In communion with Sohra, it was decided that it would be better to just add notes concerning this than to do a channeling. One Itanmaic word "senka" has been shared before. It is roughly equivalent to "mantra" in Sanskrit. Both have to do with a sacred phrase that is repeated either with vibrato or with a song like inflection to produce a result (siddhi). The word "senka" has a little wider meaning in that it also means something like "prophecy". It can refer to speaking from divine inspiration to people in a timely manner that releases them, enlightens them, or heals them. It means any communication that that is "syntonic", that speaks to the need of the moment, and allows a consciousness shift to happen. A good spiritual teacher tends to speak and share what the listeners need to hear, addressing the growth edge that they are on, and calling them forward in terms of their spiritual maturing and evolving.
The Itanami do not fully believe in repetition or the practice of something that you repeat over and over. They feel that if you do not do something that is perfect enough, then you are practicing the imperfection, and if you do it perfect enough, then you do not need to practice it. Like many of the communications that they shared, they were less about people abandoning their daily practices, but about questioning them to see what they were doing in them, with the idea that more could happen if they took a deeper look into what the process really is. For instance, if I am doing Chi Kung, I can slavishly and robotically repeat the process, or I could see it as an exploration of how to move chi energy through my body. Behind the overt repetitions of the exercises, there are many things that are not being repeated. I may slow down the movements until they feel very mindful. I may explore how my breathing and moving are flowing together and synchronize them more deeply. I may focus on elongating some chronically tight muscles without trying to force them open. I may practice "tensing and releasing" with certain muscles to relax them and enliven them. I may wake up a set of cells that is not generally weaving into the total pattern of my energy field until they align with a subtle pulsation that moves through my whole body and its general bio-electric conductivity. I may concentrate in my ankles, knees, and hip socket to see how they are relating to each other within certain movement patterns. I may adjust the angle of my elbows during one movement to see how this feels or stretch another part of my body a little more to encourage more energy flow. If I am concentrating solely on repetition, then I will not keep on open-ended exploration going that could keep me growing/
In a similar manner, it is important that a senka or mantra not "go robotic". It is important that each repetition be fresh and alive, as if doing it for the first time, going deep into how each repetition is being created, and gently improving each repetition from within itself, focusing on its fullness, its sincerity, and its intonation, to see if it is coming from a calm relaxed space or whether there is some tension in the voice that indicates something to explore and maybe release. One can also explore how the senka "rides the breath", like whether the inhale is hurried like in much human speech, or whether you keep the inhale deep and full, the exhale soft and smooth, and have an easy flow between inhale and exhale. Many humans, in what looks like an attempt to keep control over the conversation by talking very rapidly and leaving no space for another to respond without interrupting, make the inhale into quick anxiety gasps, in a manner oddly similar to Didgeridoo circular continuous breathing so that the Didje can played nonstop, though the Didje breathing is calmer and more controlled. In terms of the Sohra channelings, the breathing is meant to "flow with intuitive wisdom" that pours into the 3rd eye from the connection between us and her. When this is done, the energy releases into the whole body and enlivens the cells. Otherwise one remains, what is called in the Sufi work, a "talking head".
There was a music composition that I heard on "Sound Cloud" that was entitled "Bass Time Continuum". Time and music are related in a deeper way that first appears. Time is like a river that flows, sometimes branches, and sometimes even gets caught in a temporal deja vu whirlpool. Time has moods. In music, the bass rhythm is the time keeper and through this we can move from one dimensional frame of reference to another. The human species creates its own dimensional frame of reference through keeping a kind of rhythm with each other. There are fluctuations and variations to this rhythm, but also a common ground that is kept very tight. This can be seen when driving cars and noticing how well behaved all of us are, driving in neat little rows all across the entire planet, everyone pausing on red lights, slowing down on yellow (or speeding up to get through fast), and going on green. All this creates a kind of pattern that people interact within, playing individual melodies off this larger pattern.
The mantra that is being shared at this time is:
Om Namo Amida Buddha Hreeh.
Om Namo Mahadakini Sohra Saganah Itaho Hreeh.
Om Namo Bodhisattva Tenabah Devani Itaho Hreeh.
Om Namo Hadeemkajabee Hreeh.
This is actually a group of four interlocking mantras. The first one is an invocation of the transpersonal Buddha of infinite love and light, with love and light being the same thing. The second one invokes the light body manifestation of Sohra. The second mantra is in two languages, Sanskrit (Om Namo...Hreeh) and Itanami (Sohra Saganah Itaho). This is showing that the mantra is constructed and blessed for a purpose that relates to this world. The third and fourth are the same in this regard.
The second one includes the word "Devani" in Itanamic. The word "Saganah" in Itanamic is a title for someone who is fully enlightened (one who experiences the wholeness of wisdom). The word "Devani" refers to a special kind of channeling that I am entering into. The root "Deh" means "consciously chosen surrender or let go". "Vah" means "movement," in this context it means "transmission", "flow", or "channeling". "Ni" (Nee) means "experience with a purpose". When the roots are combined, they become a noun refering to a person who is locked into a channeling connection (yidam, unity lock, Ishta Devata) with a higher being.
When taken all together, Sohra is merged with Amida Buddha and is part of Amida Buddha, part of the infinite love and light that is this being. This is the Saganah state that is perpetual inside of her. The wholeness of the wisdom of enlightenment is the wholeness of feeling infinite love and light all the time as a living background state for all the events of her time journey. It is "Tantra" (continuity) for her.
My connection with Sohra is mediated by "conscious choice" (the root "eh" is the choice sound) and "commitment" (ee sound). It is surrender (dah) to a flow (vah) of experience (nah). It is not merely to channel information and energy through me to others. It is also about staying locked into an energy flow that is transforming all the cells of my body and shifting them into light body. It is the practice that makes real the eternal heart (Ita, unconditional love) in my personal experience (hoh).
In a sense, I stand in relation to Sohra to how she stands in relation to Amida Buddha. Hers is completely stabilized through enlightenment, whereas mine is via conscious choice moment to moment. The fourth mantra is the desired intention which is to transform the physical body into a light body. The Hadeemkajabee is both the sonic code for activating the light body and the name for the light body. Hah=exhale, sacred individual experience. Deem=surrendering to the essential purpose of. Kah=sacred space. Jah=bliss. Bee=purpose of body. Grounding in our individual process through breathing, we surrender into the natural and essential purpose of our body, what the body is secretly wishing to grow into and evolve into when we are sensitive to its real needs, feeling the bliss of health when we live in our organic body conscience (and also honor our ethical idealism and serve our individual purpose within the planetary organism), and actively commit to this process through breathing and following our bliss.
The cells of my body have shifted to support my place in this mantra equation. Sohra needs the cell structure of my body as a kind of "leaping off" place to conduct her energies into our world. I am like an index that she uses to isolate our dimensional frame of reference and synchronize it to her marcospace. She had shared that she would only channel through me, though she might speak inside of many. It is because of the kind of alliance I have formed with her. More energy will be felt if the whole mantra is used and my cells are accessed to feel her energy. In engineering terms, I am like a "step down transformer" that makes the infinite energies of her realm usable in our realm. When people link with her through me in the channeling space, she is the active source, I am the conductor, and the people are grounding rod.