How,Choose,Tibetan,Bowl,Normal education How to Choose a Tibetan Bowl

Translation jobs are undertaken by professional translators who are well versed with at least two languages.Translation can work at two levels: inter-state or regional language translation and inter-national or foreign language translation. Some forms of parent involvement with the school such as communications with school, volunteering, attending school events and parent--parent connections appeared to have little effect on student achievement, especially in high school. Helpi

Normal.dotm 0 0 1 1209 6772 EZIA Human Performance 89 8 8465 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */table.MsoNormalTable{mso-style-name:"Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow:yes;mso-style-parent:"";mso-padding-alt:0in 5.4pt 0in 5.4pt;mso-para-margin:0in;mso-para-margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Times New Roman";mso-ascii-font-family:Cambria;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-font-family:Cambria;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}Tibetan bowlsseem to be all the rage these days. Many people are tuning into their healingcapabilities and learning how to use them. The two questions I get all the timeare: 'How do I choose a good bowl"and 'How do I know which bowl is good fora specific chakra'.  People also call to obtain a bowl with a certainmusical note.  My answers to these questions are founded in the Easternphilosophy rather than from a Western mindset, because this better reflects thenature of the instruments as they were intended.Bearin mind that many bowls are being made now that look old and are not. They haveneither the metals, tones, history nor spiritual inheritance of the really oldinstruments that make the ancient ones so unique. Choosing a good bowl requires a few things. Quality: Educating yourself onthe look and sound of an good bowl and learning from  someone who knows. Many people sell bowls and most are newand machine made to look old. Most people will not be able to tell thedifference between an antique and a good reproduction. Just because someonesells a bowl or is Tibetan doesn’t mean they are knowledgeable. It takes atrained eye and ear. In the US old can mean 50 years. That is new by mystandards. A real old bowl will be at least 100 years old and more oftenhundreds of years old.  There areseveral signs of age in a bowl including the shape, the markings inside andout, the thickness of the metal especially on the bottom (thinner is usuallyolder), and the tone. Also, not all old bowls are good bowls. Tone, vibrations,harmonics, awakenness, warmth and longevity of sound all come into play. Bowlswere made in a variety of regions of Tibet and their shape and markings aretelling.  Some of the bowls have consciousness transformation as theirprimary intention, and some have physical healing.  This can be determinedby their shape.  A high quality, ancient bowl is an investment with aprice range from $110 for a very small bowl to thousands of $$ for a huge bowl.If it is inexpensive and old, then it was probably obtained in a less thanhonorable manner- or not of good quality. On the otherside of the coin is the seller who hikes up the price claiming that a bowl isfrom the 16th or 17th century. If you really want todetermine the exact age of a bowl, you have to carbonize it-melt it downthereby destroying it. Ask where and who authenticates the bowls and how theage was determined and tune into your intuition about the story you are beingtold. Find out where they come from.. Nepal, Tibet, Mongolia, India. Find outhow long the supplier has been purchasing bowls and how they get them.   In Asia, the only way to establish agood and trustworthy relationship with a supplier is over a number of years,and eyeball to eyeball. So the few people who go over themselves to selectinstruments over a period of years will get the best bowls.  Usage: It is useful to determine what you willuse the bowl for: ie meditation, grounding, physical healing ? Do you want tointegrate a few bowls into an existent modality or use them with otherinstruments in a musical vain, or become a sound healer? Do you wish to usethem in yoga classes for the relaxation at the end? Are you a nurse and wantingto use them with patients during your rounds? Is this a way for you to callmeetings to order in the corporate setting? The answers to these questions willalso impact on your choices. It is a good idea to know what you will use themfor before you purchase. Collecting bowls is also an organic process. If youobtain one good quality bowl and take the time to really play it until you knowits many possible voices and tones, then obtaining another others is a matterof choosing those that harmonize easily with the first one in the context ofhow they will be used..  There aremany types of mallets ie: wood, suede covered, felt covered and each isavailable in fat or thin, heavy and light versions. Each mallet has willproduce a different sound from the bowl when used properly. Remember that boththe bowls and the mallets need ‘breaking in time” and that can only happenthorough playing them. The more you play, the richer the sounds you will hear.Just like any other instrument, the bowls respond differently when the metalsare warmed up. As the mallets develop grooves and texture they will alsodeliver better textures of sound from the bowls. Tone: A bowl should hold its vibration andlinger for quite some time when struck producing several layers of tones andoverlaying harmonics and overtones. If the vibration and the volume of a bowlpiddles out quickly, it is not of high quality. Equally, if it has a singulartone or sounds tinny it is also of substandard quality. Always strike a bowlwith the padded portion of a stick rather than wood or suede to produce a softexpansive sound..  When you singa bowl (rub the rim with the wooden or leather part of a stick) there areseveral things to consider. How ‘awake’ the bowl is: some bowls sing rightaway, and some need to be played for a while and ‘broken back in’. This isneither good nor bad but it is important to know so you don’t dismiss apotentially great instrument just because it doesn’t sing right away. Rememberalso that you can never “get” a bowl to sing..you can only invite the sound andwait for it to come up.   Whenyou hear a bowl, listen to your body. If it opens your heart, or moves youdeeply in some manner; if you feel tingling all over, or the tone directlyimpacts one area of your body or grounds you- these are all good signs. Bowlswere created for consciousness transformation and healing. You should feeltheir effect on you.  If you havemore than one bowl then it is good to play them together so that their tonesharmonize. Eventually, they will anyway, because that is their nature andmagic, but why not help the process by starting with bowls that sound greattogether right away? Note that with several bowls, playing them in one patternmay sound very good and another pattern may not! \ EstheticsHow a bowllooks is also part of the selection process. Its size, shape and personalityshould be attractive to you.  Sincethere are many types of bowls, each with its own history and shape, it is agood idea to spend some time just looking to see if there is one that attractsyou more than others.  When youplace it in your hand it should feel wonderful-  like it belongs there. It should not be too heavy for you ortoo tiny for the size of your hands. There are some bowls that have deep  hammer marks and some that have a shiner patina. Some havesanscrit mantras and others  havesymbols enscribed on them. All of these things should be taken intoconsideration when you seek a bowl.Bowls and Chakras.  In the west we work with seven chakras. The Tibetans work with five regions of the body. The bowls were created tobring us back to our experience of the interrelationship of all things; thusthey are not calibrated to work on any one chakra to the exclusion of the rest.Their very nature encompasses our wholeness.  In this way they are verydifferent instruments then the western counterparts- tuning forks and crystalbowls.  However there are some bowls whose tone and size lend themselvesmore naturally to certain areas of the body. ( ie.Lower tones for grounding,largest bowls by the feet, soothing mid tones around the head, and higher tonesand small bowls over the 3rd eye, etc.  Bowls on the heart, solar plexus and sacrum are good to havein a descending tonal pattern from heart to sacrum.) Every bowl will alsorespond to intention.   Having many bowls is wonderful but understand thateven if you have only ONE bowl, it will impact all of you, and not just onechakra.   In the west,we are preoccupied with assigning a certain note to a certain area of the body.This works well with some modalities but since the Tibetan bowls produceharmonics, and since they are created to reflect wholeness, it is not necessaryto choose a bowl for its note. This does not dismiss the more western approachof choosing specific bowls for their notes and correspondences to areas of thebody, but gives you a wider perspective from which to choose.