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The Calling of a Voice: Guidance by spirit voice

Galitta's Shamanic drum

 

Galitta’s personal story about connecting to her Inner Voice (1996)

It was one of this times that I called the Great Spirit. In that meditation I did something new, I opened my mouth and let my voice participate in my silent prayer. A chant was born.

I who valued and worked hard for good lyrics found myself in a world beyond words. I found in there an enormous space for expressing that, which could not be contained by a translatable word.

When I recorded some of my songs with a band, I added the chant as a prayer. The enthusiastic reaction I got for it surprised me and confused me, it was two different music styles and I did not want to choose.

Years ago when someone told me I should use Yemenites side in my music (as I already done that in my storytelling and in my life) I reacted impertinently and actually got insulted. I didn’t know why but I felt that there was pain there but I was not ready to touch it.

Happy Goddessa Healing Emotional voice

A year later while developing the project of Sheba, I worked with

a producer who was asking me about the origin of the music, of the land of Sheba (Yemen) and of myself (Jews of Yemen). I left the meeting shaking from the possibilities that the love I have for my people can be united with my artistic life.

 

While I was gathering the material I made an amazing discovery. Yemenite music in Israel is mostly energetic music for dancing in family events. The music I was attracted to seems to be rare. Then I realized: the popular music is the man

music. Their music is joyous which celebrates god in a gospel way. The music I was searching for was the song sung on my wedding day. That apparently was the woman music and I could hardly get recordings of it. I started to see that while the men sang in biblical Hebrew about love and God, women were singing their secret music in women’s ceremonies and their songs were about birth, death, love and initiation, and sometimes-erotic songs which described their life experiences. They also sang in Arabic, which was their daily life language. That realization brought a memory to my mind.

My grand ma Shadra and meMy grandmother Shadra was making the special Shabath bread and was humming a song. As a young girl, I asked her what she was singing and whether she could teach me, but she just blushed and giggled. When I asked my mother: what is the secrecy? She smiled and said it was maybe a woman song, and that I was too young for.

Since then more chants came to me in meditation and I let them come. I honored them. I started to see that unconsciously the ways of my ancestors were coming through me and I needed to give it a place.

Still, I didn’t see the connection to my songs writing.

When I was asked to give a workshop about the Arabic Jews, I was happy to share the extraordinary stories of my families. When there asked me to sing Yemenite songs at the end of the event I was not sure I want to do that, but I agreed.

I went through great emotional turmoil during the preparation. When I asked myself why I have so much resistance to sing Yemenite songs, I realized I was terrified of being artistically trapped in a stereotype.

It originated from an experience I had when I was 17 in Israel. I was not accepted to an audition on the ground that I sang Hebrew songs instead of music from my heritage. I was deeply insulted that they did not see me and my abilities, they only saw the fact I was a minority.

 

Galitta's Sound healing

There and then I cut the music of my cultures from my artistic life (Until it popped up in meditation).

I concluded that if I followed my culture I am going to be trapped in a tiny ghetto in the cultural scene of my country, which was looked down on. I didn’t want that at all. Actually, I become terrified of it.

I had to heal that shadow believe.

That day of realization I took Yemenite music to the dance rehearsal room and made peace with it. I let it come through my body, I danced and sang my childhood songs with tears in my eyes, inviting in visualization the disowned part of myself to come home.

Since then the sound of my music started to come together, I feel that there is no more contrast between songs and chants, east and west, old and new, introvert and extrovert.

Galitta
administrator
I started to sing in my crib and perform to audiences since I was 9 years old. I absolutely can’t stop writing, composing, singing, creating, painting and dancing. Self-expression is my lifeline to happiness and I used joy my whole life to bring that to people in my family, my village and every community I ever joined. In my 20’s I built an entertainment business built on those principles. Then I had a crisis. That brought me the shadow world and depth of life and I started investigating: How do we stay happy? I entered the world of healing, shamanism, Kabbalah, sound healing and other eastern and western methods. I had teachers from all around the world and I started to give women circles, workshops and healing sessions. My method of working with the voice as the main tool for self-discovery and self-expression grew to be the central philosophy of creating everything. I identified 36 ways women hide their power and I am passionate about changing that. I am in awe of the power we have in our body, our mind voice and heart and I teach, preach and sing about it in any way I can. I now act as a transformational midwife for people who are ready to take a supported journey to change and happiness and I create tools, like the Sound Journey to aid people like you to hear YOUR own inner voice.

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