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 Brilliant NEW Books For Modern Energists at: | Rhythm, Pulse & Percussion In Tapping Treatments
It is interesting to
observe people "tapping themselves"
People have very
different natural rhythms, and then there's of course a great variance in how
hard or softly someone taps. The "how" of tapping greatly affects how effective the treatment is, in the end.
Some tap very half heartedly, barely touching the spots at all, others tap so hard it hurts. I was once tapped by a practitioner who nearly drilled holes into my head and I had to physically stop them because it was so extremely unpleasant. Considering what
fine and responsive systems we are dealing with here in the form of complex
meridian points and nerve junctions, it stands to reason that the "how to" of
tapping with fingers on skin has a lot to do with how effective the treatment
is.
To Tap Or
Not To Tap?
There are, of
course, alternatives to tapping. In Touch & Breathe, you just hold the
points (here, once more, is the issue of how hard you push down or what
"holding" means to an individual).
I personally like to
gently and lightly massage the points with a single fingertip in a very
small circular movement. There is a technique called Tellington Touch where
acupressure points are stimulated by sliding the skin over the point first in a
full circle (from 12 o'clock to 12 o'clock) and then and without releasing the
light pressure that holds the skin steady, back to the 6 o'clock position. Try
it for yourself, it is an interesting effect.
Stroking downwards
as though you were removing a small stain is another movement that is nice and
stimulates the area in an unusual way.
The non-tapping,
more massage orientated ways of stimulating the points is a good alternative on
"painful points" where tapping is actually rather uncomfortable, or when the
points appear to be very sore. Young children and people who have been
traumatised, for example by being hit in the face, can also feel much
happier when the points are stroked gently or lightly massaged instead. In cases
of headaches, toothaches or any other type of pain that is made worse by
the application of percussive beats, these are the only possible choice.
"Percussing"
We usually nowadays
talk of tapping, but when the techniques were first invented, it was called
"percussing" on the points.
The reason for this
phrase was that the tapping movement has a fast "touch - release" pulse to it,
like one would tap on a drum to make it ring out.
This is a particular
movement because if you "follow through" too much with your original tap or
impact, it deadens the resonance response and in the case of a drum, the sound
is dull and stops dead after the impact. In order to allow the drum to resonate,
a pulse has to be swiftly put in and then the pressure removed so the drum's
skin may resonate and vibrate backwards and forwards to make the
sound.
Resonance
This is similar to
the effects of tapping - the most responses are received when the tapper knows
how to do the swift "tap and release" movement.
In trainings, I
sometimes have practitioners practise this on any object that serves like a drum
to find the exact type of movement that gives the most resonance and doesn't
"deaden the instrument".
Pulse and
Rhythm
Many times, people
tap themselves and nothing seems to happen; yet when a friend or a practitioner
takes over the tapping for them, with the self same opening statement, often the
shift we are looking to create does occur.
I have noticed in
other areas that people have *one preferred rhythm* which they will produce
under many different circumstances time and time and again - whilst walking,
dancing, breathing, in repetitive tasks of work and often also reflected in
their choice of music.
It would be
interesting to speculate that when they tap in that self same rhythm as they
would naturally do, a sameness to the already existing conditions makes it less
effective.
Unless you tell
people to try some different rhythms, they will usually fall back on the "one
and only" preferred type of pulse that generally pervades
them.
There are a number
of ways to try different tapping rhythms. One would be to just speed up and slow
down, but more interesting rhythms develop when one considers for example, a
popular or well known song that "matches the problem" and applies that rhythm to
the opening statement.
Non-rhythmical
tapping is another interesting possibility to unstick stuck states (i.e.
problems or opening statements that have been addressed many times but nothing
seems to happen). It is actually quite difficult to not fall back into one's
preferred rhythm and that in and of itself adds a new dimension and new
possibilities as established, old patterns are being challenged with a "new
rhythm".
Echo
Pulses
Try different types
of strength, rhythms (from a woodpecker beat to a slow, steady heartbeat and the
range in between) and also what I call "echo pulses" where you give one tap and
wait for all reverberation to have ceased, then place another pulse after it.
This gives a particular rhythm which is usually completely different and
entirely dependent on the opening statement or issue you're currently working
with.
In conclusion, I
would encourage anyone who uses tapping therapies to play with all the aspects
of stimulating the meridian points and to especially notice what people are
actually doing as well as noticing how making changes in "the way you tap"
affects the outcome of the treatment.
Silvia Hartmann
Author, Adventures
In EFT http://1-eft.com
Trainer, Association
For Meridian Energy Therapies https://goe.ac
MET Distance
Trainings at http://www.sidereus.org
Advanced Training In Meridian Energy Therapies For Serious Practitioners with Silvia Hartmann
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