About Fran & Maureena Spadaro |
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About Deborah Valentine Smith |
About Bodymind Treasures -
How it Happened
By Deborah Valentine Smith
The article opposite ("Direct from the Source")
describes the process that led to these CDs.
Clients and students asked for a version of the
meditations and guided imagery that we used in
classes and sessions that they could take home.
Tynne Clifford generously worked with me on
some preliminary recordings that provided the
bare bones for the meditation part of the
completed version. I wanted to add music, but I
wasn't sure how to do that and I also knew that I
would need to use a recording studio for the sound
to be acceptable.
I pondered these questions until the day that
Maureena Spadaro, on her way to becoming a Jin
Shin Do practitioner and a long-time friend,
associate and Harp Therapist, walked into one of
my workshops. Maureena plays harp in health care
settings as well as traditional settings and I've
directly experienced the healing power of her
music. When I saw her I knew I had found at least
one answer.
When I described the project to her, she told
me that she and her husband Fran, also an
accomplished and talented musician, had just
constructed their own sound studio. In the same
workshop, students advised that we create a
separate CD with extended music for each
meditation so that they could be used for sessions.
I first recorded the words for each meditation and
then Fran and Maureena magically made the
meditation into music that flows around and
through it. The music continues to create a
second, music-only track on each CD. Our
collaboration has been a joy and a blessing. May it
spill over to reach those who listen and bring
benefit to all our relations.
How it Happened
By Deborah Valentine Smith
The article opposite ("Direct from the Source")
describes the process that led to these CDs.
Clients and students asked for a version of the
meditations and guided imagery that we used in
classes and sessions that they could take home.
Tynne Clifford generously worked with me on
some preliminary recordings that provided the
bare bones for the meditation part of the
completed version. I wanted to add music, but I
wasn't sure how to do that and I also knew that I
would need to use a recording studio for the sound
to be acceptable.
I pondered these questions until the day that
Maureena Spadaro, on her way to becoming a Jin
Shin Do practitioner and a long-time friend,
associate and Harp Therapist, walked into one of
my workshops. Maureena plays harp in health care
settings as well as traditional settings and I've
directly experienced the healing power of her
music. When I saw her I knew I had found at least
one answer.
When I described the project to her, she told
me that she and her husband Fran, also an
accomplished and talented musician, had just
constructed their own sound studio. In the same
workshop, students advised that we create a
separate CD with extended music for each
meditation so that they could be used for sessions.
I first recorded the words for each meditation and
then Fran and Maureena magically made the
meditation into music that flows around and
through it. The music continues to create a
second, music-only track on each CD. Our
collaboration has been a joy and a blessing. May it
spill over to reach those who listen and bring
benefit to all our relations.
Like this music? You can order the CD "Bodymind Ease" on the Home Page |
 |  |  |  |  |  |  |
. Bodymind Treasures is rooted in 30 years of experience accompanying and learning from students, clients and
gifted teachers as they track inner truths. Deborah is a registered practitioner (since 1979) and teacher (since 1983) of
Jin Shin Do® Bodymind Acupressure®. She teaches the full JSD practitioner training program and courses she has
developed, including “Anatomy &Physiology for Asian Bodywork Therapy” and “Where Energy Meets Fascia” (The
Tendino-Muscular meridians).
Deborah teaches in the US and internationally and is currently on the adjunctive faculties of the Cayce/Reilly School of
Massotherapy (VA); The Massage Arts Center of Philadelphia (PA) and the Acupressure Therapy Institute (MA). She
contributed to A Complete Guide to Acupressure, Revised 2002, by Iona Teeguarden, and is the Editor-in-Chief of Pulse,
the newsletter of the AOBTA. She practices in Pennsylvania and NYC. For information on classes, go to Classes.
Credentials
BA; Senior Teacher/Practitioner, Jin Shin Do® Bodymind Acupressure®; AOBTA®-Certified Instructor; Diplomate, ABT (NCCAOM);
Nationally Certified in Therapeutic Massage and Bodywork (NCBTMB); Licensed Massage Therapist, New York State
gifted teachers as they track inner truths. Deborah is a registered practitioner (since 1979) and teacher (since 1983) of
Jin Shin Do® Bodymind Acupressure®. She teaches the full JSD practitioner training program and courses she has
developed, including “Anatomy &Physiology for Asian Bodywork Therapy” and “Where Energy Meets Fascia” (The
Tendino-Muscular meridians).
Deborah teaches in the US and internationally and is currently on the adjunctive faculties of the Cayce/Reilly School of
Massotherapy (VA); The Massage Arts Center of Philadelphia (PA) and the Acupressure Therapy Institute (MA). She
contributed to A Complete Guide to Acupressure, Revised 2002, by Iona Teeguarden, and is the Editor-in-Chief of Pulse,
the newsletter of the AOBTA. She practices in Pennsylvania and NYC. For information on classes, go to Classes.
Credentials
BA; Senior Teacher/Practitioner, Jin Shin Do® Bodymind Acupressure®; AOBTA®-Certified Instructor; Diplomate, ABT (NCCAOM);
Nationally Certified in Therapeutic Massage and Bodywork (NCBTMB); Licensed Massage Therapist, New York State
Dedication: To My Teachers
These meditations are created with and dedicated to the many students and clients who have been willing to explore their inner wild
(er)ness and bring back—for us all— the precious treasures and light they find there . Appreciation and gratitude also go to the Ven.
Dhyani Ywahoo for spiritual guidance that truly nourishes the people; to Iona Marsaa Teeguarden for the gift of Jin Shin Do®
Bodymind Acupressure™ and respectful communication with the unconscious mind, and to Richard Chonyi Allen for teaching and
embodying the unobtrusive presence of the compassionate guide.
~Deborah Valentine Smith
Dedication: To Eddie
The harp music on the "Bodymind Ease" CD is dedicated to Eddie Lancaster. Eddie was an active young guy
whose entire life changed as a result of a tragic car accident. He lived for four years, heroically facing life
situations, challenges, and displaying great courage for his entire family and for his friends. His mind was
always sharp and seeking new avenues of possible healing. His wonderful mom, Diane, searched for healing
modalities that could possibly help and bring comfort and peace. Eddie became quite receptive to many of
them. He often received bodymind treatments, namely Jin Shin Do® Bodymind Acupressure™.
Eddie loved music and playing music with his dad, Ed. He loved sports and his beloved and faithful dog,
Buster, and he loved countless special times with his family and friends.
Eddie passed peacefully in October of 2007. Anyone who knew of him was ignited by his love of life, his family
and dearest friends. He leaves us all cherished memories.
While composing the music for the "Bodymind Ease" CD, Maureena connected with Eddie's spirit. May his
legacy continue to inspire our human spirits to go beyond what we see, feel and know in this world, and to
reach for the highest heights.
~Maureena & Fran Spadaro
The harp music on the "Bodymind Ease" CD is dedicated to Eddie Lancaster. Eddie was an active young guy
whose entire life changed as a result of a tragic car accident. He lived for four years, heroically facing life
situations, challenges, and displaying great courage for his entire family and for his friends. His mind was
always sharp and seeking new avenues of possible healing. His wonderful mom, Diane, searched for healing
modalities that could possibly help and bring comfort and peace. Eddie became quite receptive to many of
them. He often received bodymind treatments, namely Jin Shin Do® Bodymind Acupressure™.
Eddie loved music and playing music with his dad, Ed. He loved sports and his beloved and faithful dog,
Buster, and he loved countless special times with his family and friends.
Eddie passed peacefully in October of 2007. Anyone who knew of him was ignited by his love of life, his family
and dearest friends. He leaves us all cherished memories.
While composing the music for the "Bodymind Ease" CD, Maureena connected with Eddie's spirit. May his
legacy continue to inspire our human spirits to go beyond what we see, feel and know in this world, and to
reach for the highest heights.
~Maureena & Fran Spadaro
Fran and Maureena form the duo Savoir Faire
, performing with silver flute and harp for any occasion
including weddings and private parties.
Fran Spadaro, (aka) FrankDiCristo, is a
professional musician, singer, percussionist, and music
facilitator. He currently is involved with PhillyHorns
professional wedding/banquet band. As a soloist, Frank
works with senior centers in the
Pennsylvania/NewJersey/Delaware tri -state area and
with assisted living centers and Adult Population
programs for Special Needs at Elwyn Institute in
Media, PA.
Credits All CDs Recorded and Mixed by Fran Spadaro, The SOL Chapel, Media, PA. Cover Designs by Deborah Valentine Smith Cover Photo for Bodymind Ease by Joanna Smith Cover Art or Bodymind Treasures and Bodymind Wisdom by Remi Gay Bodymind Treasures Series CDs ©2007 by Deborah Valentine Smith |
Maureena Spadaro is a Therapeutic Harp Practitioner, involved with the International Harp Therapy Program based in San
Diego. She also works with Special Needs Programs for Adults and with Children's Hospital in Delaware. She loves to give mini harp
therapy workshops for children and plays for assisted living and nursing homes and for hospice and memorial services. She presents
harp/music therapy programs and teaches sound healing: ASHTA, sound of the soul. Maureena is also founder and director of Harps of
Mercy therapeutic harp services covering the Pennsylvania/ Delaware/Maryland tri-state area.
Maureena has also been a Shiatsu Practitioner for over 20 years; is certified in Reflexology, Thai Massage and now is a Registered
JinShin Do® practitioner-- which is her love of bodywork. She teaches QiGong, breathing practices and self-acupressure Shiatsu
programs.
Diego. She also works with Special Needs Programs for Adults and with Children's Hospital in Delaware. She loves to give mini harp
therapy workshops for children and plays for assisted living and nursing homes and for hospice and memorial services. She presents
harp/music therapy programs and teaches sound healing: ASHTA, sound of the soul. Maureena is also founder and director of Harps of
Mercy therapeutic harp services covering the Pennsylvania/ Delaware/Maryland tri-state area.
Maureena has also been a Shiatsu Practitioner for over 20 years; is certified in Reflexology, Thai Massage and now is a Registered
JinShin Do® practitioner-- which is her love of bodywork. She teaches QiGong, breathing practices and self-acupressure Shiatsu
programs.
Direct from the Source:
Inspiration from the Twelve Officials and Five
Elements
By Deborah Valentine Smith
Adapted from an article first printed in American Organization for
Bodywork Therapy of Asia's Pulse newsletter, Summer, 2007.
Inside Information
We truly live in an interesting time. Asian Bodywork (Acupressure,
Shiatsu, Tuina, etc.) Therapists struggle to blend east and west, ancient and
modern, science and spirit into a method of healing that addresses every
part of our clients. The larger culture, in its desire to avoid the crippling
effects of superstition, places great importance on objective, unbiased,
scientific analysis and discounts the most direct sources of information
about our health and well-being. Blood tests, x-rays, cat scans and the
expertise of professionals take precedence over “subjective” information
that comes through feelings, images, sensations, dreams, and those sudden
insights that dawn full-blown in our consciousness.
This also means, among other things, that energetic imbalances are not
recognized or corrected until they can be measured “objectively” in
physical changes. But Chinese Medicine tells us that the function of a
human organ system, for instance, includes emotional, energetic and
spiritual aspects that are difficult to measure from the outside. They can
best be accessed from the inside. [And imbalances are best addressed
before they become expressed in physical changes that are much harder to
correct than energetic ones.]
When I was newer to these theories, I believed that the language of the
classics was metaphorical; an example being the description of “invasion of
pernicious influences” and their capacity to cause disease and dysfunction
by remaining in the tissues and channels over time. How could wind and
cold, for instance, stay in the tissues over days, months and years? It couldnt
be an actual physical phenomenon, could it? It must be a description of the
way cold and wind affect the tissues. In the case of cold, it would start in the
tightening of the muscles, leading to adhesions if not resolved over time,
which impede the circulation and therefore decrease the temperature of
the affected tissue. I believed this until the hot summer day that I worked
on a client’s chronically painful foot. Suddenly, as the tissue softened and
warmed, a cool breeze came out of the foot and brushed past my hand.
Curious, I asked the client if the foot had been chilled recently. “Oh, no,
not recently.” he said. “But I had frostbite in that foot years ago.”
I decided to keep open the possibility that what I considered metaphor
might in fact be a literal description of something we don’t quite know how
to measure, haven’t seen under the microscope, haven’t been able to
observe in the chemistry or physics lab. Not yet, anyway. I suspect that the
language of the classics seems so metaphorical, even poetic, because it
describes direct, subjective experience.
In this frame of mind, I continue to find exciting correspondences
between the poetry of the classics and modern scientific discoveries. For
instance, in Chinese Medicine, the Liver Official is responsible for the
“spreading” or “harmonious flow” of blood, Qi, emotion, etc. Western
science has discovered that the liver produces the fibrinogen responsible
for clotting of the blood. That's flow. It also produces the proteins whose
function is to draw water into the blood so that it flows efficiently. The liver
also produces 85% of the cholesterol in the body. Cholesterol is a major
component of the myelin sheath that insulates the nerves and provides for
smooth transmission of nerve impulses. Flow, flow flow.
This “scientific” information is fairly new in the history of the world. So
how did the ancients know about liver function without the instruments
and methods of the modern age? How do clients who know nothing of
meridian theory describe the rest of the energy pathway that the
practitioner is touching? A great deal can be accomplished by observation
of how things work over a long time, but I think the ancients also
acknowledged the importance of the inner world, explored it in meditation
and dreams, and reported about it in language that fit the experience. We
have spent several centuries developing the left-brain scientific method
and discounting this other way of knowing. Maybe it’s time to get the two
sides of the brain back into good relations.
Considering this, I decided to find a way to include this kind of experience
and the information it brings in my teaching. I began by opening the
lessons on the Zang/Fu (the Organ Officials of Chinese Medicine) with
meditation: an inner journey to the official of the organ being taught. I
wanted to get the inner information before the student got sidetracked by
the outer information: what the books tell us – even those metaphorical
classics. My experiment was validated by the information the students
gleaned from those journeys. Some examples are included on the
5Elements and Organs Associations page. Even students who had little or
no knowledge of Zang/Fu theory and Western anatomy and physiology
brought back gems that illustrated the functions of the officials far better
than the textbook could.
I carried this practice over to my Anatomy and Physiology classes as well. I
found that I could teach most of the material on the organ, western organ
system, tissue, sense, fluid, etc. from the experiences the students
reported. The best part is that the students will never forget the material
because it is grounded in experience as well as words.
Many of my students, being bodyworkers, are fairly kinesthetic and visual.
They learn in feelings and pictures, so must translate verbal concepts into
the language of imagery and emotion.. I’ve found that taking the inner
journeys, sharing what they found and tying it into the concepts of Chinese
Medicine, bring the material alive. Once the Kidney Official has shown its
function as a series of waterwheels, the student does not forget that the
Water Element is intimately connected with energy.
Clients often give astounding clues to their condition in the metaphors
they use. Giving the student experience with their own metaphors allows
them to be more responsive to their clients. When the client says “I feel
like I’m stuck in the mud and can’t move,” the student recognizes the
language of the inner world. That language can also be quite literal. Many
times in the trance-like state of a Jin Shin Do® session, clients have begun
to describe a tissue as though they were looking at it from the inside,
actually describing its condition and gaining insight about what is needed
for healing. As practitioners pay respectful attention to these images and
descriptions, the client also learns to recognize and validate their own deep
wisdom and knowing.
Inspiration from the Twelve Officials and Five
Elements
By Deborah Valentine Smith
Adapted from an article first printed in American Organization for
Bodywork Therapy of Asia's Pulse newsletter, Summer, 2007.
Inside Information
We truly live in an interesting time. Asian Bodywork (Acupressure,
Shiatsu, Tuina, etc.) Therapists struggle to blend east and west, ancient and
modern, science and spirit into a method of healing that addresses every
part of our clients. The larger culture, in its desire to avoid the crippling
effects of superstition, places great importance on objective, unbiased,
scientific analysis and discounts the most direct sources of information
about our health and well-being. Blood tests, x-rays, cat scans and the
expertise of professionals take precedence over “subjective” information
that comes through feelings, images, sensations, dreams, and those sudden
insights that dawn full-blown in our consciousness.
This also means, among other things, that energetic imbalances are not
recognized or corrected until they can be measured “objectively” in
physical changes. But Chinese Medicine tells us that the function of a
human organ system, for instance, includes emotional, energetic and
spiritual aspects that are difficult to measure from the outside. They can
best be accessed from the inside. [And imbalances are best addressed
before they become expressed in physical changes that are much harder to
correct than energetic ones.]
When I was newer to these theories, I believed that the language of the
classics was metaphorical; an example being the description of “invasion of
pernicious influences” and their capacity to cause disease and dysfunction
by remaining in the tissues and channels over time. How could wind and
cold, for instance, stay in the tissues over days, months and years? It couldnt
be an actual physical phenomenon, could it? It must be a description of the
way cold and wind affect the tissues. In the case of cold, it would start in the
tightening of the muscles, leading to adhesions if not resolved over time,
which impede the circulation and therefore decrease the temperature of
the affected tissue. I believed this until the hot summer day that I worked
on a client’s chronically painful foot. Suddenly, as the tissue softened and
warmed, a cool breeze came out of the foot and brushed past my hand.
Curious, I asked the client if the foot had been chilled recently. “Oh, no,
not recently.” he said. “But I had frostbite in that foot years ago.”
I decided to keep open the possibility that what I considered metaphor
might in fact be a literal description of something we don’t quite know how
to measure, haven’t seen under the microscope, haven’t been able to
observe in the chemistry or physics lab. Not yet, anyway. I suspect that the
language of the classics seems so metaphorical, even poetic, because it
describes direct, subjective experience.
In this frame of mind, I continue to find exciting correspondences
between the poetry of the classics and modern scientific discoveries. For
instance, in Chinese Medicine, the Liver Official is responsible for the
“spreading” or “harmonious flow” of blood, Qi, emotion, etc. Western
science has discovered that the liver produces the fibrinogen responsible
for clotting of the blood. That's flow. It also produces the proteins whose
function is to draw water into the blood so that it flows efficiently. The liver
also produces 85% of the cholesterol in the body. Cholesterol is a major
component of the myelin sheath that insulates the nerves and provides for
smooth transmission of nerve impulses. Flow, flow flow.
This “scientific” information is fairly new in the history of the world. So
how did the ancients know about liver function without the instruments
and methods of the modern age? How do clients who know nothing of
meridian theory describe the rest of the energy pathway that the
practitioner is touching? A great deal can be accomplished by observation
of how things work over a long time, but I think the ancients also
acknowledged the importance of the inner world, explored it in meditation
and dreams, and reported about it in language that fit the experience. We
have spent several centuries developing the left-brain scientific method
and discounting this other way of knowing. Maybe it’s time to get the two
sides of the brain back into good relations.
Considering this, I decided to find a way to include this kind of experience
and the information it brings in my teaching. I began by opening the
lessons on the Zang/Fu (the Organ Officials of Chinese Medicine) with
meditation: an inner journey to the official of the organ being taught. I
wanted to get the inner information before the student got sidetracked by
the outer information: what the books tell us – even those metaphorical
classics. My experiment was validated by the information the students
gleaned from those journeys. Some examples are included on the
5Elements and Organs Associations page. Even students who had little or
no knowledge of Zang/Fu theory and Western anatomy and physiology
brought back gems that illustrated the functions of the officials far better
than the textbook could.
I carried this practice over to my Anatomy and Physiology classes as well. I
found that I could teach most of the material on the organ, western organ
system, tissue, sense, fluid, etc. from the experiences the students
reported. The best part is that the students will never forget the material
because it is grounded in experience as well as words.
Many of my students, being bodyworkers, are fairly kinesthetic and visual.
They learn in feelings and pictures, so must translate verbal concepts into
the language of imagery and emotion.. I’ve found that taking the inner
journeys, sharing what they found and tying it into the concepts of Chinese
Medicine, bring the material alive. Once the Kidney Official has shown its
function as a series of waterwheels, the student does not forget that the
Water Element is intimately connected with energy.
Clients often give astounding clues to their condition in the metaphors
they use. Giving the student experience with their own metaphors allows
them to be more responsive to their clients. When the client says “I feel
like I’m stuck in the mud and can’t move,” the student recognizes the
language of the inner world. That language can also be quite literal. Many
times in the trance-like state of a Jin Shin Do® session, clients have begun
to describe a tissue as though they were looking at it from the inside,
actually describing its condition and gaining insight about what is needed
for healing. As practitioners pay respectful attention to these images and
descriptions, the client also learns to recognize and validate their own deep
wisdom and knowing.
This site was designed by Deborah Valentine Smith and last updated on 7/15/11. Site ©2000-2011 by Deborah Valentine Smith |
