From: Valuemetaphysics@aol.com
Date: Sat Jul 10 2004 - 02:01:13 BST
Dear forum,
For anyone fascinated by mystic rhythm...
You might say drums have two voices. One is technical, having to do with the
drum's shape, the material it's made of, (static inorganic patterns of value)
its cultural context, (static social and intellectual patterns of value) and
the standard way it's played. (socially learned. The first voice is being
described in SOM terms.) Technique gives you this voice - the drum's sweet spot,
that point where the drummer, the drumhead, and the rhythm that arises from
their interaction flow seamlessly together. (High state of coherence between and
across patterns of value - sq-sq tension such that DQ becomes more immediate.
The MOQ provides a far better account of this process than SOM) It takes
commitment and apprenticeship to learn how to find a drum's sweet spot. But once you
do, the potential arises for finding the drum's second voice - one I have
come to think of as the spirit side of the drum. (Dynamic Quality. Exceptional
coherence is transparent to DQ.)
Mickey Hart.
At the heart of any pow wow is the drum. (static patterns of inorganic
quality capable of high states of coherence with organic, social and intellectual
patterns). It is the heartbeat of the people and is much more than a musical
instrument. (High social coherence.) Many drummers have practised for years to
learn the traditional songs of the people. (social learning of values). Whether
the drum is made of hides or is a more modern version, it is respected. (It is
valued a great deal.) Nothing is ever set on it and no one reaches across
it. The singers who surround the drum are each connected to the power of the
drum by their drumsticks. (Contributing and participating in overall coherence.)
Their songs honour the traditions of the people and drum groups practice long
hours with a lead singer. (Coherence is achieved through repetition and
ritual.)
I have come to realise over the years that when tempo is steady, a
commonality of consciousness appears in the dancers, the listeners, and the players that
is much greater than the sum of the individual parts. (Coherence in and
across value levels.) This is a key element in mystical drumming among indigenous
cultures around the world. In Native American drumming ceremonies, the speed of
the pulse is critical to the intended effect. The same is true in Bali,
Indonesia, India, and in any culture that uses rhythmic drumming for ceremony,
meditation, ritual, and magic.
Buddy Helm.
Many shamanic traditions depend on some kind of repetitive percussion to
induce altered states of consciousness. (Coherence.) The shaman (a master
orchestrate of coherence inducing behaviour) may drum or use a rattle in spirit
dancing, journey preparation, or in the actual journey.
The role of a shaman's drummer is to stay present, to maintain a steady drum
beat so that one who is making the journey has a solid foundation, to provide
a dependable vehicle, and to provide a clear focal point for re-entry.
(descriptions of coherence here - freedom from patterns within patterns). The
shaman's drummer must be fully involved without going into trance. (must maintain the
sweet spot on the edge of chaos). She or he is the shaman's servant, giving a
clear point of departure and return.
Holly Blue Hawkins.
http://www.drumjourney.com/spirit/index.htm
(Highlights and comments by me.)
Mystic drumming has a clear foundation in terms of Quality, and the MOQ
provides a vocabulary for exploring these experiences.
All the best,
Mark
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