Produced by Jon Child

Transcript of Program 63, 1987

Some of Julie’s early work in channel from 1986 where Micciah discusses:
The Devine. View Section
Healing garments and power garments: Things such as stones and feathers can be used in clothing to imbue it with certain qualities. Garments can be imbued with these qualities through conscious intention. You must use what is meaningful and sacred to you. View Section
Lucid dreaming: This is a consciously aware dialogue between the waking self and the dream self while in the dream state. You may seek experimentation, experiences and guidance in your dreams. The meeting of the dream and wakings selves “is potent.” View Section

   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 are engaged in a divine journey, clothed, sometimes, in a mysterious, seemingly impenetrable way. It seems to you as if the divine appears, must appear, only in certain guises, certain bodies, certain ways, certain actions. You have gone so far as to say that, uh, it appears on Sunday morning at eleven o’clock, in church, right on schedule. Or Saturday morning, or Friday night, or whatever. You feel that the divine is playing hide and seek with you, that it conceals itself. Where is it? Well certainly not in the body, that battleground of disease, and cellulite [laughter], and difficulty. What an improbable place! For the divine. Well, where is it? Not in relationships, or maybe sometimes. Not in your work, boring work. Duty, obligation, restriction, complication. Boredom. Not there. Not in your clothes. Not in your buildings, except churches, temples. Not in the animals.
   Where is the divine? Could it possibly be that it is no further away than your wiggling fingers? No further away than your daily rising? Your grumpiness. Brushing your teeth. Making your tea. The divine, truly, lies in wait everywhere. Well, not in garbage! Yes. In real garbage. In the natural cycle of things what you call garbage nourishes the next thing down the chain. Surely not in the terrible garbage you have created that is poisoning the water! Well, but in that lies a communication, if you would pay attention, to stop.
   So, even in what you created thoughtlessly as garbage, in its interaction with the environment, whether it’s the environment of your body that you are polluting or the environment of the earth’s body, the communication if you pay attention to it is to stop. You know, you can have pollution in a relationship. Can have pollution in your body. In the earth’s body you have plenty of it. And, incidentally, the earth’s nature has tried to accommodate itself to some of what you have dumped in, but that is another subject. So, the divine is always present, always trying to sing to you, to whisper to you, to touch you, to clothe you. Sometimes even to romance you. Sometimes you conceal from yourself, through the judging mind, what is divine. “Not this, not this, not this.” No, it must be some special way. Well, the divine is just itself, in all its faces, it does not need to be any special way. So...
   Please, what would you like to discuss?

   Maria: Would you comment about healing garments and power garments?

   Micciah: Garments. Garments. We were speaking earlier of the garment, daily experience that clothes the divine. In other traditions, there has been a deep inner knowledge of what, uh, of the way that consciousness could reflect itself in clothing, knowledge that consciousness could be woven into the clothing, the feathers, the skins, the embroidery, and that the garment itself would carry that imprint. And it will. It would. It does. So part of yourself, which is not accustomed to this way of thinking, may say, “That’s ridiculous. It’s just a pair of pants.” And it may just be a pair of pants. But you can create clothing and imbue it with a particular quality. One of the ways to do this is to have a clear sense of what would represent that quality, let us say strength, in the physical world. What animal, spirit, or ally would be sacred to the person for whom you are making the garment? What would be their power animal? What colors would that suggest? Would there be feathers for the power of a particular bird, the power of flying, of loosening from the body? Would there be beads or stones, crystals, that represent certain qualities of the earth’s body and connection to those qualities? And grounding?
   Healing, a healing garment, you would ask the same questions but imbue it with a consciousness of healing. So for you, would it be a lavender garment? What do you associate with physical and emotional healing? And would it have on it images of flowers? You have to find out what is sacred to you, individually, in these matters.
   In cultures it is agreed upon, by the tribe, and there’s a tradition. In your culture, you, um, divert this need; it drops into the unconscious and appears as rock stars, let us say, who dress, you know, in a highly ritualistic way. The hair is ritualistic. The garments, the beads, the makeup. And, uh, this relates very strongly to what we began with. How the divine hides itself within the apparently ordinary. It would be a wonderful thing to do for your class or for you who watch to start to use the imaginative powers, the vast creative resources to say, “Well what would be my healing garment? Or could I make one for you? What would be my power garment?” Stones and jewels were used in many cultures, really not for the decorative quality alone but for the energy centers that they represented; and, uh, the nature of the stone and its placement in a headdress, for instance, was of profound importance. You lost the thread of that when you moved into a mechanistic way of thinking about clothing. Except there are remnants. In the Catholic Church, for instance, all of the garments, um, contain ritual properties, yes, ritual meaning. The colors and the embroidery and so forth. Is that correct?

   Leslie: That’s correct.

   Micciah: And in the Jewish faith and some others, there are phylacteries and there are things that contain that. That is a group agreement, that is different from knowing for yourself. If you want to fly in a situation, what is your guardian bird? Do you wear the black of the raven and the crow? The blue of the bluebird? Do you seek the colors of an eagle? Aren’t too many eagle feathers around about, but... This would be very strong to reconnect yourselves with these questions. Designer labels, emblazoned on your chest, are not a very satisfactory substitute. The hair also was used in ritual ways. Braids. In the Native American people some of them braided the hair. There was a braid that you wore only if you were a warrior or were a shaman to a certain degree. When you are putting mousse in your hair, what are you really trying to do? To get back to something.
   Please continue.

   Marie: Micciah, I’ve been reading a book on lucid dreaming, and I’m wondering how lucid dreaming can be used.

   Micciah: Yes. This is an immense question. Lucid dreaming, lucid, clear dreaming, refers particularly to the state of the dream when the waking self, which you consider to be the real self, crosses the bridge into the dream world, with its consciousness, its awareness, and speaks to the dreaming self, when there is knowledge that you are in the dream state. And when you can make bridges, choices. You make choices in dreams anyway, and the idea that your dream, that without lucid dreaming the dreams are chaotic is sort of off the mark. But lucid dreaming... The off the mark part comes from the notion that if you could just bring your smart waking self into the dream, then of course your dreams would be much improved. [laughter] And, uh, what is enhanced is that you have..., you are bringing together the weavings of awareness that have been separated. So that is very useful. And, uh, you can indeed live out in the dream state, the sleep state, many difficulties in a way that is, at least to the physical body, safer.
   Now, suppose you are afraid of having a disease in your body. You can explore the having of that disease and its ramifications and your feelings about it and so forth in the dream state. It is much easier than going to the hospital, and all of that. Because you are working with the luminous fluid body in dreams. In the physical world, really you are also much more fluid than you think, but since your thinking is key, you can’t work with it as easily. You can experiment with exciting adventures in the dream. You can explore territories that you would like to explore in the waking world; you can try it out in the dream. Relationships, creative projects. And dream time is open to marvelous wealths of creativity, untrammeled by psychological configurations that may play in waking time. It would be another way to work with the wily critter of a seductive depression. Ask in your dream time, “What shall I do about this?” And, uh, you may meet in the dreams with beings you consider to be dead. They are not dead. They are not present in the physical form. And, uh, when you bring the consciousnesses, the facets together, there is a feeling of wholeness in your everyday living that also sings to you of the divine. It is the bringing together. It is not that the waking self is so smart and, uh, the dreaming self not so smart. Or vice versa. But that they’re meeting. Their meeting is potent.
   One more thing. Just a moment. In the crossing back and forth with all of your awareness intact, you begin to really know that this too is a dream. And that even though this dream is clothed in the apparent density of your bodies, you are as safe in this dream as you are in that one.
   We have said this before recently, but we will say it again. It bears repeating. It seems to you that this is real life. And that the events that you create, some of them are apparently cataclysmic, catastrophic; that this is a fearsome place, yes. Very hard to see that the divine can clothe itself in something fearsome. But you know that even if you are afraid in a dream, when you wake, the waking self says, “Ah, I am safe. It was only a dream.” When you leave your body, the consciousness then is able to say very easily, “You were safe all along.” It doesn’t mean nothing apparently disastrous will happen to you, but that even in the midst of the disaster you are held, as you know you are in a dream. When you start to enter the dream state with all your awareness, let us say your multi-dimensional awareness, coming with you and coming out with you, it becomes more familiar that this, this dream is safe. So, it has that additional purpose, which is important. And you can seek guidance in your dreams and bring yourself in, you know, your real self, in to play. You then become in a more aware way co-creator of your life.
   Funny... Language is very difficult. “Aware” and “consciousness” and “energy.” All those words have ceased to convey very much. We try with the tone, and the shaping of our voice, to convey a bit more. Have to look for new words.
   We will come back next time. Very good. Hope you will work with other lives, particularly in this vein. With dreams, with clothes. So much. How could anyone ever be bored, such an entertaining realm! [laughter]
   We do share with all of you much love, and we bid you a very, jolly, good evening.


   Julie: That’s all for the moment. At the end of class, we discuss the information that Micciah has shared and talk about how to use it in ordinary life since all of this information was given to be used.

   Julie: “This channeling is meant to be a spiritual, emotional, intellecĀ­tual, 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.”