Shamanism and Music

Shamanism and music combined thousands of years ago. By observing nature, shamans perceived that the power of sound could be used to help and heal others. The first drums and musical instruments were put to shamanic use, as were many of the early singing traditions. According to Tuvan musicologist Kira Van Deusen, "In a shaman's world music operates in several ways. It helps the shaman and other participants in a ceremony to locate and enter the inner world, opening the inner, spiritual ear and eye. Musical sound calls helping spirits and transports the shaman on the journey. Both the rhythm and the timbre of musical sound help heal the patient through the effects of specific frequencies and musical styles on the human body."(1)

Music is an essential tool in shamanic ritual and healing work. Music is the carrier of the specific intention or desired outcome of the ritual. Music is used to contain the energetic or spiritual aspect of the sacred space, which is defined physically by the assembled people who participate. Dance and song propel the ritual process forward by providing a vehicle for self-expression within the sacred space. Together the musicians create the necessary container that channels the energy generated by the performance in ways that the shaman can guide toward the ritual's intended outcome.
 

Three elements are constantly interacting in communal healing rites: the shaman who guides the flow and pattern of the ritual, the musicians who contain the sacred space, and the gathered people who participate. Interaction between all three elements is necessary to maintain the energy, flow and intention of the ritual.
 

Music is also used to crack open the part of the self that holds emotions in check. For example, in funeral rites among the Dagara people of West Africa, drumming and singing are used to open the mourners to grief. Grief is then channeled in such a way that it will convey the newly deceased soul to the afterlife. Without the help of the drummers, musicians and singers, the powerful emotional energy cannot be unleashed. If not channeled properly, grief is useless to the dead and dangerous to the living. According to Christina Pratt, author of An Encyclopedia of Shamanism, "This musical container of the ritual space must be maintained continuously. The musicians do not rest as long as the ritual continues, though the ritual may last one to four full days."(2)
 

Shamanic Music
 

Shamanic music is traditionally performed as part of a shamanic ritual; however, it is not a musical performance in the normal sense. According to Scottish percussionist Ken Hyder, who has studied with Siberian shamans, "musical considerations are minimal in shamanic performance. The shaman's focus is on the spiritual intention or the energy of what is being played. When the performer concentrates on the spiritual aspect of playing, it allows the music to become very loose, spontaneous, and innovative." Hyder explains, "My approach to music making changed decisively following my experiences in Siberia. For me it starts with the dungur [drum] and the expanded possibilities of variation arising from its superficially apparent instability. And it continues to open up with other musicians being equally free in themselves and in the context of a group. That opening up has the capacity to expand and expand further making the playing fresh, different and spontaneous each time."(3)
 

Shamanic music is improvised by the shaman to modify movement and change while actively journeying into the spirit world. It is a musical expression of the soul, supporting the shamanic flight of the soul. Sacred music is directed more to the spirit world than to an audience. The shaman's attention is directed inwards towards communication with the spirits, rather than outwards to any listeners who might be present.
 

Another way that the shaman expresses their experiences in the spirit world is through their physical movements in this reality. In their journeys, shamans are often flying, running, crouching, stalking and fighting unseen spirits. All of these movements are acted out for all to see in a shamanic performance.
 
A shaman uses various ways of making sounds to communicate with the spirits, as well as relate the tone and content of the inner trance experience in real time. Sound is regarded as one of the most effective ways of establishing connections with the spirit realm, since it travels through space, permeates visual and physical barriers, and conveys information from the unseen world. Shamans may chant, clap their hands, imitate the sounds of birds and animals, or play various instruments. Of particular importance are the shaman's drum and song.
 

Each shaman has his or her own song. It announces the shaman to the spirits and proclaims, "this is me; please help me." The song is usually sung near the beginning of the ritual and is often accompanied by drumming. Singing brings the heartbeat and body into resonance with the song similar to entrainment with the pulse of the drum. As the shaman's song invokes the intended spirits, the shaman comes into resonance with these spirit energies as well.

Shamanic experience can be expressed in many ways: through writing, art, and film, however it must be created after the fact. The one artistic medium which can be used to immediately express shamanic trance without disrupting the quality of the shamanic experience is music. The shaman's use of sound and rhythm is an audible reflection of their inner environment. This is the traditional method for integrating shamanic experience into both physical space and the cultural group.

1. Kira Van Deusen, Singing Story, Healing Drum: Shamans and Storytellers of Turkic Siberia (McGill-Queen's Press, 2005), p 108.
2. Christina Pratt, An Encyclopedia of Shamanism (The Rosen Publishing Group, 2007), p. 128.
3. Ken Hyder, Shamanism and Music in Siberia: Drum and Space. Tech. 11 Aug. 2008. Web. 28 Feb. 2012.