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Since a Shamanic ritual includes a spiritual purpose and motive, it cannot be regarded as a musical performance, even though shamans use music (singing, drumming, and other instruments) in their rituals. Several things follow the ritual. First, a shamanic ritual performance is, above all, a series of actions and not a series of musical sounds. [1]
A Sámi drum is a shamanic ceremonial drum used by the Sámi people of Northern Europe. Sámi ceremonial drums have two main variations, both oval-shaped : a bowl drum in which the drumhead is strapped over a burl , and a frame drum in which the drumhead stretches over a thin ring of bentwood .
Common practices within the ceremonies include music with instruments such as a drum, yaleika, gudok, sopilka, and a Jew's harp used to induce the shaman into trance. [5] Trance possession is common during these rites and the shaman allows the god or spirit to give messages through their body and their body acts as a vessel to contain the spirit.
During a shamanic trance or shamanic journey, the shaman uses the steady beat of the drum as a "lifeline" to find the way back to the world of ordinary consciousness. Note that in these cultures, the term "Drum Circle" would certainly not be used. Rather, the terms 'drumming ceremony" or "ceremonial drumming" would be more accurate.
The two types can be understood as two phases of kagura: mai is a preparation process for trance and odori is the unconscious trance stage. During mai , the female shaman, surrounded by a group of priests, holds a gohei (a ceremonial wand used to cleanse or purify) as well as sound-producing instruments and engages with circling movement to ...
A Russian traveler described a Khanty shamanic séance: it took place in a birch bark tent in full darkness. Only the song and the dombra music of the shaman could be heard: he invoked his spirits. It was performed in a way to suggest the direction of the sound was moving: implying that the shaman had flown around inside the tent before leaving it.
The dhyāngro is a frame drum played by the jhakri (shamans) of Nepal and India—especially those of the Magars, the Kirati, and the Tamang—as well as by Tibetan Buddhist musicians. The dhyāngro may be either single- or double-headed. Double-headed drums are said to have a male side and a female side. [1]
Mark Allen is a British psychedelic trance DJ and record producer. Allen is one of the pioneers of the Goa trance movement. He first got into psychedelic dance music in 1991, during his first visit to Goa, India. [1] Allen collaborated with the producer Tim Healey in a band called Quirk. [2]