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.

The Power of Ritual and Ceremony

A ceremony is a unified ritualistic event with a purpose, usually consisting of a number of artistic components, performed on a special occasion. Ritual and ceremony are an essential and basic means for human beings to convey to themselves and to others the necessary messages which enable them to maintain their humanity. They communicate acceptance, love, esteem, a sense of identity and purpose, shared values and beliefs, and shared memorable events. Every ritual contains tender and numinous moments. And in those moments of transcendence we are taken out of the normal flow of life, and out of our routines. We are then in an event that is unique, irreplaceable and sacred. In ritual we participate in something deep and significant. They are moments which move our heart and touch our soul.

Ritual and ceremony are essential for a healthy and balanced personal and communal life. Many persistent personal and social problems can be linked to the lack of ritual and ceremony. The late Joseph Campbell, one of the great mythologists of the twentieth century, asserted that the level of civilized behavior in a society is directly linked to the practice of ceremonies and rites of passage. Rituals and ceremonies reduce tension, anxiety and stress, produce deeper self-awareness, and connect us to our community. They are a vehicle for belonging--to a family, to a people, and to the land. Both reconnect us with our deepest core values and our highest vision of who we are and why we are here. 

Ritual and ceremony nourish our spirits and our psyches. They heal the deep wounds in us that are unseen and unspoken. Ceremonials offer us a deeper healing solution to complex dilemmas that plague modern life, those problems that lie beneath the surface, waiting to erupt. When the soul is in a state of discontent, conflict and discord, these conditions manifest in our daily life's events as dissonance, confusion, ill health and misfortune. Conversely, when our soul is in a state of peace and harmony, these qualities manifest in our life as ease and acceptance, caring and accord with the world around us. From an shamanic perspective, the restoration of one's soul contributes to the restoration of the collective soul of humanity.

Ritual vs Ceremony

Ritual and ceremony are two distinct practices used to engage the powers of the unseen world to effect specific changes in the visible world. Ceremony is a formal act or set of acts designed to celebrate, honor or acknowledge what is. Ceremony is used to strengthen or restore the status quo, grounding people in the natural order of things and/or deepening communal relationships. Ritual is a formal act or set of acts designed to cause a change in what is--to change or transform the status quo.

Ritual and ceremony are a universal way to address the spirit world and provide some kind of fundamental change in an individual's consciousness or in the ambience of a gathering. They may involve prayers, chanting, drumming, dancing, anointing, as well as rites of passage. Both are designed to engage the spirit world in helping us to do what we are unable to do for ourselves. The power of ritual and ceremony is they marry the mundane to the sacred. Without the connection to the powers of the spirit world, neither is an effective tool for initiating change. By creating effective ritual and ceremony, we can skillfully engage Spirit in the processes we are involved in like healing, therapy or actualizing our goals.

Archaeoacoustics and 'Songs of the Caves'

Archaeoacoustics is a sub-field of archaeology and acoustics which studies the relationship between people and sound throughout history. It is an interdisciplinary field with methodological contributions from acoustics, archaeology, and computer simulation, and is broadly related to topics within cultural anthropology such as experimental archaeology and ethnomusicology. Since many cultures have sonic components, applying acoustical methods to the study of archaeological sites and artifacts may reveal new information on the civilizations examined.

 

The importance of sound in ritual practice is well attested by historical and anthropological evidence. Voices and instruments (pipes, drums) will also have played a key role for prehistoric societies, and a number of studies have sought to demonstrate that by measuring the acoustical properties of archaeological spaces and open-air locations. One of the principal difficulties, however, is to establish a robust methodology. Every space or location will have an acoustic signature, but that does not imply that vocal or musical performance was an essential part of ritual practice; nor that those places were specially designed or selected for their acoustical properties.
 

Palaeolithic painted caves have occupied a special place in this debate since studies in the 1980s suggested that the placement of paintings and murals within the caves might have been guided by the acoustics; that they might be directly correlated with resonance. In 2013, Durham University (Durham, England) archaeologist Chris Scarre joined a team of acousticians, archaeologists and musicians led by Professor Rupert Till (Huddersfield University) in a systematic on-site analysis of acoustic properties and prehistoric motifs in five Upper Palaeolithic painted caves in northern Spain: La Garma, El Castillo, La Pasiega, Las Chimeneas and Tito Bustillo. The Arts and Humanities Research Council funded project was supported by Spanish colleagues Manuel Rojo-Guerra and Roberto Ontañon, with permission from the Gobierno de Cantabria and Gobierno Del Principado de Asturias.
 

Their methodology in recording the acoustics of these caves was to use a swept-sine (also called a chirp) source signal in conjunction with a set of microphones, adjusting the position of the set-up to provide an overview of the acoustics of specific sections of the caves. In each location that was measured, the position of imagery on the cave walls was also recorded. The fieldwork generated a large body of data that was used to generate acoustic maps of the five caves that could be compared with the distribution of the imagery (paintings or engravings, representational images of animals, or abstract symbols). A Principal Components Analysis (a mathematical method used to reduce a large data set into a smaller one while maintaining most of its variation information) provided an averaged set of acoustical characteristics. This showed that the variance of the acoustic data can be explained by two main components, associated with (a) temporal decay of energy (rate at which it fades to silence) in the cave space and (b) the existence or absence of resonance. Other factors, such as the distance of motifs from the original cave entrances (some of them now blocked) were also recorded.
 

Statistical analysis concluded that motifs in general, and lines and dots in particular, are statistically more likely to be found in places where reverberation is moderate and where the low frequency acoustic response has evidence of resonant behavior. The results suggest that the location of Palaeolithic motifs might indeed be associated with acoustic features, and that an appreciation of sound could have influenced behavior among Palaeolithic societies using these caves. The study also demonstrated the application of a systematic methodology of recording and analysis to the archaeoacoustics of prehistoric spaces.

Honoring the Spirits of the Home

Shamanism is a way of perceiving the nature of the universe in a way that incorporates the normally invisible world where the spirits of all material things dwell. Shamans have different terms and phrases for the unseen world, but most of them clearly imply that it is the realm where the spirits of the land, animals, ancestors, and other spiritual entities dwell. Spirit encompasses all the immaterial forms of life energy that surround us. We are woven together into a net of life energies that are all around us. These energies can appear to us in different forms, such as spirits of the land or spirits of the home. Spirits of the home are the spirits that inhabit our place of refuge: where we live, where we work and where we play. These kinds of spirits share our homes with us and help us in our times of need.
 

Honoring the spirits that share our homes is important for our well-being. House spirits in many ways are the heart of the house itself and can affect the home's atmosphere as well as influencing the occupant’s moods and physical health. All homes have spirits, and in many cases there are layers of spirits. Spirits of the home are the echoes of people, of events, of ideas which have become imprinted upon a location, for better or for worse. House spirits may manifest as vague feelings or impressions associated with an area, but more often they appear with a clear physical form. Spirits of the home may be the manifestation of a home's spirit or they may be a spirit that is strongly tied to a home, but either way they have the ability to influence a person or family's luck, health, and mood. Most homes will have several different spirits associated with them, usually at least one with the home itself and in homes with an attached yard possibly more.
 

Honoring the spirits of a home is much easier than most people realize. It requires being open and aware of their presence without judgment or expectation. Know that the spirits are there and acknowledge their presence. Be respectful of them in word and action. Here are some good ways to honor the spirits of your home:
 

Cleanse Your Home
 

Honoring the spirits of your home begins with cleansing your abode. Your house holds the energies of all your emotional ups and downs. It collects the energies of all of your houseguests, domestic disputes, family emergencies, holidays, and so on. Picking up negative energy that is not ours can make us less balanced and can cause blockages to the natural flow of energy in our body. We may feel tired, unbalanced, anxious, depressed or even sick. The most important thing you can do is to smudge yourself and your home each day. Smudging is a method of using smoke from burning herbs to dispel negative energy. Sage, cedar and sweetgrass are traditionally used for smudging. To smudge, light the dried herbs in a fire-resistant receptacle, and then blow out the flames. Then use a feather or your hands to fan the smoke around your body and home. I recommend cracking a window or door for ventilation and for releasing unwanted energies.
 

Bless Your Home
 

Blessing a home, similar to cleansing one, is merely working to keep certain energies flowing within the house. We perform blessings on our homes to attract harmony, happiness, and prosperity to our dwelling and that can be done as often as we feel the need to. Many shamanic practitioners recommend the use of holy or consecrated water for blessing a home. The practice of charging water with intention, words, and sound is widely practiced in indigenous cultures throughout the world. In fact, people have believed in our ability to influence water since the days of antiquity. The Christian tradition is the obvious example, with the ongoing performing of rituals that turn regular water into holy water. Essentially, holy water is water with salt added during a rite of blessing. Learn how to make your own consecrated water, and use it for cleansing, protection and blessing. Pour some holy water into a spray bottle. To bless and protect your home, spray holy water around the perimeter of your dwelling and yard. You can also incorporate an incantation or spoken prayer into your blessing. This can be as simple as saying, "I bless this home with happiness. I bless this home with love. I bless this home with prosperity…"
 

Make Offerings to the Spirits
 

Offerings are a beautiful way to acknowledge and honor your household spirits. Giving and receiving are an essential part of any relationship. Anything can be used as an offering, but food is common in many cultures across the world. A simple way to incorporate food as an offering is to simply leave a portion of your meal for the spirits near the hearth or on an altar. An altar is any structure upon which we place offerings and sacred objects that have spiritual or cosmological significance. It represents the center and axis of your sacred space. A simple altar can be created with a cloth, a candle and other symbols that mean something to you. Offerings can be made weekly, monthly or annually and might include fresh flowers, herbs, incense, fruits, milk, or wine. The offerings serve as an acknowledgement and sign of gratitude for the spirits presence and beneficial activity.
 

Listen to the Spirits
 

Developing a relationship with your house and its spirit is very important for your home is your sanctuary; it keeps you safe and warm and protected from the elements. Let your home speak to you. As shamanic practitioners, we are often able to hear things that others cannot. And we know that it is not uncommon for spirits to speak up when they want something specific. Our houses can be the same way. Take some time to sit quietly in your house and listen to it. Be open to communication and let it tell you what color walls it was happiest with, what kind of music it prefers, or what holiday traditions it was fondest of; and let these messages guide your offerings.

 

As with any relationship it takes time and effort to build a connection with your house spirit, but it is worthwhile. Most home spirits are more open to human connection than the spirits of the land. Keep in mind that spirits choose to come into relationship with the person seeking. You can seek a connection, but the spirits must choose. Respect and connection to spirits is what makes for an authentic relationship, which is what the shamanic practitioner yearns for in a society that has severed itself from nature and spirit. Humans have lost touch with the spirit world and the wisdom of inner knowing. The spirits, however, have not forgotten us. They are calling us to a path of environmental sanity, to rejoining the miraculous cycle of nature.

Winter Solstice: The Return of the Light

In the Northern Hemisphere, the Winter Solstice is the shortest day of the year and the first day of winter. This occurs December 20, 21, or 22, varying from year to year, dependent upon the elliptical path of the Earth around our Sun. Technically the solstice marks the instant at which the Earth's axis stops tilting away from the sun and starts going back the other way. Solstice means "Standing-Still-Sun." At Winter Solstice, the Sun journeys farthest south in its orbital path and for the next three days it rises and sets at virtually the same place on the horizon, appearing to stand still, and then it slowly returns north.
 

This three day pause in the Sun's movement is a time of inward reflection. We are each given the opportunity to take a peek at what is happening on a heart and soul level. We can reflect on the year ending to see where we have erred and reform those beliefs, attitudes, and strategies no longer applicable to the New Year unfolding. Such a fresh open-minded approach will broaden our perspective and start us out on the right track.
 

Ancient peoples in our northern climes regarded Winter Solstice as the pivotal time of year. It is a time of transition in the annual cycle when the old year ends and our journey into the New Year begins. It is a sacred time to conduct ceremonies focused on the return of light and warmth. Rituals designed to divert nature from the path toward eternal winter and oblivion to one directed toward light and prosperity. Most cultures planned festivals and celebrations at or around the Winter Solstice to ensure that the Sun would return.
 

The Pueblos of the American Southwest have honored the Winter Solstice for thousands of years. Zuni Indians celebrate Shalako and Hopis begin the observance of the month long Soyal with rituals to insure victory of light over darkness. Hopi priests wear feathers in their headdresses symbolizing the Sun's rays. Sacred underground structures called kivas let in the rays of the rising and setting Sun and Moon throughout the year. Among the Pueblos, Winter Solstice is an affirmation of the continuation of life; that the cyclical order of time and the cosmos will continue intact.
 

Fire and light have always played a central role in the Winter Solstice ceremonies. In much of northern Europe people ignited huge bonfires. Lighted candles were often placed on the branches of evergreen trees, which symbolized survival and eternal life. These symbols of warmth and lasting life were lit to hasten the "old" Sun's waning and the "new" Sun's rebirth. People often tied apples to the branches of firs and oaks to remind themselves that summer would eventually return. In the British Isles, mistletoe was placed upon altars. Mistletoe's golden color was believed to store the power of the Sun, especially when plucked at the solstice.
 

In Peru, the people fasted for three days prior to the solstice. At dawn on the morning of the fourth day, everyone gathered in the public plaza to watch the sunrise. When its light appeared, the celebration began with shouts of joy. At the Sun Temple the rays of the Sun were focused with a mirror to make a fire. This sacred fire was carried to all the outlying temples, where it was kept burning on the altars throughout the year.
 

In my own solstice celebration, I like to incorporate a sacred fire. Before the Sun sets on the solstice, I will light a large candle or oil lamp, call the spirit of the Sun into that fire, and allow it to burn until morning, when his spirit has returned to the sky.
 

On the Winter Solstice we are all praying, on some level, for the darkness to end. "Just return the light!" the ceremonies seem to say. As we celebrate the return of the light, we affirm the continuation of life at the very moment of dissolution. To be sure, dark days lie ahead. But contained within each is the promise of brighter tomorrows.

Calling the Spirits

The opening of sacred space for ceremony or spiritual work is essentially an invocation, calling in the spiritual energies of the seven directions: East, South, West, North, Above, Below, and Within. Calling the spirits is an ancient shamanic rite that is practiced cross-culturally to access and honor the powers of creation. Inviting their presence, participation, and assistance not only aligns us with their power, but also is a way of giving energy that helps revitalize these primal forces. 

Calling in the directions is a spiritual activity in and of itself. The orientation embeds you in the living web of life, yielding greater awareness and perspective. It imparts a comprehensive recollection of the basic experience of being fully human. The ritual grounds you completely into the present moment to begin your day or to begin a specific shamanic practice. 

The specific words of your invocation to the spirits do not matter. What matters is that your prayer comes from the heart. You must show the spirit world you have passion and heart. The energy that comes in from the source is directed through our hearts. Your heart must be clear and open in order to receive spirit. You must open the heart, empty the mind, and go deep within. 

Make sure you have everything you need before starting. Gather together your ritual items and set up an altar. Although an altar is not essential, it provides us with a focus to pray, meditate, and listen. An altar is any structure upon which we place offerings and sacred objects that have spiritual or cosmological significance. It represents your world center. I use a Navajo rug for my altar. I lay the rug in the center of my sacred space and place a stone, a vessel of water, a lit candle, and a feather upon it to represent the four elements: earth, water, fire, and air. You can also place photos of loved ones on your altar so that they are included in your prayers.

1. To perform this ritual, relax, purify (smudge), and center yourself as you would for other spiritual work. When you are ready, begin your invocation. There are no rules or restrictions governing this process. On most occasions, a sacred circle is cast in a sun wise direction, whether in the northern or southern hemispheres. Some people like to start in the direction of the current season: Spring = East, Summer = South, Fall = West, and Winter = North; however, I usually begin by calling the spirits of the East.

2. In a group ritual, I like to have the participants stand in a circle or medicine wheel and face each direction in unison. Use your right hand, or hold a feather in your right hand, to fan smudge offerings to the East. You can also offer a pinch of tobacco or corn meal to each direction. An offering is usually made with the right hand. If you have a rattle, shake it four times to open a portal in the East to the spirit world. Using words, chanting, or song, invite the benevolent spirit powers associated with that direction to participate and assist in the ceremony. Welcome the spirits with an open heart and mind. Some people will whistle or make animal sounds to call in spirit helpers. Trust your instincts and intuition in this process.

3. Pause after calling the spirit helpers of the East and listen for any guidance or wisdom that direction has to share. The spirits will always respond when you call them. Sound does not just travel out into oblivion. There is a call and then a response. Pay attention to any guidance that comes to you. Communication may enter your awareness as a flash of color in your mind's eye, a visual symbol, a tingling of the spine or an inaudible sound heard deep within your soul. It may be visual, auditory, intuitive, or some combination of these. Sometimes it is just a knowing that your helping spirits and guides are now around you. You may feel energy flowing into your hands, feet, or arms or showering down through your crown. When I channel spirit energy, I often feel chills and goosebumps.

4. Next, pivot around clockwise and repeat the same procedure to summon the spirits of the South, the West, and the North. After that, summon Father Sky above and Mother Earth below. When invoking Father Sky, reach to the heavens; when invoking Mother Earth, reach down and touch the ground where you stand.

5. Finally, face the center of the circle (if you are in a group or in a medicine wheel) and bring your hands to your heart to invite the spirit of Within. Call upon the spirit of divine unity that flows from within the center of your being where the six directions meet. Welcome the gifts of balance, oneness, and connection with all things, for all things are one and all things are related.  

6. When you have finished your spiritual work, sacred space must be closed. Follow the same procedure as for the opening, but in reverse order. Begin by thanking the spiritual energies of Within, Mother Earth and Father Sky, and then the North, West, South and East in a counterclockwise movement. Shake your rattle to say farewell to the spirits. As you rattle, give thanks to all your relations for the needs met. The phrase "all my relations" is used at the end of a prayer in many shamanic traditions, for all living things share in the relationships of life on Earth. Express your gratitude to the archetypal elements and helping spirits for being with you and send them off, releasing their energies to the seven directions.

Initiation into Shamanism

Shamanic initiation is a rite of passage, connecting the apprentice shaman intimately to Spirit. It is probably the most powerful and least understood of all forms of spiritual awakening. It is not achieved by having mastered a body of knowledge or having completed some long-term training program. Though it may be set in motion by an apprentice's human teachers as part of an ordered training process, authentic initiation can only be conveyed by the spirits themselves. Ultimately, shamanic initiation takes place between the initiate and the spirit world. It is the spirits who choose and make the shaman.
 

The most frequent and most genuine manner of shamanic initiation is that of crisis, often involving psychological and physical suffering. The encounter with illness, suffering, and death not only opens the world of the spirits to the shaman, it also provides an experiential ground for the healing work that the shaman will later be doing. Election can also occur through heredity, signs at birth, a proclivity or gift that is recognized in childhood, through a realization arising in the course of a ceremonial event, or in the experience of a vision quest.
 

Shamanic initiation is typically the final step in becoming a shamanic healer, a process that is facilitated by the aspirant's shamanic teachers as part of a training regimen. However, initiation may also be spontaneous, set in motion by Spirit's intervention into the initiate's life. To be initiated by a helping spirit forever transforms your life. For the uninitiated, this can be problematic to say the least. They may have no clear idea of what is happening to them, and may find themselves overwhelmed by fear of their nonordinary experience. 

The Dismemberment Journey

Initiation into shamanhood often involves the visionary experience of symbolic dismemberment--the experience of being taken apart, devoured, or torn to pieces. In a classic dismemberment journey, the apprentice witnesses their own body being torn apart and perhaps completely destroyed. The apprentice dies a symbolic death and is then restored and brought back to life, whole and empowered. At its deepest level, the dismemberment experience dismantles our old identity. It is a powerful death-and-rebirth process. The experience of being stripped layer by layer, down to bare bones forces us to examine the bare essence of what we truly are.
 

Anthropologist Felicitas Goodman, the modern discoverer of Ecstatic Body Postures, notes that Siberian shamans considered dismemberment to be an essential phase of initiation for healers. Goodman researched and explored ritual body postures as a means to achieve a bodily induced trance experience and discovered that this archetype appears to be universal. In her trance work with Westerners, those who experienced spontaneous dismemberment visions were invariably destined to become various kinds of healers.
 

Completing this restorative rite is precisely the task of the shaman. As Joan Halifax explains in her book Shamanic Voices, "The shaman is a healed healer who has retrieved the broken pieces of his or her body and psyche and, through a personal rite of transformation, has integrated many planes of life experience: the body and the spirit, the ordinary and nonordinary, the individual and the community, nature and supernature, the mythic and the historical, the past, the present and the future." The cure for dismemberment is remembering who we actually are. As Halifax puts it, "To bring back to an original state that which was in primordial times whole and is now broken and dismembered is not only an act of unification, but also a divine remembrance of a time when a complete reality existed."(1)
 

Shamanic initiation functions as a transformer--it causes a radical change in the initiate forever. An initiation marks a transition into a new way of being in the world. It informs us about the mystery of life and death. According to noted shamanic teacher and author Sandra Ingerman, "Initiation is the death, dismembering, and dissolving of old forms, structures, and ways of life. And I have come to understand that true initiation is allowing Spirit to sing into creation the new forms and new creations. Allowing Spirit to sing formlessness into form creates a new evolution of consciousness."(2)
 

Shamanic initiation is complicated, profound and nothing short of life-altering--in the best possible way. While it may not be easy, it will improve your life for the better with patience, trial and error, and the passage of time. If you find yourself in one, all you can do is trust the process, hang on tight, and get ready for a newly awakened life.
 

Global Dismemberment
 

There is so much more to discover and explore about shamanic initiations and the deep spiritual knowledge held in Indigenous cultures. Now that the present world-age during which all human civilization developed is ending, it might be time to pay more attention to the experience of those whose world has already ended: Indigenous peoples. Depending on how you count them, there may be up to three hundred million Indigenous people still on the planet. Most are survivors of colonialism. The genocide of the Indigenous peoples was the beginning of the modern world for Europeans, but the former remain as veritable end of the world experts. Models for restoring our relationship with the earth exist in the cultures of Indigenous peoples, whose values and skills have enabled them to survive centuries of invasion and exploitation.
 

From an Indigenous perspective, the global climate and ecological crisis represents a mass shamanic dismemberment--the experience of being taken apart, devoured, or torn to pieces on a global scale, allowing for a shift of awareness and transformation of collective consciousness. The acceleration of planetary crises can either provoke a planetary awakening and a shift into a regenerative planetary culture based on shamanic wisdom and sustainable principles, or a destruction of human civilization in its current form, and perhaps extinction for our species. We are all responsible, for better or worse.

 

As the global upheaval intensifies, our interest in shamanism represents an attempt to retrieve and include a part of our inner and outer lives that technology and civilization has consistently denied, suppressed, or destroyed since the advent of agriculture. 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. In the contemporary world, where our rites of passage for young men mean going to war, in a world where social turmoil and environmental disaster induce fear, anxiety and despair, the way of the shaman, the one who is a master of the initiatic crisis, might well be of great value for all of us.

 

1. Joan Halifax, Shamanic Voices: A Survey of Visionary Narratives (Penguin, 1991), pp. 18-22.
2. Sandra Ingerman. "Messages from Sandra Ingerman." Transmutation News (Mar. 2011): <https://www.sandraingerman.com/transmutation-news/english/english-2011/page/2/>.

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.

Honoring the Ancestors on Samhain

Samhain, or Halloween as it is now called, is a celebration observed in many countries on October 31, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide, the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed. The origins of Halloween customs are typically linked to the Gaelic festival Samhain. Samhain is one of the four cross-quarter days (the midpoint between two seasons) in the medieval Gaelic calendar. Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year. It was seen as a liminal (or threshold) time, when the "veil" or boundary between the world of the living and the world of the dead is at its thinnest, making it easier to communicate with those who have left this world. It is also the season of divination, using the connection across the thin veil to ask the spirits for answers. 

According to Irish mythology, Samhain (like Beltane) was a time when the 'doorways' to the Otherworld opened, allowing supernatural beings and the souls of the dead to come into our world. Samhain was essentially a festival for the dead. Samhain was marked by great gatherings and feasts and was when the ancient burial mounds were open, which were seen as portals to the Otherworld. Some Neolithic passage tombs in Ireland are aligned with the sunrise at the time of Samhain. The souls of dead kin were also thought to revisit their homes seeking hospitality, and a place was set at the table for them during a meal. Mumming and guising were part of the festival from at least the early modern era, whereby people went door-to-door in costume reciting verses in exchange for food.
 

Honoring and Connecting with the Ancestors
 

To honor your forebears, create an ancestor altar with a cloth, a candle and photos of those loved ones who have passed, whether that be ancestors of blood or kin. Include memorabilia and other items that you connect with the departed, and light the candle. You can spend some time with each picture and with each item, connecting with those, or name those ancestors whose names you know followed by "may they be remembered." Dedicate a round of drumming to your ancestors and their memory. When you have finished, put out the candle. You may want to leave the altar in place for the rest of Samhain, or until it feels right to take it down.
 

You can connect with your benevolent ancestors by taking a shamanic journey to the Lower World -- the realm to which departed souls travel upon physical death. The desire to communicate with our ancestors is an innate part of the human experience. Benevolent ancestral spirits can guide, protect and heal the living. Your ancestors and the collective spiritual power of all those who went before you reside in the Lower World. When your own time comes to pass on, you will become part of this vast collective unconscious. If you embark on a journey with the intention of connecting with those who have passed, they may come to meet you. Keep in mind that spirits choose to come into relationship with the person seeking. You can seek ancestral spirits, but the spirits must choose. Have a happy and soulful Samhain!

Happy Autumnal Equinox

At the Autumnal Equinox, we begin a new cycle on the Medicine Wheel of Life, entering the West -- the home of autumn, twilight, Bear, introspection, emotions, flow, the moon, death, endings, and the element of Water. From the West flows the energy of transformation. In the West we assimilate our life experiences. Experience is the only baggage we carry with us from this Earth walk. From the West we exit the realm of physical experience and join into vast levels of experience in the spirit worlds of light, or we choose to return and walk again the sacred wheel of life.
 

Autumnal means autumn; Equinox means equal night. Night and day are the same length, each lasting exactly twelve hours on this day. It is at this time when light and darkness are in balance. The forces of feminine and masculine energy, yin and yang, are also in balance at this time, providing a unique opportunity to tune in and find our inner balance, harmony, and alignment.
 

The theme for this fall equinox is recapitulation. Recapitulation is a recapture, remembrance, and retelling of experiences, choices, actions and relationships from the past in order to digest, neutralize and file them away without any residual emotional charge. The release is the act of letting go of any attachment to the emotional content of the past event or memory.
 

It is important to reflect on your decisions past and present, as with every decision made something is always left behind. I recommend a ritual where you complete something with a burning of a photo, letter or object that represents what you are releasing. Make sure you spend some time dreaming up what you wish to bring into this new cycle. Share with others and do something celebratory to acknowledge change, a new creative beginning and reset.

The Sweat Lodge Ceremony

In September of 1991, I began hosting a weekly teaching sweat lodge ceremony on four acres of secluded, unimproved forest land that my wife and I owned near Bend, Oregon. The ceremonies were conducted by Wasco elder Les Thomas and Oglala Lakota elder Don Fasthorse. Many people gathered to learn, and then left the group to teach others. The sweat lodge or inipi is as a spiritual purification ceremony of rebirth, rejuvenation, emotional release and awakening. The ceremony serves to cleanse the body, mind and spirit while opening a path of communication between the spiritual and earthly realms. The intense heat generated by steam created from pouring water onto heated rocks is meant to encourage a sweating out of toxins and negative energy that create imbalance in life. Sweat lodge ceremonies are traditionally held for a variety of reasons: before warriors go into battle, before and after major rituals like vision quests or for personal purification.

Sweat lodges are unique dome-shaped structures approximately four to five feet high at the center. They are constructed from supple willow branches and covered with rugs, furs and blankets. When a sweat lodge is built according to tradition, it looks like the body of a turtle. This is because the structure represents Turtle Island or Mother Earth. Entering the lodge symbolizes going back into the womb. It provides a safe and secure place to pray for self, others and all our relations. During the ceremony, spirits are invoked, drums are played and songs are sung. Spirits will enter and sing along with the participants and may even talk to them as well. If a person is not ready to hear the spirits, the spirits may not let that person hear them. Only those who are ready to hear the spirits may hear them because that is how compassionate the spirits are.

The Lakota term for sweat lodge is inipi, which translates to "Stone People Lodge." The Stone People, who are often referred to as the "grandfathers," come from the womb of our Mother Earth. The purpose of the inipi is to return to the womb of Maka (Earth) to be recreated. The Stone People become alive again when their spirits come into the Stone People Lodge. Then you can visit with them and tell them your problems. Then the power that pollutes our mind can be released. The fire from the womb of the Earth Mother will come in and destroy bad thoughts and words. Only good thoughts and words will remain. The spirits of the Stone People return our power to us. That's what Spirit does -- the Stone People, fire, water and green (the plants). The inipi is a place of healing, of purification and of prayer for all life.

A sweat lodge typically has four doors (or rounds) to the four directions (or winds), represented with colors, spirit guides and different elements. The number four has long been considered a sacred number in shamanism and Native American spirituality. All events and actions are based on this number because everything was created in fours. The Great Mystery reveals itself as the powers of the four directions, and these four powers provide the organizing principle for everything that exists in the world. There are four winds, four seasons, four elements, four phases of the moon, four stages to humanity's spiritual evolution, and so on.

The whole process is modeled after the Medicine Wheel, which is a universal symbol that can be found in many Indigenous cultures around the world. The Medicine Wheel represents the natural cycles of life and the basic way in which the natural world moves and evolves. The Medicine Wheel represents the archetypal journey each of us takes in life. This journey has four stages or rounds, each associated with a cardinal direction. Four rounds signify fullness, wholeness or completion.

Summer Solstice 2023

The 2023 summer solstice is Wednesday, June 21, 2023 at 14:58 UTC. In the Northern Hemisphere, the summer solstice is the first day of summer and the longest day of the year. The summer solstice is a turning point when the days start to grow shorter. This occurs June 20, 21, or 22, varying from year to year, dependent upon the elliptical path of the Earth around our sun. Technically the summer solstice marks the instant at which the Earth's axis stops tilting toward the sun and starts going back the other way. Solstice means "standing-still-sun." At summer solstice, the sun journeys farthest north in its orbital path and for the next three days it rises and sets at virtually the same place on the horizon, appearing to stand still, and then it slowly returns south. 
 
At the summer solstice, we begin a new cycle on the Medicine Wheel of Life, entering the South--the home of summer, midday, youth, joy, trust, and growth. From the South rises the vital energy of renewal, regeneration, and growth. From the South we learn to plant seeds of good cause. We learn that our thoughts and actions create our reality. Whether we realize it or not, we are creating our reality all the time. Our reality is the perfect, exact mirror of our thoughts and what we 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 our physical reality.
 

Creating Reality
 

We are creating our reality with our thoughts, beliefs, intentions, and more. When we are oblivious to the power that we all share to create our collective reality, that power slips away from us and our reality becomes a nightmare. We begin to feel like victims of a dark and chaotic creation that we are unable to influence or change. We are inundated with negative world events that create anxiety, fear and hopelessness. The only way to end this dreadful reality is to awaken to the fact that it is imaginary, and recognize our ability to imagine a better story, one that the universe will work with us to manifest.
 

We cannot "restore" our broken reality without "restorying" our life. It is easy to create in the world that everyone believes to be true, the collective story of humanity. It is easy to reproduce and replicate the reality of the world as we know it; in fact, it is automatic. It requires no thought or awareness. We can only change our collective story by changing the way we think--by changing our beliefs, expectations and assumptions which keep us stuck in a limited perspective of our personal and social reality. Those aspects of our experience that are most enduring are the effect of habitual expectations and beliefs, or in other words, what we focus our attention on.
 

It is through our attention that we influence and direct the aspects of our experience and the world around us. What we pay attention to becomes what we know as ourselves and our world, for energy flows where attention goes. As positive psychologist Mihaly Csikszentmihalyi points out in his book, Flow: The Psychology of Optimal Experience, "We create ourselves by how we invest this energy. Memories, thoughts, and feelings are all shaped by how we use it. And it is an energy under our control; hence, attention is our most important tool in the task of improving the quality of experience." What we focus our attention on is what our life becomes--the clearer the intention, the greater the impact.

The Crestone End of Life Project

At 8,000 feet in elevation, Crestone is a small, unique community nestled in the Sangre de Cristo Mountains of south central Colorado. Both beautiful and isolated, Crestone is a spiritual center that includes an astonishing array of sacred sites. Within walking distance of this international village are ashrams, monasteries, zendos, temples, chapels, retreat centers, stupas, shrines, medicine wheels, labyrinths, a ziggurat, and an outdoor cremation pyre.
 

The Crestone End of Life Project (CEOLP) operates one of the only legal, open-air cremation sites in the state of Colorado. Steeped in Hindu, Sikh, and Christian tradition, open-air cremations are rare ceremonies that bring an ancient tradition of disposition to western culture. This ancient and inspirational end-of-life choice returns the body to its original fire and air elements. The process involves a pyre, a half-cord of wood, a wooden stretcher and a shroud. The family or friends of the deceased work together with CEOLP staff to plan the ceremony, and various teams from the organization are trained to produce a deeply meaningful context for marking the passage of a loved one into death.
 

CEOLP offers a non-sectarian, community-driven ceremony where your body can be cremated outdoors in a fiery pyre. Conducting an open-air disposition begins with wrapping the body in a natural fabric shroud, which is placed on a wooden stretcher on a steel grate atop an outdoor hearth. Each member of the procession places a juniper branch on the body.
 

The fire reaches temperatures of over 1,500 degrees, consuming the body. What remains is about three gallons of ashes. The process of dissolution takes three hours, but more than 18 hours for the ashes to be cool enough to collect. Unfortunately for out-of-towners who want to have an open-air cremation, CEOLP's services are only available to local residents of Saguache County. Despite having a population of just 6,000 county residents, CEOLP still performs multiple open-air cremations every year for those who want a disposition ceremony performed by family, friends and community.

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.

Happy Vernal Equinox

At the Vernal Equinox, we begin a new cycle on the Medicine Wheel of Life, entering the East -- home of the rising sun, morning, birth, beginnings, and the spring season. Spring arrives when the earth is tilted so that the sun is directly over the equator. In the Northern Hemisphere, the first day of spring is on or about March 21. This is the day of the Vernal Equinox. Vernal means spring; Equinox means equal night. Night and day are the same length, each lasting exactly twelve hours on this day. It is at this time when light and darkness are in balance. The forces of feminine and masculine energy, yin and yang, are also in balance at this time, providing a unique opportunity to tune in and find our inner balance, harmony, and alignment. The 2023 Vernal Equinox will occur on Monday, March 20, 2023 at 21:24 Coordinated Universal Time (UTC).
 

Throughout human history, people in the northern parts of the world have celebrated the Rites of Spring, marking the end of earth's winter sleep and the start of spring when everything is reborn. Ancient cultures connected spring with the return of life to the earth. The return of spring in ancient times was of more consequence than it is to us today because winter food and fuel shortages ended, inclement weather waned, and crops could be planted. Pagan customs such as lighting fires at sunrise for renewed life and protection of the crops still survive in South America as well as in Europe.
 
In China, the Vernal Equinox has always been celebrated as the time of new beginnings, of action, of planting seeds for future grains, and of tending gardens. Spring is a time of the earth's renewal, a rousing of nature after the cold sleep of winter. The life energy, symbolized by thunder, erupts from the depths in early spring to awaken the dormant seeds to new life. The yearly cycle begins in the spring when thunder quickens the renewal of life. Winter still has its grip on the land, but the days are lengthening and the light is growing stronger by the day. Spring is finally here... I hope we can be inspired by nature's reawakening to renew our own lives.

 

The Descent of the Feathered Serpent

In March of 1995, I was fortunate enough to visit the Pyramid of Kukulkan at Chich'en Itza, Mexico on the vernal equinox when the sun projects an undulating pattern of light on the northern stairway for a few hours in the late afternoon--a pattern caused by the angle of the sun and the edge of the nine steps that define the pyramid's construction. These triangles of light link up with the massive stone carvings of snake heads at the base of the stairs, suggesting a massive serpent snaking down the structure.
           
According to legend, twice a year when the day and night are in balance, this pyramid dedicated to Kukulkan (or Quetzalcoatl), the feathered serpent god, is visited by its namesake. On the equinox Kukulkan returns to earth to commune with his worshipers, provide blessing for a full harvest and good health before entering the sacred water, bathing in it, and continuing through it on his way to the underworld.

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.

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>.

Winter Solstice Blessings

In the Northern Hemisphere, the Winter Solstice is the shortest day of the year and the first day of winter. This occurs December 20, 21, or 22, varying from year to year, dependent upon the elliptical path of the Earth around our Sun. Ancient peoples in our northern climes regarded Winter Solstice as the pivotal time of year. It is a time of transition in the annual cycle when the old year ends and our journey into the New Year begins. It is a sacred time to conduct ceremonies focused on the return of light and warmth. Rituals designed to divert nature from the path toward eternal winter and oblivion to one directed toward light and prosperity. Most cultures planned festivals and celebrations at or around the Winter Solstice to ensure that the Sun would return.
 
Winter Solstice is an affirmation of the continuation of life; that the cyclical order of time and the cosmos will continue intact. Fire and light have always played a central role in the Winter Solstice ceremonies. In much of northern Europe people ignited huge bonfires. Lighted candles were often placed on the branches of evergreen trees, which symbolized survival and eternal life. These symbols of warmth and lasting life were lit to hasten the "old" Sun's waning and the "new" Sun's rebirth. On the Winter Solstice we are all praying, on some level, for the darkness to end. "Just return the light!" the ceremonies seem to say. As we celebrate the return of the light, we affirm the continuation of life at the very moment of dissolution. To be sure, dark days lie ahead. But contained within each is the promise of brighter tomorrows.

On the Winter Solstice (Wednesday, December 21) we began a new cycle on the Medicine Wheel of Life, entering the North -- the home of winter, night, wisdom, clarity, renewal, rebirth, and the great Bison. Bison teaches us the importance of gratitude for all we have and giving for the greater good. As we join our hearts in prayer and sacred drumming, we participate in this season of renewal, attuning ourselves to the cyclical rhythms of nature. As we celebrate the return of the light, we affirm the continuation of life at the very moment of dissolution. Prayer, gratitude, and generosity at this time will clear the way for renewed growth and prosperity.

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.