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Apr. 5—Mary Ertel of Vernon has been drumming for 30 years, first using her drum as a tool for healing at local hospitals and senior centers, before starting the Community Drum Circle at ...
This description is not of a drum circle in the sense that the term is commonly used. It is a drumming ceremony that takes place in a circle, but very different in content and form than a drum circle, more of an improvised community drumming jam. This type should probably be listed under shamanic or spiritual drumming and not under drum circles.
Neoshamanic drum circle in the United States, c. 2000. In traditional contexts, shamans serve an important culturally recognized social and ceremonial role, one which seeks the assistance of spirits to maintain cosmic order and balance. [1] With neoshamanism, however, the focus is usually on personal exploration and development.
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]
There is an endeavor in some contemporary occult and esoteric circles to reinvent shamanism in a modern form, often drawing from core shamanism — a set of beliefs and practices synthesized by Michael Harner — centered on the use of ritual drumming and dance and Harner's interpretations of various indigenous religions. Harner has faced ...
The cone of power is visualized as a cone of energy that encompasses the circumference of the magic circle of Wiccans and tapering off to a point above the group. [1] As a group, the cone is formed by the Wiccans standing in a circle, sometimes holding hands, and focusing on a single point above the group and in the centre of the circle.
Hull's facilitated drum circles are specifically non culturally specific. Though African djembes may predominate, many other styles of drums and percussion are in evidence. The teaching at a facilitated drum circle is 'teaching without teaching' - participants are playfully encouraged to create their own in-the-moment rhythms and sounds.
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