Thunder Medicine

I love the sound of thunder. It is so powerful and primal. It resonates to my very core. Nothing heightens my senses like the voice of the Thunder Beings. Whenever I hear the rumbling thunder I take a moment to acknowledge and thank these divine beings for the work they do and the blessings they bestow upon the Earth. 

Every spring the Thunder Beings arise in the Sky and adorn themselves in cloud, thunder, lightning, wind, and rain. They are the force behind all weather changes and sustain life on Earth. They travel in the clouds and lightning and speak through the thunder. Their medicine and gift is balance, change, and renewal. The Thunder Beings are a force for both dissolution and re-creation. They are nature's way of breaking down the archetypal patterns of an old cycle in preparation for a new cycle. Divergent polar forces pull apart obsolete patterns, allowing new patterns to form. "In all traditions it is Thunder Beings who govern nature and all life; they are the creators. They sustain balanced life, and destroy imbalance, the cause of suffering."1 

The Thunder Beings bring the storms that nourish and renew the Earth Mother. Thunder Beings create a storm to overcome static tensions, clearing the way for the rainbow of peace and harmony. The greater the obstructions to harmony the more destructive the storm must be in order to clear away those obstructions. Storm represents that moment when the clouds gather, lightning strikes, and the rain bursts forth, a quintessentially creative moment. Storm quickens the emergence and manifestation of life. 

The Thunder Beings proclaim the sacred union of Father Sky and Mother Earth through bolts of lightning. Like thunderbolts, we humans are a bridge that connects Earth and Sky. Like Mother Earth and Father Sky, we are both yin/female and yang/male in nature. Only when yin and yang are in balance within us, are we able to effectively channel usable energy. Achieving balance requires that we release our fears, plow old habits under, and cultivate new growth. By asking the Thunderers to assist us in achieving balance we learn how to tap into their energy and utilize it creatively. We learn how to revitalize ourselves and grow. Mongolian shamans believe that this balance, called tegsh, is the only thing that is truly worth pursuing in this world. When humans lose it, they create imbalance within the web of life. It then requires the unity of all colors, all cultures, working together to bring the web back into balance. 

Within all traditions, we supplicate the Thunder Beings to bestow their enlightenment upon us as the lightning enlightens the earth. Whenever I supplicate the Thunder Beings for assistance, I make an offering of tobacco or cornmeal. I call upon them only when there is a real need. I approach them with humbleness and humility, becoming like a hollow bone through which their life force may flow to be used as needed, then returned to the Earth Mother.

In the Plains shamanic traditions, a person who is visited by a Thunder Being in a dream, a vision, or in person becomes a heyoka or "contrary." Customarily, this heyoka then begins to behave in ways that are contrary to the conventional norms of the dominant culture. The heyoka behaves in such a manner in order to awaken society to innovative and better ways of doing things. Thus, the heyoka becomes the human counterpart of the Thunder Beings, who continually break down the existing order and create a new arrangement from the pieces. 

Thunder Drumming

Because there is such great turmoil in the world today, it would be beneficial if more of us established an intimate relationship with the Thunder Beings. We can relate to them in storms and nature, but primarily we must seek them within. The drum can help us immeasurably in this quest. The drum personifies the creative spirit and energy of the Thunder Beings. The drum, like the Thunder Beings, is a catalyst that unites masculine and feminine energies, generating life force or chi. It quickens us with the vital energy needed to confront the world's dissonant negative energies and transmute them into peaceful, balanced, and harmonious energies. The drum is a safe and powerful vehicle for traversing the inner world, which is a microcosm of the outer world.

I recorded a CD to support the listener in making shamanic journeys to reconnect with the Thunder Beings. Thunder Beings Journey Drumming is available at Amazon. This unique shamanic drumming CD presents four rhythm archetypes from the I Ching for practical journey work. The four archetypal rhythms of the Thunder Beings are the trigrams Thunder, Fire (or Lightning), Wind and Water (or Rain). The four drumming tracks contain the archetypal rhythms of the Thunder Beings: thunder, lightning, wind, and rain. Each track has 15 minutes of uninterrupted solo drumming with callback, providing a means of exploring and developing the inner self. We can journey within to access information and energies that can help awaken us and restore us to wholeness. Entraining to these primordial rhythms, we experience them directly and discover our rhythmic interconnections. Through the integration of these rhythmic patterns, we reconnect to our core, enhancing our sense of empowerment and creative expression. 

Humanity is the nexus that unites Mother Earth and Father Sky. It is our destiny to bring them into accord, to harmonize the cosmic and the terrestrial. It is our fate to stand between Earth and Sky. When we resist our fate, we suffer. When we accept it, we are happy.

References

1. Samudranath, Cities of Lightning, Lightning Bolt Press, 2000.

"9 Ways to Be Like a Shaman at Work"

Huichol Yarn Painting

The Huichols, an indigenous tribe that lives in the mountainous region of central Mexico, are some of the happiest, healthiest, wisest people on earth. Many of them are shamans, and a surprising number of their tribe surpass 100 and work in the fields up until the day they die. Shaman-healer Brant Secunda traveled to Mexico as a young man and was invited to live with the Huichols for 12 years, where he became the adopted grandson of a shaman named Don José Matsuwa, who lived to be 110. There are many lessons he learned from the Huichols, which he now writes about and teaches to others. One of them is how to make small behavioral changes at work that keep us happy, relaxed, motivated, and performing at our best. Click here for nine of them you can apply every day.

Signs of a Shamanic Calling

Many people in today's world are being called by spirit to become shamans. A yearning exists deep within many of us to reconnect to the natural world. It is a call to a life lived in balance with awareness of nature, of spirit, and of self. We live in a culture 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.

Spirit calls us to a path of shamanism in many ways. It can be as dramatic as a life threatening illness or as simple as a dream. Some people receive signs of a shamanic calling through their dreams. Shamans frequently journey during their dreams, often flying through the air. Shamans may have recurring dreams in which they meet certain animal or teacher figures that are manifestations of the very spirits who are calling them. 

In Siberia, the homeland of shamanism, it is believed that certain characteristics are a sign that the spirits have selected an individual to become a shaman. Sometimes the shamanic candidate will have unusual marks or bodily characteristics such as being born with extra fingers or toes. Being born with a caul (thin membrane) covering your head is recognized worldwide as a sign that a person has a special relationship with the spirit world.

The more common signs of a shamanic calling are ones of personality, such as a desire to spend time alone in nature. Shamanic candidates tend to be loners and are often considered eccentric or "different." One of the most reliable signs of a shamanic calling is the urge to learn about shamanism. One of the things I have learned working with spirits is that they often prompt me through urges to do one thing or another. This is a common form of communication and instruction by helping spirits. The very fact that you are reading this article at this time is meaningful. It is the spirits themselves who are guiding you to search for information about shamanism. Your yearning to learn more about shamanism is a sign that the spirits are calling you. The call functions to awaken your own inner knowing and the yearning to express your true self through the artistry of the shaman.

In contemporary Western culture, people who have shamanic callings often don't understand what is happening to them, and may find themselves overwhelmed by fear of their non-ordinary experiences. To help potential candidates gain an understanding of these events, I have provided the following list of signs that you might have a shamanic calling. Have you had:

• An intense desire to spend long periods of time alone in nature
• Vivid flying dreams, prophetic dreams, or recurring dreams with the same animals or teacher figures
• Recurring encounters with the same animals in ordinary reality, possibly in unusual ways
• Frequent feelings of déjà vu
• Imaginary friends as a child
• Any physical, mental, or emotional abnormality that set you apart as a child
• An strong connection with plants or animals
• An awareness of subtle healing energy in your hands
• A near-death out-of-body experience
• Astute and accurate intuition and the ability to "read" other people
• A parent who has paranormal abilities, such as prophetic dreams or telepathy
• Ancestors who were healers, herbalists, or doctors
• An occupation in the healing arts
• Frequent clairvoyance, clairaudience, or other paranormal experiences
• Were you born with a caul (thin membrane) covering your head
• A life threatening illness, accident, or unusual event such as being struck by lightning, especially if this included a long recovery
• A strong inner urge to learn about shamanism

If it seems that these signs are very general and happen to a lot of people, it is because the spirits call many to work with them, but only a few may respond to the call. Choosing to ignore a calling may have undesirable consequences or none at all. For some, it can lead to depression and illness as the life force is constricted and thwarted. Those who choose to follow their shamanic calling may have no idea how to begin.

What do you do if the ancestral shamanic tradition no longer exists in your culture, but you still feel the call today? While traditional, indigenous shamanism continues to decline around the world, shamanic ideology has gradually entered Western humanities and social sciences and developed into the neo-shamanic movement. Neo-shamanism is a term used to describe the creation or revival of a shamanic culture. Most modern shamanic practitioners fall into this category. Neo-shamanism is not a single, cohesive belief system, but a collective term for many such philosophies. Neo-shamans use a variety of core techniques from different shamanic disciplines.

Mircea Eliade, a religious scholar, was perhaps the first to write about neo-shamanism. In his classic work, Shamanism: Archaic Techniques of Ecstasy (paid link) Eliade discusses the three stages of becoming a shaman: the Call, Training, and Initiation. The first stage to becoming a healer, as described by Eliade, is that of the calling -- this call comes from the family, the community, or from the world beyond. Some are called, initiated and trained by spirit guides and/or human teachers from childhood.

Shamans are called, and then receive rigorous instruction. Training may follow an ordered tradition or take a spontaneous course guided by the shaman's spirit helpers. The function of training is to develop the skills and talents so that shamanic practitioners don't unintentionally hurt themselves or others. Though the spirits give shamans their healing powers, shamans must learn the technique of invoking them. Traditional shamanic training requires considerable devotion and personal sacrifice, not so much to gain power, but to become the person who can wield that power responsibly. Ongoing practice and learning are essential to perfecting any art or skill.

Where does one find shamanic training in the digital age? There are growing numbers of spiritual seekers who learn about shamanism from the internet or through reading the published works of individuals who have received shamanic training. Though a handbook is no substitute for an apprenticeship program, it can convey the fundamental methodological information. Authentic shamanic knowledge can only be acquired through individual experience; however, one must first acquire the methods in order to utilize them. Once you have learned the basic skills, your helping spirits can provide you all the training you need.

Then there is Initiation. Shamanic initiation is a rite of passage, connecting the apprentice shaman intimately to the spirit world. It is typically the final step in shamanic training, though initiation may be set in motion at any time by spirit's intervention into the initiate's life. Ultimately, shamanic initiation takes place between the initiate and the spirit world. It is the spirits who choose and make the shaman.

In my 2012 book, Shamanic Drumming: Calling the Spirits (paid link), I recount my own journey into shamanic practice and explore what someone should do if they feel the call to become a shaman. Working with the guidance of my helping spirits, I have written a guide to becoming a shamanic healer that encompasses the power of the drum, of community, and of the accountability inherent in authentic shamanic practice.

How does someone embark on the shamanic path? To be an effective shamanic healer, one must go through the three steps. The first step is to acknowledge the calling.

© 2013 by Michael Drake

Tuvan Throat Singing

Throat singing, a guttural style of singing or chanting, is one of the world's oldest forms of music. For those who think the human voice can produce only one note at a time, the resonant harmonies of throat singing are surprising. In throat, or overtone singing, a singer can produce two or more notes simultaneously through specialized vocalization techniques taking advantage of the throat's resonance characteristics. By precise movements of the lips, tongue, jaw, velum, and larynx, throat singers produce unique harmonies using only their bodies. Throat singing is most identified with the Tuvan people of southern Siberia, who use their voices to mimic and interact with the sounds of the natural world -- whistling birds, bubbling streams, or the blowing wind. Throat singing is simply the sounds we all make, or are capable of making, to connect ourselves with nature. Read more.

Chosen by the Spirits

Buryat shamaness Sarangerel wrote Chosen by the Spirits: Following Your Shamanic Calling as a guide for both the beginning shaman and the advanced practitioner. Although raised in the United States, she was drawn to the shamanic tradition, and in 1991 returned to her ancestral homeland in the Tunken region of southern Siberia to study with traditional Buryat shamans. Her first book, Riding Windhorses, provided an introduction to the shamanic world of Siberia. In Chosen by the Spirits, Sarangerel recounts her own journey into shamanic practice and provides the serious student with practical advice and hands-on techniques for recognizing and acknowledging a shamanic calling, welcoming and embodying the spirits, journeying to the spirit world, and healing both people and places. Highly recommended!

"Not Quite Shamans"

In Not Quite Shamans, Morten Axel Pedersen explores how shamanism serves to fill the spiritual void left by the collapse of socialism in Mongolia. Pedersen conducted his ethnographic fieldwork in Northern Mongolia's remote Shishged Valley among Darhads, who are famous for having the most "authentic" shamans. When Pedersen arrived to conduct his research in the late 1990s, however, he found a paradox: the homeland of shamanism, where shamans persevered even through the harshest persecution during socialism, was now barren. Instead of shamans, the place was full of böö shig or böörhuu individuals (shaman-like or sort-of-a-shaman-but-not-quite). These are almost exclusively young men who ought to be shamans but are unable to become them because of lack of accessible "authentic" teachers and insufficient resources to obtain shamanic paraphernalia that are necessary for appeasing and controlling the spirits -- the traits of trained shamans. 

Unable to learn how to subdue the spirits and so choose when to become possessed and when not, these young men remained permanently stuck as what Pedersen calls "not-quite-shamans." Pedersen illustrates how the daily lives of Darhads are affected by these "not-quite-shamans," whose undirected energies erupted in unpredictable, frightening bouts of violence and drunkenness. His main argument is that the lack of shamans does not make the Darhad life any less shamanic. Quite the contrary, without shamans, shamanism thrives and seeps through every pore of the moral, cultural, and natural lives in Shishged. Pedersen details how, for many Darhads, the postsocialist state itself has become shamanic in nature. 

"For scholars of shamanism, Pedersen, by demonstrating that it is not always the shamans who carry the practice to the new generations but the entire community, reveals some nuances behind shamanic resiliency around the world…" 

 - Review by Manduhai Buyandelger in American Anthropologist, Volume 115, Issue 1. 

Sacred Art and Shamanism

Streaming live on the Co-Creator Radio Network on Tuesday, July 23, at 11am Pacific/2pm Eastern on "Why Shamanism Now? A Practical Path to Authenticity," Christina Pratt talks to visual artist, author, and shamanic practitioner Faith Nolton, who explains, "Making sacred images co-creates reality and feeds into the soul and web of life. Making paintings with sacred intention, one has a foot in both everyday reality (the act of painting or drawing) and the spirit worlds (trance state). Keeping a balance between the two is where the point of creation lies." According to Nolton, this is what makes sacred art sacred. The act of creating sacred art is an ancient and honored shamanic practice. Prior episodes from "Why Shamanism Now" can be downloaded for free on iTunes. 

Elisia Drake's "Forest Ones"

The Forest Ones are unique hand-formed clay and wire figurines clothed with natural plant materials. Each creation is an original, nature-inspired sculpture by multimedia artist Elisia Drake. Elisia brings out the animated spirit of each Forest One through the expressive qualities of clay and organic matter. Each Forest One comes with its own name, personality and care instructions. To meet Elisia and her Forest Ones, please visit booth #D30 at Faerieworlds 2013: International Faerie Festival at Emerald Meadows in Eugene, Oregon July 26-28, 2013. View Exhibitors map. View the Forest Ones gallery.

Crafting Rawhide Rattles

Rattles are a universal, cross-cultural tool for inducing trance states and establishing connections with the spirit realm. Shamans believe that the sound of the rattle opens doors to the spirit world and attracts the attention of its inhabitants. The repetitive sound of the rattle, like that of the drum, helps induce shamanic trance. 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. 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. To craft your own rawhide rattle; view video.

Shamanic Journey Drumming MP3 Sale

Shamanic drumming is drumming for the purpose of inducing a range of ecstatic trance states in order to connect with the spiritual dimension of reality. Transported by the driving beat of the drum; the shamanic traveler journeys to the inner planes of consciousness and back. My album, "Shamanic Journey Drumming," was digitally recorded to support the listener in making shamanic journeys. The harmonic overtones on this recording were produced by a 22-inch single-headed, elk hide, cedar frame drum pulsed at four-beats-per-second. This tempo induces a theta wave cycle in the brain. Theta rhythms are associated with the deepest states of shamanic consciousness. Researchers have found that a sustained drum beat frequency of around four-beats-per-second will induce significant trance states in most people, even on their first attempt. Amazon is offering a 25% discount on the mp3 download of Shamanic Journey Drumming for a sale price of $5.99.  

Enter the Realm of the Shaman

Shamanism is based on the principle that innate wisdom and guidance may be accessed through the inner senses in ecstatic trance. Drumming is a simple and effective way to induce this ecstatic trance state. Researchers have found that a sustained drum beat frequency of around three to four beats per second will induce significant trance states in most people, even on their first attempt. Transported by the driving beat of the drum; the shamanic traveler journeys into the deeper realms of the self. Drumming reconnects us with our deepest core values and our highest vision of who we are and why we are here. Shamanic drumming continues to offer today what it has offered for thousands of years: namely, a simple and effective technique of ecstasy. Enter the Realm of the Shaman.

Shamanism and How to Make the Universe Right

Yao Musical Instruments

Upcoming at the Bates College Museum of Art, Shamanism and How to Make the Universe Right presents an extraordinary selection of shaman scrolls and ceremonial objects of the Yao. The Yao are an ethnic minority people originally from the mountainous regions of southwest China. Due to extenuating political reasons, many of the tribal groups migrated to Vietnam during the Qing dynasty (1644-1911) and settled in Northern Vietnam. The Yao brought with them a rich tradition of shamanic practice that is an amalgam of primarily Daoist deities and rituals, but also Buddhist deities, aspects of Confucian ancestral worship, animism and other natural forces. Traditional Yao spiritual life and ceremonial practice is embodied in this exhibition of their extraordinary art and material culture. View the exhibition.

"Crash Course in Urban Shamanism"

Urban Shaman by Dwight Davidson

by Will Hall

To study traditional shamanism means being part of a living tribal society, apprenticing in it and learning its ways. Urban shamanism is a broader approach, rediscovering the roots of tribal mind for modern people and putting ancient patterns to use in new forms. Urban shamans reinvent spirit healing for ourselves. All of us have ancestral links to shamanic cultures if we go back far enough, because all societies have origins in tribalism. There are no rules and no end to learning and creativity, as we reawaken our indigenous minds and recreate spirit healing in new ways. Click here for a crash course in urban shamanism.

Crafting a Djembe Drum

Copyright 2004 © by Chris Bittner 

My name is Chris Bittner, and I am a drum maker living in central Pennsylvania. As you already know, drumming is fun, it is powerful, and oftentimes spiritual for people. We know that we enjoy the rhythm. But many people are left curious about the drums themselves: what are they made of, and how are they made? I would like to describe my drum making experience, so that you can learn a little about what I do.

Although I have been making drums for just five years, my drum journey really began when I was a child. My brother went around playing rhythms on everything, and since I had to copy him, I did it too. This is something which has never left me. I played "drums" on my dinner table, car dashboard, etc. When I was a child, I also learned to enjoy working with wood. My father taught me to use tools and make small projects. In my early twenties, I began making wood sculptures. Then about ten years ago, I began playing in any drum circle I could find, as well as a local West African drum and dance troupe. In 1999, I combined my love of woodworking with drumming, and began making drums.

I attended a four day drum making workshop offered by Yendor Drums. We began with djembe shells that were rough-carved in Ghana. Through the course, we finish-carved the drum shells, prepared a fresh goatskin, assembled and tuned the drum. Yendor sells all the necessary materials, so I felt that it was time for me to start my own small business making and selling drums.

Most of the drums I have made (close to 100 now) have been made from African drum shells. These drum shells are carved by drum makers in Ghana. The wood they use is called tweneboa. Tweneboa is lighter, softer and less dense than many other African drum woods. It has the advantage of being much easier to carve. I have also made a number of drums from African drum shells made from iroko wood, imported from Ivory Coast. By contrast, iroko wood is very hard and heavy. It is appropriate to note that most African drums (and especially djembes) are made from the harder, heavier woods. Since it is more difficult to make drums from harder wood, I am sure that it is used for good reason. However, many fine drums are also made from the softer Tweneboa wood, so I believe each type has its merits.

A typical drum project will begin when someone contacts me who wants to buy a drum. Together we will decide on the type of drum (djembe is by far most popular, I also have solid shell ashikos) and desired size. I choose an appropriate drum shell and begin work.

Preparing The Shell

Usually, the exterior of the shell will be pretty close to a finished shape. The inside, however, always needs quite a bit of work. There tends to be a lot of extra wood on the inside of the bowl and also inside the pipe (lower part of the djembe). The most useful hand tool for carving this wood out is called a scorp. A scorp is a wood gouge that works on the pull stroke. It is necessary to cut the wood with the grain, which means from the middle of the djembe toward the ends. Cutting the opposite direction with a straight gouge can be done, but it generally is difficult or impossible. Woodcraft (http://www.woodcraft.com/) sells a good scorp. I remove excess wood from the interior until I have a uniform thickness of about 3/4 inch.

I smooth the exterior with a sureform. This is a tool that looks like a cheese grater on the bottom. After that, I use coarse sandpaper (perhaps 80 grit) to start smoothing the surface. Then I use my power sander with finer and finer grits until I am happy with the smoothness.

Perhaps the most important aspect of the woodwork is the shaping of the bearing edge (top edge that will support the skin). There are three aspects to this: making the rim round, rounding the outer edge, and making the rim flat.

I measure the diameter of the top rim, and usually discover that it is not quite exactly round. For example, it may measure 13" in one direction, and 13 1/4" in another. What I do is cut a cardboard circle that is 13" in diameter and as perfectly round as I can make it. I place this circle on top of the drum and center it. A circle is drawn around the edge of the cardboard. Then I can use a sureform to make the outside perfectly round. I do the same for the inside edge of the bearing edge. These steps are not absolutely essential, but I feel that a round drum is more likely to sound really good.

Next, I use a woodrasp to bevel the outside of the bearing edge. The outside should be nicely rounded so that your hand will not hit a sharp corner as you play the drum. It also will allow the skin to slide smoothly over the edge when the skin is attached or tuned. Do not round the inside edge at this point. Allow the inside edge to be a little pointy, and the highest point on the edge. At this point, I will lay a sheet of glass down on top of the drum. I look under the glass, and can see where I need to remove some wood using a rasp to make the top rim flat. When it gets pretty close, I use a sanding board to make the top perfectly flat. The sanding board is simply a nice, flat piece of plywood, about 18" square (you could also use glass or steel plate), with adhesive backed 60 grit sandpaper stuck on it. Lay the board down on top of the drum and slide it around in a circular motion. You will soon see that you have created a flat area along the inside top edge of the drum. Stop the sanding when the flat area appears on the entire circle.

At this point, I use the rasp, cutting in a motion from the outside of the rim toward the inside, taking care to keep the front of the rasp a little higher than the rear, with respect to the flat plane of the top edge. In other words, your final result must be that the inside of the rim should be the highest point of the rim, with the rest of your flat area having been worked down into the outside curve. The danger is that the drum may wind up with a "buzz" if there is any flat area left on the top rim.

I like to use the sanding board on the bottom rim of the drum, too. Shape it however you like.

The wood should be sealed with some type of finish. Many people will seal the drum inside and out, but I usually only finish the outside. If the wood has been properly seasoned, I would expect no further problems with cracking. Many types of wood finish are available, and I think any type you like is acceptable. I generally use boiled linseed oil, or danish oil finish, and sometimes polyurethane if I want a really durable finish.

Attaching The Skin

Now the drum shell is ready. Three steel rings are needed to secure the skin. Two of them will hold the skin at the top of the drum, one will act as a counter hoop at the drum's middle. For djembes, the lower ring must either be big enough to go over the bottom of the drum (which often makes it ride unacceptably high on the bowl), or it must be wrapped around the middle of the drum and welded there. The latter is what I usually do. I use 1/4 inch round steel rod bent into a circle. For the top rings, you might want to order the rings from a drummaker or supplier, or have you local sheet metal or welding shop make the rings for you. Make sure they are solidly welded, as insufficient welds can break under the drum's tension.

Each average size djembe needs about 85 to 100 feet of rope. Use good rope! I suggest rope that is 3/16" to 1/4" in thickness. You want rope that is as non-stretch as possible, usually called static line in climbing supply shops. Most drum maker suppliers will offer good rope.

The uppermost and lower ring will be wrapped with the cradle loops of the Mali weave. The longer vertical rope will connect the two rings. Goatskin is the best type of skin for djembes. It is the perfect thickness to produce the wide range of tones that make the djembe so popular. Ashikos may be headed with goat, deer, elk, or even cowskin. Thicker skin will give deeper, more mellow ranges of tones. My ashikos with cowskin sound very conga-like.

I like to dehair my skins before I apply them to the drum. I feel that it is easier, and makes a cleaner looking finished drum. It is more traditional, however, to put the skin on the drum with the hair still on, then scrape the hair off of the playing surface. I dehair hides by placing them into a barrel of water with perhaps two dry quarts of hydrated garden lime. Over several days to two weeks, the hair will come loose and be very easy to scrape off, leaving a nice smooth skin. Bear in mind that the lime is somewhat caustic, so it is best to wear gloves and eye goggles. Others have said that wood ashes will also work the same way. Skins can be used fresh, but most of us get our skins in dry form by mail order. I will put a dry goatskin in a barrel of clear water and let it soak overnight. In the morning, I am ready to skin the drum.

The bearing edge should be rubbed with parafin prior to applying the skin. This seals the wood somewhat from the moisture in the skin, and allows the skin to move smoothly over the edge.

I lay the skin on a table, hair side up, and lay the third ring (the one without ropes on it) on top of the skin, centering it on the spineline of the skin. The edges of the skin are folded up and into the center of the ring. The top ring, with its cradle rope attached, is laid on top of the skin. This assemblage is then set on top of the drum, centered as well as possible. The long rope is then laced up and down between the upper and lower rings, until it is laced all the way around. I slowly tighten the rope taking care to keep the top rings even with the top rim. When I can tighten no more by hand, I use a leverage bar to continue slowly tightening the rope. When it becomes very tight, I hold the tension with vise grips and set the drum aside to dry for a few days. After it is dry, it can be tuned some more until it sounds great. A drum is born!

Carving Shells

Another aspect to my drum making is the carving of drum shells from logs. I have been able to get log sections from numerous sources, usually when trees are taken down for some reason. The tree cutting guys are usually happy to give me the log sections, since they would otherwise have to haul it away. And so I have gotten pieces of elm, maple, walnut, cherry, ash, and perhaps a couple others. I have taught myself to use a chainsaw and other power tools to carve drum shells. Needless to say, this can be very dangerous work, so please be careful and work within your skills. I begin by using the chainsaw to cut the ends of the log off straight. Then I use an angle grinder with a chainsaw-tooth attachment to slowly carve out the inside of the bowl (for a djembe). I use the chainsaw to do a plunge cut straight up through the bottom to meet the bowl. Another plunge cut perpendicular to the first makes an "X" shaped hole. Then it is possible to use a large gouge and hammer to knock chunks out to form the inside of the pipe. I use the chainsaw and angle grinder to slowly carve away wood from to outside of the drum, doing my best to keep the drum symmetrical. Five hours and a sore back later, I have a rough carved drum shell!

Now comes the important part. Since the wood is green, it still has a lot of moisture in it. It is essential to season (dry) the wood slowly so that it doesn't crack in the process. This is not an easy task. Here's what I do. I melt some paraffin and paint it onto the top and bottom rims of the shell. I use a small propane torch to drive the paraffin into the rims, ensuring that the wood is sealed. The rims are where the endgrain of the wood is. Moisture will evaporate from the endgrain ten times faster than from the sides. When wood dries, it shrinks. If one area shrinks faster than another, cracks develop. Therefore it is important to seal the wood and slow the drying where it dries the fastest, the endgrain. Now the shell must be stored and allowed to dry for some time. Complete drying generally takes from six to twelve months. You can track the drying by weighing the drum shell monthly. It will lose weight as it dries. When it stops losing weight, it is duly seasoned.

Where you store the drum is very important. The idea is that the wood must dry slowly and naturally. Therefore, you do not want to store it in a heated indoor space, because the air is dry and would dry the wood too rapidly. Air conditioning is equally undesirable. The best place would be a garage or other unheated space, that does not get too hot if you are doing this in the summer. Cold weather does not seem to be detrimental in my experience. Make sure the shell is not in any wind. Make sure it is out of the sun. Choose the most ideal space you can find, even if you have to take it to uncle Fred's shed.

Some drum shells will crack in the drying process no matter how careful you are. Cracked shells can be filled with epoxy mixed with sawdust to repair the crack. It won't look pretty, but you can still use the shell. I hope you have enjoyed this essay on my experiences with drummaking. Feel free to contact me if you have any questions, I am happy to share. 

Chris Bittner developed an appreciation of wood at an early age, as well as a talent for working with it. Later in life he learned the joys of rhythm and community drumming. In 1999, Chris made his first djembe, when it became magically apparent to him that drum making could be his full time endeavor. And so, DrumWorks was born, in an effort to work at what he loves, and to provide people with the instruments so that they could enjoy rhythm as much as he does. You may learn more about Chris and DrumWorks at http://www.skillpages.com/drummer/akron-united-states/chris.bittner.

The Sacred Pipe

The pipe is a sacred tradition that needs to be approached with great respect. It is a very sensitive subject to many. Many native people were badly mistreated and killed for being pipe carriers in the 20th century as the pipe, as well as many other sacred traditions were selected to be systematically destroyed by the US government. Because of this, there is some (justifiable) resentment by Natives against 'New Agers' who are seen to be 'stealing' the traditions. If you feel drawn to work with the sacred pipe, then this article by Nicholas Breeze Wood, editor of Sacred Hoop Magazine, is a must read. Read The Sacred Pipe.

Visions of Sound

The most comprehensive study ever undertaken of the musical instruments of Native people in Northeastern North America, Visions of Sound focuses on interpretations by elders and consultants from Iroquois, Wabanati, Innuat, and Anishnabek communities. The authors have listened carefully to what they have said and have had the respect and sensitivity to never lose sight of Native instruments as bi-directional conduits linking all spheres within a spiritually-centered world; a world from which instruments emerge and return conceptually, functionally and physically. What makes the book so very powerful is the sense that its authors have moved beyond documentation of this discovery to link scholarly engagement itself with such a world. Visions of Sound is an important book for all ethnomusicologists and students of Native American culture as well as general readers interested in Native mythology and spirituality.

Red Deer Shaman

For time immemorial, shamans have summoned the spirit of Red Deer to support the shamanic flight of the soul. Red Deer Stag represents the harnessed steed of the shaman in the spirit world -- the drum used to induce ecstatic trance. We can call upon Red Deer to support our shamanic journeys. I invite you to journey into the transcendent realm of Red Deer Shaman:

The New Shamanic Journey

In a recent article in Nova Magazine, Dr. Rafael Locke, a leader in Shamanic teaching in Australia, explores how the oldest spiritual practice is evolving in our modern world. Until the 1960s in the Western world, the topic of shamanism was either ignored or regarded as unworthy of serious attention. However, with the growth of new and radical ideas about health and healing through the holistic health movement, riding on the wave of the broad counter culture, professional interest began to change. Read more.

"Shamanism in Cross-Cultural Perspective"

Urban Shaman

Michael Winkelman is one of the foremost scholars on shamanism today. In a recent article in the International Journal of Transpersonal Studies, Winkelman reviews the origins of the concept of the shaman and the principal sources of controversy regarding the existence and nature of shamanism. Confusion regarding the nature of shamanism is clarified with a review of research providing empirical support for a cross-cultural concept of shamans that distinguishes them from related shamanic healers. The common shamanic universals involving altered states of consciousness are examined from psychobiological perspectives to illustrate shamanism's relationships to human nature. Common biological aspects of altered states help explain the origins of shamanism and the diverse manifestations of basic shamanic experiences. Read more.

10 Good Reasons to Take a Shamanic Journey

Shamanism is based on the principle that innate wisdom and guidance may be accessed through the inner senses in ecstatic trance. Basically, shamanic journeying is a way of communicating with your inner or spirit self and retrieving information. Your inner self is in constant communication with all aspects of your environment, seen and unseen. You need only journey within to find answers to your questions. 

Drumming is a simple and effective way to induce this ecstatic trance state. When a drum is played at an even tempo of three to four beats per second for at least fifteen minutes, most novices report that they can journey successfully even on their first attempt. Transported by the driving beat of the drum; the shamanic traveler journeys to the inner planes of consciousness and back. You should always journey with a purpose, question or intention. Some of the top reasons people take a shamanic journey include....

1. To reconnect with your inner or spirit self: Shamanic journeying heightens the ability of perception and enables you to see into the deeper realms of the self. The moment you bond with your spirit is the moment your heart opens. The first time you glimpse your spirit self, you gasp and cry. You know who you are. That is the moment you begin to heal. Journey work reconnects us to our core, enhancing our sense of empowerment and stimulating our creative expression.

2. To gain insight into an issue that you want to know more about: You can take concerns into a shamanic journey in order to access personal revelation. Shamanic journey drumming stills the incessant chatter of the mind, allowing the journeyer to view life and life's problems from a detached, spiritual perspective, not easily achieved in a state of ordinary consciousness. 

3. To clarify life purpose: When we are unaware of our soul's true purpose or simply not aligned in our actions, we often experience a malaise of the spirit. We can engage the blueprint of our soul path through the vehicle of journeying. Shamanic journeying is a time-tested medium for individual self-realization. We can journey within to access wisdom and energies that can help awaken our soul calling and restore us to wholeness. Journey work reconnects us with our deepest core values and our highest vision of who we are and why we are here. It heightens our sense of mission and purpose, empowering our personal evolution. 

4. To access a higher power: Shamanism provides a secular approach to accessing a higher power. Shamanic methodology directly supports the introduction of spiritual factors found significant in the healing process. According to the American Journal of Public Health, "Shamanic activities bring people efficiently and directly into immediate encounters with spiritual forces, focusing the client on the whole body and integrating healing at physical and spiritual levels. This process allows them to connect with the power of the universe, to externalize their own knowledge, and to internalize their answers; it also enhances their sense of empowerment and responsibility. These experiences are healing, bringing the restorative powers of nature to clinical settings."

5. To access personal help and healing: A shamanic journey can shed light on a health issue and provide clues as to what is needed for full healing to take place. Journey work is also an effective way to stimulate the release of suppressed feelings and emotional trauma in order to heal. Recent research reviews indicate that shamanic journeying reduces stress, accelerates physical healing, boosts the immune system and produces feelings of well-being, emotional release, and reintegration of self. 

6. To reconnect with benevolent ancestors: Your ancestors and the collective spiritual power of all those who went before you reside in the spirit 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.

7. To develop relationships with the helping spirits who dwell in the three inner planes of consciousness -- the Upper, Middle, and Lower Worlds: Shamanism is a sacred call to build relationship with the caretakers in the unseen world who want to support the earth and her inhabitants at this time. These helping spirits might be the spirits of nature, animals, plants, the elements, or ancestors. The reason for developing personal relationships with spirit helpers is to gain wisdom, healing techniques, and other vital information that can benefit the community. Similar to the way friendships develop gradually, our relationships with spirits grow and deepen based on repeated interaction and building trust over time.

8. To explore the Middle World, which is the spirit counterpart of the material realm and the inner region that is most like outer reality: Nicholas Black Elk, Holy Man of the Oglala Sioux, spoke of the realm "where there is nothing but the spirits of all things." In this parallel world exist the spirits that are the essence of everything in the material world. The Middle World is so truly parallel to the world in which we live that we can journey across it and visit all the places, people, and things we know in ordinary reality. Spirit journeys in the middle world provide a means of travel and communication without cars, planes, or telephones. It is a means of exploring territory to find the location of healing herbs or game or to establish communication links over great distances. 

9. To traverse the Lower World: A spirit journey to the Lower World is generally undertaken to seek the help and guidance of an animal spirit, to recover lost power, or to find and return a sick person's wandering spirit. The Lower World is the realm of animal spirits and the dead; the place to which human spirits travel upon physical death. This underworld is not Hell as defined by the agricultural religious traditions such as Christianity. It is the place of tests and challenges, but also the realm where guardian animals or power animals are acquired. You can journey into this realm on behalf of another; however a "personal journey" will typically be the most powerful. That said, perhaps the most compelling reason to journey is...

10. To find ways to restore balance in the world: As anthropologist and author Felicitas Goodman points out, "One of the most pervasive traditions of shamanic cultures is the insight that there exists a patterned cosmological order, which can be disturbed by human activity." When harmony between the human realm and the original intended pattern is disturbed, the shaman makes a spirit journey to the Upper World to bring back the balance. Shamans also go there to acquire archetypal knowledge, to bring a vision into being, or to influence events in the material world. By interacting with the archetypes, the shaman interacts with their counterparts in the outer world. 

Try a Shamanic Journey 

To enter a trance state and support your journey, click here to listen to a track from my CD "Shamanic Journey Drumming." Reflect for a moment on the purpose of your journey, and then close your eyes. Focus your attention on the sound of the drum and feel yourself being carried away by the sound. If for any reason you want to return, just retrace your steps back. You will hear a call back signal near the end of the video, followed by a short period of slow heartbeat drumming to assist you in refocusing your awareness back to your physical body. Sit quietly for a few moments, and then open your eyes. 

After the journey, you must then interpret the meaning of your trance experience.  In some cases, your journey experiences will be clear and easy to understand. At other times, your journey may be dreamlike and full of symbolism. Interpret such journeys as you would any dream. Look for possible associations related to each symbol or image. The key is to observe whatever happens without trying to analyze the experience. Like developing any skill, journeying takes practice. Nothing may happen on your first journeys. You may only experience darkness. When this happens, simply try again at a different time. To learn more, read my article Shamanic Journeying. Step-by-step instructions for making shamanic journeys are also explained in my book, The Shamanic Drum: A Guide to Sacred Drumming.