144-5

"A characteristic feature of Siberian drums was that animal skins covered only one side of these drums."

145

217

(1) the handle in the form of a metal ring in the center of a drum; in this case, the ring is usually connected to the frame with four small ropes or leather thongs; this type of drum was used by the Koryak, the Yukagir, natives of the lower Amur area, extreme Far East and Sakhalin Island, the Evens, ... the Buryat and the Eastern Mongols ...;

218

(3) the handle is represented by sticks, which are tied to a frame by small thongs; ... as in the Khanty, Mansi, and Nentsy drums".

221

(1) Handles that are ... in the forms of ... a small wooden bar that narrows to the middle .... were used by ... the Khakass, ... the Tubalar, the teleut, the Shor, the Tofalar, and by ... [Eastern] Tuvinians. ...

219

the Chelkan and Kumandin; the latter two groups carved their handles as two-headed images, with one head located in an upper side of the drum and the other in the lower part."

146

223

"among the Evenki, names for ... drumsticks originated from a word root gis or gisun, which means "speaking.""

150

"The Tungus in the Olekma area have a "cleansing device"made in the shape of the mouth of a large sea fish. They believe that the person who goes through the fish’s "mouth" usually leaves his or her ailment on its teeth."

151

"The Yakut (Sakha) ... rite ... includes passing between the legs of a wooden image of the daughter of the hunting spirit. {[Inuit] Sedna & her father ?} .... Inside a yurt in front of a carved image of this spirit, natives set bent poles that form a structure that resembles a tunnel. After a shaman crawls through this tunnel ... ,the shaman again crawls back between the "legs" and "shakes" off the spirit of hunting."

158

82

A handle for a drum, which was called mars (tiger), was usually manufactured from birch wood. ... Clan members prepared themselves in advance for the "drum feast," which members of a shaman’s clan treated as their own feast. Any qualified people ... to participate in making the drum ... were to be males, even in cases where the spiritual practitioner was a woman. The person who was responsible for making a drum’s frame usually brought home rose willow wood and ... Then the wooden board was soaked in river water for a few days, after which it was easy to bend. On each side of the board this person made holes using a hot iron rod. Then he bent it in the form of an oval and sewed it with thongs made of horse skin. ...

83

In the upper and lower part of the handle, ... carved an image of the master of a drum and made drawings using the burned bones of a hazel-hen. ... The a blacksmith hammered a thin iron rod with small curves to serve as a crossbar. The curves helped to keep pendants, which hung on the rod, separate. The rod was called temir (iron) or kyrish (a bow-string). ... The pendants, which hung on the rod, were small cylinders rolled from metal plates. The number of the pendants matched the number of a shaman’s spirit helpers. ... In addition, a blacksmith hammered special pendants called "sabers," which were shaped as small sharpened leaves. The "sabers" were usually attached to the frame of the drum. The Shor believed that all pendants were supervised by the spirit called tengis who lived underground, and who in turn was subjected to the control of Erlik ".

159

84

"The Shor usually used the skin of a wild goat to cover a drum’s frame. The Chelkan natives used the skin of a horse or a deer for the same purpose. The skin was soaked in river water, after which the fur was easily separated from the skin. ... Then they stretched this skin over the frame and tightened it with a rope. Then they inserted a small stick in the rope, and ... tightened the rope as much as possible. ... In the evening, a large fire was set up, and a few men took turns smoking the drum over the fire. ...

84-5

In the middle they painted a white rainbow ..., while under the rainbow natives depicted a birch tree. The sky was represented by three suns : two large ones and one small sun. Under the sun near the birch tree, they drew to:s spirits : a falcon sitting on the birch ... There was also a squirrel above the rainbow, and a cat under the rainbow. On one side of the birch tree, there was a frog, while on the other side of the same tree, there was a snake."

160

85

"In the morning before the beginning of a shamanic se’ance to introduce the new drum, each man ... brought a ribbon on behalf of an entire family. the ribbons were tightened to the iron rod. Before the first se’ance, some Shor shamans attached only nine ribbons to a drum, which matched the number of spirit masters of the mountains, through which the route to U:lgen goes. Ribbons served as clothing for to:s spirits."

206

70

"the Kumandin Altaians used a bow to shamanize to the spirit protector of hunting (tajgam). ... in the Altai the shamanic se’ances in which bows and arrows were used instead of drums served only the needs of shamans’ relatives". [cf. (p. 209) Kumandin se’ances for relatives]

71

"The Buryat shamans used bows for soothsaying by placing their ears close to [twanged] drawn bow strings and interpreting the sounds they produced {did use of the bow as a musical instrument praecede use of bow-with-arrow as a hunting-implement?} or by looking at a fire along a bow string."

74

"on their backs, Altaian shamanic costumes has applique’s of a small bows with arrows. Karagass shamans sewed to the backs of their costumes an applique’ of a small bow with arrows. Inhabitants of the Minusinsk area (the Khakass) drew bows and arrows on their drums. An ancient Altaian goddess called Umai {cf. [Astika] goddess UMA}, the protector [protectrix] of women and infants, always carries a bow and arrows." {cf. also [Hellenic] Artemis & [Kemetian] NTt (Neith)}

207

"among the Buryat, strong shamans inherited from their ancestors so-called shamanic root (utkha or udkha) that literally means thew arrow. In the same manner, among the Altaians and the Tubalar, strong shamans who inherited their sacred power from ancestors-shamans were called uktu-kam, which means "a shaman who has an arrow.""

"Buryat funeral ceremonies for deceased shamans" :- "When a funeral procession went far enough from a camp, an arrow (utkha) was shot back in the direction of the camp. On the way back, people tried to find this arrow. ... Native believed that once recovered, the arrow would bring shamanic power back to a lineage."

208

192

From inside near the iron rod, the handle has a small carved depression. That is where the a shaman hides the soul (jula) of a patient. During se’ances, shamans usually catch a patient’s soul and hold it their by keeping their fingers on the depression. After this, shamans try to get the soul back into its body through the right ear of the patient". {cf. diks.a by whispering mantra into right ear}

193

From the outside, on the cover one can see drawings made in red stone paint. Spiritual practitioners ... solicited help from male neighbors who "painted," using their fingers ... who tried to replicate the drawings from the drums ..."

209

198-200

A handle of a drum was always carved from a piece of growing birch tree. ...

210

"Unlike the southern Altaians, the Tubalar, the Chelkan, the Kumandin and the Shor, the Teleut did not practice a ceremony of animation of a drum. ... Yet the Teleut did "animate" a drumstick, which was covered with the skin of a mountain goat. ... For a drumstick, the Teleut used purple willow ... During a se’ance devoted to an animation of a drumstick, a shaman usually imitated the mountain goat whose skin covered the drumstick."

211

For a dead shaman, "Ribbons from your drumstick are spread over seventeen roads."

221

366

Cedar wood is used to make a drumstick. ... The lower part is usually painted in black, which symbolizes the underworld, while the upper part is colored in red, which symbolizes the upper world. To the interior of a drumstick, natives glue a skin from the forehead of a wild buck deer. ... the Khanty-Nentsy shamans have a special all-black drumstick that is used only when a shaman descends to the underworld. To the interior of such drumstick they glue a piece of fur from the right paw of a bear."

367

"After a community finishes manufacturing a drum and a drumstick, these items should be animated. .... The ceremony of animation, in which all members of a shaman’s clan participate, is timed to a seasonal migration of birds and usually lasts ten days. {cf. <arabi^ 10-day cycle (3 per month), and [implicit in repeats of names of deities of nights of the month] Hellenic 10-day cycle (also 3 per month) – the 3 sets of 10 each being matched with the Maori sets of 10 (of heavens & of underworlds)}

221-2

On the first day, a shaman goes to the woods and finds ... the trees that were used to make a rim for a drum and a drumstick. Guided by helping spirits, and old shaman collects all remaining parts of these trees, including tiny wood chips. {cf. [Maori myth of] wood-chips reconstituted by the Patupaiarehe (fairies) after Rata had chopped down the tree} All collected parts are stored together in a pile at a swamp, where "old sister-in-law," the spirit-protector of all Khanty-Nentsy communities, resides. In their shamanic mythology, the spirit-protector lives at the point where two shamanic rivers flow side by side : "the Eagle River" and "the River of kedrovka bird."

222

369

"On the second day, the old shaman locates a place where the deer whose skin was used for making the novice’s drum and drumstick lived. ... Each dropped antler, each bone, and even the waste of people and dogs, which ate the meat of this deer {cf. dung in stables of Augeias}, are collected ... Now the old shaman faces the ... task : to catch the soul of this deer. During this venture, the shaman uses spirit helpers."

"On the third day, the remnants of the deer are "resurrected." ... The shaman makes an image of a deer from ... seven ... ribs. After this, upon the shaman’s request, two spirits, "Father Raven" and "Mother Raven," fly to fetch "water of death" and "water of life." {cf. <arabi^ 2 ravens of the <aKK leading pilgrimage-procession (BI, p. 7) -- <uKKah ‘change in color of female camel after conceiving’ (LA-L 3:199) [to suggest revival of animal by its re-incarnation?]} ... With the "water of death," all pieces of the deer become connected ... "Water of life" makes the deer breathe, and ... to "stand" up ...

370

Now riding the animated "drum-reindeer," the shaman journeys to the "shaman tree"."

"On the fourth day, from the early morning, the shaman sets out on a spiritual journey. By the evening the spiritual practitioner reaches a bank of the "Eagle River." The river has a bridge that is tested [on 5^th day?] by seven mighty warriors (bogatiry). If the bridge is durable enough, the shaman crosses the river [on 6^th day?]. The next points of destination of the shaman are

222-3

[on 7^th day?] a "river with black paint," where black paint is "taken" to color parts of shamanic paraphernalia,

223

[on 8^th day?] a "river with red paint," where red paint is "taken," and

[on 9^th day?] a "stone river," where special spirits "collect" for future shamans small pebbles to be inserted inside ... a drum’s resonators." {cf. river Sambat.yon, "which without water rolls sand and stones with such force" according to >eldad ha-Dani^ (SSS)}

Finally, the shaman "comes" to the "the shaman tree," the final point of destination."

223

435

"After a frame was bent, its ends were connected with thin threads made of cedar roots or strong fibers of a bird cherry tree."

224

"When an animal skin was stretched over a frame, the sticks ... served as sound resonators."

"coastal Chukchi, who were marine hunters, stretched the stomachs of walruses over their drum frames".

225

446

"drums with an exterior handle ... are usually small in size, the smallest drums in Siberia. ... Such drums were used by the Chukchi and the Eskimo (Yupik).

Among drums with an internal handle ... (1) Western Siberian drums, which ... had ... seven "bumps" on a frame, a ... forked handle, and drawings depicting circles that symbolized the universe. ... Such drums were used by the Ugr people of the Obsk area, the Nentsy, and some Entsy."

(c) the "Altaian version," which differed from the Shor version by its handle that had one or two carved human images on both ends.

226

(b) Nganasan-Entsy drums that had round form and that were smaller."

447

(b) The drums of the "TransBaikal version," which were used by the TransBaikal and the Okhotsk Evenki ... Transbaikal drums were round ..., and sometimes were decorated with drawings, as among the TransBaikal Evenki".

227

5-6

"young Selkup shamans received waistbands and headbands but not metal pendants. ... Beginning Kachin (Khakass) shamans had only small blankets."

6

"During their se’ances, some Siberian shamans attached to their casual wear such ritual marks as ribbons or plaits. Sometimes, male shamans used female clothing or their own casual wear, turned inside out. {turncoat} Other shamans used clothing that looked almost like their casual wear except a color : for ritual purposes, they usually selected clothes of lighter colors."

228

8

"The Entsy tribe shamans even depicted marrow on their footwear."

229

"the Selkup, the Dolgan, and the Sakha designed the whole costume as the bear symbol."

230

86-7

"Altaian and Khkass shamans attached genuine bird wings to the backs or shoulders of their caftans. Frequently they also sewed to the sleeves, at the spots that matched hand joints, iron or copper plates of a square or oblong form. These plates symbolized the joints of bird wings."

238

118

"Bo:n "conjurers" used the Siberian type drum (buben) with a wide frame and with a short wooden handle."

240

"Bo:n "magicians" used the "Siberian" drum not only as a percussion instrument, but also as a ritual object in their rite called "soothsaying with the help of the drum. ... The "conjurers" who performed the ceremony drew two circles on their drums, and then divided them into sixteen sections by drawing perpendicular lines. ... In the boxes created by the perpendicular lines, "conjurers" wrote in the names of spirits ... In addition using their fingers, soothsayers applied a drop of milk to each section and then placed a seed in each drop of milk. On the white [right] side of the drum, a few seeds "stood" in a row symbolizing the "guards" of a patient. On the border between the black [left] and right sides, another seed was placed that symbolized the patient. In the course of such se’ances, "conjurers" addressed their appeals to various deities and spirits."

241

122

Like southern Siberian shamans, bo:n "magicians" used their drums as "flying devices" to travel to the upper world."

123

"All shaman drums in southern Siberia were covered with a hide on one side [only]. ... according to a Buryat legend, in old times drums were covered from both sides ... after the first shaman, Morgon-Khara, riding his drum, ascended the heaven in search of a lost human soul, powerful deity Esege-malan-tengri became so angry that he reduced the power of shamans by dividing their drums into two halves."

"the name for the Tibetan gong khar nga means a "copper drum." ... in Ataian legends one may find frequent legends to a copper drum (dzes tiungar). In these legends, the mythological owner of such drums is usually an old shamaness."

242

124

"the costumes of Vietnamese shamans had pendants that look similar to those that Altaian shamans attached to their own costumes. Moreover, ritual drums used during shamanic se’ances by several tribal groups of southeast Asia resemble Siberian drums."