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It is through the utilisation of these sacred sounds that the shaman sets about restoring the broken relationship between human and the spirit world. Whether these spirits are regarded as benevolent angels or malevolent demons depends upon cultural considerations, however, regardless of the environment, in all cases these experiences are accompanied and even directed by sounds; toning, chanting, drumming, rattling, the ringing of bells, or the clashing of symbols.
Sadly, the rhythms used by the British and Irish shamen of ancient times have not survived., (as far as I know), but by a fortunate set of historical circumstances, the Bodhrán's sister drums have survived, some with a continuous pedigree back into prehistoric times. The shamanic hoop frame drums of the Tuvans of Siberia and Mongolia, the Laps, the Arabic tribes of North Africa and the North American Indians have, by direct descent, kept alive their ancient rhythms. It is to these that we must turn, therefore, if we are to rediscover anything about the lost Celtic / British / Irish drum and its rhythms.
Shamanic Drumming
Many textbooks on shamanism treat meditative and shamanic practices as if there were no difference between them, and recommend the same beats for each. However, trance / meditation drumming and shamanic drumming are fundamentally different, and so engage fundamentally different styles and rhythms. The misunderstanding has arisen partly because of a confusion between the purposes of each. In trance drumming we are seeking for that quiet, meditative state which may be described as a waking sleep, but in shamanic work the aim is not to relax but to be alert. The shaman, and others who practice the magical arts, keep one foot in the real world and one foot in the other world, and are equally conscious of both during their rituals. Shamen and Magicians enter the world of spirits and wish to interact in that world, whilst often, at the same time, conversing with those in the real world on whose behalf they are journeying. The rhythms therefore reflect the ritual pathworking and pattern making found in all shamanic and magical ceremonies.
From what we learn of shamanic rhythms in other parts of the world, it is clear that the majority of them have a repeating pattern. This may often be interspersed with chaotic episodes but the pattern always returns. For example I have apiece of a Divan Shamanic Rhythm from Siberia which goes D D D dud, D D D dud, ... which then changes to D duD, D duD, before rolling into D dududuD duD. There are many other examples.
Never the less, having said that, despite the evidence from these Caucasian traditions of shamanic drumming, the universal form adopted by many of those doing 'shamanic' drumming in Britain and Ireland is the North American style. A loud monotonous D D D D D D D D. (The D d d d D d d d D d d d of the cowboy films is merely a Hollywood invention) Why this adoption of alien rhythms should be I have no idea, perhaps it is the easiest to do or perhaps there is a fascination in Britain with the Amerindian cults. The task of the 'Aboriginie' British or Irish drummer is to explore the sounds the Bodhrán can make which will enhance a northern European shamanic ritual.
However, once these things are studied it becomes obvious that the way the Bodhrán is played today gives scope for effective rhythms which were unimaginable in previous periods of history. When it is done with due deference the response from those participating is electric.
By the way, as a wise woman once said to me “If you hear someone claim to be a shaman, you may be sure that they are not”.
Magical Drumming
Drumming for Ritual Pathworking and the Magical Arts.
Unlike shamanic rituals, those of the magical arts are far more structured. Invariably they will include the repetition of sacred texts and magical journeys along traditional pathways. In many ways it is similar to drumming to poetry, where the rhythm of the stanzas and the mood of the words determines the beats of the drum.
The opportunities to drum for these purposes is quite limited however, because most of these rituals are for acolytes only. My own experience here is limited to teaching the practitioner, so that they may drum for themselves when the need arises, and drumming at their open festivals.
But you don't have to me shaman or a magician to enjoy playing these rhythms.
Just play, and let the spirit of the drum take you where it will.
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