I mentioned before that in the summer of 1989 Gerda, who was running a little New Age center, called me up and asked me if I wanted to go on a spiritual tour in Southern England. That is where I met Mia, who was part of the group. On the ferryboat she told me about a shaman she was in contact with, and that it might be good for me to visit him. His name was Joska Soos, he was Hungarian, but had come to Belgium in the forties. Now he was living in Antwerp.
On November 6, 1989 I visited Joska Soos for the first time. It would be a revelation to me. His house was a house in a row, the same as all the other houses, except for the front garden, half-wild but obviously much better growing than those of the neighbors. I guessed it must be the spiritual vibes. The entrance hall was dazzling. His paintings, small and large canvases, were covering all the walls. They were brush painted with what looked like abstract art, but there was something more to it. The paintings immediately demanded my attention. They had another dimension to them. Radiating and alive, they communicated on a level I had never experienced. Joska, who was then in his sixties, saw I was fascinated by his paintings and let me look around.
I asked him what the paintings were about. He explained me that what he paints is light-sound beings, as he sees them with his inner eye. He had his first experience with seeing a light-sound while being in a coal mine. In 1946 he emigrated from Hungary to Belgium. The then socialistic government imposed upon immigrants from East European countries to work five years in the coal mines in order to obtain a permanent visa. When his shift was over and the mine workers left through the three or four kilometers (two to two and a half miles) long shaft to the elevator, he would stay behind and turn off his lamp. Sitting in total darkness he would wait until the next shift came along. Sitting in the coal mine, all alone in total darkness was quite an experience for him. He came into contact with vibrations that change consciousness. One day, a light-sound being, representing Christ in the form of “I am the resurrection, I am life” appeared to him. He was so surprised by it that he did not dare to stay behind anymore for the following weeks, but then he continued his experiences again. Since then he has painted many of those sound-light beings on canvas. These light-sound beings are from other dimensions and he perceives them with his inner eye. They are composed entirely of light and sound, and are found throughout the cosmos. It has been a closely guarded secret among shamans that these beings exist, and it has always been strictly forbidden to talk about them, but because he believes this knowledge will benefit all people, Joska Soos started painting these mysterious, powerful beings, in spite of some angry fellow shamans.
On the second floor we passed through a living room, filled with Buddhist paraphernalia. I was amazed at the antiquity and the size of some of those ritual objects. These were no inky dinky tourist items which nowadays can be found all over the world. These were authentic pre-1959 ritual objects some of them probably being old. He had a copper double dorje that was so big and massive that I could not lift by myself. He showed me a top piece of a human skull, that once had belonged to a lama, and which was adorned with silver and made into a ritual vessel. Joska explained me that the monks would put this skull piece on their head to absorb the spiritual vibrations that the lama once had. Because the vibrations of spiritual advanced lamas is stored into their bones, the Tibetan monks used to make ritual objects out of these bones.
Joska showed me ritual trumpets and malas made of lama bones. You will not find these items in shops, it is probably forbidden anyway (because the bones coming from humans). He got all these items from the Tibetan monks in London. In 1981 he went to London to visit museums. One thing led to another and he wound up at the Karmapa center. He attended the pujas, and sang ritual songs. He noticed that during the pujas one of the lamas was sitting aside and was observing the new comers. One day Joska smiled and the lama understood that Joska knew what the lama was doing. He was invited to a talk about many aspects of Lamaism. They gave him practical instructions, and made him undergo particular initiations. From the monks he learned about the singing bowls they were using in their ceremonies. As Joska intended to start a kind of ashram in Belgium he bought a whole range of their ritual objects. The ashram never realized, so he still had most of it, selling them once in a while to seriously interested people.
Going on to the third floor we came to the tiny room where his shamanizations took place. Joska Soos was a sound initiated shaman. In shamanic circles this is the highest degree of initiation. Knowledge of sound is one of the greatest mysteries of life and creation. In front of the door was a small carpet with the image of a skeleton, a universal symbol of the death of the old, and the rebirth of the new. This room was also stacked with Buddhist ritual objects. Big drums were hanging on the wall to the left, interesting phur-bu’s (ritual daggers) and other items to the right. Joska Soos sat down behind a group of seven metal bowls. He started to drum and sing with guttural sounds. Together with a conch shell, rattle and a singing bowl he invoked the four elements and went into a trance while focusing on my person and the reason why I came here.
When Joska Soos shamanized for a client, he would feel the sound of the person and look into his or her aura. Then he let the images come up into his mind. This can be a color, a light, a mathematical figure, a happening, a landscape, a person and so on. It is an image of the state of mind of the client, in symbolic form. He determines what is wrong and then tunes into the sound that corresponds with the healthy state of that particular problem. No matter how sick one is, the sounds for a healthy state are always present in that person. It is question of finding that sound and to activating it again. This is what Joska did. He tuned into the problem, and found the corresponding healthy sound. This sound started to vibrate within him and then it turned into a mantra. This mantra was given to the client who had to repeat it every day until his situation improves.
He also got people who were unhappy, who had psychological problems by which their emotional life had been disturbed. The origin for these problems he saw in the imbalance between the male and female sides in people. In our culture the male side has been over stressed resulting in a lot of cultural diseases. In these cases he balances the equilibrium on the psychological level. Often a mathematical figure presented itself, like a square, a triangle, a sphere, a star, and in the middle of it a white point representing what he called the sphericity. As everything is sound, the figure translated itself in sound, with which he worked.
Sometimes people came over who had spiritual or metaphysical problems. They realized that life did not bring them happiness and were looking to do something meaningful. It usually happens in their thirties. Joska tried to find their strongest point. They sometimes had to confront their own fears. He always recommended to sing, scream or shout out the fear. Confronting fear is not pleasant, but verbally expressing it is the shortest way to dissolve it. Running away from your fears or being aggressive towards somebody or to yourself is not a solution.
So, I was sitting there, a bit nervous, in front of a real shaman, while he was singing with guttural sounds and shifting his consciousness. I had asked him about the experience I had with the ‘Lady with the Star’. He said that she was the representative of the Eternal Female. The shape of the walls and door opening indicated that I was connected with the ancient Maya culture, where I had incarnated in the past and where I had seen the same Lady, who was then called Orajona (she is considered to be the goddess of the planet Venus). He gave me a mantra of ten sounds (this was for the spiritual experience of the Lady, but also for a problem with my throat I had presented to him). The ten sounds were divided in four and six. Four stood for action and six for union, for connection. He also saw the image if a tadpole, indicating my situation, evolving to become a full-grown frog. The frog itself implicated my past-life membership in a frog cult in South-America, and also referred to Lake Titicaca out of which Orajona once arose. Orajona, as Venus, is the morning star. The mathematical six-pointed star came up into his mind. This star is the seal of Solomon and is connected with the third eye (Ajna chakra). The six pointed star, because of its number, was connected to the second part of the mantra because of its number. Then he saw, with his inner eye, in the far distance a big white, radiating light, the personification of the Goddess, radiating in benevolence, first liberating then constructive. Connected to this was a landscape with hills and with Mayan pyramids and temples.
At the end of the session, I inquired about the metal bowls which, to my surprise, had produced such wonderful sounds. He explained that these ‘singing bowls’ originally were made in Tibet by Buddhist monks. When I asked where I could buy such bowls, he offered those in front of him for sale. “Take what you want” he said. I could not believe that I could actually buy his bowls. “I have more in the back, I will replace them.” Two nicely polished bowls of medium size had really caught my attention, so the choice was not difficult. I have never regretted buying them, they are the best I ever bought.
When I left his house, I literally stepped from one world into another. It was like stepping through the walls of a soap-bubble. Without realizing I had spent the past two hours in another dimension. Stepping outside made me suddenly aware I back into the ‘normal’ world. This was not because I had been in another house. I had really been on a much higher level of consciousness, without realizing it.
If you want to see more of his paintings of light-sound beings, go to my website Soul-Guidance.