Clairsentience as a Teaching Tool, Part I
What is Clairsentience?
This is the first in a series of posts about Clairsentience (“clear-feeling”) and it’s role in teaching vocal technique. The academic in me hastens to add that if it weren’t for studying voice science, I might not have developed a coherent and specific language for translating information from my body into something useful for a student of singing. And this is true. But voice science is meant to serve intuition, not the other way around, and I think we’ve put the cart before the horse in contemporary vocal pedagogy. I know many fine voice teachers who understand how the body is supposed to work in the production of sound, but they can’t work with the person in front of them who is not singing in that ideal way.
We have an amazing body of voice science and are continually learning more. Isn’t it time to learn about the information from our own amazing bodies?
Clairsentience is one of the most practical intuitive gifts but left unaware and untrained can be brutal for someone who does not know she or he has it. It is a type of sixth sense which enables one to “feel” or “know” and interpret surrounding feelings and energies. It is also possible to feel things from a distance. Empathy and Clairsentience can be grouped together in the spectrum of intuitive gifts, both of which relate to sensing and feeling the emotions and energies of people, animals, plants or things. Training this type of Knowing requires recognition, acceptance and patience with one’s gifts, and also the kind and wise guidance of others. It is not something that is recognized or trained in our Western culture, although the best teachers often use it, even if they are unaware that that is what they are doing.
I have the ability to feel, in my own body, what is at work physically, emotionally and psychologically in another persons’ speaking or singing voice. I was born with this gift and grew up in a most unusual and incredible family and community of singers, music and singing. So I probably began to feel deeply and merge energetically with others through voice and singing from a very early age. I also tried to protect myself from stuff I couldn’t understand by carrying extra weight as an attempt to pad myself from feelings of invasion.
Training this gift requires self-love and acceptance and wisdom, accrued with time. Untrained, I felt I could read other people at a deep psychological level when, in fact, the information was often tainted because I was mixed up between my own inner journey and that of others. Boundary issues are always a lesson for this kind of Knowing.
At its best, this talent gives me a remarkable amount of information about a person’s needs in their voice lesson, or the needs of a group of people with whom I am working. Years of experience and study enable me to wade through the tsunami of information I receive from my body in a split second and come up with helpful tools for students’ vocal and musical development. At worst, I begin to entrain to the student or group, literally vibrating at their level, which is not good for my own well-being. It is not uncommon for Empath-Clairsentients to have drastic physical and mental health issues until they learn who they are and can train their gifts for their good as well as others.
The next posts in this series will give you more information on traits of an Empath-Clairsentience and how those traits can be used to be an effective teacher of singing.
In the meantime, if you would like to know more, I highly recommend the book “Be the Most Important Person in the Room” by Rose Rosetree. It has some self-tests and practical guidance for those who are learning to use their own empathic gifts.