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Aaron Perry
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Kimba Arem is an international performer and recording artist, molecular biologist, and sound engineer who specializes in the healing and consciousness-expanding properties of sound and music. Having produced 13 albums (including one with Dr. Andrew Weil called “Self Healing with Sound & Music”), and the movie Secret of Water, Kimba is assisting the planet in a “gentle awakening” through sacred sound and vibrational medicine. She is a classically trained pianist and flutist, who has expanded her repertoire to include a variety of traditional, exotic, and ceremonial instruments. In this special episode, you’ll hear her playing a didgeridoo specially made from quartz crystal, a most mysterious sounding water harp, and an enchanting 4-piped wooden flute.
Kimba discusses the healing frequency of 432 Hz, along with the essential geometry of the Flower of Life (the pattern associated with the Heart Chakra), and its relationship to the structuring of flowing water crystals in our bodies and throughout all of the living biosphere on Earth. Her near-death experience in 1992 awakened Kimba to the reality that sound is healing – a reality known by St. Francis and Buddhist monks alike – and that all of the phenomenal world is made up of vibrating rhythms – Nada Brahma. She shares how so many instruments are played through the human breath – connecting us directly with the Divine Spirit (Atmen, Spiritus, Atmos) in the phenomenal world.
Kimba encourages us to incorporate healing sound and music into our lives, to awaken and remember our deep purpose of the heart (Dharma), and to help cultivate coherence, resonance, kindness and stewardship in our own lives and in our shared world. Learn more at gaearth.com, radiancehealth.com, and secretofwaterthemovies.com.
Transcript
(Automatically generated transcript for search engine optimization and reference purposes – grammatical and spelling errors may exist.)
Welcome to the YonEarth Communities Stewardship and Sustainability Podcast Series.
Today we have the opportunity to visit with Kimba Aram, hi Kimba, it’s so nice to
be with you.
We are in Kimba’s studio and we’re going to be talking about healing and sound and
water and Kimba is going to also demonstrate some of these amazing and really unique instruments
that she works with.
Before we dive into all of that, let me give you a little bit of Kimba’s background.
Kimba is an international performer and recording artist, sound engineer, molecular biologist,
classically trained in piano and flute, a subtle energy therapist and full-time spiritual
seeker since her transformational wake-up call a near-death experience in 1992.
One major realization given to her was the awareness that the basis of everything is
essentially vibration.
After that event while attending graduate school studying Taoist acupuncture and herbs,
she was introduced to the ancient idea of using sound as medicine, which combined her
passion for music with service to others.
She has now been practicing music therapy in various other subtle energy modalities
for over 20 years.
In addition to this, Kimba has actively been involved in shamanic practices from around
the world since 1994.
She incorporates tapping into harmonizing energies beyond the five main senses into her
productions and therapy work, which has involved individual sound sessions, workshops, group
sound journeys, scoring, the production of 13 albums and a movie called Secret of Water.
She be co-founded and is president of an integral health clinic, Radiance Health, which incorporates
both Western and complimentary medicine.
She is dedicated to educating and assisting the planet in gentle awakening and transformation
through sacred sound and vibrational medicine.
And I might also point out among all of these beautiful things that you’ve produced include
this album that you co-created, Kimba with Dr. Andrew Wilde called Self Healing with
Sound and Music.
And I am so excited that we have this opportunity to visit with you and have a bit of sound
experience with you.
Before diving into this rich set of topics, I want to ask Kimba, can you share with us
a bit about this near-death experience and why that was so pivotal for you?
That’s a really huge topic.
So I’ll just kind of go to the essence of how it applies to our topic today.
So my background was science, I in college at least.
I grew up a nature lover, a music lover, I was trained in classical piano and silver
flute.
Then as I got older, I didn’t see music even though it was my heart, it was natural
talent, my passion, but I didn’t like being in front of people.
Even today, it’s not my thing, although spirit had a different plan for my life.
I don’t seek to be on stage or perform or anything.
Music was always my medicine.
But I only knew music as well you get up on stage and you perform and you entertain people.
And that’s what I was doing growing up in concerts and piano recitals, but I could not say
you’re doing that my whole life, I’m not that kind of person that gets fueled by that.
So I decided that my father was a doctor, that I’m going to go to medical school, but
I love nature so I studied molecular biology was kind of my major in college, but it wasn’t.
I didn’t realize this that I had fallen asleep to my life’s purpose slowly, which I think
happens to most of us in the culture and the times we live in.
In 1992, I was about to graduate, talk in my class, honors molecular biology, minor
math and physics, pre-med, going to enter medical school, and I had a big wake up call.
This is a whole story in itself, actually what happened in the senior death experience.
I did not know at the time what it was because I had no spiritual lingo, no community, no
references for this, what happened to me.
I started to read voraciously after that, like a few books a week on all these different
topics and gotten to the costinata material and anything I could mine that was spiritually
oriented.
But I read a Raymond Moody’s book called Life After Life and every single, so he was cataloging
near death experiences of people, thousands of people, and they all had similar themes.
Every single thing he touched upon happened in my experience, except there was a few more
things that he didn’t talk about.
We all get the life review, that’s a very common theme in people with having these experiences,
where you see all of your life and the perfection of it and everything that brought you to this
moment and yourself outside of time, really.
It’s a really, you don’t see it like a movie, you see it, like your life is an object.
But it’s already, in a certain timeline, your future and your past are kind of determined.
But from the moment you’re in, you can’t change your past and your future.
Kind of hard to describe, but that’s what I was shown, so I was actually shown my preview
of how my life wouldn’t, the age, I was actually, I was going to die at 42, I’m now almost
48, a couple weeks, but so I definitely changed my timeline, and I was given my prognosis,
which was harsh ones in foam, I had no idea what it was, I had knock on a medical career,
and I didn’t end up going to medical school, but it turns out it was a cancer of lymph nodes
I had to look it up, and this would be for internet, so I had to get a book on medical
diagnosis, so, but the essence of this experience was I came back basically a baby again.
I think I feel that this is where we come from, the place when we are born and when we die,
we go to a realm that if we tap back into it sometime in our life, it’s like starting
over, because you remember, and you see things outside of time, you see yourself, you see
the perfection, you basically, as I see it enters a mind of creator, we are all the creator,
and then this is a fractal, you know, kind of layers down version of the fractal that
each of our lives is like the cell in the body of Brahma, the Vedas in India would refer
to the creators of this being, and we’re each a part of it, I got an experience of that,
it’s not a theoretical, it was like we are all God, but every one of us, not just some of us,
you know, so that’s an important key, it’s very humbling, so, but because I was a baby,
I knew I wasn’t going to go to a medical school, however, I was shown I was going to leave
me in the path that was not, not only would be an early death, but not following my, now I have a
word called Dharma, after studying the Buddhist culture, which I feel very connected to as well,
but that we have a life’s purpose, every cell in our body has a function, and we are all
meant to fulfill whatever that function is, and if you follow your heart, you follow your
passion and you are fulfilling your purpose in life, and I had no idea when I was, because I had
gotten into this mindset, my mind, thinking I was supposed to be something, but it wasn’t really
my true gift, which I always love music, but I had no idea how to make that, my livelihood, you know,
so I was like a baby, however, this instrument entered my life, um, called the didgeridoo,
it was in 1993, and your death happened in 1992, I was about to graduate, and I knew I had to
finish college, but I didn’t know why, and because I was still not in my body for, it took about four
years after this near death to get really grounded back in reality, but if you’re I am, I got
to graduate, experience, or if I hired you all the same, you got to graduate, so I’m walking to
organic chemistry, right, going like, why am I here? I’m not going to be a doctor, I’m not going
to use this degree for anything, I’m melting in trees as I walk to class, like I get sucked into
every tree that I walk by, and start to just commune with it, like it was like a magnet,
this phenomenon that happened for a few months, so I’m walking to organic chemistry, and I see a lady
lying down, sitting in the grass with this instrument lying next to her, I was magnetically drawn
to it, and I went up to her, and I said, what is that, please play it for me, she said it’s called a
dream pipe, her partner who was making those of the local cactus in Arizona, Alan Shockley,
and she played this instrument, I never heard one before, never seen one, and that sound was a key,
literally a key, like in musical terms, like it unlocks something, I heard that sound, and I’m like,
I need one now, this is the only thing really that makes sense to me, and that was why I needed to
continue my college degree, so I could meet her and meet this instrument, and plus there’s
other reasons for that fractal of the degree, but this instrument turned out to be my guide,
and my teacher, and it still is, this is 27 years later, I just played that instrument, I played it
all the time, that sound, it connected me back to this place that I went in my near-death experience,
and that was where I just like, how do I get back there? People who also have near-death experiences,
it’s very difficult to come back into this world, and you understand you’re in a realm of death,
decay, everything you love, everyone you love, your own body will fall away, and decay, it’s not
in a moral realm, it’s a very time-looted, at least the time we live in on the planet, and what
you tap into is the part of you that doesn’t decay, that is timeless, that is ecstatic, it’s really the
ultimate addiction, I could say, embryo addict is seeking that state. Carly Young spoke about that
affair, but actually, it’s very interesting. I love his work, we’re all tapping into the same
piece of the fractal, so when I played the didgeridoo, I realized number one that I don’t breathe,
and when I moved to Hawaii later, I learned that Hale is the Hale, they say, but Hale is a Hawaiian word,
and it means without breath, and that’s what white people were called, and I don’t really notice
in the culture that we live in, we do not breathe, and every culture around the world, except English,
the language refers to breath and spirit are the same word, and in English they’re separated out,
and so what I was like, I’m not breathing, therefore I’m not really bringing my full spirit,
I’m not incarnating fully, so kind of like halfway out of my physical form, and I think there’s
a lot of problems with that, not only level of consciousness that health lies, but we need to,
and so the didgeridoo became my teacher, not only is the ultimate pranayama or how to
the circular breathing, it took me about a week to get circular breathing, but about four weeks
where it was effortless, four years, I’m sorry, four years of really playing it all the time,
where circular breathing became, but I didn’t care, I just needed to make this sound.
Yeah, you know maybe some of our audience may not be entirely familiar with circular breathing,
and I actually, as I was sharing with you previously, have played some didgeridoo,
and that whole process of being able to continuously make sound with our breath is so
profound, it’s so magical. I love your comment too about the language, the etymological relationship
between what we call spirit and what we call breath, of course, the Latin roots, spirit,
inspiration, aspiration, perspiration, spirit to, there’s a great inspire, the spirit coming
into us, and then in some of the proto-Indo-European language roots, we find this,
this Atman, Atman Brahman, in India, and Atmos atmosphere through the Greek Atman is to
breathe in German, and it’s just such a magical and important, I think, part of our practices,
humans, and I know many of the practitioners that we’re increasingly connecting with through
the Y&R community make breath work a very central part of their own personal day to day practice.
So I’m hoping maybe you can tell us just a little more about what is the didgeridoo,
and what’s this whole thing about circular breathing? Yeah, the didgeridoo, it’s such a huge topic,
but it is the perfect segue into sound as the universal own, or the sound, not a brahma,
the sound of the creator, the oldest mandala in the world, the Shri Yantra, is represented as this
kind of, almost like this structure, is fractalized, and it’s the sound of own, and that’s,
it’s basically own, is considered to be the sound of the creator, or I, or the, you know,
modern physics, like background radiation, that’s a big bang, the creation, it’s a vibration,
but it’s out of this coherent frequency, it’s like a field, everything emerges, everything is
vibration, differing levels of, it’s like fractal, but it’s the ultimate fractal sound, even light
is a frequency, when we refer to sound, it’s a little confusing because we think of sound as
auditory, but the spectrum of frequency in the cosmos, I mean the auditory is just like a hair,
in this infinite, you know, bandwidth of frequency, what we can hear is like 20 to 20,000
hertz is the average frequency, I actually have here above and below the hearing range of 20,
20,000, there are many of us, but it’s a form of clear audience that it has, that only amplified,
I’ve had since a child, but normally we just hear in a pretty limited bandwidth, but everything
is sound, and the didgeridoo is the perfect example of that, it’s one note, there might be
different keys depending on the length of the pipe, or the diameter, or the density of the material,
but it doesn’t really matter, it’s, it’s a monochord actually, I actually had a dream, I had
studied Socrates at Plato in high school, I had a great philosophy teacher, and one of the things
that Socrates said, Socrates at Plato in this whole school of Greek teachings of the cosmos was
based in geometry and sound, or everything is coming emanating out of that, and Socrates said
something that always stuck with me said study the monochord, and you will discover the secrets
of creation, so what is a monochord? The way he demoed it was like a string with how, like a,
you know, guitars have threads, and so a monochord is just a string with a secured on either side,
and the length of the string and what is made out of its diameter and everything would affect
what note it was, but the monochord didn’t matter, the note, the fact that it was one note,
I have this dream shortly after learning the didgeridoo, where it came into my life that the didgeridoo
was a monochord, it’s a pipe basically, and there’s an entry and an exit point, so it’s basically one
note, and the string instead of the physical string, it’s your breath, is the string, and it’s
amplifying the vibration of your breath, made audible, and so I was like, wow, study the monochord,
and you’ll discover the secrets of creation. Well, I just say that didgeridoo is
been one of my greatest teachers, talked to the others a little bunny, that’s in my life,
a little rabbit, funny teachers, see the common unexpected forms, and at times of life when we need
them, but, you know, the, the aboriginals which have carried forth in Australia, this instrument,
at least 150,000 years, it’s an older instrument, we know of, older in the drum at least, as far as
the runners can tell, and maybe the older than that, they said that the didgeridoo is the sound of
basically the during time, which is where we go and we die, and where we come from before we’re
born, and it’s this field of information that we can tap into with that sound and commute,
with our ancestors, ancestors lived there, it kind of reminds me of Ava, you know, in Avatar.
Yes, right. This tree of soul, you commune with this place where we go, and I was like, yeah,
when I died, that is, I really feel that, it has me, when I had my near death, and then I heard
that sound, it was like, oh, this is a tool for accessing that realm, and what I realized that,
when I play, and I’ve actually been involved in some research where they measure the brain waves,
so you’re wearing this thing, and there are some feedback devices where you can learn how to
control your brain waves, there’s like Ava, where most of the time we’re in beta, which is like
every day walking around consciousness, there’s a bandwidth like for 12 to 14 hertz, and then there’s
Ava, which is like 8 to 12 hertz, so you’re going to meditate of them, there’s Ava, it’s kind of in
between sleep, and then there’s Delta, which is kind of dreamless, deep sleep, very slow brain waves,
and there’s other brain waves, those are the main ones, but then there’s a new one, one of the
new ones is called gamma, and they were studying to that monks who could go into this brain wave state
when they were in very deep states of meditation, and it’s like above 40 hertz, and then there’s
ones above that, but that’s kind of the one that this device was measuring, it could measure,
and so you can see there’s like a little ball that goes up, goes down, and you try to regulate
the brain waves by having the feedback on the screen of what your brain is doing, couldn’t touch
the gamma, but when I played the game of the little ball went all the way to the top,
like there’s just like a spiraling ball as the visual, and I couldn’t touch it, and then I stopped
playing, and it would go back down, but I was like, gamma, and so what I realized with the
digery do is that when I’m playing it, it puts me in a state of consciousness that I very much like,
that I wish I always said, the only problem with the dig now is that I just want to be playing it
all the time, walking around, but I think it is a tool to learn how to reference a certain state
of consciousness, and then live it, part of it is you’re breathing, you need to be embody
your spirit, but it’s the, you’re in training, there’s that word in sound therapy that we use,
and that, an entrainment is a, entrainment is happening all the time, like women who live together
start to menstruate together, or you hear music, and you just can’t help certain, you know, moving,
that’s a form of entrainment, but it’s also a very physical phenomenon, things in the room,
like pendulum clocks, well, you know, if there’s a bunch in the room with all this stuff, synchronicity,
and entrainment is going on with everything all the time, we’re entraining to the moon,
and all the planets, and all the fracks, that’s a form of astrology, and so when you’re listening
to music, your brain waves actually entrain to the sounds, so some of my, like, this album has,
a lot of albums have binaural beats, which are kind of not audible, but they’re in the background,
and you can set them in the frequency range of delta, or theta, or alpha, or whatever you choose,
and then you encode it in the music, and you’re naturally, it helps your brain to kind of go into
these relaxed, expanded dates, so that’s one of the physics principles behind why sound is therapeutic,
why the did you do, you know, for me is, like, it was a teacher to understand what is it like to be
in these really expanded states of consciousness, I had that in my near death, but I didn’t know how
to embody it, one of the things I was showing is like, I’m not even in my body, part of it was
that wasn’t breathing, it was very shallow breather, many people are very shallow breather, it is a real
discipline to learn how to breathe, it’s a lifelong discipline, and so I actually have been teaching
workshops in the different due, for about 20 years, but I don’t teach it as a musical instrument,
I teach it as like, the ultimate embodying tool, this is not, you may never play it for anybody
else, it’s not a performance instrument, I mean, now you can play it, like I do with group sound
sessions, that I have people like glide out, it’s on a performance, this is a journey, the
originals use it as a way of communing with ancestors, how are healing the earth, or playing the
song of the different regions to send these songs as caregivers of the planet, so they’re playing
the didgeridoo as an act of communion for Gaia for this earth, so that’s how I teach it. We might say
most of our indigenous ancestors all around the planet understood on some level, they’re the
critical role of caregiving and caretaking of our planet, and I want to make sure we’ll connect
back to that dot in a little bit in the conversation, and I just, I wanted to articulate that because it’s
one of the themes we find ourselves turning to fairly often, how important it is for each of us
to understand that part of our own heritage, wherever our people may come from on the planet,
that that indigeneity is something we all share on some level. Yeah, and in all cultures,
all, like I connect to, I use Native American songs and flutes and aboriginals to batten
any culture that I’ve studied, I’m like, I resonate with you, I love this about you, and all their
music is universal language with different flavors, but it’s all the one role, it’s all the same
thing that all religions, all beings, I mean, that was what the Nierdeche Show me is like,
everything is one, this is not a concept, this is like something you just know, and you will not
forget, but how to live in this world of apparent separation where we seem separate bodies and
everything, it’s just the nature of their dimension, duality, the stage, you know, but it’s a
challenge, but that’s why I love music because it’s a universal language, like you can really,
like I might not speak all these other languages, and people might dress different, or have different,
you know, cultural practices, or different kinds of food, but when you listen to the music from
any culture, something and you get it, even though it’s different, it’s like, yeah, I get that,
this is a language that animals understand, all animals understand music, so for me, after my
Nierdeche, it was like the perfect, and the didgeridoo totally opened my path, I was like, make me an
instrument creator, and then this came in, and I’m like, oh, I’m the instrument, you know, I read
other about St. Francis, I’m like, ah, these are my people, you know, start to see that all these
different mystics have had similar visions and experiences, different ways of saying it,
and we just got to find our way, so, you know, music became my way to stay connected to spirit,
and then turned into like, oh, people, if I go on this ride, when I play, I’m just, I’m not here
to entertain, I’m here to commune, because that’s what we’re all seeking, and then, if I can just stay
in that space, and there’s other people around, they can go with me, and I realized that this,
and I started studying the ancient history of music therapy, and I mean, that’s how it was designed,
music wasn’t designed, not designed, but the cultures used it for midwiding birth, for midwiding
death, for communion with the earth, for healing, very deep healing practices, like real healing,
but it wasn’t about the musician being the healer, the musician is like a minister,
and a minister, the real role in my mind of the minister is an intermediary messenger,
and I’m sure to be German, I so that’s like hermits, right, the coducius, he is the messenger of the
gods, but he’s the messenger, it’s not his message, it’s not like I’m going to heal you, that’s why
this CD self healing was found in music, I’m not going to heal you with my sound, I’m going to
commune, because this is my Dharma, and if it helps your conscience to expand to a place where you
can go out and affect your own healing, because I feel like conscience’s expansion, like Ayahuasca
now they decriminalize mushrooms, in the right setting different tools or techniques can expand
our consciousness where we heal ourselves, if you cut your finger, a doctor can address it,
put healing ball on it, but you’re going to heal that finger with time and from the inside.
You know one of the things that love to die a little deeper into has to do with these different
frequencies, and we’ve used the term hurts a few times, and I’m sure many of our audience knows
it is familiar with it, but I just want to point out hurts means cycles per second basically,
so we know that our cells are vibrating at different cycles, we know that all of the light
spectrum from visible, which we can all see to things like radio waves, infrared, ultraviolet,
all of these are basically different frequencies, right, and we also know that in the ancient
Mediterranean region around Greek, Roman, Amphitheaters, when they were doing performances,
they would often place specially designed vases with water in them throughout the audience
to help amplify the resonance, and one of the interesting things of course is that this connection
between frequency and water, we are mostly water, 72% or thereabouts, and of course living creatures,
whether they’re mountain lions or little bunnies or ferns or giant redwoods or blue whales or
microalgae and other microorganisms, they’re all we are all made of water, and life is where water
is, so I’m wondering if we can dive a bit into these different frequencies, especially that 432
hurts and that 528 hurts, and what that might mean for our healing work for our own bodies and
potentially even for other parts of our living planet ecosystems and so forth, I know that’s a lot,
so maybe we start with 432 and so we’ve got all these different instruments tuned to different
frequencies, right? And our ancient roots, it seems many cultures were
aware cognizant of different frequencies having healing properties and so forth, and so the
tuning and the use of certain frequencies is apparently of great importance.
Hmm, it’s huge topic. Well I think we can discuss a way to bring those two together,
which I think water and this topic can be related, so we did this movie, I co-produced and scored
secret of water, and if you see on the cover, it’s a kind of perfect geometrical water molecule
frozen, and then the flower of life, part of the flower of life design, superimposed. Which is a
sacred geometric design. Yes, there’s another one. But this is actually not just a two-dimensional,
this is a three and beyond multi-dimensional form of what I see, the way I see it is, it’s coherent
structure. And so water, when it’s healthy, they have found like water that is from a
pristine spring or that’s been preyed into or has been structured with some kind of coherent
harmonic frequency versus like anger or hate or pollution, water exposed that will not crystallize
usually, or it doesn’t, it forms distorted crystals, but very coherently structured water with sound,
with prayer, with different things can structure water, healthy earth. Yeah, healthy ecosystem.
And so, which is interesting because in the Vedic tradition with the chakra system, the geometry
of the heart chakra is also the structure. And so the way I see the heart chakra, why that’s
important is, is basically generating your field, like the earth has a magnetic field that goes
up and goes down inside. And also, Nassim Haramane, who is a friend of ours and I’ve worked with,
I’ve studied his material in relation to this, is showing that space when it’s coherently structured,
has a similar, this kind of infinite flower of life, it’s like everything is full with this
geometry, not just the things we see, space, water. And we, through consciousness and intention,
with harmony or discord. And so can water and sound can be a tool to align us with this harmony
of universe. The things that we associate with elevated states of consciousness, when we feel
oneness with all of life, a near death experience, when we go back to the mind of God, these are,
or we know what it’s like to not be in coherence and feel depression or anger or fear, these are
all vibrations, they’re consciousness states, but they are ultimately vibrations that are not coherent.
And so the power of, and the other thing about the center of the heart chakra is, I believe that,
you know, where Norse, so in third dimension, we have polarity, which creates movement and
all of the forms we see, that’s how cells divide. My background, molecular biology, that’s how
cells divide duality. It’s not that, there is no fabric good. They’re actually two sizes,
the same coin of scene from the higher dimensions. This is a gift of expanded states where you get
out of polarity and you can reframe reality from that. Problems cannot be solved on the same level
of thinking or consciousness that creates. So if you have a problem, if you need healing,
it’s a planet, it’s not there’s no better good. There’s only experience. And we can polarize,
but that traps us in samsara and Buddhist, it’s aversion craving, it’s polarity, but it’s not,
it’s a place to learn about that experience, but then we keep going, we keep evolving,
ideally, over however many lives. But the place in the heart, there is this place where Norse becomes
south, and right in the middle of them, which I think enough seems to say, might be a black hole
there, might be black holes everywhere, which is a white hole in another dimension, maybe, it’s like
a burst into a higher dimension. That’s how I took it in, but it’s like, it’s a portal to
non-dual, to higher states of consciousness. And so the beauty of this coming back to this geometry,
this coherent geometry is in the center of this, what Buckminster Fuller also called the vector
equilibrium is the center of this perfect geometry, it’s the most stable structure there is,
it’s not polarized, but it’s also a doorway to the higher dimensions, which is where I think,
I feel healing happens, and consciousness expansion happens, and that’s what we’re all seeking,
it’s refusing, through healing, through our life experience here. And so,
structuring water with coherent sound, which is fueled by intention, so the consciousness
rise, it couldn’t be a beautiful sound, but it is created by a machine that doesn’t have a heart
or intention, and I don’t think it’s going to have the same effect as being created by human.
And it may have your perfect sound, or you may sing something, but it’s not like you’re not
operatic, perfect singer, but your consciousness can ride that frequency, and that is the consciousness and
the sound together have the effect. And so, that’s the importance of water, how when we do sound
therapy, or we’re being affected by frequencies, we are mostly water, actually everything alive,
our bodies, the earth, pretty much same proportions, all living things, I mean minerals are alive, So everything is a lot, but the things that we’re mostly interacting with, you know,
plants and animals.
Yeah, DNA doesn’t work without water, it’s all in the water.
So if we can structure that harmonically, we’re going to achieve what we’re looking for.
And so how it ties into the 432, you know, there’s a lot of controversy in the sound
community of what’s the perfect, you know, tuning.
And many, many years, I have a whole section on my website on 432 of all the research.
And then people say, well, you know, there’s just a lot of disagreements, but my experience
with 432 is that, so 432 is referring to the note A, and it’s maybe more technical
than we need to go into, but if you’re in music, all the other notes in the scale are calculated
relative to A. This is how we do it now.
And is that the A above middle C on a piano or below, or close to middle C, or above middle
C?
Yeah.
And then, I don’t think the ancients maybe did quite this way.
I think they were tuning more in other ways, or you didn’t have a little digital tuner
and stuff.
Right.
However, in that cycle is per second.
So then there’s an equation, a number, that you multiply 432 or 440 is what the standard
tuning is.
Some people say that was changed recently by the Nazi regime to 440, but before that,
the strata varies by a limit, which is the most finely tuned instrument in the world.
It’s tuned to 432.
And when I get indigenous instruments that aren’t tuned precisely, some are these days,
they make them in 440, so you can play with other musicians, you’re all the same tuning.
But if they’re not, and they’re tuned kind of by ear, or more, by indigenous people,
or the didgeridus, they’re pretty much most of the instruments I get are in 432, naturally.
Or if I pick up a guitar, and I just tune it by ear, and then I tune it later with digital
is in 432, we had a piano that I grew up learning on, it was enough right.
And my parents had tuned it in 20 years, right.
So I was telling them, hey, you know, I’ve been studying 432, when you have it tuned,
we put our piano here in 432, Colorado, they’re in Arizona, why don’t you have the guy
put in 432?
You’re going to have it tuned, just so the grandkids can play on it.
And the guy came over, and it was in 432, it had settled into 432.
So the idea is that, you know, there’s in ancient structures like Teotihuacan, and the
Great Pyramid of Giza, and many of these megalithic sites that were probably created by sound,
actually, plus consciousness.
There’s a lot of writings in there, the writings we have, you know, a lot of these didn’t
have, they were oral traditions, but a lot of these cultures refer to sound as how
they created things we can’t even replicate today.
We cannot replicate the Great Pyramid for a temporal fallback, and all of these like megalithic,
huge stone structures totally precisely aligned.
If you measure certain dimensions in the relative height or length of the buildings or
their halls, or relative to each other, they’re usually harmonically structured, almost
all of them are.
And 432 is a recurrent path, a recurrent number, and if you calculate the other nodes
relative to 432, they all come out to whole numbers, but if you use 440, you get these
endlessly repeating, fractalized, you know, digital digits, repeating numbers.
So it’s kind of like it’s not, I see 440 is not a coherent frequency.
It’s kind of like our calendar isn’t totally tuned to the cosmic, you know, they’re a little
off.
You know, there are, why do we have leap here and things like that?
The leap here, and you know, it doesn’t really account for the moons very well, and, you
know, and no one pays attention to solstice as an equinox, you know, more or more, not
nobody yet.
But so the way I see it is everything is vibration, everything is harmonics if you’re in coherence,
and so why not align our consciousness with the coherence of the cosmos, with nature,
which is already the way the Fibonacci and the golden mean and all these sacred geometrical
forms of how nature is structured, and our bodies too, the proportions of our bodies,
like the Vitruvian man, is, we are structured, it’s just our, because we have free will.
We can choose, which is a learning, I see it’s all perfect even now, we can choose to
be out of harmony with the cosmos.
But if we’ve learned that lesson, however many lives, or whatever, or enough pain in this
life, you know, let’s use the tools that we have to harmonize ourselves with the cosmos,
and certain kinds of frequencies, coupled with certain kinds of consciousness, and sometimes
ancient people use plant medicines, who could help shift your consciousness out of the
material mode, the small bandwidth that we’re usually focused on, for a little while,
and then align ourselves with the cosmos, with the harmony of the spheres, you know,
the planets make a vibration in the frequency, they actually make geometrical patterns in
their relative cycles to us and each other, everything is vibration.
So this is a tool, and for 32, for me, I just, there’s too many things that, as I’ve
studied it, it’s like, it’s a really, it’s a much more in tune with the cosmic patterning
of the flower of life, of the geometries of nature, than any other frequency that I study.
However, I think that we can transcend the limitations of, because then there’s just what
it comes down to, what I’ve been thinking about lately is, who determines what a second
is, for 32 cycles per second, is the second, like part of a division, or is an arbitrary,
you know, like a mile or a meter, or how we divide space, it’s kind of a man-made thing,
you know, in nature, like the Fibonacci, it’s not, it’s about relative, like a fractal,
like the way things are relative to each other, it’s all symbiosis, everything is harmonically
related to each other, it’s not necessarily about the unit, so I start, I think, well,
for 32 cycles per second, so what if a second isn’t accurate to vision?
So what transcends all this mind stuff, because you get, people ask, oh, it’s, you know,
the Land Horowitz has this thing about the, I’m forgetting the, there’s another, the
Salfeggio, people all solve Salfeggio, you know, it’s different philosophies, and then
people fight about them, and they defend, and anything that does that, I don’t like, you
know, there’s a bigger picture here, and what I think the bigger picture is, is consciousness.
And you can use 440, and if you’re playing it with so much love, and so much intention,
I think it can overcome the limitation. Ultimately, everything’s a placebo, too,
if you study the placebo effect, is like the mind and the belief can override any physical
limitations, you know, like why can’t Sterniogi’s drink poison and not break up?
Well, if we went to the physics, we eyed it, it would be impossible, so we can overcome
any limitation, including attuning, with consciousness. But, you know, back to the
heart, like if we’re coming from this place of like, what is our intention, with anything
you do, you know, but when I create the sound, when I play the did you do, or flute, am
I playing, because I want you to think I’m great, or I want to make money off this,
or because this is my way to commune with the cosmos, and I hope that it helps others.
So truly, it’s just that’s what’s more important than the sound itself.
You know, one of the things that strikes me is there’s in the medieval tradition, and
even the ancient tradition of Western education, mystery schools, is this body of subjects
called the quadribium that includes geometry, music, astronomy, and math, the arithmetic,
and it’s all about pattern and frequency, and it’s so amazing to be able to perceive
these inter-connections and these patterns showing up all over the place. Of course,
the daggers was all about this, as was Da Vinci many centuries later. With the work we’re
doing it, why I was including this coming summit that we’re hosting May 17th to 19th,
we do a lot of that heart connection with intention, with water, and with living biology
in special compost preparations in the biodynamic tradition, to help activate and even heal
soil ecology, forest ecology, gardens, farms, and that connection of that heart is so important.
Any of us who might have a practice of prayer in whatever tradition will know that that
connection of heart is perhaps difficult to describe sometimes, but so essential, and
we’re living in a time when there is a profound need for healing in our own selves, our
own bodies, our minds, our emotional bodies, and in our living biosphere. It seems one
of the things we can be doing a lot more is connecting with heart and collaborating
with microbiome when it comes to soil and doing this kind of healing work. So we’ll be exploring
and sharing this kind of experience together at the summit, which is coming up. It’s massively
mobilized in sustainability, deep leadership for the 21st century. If you go to yhonourth.org,
you’ll see a link to the page that has a short video about the summit as well as our speaker
line up. It’s going to be amazing. And I also want to, before I forget, mention that all of our
audience can download our ebook and audio book resources for free using the code mobileize.
That’s also at yhonourth.org. And with the summit end, with this podcast series, I want to thank
our sponsors. That includes Patagonia, Equal Exchange, the Association of Walder Schools of North
America, the International Society of Sustainability Professionals, Purium, Walei Waters, the LIDGE
Family Foundation, and Earth Coast production. So thank you to all of you for supporting our
stewardship and sustainability podcast series as well as our upcoming summit massively mobilizing
sustainability. And today we have the great pleasure and privilege of visiting with Kimba RM.
And we are talking about the healing power of sound as it relates to water and as it relates to
life. And you can find more about Kimba’s work at a handful of websites. We’ve got radiancehealth.com.
And I’ll put all of this in the show notes. Secret of water, the movie.com. That’s about the movie
that Kimba referred to earlier. And how do you pronounce this G-A-R-F-G-R? G-A-E-A is the old
spelling of G-A. And then the old and the new. Beautiful. I didn’t know that. So it’s G-A-E-A-R-T-H.com.
And I am so excited that part of what we’re going to do today is we get to hear some of this
amazing sound and music that you create, Kimba. And I thought if you’d like we might do a
little segue into sharing some of that. And we can continue talking too well while you’re
doing music. Do you want to start with the flute? Sure. So what is this? This is one of the most
amazing instruments I just got to hear a little bit ago before we started recording. And I tell you
it is celestial. This is called a, I just called the forechamber flute. It’s a one of a kind.
They’re not in production as far as I know anymore. But this was made when I was living on Kauai,
a man who was living, I lived up on Kuhuna Road and he lived at the end of the road in this little
bamboo forest for a while. It was made to create the instruments. He just invented this. Wow.
Any burnies, you know, mandelbroke type freckle, images, this is all done by hand. It’s a beautiful,
beautiful. So basically one hole and then four chambers. I call it fortunately.
And we’ve got slight reverbs set up here. So we’re going to have a little bit of additional
digital fun layered into this. But the larynx of sound coming from the instrument itself are just
fabulous magnificent.
Thank you.
You’re so beautiful. Well, well, well.
So what are we doing?
These are some did you reduce? This is one of the crystal ones I designed.
It’s made out of quartz crystal. And it’s kind of mapped off the way that the tapering of
one of my wooden ones. We tried some models that were not like the Fibonacci kind of the way
that nature grows things. And they didn’t sound right.
When we were filing model nature came out well.
And I actually played this with a matching key in the crystal, a little spider in here.
Well, who gets a concert?
Who’s about to get a concert?
A little baby.
So I have to play these together.
So
you
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I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say, but I don’t know what to say
but I don’t know what to say
but I don’t know what to say to you.
What to say to you.
What can you offer me?
Okay.
another kind of one of a kind, not in production anymore, instrument. So there’s
water in the bottom here and these are the harmonics of the metal rods
vibrating into the water and being amplified in through here. And friends I
just I want to share I know that many of you are familiar with the
experiences of sound bass and sound healing and I surmise there are probably a
number of you out there who haven’t yet experienced this and if you have the
opportunity wherever you may be to experience sound bass and or sound healing I
highly encourage it. It is tremendous it’s wonderful. I’ll be doing one next
Friday for we sec. Beautiful. Yeah in the space we do them maybe once a month or
so. And what time is that? 5.30. 5.30. Oh my goodness. We’re gonna be ending
that’s day one of our summit it will be ending a little past that time so I
think folks in this case may have to do either or but it’s we can connect
energetically. Yeah absolutely. Absolutely. Alright so
and there’s a very mysterious element to that one. Yeah that’s usually the part
of the sound journey when people are kind of gone out more from the earth
into the cosmic like interstellar atmosphere. That’s where that fits in. It’s
kind of not this sounds we’re used to hearing. Right. But my feeling about
sound-wise nourishing is we are multi-dimensional beings and we need food or
we think we need food. It’s part of our experience here but we get fed on
many levels. Yeah. Feeding isn’t just the physical and I feel that when we
lived in nature more when we didn’t have cars and walls and you know 60
cycle hurts frequency surrounding us in EMFs and 4G and 5G you know there’s a
lot of frequencies were surrounded by that are kind of not necessarily
harmonic. Yes. And not their man-made and a lot of the frequencies are not
natural in the sense that nature the waterfall or the birds singing or the
wind in the trees these are things that feed us so when we go into nature we
feel good because we’re actually getting fed and on these subtle levels are
emotional and mental body and beyond anything we can describe. Yeah. So my
experience with working with I love like harmonic based like this has a lot of
overtoms and there’s very there’s all the and the didgeridoo that crystal has a
lot of harmonics or the water and these are frequencies we don’t
necessarily hear very much but there’s something in it that’s nourishing us
that’s feeding our subtle bodies and that’s part of the healing like if you’re
starving and you eat nutritious food it’s heals your body right or food can
be medicine but food isn’t just physical. And I also feel we’re moving into a
phase on the planet because you know all the planets are speeding up their
frequencies it’s not just global warming there’s a frequency increase which
includes consciousness people waking up but we need to be nourished more by the
subtle that’s letting chomeography or subtle energies light of
Roman therapy you know mental healing emotional healing is as important as our
physical but as we go into higher frequencies on the planet those will become
more important to attend to because we’re becoming left dense yeah you know
our bodies are just such a small portion of who we are and so I think sound
therapy and all the tools that we use that are subtle or you know subtle energy
based or attending to the the higher harmonics of physical is everything is
structured in the universe is structured with octaves and harmonics we’re just
gonna it it’s just part of the evolution beautiful it’s so it’s such a marvellous
and exquisite time to be alive we are on the one hand able to learn so much
and synthesize so much from different cultures and eras on the other hand our
science is getting fairly advanced to the point where we’re starting to really
be able to see things like the crystalline structure and water the various
brain waves and frequencies being affected by music and breathing and it just
you know as we’re waking up as we’re learning together I think it opens
incredible opportunities for enhanced health and well-being as individuals
household families neighborhoods and of course healing at the planetary scale
stewardship sustainability regeneration and it’s can but just such a delight
to have some time with you today and to be able to dive into some of this and
share some of this with our audience and my hope is in the coming months we’ll
have a lot more opportunities for collaboration and cross-pollination and
for those of us who are particularly living in the urban landscapes I think
it’s so important to develop a deeper practice not only of the breathing but
of also getting into those natural environments and connecting with sound and
music deliberately and that’s going to be part of what enhances our
vitality enhances our health really as we do our our great work in the world
and Kimba as I often ask our guests I do want to ask you if there’s if
there’s anything else you’d like to share with our audience before we sign
off for today I want to give you that that opportunity and what a joy to do this
with you I’m just grateful to share and you know what what I feel if anything you
know when I had my near-death experience it wasn’t like I was shown this is
what your life is going to be but I was I was shown away to find my way in the
world that I could be happy and bring happiness to others and and that might
not be like a vocation like for me it turned out to be sound but other things
too and that will change over time the form of the expression but it’s really
coming from this place of centeredness in the heart and that is my prayer
that you know like if I if I do a sound journey or if I it’s almost as to a
CD or my intention is that because I was given this gift to tap into that
frequency of consciousness like Joseph Campbell said every culture in the
world story the teaching other stories follow your heart and what does that
look like you know I mean it doesn’t mean I am a sound therapist I still don’t
even know what I’m gonna be when I grow up I I’m just living from this place
and that’s what the indigenous people teach us and that’s what I hope that the
vibration as I tap into I’m doing what I love that people can tap into they
they don’t go oh wow you’re so great but then what you know people do this
separation thing it’s like activate okay we’re all the one or all men to
operate from this place that’s what forms this geometry is the center of each
of our hearts is this coherent geometry that I believe if everybody starts to
live from that place we will tap into a new coherent frequency on the planet
like in the synetics they talk about you know the water or the vibration
creates geometries and then it starts to increase on frequency and it goes into
this chaos period which we’re at now we’re not in a new frequency yet and then
it goes to a new higher more complex geometry right which is really higher
dimension but I feel like that’s where we’re at now we’re on this precipice of
humanity tapping into a new geometry of how we relate to each other which I
will be a lot like the bees but a higher order of that you know the way the
bees and which is a similar structure of their hives there’s some universal
coherent multi-dimensional fractal geometry of God the geometry of divinity my
partner says is what God needs and I feel that that’s our work the great work
the alchemical work Carl Young talking about this the transportation of this
base material of the physical 3D experience it’s a compost you know the soil
right is compost dirty isn’t bad right just you know we’ve gone through this
period of dirt is bad and we polarized the feminine dirty earth and really it’s
just compost it’s a stage of the soul’s evolution of a individual and a group
the collective humanity we’re all one and I know this even though I might not
get along with everybody I’m not even being want to be in the same room with a
lot of them but I know we’re all one yeah it doesn’t that’s just my ego
personality resonating or you know but it’s I know this and that’s what we’re
meant to become is like a group mind but not like drums not like the
grays or some kind of fearful or the board since start you know it’s not
like that we have personality but we are meant to operate as a unity like
every cell in our body this is another bio molecular biology background every
cell in our body works with every other cell harmoniously exchanging information
and energy and materials but it’s all part of the one body there’s heart cells
there’s liver cells there’s skin there’s infinite complexity nervous system
blood we’re like that in the body of Gaia you know and we’re part of this planet
we’re not some kind of parasite or I mean I think we might have a virus but it
doesn’t we are the virus right right body can get viruses but the virus
teach the immune system to go to higher order of complexity there’s a gift in
the virus that’s why you don’t want to do immunizations because your body needs to
learn how through this crisis the opportunity for change and a higher
order of complexity and I think that’s what we’re facing rather than polarize
of the Illuminati and good and evil and there’s crazy people and there’s war
it’s like no we’re here to evolve we’re all the one we’re all God really you
know even the virus you know you know it’s with the seems evil but this is the
model of singing our hearts doing what we’re here to do which might change
over time it’s not a it’s not a vocation like Eckhart talks is primary
purpose being be who you are be useful to you to the fullest and together we
all create this new geometry of what we’re meant to become you know and nobody is
better than anybody no matter what position you have how much money how
beautiful you are there is no hierarchy in the universe there’s different
structuring but we can operate with such humility and unity symbiosis then
I am here to I see that happen in my life and to live as much as I’m able but
working progress for all of us you know truly well thank you so much
and it’s so wonderful to be with you today thank you mahalo
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