The Purpose  of   HEALING - K.I.S.S.

- as stated 12 years ago - was and is

  to help me and my potential P E E R s 

"to HEAL ourselves into WHOLEness,

and - by extension - all of CREATion!"
Intro to Healing-K.i.s.s. 2001-2013
and Overview of its main libraries

[If you look for a word on this page,
click ctrl/F and put a word in "find"]


I focus my experiencing and awareness on being
"a   pioneer of  Evolution  in  learning  to  feel":
I let my Body vibrate and my Heart 'womb'
pain, shame, fear, boredom, powerlessness,
so feelings can >heal >guide>fulfill>evolve,
and ~~~ offer ~~~"goldmines"~~~ to us all!!
"I want you to feel everything, every little thing!"

 

 

 

Back to Overview of all Songs

InteGRATion into GRATeFULLness
Singing&Sounding keeps me Sound

update: 2008_01_28: The song keeps changing, and until it will "settle down" , I won't change the recording..
But I want to point out a "channeled" English translation of some lines in K.i.s.s.-L O G 2008_01_28


to unite YH with WH in whole union

 

2007_06_14
Song performed by Joan Baez
lyrics and tune:
not known to me
Joan Baez' song
Bat-Adam's song

Third Version: 2007_09_18

Ich atme Klang, Farbe und Form
mit all meinem Gefuehl, mein Gott!
mit meinem Bewusstsein, mein Gott!
Ich manifestiere jedes Gespuer, jede Bewegung
mit all meinem Herzen,
mit all den Gliedern meines Koerpers.



Was ich tue,
das ist's, was du tust durch mich!
Was du tust,
das ist's, was ich tue durch dich!
Ich nehme an alles was du erlebst!
Du nimmst an alles was ich erlebe.

All mein Einatmen und all mein Ausatmen
umarmt* was ich bin,
umarmt dich, mein Gott.

Was ich tue,
das ist's, was du tust durch mich!
Was du tust,
das ist's, was ich tue durch dich!
Ich nehme an alles was du erlebst!
Du nimmst an alles was ich erlebe.

La, la, la, la, la, la, la, la

~~~~~~~~~~~~~~~~~~~
*
Das hebraische und arabische Wort r-ch-m bedeutet: Mutterleib.
Das Verb r-ch-m bedeutet: "erbarmen",
also eigentlich "in den Mutterleib huellen".
Der Mutterleib ist fuer mich ein Gleichnis fuer den "Ort",
da es nur Dunkel , kein Licht, nur Wasser, kein Nichtwasser,
also keine Polaritaet gibt.
Wo keine Polaritaet ist, gibt es keine Wahl,
wo es keine Wahl gibt, gibt es keine Verantwortung,
wo es keine Verantwortung gibt,
bin ich angenommen, eben so wie ein Kind im Mutterleib.
Im Deutschen ist dieses Wort r-ch-m noch weniger nachahmbar
als im Englischen, in dem ich ein Verb erfunden habe: "to womb"

I breathe sound, colour and form
with all my feeling, my God,
with my awareness, my God,
I manifest all sensation, all movement
with all my heart,
with all organs of my body.

What I am doing,
that's what you're doing through me,
What you are doing,
that's what I'm doing through you.
I accept what you experience,
You accept what I experience.

All my breathing in, all my breathing out
embraces* what I am,
embraces you, my God

What I am doing,
that's what you're doing through me,
What you are doing,
that's what I'm doing through you.
I accept what you experience,
You accept what I experience.

La, la, la, la, la, la, la, la

~~~~~~~~~~~~~~~~~~~

*
The Hebrew and Arabic noun "r-kh-m means "womb".
The verb "r-kh-m" means: "to have mercy on",
actually: "to womb".
The womb is for me a metaphor for the space,
in which there is only darkness, no light,
only water, no not-water, i.e. the space beyond polarity.
Where there is no polarity, there is no choice,
where there is no choice, there is no responsibility,
where there is no responsibility,
I am accepted, just like a child in the womb.

 

Second Version: 2007_09_18

Ich atme dich, mein Gott,

I breathe you, my God,


First Version: 2007_06_14

Ich liebe dich, mein Gott,

I love you, my God,

 


I discovered this song sung by Joan Baez in March this year,
and was so enchanted by it right from the beginning,
that after having listened to it over and over again,
I wished I would find my own lyrics to it.

Searching on the Internet, I found text and translation,
but I still don't know, if this is Turkish or another language.

The tune and the rhythm turned out to be complex,
and unbelievably difficult for me to grasp,
but with technological help - blessed be the software "Soundforge"!
I could finally hammer the tune into my brain.

Joan Baez age?

 

Rachel age 51

It was then,
that the lyrics I had asked for,
adapted themselves to the tune.

I made attempts to record them on top of Joan Baez' singing,
but her tricky rhythm finally convinced me,
that I had to separate her wonderful performance
from my simple a-cappella singing.

As to the title,
a quote from the traditional blessing in Aramaic
before many "Mitzva-Fulfillings"
see another song in this Game:

 

Christa-Rachel Bat-Adam is Seventy
[see K.i.s.s.-Log 2008_08_16] [see the original song for the 60th birthday of the State of Israel!]



from K.i.s.s.-log 2008, August 18 and 2008, September 3

The Head of the lady
the years colored white,
yes this is she and no other,
Christa Bat-Adam



The year seventy opens its eyes
and encounters Rachel
an energetic figure, an engraved         figure,
a God-embracing* figure.



The year seventy then blinks
and checks in the diary,
and whispers to Rachel,
the medicine since long**

With a stormy story she opens
and lists up to "Seventy"***
all she has in her amtakhat - sack
[this term I remember well from my    research about Josef's brothers in 1961,    Genesis 44!]
all the challenges ****



There is a family and there is           knowing
and a past and a future,
the year of 70 then folds itself,
she knows how to loose,


Yes, Time cannot overcome her,
to this we bear witness,
The past is a lamp to her feet
[an idiom from Psalm 119:105]
the Future - a pupil
 
Chorus:
Yes, she is seventy,
that's how it's fixed,
but a number is only a sign,
she is ready,
she is prepared
she stays here for the future
seventy years is she old
this is known
without a flag, without a sign
Rachel's soul is without age,
she watches out
for what's ahead.
The last lines are almost direct
adaptations of "Israel is Sixty"
  

 

 

with Self-Timer so that all could be on the photo: Mother & Grandmother and the 16 "actors" in her drama

 


to former song to next song


 
Mika and her friends:
"I want to know all the children of the world"
Here she prevents Keshet (rainbow)
to run towards the road with its cars.

Mika and the World:
Here she follows the TV reality series: A star is born
The last event was too late for her to stay up.
When - first thing in the morning - she asked me:
"Who became the Star? "
and I told her: "Diana!"
she said: "I'm glad! I wanted her to win!
But Ohad (one of the 3 finalists) ---
he didn't feel hurt, did he?"
2010_09_03
Heaven-on-Earth
"...Manifestation is meant to be a playground
where being and playing are fun" [Godchannel]

 

 



It is Friday, September 3, 2010, and after all those hazy twilight photos of the Yuvalim neighborhood,
it's time to show the view from my family's flat on the third floor of Sella-St.9, across a lower neighborhood.
This was so important for Immanuel, Efrat and me - that this "final" house should have a free-free-free view.
I include myself, since the only thing I miss in my home in Arad is, that there is no free view, new view at all.
Though I "get" my view after 2 minutes, when I walk to the pool, twice a day,
I still feel closed in, when looking through my 2 windows.


The view from my room
- a pity, that Efrat - for Mika's saftety - insisted on these bars,
though they are not straight like in a prison, but curved


But I have only to go out to the veranda, in order to see the most splendid bar-less view in an angle of almost 180 degrees,

 

"Nichts ist mir zu klein, und ich lieb es trotzdem
und mal' es auf Goldgrund und groß
und halte es hoch, und ich weiß nicht wem
löst es die Seele los..."
Rainer Maria Rilke
THE NELLA DRAMA
[What a coincidence, that on Sept. 16, 2010,
a few days after I completed the sculpture of this drama,
I come across another "dog-drama" , in Nov. 2008,
in this case in the life of Arnon, Mika's cousin!
[and there - a link to the beginnings of Mika and Nella!]
"Nothing is too small for me, and I still love it,
and paint it on gold and huge
and lift it high up, and I don't know whom
will it untie the soul. "
[my translation]



"When  in  panic,
 breathe  
and   use   eye movements!"
(see in puzzle piece 3),
but how can this be applied to a small child
- if it should be necessary?

One hour after the frightening drama with its good outcome,
but with a trauma, acted out in nightmares by Mika the next night,
I read a mail from the Go-Gratitude people with their new program.
The title of the image struck me! What does the Nella Drama tell us?




Mika is used to elevators,
but lately she showed fear.
"Come in, quickly!"
she urged everyone
who needed to enter together with her.
She must have had a precognition
of what would occur today,
though the outcome wasn't as worse
as it could have been.
But why did it happen at all?

On this morning,
I wanted to walk Nella at the same time
as Efrat and Mika went out to gan and job.
Efrat, Mika and Nella were already inside,
when someone on a lower floor
pushed the button.
This caused the lift to swiftly close the door,
while I was till ouside
with the leash in my hand.
I was helpless: how could the lift descend,
while Nella's collar
was connected to the leash?

When we - finally - met again, downstairs,
Efrat was still trembling with fright,
while Mika seemed to not have grasped "it".
Nella had jumped to the ceiling of the lift,
thus tearing the leash with the little bag,
which contains the nylon-bags for her shit.
But that didn't help - the collar suffocated her!
How on earth did Efrat manage to free her?
"Your tushiah (resourcefulness,) is fantastic!",
I said during one of the many times,
that she recuperates the chain of events
"I would have failed completely"
and I told two incidents in my life,
when I should have acted like Efrat,
but "luckily" other people took over ...
"Yes, I do function under pressure!" she said.
"Well I most definitely don't,
and I'm grateful that so far I wasn't tested..."

I don't remember, how I tied Nella
(for it's out of the question to let her walk without a leash...)
but I remember how we all descend
to the underground parking-lot
and how I then ran ahead to the exit,
in order to photograph
how they drove out of the tunnel,
then through the entire compound
and out to the "regular, straight" Sella Street.

 

 

I, too, had to dedicate time to "digesting".
I chose to create a new, neat, convenient bag,
to be connected to the leash of the collar,
something I had intended to do since some time.
The new bag (made from a pair of fancy trousers,
which Ronnit had bequeathed me, saying:
If it doesn't suit you, make a cushion out of it!"),
fits in nicely with its surroundings next to the door,
and - of course - it reminds me of the Nella Drama,
whenever I take the leash to descend with Nella.

Two nights before,
when I did my series of shots
of the Yuvalim maze,
I was standing with my back to Sella 9
and taking one last picture:
of the compound,
to which Sella 9 belongs.

It so happened,
that some laborers were re-planting
what had been missing for some time:
the planters around the entrance
to the underground parking-lot.

So when it came to be,
after the Nella Drama,
that I accompanied Efrat and Mika
to the underground parking-lot,
Efrat noticed the fresh flowers
and was glad.
It was, as if even this little fact,
that I, by chance, took a photo
even of this facet
of all the physical surroundings
of my family,
had a meaning...

 


Nella didn't seem to have a trauma!
When we awaited the car with Efrat and Mika at the exit of the underground parking lot,
she greeted them on two legs - while I managed to photograph her as tied to the red leash....



On their way out of the compound, they pass the garbage truck....
There they went - through the (not functioning) barrier - into the "normal" part of Sella Street.
After 150 meter they'll turn left and after some 300-400 more meters they'll reach the little junction with the compound of school and kindergarden.

 

As if the Nella Drama hadn't been enough of an upheaval,
Efrat now wants to push through the week-long plan:
to cut my hair to the roots.
The plan was to let a professional hairdresser do this,
"only this one time, so that I can learn to do it next time!"
and to take Mika with us after kindergarden, at 1 PM.

Since 3 years ago I had appointed Efrat as my hairdresser,
and since I myself was fed up with hairs scattered everywhere,
I did not oppose the plan,
but neither could I support it enthusiastically.
"Help me with Mika!" Efrat begged me
in the face of Mika's fierce opposition,
as expressed by her , for instance,
the evening before in this situation:
 
 
Continuation of Mika's "Heaven-on-Earth" on the Song page of June 15, 2007