though I’m not sporty at all, I’m sure reading athletes at a sporting event would be terribly interesting as well.
Looking at energy this way started as not much more than a way to practice my developing psychic skills. But now it’s a fun way for me to add a level of depth to my experience as an audience member–almost to feel like I’m participating in the show in some way. It’s also a good reminder for me, as a performer, that it’s foolish to try to tamp down or mask my own dominant energy center(s). The audience, whether they would realize it or know how to articulate it or not, will always see/feel what I’m actually doing.
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