© 2002 James Deacon
The Art of Healing is
not something which can be learned in a weekend 'workshop' or
Japanese 'te-ate' (hand healing) disciplines are taught by means
of what might be considered an "apprenticeship" - with
the deshi or student learning by observation, by asking
questions - and by assisting the Teacher in actual therapeutic
the outset, the deshi himself receives treatment on a
regular basis as a necessary part of the developmental process,
and begins to practice various meditative and energetic disciplines
to develop the ability to sense and manipulate his own personal
seiki or 'energetic field of force'.
training is essentially 'experiental' as opposed to academic,
this does not lend itself easily to 'textbook tuition' - however,
there are certain aspects of the elementary levels of training
in the Japanese Healing Arts which can undertaken in this way.
from receiving treatment and practice of elementary energetic
exercises, perhaps the first thing the new student will do is
to gain experience in 'listening'. This does not refer to listening
in an auditory sense, but to listening with the being.
student is instructed to touch two tsubo areas - two identical
points, one on either side of the patient-clients body. Touch
is to be light - no pressure is exerted (the student may be reminded
that this is not a pressure-point/acupressure technique). The
student is instructed to clear the mind and focus in the here
and now - in the moment - there is ONLY this moment. (It is important
for the student to develop this ability through practice of the
relevant self-developmental exercises - being 'in the moment'
is an essential feature of just about all Japanese Therapeutic
student is reminded they are not 'giving treatment' - and to refrain
from (as is often a common issue with students) the urge or desire
to 'do' - to 'try' to intervene, manipulate, change, exert influence,
task here is to 'listen' - to clear the mind, be fully present,
be mindful of any sensations perceived via the hands.
With practice, the student must learn to differentiate between
genuine sensations percieved from the patient and their own 'projections'
They must be aware from the outset that to become a successful
therapist/healer one must learn to "leave your personal baggage
outside the treatment-room door".
time the student must learn the difference between intuitive and
illusory perceptions. Initally, when new students (as with people
new to meditation in general) begin to practice clearing the mind
- copious quantities of 'junk -imagery' will fequently begin to
surface - often, in their eagerness and enthusiasm, the student
will seek meaning in, or create attatchment to, these images,
sounds, emotions etc - not realising them to be simply part of
the clearing-out' process.
to such imagery etc will only serve to impede student development.
When the student has demonstrated progress in 'listening' practice
at the initially selected tsubo, they will be instructed in basic
'listening' application. The student is shown a sequence of 'tsubo-pair'
positions to work through, taking note of perceptions received
at each area-point. The sequence covers the whole body area, and
may be worked through from top to bottom or vice versa.
the student proves confidence and competence in bodywide 'listening'
application, so they will move on to instruction in the initial
in-yo balancing techniques.
will by this time have gained initial experience in working with
various basic hara-focussed energy-centering exercises, and also
be familiarising themself with the rudiments of in-yo therapy
theory, (in particular the concept that the dynamic state of flux
can be interfered with by, for example, physical or psychological
shock - the analogy of a pendulum becoming 'stuck' at a given
point in its ark of swing - and the process of facilitating the
freeing-up of the pendulum once more, thus restoring the dynamic
'in the moment', with the in-yo image as a mental focus,
the student will repeat the wholebody 'tsubo-pair' sequence used
in the 'listening' process, still listening as before, but this
time with the added intention of allowing (as opposed to causing)
the state of dynamic balance to be restored (- where it has been
interupted) and finetuned.
It is to be stressed that this particular practice does NOT involve
the student directing or channeling 'energy' (in)to the patient.
Rather it is a case of the student focussing and controlling their
own 'energy' so as to elicit a sympathetic response within the