The Hidden Life of Trees

Peter Wohlleben, a German forester and author, has a rare understanding of the inner life of trees, and is able to describe it in accessible, evocative language. His book, The Hidden Life of Trees: What They Feel, How They Communicate, has sold more than two million copies worldwide. Wohlleben draws on groundbreaking scientific discoveries to describe how trees are like human families: tree parents live together with their children, communicate with them, support them as they grow, share nutrients with those who are sick or struggling, and even warn each other of impending dangers. Wohlleben also shares his deep love of woods and forests, explaining the amazing processes of life, death, and regeneration he has observed in his woodland.

 
A revolution has been taking place in the scientific understanding of trees, and Wohlleben is the first writer to convey its amazements to a general audience. The latest scientific studies, conducted at well-respected universities in Germany and around the world, confirm what he has long suspected from close observation in this forest: Trees are far more alert, social, sophisticated -- and even intelligent -- than we thought.

 
There is now a substantial body of scientific evidence that shows that trees of the same species are communal, and will often form alliances with trees of other species. Forest trees have evolved to live in cooperative, interdependent relationships, maintained by communication and a collective intelligence similar to an insect colony. These soaring columns of living wood draw the eye upward to their outspreading crowns, but the real action is taking place underground, just a few inches below our feet.
 

All the trees in a forest are connected to each other through underground fungal networks. Trees share water and nutrients through the networks, and also use them to communicate. They send distress signals about drought and disease, for example, or insect attacks, and other trees alter their behavior when they receive these messages. Scientists call these mycorrhizal networks. The fine, hairlike root tips of trees join together with microscopic fungal filaments to form the basic links of the network, which appears to operate as a symbiotic relationship between trees and fungi, or perhaps an economic exchange. As a kind of fee for services, the fungi consume about 30 percent of the sugar that trees photosynthesize from sunlight. The sugar is what fuels the fungi, as they scavenge the soil for nitrogen, phosphorus and other mineral nutrients, which are then absorbed and consumed by the trees.
 

To communicate through the network, trees send chemical, hormonal and slow-pulsing electrical signals, which scientists are just beginning to decipher. Edward Farmer at the University of Lausanne in Switzerland has been studying the electrical pulses, and he has identified a voltage-based signaling system that appears strikingly similar to animal nervous systems (although he does not suggest that plants have neurons or brains).

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

They found that the mycorrhizal network serves as a belowground pathway for transfer of carbon from the nutrient-rich deciduous trees to nearby regenerating Douglas-fir seedlings. Moreover, they found that carbon transfer was enhanced when Douglas-fir seedlings were shaded in mid-summer, providing a subsidy that may be important in Douglas-fir survival and growth, thus helping maintain a mixed forest community during early succession.

 
Simard's research indicates that all trees in a forest ecosystem are interconnected, with the largest, oldest trees serving as hubs. The underground exchange of nutrients increases the survival of younger trees linked into the network of old trees. She has found vast underground tree root systems that are kind of like giant brains. Like the neurons in our own brains, trees send messages via their roots. In fact, she says that trees aren't only communicating, but are also sending resources back and forth to help out other trees -- even if they are a different kind of tree. 

Simard calls the older trees (up to 500 years old) "mother trees." Mother trees are the biggest, oldest trees in the forest with the most fungal connections. They're not necessarily female, but Simard sees them in a nurturing, supportive, maternal role. With their deep roots, they draw up water and make it available to shallow-rooted seedlings. They help neighboring trees by sending them nutrients, and when the neighbors are struggling, mother trees detect their distress signals and increase the flow of nutrients accordingly.

 
When mother trees begin to die, they start passing their resources off to the younger trees around them. Simard says it's like the passing of a wand from one generation to the next. Besides being a beautiful way to understand forests, this information also gives us one more reason to stop clear cutting, which is when timber companies clear tracts of land of all trees. It's easier for the loggers, but it takes away the mother trees so they can't pass along those resources to the next generation. With the logging of mother trees, they wipe out whole forest communities, and that's nothing less than attempted ecocide. After learning about the complex life of trees, a walk in the woods will never be the same again.

Ritual Drumming: Invoking the Spirits

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

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

A practitioner may have a repertory of established rhythms or improvise a new rhythm, uniquely indicated for the situation. The drumming is not restricted to a regular tempo, but may pause, speed up or slow down with irregular accents. The practitioner may stop playing altogether, or suddenly hoist the drum skyward and bang it violently, throwing the disease into the heavens; returning it to the spirit world.

Creating effective rituals

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

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

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

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

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

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

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

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

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

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

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

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

Becoming a Shaman

Many people in today's world are being called by spirit to become shamans. A yearning exists deep within many of us to reconnect to the natural world. It is a call to a life lived in balance with awareness of nature, of spirit, and of self. We live in a culture that has severed itself from nature and spirit. Humans have lost touch with the spirit world and the wisdom of inner knowing. The spirits, however, have not forgotten us. They are calling us to a path of environmental sanity, to rejoining the miraculous cycle of nature.
 

The spirits call many to work with them, but only a few may respond to the call. Choosing to ignore a calling may have undesirable consequences or none at all. For some, it can lead to depression and illness as the life force is constricted and thwarted. Those who choose to follow their shamanic calling may have no idea how to begin.

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

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

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

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

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

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

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

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

Milford Graves, Visionary Drummer, Dead At 79

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

 

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

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

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

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

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

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

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

Rare White Bison Spotted in Ozark Mountains

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

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

According to traditional Native American teachings spanning thousands of years, the white bison is a sacred animal that promotes prayerful communication between Indigenous people and the Great Spirit, while also serving as a sign of peace and good fortune. The legend goes likes this:

 
Long ago during a great famine, a Lakota chief sent two boys to hunt for food. While searching, they came across a beautiful holy woman, who gifted their tribe the first sacred pipe: the White Buffalo Calf Pipe. Over a period of four days, White Buffalo Calf Woman instructed the people in the Seven Sacred Rites: the seven traditional rituals that use the sacred pipe. When the teaching of the sacred rites was complete, she told the people that she must return to the spirit world. She asked them to honor the teachings of the pipe and to keep it in a sacred manner. Before leaving, the woman told them that within her were four ages, and that she would look upon the people in each age, returning at the end of the fourth age to restore harmony and balance to a troubled world. She said she would send a sign that her return was near in the form of an unusual buffalo, which would be born white.

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

Working with Shamanic Drums

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

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

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

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

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

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

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