OLINDA PASS

OLINDA PASS

(en ingls)

Here's what I have for Olinda's pass, corrections welcome. You'll need pencil and paper, because my notes are little drawings I'm going to describe.

Rub the deep hollow in the center of the palm with the opposite thumb. Left (I believe) first, then right.

Vigorously rub the palms together. Smooth hands up over face pausing at eyes to relax the eye, then continuing over the head, down the back of the head to the shoulders. Shake hands vigorously at shoulder level. Shake again with hands lower, more like waist level.

3. Rub the bases of the thumbs together (the fleshy part). Beginning at the center of the forehead with the bases of the thumbs positioned at the brows, draw the thumbs outward across the brow 2-3 times.

4. Rub the forefingers together. Beginning at the nose, draw the index fingers across the cheeks to the cheekbone 2-3 times. (Across the sinuses.)

5. Make the thumb, index, and middle fingers into little pincers and beginning at the inner end, gently pinch the eyebrows across to the outer end.

6. Vigorously rub palms together. Beginning at center of face, smooth over whole face to outer edge 2-3 times. Shake hands as in #2.

7. Make pincers again and pinch the tops and edges of the ears down to the lobes.

8. Shake the left foot, then the right.

9. Perform Bringing Energy to the Center of Decisions from the Knees from the Decision series of the Westwood passes, except inhale and bring the hands to the v-spot three times, and fan or flutter the fingers toward the v-spot.

Here you begin the part of the pass with sound. You can choose between three ways to do the pass. One is with a vocalized 'n'. The second is with an unvocalized 's'. The third is with a vocalized 'z'. I'll describe for the 'z'. The other two will be clear from that. The use of musical terms is just because it's easy. They stressed that the sound is not made like western music, but is just sound as it comes out.

10. Place the little finger of each hand on the crest of the hip bone and the thumb on the lowest rib above it. Let the other fingers fall in between. Make the lowest z sound you can without straining your voice. Hold it continuously. Picture a line drawn horizontally on the paper for about an inch.

11. Place the thumbs into the armpits and the fingers along the sternum. Begin the z low, then go up (about a third?) and make repeated z's. Picture a line moving 45 degrees up to the right for half an inch, then continuing to the right horizontally in a series of dashes.

12. Using the middle knuckle of the middle finger of each hand, press high on your side into your ribs where it feels tender a little and vibrate as you begin the sound. As the sound progresses, you press. At the end of the sound, you pull your fingers strongly out, extending each arm all the way out to each side shoulder height, and flick your hands open. The sound begins low, goes up a third or more or so, then wavers up and down repeatedly like an old police siren. Picture a line going up 45

degrees to the right for half and inch, then waving up and down for inch, then finishing with a slight, straight lift.

13. Using the index and middle fingers together, stroke your neck on each side under the ear and behind the jaw several times. Begin the sound as you press there. This sound begins low again, and then goes sharply up maybe a fifth or so. Picture a line on the paper that curves sharply up to the right about half an inch out and 3/4 inch up.

Then next four sounds are essentially the same format as the first four, but get higher, maybe going up an octave to begin.

14. Using the two fingers again, stroke the place in front of the ear where the lower jaw meets the skull. Begin the sound as you press. This sound begins low, goes up maybe an octave, then holds. Picture a line going up 45 degrees diagonally to the right inch, then continuing to the right horizontally for an inch.

15. Using the two fingers, stroke the temples. Begin sound as you press. This sound goes up first as in #14, then continues on one pitch intermittently. Picture the line going up diagonally as above, then continuing horizontally for an inch of dashes to the right.

16. Stroke the two fingers of the right hand upward on the forehead at the center between the brows. Begin sound as you press there with your left two fingers. This sound goes up as in #14, then wavers up and down. The picture goes diagonally up as in #14, then makes a wavy line for an inch horizontally to the right. At the end (with sound? or without?) using the two fingers and the thumb, pull the internal dialog out from your forehead, extending your arm completely away and flicking outward at the end.

17. Using the fingers of the right hand, make circles on the crown of your head. Begin sound as you press the very top of your head with your left fingers. Then extend your right hand straight upward above your shoulder at a slight angle outward, with the two fingers extended and the other fingers clasped under the thumb. Begin low, go up and up to a high pitch, pressing, then continue very high as you raise your left hand up like your right. Again, the picture is a line that makes a sharp curve upward for an inch, moving only a 1/4 inch or so to the right.

18. In silence, place your thumbs into the hollows on either side of the base of the skull and spread your fingers open vertically against the back of your head on each side. Your elbows are up and open and your open palms are behind your ears. Vibrate your fingers against your skull right, then left, R, L, R, L, a few times in all. Then stop. Hold. Very slowly begin to pull your hands away from your head, listening. Slowly open and lower your arms bringing them to extend behind you parallel, palms flat, fingers together (as in the Butterfly) and hold, listening.