The Art of Mediumship by Andy Byng

The Power of the Story

I used to believe it was those in the audience with the greatest need that received communications during demonstrations of mediumship, but I learnt very quickly that it’s actually the people in the spirit world with the greatest need that communicate.

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In fact it’s the spirit person’s ‘will to communicate’, which is fuelled by the love they have for their loved one, that enables the communication to take place. Naturally, each spirit communicator will have certain things they need to impart to their loved ones. A mother in the spirit world may want to communicate with her son not only to help heal his grief and to uplift him, but also to provide enough information that differentiates her from all the other people in the spirit world who could communicate.

When the medium acknowledges that each spirit communicator has particular things they need to impart it then becomes obvious that our purpose as a medium is to allow the spirit person to tell their story, whatever story that may be, in order that the communicator’s needs can be satisfied. Although what I have said may appear to be a truism, it is surprising how many mediums fail to apply this simple idea to their mediumship. Over the years what I have seen time and time again is that some mediums have a tendency to want to express certain sorts of information within a contact – they want road names, full names, occupations, and so on. However, rather than allowing this information to occur naturally within a contact – only communicating it when the spirit person needs to express it – the medium either consciously, subconsciously, or unconsciously attempts to make it happen: they are looking for certain types of information.

Similarly, I often see mediumship that is somewhat formulaic. What I mean by this is that the medium attempts to apply a set structure, or a variation of a set structure, to each contact. For instance, they may start each communicator with a  physical description of the spirit person, then tell us how that person passed away, then describe the personality of the communicator, followed by their occupation, then a name, and so on.

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Although these approaches may work on those rare occasions that the spirit person coincidently wants to communicate that sort of information that the medium is looking for, or when the communicator happens to want to communicate their life story in accordance with the set structure that the medium has imposed on the contact, what happens when the medium forces the narrative of a communication in a direction that the spirit person does not naturally want to take?

The answer is that these two common problems can have a detrimental impact on a medium’s work: the contacts end up feeling like lifeless lists of information; the medium’s mind becomes naturally more prone to either colour the information they have received, or create the information itself; the soul of medium does not blend as adequately with the communicator’s, which will affect the way in which the information is received, and hinder the communicator’s ability to emanate their presence through the medium’s soul. In short, the medium will not be taken on a natural journey with the communicator, which means the contact will become ‘bitty’; it will lack substance and emotion. These two approaches to mediumship do now allow the medium to fully surrender to the power of the spirit communicator.

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During my development, I used to hear this word ‘surrender’ a lot, but I was never really given a clear explanation as to what it really meant. For me the notion of surrender is simple: I acknowledge that each spirit communicator has their own story they need to tell, and then rather than trying to control the direction of the narrative, or purposefully look for certain types of information, I allow the spirit person to communicate to me whatever information they want to communicate.

Furthermore, I am also open to receive the information in whatever way the  spirit world are able to manifest it in that moment, through either the clairsentience, the clairvoyance or the clairaudience. I then trust the first thing I have received, as it will be the most important thing I receive, and the starting point of the communicator’s story, and then allow the spirit person to take me on their journey, which ultimately allows their story to unfold naturally. I allow the communicator to lead the communication, and I follow. Mediumship is, therefore, inherently paradoxical: although the medium has to remain passive, in the sense of allowing the communicator to take control of the direction of the narrative, the medium also has to actively interpret the information they receive.

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Being able to remain perfectly passive, while simultaneously interpreting the information, and thus being an active component in the communication process, is the most difficult aspect of mediumship to master. Indeed, it is the art of mediumship itself. However, when done correctly, it allows the medium’s soul to become a part of the communicator’s soul: the medium becomes the communicator. When this happens, and if medium has placed the emotion at the center of their communication, not only will there be sufficient factual information to create a narrative arch – a vital aspect of every good contact – but it will also enable the presence of the spirit person to emanate from the medium.

When mediumship is at its most sublime, the spirit world becomes almost tangible: not only does the audience feel the presence of the spirit world, but also the life stories of those who have communicated are brought alive. Emotional and factual evidence is perfectly intertwined to create a narrative arch that takes the audience on a journey that allows everybody present to relive the lives of those who have communicated during the demonstration.

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An outstanding demonstration of mediumship, therefore, is much more than getting a list of information correct. The medium has to become a storyteller, an artist: a person who can bring alive those stories that those people in the spirit world needed to communicate.

By placing emotion at the center of the  communication, and by mastering the art of mediumship – the ability to remain simultaneously passive and active in the communication – the medium is able to allow the invisible to become visible. The medium not only fulfills the spirit people’s needs, but, like every artist, allows others a glimpse of the divine.

Born in 1985 in Birmingham, Andy became conscious of his latent mediumistic abilities in 2004 when he met Paul Jacobs, one of the finest international demonstrators and teachers of Mediumship.

Paul has mentored Andy since their first meeting and continues to be a major inspiration and influence.

Andy’s work has taken him across the world reuniting people with their loved ones and teaching others how to realise the potential of their own gifts, Andy is passionate about his work and strives to push boundaries with a sincere, genuine and modern approach, making his work accurate and heart-felt.

Having now completed both his Bachelor’s and Master’s degree in Philosophy and Nineteenth-Century British History, respectively, Andy is now working towards his doctorate, which is focused on Nineteenth-Century Spiritualism.

Andy runs different Mediumship courses and demonstrations all around the globe. He also is available for One-to-One Readings.

For more information please visit

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