Colin wrote:Yes, I have read that book. Very interesting in places but difficult at times to decide what is researched fact and what is Walter's "remeberances" from his time as a High Priest in Atlantis (or maybe Lemuria, I can't remember!)

Moore wrote: I don't teach however to not use symbols OR their kotodama.

Until the very end of the 20th century, only a group of students who learned from Usui-sensei directly knew about the Usui kotodama, and these former students were never affiliated with the Usui Reiki Ryoho Gakkai. Now, through those students, the world has began to receive information on Usui's use of kotodama. And, as with the symbols, multiple versions of Usui kotodama are now circulating.
Here are the Usui kotodama as I learned it by a student of Andy Bowling:
Reiki Simbol /Kotodama
Cho Ku Rei - O U E I
Sei He Ki - EI EI KI
Hon Sha Ze Sho Nen - O A ZE O NE

In what I've learned about kotodama as taught by Nakazono-sensei, the sounds always begin as pure, individual vowel sounds and progress through a series of consonants-plus-the-vowel.
Nakazono presented an extensive series of sounds, comprising in its entirety a complete "KOtodama Principle" - infinitely more complex than the few individual sounds that make up the Usui Kotodama. Clearly, Usui's understanding of kotodama and Nakazono's understanding of kotodama seem to have been different.
Nakazono said the kotodama sysytem he learned was in use more than ten thousands years ago; and the Usui kotodama are said to come from Shinto, which originated much later....
HOW TO MAKE THE SOUNDS
Here is Nakazono's description of (and reason for) making the sounds is a particular way:
To make sounds is and action of expansion. It should start from the point of final concentration, the absulute center. That is why all Kana sounds always start with the teeth held firmly together.
The rhythm of sounds, our life's manifestation, is based on I dimension, the life will. When making the I sounds, the teeth remain closed; they are always made by biting the teeth.
A-O-U-E, the four dimensions of mother sounds, and the child sound, come out from I. With each sound, always return to biting the teeth.
A sound is energy expanding to the fullest and made with a fully open mouth.
O sound is made with a round mouth, half closed; the smallest opening comes out as U sound. I and E sounds are made with the mouth open sideways.
The teeth open for E but remain closed for I......

LightChild wrote:That's an intersting question. I was wondering the same as nobody is metioning anything about it so far in the Longue.
I dare to enter this discussion about Kotodama as I just finished reading Don Beckett's book "REIKI The true story"
Kotodama is actually making sounds connected to the Symbols in a specyphic way.
Here is what Don says about it:

Until the very end of the 20th century, only a group of students who learned from Usui-sensei directly knew about the Usui kotodama, and these former students were never affiliated with the Usui Reiki Ryoho Gakkai. Now, through those students, the world has began to receive information on Usui's use of kotodama. And, as with the symbols, multiple versions of Usui kotodama are now circulating.
Here are the Usui kotodama as I learned it by a student of Andy Bowling:
Reiki Simbol /Kotodama
Cho Ku Rei - O U E I
Sei He Ki - EI EI KI
Hon Sha Ze Sho Nen - O A ZE O NE

In what I've learned about kotodama as taught by Nakazono-sensei, the sounds always begin as pure, individual vowel sounds and progress through a series of consonants-plus-the-vowel.
Nakazono presented an extensive series of sounds, comprising in its entirety a complete "KOtodama Principle" - infinitely more complex than the few individual sounds that make up the Usui Kotodama. Clearly, Usui's understanding of kotodama and Nakazono's understanding of kotodama seem to have been different.
Nakazono said the kotodama sysytem he learned was in use more than ten thousands years ago; and the Usui kotodama are said to come from Shinto, which originated much later....
HOW TO MAKE THE SOUNDS
Here is Nakazono's description of (and reason for) making the sounds is a particular way:
To make sounds is and action of expansion. It should start from the point of final concentration, the absulute center. That is why all Kana sounds always start with the teeth held firmly together.
The rhythm of sounds, our life's manifestation, is based on I dimension, the life will. When making the I sounds, the teeth remain closed; they are always made by biting the teeth.
A-O-U-E, the four dimensions of mother sounds, and the child sound, come out from I. With each sound, always return to biting the teeth.
A sound is energy expanding to the fullest and made with a fully open mouth.
O sound is made with a round mouth, half closed; the smallest opening comes out as U sound. I and E sounds are made with the mouth open sideways.
The teeth open for E but remain closed for I......

There is more about how to use kotodama and symbols ar both together and so on... It's interesting to hear what somebody else knows about Kotodama
Thank you for reading me
Love and Light

Moore wrote:I'm not sure in what end to begin, so please feel free to ask for clarification.

Well, truth be told, i know little about kotodama outside of what i have been taught as part of Reiki. I've never heard nor used it in other contexts so my knowledge is not that great in that area.

Moore wrote:
I use four kotodama.
HO KU EI (Choku Rei)
EI EI KI (Sei Heki)
HO ZA ZE HO NE (HSZSN)
AI KO YO (Dai Ko Myo)

Moore wrote:
This is however my personal interpretation.

Moore wrote:I'm not sure in what end to begin, so please feel free to ask for clarification.

Well, truth be told, i know little about kotodama outside of what i have been taught as part of Reiki. I've never heard nor used it in other contexts so my knowledge is not that great in that area.

I use four kotodama.
HO KU EI (Choku Rei)
EI EI KI (Sei Heki)
HO ZA ZE HO NE (HSZSN)
AI KO YO (Dai Ko Myo)

I tend to focus on these alot more once the student has learned them they take less visualization effort and the student can fokus more on remaining in the moment. The symbols have a very tangiable and real effect. I do however not believe they are nor should be the goal in terms of how to focus the energy. I suppose one could say that moving on to kotodama is a way of internalizing the practice even more.

To me the symbols are simply visual aids in focusing in on specific aspects of the reiki energy. Earth Ki and heaven Ki. The HSZSN is used to create a sense of oneness with the energy and recipient. Simply put, there's a strong buddhist flavour here.


This is however my personal interpretation.

1.Do you chant HO KU EI or do you chant the CKR (the same for all of the other symbols)?

2.If we say that symbols are visual aid to keep our intent focused does the same apply to kotodama?

3.By introducing symbol mantras (CKR etc) did kotodama in its (I will call it original form for the lack of better term) form become kind of “obsolete” since now they can be recognized in symbol mantras itself?

4.How about Reiki Treatments- Do you use kotodama instead of let's say SHK

5.How about the Reiki Attunements? Kotodama or Symbols?

Sorry for this many questions Very Happy

Moore wrote:

3.By introducing symbol mantras (CKR etc) did kotodama in its (I will call it original form for the lack of better term) form become kind of “obsolete” since now they can be recognized in symbol mantras itself?

Mantra, Jumon and Kotodama are the same thing from different spiritual traditions.

Lambs-Wool wrote:

However, kotodomas cannot be associated with symbols and so far i haven't felt them to be a substitute to symbols or vice versa...