Taking the Shamanic Journey

An excerpt from my book, Shamanic Journeys: An Anthology

 

Shamanism is based on the principle that the spiritual world may be contacted through the inner senses in ecstatic trance. Basically, shamanic journeying is a way of communicating with your inner or spirit self and retrieving information. Your inner self is in constant communication with all aspects of your environment, seen and unseen. You need only journey within to find answers to your questions. You should have a question or objective in mind from the start. Shamanic journeying may be undertaken for purposes of divination, for personal healing, to meet one's power animal or spirit guide, or for any number of other reasons. After the journey, you must then interpret the meaning of your trance experience.
 
When we journey within, we are engaging the imaginal realm. Imagination is our portal to the spirit world. Internal imagery enables us to perceive and connect with the inner realms. If a shaman wants to retrieve information or a lost guardian spirit, "imagining what to look for" is the first step in achieving any result. According to C. Michael Smith, author of Jung and Shamanism in Dialogue, "The shaman's journey employs the imagination, and the use of myth as inner map gives the shaman a way of imagining non-ordinary reality, so that he or she may move about intentionally in it."(1) By consciously interacting with the inner imagery, the shaman is able to communicate with spirit guides and power animals.
 

Communication in non-ordinary reality is characteristically archetypal, nonverbal and nonlinear in nature. The images we see during a shamanic journey have a universal, archetypical quality. Imagery from these experiences is a combination of our imagination and information conveyed to us by the spirits. Our imagination gives the journey a "container," which helps us to understand the messages we receive. It provides us with a way to understand and articulate the experience for ourselves and to others.
 

The Journey Process
 

To enter a trance state and support your journey, you will need a drum or a shamanic drumming recording. Shamanic drumming is drumming for the purpose of shamanic journeying. A good shamanic drumming recording should be pulsed at around three to four beats per second. There should be a call back signal near the end of the track, followed by a short period of drumming to assist you in refocusing your awareness back to your physical body. You may also rattle, chant or sing to induce trance. There is no right or wrong way to journey. Be innovative and try different ways of journeying. Many people need to move, dance or sing their journeys. My first journeys were supported by listening to a shamanic drumming recording, but now I have much stronger journeys when I drum for myself.
 

Another way to train yourself to focus and concentrate is to narrate your journey as you are experiencing it. To set this up, you need headphones to listen to the drumming recording and a recorder of some kind. The simultaneous narration and recording technique can be distracting at first, but it is a good way to make sure you are getting all the information your helping spirits are giving you.
 
For your first journeys, I recommend traveling to the Lower World using the technique taught by the late Michael Harner. Founder of The Foundation for Shamanic Studies, Harner was widely acknowledged as the world's foremost authority on experiential and practical shamanism. In his book, The Way of the Shaman, Harner suggests that you visualize an opening into the Earth that you remember from sometime in your life. The entrance could be an animal burrow, hollow tree stump, cave, and so on. When the journey begins, you will go down the hole and a tunnel will appear. The tunnel often appears ribbed and may bend or spiral around. This tunnel-like imagery is related to the central axis that links the three inner planes of consciousness. Enter the tunnel and you will emerge into the Lower World, the realm of power animals, spirit guides and ancestral spirits. It is an Earth-like dimension where we can connect with helping spirits. The basic steps for a journey to the Lower World are as follows:
 

1. Smudge to create a purified space, and then open sacred space by calling in the benevolent powers of the seven directions: East, South, West, North, Up, Down and Within. Dim the lights and sit erect in a chair or on the floor. Close your eyes and ground yourself with some mindful breathing until you are calm and relaxed.
 

2. Having established sacred space, it is important to form your intention or objective for the journey. It is best to have only one inquiry or question per journey. It is important to focus on the issue that you want to know more about. Focusing on an issue develops a receptive state of mind and helps you clarify what it is you are truly seeking.
 

3. After clarifying the intended objective, begin playing a repetitive rhythm that begins slowly, and then gradually builds in intensity to a steady tempo of three to four beats per second (or listen to your shamanic drumming recording). As the drumming begins, close your eyes and focus a moment on the inquiry free of any distractions, emotions or attachments that could distort the response.
 

4. Next, you should clear your mind of everything. Focused intent, to be effective, should be followed by complete surrender and detachment. Focus your attention on the sound of the drum, thereby stilling the mind. Allow the drum to empty you. Become one with the drum.
 

5. At this point, you may find it helpful to imagine with all your senses the entrance to a cave, an opening in the Earth, or a hollow tree trunk that you have seen or visited. Use an image that you are comfortable with and one that you can clearly visualize. Clear your mind of everything but this image.
 

6. Approach the entrance or opening and enter it. You may have to pass through some swirling energy, water or fog in order to enter the portal. Typically, you will meet an entity here that will act as your spirit guide. It may appear to you as an animal, a person, a light, a voice, or have no discernible form at all. If you are uncomfortable or put off by whatever appears, ask it to take another form. It is important that you see, feel, hear, or in some way sense the presence of an ally that you trust and feel at ease with before proceeding with your first journey. If you do not, then return through the entrance and journey another time.
 

7. Pose your query to the guide. Your spirit guide may simply answer your question, but most likely will lead you on a journey. Your guide may become your mount for the journey. Follow your guide's instructions implicitly. If asked to leave, do so at once. Typically, you will proceed down a tunnel at a rapid pace. If you encounter an obstacle, just go over or around it, or look for an opening through it.
 

8. When you emerge from the passage, you will find yourself in the Lower World. You may be led to a helping spirit that can answer your question. You may go through different landscapes and experience different situations. The possibilities are endless. Just go with the flow and observe whatever happens without trying to analyze anything.
 

9. When it feels appropriate, gradually slow the tempo of your drumming and retrace your steps back. To achieve this, simply do your journey in reverse. There is no need to rush, and it is not critical that you retrace your route precisely. The reason for retracing your steps is to help you remember the route so that in subsequent journeys you will be able to travel to and from the Lower World with greater ease and efficiency. Upon your return to the entrance, thank your guide, emerge from the opening and return to your body.
 

10. Once you have returned to ordinary reality, end your drum journey with four strong beats to signal that the sacred time of focus is ended. If you are listening to a shamanic drumming recording, most recordings have a similar call back signal near the end of the track to indicate that you should return to ordinary reality. If for any reason you want to come back before the call back, just retrace your steps back. Sit quietly for a few moments, and then open your eyes.
 

It would be advisable to record your journey in a journal as soon as you have returned to ordinary reality. Journeys, like dreams, tend to fade quickly from conscious awareness. Very little may happen on your first journeys. You may only experience darkness. When this happens, simply try again at a different time. Shamanic journey work is a learned skill that improves with practice. The key is to practice and to establish a long-term relationship with your spirit guides.

1. C. Michael Smith, Jung and Shamanism in Dialogue (New York: Paulist Press, 1997) p 16.

Life is a Walking

A Native American elder talks about the Sacred Gift of Choice, given to all the Two-Legged Beings:
 

"I am Good Buffalo Eagle. Hear my words.
 

The Creator gave all Two-Legged beings a sacred gift. We call this the Gift of Choice. Regardless of where we are born, all come to earth with this gift. Along with this Gift of Choice, all Two-Legged beings have a sense of knowing right from wrong from the One Who Stands Within. Therefore, the Gift of Choice allows us to choose knowingly.
 

My Pauline, the Woman of my Heart, states that in her Navajo language, life is a walking, a journey. So, if life upon Mother Earth is a journey, there are two ways to walk.
 

By applying the Gift of Choice, we can choose to walk forward or we can choose to walk backward. Because we choose knowingly, with every step we take forward or backward, we are accountable.
 

Because we are accountable, there are consequences. Consequences, however, are not chosen. They might be delayed, but by and by they will come.
 

Forward Walking choices are rewarded with consequences that light the way to peace, happiness, joy, comfort, knowledge, and wisdom. Backward Walking choices bring to the Two-Legged beings consequences of misery, despair, and darkness.
 

At the end of our lives, when our bodies are about to be laid in Mother Earth, we will know for ourselves whether we are a Two-Legged being full of light or a Two-Legged being full of darkness. At that time, we cannot turn around and point a finger accusingly in the air. We will know because We are the ones who chose to walk forward toward the light or backward toward darkness.
 

Hear my words. Don't believe the dark whisperings that invite you to walk backward. At any time in your life, you have the power to turn forward. No matter how young or old you are, you have the power to turn and walk forward.
 

We extend an invitation to all to utilize the power of the Gift of Choice, which will teach us the Forward Walkings that will bring peace. Let's look at the present and with anticipation into the future at what we can become -- a Two-Legged being full of light!
 

I am Good Buffalo Eagle and I have spoken."
 

An excerpt from the book The Seven Paths: Changing One's Way of Walking in the World.

The Many Lives of Mongolian Shamanism

The following is excerpted from Sky Shamans of Mongolia: Meetings with Remarkable Healers by Kevin Turner.
 

For thousands of years, Mongolia has been a nexus of Eurasian shamanisms that competed, mixed, and meshed across our planet's largest continent. Shamanism appears to have emerged with the very dawn of human consciousness, but archeologists can probably speak with confidence about only the past 30,000 to 70,000 years.
 

Archeological discoveries in Eurasia alone indicate that the practice of shamanism reaches back at least to 35,000 BCE, easily making shamanism the oldest spiritual practice known to mankind. Modern religious faiths such as Buddhism and Christianity are toddlers in comparison, and psychology is a mere newborn.
 

The word shaman originated from the Tungusic tribal language groups (from areas to the north and east of Mongolia), which are related to Mongolic languages. These are both part of the broader Altaic language group, which includes Turkic, Manchurian, and scores of other Inner Asian and Siberian languages, and may include Korean and Japanese at the easternmost reach. The modern term "shaman" has now been adopted by many as a catch-all word to describe those who by spiritual means seek direct access to information and healing power not ordinarily available.
 

The nomadic northern Siberian shamanic traditions tend to retain the highly individualistic aspects of shamanism; by contrast, a most interesting facet of Mongolian and Inner Asian shamanism is the amalgamation of the shamans' direct experiences of other realities with a religious belief system known as Tengerism (Heaven or Sky God-ism). Tengerism originated in Sumeria, one of humanity's earliest civilizations, and probably derived from the early experiences of the shamans, prophets, and mystics of pre-Mesopotamian eras.
 

The modern Mongolian term Tenger (or Tengri), meaning both "sky realms" and "sky spirits," almost certainly derives from the Sumerian word Dingir, also meaning both "sky realm(s)" and "deity(-ies)." The concept of divinity in Sumerian was closely associated with the heavens, evident from the shared cuneiform sign for both heaven and sky, and from the fact that its earliest form is a star shape. The name of every deity in Sumerian is prefixed by a star symbol. 

 

Mircea Eliade proposed that Tengrism may be the closest thing we have found to a reconstructed proto-Indo-European religion. It is also evident that Tengrism's three-layered worldview is nearly identical to the tripartite world found in many kinds of shamanism, as well as the Vedic triloka ("three realms") world structure.
 

In Mongolian, one who travels the realms of the Tengers is called a Tengeri--"sky-dweller; sky-walker." I like to think that Luke Skywalker, the young warrior-shaman Jedi knight of the fictional Star Wars films, may have inherited his name from this tradition. Interestingly, the BBC reports that in censuses taken in 2001 regarding spiritual beliefs, hundreds of thousands of people selected "Jediism" as their faith of choice--such is the power of shamanism even in our modern myths and legends.
 

The earliest authenticated records of Mongolian shamanism go back to the beginnings of the Hunnu Dynasty, 209-93 CE (also known as the Xiongnu in Chinese records). Mongolian legend tells us that, during this time, a nine-year-old Hunnu boy united with a she-wolf, engendering the modern-day Mongolian people. The headdress of a shaman (circa 300–100 BCE) was found in one of the graves of Noin-Ula (Mongolian: Noyon uulyn bulsh) in northern Mongolia, and is strikingly similar to the Mongol Darkhad headdress of today. The fabric's colors, weaving methods, and embroidery are also similar to those found in fabric produced by Scythians in the Greek colonies on the Black Sea coast, leading scholars to draw links between these ancient cultures. (Scythian tribal areas were just west of Mongolian territories.)
 

According to historian and researcher Otgony Purev, shamans played an important role in diplomatic efforts and treaties with neighboring nations. The Hunnu emperors even constructed permanent shamanic shrines, and encouraged individual shamans to synthesize their diverse practices into a national religion. "Shamanist religion" then became part of the organizational basis of governmental and military activity.
 

Shamanism became the main source of education and ideology for the earliest pre-Mongol states. This continued for nearly 400 years, and ties to education remain influential in the Mongolian shamanic revival even today. With the disintegration of the Hunnu Dynasty, institutionalized shamanism returned to its more natural, individualistic and autonomous forms across a series of disparate Inner Asian kingdoms that spanned a millennium.

Meeting My Shamanic Teacher

An excerpt from my memoir, Riding Spirit Horse: A Journey into Shamanism.
 

In November of 1988, my wife and I sold our home in Bend, Oregon and moved to Sedona, Arizona. I was on a spiritual quest, and my wife was a reluctant companion. At that time, Sedona was becoming known as a spiritual mecca, attracting pilgrims from around the world. I was one of those pilgrims. My artistic wife found work in one of Sedona's well known art galleries, and I found work as a bartender at a Sedona racquet club. Art and tennis funded our spiritual quests.
 

After several relatively uneventful months in Sedona, I finally had a profound shamanic experience. I attended my first shamanic drumming circle a few blocks from our apartment. I had picked up an event flyer in a neighborhood metaphysical bookstore which read:

 

"Shamanic Drumming Circle. Jade Grigori is a traditional shaman of Mongolian ancestry. In keeping with his intent to make accessible to all peoples, regardless of blood line, the knowledge and practice of 'The Ways' of Shamanism, he is calling forth a drum circle. Those of the community seeking to join together with others of like heart-beat in learning and experiencing the empowerment and filling of the light-body through shamanic drum ways, are invited to participate. Tuesday Nights, 7 p.m. to 9 p.m."
 

When I arrived at the host's house, I joined about 15 people sitting casually in a circle around the perimeter of the living room floor. Some people had drums and others did not. Most of the furniture had been removed to accommodate a large gathering. Two of the participants were percussionists who were giving a performance at a local venue after the drum circle. They brought a wide assortment of frame and ethnic drums. They passed instruments around the circle so that each person had a drum if they chose to play. I received a rawhide frame drum and beater as it came round the circle to me. I had never played a frame drum before. It was a very eclectic mix of people and rhythm instruments. I came to know a few of these participants very well in the months to come.
 

After our host introduced Jade, the elder shaman entered the room and sat down in our circle. His long hair was braided in a ponytail and he wore a deerskin jacket and a red headband. He carried a double-sided frame drum and a large medicine bundle. Jade laid down his drum and opened the leather bundle, removing feathers and ritual objects. He then lit a charcoal disc in an incense burner. In the darkened room, I could see blue sparks dance off of the charcoal as the sacred fire came to life. Jade sprinkled herbs on the burning charcoal and began smudging his sacred objects with three eagle feathers, fanning the smoke outward into the entire space. Smudging is the burning of herbs or incense for cleansing, purification and protection of sacred space.
 

Double-headed drums
 

Jade explained that a double-headed drum is preferred by some shamans for it constitutes a microcosm of the Universe, unites the masculine and feminine principles, and produces sounds with a tremendous dynamic range. The higher-pitched (red) head of the drum tends to affect higher levels of consciousness. Typically, shamans associate this drumhead with the sky, Upper World and masculine energy. It is linked to the mythic Spirit Eagle who perches atop the World Tree. Eagle Brother will carry the shaman's prayers to the Upper World, or the shaman may transform into Spirit Eagle and soar into the celestial realm. The shaman and the eagle are both intercessors between the celestial and human realms.
 

The opposite or lower-pitched (black) head of the drum affects deeper levels of consciousness. It is commonly associated with the Lower World, feminine energy and the archetypal Horse of mythology. The repetitive, droning rhythm of shamanic drumming is suggestive of a horse on a journey. Throughout Mongolia, shamans describe it as the exalted, buoyant state that one mounts and rides from plane to plane. Mongolian shamans ride omisi murin, their name for Spirit Horse, into the Lower World on healing journeys or direct Spirit Horse to carry the power and healing to the intended destination.
 

The rim of the drum is associated with the Middle World and the World Tree. The frame of the shaman's drum is invariably made of wood derived from a sacred tree associated with the Tree of Life or World Tree. Like the World Tree, which links the upper and lower realms of existence, the rim links the two sides of the drum--the yin and the yang. A double-headed drum integrates the feminine and masculine aspects of the Universe within itself. It restores the balance of these two opposite yet complementary energies.
 

Three-round shamanic drum journey
 

After smudging, Jade instructed us in the ritual use of the sacrament tobacco, the unifying thread of communication between humans and the spiritual powers. He showed us how to empower our drums by offering tobacco smoke or a pinch of tobacco. Offering grandfather tobacco carries our prayers to the "Loom of Creation," causing the "Tapestry of Creation" to reweave itself in accordance with those prayers.
 

Next, Jade taught us the drum beats for invoking Eagle Brother and Spirit Horse.(1) He instructed us to play the rhythms in unison so that the drumming creates a mesmerizing effect to induce trance. He cautioned us to avoid jam or free form drumming, which produces a cacophony of competing beats. The goal is to produce a sound that is unifying and consciousness-shifting. Sound waves carry the specific intention or desired outcome of the ceremony. Together the drummers create the necessary rhythmic container that channels the energy generated by the ritual performance toward the intended objective.
 

After learning the two rhythms, Jade set a group intention and then led us in a three-round shamanic drum journey. During the first round, we drummed the eagle-beat on the celestial (higher-pitched) head of our drums and soared on the wings of Eagle Brother into the Upper World. In the second round, we drummed the horse-beat on the Lower World (lower-pitched) head of our drums and rode Spirit Horse on a journey into the Lower World. In the third round, we switched back to the celestial side of our drums and again drummed the eagle-beat, offering prayers of thanks and gratitude to Eagle Brother and Spirit Horse for their help and assistance. Finally, Jade signaled the end of our journey and the drum circle with four strong beats.
 

I was transformed by the power of that drum circle--it was a defining moment in my life. There was something magical about our group journey experience. Ecstatic trance seemed to be more powerful and transcendent in a group setting. The vibrant energy was unifying, expansive and palpable. I could feel the spirits in the room. Shamanic drumming shook the Earth beneath me, split me wide open and lifted my spirit skyward. The ecstatic rhythms resonated to my very core. From that point on, I was hooked on drumming!
 

The next day, I went back to the store where I had picked up the drum circle flyer and purchased an octagonal double-sided frame drum. I returned week after week to Jade's shamanic drumming circles to learn the myths, healing rhythms and drum ways of an ancient shamanic lineage. Jade encouraged us to drum as often as possible in between our weekly gatherings. I would hike almost daily into one of the many red sandstone canyons around Sedona to drum. I gradually built up stamina while learning how to play the drum and ride its rhythm at the same time. Drumming inspired and empowered me in a way I had never felt before. Through drumming, I found a meaningful way to express my inner self without words. More importantly, I discovered my true calling--shamanic drumming.
 

1. You can listen to the Eagle Chant (eagle-beat) and Horse Chant (horse-beat) at: <http://www.archive.org/details/SacredSongsAndChants/>. You can find the lyrics at: <https://archive.org/details/SacredSongsChantsLyrics>.

Drum Circle Facilitation Issues and Challenges

An excerpt from my book, Shamanic Drumming Circles Guide.
 

Drum circle facilitation can be challenging at times. In his book Drum Circle Facilitation: Building Community Through Rhythm, Arthur Hull recounts the story of a rip-roaring drunk who showed up at a closing celebration and graduation exercise for a facilitator training workshop in Japan. Throughout the program, the drunk offered a good balance of challenging distractions and disruptive behavior for the beginning-beginner facilitators. After the circle, Hull critiqued the event with the graduates. He told them that the presence of the drunk was a blessing in disguise and represented three types of challenges that facilitators encounter in drum circles. As Hull puts it, "He was an unconscious distracter, a random factor disruptor and the kid who would not behave."
 

According to facilitator Larry Dillenbeck, "Another challenge to circle facilitation is when one person 'triggers' another and people get upset. Sometimes that can quickly spread and dominate the energy and attention of the group. I've seen it handled two ways that seem opposite, but both were effective at the time. One facilitator asked the people to leave the circle and resolve the issue outside, which they did, and allowed the rest of the group to continue with the session. Another time, the facilitators used the incident as a way of processing and using shamanic skills to bring resolution within the group. Even though it was a deviation from the plan for that day, it was a great demonstration of healing and the skill of the facilitators to 'hold space' and deal with the matter elegantly."
 

"Traditionalists" can also present challenges to leadership. As circle keeper Madge Peinkofer points out, "My biggest challenge is when a person joins the circle with specific beliefs about what is right or wrong in 'their tradition.' They usually have strong feelings about 'their way' being the right way. They can bring the energy down very quickly and change it in a way that makes others feel uncomfortable. One way I handle this is to listen respectfully until I feel the integrity of the circle is being compromised. At this point, I politely intervene to explain that all people are honored in this circle and our only rule is that everyone be respectful of others. I then redirect the attention and energy of the circle to an activity that gets everyone involved." Another way the facilitator can address this issue is to clarify the focus and intent of the circle from the beginning. As Larry Dillenbeck suggests, "I think part of what helps in those situations is when the facilitator sets the 'tone' or 'Spirit' of the ceremony at the beginning by setting the intent to honor all attendees and their particular beliefs and traditions and invite the attendees to do the same."
 

Shamanic circling requires that we allow space and encouragement for each member to bring forward their thoughts, feelings and concerns. Circles that are able to communicate well with one another are better able to withstand personality clashes and discord. Membership concerns might include issues of attendance, tardiness, confidentiality and sharing in the circle. By bringing forth these issues, they can be diffused and often lose their power. Circle issues might also include ego work. It's not unusual for some individuals to be seeking personal power. The spirits will often resolve this but if not, people may be asked to leave the circle.

The Origin of Disease and Medicine

An excerpt from The Sacred Formulas of the Cherokees by James Mooney
 

In the old days, the beasts, birds, fish, insects, and plants could all talk. They and the people lived together in peace and friendship. As time went on, however, the people increased so rapidly that their settlement spread over the whole earth, and the poor animals found themselves cramped for room. To make things worse, Man invented bows, knives, spears, and hooks, and began to slaughter the larger animals, birds, and fish for their flesh or their skins. The smaller creatures, such as the frogs and worms, were crushed and trodden upon without thought, out of pure carelessness or contempt. So the animals resolved to consult upon measures for their common safety.
 

The Bears were the first to meet in council, led by old White Bear. After each in turn had complained of the way in which Man killed their friends, ate their flesh, and used their skins for his own purposes, it was decided to begin war at once against him. Once the angry crowd calmed down, White Bear told them that the human beings had a decided advantage -- the bow and arrow. So the Bears decided to make their own weapons.
 

However, the Bears had a problem. Their claws made it impossible to properly draw back on a bow. Some of the younger Bears thought of cutting their claws, but White Bear objected, " If we cut off our claws, we will all starve together. It is better to trust the teeth and claws that nature gave us, for it is plain that Man's weapons were not intended for us."
 

No one could think of any better plan, so the old chief dismissed the council and the Bears dispersed to the woods and thickets without having concerted any way to prevent the increase of the human race. Had the result of the council been otherwise, we should now be at war with the Bears, but as it is, the hunter does not even ask the Bear's permission when he kills one.
 

The Deer next held a council under their chief, Little Deer. After some talk, they resolved to use their magic. Thenceforth, if a hunter wished to kill a Deer, he must take care to ask their pardon for the offense. Any human hunter failing to do so would be stricken with rheumatism. The Deer sent notice of their decision to the nearest settlement of Indians and told them at the same time what to do when necessity forced them to kill one of the Deer tribe. No hunter, who has regard for his health, ever fails to ask pardon of the Deer for killing it.
 

Next came the Fish and Reptiles, who had their own complaints against Man. They held council together and determined to make their victims dream of snakes twining about them in slimy folds and blowing foul breath in their faces, or to make them dream of eating raw or decaying fish, so that they would lose appetite, sicken, and die. This is why people dream about snakes and fish.
 

Finally, the Birds, Insects, and smaller animals came together for the same purpose. They decided to spread disease among the humans. They began then to devise and name so many new diseases, one after another, that had not their invention at last failed them, no one of the human race would have been able to survive.
 

When the Plants, who were friendly to Man, heard what the animals had done, they determined to defeat the latter's evil designs. Each Tree, Shrub, and Herb, down even to the Grasses and Mosses, said, "I shall appear to help Man when he calls upon me in his need." Thus was medicine born. The plants, every one of which has its use if we only knew it, furnish the remedy to counteract the evil wrought by the vengeful animals. Even weeds were made for some good purpose, which we must find out for ourselves. When the doctor (shaman) does not know what medicine to use for a sick man, the spirit of the plant tells him.
 

Source: James Mooney, The Sacred Formulas Of The Cherokees. Published in the Seventh Annual Report, Bureau of American Ethnology, pp. 301-399. 1886.

The Lost Art of Resurrection

An excerpt from my memoir, Riding Spirit Horse: A Journey into Shamanism.

 

Like a golden luminous jewel, Palenque perches above the lush tropical rainforest in the foothills of the Chiapas Highlands of southern Mexico. Humid air hangs heavy in this jungle acropolis overlooking the coastal plains of the state of Tabasco. Shrouded in morning jungle mists and echoing to a dawn chorus of howler monkeys and parrots, this temple city has a serene, mystical atmosphere. In antiquity, the Maya city was known as Lakamha, meaning "big waters." Tranquil spring-fed streams meander through the city and the temple summits offer spectacular views of the ruins and surrounding jungle. Flourishing in the seventh century, Palenque is an architectural masterpiece of unsurpassed beauty and spiritual force.

Palenque's most prominent structure is the Temple of the Inscriptions. The elegant temple crowns an imposing eight-stepped pyramid 75 feet above a great plaza. The temple gets its name from hieroglyphic inscriptions on three stone tablets, known as the East Tablet, the Central Tablet and the West Tablet, on the structure's inner walls. These large carved tablets emphasize the idea that events that happened in the past will be repeated on the same calendar date. The edifice was specifically built as the funerary monument for K'inich Janaab' Pakal, also known as Pakal the Great, ruler of Palenque in the seventh century.
 

Deep in the heart of the pyramid, Pakal's remains were found in a stone sarcophagus, wearing a mosaic jade death mask and elaborate jade jewelry. The intricate carving on the top of the seven-ton sarcophagus lid itself is an iconic piece of Classic Maya art and was crucial to understanding how the ancient Maya viewed death and rebirth. The magnificent bas-relief shows the cross-shaped World Tree -- which manifests in the dark night sky as the Milky Way or "White Road" to the Underworld -- and Pakal's relationship to it in death. The king is depicted at the moment of his divine resurrection in the unen or infant form of the lightning deity K'awiil, ascending from the Underworld on the starry Milky Way road to paradise and eternal life.
 

At Palenque, the Maya carefully encoded instructions for gaining eternal life in their architecture, art and hieroglyphic inscriptions. The Maya believed that the real purpose of our lives is to grow ourselves into godlike beings of power and beauty. Survival of the personal aspect of the soul was the goal for Maya shamans. They believed that there are two souls. Every human being has a "life soul," one that is linked to the body and that, should it depart the body, would cause death. It remains within the body until the moment of death. There is also a second soul, or "free soul." The free soul can roam free from the body without harming the person. It corresponds to the dream or astral body. Upon death, it journeys to the pool of souls from whence it may reach back to us and communicate with us through portals to the Underworld -- caves and pyramids.
 

The resurrection of the free soul was what the ancient Maya shamans hoped to achieve. The Maya believed the soul to be regenerative to its core; ultimately its purpose is to regenerate itself. The human soul manifested from the Otherworld paradise through the portal jaws of the great Vision Serpent. If it succeeded in growing into its divine potential by nurturing itself through education and ecstatic bonding with the gods, it could recreate itself after death wearing its own individual "face," then dance forever on the surface of the infinite otherworldly sea. The lightning-serpent energy that fueled the soul's resurrection came from the rain deity K'awiil.
 

The Maya shamans believed death is "behind the times," caught up in a previous and less advanced era, lacking knowledge of the art of resurrection. There is a dramatic difference between the idea of resurrection and a belief in the soul's immortality. Resurrection -- raising up again -- means that something has truly died and then brought back to life. Immortality, on the other hand, assumes unbroken continuity of the soul's existence after the death of the body.
 

The ancient shamans of Palenque built a resurrection generator on a large elevated plaza in the southeast corner of the city surrounded by jungle covered hills. Archaeologists call this ch'ulel "power plant" the Cross Group or Temple of the Cross complex. It is made up of three pyramid temples arranged in a triangular pattern. The shaman architects who designed the Cross Group believed they had discovered the earthly site of the three hearthstones of creation. In Maya cosmology, a triangle of three stars in the Orion constellation represents the hearthstones of the cosmic fire the gods had set to begin the present world age. Using geomantic divination, they detected the location of the invisible stones and built the temples over them, forming the shamanic infrastructure that powered the resurrection process.
 

The Temple of the Cross is the largest and most significant structure. They placed it on a hill at the northern apex of the cosmic hearth. On the inside back wall of the temple sanctuary, they installed a carved stone tablet depicting the branching World Tree at the moment the Maize God lifted it to the sky. At the western corner of the triangle, they constructed the Temple of the Sun and erected a tablet on the back wall portraying warfare, human sacrifice and a shield adorned with the Jaguar Sun God. At the eastern corner of the hearth, they built the Temple of the Foliated Cross honoring the deity Unen K'awiil, a personification of young maize, and placed within it a tablet showing the World Tree as a maize plant. It depicts King Pakal, wrapped in his death shroud, rising up from the Underworld in his "resurrection body."
 

The shaman-astronomers arranged the pyramids so that as the night sky wheeled through its yearly cycle to reenact the events of creation, the three temples would engage this celestial pattern and reactivate the sacred time of that first awakening. On August 13, a date the Maya associate with creation, the night sky goes through a cycle from dusk to dawn that recounts the story of the transition from the third world into the fourth world when humans were created. During that evening, when the stars and constellations took up their creation-resurrection positions, and the glowing Milky Way/World Tree rose in the heavens, the temple complex came alive with Otherworldly forces.

Meeting My Spirit Guide

An excerpt from my new book, Shamanic Journeys: An Anthology.
 

My journey into shamanism began in 1988 when I learned how to take a shamanic journey. Learning to journey is the first step in becoming a shamanic practitioner. Once I learned to journey, my shamanic training began. I sought out and met my spirit helpers and guardian spirit. I made friends with the spirits of Nature. I communed with the archetypal realms of the collective soul. The spirit world became my classroom, and the spirits became my teachers. My first powerful journeys took place outside in the wild, immersed in the natural world. They were transcendent flights of the soul that I shall never forget.
 

I remember riding my bicycle through the forest one summer day when a monarch butterfly flew directly into my path. The butterfly is an archetypal symbol of transformation, transmutation and the human soul in world mythology and religion. Virtually all cultures have marveled at the process that transforms a caterpillar into a fluttering butterfly. When I encounter one of these remarkable beings, I stop and observe them carefully. I have learned to trust these endearing spirit guides. I once had the soul of a deceased relative appear to me as a butterfly on the day that she passed away. The butterfly landed on my nose while I was hiking that day. I felt her presence and knew that she was with me. Butterflies have brought me messages from my ancestors and guided me to specific places of power in the web of life on many occasions.
 

The monarch butterfly fluttered across the road in front of my bicycle and into the pine forest. I felt the urge to follow it. Over the years, I have learned to trust my intuition and follow my inner urges. This is a common form of communication and instruction by helping spirits.
 

I got off my bike and pursued the butterfly into the woods on foot. When it paused or changed directions so did I. If I lost sight of it, the monarch would soon reappear. Eventually, the butterfly led me to an area of disturbed soil under the forest canopy. I found several badger burrows dug into the sandy pumice soil. Badger is a spirit helper who connects us to our inner knowing and helps us see below the surface of things. The energy felt different here. There was an electrical tingle in my hands and scalp. I knew instantly that this was a power place for me -- a place to journey.
 

I returned the next day on my bike, bringing a Walkman cassette player and headphones so I could journey listening to the sound of drumming. I also brought a voice activated micro-cassette recorder so that I could narrate and record my journey as it transpired. This can be distracting at first, but it is one of the best ways I know to make sure you are getting all the information your helping spirits are giving you. On my first journey sitting near the entrance to a badger den, I encountered some very influential teachers.

The drumbeats carry me away on the wings of an eagle. I soar high over South Sister (a volcanic peak in the Central Oregon Cascades) and then dive into a cave on her south flank. Clear quartz crystals shimmer from the walls, floor and ceiling. I transform into a man and follow a narrow path through the crystal cave. The path leads me through a labyrinth of twists and turns until the cave ends abruptly in a wall of crystals. A small portal appears in the wall and sucks my awareness into a dark tunnel. I spiral downward and come out of the tunnel onto the rim of a red mesa. I see a pueblo below me at the base of the mesa. I hear drumming and chanting and see many dancers.

Suddenly, I become one of the dancers. I gaze at the man who plays the booming drum. He wears a ceremonial kilt, sash and red headband. He smiles at me and chants loudly. At the sound of his voice, I transform into a golden eagle and take flight. I circle the pueblo and then glide over the desert. I soar towards the sun high above the Earth. I see the Earth below transform into a beautiful crystal globe. I fold my wings and plunge to the Earth below. I fly across the desert to the ruins of an ancestral Puebloan cliff dwelling built high in the alcove of a towering sandstone cliff. I fly into a doorway and transform once again into a man. 

 

I look at the floor of the room and see the white bones of a human skeleton. The skeleton rises, transforming into a beautiful Pueblo woman wearing a royal blue shawl and a radiant white knee-length manta-dress embroidered with corn designs. Her black hair is styled in a traditional butterfly whorl. She wears white buckskin moccasins and a woven red sash around her waist. She walks toward me and gently caresses my cheek with her hand. She smiles and says, "I am your guide."  

 

I clasp her outstretched hand and we both transform into golden eagles. We fly away from the cliff dwelling and soar high above the desert. As the sun begins to set on the horizon, we separate and I return rapidly to the red mesa above the pueblo. I enter a small portal in the top of the mesa and retrace the passage back to my body.

The spirit guide I encountered in the preceding journey became my mentor in the ways of the spirit world. Known as Corn Woman or Corn Mother, she is an important deity archetype in Pueblo mythology. She represents fertility, life and the feminine aspects of this world. The importance of corn deities in Pueblo mythology reflects the importance of corn in the Pueblo diet. Each pueblo performs a ritual Corn Dance to honor Corn Woman and pray for rain, growth and fertility. A drummer and a chorus of chanting men support the lines of colorful dancers who move in a continually changing zigzag pattern. The dancers make gestures to indicate their requests to Corn Woman: lowering the arms depicts the lowering clouds, moving the arms in a zigzag motion denotes lightning, lowering the palms signifies rain, and lifting the hands symbolizes the growing stalks of corn.
 

The drummer I met in my spirit journey later manifested as a human guide in the physical world. Like the drummer in my journey, he wore a red bandana around his forehead and carried a drum. The shaman's name is Jade Grigori, and he mentored me in shamanic drumming.

Storytellers and Drums

An excerpt from my new memoir, Riding Spirit Horse: A Journey into Shamanism.
 

In the fall of 1991, my wife, Elisia, and I decided to travel for several months visiting bookstores and promoting my first book, The Shamanic Drum. At the time we were living in Bend, Oregon. We put our personal belongings into storage and ventured south through California and the Desert Southwest. We visited national parks and the Pueblo villages of Zuni, Acoma and Laguna.
 
After departing Laguna, we visited friends in Albuquerque. We spent the night in Albuquerque and then headed north to Santa Fe. We stopped at Cochiti Pueblo along the way. Cochiti Pueblo is renowned for its deep-toned ceremonial drums. Cochiti drums are crafted from hollowed logs, usually aspen or cottonwood--trees native to the high desert climate. Wet cowhide is stretched across the hollowed log and fastened with rawhide lacing. Different cowhides create different tones, and experienced Cochiti drum makers know the characteristic sounds of different skin types. Drums may also feature traditional artwork on the rawhide drum heads.
 
We arrived in Cochiti on a Sunday and roamed the sun baked streets of the ancient adobe pueblo looking for drum makers, but none were open for business. We circled the great round kiva that stood at the heart of the village and then spotted a hand painted sign in front of an adobe home: "Storytellers Here." A storyteller doll is a clay figurine made by the Pueblo people of New Mexico. The first contemporary storyteller was made by Helen Cordero of the Cochiti Pueblo in 1964 in honor of her grandfather Santiago Quintana, who was a tribal storyteller. It looks like a figure of a storyteller, usually a man or a woman, and its mouth is always open. It is surrounded by figures of children or animals, who represent those who are listening to the storyteller.
 
We parked in front of the house and knocked on the door. A smiling middle-aged man opened the door and invited us into his home. He invited us to sit down on comfortable armchairs in the living room and asked if we would like to see some of his daughter's storytellers. We nodded our heads, and he called out to his daughter to bring out her pottery. A dark-skinned, beautiful young woman entered the room with some of her exquisite hand painted figurines. Elisia purchased one of the storytellers and thanked them for their hospitality. The Cochiti people are known for their hospitality and friendship towards visitors who are welcomed to many of the annual ceremonies. I asked them if they knew of any drum makers open for business. The man shook his head no and suggested that we visit the Palace of the Governors in Santa Fe where Pueblo artisans sell their wares.
 
We headed north to Santa Fe and made our way to the Palace of the Governors. The Palace of the Governors is an adobe structure located on Palace Avenue on the Plaza of Santa Fe in the historic district. It served as the seat of government for the state of New Mexico for centuries and is the oldest continuously occupied public building in the United States. Pueblo artisans display their handmade wares on blankets under the portal of the Palace of the Governors. We strolled the plaza and admired the fine work of the artisans, which included pottery, textiles and jewelry made of traditional materials such as turquoise, coral and silver. At last we came upon what I had been searching for: Cochiti drums. Renowned Cochiti drum maker Gilbert Herrera sat on a folding camp chair with his drums displayed on a colorful blanket. Gilbert, a fourth generation drum maker, learned the craft from his father, Redbird. I purchased a log drum with a deep resonant tone and complimented Gilbert on his fine craftsmanship.
 
From Santa Fe, we drove to Taos and visited the famed Taos Drum Company. The owner gave us a tour of the large drum making facility. I left a copy of my book with the owner. We then visited the shop of resident artist and third generation drum maker Frank Mirabal in Taos Pueblo. Mirabal, a Taos Pueblo Indian, followed the example of his father and grandfather and became a drum maker. He acquires and processes the hides: deer, elk, buffalo, horse and cow. The frame of each drum is made from a hand-hollowed log of aspen or cottonwood: trees from his area that will not dry and crack easily. The pitch of the drum depends on the diameter and the depth of the drum.
 
We purchased three of Mirabal's beautiful log drums, one of which was later gifted to Wallace Black Elk, a traditional Lakota elder and spiritual interpreter. Born and raised on the Rosebud Reservation in South Dakota, Wallace was one of the original spiritual advisors to the American Indian Movement, a grassroots organization formed to address issues of poverty and police brutality against Native people. He was present at the occupation of Wounded Knee and was instrumental in the passage of the American Indian Religious Freedom Act in 1978.

Vagabonding as a Spiritual Path

The natural world is my muse and sanctuary -- a place for refuge and discovery. My most memorable moments have been in the outdoors. I have hiked thousands of miles of trails through forests, deserts and mountains. Having spent much of my life traveling and trekking, I still crave adventure and new experiences. Vagabonding or nomadic wandering is a unique way of living, a spiritual path to authenticity, self-awareness and solitude. Solitude allows time for self-examination, relaxation away from urban stress, and a chance to meditate, contemplate, or just zone out for hours at a time. Many of my most memorable experiences took place during solo journeys into Nature. The longer the solo immersion, the more transformational the experience.

In October 2011, I felt Spirit calling me. I felt compelled to travel to the sacred sites and power places that beckoned me. I followed my intuition and deepest instincts. I traveled with my drum and medicine bundle to shamanize the meridian system of Mother Earth's numinous web, which is the planetary counterpart to the acupuncture meridian system of the human body. At the intersection points of the planet's energy web exist holy places, power spots, or acupuncture points. Like acupuncture needles, humans are capable of maintaining the harmonious flow of the planetary energy meridians by making an Earth connection at power places.

Many magical things happened during my two month pilgrimage. I camped at Panther Meadows on Mount Shasta. I hiked among the oldest living things on the Earth in the Ancient Bristlecone Pine Forest. I soaked in the healing waters of Umpqua, Buckeye, Travertine, Whitmore, and Keough Hot Springs. Indigenous people worldwide believe that where fire and water mix at a hot spring is a sacred place. A water deity, usually a goddess, resides in each spring. People make pilgrimages to thermal springs to connect with the goddess and to supplicate the benefits of her healing graces. The sacred ambience of the place, its geothermal energy and the pilgrim's relationship to it, is sufficient to fulfill the pilgrim's aspirations.

I ventured south through California and explored the Owens Valley area on the east side of the Sierra Nevada crest. Before returning home in early December, I planned a four day desert exploration. On day one, I visited the Sleeping Lizard, which is an ancient vision quest site located in the Volcanic Tablelands north of Bishop. This site is sacred to the Owens Valley Paiute people, who use alcoves in the rock for vision quests. I took a journey back in time to visit the ancient ones who etched petroglyphs in the volcanic rock.

Next, I drove up the Whitney Portal Road towards the trailhead that hikers climb up to Mount Whitney. Unfortunately the road to the trailhead was closed for the winter. I backtracked down the road and camped in the Alabama Hills, located in the shadow of Mount Whitney just west of Lone Pine. The rounded weathered contours of the reddish-orange foothills contrast with the sharp ridges of the Sierra Nevada to the west. Throughout the last century, the Alabama Hills have appeared in hundreds of films and commercials. During my visit, a Quintin Tarantino project (Django Unchained) was being shot there.

In one day I drove from Mount Whitney (the sacred masculine), the tallest mountain in the continuous 48 states, into Death Valley (the sacred feminine), the lowest elevation in North America. Shortly after entering Death Valley National Park, I took an eight-mile detour north along the Saline Valley Road to visit a Joshua Tree forest at Lee Flat. The Saline Valley Road is very rough and progress was slow, but I eventually reached the magical forest. A cold wind buffeted me each time I left the confines of my truck to hike and photograph the forest. I would have camped here for the night if not for the high elevation and bitter cold wind. I camped instead at Panamint Springs Resort, 22 miles inside the western border of Death Valley National Park.

The following day, I explored Darwin Falls and the remote Panamint Valley adjacent to Death Valley. I camped for the next few days at the far northeast end of the South Panamint Dry Lake, a small wetland, grassland, dune system and mesquite bosque. The warm sulfur springs of this desert oasis provide habitat for frogs, shore birds, marsh hawks, and wild burros. A short-eared owl visited my campsite each evening at dusk. The stars bathed the cold desert in a warm glow. Few things are more serene than the deep stillness of the desert on a starry night. In that stillness, I am reborn, forever changed.

Oh, how I love vagabonding. Shamanism is deeply rooted in Nature and a nomadic lifestyle. The emphasis is on the individual, of breaking free and discovering one's own uniqueness in order to bring something new back to the group. Like drumming, nomadic wandering alters your ordinary everyday awareness. It is another means of habitual pattern disruption for reimprinting on alternate realties. When you leave home, meet new people, experience new stimuli, and process new information, you're soon intoxicated on a natural high. As Ed Buryn, the godfather of modern vagabonding puts it, "Vagabonding is nothing less than reality transformation, and its power is not to be underestimated."

Shamanic Trance Postures

In 1998, my close friend and collaborator Judith Thomson introduced me to ecstatic trance postures after she took a four day workshop with the late Felicitas Goodman, the modern discoverer of ritual body postures. Judith and I began facilitating workshops together in early 1993. She was called by Spirit to teach drum making and I was called to teach shamanic drumming. My trance experiences with the body postures I learned from Judith inspired me to begin a 32-month experimental journey into trance posture practice. I meditated several times a week for 15 minutes while holding specific body poses, then recorded my trance experiences in a journal.
 

I highly recommend incorporating trance postures into your journey work, though not as a daily practice. Too much trance work can leave you feeling ungrounded and disconnected from physical reality. This practice is compatible with all other consciousness raising practices when done separately. There is no belief system or dogma associated with this work. Some of my most profound trance experiences have taken place while holding shamanic body postures. "Waking dream" is an apt description of these visionary trance states.
 

In the 1970s, linguist and anthropologist Felicitas Goodman demonstrated that the capacity to enter ecstatic trance states is built into our nervous system, our body-mind-soul, our very DNA. It can be achieved through a shift in our physiology. And that is something our nervous system knows how to do when given the right cues. What's more, she learned this was discovered long ago by our ancestors around the world going back 50,000 years or more.
 

Goodman discovered that specific yoga-like poses recur in the art and artifacts of world cultures, even societies widely separated by time and space. Goodman's hypothesis, therefore, was that these postures represented coded instructions on how to produce consistent trance-like effects. Goodman researched and explored ritual body postures as a means to achieve a bodily induced trance experience. Her studies led her to many countries and to trying out these body positions practically with hundreds of participants worldwide. She discovered that people who assume these body poses report strikingly similar trance experiences regardless of their worldview or belief systems.
 

According to Goodman, these postures produce a common effect because they all share one thing in common: the human body, the basic structure and functioning of which has remained unchanged since the time of our most ancient ancestors. The nervous and endocrine systems are, in fact, all much the same as they were 30,000 years ago--a fact which enables contemporary urban dwellers to enter nonordinary reality just as effectively through the same neural doorways as shamans throughout history. Combined with rhythmic drumming, the postures engender a profound change in consciousness, leading to new insights into healing, inner development and soul purpose. There are different postures that facilitate healing, divination, spirit journeys, metamorphosis, and more.
 

The results from my ecstatic trance posture practice have been astonishing, confirming Felicitas Goodman's theory that, "if one adopts such a posture, one will have such an experience." Rhythmic stimulation combined with trance postures produces a physiological shift that leads to a profound change in consciousness, enabling one to experience different dimensions of reality. I highly recommend Belinda Gore's book, Ecstatic Body Postures: An Alternate Reality Workbook. With clear instructions and illustrations, Gore reveals how to work with these shamanic body postures. I hope this practice becomes a valued tool in your repertoire. The following are postures I recommend and use in my shamanic practice:
 

1. The Bear Spirit Posture for healing and restoring harmony;
2. The Lady of Cholula Posture for divination, guidance and advice;
3. The Tattooed Jaguar Posture for a metamorphosis into a jaguar;  
4. The South American Lower World Posture for journeying to the lower realms;
5. The Psychopomp Posture for guiding departed souls into the afterlife.

The Maya Ruins of Tulum

I made my first pilgrimage to the Maya ruins of Tulum in 1995. The archaeological site is located about 40 miles south of Playa del Carmen on Mexico's Caribbean coast. Though modest and architecturally simple compared to Classic Maya sites, such as Uxmal and Chichén Itzá, Tulum has one of the most beautiful idyllic settings of any city built by the Maya. The tranquil and well-preserved ruins are perched on a rocky cliff above a secluded swimming beach along the Caribbean Sea. Tulum's spectacular photogenic coastline has powdered sugar sands, cobalt water and balmy breezes, making it a popular destination for tourists and locals alike.

Tulum was one of the last great ritual centers built by the Post-Classic Period Maya (900–1500 AD). The site might have originally been called Zama, meaning City of Dawn, because it faces the sunrise. The city had access to both land and sea trade routes, making it an important trade hub for honey, jade, turquoise and cacao beans. Tulum is a Mayan word that means wall or fence. Tulum was protected on one side by steep sea cliffs and on the landward side by a broad stone wall that averaged 10 to 16 feet in height. It is this impressive wall that makes Tulum one of the most well known fortified sites of the Maya.
 

The ancient stone structures of Tulum are surrounded by palm trees, magenta-colored bougainvillea, steep rocky cliffs and a population of large iguanas. El Castillo (the Castle) is Tulum's main pyramid and was used as an ancient lighthouse for navigating the shallow, reef-laden waters off the bay. Among the more spectacular buildings here is the Temple of the Frescoes that included a lower gallery and a smaller second story gallery of wall paintings. The Temple of the Frescoes was used as an observatory for tracking the movements of the sun.
 

Pilgrims have been coming here for centuries. Recent research has indicated that Tulum was a pilgrimage site for Maya women on their way to the sanctuary of Ixchel on the island of Cozumel. Ixchel was the jaguar goddess of fertility, medicine and birth in ancient Maya culture, and her shrine at Cozumel was visited by large numbers of women from throughout the Maya territories. Ixchel figures prominently in the Tulum temple murals. Many of the coastal towns in the Tulum region have the feminine "Ix" prefix in their names.

Tulum is a tropical nirvana built, according to Maya myth, at the boundary between this world and the next where the created world ends and the infinite Otherworld ocean begins. Here the Maya soul found release into a realm of eternal light and danced forever on the surface of the infinite Otherworldly sea. It is one of my favorite places in the world. The energy is peaceful and transcendent. The world seems more vibrant and alive here. If there is an earthly paradise, it is here!

Hopi Elder Thomas Banyacya

I had the opportunity to meet Hopi elder and activist Thomas Banyacya in 1990 when he gave a talk at Central Oregon Community College in Bend, Oregon. Thomas Banyacya was one of four Hopis (the others were David Monongye, Dan Evehema and Dan Katchongva) who were named by elders to reveal Hopi traditional wisdom and teachings, including the Hopi prophecies for the future, to the general public after the atomic bombings of Hiroshima and Nagasaki in Japan. He spent half a century on a tireless and often thankless Hopi spiritual mission to save the planet from the ravages of modern materialism and greed. He was so steadfast in his devotion to the pacifism, traditions and sovereignty of the Hopi that he spent seven years in jail rather than register for the draft in World War II.  

 

Banyacya told the attendees that the Native peoples of this land were put here by the Creator with instructions to keep this land clean through prayer, meditation, ceremonies and fasting. They believe there is a spirit in every living thing around us, and a spirit in people that makes us choose what to do and correct ourselves when we err. At the present time, much human effort and mineral resources go towards making weaponry, and so nature is turning against us with extreme weather, volcanoes and big winds. These things, he said, are related to the present behavior of mankind. The Hopi elders warned that the white brother might turn away from spiritual ways and use his inventions destructively. We are in a most dangerous period, and prayer and meditation are needed. 
 

At one point, Banyacya showed a painting of a petroglyph known as Prophecy Rock near the Hopi village of Oraibi, explaining the meaning of certain features. One line leading upwards represented an all out materialistic path with success in inventions that could easily lead to self-destruction. Another line represented an alternative spiritual path with a possibility of cleaning up our mess without annihilation. Banyacya said that someday many nations would come together, we would realize the error of our ways, and people would start creating better feeling and harmony and clean up the mess without starting World War III.
 

Hearing Banyacya's message was truly a blessing and an honor. His strong stance on environmentalism, his service to communities and  nations, and his reverence for the traditions and teachings of his people were an inspiration. His words and passion inspired my own activism in environmentalism, Indigenous rights and the ongoing peace movement. Banyacya passed away in 1999 at the age of 89. His message seems very relevant in this time of global crisis.

The Navajo Storm Pattern Rug

An excerpt from my soon-to-be released memoir, Riding Spirit Horse: A Journey into Shamanism. 

Years ago, one of my shamanic mentors gifted me an old Navajo "storm pattern rug," recognizable by its large central rectangle connected by zigzag lightning lines to smaller rectangles in each corner, which represent the four directions, winds and sacred mountains of the Navajo. The central rectangle symbolizes the Lake of Emergence, the portal through which their ancient ancestors first emerged to enter the present world. The lightning bolts carry blessings back and forth between the mountaintops, bestowing good spirits on the weaver and her household.

Navajo rugs and blankets are textiles produced by Navajo people of the Four Corners area of the United States. Weaving plays a role in the creation myth of Navajo cosmology. According to Navajo mythology, a spirit being called Spider Woman instructed the women of the Navajo how to build the first loom from exotic materials including sky, earth, sunrays, rock crystal and sheet lightning. Then Spider Woman taught the Navajo how to weave on it. Because of this belief, traditionally there will be an intentional mistake somewhere within the pattern. It is said to prevent the weaver from becoming lost in Spider Woman's web or pattern.

My mentor suggested that I sit on the rug whenever I journey into the spirit world. I took his advice and journeyed at home while sitting on the rug. When I entered a trance, the rug became a mandala-like portal before me. I went through a doorway at the center of the undulating geometric pattern. I came out beneath a numinous web of light that surrounded the planet. The web emanated a blue glow against the black night-time sky above it. Spider Woman descended from the web on a strand of light and stood before me. She looked menacing and I feared being trapped in her web. She told me that I had nothing to fear. She conveyed that she was the weaver of the web of life. She said the Navajo rug would serve as a portal for me to journey into the spirit world.  

I thanked Spider Woman and returned through the portal to my body. When I opened my eyes, I saw a large spider on the rug beside me. I thanked the spider for being there to support my shamanic journey. It was a good omen

Winona LaDuke: Native Environmentalism

I had the opportunity to meet Winona LaDuke and hear her speak at a conference years ago. LaDuke is a renowned Anishinaabe environmentalist, economist, writer and past two time vice-presidential candidate (with Ralph Nader), known for her work on tribal land claims and preservation, as well as women's rights. She is from the Makwa Dodaem (Bear Clan) of the White Earth Reservation in northern Minnesota. LaDuke was raised in Ashland Oregon, the daughter of Betty Bernstein and Vincent (Sun Bear) LaDuke. Her Anishinaabe father worked as an actor in Hollywood in supporting roles in Western movies before establishing himself as an author and spiritual leader in the 1980's. Her mother is an artist and writer who has gained an international reputation for her murals, paintings and sketches.

LaDuke attended Harvard University, Massachusetts Institute of Technology and Antioch University. She has testified at the United Nations, U.S. Congress, state hearings, and is an expert witness on economics and the environment. She advocates primarily for the protection of the environment and the rights of women. In 1985, LaDuke helped found the Indigenous Women's Network. She worked with the Native organization Women of All Red Nations to publicize American forced sterilization of Native American women. In 1989, LaDuke founded the White Earth Land Recovery Project in Minnesota with the proceeds of a human rights award from Reebok. The goal is to buy back land in the White Earth Indian Reservation that non-Natives bought and to create enterprises that provide work to Anishinaabe.

LaDuke is humorous, enlightening and above all political. She speaks with a Native voice without altering her language for non-Natives. Her words differ from establishment thinking and offer new ways of understanding the world and the solutions we need for the great issues of climate change. She conveys a beautiful and daring vision of political, spiritual and ecological transformation. LaDuke spoke at length about Native environmental issues and challenges. Despite making up a tiny fraction of the world's population, Indigenous peoples hold ancestral rights to some 65 percent of the planet. This poignant fact conveys the enormous role that Native peoples play not only as environmental stewards, but as political actors on the global stage.
 

All over the world, Native peoples are engaged in battles with hostile corporations and governments that claim the right to set aside small reserves for Native people, and then to seize the rest of their traditional territory. They are confronting the destructive practices of industry and leading the charge against climate change, while defending the rivers, forests and food systems that we all depend on. At the same time, they are blocking governments from eroding basic rights and freedoms and turning to the courts of the world to remedy over 500 years of historical wrongs. Native peoples are putting their lives on the line and fighting back for political autonomy and land rights. And all the while, they are breathing new life into the biocultural heritage that has the potential to sustain the entire human race.
 

Native Americans often articulate alternative environmental perspectives and relationships to the natural world. Indigenous mythologies and oral traditions express a non-anthropocentric environmental ethic. Indigenous groups offer ancient tried-and-tested knowledge and wisdom based on their own locally developed practices of resource use. And, as Native peoples themselves have insisted for centuries, they often understand and exhibit a holistic, interconnected and interdependent relationship to particular landscapes and to the totality of life, animate and inanimate, found there.
 

Perhaps the most important aspect of Indigenous cosmology is the conception of creation as a living process, resulting in a living universe in which a kinship exists between all things. Thus the Mother Earth is a living being, as are the Sun, Stars and the Moon. Hence the Creators are our family, our Grandparents or Parents, and all of their creations are children who are also our relations.

LaDuke captured the essence of this concept when she said: "Native American teachings describe the relations all around--animals, fish, trees, and rocks--as our brothers, sisters, uncles, and grandpas...These relations are honored in ceremony, song, story, and life that keep relations close--to buffalo, sturgeon, salmon, turtles, bears, wolves, and panthers. These are our older relatives--the ones who came before and taught us how to live."
 

The industrialized West is largely unaware of how Indigenous societies have functioned, and the strengths they possess that industrial cultures have lacked. Our notions of progress are based on the idea that high tech means better and that industrial cultures are somehow more advanced socially. The current state of our threatened environment demands that communication channels be opened for dialogue and engagement with Native environmental ethics.  
 

When describing Indigenous environmental activism, LaDuke said, "Grassroots and land-based struggles characterize most of Native environmentalism. We are nations of people with distinct land areas, and our leadership and direction emerge from the land up." Each nation and community has its own unique cultural traditions linked to the land. 

LaDuke detailed how different groups of Native people are contending with environmental issues and are seeking to address them at the local, community level. They are also forming national and international organizations that seek to help individual nations, in large part through information sharing and technical assistance. In the final analysis, however, each nation, reserve, or community has to confront its own issues and develop its own leadership. This must be stressed over and over again: each sovereign Native nation will deal with its own environmental issues in its own way. There is no single Native American government that can develop a collective Indigenous response to the crisis we all face.

LaDuke emphasized that the environmental awareness of many Native American groups translates into a high level of respect for women in their communities. A good deal of evidence has shown that when women have high status, education, and choices, they tend to greatly enrich a community and to stabilize population growth. Many traditional American societies have been able to maintain balance with their environments because of the high status of women, a long period of nursing for infants, and/or the control of reproductive decisions by women. Many of the leaders in the Native struggle today are women.

LaDuke pointed out that respect and humility form the foundation of Native lifeways, since they not only lead to minimal exploitation of other living things but also preclude the arrogance of colonial missionary activity, secular imperialism, and the oppressive patriarchy. She noted that: "In each deliberation we consider the impact on the seventh generation from now. Everything we have today we inherited, we are very, very fortunate today that our ancestors were strong people. We’re very, very fortunate that our ancestors took care of this land so well. We also know that those who are not yet here are counting on us not to mess this up…they’re counting on us to make sure that there will be water for them to drink, that there will still be fish, that the air will not be so poisoned or so hot that they cannot live."
 

Native people are not only trying to clean up uranium tailings, purify polluted water, and mount opposition to fossil fuel extraction; they are also continuing their spiritual ways of seeking to celebrate and support all life by means of ceremonies and prayers. As LaDuke told us in closing: "In our communities, Native environmentalists sing centuries-old songs to renew life, to give thanks for the strawberries, to call home fish, and to thank Mother Earth for her blessings."

Martin Gray: Sacred Sites

Martin Gray is a National Geographic photographer and anthropologist specializing in the study of pilgrimage traditions and sacred sites around the world. Over the course of three decades, he studied and photographed nearly 1000 of the world’s most sacred pilgrimage places in more than 125 countries. He has presented his multi-projector slide show at museums, universities and conferences around the world. During the show, Gray presents a fascinating discussion of the mythology, archaeology and history of pilgrimage sites and an explanation of the miraculous phenomena that occur at them. Many people, after viewing this presentation, report a resonance with particular sites and a deepening of their connection to and concern for the Earth.
 
I attended his slide show presentation years ago. It can best be described as a group shamanic event. He opens the event by creating sacred space. He lights a bundle of sage, holds it against the webbing of a single-headed frame drum, and then walks the circumference of the auditorium while drumming. Once the slide show begins, each photograph is shown for precisely 15 seconds, and then an entirely different sacred site is shown. This occurs on and on in a mantric and hypnotic repetition of four pictures per minute for sixty minutes. Certain photos resonated more with me than others. Everyone I talked to after the show was very moved and empowered by the event. His slide show is a true work of shamanic art. It’s a very rare opportunity to see, to witness, to personally experience an event of monumental power.
 
Since ancient times, sacred sites have had a mysterious allure for billions of people around the world. Legends and contemporary reports tell of extraordinary experiences people have had while visiting these places. Different sacred sites have the power to heal the body, enlighten the mind and inspire the heart. A growing body of evidence indicates that there is indeed a concentration of holiness at pilgrimage places, and that this holiness, or field of energy, contributes to a wide variety of beneficial human experiences.
 
During his travels, Gray realized the sacred places were repositories of many of the world’s greatest artistic and cultural treasures. However, because they are located out-of-doors and exposed to industrial pollution, the sacred structures do not receive the protection which paintings, sculptures and other art are given in museums. Looking into this situation, Gray realized that his research and travels had a greater purpose than merely his own education or the creation of a beautiful photography book. Public attention needed to be drawn to the deteriorated condition of these extraordinary art pieces so that they might be preserved for the benefit and education of future generations.
 
To draw attention to this education and preservation work, Gray created a multi-projector slide show that conveys both the remarkable beauty and precarious situation of the sacred sites. Hundreds of full color slides capture the essence of these great pilgrimage shrines. Prior to taking each picture, Gray offered up a prayer to the spirits of the place asking them to, “fill my photographs with such feeling and power that people may one day look upon them and be magically transported to these places.” It is more than evident that those prayers were answered. Gray says, “I personally consider these photographs to be telescopes through which you may peer across time and space into enchanted domains of sublime beauty.”
 
Gray thinks that during the coming decades there will be an enormous number of people visiting sacred sites around the world. Sacred sites function for more and more people as empowerment places, as planetary acupuncture points, as destiny activation sites, and as energy transducers for spiritual illumination. Gray postulates that, in the coming years, sacred sites will become sanctuaries and empowerment zones for the awakening and evolution of ecological, social and supranational political consciousness.
 
Martin Gray’s beautiful photographs convey the essence of the world’s great pilgrimage sites and bear direct testimony to his life’s mission and to his deep connection to Spirit. He has an extensive website at SacredSites.com, which has received more than one hundred million visitors. His photographs are widely used by UNESCO and in hundreds of websites, magazines and books around the world. His books include Geography of Religion by National Geographic, and Sacred Earth by Barnes and Noble. 

Pyramid of the Magician, Uxmal, Mexico (Photograph courtesy SacredSites.com)

The Archaeoacoustics of Palenque

An excerpt from my memoir, Riding Spirit Horse: A Journey into Shamanism.

 

Like a golden, luminous jewel, Palenque perches above the lush tropical rainforest in the foothills of the Chiapas Highlands of Southern Mexico, facing the setting sun. Shrouded in morning jungle mists and echoing to a dawn chorus of howler monkeys and parrots, this archaeological site has a serene, mystical atmosphere. A tranquil stream meanders through the city center and the temple summits offer spectacular views of the ruins and surrounding jungle. Built in the eighth century, Palenque, or Nah Chan (House of the Serpent), is a Maya city of unsurpassed beauty and spiritual force. The city's ruins were designated a UNESCO World Heritage site in 1987.

Archaeologist Francisca Zalaquett, from the National Autonomous University of Mexico, discovered that the temples and public squares in Palenque could clearly project the sounds of a human speaker and musical instruments of the time across at least a hundred meters, or about the length of a football field. The investigation identified rooms that could have been used by musicians, speakers or priests to amplify the frequency, quality and volume of sound, allowing the music or the message to travel further and reach more people. The findings strongly suggest the design and structures at Palenque involved a great deal of knowledge about acoustics and the behavior of sound.

In his book Healing Sounds, author Jonathan Goldman recounts an incredible experience he had at Palenque in 1987. He described it as one of the more dramatic episodes in his life. Late one night, a guide took Goldman and five traveling companions on a tour of Palenque. The guide said he would show them a Palenque which they would not otherwise experience and took them into one temple that had been closed to the public, leading them down a subterranean level using his flashlight. He pointed to a doorway and said to Goldman, "Make sound here." He had known about Goldman's interest in sound healing, but Goldman could not figure out why the guide wanted him to do this.

Then the guide turned out his flashlight and the group was immersed in total darkness. "Make sound," the guide urged.

"Sure," Goldman replied.

Goldman began to tone harmonics towards the area the guide had indicated before the light went out. As he did so, the room began to become illuminated, but it was not like the light from a flashlight. It was more subtle, but it was definitely lighter in the room. Goldman could see the faint outlines and figures of the people there. Everyone was aware of this and when Goldman stopped toning, the room filled with exclamations. Then the guide turned on the flashlight again and they continued their tour.

The full implications of this experience did not occur to Goldman until he returned to the United States. Somehow, he was able to use sound to create light. This was not the same phenomenon as sound turning into light, a scientific theory in which a sound wave, when speeded up, becomes light. This was different, having to do with creating light through sound, and specifically vocal harmonics or overtones.

Years later, Goldman was talking to a man who had spent years with the Lacandon Maya people of the Chiapas rainforest, who are said to be the descendants of the builders of Palenque. When Goldman told him about his experience in Palenque, he nodded his head and said: "You are very lucky to have experienced this! It is something that the Mayan shamans teach, this creation of light through harmonics. It is the higher harmonics that do this." (1)

1. Jonathan Goldman, Healing Sounds: The Power of Harmonics. (Element Books, 1992), p. 59.