What is Shamanism? Who is a Shaman? What does the Shaman's primary percussion instrument like the "Drum" give to the Shaman? These questions will be answered in two journalistic research articles provided below. As well as my explanations-comments at the end. The authors of these articles were journalists and researchers.
Shamans:
The Khakas people are Turkic-speaking people from southern Siberia whose traditional religion is shamanism. In shamanism, the main attribute for communicating with spirits is the shaman's drum, through which the shaman communicates with the spirits.
During the incorporation of Siberian lands into the Russian Empire, the Khakas people were forcibly baptized. The entire population was herded into the Yenisei River and baptized – women with the name Maria, men with the name Vladimir. However, shamanism continued to be present in the people's lives for a long time. Throughout the Soviet era, the shamanic tradition in Khakassia was completely interrupted. Unlike the neighboring Altai and Tuva regions, where shamans went underground and continued to practice. Many Khakass shamans were repressed, their drums were broken or burned. Therefore, at present, we can observe the revival of the ancient cult in the Republic of Khakassia almost "from scratch".
Khakas Mythology - Shamans' Drum
Examining the Khakas shaman's drum, we see drawings that symbolize the mythological beliefs of the Khakas people. The surface of the drum is divided into three parts, symbolizing the tripartite division of the world - the upper, middle, and lower worlds. In the upper world live the god-creator Kudai, the goddess Ymay (patroness of motherhood), and other deities – chaiyaans, representing the light forces. The ruler of the lower world is the formidable Erlik-Khan, whose image is terrifying and instills fear. Many Khakass myths recount the battle between Kudai and Erlik-Khan. The middle world – the world of humans – is also inhabited by spirits associated with human life. These are family and ancestral guardians, as well as spirits ruling over natural elements (fire, water, mountains, wind, etc.).
Khakas people believe that maintaining order in the world depends on proper communication with the spirits inhabiting our world. If you feed the fire spirit on time, the hearth in the yurt will not go out. If you sprinkle vodka on a mountain pass, the mountain spirit will provide the hunter with a rich catch. By appeasing the water spirit, you ensure a successful fishing trip. Any illness is perceived as the abduction of a human soul (more precisely, one of the souls, as in Khakas traditional beliefs, each person has multiple souls) by one of the spirits. To return the abducted soul, a mediator is needed who can ascend to the upper world or descend to the lower world. This mediator is precisely the shaman.
The Image of a Shaman
As a rule, the title of shaman is not hereditary, secret knowledge is not passed down from generation to generation, and one cannot learn to be a shaman. The spirits themselves choose a mediator to communicate with humans. This communication with the spirits is necessary because they are in direct dependence on humans. Just as humans need the favor and goodwill of the spirits, the spirits need food, which humans provide in exchange for their favor.
Once chosen as a shaman, one cannot refuse this burdensome role. Not everyone seeks to take on the responsibilities of being a mediator between worlds. In order to make someone become a shaman, the spirits must break their will. If suddenly a person, who previously showed no signs of mental disorders, goes into the steppe and returns after a few days emaciated, foaming at the mouth, with wild eyes (and maybe even a crow in their mouth) and does not remember what happened to them during those days – it means they have experienced the so-called "shamanic illness". What happens to their physical body during this time, they do not remember, but their spiritual body falls into the hands of the spirits, who must "rebirth" it for a new life, the life of a shaman. Many shamans recount how the spirits boiled their body in a cauldron, then ate it and created it anew.
After such a rebirth, the shaman makes themselves a drum. Each shamanic drum is unique, it has a soul. It can serve as the shaman's spirit animal for journeys between worlds, or become their weapon in confronting spirits. And if, for example, someone approaches the shaman for treatment of infertility, they may "inject" the soul of a baby into the patient with the drum.
The shamanic costume is adorned with numerous metal, fabric, and bone pendants. These are vessels for "servant" spirits, each shaman having a different number of them. The more spirits in service to the shaman, the stronger the shaman. Sometimes, the shamanic costume also includes metal or glass mirrors, which serve as a shield reflecting the energy of evil spirits.
After the death of a shaman, the skin on their drum is always pierced. As the shaman's drum is a living being, it must die along with its owner.
SHAMAN'S DRUM:
In the Shaman's World, the object we commonly call a drum is not just a hoop with a piece of leather stretched over it – it is a living being. There are different opinions on how a shaman works when using the drum. Some sources mention the drum's music as a Call for the helper spirits during the ritual.
Other researchers believe that it is simply a way to create vibration and immerse oneself and others in a trance. And finally, some mention that while in an altered state of consciousness, shamans see the drum as a different object. Most likely, we are dealing with three aspects of the same phenomenon described from different perspectives.
In most chants and shamanic stories, the drum is referred to as a "horse", "deer", even a "reindeer team", sometimes – "narta". It's worth mentioning that in the Russian language, we traditionally use the word "narty" as the plural form, similar to the word "sleds" (plural), although in specialized literature, "narta" is used as the singular form. It's not just a sled -- an inanimate object, but a team of dogs as well. Usually, in the team, there are reindeer (more specifically, female reindeer), but sometimes a shaman may ask for help from huskies. Why does a shaman need a team? Of course, for journeys - it is on their fast and light drum that the shaman ascends to the Upper World and descends to the Lower World. (By the way, journeys through the Lower Worlds do not always involve the drum in the ritual). Thus, the drum is not just a means to travel to other worlds but also an opportunity to return from there. This is why the ancients firmly linked the shaman's life force with their drum. It was not just power but the ability to control oneself, through drumming, and therefore, one's movements along the World Axis. If a shaman died, they would go to the other world irreversibly -- that's why the drum was destroyed, killed, releasing the spirits from it, transforming it from a mystical reindeer or narta into an object: a hoop and leather. Typically, the drum would be pierced, placing it on a sharp branch of a tree near the shaman's grave: in this way, a special grave was marked, one that should not be disturbed and approached without a specific reason. If the shaman's burial was not in the form of a mound or a burial ground, but, for example, a hut or a yurt, their drum would be hung either at the entrance as a sign that a shaman rested there, or (less commonly) near the smoke hole. Traditionally, the drum would be made unusable, although sometimes, in stories, we encounter mentions of a hero finding a "haunted ("bad", "evil", "empty", etc.) village" and accidentally (or intentionally) disturbing the spirit of the village shaman by touching the drum hung on a pole at the entrance to their dwelling-tomb.
During a shaman's life, they could have several drums. Typically, a shaman did not have two or more drums simultaneously, but this custom was sometimes broken, especially when a shaman made a special drum for a specific ritual (which would then be destroyed after the ritual), or when a shaman created a drum together with their successor, disciple: at some point, the shaman would have two drums in their hands (or touching them, knowing them). Usually, during a shaman's life, they would have no more than nine drums (compare with the nine lives of a cat, the nine worlds in some shamanic cosmologies). When the last drum broke, it meant the shaman's own life was coming to an end, and they had to die. It is worth noting that no one dared to harm the shaman at this moment -- the shaman usually left on their own, not by force but in a completely natural way.
Here is what V.M. Kandyba says about the Shaman's drum in the work "Mysterious Superhuman Abilities of Man":
"According to the concepts of Yakut shamanism, the drum is a horse, and the drumstick is a whip for the shaman. The drum for the shaman is a Winged horse on which he travels through the three-dimensional world. It also serves as an advisor to the shaman. The Winged horse tells the shaman everything it sees, hears, warns him of dangers, of attacks from other shamans, and assists him in his rituals and healing work. The sound of the drum varies for the shaman. A knowledgeable person can immediately tell what a shaman is doing and what ritual he is conducting based on the sound of the drum. The drum sounds change as the shaman travels to the Lower, Middle, and Upper worlds. The sound of the drum can immediately indicate the level of the shaman. If during the journey to the Upper world the drum sounds the same as during a journey to the Middle or Lower world, then the nature of this shaman becomes immediately clear. If during healing a patient, the drum sounds as if calling spirits, then the professionalism of this shaman can be doubted.
A good professional shaman begins the ritual quietly and calmly, calling upon cosmic forces - the shaman's spirits. They do not yell or jump wildly like a madman. The drum, drumstick, and the shaman's costume reflect the entire world. They contain the mystery of this ancient Russian art, the special magical power of the Cosmos, and the cosmological concepts of shamanism. All of them are enchanted from above, carrying the secret teachings of our ancestors. Therefore, one should not wear another shaman's costume or take another shaman's drum in hand.”
The drums were quite large - about 50-60 cm in diameter. Their shape was not always perfectly round - most drums were oval-shaped.
We see that if the drum is a living being, it must be made of living material. The skin for the drum is the skin of the animal that will later pull the shaman's harness upwards. For greater identification of the part with the whole (leather patch), a drawing of the whole (animal: deer, horse, etc.) along with an image of the action that will be performed – that is immediately the team, deer, and the shaman – was applied. However, many Siberian shamans' drums were made from cowhide and sheepskin.
Since the drawings on the drum carried a huge symbolic and meaningful load, they were schematic and not very large. The reason for this is that, besides the shaman, the drum depicts the world. Among other traditional images on the drum are the Helper Spirits of the shaman, their Clan, and personal totem. Sometimes the totem was outlined with a thin line on the entire drum, and then a stylized "map" of the Hidden Worlds was added on top. Of course, more often, the image of the Clan Guardian Spirit was used in this composition, which to some extent was both the Guardian of the World and the manifestation of the Great Spirit in the material world. Sometimes the drawing was only on the outer part of the drum, sometimes on the inner part as well. On the inner side of the drum, there was a cross-shaped handle or simply a plank, attached vertically or even horizontally (naturally, the vertical orientation was more logical - compare the World Axis). There are also drums where a metal ring or even a loop made of untreated leather was used as a handle. Before attaching the handle, a spiral symbol was sometimes applied clockwise or counterclockwise on the inner side. The first option served as a symbol of the shaman's ability to travel through the Upper worlds, the second - through the Lower worlds. If it was a powerful shaman, the drawing could consist of two spirals merging into each other (something resembling a lemniscate - a symbol of infinity).
When choosing a tree for the Shaman's drum frame, the shaman followed the advice of their Spirits, conversed with them, and told them about the specific drum they were planning to create and the journeys they were planning to undertake. These conversations could take the form of individual or even group meditations. Walking through the forest in search of a tree for the frame, the shaman would eventually find the spot where the tree awaited them, close their eyes, listen attentively, and speak with the spirit of the tree. Similarly, great care was taken in selecting the animal that would become the singing part of the drum. If the shaman was hunting for this animal, serious cleansing rituals were conducted before and after the hunt: ritual washings were performed, fasting for several days, and, of course, abstaining from sexual relations. Once the material was found, the shaman would craft the drum themselves. The entire process, from start to finish, took place in an altered state of consciousness, with the shaman almost constantly speaking to the drum. When everything was ready, the drum was consecrated through ritual, where the shaman asked the spirits to accept the drum as their companion and object of power. In some cultures, the Spirits had to approve the shaman's work (these were the Supreme Spirits, and then the shaman would sing the story of acquiring their companion to them), while in others, it was more of a celebration of the acquisition of the living drum by the spirits and the shaman.
Small drums and bells were placed on the handle and inner part of the drum frame, which could serve the shaman as protection against evil spirits and as attractive music for helping spirits. Figurines that were hung between the bells represented the spirit helpers, effectively "taking their places" on the magical map. If the shaman was venturing into the Lower World (when their drum essentially became a boat carried by a river in the realm of the dead) for a battle, say for a patient's soul, among the hanging figures would be images of other magical items, weapons. Sometimes these pendants were attached not only to the handle but also to the frame itself, hanging down like knives.
The ritual typically began calmly and deliberately. All participants and spectators took their places, while the shaman (or their assistant, apprentice) warmed the drum over a fire. The fire served to cleanse and awaken the living drum. As the skin warmed up, it tightened, and the sound of the drum deepened, eliciting a stronger vibration.
In Finland, Sámi shamans used drums instead of tambourines during rituals. "The drum helped the shaman gain knowledge of what was happening in other places, even very distant ones, predict the success or failure of future ventures, diseases of other people, find ways of healing, and discover which sacrifices were pleasing to the gods and spirits" (Samuel Rin - a Christian priest - notes compiled in the 17th century). The drum, like the tambourine, was made of a wooden base, tightened with wooden hoops, and covered with skin. Symbolic pictures of journeys between worlds were portrayed on the skin. Interestingly, while ancient drums that have come down to us depict the Upper, Middle, and Lower Worlds in shamanic tradition, many later works show a blending of shamanic and Christian beliefs: images of Heaven and Hell as presented in Christian sacred texts. On such drums, angels and demons with the Devil at the forefront are clearly distinguished. Sometimes an amulet depicting the shaman themselves or one of their spirit helpers was placed on the drum's surface, and during the ritual, the figure moved either to the Upper or Lower World through drum beats, where the shaman was believed to be traveling.
It is believed that during the acquisition of a drum or drum, the most crucial factor is how deep its sound is. Preferably, rich, vibrating tones should be favored. It is worth knowing that in the cold, the drum skin sags, but when warmed up, it dries and tightens again.
IT WAS THE CONCLUSIONS OF JOURNALISTIC RESEARCHERS. WHAT CAN I SAY TO YOU AS A PRACTITIONER:
Personally, in some special cases, I use Shamanic Practices with the use of my own Drum. I personally know the famous Shaman of Taymyr - Oleg Krashevsky. Based on my own Practical Knowledge, observations, and experience, I will say the following - "Learning to be a Shaman from various gurus" is IMPOSSIBLE. Shamans very rarely take anyone as their students. The "Teachers of Shamans" are primarily SPIRITS, GODS, Higher Beings, and various Inhabitants of the Otherworld. Resorting to Shamanic Practices can cause both good and harm, just as it is common in Occultism as a whole. I personally healed a couple of severe illnesses using Shamanic techniques. I will not boast of any other achievements because bragging is beyond my moral principles. I will dispel some misconceptions regarding various myths and rumors related to Shamanism. Some individuals, having read Carlos Castaneda and misunderstood the meaning of his works, claim that Shamans allegedly all use hallucinogenic herbs and mushrooms to induce trance. In other words, they create potions from their herbs and mushrooms and, under the influence of these narcotic intoxications, purportedly enter the Spirit World and communicate there. This is fundamentally incorrect. Firstly: Shamans are very knowledgeable in healing and herbs. They are well aware of how to prepare healing potions from poisonous mushrooms. And incenses - fumigants to be gathered from herbs for their Practices. Secondly: No intoxication, especially narcotic, contributes to development in Esotericism. It only leads to self-destruction and degradation. And "practitioners" of such "misfortune," following false paths based on rumors, unequivocally do not gain any magical powers from the regular states of various intoxications. On the contrary, they only lose them. Shamans regularly perform various exercises to develop bio-energy, strengthen the biofield, and protect themselves. Various training exercises for developing Clairvoyance, Clairaudience, the Sixth Sense, Lucid Dreaming, Out-of-Body Experience, etc., starting from simple rhythmic breathing and continuing with various deep meditations. It is essential to keep the mind CLEAN and CLEAR for this! And, consequently, all of this strengthens personal health to perfection. Shamanism and, accordingly, Shamans are encountered not only among the Northern peoples and indigenous peoples of Siberia and Asia: Nenets, Chukchi, Eveny, Evenki, Dolgans, Taymyr, Eskimos, Yakuts, Khanty, Mansi, Kalmyks, Buryats, Altai, Khakas, Mari-El, Mordvin, Chuvash, Komi-Permyaks, and others. Similarly, there were and are Shamans among Turkic peoples - Tatars, Bashkirs, Nogais, Kazakhs, Kyrgyz, Uzbeks, Tajiks, Pashtuns. Shamanism among these peoples thrived particularly before they converted to Islam. Shamanism continues to thrive in Mongolia, China, Thailand, Vietnam, Korea, on the entire Indochinese peninsula, and there are even Shamans in Japan and its islands. Shamans were also encountered among the Romani people, ancient Caucasian peoples, Hazar nomads, all Native Americans of North and South America, and Indigenous Australians. The most remarkable thing is that a peculiar form of Shamanism ("völva") existed and thrived among the Ancient Slavs in Ancient Rus - Pre-Christian, among Scandinavian peoples, and among Celts (Druids). And the most noticeable phenomenon is that their Shamanism is also present in Africa - among the same practitioners of Voodoo: it is progressively practiced by Ungans and Bokors. Similarly, Shamanism thrived among Ancient Semites. The homeland of Shamanism remains unknown to this day. I consider this phenomenon and practice in Esotericism to be universal and international in Truth and Essence.
I consider the Shaman's Drum an integral attribute of Shamanic Practices. It is a very versatile instrument capable of performing both positive and negative actions. With its help, one can heal many things, but also inflict illness on enemies. In general, the use of the Drum and other percussion instruments in Magic is nothing but a "Branch of Sound Magic". This can also be classified under the category of "Musical Influence Magic". There are nuances and peculiarities everywhere. In addition to the Drum, there are many other musical instruments in the realm of Shamanism: Jaw harp (Khomus), Flute, Kalimba, Tamtam, Gong, Horn, Xoragai, and others. In Healing, this influence is called "Sound Therapy". And Sound Therapy is also capable of many things.
TO HEAR THE SOUNDS OF SHAMANIC DRUMS, RELAXING MUSIC, YOU CAN GO TO ANOTHER PAGE OF MY WEBSITE BY FOLLOWING THE LINK HERE.
What is Shamanism? Who is a Shaman? What does the Shaman's primary percussion instrument like the "Drum" give to the Shaman? These questions will be answered in two journalistic research articles provided below. As well as my explanations-comments at the end. The authors of these articles were journalists and researchers.
Shamans:
The Khakas people are Turkic-speaking people from southern Siberia whose traditional religion is shamanism. In shamanism, the main attribute for communicating with spirits is the shaman's drum, through which the shaman communicates with the spirits.
During the incorporation of Siberian lands into the Russian Empire, the Khakas people were forcibly baptized. The entire population was herded into the Yenisei River and baptized – women with the name Maria, men with the name Vladimir. However, shamanism continued to be present in the people's lives for a long time. Throughout the Soviet era, the shamanic tradition in Khakassia was completely interrupted. Unlike the neighboring Altai and Tuva regions, where shamans went underground and continued to practice. Many Khakass shamans were repressed, their drums were broken or burned. Therefore, at present, we can observe the revival of the ancient cult in the Republic of Khakassia almost "from scratch".
Khakas Mythology - Shamans' Drum
Examining the Khakas shaman's drum, we see drawings that symbolize the mythological beliefs of the Khakas people. The surface of the drum is divided into three parts, symbolizing the tripartite division of the world - the upper, middle, and lower worlds. In the upper world live the god-creator Kudai, the goddess Ymay (patroness of motherhood), and other deities – chaiyaans, representing the light forces. The ruler of the lower world is the formidable Erlik-Khan, whose image is terrifying and instills fear. Many Khakass myths recount the battle between Kudai and Erlik-Khan. The middle world – the world of humans – is also inhabited by spirits associated with human life. These are family and ancestral guardians, as well as spirits ruling over natural elements (fire, water, mountains, wind, etc.).
Khakas people believe that maintaining order in the world depends on proper communication with the spirits inhabiting our world. If you feed the fire spirit on time, the hearth in the yurt will not go out. If you sprinkle vodka on a mountain pass, the mountain spirit will provide the hunter with a rich catch. By appeasing the water spirit, you ensure a successful fishing trip. Any illness is perceived as the abduction of a human soul (more precisely, one of the souls, as in Khakas traditional beliefs, each person has multiple souls) by one of the spirits. To return the abducted soul, a mediator is needed who can ascend to the upper world or descend to the lower world. This mediator is precisely the shaman.
The Image of a Shaman
As a rule, the title of shaman is not hereditary, secret knowledge is not passed down from generation to generation, and one cannot learn to be a shaman. The spirits themselves choose a mediator to communicate with humans. This communication with the spirits is necessary because they are in direct dependence on humans. Just as humans need the favor and goodwill of the spirits, the spirits need food, which humans provide in exchange for their favor.
Once chosen as a shaman, one cannot refuse this burdensome role. Not everyone seeks to take on the responsibilities of being a mediator between worlds. In order to make someone become a shaman, the spirits must break their will. If suddenly a person, who previously showed no signs of mental disorders, goes into the steppe and returns after a few days emaciated, foaming at the mouth, with wild eyes (and maybe even a crow in their mouth) and does not remember what happened to them during those days – it means they have experienced the so-called "shamanic illness". What happens to their physical body during this time, they do not remember, but their spiritual body falls into the hands of the spirits, who must "rebirth" it for a new life, the life of a shaman. Many shamans recount how the spirits boiled their body in a cauldron, then ate it and created it anew.
After such a rebirth, the shaman makes themselves a drum. Each shamanic drum is unique, it has a soul. It can serve as the shaman's spirit animal for journeys between worlds, or become their weapon in confronting spirits. And if, for example, someone approaches the shaman for treatment of infertility, they may "inject" the soul of a baby into the patient with the drum.
The shamanic costume is adorned with numerous metal, fabric, and bone pendants. These are vessels for "servant" spirits, each shaman having a different number of them. The more spirits in service to the shaman, the stronger the shaman. Sometimes, the shamanic costume also includes metal or glass mirrors, which serve as a shield reflecting the energy of evil spirits.
After the death of a shaman, the skin on their drum is always pierced. As the shaman's drum is a living being, it must die along with its owner.
SHAMAN'S DRUM:
In the Shaman's World, the object we commonly call a drum is not just a hoop with a piece of leather stretched over it – it is a living being. There are different opinions on how a shaman works when using the drum. Some sources mention the drum's music as a Call for the helper spirits during the ritual.
Other researchers believe that it is simply a way to create vibration and immerse oneself and others in a trance. And finally, some mention that while in an altered state of consciousness, shamans see the drum as a different object. Most likely, we are dealing with three aspects of the same phenomenon described from different perspectives.
In most chants and shamanic stories, the drum is referred to as a "horse", "deer", even a "reindeer team", sometimes – "narta". It's worth mentioning that in the Russian language, we traditionally use the word "narty" as the plural form, similar to the word "sleds" (plural), although in specialized literature, "narta" is used as the singular form. It's not just a sled -- an inanimate object, but a team of dogs as well. Usually, in the team, there are reindeer (more specifically, female reindeer), but sometimes a shaman may ask for help from huskies. Why does a shaman need a team? Of course, for journeys - it is on their fast and light drum that the shaman ascends to the Upper World and descends to the Lower World. (By the way, journeys through the Lower Worlds do not always involve the drum in the ritual). Thus, the drum is not just a means to travel to other worlds but also an opportunity to return from there. This is why the ancients firmly linked the shaman's life force with their drum. It was not just power but the ability to control oneself, through drumming, and therefore, one's movements along the World Axis. If a shaman died, they would go to the other world irreversibly -- that's why the drum was destroyed, killed, releasing the spirits from it, transforming it from a mystical reindeer or narta into an object: a hoop and leather. Typically, the drum would be pierced, placing it on a sharp branch of a tree near the shaman's grave: in this way, a special grave was marked, one that should not be disturbed and approached without a specific reason. If the shaman's burial was not in the form of a mound or a burial ground, but, for example, a hut or a yurt, their drum would be hung either at the entrance as a sign that a shaman rested there, or (less commonly) near the smoke hole. Traditionally, the drum would be made unusable, although sometimes, in stories, we encounter mentions of a hero finding a "haunted ("bad", "evil", "empty", etc.) village" and accidentally (or intentionally) disturbing the spirit of the village shaman by touching the drum hung on a pole at the entrance to their dwelling-tomb.
During a shaman's life, they could have several drums. Typically, a shaman did not have two or more drums simultaneously, but this custom was sometimes broken, especially when a shaman made a special drum for a specific ritual (which would then be destroyed after the ritual), or when a shaman created a drum together with their successor, disciple: at some point, the shaman would have two drums in their hands (or touching them, knowing them). Usually, during a shaman's life, they would have no more than nine drums (compare with the nine lives of a cat, the nine worlds in some shamanic cosmologies). When the last drum broke, it meant the shaman's own life was coming to an end, and they had to die. It is worth noting that no one dared to harm the shaman at this moment -- the shaman usually left on their own, not by force but in a completely natural way.
Here is what V.M. Kandyba says about the Shaman's drum in the work "Mysterious Superhuman Abilities of Man":
"According to the concepts of Yakut shamanism, the drum is a horse, and the drumstick is a whip for the shaman. The drum for the shaman is a Winged horse on which he travels through the three-dimensional world. It also serves as an advisor to the shaman. The Winged horse tells the shaman everything it sees, hears, warns him of dangers, of attacks from other shamans, and assists him in his rituals and healing work. The sound of the drum varies for the shaman. A knowledgeable person can immediately tell what a shaman is doing and what ritual he is conducting based on the sound of the drum. The drum sounds change as the shaman travels to the Lower, Middle, and Upper worlds. The sound of the drum can immediately indicate the level of the shaman. If during the journey to the Upper world the drum sounds the same as during a journey to the Middle or Lower world, then the nature of this shaman becomes immediately clear. If during healing a patient, the drum sounds as if calling spirits, then the professionalism of this shaman can be doubted.
A good professional shaman begins the ritual quietly and calmly, calling upon cosmic forces - the shaman's spirits. They do not yell or jump wildly like a madman. The drum, drumstick, and the shaman's costume reflect the entire world. They contain the mystery of this ancient Russian art, the special magical power of the Cosmos, and the cosmological concepts of shamanism. All of them are enchanted from above, carrying the secret teachings of our ancestors. Therefore, one should not wear another shaman's costume or take another shaman's drum in hand.”
The drums were quite large - about 50-60 cm in diameter. Their shape was not always perfectly round - most drums were oval-shaped.
We see that if the drum is a living being, it must be made of living material. The skin for the drum is the skin of the animal that will later pull the shaman's harness upwards. For greater identification of the part with the whole (leather patch), a drawing of the whole (animal: deer, horse, etc.) along with an image of the action that will be performed – that is immediately the team, deer, and the shaman – was applied. However, many Siberian shamans' drums were made from cowhide and sheepskin.
Since the drawings on the drum carried a huge symbolic and meaningful load, they were schematic and not very large. The reason for this is that, besides the shaman, the drum depicts the world.
Among other traditional images on the drum are the Helper Spirits of the shaman, their Clan, and personal totem. Sometimes the totem was outlined with a thin line on the entire drum, and then a stylized "map" of the Hidden Worlds was added on top. Of course, more often, the image of the Clan Guardian Spirit was used in this composition, which to some extent was both the Guardian of the World and the manifestation of the Great Spirit in the material world. Sometimes the drawing was only on the outer part of the drum, sometimes on the inner part as well. On the inner side of the drum, there was a cross-shaped handle or simply a plank, attached vertically or even horizontally (naturally, the vertical orientation was more logical - compare the World Axis). There are also drums where a metal ring or even a loop made of untreated leather was used as a handle. Before attaching the handle, a spiral symbol was sometimes applied clockwise or counterclockwise on the inner side. The first option served as a symbol of the shaman's ability to travel through the Upper worlds, the second - through the Lower worlds. If it was a powerful shaman, the drawing could consist of two spirals merging into each other (something resembling a lemniscate - a symbol of infinity).
When choosing a tree for the Shaman's drum frame, the shaman followed the advice of their Spirits, conversed with them, and told them about the specific drum they were planning to create and the journeys they were planning to undertake. These conversations could take the form of individual or even group meditations. Walking through the forest in search of a tree for the frame, the shaman would eventually find the spot where the tree awaited them, close their eyes, listen attentively, and speak with the spirit of the tree. Similarly, great care was taken in selecting the animal that would become the singing part of the drum. If the shaman was hunting for this animal, serious cleansing rituals were conducted before and after the hunt: ritual washings were performed, fasting for several days, and, of course, abstaining from sexual relations. Once the material was found, the shaman would craft the drum themselves. The entire process, from start to finish, took place in an altered state of consciousness, with the shaman almost constantly speaking to the drum. When everything was ready, the drum was consecrated through ritual, where the shaman asked the spirits to accept the drum as their companion and object of power. In some cultures, the Spirits had to approve the shaman's work (these were the Supreme Spirits, and then the shaman would sing the story of acquiring their companion to them), while in others, it was more of a celebration of the acquisition of the living drum by the spirits and the shaman.
Small drums and bells were placed on the handle and inner part of the drum frame, which could serve the shaman as protection against evil spirits and as attractive music for helping spirits. Figurines that were hung between the bells represented the spirit helpers, effectively "taking their places" on the magical map. If the shaman was venturing into the Lower World (when their drum essentially became a boat carried by a river in the realm of the dead) for a battle, say for a patient's soul, among the hanging figures would be images of other magical items, weapons. Sometimes these pendants were attached not only to the handle but also to the frame itself, hanging down like knives.
The ritual typically began calmly and deliberately. All participants and spectators took their places, while the shaman (or their assistant, apprentice) warmed the drum over a fire. The fire served to cleanse and awaken the living drum. As the skin warmed up, it tightened, and the sound of the drum deepened, eliciting a stronger vibration.
In Finland, Sámi shamans used drums instead of tambourines during rituals. "The drum helped the shaman gain knowledge of what was happening in other places, even very distant ones, predict the success or failure of future ventures, diseases of other people, find ways of healing, and discover which sacrifices were pleasing to the gods and spirits" (Samuel Rin - a Christian priest - notes compiled in the 17th century). The drum, like the tambourine, was made of a wooden base, tightened with wooden hoops, and covered with skin. Symbolic pictures of journeys between worlds were portrayed on the skin. Interestingly, while ancient drums that have come down to us depict the Upper, Middle, and Lower Worlds in shamanic tradition, many later works show a blending of shamanic and Christian beliefs: images of Heaven and Hell as presented in Christian sacred texts. On such drums, angels and demons with the Devil at the forefront are clearly distinguished. Sometimes an amulet depicting the shaman themselves or one of their spirit helpers was placed on the drum's surface, and during the ritual, the figure moved either to the Upper or Lower World through drum beats, where the shaman was believed to be traveling.
It is believed that during the acquisition of a drum or drum, the most crucial factor is how deep its sound is. Preferably, rich, vibrating tones should be favored. It is worth knowing that in the cold, the drum skin sags, but when warmed up, it dries and tightens again.
IT WAS THE CONCLUSIONS OF JOURNALISTIC RESEARCHERS. WHAT CAN I SAY TO YOU AS A PRACTITIONER:
Personally, in some special cases, I use Shamanic Practices with the use of my own Drum. I personally know the famous Shaman of Taymyr - Oleg Krashevsky. Based on my own Practical Knowledge, observations, and experience, I will say the following - "Learning to be a Shaman from various gurus" is IMPOSSIBLE. Shamans very rarely take anyone as their students. The "Teachers of Shamans" are primarily SPIRITS, GODS, Higher Beings, and various Inhabitants of the Otherworld. Resorting to Shamanic Practices can cause both good and harm, just as it is common in Occultism as a whole. I personally healed a couple of severe illnesses using Shamanic techniques. I will not boast of any other achievements because bragging is beyond my moral principles. I will dispel some misconceptions regarding various myths and rumors related to Shamanism. Some individuals, having read Carlos Castaneda and misunderstood the meaning of his works, claim that Shamans allegedly all use hallucinogenic herbs and mushrooms to induce trance. In other words, they create potions from their herbs and mushrooms and, under the influence of these narcotic intoxications, purportedly enter the Spirit World and communicate there. This is fundamentally incorrect. Firstly: Shamans are very knowledgeable in healing and herbs. They are well aware of how to prepare healing potions from poisonous mushrooms. And incenses - fumigants to be gathered from herbs for their Practices. Secondly: No intoxication, especially narcotic, contributes to development in Esotericism. It only leads to self-destruction and degradation. And "practitioners" of such "misfortune," following false paths based on rumors, unequivocally do not gain any magical powers from the regular states of various intoxications. On the contrary, they only lose them. Shamans regularly perform various exercises to develop bio-energy, strengthen the biofield, and protect themselves. Various training exercises for developing Clairvoyance, Clairaudience, the Sixth Sense, Lucid Dreaming, Out-of-Body Experience, etc., starting from simple rhythmic breathing and continuing with various deep meditations. It is essential to keep the mind CLEAN and CLEAR for this! And, consequently, all of this strengthens personal health to perfection. Shamanism and, accordingly, Shamans are encountered not only among the Northern peoples and indigenous peoples of Siberia and Asia: Nenets, Chukchi, Eveny, Evenki, Dolgans, Taymyr, Eskimos, Yakuts, Khanty, Mansi, Kalmyks, Buryats, Altai, Khakas, Mari-El, Mordvin, Chuvash, Komi-Permyaks, and others. Similarly, there were and are Shamans among Turkic peoples - Tatars, Bashkirs, Nogais, Kazakhs, Kyrgyz, Uzbeks, Tajiks, Pashtuns. Shamanism among these peoples thrived particularly before they converted to Islam. Shamanism continues to thrive in Mongolia, China, Thailand, Vietnam, Korea, on the entire Indochinese peninsula, and there are even Shamans in Japan and its islands. Shamans were also encountered among the Romani people, ancient Caucasian peoples, Hazar nomads, all Native Americans of North and South America, and Indigenous Australians. The most remarkable thing is that a peculiar form of Shamanism ("völva") existed and thrived among the Ancient Slavs in Ancient Rus - Pre-Christian, among Scandinavian peoples, and among Celts (Druids). And the most noticeable phenomenon is that their Shamanism is also present in Africa - among the same practitioners of Voodoo: it is progressively practiced by Ungans and Bokors. Similarly, Shamanism thrived among Ancient Semites. The homeland of Shamanism remains unknown to this day. I consider this phenomenon and practice in Esotericism to be universal and international in Truth and Essence.
I consider the Shaman's Drum an integral attribute of Shamanic Practices. It is a very versatile instrument capable of performing both positive and negative actions. With its help, one can heal many things, but also inflict illness on enemies. In general, the use of the Drum and other percussion instruments in Magic is nothing but a "Branch of Sound Magic". This can also be classified under the category of "Musical Influence Magic". There are nuances and peculiarities everywhere. In addition to the Drum, there are many other musical instruments in the realm of Shamanism: Jaw harp (Khomus), Flute, Kalimba, Tamtam, Gong, Horn, Xoragai, and others. In Healing, this influence is called "Sound Therapy". And Sound Therapy is also capable of many things.
TO HEAR THE SOUNDS OF SHAMANIC DRUMS, RELAXING MUSIC, YOU CAN GO TO ANOTHER PAGE OF MY WEBSITE BY FOLLOWING THE LINK HERE
