How to Do a Therapeutic Drum Massage

A therapeutic drum massage is a profound way to restore the vibrational integrity of body, mind and spirit. Through the natural law of resonance, the sound waves produced by the drum impart their energy to the resonating systems of the body, mind and spirit, making them vibrate in sympathy. When we drum, our living flesh, brainwaves and spiritual energy centers begin to vibrate in response. This sympathetic resonance forms new harmonic alignments, opens the body's energy meridians, releases blocked emotional patterns, promotes healing, and helps connect us to our core, enhancing our sense of empowerment and stimulating our creative expression. A single-headed frame or hoop drum works best for a drum massage. The larger the drum, the greater the resonance. You will need a partner to act as your client. The basic steps are as follows:
 

1. First, have your partner lie down on his or her back on a blanket spread on the floor of a quiet room. During the drumming, the client's only task is to remain still and relaxed with eyes closed and to stay aware of what they are experiencing.
 

2. Kneel down next to the client and hold the drum so that the lacing or open end opposite the drumhead faces the client. Most of the sound energy from a single-headed drum flows out through the opening opposite the head of the drum. By holding the drum over the client in this manner, a resonating energy current will flow readily into the client when you strike the head of the drum.
 

3. Starting at the feet of the client, begin drumming a rapid cadence of about three to four beats per second. Find the drum's sweet spot and make it sing and hum. Work the drum to build up the hum of the overtones. These are the best frequencies for healing.
 

4. Crawling along beside the client, gradually move the drum from the feet to the top of the head. Keep the drumhead parallel to the client and 18 to 24 inches above the body.
 

5. Listen very carefully to the sound and resonance of the drum as you move it back and forth over the body. It is not unusual for the drum to go flat or lose its resonance over a portion of the body that is in need of healing. When this happens, continue to drum that area until the drum begins to sing again. Let the drum do the healing.
 

6. Upon reaching the top of the head, make your way gradually back down to the feet.
 

7. Upon returning to the feet, make certain that you drum this area for at least a minute to firmly ground the client back into his or her body.
 

Standing Drum Massage
 

A standing drum massage should also be explored. Have the client stand with his or her feet parallel and about six inches apart. Their knees should be slightly bent, removing any strain on the lower back that would occur if the knees were locked. The arms should rest easily at the sides of the body. You should stand about two feet away, facing the client, and perform the basic steps of the exercise as outlined above. You will have to kneel or squat down to effectively drum the client's feet, and then gradually stand as you bring the drum up the body. It is not unusual for the client to rock or sway while being drummed.
 

A variant of the standing version can be undertaken with up to four drummers. Have the drummers stand at the four cardinal points with the client standing in the center, facing whichever direction he or she feels most appropriate. The four drummers should drum in sync as they move up and down the body. It is not necessary to move in sync, since each drummer may find that a different portion of the client's body requires more attention. Be careful that you don't overwhelm the client with an energy overload. Four drums will generate a powerful vortex of energy and move it up the body from the feet to the top of the head. This ascending surge of energy tends to give the client the sensation of leaving the body through the top of the head. It is very powerful and ecstatic--a peak experience. When the drummers reverse direction, they bring the energy back down into the physical body and help ground the client.
 

Finally, there is a very powerful group variant of the standing version. The group version works well with eight or more participants. I have facilitated this exercise with groups of up to 40 people. First, divide everyone into two equal groups--one group of drummers and one group to be drummed. All participants in the group to be drummed should stand shoulder to shoulder in a circle, facing outward. The drummers should then form a circle around this inner circle and perform the exercise as outlined above. Upon completion of the exercise, the participants in the inner circle should exchange places with those in the outer circle, then repeat the exercise. 

Allow your intuition to guide you when performing a drum massage. Experiment with different postures, tempos, and rhythms. There is no single right way to do it. Each person must ultimately go within to find his or her own way.

How to Consult the I Ching

Divination is the art of seeing and interpreting signs in everything around us. The goal of divination is to encourage well-being by helping a person live in harmony with the universe around them. One of the best known systems of divination is the I Ching, or Book of Changes. For some 3,000 years, people have turned to the I Ching to help them uncover the meaning of their experience and to bring their actions into harmony with their underlying purpose. The I Ching consists of 64 hexagrams or six-line diagrams. Each hexagram is accompanied by a text containing folk poetry, historical tales, and commentary. These ancient texts describe the conditions associated with the 64 archetypal patterns of change. They convey the laws and principles pertaining to time and change. The hexagram images reveal the patterns through which change manifests itself in the ebb and flow of time. 

 

The underlying premise of the I Ching is that all events--past, present, and future are interconnected. The future develops out of the present according to a set of fixed laws. To know the present, then, is to know the future. The I Ching counsels timely action in the moment for a given set of circumstances. Each moment has a pattern to it and everything that happens in that moment is interconnected. As a system of divination, the I Ching reflects your current connection with the Tao, or Universe. It serves to freeze the present moment at the time of your inquiry, responding in the form of a hexagram. By evaluating the hexagram that describes your current pattern of relationship, you can divine the outcome and act accordingly.

 

The I Ching is a microcosm of all possible human situations. It serves as a dynamic map, whose function is to reveal one's relative position in the cosmos of events. The hexagram texts address the sixty-four archetypal human situations. The commentary of each hexagram reveals the optimal strategy for integrating or harmonizing with the inevitable for a given condition. It provides the appropriate response to your inquiry. It affords a holistic perspective of your current condition and discusses the proper or correct way to address the situation.
 

The Inquiry
 

To consult the I Ching, one must first frame an inquiry. Formulating an appropriate question and writing it down is a key element in the process of divination. Focusing on a question develops a receptive state of mind and helps you clarify what it is you are truly seeking. It is important to word your inquiry in a concise and clear-cut manner. A vague question will elicit an ambiguous or misleading response. Be specific about your intent, the circumstances, and the scope or nature of the response you desire.
 

Avoid the tendency to ask yes/no or either/or types of questions. A simple yes or no question leaves no room for elaboration and the either/or inquiry is actually two questions. Inquire instead about the nature of the situation, the appropriate attitude and strategy, the outcome of a particular course of action, and so forth. If time is a factor, include this element in your inquiry as well. Appropriate inquiries might be worded as follows:
 

How would it benefit me to pursue a career in _____?
What aspect of my character or attitude is hindering my progress?
Which hexagram best describes my present situation?

I would like the I Ching to comment on my intent to travel to _____ in three months.

 

Casting a Hexagram
 

Once you have formulated an appropriate inquiry, you are ready to "cast a hexagram." Casting a hexagram is the term used to describe the method for generating the six lines of the hexagram. Casting was devised in ancient China as a mechanism for reflecting or mirroring what the subconscious or inner self already knows. The subconscious mind, or right hemisphere of the brain, knows which hexagram best describes your current situation or condition. It knows because it accesses the invisible sea of information that we bathe in daily--the all-pervading frequencies of consciousness immanent in all phenomena. The subconscious has the capacity to analyze or devour information all at once while the conscious mind, or left cerebral, analyzes information one bit at a time. The conscious mind allows us to see only the surface of things. Accessing the all knowing of the subconscious is difficult since there is usually little or no communication between the left and right cerebrals.
 

Various casting methods were devised to resolve this predicament. The subconscious mind is able to gather the information desired and influence the casting, regardless of the method, to indicate the most appropriate hexagram. The original method for casting a hexagram is known as the "yarrow oracle." This method involves the manipulation of fifty yarrow stalks in an elaborate procedure that is repeated six times in order to determine the six lines of the hexagram. A simple "coin oracle" was devised by Chinese philosopher Kuei Kuo Tze some 2500 years ago to replace the complex yarrow stalk method. The coin method requires tossing three coins six times to generate each line of the hexagram. Like a building, the hexagram is assembled from the ground up--the bottom line being considered the first line in the text interpretations.
 

The easiest way of casting a hexagram is to use my online hexagram generator which is based on the yarrow stalk method. The result is the immediacy of the coin tossing method with the reliability of the yarrow stalk method. For a reading, click on the "Cast a Hexagram" button. A small window will appear. Click the "Create Hexagram(s)" button to generate the hexagrams. Red indicates a changing line. A hexagram with one or more changing lines indicates that the situation related to your inquiry will soon be changing. The changing lines will turn into their counterparts, transforming the initial hexagram into a changed hexagram. As a result, you will read two hexagrams. The initial hexagram corresponding to your present situation is read first, followed by the changed hexagram relating to the eventual development. Changing lines usually address the future implications of a particular course of action. They may describe the changes you are likely to experience and how to deal with them.
 

Interpreting the Message
 

The I Ching does not answer a question in a direct, logical manner. It responds in the form of a hexagram, which serves as a model or paradigm of appropriate behavior. It provides the framework within which to perceive and comprehend the archetypal condition related to your query. It provides a holistic perspective and comments on the situation or condition. It offers suggestions on the best way to approach this condition. It presents advice for what to do to act in accord with or avoid a particular prediction. You must then interpret the message and determine for yourself the most appropriate course of action with regard to your inquiry. This process engages and accesses the subjective mind and intuitive awareness.
 

When your interpretation differs from the eventual outcome, then reevaluate the commentary in light of what actually transpired. In this way, you develop proficiency in your ability to interpret the I Ching's sometimes paradoxical and enigmatic aphorisms. At times, the oracle will provide an incomprehensible response that does not seem to fit the question posed. When this occurs, the I Ching may be overriding your stated inquiry in order to address a more significant issue, an unstated concern, or unconscious projection. The oracle may also be alerting you to an impending crisis or significant change. Keep in mind, too, that all conditions are transitory. Nothing is permanently fixed or static, so whether you like or dislike the response, conditions will eventually change with regard to your inquiry. Consult the I Ching.

What Shamanism Is Not

When people ask me if I can define what shamanism is, I like to begin by defining what it isn't. Sometimes it is easier to contrast something with what it is not than to define exactly what it is. So in that vein, shamanism is not:
 

Religion. It is important to highlight that shamanism is not a religion, which involves a set of organized beliefs, practices, and systems that most often relate to the belief and worship of a controlling force, such as a personal god or another supernatural being. In an organized religion, belief systems and rituals are systematically arranged and formally established, typically by an official doctrine (or dogma), a hierarchical or bureaucratic leadership structure, and a codification of proper and improper behavior. Unlike religion, shamanism has no dogma, no religious hierarchy, and is a cross-cultural tradition characterized by direct revelation and hands on experience. Shamanism is based on the principle that innate wisdom and guidance can be accessed through the inner senses in ecstatic trance. No intermediary such as the church or priesthood is needed to access personal revelation and spiritual experience. 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 your own uniqueness in order to bring something new back to the group.
 

Psychology. Psychology is the scientific study of the mind and behavior.  Psychologists endeavor to understand the motivations and intentions inherent within a person's mental and emotional behaviors. It does so by uncovering the hidden agendas and issues at play in a persons actions and choices. Shamanism acknowledges the value of the psychological perspective, however, it does not seek to understand a person's underlying issues and intentions. That is best left to trained psychologists. Indeed, from the shamanic perspective--which is to say a soul-centered perspective, rather than a mental perspective--it is understood that the inner state of the soul is expressed as thoughts, feelings and emotions in the outer, physical realm. The mental and emotional conditions are but the symptoms or manifestation of the inner state of the soul. Shamanism is a paradigm of self-empowerment, which enables people to engage the soul in ways that foster its growth and evolution.
 

Metaphysics. Metaphysics is the branch of philosophy concerned with the fundamental nature of reality and being. The perspective of metaphysics is that everything has a function or purpose and its essential nature is to grow and achieve its purpose. It explores abstract concepts such as cause and effect (karma), the nature of time, the existence of God, the meaning of life, the relationship between mind and body, and the existence of free will. Unlike metaphysics, shamanism is based in personal accountability without the imposition of an all-powerful God or theoretical universal laws that dictate the circumstances of our lives. Shamanism is premised on spiritual sovereignty free of karmic reward and punishment. When presented with a situation, shamanism never endeavors to find what the lesson is, understand its purpose, or comprehend the meaning. Instead, practitioners seek to apply their knowledge and skills to resolve the situation. Practitioners employ time-tested methods for altering consciousness to find clarity and solve problems.
 

What Shamanism Is
 

Shamanism is a cross-cultural, spiritual path practiced in every continent of the world. It is the most ancient and most enduring spiritual tradition known to humanity. It predates and constitutes the foundation of all known religions, psychologies and philosophies. It originated among nomadic hunting and gathering societies. These ancient shamanic ways have withstood the tests of time, varying little from culture to culture. Over thousands of years of trial and error, primal peoples the world over developed the same basic principles and techniques of shamanic power and healing.
 

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 ecstatic trance, induced by shamanic practices such as repetitive drumming. The act of entering an ecstatic trance state is called the soul flight or shamanic journey, and it allows the journeyer to view life and life's problems from a detached, spiritual perspective, not easily achieved in a state of ordinary consciousness.
 

The shamanic practitioner traverses the inner realms in order to mediate between the needs of the spirit world and those of the material world. It is an inward spiritual journey of rapture in which the practitioner interacts with the inner spirit world, thereby influencing the outer material world. From a shamanic perspective, all human experience is self-generated. Experience is shaped from within since the inner world is a microcosm of the outer world. Each human being is a hologram of the universe. Essentially, we are the universe experiencing itself in human form.

Shamanism and Music

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

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

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

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

Shamanic Music
 

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

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

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

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

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

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

The Power of Ritual and Ceremony

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

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

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

Ritual vs Ceremony

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

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

Changing the World

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

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

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

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

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

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

Taking the Shamanic Journey

An excerpt from my book, Shamanic Journeys: An Anthology

 

Shamanism is based on the principle that the spiritual world may be contacted 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. You should have a question or objective in mind from the start. Shamanic journeying may be undertaken for purposes of divination, for personal healing, to meet one's power animal or spirit guide, or for any number of other reasons. After the journey, you must then interpret the meaning of your trance experience.
 
When we journey within, we are engaging the imaginal realm. Imagination is our portal to the spirit world. Internal imagery enables us to perceive and connect with the inner realms. If a shaman wants to retrieve information or a lost guardian spirit, "imagining what to look for" is the first step in achieving any result. According to C. Michael Smith, author of Jung and Shamanism in Dialogue, "The shaman's journey employs the imagination, and the use of myth as inner map gives the shaman a way of imagining non-ordinary reality, so that he or she may move about intentionally in it."(1) By consciously interacting with the inner imagery, the shaman is able to communicate with spirit guides and power animals.
 

Communication in non-ordinary reality is characteristically archetypal, nonverbal and nonlinear in nature. The images we see during a shamanic journey have a universal, archetypical quality. Imagery from these experiences is a combination of our imagination and information conveyed to us by the spirits. Our imagination gives the journey a "container," which helps us to understand the messages we receive. It provides us with a way to understand and articulate the experience for ourselves and to others.
 

The Journey Process
 

To enter a trance state and support your journey, you will need a drum or a shamanic drumming recording. Shamanic drumming is drumming for the purpose of shamanic journeying. A good shamanic drumming recording should be pulsed at around three to four beats per second. There should be a call back signal near the end of the track, followed by a short period of drumming to assist you in refocusing your awareness back to your physical body. You may also rattle, chant or sing to induce trance. There is no right or wrong way to journey. Be innovative and try different ways of journeying. Many people need to move, dance or sing their journeys. My first journeys were supported by listening to a shamanic drumming recording, but now I have much stronger journeys when I drum for myself.
 

Another way to train yourself to focus and concentrate is to narrate your journey as you are experiencing it. To set this up, you need headphones to listen to the drumming recording and a recorder of some kind. The simultaneous narration and recording technique can be distracting at first, but it is a good way to make sure you are getting all the information your helping spirits are giving you.
 
For your first journeys, I recommend traveling to the Lower World using the technique taught by the late Michael Harner. Founder of The Foundation for Shamanic Studies, Harner was widely acknowledged as the world's foremost authority on experiential and practical shamanism. In his book, The Way of the Shaman, Harner suggests that you visualize an opening into the Earth that you remember from sometime in your life. The entrance could be an animal burrow, hollow tree stump, cave, and so on. When the journey begins, you will go down the hole and a tunnel will appear. The tunnel often appears ribbed and may bend or spiral around. This tunnel-like imagery is related to the central axis that links the three inner planes of consciousness. Enter the tunnel and you will emerge into the Lower World, the realm of power animals, spirit guides and ancestral spirits. It is an Earth-like dimension where we can connect with helping spirits. The basic steps for a journey to the Lower World are as follows:
 

1. Smudge to create a purified space, and then open sacred space by calling in the benevolent powers of the seven directions: East, South, West, North, Up, Down and Within. Dim the lights and sit erect in a chair or on the floor. Close your eyes and ground yourself with some mindful breathing until you are calm and relaxed.
 

2. Having established sacred space, it is important to form your intention or objective for the journey. It is best to have only one inquiry or question per journey. It is important to focus on the issue that you want to know more about. Focusing on an issue develops a receptive state of mind and helps you clarify what it is you are truly seeking.
 

3. After clarifying the intended objective, begin playing a repetitive rhythm that begins slowly, and then gradually builds in intensity to a steady tempo of three to four beats per second (or listen to your shamanic drumming recording). As the drumming begins, close your eyes and focus a moment on the inquiry free of any distractions, emotions or attachments that could distort the response.
 

4. Next, you should clear your mind of everything. Focused intent, to be effective, should be followed by complete surrender and detachment. Focus your attention on the sound of the drum, thereby stilling the mind. Allow the drum to empty you. Become one with the drum.
 

5. At this point, you may find it helpful to imagine with all your senses the entrance to a cave, an opening in the Earth, or a hollow tree trunk that you have seen or visited. Use an image that you are comfortable with and one that you can clearly visualize. Clear your mind of everything but this image.
 

6. Approach the entrance or opening and enter it. You may have to pass through some swirling energy, water or fog in order to enter the portal. Typically, you will meet an entity here that will act as your spirit guide. It may appear to you as an animal, a person, a light, a voice, or have no discernible form at all. If you are uncomfortable or put off by whatever appears, ask it to take another form. It is important that you see, feel, hear, or in some way sense the presence of an ally that you trust and feel at ease with before proceeding with your first journey. If you do not, then return through the entrance and journey another time.
 

7. Pose your query to the guide. Your spirit guide may simply answer your question, but most likely will lead you on a journey. Your guide may become your mount for the journey. Follow your guide's instructions implicitly. If asked to leave, do so at once. Typically, you will proceed down a tunnel at a rapid pace. If you encounter an obstacle, just go over or around it, or look for an opening through it.
 

8. When you emerge from the passage, you will find yourself in the Lower World. You may be led to a helping spirit that can answer your question. You may go through different landscapes and experience different situations. The possibilities are endless. Just go with the flow and observe whatever happens without trying to analyze anything.
 

9. When it feels appropriate, gradually slow the tempo of your drumming and retrace your steps back. To achieve this, simply do your journey in reverse. There is no need to rush, and it is not critical that you retrace your route precisely. The reason for retracing your steps is to help you remember the route so that in subsequent journeys you will be able to travel to and from the Lower World with greater ease and efficiency. Upon your return to the entrance, thank your guide, emerge from the opening and return to your body.
 

10. Once you have returned to ordinary reality, end your drum journey with four strong beats to signal that the sacred time of focus is ended. If you are listening to a shamanic drumming recording, most recordings have a similar call back signal near the end of the track to indicate that you should return to ordinary reality. If for any reason you want to come back before the call back, just retrace your steps back. Sit quietly for a few moments, and then open your eyes.
 

It would be advisable to record your journey in a journal as soon as you have returned to ordinary reality. Journeys, like dreams, tend to fade quickly from conscious awareness. Very little may happen on your first journeys. You may only experience darkness. When this happens, simply try again at a different time. Shamanic journey work is a learned skill that improves with practice. The key is to practice and to establish a long-term relationship with your spirit guides.

1. C. Michael Smith, Jung and Shamanism in Dialogue (New York: Paulist Press, 1997) p 16.

Myth as a Map for Inner Journeys

Shamanism is based on the principle that innate wisdom and guidance can be accessed through the inner senses in ecstatic 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 capacity to enter a range of trance states is a natural manifestation of human consciousness. A landmark study by Michael Winkelman, one of the foremost scholars on shamanism today, reveals that the cross-cultural manifestations of basic experiences related to shamanism (e.g., soul flight, death-and-rebirth, animal identities) are rooted in innate functions of the brain, mind and consciousness.(1) The inherent 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 a great deal of training, practice and devotion to master any expressive art. Shamans master the art of ecstasy to see the true nature of the Universe.
 

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 15 minutes, most people can journey successfully even on their first attempt. Transported by the driving beat of the drum, the journeyer travels to the inner planes of consciousness, using myth as an inner map to guide their journey. Myth is the reality of the soul, just as history is the reality of the temporal world.
 

The Shaman's Mythic Cosmos
 

According to shamanic cosmology, there are three inner planes of consciousness: the Upper, Middle and Lower Worlds. There are numerous levels in both the Lower and Upper Worlds and they exist outside of time. The upper or celestial realm is the home of the Star Nations and Thunder Beings--a related family of divine beings who bring about weather changes and sustain life on Earth. This shamanic realm relates to our higher self or superconsciousness. It is the domain of divine archetypes such as angels, deities and evolved teachers. They may include great spiritual teachers such as Jesus, Buddha, Lao-Tzu, and so on. In this realm are the archetypal patterns or original energetic blueprints of everything that has or will ever exist. The celestial realm forms the matrix of possibilities that correspond to the world we experience through our mind and senses. All situations, conditions and states of being are a manifestation of a world of archetypes--as above, so below. Every event in the visible world is the effect of a "seed" image or pattern in the unseen world.

We can journey to the Upper World to acquire archetypal knowledge, to bring a vision into being, or to influence events in the material world. By interacting with the archetypes, we interact with their counterparts in the outer world. We can also go there for inspiration, insight, or to find ways to restore balance in the world. As anthropologist 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."(2) When harmony between the human realm and the original intended pattern is disturbed, we can journey to the celestial realm to bring back the balance. To journey up, you can visualize a tree or ladder that you climb up, soar on the wings of an eagle, or simply lift off the ground and rise into the air. Once you get to the upper realm, the landscape is typically more ethereal, higher in frequency and scintillating in light.

The Middle World is where spirit meets matter and is related to our ego or conscious self. The Middle World can be thought of as a non-ordinary mirror of ordinary reality. It is the spirit counterpart of the material realm and the inner region most like outer reality. The middle realm is so parallel to the world in which we live that a skilled journeyer can travel across it and visit all the places, people and things they know in ordinary reality. Spirit journeys in the Middle World provide a means of travel and communication without cars, planes or cell phones. It is a means of exploring our temporal landscape to find the location of healing herbs or lost objects, or to establish communication links over great distances.

To take a Middle World journey, simply imagine yourself walking out your front door and traveling through the landscape very quickly to look for something you have lost or to reach a distant destination. However, I do not recommend journeying to the Middle World unless you have a very good reason to go there. Unlike the upper and lower realms, where everything is guided by benevolence, the middle realm does not have benevolence or ethics at its core. That does not mean that it is a bad place. Rather, it is a place that mirrors what is happening in ordinary reality--the chaos of our times. It is a place full of risks and hidden dangers, such as holes in the ground that can entrap you. Traveling in this realm can be tricky even for an experienced journeyer. Moreover, the spirits who dwell in this realm cannot provide the wisdom, healing and empowerment you find in the Upper or Lower Worlds.
 

The Lower World relates to our unconscious mind. It is the realm of animal spirits, spirit guides and the ancestors, the place to which human spirits travel upon physical death. This inner plane is the domain of power animals, also known as guardian spirits, spirit allies, totem animals and tutelary animals. A power animal is the primeval oversoul that represents the entire species of that animal. A spirit journey to the Lower World is generally undertaken to seek the help and guidance of one's power animal, to connect with benevolent ancestors, to recover lost power, or to find and return a sick person's wandering spirit. Moreover, just to clear up any misconceptions, the shamanic underworld is not associated with anything dark, sinister or evil. That concept belongs to a completely different, often monotheistic religious belief system and cosmology.

For your first journeys, I recommend traveling to the Lower World, using the technique taught by the late Michael Harner. Founder of The Foundation for Shamanic Studies, Harner was widely acknowledged as the world's foremost authority on experiential and practical shamanism. To take a Lower World journey, Harner suggests that you visualize an opening into the earth that you remember from sometime in your life. The entrance could be an animal burrow, hollow tree stump, cave, and so on. When the journey begins, you will go down the hole and a tunnel will appear. The tunnel often appears ribbed and may bend or spiral around. This tunnel-like imagery is related to the central axis that links the three inner planes of consciousness. Enter the tunnel and you will emerge into the Lower World. The terrain that you traverse is typically very natural and very Earth-like.

 

The three cosmic realms are linked together by a vertical axis that is commonly referred to as the World Tree or axis mundi. The roots of the cosmic World Tree touch the Lower World. Its trunk is the Middle World, and its branches hold up the Upper World. 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. As Tuvan Siberian ethnomusicologist Valentina Suzukei explains, "There is a bridge on these sound waves so you can go from one world to another. In the sound world, a tunnel opens through which we can pass, or the shaman's spirits come to us. When you stop playing the drum, the bridge disappears."(3)

 

The Inner Journey

 

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

 

The 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.

 

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. It heightens our sense of mission and purpose, empowering our personal evolution. I invite you to try a shamanic journey.

1. Michael Winkelman, Shamanism: A Biopsychosocial Paradigm of Consciousness and Healing (Praeger, 2 edition 2010), p. 38.
2. Felicitas D. Goodman, Jewels on the Path: A Spirit Notebook, vol. II (Cuyamungue Institute, 1994), p. 55.
3. Kira Van Deusen, "Shamanism and Music in Tuva and Khakassia," Shaman's Drum, No. 47, Winter 1997, p. 24.

Shamanic Cosmology: The Reality of the Soul

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

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

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

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

Transformations of Myth through Time
 

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

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

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

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

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

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

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

Archaeoacoustics and 'Songs of the Caves'

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

 

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

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

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

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

Honoring the Spirits of the Home

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

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

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

Cleanse Your Home
 

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

Bless Your Home
 

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

Make Offerings to the Spirits
 

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

Listen to the Spirits
 

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

 

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

Healing with Acoustic Resonance

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

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

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

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

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

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

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

Climate-Endangered Tribe Sues Louisiana

By now, you're likely well aware of the climate crisis and its significant dangers to Indigenous communities the world over. The problem is especially magnified on islands and in coastal regions, where sea level rise can wipe away traditional homelands and make climate refugees of those who have been displaced. That's true even right here in the United States, where hundreds of Native communities -- in South Dakota, Alaska, Florida, Hawai'i, Washington, and Louisiana -- face existential threats.
 

And now, the first community to supposedly be moved from harm's way -- the Jean Charles Choctaw Nation -- is facing a new set of problems. Just before the new year, the tribe filed a landmark civil rights complaint with the U.S. Department of Housing and Urban Development (HUD) against the state of Louisiana. In 2016, HUD granted Louisiana $48 million in aid to resettle the tribe. But, its complaint asserts, Louisiana failed to properly implement the grant and has ethnically and racially discriminated, violated tribal sovereignty, excluded cultural components central to a proper relocation program, and provided poor replacement housing.
 

The Jean Charles Choctaw Nation has resided on the Isle de Jean Charles for five generations, since the ancestors of its citizens escaped the Trail of Tears in the early 1830s amid President Andrew Jackson's Indian Removal Act. Its homelands and burial grounds are located in a region facing perpetual devastation and erosion by storms and sea level rise. Since 1955, the Jean Charles Choctaw Nation has lost over 98 percent of its lands to the encroaching ocean.
 

It's also worth noting that the tribe is located in Terrebonne Parish, a region notorious for oil extraction, high pollution rates, and environmental justice violations. The Parish and over 90 percent of its property are largely controlled by non-local fossil fuel and chemical companies. The infamous "Cancer Alley" is just upstream.
 

By filing its complaint with HUD, the Jean Charles Choctaw Nation is looking to the federal agency to investigate the grant-funded resettlement program, currently run by Louisiana's Office of Community Development (OCD). The tribe hopes HUD will order OCD to respect tribal needs and authority as the program's implementation proceeds. The lawsuit is also significant in that, while the tribe has state recognition from Louisiana, it does not have federal recognition, which would extend access to more grants, disaster assistance, and various legal powers -- including constitutional protections and self-governance recognized by the United States.

Environmental Victory for Alaska Natives

On January 8th, the U.S. Supreme Court rejected the State of Alaska's bid to fast-track the legal process, overrule the Environmental Protection Agency (EPA), and gain approval for the Pebble Mine -- slated to extract enormous amounts of copper, gold, and molybdenum from the pristine and sensitive ecosystem known as Bristol Bay. Located in a remote, wild, and generally uninhabited part of Southwest Alaska, Pebble is the largest known undeveloped copper ore body in the world.
 

The populations in the area rely heavily on wild resources for subsistence, harvesting moose, caribou and salmon. Wild resources play an important part in the region's cultural heritage. There are more than 30 Alaskan native tribes in the region that depend on salmon to support their traditional subsistence ways of life, in addition to other inhabitants and tourists in the area. A diverse coalition led by Alaska Natives has consistently fought against the proposed mine for more than two decades. It eventually gained support from the EPA, which ultimately blocked the mine proposal in January 2023 over concerns it would threaten an aquatic ecosystem supporting the world's most prolific sockeye salmon fishery.
 

This decision is significant, particularly considering the current High Court's tendency to support states' rights, limits on regulation -- especially of the environmental variety -- and corporate concerns. Alaska's request, filed in June, was unusual in that it sought to skip lower appeals courts to challenge the EPA's decision on the basis that it violated Alaska's state sovereignty.
 

Under the law, alleged violations of state sovereignty are one of the few categories of cases that grant the Supreme Court original jurisdiction -- meaning a state can bypass the usual state/federal court appeals process and file straight with the High Court. The justices could easily have decided to hear the case and decide in favor of the mining company, which has shown no qualms about engaging in some shady business practices over the years.
 

As the single most productive sockeye salmon fishery in the world, Bristol Bay contains biodiversity and abundant wild fish populations which present a stark contrast to many other fisheries in the Pacific Northwest (and worldwide). All five Eastern Pacific salmon species spawn in Bristol Bay's freshwater tributaries. Most have experienced severe depletion over the last few decades. Sockeye salmon, like all Pacific Salmon, are a keystone species, vital to the health of an entire ecosystem. Of course, salmon also provide a sacred food source for Indigenous communities up and down the West Coast.
 

Kudos to the United Tribes of Bristol Bay, a consortium of Alaska Native tribes fighting to preserve the traditional Yup'ik, Dena'ina, and Alutiiq ways of life in Southwest Alaska, for leading the charge. The Supreme Court's decision confirms all the hard work put in by tribes and allies, including the Save Bristol Bay Coalition. It remains to be seen whether Alaska's conservative leadership will continue with legal challenges at a lower court level -- but, for now, Indigenous People have won a big battle in this decades-long fight to protect their homelands.

Native Actor Lily Gladstone Makes History

Today, I share with you some great news! On January 7, in case you missed it, Blackfeet and Nez Perce actor Lily Gladstone made history as the Golden Globes' first Indigenous winner in the category of Best Actress in a Motion Picture Drama. Gladstone, who goes by both she/they pronouns, brought an understated power to their portrayal of Mollie Burkhardt, an Osage woman struggling amid the murders of her family and community by greedy settlers, in Martin Scorcese's "Killers of the Flower Moon."
 

After beginning their acceptance speech with a traditional Blackfeet introduction and a round of thank-yous, Gladstone said something important and inspiring: "This is a historic win, but it doesn't belong to just me. I'm holding it with all of my beautiful sisters. And this is for every rez kid, every little urban kid, every little Native kid out there who has a dream, who is seeing themselves represented and our stories, told by ourselves in our own words, with tremendous allies and tremendous trust from with and from each other."
 

That last statement is filled with both truth and nuance. It's a beautiful sentiment, but Gladstone may also be acknowledging that Hollywood remains a place with rich and powerful gatekeepers. Even in 2024, non-Native filmmakers (allies or not) like James Cameron (the "Avatar" franchise) and Scorcese are most often still the ones helming stories featuring Indigenous People and perspectives.
 

This needs to change. Allies are important, and representation is wonderful. Still, even the most positive representation on-screen is not the same thing as agency -- the ability to tell their own stories, centering their own narratives. And agency, particularly for the Native women without whom this story does not exist and the movie could not function, is largely missing for much of "Killers of the Flower Moon." When Native actors occupy the screen, the movie seems to vibrate at a different frequency. I'm left wondering what could have been had their characters' arcs been less peripheral.
 

Much has been written about the movie by Indigenous People across the nation. From a glowing review by Vincent Schilling, founder and editor of NativeViewpoint.com, to a scathing indictment from "Reservation Dogs" star Devery Jacobs, opinions on the movie vary widely -- and understandably so. The three-hour-plus epic, based on true events, is ambitious, messy, and devastating. Critics praise the movie's effort to highlight Osage history with Indigenous actors in prominent roles but express reservations about its graphic violence and lack of historical context, foregrounding of white characters and lack of an Indigenous screenwriter or director. One thing everyone seems to agree upon, though, is the powerful performances given by Gladstone and other Native People in supporting roles. I, for one, look forward to seeing more from all of them, especially in movies and shows written and directed by Indigenous storytellers.