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.

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.

Drumming in the New Year 2023

Season's Greetings! I want to thank all of my readers for their continued support. It has been quite a year. My blog reached a milestone surpassing 685,000 pageviews. My most read post was "Signs of a Shamanic Calling." I am humbled by the interest and engagement of readers since launching this blog in 2010. This blog is part of my effort to create an empowered global shamanic community for the sake of our future generations. My mission is to create a vibrant international community devoted to shamanic drumming as a vehicle for healing, consciousness expansion and community building.
 

As 2022 comes to a close, I will be celebrating New Year's Eve by drumming out the old year and drumming in the New Year. Drumming in the New Year is a great way to set the tone and intention for 2023. It is also a good time to reflect on the year ending to see where you have erred and reform those beliefs, attitudes, and strategies no longer applicable to the New Year unfolding. It is an opportunity to feel gratitude for all that has been received and accomplished throughout the past year. Such a fresh open-minded approach will broaden your perspective and start you out on the right track. What will you be "drumming" into your life for 2023?

The Drum and the World Tree

In world mythology, the World Tree is the axis mundi or central axis of the Cosmos. The World Tree could be considered the core fractal of creation which serves to manifest the Universe. Images of the World Tree exist in virtually all cultures, and represent the world center and/or the connection between heaven and earth. The axis mundi links heaven and earth as well as providing a path between the two. Many ancient cultures incorporate the myth of the World Tree, Tree of Life, or Tree of Knowledge as it is also known.

Shamans believe that this cosmic axis and the Cosmos it unites exist within human consciousness. According to shamanic cosmology, there are three inner planes of consciousness: the Upper, Middle, and Lower Worlds. The roots of the World Tree touch the Lower World. Its trunk is the Middle World and its branches hold up the Upper World. Humans did not invent these inner realms; they discovered them. Far from being a human contrivance, these archetypal worlds are inherent in the collective unconscious, the common psychological inheritance of humanity. They are woven into the matrix of the psyche, for we are a fractal of creation. They are a part of our psyche, a part of us whether we choose to become aware of it or not.  

Through the sound of the drum, which is invariably made of wood from the World Tree, the shaman is transported to the axis within and conveyed from plane to plane. As Tuvan musicologist 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."

The inner axis passes through an opening or hole through which the shaman traverses the inner planes in order to mediate between the needs of the spirit world and those of the material world. It is an inward spiritual journey of rapture in which the shaman interacts with the inner spirit world, thereby influencing the outer material world. In the shaman's world, all human experience is self-generated. Experience is shaped from within since the three realms or resonant fields that define our experience of reality exist within each of us.

The cosmology of the drum

In the shaman's world, the drum is a most sacred instrument. The double-headed drum is believed to embody the sacred forces of the Cosmos through its sounds, structural features, contents, and connection to shamanic trance. The various parts of the drum also symbolize the structures of the world. Cosmologically, the drum depicts a microcosm of the Universe with its three zones -- the Upper, Middle and Lower Worlds. The two drumheads symbolize the Upper and Lower Worlds.

The rim of the drum symbolizes the Middle World and is connected to the World Tree through the wood of the frame and its association through all trees back to the First Tree. Like the World Tree, which links the earth and sky, the rim links the two sides of the drum -- the yin and the yang. A double-headed drum unites the sacred feminine and masculine aspects of the Universe within itself. It restores the balance of these polar, yet co-creative elements.

The two drumheads also symbolize the two states of existence -- unmanifest and manifest. When a double-headed drum is vibrated, it produces dissimilar sounds which are fused together by resonance to create one sound. The drumbeat is the tuner sound, the sound that fuses the unmanifest and manifest aspects of vibration into one resonance. The sound thus produced symbolizes Nada, the cosmic sound of AUM, which can be heard during deep meditation.

From a shamanic perspective, caretaking the drum and playing it properly during ritual fulfills the destiny of the human spirit -- to sustain the order of existence. In the rapture of ritual drumming, the shaman brings the World Tree into existence, opening a path of communication with the world above and the world below. Materialized in the drum, the trunk of the tree goes through the Middle World; its roots plunge to the nadir in the Lower World, and its branches soar to the zenith in the highest layer of the Upper World. The drum becomes the axis mundi or central axis through which the shaman maintains the world's equilibrium.

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.

Experiencing Rhythms in the Body

Rhythm is a universal vibrational language. We respond to rhythm whenever we sense it and seek it out when it is not present, for we are innately rhythmic. Every rhythm has its own quality and touches you in a unique way. To experience this for yourself, try playing some different rhythms. Whether you drum or merely tap your fingers, learn to "feel the beat" by allowing it to sink into your body and consciousness. Notice how your body responds to each pattern. Keep in mind that the manner in which you play or shape a rhythm will affect your response. 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.
 

Begin by playing a steady, metronome-like rhythm with uniform time intervals. A clockwork drum beat generates a dynamic energy that is yang, creative, and expansive in nature. Dynamic energies are ascending forces that carry consciousness into higher realms. At a rapid tempo of three to four beats per second, a steady, rhythmic pattern, or "eagle-beat," will arouse and vitalize you. It creates the sensation of inner movement, which, if you allow it, will carry you along. As you continue to drum, you will become more ecstatic. You and your drum will seem to merge. You may speed up or slow down. That is perfectly normal. Shamanic trance is characterized by its range and flexibility, so don't get hung up on trying to maintain a certain speed. It can be distracting and your hands may get tired. Follow your inner sense of timing as to both tempo and duration.
 

After drumming the eagle-beat, simply relax and bathe in the sonic afterglow of physical and spiritual well-being. When the final drumbeat fades into silence, an inaudible, yet perceptible pulsation persists for a brief period. This silent pulse is ever-present within each of us, but our awareness is rarely in sync with it. Sense this silent pulse resonating within your body. You may experience the sensation of every particle in your body pulsing in sync with the rhythm you just played. This inner pulse entrains to the rhythmic pattern as soon as you begin to drum.
 

Next, try playing the steady pulse of a heartbeat rhythm. A two-beat rhythm produces a different sonic experience. The soft, steady lub-dub, lub-dub of a heartbeat rhythm has a calming and centering affect. It reconnects us to the warmth and safety of the first sound we ever heard -- the nurturing pulse of our mother's heartbeat melding with our own. According to Ted Andrews, author of Animal Speak, "a rhythm of two is a rhythm that helps connect you to the feminine energies of creative imagination, birth, and intuition." At a more rapid tempo, the heartbeat rhythm stimulates a downward flow of energy within the body. It generates a magnetic energy that is yin, intuitive, and receptive in nature. Magnetic energies are descending forces conducive to great healing, mind, and regenerative powers.
 

These two simple drum patterns are the healing rhythms I use most often in my shamanic work. Moreover, they are rhythm archetypes representing yin -- the form giving principle of energy, and yang -- the principle of life and consciousness immanent in all phenomena. Yin and yang are the binary elements that generate between them the totality of existence. A binary progression underlies the structure of reality. At a fundamental level, the laws of the universe are written in a binary code. The binary mathematical system forms the basis of computer languages and applies to nearly everything from crystalline structures to the genetic code. The binary basis of the genetic code is formed by the plus and minus strands of DNA.
 

The human experience is a microcosm and reflection of binary progression. The archetypes of rhythm are the fundamental patterns that underlie our resonant field of reality. Entraining to these archetypal rhythms, we experience them directly and discover our rhythmic interconnections. Each pattern pulsates specific qualities of energy that give inherent structure and meaning to the possibilities of being. They exist in every human being from the moment of conception to the final breath. Each human being is an integral composite of the archetypes of rhythm. Each of us is a series of rhythmic patterns summed up as a single inner pulse, the essential aspect of our being.

"The Shamanic Drum" July eBook Sale

Mark your calendar! I am taking part in the 14th annual Smashwords July Summer/Winter Sale, taking place Friday, July 1 through Sunday, July 31 2022. For the entire month of July, all of my ebooks are 50% off list price: The Shamanic Drum: A Guide to Sacred Drumming, I Ching: The Tao of Drumming, Shamanic Drumming: Calling the Spirits, Shamanic Drumming Circles Guide, The Great Shift, Riding Spirit Horse: A Journey into Shamanism and Shamanic Journeys: An Anthology. Choose from multiple file formats including .epub, .mobi for Kindles, and PDF. Click on the following link to my Smashwords author page and you will receive the 50% discount automatically by adding my books to your cart: Smashwords July Summer/Winter Sale.
 

Why does Smashwords call it "Summer/Winter"? Here in the Northern hemisphere, it's mid-summer. Readers are loading their e-reading devices for summer beach reading and long-awaited vacations. South of the equator, readers are now in the middle of winter. They're ready to curl up in front of the fireplace and enjoy a great read too! Smashwords is the world's largest distributor of indie ebooks. They make it fast, free and easy for any author or publisher, anywhere in the world, to publish and distribute ebooks to the major retailers and thousands of libraries. The Smashwords Store provides an opportunity to discover new voices in all categories and genres of the written word.

The Seven Principles of Hermeticism

Hermeticism is an ancient religious-philosophical tradition based primarily upon writings attributed to the mythical Hermes Trismegistus, an amalgamation of the Egyptian God Thoth and the Greek God Hermes. Hermeticism was largely a product of religious syncretism, drawing together themes from Judaism, Hellenistic philosophy and mythology, and classical Egyptian religion. The surviving writings of Hermeticism are known as the Corpus Hermetica, which is composed of a series of letters from Hermes Trismegistus, wherein he tries to enlighten his disciple. These letters were lost to the western world after classical times, but survived in the Byzantine libraries.

Throughout its history, Hermeticism was closely associated with the idea of a primeval, divine wisdom, revealed only to the most ancient of sages. In the Renaissance, this developed into the notion of an ancient theology, which asserted that there is a single, true theology which was given by God to some of the first humans, and traces of which may still be found in various ancient systems of thought. As a divine fountain of writing, the Hermetic texts contain the natural laws of the Universe. Knowing these principles will broaden your viewpoint, expand your horizons, and aid you in the pursuit of fuller, happier, more meaningful life. The Seven Hermetic Principles are:

1. The Principle of Mentalism: All is mind, the Universe is mental. 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.
 

2. The Principle of Correspondence: As above, so below; as below, so above. Humanity is a microcosm of the macrocosm we call the Universe. Each human being is a hologram of the Cosmos, a weaving together of universal information from a particular point of view. Essentially, we are the Universe experiencing itself in human form.
 

3. The Principle of Vibration: Nothing rests, everything moves, everything vibrates. The Universe is made of vibrational energy. 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 vibration.
 

4. The Principle of Polarity: Everything is dual; everything has poles; everything has its pair of complementary opposites; like and unlike are the same. A dual or binary progression underlies the structure of reality. At a fundamental level, the laws of the Universe are written in a binary code. The binary mathematical system forms the basis of computer languages and applies to everything from crystalline structures to the genetic code.
 

5. The Principle of Rhythm: Life is a rhythmic existence. Polarity gave birth to the pulse of life. Pulsation gave birth to time and material form, while the intervals of pulsation remained timeless and formless. All things are born of rhythm and it is rhythm that holds them in form. 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.
 

6. The Principle of Cause and Effect: Every cause has its effect; every effect has its cause. Nothing happens by chance. Everything that we see in our world is a result of causes. For every effect in your life there is a specific cause. The intent and actions of an individual (cause) influence the future of that individual (effect).
 

7. The Principle of Gender: Gender is in everything; everything has its masculine and feminine principles; gender manifests on all planes. In the Hermetic texts, masculine energy is described as active, projective, expansive and corresponds to spirit. Feminine energy is described as passive, receptive, nurturing and corresponds to matter.

Joseph Rael's Sound Peace Chambers

Joseph Rael, whose Tiwa name, Tsluu teh koy ay, given to him as a child at Picuris Pueblo, means "Beautiful Painted Arrow," is widely regarded as one of the great Native American holy men of our time. He was born in 1935 on the Southern Ute reservation to a chief's granddaughter and a Tiwa-speaking Picuris native. At about age 7, shortly before his mother's death, he went to live in Picuris near Taos, NM, where his visionary powers were developed until, at about age 12, he began to assist the village holy man in curing practices.
 

He was educated both at Santa Fe Indian school and public high school before getting a BA in political science from the University of New Mexico and an MA from the University of Wisconsin-Madison. For a number of years he worked in various capacities in Indian health and social services in both New Mexico and Colorado.
 

At age 45 he quit his social services job to devote full time to teaching and following his visions wherever they might lead. In 1983 Joseph had the vision to build a Sound Peace chamber, a kiva-like structure where people of all races might gather to chant and sing for world peace and to purify the earth and oceans. He built the first such chamber at his then-home, a trailer park in Bernalillo, NM, and shortly like-minded people began to build Sound Peace chambers in other locations.
 

At present, Sound Peace chambers have been built around the globe. Writes Joseph, "My vision is that through sound we will bring about peace and other important vibrations. Sound can teach us a way to create without destruction." Meanwhile, Joseph began leading ceremonial dances, based on his visions, with participants from all races and nationalities. "When you dance you are expanding the vibrations of insight and manifestation," he writes. "I created three dances -- the long dance, the sun-moon dances and the drum dance -- for these spiritual gifts."
 

Joseph teaches that "Every dance, every ceremony, is both for you and for the cosmos." In 1999, Joseph retired from active leadership of the dances he had begun, turning them over to a new generation of his students. Joseph Rael is the author of a number of books, including Being and Vibration, Sound: Native Teachings and Visionary Art and his autobiography, House of Shattering Light. He is also an artist. His paintings, like his ceremonies and teachings, are based on his visions. They have been called "portal" art, because they open a doorway into alternate dimensions of reality. As a Native American elder, Joseph Rael has spoken before the United Nations and addressed a conference of military officers at the Pentagon on the role of the warrior in the modern world.

Our Milky Way Galaxy Vibrates Like a Drum

According to astronomers, our Milky Way galaxy is warped and vibrates like a drum because of the influence of two companion galaxies. Astronomers say peculiar drum-like vibrations in our Milky Way galaxy may explain why it is warped, and similar explanations may apply for other warped galaxies. The researchers said the effect is due to the most prominent of the Milky Way's satellite galaxies, a pair of galaxies called the Magellanic Clouds. They are stirring up with the Milky Way's dark matter, an invisible substance that is thought to make up more then 90 percent of the weight of the universe. The interaction creates a warp in the galaxy that has puzzled astronomers for half a century. The warp, most obvious in the thin disk of hydrogen gas permeating the galaxy, extends across the Milky Ways 200,000-light year width. A light year is the distance light travels in a year.

Leo Blitz, professor of astronomy at the University of California, Berkeley, and colleagues charted this warp and analyzed it in detail for the first time, based on a new galactic map of light given off by the  hydrogen gas. They found the gas layer is vibrating like a drumhead, and that the vibration consists almost wholly of three notes, also called modes. These notes would be unimaginably deep by human standards some three million octaves, or scales, below the note called middle C on a piano. This means that if a piano could play these notes, it would require a keyboard about the width of Iceland to do so.

It's not uncommon for astronomical objects to exhibit some sort of regular vibrations, like musical instruments, so that they can be said to be playing notes. Which note depends on the vibration speed. A study last summer found that a violent quake on the surface of a compact type of star called a neutron star left it playing the note of F sharp.

Although the Milky Way's warp has been known for almost 50 years, astronomers previously dismissed the Magellanic Clouds as its cause because the galaxies combined masses are only 2 percent that of Milky Way. This mass was thought too small to influence a massive disk equivalent to about 200 billion suns during the clouds 1.5 billion-year orbit of the galaxy. But Martin D. Weinberg of the University of Massachusetts joined Blitz to create a computer model that takes into account the Milky Ways dark matter. The motion of the clouds through the dark matter creates a wake that enhances their gravitational influence on the disk. The wake stirs a vibration at the center of the dark matter blob pervading the galaxy. This in turn makes the embedded galactic disc oscillate. When this dark matter is included, the Magellanic Clouds, in their orbit around the Milky Way, closely reproduce the type of warp observed in the galaxy. The model not only produces this warp in the Milky Way, but during the rotation cycle of the Magellanic Clouds around the galaxy, it looks like the Milky Way is flapping in the breeze.

The Rainbow Bridge

As a rhythm seeker, I spent much of my life exploring the rhythms of many of the world's shamanic and spiritual traditions. As I learned the drum ways of various world cultures, I found the same rhythmic qualities underlying all of them. Like the colors of the rainbow, each culture has its own hue or identity, yet each is a part of the whole society. Although the focus or intent differs from culture to culture, rhythmic drumming invariably has the same power and effects in all traditions. The resonant qualities and attributes of these rhythmic phenomena are universal and come into play whenever we drum.
 

The universal power of rhythm is the effects it has on consciousness. Recent studies have demonstrated that rhythmic drumming produces deeper self-awareness by inducing synchronous brain activity. The physical transmission of rhythmic energy to the brain synchronizes the two cerebral hemispheres. This shared resonance integrates conscious and unconscious awareness. The ability to access unconscious information through symbols and imagery facilitates psychological integration and a reintegration of self.
 

The ethereal rainbow arching high into the heavens symbolizes this harmonious union of intuition and intellect. In her book Voices of Our Ancestors: Cherokee Teachings from the Wisdom Fire, Dhyani Ywahoo states, "We are the rainbow, each of us. When we speak of rebuilding the 'Rainbow Bridge,' it is to bring into harmony the left and right hemispheres of the brain, to renew the flow of our intuitive mind." Regarding rhythmic stimulation, she says, "Chanting and drumming were also a significant part of the learning, balancing activity of the right and left hemispheres of the brain."
 

In his book Shamanism: The Neural Ecology of Consciousness and Healing, anthropologist Michael Winkelman reports that 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."
 

Brain hemisphere synchronization connects us to the guidance of our own intuitive knowing. Intuition reveals appropriate action in the moment for a given set of circumstances. Synchronous activity appears within consciousness as the most natural thing to do. One can readily perceive what aims are in accord with the cosmos and not waste energy on discordant pursuits. By allowing the intuition to lead the body, one attains clarity in movement. So long as one follows one's intuitive sense, one's actions will be in sync with the true self and ultimately the cosmos.

The Resonance Theory of Consciousness

The resonance theory of consciousness postulates that synchronized vibrations are central not only to human consciousness but to all of physical reality. Resonance is the ability of a vibrating object or sound source to transfer its energy to another object, making it vibrate in sympathy. The term resonance originated in the field of acoustics, particularly the sympathetic resonance observed in musical instruments, e.g., when one string starts to vibrate and produce sound after a different one is struck. All things in our universe are constantly in motion, vibrating. Even objects that appear to be stationary are in fact vibrating, oscillating, resonating, at various frequencies. Resonance is a type of motion, characterized by oscillation between two states. And ultimately all matter is just vibrations of various underlying fields. As such, at every scale, all of nature vibrates.

Something interesting happens when different vibrating things come together: They will often start, after a little while, to vibrate together at the same frequency. They "sync up," sometimes in ways that can seem mysterious. This is described as the phenomenon of spontaneous self-organization. For example, fireflies of certain species start flashing their bioluminescent fires in sync in large gatherings of fireflies. If two pendulums, swinging at different rates, are placed next to each other, they will gradually entrain until they are locked in perfect synchronization. They entrain because it requires less energy to pulse in unison than in opposition. Nature always seeks the most efficient energy state. 

This synchronization is a kind of physical communication between entities. Synchronized vibrations allow an exchange of energy and information. In the human brain, synchronization, in terms of shared electrical oscillation rates, allows for smooth communication between neurons and groups of neurons. Large-scale neuron firing can occur at specific frequencies, with human consciousness thought to be commonly associated with various kinds of neuronal synchrony. This shared resonance through specific neuronal electrochemical firing patterns creates an electromagnetic field that may itself be the seat of macro-conscious awareness. 

Consciousness through shared resonance takes panpsychism as its metaphysical starting point. This philosophical perspective suggests that all matter has at least some associated consciousness, albeit highly rudimentary in the large majority of instances. In other words, consciousness did not emerge at some point during evolution. Rather, it's always associated with matter and vice versa; they're two sides of the same coin. It is all about vibrations, but it's also about the type of vibrations and, most importantly, about shared vibrations. The more complex the synchronization is, the more complex the consciousness. So, for example, the billions of neurons that fire in the brain together to make a decision and form our experience of the world are extremely sophisticated, yielding a rich and dynamic sense of self or perception. To learn more, read "The Neuroscience of Drumming."

Drumming at Sacred Sites

Earth, human and solar processes are interwoven through a vibrational resonant network around the planet. The lines and intersection points of this energy grid match most of the Earth’s seismic fracture zones and ocean ridges as well as worldwide atmospheric highs and lows, paths of migratory birds, gravitational anomalies, and the sites of ancient temples and megalithic structures. The early geomancers (Earth diviners) discovered that this numinous web is the planetary counterpart to the acupuncture meridian system of the human body. Humans, they realized, were created in the image of Mother Earth. The acupuncture and node points of the human body correspond to those of the Earth Mother.

At the intersection points of the planet’s energy web exist holy places, power spots, or acupuncture points. According to the Hopi, the world would fall apart without these nodes of concentrated vitality. These sacred places are like nerve centers that distribute vital energy throughout the surrounding natural systems. When a human being goes to a power place, the attention of the Earth Mother is drawn to that area and energy begins to flow to that spot because our bodies, like hers, are electromagnetic. Like acupuncture needles, humans are capable of maintaining the harmonious flow of the planetary energy meridians by making an Earth connection at power places.

Great healing can be accomplished by drumming at sacred sites. Earth and humans exist in a reciprocal, bioresonant relationship. Through the planet’s resonant web, we affect our environment; our environment, in turn, affects us. By interacting with sacred places, we are capable of generating a world of peace and harmony. Power sites are places that call out to the soul; they can have a collective calling or be unique to an individual. Seek out power places. Your power spots can be identified by your desire to go to them. Their significance to you is always revealed by your planned or accidental presence at them. And when you are there, your vibration feels higher, stronger, more joyous and free. Every square inch of the Earth Mother is sacred and a potential connecting place for someone.

Mountains, rivers, and waterfalls are powerful places to drum. Indigenous people believe that mountains are inhabited by powerful spirits that watch over the people. Each mountain has its own spirit, its own name and its own domain which they protect. Mountain spirits are called upon for assistance, blessings, and protection. Mountainous regions charge you with energy and counteract imbalances or negativity. Mountains are generally electrical (yang) and projective in nature, emanating great spiritual power. Mountains are places of spiritual renewal where Heaven and Earth meet and from which all directions emanate. They are good places to drum for planetary healing.     
 

Rivers, lakes, and ocean beaches are magnetic (yin) and receptive in nature. Being near a body of water is soothing and relaxing. Magnetic fields influence the pituitary gland, which is related to the brow chakra (chakras are vibratory energy centers located along the center of the human body), otherwise known as the third eye or mind’s eye. Bodies of water expand and clarify inner vision, sharpen telepathic abilities, and stimulate the flow of healing energies. A close proximity to water helps cleanse the body, mind and spirit. Rivers, in particular, are good places to drum, for the healing energy generated will flow downstream. Water is a profound conductor of energy.

Waterfalls are electromagnetic in nature. The water itself in magnetic. The falling water produces electrical energy. The two forces combine to form electromagnetic energy. Such energy is of a balanced, harmonic nature. Waterfalls are places of spiritual power that can truly expand our spirits. The spirits and energies of waterfalls are especially suited for balancing and recharging your personal life force. And when the sun is right, waterfalls generate misty, iridescent rainbows.

You can create a powerful vortex of energy in your own home by setting up an altar where you can pray, meditate and drum at least once a day. 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 sacred space can be any location in your home where you can be by yourself and be fully self-expressed. A simple altar can be created with a cloth, a candle and other symbols that mean something to you. Like the ancient temples, such a sanctuary space serves as a drawing point for the healing energy needed by the planet.

Milford Graves, Visionary Drummer, Dead At 79

Drummer, scientist, educator and improviser Milford Graves died in his Queens, N.Y. home around 3 p.m. on Fri., Feb. 12. He was 79. Lois, his wife of sixty-one years, confirmed that the cause was congestive heart failure. Mr. Graves was surrounded by Lois, his five children (four daughters and a son), his beloved granddaughter, Tatiana, and a cross-section of students across generations who had bestowed him with the honorific "Professor," a nod to his guidance in music, botany, martial arts and metaphysics.

 

Milford Graves was Professor Emeritus of Music at Bennington College in Vermont, where he taught the power and aesthetic of Black Music as a faculty member from 1973-2012. He used his platform there to express his many ideas, most well beyond the confines of the performance stage, operating instead as a kind of shamanic artist and teacher, whose emotional and intellectual connection to traditional music he fused with scientific inquiry and study.
 

Graves graduated from the Eastern School for Physicians' Aids in the 1960s, and worked in a diagnostic veterinary lab for two years. He purchased an album of stethoscopic heart recordings during a lunch break in 1973, and its content led him to pursue the path of his life's work: He began to record heartbeats and transcribe them into music notation. What started as a rudimentary documentation on reel-to-reel tape increased in sophistication with the adoption of advanced computing technology, culminating in Mr. Graves's use of algorithms to create visualizations and sound data that plotted the human heartbeat and its varied electrical states for the purpose of healing. His discoveries led to a patent for preparing non-embryonic stem cells from a tissue derivative, subjecting those cells to vibrations from a heart sound to control the degree of differentiation into several other types of cells. He once said, "Drumming should be taught in medical school. Know your beats. There are subtleties in the heartbeat that cannot be picked up through electronic imaging," and his scientific rigor on heart rates informed a non-linear approach to playing rhythm.
 

Graves was a prominent jazz drummer and percussionist from the 1960s New York avant-garde and free-jazz movements. New York City in the 1960s was an artistic cauldron, and the ideas of freedom and struggle coursing through the Civil Rights and Black Power Movements began to manifest in an expansive view of improvisation and music-making. The avant-garde, or New Thing, loosened certain strictures and gave improvisers like Graves an opportunity for wide-open self expression, and even established artists like Coltrane seemed to be drawing from the same creative well. "Milford played how he felt music should sound related to what was around him," says longtime friend and collaborator, drummer and composer Andrew Cyrille. The music felt like a departure from tradition, and some writers derided the striking new music with withering criticism. Meanwhile, Graves was transforming the role of the drums. He viewed his holistic approach to drums as an extension of how he lived with "outside forces having less control of you, allowing you to have more flexibility, more freedom and listening to the vibrations of the earth, that nature gave you."
 

Graves also began exploring martial arts in the late 1960s. He created a new form called Yara, from the Yoruban word meaning "nimble." He followed a teacher's interest in the praying mantis as a model. He subsequently bought and released these insects into his own garden, followed their movements and developed his own martial arts study based on their natural behavior. This inspired the title of a 2018 documentary on Graves, Full Mantis.
 

When his grandmother died, in 1970, Graves moved into her modest 20th-century home at the corner of Brinkerhoff Avenue and 156th Street in Queens, just blocks from the South Jamaica Houses he once called home. He personalized the lot and dwelling with a distinctive flair, adding stone and ceramic architectural elements to the exterior structure in a playful style akin to Antonio Gaudi. He created an organic garden to promote healing arts and added a dojo to teach Yara. Inside there's murals, sculptures and drums from around the world; a downstairs laboratory includes dried herbs and botany research, elixirs, Eastern medicine texts and acupuncture practice juxtaposed with electrocardiogram machines and computer monitors. And books. Lots of books. Graves was a generous polymath who openly shared his knowledge.
 

Mark Christman, artistic director of Ars Nova Workshop, has been measuring and curating aspects of Graves' immense contribution to music, science, botany and martial arts over the last several years. The collection spent four months at Philadelphia's Institute for Contemporary Art, with a five-week pause due to pandemic restrictions. The exhibit, A Mind-Body Deal, drew more than 2,000 attendees and over 5,000 participants to its many virtual events, including a solo performance from Moran. "Milford Graves offers a perspective that isn't limited by the way we've been forced to learn," says Christman. "That linear way of study doesn't allow a mixture or mash-up of thoughts and decision-making. That's why he's adored, and people looked to him for answers."

To learn more about Milford Graves, read “Taking Rhythm to Heart.”

Working with Shamanic Drums

As a drum circle facilitator, I get asked a lot about how to work with shamanic drums. Drums are an essential part of shamanic work; we use them for journeying, healing and celebration, both for ourselves and for the community. Additionally, the shamanic techniques of extraction, soul retrieval and divination can all be performed with the drum. Yet many people I meet who acquire a drum say they want to work with it but they are not sure how to.
 

Before shamanizing with a drum, sit and meditate with the instrument for a few minutes. By quieting the mind, you will be able to connect with the spirit of the drum. When you feel ready, pick up your drumstick and grip it with the thumb at the side and the fingers curled underneath. Hold the stick with a tight, relaxed grip and start playing at the rhythm the spirits direct you to use. Remember to "stroke" the drum, rather than "beat" it. Never vent your frustrations by pounding on a drum. One should always "drum the beat," rather than "beat the drum."
 

Always begin a drumming session by softly stroking the drum, and then gradually increase the intensity of your playing. It is not necessary to hammer the drum to bring out its unique voice and resonance. It is best to stroke the drum firmly, producing ringing tones and overtones. Use short strokes with a minimal amount of motion to pull the sound out of the drum. Keep your arms and shoulders relaxed, breathing slowly and deeply as you play. By playing the drum in this manner, you will have greater precision and endurance.
 

When a stick hits a drumhead, it rebounds in the opposite direction. The drummer who plays with too much tension, or hammers the stick into the drum, will find that the direction of the stick continues to move downward contrary to the upward push of the rebound. Rather than bouncing off the head, the stick is forced into the head by a hand still pushing down on the stick after it should have changed direction. The result is a loss of speed, control and clean, distinct strokes.
 

The less tension there is in the muscles of the arms and hands, the easier it is to respond to the bounce off the head. Moreover, by incorporating the energy coming off the drumhead into the upstroke, the drummer's playing will become quicker, more fluid and relaxed. That way the energy circulates, comes back and you can use it again. The key is to focus your energy to that point on the drumhead's surface that you are striking, not beyond it. Transfer your energy and intention into the drum, using a smooth, relaxed stroke. With practice, you learn just how much energy to send out to achieve a desired result and how much to retain so that you don't tire.
 

Move the drumstick around the head of the drum as you play, allowing the various tones and overtones to resonate through you. You will find the higher tones around the outer edges of the drumhead and the deeper sounds toward the center of the drum. If you can, find the sweet spot--that place where the drum begins to hum and sing. The drum has to sing in order to reach its full potential for healing and empowerment.
 

When playing a drum, life force energy flows between the drumhead and the drumstick. With practice, you should be able to feel this subtle force pushing and pulling on the stick. Allow this force to guide your drumming in order to draw out what is already within the drum. Shamanic drumming is about transposing already existing harmonics into sound by stroking them from the drum.

Weaving Music into Art

The Shipibo are a tribe from the Amazonian rainforest in Peru credited with holding the traditions of the powerful entheogenic brew ayahuasca ("vine of souls"). This ancient tribe is known both for their beautiful geometric textiles and for their long history of using ayahuasca as an entheogen. This plant sacrament induces visual and auditory stimulation for the purpose of self-revelation and healing. In the Shipibo culture, shamans -- called curanderos -- work as plant-based healers of physical, mental, emotional and spiritual disorders. Their knowledge and healing power are said to come from the plants themselves.  

Shipibo shamans have a custom in which a they live for months in isolation and ingest different plants in order to connect with the spirits of the plants. According to Shipibo shamanism, each plant has a different personality, just like people. Once a plant is ingested, the shaman may be inspired to write a song. These songs, known as icaros, are then used in healing ceremonies, and eventually translated into geometric patterns in order to adorn tapestries with their messages. Each song and corresponding pattern embody the energy of a specific Amazonian plant. The colorful designs are a woven visualization of each plant's song, almost serving as a musical score.

Shipibo textiles reflect the tribe's culture and cosmology. Largely geometric in nature, the designs feature the square, the rhombus, the octagon and the cross, which represents the southern Cross constellation. Other symbols featured in the designs are the Cosmic Serpent, the Anaconda and various plant forms, notably the caapi vine used in the preparation of the ayahuasca brew. Shipibo patterns are believed to heal physical, mental, emotional and spiritual ailments, with each design carrying its own meaning. Some are said to bring wisdom or protection; others attract abundance. The textiles are worn as skirts, placed on tables or beds, hung on walls or used in ceremony.
 

There is an fascinating connection between the visual and aural in Shipibo art: the Shipibo can paint the pattern by listening to an icaro, or they can inversely hear the song by simply viewing the design. Shipibo shamans, under the influence of the psychedelic affects of ayahuasca, undergo a sort of biological feedback mechanism which affects the visual cortex, allowing the music to be seen, and then translated into artwork. Known as synesthesia, this is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway, in this case seeing by hearing, or hearing by seeing.
 

After discovering cymatics, the scientific study of geometric patterns created by sound vibrations, Irish artist Tanya Harris traveled to Peru in 2014 to explore the "visual music" of Shipibo art. Harris discovered cymatics while studying for an MA in Textile Futures at Central Saint Martins in London. Harris spent a month with the Shipibo and participated in ayahuasca ceremonies. During one of her last ceremonies, she received insight from ayahuasca that she should ask a shaman if she could record her singing a particular song and also get from her the geometric tapestry translation of the song. 

 

So, using a handy video recorder, Harris carefully recorded the shaman's icaro about a plant called marosa. Harris found striking visual similarities between the shapes created by her cymatic patterns and the designs created by the Shipibo as illustrations of their songs. For Harris, it was simply confirmation that "sound is a primordial, creative force." Her experiences with the Shipibo are described in this short video, Consciousness Resides in Geometry.

What is Rhythm?

Rhythm, in music, is the arrangement of sounds in time. The unit division of musical time is called a beat. Rhythm is the way that music is systematically divided into beats that repeat a specific number of times within a bar (or measure of time) at a particular speed or tempo. Rhythm is characterized by the regular sequence of opposite elements: the dynamics of the strong and weak beat, the played beat and the inaudible but implied rest beat, or the long and short note. When a series of notes and rests repeats, it forms a rhythmic pattern.

 

Rhythm functions as the driving engine of a piece of music, and it gives a composition structure. Whatever other elements a given piece of music may have (e.g., patterns in pitch or timbre), rhythm is the one indispensable element of all music. Rhythm can exist without melody, as in the drumbeats of shamanic trance drumming, but melody cannot exist without rhythm. In music that has both harmony and melody, the rhythmic structure cannot be separated from them. 

Rhythm is music's pattern in time. Music cannot happen without time. The placement of the sounds in time is the rhythm of a piece of music. Because music must be heard over a period of time, rhythm is the most essential aspect of music. Having a sense of rhythm separates good musicians from those that don't. For the drummer, rhythm is about keeping time for they are one in the same. The pulse of the drum is the pulse of time. The drummer is the timekeeper. Keeping time is the most important function of any drummer.

 
The Soul of Rhythm

Neuroscience research has demonstrated the therapeutic effects of rhythmic drumming. The reason drumming is such a powerful tool is that rhythm is rooted in innate functions of the brain, mind and consciousness. 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.

We respond to rhythm whenever we sense it and seek it out when it is not present, for we are innately rhythmic. Every rhythm has its own quality and touches you in a unique way. These qualities, in fact, exist within each of us, longing to be activated. It is this process of internalization that allows us to access the inaudible yet perceptible soul, so to speak, of a rhythm. One of the paradoxes of rhythm is that the audible pattern is the inverse of the "inaudible matrix." Every rhythm has both an inaudible and audible aspect -- silence and sound.

Silence and sound are the two fundamental aspects of our vibrational world. Silence is the unmanifest essence of the unseen world. Audible sound is the manifest form. It is the inaudible intervals between audible beats that allow us to hear the grouping of beats in a coherent cycle or pattern. We sense the interval as the offbeat, or light element, and the audible beat as the heavy element. The drummer establishes the audible beat, whereas the silent pulse quality unfolds by itself in any rhythmic pattern. 

Master percussionist, Reinhard Flatischler, in his book The Forgotten Power of Rhythm, established that all people perceive the unmanifest essence of this silent pulse in the same way, regardless of how the drummer shapes the audible pattern itself. As Flatischler puts it, "As the inaudible part of a cycle, this pattern exists in a universal archetypal realm. The audible shaping of the cycle, on the other hand, exists in the realm of uniqueness and individuality. In rhythm, both sides unite and thereby allow the individual to make contact with the world of archetypes."

Earth: The Free Will Planet

Earth has always been a free will planet. We incarnate here on Earth to experience freedom of choice. A free will system is an experimental laboratory for creation. We can choose to do anything we want, no matter how it affects others. There are other worlds where we learn other experiences, but the human realm is the only one in which our choices (good or bad) affect our future. We live in a reciprocally interrelated world where there are repercussions for our actions. As conscious moral agents, humans have power that the beings in other realms do not; this clearly underscores the importance of moral action and spiritual development.
 

Freedom of choice is our human birthright and gift from the Creator. When the Creator created the world, he gave humans the option to choose between good (light energy) and evil (dark energy). Light energy is unlimited and comes from the divine source. It is highly vibrational, expansive and full of love. Dark energy is dense, negative, and goes against the flow of the universe. It is about manipulation, oppression, conquest and fear. Darkness is part of who we are, and we all have to take responsibility for it.
 

At any moment, each of us is confronted with choices between good and evil forces. The dark forces were created so humans could realize their inner powers and develop the soul. The darkness consistently tries to make people choose between the good and bad and tries to tempt them to choose the bad. Its goal is to force us to behave in opposition to our true soul, to be bad. When we choose good over evil, we grow spiritually and bring more light into the world. This is how we learn to take responsibility for our own actions and eventually realize that self-centeredness is counterproductive to the evolution of the individual and the collective.
 

The Great Shift
 

A growing number of voices in the international shamanic community are telling us that Mother Earth and her inhabitants are undergoing a fundamental, evolutionary change -- a change that many of us will experience first-hand in this lifetime. Some call it the Kali Yuga, the age of maximum darkness and ignorance; a time when the dark forces of the unconscious are at their strongest. Some call it the Era of Strife, Tribulations, or End of Days. Others refer to this unfolding event as the Turning of the Age or a Great Shift in consciousness that was foretold long, long ago.
 

Great shifts in energy are taking place at this time. The veil between the spiritual and physical worlds is growing thinner. In other words, the boundaries between spirit and matter have greatly dissolved, and these worlds are currently overlapping and blending together. There is a major battle going on in the spirit world between the light and the dark, and it is spilling over into the material world. It is not hard to see that, even though we live on a planet that surrounds us with beauty, there is a lot of darkness manifesting within humanity. The dark is making a bid for power. The light is countering every move made by the dark; the light will ultimately prevail.
 

In the struggle between good and evil, we are all being called upon to choose which side we are on -- the light or the dark. This is not judgment day. It has nothing to do with religion or ideology. This is about human existence, free will, and each of us claiming our sovereignty. Sovereignty is the supreme power to self govern -- to be the exclusive controller of one's own body and life. If we claim our sovereignty, we can shape a truly New World.

Energy Body Clearing

Energy body clearing is a term used to describe specific techniques that people use to keep their subtle body, or energy field, clean from the negative thoughts and emotions of others. According to various esoteric and mystical teachings, the subtle body is that part of our being or consciousness that leaves our physical body at the time of physical death. It is the interface between the mental, spiritual and physical aspects of one's being. The physical body consists of energy that vibrates very slowly, which is why it appears to be solid. We are energy beings living in an energy world, so our subtle body interacts continuously with the energy of others.

Whether we realize it or not, we are attracting harmful energetic vibrations from our environment. Picking up negative energy that is not ours can make our energy body 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. We can clear our fields through various cleansing techniques, leaving us feeling relaxed and rejuvenated. Energy clearing also releases negative, limiting, or otherwise outmoded patterns of belief that aren't serving us anymore. Here are five effective energy body clearing techniques:

1. Smudge Yourself Daily

Smudge yourself and your home each day. Smudging is a method of using smoke from burning herbs to dispel negative energy and open the energy channels of your body. Sage, cedar, and sweetgrass are traditionally used for smudging. Light the 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.

2. Cleanse Yourself with Holy Water

Learn how to make your own consecrated, or holy water, and use it for cleansing, protection, and blessing. Essentially, holy water is water with salt added during a rite of blessing. Pour some holy water into a spray bottle. For an energy body cleansing, spray it toward yourself from arms length (avoiding your eyes, of course). To bless and protect your home, spray holy water around the perimeter of your dwelling and yard. Many people will dismiss the power of holy water based on its association with the church. This is not about religion; this is about a pragmatic solution to an age-old problem. The fact of the matter is that holy water is your best protection against negative and dark energies.

3. Cleanse Yourself with White Light

Light--imagined or real--is a powerful energy body cleanser. White light can be called upon by anyone for cleansing, healing and protection from negative energies. Lie or sit comfortably. Do some deep breathing to calm and focus your mind. Visualize a sphere of white light emanating from your heart. Just allow it to expand outward until it completely fills and surrounds you. Envision the white light purifying and restoring your body, and displacing any negative or foreign energy. Really focus on seeing it clearly in your mind, and keep building it up so it's brilliant and glowing. You can keep expanding the light, sending peace and love out into infinity.

4. Take a Sea Salt Bath

Sea salt has remarkable cleansing abilities. Having a soothing bath containing sea salt when you feel energetically overwhelmed can really make a huge difference in the way you feel. Just a handful of sea salt dissolved in a hot bath is a reliable remedy for clearing and recharging the energy field. You can use regular sea salt, Himalayan salt, Epsom salt, or other. Preferably, soak for at least 30 minutes, and say a quick blessing over the water before you get in. Keep a generous supply of drinking water on hand as well, and bless that too!

5. Raise Your Energy Body's Vibration

Drumming, chanting and prayer raise your vibration, open the heart and connect you with a power greater than yourself. Chanting has no limitations of time and space and can be done anytime or anywhere. Chants move us to a level of awareness beyond form, a place where we discover our own divinity. Regular prayer is a cornerstone of spiritual practice. Praying brings us Divine help, reduces our ego, grants us forgiveness of mistakes, and more. Repetitive drumming, chanting and prayer cleanse the energy body, boost the immune system and produce feelings of well-being, a release of emotional trauma, and reintegration of self.

Drumming in the New Year

Happy New Year to you all! As 2019 comes to a close, I will be celebrating New Year's Eve by drumming out the old year 2019 and drumming in the New Year 2020. Drumming in the new year is believed to have originated in ancient China when creating noise from drums and fireworks was thought to dispel evil spirits and bring good luck. For thousands of years, the drum has been used as a tool for moving through sacred transitions, honoring changes in seasons, and attuning to the cyclical rhythms of nature. Drumming in the new year is a great way to set the tone and intention for 2020. It is also a good time to reflect on the year ending to see where you have erred and reform those beliefs, attitudes, and strategies no longer applicable to the New Year unfolding. It is an opportunity to feel gratitude for all that has been received and accomplished throughout the past year. Such a fresh open-minded approach will broaden your perspective and start you out on the right track. What will you be "drumming" into your life for 2020?