Using Your Intuition 2

Gipsy Magic

The Spontaneous Voice Approach

A middle aged Gypsy woman rang my doorbell one day selling heather. She immediately began to tell me things about myself which it seemed to me it was unlikely she knew from other people. She told me I had started a couple of businesses which had not been a success; a near member of family had just had an injury; my son had recently gone into a uniformed service, and I was worried about him. It was correct about the businesses, but that information was not impressive. My brother in law had just had a nail go right through his foot at work. My son had just joined the RAF and her words brought tears to my eyes, much to my surprise.

As she told me these things, prior to each statement she said, “Now I am going to tell you something true”. These words were said ritualistically, almost like a prayer, then she would say things which I had the impression she had not thought about. I was not able to question her about this as she was a difficult woman to have an easy conversation with. She gave me the Gypsy’s curse because I wouldn’t pay her the money she demanded. This amused me as, having an Italian background, and having explored the unconscious workings of the mind for many years, I well understood the nature of curses and their attempt to mobilise unconscious fears of such things as illness. worrying events and accident.

The technique this episode illustrates can be called spontaneous voice. To use it one must learn to speak without ones thoughts constantly editing and criticising what is being said. Or at least, one must learn to direct the scanning and editing functions of ones mind.

The intuitive impressions one has, the information one has gathered unconsciously from whatever source, do not usually rise into clear conscious awareness. Thinking about what we do not already know is not possible. We only think with the information we already have, or is easily available. Creative leaps are a jump beyond what is known. So to access what is intuitively understood but not yet consciously recognised, we must use something different than conscious thought.

Focusing on another person and allowing oneself to speak without forethought, is a way of doing this. The unconscious functions which support the action of speech are already well established in fast searching for memories and information connected with whatever is being spoken about. Associated ideas, feelings, memories, along with the words to express, are all quickly accessed in the process of speech. The difference is that instead of presenting the process of speech with an outline of what needs to be said, you present it with a blank sheet, with only the name of the person at the top.

In reality it is a lot more formulated than that. Here are the steps helpful in using this approach.

Hold in mind clearly what you are about to do – this is most important the first dozen or so times you do it, after that you can simply remember the previous times the function was used.  In other words decide to stop your conscious attempts to find. See Intuition – Using It 

Going Deeper – Reaching Further

What has been described already is the bare bones of how to use your intuitive ability. The exercises given are aimed at showing how to take the first steps. Personally, when I started I could not get any mental impressions at all, but I could, after learning to let my body move with exercises such as yawning, get a physical response. This was rather as a dowser does with a stick or pendulum. At first my hips moved spontaneously in a sideways or backwards and forwards movement as a yes or no response to any question I asked.

As I continued to use this approach though, it quickly developed greater subtlety. The next stage was that my body moved more fully and acted out or mimed a response, rather like with charades. If I didn’t understand what arose I would say so and another mime or movement would gradually lead me to clearer understanding.

Then quite suddenly another dimension opened up allowing full subjective imagery rather like waking dreams. In other words, they were inner experiences that led to fuller insights than the body movements allowed. After that the voice sprang into operation and I could allow my unconscious to speak out what the answer was, often accompanied by the inner images or understanding.

Perhaps I took the long route as there are simpler and easier ways that I will explain now. But I know that for some the imagination, imagery and spontaneous voice are outside their experience to start with, and they need to start right in the body. So I will explain ways of approaching various situations, and some techniques to use that might work for you.

Testing Your Response

Let us try some things that will explore how your mind and body respond now you have done the exercises given in the previous section.

The first test is to see if you can use an image to explore a situation. I learned this type of approach by watching Dr. Dina Glouberman work with a group and individuals. She explains it in her book Life Choices – Life Changes. She uses images to release the sleeping giant within. If it works for you it is a very simply and direct way to access your intuition and its resources.

First Test – Using Your Imagination


You need about ten minutes free time for this, and also to be sitting comfortably without interruptions.

Start by realising that this is just something to play at to develop a skill and to see if you can use it easily at this stage.

Next it is helpful to relax unnecessary tension by slightly tensing your body, especially your face and genital area. Then slowly let the tension melt away and continue with the feeling of dropping expressions from your face, and tensions from your pelvis. Take time with the next thing. There are no goals for you to reach, so no right or wrong. It is simply something to imagine.

With eyes closed and relaxed, imagine yourself as a bird in a cage. Notice what it feels like and what you do as the bird. You do not have to have clear imagery to do this, simply hold the idea and see what arises. Do the exercise before you read on.

A great wonder about that exercise is that everybody who does it has a different experience, even though there are similarities. But the important questions are:

1. Did you manage to get involved in the imagery and go through a sequence of experiences?
2. Can you relate what happened to your everyday personality and the way you approach life? If not take time now to wonder about that.
3. Did it involve or were you aware of feelings in any degree?

If you answered yes to these questions, then you have the ability to use imagery as a means to explore your intuition and work with your usually unconscious sleeping giant. If you could not work with the exercise, then try the other tests that follow.

If you got a clear result from the ‘bird in the cage’ test, you can access your intuition by creating an image that suits or represents your query or need. So to get an idea of a rewarding direction, hold an image of several roads representing the possibilities open to you. Explore them in the same way you did with the bird in the cage. Then hold the image of a road that represents the unknown possibility. When finished compare results to see what felt the most rewarding.

A problem you want a response about can be set up to explore by holding the image of a standing outside a circle, and within the circle is both the problem and its answer. You then imagine stepping into the circle and observing what you feel and meet. If you do not get a clear answer the first time, try it again until it resolves.

Second Test – Allowing Spontaneous Movement

If you managed Exercise Three and experienced spontaneous movement this second test will help you to start using the skill for ‘mining’ your intuition. If you did not manage Exercise Three, practice until you begin to get results. If you got more from the bird in the cage test, then follow through on using imagery – as suggested above – rather than body work. This is why we are using these tests – to see what your best direction is.

Start by using Exercise Three to initiate spontaneous movement. If you have practised enough to allow spontaneous or ‘inner directed’ movement without using the arm circling, then you can simply stand in your space and take the keyboard condition.

When you know you are ready to allow a spontaneous response ask what signal your body will give for a ‘no’ response. If you get a clear reaction ask what movement or posture signifies a ‘yes’ response. If you do not get a response continue to experiment, as sometimes your body/mind needs to either loosen up or to discharge other movements or feelings before it is free enough to respond.

The above approach is one that most people can get a response from and build upon. It is very basic, but as explained earlier in describing my own experience, it can lead into greater subtlety with practice.

Third Test – Understanding the Symbolism of Mime

This test should only be used if you got a clear response when using the second test. Once again you are approaching your wider awareness or intuition using your body. But you are adding something to this.

The most frequent way our unconscious mind or processes express themselves or extend toward waking consciousness is in symbols, as in dreams and visions. But the symbolism the unconscious uses is not necessarily images. It can express in mime or dance, in posture or facial expression. In fact is has four recognised levels of expression. The level furthest from waking understanding is physiological, and is seen in psychosomatic conditions or experiences. So one might experience this as a pain, muscular tension or physical sensation that does not appear to have a physical cause. Deeply suppressed or internalised states of mind or memories often show themselves in this way.

The next level is gestural or postural. It is well recognised that gestures or postures are a form of non-verbal communication. This is easily observed in animals as they signal to one another. This gestural language emerges as we learn to express our feelings and needs through physical movement in infancy. See Gesture.

Certain gestures or postures such as bowing or pointing are well known, but the unconscious is often very subtle in how it expresses. Such gestures or postures have become an intrinsic part of many holy rituals all over the world. The North American Indians in their Sacred Pipe Dance when the pipe is offered to the compass directions have ‘fragments of the rich gestural symbolism of’ the Native American cultural heritage.

The Hugeness of the Unconscious

The third level is symbolic, mythic or what we experience as dreams. This is a level seen in many older cultures where truths are expressed in the forms of myths and stories. At this level we express our intuitions and needs through symbolic action, as when, feeling trapped we fight authority figures instead of having direct insight into our problem. We may act out what we feel, or what our life situation is, in a dream, in dramatic actions or play.

The verbal-analytic is the fourth level. We have reached this point when we gain direct insight into situations, symbolic actions, dreams or situations and can clearly explain their meaning and relevance to our waking life. At this level we can take the dream, mime, drama or myth out of its symbolism and explain its underlying meaning.

The test we are going to use is based on the symbolic or mythic level. What is often not understood is that if we set up a symbolic situation the unconscious will eagerly grasp a language it understands and use it to respond to our questions. Remember, the unconscious isn’t a denatured and polite lady or gentleman though. It is nature, it is untamed, but if you approach with understanding and the sort of love that tames horses, it will love you in return. So it will not always answer your question until you have given it space to fulfill its own needs. So don’t be surprised if sometimes it goes off on a tack of its own.

For this test you need to set up your ‘space’ again. Because you might move around a little you will need enough space to take a few steps in any direction with your eyes closed without banging into anything. You also need something to act as a dividing line, such as a rope or a piece of tape on the floor or carpet. This needs to be about four feet wide.

Creating Your Own Symbols

This line is the symbol you are setting up, and we are going to use it to explore what can be called Life Theatre. You will stand on one side of the line and take on the keyboard condition. On the other side of the line is something you are going to explore while in that open permitting condition. You will take your time to watch and allow changes of feeling, body movement, imagery or even speech if it comes spontaneously. Don’t worry if nothing seems to happen at first. You are practising something new. Be patient and hold the attitude that it doesn’t matter if nothing of note arises. If you start pushing for results you will only bring your conscious thinking and decision making into play, and you can do that any old time. For the moment you are letting another part of you stretch its limbs and express.

So, on the other side of the line can be the ‘future’ – or it can be an issue in your life you want to explore – or the answer to a question that is important to you. Take time to decide what it is and keep it simple this first time. Don’t run three issues or questions into one.

Having decided what you want to explore, in your imagination place it firmly on the other side of the line. You don’t need to fiercely concentrate for this. Just stand easy in the keyboard condition, stand near the line, and let your body and feelings explore.

Give yourself time to do this, and when you have finished write down what you found.

If you can use imagery or imagination easier than your body responses, you can still set up the rope and see your problem or what you seek on the other side of the division. Then, within that imagery watch your feelings and what happens as you start to slowly move across the line

To End On a Simple Method

 Having asked your question, take the feeling of listening for an answer, as you would if you had asked a friend you respect. But you are in a noisy room – your mind – so you must not let your reasoning mind but in. You friend will address you by name and then you will listen for their reply. It may be in words that come into your mind or you seem to hear, or it may be feelings or pictures.
If successful you will have accessed you wider awareness, and you will know because you will have received greater understanding.

Copyright © 1999-2010 Tony Crisp | All rights reserved