Junk Oracle

During the last PBP I participated in in 2012 I read a great post about making a junk oracle. The author discussed how one could use various toys, treasures, and other tid-bits lying around the house to craft a very fun divination tool. I was instantly intrigued and very soon after began putting together my own junk oracle.

Since the original post is so good, and since I still have a cast on my arm making it very cumbersome to type, for this “J” post I am simply sharing the original post, plus one other good write-up I found about the junk oracle.

Here is the post I read two years ago and liked so much: Cat’s Journal- Junk Oracle

Here is another good article I found: Tarot Reflections- Junk Oracle

I hope this inspires some of you out there to try it out. I think it’s a fabulous way to make use of those random objects we all have lying around the house.



A couple weeks ago, back on the second “h” entry, I was very excited to write a particular post on a certain “h” topic. But before I settled down to write I headed off to my usual Friday afternoon practice at the ice-rink. I was only minutes into my practice line up when bam, I fell on my ass, which as you can imagine happens a lot in figure skating. I pride myself on being a good faller. That is, I think years of dance training have given me a good instinct for how my body should fall in order to land without injury. I was even hit by a car a few months ago and I fell so well that I got up and waked away with not even a scratch….although that was a bit traumatizing…..

But two weeks ago at the rink I fell and reached my left hand back to catch the fall. Not smart. You always want to fall on the meaty parts of your body. To top it off I was traveling backwards at a swift speed. I heard the pop. Being in dance I’ve seen many dancers injure themselves and instantly say “I heard something pop!” But I had never heard the pop in my body. This time I did, and I knew it was bad.

I had an amazing goose egg on my wrist and there was instant massive swelling. I drove home one handed, wrapped it up in an ace bandage, took a bunch of Advil, got the ice pack, and called it good. I avoided the doctor for days but finally a friend got me to relent and go. And sure enough I fractured my radius. I actually cried when the doctor told me I had to have a cast. A cast! I’ve never had a cast, and the thought of not being able to use that hand was rough. I currently am in the final stretch of building an art car to drive in a huge parade on May 10 and I really need both hands for that. I was also very upset about the thought of not skating for a few weeks. I was just getting good. Missing one week of practice can mess you up, let alone three or four.

So what’s the point of all this? Why am I posting this in the PBP? Because once again I feel the universe is speaking. There is something I have to learn from fracturing my arm, that is why it happened. Honestly, I’m not completely sure of the answer yet, but I am searching and listening. I have to accept this, and acknowledge there are many, many worse things that can happen besides breaking your arm.

The art car team has rallied, and I think we are going to pull it off. I have all summer to focus on skating, and with focus and determination I will get back to where I was quickly….this time wearing wrist guards. And I will come up with a different word to represent that special “h” topic I so want to write about.

I also wanted to touch base with the PBP community and let you know where I’ve been. I’m sure I’ll just be doing one post per letter until the cast comes off as it is tedious and time consuming to type with one hand. I may get a dictation program, but we’ll see.

The ultimate lesson in all this….everything happens for a reason, even fractured wrists.


Having Faith

I realize this could be taken a number of ways. But for this post I’m looking at it like this: have faith in the universe, it knows what it’s doing. Now, learning to trust in the knowledge of the universe is one thing, and can be very difficult, particularly when it’s handing you a big shit sandwich. But life can’t always be good, and how can we appreciate and understand the good without experiencing the bad. Of course I’ve been on the receiving end of that nasty sandwich many times. While it’s being served it’s really rough, and usually involves major decisions and lots of tears. But once it’s over, once you have traveled through the pain and disappointment, very often when looking back you can see the wisdom of the universe.

Personal example….After completing my MFA I received a full-time, two-year temp position at a college in San Antonio. Odds were in my favor that sometime in the two years the position would become permanent and I would get it. So my hubby and I uprooted from East Texas and moved. The school was fantastic; the person in charge of the department was psychotic. San Antonio was a great city, but I would never get anywhere under the reign of the department head. But I still wanted to stay, and stay I would have had the universe not intervened.

First the economy tanked. Then the college started making cut backs, and began a hiring freeze. Twelve of us began at the same time as temps, eleven of those jobs were made permanent. Guess which one was left as a temp? A two-year temp at the end of her two years… Bear in mind, I am a dance professor, and full-time college dance positions are hard to come by. They are also often the first to be cut in difficult times.

First there was a lot of crying, then I pulled myself up and started figuring out how to make it work without a full-time faculty position. I was getting it together when another job fell out of the sky in July (remember classes start in August). But this job was in Houston…. I got the job and had to move to Houston in two-weeks. That is another story….

The Houston position is pretty great, and I’m about to complete my forth year teaching here. Of course there are issues, but overall it’s a big step up. I have much more control in scheduling, deciding what I teach, and the overall running and development of the department. And Houston is a dance city, allowing me to build my own dance company. It is also close to where I went to grad school, so I know a lot of dancers, which also helped in the development of a company.

I see this as a case in my life where the universe stepped in. If it hadn’t intervened I would have stayed in San Antonio and never gotten the opportunities that Houston provided. Now, Houston is a difficult place to live for me. It’s big and crowded and hot and humid. But it is in the problems that I look to see what the universe is trying to teach me.

Another quick example- When I first moved to Houston I was desperate to buy a house. I had dreamed of buying a house for years and I was so ready to do it. I found a realtor and started looking at houses, and was pre-qualified for a mortgage.

Hubby and I searched one particular area of Houston without really knowing the city very well, and found a house we were ready to make an offer on. As we moved forward in the process there was a discrepancy with my student loan that was missed in the pre-qualification, and it caused me to not qualify for enough money, and due to the move my husband had been unemployed so we could not apply together.

I was devastated. It would be years before I could buy a house. Again, more crying, and another move to another rental. Thanks universe.

As it turns out, I am so glad we did not buy that house, or any house in that area of town. Now that we have been here a few years we realize we hate that area of town and never go there, let alone want to live there. And that house did not have a tree in the yard. That is now a deal breaker for me. No tree, no house.

We love the rental we moved into, which is on the opposite side of Houston. We took this rental simply because it’s big, has no carpet, and has a lovely backyard with lots of trees. In living here we learned that we love this area of town and do not want to leave.

Just last night I pre-qualified for a mortgage, and the house hunt is now beginning in earnest, and I know I’m going to get one this time. And we’re searching in the area we currently live in rather than somewhere else. So really, thanks universe. Thank you for not letting us move into that other house ‘cause that would’ve been a huge mistake.

Now I am really trying to listen to the universe and let it guide me on the house hunt. I am also remembering to have faith that the right house will come along, and I will be able to recognize that it is my house. It’s out there waiting for me, I just have to have faith.

Sometimes holding that faith is very difficult, and it involves a high level of trust. Sometimes that faith isn’t telling you what you want to hear, but you have to trust it and listen. Learning to listen to the fun stuff is easy. Learning to recognize and hear the yucky stuff is hard. I’m no expert, but I do my best every day to listen to the universe, and have faith in its knowledge.




Garuda is the king of the birds in the Hindu Parthenon. He is half bird, half man, usually depicted with the body


Garuda has an interesting relationship with snakes, as this picture highlights. Obviously I am not discussing that in this post, but it’s a great story you can find on the internet of you’re curious.

, arms, and legs of a human and the wings, beak, and talons of a bird.

Garuda is probably best known as being the carrier of Vishnu, and he can move between the world of the mortals and the world of the gods with ease. As with most religious figures, there are many stories involving Garuda. I’ll limit myself to sharing only the tale of how Garuda comes to be the winged mount of Vishnu.

When Garuda first hatched from his shell he was ravenous. His father sent him to a village to find food, the food being the villagers. His father told Garuda he could eat all he wanted, but warned him not to eat the Brahman. Garuda flew down to the village and began to feast, but in his gobbling up of the people he accidently ate the Brahman, who became lodged in his throat. Now Garuda found himself with a few problems. One, he was going to anger his father for eating the Brahman, two, he ate a Brahman, and three, he was in danger of choking to death. So he coughed the Brahman out, and along with him came all the villagers.

pyreaus_inspired_manifestation_garuda_sea_salvation_fullNow Garuda was really starving and frustrated, but little did he know Vishnu had been watching the whole scene. Vishnu went to Garuda and offered to let him perch on his arm and eat of his flesh. Garuda jumped at the chance for a meal and immediately bit into Vishnu’s arm, and was shocked to discover that his bite left no marks. This let Garuda know he was in the presence of a god and he pledged himself to him right then and there. And thus their relationship was born, and Garuda became the mount of Vishnu, allowing Vishnu to fly across the sky on his back.

So there you have a little tale of Garuda, and how he met Vishnu, one of the Trimurti, or holy trinity of Hindu gods. As with all gods and goddesses, the stories involving Garuda are numerous, and have some adaptations between tellings. The story I shared is a watered down snipppet of an age old tale.

I’ll leave you with this final thought….consider yourself very lucky if you ever find one of Garuda’s feathers lying on the ground.

Folk Dance- Born of Pagan Roots

Most people are not familiar with the origins of what we would now refer to as folk dance. In fact, many dance professionals today struggle with this term and exactly what it means and the type of dance it represents. When I first began my research on the topic to present it in my dance history and appreciation classes I was rather surprised and fascinated with the origins of European folk dances. I think the history may be of interest to most of us, as you will soon discover that the dances are completely Pagan in origin. So, for my Pagan Blog Project post this week I want to share a selection from my book that explains the Pagan roots of European folk dance.

As you’re reading please keep in mind this is an excerpt from a text book for college freshman so it is a bit dry at times and it makes reference to material from other parts of the book, although I think the content is still clear. I have also found that most of my students are completely unfamiliar with Paganism and have no understanding of it, so some of those descriptions are very rudimentary and not geared for an audience that is well versed in the practice of Paganism. You may also note my subtle touch in introducing students to Paganism, which we all know can be very misunderstood 🙂 I definitely relish the opportunity to not only teach students about dance but also about other subjects, such as alternative religious practices.

…After the fall of the Roman Empire, Christianity did not spread overnight. Rather, converting people to Christianity was a process that took hundreds of years. At first people simply continued with the religious practices they were familiar with. Their religions and beliefs were similar to those discussed in chapter two, in that they practiced what is essentially an earth-centered form of worship. They had gods and goddesses, which they communed with in the hopes of affecting their lives, and their holidays centered on the cycles of nature and the seasons.

It is this earth centered religious practice to which the Christians give the name Paganism. To this day many people are confused by what this religion is and what the word means. Because the early Christians painted it in a negative light all sorts of mistaken connotations have grown up around the term Pagan. In reality Paganism is simply an earth-centered form of religious belief and practice. Pagans are not Satan worshipers, and there are a number of practicing Pagans throughout the world today.

You can recall that the first forms of Christianity in Western Europe were struggling with the separation of spirit and body, and were having trouble figuring out where dancing fit into religious practice. Meanwhile all the old religions included dance as a major focus for worship and communication. As Christianity grew and spread religious leaders were interested in banning dancing altogether, but you can imagine this would be a hard sell to people who have been dancing as a means of religious expression since the dawn of mankind.

At first Christian leaders attempted to stamp out dancing entirely, but this caused some problems. For one, the Pagans were afraid they would anger their Gods by not performing their dances. Also, life in the Middle Ages was pretty rough and people did not experience many fun times. Dancing together in a community celebration was certainly seen as a joyous time, and people were loath to give up what few good times they had. Christian religious leaders soon realized that it would be easier to convert the Pagans if they kept some of the holy days, festivals, and religious items in place.

Thus the Christian religious leaders decided to “borrow” from the Pagans. The Christians identified the Pagan holy days and lay Christian holidays on top of them. Easter and Christmas are both examples of Pagan holidays that became Christian. In the Pagan world Ostara was the holy day to celebrate the rebirth of spring, the lengthening of days, and the welcoming of light. Ostara becomes Christian Easter, which has the undertones of rebirth as seen in the resurrection of Jesus. Christmas replaced Yule, a time for families to come together and prepare for the cold and the darkness. Christianity again centered this holiday around Jesus by making it a celebration of his birth. In an attempt to further purify the Pagan celebrations Pope Gregory the Great in the seventh century decided to settle on set times each year for the festival days. These early festival dates are what will eventually become the holidays in which we Westerners are familiar.

In addition to festival days, many Pagan symbols and religious items were borrowed as well. Remember that fire was a main element of pre-historic dance forms, and this fire symbol retains its importance through candles and fires in the hearth that families gather around. Elements such as bells, incense, and singing were also borrowed from Paganism. These borrowed items not only aided in the conversion process, but made Christianity more fun and appealing to the Pagans they were trying to convert. It also allowed the religious leaders a chance to “purify” and make holy (in a Christian sense) the Pagan festivals they saw as being wild frenzies totally out of line with the Christian belief in separation of body and spirit.

But try as they might, the Christian leaders were never able to completely stamp out dancing in the peasant communities. The peasants continued to dance for communication and celebration, and to gain a sense of socialization and community. These dances were able to continue because they happened out in the countryside, away from the prying eyes of Christian religious leaders. As time went on these dances began to take the shape of the community performing them through costuming, use of rhythm and pattern, and mood and intent. The various conquering and traveling peoples who came into contact with the peasants also influenced these dances. It is in this process that Pagan dance becomes folk dance. The Pagan dances loose their meaning as religious dances communicating with the gods in celebration of seasonal and life events and become dances that celebrate national identity and heritage.

In modern times a folk dance is properly defined as a traditional dance originating among the common people of a nation or region. The term is often misused to describe any dance that is not a theatrical or concert form, or any dance that comes from outside the western world. Sometimes people use the term ethnic to refer to these dances, but that is particularly misleading. Ethnic refers to any group of people who share common linguistic, genetic, and cultural ties, and place special emphasis in cultural tradition. It makes no distinction between east and west, as any group sharing linguistic, genetic, and cultural ties is ethnic. Under this definition the Western world is producing ethnic dances, making ballet an ethnic dance, as well as court dance, folk dance, and dances from any number of nations.

In regards to Western Europe, folk dances refer to the genre of dance performed by the common people to represent heritage, national pride, and identity. Their origin can be stripped down to one simple definition. Folk dances are Pagan dances whose religious intent has been replaced by feelings of National identity and pride…

I must confess, I love sneaking a little lesson in religious history in there, and I always find it a bit disturbing with how lacking the students are with any knowledge of Paganism or what it means. If they have even heard the term most associate it with Satan worship. I can only imagine what they’d say if I announced to the entire class that I am a practicing Pagan….which leads me to the closeted discussion….why do I feel I have to hide my religious beliefs because they are “unconventional”? I would never preach to my students, but I would feel comfortable telling them I was Christian if that was the case. Why do I hide the fact that I am Pagan from my students? I openly share that information with the rest of the world, so what is my hang up with sharing in the classroom? But that is an issue for a different time…

I have a lot more written about dance in the middle ages, which is actually a very curious and barren time for dance in Europe. If anyone is really interested let me know and I’ll be more than happy to share. I’m a total dance history nut and can answer a lot of dance questions, so if you’ve got ’em, ask ’em!

Fire- A dancer’s perspective

As many can relate, I have always been drawn to the element of fire. It’s warmth, light, and dancing orange flames instantly create magic. It is a strong and passionate element, and it can go from gentle heat and flickering flame to intense, blazing inferno in mere moments. When one is working with fire she must stay focused and keep it in check at all times because fire can quickly get out of control. On that note, I am very careful in working with fire energy and spirits. Rarely will I summon them or ask for their help around my house because it can quickly go haywire. If to much fire energy comes your way then you could find yourself in a heap of trouble. I also don’t want fire spirits drawn to my house because I feel I am just waiting for something to burst into flames.

A duet with fingers and staff.

A duet with fingers and staff.

I love to build fires outdoors, such as during a camping trip. It’s deeply satisfying to start with nothing and slowly craft a beautiful campfire. I have noticed that not all possess this ability to build a nice fire, but it is a skill that can be learned. Once the campfire is blazing I love to tend it and watch it develop and change throughout the night. I also love gazing into it and doing a little divining in the flames.

I do a lot of work with candles, because that is a nice small, controllable flame that does a great job representing the element. But the most common way I use fire is dancing with it. I have been fire dancing for about thirteen years now, and I have had a performing company for around six.

Dancing with fire is a great way to become familiar with its intense energy. When it’s whirling around your head it feeds you energy, and it is very difficult to hear anything outside the roar of the flame. I am a fairly seasoned performer, but the first time I performed with fire was one of the most intense performance experiences I’ve ever had. I was in front of around 100 people and I was nervous because I had never performed with fire. Then the energy of the fire itself fueled that nervous energy until my heart was pounding out of my chest. At the end of my set I was really shaky and super pumped up on adrenaline. I have since experienced that through my dancers as I train them to perform with fire. They often have the same experience when I light them up for the first time, and again when they hit the stage with fire for the inaugural performance.

A little trio- they totally hated those shiny pants :)

A little trio- they totally hated those shiny pants 🙂

I have a non-fire dance company as well, and they do not all have an interest in working with fire. A few are very scared of it, and one, after performing in a number of fire shows, had to finally bow out. She just could not get a hold of her fear of the flame, and never got past the fear of getting burned. And I have to give my dancers credit, because although they are not doing poi or staff, they are performing intricate dances in tight quarters with torches or fans in their hands. They have to have extreme spacial awareness of they will burn one another. It really is a special skill, and it looks really incredible when six dancers are holding torches performing full-blown dance routines in perfect synchronicity.

There are a number of ways I call on the fire spirits before a show. There are a lot of moving pieces in the performance puzzle, and producing a good show means having everything timed out so there is always fire and the flame doesn’t go out in the middle. This is not easy. Weather, wind, and fuel types effect burn times and heat levels, and it does not look good if a dancer has to throw down her fire toy in the middle because it gets to hot. And it really sucks if the torches burn out to early before the dance is over. That pretty much ruins a good grand finale. So I’m always back there, praying to the fire spirits, hoping to be in their good graces to pull off a flawless show.

Yours truly working the poi.

Yours truly working the poi.

People always ask me if I get burned. Of course I get burned and I’ve been burned a lot. You always work with fire safety, but it is still fire and it does burn. I always stick to the old saying, if you’re playing with fire, you’re going to get burned. However, you can keep burnings to a minimum, and I am especially careful with my dancers to assure they very seldom get burned. With them I have only had a couple minor burns, with myself it is a different story. When I first started working with fire I was anally careful. Now when I am alone I can be bad and really have to keep myself in check. I have lost a lot of that instinctual fear of the flames over the years, but always try and remind myself to not become complacent because that is when bad things happen. But for shows I’m all about safety for everyone, the dancers, the audience, and the venue. It would be pretty bad to burn a dancer or audience member, and I’d be in a heap of trouble if I burned down a venue.

So I have a fairly close relationship with my fire spirit friends. I believe we have worked it out so they are with me during dance rehearsals and performances, but do not follow me back to the house. Fire dancing has given me a lot of interesting opportunities and performance experiences, and I can’t explain how amazing it feels to have those flaming poi flying around my head and know I am in control of where they go. Fire has a very special magic, but it must be approached with extreme caution as it can both create and destroy.

My life as an Empath

A couple of years ago I made the discovery that I am an empath, that is, someone who is physically sensitive to the energy of a person, object, or place. Author Ellen Dugan has a great description of an empath in her book “Natural Witchery” wherein she states:

An empath is a person who can physically “tune in” to the emotional experience of a person or place. They sense attitudes, emotions, and sometimes physical ailments. It is believed that empaths sense the vibrations and “feel” of the human aura… Every aura is unique, and it leaves traces behind, no matter where you go. The aura may, in fact, linger around objects or places and the “lingering energy” is what an empath senses and intuits.

She goes on further to discuss people who particularly feel this residual energy on objects, which is where my particular brand of empath comes in. I can feel and read energy off objects, and this can be good and bad. It makes it very hard to throw or give things away and I have to constantly keep this in check in order to not become a hoarder. I have to remind myself that the object does not have any feelings, rather I am just responding to the energy attached to the object.

Shopping, particularly thrift and antique stores, can also be quite problematic, although I love to shop. I tend to do better in retail stores because the new objects have less energy attached to them. But woe is me in a thrift store. I can’t tell you how many silly little things I have bought because they felt sad to me. I couldn’t resist buying them so I could clear all their old energy off and allow them to begin life anew.

Stuffed animals or any object with an animal likeness also give me problems. I still have so many of my childhood stuffies. Although now they have all moved into a box, and I swear I feel them crying from inside the box because they have been tucked away out of sight. I’m sure they would be so much happier if I would just give them away to some kid who would play with them again. On that note, when I taught pre-k and was around a lot of kids I did manage to give away a big pile of my stuffed animals. Once I made connections with the children I found pleasure in giving them my stuffies that were still in great shape. Now I am not around any kids at all, so I have to find a new way to tackle my problem of feeling sad to give away my animals while also feeling sad because the animals are all stuck in a box being ignored. And it does not look like I will be having any children of my own, so that option is out.

I also have a strong connection to my home and it is not easy for me to spend the night somewhere other than my bed. This affliction reared its head when I was a child. I could not spend the night at a friends house because I felt so weirded out. I can remember so many times that my parents had to come pick me up because I just couldn’t do it. And summer camp was almost completely out of the question. My first attempt at that ended with my grandparents rescuing me after two nights of solid crying. I made it through a few years later but it was rough. Then I didn’t bother with it until I was a teenager and better equipped to deal with, or hide, my problem with not sleeping in my bed. In my adult life I will occasionally encounter a friend who wants to have a slumber party at their house and I never accept. I will go over there until very late, and then come back to my house to go to bed.

Empath is not to be confused with empathy, or being empathetic. To me, being an empath mans I am sensitive to, and can feel energies. I see being empathetic as how one reacts to the energy and what they do about it. An empath feels the energy, someone who is empathetic reacts to it and sympathizes with it. I actually do not have a natural empathy for humans and would not consider myself to be a people person (animals are another story altogether, and all animals evoke powerful emotions in me). In fact, I can be a total bitch. I hear a lot of sob stories all the time from students and they rarely effect me. I also get really fed up with human beings in general and have to have a lot of alone time to stay sane. But sometimes they get me. I will burst into tears at a television commercial or cry at the strangest things, like ice-skating. Ice skaters make me cry all the time. Something about their emotional state combined with movement really touches my empath soul. I find this also happens with dance, but for some reason ice skaters seem to make me cry more often. Perhaps that has to do with the fact that when one is watching ice-skating they are usually watching a big competition so there is a lot of emotional content from the skaters tied up in the event. I can sense what the competition means to the skater, making the whole skating viewing that much more emotional for me.

Sometimes my students get me as well. One international student did a choreography project about missing her family back in her home country.  She told me about it very straight forwardly and without excessive emotion. I however, picked up on her underlying emotion and it was all I could do to not start crying in front of her. Another told me casually that she has a teenage daughter of her own and is also raising her brothers three kids and her sisters three kids for a grand total of seven kids! That story struck me like a punch to the heart. I was overwhelmed by the selflessness of her actions. This reminds me to point out that I do not respond only to negative or sad emotions. I pick up on all kinds of emotional states, but the end result is often me being in tears. Happy tears, sad tears, nostalgic tears, melancholy tears, whatever. I guess I’m just a crier, which would actually surprise many people because I hide my crying and few have ever seen me openly weep.

Big groups of humans will mess with me if I don’t have my shields up. When those shields are all intact then I am good to go and can rock a crowd. But no shields and I want to get out of there as fast as possible. And places like hospitals kill me. I cannot handle those at all and want to run screaming. All those sad, hurt people give off a powerful energy and I cannot handle it. And do not even get me started on flying in an airplane. I am basically in a boycott against flying for a few reasons. One being I hate what the airlines and the industry have become post 9/11. The other, it is painfully difficult for me to be around all those people in the airport and then be crammed in a metal tube with them for god knows how long. It takes some pretty serious shielding to get through a plane ride, and woe to whoever meets me on the other side because I am a hot, grumpy mess when I get off the plane. At this point I drive everywhere even if it’s thousands of miles. Flying is only for when I have no option, and I tend to only fly once every few years. Yes, I would very much like to travel the world, but I have no idea how I would get through that long a flight, and of course cruse ships are completely out of the question. Going on a cruse sounds pretty nightmarish…. trapped on a boat with hundreds of people with no where to hide….sounds more like a horror movie than a relaxing vacation….. that will probably, hopefully, be something I never experience.

There are of course ways to protect oneself from the energy onslaught. I mentioned shielding, where I will craft a ball of protective energy and get inside. In her a fore mentioned book Dugan recommends folding your arms over your chest to protect the solar plexus chakra, the one most susceptible to picking up the energy and emotions of others. I like that one, and even before I read about it I found myself casually folding my arms over my chest a lot. It’s a pretty common way for me to hold my arms actually. I guess I was just doing it instinctively all along.

As humans we all have skills in regards to other senses and psychic abilities (although so many humans don’t realize it or know how to access it), whether it be intuition, clairvoyance, or a host of other possibilities. We are all better at some skills versus others, and I happen to be an empath. Over the years I am learning to better manage it, and use it productively.

So how about you? Are you an empath or do you find a heightened skill in one of the other psychic abilities? How have you dealt with it and learned to use your skills?


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