Sunday, May 2, 2021

Pilgrimage to the Crestone Ziggurat

Crestone, Colorado is a spiritual center that includes an astonishing array of sacred sites. Within walking distance of this small international village are ashrams, monasteries, zendos, temples, chapels, retreat centers, stupas, shrines, medicine wheels, labyrinths, a ziggurat and other sacred landmarks. Most of Crestone’s major religious centers are sheltered in the juniper and pine forests on the lower slopes of the mountains south of town. The Camino de Crestone is a 26 mile inter-faith pilgrimage that visits 15 of the spiritual centers.
 
Since moving to Crestone, my wife, Elisia, and I have made pilgrimages to many of the area’s sacred sites. Although pilgrimage may seem an antiquated religious ritual, it remains a vibrant activity in the modern world as pilgrims combine traditional motives—such as seeking a remedy for physical or spiritual problems—with contemporary searches for identity or interpersonal connection. That pilgrimage continues to exercise such a strong attraction is testimony to the power it continues to hold for those who undertake these sacred journeys. Pilgrimage has been an essential component of my spiritual practice for over 30 years.  
 
Our first local pilgrimage was to the Crestone Ziggurat, a nearby landmark built by Najeeb Halaby, father of Queen Noor of Jordan, for prayer and meditation. Halaby, an American of Syrian Christian descent, built the Ziggurat in 1978 as a representation of the Zoroastrian gateway to heaven. Ziggurat comes from an ancient Assyrian word ziffurantu, meaning light pinnacle. A ziggurat, by definition, is a temple tower with an outside staircase that leads to a shrine at the top. The first of these temple structures were built in ancient Mesopotamia, or what is now Iraq. The purpose of a ziggurat is to get closer to heaven, the home of the gods; in fact the people of Mesopotamia believed a ziggurat connected Heaven and Earth. Essentially, a ziggurat represents a stairway to Heaven where one can commune with the divine.
 
Elisia and I walked to the ziggurat, which rises from a hill on the easternmost edge of the San Luis Valley less than two miles from our house. The wind began to gust as we made our way up the switchback trail to the castle-like observatory, which had been stuccoed a golden ochre color. The ascent up the rail-less ramp was treacherous due to the gusting winds. I hugged the inside wall of the structure as I made my way up the 40-foot tall tower. I stood on the summit and took in the stunning views of the San Luis Valley, one of the highest and largest alpine valleys in the world, encompassing an area of 8,000 square miles. The flat, expansive valley is ringed by the San Juan Mountains of the Continental Divide on the west side and the Sangre de Cristos on the east side. It is a truly inspiring place for prayer and meditation.

Sunday, April 25, 2021

The Lindisfarne Chapel

Crestone, Colorado is a spiritual center that includes an astonishing array of sacred sites. Within walking distance of this small international village are ashrams, monasteries, zendos, temples, chapels, retreat centers, stupas, shrines, medicine wheels, labyrinths, a ziggurat and other sacred landmarks. Most of Crestone’s major religious centers are sheltered in the juniper and pine forests on the lower slopes of the mountains south of town. The Camino de Crestone is a 26 mile inter-faith pilgrimage that visits 15 of the spiritual centers.
 
One of the most remarkable structures in Crestone is the Lindisfarne Chapel. With its sacred geometry, stunning interior and remarkable acoustics, the 2,800 square foot dome serves as the main practice and retreat space at the Crestone Mountain Zen Center. The Lindisfarne Chapel was conceived and designed as an interfaith sanctuary by cultural historian William Irwin Thompson, founder of the Lindisfarne Association. The Lindisfarne Association (1972–2012) was a nonprofit fellowship of artists, scientists, and religious contemplatives devoted to the study and realization of a new planetary culture. The group placed a special emphasis on sacred geometry. The exemplar of these ideas is the Lindisfarne Chapel, which is built to reflect numerous basic geometrical relationships. The world’s premier performer of the Native American flute, R. Carlos Nakai, recorded his iconic 1987 album "Sundance Season" in the Lindisfarne Chapel.

Sunday, April 18, 2021

Riding Windhorse

Mongolian shamanism is concerned with personal power and bringing good fortune into one’s life. Personal psychic power is called hii (wind), or hiimori (windhorse). According to Mongolian shamanism, windhorse, or hiimori, can be increased through smudging, drumming, and other forms of shamanic practice in order to accomplish significant aims. Shamans raise their windhorse, and then ride on that life energy. This force resides in the chest; it is the fundamental energy of the heart, or basic goodness. If you live a life in balance, doing good for others, your windhorse will be strong. Windhorse is often portrayed as a winged horse and is an allegory for the human soul. You can ride on the energy of your soul. 
 
The concept of windhorse is also found in Tibetan Buddhism and has essentially the same meaning. Lung-ta, which translates as windhorse, is the name given to a particular kind of prayer flag seen flying on mountain tops, on high passes, along rivers, across bridges, on people’s homes and around holy sites. The flags normally have a horse in the middle and one of the majestic mythical animals in each of the four corners, the snow lion, garuda (golden-winged bird), dragon and tiger, which represent heavenly qualities. When the wind catches the flags, the prayers printed on them are carried on the breeze and distributed for the benefit of all living things. The purpose of Lung-ta prayer flags is to entreat the Windhorse to intercede on our behalf, by petitioning Buddhist deities and protectors, to give us good fortune and to remove obstacles from our way. The Windhorse carries prayers to the heavens and bring blessings back from the heavens. 
 
To the Tibetans, the horse represents a very sacred animal and symbolizes well-being or good fortune. The horse is thought to be a spiritual communicator, messenger and carrier. The horse represents stamina, endurance, beauty, elegance and freedom and will bring these things to you. Where it was tamed and especially where used not only as a steed but also as a draft animal, the horse symbolizes force that can be controlled to benefit society. The horse symbolizes energy, and the energetic pursuit of the objectives of Buddha’s teachings. The horse will assist you in staying free of troubles and avoiding pitfalls and danger. Horses are known to have great speed, thus creating a quickening within the mind and soul. This allows one to evolve spiritually and mentally at a much faster or quickened rate. The Windhorse will assist in setting the mind free so that it may soar. You can then ride on the energy of your life.

Sunday, April 11, 2021

Spirit Horse Falls

An excerpt from The Shamanic Drum by Michael Drake
 
Jade Wah'oo Grigori, my mentor and teacher, stood before me. "Find Spirit Horse," he exclaimed! The shaman vanished from my dreams as quickly as he had appeared. I awoke in the morning with the words "find Spirit Horse" indelibly etched in my mind. I had not seen or spoken to Jade in over four years, but I remembered full well his teachings of Spirit Horse. Jade had taught me that, through sacred drumming, one could ride Spirit Horse for personal empowerment and healing the land.
 
I contemplated this dream throughout the day, trying to discern its meaning. I was finally drawn to a stack of back issues of Shaman's Drum magazines in my office. I fervently leafed through the magazines with no idea of what I was looking for. Midway through the stack, I opened the winter 1990-91 issue to an article titled "Native Americans Join Efforts to Preserve Sacred Ridge on Mount Hood."

Enola Hill, a densely forested, pristine watershed ridge on Mount Hood (Oregon), was under the threat of logging operations. A coalition of Native Americans, historians, and environmentalists appealed and delayed the U.S. Forest Service's timber sale, pending ethnographic studies to determine the area's cultural significance. The ethnographic studies revealed that Enola Hill is a tawyash, a Sahaptin Indian word for a place where spiritual power can be obtained and maintained. In fact, there is no other site in the Pacific Northwest with such great cultural significance. For thousands of years, Enola has been a Native American Mecca -- a revered and sacred place for pilgrimages, ceremonies, and vision quests.    

As I continued to read the article, I came across a reference to a spectacular waterfall known to natives as Spirit Horse Falls (Devil Falls on USDA maps). The falls got its name from vision questers who saw a spirit horse rising from the mist. As I read these words, I was overcome by a profound sense of euphoria and resolve. I knew that this sacred waterfall was the "Spirit Horse" that Jade had told me to find. I expressed my gratitude for this gift in a prayer to Creator.

Two weeks later, I stood for the first time on Enola Hill, overlooking Spirit Horse Falls. The power of the roaring falls and the beauty of the rain forest filled my senses with a lucid-like awareness. I felt a holistic connection to my Earth Mother. In my heart I felt that I had finally come home. I drummed and performed a ceremony for the protection and preservation of this sacred place that provided spiritual power for this region. I prayed that this nerve center in the web of life would continue to distribute vital energy throughout the surrounding natural systems.

Afterwards, I made the three-hour drive back to my home in Bend, Oregon. That night, and for many nights to follow, my dreams were filled with drums, Enola Hill, and Spirit Horse Falls. In my dreams, I saw myself drumming at all the waterfalls around Mount Hood. I was told that the rivers that flow from this mountain are sacred. These rivers feed the spirit. This water will awaken the people when you drum at the falls. All who touch this water will be awakened. I was told that a home would be provided from which I will go out to drum the sacred places. It is time to consecrate these sacred places. The time has come to awaken them.

Three months later, a friend contacted me regarding a caretaker position in the Mount Hood area. I soon relocated to a community near Enola Hill and Spirit Horse Falls. I spent the entire summer, hiking to waterfalls and drumming the sacred waters. By the end of the summer, I had completed a circuit around Mount Hood. Having completed my mission, I sensed that my work there was done. I moved back to Bend, Oregon, yet Spirit Horse Falls will always be a significant power place for me. I still make pilgrimages to the falls to drum and pray.

Unfortunately, the threat of logging persists at Enola Hill. Though ethnographic studies reveal otherwise, the Mount Hood Forest Supervisor has determined that there are no traditional cultural sites on Enola Hill. The Forest Service contends that Indian cultural use of the site was transitory and doesn't qualify for the National Register of Historic Places. The U.S. Forest Service hungrily eyes the mature forests on Enola. This greed for more timber to cut makes the agency loath to acknowledge the native cultural and religious value of the area. The continuing degradation of sacred sites stems not only from colonial attitudes about the lands where native people live and worship, but also from prejudice and disrespect for native religions. Indian religious freedom is an environmental issue, and the destruction of sacred sites is the ultimate environmental racism.

Sunday, April 4, 2021

"Shamanism for Every Day: 365 Journeys"

In Shamanism for Every Day: 365 Journeys, shamanic practitioner and intuitive consultant Mara Bishop offers readers a full year of calming, transformative journeys providing a daily connection to Nature and Spirit in a turbulent time. The book features daily exercises to unfurl your sensory tendrils to experience your relationship to the elements around you and within you. With daily guides that lead you to fresh observations, conscious interaction, and connection to the universe, this compact book will enable you to expand your sense of oneness with the rhythms and flow of nature.
 
"We live in intense times," writes author Mara Bishop. "The pressures of daily life can leave us emotionally, mentally, physically and spiritually depleted. Shamanic journeying can enable us to rejuvenate, reconnect to wisdom, and restore health, despite those pressures." While there are many paths to well-being, this book is designed to provide themes and topics for you to think about during your day, suggestions and observations to help reconnect you to your own innate wisdom, and to be fully in the moment, with focus, energy, and intention.
 
You’ll discover:
  • The ancient roots and principles of shamanism and the practices of shamans, who straddle the spiritual and physical realms;
  • The crucial concept of shamanism: the interconnectivity of all things;
  • How to journey, tap into the wisdom of our ancestors, and how to find a guide;
  • The Why of the journey--a rekindling of the connection to your own spirit;
  • The importance of helping spirits, whether human, animal, plant, or other;
  • Setting the stage for your journeys;
  • The power of drumming;
  • How to practice interpreting what you learn as you go along.
The book also includes an informative Q&A with the author, a detailed list of notes, resources, and references, a guide to journeys based on themes including Moon Ceremonies, Solstices and Equinoxes, and Welcoming the Spirit. Look inside Shamanism for Every Day.

Sunday, March 28, 2021

What is Shamanism?

Shamanism is universal and not bound by social or cultural conditions. It’s the most ancient and most enduring spiritual tradition known to humanity. Shamanism predates and constitutes the foundation of all known religions or philosophies. In essence, shamanism is the spiritual practice of ecstasy. Ecstasy is defined as a mystic, prophetic or poetic trance. Ecstatic trance is an academic term referring to those inwardly focused experiences of cosmic oneness, that mystical connection to a living, intelligent Universe that exists within each of us. Practitioners enter altered states of consciousness in order to perceive and interact with the inner world of the self. The act of entering an ecstatic trance state is called the soul flight or shamanic journey.
 
The shaman’s trance is an intentionally induced state of ecstasy. Shamanic trance is characterized by its flexibility, ranging from light diagnostic states to full embodiment trance states. Shamans use intention and discipline to control the nature, depth, and qualities of their trance states. The shaman may progress through a range of trance states until they reach the level that is necessary for healing to occur.
 
The capacity to enter a range of trance states is a natural manifestation of human consciousness. The ability to enter trance states makes us human, not shamans. What makes shamans unique is their mastery over an otherwise normal human trait. It requires training, practice and devotion to master any expressive art. Shamans master the art of ecstasy to see the true nature of the universe.
 
Shamanism is a way of perceiving the nature of the universe in a way that incorporates the normally invisible world where the spirits of all material things dwell. Shamans have different terms and phrases for the unseen world, but most of them clearly imply that it is the realm where the spirits of the land, animals, ancestors and other spiritual entities dwell. Spirit encompasses all the immaterial forms of life energy that surround us. We are woven together into a net of life energies that are all around us. These energies can appear to us in different forms, such as spirits of Nature, animals or ancestors. The spirit world is the web of life itself.
 
Shamanism represents a universal conceptual framework found among indigenous tribal humans. It includes the belief that the natural world has two aspects: ordinary everyday awareness, formed by our habitual behaviors, patterns of belief, social norms and cultural conditioning; and a second non-ordinary awareness accessed through altered states, or trance, induced by shamanic practices such as repetitive drumming. This second-order awareness can be developed over time or appear all at once, but once it is discerned the world is never the same. According to shamanic theory, the ordinary and non-ordinary worlds interact continuously, and a shamanic practitioner can gain knowledge about how to alter ordinary reality by taking direct action in the non-ordinary aspect of the world.
 
Rhythmic drumming is a simple and effective way to induce ecstatic trance states. When a drum is played at an even tempo of three to four beats per second for at least fifteen minutes, most people can journey successfully even on their first attempt. Transported by the driving beat of the drum; the practitioner journeys to the inner planes of consciousness to obtain personal revelation and spiritual experience.
 
According to shamanic cosmology, there are three inner planes of consciousness: the Upper, Middle, and Lower Worlds. The three realms are linked together by a vertical axis that is commonly referred to as the World Tree, or axis mundi. This central axis (spinal column) exists within each of us. Through the sound of the drum, which is invariably made of wood from the World Tree, the shaman is transported to the cosmic axis within and conveyed from plane to plane.
 
The shaman traverses the inner planes in order to change and shape experience. It is an inward spiritual journey of rapture in which the shaman interacts with the inner world, thereby influencing the outer 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 essence of shamanism is the experience of direct revelation from within. Shamanism is about remembering, exploring and developing the true self. Shamanism places emphasis on the individual, of breaking free and discovering one’s own uniqueness in order to bring something new back to the community. Shamanic practice heightens the ability of perception and enables you to see into the deeper realms of the self. Once connected with your inner self, you can find help, healing, and a continual source of guidance. To practice shamanism is to reconnect with your deepest core values and your highest vision of who you are and why you are here.

Sunday, March 21, 2021

The Hidden Life of Trees

Peter Wohlleben, a German forester and author, has a rare understanding of the inner life of trees, and is able to describe it in accessible, evocative language. His book, The Hidden Life of Trees: What They Feel, How They Communicate, has sold more than two million copies worldwide. Wohlleben draws on groundbreaking scientific discoveries to describe how trees are like human families: tree parents live together with their children, communicate with them, support them as they grow, share nutrients with those who are sick or struggling, and even warn each other of impending dangers. Wohlleben also shares his deep love of woods and forests, explaining the amazing processes of life, death, and regeneration he has observed in his woodland.
 
A revolution has been taking place in the scientific understanding of trees, and Wohlleben is the first writer to convey its amazements to a general audience. The latest scientific studies, conducted at well-respected universities in Germany and around the world, confirm what he has long suspected from close observation in this forest: Trees are far more alert, social, sophisticated -- and even intelligent -- than we thought.
 
There is now a substantial body of scientific evidence that shows that trees of the same species are communal, and will often form alliances with trees of other species. Forest trees have evolved to live in cooperative, interdependent relationships, maintained by communication and a collective intelligence similar to an insect colony. These soaring columns of living wood draw the eye upward to their outspreading crowns, but the real action is taking place underground, just a few inches below our feet.
 
All the trees in a forest are connected to each other through underground fungal networks. Trees share water and nutrients through the networks, and also use them to communicate. They send distress signals about drought and disease, for example, or insect attacks, and other trees alter their behavior when they receive these messages. Scientists call these mycorrhizal networks. The fine, hairlike root tips of trees join together with microscopic fungal filaments to form the basic links of the network, which appears to operate as a symbiotic relationship between trees and fungi, or perhaps an economic exchange. As a kind of fee for services, the fungi consume about 30 percent of the sugar that trees photosynthesize from sunlight. The sugar is what fuels the fungi, as they scavenge the soil for nitrogen, phosphorus and other mineral nutrients, which are then absorbed and consumed by the trees.
 
To communicate through the network, trees send chemical, hormonal and slow-pulsing electrical signals, which scientists are just beginning to decipher. Edward Farmer at the University of Lausanne in Switzerland has been studying the electrical pulses, and he has identified a voltage-based signaling system that appears strikingly similar to animal nervous systems (although he does not suggest that plants have neurons or brains).

Five-thousand miles away, at the University of British Columbia in Vancouver, Suzanne Simard and her grad students are making astonishing new discoveries about the sensitivity and interconnectedness of trees in the Pacific temperate rainforests of western North America. Dr. Simard is a professor with the UBC Faculty of Forestry, where she lectures on and researches the role of mycorrhizae and mycorrhizal networks in tree species migrations with climate change disturbance. Networks of mycorrhizal fungal mycelium have recently been discovered by Professor Simard and her graduate students to connect the roots of trees and facilitate the sharing of resources in Douglas-fir forests of interior British Columbia, thereby bolstering their resilience against disturbance or stress and facilitating the establishment of new regeneration.

They found that the mycorrhizal network serves as a belowground pathway for transfer of carbon from the nutrient-rich deciduous trees to nearby regenerating Douglas-fir seedlings. Moreover, they found that carbon transfer was enhanced when Douglas-fir seedlings were shaded in mid-summer, providing a subsidy that may be important in Douglas-fir survival and growth, thus helping maintain a mixed forest community during early succession.
 
Simard's research indicates that all trees in a forest ecosystem are interconnected, with the largest, oldest trees serving as hubs. The underground exchange of nutrients increases the survival of younger trees linked into the network of old trees. She has found vast underground tree root systems that are kind of like giant brains. Like the neurons in our own brains, trees send messages via their roots. In fact, she says that trees aren't only communicating, but are also sending resources back and forth to help out other trees -- even if they are a different kind of tree. 

Simard calls the older trees (up to 500 years old) "mother trees." Mother trees are the biggest, oldest trees in the forest with the most fungal connections. They're not necessarily female, but Simard sees them in a nurturing, supportive, maternal role. With their deep roots, they draw up water and make it available to shallow-rooted seedlings. They help neighboring trees by sending them nutrients, and when the neighbors are struggling, mother trees detect their distress signals and increase the flow of nutrients accordingly.
 
When mother trees begin to die, they start passing their resources off to the younger trees around them. Simard says it's like the passing of a wand from one generation to the next. Besides being a beautiful way to understand forests, this information also gives us one more reason to stop clear cutting, which is when timber companies clear tracts of land of all trees. It's easier for the loggers, but it takes away the mother trees so they can't pass along those resources to the next generation. With the logging of mother trees, they wipe out whole forest communities, and that's nothing less than attempted ecocide. After learning about the complex life of trees, a walk in the woods will never be the same again.

Sunday, March 14, 2021

Ritual Drumming: Invoking the Spirits

Ritual drumming is a tool used by shamanic practitioners to engage the powers of the unseen world to effect specific changes in the physical world. A shamanic ritual often begins with heating the drumhead over a fire to bring it up to the desired pitch. The sound of the drum is very important. Practitioners may strike certain parts of the drum to summon particular helping spirits. It is the subtle variations in timbre and ever-changing overtones of the drum that allow the practitioner to communicate with the spiritual realm. The practitioner uses the drum to create a bridge to the spirit world, while simultaneously opening the awareness of all the participants to that bridge. A master drummer can draw powerful rhythms from the drum that can transport others into specific dimensions of the spirit world.

All elements of drum music such as timbre, rhythm, volume and tempo play an important role in shamanic ritual. By using different parts of the drumstick to play on different parts of the drum, different timbres can be produced for transmitting different meanings. Different rhythms transmit different meanings and enable the practitioner to contact different beings in different realms of the cosmos. Volume and tempo arouse feelings in the listener and communicate symbolic meanings directly as aural sense experience.

A practitioner may have a repertory of established rhythms or improvise a new rhythm, uniquely indicated for the situation. 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.

Creating effective rituals

Ritual drumming is a universal way to address the spirit world and provide some kind of fundamental change in an individual's consciousness or in the ambience of a gathering. It is designed to engage the spirit world in helping us to do what we are unable to do for ourselves. With a strong connection to the powers of the spirit world, ritual becomes an effective tool for restoring or changing the status quo. By creating effective ritual, we can skillfully engage spirit in the processes we are involved in like healing, therapy or actualizing our goals. Potent rituals have similar foundational elements. Key elements of this foundation include:

1. Intention is the first element of effective ritual. You should have a clear idea of what you want to accomplish. Without a clear intention or desired outcome, the energy created in the ritual is poorly structured with little or no direction. Articulating your desired outcome is how you channel the energy of the performance toward the intended objective. One good way to think about it is by asking yourself what you want to happen as a result of the ritual. What effect do you want it to have on individuals, community and the world?

2. The creation of sacred space. Sacred space is that territory that we enter for spiritual and inner work. Regardless of your spiritual beliefs, having a special place in your home reserved for quiet introspection, reflection and spiritual connection can nourish your soul. A sacred space can be any location in your home where you can be by yourself and be fully self-expressed. Be creative with this, but find a special place for you to go at least once a day.

Consider setting up an altar that is appropriate for the purpose of your ritual or ceremony. Although an altar is not essential, it provides us with a focus to pray, meditate and listen. An altar is any structure upon which we place offerings and sacred objects that have spiritual or cosmological significance. It represents the center and axis of your sacred space. A simple altar can be created with a cloth, a candle and other symbols that mean something to you.

It is important to cleanse your sacred space before starting any spiritual work. Cleanse the space by smudging and/or spraying holy water around the perimeter. Preparing a purified sacred space shifts our awareness from ordinary waking consciousness to a more centered, meditative state. Ritual preparation awakens our connection to the web of life and structures a boundary that separates the sacred from the ordinary and profane.

3. The opening of sacred space. After preparing a purified sacred space, you may wish to ritually open the space. The opening of sacred space is essentially an invocation; calling in the spiritual energies of the seven directions: East, South, West, North, Up, Down and Within. Calling in the directions not only aligns you with their power, but is a spiritual activity in and of itself. The orientation embeds you in the living web of life, yielding greater awareness and perspective. It imparts a comprehensive recollection of the basic experience of being fully human. The ritual grounds you completely in the present moment to begin your day or to begin a specific spiritual practice.

Though there are no rules or restrictions, on most occasions a sacred circle is cast in a sun-wise direction. I would suggest you start in the East where the sun rises. Strike your drum four times to open a portal in the East to the spirit world. Using words, chanting or song, invite the benevolent spirit powers associated with that direction to participate and assist in the ritual or ceremony. Welcome the spirits with an open heart and mind. Some people will whistle or make animal sounds to call in spirit helpers. Trust your instincts and intuition in this process.

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

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

Finally, face the center of the circle and bring your hands to your heart to invite the spirit of Within. Call upon the spirit of divine unity that flows from within the center of your being where the six directions meet. Welcome the gifts of balance, oneness and connection with all things, for all things are one and all things are related.

4. The induction of altered states. Altered states of consciousness are induced through intense rhythmic drumming. An altered state of consciousness is any state of mind that is significantly different from normal waking consciousness. Altered states produce deeper self-awareness; allow us to connect with the power of the universe, to externalize our own knowledge and to internalize our answers.

5. The closure of sacred space. When you have finished your ritual, sacred space should be closed. Follow the same procedure as for the opening, but in reverse order. Begin by thanking the spiritual energies of Within, Mother Earth and Father Sky, and then the North, West, South and East in a counterclockwise movement. Play your drum to say farewell to the spirits. As you drum, give thanks to all your relations for the needs met. The phrase "all my relations" is used at the end of a prayer in many shamanic traditions, for all living things share in the relationships of life on Earth. Express your gratitude to the helping spirits for assisting you and send them off, releasing their energies to the seven directions. Remember that drumming opens portals to the spirit world, draws spirit in, and opens you up to receive it.

Sunday, March 7, 2021

Becoming a Shaman

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.
 
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," 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.

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.

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 post 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. 

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.
 
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.

Sunday, February 28, 2021

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.”

Sunday, February 21, 2021

Rare White Bison Spotted in Ozark Mountains

A surprising new guest has arrived at Dogwood Canyon Nature Park in Missouri's Ozark Mountains: a rare white bison calf. Named Takoda, a Lakota word meaning "friend to everyone," he was born on a private ranch and came to live with the herd of bison currently roaming Dogwood Canyon earlier this year.

A white bison's birth was once a very rare occurrence, with some estimates stating that only one in 10,000,000 bison were born white. However, you may now encounter one of these majestic creatures thanks to the work of conservationists. Though still rare, the phenomenon is more common due to crossbreeding as a result of attempts by ranchers to save the species from extinction after original populations plummeted to only a few hundred between 1830 and 1900.

According to traditional Native American teachings spanning thousands of years, the white bison is a sacred animal that promotes prayerful communication between Indigenous people and the Great Spirit, while also serving as a sign of peace and good fortune. The legend goes likes this:
 
Long ago during a great famine, a Lakota chief sent two boys to hunt for food. While searching, they came across a beautiful holy woman, who gifted their tribe the first sacred pipe: the White Buffalo Calf Pipe. Over a period of four days, White Buffalo Calf Woman instructed the people in the Seven Sacred Rites: the seven traditional rituals that use the sacred pipe. When the teaching of the sacred rites was complete, she told the people that she must return to the spirit world. She asked them to honor the teachings of the pipe and to keep it in a sacred manner. Before leaving, the woman told them that within her were four ages, and that she would look upon the people in each age, returning at the end of the fourth age to restore harmony and balance to a troubled world. She said she would send a sign that her return was near in the form of an unusual buffalo, which would be born white.

The prophecy of the White Buffalo Calf Woman is of great spiritual significance to the Lakota and many other tribes. Lakota holy man John Fire Lame Deer once said, "A white buffalo is the most sacred living thing you could ever encounter." Lakota people see the birth of a white buffalo calf as the most significant of prophetic signs. Some Lakota equate the birth of a white buffalo calf to the second coming of Christ. As Oglala  Lakota medicine man Floyd Looks For Buffalo Hand puts it, "The arrival of the white buffalo is like the second coming of Christ. It will bring about purity of mind, body, and spirit and unify all nations--black, red, yellow, and white."

Sunday, February 14, 2021

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.

Sunday, February 7, 2021

Native American Vows to Decolonize Native Burials

Robert Gill of Buffalo, Minnesota is a member of the Sisseton-Wahpeton Oyate tribe and among only a few Native American morticians in the country. A hero to many tribal members, Gill has made it his life's mission to restore Native burial customs and to "decolonize," as he calls it, the process of honoring and burying those who die on Indian reservations. Since the arrival of the pandemic, death has become an all-encompassing specter of Gill's daily life, consuming his days and even his nights. He travels hundreds of miles each week to remote tribal communities as far west as the Crow Indian Reservation in Montana and as far north as the Turtle Mountain Indian Reservation near the Canadian border. 
 
Before the pandemic, Gill arranged three to four burials a month for Native families. Now he is receiving that many funeral requests every week. Even with a punishing work schedule, he sometimes struggles with guilt over his inability to meet the surging demand for traditional burial services. He knows that many tribal families are being left with no choice but to turn to white-owned funeral homes with morticians who do not understand their language and customs. Without ceremonies rooted in their culture, Gill argues, tribal members are disconnected from their history and unable to mourn properly.
 
The dearth of funeral options, some tribal leaders argue, is a legacy of America's dark history of racial subjugation of American Indians and their religious practices. Until 1978, when Congress passed the American Indian Religious Freedom Act, spiritual ceremonies like the sweat lodge and drum dances were still technically illegal. The prohibitions enabled Christian churches to establish deep footholds on reservations and further restrict Indigenous customs--including their ceremonies for honoring the deceased.
 
Determined to bring more dignity to the burial process, Gill enrolled in the Worsham College of Mortuary Science in Chicago, where he graduated in 2012. He is believed to be the only licensed mortician of Dakota heritage in the country. Today Gill is virtually alone in the funeral business for his willingness to make long-distance house visits--sometimes driving entire days, through sleet and snow, to meet with tribal families in their homes. Each visit carries the risk that he will contract the virus still raging through Indian Country. Gill is the only one of five morticians who work at Chilson Funeral Chapel in central Minnesota who has not been sickened by COVID-19.
 
"You've got to have nerves of steel to do this work in a pandemic," Gill said.
 
A version of this article first appeared in the "Minneapolis Star Tribune."

Sunday, January 31, 2021

New Ayahuasca Documentary: "The Medicine"

A recent documentary feature, "The Medicine," reveals the hidden mysteries of one of nature's most powerful and controversial healing remedies -- Ayahuasca. It is a documentary about Amazonian shamanism, introducing Taita ("shaman") Juanito Guerillmo Chindoy Chindoy, both a teacher and student of the sacred plant medicine. As Ayahuasca gains popularity in the West, the film explores the science as well as the lore behind the plant and why it is used to heal. Use of the Ayahuasca brew is both a tradition in Amazonian shamanism and a promising new focus of mental health research.
 
The film follows former NFL Safety, Kerry Rhodes (NY Jets, AZ Cardinals), and actress, AnnaLynne McCord (Power, 90210, Nip/Tuck), as they drink with the Taita experiencing Ayahuasca for the first time -- in its true tradition. Taita Juanito guides them through an authentic ceremonial practice, and they emerge with new insights about their health, their pasts, and their emotional wellbeing. "The Medicine" is narrated by actor Stuart Townsend.
 
"The Medicine" also features leading scholars and authors from around the world exploring the cultural and scientific significance of Ayahuasca, including Daniel Pinchbeck, Rachel Harris, Graham Hancock, Mauricio Diazgranados, Ph.D., and others. This ancient medicine may be a solution to modern problems of addiction, depression, trauma, and disease. The video is now streaming on digital and on-demand platforms including AppleTV, Amazon, Google Play and others. Watch the trailer.

Sunday, January 24, 2021

Native Americans Welcome Shutdown of KXL Pipeline

The newly inaugurated US president has issued an executive order to cancel the Canadian pipeline project approved by his predecessor. Joe Biden has said climate change will be a big focus of his presidency. Biden's executive order reverses former President Donald Trump's revival of the pipeline. Trump in 2017 reduced regulations that would otherwise slow building projects. Former President Barack Obama rejected the pipeline in 2015 saying it would "undercut" American leadership in the fight against global climate change. The completed segment of pipeline was to cover a 1,179-mile route from the province of Alberta, Canada, to Nebraska where it would have connected with the existing pipelines leading to the coast. It would have transported up to 830,000 barrels of heavy crude oil a day. 

Montana tribal members, fearing water contamination, are relieved as the Keystone XL pipeline is blocked. When Cheyenne Foote heard that President Joe Biden blocked the Keystone XL pipeline permit on his first day in office, she cried. Foote, 68, is an elder of the Fort Peck Assiniboine and Sioux Tribes, and she feared the pipeline, which passes through a portion of Montana near the Fort Peck Reservation, would contaminate the tribes' water supply. "Water is life," she said. "You can't live without water. The Creator gave it to us, and it's our job to take care of it."

Tribes in South Dakota have been opposed to and protesting the pipeline's construction for more than a decade. President of the Oglala Lakota Nation, Kevin Killer, said Wednesday night the cancellation of the pipeline permit "sends a strong message to tribal nations, and symbolizes a willingness to build on government-to-government relationships established through our treaties," referencing the 1851 and 1868 Fort Laramie treaties of the Great Sioux Nation.

Chairman of the Cheyenne River Sioux Tribe, Harold Frazier, said the project posed a danger to tribal land and people. "This project has scarred our territorial and treaty lands with its presence and threatened our people like a dagger to our throats," Frazier wrote Wednesday night. "We have witnessed the invasion of our land and the genocide of our families -- this project is an extension of the racial, environmental and social injustices we have suffered." 

Indigenous justice organizer for the South Dakota chapter of the American Civil Liberties Union, Candi Brings Plenty, said Wednesday night Indigenous people have been at the forefront of the "fight for environmental justice and protection." The ACLU South Dakota intervened in a "riot boosting" bill last year. In March, Gov. Kristi Noem signed a revised version, which revived the state's criminal and civil penalties for rioting and inciting a riot. A federal judge said part of the state's laws were unconstitutional because they targeted those protesting the Keystone XL Pipeline. 

The Lakota People's Law Project said Wednesday the decision to cancel the pipeline is a "pivot point" to recognize "the health of our Earth." Rescinding KXL's permit is a promising early signal that the new administration is listening to Native American concerns and will take issues of climate and Indigenous justice seriously. We have to insist that it not stop there. It's also high time to shut down the Dakota Access pipeline (DAPL). Tell president-elect Joe Biden to stop DAPL once and for all. Protect the planet and the Lakota people. No destruction of the earth. No endangering our water. Mni wiconi -- water is life. Sign the petition.

Sunday, January 17, 2021

Jim Pepper's Classic Peyote Song "Witchi Tai To"

Jim Pepper (1941-1992) was a jazz saxophonist, composer, and singer of Native American descent. Born in Salem, Oregon, Pepper grew up in Portland. He moved to New York City in 1964, where he came to prominence in the late 1960s as a member of The Free Spirits, an early jazz-rock fusion group that also featured Larry Coryell and Bob Moses. His primary instrument was the tenor saxophone (he also played flute and soprano saxophone), and his characteristic incisive, penetrating tone and soulful delivery was unique for its time. A similar timbre was taken up by later players such as Jan Garbarek, Michael Brecker, and David Sanborn.

Of Kaw and Muscogee Creek heritage, Pepper also achieved notoriety for his compositions combining elements of jazz and Native American music. Jazz trumpeter Don Cherry and saxophonist Ornette Coleman encouraged Pepper to reflect his roots and heritage and incorporate it into his jazz playing and composition. His "Witchi Tai To" (derived from a peyote healing chant of the Native American Church which he had learned from his grandfather) is the most famous example of this hybrid style. The song first turned up in 1969 on an album by the band he was playing with at the time, Everything Is Everything. But it's the 1971 version from his own solo album Pepper's Pow Wow that's the definitive version. The song has gone on to be covered by numerous artists including Harper's Bizarre, Ralph Towner, Jan Garbarek, and Brewer & Shipley.
 
Over seven minutes in length, "Witchi Tai To" is beautiful, powerful, and very moving. Assisting Pepper in the recording studio were guitarist Larry Coryell, bassist Chuck Rainey, pianist Tom Grant, drummers Spider Rice and Billy Cobham, and then wife Ravie Pepper on flute, shakers, and vocals. The song begins with the peyote chant plain and unadorned, and slowly segues into Pepper's beautiful, flowing sax line that sets the tone for the rest of the tune. When Pepper begins to blow his sax, there is so much raw emotion and power packed into his delivery it can still bring chills decades later. Pepper died on February 10, 1992 of lymphoma. Listen to Jim Pepper's "Witchi Tai To".

"Witchi Tai To" Lyrics:

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Water spirit feelin'
Springin' round my head
Makes me feel glad
That I'm not dead

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Sunday, January 10, 2021

Shamanic Dreaming

Humans have always looked beyond the factual world of ordinary reality for something solid on which to ground their lives. The models of the mystery of life have always been based on the myths of an immemorial imagination. According to Joseph Campbell, one of the great mythologists of the 20th century, "Mythological cosmologies do not correspond to the world of gross facts, but are functions of dreams and visions." Dreams and visions have always been, and will always be, the creative forces that shape our understanding of the fundamental nature of reality. It is an inherent product of the psyche, a symbolic language of metaphysics recognized by shamans and seers.

Dreams are a doorway to the spirit world. In dreams we experience the shamanic world. Everything is alive; everything is connected. We can fly. Ancestors come to us. Animals talk to us. In his book, Honoring the Medicine: The Essential Guide to Native American Healing, Kenneth Cohen writes that John Trehero, a Shoshone Sun Dance chief, derived his healing power from frequent dreams about the beaver. He described his spirit helper thus: "I dreamed about the beaver. The beaver said here is my power, and then he showed me his front paws. If a person has pain I feel with my hand on him, and that pain comes in my hand. I use my own hands for beaver paws."

The accumulation of shamanic power and knowledge comes primarily through journeys, visions and dreams. Dreams are a doorway through which the shamanic practitioner can travel to the inner realms and interact with helping spirits. Shamanic dreaming is different from modern lucid dreaming: in the latter there tends to be an emphasis on controlling your dreams. In shamanic dreaming the spirits are in charge, not the humans. Spirit teachers or guardian animals come to us in nightly encounters and we can receive teachings and guidance. In other words, the spirits begin to train us in the dream state, and we may receive certain initiations along the way. This is one of the classical ways of being called onto the shamanic path.

Dream interpretation is an important skill that shamanic practitioners should develop. However, you can't interpret your dreams if you can't remember them. Dreams tend to fade quickly from conscious awareness upon awakening. To help me remember my dreams, I repeat the affirmation that I will remember all that occurs during sleep. On awakening, I note all of my dreams in a dream journal. Keeping a journal provides a record of your spiritual growth and allows you to reflect upon and better interpret dreams.

Journaling is a contemplative practice that can help you become more aware of your inner life and feel more connected to your experiences and the world around you. This process engages the subjective mind and intuitive awareness. In some cases, your dreams will be clear and easy to understand. At other times, your dreams will be full of symbolism. Interpret such dreams by looking for possible associations related to each symbol or image. Don't overanalyze the dream, for its meaning will become clear at the appropriate time.

When you are first starting out with dream interpretation, you would do well to invest in a dream dictionary as this can suggest common meanings for certain symbols. But as you continue recording your dreams, you may notice certain patterns repeat and your personal connection to certain symbols doesn't match the collective meaning. Both are valid.

There are a number of ways you can encourage and enhance shamanic dreaming. You can begin by asking your spirit helpers or guardian animals when you go to sleep to bring you a shamanic dream. Remember to thank your helping spirits when they bring you a dream. It also helps to smudge your bedroom before going to sleep each night. Smudging clarifies the mind and cleanses the environment by dispelling any stagnant or unwanted energy. The ability to have shamanic dreams on a regular basis requires energy. If you feel exhausted when you go to bed, and collapse into sleep every night, you don't have sufficient energy for this kind of dreaming. Eating well, exercising and meditating are some basic steps to build up your energy. With more energy new doorways may open up.

You can also put ritual objects into a dream bundle to open up the doorway to shamanic dreaming. According to Nicholas Breeze Wood, editor of "Sacred Hoop Magazine" -- a leading international magazine about shamanism, "The use of ritual objects to encourage and enhance dreaming is quite widespread within the Native American traditions -- everyone is probably familiar with the dreamcatcher... Dreams have always been an important channel through which to receive instruction and communication from Spirit, and not surprisingly there is a wealth of rich folklore and tradition concerning it." Read more about dream bundles.

Sunday, January 3, 2021

Beau Dick: The Legendary Indigenous Woodcarver

Beau Dick was a Canadian art legend and enigmatic carver from Alert Bay, a small remote village on the Northwest Coast of British Columbia. The Kwakwaka'wakw artist was a heredity chief and cultural activist whose generous and prolific nature exemplified the spirit of potlatch (a gift-giving feast). His remarkable masks have been celebrated across the global art scene as vibrant expressions of West Coast Indigenous culture and a sophisticated crossover into the contemporary art world. Dick had an unprecedented ability to tap into the collective memory of his people and breathe new life into age-old traditions.

Born Benjamin Kerry Dick in Kingcome Inlet, British Columbia in 1955, he first learned the art of traditional woodcarving from his father and grandfather at the age of six. While his carving career began as an assistant to his family in creating totem poles, one of which remains among the world's tallest, Dick's calling lay in making masks. His talent for combining traditional Indigenous techniques with contemporary influences, such as Japanese anime and Mexican art, makes him a standout in the art world, with critics citing him as "one of the most important artists since contact."

The late carver is the subject of the acclaimed 2017 documentary film "Maker of Monsters: The Extraordinary Life of Beau Dick," which follows his life, career and activism. Written, directed, and produced by curator, author, and filmmaker LaTiesha Fazakas and Natalie Boll, the film gives an intimate look into the life of one of Canada's greatest artists. Beau Dick worked within an ancient tradition and rose to the ranks of international success within the world of contemporary art while never forgetting his roots. This moving film captures the essence of Beau Dick and his mysterious enigma as an artist who symbolized Canada's history with the First Nations and the ethical dilemmas faced in reconciling with that colonialist history. Beau was able to use his celebrity to call attention to the injustices done to his people and the environment. 

Even in his activism, Beau relied on his culture to inform him on how to be political. He didn't simply stage protests; he enacted ancient ceremonies, creating a public display infused with spirituality. He challenged the Canadian government on his own terms by using traditional Kwakwaka'wakw political protocol, with slight adjustments for the contemporary situation. He performed a traditional copper-breaking ceremony to shame the Canadian government on two occasions. First, on the steps of the Parliament Building in Victoria, BC, and then one year later on the steps of Parliament Hill in Ottawa. Striking stone against metal, Dick and his entourage broke large copper shields into pieces. They placed the copper fragments in a folded piece of canvas artwork and left it on the steps.

The copper-breaking ceremony is a spiritual and political act that had not been performed in over 100 years. The ritual was a call to action in dialogue with the Indigenous grassroots movement, Idle No More, and a revival of a shaming rite prohibited for over 60 years under the Indian Act. Copper-breaking was once practiced by First Nations across the Pacific Northwest. Endowed with supernatural power, copper occupies a central position within potlatch ceremonies. Since copper was highly valuable and expensive, breaking it represented an act of shaming someone after a breach of law or protocol. 

"Maker of Monsters" illuminates a man whose art and life continue to transcend expectations and boundaries. Beau was more than an artist. He was a leader, an activist, a teacher, a humanitarian and a virtuoso who was larger than life. When he was asked what gets him excited in the world, he thought for a moment, then answered, "Creating an opportunity for somebody else to do something." Watch "Maker of Monsters" on Tubi TV.

Wednesday, December 30, 2020

New Music: "Lift Me Up"

I invite you to listen to my latest release on Spotify. This song came to me as I was hiking the North Crestone Creek Trail near my home in Crestone, Colorado. I am amazed by how deeply nature speaks to me when I am prepared to listen. Mother nature is my divine muse and inspiration. The God that so many down through the ages have humanized and worshiped is really nature herself. She lifts me up and frees my soul. Listen to "Lift Me Up."

Sunday, December 27, 2020

Pilgrimage to the Tashi Gomang Stupa

Since moving to the spiritual mecca of Crestone, Colorado in March of 2020, my wife and I have made pilgrimages to many of the areas sacred sites. At 7,923 feet in elevation and located next to the Sangre de Cristo Mountains, Crestone is both beautiful and isolated, subject to extremes of weather, wind, and temperature. It includes an astonishing array of spiritual sites -- more than two dozen ashrams, monasteries, temples, retreat centers, stupas, shrines, labyrinths, and other sacred landmarks. Although pilgrimage may seem an antiquated religious ritual, it remains a vibrant activity in the modern world as pilgrims combine traditional motives -- such as seeking a remedy for physical or spiritual problems -- with contemporary searches for identity or interpersonal connection. 

Our most recent pilgrimage was to the Tashi Gomang Stupa, located about two miles by trail from our home. Since the time of the Buddha's (566-485 BCE) death, Buddhists have constructed stupas to contain the relics of enlightened teachers. Stupas have become places of veneration and pilgrimage in Buddhist cultures throughout the world. A stupa is an architectural rendering of the Buddhist path, the stages and aspects of enlightenment. When a great Buddhist teacher leaves his or her physical existence, the body that remains is considered to be permeated with the very essence of awakened mind, possessing tremendous intrinsic power and blessings. The appropriate vessel for containing these relics is a stupa. Through its design and contents, a stupa is regarded as having the power to transmit the essence of awakened mind, on the spot, to anyone ready to receive it.

Within the Tibetan tradition there are eight kinds of stupas representing eight major events in the life of the Buddha. The Tashi Gomang Stupa commemorates the Buddha's first teachings in Benares (Varanasi) when he expounded the Four Noble Truths and the Twelve Links of Interdependence. These teachings reveal the truth of suffering, the cause of suffering and the skillful means to bring about the cessation of suffering (enlightenment).
 
The stupa itself is completely enclosed and contains many special objects inside. A depository of offerings was placed underneath it in tribute to the goddess of the earth and local deities. It was considered essential to ask their permission before construction could take place. The base, or throne of the stupa was filled with juniper which has special powers of purification. Treasure vases were placed in the juniper along with musical instruments, medicines, herbs, food, precious jewels, silks, brocades, perfumes, gold, and silver. Through the blessings of the stupa, these substances will work to bring good health, harmony, peace, and prosperity to its surroundings.
 
The stupa has been filled with 100,000 tsa-tsas (or miniature stupas) made by volunteers. Within each tsa-tsa is a roll of prayers, and mantras. The tsa-tsas were blessed and consecrated by visiting lamas before being placed inside the stupa. Also inside the stupa are earth, water, and stone from the eight great pilgrimage sites in India; wood from the Bodhi tree under which the Buddha attained enlightenment, water from a cave of Milarepa, and other sacred objects.
 
The tsok-shing or "life force" pole was placed in the center of the bell-shaped body of the stupa and reaches to the top of the spire. It was carved from a juniper tree into the shape of an obelisk, with a half dorje (vajra - thunderbolt) at the bottom and a small stupa at the top. Precious relics were placed in the life-force pole and then it was painted, inscribed in gold with the Buddha's teachings, and wrapped in silks and brocades. It rests on two mandalas, also covered with offerings.
 
The statue of His Holiness the 16th Karmapa, wearing his Black Crown, was placed at the front of the stupa. Artisans in Nepal made the statue and its encasing niche and frame, as well as the ornamentation on top of the spire. The gold leaf finish and additional ornamentation was done on site in Baca Grande. Inside the statue is another tsok-shing, rolls of mantras, and relics from all sixteen Karmapas and other saints.
 
The Tashi Gomang Stupa embodies His Holiness the 16th Gyalwa Karmapa. In the words of H.H. Dilgo Khyentse Rinpoche: "Within the stupa the teacher remains unchanging. The Buddha said that whoever sees the stupa will be liberated by the sight of it. Feeling the breeze around the stupa liberates by its touch. Having thus seen or experienced the stupa, by thinking of one's experience of it, one is liberated through recollection. As our world increasingly adopts a secular and atheistic perspective in many domains of experience, pilgrimage, for many like myself, remains a potent force.