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 would not have been able to develop a coherent and specific language for translating the “information” I receive from my body into something useful for a student of singing. However, 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 voice teachers who brilliantly 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.
The past 50 years has seen an explosion of information in voice science and we are continually learning more. But it is time to learn as deeply about the information coming from our own bodies that, in this culture, we often ignore.
Clairsentience is one of the most practical of intuitive senses, but left unaware and untrained it 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 mental states of other people. 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 needs the kind and wise guidance of others who are further along in understanding their own gifts. It is not something that is recognized or trained in our Western culture, although the best teachers often use it, even if they are unmindful that they are using it.
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 family and community of music of all kinds. I probably began to feel deeply and merge energetically with others through voice and singing from a very early age.
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 could did not differentiate between my own feelings and those of others. Boundary issues are always a concern for those people with 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 Empaths and 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/Clairsentients and how those traits can be used to be an effective teacher of singing.
In the meantime, if this topic seems to describe you, began reading about empaths from reputable sources.