Dark Ecology

Scientists have determined that we are now living in the Anthropocene age: the new epoch of geological time in which human activity is considered such a powerful influence on the environment, climate and ecology of the planet that it will leave its legacy for millennia. The Anthropocene is notable as being human-influenced, or anthropogenic, based on overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric, and other Earth system processes are now altered by humans. In the Anthropocene, humans move from a biological to a geological agent. The Anthropocene is distinguished as a new period after or within the Holocene, the current epoch, which began approximately 10,000 years ago with the end of the last glacial period.
 

The awareness we've gained in the Anthropocene is not generally a happy one. Many environmentalists now warn of impending global catastrophe and urge industrial societies to change course. Philosopher Timothy Morton, however, stakes out a more iconoclastic position. He wants humanity to give up some of its core beliefs, from the fantasy that we can control the planet to the notion that we are 'above' other beings. His ideas might sound weird, but they're catching on. Morton, whose most quoted book is called Ecology Without Nature, proposes a perspective that sets him apart from all those scientists and social commentators warning of the impending disaster that is global warming. Instead of raising the ecological alarm of the apocalypse, he advocates what he calls "dark ecology," which holds that the much-feared catastrophe has, in fact, already occurred.
 

Morton means not only that irreversible global warming is under way, but also something more wide-reaching. "We Mesopotamians" -- as he calls the past 400 or so generations of humans living in agricultural and industrial societies -- thought that we were simply manipulating other entities (by farming and engineering, and so on) in a vacuum, as if we were lab technicians and they were in some kind of giant petri dish called "nature" or "the environment." In the Anthropocene, Morton says we must wake up to the fact that we never stood apart from or controlled the non-human things on the planet, but have always been thoroughly bound up with them. We can't even burn, throw or flush things away without them coming back to us in some form, such as harmful pollution. Our most cherished ideas about nature and the environment -- that they are separate from us, and relatively stable -- have been destroyed.
 

Morton likens this realization to detective stories in which the hunter realizes he is hunting himself (his favorite examples are Blade Runner and Oedipus Rex). "Not all of us are prepared to feel sufficiently creeped out by this epiphany," he says. This is a hard pill to swallow, but there's another twist: even though humans have caused the Anthropocene, we cannot control it. That might sound gloomy, but Morton glimpses in it a liberation. If we give up the delusion of controlling everything around us, we might refocus ourselves on the pleasure we take in other beings and life itself. Enjoyment, Morton believes, might be the thing that turns us on to a new kind of politics. "Even if it's true that we really are screwed, let's not spend the rest of our lives on this planet telling ourselves how screwed we are."

World Tree Meditation

The ancient Maya had a rich shamanic tradition. To open a path of communication between the spiritual and earthly realms, Maya shamans entered sacred time and space at the top of great pyramids. For the Maya, the establishment of sacred space involved the connecting of the Earth with the heavens -- to bring them into accord. To rejoin the two separated worlds and regenerate the order of the cosmos, shamans performed rituals to create a portal to the Otherworld (nonordinary reality). The sacred universal space that they created was the center of the heavens and the center of the Earth.

 

Centering the world was a way of materializing the World Tree. To the ancient and modern-day Maya, the whole world is generated, organized and evolving according to the World Tree or Wacah Chan, as it is called in Mayan language. The Maya believed that the world of human beings was connected to the Otherworld along the Wacah Chan axis which ran through the center of existence. This axis was not located in any one earthly place, but could be materialized through ritual anywhere on the Earth. Most important, it was materialized in the person of the shaman-king, who brought it into existence as he stood enthralled in ecstatic trance atop his pyramid-tree.

 

In order to understand how Maya shamans perceive the cosmos, make use of this simple exercise to enter sacred time. Sacred time, unlike ordinary time, represents the cosmic order. It's the foundation of rhythm and motion. It's the glue that binds the universe together. 

 

1. First, select a location where you will not be interrupted. It must be a quiet space, at least for the duration of the exercise. Smudge the space and yourself with the smoke of an incense or herb. Among the Maya, copal is traditionally used, but cedar or juniper is acceptable.

 

2. Stand facing the East, with your feet parallel, about six inches apart, and your toes aimed straight ahead. Your knees should be slightly bent, removing any strain on your lower back.

 

3. Close your eyes and focus on the breath as it enters the nose and fills your lungs, and then gently exhale any tension you might feel. The Maya believe that the tree provides us our first breath, which is spirit, so offer thanks for this gift of life. Continue breathing with a series of even inhalations and exhalations until you are calm and relaxed.

 

4. Imagine that you are the World Tree standing at the very navel of the universe. Your roots tap deeply into the underworld, and your crown touches the heavens. Visualize Polaris, the North Star (the star that the earth's axis points toward in the northern sky) directly over your head.

 

5. Now visualize a spiral of energy ascending out of the earth, moving up your spine, the trunk of your own inner World Tree. This energy is grounding, centering, and abundant. In fact, all possible blessings and abundance come to you as a result of this fiery energy.

 

6. Now imagine another spiral of energy descending from the heavens above, entering your body through the crown of your head and traveling down your spinal column into the earth. This force embodies higher spiritual knowledge and power. It unites you with the totality of a dynamic, interrelated universe. This is the energy the Classic Maya called itz, the "dew of heaven."

 

7. Visualize these two energetic forces as spirals of white light, one moving from the sky into the earth, the other from the earth into the sky. Together they form a symmetrical double spiral traveling up and down your spine, like the double helix formed by the plus and minus strands of DNA.

 

8. Now stretch your arms out from your sides so that you stand as a cross-tree at the center of all things. To the Maya, the cross is but a symbol of the four directions, the outstretched arms of the great World Tree, and of the fourfold universe itself. You are that universe.

 

9. At your right hand, to the South, are gathered all the masculine or yang powers of the cosmos. Since the Maya trace their ancestry through patrilineal descent in the male line, these masculine powers include all the living members of your family. Maya shamanism teaches us to honor all our relations, so for the moment you must forget about any issues you may have with these people. Love them regardless. Also at your right hand are all the attributes associated with maleness, including your sense of power, authority, and assertiveness.

 

10. Now focus on your left hand. Here in the North are gathered all the feminine or yin powers of the cosmos. So, whether you are male or female, see all your intimate relations, as well as the actual women who come into your life, on your left hand. Once again, forget about any issues you have with these people, and simply love them.

 

11. Behind you, in the West, lies the past. Your ancestors and the collective spiritual power of all those who went before you reside in the West. When your own time comes to pass on, you will become part of this vast collective unconscious. 

 

12. In front of you, to the East, lies the future. Your children and the spirits of those yet to come are in the East, for they are part of your future. This is the direction of your spiritual path and destiny.

 

13. Breathe deeply and contemplate your own World Tree. Become totally open, yielding, and receptive until it becomes part of you. Materialize the World Tree at the heart of the world and help sustain the cosmic order.

The Origin of Disease and Medicine

An excerpt from The Sacred Formulas of the Cherokees by James Mooney
 

In the old days, the beasts, birds, fish, insects, and plants could all talk. They and the people lived together in peace and friendship. As time went on, however, the people increased so rapidly that their settlement spread over the whole earth, and the poor animals found themselves cramped for room. To make things worse, Man invented bows, knives, spears, and hooks, and began to slaughter the larger animals, birds, and fish for their flesh or their skins. The smaller creatures, such as the frogs and worms, were crushed and trodden upon without thought, out of pure carelessness or contempt. So the animals resolved to consult upon measures for their common safety.
 

The Bears were the first to meet in council, led by old White Bear. After each in turn had complained of the way in which Man killed their friends, ate their flesh, and used their skins for his own purposes, it was decided to begin war at once against him. Once the angry crowd calmed down, White Bear told them that the human beings had a decided advantage -- the bow and arrow. So the Bears decided to make their own weapons.
 

However, the Bears had a problem. Their claws made it impossible to properly draw back on a bow. Some of the younger Bears thought of cutting their claws, but White Bear objected, " If we cut off our claws, we will all starve together. It is better to trust the teeth and claws that nature gave us, for it is plain that Man's weapons were not intended for us."
 

No one could think of any better plan, so the old chief dismissed the council and the Bears dispersed to the woods and thickets without having concerted any way to prevent the increase of the human race. Had the result of the council been otherwise, we should now be at war with the Bears, but as it is, the hunter does not even ask the Bear's permission when he kills one.
 

The Deer next held a council under their chief, Little Deer. After some talk, they resolved to use their magic. Thenceforth, if a hunter wished to kill a Deer, he must take care to ask their pardon for the offense. Any human hunter failing to do so would be stricken with rheumatism. The Deer sent notice of their decision to the nearest settlement of Indians and told them at the same time what to do when necessity forced them to kill one of the Deer tribe. No hunter, who has regard for his health, ever fails to ask pardon of the Deer for killing it.
 

Next came the Fish and Reptiles, who had their own complaints against Man. They held council together and determined to make their victims dream of snakes twining about them in slimy folds and blowing foul breath in their faces, or to make them dream of eating raw or decaying fish, so that they would lose appetite, sicken, and die. This is why people dream about snakes and fish.
 

Finally, the Birds, Insects, and smaller animals came together for the same purpose. They decided to spread disease among the humans. They began then to devise and name so many new diseases, one after another, that had not their invention at last failed them, no one of the human race would have been able to survive.
 

When the Plants, who were friendly to Man, heard what the animals had done, they determined to defeat the latter's evil designs. Each Tree, Shrub, and Herb, down even to the Grasses and Mosses, said, "I shall appear to help Man when he calls upon me in his need." Thus was medicine born. The plants, every one of which has its use if we only knew it, furnish the remedy to counteract the evil wrought by the vengeful animals. Even weeds were made for some good purpose, which we must find out for ourselves. When the doctor (shaman) does not know what medicine to use for a sick man, the spirit of the plant tells him.
 

Source: James Mooney, The Sacred Formulas Of The Cherokees. Published in the Seventh Annual Report, Bureau of American Ethnology, pp. 301-399. 1886.

The Role of the Drum

The drum has a role of first importance to the shaman, for its rhythm develops an oneness of feeling and purpose with the rhythms of the universe. Everything in the universe, from the smallest subatomic particle to the largest star, vibrates with rhythmic motion. All things are born of rhythm and it is rhythm that holds them in form. Rhythm is the heartbeat of life. Every living thing has a unique song, a pulsing rhythm that belongs only to it. Within the heart of each of us, there exists a silent pulse of perfect rhythm that connects us to the totality of a dynamic, interrelated universe. The drum's beat unites the shaman with all life forms into a single being, a single heartbeat. The drum reconciles all of the disparate and discordant aspects of nature. It promotes individual and planetary resonance and restores harmony and balance.     
 

The drum's sonorous voice expresses the basic rhythm patterns man has observed over and over in nature: the tides, the phases of the moon, the changing seasons, and the myriad cycles 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. Rhythm is a universal vibrational language. We respond to rhythm whenever we sense it and seek it out when it is not present, for it is invariably pleasant.
 

Drumming affects aurally generated emotion more than any other musical instrument. Drum rhythms cover the whole range of human feeling. Whatever the emotion, the drum seems to compensate and offer satisfying expression. Drumming provides solace, relief from anger, courage when afraid, or even ecstasy.
 

Ecstasy is defined as a mystic, prophetic, or poetic trance. It is a trance-like state of exaltation in which the mind is fixed on what it contemplates or conceives. The drum serves as a concentration device, enhancing the shaman's capacity to focus attention inward. It stills the incessant chatter of the mind, enabling the shaman to enter a subtle or light-trance state. It is an inward spiritual journey of rapture in which the shaman performs his or her mysterious work.
 

In his classic work, Shamanism: Archaic Techniques of Ecstasy, eminent religious scholar Mircea Eliade concluded that the ecstatic experience does not belong exclusively to the shaman, but "is a timeless primary phenomenon." All people, therefore, are capable of flights of rapture. Ecstasy is a frequency within each of us. Like tuning a radio to the desired frequency, the drum attunes one to ecstasy. 

Eliade defined shamanism as a technique of ecstasy. Shamanism is based on the principle that the spiritual world may be contacted through the inner senses in ecstatic trance. It is a great emotional adventure open to whoever wishes to transcend their normal, ordinary definition of reality. The shaman is able to contact and utilize an ordinarily hidden reality in order to acquire knowledge and power and to help others. He or she gains access to a new, yet familiarly mythic universe.

Rhythm Healing

The key to understanding the shaman's world is to realize that the universe is made of vibrational energy. According to quantum physics, everything in the universe, from the smallest subatomic particle to the largest star, has an inherent vibrational pattern. The entire universe is created through vibration and can be influenced through the healing vibrations of shamanic drumming. The shamanic drum is a tool for altering the vibrational state of the shaman and/or the healee or a particular situation in the community. To put it simply, shamanic drumming is an ancient form of rhythm healing.

Rhythm healing is an approach that uses therapeutic rhythm techniques to promote health and well-being. Rhythm healing employs specialized rhythmic drumming patterns designed to influence the internal rhythmic patterns of the individual and harmonize those which are thought to be causing the illness or imbalance. When administered correctly, specific rhythms may be used to accelerate physical healing, stimulate the release of emotional trauma and produce deeper self-awareness. This technique has been used for thousands of years by indigenous cultures around the planet to treat a variety of conditions.

Rhythm healing relies on the natural laws of resonance and entrainment to restore the vibrational integrity of body, mind and spirit. In 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 auric energy field entrain to the sound waves and rhythms. 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 rhythm healing -- the larger the drum, the greater the resonance.

Finding the right rhythm

A rhythm healer may have a repertory of established rhythms or improvise a new rhythm, uniquely indicated for the situation. Determining the right rhythm in each case is a highly individual matter. No predetermined formulas are given. The rhythmist needs to create a dialogue between the sounds he/she produces and the responses of the person being treated. 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.

Tuvan shamans, for example, often improvise sounds, rhythms and chants in order to converse with both the spirit world and the healee. The sounds produced by the shaman and the drum go out and certain frequencies and overtones are then reflected back. Information is generally received as subtle vibrations, which the shaman then interprets as sounds, images or as rhythms.

To find the right rhythm, invoke the spirit of your drum, and ask it to come to you and become your ally. State your intention -- what you desire or expect to accomplish -- in a clear and concise manner, and then sit and meditate with your drum for a few minutes. By stilling the mind, you will be able to connect with the spirit of the drum. When you feel ready, pick up your drumstick and begin to play whatever feels appropriate. When you focus on the spiritual intention or the energy of what is being played, it allows the music to become very loose, spontaneous and innovative.

I learned that when I trust my intuition to play the appropriate rhythm, which I do not know in advance, I cannot go wrong. I know that when I open up and play what I feel, the drumming is fresh, different and spontaneous each time. Rhythmic improvisation is a musical expression of the soul. It is a way to let spirit work through you for the purpose of healing and helping others.

Rhythm healing is about finding the right rhythm. Rhythm and resonance order the natural world. Dissonance and disharmony arise only when we limit our capacity to resonate 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 or pulse while drumming. It is a way of bringing the essential self into accord with the flow of a boundless, interrelated universe, helping us feel connected rather than isolated and estranged. To learn more, look inside The Shamanic Drum: A Guide to Sacred Drumming.

"Sacred Art - A Hollow Bone for Spirit"

Sacred Art - A Hollow Bone for Spirit: Where Art Meets Shamanism by Imelda Almqvist is a truly inspiring book that takes readers on a journey through art history from stone age rock art to modern day fine art. It is a journey that shows how art, religion, science, alchemy and cosmology were all once interwoven and how they became disconnected in our need to analyze and break things down into constituent parts. As the title suggests, this is a book about sacred art, however, it doesn't have any images in it. Instead, the book invites its readers to use their imagination to visualize what sacred art is. Imagination is our portal to the spirit world. Internal imagery enables us to perceive and connect with the inner realms. Making sacred art means stepping outside the realm of the ego to become a hollow bone for spirit so that the artist becomes a channel for higher consciousness.
 

The shaman has sometimes been described as being a hollow bone, one who can enter an altered state of consciousness without their personal ego. This non-ego hollowness makes a way for spirit to use them as a healing instrument. In this way, the shaman is a channel for higher consciousness. Like the shaman, by "hollowing out" or emptying ourselves of limiting beliefs, we remove all obstructions to the flow of source energy. The magic of the hollow bone lies in allowing the divine source to work through us, rather than resisting it with our learned limitations. When we can move our ego and rational mind out of the way to channel the divine power of the universe through us, our creative potential is unlimited.
 

While shamanism is the focus of the book, you don't need to be on that path to benefit from reading it. As you weave your way through the book and suggested activities, you will begin to look at art and the world around you in a whole new way. As someone who trained as a fine artist and has worked with art in various capacities for many years, the author knows a great deal about art. She's also been practicing shamanism for a long time, and is well qualified to speak about the role of art in a shamanic context. I urge you to fully immerse yourself in this book, to become a hollow bone unleashing your inner artist to create your own masterpiece.