Wisdom of the Thunder Beings

The Thunder Beings are a related family of divine beings who bring about weather changes such as thunder, lightning, wind and rain. Through their power abiding in the atmosphere, they sustain the Earth and protect the people. Through lightning, they directly purify the air we breathe, the water we drink, and the earth we cultivate. They create a world-wide lightning display that produces and maintains the heartbeat frequency (Schumann resonance) of the Earth's electromagnetic grid. Their holy medicine includes creativity, fertility, protection, peace, harmony, balance, compassion, wisdom, enlightenment, death and rebirth. Through the Thunder Beings, all life has been created, is sustained and will be destroyed. They sustain balance and destroy imbalance, the cause of suffering.
 

From time immemorial, people have worshiped the Thunder Beings. They are the source of all ideological, religious and spiritual transmission. The early cultures attribute their belief systems to the teachings of rain gods and goddesses. Their myths tell of how rain deities created the world, humans and all life. They came down to Earth in the distant past and gave humanity language, law, the arts, spiritual sciences, wisdom and knowledge. The Thunder Beings were instrumental in teaching their mortal cousins how to properly honor and commune with the spirits to gain their blessings.
 

The core beliefs and principles of all spiritual cultural traditions come from the Thunder Beings. The Native American spiritual traditions originated from the rain deities known as Wakinyan, Animiki and Kachinas. The Mongolian shamanic traditions originated from the sky deity known as Tengri. The Maya shamanic traditions originated from the lightning deities known as Chaac, K'awiil and Yaluk. The Chinese Taoist traditions originated from a thunder god known as Lei Kung. The Australian Aboriginal shamanic traditions originated from the cloud and rain spirits known as Wandjina. They are the roots of all integral shamanic and wisdom traditions.  
 

Among the Yoruba people of West Africa, the orisha (god) of thunder is known as Shango. Shango is renowned for his oshe, a double-headed battle-ax, as well as the double-headed bata drum he uses to summon rain storms. The orishas are the powerful divine spirits of the Yoruba religion. They are the creator and sustainer of all things. They are the manifestations of primordial energies, both creative and destructive. They are the conduits by which life and all cultural wisdom entered the world. Like all of the Yoruba gods, Shango is both a deified historical ancestor and a divine natural spiritual force. Orishas enter the mortal world, complete epic feats, live, die and then are reincarnated into the world to complete even more amazing tasks. They are immortal energies that represent a core part of Yoruba philosophy and belief.
 

Every spring, the Lakota people gather at Black Elk Peak in the sacred Paha Sapa (Black Hills) for the "Welcome Back the Thunders" ceremony. The Lakota ceremonial season begins with the return of the Wakinyan or Thunder Beings. According to legend, the Wakinyan are huge winged beings that humans cannot see because they are shielded by thick clouds. Thunder is made by the sound of their voices, and lightning is created when they open and close their eyes. The Wakinyan created wild rice and gave the Lakota the spear, the tomahawk and pigments to make them impervious to weapons. The annual vernal equinox ceremony ends with Lakota teens carrying a sacred pipe and food offerings to the top of Black Elk Peak. As the highest point in the Paha Sapa, the Lakota consider it to be the most appropriate spot to bring prayers to Wakan Tanka (Great Mystery).
 

Among the Pueblo people of the American Southwest, the deities known as kachinas bring the rain for their three main crops: corn, beans and squash. Puebloans believe that kachinas are divine spirits present in features of the natural world such as clouds, winds, thunder and rain. They are also ancestral spirits that help connect humans with the spirit world. They come to the human realm to collect the people's prayers and take them back to the spirit realm. The kachinas dwell in sacred mountains and other holy places, but spend half of each year living near Pueblo villages. During this time, the men of kachina societies perform traditional ceremonies linked with the presence of the spirits. They wear costumes and elaborate masks and perform songs and dances associated with specific kachinas. The Puebloans say that during these rituals each dancer is transformed into the spirit being represented.
 

In the Asian traditions, the Thunder Beings are responsible for expressing the higher truth of spiritual reality, safeguarding it and disseminating it for the benefit of all beings. The essence of the Asian spiritual traditions is the direct experience of enlightenment--of perfect tranquility and unconditional bliss. This experience is fully attained through the Thunder Beings by virtue of their mystical thunder and lightning blessings. In Tantric Buddhism, their names and images are used in visualization-based meditations to awaken the mind. Through the proper use of these images and sacred sound in meditation, we can liberate our minds from suffering.
 

The Thunder Beings are invisible, yet out of compassion they reveal themselves through thunder, lightning, wind and rain. Their visible manifestation or mystical visitation is universally one of storm-display. Even though there is great destructive rage in storms, in truth this is merely a means of ushering in peace, of clearing great obstructions. Everything that the Thunder Beings do has the effect of bringing about peace and harmony.
 

Thunder Beings are perfect and beyond suffering. Nature is their manifestation; it is quite beautiful and harmonious. Where there is calamity, the cause is poor human activity, such as war, pollution and environmental devastation. There is little peace on Earth because there is little peace in our hearts. In order to establish it, we must diligently work for it through meditation and through compassionate activity. Meditation--whether it's silent or drumming up a storm--increases our wisdom and insight, our capacity to be of true help to others. Wisdom is the light of the Thunder Beings shining through our heart. It is the lightning within us striking its way out.

The Key Benefits of Drumming

Drumming offers a wide range of physical, mental, and emotional benefits. Here are some of the key advantages:

Physical Benefits

1. Cardiovascular Exercise: Drumming is a form of aerobic exercise that can help improve cardiovascular health. The physical activity involved in drumming can increase heart rate and promote better circulation.

2. Improved Coordination: Drumming requires the use of both hands, often in complex patterns, which enhances hand-eye coordination and overall motor skills.

3. Muscle Development: Regular drumming helps in building and toning muscles, particularly in the arms, shoulders, and core.

4. Burning Calories: Drumming can be an effective way to burn calories, similar to other forms of physical exercise.

Mental Benefits

1. Cognitive Enhancement: Learning and playing complex rhythms can improve cognitive functions, including memory, concentration, and problem-solving skills.

2. Stress Reduction: Drumming is known to reduce stress and anxiety. The rhythmic and repetitive nature of drumming can have a meditative effect, promoting relaxation.

3. Mood Enhancement: Playing drums releases endorphins and other feel-good hormones, which can elevate mood and combat depression.

4. Improved Focus: The concentration required to keep a steady rhythm and coordinate different limbs can help improve focus and attention span.

Emotional and Social Benefits

1. Emotional Expression: Drumming provides an outlet for expressing emotions, which can be therapeutic and help in processing feelings.

2. Sense of Achievement: Learning new drumming techniques or mastering a complex rhythm can boost self-esteem and provide a sense of accomplishment.

3. Community and Social Connection: Participating in group drumming sessions or drumming circles fosters a sense of community and belonging. It can also improve social skills and teamwork.

4. Cultural Awareness: Drumming often involves learning about different musical traditions and cultures, which can enhance cultural awareness and appreciation.

Therapeutic Benefits

1. Drum Therapy: Drumming is used in various therapeutic settings to help individuals with mental health issues, PTSD, addiction recovery, and other conditions. It can improve emotional regulation and promote healing.

2. Motor Skills Rehabilitation: Drumming can be part of rehabilitation programs for individuals recovering from strokes or other injuries affecting motor skills.

Educational Benefits

1. Enhanced Learning Abilities: Drumming can aid in the development of language skills, mathematical ability, and spatial-temporal skills, especially in children.

2. Discipline and Patience: Learning to play the drums requires practice, discipline, and patience, which are valuable skills that transfer to other areas of life.

Overall, drumming is not only a fun and engaging activity but also a powerful tool for enhancing physical health, mental well-being, emotional expression, and social connectivity.

"The Seven Generations and The Seven Grandfather Teachings"

Discover Indigenous wisdom for a life well lived in James Vukelich Kaagegaabaw's book The Seven Generations and the Seven Grandfather Teachings. Based on ancient teachings from the Anishinaabe/Ojibwe people, this self-published (2023) book about the Ojibwe language offers not just historical insight but valuable life lessons for modern times. The book's teachings emphasize the alignment of words with actions and the importance of leading a holistic life. The central theme is the concept of interconnectedness: "Aanji-Bimaadizing means, 'transforming your life'." This is no ordinary transformation. It extends far beyond the self, touching the lives of past, present, and future relatives. We live in a reciprocally interrelated world where every action we take ripples forward and backward in time.
 

Grandparents – family connections in general – figure largely in Kaagegaabaw's story of the way Ojibwe language was handed down by a people who understand the land and their place on it. He points out that when we hear a word like Nookomis (my grandmother), we hear a sound "created by a person who knew this land back when it was covered by ice a mile high, before Gichi-gami, the Great Lake, Lake Superior, existed. When we use the old words, we are using words that were spoken by someone who saw woolly mammoths, giant Mooz (moose) and Misamik (giant beaver)."
 

Kaagegaabaw is proficient at explaining the heart of the Ojibwe language. He demystifies the vocabulary, breaking words into small parts for a clear understanding of their meaning. The primal language conveys a "Great Law" that helps speakers live in peace, harmony and balance. He cites the ancient Iroquois (Haudenosaunee) philosophy of considering the impact of each decision on the next seven generations. Seven generation stewardship is a concept that urges the current generation of humans to live and work for the benefit of the seventh generation into the future. As we navigate through the labyrinth of modern existence, how often do we stop and ask, "How do my actions today honor my past and pave the way for my future?"
 

The seven generation teachings, known as Gichi-dibaakonigwewinan, are truth, humility, respect, love, bravery, courage, honesty, and wisdom. The chapter about honesty indicates that just speaking the truth isn't enough; it's also imperative to align your words, actions, and intentions. Kaagegaabaw asks why would we use a sacred gift from the Creator, the Ojibwe language, to deceive others? The language demonstrates that the consequence of deceit is disorder. Only those who are out of balance will lie. As Kaagegaabaw put it,"Observe how I live, and the truth will invariably come out of it. It always does."
 

Kaagegaabaw concludes by pointing out that when we change and improve ourselves, we change and improve those who came before us and those to come – connecting them. As Kaagegaabaw so eloquently put it, "If I change myself, have I changed all of my relatives?" Though his ancestors were victims of colonization, genocide, and subjugation, Kaagegaabaw believes they can be healed through his interconnections with them. "I can still heal them," Kaagegaabaw asserts. "We are still writing our ancestors' stories."
 

About the Author
 

James Vukelich Kaagegaabaw, a descendant of Turtle Mountain, is a renowned international speaker, author, educator and digital creator. His keen insights were developed through speaking with and recording elders and native language speakers across North America as part of the Ojibwe Language Dictionary Project. James is a passionate advocate for sharing how to live a life of 'mino-bimaadiziwin,' the good life. For over twenty years, he has facilitated community language tables, consulted with public and private organizations on language and cultural programs, and traveled internationally as a keynote speaker. He has been featured in numerous publications, podcasts, radio & television programs. James lives in the Twin Cities, Minnesota with his wife and son.

Ancient Rock Art May Depict Shamanic Music

More than 2,000 years ago, the Tukano people of the Colombian Amazon may have documented the soundtracks to their hallucinogenic experiences in petroglyphs on volcanic boulders. Consisting of what appears to be dancing human figures surrounded by zigzagging lines and other geometric forms, the enigmatic art eludes concrete interpretation, although a new analysis suggests that these abstract shapes may depict the songs that transported participants to other dimensions during Ayahuasca ceremonies. The pre-Columbian designs can be found at Toro Muerto, which contains one of the richest collections of rock art in South America. A desert gorge, the site is strewn with thousands of boulders, some 2,600 of which feature ancient carvings.

 

Describing the drawings in a new study published in the Cambridge Archaeological Journal, researchers explain that the artworks contain "an almost overwhelming repetition of images of dancing human figures (known as danzantes), unique in the region, and an extraordinary accumulation of geometric patterns, most often in the form of vertical zigzag, straight and sinuous lines varying in width, sometimes with accompanying dots or circles." Previous attempts to interpret these zigzags have suggested that they may represent snakes, lightning, or water, although the study authors believe they may have an alternative meaning.
 

Examples of "danzantes" at Toro Muerto. Image credit: Tracings: Polish-Peruvian research team, 

compiled by J.Z. Wołoszyn/Cambridge Archaeological Journal/2024 (CC BY 4.0)

 

To build their hypothesis, the researchers point out the striking similarities between the drawings at Toro Muerto and the traditional artwork of the Tukano culture in the Colombian Amazon. In the case of the latter, geometric designs have been linked to the visions induced by the hallucinogenic brew Ayahuasca, which has been ritually ingested by Indigenous Amazonian communities for millennia. According to the Tukano these drawings were 'yajé images', meaning that they showed patterns they had seen while in an altered state of consciousness induced by consuming entheogens. Concentric circles, dots, wavy lines, zigzags and crenellation motifs dominated among them.

Anthropological analyses of these rituals have repeatedly highlighted the importance of music, with songs known as icaros being sung by shamans as a means of communicating with the gods and journeying through the spiritual cosmos. Ritual in many human cultures involves music; it is a key social technology for building and sustaining community. Ritual music 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. Experiences of ego loss and trance are important for integrating the individual into the group and maintaining community, and music is a significant element of such ritual activity.

Intriguingly, studies into the significance of zigzags in Tukano artwork have revealed that "the Tukano saw in them the representations of songs which were an integral part of the ritual, having also agentive power, and constituting a medium for transfer to the mythical time of the beginning." In other words, within a Tukano context, these shapes depict the shamanic music that mesmerizes ritual participants under the effects of Ayahuasca, delivering them to an alternate reality in which they are able to reconnect to their ancestral mythology.

Admitting that their theory is somewhat speculative, the researchers nonetheless conclude that these pre-Hispanic drawings "illustrated a graphically elusive sphere of culture: singing and songs. The interpretation we propose is of course hypothetical, but the conclusions it leads to constitute a logically coherent counter-proposal to previous interpretations of some of the Toro Muerto petroglyphs. We suggest that zigzag lines could be representations of songs, which seems particularly intriguing given the repeated juxtaposition of these patterns with the figures of dancers at Toro Muerto."

Facilitating a Group Shamanic Journey

A group shamanic journey is a little different from an individual journey. The journey technique is similar, but ecstatic trance takes on an increased potency in a group. By journeying together, we deepen our individual connection to spirit and we also deepen our connections to each other. There's something magical about group sacred space, particularly when it's created with the intention to facilitate and support shamanic journeying. A group shamanic journey basically involves one person drumming a repetitive rhythm while the others relax and journey into the non-ordinary reality of the spirits. The journey itself may typically last fifteen to twenty minutes. A pre-agreed call back rhythm will signal that the group journey should end and the journeyers return to ordinary reality. I like to signal a call back with four strong beats, followed by a short period of slow heartbeat drumming to assist each journeyer in refocusing their awareness back to their physical body.
 

For your first group journey, I recommend traveling to the Lower World using the technique taught by the late Michael Harner. 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--from childhood, or yesterday. Any entry into the ground will do--an animal burrow, hollow tree stump, cave and so on. When the journey begins, you'll go down the hole and a tunnel will appear. Enter the tunnel and you will emerge into the Lower World--the realm of power animals, spirit guides and ancestral spirits. It is a beautiful, Earth-like dimension, where we can find lost power, retrieve lost souls and connect with animal and plant spirits.
 

The Journey Process
 

The basic steps for a group 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.
 

2. Having established sacred space, it is important to form the group's collective 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, a designated drummer should play a repetitive rhythm that begins slowly and then gradually builds in intensity to a steady tempo of three to four beats per second. As the drumming begins, each person should close their eyes and focus a moment on the inquiry free of any distractions, emotions or attachments that could distort the response.
 

4. Next, each person should clear their 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 chatter in your 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. 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. It may ask you to ride on its back or to accompany it. 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 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 or conceptualize the experience.
 

9. When you hear the pre-agreed call back signal, it is time to return. If for any reason you want to come back before the call back, just 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, sit quietly for a few moments, refocusing your awareness back to your physical body. Take a deep breath, and then open your eyes.
 

Upon completion, bring everyone back to the present by letting everyone share their journey experience. It is not unusual for group journeyers to have similar trance experiences. These insights are shared without analysis, interpretation or judgment. Sharing our journeys allows us to see ourselves in other people, and to see that they are much like us. We begin to understand at a very deep level that we are all truly One.