Produced by Jon Child

Transcript of Program 35, 1985

Some of Julie’s early work in channel from 1985 where Micciah suggests meditations and modes of action for class members concerning:
• Investigation of power within, and power over. The enemy we believe exists represents our own unclaimed, banished, suppressed thoughts and feelings. “When you embrace totality... you rest in power.” View Section
• Bringing personal power into the world. Expose yourself to whatever symbolizes that which is out-of-reach, unattainable, alien. “What part of your consciousness does it represent... which you reject and are therefore unable to derive power from?” View Section
• Personal relationship to money and work as an artist. Healing a split in beliefs about money corrupting art, self-doubt about the value of the work, and relationship to personal power. View Section
• Discovering core purpose: Can work on this through automatic writing in a relaxed state. Establish relationship with the Great Self. View Section

(The original tape is very damaged starting at around 10 minutes and can’t be repaired. It is just barely viewable thereafter. You may just want to listen or use the transcript.)

   Micciah:  We greet you all, dear friends.

   Julie:  We do greet you, indeed.  This is Micciah Channel, and I’m Julie Winter.  Micciah is an energy entity who works with me while I’m in trance,  and while I’m in the trance state I have access to a point of view that seems to come from a non-physical realm.  This series of programs is drawn primarily from videotapes taken during my regular classes.  We want to expand our circle, and include your energy and interest in our work.


   Micciah: We greet you all, dear friends. You have been working for a long time with the question of power. What does it mean to be empowered? What is the difference between power from within and power over? Which is really not power but manipulation. In embracing the whole, you create the space for your own power. The more you oppose, the more you split the world, the less real power you have. The more you fight the enemy, the more stuck you are with fighting.
   In order to heal, whether you are healing disease, a physical symptom, or whether you are healing conditions in a relationship or on the planet, when you embrace the totality of the situation, you rest in power. Well, the conscious mind says, “How can I embrace what is bad? What are you suggesting?” We are not saying approve, condone. When you embrace all of life, then you can be with power. The massive oppositions which are played out nationally, internationally; the weapons are always to fight the enemy, yes. The enemy. There is no enemy. There is no enemy. The enemy represents the unclaimed. We have spoken about this in many sessions recently. It is very important, now, that you realize this. The enemy is that which is unclaimed by the self, that which is suppressed, that which is banished, that which is projected over onto the other person. “We are the righteous, and they are the enemy.” Opposition. “We are the rich, and we will keep our money. They are the poor, we won’t give to them.” You are all the poor, you are all the starving, you are all the pain, you are all the ecstasy.
   So, you wish to ask about your own meditations. Please, ask.

   Carolyn: Micciah, I’d like a meditation relating once again to power, power in the world. Which is what I’ve been working on myself and having trouble being able to focus on the big issue of bringing my inner self out to the world and feeling that I’m having an effect, or that I have some power through what I do.

   Micciah: Well, we would like you to go on field trips. Short field trips. You exclude from your world certain elements or aspects of the culture that you need to deal with in order to be powerful. Banks. Go to several large, well-appointed banks. [laughter] Stand around. This is a good exercise for anyone who wants to work with prosperity as well as power. Are banks really powerful? No, of course not. It is a question for you, Carolyn, of taking into your consciousness the elements that have been excluded, that you see as other and different. So for you it is banks, for someone else it might be art galleries. So go to several banks, and maybe visit Wall Street. Go after whatever places you can visit that symbolize to you the alien element. Everything that seems to be “out there,” “over there.” “This one” should go to automotive stores. [laughter] But she won’t do it. It is very instructive to go around to all of the places which seem very removed, remote, distant. What part of consciousness is represented, for instance in the institution of a bank, that you reject and therefore cannot embrace and derive power from? Again, it is not the place itself, it is the symbol. And we are not suggesting you do something dangerous. Look around in your life. What do you reject as other? It is that alien portion that will give you trouble in terms of your own self feeling empowered. Claim what seems alien, that is what we are saying. Visit it. If you are afraid of hospitals, go visit a hospital. If you afraid of banks, visit a bank. And when you are there, find a place to sit, if you can do such a thing in a bank, and loosen your awareness a little bit, soften your awareness, to take in whatever essence of consciousness is present in that bank, or that automotive store, or whatever, that you have rejected. What is represented there that you are rejecting — and that you need? There may be elements that you reject that you don’t need. Wherever there is blocking in your life, where the energy doesn’t flow, wherever you feel stuck, or unable to create something, what is that something representing? And what is represented by it? And how can you go toward that thing and begin to incorporate its essence? You might say, “Well, suppose you are afraid of weapons and you dislike war, would you go to a police supply store?” Well, you might. What is represented by weaponry? What are your weapons? Your defenses? And what would dissolve them? Not guns. What do you reject? What frightens you? What disgusts you? Find out about it. This is going to make for some very lively work. You could do the same with playfulness. If you work too much, yes, too much work, what represents celebration? Is it a carousel? Is it a circus? How have you lost the element of celebrating? How can you hunt it down?
   Please go on.

   Ken: Micciah, I need clarification around my relationship to money and work. I feel like I’m struggling with it, and I really need to find my connection.

   Micciah: Maybe you should go to the bank with her. [laughter] You also feel that money is alien. The people who have it, make it, use it, spend it, are not so much repugnant to you as different, other. You could also dress up as one of those alien people, find out what it’s like to walk in someone else’s shoes. You will find out, much to your own embarrassment, how identified you are with what you wear. To some extent, with many people who are artists, there is a split and it exists in you, Ken, to some extent, in you, Carolyn. That the money and the work cannot be brought together. That one is demeaned or diminished by the other. Put up your work, Ken, on the wall, with big price tags. Buy big tags, you know, like luggage tags, big, red; and stick them with big figures near your paintings, drawings. Big bucks! Take some symbolic actions to join the two elements.
   Money by itself is nothing, nothing. It is energy. It is not even that. It is a concept that appears as a means of exchange. You could also reverse it, Ken. Put a big price tag with “zero” on it and see how much you like that. You won’t like it. So it is a sort of posturing of the defensive part of the ego and its identifications to say money and art cannot be mixed up. You might also look at the contempt and the envy that you have for people who get lots of money — “Oh, those people” — for their art. Explore it on the emotional level. Both interest, envy and a kind of contemptuous rejection. Who do you imagine those people to be? What do you think they are like? Maybe they’re dressed like you but they got lucky. What are your fantasies about artists who make lots of money? Who do they become? Because some of them you will discover and probably you can think of it even now; some of them are people you definitely do not want to turn into, and you are afraid you might. Do you want to ask further about that?

   Ken: Not about that aspect. I still feel a little unclear about the art aspect, the work aspect, the internal disconnect I feel more around the work than around the connection with money and work. I think I understand that.

   Micciah: Don’t understand the question. How to... motivate yourself?

   Ken: I guess just all my self-doubt around the work is not as clear to me as the money/work relationship which is clearer.

   Micciah: You mean that you doubt the work itself.

   Ken: Yeah.

   Micciah: It sounds like an old emotional tape playing in the background, like a radio playing in a room. And it keeps you diverted from your own power as an artist. The conversation, the preoccupation with doubting, masks the question of, “It is all right for you to be a powerful man and a powerful artist?” That seems to be the real issue. We would suggest that you pack it up in a box and drop it into the trash. The tape is almost worn out. It doesn’t serve any purpose for you. Really, do a meditation where you wrap up your doubt, send it out. And there seems to be an intrinsic connection with the phrase “a powerful man.” It is a challenge to exhibit that, to expose it in your art; and that’s what you’re struggling with. Do you wish to ask further?

   Ken: No, I think that clarifies it.

   Pall: Micciah, I wanted to work on a meditation for individual purpose, to fill up some new space that I’ve made by getting rid of some negative attachments. And about my individual purpose. That’s my question.

   Micciah: We suggest that you go into a relaxed state, relax your breathing, relax the fix of your concious mind, and begin to write with whatever hand is opposite to your ordinary writing hand, as if you were letting the purpose and your description of the purpose flow through your fingertips onto the page. It may be words, it may be fragments of sentences. You are starting to open in a new way to a connection to your... We will call it “Great Self.” It could be deep inner self. You could use either one of those expressions. And what you are calling upon is guidance that is available for direction. And your work is about to take a big step! Anyone who wishes further information on core purpose can try that as an exercise, although it will work better for some people than for others, to relax and to ask what is the path, and write down whatever comes. Or if you get drawings, draw them. You know, the point of this... the point of this is that you know there is so much available to you. So this is a way of structuring it. And then go over what you’ve written and make some choices about what you want to follow and how you want to put the suggestions into action. It may take several weeks to get anything clear. Be patient with it. To go with this kind of information that you meditate on, or to go with your dream suggestions, will bring you into contact with enormous vitality, much more than to go with your old preoccupations and learned tapes. You understand?

   Pall: Yes.

   Micciah: You want to be able to gently strip away the old beliefs, the old notions, the psychological ideas that you have ingested that don’t serve you, that are not nourishing. Let them go, spit them out. And then you will find things that amaze you. So that part of the self, the judging part, will say. “ts ts ts ts ts ts ts ts, can’t do that, ts ts ts, that’s silly.” Be silly. So many very serious people. Righteous, self-important. Be silly. Be foolish. And you can dance your intentions, you know. Sing them, dance them. If you want to do something, you can create it in consciousness, imagine it. Use your creativity. How would it be? And then dance with it. And sing it. That begins to bring it about, to bring it into physical being, to give birth to it in the world. It doesn’t all have to be cerebral. “Oh, that’s silly.” Try it.
   You know you can dance for healings also. And chant for healings, physical healings. This is done in other cultures. You have substituted your own organic dance, your spirit dances, for stylized rituals in the hospital, — we have spoken of this before — with masks and gowns and knives and drugs. If you pay attention, that is all highly ritualized dancing. Take your power back. Thump your feet. Drum. Sing. Sing your healing into being, whether it is a physical healing, or an emotional healing, or a healing for prosperity. You will have to grapple with your judgments about it. That’s all right.

   Micciah: We share with you all much appreciation and much love. Those of you who are watching can try these experiments. And we bid you a very good evening.


Julie: Channeling is a little like that. [Her cat Hummingbird balances behind her at the top of a fence] That’s the end for now.
   What we do in class at the end of a session is go over the information, talk about it, evaluate it, find out what works for us individually and what doesn’t. And we invite you to do the same.
   Several final words. The thread that runs through my work of, which the channeling is one aspect, is healing. So, the thread of healing goes through my work with individuals, my teaching, my lecturing, my writing. And that healing, I believe, comes from a truthful exploration of one’s relationship with spirit. Spirit heals through us, and that healing enables us to be with the sacred nature of everyday life. I urge you to use your prayers and meditations toward experiencing the joy and sacred nature of life itself.

   Julie: “This channeling is meant to be a spiritual, emotional, intellec­tual, heartful, mindful journey that I share with another realm, that I share with my classes and that we all share with you. Please go over the material, evaluate it for yourself, and know what it is that you think about it.”