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Drumming and Trance

 
 
Sibelian 2.0
09:04 / 02.04.07
Does anybody know anything about using drumming as a way to achieve a trance state?

I'm going to be drumming on Calton Hill in Edinburgh at Beltane (evening of last day of April into May first) to a crowd of 10,000 or so. This is a thing I have done before but this is the 20th anniversary of Edinburgh's newly established Beltane ritual and the drumming leaders this year want to put more focus on the ritual work and acheiving a trance state to ripple out into the crowd. It has been beautiful in the past when it's worked but restrictions placed on us by the Council (not unreasonable ones, I must confess) have been affecting us over the years and the crowd energy has changed and isn't as highly charged. The old character of the festival is slowly creeping back, though, and we're hoping to make this Beltane really special.

So, does anyone else have any experience of this kind of thing? I'd be very interested in hearing from such folk to swap notes.

Ooh, and if anyone wants to come and see it, it's a LOT of fun. Probably more fun if you're performing, but it's still Dead Good.
 
 
Unconditional Love
12:30 / 02.04.07
Have you read Sule Greg Wilsons, The Drummers Path ? Well worth a read. Also The Healing Power of the Drum: A Psychotherapist Explores the Healing Power of Rhythm (Performance in World Music Series). Both good books, I should be learning doumbek, but i mostly use my doumbeks free form in rituals.

I try to play the rhythm of the spirits i am dealing with sometimes based on characteristics, so for example with sekhmet its the principle of leonine consciousness, but also from memories of nature documentarys watching how a lioness moves, catches her prey, because all of these actions have a physical rhythm, a flow of movements that a beat or a sense of timing can be attached too.

Just as human beings seem to have individual motions and times, except when gathered as a crowd, then there seems to be an underlying feeling to the timing of movement speech and breath that developes of itself.
 
 
Sibelian 2.0
07:15 / 03.04.07
I have NOT read "the Drummer's Path" and will now track it down with a view to purchasing it. Thank you muchly!

You say interesting things which I will respond to sensibly when I'm not about to dash off for work.
 
 
EmberLeo
03:04 / 04.04.07
I have an editors copy that I got from a used bookstore, of a book called The Way of the Drum. It seems to be pretty good stuff.

I also have a certain amount of experience with drumming in a trance context, but I'm not sure what to tell you about it?

--Ember--
 
 
Olulabelle
22:16 / 04.04.07
I have the problem that when I drop a beat I really notice and kind of instantly drop into the reality of a botched rhythm. So unless I am drumming with other people I never really get to the point I want to because I always make a mistake and then my focus is all on that. I realise I should try and tune the mistake out, but somehow the sound of it really pulls me back to reality.

Does anyone else find that?
 
 
Unconditional Love
00:09 / 05.04.07
If your not learning traditional rhythm then mistakes can be the start of a different structure. I was going to post about this at some point but hadn't collected my thoughts, its something along the lines of automatic drumming, letting go of the hands and there time too, so they are relaxed enough to express what ever chooses to come from them, trying not to guide consciously, it can then sometimes be easier to keep to a structure after the hands have had there fun.
 
 
The Ghost of Tom Winter
04:13 / 05.04.07
I tried out the drumming trance thing a few weeks back. I went out to my local park with one of my brother's drums from his drum set. I sat down and just started drumming. I had the 'getting into meditation then slipping out of beat problem' as well. This is when I learned how hard it is to do trance drumming. Basically I tried to become completley involved with the drumming. My focus was not on my thoughts, nor the birds nor sky. Drumming.

It seemed to work partially, it was my frist attempt but once I finished I realized how deep I actually was. Had some strange interaction with bats as well.
 
 
ghadis
22:24 / 05.04.07
Oluabelle...

I've sometimes had something similar. My sense of rhythm is pretty bad and cak handed. A couple of times i've been in a ritual and taken up a drum and had other people ask me to stop! It's understandable as it can really change the mood and put a group of people out of step. I do enjoy drumming, though, as an aid to ritual and i love being in a group that are using it. I guess i'm a dancer not a drummer! I do sometimes use a small drum on my own for rituals and tend to follow a very steady beat building up to a crecendo. A kind of slow clap i guess. Saying all that though, i get a huge amount out of rhythm and music in my practice. Dancing (although i'm pretty bad) is one of the parts of my life where i really get into the majicks and feel that i'm really doing something special. Lost in music? You betcha'
 
 
Olulabelle
22:30 / 05.04.07
Are you left-handed? I am.

I'm a good drummer (good enough to be the lead or the calling drum in a group) and my rhythm is good but I am a perfectionist and it appears to be directly me that it bothers. I think if I was pants I might do better, because you can pants drum yourself into a trance and if you go wrong that's part of the drumming, but if you perfectionist drum yourself into a trance if you go wrong, then you've fucked it up.

Also, I'm shy. I am so afraid of drumming on my own, yet I delight in doing it in a group. With everyone together it's a blast but on my own I cringe sometimes to even hear my sounds. This is completely at odds with my ability.
 
 
ghadis
23:32 / 05.04.07
No i'm not left handed though. I'm a bit a weird middle space where somethings i do left handed, such as how i hold a knife and fork, but mostly i'm right handed. I'm just a bit tone deaf and pretty crap with rhythm. I imagine drumming with a large group would be great. I'd really like to get involved with that. I think there are a few groups in london that do group stuff. I may get in touch.

I see what you mean about the perfectionist thing though. Obviously not with drumming but with other ritual activity. I sometimes get myself in a bit of tiz by spending a lot of time memorising various texts (usually ancient egyptian) and then having a slight panic and loss of focus during ritual when i forget bits. This doesn't last for long though before i remember why i'm doing this stuff and i just take it from there. The text is just a jumping off point (for me) and i know that but i often get caught up in the mechanics beforehand.
 
 
EmberLeo
08:01 / 06.04.07
Olulabelle: I'm something of a perfectionist myself, but I'm not sure what being left handed would have to do with it in drumming? Rather... I suppose it depends on what kind of drum you're using. The kinds of drums I end up with I can either shift to one side as works for me, or else I'm supposed to use both hands equally well.

I also prefer group work, and indeed, don't try for drumming trance alone (I'd rather put on music and go for dance meditation). But drumming with the chorus in my Umbanda house (we're working on building up the music and drums now) I find what has worked best for us is where there are at least two or three drums going, and any 1 person's drumming part is usually pretty straightforward - it's how they combine that ends up complex. So if you drop a beat, you just wait for it to come around and then pick back up again.

The other thing I've noticed is that if I'm in a light trance, yeah, missing a beat will drop me. But if I'm in a heavy trance missing a beat either doesn't happen, or doesn't phase me (and/or whoever is riding me) in the slightest. Still, I'm rarely on the drums when I start trancing. I seem to have a good ear for the rhythm, so I'm good for helping the drummers find a beat to begin with if they don't have something specifically traditional to work from during practice, but when it comes to events, I'm usually up dancing and singing with a rattle, and leaving the drums to those with better endurance and far more enthusiasm for it.

--Ember--
 
 
Mako is a hungry fish
10:44 / 07.04.07
Mind state management - the software of the mind

The first pattern is described as beta waves, of short amplitude and very rapid pul-sations of 30-14 cycles per second (Hertz or Hz). This pattern is optimal for intense mental activities such as calculations, linear logical analyses, and other highly struc-tured functions.

The second pattern is described as alpha waves, characterized by a slightly larger amplitude of 13-9 Hz. This pattern typically occurs in daydreaming, relaxed awareness, guided or focused imagery and smoothly rhythmic athletic activity. There is often a euphoric, effortless feeling of RflowS as the doer is absorbed in activity, and subject and object are felt to be united.

The third pattern is described as theta waves, pulsations that are more ragged and irregular, in the 8-4 Hz range. While this range is rather small, a difference of 1 or 2 Hz in this zone is very noticeable, as it is proportionately much larger than it would be in the beta or alpha range. This pattern is associated with deep unconscious imagery, and thus creativity, as the person drops into a state of drowsiness and near-sleep.

The last main pattern is that of delta waves, pulsations that range between 3-1 Hz. In this range of profound relaxation, images and dreams have largely subsided, as the person slides into a state of slow wave restorative sleep. Meditators who remain aware during this state of near unconsciousness report tranquility and peace.


My (limited) experience with drumming is that the sound alone is helpful to change brainwaves to the above states, however the actual body rythym of drumming enhances the effect; it is theorised that many ancient tombs were designed in such a manner as to amplify these effects.

I've found that aboriginal didgeridoo music is quite useful for trancedental meditation; depending on the length of the didgeridoo played, different keys are achieved which are usually with the D-F# range that apparently effect different chakras (D = sacral, E = solar plexus, F = heart). A friend of mine has made several, and claims that the rythymic breathing necessary to play them is quite euphoric, and that best results come from going on walkabout (kind of like a vision quest) to find the wood to make them from as it chooses you, just as you choose it.
 
 
Mako is a hungry fish
10:54 / 07.04.07
D-F# range that apparently effect different chakras (D = sacral, E = solar plexus, F = heart)

I'm referring to the bastardized 7 chakra theory; good information on chakras and their history can be found at kheper.net
 
 
EmberLeo
05:00 / 08.04.07
I've found that aboriginal didgeridoo music is quite useful for trancedental meditation

Oooh, yes. I have a friend who plays the digeridoo, and I quite enjoy it. Hmm, I wonder if he'd like to attend a Bembe...

--Ember--
 
 
Sibelian 2.0
10:24 / 08.04.07
Back again

wolfangel - again, thank you. So, being new to the Temple and stuff, I don't know you very well and aren't sure what you mean by "spirit". We're currently trying to get something like that off the ground with our group. It's difficult, there's a lot of strange energy floating around and the ritual stuff only seems to be working on a very basic "icebreaker" level, there doesn't seem to be any shifting of consciousness within the group, or hasn't been until very recently when the leader brought in Chi Kung to get everyone to strike the skin simultaneously without being timed, which is really working, but it seems like we should be able to go further.

We're at a bit of an impasse, because it's the character/spirit of drummer itself that we're going to try and manifest. I'm not sure how it's going to work, because we're not sure yet who/what it is we're trying to get hold of.

Yeah, spirit. Wot *we* have a tendency to call "character". It's always easier to relate to something older and established, something that's at least familiar if not completely understood. I suppose I'd say that the best ritual work I've undertaken (not much of it, must confess) is done through connecting to spirits that are already there.

Mostly we've been talking about there being almost an *absence* of character, but that might well be because the rest of the festival involve an enormous amount of character work on behalf of the other performers and I wonder if we've adopted that absence in the past simply for the sake of a kind of contrast.

I'm also wondering if we're trying to use our wills to bring about something that always happens in the natural course of things anyway. Drumming clears the mind very effectively, and in the past something like a trance-state has come upon us without much preparation at all. It's beautiful, and soul-filling, energising us with rich creative thoughts for many months afterwards and this is when we *don't* try too much to guide it. Having said that, a really good space has been opening up
over the past few rehearsals, people are interconnecting that bit more. We always go through a stage of that and then things start to take off, and I've noticed that that stage has begun over the past week, late, for us.

Would people be happy if I used this thread as a place to jot down my own thoughts as we approach the festival, like a mini drumming blog? Or will I just clog up the Temple?

Ember and Olulabelle - shall respond soon... sorry, in odd headspace currently as excited about 5 hour rehearsal to start in 1.5 hours...
 
 
Seth
15:16 / 08.04.07
I don't know whether the following will be useful to anyone besides me. The approach I take is nowhere near as considered as those others mentioned here.

My recipe for trance drumming is to not eat a great deal that day, to make sure I play with an empty stomach. I smoke lots of cigarettes (rollies) and if I can afford it that night I drink lots of coke and/or vodka, although I usually have to skip the vodka 'cos I'm driving. Fresh orange juice is also good. Depending on my frame of mind I might also want to cut out all social interaction.

Actually, before all this in the daily preparation stakes... it's always good to have done exercises that morning, even if you haven't done them in a while.

Right before I play, I finish all my pre-checks (I can't have something avoidable going wrong with my set up during the session), make sure there's plenty of water on hand and then usually get alone, do stretches, warm-up exercises, pray in Tongues, do breathwork to raise energy, jump up and down, pace around, hit myself in the head. The important thing is to go purely physical, to get rid of your conscious thinking. That's semantically ill-formed, by the way: you have to think of thinking in order to negate thinking, which is a stumbling block for a lot of people. If you know NLP, recall an ecstatic state and build some kind of physical anchor for it. Aim to give yourself an experience rather than remove one. The last thing I do in the immediate lead-up to playing is strip down to my cacks.

The most important thing about the actual drumming itself is the physicality of it. I need to be able to hit fast and like a train collision. And this is where there is no substitute for preparation. If you're going to attempt a rhythm then LEARN IT first. And I don't mean *intellectually* learn it - that's exactly the last thing you should do. Nothing, and I repeat nothing about the act of ritual drumming is intellectual. It's fine to think things through in the early preparation stages, especially if you need to break something down that's easy to learn. Metronomes are fine as long as you don't lose your looseness and fluidity, some people become very martial and rigid with them. But the actual act of drumming is purely that Zen Hulk Smash moment. No brain allowed.

No, when I say learn it, play it until the point at which it's in your muscle. Play it until it's locked into your physical frame, until your body takes over completely. It should be as natural to you as walking or wanking, dancing or fucking, so that when you play it is you. If you're doing it right then the rhythm you create, paradoxically to it being an expression of you, should feel like a living entity outside of you. It should writhe around, threaten to break out of control, you should feel as though you're riding it rather than creating it.

It's very important that you are in pain during the process. Make sure that you break through the pain barrier until you only feel your energy rising the more you play. With hand drums this is easy, you just pound them until your hands get swollen and break and bleed. They'll go numb pretty shortly after that. With sticks it's essentiall that you no longer notice the sticks in your hands, that they become a part of your arm/wrist/hand. With sticks you'll just have to hit hard and fast until the lactic acid builds up and it starts to feel like you can't go on, and when you feel like that throw yourself into it a little more. It should feel like you're in Bleach, constantly breaking yourself and then raising your reiatsu.

Other things that help: throwing yourself into walls, onto the floor, breaking things around you, breaking the drums, drawing on all that James Brown primal sex stuff, beating your chest, biting something/someone, hitting yourself in the head, singing at the top of your voice, screaming, shrieking.

All that should get you there, and is all fun in it's own right. You can feel very variable afterwards, sometimes drained, sometimes emotional, sometimes eurphoric and energised. If you've properly pushed yourself past the edge of what you're capable of then the minutes that you lie drained on the floor after the act are great for shamanic journey work.

This is how I do it, hope it's helpful to someone at least.
 
 
Sibelian 2.0
21:41 / 09.04.07
Seth - that's a lot of useful info. You've given me some ideas. The performance itself won't have anywhere near the timescale to go at it as you suggest, but I can imagine some ways your approach could be very healing for he group.

Thing is, there's quite a lot of internal friction in the group at the moment. The leader's got himself trapped in a dominance/submission mess and the rest of us are all either waiting as patiently as possible for him to snap out of it or just getting pissed off with him. What you do sounds like it could be just the ticket to sweat all the crap out, a lot more like the real thing than all the stuff we've been mucking about with, so maaaayyybe I'll pop a suggestion or two along the lines of your style at the weekend away when everything (usually) comes together... It'll have to depend on my feel for the space, though, there's a lot of bad interpersonal fractures across the group, some of them may have become irreparable already and if you don't watch what you're doing in these spaces you can make things worse rather than better.

Again, many thanks!
 
 
Unconditional Love
16:45 / 11.04.07
I have just been doing alittle hand drumming after my first day back at work and have noticed something, the rhythms i played had distinct changes to the feelings i was going through while drumming. The patterns and tempo changed to the range of feelings.

I did as i usually let me hands do drift over the skin until they both decide whats there, or one decides only it needs to be heard, i then pick a point of concentration ahead of me and let go into what ever arises inside of me. A whole lot of anger a little sadness mixed up with satisfaction and accomplishment at getting my teeth back into something.

I wonder if it is possible to reverse engineer trance drumming to break the everyday trances that we might find ourselves in or just find what beats and tempos allow us to change how we are feeling, what for example becomes the rhythm of joy. I would guess its personal but also there is a group joy, or collective expression if you are jamming.

Or is it better to drum out the trance of feeling inside to expression and then begin the work on changing the internal feelings through various rhythms?
 
 
Mako is a hungry fish
11:05 / 15.04.07
If you're going to attempt a rhythm then LEARN IT first. And I don't mean *intellectually* learn it - that's exactly the last thing you should do.

What are peoples thoughts on freestyle drumming, i.e without choosing a rythym but rather letting the rythym choose you? I'm much more a dancer than a drummer, and whilst I've got a decent set of routines in my muscle memory I still prefer to make stuff up as I go along; I often take bits and pieces from those routines, but I much prefer to challenge myself to make up something new.

Also, what about invocation through such practices? I'm rather fond of invoking elemental phases and energies as opposed to godforms, though some might say they're very similar (especially in regards to some of the more powerful elemental creatures that can come and play), but I'm curious about ideas of what I might like to channel, and what would like to be channelled, in such a context.
 
 
Seth
05:22 / 16.04.07
Improvisationed drumming is fantastic, but again if it's going to be used in a ritual context all thought has to be gone from the act of playing. Free playing is therefore just as likely to involve as much if not more preparation than sticking to a single rhythm, as learning all the nuts and bolts to allow your body to take over when your playing field is wide open is arguably much more demanding.

Sadly passed on free guitarist Derek Bailey, when asked by an unsuspecting audience member how much preparation he put into Ballads: "About twenty five years."
 
 
Sibelian 2.0
06:04 / 21.04.07
Well, it's looking like the ritual stuff has gone out the window a bit.

Which may not have been a bad thing, in the end. There are a lot of people in the group who aren't into it at all and a lot who really, really are but have no real experience. So it wil be minimal stuff, if anything.

One of the comments raised recently at the group was that the ritual work, instead of supporting the drumming, was diluting it. Which I can sort of see. There was a feeling that there isn't really any point trying to get yourself into a different headspace by doing ritual focussing exercises in conjunction with drumming when drumming's probably the most focussed group activity you can do to get yourself into a group consciousness shift anyway.

Which I can sort of see.

We went off on a weekend away to a beach to practice. We drummed lots and lots. Unfortunately I was ill for a lot of it, which was sad, but everyone missed me and was nice, and particularly pleased when I returned for the Sunday.

We got very hyped up! We did really well! Everything was sounding really tight and together and beautiful and we were losing our individuality, bonding together into a big blob of love.

So, at the end the rest of the drummers gathered in a circle hug to say goodbye and shouted over for me (I was the only one not there, in a car waiting for a lift home). I rushed over and was suddenly possessed by my regularly available and highly popular Big Camp Fairy spirit and instead of joining the 20-strong group hug I stood right in the middle of it and looked delighted with myself. Everyone howled with laughter.

"Good evening," I said. "I expect you're wondering why I gathered you all here." Which they loved.

But ever since they've been wanting to *know* why I gathered them all there and I haven't a clue.
 
 
Stigma Enigma
09:41 / 03.05.07
I had a dream a few weeks ago and I was writing a sigil in it. I ended up posting on this incidence and seeing what you people could express about such an occurrence.

From Talks to Strangers:

If it was me, I'd take the dream sigil out for a walk.

If I'm confronted with an image or symbol in my dreams that I'm not familiar with, I like to create a version I can carry around with me. Draw it on a bit of card or stiff paper, soemthign that won't get too scrunched in your pocket, and carry it with you. Take it out and look at it now and again. Draw it on your hand with felt-tip. Get some Milliput and make a pendant with your sigil on it that you can wear, or hang off your keychain. Get to know it. Let it reveal itself to you. It might have something to impart.


I took what I could remember and painted on my Djembe with green hair dye which I had just used to color my hair Rastafarian style for the sake of performance art.

I just thought this was an interesting synthesis I might share with the board. The connection with the drum through physical exertion and trance leading to a state of gnosis required to charge sigils.

Just getting experimental these days.

Eazy
 
 
Unconditional Love
14:07 / 03.05.07
Thanks for that Eazy thats just helped me see how to employ something in my own practice.
 
 
Olulabelle
21:20 / 04.05.07
It should be as natural to you as walking or wanking, dancing or fucking, so that when you play it is you. If you're doing it right then the rhythm you create, paradoxically to it being an expression of you, should feel like a living entity outside of you. It should writhe around, threaten to break out of control, you should feel as though you're riding it rather than creating it.

That's beautiful.

Seth, I think that your methods for trance drumming sound really interesting and I am going to try it. You mention Breathwork, my only experience of Breathwork is meeting a man who held a group workshop at a little festival. I didn't take that group option - I did drumming instead. Heh.

Do you know anyone who teaches Breathwork or a place to go to find recommendations? Unless you meant breath work, in whoch case I aplogise for the random questions.
 
 
Seth
15:34 / 05.05.07
As usual I'm probably being a bit thick, but what do you see are the differences between Breathwork and breath work? Most of the stuff I do I cobbled together from a number of sources, many of which I can't remember. Story of my life. Different thread?
 
 
Sibelian 2.0
13:57 / 08.05.07
If you're doing it right then the rhythm you create, paradoxically to it being an expression of you, should feel like a living entity outside of you.

Totally.

And, in fact, despite my previous reservations further upthread, this is what happened, en masse, on the hill.

I'm still not grounded from it. I've been wandering around supermarkets (having gone with the original intention of buying catfood or binbags) and ended up wandering round the aisles in circles with my head full of rhythms and drumming and Beltane thoughts all mashed up in a pie having to really pull myself *hard* back into the real world to get even simple things done.

So, it worked. I now just have to figure out what to do with all this energy.

I've volunteered to lead the drummers at Lughnasadh.

FEAR. But, also, INEXPRESSIBLE JOY.
 
 
Olulabelle
20:14 / 08.05.07
but what do you see are the differences between Breathwork and breath work?

Briefly, I don't know the full name of the Breathwork I saw, but what it involved was (I think) being taken back to the womb via breathing, and then being 'reborn'. That sounds really wanky, but everyone came out of the workshop all starry eyed and flushed and they couldn't really focus on what anyone was saying for a while.
 
 
Sibelian 2.0
10:53 / 05.07.07
The first Official Lughnasadh drumming practice is tonight. I'm leading. I've never lead before.

I've NEVER been in charge of a group of people before, EVER. For ANYTHING.

I'm scared shitless.

(x-post to Convo abject terror thread)
 
 
Sibelian 2.0
22:24 / 05.07.07
It worked.

Sort of.
 
 
electric monk
01:34 / 06.07.07
Is there JOY?
 
 
Sibelian 2.0
09:01 / 06.07.07
Hoo, yuss. Bubbling under my skin like lava. Buzzing through the group like a crazed swarm of killer joy hornets!
 
  
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