“What is within is without equal, it arises from the smallest space where the First Vibration of the Unmanifest surges in the splendor of One World’s Grace.”
Hakomi Chamber Four Poem
Hakomi Project: Chambers Four to Six, 2003
Hakomi Project: Chambers Seven to Twelve, 2005
Hakomi Project: Project Thirteen to Twenty-one, not on CD
As the list shows, the last offering is not on CD. However, these collections are available for download purchase in the music section in the product section of the WingMakers’ website.
The Hakomi Project—Music of Chambers Four to Six
Following the release of the Hakomi Project Chamber Three CD early in 2003, the Hakomi CD Chambers Four to Six was released later that year. Just as the music of Chamber Three had an accompanying article, the new CD also had an article supplementing the music. This article is entitled “Coherence of the Evolutionary Consciousness.” Where as the article associated with Chamber Three centered on the Remnant Imprint, this new CD and article focuses on the effects of music and sound on the Human Instrument. The article emphasizes:
• The positive and negative effects of music on the Human Instrument
• The power of music and sound to instill a reconnection to spirit
• The relation of mantras to the root frequencies of First Source
• First Source’s expression of sound and light
• The creation of an Interface Zone between the Human Instrument and the coarse vibrations of the outer world of forms
As you can see, this short article covers a lot of ground, but it all comes down to restoring our connection to the unifying nature of spirit. As stated by James: “The music of Hakomi Project Chambers Four to Six is intended to restore and support this sense of reconnection.” (*)
The title of the article itself implies the unitive nature of reality across all dimensions. Consciousness is evolutionary and coherent by nature. The evolutionary aspect of consciousness is an established fact of modern psychology and sociology. The coherence of consciousness is now coming to light as the fields of psychology and sociology study the need for psychological integration and social integration. Integration implies harmony and balance, and these are crucial factors in both our personal lives as well as in our social relationships. One need only tap into the news of the world to see the vast array of disharmonious and fractured relationships spread across our planet. The good news is that many people recognize the critical
need to take action for creating right human relations in many areas of life—the need for understanding and harmony between all peoples.
At the level of the Sovereign Integral, the coherence of consciousness is best described in the many references in James’ writings about the Sovereign Integral’s comprehension of its many incarnational experiences in the space-time universe. All the experiences and developmental jumps in the Human Instrument’s consciousness are transferred to the Entity where these are all integrated into a complete and coherent overview.
Here we must emphasize that the Entity consciousness is unlimited in its awareness of many incarnations, but the lesser consciousness that we experience through our Human Instruments is greatly limited. Metaphorically, the Entity’s journey through the space-time worlds is like an unfinished book that is still being written. Our current lives, however are only one chapter in this ongoing book, and our past lives are previous chapters. We, while in our Human Instruments, are only aware of the current chapter as it is being written, while the Sovereign Integral is aware of all the chapters up to the present. We could say that the authoring Sovereign Integral has already mapped out the entire plot of the book. At our level of awareness this book is not coherent because we cannot as yet examine the larger flow of the story. The work of James and the other Lyricus teachers is to guide us to a more complete understanding of the cohesive nature of our Sovereign Integral’s ongoing book.
Part of the reason that we have a greatly reduced grasp of our Sovereign Integral’s evolutionary development is that we are overwhelmed by the dissonant vibrations of our existence in the world of form. The music of Hakomi tracks four to six are designed to clear a zone of harmony, called the Interface Zone. This zone stands between the incoming discordant vibrations of the outer world and the physical, emotional, and mental parts that compose our Human Instruments.
Spiritual sound helps to create an Interface Zone between the human instrument and the vibratory soup of the world of forms. This Interface Zone supports the human instrument’s mission and purpose, preventing its vibratory contamination as a vessel for the human soul and an outlet of First Source’s expression of Sound and Light, or what is sometimes referred to as Para Vach.
Para Vach is the primordial, causal Sound and Light that transcends both manifestation and non-manifestation. It is the Breath of First Source beyond the cosmos that creates, vitalizes, and sets in motion the vibratory substance of matter.67
This passage explains that we are inherently connected to the Sound and Light vibrations of First Source. The Interface Zone is a “vessel of the Entity” as well as an outlet for Para Vach. It was created, at least in part, by a spiritual sound that transcends all the dimensions of the multiverse, whether in space-time or nonspace-time. As the article explains, the problem is that our Interface Zones are shut down due to the discordant vibrations of our surroundings. The Interface Zone can be cleared by music.
Harmony is the ruling principle of the Interface Zone, and music— properly tuned—can help to create, direct, and uphold this sense of harmony. If the Interface Zone is rightfully managed, it will provide a buffer between the human soul and the worlds of form that bear down upon it.68
Further, James is not claiming that his music is the only means of clearing the Interface Zone, for he relates that:
Sacred music, chants, mantras, and harmonic vibrations are the countervailing effect of this vibratory density, and it is the most potent way in which to direct and uphold the inherent harmony of the Interface Zone that surrounds each of us. In a meditative state, the sound of one’s voice chanting a mantra or the sacred name of First Source is very powerful, particularly if one is actively visualizing and imagining a harmonious Interface Zone.69
While he says that the sound of one’s voice when in a meditative state has a powerful effect, he takes this to the next level in the succeeding paragraph:
There are melody lines embedded within the music of Hakomi Chambers Four to Six that can be internalized and used as a harmonic “broom” to sweep the denser vibrations that may have accumulated within your Interface Zone. This procedure does not require a good voice, and indeed, can be more potent if given expression within your consciousness instead of through your vocal chords and mouth.70
Here, James is telling us that besides listening to the music physically, we can also bring to mind the passages of the music that strike us as the most beautiful and uplifting. Both methods will have the same effect. This also implies that the entire CD contains the harmonious frequencies that help to eliminate the discordant vibrations of the world that contaminate the Interface Zone. In all probability, this motion also applies to the aforementioned sacred music, chants, and mantras.
So how can we determine the state of our Interface Zone? The first step requires us to be present in the moment. If we are driving a car or preparing a meal, for instance, but thinking of something else then we are not fully present and aware of what we are doing in the present. Here is an extract from the transcript of Mark Hempel’s audio interview with James.
James: Only in the currents of love do you realize that you are not the form you animate, but rather the energetic frequencies of the animation itself. And these frequencies—where do you suppose they derive from?
Mark: I guess I would say First Source.
James: Yes, from our Creator. And these frequencies, they dance in the moment, they do not know the past or future, they live in the now. So thoughts and feelings that search into the past or future, they can restrict the circulation of these delicate frequencies, and it is these frequencies, like the pied piper, lead you to the point, the very moment where you are open to transformation. Now we have a saying that goes like this: “If you are peeling an orange do not be thinking about an apple.” [Emphasis mine]. In other words, stay in the moment, because this is where the frequencies of animation occur. This is where your power lies.71
Although he is not directly referencing the Interface Zone, James may be describing the continuous presence of “frequencies” related to Para Vach. The hint to this supposition lays in his use of the word “animation” in this interview segment. His description of the animating force of First Source parallels his description of Para Vach as quoted earlier: “It is the Breath of First Source beyond the cosmos that creates, vitalizes, and sets in motion the vibratory substance of matter.” This is most likely the animation James is describing in the interview.
Consequently, if we are to become aware of our state of consciousness as reflected by the condition of the Interface Zone, then when we are peeling an orange we should not be thinking about apples or any other thing for that matter.
Once we are in the moment we can learn to assess the state of our Interface Zones. Do we feel connected to the simple pleasure of peeling an orange or are we agitated by thoughts and feelings associated with our surroundings and the activities taking place therein? These thoughts might be pleasant or unpleasant, but these can also be observed in the moment, just like peeling the orange. This Zen-like approach to living is what places us squarely in the Interface Zone and allows us to witness its state.
From this point we have the opportunity to shift our consciousness to an expanded, more inclusive and integrated condition of coherence. Hakomi Project Chambers Four to Six are coded with frequencies to help us clear the Interface Zone of the clutter of feelings and thoughts generated by the discordant frequencies bombarding us.
So, what is the nature of the Interface Zone that we are urged to create? It can be thought of as a psychological space erected between the incoming stimulants of our surroundings (detected by the five senses) along with the stored memories and associations of the mind. This subjective space is accessed by staying in the moment as an observer, or witness to the incoming sensory stimulants. By allowing our senses to fully communicate the object of observation, we, as observers without the preconceived judgments of the mind as servant to the ego, can view the situation from a higher ground of being. This is the ever-present ground of the greater self, the Sovereign Integral, with its inherent connection to First Source.
Many more details about the Interface Zone are provided in the fifth Lyricus Discourse “The Interface Zone,” which James released shortly after the publication of “Coherence of the Evolutionary Consciousness.” While the information in this introduction is still fresh in your mind, you may want read the fifth discourse, as well as my introduction to it.
The Hakomi Project—Music of Chambers Seven to Twelve
and Chambers Thirteen to Twenty-one
Hakomi Project Chambers Seven to Twelve is a CD. Its sub-title is “Approaching the Divine.” The compositions of Chambers Thirteen to Twenty-one are not on CD, but are MP3s that can be downloaded.
The music on these releases is beautiful and stirring, and although there are no essays or specific clues associated with these compositions, they may be coded in some way. Consequently, we are left on our own to intuit what effects these compositions may have on our bodies, hearts, and minds. Maybe James’ lack of comments on these releases is deliberate, so that we can be left on our own to gauge our sensitivity to the subtle vibrations of this music.
John Berges, Collected Works of the WingMakers
