About The Founder Tatiana Blavatsky

From my earliest childhood, my father encouraged me to be a philosopher, a musician, an actress, a director, and a photographer. Most importantly, we grew up understanding that everything around us is made of frequencies, wave frequencies, and that everything can either resonate or not resonate. So from a very young age, I started to realize that balance and resonance within the body are the most important things.

I began rhythmic gymnastics at the age of five and eventually became a junior-level master of sport. Later, I studied ballet. And through all this, my father’s theory—that balance and resonance are fundamental—was with me from the start. When your body is in balance, you can perform very complex movements and exercises. That understanding of balance and resonance as information has been with me since early childhood.

On my mother’s side, I had a grandmother, and often my parents would leave me with my grandmother, Galina Romanovna. Galina Romanovna was also an important figure in my life, because her own grandmother came from a shamanic lineage—she was a Buryat shaman from the area around Lake Baikal.

Those shamanic, magical, and informational rituals—things that I might not have fully understood at the time—added another dimension of magic to my life. I tried to explain them through physics and quantum theories. My father helped me create a collection of stones—colchedans, unusual stones, and what we called ‘devil’s finger,’ a stone whose powder could heal wounds.

Whenever we went to the sea or into the forest, I would pick up unusual stones. I ended up with a whole collection in my room on the second floor of our house—a kind of magical room where I would speak to the stones, to spirits, to trees, and to birds from a very young age. No one knew about this ability of mine. I could even talk to the wind and ask it to change direction or ask the rain to stop.

I was always amazed by this connection—especially in the Bryansk forest where I often gathered mushrooms and berries with my grandparents. Once a month, I even herded cows with my grandfather. Through the forest, through nature, through stones that seemed inanimate, I learned to feel the vibrational essence of things that were, in fact, very much alive in their own way.

Let’s divide my life into periods. The first period was my early childhood, when I worked with my stone collection. I even brought it to exhibitions, and that’s how I became somewhat of an unusual and popular figure at school. Through these stones, I began to feel my own strength. This stone collection gave me a kind of power and recognition. It was a period of gaining popularity through interacting with something invisible—something non-human but soulful. Talking to stones allowed my abilities as a communicator to emerge, and later in adulthood, this evolved into my ability to channel.

And of course, there was the forest. Every year, from early spring to September, I practically lived in the woods at my grandparents’ house. Being in nature, caring for animals like cows and piglets, milking cows, spinning and weaving with my grandmother—all of this shaped my ability to form a kind of telepathic connection with the outside world without words. It was the forest, the animals, the hands-on work, and the natural rhythms that taught me to communicate beyond speech.

The next period came when my father, who was a composer and played both piano and trumpet, taught me musical notation and how to play the piano. At the age of seven, I started attending music school alongside my regular school and rhythmic gymnastics in a sports school. My day began at 5 a.m., and I was busy all day long. This intense schedule shaped my ability to almost ‘jump into’ the reality of composers like Bach, Beethoven, and Tchaikovsky. I loved their biographies, and there were moments when, through their stories, I could feel where that genius, beautiful music came from.

After listening to their melodies and learning about their lives, I discovered my own compositional abilities. I ended up writing more than 120 songs—maybe even more, since I stopped counting. I could simply channel the music through notes and piano, letting it flow and playing whatever came through.

Music expanded my telepathic abilities even further. The next stage of my life began when I was 16 and started working in the theater—first as a makeup artist, then as an actress. I also danced in the performances. From the age of 16, I was on stage acting in all the children’s plays at the theater where I worked, and I intended to become a director.

I had been writing poetry since childhood, and many of my poems were published. It seems I have the ability to transform vibrational structures into musical sequences, into rhythms of poetry, and later on into painting. Throughout my life, I’ve expanded and strengthened this transformative experience, continuously enhancing my ability to turn these vibrations into various forms of art.

But the greatest experiences of magic happened in the forest. There, I could see animals—deer, birds, and even mushrooms. I loved foraging for mushrooms, and often I would talk to them. I would ask, “Where are you, mushroom?” and it would just appear. It was a fascinating experience. We would go deep into the woods with my grandfather, grandmother, and father, walking for hours and many kilometers. My father taught me how to navigate in the forest: if you get lost, the moss on the trees shows north, the sun shows south. All this knowledge made me a citizen of the world. I wasn’t attached to any one place like an address or a kitchen. Instead, the forest and the sea—my father and I loved going to the sea—became my great natural resources that taught me to be a citizen of the world.

Later, I felt not just like a citizen of the planet, but also in tune with the vibrations of galaxies. Now I live in Las Vegas, and I often sleep outdoors in an enclosed, roofless space where I can communicate with the stars and the moon at night. In the mornings and evenings, I can see both sunrise and sunset from my home. At those moments, you can see the moon and the sun at the same time, and it truly becomes a place of magic.

Then, very significant and great people began to appear in my life. One such person was Chögyal Rinpoche. He introduced Tibetan magic into my life. When I arrived at the place where his reservation was, he somehow picked me out from a huge crowd and invited me into his room. In that moment of telepathic communication, we didn’t speak any language— I don’t know Tibetan, and he didn’t know English. We just sat there, and he looked straight into my eyes. I don’t know how long it lasted, but I know that through the telepathic field, information was transmitted.

In all the years that followed, even though Chögyal Rinpoche is no longer physically alive, I can still communicate with him. He can come to me in dreams, and I feel this spiritual help from the quantum world. Almost all of my wishes come true.

Another significant person was Nikolay Orzhak. He taught me how to heal people using sound—specifically the techniques of Tuvan throat singing. For example, we once traveled for nine hours over the Sayan Pass. We got off the train and were told the pass would be closed and that it was impossible to drive through. It’s very narrow, especially in winter, with two meters of snow. If a snowstorm hits, you could be stuck there for weeks, and it would be very dangerous, especially since there were four of us in the car.

Nikolay Orzhak suggested that we go anyway despite the danger. He said we would sing for the entire nine hours and clear away the clouds. So that’s what we did: we sang with throat singing almost the whole way, only stopping once. These practices helped me become a master of sound.

The next significant person in my life was Randy Masters. He opened up the world of sacred geometry to me and continued to help me refine my work with sound. From tuning forks to full-body resonance, he taught me processes that cleanse and heal the body. I trained with him one-on-one, and I also earned a sound healer certification at David Gibson’s Globe Institute, where Randy taught sacred geometry.

It was crucial to have private lessons at Randy’s home. He gave me many initiations and showed me that even if an organ in the body is damaged or missing, you can grow an energetic body for it. He himself plays the piano with a few physical fingers missing, yet with energetic fingers he’s grown, he can play as if he had all of them.

Randy also reopened my memories of past lives. He confirmed that I had lived in Egypt as a priestess. I met people in this life whom I recognized from initiations in the King’s Chamber of the Great Pyramid in Giza, where I once lay in the sarcophagus for five hours. Randy did many sessions with me, and he confirmed that I had indeed lived in Egypt.