Acknowledgments

Trish

I want to extend our gratitude to every person who participated in the drum survey, the quotes from which fill the pages of this book with the voice of the community, echoing from all quarters of the Sacred Wheel. The response was so overwhelming that we couldn't include everyone's quotes in this context. Nonetheless, please know that your words inspired us, motivated us, and helped these pages sing harmoniously with both the Drum Spirit and the amazing energy of Tribe. Thank you all!

I also say a special thank you to Mino, who acted as reader, mentor, and guide throughout this book's birthing process.

Don

I thank my teachers, knowing and unknowing, Billy Woods, Davi'd, Abbi Spinner, for showing me the path of freedom with the drum. I thank Yeh Weh Node (Grandmother Twylah Nitsch) for showing me the wheel of truth and balance. Thanks to Turtle, for pushing me into the wheel when I became afraid to walk it. And I also say thank you to the drum that sits beneath my fingers and puts up with my humanness. Wah Do! to Daniella and Trish Telesco for nagging me for two years about writing this book and getting the information out for the good of all.

Appendix A: Types of Drums

The neopagan movement is, in part, about going back (or at least connecting with) our cultural and racial past. Drumming and dancing are part of that connection process.

—Okami Myrrhibis

Drum making is filled with rich cultural traditions. In some areas the name for a drum comes from the sound it makes (the name trying to mimic that sound). In some areas it's simply named after its visual impact (like the hourglass drum), and in others still it has to do with construction (like the hoop drum). The variety of drums evidenced in various settings and eras has been remarkable. We present this list to you of only those drums that are still in contemporary use, focusing mainly on those preferred for sacred drumming as we've presented it in this book.

Ashiko: A cylinder-shaped drum like the conga, tuned with a rope system, bearing a consistent high-point tone, but much quieter than the djembe by comparison.

Bodhran: A Celtic frame drum that's fairly portable and easy to learn.

Bongo: Hard to use in circles because they're not meant for loud sound (the conga is louder).

Conga: Cylinder-shaped drums popular in Cuba and Puerto Rico. This drum is tunable.

Daf: A Persian frame drum that was seen in paintings before the birth of Christ. Many Persian festivals were accompanied with the daf as early as A.D. 224, often accompanied by chanting and Sufi dancing. The daf came into Europe around the fifteenth century with the Sufis, then integrated itself into the European music in the seventeenth century.

Dhoumbak: The most important percussion instrument native to Persia, the body is shaped a bit like a goblet, carved from a single log. They are also made from metal or clay. Seen frequently in belly dance performances of the Near and Middle East, it's very portable and not overly loud. Also called the tonbak, donbak, and tombak. The Persian version of this instrument is a zarb. Incredibly portable.

Djembe: An hourglass-shaped drum among the most popular in the modern movement, it has a strong, consistent voice and can be tuned by adjusting the ropes. It is played with three basic movements, a slap (that makes a “pa” sound), go (which is a tone), and gun (which is the base).

Dundun: A wonderfully portable drum shaped like an hourglass. When you manipulate the strings of this drum the tone changes, and often makes the drum sound human. That is why these are called “talking drums.” A skilled player can learn to relate all manner of stories and messages through this vehicle. The only problem becomes learning a language for the drum that other drummers know. (Note: the language of talking drums varied a lot in Africa for many reasons, not the least of which was safety. If anyone understood your drum, they knew what you were up to!)

Frame drum: A popular one in Arab tradition for weddings and other religious rites.

Hoop drum: A two-sided drum often seen among Native Americans. The two sides give the drum a lower tone and typically amplifies one head.

Hourglass drum: Called a kotsuzumi in Japan, this drum comes in a lot of varieties (both stringed and not stringed).

Kanjira: In contrast to the tabla, this is from southern India. It consists of an eight-inch shell, two inches deep, and has a strong bass voice. A pair of jingles is often affixed to this to vary the sound. One hand must support this drum and pinch it to change the tone, while the other plays rhythm.

Pahu: A dancing drum that is popular in Hawaii for religious festivals. Very portable (because it's intended for the dancer's use!).

Slit drums: These once symbolized the voice of the ancestors encouraging us to dance. As we dance to them, we become one with the community of the past, the present, and all that's yet to be.

Steel drum (Pan): This offers a full range of notes on the chromatic scale. During times when drums were banned in Trinidad, steel drums were fashioned from empty oil barrels (early 1930s). Since the steel drum was used for band work, they're relatively portable.

Tabl: A very portable drum with two heads on the top and the bottom, and shaped equidistantly in between (taking a semirectangular form in the front), common in Arabic regions.

Tabla: A drum of northern India that has two heads, each of which is played with a different hand. Being cup-shaped, about ten inches high, these are fairly portable.

Taiko: The word taiko literally means “big drum” in Japan. These drums are typically made from one piece of hollowed-out wood, with a cow skin stretched over each end. They range in size from six inches to a massive six feet in diameter and have participated in both the religious and social life of Japan for hundreds of years.

Water Drum: These hold water and/ or have a wet head when played. Magically it's a nice way to combine elements. Since humans are mostly water, we often resonate deeply with this type of drum, which offers variety in its tones and amplification. Typically these are carved from stone, shells, or lava.

Appendix B: The Divine Drum

It comes as no great surprise that many global deities were credited either with inventing or enjoying music, dance, or specific musical instruments. Something so sweet and beautiful that touches every human heart and soul, must be divine. Since one of the goals of this book is to improve a person's connection with Spirit, we'd like to provide you with this brief glossary of global gods and goddesses who govern the fire, drumming, dancing, singing, and/ or other types of music.

For those seeking a face for the Divine to whom they relate through their art(s), this is one place to start looking. Our only bit of counsel here is don't randomly call on a god or goddess with whom you have not developed a relationship. Just as you would not go up to a stranger's door saying “gimme,” invoking an unexplored deity is similarly presumptuous. Take the time to learn about the deity's cultural setting and mythologies, and how to pronounce his or her name correctly. Then use your personal or community fire circle as a bridge between the worlds to invite those sacred powers into your life.

 

Aglaia: The Greco-Roman Grace of dance.

Agni (Vedic) : God of fire who is clothed in flame and carries the sacred fire in his hands.

Ahnt Kai (Mexico) : Goddess of women who teaches them how to sing and dance.

Ahura Mazda (Persian) : Greater god whose fire banishes the darkness and reveals truth.

Aoide (Greek) : The oldest of the Muses, who personifies singing.

Apollo (Greek) : God of the arts, who loved the lyre and singing.

Atri (India) : God of singers and sacred songs, whose name also was an epithet of fire.

Baal-Margod (Syrian) : This god's name means “lord of the dance.” Later associated with the Roman Jupiter.

Benten (Japan) : Goddess of eloquence and music, she protected the geishas.

Brigit (Irish) : Patroness of poets and keeper of the ritual fires of purification for Imbolc.

Chang-ku-lao (China) : Patron of tom-tom players (especially those fashioned from snakeskin).

Chin-hua Niang-niang (China) : Goddess of drums and violins.

Corredoio (Etruscan) : Deity of festival dancing.

Dhritarashtra (China) : God who protects the eastern quarter of creation and governs divine musicians.

Diwali (India) : Goddess of festival singing.

Dunga (Sumer) : Personified as the god of singing.

Geshtinanna (Sumerian) : Goddess of singing and interpreter of dreams.

Hathor (Egypt) : Sky goddess who also governs dancing, music, and matters of the heart.

Holi (India) : Goddess of dance and song.

Hua-tini (Polynesian) : God of dancing.

Indra (Hindu) : A thunder god whose voice is in the drum. Often depicted in the company of Gandharvas, spirits who play music and sing for him.

Kapo (Hawaii) : Goddess of hula and magic.

Kara (Teutonic) : Valkyrie who could charm enemies with song.

K'ayum (Mexico) : God of music and lord of song.

Kutkinnaku (Siberia) : Being who provided humans with the first fire stick and shaman's drum.

Laka (Hawaii) : Goddess of song and dance, and many acts of pleasure.

Lhamo (Tibetan) : Protective goddess who provides fire to those in need and who seek it earnestly.

Marimba (South Africa) : Goddess of music, especially singing.

Maui (Polynesian) : A version of Prometheus who stole the Sun to give fire to humans.

Misevalyue (Colombia) : Mother of dance and song.

Muses (Greek) : Daughters of Zeus who inspired all arts and sciences.

Orpheus (Thracian) : Being who could charm plants and animals with his singing and lute playing.

Oya (Yoruba) : Goddess of folk dancing.

Padmanartesvara (India) : God of the dance whose left hand holds a red lotus, while the other invites you to join him.

Pandara (Buddhist) : Goddess of love whose element is fire.

Pautiwa (New Mexico) : A god of ritual dramatic dancing.

Qormusta (Mongolian) : The king of the gods who created fire, and who dwells in Earth's belly tending it still.

Rongo (Tahiti) : God of agriculture and peace who adores all manner of musical sound.

Sarkin Maka'sa (Nigeria) : Drummer for all the spirits and patron of drummers.

Siva (Hindu) : God of generation and king of the dance with a drum as an attribute.

Sul (Celtic) : Goddess whose name means “Sun” and in whose temples the eternal fires burned.

Teeku-gami (Okinawa) : Deity of the drum.

Tekha Shara Matzkala (Siberian) : God of the dance who shamans visited on sacred journeys.

Thor (Germanic) : All thunder gods, whose voice is in the drum.

Ueuecoyotl (Aztec) : God of dancing and feasting, especially celebratory.

Uzume (Japan) : Goddess of fertility, whose dance brings joy and pleasure.

Vivasvat (India) : God whose name means “he who lights up,” and whom the Rig Veda credits with being the fire bringer.

Votan (Central America) : Mayan god who guarded the slit drum (tepanaguaste).

Yueh Sung (China) : Patron of music and those who make musical instruments.

Zeus (Greek) : Thunder god, whose voice is in the drum.

Zhang Guo-lao (China) : One of the eight immortals whose attribute was a bamboo drum with two sticks.

Select Bibliography

Note: Due to the cultural diversity of drums and the varied ways in which people used them religiously in those settings, snippets of information for this book had to be gathered in a variety of resources. This list represents those resources that we found most helpful to broad-based research, but you can also find more information by exploring a specific drum's culture (and associated myths/lore), or by exploring books on music and percussion.

Arrien, Angeles. The Four Fold Way. San Francisco: HarperSanFrancisco, 1993.

Bebey, Francis. African Music: A People's Art. New York: Lawrence Hill, 1975.

Beckwith, Martha. Hawaiian Mythology. Honolulu: University of Hawaii Press, 1970.

Blacking, John. A Commonsense View of all Music. Cambridge: Cambridge University Press, 1987.

Blackwolf. Earth Dance Drum: A Celebration of Life. Salt Lake City, Utah: Commun-a-Key Publishing, 1996.

Blades, James and Jeremy Montague. Early Percussion Instruments from the Middle Ages to the Baroque. London: Oxford University Press, 1976.

Buchner, Alexander. Musical Instruments through the Ages. London: Batch worth Press, 1961.

Burton, W. F. T. The Magic Drum: Tales from Central Africa. New York: Criterion, 1961.

Campbell, Joseph. Historical Atlas of World Mythology. Vols. 1 and 2. New York: Harper and Row, 1983, 1988.

Cooper, J. C. llustrated Encyclopaedia of Traditional Symbols. London: Thames & Hudson, 1978.

Drake, Michael. I Ching: The Tao of Drumming. Goldendale, Wash.: Talking Drums Publications, 1997.

Gordon, Stuart. The Encyclopedia of Myths and Legends. London: Headline Book Publishing, 1993.

Gowan, John Curtis. Trance, Art, and Creativity. Northridge: California State University, 1975.

Hart, Mickey. Drumming Magic. Novato, Calif.: Grateful Dead Books, 1990.

_____. Planet Drum. New York: Harper Collins Publishers, 1991.

Hawkins, Holly Blue. The Heart of the Circle. Freedom, Calif.: Crossing Press, 1999.

Hood, Mantle. The Ethnomusicologist. Kent, Ohio: Kent State University Press, 1982.

Jung, Carl. Man and His Symbols. New York: Doubleday, 1964.

Klower, Tom. The joy of Drumming. Diever, Holland: Binkey Kok Publications, 1997.

Kristel, Dru. Breath Was the First Drummer. Santa Fe, N.Mex.: QX Publications, 1995.

Leach, Maria, ed. Folklore, Mythology and Legend. New York: Harper Collins Publishing, 1984.

Leach, Maijorie. Guide to the Gods. Santa Barbara, Calif.: ABC Clio, 1992.

Mathieu, W. A. The Musical Life: Reflections on What It Is and How to Live It. Boston: Shambhala, 1994.

Merriam, Alan P. The Anthropology of Music. Chicago: Northwestern University Press, 1964.

Oesterley, W. 0. E. The Sacred Dance. Brooklyn, N.Y.: Dance Horizons, 1923.

Reck, David. Music of the Whole Earth. New York: Scribner's, 1977.

Redmond, Layne. When Drummers Were Women. New York: Three Rivers Press, 1997.

Sachs, Curt. Rhythm and Tempo: A Study in Music History. New York: Norton, 1953.

Von Franz, Marie-Louise. Time, Rhythm, and Repose. London: Thames & Hudson, 1978.

Wilson, Sule Greg. The Drummer's Path: Moving the Spirit with Ritual and Traditional Drumming. Rochester, Vt.: Inner Traditions, 1992.