What is the Access Facelift?

Now what is this? Well, basically it’s a way of energetically beginning to undo the ravages of aging, so that you can start to have a face in which you appear younger and more vibrant. With changing the face, it also usually changes your points of view.

The end result is you look different, you act different, you talk different and things can change. This first position is about putting your hand on the person’s chest because gravity is what creates the place where the face begins to sag. So what you’re doing here is essentially reversing the effects of gravity on the upper body.

I just do them, it becomes automatic after a while. Pretty soon you just become that energy, and it’s not a thought process, you do. What this tends to do is start to actually move the area around the ears and around the back of the neck, as well as the front of the neck and the chin; actually activating the muscle structure in the face which begins to become less dynamic as you get older.

What is the Access Facelift?
What is the Access Facelift?

You want to try and work on all the wrinkles in the forehead, but the hair is also part of what creates a space for the face to actually be relaxed. So I’ve begun. I’m introducing these energies, which are the Facelift energies which you’ll see in your manual and learn to know. There’s so many different energies in the facelift, so we’re working with all of the different systems of the body; in the body, around the body, through the body and in the universe. So traditionally when I started learning the facelift, we start at the chest. I almost feel like I can’t touch his chest today, it would be too invasive to his body.

So what feels better and easier is out here. It feels easier to me. The more comfortable I am, the more accurately I know I’m addressing the energy. Thank you so much for participating in this class and finding out what is actually possible for you that’s available for you, when working with bodies and working with faces and working with people.


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