Wightridden, III



Heartbeat of the Worlds



p. 84 sun-souls; dream-controlled fire-god

[Yakut shaman's song, from Czaplicka's book]

"Souls of the sun, mothers of the sun,

Living in the south, in the nine wooded hills,

... -- let your three shadows stand high! ...

And thou, grey-bearded wizard Fire, I ask thee

{[Aztec] Fire (Xiuh-tecuhtli) is the 'eldest god' (Huehue-teotl).}

With all my dreams, comply!"

pp. 87-8 manufacture of, and uses for, shamanic drums

p. 87

"jingles of metal and bone were often attached around the rim, ... made into magical charms. Making the drum in this way called the proper spirit into it, and it was -- and is, to modern shamanic pracitioners --

considered a living being

{considered to be regularly heeded by a living spirit-entity}

from then on. If the head had to be replaced, it was replaced over the old broken head, for to have an empty hoop

would kill the drum-spirit. ... .

{would dismiss the drum's tutelary-spirit}

... shaman drums -- especially the runebom of the Saami noaide -- were drawn with a map of the worlds on them, including the various spirit helpers. ...

p. 88

So the drum is an altered-state tool, opener of doors to other worlds, caller of wights, energy-transmitter, and divination-method."

p. 88 rhythms of body and of brain

To accomplish attunement of bodily-rhythms, "beat a drum held just above the body of the (usually reclining) client, moving it up and down from point to point, and listen to how the drum resonates with the energy points of the astral and physical body. If some points are sluggish or too fast, drumming for a period of time just over that point at a more correct rhythm ... can slow them down or speed them up, ... set them more right with the rhythm of the body itself."

"Each hemisphere has a different task to concentrate on while drumming --

the left brain keeps track of polyrrhythms and sees how they fit together, and

the right brain does the work of entraining the body to the rhythm and doling out any ecstatic chemistry.

Drumming -- or any kind of music ... -- brings them together in one act."

{This is the basic principle of Robert Monroe's Hemi-Sync for attaining visionary imagery while awake.}

pp. 89-90 very long waves, transmitted in the Earth

p. 89

"Law of Entrainment" : "In 1665, the Dutch scientist Christian Huygens noted that ... clocks ... next to each other ... would slowly come into rhythm with each other. ...

{This is a tendency, in pendulum-clocks, for pendula in mutual vicinity to align mutually their movement of swinging.}

We don't know why it works ... ."

{Their wave-forms merge into co-incidence. These waves must be very long, and transmitted underground in the Earth, like other long waves (including earthquake-waves).}

p. 90

"The Earth's own rhythm is about 8 cycles per minute. When you drum along that rhythm while sitting on the ground, after a while you entrain ... to that cycle ... and this is a way to connect into the land-wight in a way that is fully experiential on some level, ... between radically differing beings."

pp. 90-1 rhythms appropriate to deities

p. 90

"Not only is there a rhythm for all beings in this world, there is also one for all the beings in every other world, and for the Otherworlds themselves. These can be used to invite those beings and that energy into a person or a space in a gentle and organic way .... . In the Afro-Caribbean traditions, each lwa or orisha has their own special drumbeat which is used to honor them, and also to use as a vehicle for spirit-possession, should they choose to enter the bodies of any of their dancing worshippers."

p. 91

"Odin {O`dinn} intimated that each of his heiti was a slight variation on one part of his base rhythm, but he did ... tell he that it would be ...possible to figure out. ... .

... I was able to come up with the rhythm of ... Jo[,]rmundgand, who graciously danced it for me until I got it right and was able to repeat it. It is ... based on counts of eleven ... . There are five repeats of eleven beats, and then six repeats of five beats".

p. 92 sexagenary; enneadic

"Taoism is bounded by fives, Ayurveda by sixes, and the Babylonian ... by twelves. ...

{Actually, not only is the Akkadian (Babylonian) numeral-system based on [5*12=] 60 and its powers, but similarly in the Chinese calendar-system based in the same [5*12=] 60 (60-day cycle during the Shang dynasty, 60-year cycle modernly).}

I am trying to work out the numerology of the Northern Tradition -- ... its ubiquitous nines".

{The 9 Worlds of the Norse would perhaps match the MesoAmerican 9 Netherworlds, and/or the Taoist 9 Heavens.}

pp. 92-3 galdr

p. 92

"Song galdr is a type of spellsinging ... . ... Galdr is closely associated with runes; one form of rune-galdr is just singing the names of the runes ... . ...

p. 93

In ancient Norse poetry, there was a particular poetic verse-form that was called galdralag, or magic spell meter. It is a form of fornyrdislag (old-ways-speech) ... . ... In addition, galdralag is made up of four lines to a stanza, and the fourth lines echoes and varies the third line."

pp. 94-5 seid-laeti &c.

p. 94

"Seidhr-workers also had specific songs that carried their magic-power, called seidhlaeti ... . ... they might live on in the Scandinavian custom of lockrop, or singing special high-pitched chants in order to summon cattle. Others have compared them to the Finnish tietaja songs, and the Saami joik, both of which are still used today. Joik -- ... special to the Saami noiade -- is similar to galdr ... in that it is largely improvised on the spot".

p. 95

"Finnish tietaja ... can be found in the Kalevala, such as the songs sung by the shamanic hero Va[:]inamo[:]inen".

pp. 96-100 [by G.K.] rune-galdr

p. 96

"Galdr, from the Old Norse verb gala (to crow ...)".

{aequivalent to the Old English verb /giellan/ 'to yell'; cf. Old English /gielpan/ 'to yelp'.}

p. 97

"The energy of our galdr ... creates a bridge and becomes an experience of the rune ... through Midgard ... . The runes can travel through all realms, but cannot create the bridges and doorways themselves. ... The runes will teach and test the singer ... . ...

p. 98

I never plan galdr out beforehand. ... There is a reason its etymology comes from a verb meaning "to crow." ... The sound heard during galdr is the sound of the runes flowing over and into

p. 99

the web of Wyrd itself. It reflects the vibrations of those threads. ... Once a person begins to galdr with the intent of infusing a rune ... into the web, a pattern will emerge on the threads ... . ... Some people may find that they have a unique ability to harmonize and balance energies out of a group's galdr-working. ...

I have used galdr ... to hallow a particular place/space, to induce shape-shifting in a berserker, to induce trance ..., and to connect to Odinn {O`dinn} on the Tree ... . ... It is one of the most effective tools for luckworkings ... . ... The body itself ... becomes a conduit for the rune and

p. 100

its power. ... It leaves its mark and will pattern the singer to ... a greater awareness of the ... patterning of Wyrd."

pp. 101-2 shamanic dancing

p. 101

"If a shaman does dance, the ability to keep it up tirelessly for hours (even if they are [he or she is] old and lame ...) is seen as proof of their [his or her] spirit-powers. As a spirit-worker who has had the wights use my body for things that would be physically impossible for me to do, and as someone with a chronic illness who has still found

p. 102

that an on-duty {auric} light for my {shamanic} job gives me sudden reserves of energy and strength that I wouldn't have had otherwise, I can believe that this is so. ...

An altered state which invites the spirits often requires the spirit-worker yo do things that are strange, weird ... . ... This means that the spirit-worker who is called to dance ... in front of a group needs ... connection with the spirits".

pp. 104-8 [by L.S.] trance-dancing

p. 104

"I began to spin. ... Soon I was fully entranced."

{Cf. the whirling darwis^ trance-dance.}

p. 105

"My first introduction to ... "trance dancing," was through Jan Fries' book Seidways. ...

p. 106

We spend ... years ... to learn how to leave our bodies, to escape into other worlds by astral projection, ... trance work, worldwalking ... . ...

p. 107

Costuming is often involved, and there is ... spinning and leaping to raise energy to cast out {i.e., expand (not expell)} the intention of the group ... . This is a form of trance dancing, and the purpose of this motion is to create an altered state wherein {occult} energy raised to affect {effect} a specific {magical} end. ...

It is up to ... either a high priestess or some other person who is able[,] to harness and send energy forth -- to utilize the energy raised for specific ends. ...

p. 108

This ... asks the dancer to incorporate ... the skill of listening to energy patterns and entities to find the niche where they can fit in and alter things {such as consciousness} within a group. ... Particularly in a group situation, this must be handled only by those who ... can also direct the energies as they move. ... This practice is one that takes years to develop, as it goes beyond ... trance and energy creation into an entire spiritual practice."

p. 109 attaining trance by dance

"With enough practice, the dancers will be able to reach a trance state -- perhaps easily ... . ... It may help the group if there are drums accompanying this practice. ... There is already a good deal written on the intention and proper way ... in dancing for magickal and trance purposes."

pp. 110-1 for the solitary dancer

p. 110

"you must be outdoors for learning physical trance states. ... You have to learn how to interact outside -- be it leaving offerings to land spirits, gods, giants and other entities, or dancing in a park alone without music. There is also power in the outlandish -- ... there is power and energy in the absurd. ...

p. 111

Let ... the spirits around you ..., your gods, ... be the force that choose what you are to do. Once you embrace this type of movement, you will find that you can slip quite easily into trance states, both controlled and uncontrolled. ...

I dance to connect with the spirit world. I find that they {viz., spirits} are more than "noisy" enough to guide me to the correct moves."

p. 112 spell-making with yarn and with silk

"I spun spells from the wool ... . ...

I made a number of spells in gray-and-white yarn for invisibility, designed to be tossed over the shoulder as you recite the spell, and then you walk away and your pursuers can't find you.

I also spun some out of black yarn for shadow-binding spells, and

some out of plain white silk for creating boundary spells ... .

I cut a stick of rowan wood, and wrapped them all onto it".

p. 114 vett

"practiced seidr {seidr} on Sams[-]ey {"isle of Sam" (cf. name of Saman-Veda?)},

... beat on a vett as vo[,]va[-]s do.

-- Lokas[-]enna 24"

"the mysterious vett is ... a pot-lid."

{A pot-lid held by its hand would function as a cymbal (played, e.g., in the cult of Kubele/Kubebe); but suspended, it would function as a gong.}

{Raven Kaldera, in undergoing [as commanded by a Goddess, vide Pathwalker's Guide to the Nine Worlds, p. 3] surgical removal of gonads and other sexual features of the body, is promoting the cult of Kubele/Kubebe. Such unnecessary surgery is virtually unknown (anywhere in the civilized world) except there; it is no feature of any shamanic culture, however much shamans' bodies may behave as membres of opposite gendre while they are actually possessed (occupied) by deities of opposite gendre from their own.}

p. 115 major varieties of shamanic drums

"I was told {by immaterial deities} that I needed to have drums, ... I ... having noncorporeal teachers ... .

There seem to be be three kinds of drums in the shamanic tradition I am being taught {by deities} that are useful to the modern-day shaman.

The first type is a Worldwalker. These are generally flat frame drums, and are used both for moving between worlds and for doing divination. ...

The second type is a healing drum, for healing rituals, and is ... made of fired clay ... . ...

The third is a large drum carved out of a single log ... . It is used ... for calling the Dead."

p. 115 minor types magical drums

I've been told that there were other sorts of drums long ago, but I have not been introduced to their energy.

One was the hunting drum, which the shaman uses to call ... the prey animals close to human habitation ... . ...

Another was a weather drum, which could be used for calling or turning storms, but the spirits that it was associated with were dangerous and capricious ... . ...

Yet another drum was played for sexual fertility rites by the community".

pp. 116-8 decorating, & communicating with the thus-acquired spirit-resident of, one's own personal shamanic drum

p. 116

"The first drum I used had to be a frame drum. ... it had to be round or oval, broad and shallow and flat. ... I ended up drilling tiny holes all around the exterior of the drum, and I attached tambourine jingles ... . Each of the jingles conveniently had a dangling ring attached, and from {that} then I hung ... metal cone bells ... . ... [On the drumhead,] I drew the World Tree, with the Nine Worlds around it. I drew it looking from the top down ... . ... .

p. 117

... the drum of the Saami shamans, which is called a rune[-]bom ..., ... is a frame drum, often hung with metal jangles ... . The pictures ... had drumheads completely cluttered with ... symbols, including usually drawings of a World Tree and at least three levels of world. ... The drum was vital to the Saami noaide[-]vuohta, or shamanic work. Saami drums were ... bowl-drums carved out of tree burls. They were beaten with an antler handle, and covered with symbols of the various Otherworlds ... . ... A small frog-shaped flat-bottomed pointer of brass, horn, or bone called an arpa was sometimes used as a divinatory "seeker" on the top of the drum. They were festooned with ... figurines, claws,

hooves, teeth, ... and sometimes even

the penis bones {? there is no such thing!} of bears."

{"among the Saami, ... women were warned to ... "beware the bear's honeyed penis."" ("V&BNT", p. 20)}

p. 118

"The spirit of the drum was very feminine -- both of my drums have been ... -- and I did a ritual to ask her name ... . She had two names, Yggdrasil Moonsong.

Yggdrasil for her first job, which is to be used to walk between the worlds,

Moonsong for her divinatory abilities."

"My second drum had to be made of ... clay. ... I used a clay doumbek from Greece ... . ... My assistant ... hanging strings of shells on her ... . She's a healing drum, to be used for trances whereby one moves through the body of the client. I dipped her base into the ocean, fully awakening her and finding her name."

"V&BNT" = Frog : "Vo,lund and the Bear in Norse Tradition". https://www.academia.edu/3719502/V_lundr_and_the_Bear_in_Norse_Tradition_a_blast_from_the_past_

pp. 120-3 process of drum-making

p. 120

"1. The would-be drum-maker spends time in a piece of land, ideally one where s/he has a good relationship with the land-wight ..., because a cooperative land-wight can help you find the right tree. ... The best wood was chosen from trees which are grown in a swamp beside a rock ... . Offerings are made to the spirit of the tree ... . They should be sung to".

"2. The tree is cut down,

{This is based on the assumption that the tree is one lacking in major branches, such as the pine : "Saami folk make their drums out of pine". A single branch of a tree having large branches, would suffice.}

split, and the long narrow board that will be the drum's frame is sawn out of it along the heart. Each end should be cut with a bevel ..., facing in opposite directions so that when the board is bent in a circle, the two beveled ends will overlap and join perfectly together. ... The board is placed in a stream, lake or pond overnight to soak."

"3. ... The board is drawn from the water like a midwife draws a baby from the watery womb, and with the same attitude. A song of birth should be sung while it is drawn out".

"4. Then the wet wood is laid across the cauldron -- or ... several cauldrons -- and steamed until it can be bent by the hands. ...

p. 121

When it can be bent like a bow,

{Did the notion of bending wood for a drum-frame originate in the bending of a musical bow?}

a very long strap ... with a buckle and holes ... is placed down {along, around} its length on the outer curve, and buckled".

{Could this be intended to repraesent the strength-increasing belt of To`rr?}

"5. The drum-maker keeps steaming the wood and cranking down the strap."

"6. Another tree is found. It should be a live tree ... . ... the strap is temporarily taken off [from the drum-frame], the [drum-frame] board bent entirely around the living tree so that its two beveled ends meet, and the strap rewrapped again ... . ... This ... is kept there for a few hours and removed ... . Then it is restrapped, hung on a branch {of that tree}, and left overnight to set."

{If the original drum-frame tree were not killed, then this rite would be done on it.}

"7. When the frame is entirely dry ... it is removed from the mother tree, and the mother tree is thanked with an offering on her roots. Two small holes are drilled in the overlapping ends of the frame, and two small wooden pegs are hammered in."

p. 122

"8. A skin is found for the [drum]head. ... ideally it is from an animal that you got to know while it was still alive ... . ... The skin should have been thoroughly scraped, stretched, and dried, and then it is soaked overnight ... . It is stretched over the frame while wet, trimmed so that it extends only to a couple of inches ..., and holes punched in the edge. Rawhide ... is laced through the edges, lacing them to a metal ring a few inches smaller than the drum diameter, which should "float" in the center of the back of the drum."

"9. After much adjusting and retightening, the skin is allowed to dry. ... When it is at its best tightness, and makes a good sound when struck, it is done."

"10. "Then the drum is awakened fully in a ritual which will vary depending on what its purpose is to be. ...

p. 123

The drum will give you its name, and then it is alive ... . It should be blessed ... with its final purpose -- healing drums are gnerally dipped in the ocean ...; worldwalkers are waved arund a fire, and so forth."


Raven Kaldera : Wightridden : Paths of Northern-Tradition Shamanism. Asphodel Pr, Hubbardston (MA), 2007.