An Essassani Story

Part One: The Storytellers of Essassani

We would like to begin this transmission this day of your time with what we will title as “Essassani Stories.”

In this transmission, we would like to share with you an Essassani story about Essassani storytellers.

We are generally telepathic with each other. Our world would appear to be very quiet because no one is talking, the idea thus of having a telepathic connection, tele-empathic connection with all the people on our planet may still be expressed in very specifically focused ways. Not everyone is connected to everyone consciously all the time in terms of what information they may need to tap into.

It is simply based on the synchronicity of what an individual may need to be telepathically aware of at any given moment that makes them aware and connects them to whatever other individuals or groups in our society are, in a sense, transmitting whatever information they synchronistically need to know at that particular moment.

So in other words, not everyone is listening in to everyone else all the time, even though we are always all connected.

Thus then, the idea, just as on your own world, is that there are specific bits of information that serve specific individuals or groups at specific times and specific timings.

The Role of Storytellers

We have in our world a group of individuals who have chosen to function in much the same way that we have defined the group that I belong to, which are called First Contact Specialists, who are engaged in the idea of initiating and creating dialogues in an ongoing manner—or in the first contact with certain civilizations that eventually may join our Interstellar Alliance.

There are groups of people that we call the Storytellers.

The Storytellers are those that, once contact is made—be it in the manner that we are doing now in this way, or be it that we have established open contact with the world and that they have the opportunity to go, in that sense, physically to visit those civilizations—the Storytellers are those that will take the information gleaned from the stories of any particular civilization and will thus come back to Essassani with those stories firmly embedded in their minds and will thus then provide those stories, those points of view, that information to our society as is needed by any individual within our society according to the synchronistic timing that they need that information.

So these Storytellers perform a very particular function, in a sense as you would say, of downloading and uploading information from a variety of civilizations. They are in that sense very much like the bees on your planet that go and gather honey and allow the hive, in that sense, to partake of what they bring back—sharing and exchanging information from dozens upon dozens of civilizations, learning their stories.

Part Two: Why Stories Matter

Here is the important point: What you also experience on your own world is that information is most often retained most strongly in the form of stories.

If you understand what is called story structure as it is related by the storytellers on your own planet in a variety of fashions and forms, you will understand something very important about story and story structure, and why the telling of stories is one of the most powerful ways to transmit and retain information in your world.

All the things you remember most about information have been told to you in terms of story structure, and that is why you retain it—because it is in story structure.

Why Story Structure Works

Many people talk about the idea of archetypes on your planet, and they recognize that archetypes are symbols that represent certain facets and aspects of your consciousness. And when you tell a story, many times you use many different kinds of archetypes in the telling of that story to represent certain ideas, certain energies.

But the idea is that story structure is itself an archetype. Story structure is embedded in your consciousness, in your physiological personality. When you crystallize your energy into the time-space continuum format, when you construct the physiological mind, the physical ego structure out of the space-time energy, in that sense, when you impose that structure on your consciousness to create physical personality, automatically embedded within that structure is the vibration called story.

It is the innate format in which information is communicated most strongly and retained most strongly by your physical mind, by your ego structure.

This is why, as children, you can never get enough stories—that’s how you learn. “Tell me that story, mother. Tell me that story, father. Tell me that story again. Tell me that story again.” The idea being that you always learn something new, you glean something new, because it is all there in the story structure.

Classic Stories and Resonance

If the story structure of your story matches the story structure that is innately, inherently embedded within your consciousness, then you will pluck all the right chords. The stories that you call lasting, the stories that you call classic, are so because they are matching the story structure in your consciousness. They hit all the right tones, all the right chords, and in that way are automatically embedding themselves through vibration into your consciousness, and you retain them that way.

Those stories that do not incorporate the idea of all of the elements of the natural story structure that is automatically archetypally embedded in your consciousness do not resonate with you. You feel—though you do not necessarily always know how to say it—that somehow it didn’t quite hit you, that something is missing, that it didn’t quite tell the story the way it needed to be told, that you do not identify with it, you do not feel it in your heart, your mind, your spirit, your soul. You do not feel it in your bones.

Communication Through Story

The idea thus is that if you will understand and learn what story structure is and how it is represented archetypally in your consciousness automatically, then when you communicate with others, those things that you believe and feel are most importantly representative of who and what you are and what your excitement is all about—finding a way to communicate the idea not in dry facts but in the idea of telling of the story of who and what you are—telling the story that excites you will always be the way to garner the interest of others, because you will be playing that tune, you will be striking those chords, hitting those harmonics that resonate within their consciousness in the story structure that is already embedded within their personality structure.

Learning to communicate with each other in the form of story—be it the idea that it appears that way obviously, or be it that it is more cleverly embedded in the way you communicate—doesn’t matter. It doesn’t even have to be in the order that you typically think it needs to be, as long as it contains all the elements and strikes the right chords at the right time.

Become Storytellers

The idea is that if you learn to communicate who and what you are in that format more and more, you will find that your communications will be in that sense more clearly heard. Doesn’t always mean that individuals must in that sense match the vibration of your story—doesn’t mean that your story always has to be compatible with others—but the idea is that you will more clearly explain what the story is that you are living, what the story is that you are all about, what the story is that you desire to experience in your world.

Become storytellers—tellers of the story that is your story. The story of your world, the story of your culture, the story of your individuality, the story of your explorations and experiences. Finding, learning, understanding story will allow you to become the kinds of communicators that will begin to spread those stories around your world.

Stories Between Nations and Cultures

Look at the ideas: when you share information between nations on your planet, you are telling stories of your culture, stories of your nations, stories of your experience, so that other individuals may be inspired. You are listening to stories from other cultures so that you may be inspired, so that you may inspire each other to learn new stories, to tell new stories, to create new stories—new adventures, new understandings, new experiences—and create your world to be a completely, completely, completely unfolding story of ecstatic exploration.

Look even to your language to understand the idea, for even in those stories you have experienced in what you call your space-time framework that you refer to as the past, you refer to it as “his story”—history. “Her story” as well, if you wish. But look at you—automatically, instinctively—you have embedded the word “story” in the idea of all that you have experienced. It is a story. It is told as a story, and that’s why you connect to it, why you remember it, why you relate to it.

The Essassani Storyteller Role Explained

On our world, the Storytellers will go, as we say, to many different civilizations, allowing the idea of the experiences in those civilizations—which may be similar to ours—to be absorbed, allowing the experiences which may be very different than ours to be absorbed. But in this way, obviously, thus translated into archetypal symbols that are germane for our civilization.

In much the same way that in communicating what is going on with our civilization to your civilization, and in communicating what is going on in your civilization to our civilization, there are symbologies that are used—archetypal symbologies—to allow for a translation to occur. Because many things that occur in our world and other worlds do not relate to yours; many things that happen in your world certainly do not relate to other worlds.

And so there must always be the translation, which is always part of the telling of the story—learning how to tell a story in ways that will relate to a number of different ways of translation, giving the idea of the vibration of an overall story, using the archetypal template, hitting the right chords, will allow you to tell the story in a manner that another person will automatically be capable of translating into the language they understand.

Universal Story Structure

Because the story structure is universal, so even though you may be utilizing certain archetypal forms that are specific to your culture to tell a story to another culture, if you hit the right chords and tell that story in the proper story structure, the other culture will basically get the understanding, get the gist of your story, even though some of the archetypal symbols within the story may be very foreign or alien to them. But they will understand the essence of the story, and thus they will be capable of telling that story again in a number of different ways, allowing the proper archetypal symbols that are different for each culture to take their place in that culture, in whatever culture is listening to the story, so that the translation can be understood.

So in all the things that we have said about our culture to you, we are always allowing the translation to occur through the channel’s brain with the vocabulary that he was raised to understand, to pick the subjects, pick the words, pick the terms, pick the definitions that most closely relate to the ideas that we are transmitting—because we are transmitting them according to the idea of the story structure that is common to both of our realities, to both of our civilizations, to any structure of consciousness that embeds itself in the idea or understanding of physical reality at all, or can relate to physical reality in any way, shape, or form—they’ll understand the idea of story structure.

Spirit Form and Story

Now of course, as we have said, in spirit form, in non-physical realities, the idea of time and space is very different, the idea of focus of consciousness is very different. Nevertheless, the idea of story structure to some degree even holds sway there, because the idea is that they create their own time frame. Yes, they may do things in a completely different order than you do, yes, but again, as long as those vibrations are had, as long as those chords are plucked, as long as the resonance of the story structure is there, they will relate to it, because this permeates many different kinds of levels.

The idea really is that the entirety of creation is a story. It is embedded in All-That-Is, and all things and all cultures and all dimensions and all beings are a story that All That Is is telling to itself. You are the story unfolding of All That Is.

On that scale, you are a story. On your own level, you are a story. On many levels in between, there are stories—stories all the way up and down the framework of existence, even to those dimensions that you would consider existing so far below in density, so far below in vibration—there are still stories. They may be heard differently, they may be experienced differently, but there are still stories, and information is still communicated using the story structure of consciousness as it relates to that specific realm or dimension of experience.

So become storytellers—learn what that’s all about.

Essassani Culture and Our Connection

On our world, as has been explained in our ancient language called Essassani—“place of the people,” “place of living light”—the Sani people, “living light,” is the translation.

We understand that our story is different than yours in many ways and similar in other ways, in that we are a hybrid civilization created out of your civilization and another culture from a parallel reality that you have referred to as the Grays, there being five hybrid civilizations, of which we are one.

The idea thus then is that we have our own stories and different kinds of experiences—some again different and similar to your own—but primarily where we share most strongly is in the concept of the stories of family, because we are connected to you. You are our family in many different ways, and so we communicate to you along the lines of understanding that we are family.

We also understand the commonality between us as creators—that we are inventors, we are creators, we are beings who experience the concept of joy and love and ecstasy just as you can as well, and even more than you do already.

Stories of Fear vs. Stories of Light

But we do not have stories of fear in our world that you may have in your world. We know that fear exists, we know the choice exists, but we simply choose other stories. It is up to you also to learn to choose other stories other than fearful ones, if that is what you prefer.

You will never lose your understanding, you will never lose your ability to choose the idea of fear. You will always find actually more and more ability to choose fear; you will always become more aware of the negative side as you expand the positive, because as you become more of who you are, you become more aware of all possible choices.

So the idea is not that fear goes away as a choice—it is simply that the experience of fear is not chosen. That you choose stories that are relevant to the idea of your acknowledgement of yourself as a being of light, your acknowledgement of yourself as an aspect of creation, and the way that resonates most strongly with the vibration of your preference in the moment.

The Now and Story Creation

As you choose to exist in every moment that you choose to exist from a different perspective of the same moment—because it is all one moment, it is all now—every now that you experience is simply the same now from a different point of view, and you tell yourself a different story. And as you tell yourself a story, you create the shifts of different parallel reality experiences that you have. As you tell yourself a story, you create the experience of the shift that you go through from parallel reality to parallel reality.

You are designing your experience based on the story you tell yourself that is most true for you, on the story you relate to most strongly with your belief systems. So if you do not prefer the story you are experiencing, then tell yourselves a different story.

“Tell me another story, mother. Tell me another story, father.”

Happily ever after. Tell yourself that story—happily now, happily ever after.

You will have your challenges, for what is a story without challenges? Because that is one of the resonant points of storytelling—there must be a challenge and there must be transformation. And that is all right, because in telling yourself the story that way, you will tell yourself the story that allows you to know that you have the ability to transform the challenge into something that expands your story, something that works for you, something that resonates most closely with who it is you believe yourself to be.

Tell yourself the story that you know is true for you. Be the storyteller to yourself, just as All That Is is telling itself the story of all that it is through all of you, through all of us, through all beings in creation.

It is telling itself the story of who and what it is through all the different perspectives it has created itself to be, through all the aspects, all the pieces, all the stories—an infinite, infinite, infinite array of stories is what All That Is is made of. It is one giant experience of a multitude—an infinite multitude of stories and perspectives about itself, thus experiencing itself in all the ways, in all the stories that it can.

Existence is one big story that goes on and on and on and never ends.

You can decide what aspect of that story you get to experience yourself to be. Tell yourself the story you prefer to be, for you are an unfolding story—always, always, always, and forever now.

Then on our world, we also relate to many different levels of our planet in that sense—what you call the idea of the beings that are like us and the beings that are not: the animal beings, the tree beings, the rock beings, the star beings, the energy beings—all the different kinds of beings.

Even as many indigenous cultures on your planet relate to these things as people, relate to these realms, these dimensions, these worlds as their own stories—different kinds of stories—but you can share their stories as well, and the story structure will work for them as well.

So when you allow yourself to really understand and learn and master story structure, being that it is again archetypally embedded in your consciousness, you will realize it is archetypally embedded in the consciousness of all the other kinds of beings on your planet as well. So that when you share information or wish to learn information from them, if you approach them through the idea of “tell me a story” or “let me tell you a story,” and learn the idea of how to communicate through story structure, it will be easier for you to understand the stories of many other beings as well.

This is the innate template of communication—story structure is what it’s called on your planet. It is the innate template of communication.

The Ship’s Translation Template

Let me give you an example also of how this template works in translation in a variety of different ways.

Many of you know that when we are conducting these kinds of channelings, these kinds of transmissions to your world, we are engaged with the intelligence of what is called our ships—our computers on the ships, which are self-aware beings and actually are extensions of our own consciousness. A ship in a sense—a spaceship for us—in a sense is a crystallized form of our own higher mind, and we are constantly in communion with it.

In communicating these ideas to you, the sentence as follows—this is the template in the way the ship understands this concept using story structure:

Planetary symbol / linguistic temporal archetypal / idiomatic interactive communication / planetary symbol / linguistic temporal archetypal / interactive idiomatic communication

That is our ship’s way of saying: “Your world is getting smaller every day.”

Planetary symbol = your world Linguistic idiomatic = an idiom from your own language to represent Archetypal interactivity in a temporal fashion = your world, in your language idiomatically, is getting smaller every day Interactivity is increasing and accelerating

But that phrase is how our ship translates that story structure using the template in its most raw form, because that’s all the ship needs to do. There are not the nuances of culture for the ship—the ship is just a raw template format of communication of the raw story structure in its most simplistic archetypal formats, as far as the ship understands.

But this is the process that is going on in us transmitting these communications through that template of the ship through the story structure our own society understands—that our ship uses to translate into the idiomatic phrasing that makes sense and resonates within the channel’s consciousness to bring up the translations necessary for this communication.

So it gives you a little bit of understanding of the different kinds of translation processes that go on but still work to tell the story, even though it may seem very alien and very foreign to you to hear it in the raw template form and not really translate in that form to you. It automatically, using that template, automatically in a sense pulls through and from the channel the idea of the appropriate terminologies that are idiomatically representative in your culture to represent what it is we are transmitting from ours. Because if we were to simply transmit it in direct form as we understand it, the communication would be too alien for you to understand—it would not translate into your language in a way that would make sense, as we have just demonstrated with the raw, in a sense, template form.

So this gives you a demonstration of how these translations occur in these transmissions and why sometimes it takes a little time, in your terms of time, for channeling to be something that is, shall we say, improved upon and practiced. So that bit by bit, as the channel allows themselves to relax into the story structure of their being, we can pluck the necessary chords more quickly, more automatically, more effortlessly, to allow the idea of the template to bring forth from the channel exactly what needs to be said more and more fluidly and fluently every single time the channel allows such things to come through.

Questions

Supporting Children in Education

Asker: I wanted to know how we can support children in helping this planet progress and evolve, as we have just discussed.

Bashar: This is very relevant. The idea is that more and more of what you call the education on your planet comes in the form of interactive storytelling.

The more that you can dispense information that they need to be guided in life through the idea of allowing them to experience interactive stories—physically act them out, immerse them in actual interactive stories that the teachers have created, and let them live out those stories and face the challenges in those stories and actually come up with solutions to the challenges in an interactive, live way in those stories—the more they will learn.

If you design the stories according to what interests them, what excites them—this is very key in terms of the idea of education and guidance for children on any planet in that sense—that they be allowed to express what it is that excites them, what their story is, what format they need to hear the story in, so that the story can be told in a manner that they can understand, that they will resonate to. And in creating actual interactive stories that they can play out—which is why children play, by the way—then they will learn, they will problem-solve, they will create solutions creatively that will allow them to incorporate all the knowledge that they need to guide them in their lives as they unfold and expand into what you call maturity or adulthood.

Asker: It does. So what is your story relative to this?

Bashar: Well, right now I work with them in an educational setting in a school—public school—yeah.

Asker: And unfortunately, up until this time—

Bashar: Yes. The people who make the decisions have been more focused on money rather than the best interest. And so what does that got to do with your ability to tell stories in the way that you prefer to? What’s your story here? Are you telling yourself that you don’t have the ability to do it in the way you prefer? Are you telling yourself that story? What story are you telling of yourself?

Asker: I am telling a story of myself that says I am at the mercy of those that are not compatible with my story. That’s the story I’m telling myself. I would prefer to tell myself another story, but I haven’t done so yet.

Bashar: What story would you prefer to tell yourself?

Asker: I want to see the new system of education start to evolve.

Bashar: But I beg your pardon—it is evolving right now. You want to be the new system? Yes. Because when you say “I want to see it,” there is still some definition within your storytelling that says that’s one step removed from your ability to actually be the story. Right. Because sometimes in the current system, one may feel restrained from being, but that’s only because you’re telling yourself a restraining story. Tell yourself a story of freedom and creativity, and you will not experience restraint. You will allow yourself to attract into your story the opportunities, situations, circumstances synchronistically that will allow you, by using your imagination, to create your own way of telling, your own way of teaching, your own way of story construction.

Whatever excites you, maybe you need to start your own school. Have you thought about that? Somewhat. Well, is that not part of your story? Or can you not join a school that is more in keeping with the story that you would like to be telling? It’s possible.

Well then, why don’t you? What story are you telling yourself that prevents you from telling the story you prefer then?

Asker: I need more clarity about what that school would look like.

Bashar: That’s why you have an imagination. Yes, I agree. Well, how are you going to teach children if you can’t even teach yourself? Yes, yes—use your imagination to come up with what excites you and act on it to the best of your ability, knowing that you will attract what you need to allow you to fulfill that imagination.

Don’t put the expectation that the visualization that your physical mind has come up with must come out to fruition in exactly the way your physical mind has imagined. Use the visualization as a template, as a symbol, to create the feeling, the experience, the vibrational state of that story, of that reality, and let the higher mind bring you the elements that really need to be there to pluck the right chords in the story, so that the higher mind will bring you a story even grander than your physical mind has been capable of imagining.

But use what the physical mind has been capable of imagining to simply get the ball rolling, to act as a template, to act as a symbol, to get you in the proper state of being to allow the higher mind to deliver what needs to be delivered—because remember, you cannot perceive what you’re not the vibration of first. So getting the right vibration of being the storyteller you prefer to be, and the higher mind will tell you the story through your imagination conduit. That’s what imagination is—it’s the conduit of communication between your higher mind and your physical mind, and higher mind always communicates through that imaginary conduit in the form of story structure.

Let it resonate within you—that’s the visualization that you get. The representation of the visualization the physical mind conjures up is the representation of the story coming from the higher mind in story structure. So see the ideal story in your mind’s eye, behave like you see the version of you in that story behaving, and tell yourself that story. Make that story true for you. Make it your story.

Bashar: Is our story coming across to your story? Yes. Is this something that you feel bold enough to do? Of course.

Thus then, is there any other impediment, challenge, or obstacle you’ve created in your story that you use to prevent yourself from moving ahead in that story?

Asker: It’s not clear to me at this point.

Bashar: It does not need to be clear. You know why?

Asker: Um, tell me please.

Bashar: It is important to remember all the principles at once, for that will give you understanding.

So the idea is that it is important for you now in your story to remember that excitement is a self-contained kit. It is the driving engine and the organizing principle, and therefore you don’t always need to know what it is that you may need to change right now.

If you are willing to act on your excitement and tell yourself the story that is truly you by simply moving forward in that excitement, by simply moving forward in that story, if there is anything you need to be aware of that needs changing, any challenge that you need to be aware of, any belief that you need to be aware of that requires your attention—moving forward in the story will bring you to that story point automatically, and you will then face it when that story point comes up. So you don’t need to know it now, but you will find it on your journey if you move forward in your story.

Asker: Is there anything else I or we can do to help children in a one-to-one or small group setting? You mentioned the storytelling and having them acted out and live it themselves.

Bashar: Yes, create a story, have them act it out, and find out from them what excites them, so that you’re telling them the story—or letting them change the story—in a manner that applies to what excites them for their story. This requires creativity and imagination on your part and their part, and working together to create the story that inspires them.

Asking them questions: “How would you solve this? How would you imagine the consequences of this action might play out?” So they will understand the nature of action and consequence and experience and choice. Let them invent the story with you.

You understand? Yes. Storytelling is not just from me to you—it is a co-creation. Invent the story together. Even as these ideas, these exchanges, these interactions right now—as we have said, if you will remember—are creating a new third story. Not just our story, not just your story—a new story that contains us both. We’re creating a new story together. That’s what we’re doing in these interactions.

So with your children, create a new story together of what is possible. Teach them how to apply the idea of the story in their reality.

Does that help? Yes. Does that answer your question? It does.

Do you have a new story now?

Asker: I know hesitation usually means no, but—

Bashar: Does your story contain the idea of hesitation at times? All right, let that be all right. But are you willing to move forward in your story? Do you have a better idea of how to do so now that we have had this story discussion?

Asker: Yes, I do.