The Drum Makers of Cochiti Pueblo

Brothers Carlos and Tomas Herrera, along with their father, Theodore "Arnold" Herrera, of Cochiti Pueblo, produce some of the most sought-after drums in the Native American craft world today. Drummers from all 19 of New Mexico's Pueblo communities come to Cochiti to purchase these drums, which are still made according to ancient practices. Over the years, the Herreras' craft has taken them from Guadalajara, Mexico, to Washington, D.C., for the Smithsonian Institution's Folklife Festival.
 

While Carlos, an environmental scientist, does drum-making in his free time, Tomas recently left the home construction business to focus full-time on making drums. To find the materials for the perfect drum, the brothers wander riverbanks looking for cottonwood boughs and trek into the mountains to collect recently dead aspen logs. Being a relatively soft wood, aspen is not only easier to hollow out, compared with other woods, it also emits a soft reverberation. Cottonwood, having similarly desirous properties, is often used for the large drums that the Herreras make for Plains Indian powwow groups.
 

While a drum has only a few parts, the process of making one is not simple. The multiple steps include aging the logs, cutting them to length, and removing the interior wood, a process for which the Herreras use homemade chisels culled from heavy metal scraps. Then, after preparing rawhide for the drum's head, a lengthy process in itself, the Herreras stretch the rawhide, secure it to the drum with sinew, and do whatever trimming is needed. These steps alone can take up to 16 hours, and that's before they've gotten to painting the drum, or making the drumsticks.
 

While plenty of other Native Americans make drums, Carlos says that their use of ancient, traditional methods for turning an animal hide into a drum head "is something that sets us apart." Today, he says, most drum makers use harsh chemicals, which dry out the hides and make them brittle. The method the Herreras' practice allows their hides to retain some of their original fat and oils, which Carlos says keeps them supple for decades.
 

To accomplish this feat, the Herreras bury their hides, which are sometimes made from elk skins but usually from cowhide, in damp earth for a week or two. They then remove the hair, using old metal files, and degrease the inside, which will still be covered with a lot of fat. To finish the hide, they never use salts, preservatives, or any other special treatment; by the time the hide is fully dry, it has been transformed into odor-free, resonant rawhide.
 

This whole process was passed onto the Herreras from their father, and their grandfather before him. "Even with the knowledge base we have, we struggle at times in getting the hides just right," Carlos says. "There's a lot we don't have control over. Every hide is different, and this is one of the biggest challenges we face. The drying process of the rawhide is out of our control. We can do everything right -- log selection, the carving, the hide preparation, and stretching it with the proper tension. Then maybe the humidity changes or the air pressure, and it loses its tone. At that point, the only option is to remove the leather and begin again with a new hide. We always have to wait until a drum is perfectly dry to find out if it works."
 

"To try to ensure success, we always reach out to my grandpa's spirit and ask him for his help," Carlos says. "We say a little prayer to the spirits to help guide us."
 

To learn more about Cochiti artisans, read "Storytellers and Drums," an excerpt from my memoir Riding Spirit Horse.

The Pueblo Moccasin Makers

Aaron Cajero began making traditional, Pueblo style moccasins while growing up at Jemez Pueblo, which lies in the foothills of the Jemez Mountains northwest of Albuquerque. He was in the seventh grade at the time. Today, his moccasins are worn by hundreds of ceremonial dancers on Pueblo plazas throughout New Mexico, and he usually has a backlog of orders which can take up to six months to fill.
 

Part of the delay in filling moccasin orders is due to his multifaceted life: Cajero is also a hunting guide, a potter, a traditional bow maker, and a teacher at the Jemez elementary school, where he teaches physical education along with history, language, and traditional Pueblo culture. His cultural studies range from the Pueblos' historical forms of government to moccasin-making and spiritual practices. Cajero knows much of this curriculum personally, having served as his tribe's lieutenant governor three times, and as its overseer of traditional religious practices.
 

Before starting a new pair of moccasins, Cajero first traces the dancer's feet on heavy paper, measures foot height, and notes any unusual physical features. He then cuts into a thick piece of cowhide, creating a shape that's slightly larger than his paper outline. After soaking the new sole in water to soften it, he turns up the outer edge -- a extremely difficult task that has left Cajero with very strong hands.
 

For the moccasins' upper wraps, which must be soft and pliable, Cajero prefers to use fine-grade deer or elk hide. Getting quality supplies can be tough, so Cajero sometimes makes his own leather from the hides of deer or elk he hunts himself, or buys from other Pueblo hunters. He prefers a thick hide so that the moccasins hold up over time. Even for the moccasin tops, if the leather is too thin it sags, creating bulges where the wraps overlap. It needs to look nice and smooth.
 

To stitch the uppers to the sole, Cajero typically uses clear fishing line, because it's lightweight, transparent, and relatively easy to work with. For a moccasin that is entirely authentic, however, he uses elk sinew, which must be kept wet during the stitching. Sinew is more difficult than a nylon line to thread through the leather's holes, which he punches with a tool he made himself by embedding a heavy needle into a wooden handle. Cajero has found that sinew makes a tighter stitch, because it tightens itself as it dries, but it takes more time.
 

This means that a pair of moccasins -- when made with sinew, and leather that Cajero has tanned himself -- runs about $1,000, more than twice the price of a standard pair. It costs more to do it all the old way, but it is well worth it for many traditional dancers.

Pass the Pipe

You've probably heard the expression "pass the peace pipe." It might have been when two parties struck a compromise after previously being at an impasse. The phrase comes from early American settlers and soldiers who noticed Indigenous peoples smoking ceremonial pipes during treaty signings. They misunderstood this to mean pipe smoking symbolized peacemaking in Native American culture and hence the word "peace pipe" and phrases like "pass the peace pipe" came about.
 

But, like many conventional American ideas about the history and culture of Indigenous peoples, the term peace pipe is a misnomer, says Gabrielle Drapeau, an interpretive park ranger at Minnesota's Pipestone National Monument and an enrolled member of the Yankton Sioux Tribe of South Dakota. Tribal enrollment requirements preserve the unique character and traditions of each tribe. The tribes establish membership criteria based on shared customs, traditions, language and tribal blood.
 

Many Native Americans smoke pipes -- and not just in recognition of peace, but in ceremony and prayer as well as a way to connect with God. "So, don't use the term peace pipe," Drapeau says. "It's just pipe."
 

But these were -- and are still -- not just pipes. These artifacts, the tradition of pipe smoking and the ceremonies during which they are smoked hold far more significance for American Indian peoples across North America than the misnomer conveys.
 

A Short History of the Ceremonial Pipe
 

There is no singular word for these ceremonial pipes that spans all Native American cultures. The broad term often given to them is calumet, from the French word chalumet, which means reed or flute. Various tribes have their own unique names in their own languages. For example, the Lakota sacred pipe is called a chanunpa. 

 

Ceremonial pipes have been a part of several Native American cultures for at least 5,000 years and are still used for ceremony and prayer. "I grew up this way. It's the only way I know how to pray," Drapeau says. "To me, it is like a physical representation of your connection to God."
 

The legends of how tribe elders first received pipes differ, too. According to Lakota legend, the first pipe was brought to Earth 19 generations ago by a divine messenger known as White Buffalo Calf Woman (known in the Lakota language as Pte-san Win-yan). The pipe was given to the people who would not forget -- the Oceti Sakowin, or Seven Council Fires of the Lakota, Dakota and Nakota nations. The Buffalo Calf Woman came to the tribes when there was a great famine and instructed them about living in balance with nature. She gifted the people with a sacred bundle containing the White Buffalo Calf Pipe, which still exists to this day and is kept by Chief Arvol Looking Horse of the Cheyenne River Sioux Tribe. Other members of the tribes are also pipe carriers: stewards entrusted with the care of particular ceremonial and personal pipes.

Court Case Threatens Native Sovereignty

A serious threat to Native American tribes across the United states looms large. A decision on the Supreme Court case Brackeen v. Haaland -- a direct assault on the constitutionality of the Indian Child Welfare Act (ICWA), and by extension, the very right of tribes to be classified as sovereign nations -- is expected later this year.
 

Enacted in 1978, ICWA was part of the federal government's efforts to rectify the incomprehensible harm it caused to Native families through the forcible removal of Native children from their communities into boarding schools or non-Native foster and adoptive homes. Between 1819 and 1969, hundreds of thousands of children were taken from their families and homes. 

 

ICWA establishes minimum standards for a Native child to be removed from their home and empowers tribes to be more involved in adoption and custody procedures for kids enrolled or eligible to enroll in tribal nations. The law gives tribal courts exclusive jurisdiction over members who live on tribal land, in the hopes of keeping families together, and creates a process whereby they're noticed and involved in cases outside of these boundaries.
 

For years, people and organizations hostile to ICWA have tried to erode the legislation through the court system. Should ICWA fall, it's not only adoption and foster cases that will be gravely impacted; the basic foundations of tribal sovereignty could be unwound. Observers in Indian Country have long believed that attacks on the legislation have broader aims in mind than the wellbeing of children, and many anti-ICWA proponents are also perceived as gunning for access to natural resources, mineral rights and more.
 

Calling into question the authority of Congress to deal with tribal nations as distinct sovereigns would have ​major reverberations throughout the field of Indian law. These attacks on sovereignty can be traced back to the Trail of Tears, the deadly westward displacement of five tribes between 1830 and 1850 initiated by then-President Andrew Jackson. The argument made at the time was that the tribes were being overwhelmed by European settlers, and they would be annihilated if the government didn't take them into custody and move them. ​In truth, those tribes controlled the waterways, and Andrew Jackson said, "​We want it, and we are going to take it."
 

Tribal sovereignty predates the coming of the colonial powers. From 1778 to 1871, the United States federal government signed 370 treaties with tribal nations. Many were used as tools to forcibly remove Indigenous people from their native lands and relocate them to reservations. In exchange for the land they had lived on for generations, tribes were offered many now-broken promises from the government: of peace, the provision of health and education, hunting and fishing rights and protection against enemies.
 

According to the Constitution, treaties can only be enacted between two sovereign nations. That status and the right of tribes to self-govern was affirmed in the 1832 Worcester v. Georgia Supreme Court case. It's also grounded in the Constitution through not one, but two clauses, and was reiterated yet again in the 1990s by a Department of Justice memorandum that tribal nations have the unique status of ​"domestic dependent nations." You can help protect tribal sovereignty by supporting the Native American Rights Fund.

FNX - First Nations Experience

First Nations Experience (FNX) is the first and only national broadcast television network in the United States exclusively devoted to Native American and World Indigenous content. Through Native-produced and themed documentaries, dramatic series, nature, cooking, gardening, children's and arts programming, FNX strives to accurately illustrate the lives and cultures of Native people around the world.
 

Created as a shared vision between Founding Partners, the San Manuel Band of Mission Indians and the San Bernardino Community College District, FNX is owned by and originates from the studios of KVCR-PBS San Bernardino. FNX began terrestrial broadcast in the Los Angeles area on September 25, 2011 and went national on November 1, 2014 via the Public Television Interconnect System (PBS satellite AMC - 21 Channel SD08), making the non-profit channel available to PBS affiliates, community and tribal stations, and cable television service providers across the country. 

At the ceremonial unity launch of FNX in February 2011, Cherokee actor Wes Studi confessed he didn't see this coming. "Thank you for proving me wrong," Studi said, speaking at the KVCR/FNX studios in San Bernardino, California. "I once said that I didn't think in my lifetime I'd see a TV channel dedicated to Indian people like you and me, people who are rarely seen on screen in authentic ways. We're making history with this powerful new media tool. This is something I can tell my grandchildren about -- I'll tell them I was there when it launched."

San Manuel Tribal Chairman James Ramos said FNX is "fulfilling a dream our ancestors had ... using the resources we have built through gaming. It's important that people know what our ancestors had to go through so we could be here today. It's time for us to change negative perceptions about indigenous peoples in mainstream audiences. We need to stand together as one voice and make things better for our people."

Ramos added context from his own tribe's past. "There was a time in California's history when there was an effort to get rid of Indian people; we were shot and killed here in the San Bernardino Mountains," Ramos said. "Many people never heard that story, and today some people don't want to talk about that history. But it's important that we do so that we can learn from the past and move forward working together for a better future."

FNX is working diligently to obtain channel carriage in as many communities as possible across the United States. Currently, FNX is carried by 22 affiliate stations broadcasting into 25 states from Alaska to New York and has a potential viewing audience of more than 74.5 million households across the United States! Several additional stations have also begun streaming FNX digitally throughout their communities and states. More new stations are always coming on board, so stay tuned -- FNX may be available in your city very soon! If you'd like to get FNX carried in your community, please reach out to your local stations, cable and satellite service providers. I can't recommend FNX enough and best of all it is totally free!

Remembering Indigenous Rights Advocate James Abourezk

A few days ago, we lost a tireless champion of the rights of the Indigenous Peoples of North America. Retired South Dakota United States Senator James Abourezk, the architect of the Indian Child Welfare Act (ICWA), passed away at his home in Sioux Falls on Friday, Feb. 24 on his 92nd birthday. James George Abourezk was born in 1931 in Wood, South Dakota, the son of Lebanese immigrants. Growing up on the Rosebud Indian Reservation, he spoke only Arabic at home and did not learn English until he went to elementary school.
 

After high school graduation in 1948, Abourezk served in the US Navy during the Korean War. Following military service, he earned a degree in civil engineering from the South Dakota School of Mines in Rapid City in 1961, and worked as a civil engineer in California, before returning to South Dakota to work on the Minutemen missile silos. At the age of 32, he decided to pursue law, and earned a J.D. degree from University of South Dakota School of Law in Vermillion in 1966.
 

Abourezk began a legal practice in Rapid City, South Dakota, and joined the Democratic Party. He ran in 1968 for Attorney General of South Dakota but was defeated by Gordon Mydland. In 1972, Abourezk was elected to the U.S. Senate, where he served from 1973 to 1979, after which he chose not to seek a second term. He was the first chair of the Senate Committee on Indian Affairs. His legislative successes in the Senate included the 1975 Indian Self-Determination and Education Assistance Act, as well as the American Indian Religious Freedom Act of 1978. The American Indian Religious Freedom Act gives federal protection to the traditional religions of the American Indian, Eskimo, Aleut, and Native Hawaiians.
 

Abourezk's signature legislation was the Indian Child Welfare Act (ICWA, 1978), designed to protect Native American children and families from being torn apart. Native American children have been removed by state social agencies from their families and placed in foster care or adoption at a disproportionately high rate, and usually placed with non Native American families. This both deprived the children of their culture and threatened the very survival of the tribes. This legislation was intended to provide a federal standard that emphasized the needs of Native American children to be raised in their own cultures, and gave precedence to tribal courts for decisions about children domiciled on the reservation, as well as concurrent but presumptive jurisdiction with state courts for Native American children off the reservation.
 

In 1973, Senators Abourezk and George McGovern attempted to end the occupation of Wounded Knee by negotiating with American Indian Movement (AIM) leaders, who were in a standoff with federal law enforcement after demanding that the federal government honor its historical treaties with the Oglala Sioux nation. The Wounded Knee Occupation began on February 27, 1973 when about 200 Oglala Lakota and followers of AIM seized and occupied the town of Wounded Knee, South Dakota. The occupation lasted for a total of 71 days, during which time two Lakota men were shot to death by federal agents and several more were wounded. It was a key moment in the struggle for Native American rights.
 

The summer after the occupation of Wounded Knee, Abourezk introduced the American Indian Policy Review Commission Act, which created the eleven-member commission to study legislation with the goal of addressing key issues in Indian Country. He served as its chairman until its landmark report was published in 1977. He took the gavel as chairman of the Select Committee on Indian Affairs from its creation in 1977 to 1979, when he left the Senate.
 

In 1980, Abourezk founded the American-Arab Anti-Discrimination Committee, a grassroots civil rights organization. In 1989, he published his Advise and Dissent: Memoirs of South Dakota and the U.S. Senate. He was the co-author, along with Hyman Bookbinder, of Through Different Eyes: Two Leading Americans -- a Jew and an Arab -- Debate U. S. Policy in the Middle East (1987).
 

After his retirement from the Senate, Abourezk worked as a lawyer and writer in Sioux Falls, South Dakota. He continued to be active in supporting tribal sovereignty and culture. Since 2005, he chaired the Lakota People's Law Project Advisory Committee. The Lakota People's Law Project is committed to defending the rights of South Dakota's Native American families, exposing the epidemic of illegal seizures of Lakota children by the state of South Dakota, working towards the structural solution to end this injustice. Just last year, Sen. Abourezk assisted their legal team in filing an amicus brief supporting ICWA with the United States Supreme Court. Later this year, the High Court could overturn the senator's landmark piece of federal legislation -- and that poses an imminent threat to Native families and sovereignty.

Imaginary Shamans

The shaman in the accompanying image does not exist in real life. He was brought to life by architect and travel photographer Dimitar Karanikolov using artificial intelligence (AI) and Midjourney, a chat-powered text-to-image generator for his portrait series "Imaginary Shamans." All the portraits he created are generated based only on descriptions and words.
 

In a recent interview for Designbloom, a digital magazine for architecture and design, Karanikolov says, "In order to have a more controlled result, I was very specific and described a lot of the details I wished to see in the final image -- the age, the clothes, the ethnicity, to name a few. I have also specified the camera settings -- or the virtual lens I wish to use -- the light scenario, and the framing. The more words I put in, the better."
 

From the creases that line the shamans' faces to the traditional tattoos that ink their skin, the details in every image appear crystal clear, making viewers question whether they were generated by artificial intelligence or snapped by a professional photographer. Karanikolov thinks that artificial intelligence in photography is both fascinating and scary at the same time.
 

"I understand why a lot of people feared this technology," he says. "Still, I think it is an amazing tool that gives lots of people the opportunity to express themselves and visualize their ideas. Surely, it will have a major impact on the photographic industry in the future, and we'll soon have to specify when we post a photo whether it's real or AI, as there will be no difference in the quality."
 

Karanikolov might be an architect, but travel photography has been a passion of his for the last eight years. "I did numerous trips in order to explore and photograph authentic communities around the world such as Mongolia, Ethiopia, Bolivia, and Indonesia. I have always been fascinated by indigenous people and their culture, their rituals and aesthetics. These are our ancestors, our roots," he says.
 

"When AI softwares became wildly popular and open to access several months ago, I naturally tried generating spaces and architectural details, but creating human faces and characters brings much more emotion and connection, along with much more powerful visions. So, I have decided to do some AI travel photography," he tells Designbloom. Bringing his photographic zest with him on every trip has culminated in the creation of "Imaginary Shamans," underlining both the beauty artificial intelligence can generate and the underlying concern it might bring.

The Shaman's Rattle Beater

Drums are an essential part of shamanic work; we use them for journeying, healing and celebration, both for ourselves and for the community. The drumstick or beater is also a significant shamanic tool and has a powerful spirit and sound of its own. The best drumsticks are made of strong hardwood with a padded, leather covered head. They are usually decorated with fur, feathers, bead work or engraved with sacred symbols. 

 

Different beaters work better with different drums to bring out the tone qualities. By using different parts of the drumstick to play on different parts of the drum, different timbres can be produced for transmitting different meanings. There are hard beaters, semi-hard beaters, soft beaters, and rattle beaters, which are simply beaters with a rawhide or gourd rattle attached to the base of the handle opposite the head. The clicking of the rattle adds not only an interesting sound effect, but also produces an offbeat, which adds a new dimension to the sonic experience.
 

The repetitive sound of the rattle, like that of the drum, helps induce trance states. The shaking of rattles creates high-pitched frequencies that complement the low frequencies of drumbeats. The high tones of rattles resonate in the upper parts of the body and head. The low tones of drums act primarily on the abdomen, chest, and organs of balance, while stimulating an impulse toward movement. Rattles stimulate higher frequency nerve pathways in the cerebral cortex than do drums. This higher frequency input supplements the low frequency drumbeats, thereby boosting the total sonic effect.
 

Furthermore, the beater has certain uses independent of the drum. In Tuva (southern Siberia), the rattle beater or orba, with its spoon-shaped head covered with animal fur and metal rings attached for rattling, is in part for practicing divination, purifying sacred space for ritual, and drawing the attention of the spirits. The rattling draws the spirit world and its inhabitants into the material world, whereas the drum carries the shaman into the spirit world. The snare sounds associated with metal, stone and bone rattlers attached to beaters and drum frames are described as "spirit voices."
 

When Tuvan drums were being confiscated and destroyed during the times of Soviet repression, some shamans used only their orba for rituals. Throughout history in different cultures around the world the traditional practice of shamanism has often been outlawed and driven underground. The shamanic worldview is an integral part of the shared history of all humanity, but that worldview has been deliberately stolen and suppressed. The shamanic worldview was perceived as an extremely potent threat -- to the point that possession of a shamanic drum has in almost every case been outlawed, and a policy of confiscation and destruction of drums implemented. Hence, the percussive use of the drum became impracticable in populated areas due to its distinctive sound. By using only their rattle beater in rituals, Siberian shamans found a covert way to continue their practice of the shamanic arts.
 

In the shaman's world, all things have spirit and everything is alive. Like the shaman's drum, the beater is imbued with spiritual purpose and becomes a living presence. Since the objects are then considered to be alive, they function as spirit helpers and guides to the shaman in their work. The first step in learning how to work with these shamanic tools is to connect with the spirits of the instruments. By journeying to connect with the spirits, each shamanic practitioner can find out what a particular drum or beater is best suited for, such as divination, journeying, extracting, etc. When you meet the spirit of the instrument, it may teach you some special ways you can use it for your shamanic work that you did not know before. It may have a specific name, purpose or type of energy. Be open to the possibilities.

Music Born of the Cold

Inuit throat singer Tanya Tagaq won the Polaris Prize in 2014 for Canada's best album of the year. Animism contained sounds never heard before in Canadian pop music: breathy throat singing, screeches, roars and other human sounds for which the English language has no names. Tagaq's music was ambiguous. She seemed a shamanic figure. 

 

Suddenly, she and other throat singers were everywhere. Indigenous artist Caroline Monnet incorporated Tagaq soundtracks into her hypnotic art videos. Some touring rock groups hired throat singers as opening acts. For a time, no television variety program was complete without a guest spot for throat singers.  

 

Tagaq may have seemed like a new and unique voice. But she had basically jazzed up a genre of Inuit music that has been performed on the land we now call Canada for thousands of years. Inuit throat singing, or katajjaq, is a distinct type of throat singing uniquely found among the Inuit. It is a form of musical performance, traditionally consisting of two women who sing duets in a close face-to-face formation with no instrumental accompaniment, in an entertaining contest to see who can outlast the other. One singer leads by setting a short rhythmic pattern, which she repeats leaving brief silent intervals between each repetition. The other singer fills in the gap with another rhythmic pattern.
 

The sounds used include voiced sounds as well as unvoiced ones, both through inhalation or exhalation. The first to run out of breath or be unable to maintain the pace of the other singer will start to laugh or simply stop and will thus be eliminated from the game. It generally lasts between one and three minutes. The winner is the singer who beats the largest number of people.
 

Originally, katajjaq was a form of entertainment among Inuit women while men were away on hunting trips, and it was regarded more as a type of vocal or breathing game in the Inuit culture rather than a form of music. Katajjiniq sound can create an impression of rhythmic and harmonious panting. Inuit throat singing can also imitate wind, water, animal sounds and other everyday sounds.
 

Notable traditional performers include Qaunak Mikkigak, Kathleen Ivaluarjuk Merritt, as well as Alacie Tullaugaq and Lucy Amarualik who perform in the katajjaq style. Several groups, including Tudjaat, The Jerry Cans, Quantum Tangle and Silla + Rise, also now blend traditional throat singing with mainstream musical genres such as pop, folk, rock and dance music.

 

Tudjaat (Madeleine Allakariallak and Phoebe Atagotaaluk) performed on the song "Rattlebone" from Robbie Robertson's 1998 album Contact from the Underworld of Red Boy. The album is composed of music inspired by Aboriginal Canadian music (including traditional Aboriginal Canadian songs and chants), as well as modern rock, trip hop, and electronica, with the various styles often integrated together in the same song.
 

To learn more, watch this video of Inuit throat-singing sisters Karin and Kathy Kettler from Canada. The sisters carry on the traditions of the elders from their mothers' village in Kangiqsualujjuaq, Nunavik, which is located in northern Quebec.

However Wide the Sky: Places of Power

Pamela Pierce, founding partner and CEO of Silver Bullet Productions in Santa Fe, New Mexico recently announced that "However Wide The Sky: Places of Power" has received an Emmy award in the Best Documentary category. This beautifully filmed documentary originally aired on the New Mexico Public Broadcasting Station. Narrated by Indigenous actress Tantoo Cardinal, the documentary explores the history and spirituality of the Indigenous people of the American Southwest, who are deeply rooted in the land. Since the beginning of time, they have been stewards and protectors of their home lands, past and present. When the Pueblo people pray, they pray for the living land as far as they can see. However wide the sky is, this is who they pray for.

Pierce worked with tribal leaders to film on the land. The areas chosen are: Chaco Canyon, Bears Ears, Zuni Salt Lake, Mount Taylor, Pueblo of Santa Ana, Taos Blue Lake, Mesa Prieta and Santa Fe. These places intimately connect the people and their beliefs to the natural world. This is their story, of the land and who they are. Pierce says the concerns about the use, misuse, development, drilling and mining of scared places in New Mexico began a conversation between Silver Bullet Productions and tribal leaders about the importance of education in 2016.

 

"The land was treated as a commodity, something to be owned, mined, drilled or developed," she says. "In order to protect land and water rights, it seemed that educating about the significance of land might help alert those leaders. The more we know, the better we do. Film can be a powerful tool to change thinking, and motivate people to vote. The danger to land, and the fight to protect land, will always be an issue worth fighting for, regardless of culture or national origin. All land is sacred, and it is a universal concern worth fighting for."
 

The documentary features New Mexico's Chaco Canyon and Utah's Bear's Ears, which is significant because the locations are under siege. Bear's Ears is a modern day story of government versus layers of culture, and the risk of development if the power and policies of the U.S. shift -- it is just how fragile the protection of land is. Chaco Canyon, a UNESCO World Heritage Site, is facing drilling for fracking wells. It's not just the wells and the roads that have an impact on the land. Tribal leaders see it as a real threat to their spiritual well being. Pierce thought it was important to really put that out there for the public to see and make them understand why this issue is important to tribes. From their perspective, the land does not belong to them. They belong to the land.
 

Pierce says some of the themes in the film include a distinction between stewardship and ownership, the layers of cultural life on every piece of land, no place is ever abandoned, but remains living from the ancestors who have come before, places have shared cultural history and the difference between being from a place, and of a place. Here is the trailer.

Second Annual Wopila Gathering

A message from Chase Iron Eyes, Co-director of the Lakota People's Law Project:
 

I'm excited to announce that our Second Annual Wopila Gathering is almost here -- and you're invited! Please come spend a couple hours with me and many of our Lakota Law leaders at the live-streamed event this Giving Tuesday, Nov. 29 at 5 p.m. Mountain Time.
 

I'm very much looking forward to hosting you for these candid conversations. Four powerful women -- Madonna Thunder Hawk, Phyllis Young, Waste Win Young, and DeCora Hawk -- will join me to talk with you about three of the most critical issues in our Native communities. This year's topics are Water is Life (including the importance of Indigenous resistance to environmental racism), Indian Child Welfare (and protecting ICWA), and the Native Vote.
 

It still gives me great joy to think back to our inaugural Wopila Gathering last year, when thousands of supporters like you gathered with us throughout the day. This year, we'll have a more focused and intimate event, spending about two hours shining a light on what you helped us accomplish in 2022 and looking ahead to next steps in our shared journey toward greater justice.
 
So I hope to see you there! And please extend this invite to those you love by clicking the social share icons -- to Facebook, Twitter, and email -- on our Wopila Page. Let's continue to grow the circle of support and come together to honor, inspire, and activate! Stay tuned for more info soon.

Wopila tanka -- thank you, always, for your friendship!

Chase Iron Eyes
Co-Director and Lead Counsel
The Lakota People’s Law Project

Manchu Shamanic Drumming

In her scholarly article "The Symbolization Process of the Shamanic Drums Used by the Manchus and Other Peoples in North Asia," ethnomusicologist Lisha Li establishes a universal framework describing how the drum as a symbol transmits symbolic meanings among shamans, people and the spirit world. She provides an in-depth analysis of the symbolic functions of the drum from an ethnomusicological point of view. All elements of drum music such as timbre, rhythm, volume and tempo play an important role in Manchu shamanic ritual. By using different parts of the drumstick to play on different parts of the drum, different timbres can be produced for transmitting different meanings. Different rhythms transmit different meanings and enable the shaman to contact different beings in different realms of the cosmos. Volume and tempo arouse feelings in the listener and communicate symbolic meanings directly as aural sense experience. The drum is also a visual symbol loaded with symbolic meanings.
 

In Manchu shamanic drumming, rhythmic patterns with odd accents are frequently used, which are related to the cosmology of Manchu shamanism in which the cosmos has nine levels divided into three regions. As Lisha Li points out, "before healing a patient, the shaman beats his drum very hard three times, then chants and beats the drum repeatedly in three-fold rhythms. According to old Manchu shamans, "Three-accented Patterns" are for accessing the Celestial Realm, "Five-accented Patterns" are for conveying the intention of spirits to the people, "Seven-accented Patterns" are used to drive away malevolent spirits, and "Nine-accented Patterns" are for working with all living beings in different regions of the cosmos."
 

Lisha Li. 1992. "The symbolization process of the shamanic drums used by the Manchus and other peoples in North Asia." Yearbook for Traditional Music 24:52-80.

Meeting Author William S. Lyon

While visiting my family in Kansas for the holidays in 1991, a friend of mine introduced me to William S. Lyon, the co-author of Black Elk: The Sacred Ways of a Lakota. We met Lyon at his home in Lawrence, Kansas. Lyon received his Ph.D. in anthropology in 1970 and has spent his career in the study of North American Indian shamanism, mainly among the Lakota. He first met Wallace Black Elk, a renowned Lakota medicine man, in 1978 when they jointly conducted a summer session course at Southern Oregon University in Ashland, Oregon. In 1986, Lyon left academia to spend full time traveling in the U.S. and Europe with Wallace Black Elk and Archie Fire Lame Deer. Over the next four years, Lyon taped the many talks given by Black Elk that resulted in the 1991 publication of Black Elk: The Sacred Ways of a Lakota. This highly-acclaimed book is entirely in the words of Black Elk.
 

Lyon had some great stories to share about his travels with Wallace. On one occasion, Lyon accompanied Wallace to the Pine Ridge Reservation in South Dakota. They walked out into an isolated area far from habitation to attend a sweat lodge ceremony. Hanging in a tree near the sweat lodge was Chief Crazy Horse's sacred pipe or Chanunpa. Lyon asked Wallace if he was concerned about someone stealing the pipe. Wallace answered, "No one will ever take that pipe. One time we came out here to sweat and the pipe was gone. We went into the lodge and asked the spirits to return the pipe, and sure enough when we came out of the sweat, that pipe was hanging in the tree."
 

Wallace told Lyon that when Mount St. Helens erupted in 1980, a lava tube opened beneath the mountain and a column of lava is now flowing from Mount St. Helens all around the Pacific Rim or Ring of Fire. The Ring of Fire is an area where a large number of earthquakes and volcanic eruptions occur in the basin of the Pacific Ocean. Wallace said that this is a sign that the Earth Changes have begun. The phrase "Earth Changes" refers to the Indigenous belief that the world would soon enter a series of cataclysmic events causing major alterations in human life on the planet. This includes natural events, such as major earthquakes, the melting of the polar ice caps, a pole shift of the planetary axis, major weather events, solar flares as well as huge changes of the global social, economic and political systems.
 

Lyon also recounted the story of Wallace's silver eagle pendant being stolen from the altar at a sweat lodge ceremony in Ashland, Oregon. Just as he did at Pine Ridge, Wallace went into the lodge and asked the spirits to return the pendant. When he came out of the lodge, the pendant was back on the altar. Lyon was convinced that Wallace was one of the most powerful shamans in the United States. Wallace passed away on January 25, 2004 at his home in Denver, Colorado.

Dark Ecology

Scientists have determined that we are now living in the Anthropocene age: the new epoch of geological time in which human activity is considered such a powerful influence on the environment, climate and ecology of the planet that it will leave its legacy for millennia. The Anthropocene is notable as being human-influenced, or anthropogenic, based on overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric, and other Earth system processes are now altered by humans. In the Anthropocene, humans move from a biological to a geological agent. The Anthropocene is distinguished as a new period after or within the Holocene, the current epoch, which began approximately 10,000 years ago with the end of the last glacial period.
 

The awareness we've gained in the Anthropocene is not generally a happy one. Many environmentalists now warn of impending global catastrophe and urge industrial societies to change course. Philosopher Timothy Morton, however, stakes out a more iconoclastic position. He wants humanity to give up some of its core beliefs, from the fantasy that we can control the planet to the notion that we are 'above' other beings. His ideas might sound weird, but they're catching on. Morton, whose most quoted book is called Ecology Without Nature, proposes a perspective that sets him apart from all those scientists and social commentators warning of the impending disaster that is global warming. Instead of raising the ecological alarm of the apocalypse, he advocates what he calls "dark ecology," which holds that the much-feared catastrophe has, in fact, already occurred.
 

Morton means not only that irreversible global warming is under way, but also something more wide-reaching. "We Mesopotamians" -- as he calls the past 400 or so generations of humans living in agricultural and industrial societies -- thought that we were simply manipulating other entities (by farming and engineering, and so on) in a vacuum, as if we were lab technicians and they were in some kind of giant petri dish called "nature" or "the environment." In the Anthropocene, Morton says we must wake up to the fact that we never stood apart from or controlled the non-human things on the planet, but have always been thoroughly bound up with them. We can't even burn, throw or flush things away without them coming back to us in some form, such as harmful pollution. Our most cherished ideas about nature and the environment -- that they are separate from us, and relatively stable -- have been destroyed.
 

Morton likens this realization to detective stories in which the hunter realizes he is hunting himself (his favorite examples are Blade Runner and Oedipus Rex). "Not all of us are prepared to feel sufficiently creeped out by this epiphany," he says. This is a hard pill to swallow, but there's another twist: even though humans have caused the Anthropocene, we cannot control it. That might sound gloomy, but Morton glimpses in it a liberation. If we give up the delusion of controlling everything around us, we might refocus ourselves on the pleasure we take in other beings and life itself. Enjoyment, Morton believes, might be the thing that turns us on to a new kind of politics. "Even if it's true that we really are screwed, let's not spend the rest of our lives on this planet telling ourselves how screwed we are."

World Tree Meditation

The ancient Maya had a rich shamanic tradition. To open a path of communication between the spiritual and earthly realms, Maya shamans entered sacred time and space at the top of great pyramids. For the Maya, the establishment of sacred space involved the connecting of the Earth with the heavens -- to bring them into accord. To rejoin the two separated worlds and regenerate the order of the cosmos, shamans performed rituals to create a portal to the Otherworld (nonordinary reality). The sacred universal space that they created was the center of the heavens and the center of the Earth.

 

Centering the world was a way of materializing the World Tree. To the ancient and modern-day Maya, the whole world is generated, organized and evolving according to the World Tree or Wacah Chan, as it is called in Mayan language. The Maya believed that the world of human beings was connected to the Otherworld along the Wacah Chan axis which ran through the center of existence. This axis was not located in any one earthly place, but could be materialized through ritual anywhere on the Earth. Most important, it was materialized in the person of the shaman-king, who brought it into existence as he stood enthralled in ecstatic trance atop his pyramid-tree.

 

In order to understand how Maya shamans perceive the cosmos, make use of this simple exercise to enter sacred time. Sacred time, unlike ordinary time, represents the cosmic order. It's the foundation of rhythm and motion. It's the glue that binds the universe together. 

 

1. First, select a location where you will not be interrupted. It must be a quiet space, at least for the duration of the exercise. Smudge the space and yourself with the smoke of an incense or herb. Among the Maya, copal is traditionally used, but cedar or juniper is acceptable.

 

2. Stand facing the East, with your feet parallel, about six inches apart, and your toes aimed straight ahead. Your knees should be slightly bent, removing any strain on your lower back.

 

3. Close your eyes and focus on the breath as it enters the nose and fills your lungs, and then gently exhale any tension you might feel. The Maya believe that the tree provides us our first breath, which is spirit, so offer thanks for this gift of life. Continue breathing with a series of even inhalations and exhalations until you are calm and relaxed.

 

4. Imagine that you are the World Tree standing at the very navel of the universe. Your roots tap deeply into the underworld, and your crown touches the heavens. Visualize Polaris, the North Star (the star that the earth's axis points toward in the northern sky) directly over your head.

 

5. Now visualize a spiral of energy ascending out of the earth, moving up your spine, the trunk of your own inner World Tree. This energy is grounding, centering, and abundant. In fact, all possible blessings and abundance come to you as a result of this fiery energy.

 

6. Now imagine another spiral of energy descending from the heavens above, entering your body through the crown of your head and traveling down your spinal column into the earth. This force embodies higher spiritual knowledge and power. It unites you with the totality of a dynamic, interrelated universe. This is the energy the Classic Maya called itz, the "dew of heaven."

 

7. Visualize these two energetic forces as spirals of white light, one moving from the sky into the earth, the other from the earth into the sky. Together they form a symmetrical double spiral traveling up and down your spine, like the double helix formed by the plus and minus strands of DNA.

 

8. Now stretch your arms out from your sides so that you stand as a cross-tree at the center of all things. To the Maya, the cross is but a symbol of the four directions, the outstretched arms of the great World Tree, and of the fourfold universe itself. You are that universe.

 

9. At your right hand, to the South, are gathered all the masculine or yang powers of the cosmos. Since the Maya trace their ancestry through patrilineal descent in the male line, these masculine powers include all the living members of your family. Maya shamanism teaches us to honor all our relations, so for the moment you must forget about any issues you may have with these people. Love them regardless. Also at your right hand are all the attributes associated with maleness, including your sense of power, authority, and assertiveness.

 

10. Now focus on your left hand. Here in the North are gathered all the feminine or yin powers of the cosmos. So, whether you are male or female, see all your intimate relations, as well as the actual women who come into your life, on your left hand. Once again, forget about any issues you have with these people, and simply love them.

 

11. Behind you, in the West, lies the past. Your ancestors and the collective spiritual power of all those who went before you reside in the West. When your own time comes to pass on, you will become part of this vast collective unconscious. 

 

12. In front of you, to the East, lies the future. Your children and the spirits of those yet to come are in the East, for they are part of your future. This is the direction of your spiritual path and destiny.

 

13. Breathe deeply and contemplate your own World Tree. Become totally open, yielding, and receptive until it becomes part of you. Materialize the World Tree at the heart of the world and help sustain the cosmic order.

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.

Words Are Monuments

A national reckoning with American history and racial injustice has been playing out on the terrain of monuments, museums, school curricula, and increasingly -- maps. While the Department of the Interior plans to rename 660 place-names with the derogatory term "sq**w," a new study published in the journal People and Nature shows that misogynist and racist slurs are the tip of the iceberg. Violence in place-names can take many forms, including the erasure of Indigenous knowledge and languages.
 

Titled "Words Are Monuments," the study reveals a system-scale pattern of place-names that perpetuate settler colonial mythologies, including white supremacy. Through a quantitative analysis of 2,200 place-names in 16 National Parks, researchers identified:

• 10 racial slurs

• 52 places named for settlers who committed acts of violence against Indigenous peoples. For example, Mt. Doane, in Yellowstone, and Harney River, in the Everglades, commemorate individuals who led massacres of Indigenous peoples, including women and children.

• 107 natural features that retained traditional Indigenous names, compared with 205 names given by settlers that replaced traditional names found on record.

While the Department of the Interior has established a task force to address derogatory place-names, the agency has faced some criticism for what Washington State officials and area tribes are calling a rushed process, with proposed replacement names that are largely colonial.

Calls to re-Indigenize place-names in national parks and monuments have been gathering steam, from the Blackfeet Nation's recent petition to return traditional names to mountains in Glacier National Park, to the Puyallup Tribe's campaign to rename Mount Rainier to Təqʷuʔməʔ, or Mount Tahoma.
 

A new website and national campaign inspired by these efforts and the place-names study launches today at WordsAreMonuments.org. Created by the pop-up social justice museum The Natural History Museum, the site features an interactive map with stories from problematic place-names cited in the study; a step-by-step guide from the National Association of Tribal Historic Preservation Officers on how to officially change place-names; video interviews with cultural geographers and Tribal leaders; and ways to take action to support renaming campaigns.
 

The Natural History Museum will also host a free series of online events featuring Indigenous leaders, artists, activists and scholars that explores:

• Why place names matter and how the movement to 'undo the colonial map' relates to other movements that reckon with American history -- to topple Confederate and colonial monuments, decolonize museums, and overhaul school curricula;

• The relationship between language and ideology, and the power of place names in encoding a way of seeing, understanding, and relating to the land;

• How campaigns to re-Indigenize place names on federal lands are not just about making public lands more inclusive, but are stepping stones on the path to Indigenous co-governance and land rematriation;

• The global reckoning with colonial and imperialist history, including successful and ongoing efforts to replace colonial place-names in New Zealand, India, Palestine, South Africa, and beyond.

Chief Arvol Looking Horse Calls for Unity

All Nations, All Faiths, One Prayer: Chief Arvol Looking Horse, 19th Keeper of the Sacred White Buffalo Calf Pipe, calls on people from around the globe to gather at sacred places on June 21 and join in prayer for the healing and protection of Grandmother Earth.
 

June 21, 2022
 

We warned that one day you would not be able to control what you have created, that day is here. Now we must unite once again to create an energy shift upon Grandmother Earth. She cannot take any more impact from all the selfish decisions being made.
 

We have come to that place in this time upon Earth, to now make a stand together. To unite -- each in our own sacred life-ways we have chosen to walk, whatever religion or belief, go to your sacred spaces and join us in these special prayers for the Earth on June 21st. It has been proven we can create miracles when we unite spiritually.
 

Many white animals have shown their sacred color throughout the world now, and they continue to communicate that we are at the crossroads. We have walked through two years of losing many relatives through a terrible disease, and so have the animals and plant life also continue to suffer. The imbalance of Mni wic'oni (water of life) causing droughts and fires to severe flooding is everywhere, and I feel more suffering is to come from all these poor choices that are being made.
 

I humbly request a time from each of the two legged in this world to send a prayer to heal our precious Earth and the balance of Mni wic'oni to be restored. Begin to prepare in your homelands to unite -- All Nations, All Faiths, One Prayer -- for the sake of Grandmother Earth, our source of life not a resource.
 

In a sacred hoop of life where there is no ending in no beginning.
Chief Arvol Looking Horse
19th Keeper of the Sacred White Buffalo Calf Pipe

 

Source: Last Real Indians

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.

"The Shamanic Bones of Zen"

In The Shamanic Bones of Zen: Revealing the Ancestral Spirit and Mystical Heart of a Sacred Tradition, celebrated author and Buddhist teacher Zenju Earthlyn Manuel undertakes a rich exploration of the connections between contemporary Zen practice and shamanic or indigenous spirituality. Drawing on her personal journey with the black church, with African, Caribbean, and Native American ceremonial practices, and with Nichiren and Zen Buddhism, she builds a compelling case for discovering and cultivating the shamanic, or magical elements in Buddhism -- many of which have been marginalized by colonialist and modernist forces in the religion.

Manuel is an ordained Zen Buddhist priest who previously led the Kasai River Healing Sangha in Oakland and now lives in New Mexico where she leads the Still Breathing Zen Sangha. For many years Manuel has also practiced singing, drumming and ceremonies from a variety of Indigenous traditions including Caribbean, Native American Lakota and Vodou from Dahomey, Africa. She writes, "I wondered: if the shamanic bones or Indigenous roots that were suppressed in the rising of Buddhism were unearthed, would the practice make more sense to practitioners, especially to black, Indigenous and people of color?"

Manuel speaks in deeply personal rather than theoretical terms about the underlying shamanic reality of Zen practice. Such awareness is crucial for the development of contemporary Western Zen. Displaying reverence for the Zen tradition, creativity in expressing her own intuitive seeing, and profound gratitude for the guidance of spirit, Manuel models the path of a seeker unafraid to plumb the depths of her ancestry and face the totality of the present. The book conveys guidance for readers interested in Zen practice including ritual, preparing sanctuaries, engaging in chanting practices, and deepening embodiment with ceremony. The Shamanic Bones of Zen will turn your conception of Zen inside out.