Ep.61 Get the F*$k Out of the Way: Flowing Musicality with Fontaine Burnett | ReConnect with Plant Wisdom podcast

Ep.61 Get the F*$k Out of the Way: Flowing Musicality with Fontaine Burnett

This is such a good episode with my good friend, Fontaine Burnett. We talk about the transcending cultural and linguistic barriers to embody who you are. Beyond that, what is created when you get out of your own way, and let musicality flow through you.

There are so many parallels between how Fontaine creates relationship with music and I how I work with my inner plantness: tapping into Cosmic and Earth consciousnesses. We get into the details of working with energies and entities as a creative process.

Fontaine Burnett was born into a family of musicians and music lovers. It was very clear early in his life what he was put in this world to do…to be a conduit for universal creative energy. His career as a musician has brought him to stages and studios in nearly every corner of the world with many highly renowned and famous collaborators, but it is his nearly supernatural musical intuition that sets him apart from most musicians. This intuition is his compass. His ultimate destination is to reside completely in the moment…to transition from being a musician, to being simply music.

The instrument Fontaine plays is an Array Mbira instrument.

Topics Covered about getting out of the way

  • Presence, allowing, and embracing to unlock the transformative power of otherkin wisdom
  • Music as a deep connection to to universal consciousness
  • Working with plants and entities for spiritual growth and understanding
  • Learning when to be still, when to lead, when to collaborate

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Welcome to Reconnect with Plant Wisdom. I’m your host, Tigrilla Gardenia, nature-inspired mentor and leadership coach. In this podcast I share ancient and modern knowledge from biology to spirituality about the wonders, ways in which plants can help you lead a naturally-conscious life.

Hello, hello, everyone. Welcome back to another episode of reconnect with plant wisdom, and this is a good one for you. I am super excited to have Fontaine Burnett with me now. Fontaine and I met in, actually, Montenegro, right? That’s where we were. We were in Montenegro. I was giving a presentation at a kind of festival slash conference about green ecology, and Fontana was there performing. And we just, we totally hit it off. I think we spent the entire time together, which was fantastic. So the other day, he and I were on, we were having a chat, and we got into a discussion. Fontana is an amazing musician, and we got into this discussion that I realized we just I stopped him, and I was like, okay, we can go into this totally but I want to go into this podcast. So this is episode 61 and what we’re going to be talking about is really getting the out of the way. In other words, getting out of your lower fear paced ego and into something beautiful. And I’ll explain exactly. But to get to what we’re going to talk about, first and foremost, Fontaine, tell us a little bit about yourself. Who is Fontaine?

Oh, okay, I am a musician who is seeking to be less of a musician and more music. So that is kind of my main goal and aim in life. But I have, I’m, you know, I’m a in the regular world, viewed as a professional musician who is a, you know, producer and songwriter performer, etch, etch, etch, etch, etc, etc, as we say, Yeah, I I’m not the kind of person who likes to say, like, who I’ve worked with and what I’ve done. I’ve done a lot. I’ve worked with a lot of people, many of them famous, well known, others less well known, less famous. But that has not That’s not me. So I’m music

all around the world, even, right? Because you currently live, I mean, obviously people can tell by our accents that we’re not European, even though we live in Europe. But you’re currently living in Germany, and you have for many years, but you’ve also lived in Italy, and you’re originally from the state the state,

yes, and I continue to travel around the world, doing, you know, luckily, my job allows me to be all over the place, because people still want to

have music everywhere. And it brings me real I love, I mean, you know, when I

was younger, that was one of the most exciting things, when I found out that, like, you know, you travel to an unknown place, and people will put food on your plate and they’ll make a bed for you just because you can sing them a nice song or something. Are you willing to share your experience with them, to make music with them, or share music with them? And that’s been, it’s been my real passport. Music has been my main passport, you know, and I feel very grateful for that.

And maybe when we first met, I remember that it wasn’t just your traditional kind of concert. I mean, this was a this was a festival that was all connected to ecology and green thinking and earth and all these pieces, and you had brought this music that really did express and connect to that type of work. Do you find that your work has, I mean, obviously, like you said, you do the traditional musician in so many ways. But do you also find that your work, I guess my better question is, how did you get into this sort of more connective type of music.

I mean, you know, there’s just a natural process when you Well, I wouldn’t say this. I would say every musician goes through, but that isn’t, certainly isn’t the case. But at least in my case, it was that, you know, you I’m trained, trained as a young musician to be a professional and, you know, no music theory, no all these things, the ins and outs of music. But that’s not really why I started making music. There was already, there was already a, let’s say, a spiritual connection. There was always something more undefined that kept me interested in music. And as you go along, just as probably as a child, when you get into school or something like that, you know, everything about everything about the world that you really need to know. And then you go to school, yeah, and then you they screw everything up. And then you spend the rest of your life trying to get back to what you actually knew it all along in the beginning. Yeah, at some point, and when the world of music is also like that, you realize you’re like, wait, what have I been doing all this time? You know what I mean? You know, actually, I don’t do music to be in the charts. I don’t do music to be on television. I don’t, you know, it never was that you know what I mean. And when you start to realize why you do music, it becomes, it becomes this, this deep personal connection that you have with, you know, universal consciousness, and you want to be able to share that you know. And so the music that you create begins to embody this. You know this, this concept is feeling and you, when you begin to share the both people and and you see that it begins to open these, these, these feelings in this, this. It opens up something within, within people. And you, realize why you actually do music, yeah, and not, you know,

I have to say, I love the struggle that you’re having with the words. I know I’m sorry. No, no, don’t apologize, because I think that that’s exactly the root core of it. I mean, the difficulty about the work that we all do, as you said, tapping into the universal consciousness, turning tapping into the earth consciousness also right? Not not just the cosmos, although that’s one part of it, but also those deep rhythms of what is the natural world flowing within us as well as around us. And I always struggle with this word thing I was I was doing a botanical tarot card reading the other day, and I always warn people when I do them that I sound like I’m hiccuping or struggling, and it’s because we’re trying to translate through us and put our our human understanding on concepts that that the the natural world, the plant world, are bringing to us, and sure that the music seeing is how really musicality is the core essence of the way that we experience the world. I mean, it all comes through that sound, that rhythm, that tonality. I can imagine that it must be difficult to try to put this into words. Well, you

know, music is a language in and of itself. So, I mean, it describes itself, or language is a music language. Look at it that way as well. I mean, you know, it doesn’t need to be translated, or, let’s say, if it’s very difficult to translate it into, into a human language, that is, yeah. I mean, we always say that, you know, talking about music is It’s difficult. It’s difficult,

absolutely. And you were telling me the other day about an experience that you recently had, that for you is like the pinnacle of when you have the ability to do this publicly. It’s something you do a lot privately. And I do I have to remember for myself that I want to ask you about your kind of daily practices, because we have some things in common that I think are really great. But before I get there, so that people can really understand you were telling me about a concert that you recently did that was kind of like, no concert. You it’s not your traditional concert. What was different about this concert, um,

this was in Denmark, in Copenhagen, in a beautiful church that don’t kierke, and it was, I mean, it wasn’t a concert in the classical sense. It wasn’t like people came and they’re like, we’re going to, you know, hear something specific, yeah? Like, they’re going to be playing Beethoven’s Fifth or something, or whatever. Um, they came to interact with the room, the space, and those who are on stage, for lack of a better word, channeling this music, yeah. And that’s something that I think among for myself, that’s daily, that’s part of my daily practice. But to be able to share that with with a large group of people in that way is something that we rarely get to do as musicians, because this will always just like, you know, you have a prepared program, and you have this and there are the expectations of entertainment and this kind of thing, you know, that that weighs very heavy on us. You know what I’m saying? As performers, performers, the word itself is performance, yeah? And this wasn’t a performance in the classical sense. It’s just like it was a more of a collaborative effort, yeah? And I’ve done interactive concerts with, you know, and even when I do my regular shows, it’s like, you know, I like to interact with the people, but at this level was something that was not like, Okay, put your hands up and, you know, sing with me. And that kind of interaction more was like, unspoken, you know, there was, there was this underlying communication that was, that was happening that was just mind blowingly beautiful and and everybody felt it in the room. And that was that was very, very exciting, but also very humbling, yeah, because you realize at that point you’re not, I mean, there was nothing prepared people, you know, there was, there were also some technical problems that kind of forced us as musicians to kind of take over the program in the most pure way possible. And I think that was great, because it caught everybody off guard enough that there were no things like, Oh, I have time, you know, I’m gonna play what I had prepared. Because what I had prepared wasn’t gonna work, you know, what I’m saying. So you just had to, like, you put yourself there. And it was like, Okay, let this in. Get out of the way and let it in. You know what I’m saying, and, and, you know, give it. Give it. You know, further along to the to the people. And it was, it was great. I’m not sure if that answered anything about your

question, but I’m gonna go deeper into it, because, because, and again, and this is for everybody also who’s listening to understand that as we go deeper into these, these connections which go beyond the human into the more than into the more than human world, into what, you know, what we call other kin. And you’re trying to, I see now I’m even struggling. You’re trying to recognize that you are a part of this, right? There’s always humanness coming in to whether you’re writing or whether you’re creating a beautiful piece of music. There’s humanness, but in what you’re talking about, it’s, it’s that space also where you give yourself permission to get out of the way, yes, while still being present. So you don’t, you don’t relinquish control. But, but more of create this beautiful, beautiful co creative dance where that you know Universal Consciousness, as you were saying or, depending on where you are, I’m sure that you’ve and I’m putting words in your mouth, so please feel free to correct me afterwards. But I feel like there’s probably moments where you feel like you’re connecting to that Universal Consciousness. There’s probably also moments where you feel like you’re channeling in some other type of like plants or other beings that are in your that are there and are coming to you and are saying, Hey, I feel that you’re open to this. I want to participate. Absolutely,

you’re making your say, yourself available to these, to these, these forces, yeah, the conscious, the universal consciousness. It could be, you know, you’re touching a stone, or you’re the the whatever is in that room. You’re, you’re, you’re allowing yourself to be the tool for those, for that energy, you know, and again, and it’s something that is, it’s, most people don’t do it because it’s, it’s, it can be it can be very frightening. Yeah, can be very frightening. You really said you’re not relinquishing control. You’re just making yourself available and for the collaboration, yeah, and how

do you feel like and again, it’s okay to struggle with the words, but talk to me more about that collaboration, because I think that that’s the most exciting part. Obviously, in it, there’s an intuition that you’re probably following. But when you think about it now as you’re sitting, and you could describe it in feelings, in technicalities, in where, where, how does it work?

Damn, I wish I knew. I could probably write some books about it and make a lot of money. No, I know it’s, you know, it’s um. How does it work? I mean, you know when the process of getting into deep meditation, for example, is something you’re probably very familiar with, obviously. And you know that you said in the early the the ego, the fear based ego, yeah, which is always, constantly criticizing and sticking its its nose and where it doesn’t need to be sticking its nose, you know what I mean. And it’s very similar to that part you’re just shutting you’re shutting that off. As soon as you start shutting that off, another part of you awakens and is very, very open and available, yeah? And so it’s just, it’s a daily, it’s daily practice learning how to shut that part, shut the one part off, and invite the other one in, yeah. And that’s, I mean, I’m not sure if that answers your question either, but I mean, for me, it’s, no, I don’t, I don’t have, I don’t have an exact formula for how that works, because it’s something that I work on constantly, daily. You know what I mean? So I, you know, and, but once that, once that channel of communication is open, literally, then, you know, because that ego is still always going to creep in, you know, it’s always like, you know you like, you push it outside the door, and it’s still like, I want to come in, though, wait, let me in. I want to wait a minute. You’re not having fun without me, are you? You know what I mean? And you’re just like, kid, you bother me. You know what I’m saying. You know, just like, move along. But so it’s, it’s, it’s a process. You’re constantly but once you’re in, you’re in, and you just let, you let the magic happen. You know what I mean? You just, you know, it’s, it’s not you anymore. It’s, you know, it’s, it’s coming from, from where it’s coming, you know what I mean? And you just have to be there to be the antenna and let that and then the the amplifier for those, for that energy, yeah,

yeah. You were mentioning earlier how you said, like, it’s that daily practice. And that daily practice, I have found, serves different functions. One is, this is really, it’s, it’s unusual feeling. It can be scary you. So the daily practice, in first, helps you kind of get used to the idea, oh, there’s this, like non human way of interacting with these beings that actually makes sense, and I can let that flow. So one of it is, is just even bringing into your sphere of consciousness, the fact that this is even possible, because

I think without that practice, it’s a big part of it, yes, yeah, it’s

a big part of it. And then the other part of it, I think, is also, you know, I think there’s multiple parts of it. One is that, another one is also, you kind of purifying and working with your own How do I say this, like the purity of your feelings, your intentions? Because, like you said, we’re getting rid of that lower based ego into the aware though, the awareness ego, or the that conscious ego that is the conscious ego that’s more of, oh, okay, let me open this over here, and, oh, let me bring this part of his memories into it. And, you know, that’s kind of like the conductor of your internal orchestra, but that’s doing it from a pure intention of, oh, collaboration. Yeah, yeah, yeah. Let me bring these periods, like, let me bring up his, you know, 1720, years of experience with this instrument, and I’m going to move it, help his fingers sort of flow through it, so that he does this piece. And I’m going to get these, this little stuff that was bothering him earlier. I’m going to put it into a box like the aware the AWARE ego does all these things for us, where the lower base ego, like you said, is kind of saying no, like you’re going to screw up, and don’t do that

standing in your way, it’s a hindrance, it’s just exactly in your way.

And I think the other part of it is, I was saying we were talking about this earlier, before we started to record, which is, I find that almost in everything in life, and especially in this type of work, the more I do something, the more I feel comfortable as my own level of expertise, not in comparison to anybody else, but like my personal comfort and expertise, the easier it is to step out of the way, to allow this to flow through me and to kind of like, it’s like, you know, Like any jazz musician knows. You listen to the music, you hear what’s happening. You hear the rhythm, and depending on your instrument, you know, okay, I’m gonna step into this now, and I’m gonna step out of this now, and I’m still a vital part, even I only step in for a second. You just learn.

The more you know, the more you know what you don’t know. You’re gonna say this is this thing of also, you know, you realize we go through life when we when we amass our skills as musicians or artists or whatever, in every in any area, we make the mistake of thinking that it’s only really our doing. Like you said, it’s a few basic Well, you did this, and this and this is your culture. And not to belittle any of that, but that’s coming from somewhere, and it’s superhuman. It’s not coming it’s it’s beyond you. It’s bigger than you. You know what I mean, right? So once you you come to grips with that, and you have to go for a while before you realize where this, where the brothers, where the real source is, what? You realize that, then it’s easier, since they’re saying, Well, you know, take over. You do it. I’ve just been kind of attaching my name to this, you know what I’m saying? Because, you know, I’m driving the, I’m driving the meat package here, but, but, but, you know, once you’ve, once you’ve, once you’ve learned that it’s the sources of from much higher space. You know what I’m saying, that it, it’s easier to to let go of it and say, Okay, I’m really I’m a partner in this. It’s not me. I’m just a partner in the game. You know what I mean. So, right? A collab, do

you find that in your in your experiences, are there specific types of we’re going to use different words, so that way you can find the one that make feels best for you, energies or types of consciousness or particular beings. Like, for example, I have specific plants that I work with, a few that I work with quite regularly. Like, for those that are on video, right behind me, there’s a dressenia, and this is the one I work with on a movement perspective, and so kind of similar to what you’re saying, I I can feel this even, even just sitting here. It doesn’t have to be dance like stand up and dance around the room. I can, since no name dressenia, as I call key, but because key refuses to give me a name, but their story altogether. Anyways, the way, since no name Tricia and I started working, I have realized how much I had censored my sense of movement Okay, and had reserved, and how much freer My thinking is and my capacity to comprehend, because I allow myself to move. So even when I’m sitting here talking to you, for those that are watching on the video, and if you’re listening to the audio, I’ll tell you about it. I My hands are moving a lot. My body is like I can feel my my torso move, and that a lot of that I can feel very clearly, that’s coming from what key has helped me unlock, and also keys participation in this conversation. So there’s that one specific entity, as opposed to when I work with spider plant, who’s who’s sitting off to the side over here, it’s very different. It’s much more no nonsense. It’s much more direct and but even so, what has left the impression in me, and I realize it now, as I as I’m outside, doing things, or I’m in any kind of context, is that I once again move much more freely, and I realize that without that movement, unusual or certain comprehensions are harder for me. It’s much easier for me to feel the expansion of my senses and the understanding that comes through those senses, or feel things coming through those senses thanks to that movement. But that’s it’s a lot of it is the work and the practice and the devotion of this, this planet, work that, that that joseny and I are doing together. Do you find in your work that there are specific types of energies or entities or specific beings that you work with more often, or is it usually more chin? How is it?

I often, yeah, yes, that, first of all, is very fascinating with your head. And I can totally identify with that. And I mean, that reminds me a lot of of of the practices, you know, connecting with, you know, let’s say, for example, planets, yeah, you know, planetary magic, for example, or something along the lines of that, or or specific plants in their correspondence of planets, or whatever, yeah. And that’s something, yeah, yeah. That does happen very, quite often, yes. And I will often sit and try and connect as deeply as I can with Venus, for example, yeah, and or it varies. It varies, obviously, yeah, but yes, that definitely, yeah, I’m trying to there’s anything one specifically that is Venus is very much in use, yeah.

Help me understand things,

yeah, help Yeah, yeah. I mean, because, you know, I mean, yeah, definitely, that’s, that’s, is, that’s funny that you would say that, because that’s something I start. Most of the original my ritual practices like, Please guide me. Let me know what. Let me, let me understand what this is all about. You know what I’m saying. Let me know something, yeah, just give me something, you know. And it always does. It always gets something. And the same way, same when I’m outside, you know, I spend a lot of time outside, and take an instrument with me and and communicate with the plant animal world in a way that, you know, because it’s there, you know, there’s so much valuable information there to be clean. So I it’s, yes, definitely. It’s, it’s, and I try and, you know, I don’t say I was trying to integrate into my music. I let I like I said. I open myself and say, Look, well, you want to play something, I’m here. My hands are here, you know, the plant can’t play the instrument. So it’s, I’m I become the instrument of the plant. You know, I become the instrument of the stone. I become the instrument of, you know, the fire. You know, whatever, whatever element or whatever force needs to manifest itself through me. I put myself there and say, I’m yours. You know, we always put these things to use in our human world. It’s like, yeah, it’s also stone. It’s a mineral. We have to, you know, we can make this out of it. We make that of it. It’s a plant. We can make this out of it. We can use it. Why don’t we find ourselves putting ourselves, making ourselves available to this world in the same way?

Oh, what a beautiful way of saying it. Love that I’ve loved that so much. Okay, I know I’m sure everybody else is but I think we’re ready to hear something. But before we do that, I just want to take a quick break and share with you one of our Eco conscious business partners, supporting them is supporting us and doing and being able to bring more of these amazing types of interviews for you. I think we can all agree that music is the true universal language. In fact, what we think of as language is actually musicality, and I would argue that plants may be the greatest composers of all by using the music of the plants device, plants are now able to share their healing and communicate with us in a language we can understand. Music of the plants now has different devices to experiment with, whether you’re a musician looking to play along with your plant friends a healer who wants to enhance their practice, or simply curious. In the show notes, you’ll find a link to purchase the right device for you, such as this bamboo M There are also all sorts of fun extras, such as downloadable interspecies music and plant music merchandise. So click on the link to the music of the plants in the show notes to discover how you can start making music with your plants today. For those that are here watching, like, those that are watching, there are like, it looks like there’s like spikes towards you, but I know that they’re not. What are? What is that in front of you? You’re not in an Ironman. I’ve

always wanted to be an Iron Maiden, but they did not.

But I know, no, no, do you do know that Iron Maiden is my favorite band?

I remember that so because an Iron

Maiden. For those of you that don’t know, an Iron Maiden is the box with spikes inside of it that they used to like, use as a torture device. But exactly, or kind of, like, yeah,

so very cool band, but

those are not a torture device. What? What is that spontaneous thing?

I’m sure maybe I could lift it up in a way that’s not going

to people who are watching the video. And for if you’re listening to the audio, it has all these beautiful kind of light. These are time. What do they call those little thumb what’s it called? Well, so

this is, this is some, some people the thumb piano known as the kalimba. But the mother of the kalimba is a much older instrument called the imbira, yeah, which is was created in Africa well over 3000 years ago. And this particular imbued is a was designed and created by a man named Bill Wesley in America and built by another man named Patrick Hadley. And it’s called the array imbue. And what makes it interesting? Is the way that the notes are laid out in a very unusual they’re not laid out in a chromatic. If anybody’s familiar with music, you know, you start with C, C, sharp, D, E, D, you know, D, sharp. That way they’re laid out in in an arrangement that is, yeah, not that. Let’s just put

it, yeah, exactly. And this, which is something that we’ve lost, to be honest, like in the sense that, as I work more and more with plants, I one of my dreams is that the music of the that we will eventually get to a music of the plants device that has completely different note spacing, yeah, because it feels like so obviously, most music is in. You know, major scale, 440 a, 440 sure we have some 442 432 stuff, and some other even a 538 now that’s coming in. So there’s all these other frequencies that are coming in. But when it comes to the scale, we are very limited. In my experience, when I was working with plants and some musicologists, and we found that plants really preferred more Lydian and micro Lydian and macro Lydia. Mixolydian, excuse me, mixolydian scales, which, unless you work like you’re a jazz musician, you’ve probably never even heard of and didn’t know they exist. But other kinds of spacing to create the notes, such as, you know, Fibonacci spacing, or even smaller micro scaling, like not even just half notes, but like atonal stuff, we I always put the plants in the chromatic but it’s still giving you the notes that we know in our in our traditional scales, I would love you know, I feel like we’ve lost our musicality, our ability to really express ourselves through our musicality. Some part of it has been lost in the fact that all of our instruments have been synced, like all our modern day instruments, yeah, synced to these scales. Yeah. So I feel like if you really want to get into these alternative again, more than human, we need to get out of the human scales of music.

Sure, I mean, you know, the natural harmonic series does line up with scale has been tempered. And there’s a lot of you know, there’s a lot of discussion. And then, you know, scientific evidence about why we appreciate the scales and all the you know the way they are, and you know. But it is. It is a. It is a an artificial playground that we’ve that we’ve made, you know, just because it simplifies communication between musicians and musical cultures. But there is something lost in translation, for sure. Yeah, because no doubt about that. Yeah.

anyway, this is the the array. India. It was a wonderful instrument. I haven’t had it that long, actually, and I discovered it probably a little over a decade ago with a friend of mine who actually had one, and I’ve been debating for many years whether I should allow myself to have one built for me. There aren’t many in the world. There’s only like by maybe 500 or so in the in the world at the moment.

So and I just decided this year that I’m going to do that for myself. And I did. And I’m very grateful that I did, because I am absolutely.

It’s become a very good friend. I love it. Yeah, I love it

so. So so play front simply. Come on. You have to play. Now, now we’re dying. Now, we wanna know, yeah, I. And and this is just this is just coming from somewhere. So I’m just going to let it. Yeah, let’s actually, let’s do this. Let’s take a second, and let’s you take your time. You need give yourself a few seconds, connect into whatever it is that you need to connect, and when you feel would love to hear it, I’m so excited.

Who do?

yeah, I feel like.

how do you put words to it? I can feel it all around my my chest, my heart center.

How do you? What, what see words, words, words back into this like I don’t. Wanna oftentimes, when I teach I have certain dynamics, and and when I do plant music, healing sessions. Also, this happens when I do a plant music, healing session?

I at the very end tell people so. I tell people before we start it, that at the end I’m not gonna talk about it like you know how. Oftentimes, when you do a healing session, you always ask people, do you have any questions? Do you need anything, and I am the complete opposite. I say to them, look what we’re gonna ask all the questions that you could think about before. But at the end. I’m just gonna leave you and my suggestion, I’m gonna I’m gonna like log off. And my suggestion for you is to just sit in this for as long as possible and not talk to anybody. It’s I do exactly the same thing. Yeah. because I find that we try so hard to convey the mute the the human like constraints of thought processes, rather than allowing those feelings to just sink in.

And and so it’s

go ahead sorry, sorry, and and act and allow them to activate what they you know something within us. Here, we just, you know.

yeah, we we we our quest to understand. I I just I just I just had a group that was here in Dominur for my nurture nature retreat that I do. and

it was so amazing. The one of the people who is a very inquisitive, curious person in generals like one of these people that likes to know. So she asks a lot of questions, and which is great. And she wanted to go into the temples of humankind to do an individual meditation, and originally she had picked a hall. And then there was this other hall that somebody suggested that she go into, and she was like, Oh, I didn’t really like that hall. And then something in her woke up and was like.

Why didn’t I like that hall like there was a resistance? And she and then it turned out that that hall the meditate. So all the halls have the ability for you to have a meditation, a guided meditation to do them. This is the only hall that the entire time you sit in silence

for an hour you sit in silence. and I was so proud of her, and like so impressed because she was like. This goes against everything that I think about in relation to how I experience. And she’s a dancer by training. She’s done a lot of movement for healing is the work that she does today.

So she was expecting to do a guided meditation where she would do this saying, and she’s like, but I can feel this resistance coming up for me. And so I’m gonna go into this hall and just sit in that resistance for an hour perfect.

And I was like.

Wow, that’s that’s that’s powerful like I. I can feel the emotion of that. And I think that’s exactly the same thing for this type of music, and for this type of connection that for you you express through music. For me it’s through movement, for others, it might be through poetry or artwork, or drawing, or something that comes out of it, is the ability for you to sit in that space of pure presence and allow it to flow through

getting the fuck out of the way.

getting the fuck out of the way. That’s it. It’s getting the fuck and yet not disappearing. You don’t disappear. You are a part of it, but it’s getting the fuck out of the way to allow that it doesn’t participate. Yeah, of course. I mean, it’s it’s like getting out of the ways. Certainly not, Lisa.

not leaving, not leaving the room. You want to be there because you’re there. You’re there for the experience, and you need to be there. You need to be present.

You just don’t need to be standing in the way when you know when, when the communication is flowing, you know. You just don’t. You don’t want to be, you know. That’s it.

That’s it. That’s it. And that’s what I feel like. We really gain from it, embodying our platinus? Is our ability to be that to be present, to to be.

and then to know that space of when do I lean into it and allow this connection, like being also very humbled and pure, and being able to say, I want you whomever entity that I’m feeling around me, or entities or bot beings that are around me. I want you to use me like I wanna be there for you. So I wanna be in service to you. So use me. And then also, when you hear that tap that is different. That says, No, no, I want to do this with you. Yeah, let me be the one to fuel your sensations, your your perceptions, your your experiences, your memories. Let me tap into all of this. and B, and and then from there we build something together.

I guess it’s just such. It’s a question of you making available your experiences, your abilities. and making the offer and saying, Look here, what can you do with this? What do you want to do with this? Whatever that force or that energy or that entity is, I’m making you an offer here. This is what I can bring you.

This is what I’ve experienced is what I am here. It is available for you to use. Be open to that that communication, and then then it’s getting out of the way. And you say, Look, I mean. it’s like, you know you come in with a bag of Legos, and you want to, you know. Say, put them on the table, and you say like

I want to, you know. See what you build with these Legos. You know what I’m saying. I don’t want to build something for you. I want to know, because when you allow this entity or these forces to manifest through you.

Yeah, that’s there for you to learn something. That’s something. It’s a return gift for you to say, look, okay, this is what there’s something that’s it’s observing. Sorry, it’s observing me. Somebody wanted to chime in. Yeah, it’s you know, it’s it’s a process of you giving the.

It builds something with your experiences, so that it may inform you about things about yourself that you might not be aware of. You know what I mean. That’s also my process or things that something you need to know, something you simply need to be informed about. Yeah, that you can’t inform yourself about you need. It’s anyway. Maybe I’m rambling again. No, it’s beautiful. Because I also, as you were saying it, I was thinking about How much this changes you as a person doing this work, and how much?

How do I say this? So the in Damanhur we talk a lot about something called these missing archetypes. They’re archetypes, like universal archetypes of that that the that the human being had access to that we’ve lost access to, or at least we. We’ve used them badly. I think we’ve really kind of lost their their true true essence, and most of them are connected to relationships in some way. So there’s about 20 missing archetypes

that are connected to different types of relationships or relationality and such. And that we, you know, we understand, based on our research and our study here, that the plant world holds the memory they remember. So Ken, remember when we were all united, and we all had access to these. And in my experience that as we connect back in and we do this type of work like you’re saying. feel. And I’ve experienced this personally as being a person, that is, you know, nobody who listens to me is a stranger to the fact that I say I am probably the most positive negative person, you know, cause that’s the way my mind works. And like I was super judgmental. For a long period of my life I struggled a lot with making friends. As a matter of fact, I I at 1 point like, ended a very important relationship by life, because I realized I had no friends. I just had that person started me on a quest to create friendships because I didn’t know how to create

that which is another story that one day I’ll share. But the point being is, I find that through this type of

connection and experience I have such a deeper well of of understanding, of empathy, of compassion, of relationship, of curiosity, like all these things get stimulated and, like you said, I know when to get the fuck out of the way, and I know when, instead to lean into it, or at least I can not know. But I I can feel into that, and and it changes my relationships with people. my work with with basically, it has enhanced all of my relationships. Because now, as we said, language is a type of musicality. So therefore, I approach all of my relationships in the way that I speak has that that interaction of musicality, and knowing that the dialogue is always made from the you know the call and the the return, the response, the listening, the the deep, deep, deep, deep, deep, deep, deep listening, which is, I think what makes me feel like like it’s really helped me even as a coach and a mentor, because I come from that place of

I wanna like you, said I, wanna be of service to you, and therefore I want you to use what’s in me. And so, as you speak, I listen deeply, so that I can emote or speak or express in whatever way needs to come out. What serves you in this moment and back and forth in that way? I couldn’t have said it better myself.

It’s good cause after I say it I forget what I said. So luckily recorded. Okay, so I want to cause I know we could go on for hours and hours and hours and hours. So I wanna leave people actually with your music. So before I I do that cause. I I would love for you to play a little bit more, and then we’ll just close it from there so that people can stay, and I advise you. Listen. If you’re like listening to this.

When you hear this music, just when it finishes, just stay in it. Stay, stay in that space for a little bit. Let whatever needs to wash into you and come through. You come through you. But before we do that, but hey! Where can people listen to find more of your music. Listen to you. Oh, yeah, that question. You know I have. Yeah, I’m I’m I’m everywhere and nowhere. So I just I just kind of show up and

I do have some music on the the regular standard streaming platforms. There’s an album that is. In the meantime 12 years old. It doesn’t really represent where I’m at now as a musician. There will be some new material coming very soon.

if you can remember the name Fontaine that it will show up in your license. Oh, no, it will be in the show notes, so it’ll it’ll I just tell them to do a search for you. It’ll it’ll show up just I’m I’m you know. I’m I’m hard to. I’m I’m easy to find, but hard to keep track of.

Well, we’re gonna get that website of yours. Updated. Cause, this is the kind of stuff that’s so like amazing that we need to the Jurassic website. Yeah, yes, people need to hear this. But you’re creating. Yes, they do. You’re right, I I feel. And you don’t. You don’t publish enough about it. You’re right, you’re right. I I’m guilty guilty as charged

alright. So I’ll put your name. I’ll send them to your old website. I’ll tell them that they just need to search for you. And and I’m gonna poke for everybody listening. I’m gonna keep poking at him so that he puts more of this type of stuff out, and he so that we can all experience it. But, Tank, can you please lead us out

with your with whomever and whomever else I call in anyone else that wants to participate in this. I’m going to stand up new to it. I know it’s probably not very sexy, but this is easy

Thanks for listening to this episode of Reconnect with Plant Wisdom, intro, and outro music by Steve Shiuli and Poinsetta from the singing life of plants. So join me to Tigrilla Gardenia and my plant collaborators next time on Reconnect with Plant Wisdom.

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About ReConnect with Plant Wisdom podcast

Ancient and modern knowledge from biology to spirituality about the wondrous ways plants help you lead a Naturally Conscious life.

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