Shamanism and Music

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

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

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

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

Shamanic Music
 

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

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

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

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

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

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

Changing the World

Whether you realize it or not, you are creating your reality all the time. Your reality is the perfect, exact mirror of your thoughts and what you consistently focus upon. Every thought, idea, or image in the mind has form and substance. Everything that we perceive began with a thought. The structure of our universe is thought, mind and consciousness. Consciousness determines the form of our experience. Consciousness is the "theater of perceptual awareness." It is the collective consciousness of humanity that shapes physical reality. We are the universe made conscious to experience itself. We are mind. We live in a universe of mind. From photons to galaxies, life is conscious intelligent energy that can form itself into any pattern or function.
 

Metaphysically, the ultimate nature of existence is that there is but one consciousness which presides over a singular, yet multidimensional, field of energy that it can form into any patterns it desires by the exercise of its thoughts and intentions. And these patterns encompass everything seen and unseen. This consciousness has been referred to as source consciousness, universal consciousness, or cosmic consciousness. Moreover, cosmic consciousness not only creates patterns of energy, it can also perceive and experience them.
 

There is only consciousness, information and the perception of information, and this facilitates the creation and experience of multiple realities. The world that you believe exists outside of you is basically an illusion--it is a purely perceptual experience. Your experiences are real, but the outer world is imaginary. Your reality is only information that was imagined into existence and is essentially just imagery that your consciousness perceives. Perception is an illusory product of consciousness. The world around you is nothing more than a very convincing perceptual illusion.
 

If consciousness creates reality, then change starts within. It starts with the way you observe the outer world from your inner world. You can change the outer world by changing your inner world. The world is your stage. The stage that collective reality plays out on is just there to create a context within which to play out the story of your personal reality. You can create anything you want in life, and it is not limited to what already exists in the collective reality, but it does provide a host of options to select into your life. However, they are all optional--they cannot enter into your experience unless you invite them in with your thoughts. In fact, the collective reality can be a distraction that lures you into focusing on "what is" instead of "what can be."
 

Quantum physics points out that this is a participatory universe in which the power to change reality is literally in our hands at every moment. Modern physics is describing what indigenous shamans have long known. Shamans know that the creative matrix of the universe exists within human consciousness, enabling humans to participate in creation itself. For the shaman, changing reality is not just an ability, but also a duty one must perform so that future generations will inherit a world where they can live in peace, harmony and abundance.
 

Shamans access the creative matrix through techniques of ecstasy such as drumming. Rhythmic drumming is a simple and effective way to induce an ecstatic trance state. Shamanic drumming transports you to the creative matrix within. It is an inward spiritual journey of ecstasy in which you interact with the inner world, thereby influencing the outer world. Ecstatic trance enables you to participate directly in the work of encountering and transforming your inner structure, which mirrors your reality. Structure determines how energy will flow, where it will be directed, and what new forms and structures will be created. Through the transformation of your inner landscapes, you transform the external landscapes. You create new forms, new structures that are not based on hierarchy, estrangement and exploitation. You renew the Sacred Hoop of life on Earth.

Shamanic Cosmology: The Reality of the Soul

Myth is the reality of the soul, just as history is the reality of the temporal world. Humans have always looked beyond the factual world of ordinary reality for something solid on which to ground their lives. The models of the mystery of life have always been based on the wisdom of inner vision. "Mythological cosmologies do not correspond to the world of gross facts, but are functions of dreams and visions," writes the late Joseph Campbell, one of the great mythologists of the twentieth century.(1) Dreams and visions have always been, and will always be, the creative forces that shape cosmology, which embodies a culture's basic ideas, truths and understanding about the nature of the universe. A culture's mythical cosmology gives physical shape to its mystical ideas in the form of stories and rituals. It is an inherent product of the psyche, a symbolic language of metaphysics recognized by shamans and seers.
 

Mythological cosmology is evocative rather than referential. It is not science or history, but rather symbolism that serves as a catalyst of spiritual well-being. In shamanic cultures, mythic cosmology serves a dual function. It not only engages the individual both emotionally and intellectually in the local tribe, but also serves as a means of disengaging from this local system in order to experience the "Great Mystery." It disengages the individual from the integrating component of ordinary thinking consciousness and invokes the mysteries of the imagination and intuition. 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.
 

Shamanic practitioners utilize trance-inducing rhythmic drumming as a means of journeying into the mythic realms of the soul. Transported by the driving beat of the drum, the journeyer travels to the inner planes of consciousness, using myth as an inner map to guide their journey. There is a bridge on the sound waves of the drum that convey you from one world to another. In the sound world, a tunnel opens through which you can pass. When you stop playing the drum, the bridge disappears.
 

Cosmologically, the drum depicts a microcosm of the universe, as well as the vehicle of travel. Carried away on the sound of the drum, the shaman's spirit is said to ride on the animal whose hide is stretched over the drum frame. The frame of the shaman's drum is invariably round, symbolizing the circle of life. In the shaman's world, all aspects of life, energy, and the cosmos spiral in circles. The plants, the animals, the minerals, and the elemental forces of nature all exist within the circle. All creatures walk the circumference of the wheel of life, experiencing birth, life, and death. After completing a cycle of learning on the sacred wheel, each one returns to the source, the Great Mystery at the center of the circle.
 

Transformations of Myth through Time
 

The cosmology of the drum, as well as that of shamanism itself, represents the worldview of animistic Paleolithic hunting societies. The archetypal symbolism developed from a reciprocal relationship that existed between animals hunted and the tribal cultures dependent for sustenance on their offering themselves. The totemic animals or animal archetypes are themselves great teachers as well as man's co-descendants from the mythical paradise. The totemic animals gave to humans the rites to be performed whenever game animals were slain so that their spirits would return to the source for rebirth. The hunt itself was a rite of sacrifice. When the rites were properly performed and recognition thus given to the order of nature, then harmony with nature was maintained and a food supply assured.
 

The structures of shamanic cultures are circular. Like the hoop of the drum, the circle represents the wheel of life. All are equal in the circle; no one is above or below. In a circle, each person's face can be seen; each person's voice can be heard and valued.
 

Agriculture transformed the structures and cosmologies of shamanic cultures. Nomadic, subsistence hunting societies were assimilated into food growing communities structured on hierarchy. The Neolithic order of agricultural societies imposed a rigid social system on Paleolithic peoples used to the freedom and rites of the hunt. The plant displaced the animal as the model of the mysteries of life. Complex ceremonials and rituals based on the cycle of death and rebirth in the plant kingdom rigidly interlocked all individuals into the endless formal procedure. Shamans, with their individualistic style of spiritual experience, were viewed as a threat to the dogma of the ecclesiastical hierarchies. Shamanism was discredited as heresy and replaced by a socially anointed priesthood.
 

The paramount function of mythic cosmology in agricultural societies has always been that of suppressing individualism. Generally, this has been achieved by imposing dogmatic archetypes of behavior, symbols, and belief systems on people. Individual expression, interests, or modes of experience contrary to the social mandala are discouraged. The cultural imprinting of hierarchical, agriculturally based societies leaves the individual outside the realm of personal spiritual experience. Any sense of the Great Mystery is beyond the individual's grasp.
 

Today the mythologies of hierarchy and the priesthood are dissolving. Individuals are searching for new ways to relate to nature and spirituality. Joseph Campbell wrote, "What is required of us all, spiritually as well as corporeally, is much more the fearless self-sufficiency of our shamanistic inheritance rather than the timorous piety of the priest-guided Neolithic."(2)
 

Shamanic cosmology is one of disengagement from the rigid patterns that suppress the manifestations of individualism. Through the beat of the drum, a sense of the original source is evoked, along with the forces of the universe, which have been suppressed in the subliminal abyss of the unconscious for six thousand years. The drum, as a microcosm, becomes a tool for effecting changes in the macrocosm. It enables us to participate directly in the work of encountering and transforming our inner structure, which mirrors our culture. Structure determines how energy will flow, where it will be directed, and what new forms and structures will be created. Through the transformation of our inner landscapes, we transform the external landscapes. We create new forms, new structures that are not based on hierarchy, estrangement, and exploitation. We renew the sacred hoop of harmony and balance. This is the work of the shaman--of myth making.

1. Joseph Campbell, The Flight of the Wild Gander (South Bend: Regnery/Gateway, Inc., 1979).
2. Joseph Campbell, The Flight of the Wild Gander.

Healing with Acoustic Resonance

Drumming is a profound way to promote healing. Through acoustic resonance, drumming helps restore the vibrational integrity of body, mind, and spirit. Acoustic resonance is the ability of a sound wave to impart its energy to a substance such as air, wood, metal, or the human body, making it vibrate in sympathy. For example, when you tap a tuning fork in proximity to another one of the same tone, both will vibrate. Acoustic resonance is an important consideration for instrument builders, as most acoustic instruments use resonators, such as the strings and body of a violin, the length of tube in a flute, and the shape of a drum membrane. A single-headed frame or hoop drum works best for acoustic resonance healing--the larger the drum, the greater the resonance.
 

The drum is a powerful tool for healing. As we play the drum, the drum then plays our bodies. The various frequencies of the drum interact with our own resonant frequencies, forming new harmonic alignments. Through the natural law of resonance, the sound waves produced by the drum impart their energy to the resonating systems of the body, mind and spirit, making them vibrate in sympathy. When we drum, our living flesh, brainwaves and spiritual energy centers entrain or synchronize to the sound waves and rhythms. This sympathetic resonance has the following key effects:
 

1. It produces deeper self-awareness by inducing synchronous brain activity. Research has demonstrated that the physical transmission of rhythmic energy to the brain synchronizes the two cerebral hemispheres. When the logical left hemisphere and the intuitive right hemisphere begin to pulsate in harmony, the inner guidance of intuitive knowing can then flow unimpeded into conscious awareness. The ability to access unconscious information through symbols and imagery facilitates psychological integration and a reintegration of self. Drumming also synchronizes the frontal and lower areas of the brain, integrating nonverbal information from lower brain structures into the frontal cortex, producing feelings of insight, understanding, integration, certainty, conviction, and truth, which surpass ordinary understandings and tend to persist long after the experience, often providing foundational insights for religious and cultural traditions.
 

2. It releases negative feelings, blockages, and emotional trauma. Drumming can help people express and address emotional issues. Unexpressed feelings and emotions can form energy blockages. The physical stimulation of drumming removes blockages and produces emotional release. Sound vibrations resonate through every cell in the body, stimulating the release of negative cellular memories.
 

3. It accesses the entire brain. The reason rhythm is such a powerful tool is that it permeates the entire brain. Vision for example is in one part of the brain, speech another, but acoustic resonance penetrates the whole brain. The sound of drumming generates dynamic neuronal connections in all parts of the brain even where there is significant damage or impairment such as in Attention Deficit Disorder (ADD). According to Michael Thaut, director of Colorado State University's Center for Biomedical Research in Music, "Rhythmic cues can help retrain the brain after a stroke or other neurological impairment, as with Parkinson’s patients...." The more connections that can be made within the brain, the more integrated our experiences become.
 

4. It induces natural altered states of consciousness. Rhythmic drumming induces altered states, which have a wide range of therapeutic applications. A landmark study by Barry Quinn, Ph.D. demonstrates that even a brief drumming session can double alpha brain wave activity, dramatically reducing stress. The brain changes from Beta waves (focused concentration and activity) to Alpha waves (calm and relaxed), producing feelings of euphoria and well-being. Alpha activity is associated with meditation, shamanic trance, and integrative modes of consciousness.
 

5. It helps us to experience being in resonance with the natural rhythms of life. Rhythm and resonance order the natural world. Dissonance and disharmony arise only when we limit our capacity to resonate totally and completely with the rhythms of life. The origin of the word rhythm is Greek meaning "to flow." We can learn to flow with the rhythms of life by simply learning to feel the beat, pulse, or groove while drumming. When drummers feel this rhythmic flow, especially at a slower, steady beat, they can shift into a state of deep relaxation and expanded awareness. It is a way of bringing the essential self into accord with the flow of a dynamic, interrelated universe, helping us feel connected rather than isolated and estranged.

Ritual Use of the Shamanic Drum

The shamanic drum, namely the single-headed frame drum, originated in Siberia, together with shamanism itself thousands of years ago. Shamanic drumming is considered one of the oldest methods for healing and accessing inner wisdom. Practiced cross-culturally, this technique is strikingly similar the world over. Shamanic drumming uses a repetitive rhythm that begins slowly and then gradually builds in intensity to a tempo of three to seven beats per second. The ascending tempo will induce light to deep trance states. Shamans use intention and discipline to control the nature, depth and qualities of their trance experiences. They may progress through a range of ecstatic trance states until they reach the level that is necessary for healing to occur. 

The act of entering an ecstatic trance state is called the soul flight or shamanic journey. During shamanic flight, the sound of the drum serves as a guidance system, indicating where the shaman is at any moment or where they might need to go. The drumbeat also serves as an anchor, or lifeline, that the shaman follows to return to his or her body and/or exit the trance state when the trance work is complete. When ready to exit the trance state, the practitioner simply slows the tempo of drumming, drawing consciousness back to normal. 

The sound of the shamanic drum is very important. A shamanic ritual often begins with heating the drum head over a fire to bring it up to the desired pitch. It is the subtle variations in timbre and ever-changing overtones of the drum that allow the shaman to communicate with the spiritual realm. Part of the shaman's training involves learning to hear and interpret a larger range of frequencies than the normal person can. The shaman listens and finds the right tone, the right sound to which the spirits will respond. Through the many tones, pitches, and harmonics of the drum, the shaman communes with the subtle and normally unseen energies of the spirit world. 

Tuvan shamans believe that the spirits of nature create their own sound world, and it is possible for humans to communicate with them through the sound of the drum. According to Tuvan ethnographer and former shaman Mongush Kenin-Lopsan, "We understand the spirits answers mostly from the tangible results of the communication, in terms of benefit or harm. But some people actually hear the spirits singing." Tuvan shamans use the drum to convey to the spirits of a place their greetings, any requests, and thanks. It is a spiritual practice designed to help human beings relate to all of nature. Tuva (southern Siberia) is one of the few places in the world where the shamanic heritage has remained unbroken. 

Drumming opens the shaman's inner, spiritual ears and eyes and also calls the helping spirits. As Tuvan musicologist Valentina Suzukei explains, "By changing and listening to the frequencies and overtones of the drum, the shaman is able to send messages to, and receive them from, both the spirit world and the patient. For example, the shaman might use the overtones to send signals to the sky, where they provoke a voice from the cosmos; in turn, the cosmic signals are caught on the drum and reflected to the shaman through the creation of subsequent overtones." 

The shamanic drum is a time-tested vehicle for healing and self-expression. A shaman may use the drum to address any number of health issues including trauma, addiction, depression, and chronic pain. Additionally, the shamanic techniques of extraction, soul retrieval, and journeying, can all be performed with the drum. According to Mariko Namba Walter and Eva Jane Neumann Fridman, authors of Shamanism: An Encyclopedia of World Beliefs, Practices, and Culture, "The drum is used in a variety of ways in shamanist rituals; it may serve as (1) a rhythm instrument, (2) a divination table, (3) a "speaker" for communicating with the spirits, (4) a spirit-catcher, (5) a spirit boat, (6) a purifying device, (7) the shaman's mount."

The Shamanic Horse

The drum, often called the shaman's horse, provides the shamanic practitioner a relatively easy means of controlled transcendence. Researchers have found that if a drum beat frequency of around three to four beats per second is sustained for at least 15 minutes, it will induce significant trance states in most people, even on their first attempt. The drum becomes the practitioner's mount, and the drumstick becomes a riding crop. Riding the rhythm of the drum at the speed of sound, the practitioner journeys to the inner planes of consciousness and back.
 

Through the sound of the drum, which is customarily made of wood from the World Tree (axis mundi), the practitioner is transported to the cosmic axis (spinal column) within and conveyed from plane to plane. As noted Tuvan Siberian ethnomusicologist Valentina Suzukei explains: "There is a bridge on these sound waves so you can go from one world to another. In the sound world, a tunnel opens through which we can pass, or the shaman's spirits come to us. When you stop playing the drum, the bridge disappears."(1)
 

The shamanic horse, namely the single-headed frame drum, originated in Siberia, along with shamanism itself thousands of years ago. Shamanic drumming is considered one of the oldest methods for healing and accessing inner wisdom. Practiced in diverse cultures around the planet, this drum method is strikingly similar the world over. Shamanic drumming uses a repetitive rhythm that begins slowly and then gradually builds in intensity to a tempo of three to seven beats per second. The ascending tempo will induce light to deep trance states. Practitioners may progress through a series of trance states until they reach the level that is necessary for healing to occur.
 

Basically, shamanic drumming is a technique of accessing and directing archetypal or transpersonal powers for healing and manifesting what is needed to benefit the community. It is a simple and effortless way to still the incessant chatter of the mind, thereby inducing a shamanic trance state. Shamanic drumming carries awareness into the transcendent realm of the collective unconscious, the infinite creative matrix of all that we are, have been and will ever be. It is an inward spiritual journey of ecstasy in which one interacts with the inner world, thereby influencing the outer world.
 

During shamanic flight, the sound of the drum serves as a guidance system indicating where the journeyer is at any moment or where they might need to go. The drumbeat also serves as an anchor or lifeline that the traveler follows to return to their body when the trance work is complete. One of the paradoxes of rhythm is that it has both the capacity to move your awareness out of your body into realms beyond time and space, and to ground you firmly in the present moment. It allows you to maintain a portion of ordinary awareness while experiencing nonordinary awareness. This allows recall or recollection of the visionary experience. When ready to exit the trance state, the practitioner simply slows the tempo of drumming, drawing consciousness back to normal. Shamanic drumming continues to offer today what it has offered for millennia -- a simple and effective technique of ecstasy.
 

Although sounding simple and redundant, the unique connection between the drum and the practitioner gives this drumming great power, richness and depth. According to Valentina Suzukei, "shamanic drumming is not monotonous at all. Constant changes in timbre and volume keep them interesting...If you don’t listen for timbre, but only for pitch and rhythm the music is boring, monotonous. But the player's every smallest change of mood is reflected in timbre."(2)
 

It is the subtle variations in timbre and ever-changing overtones of the drum that allow the shamanic practitioner to communicate with the spiritual realm. Drumming opens one's inner, spiritual ears and eyes and also calls the helping spirits. By changing and listening to the tones, pitches and harmonics of the drum, the practitioner is able to send messages to and receive them from the spirit world.
 

The Shaman's Steed
 

The role of the horse in Siberian shamanism is predominately that of an animal that transports a shaman in his journeys, especially his journeys to the World Tree. In the shamanic traditions of East, Central and North Asia, winged horses symbolize the shaman's soul or the shaman's steed carrying the rider to Heaven. Among the Yakut people of Siberia, the drum was symbolically called kulan-at or "wild horse." The drum was the very heart of the shaman's steed. The Buryat, a Mongolic ethnic group native to southeastern Siberia, make their drums out of horse skins. The Buryat see the stars as a herd of horses tethered to the World Tree, which is represented by the pole star.
 

Throughout Mongolia, the drum is called Omisi Murin, which translates as Spirit Horse. The repetitive, rhythmic cadence of shamanic drumming is evocative of a horse on a journey. Mongolian and Siberian shamans describe it as the blissful, transcendent state that one mounts and rides from plane to plane. As Siberian shaman Tania Kobezhikova puts it, "My drum can connect me to the earth or carry me like a flying horse."(3) We can ride Spirit Horse on journeys through the inner realms of consciousness. As a form of transport for the body and the soul, Spirit Horse will let you ride him and will take you where you want to go. Do you need to get somewhere physical or spiritual? Spirit Horse will assist you and serve as your guardian spirit, giving safety in your physical and metaphysical journeys.

1. Kira Van Deusen, "Shamanism and Music in Tuva and Khakassia," Shaman's Drum, No. 47, Winter 1997, p. 24.
2. Kira Van Deusen, Singing Story, Healing Drum: Shamans and Storytellers of Turkic Siberia (McGill-Queen's Press, 2005), p. 124.
3. Van Deusen, Singing Story, Healing Drum, p. 122.

How Rhythm Shapes Our Lives

Simply put, rhythm is a strong repeated pattern of movement or sound, generally considered to be an ordered alternation of contrasting elements. As regular and natural patterns of change, rhythms are everywhere--in the cycle of seasons, the tides, the phases of the moon, waking and sleeping, day and night, ebb and flow, yin and yang. In fact, rhythm is the very pulse of the universe. According to quantum physics, everything in the universe, from the smallest subatomic particle to the largest star, has an inherent vibrational pattern. Everything has a unique vibrational frequency--a pulsating rhythm that belongs only to it. Within the heart of each of us, there exists a silent pulse of perfect rhythm that connects us to the totality of a dynamic, interrelated universe.
 

Rhythm interconnects everything in the natural world. All living things share in the common experience of being plugged into the electromagnetic grid of the planet. All life pulsates in time to the planet’s extremely low frequencies, which are concentrated at about 7.83 Hz (cycles per second). This so-called Schumann resonance is produced and maintained by more than eight million global lightning strikes a day. Every lightning bolt discharges a large amount of energy and so contributes to the Earth’s background base frequency or "heartbeat." This alpha rhythm is the primary frequency in the web of life. All life forms are innately connected to this primary frequency.
 

Beyond natural manifestations, rhythm characterizes human expression and is inseparable from speech, music, dance, and all forms of art. Rhythm plays an important role in how we perceive and connect with the world. Rhythm plays a role in listening, in walking, and in language. More importantly, rhythm is the underlying foundation of human sociability and interaction. Consider the broad range of biological rhythms in the human body, fast and slow, transmuted and integrated by the complex interdependence of the somatic, autonomic and endocrine nervous systems. The results of this synthesis of movement and sound act directly on us, spatially and temporally differentiating our interactional patterns.
 

Indeed, the very universality of rhythm is a compelling argument for the existence of biological processes governing the perception and production of rhythm. Rhythms in the brain have been identified as a basis for consciousness itself. According to neuroscience research, rhythm is rooted in innate functions of the brain, mind, and consciousness. As human beings, we are innately rhythmic. Our relationship with rhythm begins in the womb. At twenty two days, a single (human embryo) cell jolts to life. This first beat awakens nearby cells and incredibly they all begin to beat in perfect unison. These beating cells divide and become our heart. This desire to beat in unison seemingly fuels our entire lives. Studies show that, regardless of musical training, we are innately able to perceive and recall elements of beat and rhythm.
 

It makes sense, then, that beat and rhythm are an important aspect in music therapy. Our brains are hard-wired to be able to entrain to a beat. Entrainment occurs when two or more rhythms come into sync and begin to beat as one. If you are walking down a street and you hear a song, you instinctively begin to step in sync to the beat of the song. This is actually an important area of current music therapy research. Our brain enables our motor system to naturally entrain to a rhythmic beat, allowing music therapists to target rehabilitating movements. The better we understand the biological basis of rhythm, the better we will be able to employ rhythm--in all its guises--to improve communication and to better understand ourselves.

"A Journey Into Shamanism" Book Sale

I am now offering a 50% discount on my ebook Riding Spirit Horse: A Journey Into Shamanism. The ebook sale price is $2.99. Offer good through July 31st, 2023. In this spiritual memoir, I recount my journey into shamanic practice. The narrative of my story moves from my first ecstatic experience as a youth at a church revival to my mystical shamanic awakening in the wilderness, transformational pilgrimages to sacred places, working with indigenous wisdom keepers, to the experiences that prompted my writing, particularly my trance experiences "riding the drum" or Spirit Horse. Studying with Native elders and shamans, I discovered my shamanic gifts as a drummer, storyteller and ceremonialist.
 

A journey into shamanism is a pilgrimage of the soul. My journey has taken me down many spiritual paths. As a youth growing up, I embraced the teachings of Christ; I later studied and practiced the teachings of Taoism and Buddhism, all of which have their roots in shamanic practices from the earliest tribal communities. Shared core principles and truths weave a common thread through all spiritual traditions. This golden thread runs through the lives and the teachings of all the great prophets, seers and sages in the world's history.
 
Ultimately, all contemplative spiritual practice leads to the evolution of conscious awareness and union with the divine in the present moment. The perennial wisdom traditions teach us that the "here and now" is eternal, unchanging and omnipresent; it should be the primary focus of our life. When we are not present in the moment, we become a victim of time. Our mind is pulled into the past or the future or both. The present moment is all we ever have. The eternal now is the fundamental ceremony of life. When we bring ourselves fully into the present moment, our life becomes a spiritual practice and an opportunity to ride in beauty on the windhorse of authentic presence! I invite you to read Riding Spirit Horse: A Journey into Shamanism.

How Brainwaves Affect Our Well-Being

All of our thoughts, emotions and behaviors are rooted in the communication between neurons. Each of the millions of neurological synapses in our brain operate on electrical impulses which create an overall frequency. The frequency (wavelength) can be fast or slow, harmonious or discordant, but whatever it happens to be will affect our consciousness dramatically. Our brainwave state affects our ability to focus and many other important functions in our lives. Knowing how to identify your brainwave state is the first step in empowering you to consciously shift these patterns as needed throughout the day.
 

There are four brainwave states:
 

Delta brainwave activity (1-4 HZ or beats per second) is associated with deep sleep. This state is crucial for restoration of the body and healing. Delta has to do with the subconscious, the place where intuition arises. 

 

Theta wave activity (4-8 HZ) reflects the dreamlike state between wakefulness and sleep. Theta rhythms are associated with meditation and shamanic states of consciousness. Theta increases creativity, enhances learning, reduces stress, and awakens intuition.
 

Alpha brain waves (8-12 HZ) are associated with relaxation, imagination, visualization and integrative modes of consciousness. This state of mind is considered a gateway to deeper realms of consciousness and is essential to well-being.
 

Beta brainwave activity (13-30 HZ) is associated with concentration, cognition, alertness, and focus. This state of consciousness allows you to make connections quickly and come up with solutions and ideas.
 

Consciously altering brainwave activity
 

People have meditated, used music, dance, and art for millennia to alter consciousness. Neuroscience research has demonstrated that certain external rhythms can cause entrainment of brainwaves. This idea has been applied with biofeedback, binaural beats, and other advanced forms of technology but it is basically rooted in the ancient rhythm of the shaman's drum. Indigenous shamanic cultures have been using rhythm to alter consciousness for thousands of years.
 

Rhythmic drumming induces altered states of consciousness, which have a wide range of therapeutic applications. A groundbreaking study by Barry Quinn, Ph.D., a clinical psychologist specializing in neuro-biofeedback therapy for stress management, demonstrated that even a brief drumming session can double alpha brain wave activity, dramatically reducing stress. The brain changes from Beta waves (focused concentration and activity) to Alpha waves (calm and relaxed), producing feelings of euphoria and well-being. This ease of induction contrasts significantly with the long periods of isolation and practice required by most meditative disciplines before inducing significant effects. Rhythmic stimulation is a simple yet effective technique for affecting states of mind.
 

The reason rhythm is such a powerful tool is that it permeates the entire brain. Vision for example is in one part of the brain, speech another, but drumming accesses the whole brain. The sound of drumming generates dynamic neuronal connections in all parts of the brain even where there is significant damage or impairment such as in Attention Deficit Disorder (ADD). According to Michael Thaut, director of Colorado State University's Center for Biomedical Research in Music, "Rhythmic cues can help retrain the brain after a stroke or other neurological impairment, as with Parkinson’s patients..." The more connections that can be made within the brain, the more integrated our experiences become.

Group Drumming Better than Antidepressants

A study published by the Public Library of Science (PLoS) scientifically validates what so many drum circle participants have already experienced first hand: group drumming produces significant changes in well-being, including improvements in depression, anxiety and social resilience.
 

With the World Health Organization identifying depression as the #1 leading cause of disability, globally, and psychiatric medications causing severe side effects, including permanently disabling the body's self-healing mechanism, drug-free alternatives are needed now more than ever.
 

Could group drumming provide just such a solution?
 

Titled, "Effects of Group Drumming Interventions on Anxiety, Depression, Social Resilience and Inflammatory Immune Response among Mental Health Service Users," UK researchers enrolled thirty adults who were already recipients of mental health services but were not receiving antidepressant medications in a 10 week program of drumming versus a control group of 15. The two groups were matched for age, sex, ethnicity and employment status. The control participants were informed that they were participating in a study about music and mental health but were not given access to the group drumming sessions. The treatment group received weekly 90-minute group drumming sessions over a period of 10 weeks. The drum group sizes were between 15-20. Each participant was provided with a traditional African djembe drum and sat in a circle. Twenty percent of the session time involved instruction and talking, whereas 80% was direct participation in music-making. The control subjects were enrolled in community group social activities (e.g. quiz nights, women's institute meetings and book clubs). Both groups were monitored for biomarkers related to immune status and inflammation, e.g. cortisol and various cytokines, to track the biological as well as psychological changes associated with the intervention.
 

The results of the study were remarkable. Significant improvements were found in the drumming group but not the control group. In summary, by 6 weeks the drumming intervention group experienced decreases in depression, increased social resilience; by 10 weeks they saw further improvements in depression, alongside significant improvements in anxiety and mental wellbeing. These changes continued to be maintained 3 months follow-up. The drumming intervention group also saw their immune profile shift from a pro-inflammatory towards an anti-inflammatory response.
 

This remarkable research opens up the possibility that group drumming may produce positive psychospiritual changes that, in comparison to conventional treatment with psychiatric medications like Prozac, support side-effect free improvement in parameters beyond symptom suppression.
 

Additionally, when one considers that the benefits associated with conventional pharmaceutical treatment of depression may actually result from the placebo effect and not the chemicals themselves, as well as the fact that antidepressants can cause severe adverse effects including suicidal ideation, the findings of this exploratory study becomes all the more promising.
 

Another important discovery here is that group drumming down-regulated inflammation within the immune profiles of study participants. Could the dysregulation of inflammation be a root cause of a wide range of psychiatric disorders and anti-inflammatory interventions a solution? The inflammation-depression link, in particular, explains how interventions such as turmeric have been clinically proven to be superior to common antidepressant medications like Prozac, presumably because of turmeric's broad spectrum and systemic anti-inflammatory properties.

Traditional Water Drums

Water drums are a category of membranophone characterized by the filling of the drum chamber with some water to create a unique resonant sound. The presence of the water within gives the sound far greater carrying power than a dry drum possesses. At close range, the tone of the water drum is often a dull thud, but when properly tuned by an experienced drummer it has a resonance that can be heard for miles. No drum can be heard so far; it is on record that water drums have been heard eight to ten miles over a lake. This capacity to be heard distinctly at a distance, coupled with a peculiar tone quality, gives the water drum a very unique voice.

Water drums are used all over the world, including African music and American Indian music, and are made of various materials, with a membrane stretched over a hard body such as a metal, clay or wood. The Native American Church uses a black iron kettle with three tripod legs. The leather drum head is soaked in water before being stretched over the kettle. Clay pot drums were common among many eastern and southern tribes in the ancient days, those of the South using a semicircular-shaped bowl with legs. The pottery water drum of the Pueblo Indians is a vase-shaped pot with a flared out top. Pueblo water drums vary in size from small pots holding a gallon of water up to huge ones measuring thirty or more inches in diameter. These are filled about one-fourth full of water and the wet hide is tied over the top. When not in use the tanned drumhead and rawhide thong for tying it are kept inside the pot.  

Wooden water drums are the traditional percussion instrument for the Native American Anishinaabe (Ojibwe), Ottawa, Potawatomi, Huron and Iroquois peoples. The Eastern Woodland tribes made far greater use of water drums than any other Native peoples, and attached a greater significance to them. To the Anishinaabe and their many neighboring tribes, the water drum is a true medicine drum of great power, the sacred drum of the Midewiwin or Grand Medicine Society, which is at the core of Anishinaabe religion. Water is synonymous with life, hence it adds great potency to the water drum. Its sacred sound is regarded as one of the most effective ways of establishing connections with the spirit realm, since it travels through space, permeates visual and physical barriers, and conveys information from the unseen world. It is widely used today in traditional Longhouse social dances and ceremonies.

Wooden water drums are made either by hollowing out a solid section of a small soft wood log, or assembled using cedar slats and banded much like an old keg. The drum is filled about one-fourth full of water and a wet leather hide is stretched over the top. For detailed instructions on crafting, tuning and playing water drums, download the free eBook, How to Make Drums, Tomtoms, and Rattles by Bernard S. Mason. This classic 1938 edition is now a free public domain eBook.

Four Steps for Shamanism in Daily Life

Rhonda McCrimmon is a prominent shamanic practitioner and founder of the Centre for Shamanism in Kirriemuir, Scotland. In a recent interview for the British daily newspaper, The Guardian, McCrimmon shared four practical ways to use shamanism in your everyday life:
 

1) Connect with the elements
 

Spend a few moments each day connecting with one of the four elements -- earth, air, fire, water. Notice details, like, is the wind gentle and what direction is it blowing in? Feel the water pass your lips when drinking, flow down your throat and enter your stomach while giving thanks for the nourishment it provides. Breathing crisp winter air with your eyes closed and feeling what emotions that brings up for you that can then be released on the out breath. Walking barefoot on grass and thinking of your ancestors walking the same way giving thanks for their life.
 

2) Listen to the beat
 

Try listening to steady drumbeats, breathing deeply and slowly for five to 10 minutes. Take time to notice how you felt during and afterwards -- this can be developed into shamanic journeying for yourself when you feel ready. This is good for regulating and de-stressing after a hard day.
 

3) Practice gratitude
 

Daily gratitude practice for the earth, the land and the ancestors. Gratitude is good for our body, mind, soul and community, and is great for lowering anxiety.
 

4) Get to know your guides
 

Invite your shamanic guides to make themselves known to you. A guide supports you in your life. Although your guides are always with you, whether you know them or not -- they might be an animal you see all the time or that you have an affinity with -- it can take time to build a relationship with them. You'll know you have met a guide when they appear in your mind unbidden and you feel them around you in difficult moments.

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.

Your Guide to Shamanic Drumming

I am pleased to announce the publication of my first online course, Your Guide to Shamanic Drumming, on Insight Timer. Insight Timer is a free smartphone app and online community with over seven million meditators, making it the most active meditation community on the planet. The meditation app made Women's Health and Time magazine's list of best apps. Three thousand meditation teachers publish free guided meditations, music and talks on the app. With 130,000 free guided meditations, including six of my shamanic drumming tracks to support your shamanic journeys, you can meditate on Insight Timer for as long as you want without ever paying a cent. Please note that courses are a premium offering and require either an individual purchase or an active subscription. You can purchase my course for $19.99 or start your 7 day free trial then subscribe to unlock all 1,871 Insight courses, playlists and premium features. Download the Insight Timer app here.
 

Course Description 

In this four-part audio course, best-selling author Michael Drake teaches about the power of shamanic drumming to improve well-being, promote spiritual growth and deepen our understanding of the inner self. Shamanic drumming is a form of repetitive rhythmic drumming. Its purpose is to induce ecstatic trance states in order to access innate wisdom and guidance. The essence of shamanism is the experience of direct revelation from within. Shamanism is about remembering, exploring and developing the true self. Shamanic practice heightens the ability of perception and enables you to see into the deeper realms of the self. Once connected with your inner self, you can find help, healing and a continual source of guidance. To practice shamanism is to reconnect with your deepest core values and your highest vision of who you are and why you are here.

Drawing from 30 years of shamanic practice and teaching, Michael presents the first practical guide to applying this ancient healing art to our modern lives. Through a series of simple lessons and exercises, he teaches the basic shamanic methods of drumming, journeying, power practice and healing the earth. You will learn how to alter your state of consciousness to access higher wisdom, renewed power and untapped insight. There are no prerequisites to learning shamanic drumming. Whether you are an accomplished percussionist or a total beginner, this course will help you harness the power of drumming. 

 

Drumming is a spiritual practice that can help us heal and restore ourselves and our communities. It is one of the quickest and most powerful ways to open the heart and connect with a power greater than ourselves. The drum is a time-tested vehicle for healing and self-expression. It can be used to address any number of health issues including trauma, addiction, depression and chronic pain. Recent research reviews indicate that drumming accelerates physical healing, boosts the immune system and produces feelings of well-being, a release of emotional trauma and reintegration of self. You can listen to the introduction and read the course outline here.

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>.

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.

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 Shaman's Drum

The drum, sometimes called the shaman's horse, provides the shaman a relatively easy means of controlled transcendence. Researchers have found that if a drum beat frequency of around three to four beats per second is sustained for at least fifteen minutes, it will induce significant trance states in most people, even on their first attempt. During shamanic flight, the sound of the drum serves as a guidance system, indicating where the shaman is at any moment or where they might need to go. The drumbeat also serves as an anchor, or lifeline, that the shaman follows to return to his or her body and/or exit the trance state when the trance work is complete.
 

The sound of the shaman's drum is very important. A shamanic ritual often begins with heating the drum head over a fire to bring it up to the desired pitch. It is the subtle variations in timbre and ever-changing overtones of the drum that allow the shaman to communicate with the spiritual realm. Part of the shaman's training involves learning to hear and interpret a larger range of frequencies than the normal person can. The shaman listens and finds the right tone, the right sound to which the spirits will respond. Through the many tones, pitches, and harmonics of the drum, the shaman communes with the subtle and normally unseen energies of the spirit world. 

Tuvan shamans believe that the spirits of nature create their own sound world, and it is possible for humans to communicate with them through the sound of the drum. According to Tuvan ethnographer and former shaman Mongush Kenin-Lopsan, "We understand the spirits answers mostly from the tangible results of the communication, in terms of benefit or harm. But some people actually hear the spirits singing." Tuvan shamans use the drum to convey to the spirits of a place their greetings, any requests, and thanks. It is a spiritual practice designed to help human beings relate to all of nature. Tuva (southern Siberia) is one of the few places in the world where the shamanic heritage has remained unbroken.
 

Drumming opens the shaman's inner, spiritual ears and eyes and also calls the helping spirits. As Tuvan musicologist Valentina Suzukei explains, "By changing and listening to the frequencies and overtones of the drum, the shaman is able to send messages to, and receive them from, both the spirit world and the patient. For example, the shaman might use the overtones to send signals to the sky, where they provoke a voice from the cosmos; in turn, the cosmic signals are caught on the drum and reflected to the shaman through the creation of subsequent overtones."

The Role of the Drum

The drum has a role of first importance to the shaman, for its rhythm develops an oneness of feeling and purpose with the rhythms of the universe. Everything in the universe, from the smallest subatomic particle to the largest star, vibrates with rhythmic motion. All things are born of rhythm and it is rhythm that holds them in form. Rhythm is the heartbeat of life. Every living thing has a unique song, a pulsing rhythm that belongs only to it. Within the heart of each of us, there exists a silent pulse of perfect rhythm that connects us to the totality of a dynamic, interrelated universe. The drum's beat unites the shaman with all life forms into a single being, a single heartbeat. The drum reconciles all of the disparate and discordant aspects of nature. It promotes individual and planetary resonance and restores harmony and balance.     
 

The drum's sonorous voice expresses the basic rhythm patterns man has observed over and over in nature: the tides, the phases of the moon, the changing seasons, and the myriad cycles of life. Rhythm and resonance order the natural world. Dissonance and disharmony arise only when we limit our capacity to resonate totally and completely with the rhythms of life. Rhythm is a universal vibrational language. We respond to rhythm whenever we sense it and seek it out when it is not present, for it is invariably pleasant.
 

Drumming affects aurally generated emotion more than any other musical instrument. Drum rhythms cover the whole range of human feeling. Whatever the emotion, the drum seems to compensate and offer satisfying expression. Drumming provides solace, relief from anger, courage when afraid, or even ecstasy.
 

Ecstasy is defined as a mystic, prophetic, or poetic trance. It is a trance-like state of exaltation in which the mind is fixed on what it contemplates or conceives. The drum serves as a concentration device, enhancing the shaman's capacity to focus attention inward. It stills the incessant chatter of the mind, enabling the shaman to enter a subtle or light-trance state. It is an inward spiritual journey of rapture in which the shaman performs his or her mysterious work.
 

In his classic work, Shamanism: Archaic Techniques of Ecstasy, eminent religious scholar Mircea Eliade concluded that the ecstatic experience does not belong exclusively to the shaman, but "is a timeless primary phenomenon." All people, therefore, are capable of flights of rapture. Ecstasy is a frequency within each of us. Like tuning a radio to the desired frequency, the drum attunes one to ecstasy. 

Eliade defined shamanism as a technique of ecstasy. Shamanism is based on the principle that the spiritual world may be contacted through the inner senses in ecstatic trance. It is a great emotional adventure open to whoever wishes to transcend their normal, ordinary definition of reality. The shaman is able to contact and utilize an ordinarily hidden reality in order to acquire knowledge and power and to help others. He or she gains access to a new, yet familiarly mythic universe.

Rhythm Healing

The key to understanding the shaman's world is to realize that the universe is made of vibrational energy. According to quantum physics, everything in the universe, from the smallest subatomic particle to the largest star, has an inherent vibrational pattern. The entire universe is created through vibration and can be influenced through the healing vibrations of shamanic drumming. The shamanic drum is a tool for altering the vibrational state of the shaman and/or the healee or a particular situation in the community. To put it simply, shamanic drumming is an ancient form of rhythm healing.

Rhythm healing is an approach that uses therapeutic rhythm techniques to promote health and well-being. Rhythm healing employs specialized rhythmic drumming patterns designed to influence the internal rhythmic patterns of the individual and harmonize those which are thought to be causing the illness or imbalance. When administered correctly, specific rhythms may be used to accelerate physical healing, stimulate the release of emotional trauma and produce deeper self-awareness. This technique has been used for thousands of years by indigenous cultures around the planet to treat a variety of conditions.

Rhythm healing relies on the natural laws of resonance and entrainment to restore the vibrational integrity of body, mind and spirit. In resonance, the sound waves produced by the drum impart their energy to the resonating systems of the body, mind and spirit, making them vibrate in sympathy. When we drum, our living flesh, brainwaves and auric energy field entrain to the sound waves and rhythms. This sympathetic resonance forms new harmonic alignments, opens the body's energy meridians, releases blocked emotional patterns, promotes healing, and helps connect us to our core, enhancing our sense of empowerment and stimulating our creative expression. A single-headed frame or hoop drum works best for rhythm healing -- the larger the drum, the greater the resonance.

Finding the right rhythm

A rhythm healer may have a repertory of established rhythms or improvise a new rhythm, uniquely indicated for the situation. Determining the right rhythm in each case is a highly individual matter. No predetermined formulas are given. The rhythmist needs to create a dialogue between the sounds he/she produces and the responses of the person being treated. The drumming is not restricted to a regular tempo, but may pause, speed up or slow down with irregular accents. The practitioner may stop playing altogether, or suddenly hoist the drum skyward and bang it violently, throwing the disease into the heavens, returning it to the spirit world.

Tuvan shamans, for example, often improvise sounds, rhythms and chants in order to converse with both the spirit world and the healee. The sounds produced by the shaman and the drum go out and certain frequencies and overtones are then reflected back. Information is generally received as subtle vibrations, which the shaman then interprets as sounds, images or as rhythms.

To find the right rhythm, invoke the spirit of your drum, and ask it to come to you and become your ally. State your intention -- what you desire or expect to accomplish -- in a clear and concise manner, and then sit and meditate with your drum for a few minutes. By stilling the mind, you will be able to connect with the spirit of the drum. When you feel ready, pick up your drumstick and begin to play whatever feels appropriate. When you focus on the spiritual intention or the energy of what is being played, it allows the music to become very loose, spontaneous and innovative.

I learned that when I trust my intuition to play the appropriate rhythm, which I do not know in advance, I cannot go wrong. I know that when I open up and play what I feel, the drumming is fresh, different and spontaneous each time. Rhythmic improvisation is a musical expression of the soul. It is a way to let spirit work through you for the purpose of healing and helping others.

Rhythm healing is about finding the right rhythm. Rhythm and resonance order the natural world. Dissonance and disharmony arise only when we limit our capacity to resonate completely with the rhythms of life. The origin of the word rhythm is Greek meaning "to flow." We can learn to flow with the rhythms of life by simply learning to feel the beat or pulse while drumming. It is a way of bringing the essential self into accord with the flow of a boundless, interrelated universe, helping us feel connected rather than isolated and estranged. To learn more, look inside The Shamanic Drum: A Guide to Sacred Drumming.