3:13
So I have to hold it in my big self as another option for people to come to Reiki. That this is okay and that if Reiki students come to it through a senior citizen class or an adult education class or whatever, that this is okay. That’s the way that they’ve come to Reiki. However I wouldn’t want this to become the only practice or the only way that a master presents Reiki because for me at that point then the master has changed their focus and their priorities about Reiki as a folk-art. And this for me is damaging to the system itself that they are practicing, not just to my system or the system I practice but to the 0413 ähm… 0419 (mumbles) …
4:23
… but to the actual form they themselves received. So that’s one way of putting it. There is another… there are other programs actually, some of which I tried to start myself, that have to do with educating Reiki practitioners. And I use the word practitioner because this is what I would call people who are practice… public practitioners. So differentiating the two, if you’re a folk-art-practitioner then you treat family and friends and the people who come to you for Reiki treatments are usually known by you or they are known by somebody that you know, it’s like that. And often times folk-art-practitioners don’t have a regular set fee, they don’t have an office where you come to, they give treatments in their home or maybe in the other person’s home.
5:31

5:31
If you’re a public practitioner then you take on the responsibility and the kind of practice that any public practitioner of any profession would do, so you have an office, you don’t treat your family and friends unless it’s a special occasion, you treat people “off the street” we say, you have a regular fee structure, you take notes while.. when you do your treatments, so you have a legal notes, you have a locked file and so on and so on and so on. You pay taxes and all of that.
6:13
So I have always dreamed of having a school for public practitioners for this system alone, because I can’t speak or train for other systems because they have other priorities. For me there are always the obvious courses that, you know, people would have to take to be a public practitioner. Because the courses I teach 1st and 2nd degree and the masters’ degree are a folk-art-practice. They are not a public practice. So it’s like business-courses of how to do your accounting, how to register your business in your own state or country, how to trademark if you need to, the title of your clinic or your office, how to … what you need to do to legally take notes, what has to be there, do you have to ask people to sign a disclosure statement and so on…
7:20

4:58
The aspect of tradition keeper is one that’s new and I’m offering two weekends for masters and 2nd degree students who.. to come and talk about what they feel like tradition keeper is for them, how they feel like this role has been developed within our system and in our community. 0522 (räusper) …. (pauses)
5:35
In my mind tradition keeper begins with this understanding that I have had from my master and that is “you don’t change what I’ve given you”. And basically we haven’t, it’s basically the same former practice as I said earlier she taught to different classes and to different students a little bit differently but you can take the basis of that in the way that we teach today. So this is part of tradition keeper and there are some aspects of our tradition that are being challenged these days, oral tradition for instance. I find that all folk-art is taught by oral tradition, acupuncture, Chinese herbs, Shiatsu, Reiki. These.. all these martial arts all these are oral tradition teachings, you have a master, you have somebody you go to in person and that’s how you learn and you learn through doing.
6:53

8:24
And I believe that this is part of the breakdown, in America anyway, of our family structure, is that we count on computers and televisions instead of living oral tradition. And I don’t feel like there’s any replacement for oral tradition, and it is the way that we as human beings learn. So if we’re horrified by the way children relay to each other in the school ground, it’s because they relayed how they have been taught, by television, by video games and by computers and by movies. And we can’t blame the children. So I believe that in our folk-art tradition that it is very important for the good of our society to maintain these traditions. So that’s one example that I can give you and in another year, after contemplating this with other masters and other beings, I assume that I would be able to be more articulate about other aspects of tradition keeper.
09:40