SOUND
HEALING
WITH
THE
SINGING
BOWLS OF TIBET
"The
basic principles of music therapy were recognised throughout the ancient world.
The concept may be traced in the writings of the Greeks, Egyptians, Persians,
Hindus, Chinese and other learned nations of antiquity. It was, and still is, a
part of the religious ceremonies of primitive peoples throughout the
world."
Manly Palmer Hall.
This article covers Tibetan Singing Bowls in Sound Healing in a very deep way regarding the unique methods that I have unfolded over many years now. However, before we go intensely into this subject, a little brief history may help to prepare for the exploration of our subject.
Tibetan
Singing Bowls first appeared in the West around 1970 as a result of Western
'hippie' travellers spending time in India. Several Westerners, both then and
now, have striven to find out from the indigenous peoples something about the
bowls – even living there for up to ten years - but always there is seemingly
precious little known or spoken about them. Nowadays, it might be better to
refer to such bowls as Himalayan Bowls - as those available can originate from
numerous regions: - Bhutan, Burma, Nepal, Assam, India, Sikkhim, Himachal Pradesh, and
Tibet, etc. Antique Chinese and Japanese 'Resting Bells' have found their way
into this country since the 18th century. By comparing the sounds of bowls from
these several regions, the Tibetan bowls are noticeably different, being
harmonically far richer in their sound. This can most probably be attributed to
their unique alloy of anything (depending upon who is asked) from 3 to 12 different metals.
The
'singing bowl' is actually a kind of 'resting
bell.' The oldest tuned bronze bells excavated so far are from 2,000 BC in
China. This means that the science of bell making in China has been developing
for around 4,000 years now. In ancient China two types of bells were made (a)
for orchestral music, and (b) for meditation. Meditation bells were designed to
ring on for a long time and to be rich in harmonics. The individual
sound-vibrations of such meditation bells should also stimulate certain
spiritual-religious feelings or states of consciousness. It is these types of
bells or bowls, developed in several regions, that are most useful for sound
healing. As time went on some of these bowls were created to awaken qualities
dormant within certain chakras. Certain forms of meditation were performed in
order to assist the spiritual unfoldment of the individual along the lines of
chakra development. Because such bells were designed for assisting
communion with the inner spiritual worlds, so they can help to realign us with
those realms of light and harmony.
The evolution of western orchestral music especially, has
led to a situation wherein we expect a considerable degree of complexity,
richness and varying patterns. This reached a peak around the time of Mahler,
Schoenberg, Stravinsky etc, the eventual reaction to which was the ‘minimalist’ music
of LaMonte Young, Terry Riley, and Philip Glass. Interestingly enough, both
Riley and Young studied under the same Indian singer the late Pandit Pran Nath.
Now we hear of the ‘New complexity’ school of composers. One thing is for
certain; no way does our musical education prepare us for listening to the sound
of one single bowl for minutes on end and still consider it as music! Yet,
compared to one note on a piano, we can more easily hear several tones sounding
together creating a very rich listening experience with these overtones behaving
rather as do the planets revolving around the central sun – that spiritual
essence of the Bell-Bowl - seeming to open up a complete omniverse. Of course,
it is understandable that Western orchestral instruments require a very
diminished emphasis upon overtones otherwise there would be considerably more
‘notes’ to compose and orchestrate for! Nevertheless, to cast aside such
programming and like a child enter into the omniverse of one single Singing Bowl
brings its own special rewards – such as discovering the multi-dimensionality
of the layers of sound within the sound!
The unique alloy, from which the Tibetan bowls are
hand-made, uses, according to whom one asks, either three, five, seven, nine or sometimes
twelve metals selected from gold, silver, mercury, copper, iron, tin, antimony,
(the seven planetary metals) plus nickel and zinc. The list is also extended to
include meteorite. When meteorite is included I have noticed a different
spiritual vibration to such an instrument and these special bowls are always
active on the plane of spiritual initiation. The different thickness of metal
applied in the making of the bowls produces a variety of tones and harmonics.
The bowls also possess three regions relating to the three mantric sounds of Om,
Ah and Hung and there exist several ways of working with this knowledge within
the sound-healing realm.
I classify all bowls into two basic, fundamental 'families'
namely: - Yin or Yang. This is derived from their actual design - Yang bowls
having a thick 'rim' whilst Yin bowls have a 'rim' the same thickness as the
rest of the 'wall' of the bowl.
Sometimes people approach me looking for a 'healing bowl.' I
doubt that there is one single singing bowl for treating everything! The way
that this approach did work for one individual practitioner was by finding a
bowl that helped to put him in touch with his own source of healing energy
before working upon his patients. I personally work from within a selection of
67 singing bowls played, almost exclusively, around the head. Other
practitioners offer a kind of 'sound massage' utilising the relaxing sound
qualities of the bowls, others place bowls upon the body of the patient, and yet
others continuously strike a bowl whilst moving it along the body of the patient
listening for its sound to change and thus indicate an area to be worked upon,
again one bowl may be used by being struck and then moved according to the style
of the pracitioner above the length and breadth of the body, whilst, again,
others use them in a more 'hands-on' manner working with handicapped people
within the context of 'music therapy.'
Regarding the spiritual dimension to my sound healing work: I first trained in spiritual healing in 1965 and at that time my interest in sound healing first began and my search for suitable healing sounds began. As sacred percussion instruments from the Far East continued to come my way I began to search for ways of using them in sound healing. However, this search seemed to crystallise once the Singing Bowls of Tibet came my way. I found that the 'sacred' bowls generally possessed the most potent forces, being the most 'psychically charged' of all my sacred instruments whilst also possessing stronger links to energies upon the other subtler planes. As my collection of these ancient sacred instruments has grown, so too my understanding of how to use them in sound healing has also unfolded congruently in this organic way. In 1970 I joined The White Eagle Lodge immediately giving myself in service to the form of spiritual healing practised there and so I received further training in this particular path of service. This form of healing involves working with the Christ Light alongside the angels of healing using visualised colours applied to the chakras. This I have incorporated into my particular form of sound-healing work which I call SPIRITUAL SOUND HEALING.
(developed by Frank Perry)
For the most part, I leave lots of 'space' for the bowls to work
their magic. One must resist the tendency to rush onto the next sound in this
work. I prefer to allow the sounds of the bowls to disappear into the
silence. I dislike interfering with their sonic existence. That was part of their original use - to follow the sound into the
silence; so as to begin to hear the 'Inaudible' sound, or Anahata Nada, as it is
called in India. The Karmapa (head of the Kagyu Sect of Tibetan Buddhism) in his
previous incarnation heard a group of Westerners playing singing bowls and he
said that this "sound of the singing bowl is the sound of the Void."
The Divine Truth of the Void (the Buddhist conception of the ultimate nature of
reality) refers specifically to the lack of inherently existent (separate) self in all
phenomena and beings. In the silence of our own innermost being, we learn and
discover about our true selves. So, this method of applying sound is also partially using
such sacred sounds for
self-discovery or self-development within the healing treatment. The answer to
all our problems lies within ourselves. When we have stilled all our outer
activity, we can begin to hear the voice of our own conscience - the voice of
Wisdom, which can guide us into more harmonious ways of living; we connect with
our Intuition - or 'Inner Teacher.’ The stillness within the bowl sounds
provides us with just such an opportunity during the sound-healing session. In
Astrology the planet Uranus is linked with intuition and this planet rules the
sign of the New Age (Aquarius) and in India it has also been associated with the inner mysteries
of Divine Sound.
During sound healing sessions the bowls are played with great
patience allowing their sounds to dissolve according to their natural decay.
When more energy is needed, or when wishing to enable the patient to surrender
themselves to something greater, through the magic of sound, then there is less
silence and something more akin to an awesome symphony of sounds - more akin to
traditional Church Bell-ringing (particularly regarding the deeper bells - as
found in Germany or Russia). Initially, the bowls are struck and ring on for a long
time. This captures the individual moment or takes the mind away from drifting
thoughts, helping to 'cut through' these, and so to concentrate it upon and
within the eternal Now. No recognised tunes occur in this system, rather each sound simply
appears and at some point disappears. This unpredictability regarding just
precisely what will happen next brings about a form of acceptance within the
patient from which they can begin to open up to receiving other energies; such
as the gifts from the healing angels. Experiencing the intermingling of their
several rich overtones can, through the psycho-acoustical and magical sound-properties of the Bowls,
assist us in losing ourselves to the expansive and elevated inner realms of the spirit through
their transcendent sound-world.
Between the different tones, ringing harmonics appear, pulsating,
floating, sending sound throughout the entire auric field and into the chakra centres.
For this effect one requires bowls of excellent quality. Speaking
generally, I have found that the lower chakras equal lower tones whilst higher
chakras resonate with higher tones. These tones very slowly dissolve whilst the
larger bowls possess a slowly pulsating fundamental beat creating an experience
of deep relaxation almost tangibly manipulating down the entire body. The actual cyclic speed of these pulses is very close to
that of certain brain cycles i.e. Alpha and Theta which brain states correlate
to deep relaxation, contemplation and altered states of consciousness;
especially visualisation or an active imagination. So, paradoxically, very deep,
low pitched Bowls, create a very slow pulse or oscillating beat, which -
through the law of resonance - stimulates, induces and awakens alternative states of heightened
consciousness! In other words, it doesn't necessarily follow that only 'high
pitched' bowls are capable of stimulating 'higher' states of consciousness!
Just as sound vibrations are measured in Cycles
Per
Second
(cps),
so also, these
brainwaves are measured in Hertz (Hz) or (cps) i.e. I Hz = I cps. Brain states
have been divided into roughly seven categories. Some disagreement exists as to
where one brain state ends and another begins, however, generally speaking,
neurologists use the following schema:
Super High Beta
= 35-150 Hz
K-complex
= 33-35 Hz
High Beta
= 16 –32 Hz
Beta
= 12 – 16 Hz
Alpha
= 8 – 12 Hz
Theta
= 4 – 8 Hz
Delta
= 0.5 – 4 Hz
It has been said that in the Theta brain state there can be visual
images. Such images can seem very real, and in some of the lower Theta states
there is little or perhaps no sense of the physical body. A person may also
experience their body as being a 'field of energy' or as if parts of their body
are floating in the air, unconnected to other parts.
The
internal experience one has during Theta activity seems to be the most prevalent
perceived reality. External reality to a greater or lesser extent is simply not
experienced or becomes far less significant. And we all need a break from
so-called (external) 'reality' don't we!
'Non-ordinary' states of Awareness appear in Theta beginning in Alpha
(slow respiration rate & deep relaxation). In public sessions (such as at
demonstrations during Sound Healing workshops etc), people often comment upon
immediately noticeable changes in breathing rates of the volunteer client.
During private sound-healing sessions it is not uncommon for people in this
Theta state to experience colours beyond those seen on earth! Also people will
often experience themselves moving away from 'normal' consciousness (awareness
of time, pitches, notes, intervals, and discordant or concordant chords -
combinations of bowls) towards losing that awareness and leaving their physical
(normal) body altogether. Upon returning they have sometimes suddenly felt their
physical body to be very heavy! In ‘remote viewing’ practitioners aim to
achieve optimum results through using Delta brainwave states to and from the
Alpha consciousness. In their book 'Preparing for Contact' Lyssa Royal and Keith
Priest state that Extra-Terrestrials (E.T.’s) seldom function in Beta
brainwaves (our normal state) but rather resonate more to these Alpha and Theta
brainwaves! So! Perhaps the similarity of the Bowl sound to that of U.F.O.'s is
no coincidence. It has also been stated that the favourite music of E.T.’s is
Tibetan music! So, should one be seeking such a contact it is possible to state,
perhaps, that a Tibetan Bowl sound healing provides optimum conditions!
Actually, there have been occasions when, during a sound healing treatment, both
the recipient and myself have been aware of such a contact having taken place.
Perhaps it is also helpful to reflect that during our sleeping hours our
physical body receives the opportunity to renew itself because our astral and
mental bodies have returned to their natural spheres. Similarly, during the
entering of Alpha, Theta, and sometimes Delta states, through listening to the
bowls, the physical body may receive temporary rest from these mental and astral
bodies allowing the same regenerating energies to become activated and so
leading to renewed health.
To the ancient Chinese the Element Metal (5 Elements) was
associated with the 'Divine.' The use of Bells in ancient Chinese ritual music
was intimately associated with the cult of Ancestors, i.e. with the most
spiritual of all musics (sacred music). As mentioned before, in those ancient
times there were two types of bells: - Orchestral Bells (of short duration) and
Temple Bells which, like Tibetan singing bowls, were made to have a very long
sustain with a warm, rich and resonant sound.
Here is a description
of the form of sound healing that I have unfolded intuitively since 1981 exclusively using Tibetan Singing Bowls.
At the very start of a healing session I begin by preparing myself and silently praying that I may be of service to the patient and the Healing Angels. This involves becoming very still and communing with the Cosmic Christ Spirit in the Temple of Healing on the higher spiritual planes as well as making contact with those spirit healers of the Great White Brotherhood, and other spirit guides with whom I work, each one of whom specialises in a different form of healing. At this point I also play one of the Space-Cleansing Bowls from my collection. This has a dual purpose. ONE is to cleanse the space to remove all of the existing energies from the previous activities that occupied the room - because commencing from that moment the only appropriate energies are those that surround the patient. As these take the centre stage they become easier to focus upon. TWO is to hold the patient under the Light of the Christ Star - under the Healing Ray from the Healing Temple in the world of spirit. At this initial point I would also consider whether, according to my observations, the client had an affinity with either of the three major paths: - Karma Marga (Power), Bhakti Marga (Love), or Jnana Marga (Wisdom), as this would affect the type of treatment given.
Next
I play through a specially selected set of 5 pairs of small Yang bowls
placed upon the floor in the shape of an upward pointing triangle around the
patient's head. These start from around the level of their shoulders - one
beside each ear - and then move upwards towards a point where the top pair are
beside one another. This shape mirrors and resonates with that of the
'Transpersonal Chakra' said to be located above the head and cone-shaped. This
opening sequence mainly serves to balance left and right hemispheres of the
brain. Certain psycho-acoustical properties of the singing bowls are exploited
here. These matched pairs, whilst being rich in several harmonics, also produce
slow beats that can be imagined as pulsing down the patient's entire auric body.
These slow pulses vibrate at less than 6 cps and therefore synchronise with both
Alpha and Theta brainwave states - leading to altered states of consciousness.
These slow pulses also help the patient to relax and begin to 'surrender' to
these powerfully tuned sounds. This binaural opening sequence, whilst operating
upon the lobes of the brain, can also synchronise both hemispheres of the brain.
These Yang pairs are placed in an ascending order of pitch. This section is
exactly the same for everybody receiving a treatment - after this opening
sequence it 's never the same, even for the same client returning, for they have
changed.
Whilst
this opening 'ritual section' is taking place, I begin to clairvoyantly look at
the patient's chakras and, in conjunction with other techniques, start to
diagnose their condition alongside the causes of the inharmony (which may extend
to karma from past lives). I am also, considering which individual sound
requirements are necessary to assist in moving them towards a more harmonious
state of health. Although I term this clairvoyance it is of an unusual kind
consisting of blending what we usually term clairvoyance with a more spiritual
form. Because of my approach to working with the bowls - following them to where
they take me - my form of clairvoyance used here took a similar path i.e. that
of putting myself in the place of the person, even as I put myself into the
bowl; by forgetting myself for a moment. This has its counterpart in certain
forms of shamanic healing practices. Clairvoyance means 'clear' 'seeing' - to
see with the eyes of truth or to penetrate beyond the surface appearance. At
this stage I'm also noticing whether the patient responds more favourably to the
sounding of any one pair of Yang bowls being played. This can also provide
certain diagnostic indications. One of the first considerations is which of two
fundamental categories the healing will fall into: - (a) Restoring the harmony,
or (b) Assisting the client towards a new harmony.
This concludes the opening section of the treatment, which, as previously stated, is exactly the same for all clients. From this point onwards, I select from the remaining 56 bowls those that I perceive will assist in the treatment whilst leaving space for spontaneity and intuition to assist when necessary.
Next, I select a bowl to work upon the Throat Chakra. I have four primary throat chakra bowls. I make my choice by selecting the bowl that produces the desired Colour i.e. Blue, Green, White or Gold. I then play the bowl, or combination of bowls, and direct the Colour Healing Ray to the patient's Throat Chakra and from there it will extend throughout their entire aura. In my efforts to fully comprehend what lives within each of my sacred instruments, I discovered that some of them produced very strong, clear colours upon the astral plane. Some produced one single colour, whilst yet others produced several colours e.g. my 12th century Tibetan Heart Chakra bowl produces firstly a Red-Gold of the Spiritual sun, whilst on its next ‘level’ it produces the soft Rose Pink of selfless love and finally, behind that, it produces the rich Madonna Blue of Devotion. With such bowls there are a choice of colours to use. When it is necessary to channel Blue to the Throat Chakra, it seems better to choose a bowl which works upon the Throat Chakra and that also produces the colour Blue upon the inner levels. In such a case there are no conflicts (in Taoist terms there is no resistance) e.g. I once met a bowl practitioner who demonstrated a so-called Crown Chakra bowl to myself - however, this bowl, being the wrong tone (actually vibrating below the Throat Chakra and nowhere near any Chakra), did not affect the Crown Chakra but only his concentrated mental effort to force it to do so was present - which raises the question "Why use a bowl at all!?" alongside the dubious question of "Intention" used. Above and beyond the colours that certain bowls produce, some bowls are attuned to very specific Thoughts, e.g. Serenity, and I refer to these as being active upon the Mental Plane. There are other, rarer bowls, active upon even higher planes – Buddhic, Nirvanic, etc. So very special sacred bowls resonate with quite specific properties upon a number of different planes of being. Certain yogic practices in Tibet involve charging selected objects with such powers. When such energies are desired to be made manifest during the sound healing treatment, then the specific bowl will be used to assist in this work. Certain such sacred and rare bowls are produced to the accompaniment of specific mantras attuned to their dedicated purpose. These qualities are mostly found in very old bowls - few persons alive today have the time or patience to spend charging bowls - either designed especially or charged as a result of years of dedicated spiritual practise.
‘Mental Colour Healing’ applies colours according to their psycho-spiritual significance. Certain soul states likewise resonate with the qualities associated with certain colours. Schools differ somewhat in how they interpret the meanings of the several colours. I’m most at home with White Eagle’s interpretation. In colour healing the colours are visualised but in order to channel their energies effectively a certain absorption into the being of their spiritual vibrations is also necessary. Having studied and practised spiritual astrology since 1973, it has been possible to enter into this deeper significance of the several Colour Rays through their affinity with certain Planetary Rays. Each of these planetary Rays governs a specific course of spiritual unfoldment whereby certain spiritual qualities are developed and therefore, the combination of certain instruments, planets, and colour rays combine to help strengthen one or more of these several spiritual qualities in the recipient. The Seven Rays spoken of by the Theosophists and derivative schools likewise have affinity to the various colour and planetary rays whilst these seven fundamental rays can also be related to either one of the aforementioned Three-fold paths of Karma, Bhakti, or Jnana Marga.
Using these sounds of such remarkable stillness, linked to
meditation and other spiritual exercises, assists in leading the client into
contact with their own deepest spiritual Centre - the 'I AM' - the Universal
Cosmic Christ Spirit - or otherwise also nown variously as the Abiding Self; the
Supreme Being; Divine Self; Para Atman, Solar Logos, etc. Sometimes I will silently chant
certain simple, archetypal, spiritual affirmations such as "I AM Divine
Love" etc, with the appropriate bowl, colour ray treatment, and spiritual
vibration, according to the need of the patient. On other such similar
occasions, I will also use a specific Tibetan singing bowl (e.g. "Audience
with the Master Bowl") in order to facilitate a meeting with the Higher
Self of the patient - their 'God-Self' within; with their inner teacher
(In-Tuition); with their personal spirit guide or current spirit helper, or even
their spiritual Master - whether known to them or not!
Sometimes
a treatment might require the energy of a particular Element: - Earth, Water,
Fire, Air and Space. Certain bowls are attuned to (or especially designed for
entering into communion with) one of these five elements and accordingly will be
selected for the patient at an appropriate moment of their treatment. Added to
this, there are also a variety of techniques for playing the bowls and these
numerous techniques also possess a connection to these several Elements. These
Five Elements can also be connected with both Colours and with Planetary Rays
and these associations provide other ways of applying the energies of the
different Elements. In the pre-Buddhist religion of Tibet, the Bon, there was a
whole body of teaching regarding this esoteric or metaphysical aspect of these
basic elements. In remote antiquity these Elements were also related to certain
spiritual Initiations. These 'initiations' are given by Life itself and are
related to our inner growth; just as everyone experiences change of teeth and
puberty during their physical growth. Therefore, we may be passing the tests of
one or more of these elements at any one point in our life. Because few of us
are prepared for, or even aware of, such tests we often experience such episodes
as crises in our lives. If such challenges can be seen to have resulted in the
inharmony present in the client, then this will also be taken into account when
determining upon the course of the treatment for the individual patient.
No single remedy is THE ANSWER to all ills. We find a Trinity in Tibetan Buddhism based upon three possible
reactions to anything. (1) I love this sound. I want more! (2) I hate this
sound. Take it away; stop it immediately! (3) I don't know whether I like this
sound or not. So, there is never one answer for all people. These three
reactions can then be likened to one of three energies within each one of us: - Love
(attraction), Will (repulsion), and Wisdom (confusion), or, to put
it another way; Feeling, Willing, and Thinking. A patient might be
learning lessons, or otherwise evolving, along any one or other of these main
paths. The treatment will also vary because of this factor. These planetary
qualities are found in certain special sacred bowls and are also linked to
certain colours and chakras. I have studied and practised spiritual astrology
since 1974 and my astrological knowledge is also utilised within the
sound-healing sessions. On some occasions I will ask the client certain
questions regarding their horoscope details (most often after the treatment) to
assist me in confirming my observations regarding their needs.
The sound healing session will close by returning to the 5 sets of Yang
pairs again only this time playing them in a Descending order. However,
sometimes it is necessary to include playing these in an Ascending order.
Certain additional variations can occur during this closing ritual depending
upon the perceived needs of the patient. Generally speaking, I could say that
either a cooling down or a re-energising approach would predominate - and even a
combination. This is realised through the degree of sound stimulation taking
place plus the addition of extra bowls and other techniques applied during this
closing process. In order to bring the energy level of the patient back for
functioning in the physical body, it is helpful to use this combination of
different Yang pairs, either in a descending (centring, 'back to earth' -
grounding) pattern or in an ascending one (uplifting and revitalising).
This can also, effectively, consist of 'approximating' either an Ascending or
Descending musical interval along with the esoterically significant
psycho-spiritual meaning of the chosen interval(s).
Finally, I end by playing a special small Yang bowl three times and
then, if necessary, an ancient Tibetan Meditation cymbal
(Ting-Shag) three times. Before starting I explain to the patient that this
particular sound will signal the end of my treatment and that they may then
gradually begin to resume their life.
The tones from the bowls balance the chakras, bring the subtle bodies into alignment, and create a balance between the left and right hemispheres of the brain. They can shatter accumulating negative energy within the chakras and the aura whilst also restoring the circular flow of energy inside the aura. They resonate with every cell in the body to release blockages and restore balance. They open and balance the meridians of the body and they improve the synapse response in the brain. The bowls and their unique tones have been used to restore blood pressure, reduce stress, release the soul from deep wounds, whilst also having been used with hyperactive children and they can stimulate the immune system.
© Copyright by Frank Perry 1997 very slight
revision 2003. All rights reserved.
For permission to quote please apply to:
© Frank Perry, 1997. All of these articles are copyright. They may individually be copied and shared with others in a spirit of knowledge-sharing and fair play, but they may not be sold, printed or reproduced in quantity or changed in form without the permission of the copyright holder. None of this material may be reproduced in workshops or lectures of any kind unless quotes are credited or properly attributed.
Magazine and other editors may e-mail me for permission to reprint. E-mail:
You may also wish to read another version of this article on "Sound Healing with the Tibetan Singing Bowls" from 1999 for Caduceus Magazine.
Y
BEL
CD 006
THE HEALING BOWLS OF TIBET
BEL CD 010 PATH TO SHAMBHALA
BEL CD 012 ANCIENT TIBETAN INITATION BOWLS
BEL CD 013 CHAKRA HEALING
BEL CD 015 LEGEND OF SHAMBHALA
BEL CD 016 ALL-CONQUERING LIGHT
BEL CD 017 HIMALAYAN STUDIES Vol. 1
BEL CD 018 HIMALAYAN STUDIES Vol. 2
BEL CD 019 HIMALAYAN STUDIES Vol. 3
BEL CD 020 HIMALAYAN STUDIES Vol. 4
BEL CD 021 HIMALAYAN STUDIES Vol. 5
BEL CD 022 DEEP HEALING (PEACE)
BEL CD 024 TIBETAN PEACE
BEL CD 025 WAY OF THE BOWLS
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