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Michael James Harner (April 27, 1929 – February 3, 2018) was an American anthropologist, educator and author. His 1980 book, The Way of the Shaman: a Guide to Power and Healing, [1] has been foundational in the development and popularization of core shamanism as a New Age path of personal development for adherents of neoshamanism. [2]
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.
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 .
The band played repetitive, wild, yet melodic music, combining tribal shamanic music with rock guitars and drumming to form a uniquely pulsating and obsessive sound. Songs regularly feature ritualistic improvisation, and live shows were often accompanied by ecstatic on-stage actions.
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 true shaman can make the journey to the spirit world at any time and any place, but shamanic ceremonies provide a way for the rest of the tribe to share in this religious experience. The shaman changes his voice mimetically to represent different persons, gods, and animals while his music and dance change to show his progress in the spirit ...
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]