Circle of SongCircle of Song: Songs Chants and Dances for Ritual and Celebration If you can walk Sacred music and dance are powerful tools that have been used by cultures throughout the ages to awaken consciousness, call in power, heal the body and spirit and enhance the celebration of important occasions. For the ancients, dance and music were considered not just for entertainment but as forms of active prayer and worship, a way of communing with the gods and goddesses, of re-connecting with the cycles of nature and with all life. Today in the West, many people have forgotten the true purpose of these arts. We need to reclaim our ancient dance/music heritage, to revive and create sacred music and dance forms that are appropriate for our lives today. This ceremonial sourcebook offers chants, songs, dances, simple rituals and meditations to enhance our communion with the sacred and help us celebrate with others. The material is presented by themes along with other text and guidelines to inspire individual and group creativity. The Power of Chanting Sound, especially the human voice is a powerful catalyst for healing and transformation. As we sound and sing, we harmonize our being, lift our spirits and dissolve our pain. Unlike a song, a chant usually consists of only a few words and a simple melody that can be readily learned and easily repeated. Because of this repetitive quality, chants put us quickly into a meditative state and help us to easily clear and center our minds. A chant is designed to activate and balance the inner self, to amplify and raise energy and focus spiritual power. As we chant the words and melody repetitively, we give voice to our feelings, deepen our devotion, and call forth what we want into our lives. Every chant has a specific purpose and meaning associated with it that can be invoked each time it is sung. A chant accumulates power with each repetition. It helps us to become one-pointed in our concentration; to quiet and empty our active thinking minds and connect deeply with the core of our being. The simpler and more repetitive the chant, the more effective it is. Repetition puts us easily in a hypnotic state where we no longer have to think about what we are singing; the chant begins to work through us. We are no longer doing the singing, the singing is doing us. Often a chant incorporates a key inspirational, sacred phrase called a mantra in Sanskrit. The word ‘man’, means to meditate or contemplate, and ‘tra’ means to protect and free from bondage. These sacred phrases include the names of God/Goddess, prayers, poems and other inspirational thoughts upon which we can meditate, bringing us closer to spirit, to ourselves and all life. Mantras are chanted over and over, either aloud or silently, helping us to attune to a particular vibration, deity or energy we want to bring into our lives. An effective mantra or chant stays with us and reverberates in our mind throughout the day. It brings us increasing balance and harmony and creates a deep trance state which can last for hours. Many sacred phrases in chants are affirmations. They invoke a particular quality we want to affirm or call into our lives, such as ‘Air I am, Fire I am’. Some of the choruses of our popular songs have become mantras. For example, the well-known ‘We Shall Overcome’ or the familiar Beatles ‘Let it be’ repeated over and over are forms of mantra. Saying and singing them out loud gives them more power--especially when we repeat them over and over. Through chants and songs we plant positive thoughts and ideas which are then quickly made emotional through music. The feeling evoked by music magnifies words. Psychologists have found that music works much faster than affirmations or the spoken word alone for programming our subconscious. The most powerful mantras and sacred phrases are in ancient languages such as Hebrew and Sanskrit. We feel the vibration of the sounds reverberating within us, even if we do not know their meanings. But it is also important for us today to use and empower our own modern languages, to bring sacredness to our everyday words. Chanting is active vocal prayer. As we chant, we sharpen our focus and intention and deepen our devotion. For example, many Native American chants begin with ‘Hey’. As we say ‘Hey’ we call the divine forces and say ‘I want your attention.’ Calling also gives us a way to work with affirmations--naming and claiming what we want. Not only are we affirming that ‘I am----’, we actively invoke and call that quality or thing. Working with Chants Chants, simple songs and dances, such as the ones in this book, are wonderful to use as part of personal and group rituals and ceremonies. They help us to focus intention, build community and bond quickly with others. When a group makes sounds or music together, a vibrational force field is created which accelerates and intensifies the healing process. As you sing, it is good to attune to the essential quality and power of the chant, to feel its unique spirit and vibration. Some chants work best if sung in a strong, steady, sustained voice all the way through. Others need to be sung slowly, still others more quickly. Stay with the feeling evoked by the words and music. Whenever your mind wanders, especially when doing a repetitive mantra, come back to the feeling. Let the feeling deepen. Before chanting, try a preparatory meditation. (See examples of meditations throughout the text.) Or experiment with the following wordless free form vocal toning exercises, to help open up your voice, and release sounds spontaneously. Vocal Exercises: Humming • Become aware of your breathing. As you exhale, allow a soft sustained hum to emerge, centered in your heart. • As you hum, envision yourself as a happy cat purring. Release a hum of deep joy, and satisfaction, as in ‘Mmmmmmmm, good!’ • Let the hum expand and move through you, waking up any parts of your body that are asleep or resistant. Feel as if you are giving yourself an internal sound massage. • Gradually become aware of others around you and blend your humming with theirs. Continue until you feel calm and centered. When you are ready, open your eyes. Toning -- Opening Your Voice: • Focus on your breath. Breathe in through the nose and out through the mouth. Then, as you exhale, begin to make a sighing sound, releasing any tension. Gradually let the sigh develop into long, open vowel sounds such as the sound AH or OH. Continue to sigh and then open your voice expressing freely. Direct your tones into different parts of your body. • Continue to watch your breath and bring your awareness and sound into your heart. Let your unique heartsong emerge and grow. • If you are in a group, listening to others is key. Notice how your voice blends with the others. Express your unique sounds, but stay in harmony with the group sounds. • Experiment with feeling as if you are a lead instrument in a great improvisational symphony. Alternate between being fully aware of your own body and voice and then of the blending of your sound with the group. As you sing, really listen to the others. Unite your collective hearts and souls. Chanting and dancing can lead to states of ecstasy, but it is important to stay conscious of the earth and your body while letting yourself experience higher states. One of the most powerful chants to work with, especially for beginnings and endings, is the ancient universal sound of OM. (A U M). As you chant it at least three times, you will experience it vibrating your whole body/being. Focus initially on your lower body with the O and then be aware of the sound rising up until you experience the M resonating at the top of your head. Some women's groups prefer to chant MA instead of OM. This is the universal call of the mother. As you chant MA, experience the energy descending from the top of your head on the M and into the heart center on the AH. Building and Sustaining Power Through Chanting The following chanting techniques will help you build up energy, call in spiritual power and sharpen your focus and intention: • Start the chant slowly, gradually building up its power and intensity, so it is sung louder or faster, or in a strong, sustained voice. • As you repeat the chant, pour your feelings, devotion and intentions into each word. • Allow the chant to reach a peak, feeling its energy rise higher and higher and your focus growing stronger.Add movement,ecstatic dancing. • Finally, slow the chant down. Let it get softer, and stop gradually. • To end, ground yourself well. For example, imagine roots extending deep into the earth from the bottoms of your feet. Or bend over and connect with the earth, bringing your hands and/or head to the ground. You can also make sure you are back in your body by patting yourself in a few places or clapping your hands. Musical Accompaniment Keep the accompaniment simple; the simpler the better. A strong drumbeat or rattle shake that accentuates the natural rhythm of the chant or mantra works best; or play simple guitar or piano chords. Add other simple, easy to use instruments such as percussion and bells. Let the power of the chant or song be foremost. Chants are often more powerful when they are sung unaccompanied. The Drone Another suggestion is to accompany the chant with a simple drone sound. The drone is done by repetitively playing or singing one long sustained note, a series of sustained notes or an open chord. This helps us to calm and center our minds, to become one--pointed as we explore one note in depth. Drone music is found in cultures the world over. In India there is the tamboura, and harmonium; in Spain there is flamenco. Irish and Scottish music is often built on simple modes and uses the droning bagpipes. Our own Appalachian folk music, played on the banjo and dulcimer, is also full of drone sounds. We can make drone sounds with our voices through humming, toning and chanting. Drumming Drumming is one of the most ancient, powerful ways to accompany chants, dances and ritual. The drum is round; it is a feminine form which awakens our instinctual earthy nature as well as ancient images and symbols. The drum is used to carry and sustain the energy, to keep the inner pulse; it echoes the heartbeat of Mother Earth and of all life. In shamanism, the hypnotic rhythmic beat of the drum is most commonly used to provide movement, momentum and a point of focus for inner journeys. Shamans refer to the drum as the horse or the canoe, because it is used as a vehicle to travel to the spirit world. Drumming is said to be most effective for inducing trance states when the beat is synchronized at a frequency of between four and seven impulses per second. This is the same frequency as theta waves in the brain, the wavelength associated with dreams and visionary states. Many of the meditations and inner journeys in this book lend themselves to drum accompaniment. Ideally, have one person drum for you or use a taped version of the drumming. (See appendix for more information on drumming tapes, where to get drums and how to make your own drum.) You can also read any instructions before beginning an inner journey so that you absorb most of what you need to know. This will allow the drumbeat to continue without words. Most important is that you feel safe, supported and deepened as you journey into an altered state. The simplest drum to use is a round frame drum with a beater. If you are more experienced, experiment with other drums such as the Middle Eastern dumbek, or African congas, djembe, etc. Rattles, sticks, and bells are also good. The drummer needs to be able to keep a steady even beat and be sensitive to the energy of the group process. She/he needs to know how to listen and follow the group pulse, in order to support what is happening, rather than becoming a distraction. This is not the place for fancy drum rhythms, improvisation, and solo acts. If the basic heartbeat stops, the energy will drop immediately. This may be what is called for at certain times. At other times it may be appropriate to gradually speed up the tempo to raise the energy, or to slow it down to ground the energy. Larger group drums, known as Mother drums, are often used by communities and dance circles. These drums usually sit on a stand and are played by up to eight persons. The following is an example of a Drumming Ceremony • Gather around a group drum and/or sit in a circle with your individual drums and other percussion instruments. • Select a drum leader; someone who can hold a steady beat which will remain constant throughout. (If there is a group drum, the leader should use this.) • Decide how long you want to drum. Your ceremony can last a short time or go on for hours, even days. Always have at least two people holding the beat at all times, so that others can rest at intervals. • Before beginning, the leader says a prayer of dedication for the drumming ceremony--to Mother Earth, World Peace, or for the healing of a person, the group, or a particular issue. An offering of tobacco or cornmeal is made to the drum. Then the leader begins the heartbeat. • After the heartbeat is strong and even, others can join in with their individual drums and percussion instruments as they feel the rhythm. Counter rhythms can be played as long as the heartbeat is kept central. Generally, the mother drum keeps a steady beat with each beat being of equal length. The drummer(s) can also imitate the actual heart beat using a short and long pattern: short--long--pause, short--long--pause. • It is important for everybody to keep their focus and intention clear, to listen deeply, staying sensitive and attuned to each other. Imagine the heartbeat coming from deep in the earth, vibrating with the universal rhythm of life, as well as your own heartbeat. • Add voices, chants, dances, and other instruments in an organic flowing process. • If the rhythm changes, let everyone listen and return to the single beat of the Heart drum until the energies/sounds harmonize. • To end the ceremony, the leader comes into the center of the circle and signals to the group. This can be arranged at the beginning, perhaps counting the last four beats out loud. The final beat is struck strongly, with everyone together. • End in silence, absorbing the vibrations and integrating your experience. Share verbally around the circle if you wish. Hold hands, and say appropriate closing prayers. Rattles Rattles, like the drum, are powerful ritual tools. They are usually made of dried gourds with seeds (pebbles, beans or small crystals) placed inside for the sound. When the rattle is shaken, the seeds are brought to life. The gourds are attached to a stick and decorated with one's personal symbols of power. The rattling sound is thought to open up the doorway into the spirit world, to call our spirit guides, allies and guardians to us. Rattles are also used to heighten our intention, to focus and direct energy. You can rattle to create sacred space or to send healing energy into a sick person’s body. When you shake the rattle up and down, you call in active, masculine energy; when you shake it side to side you invoke receptive, more feminine energy. How to work with chants • Try to get everyone to participate, especially those who are inhibited and feel that they cannot sing or dance. This will help unify and attune the group. • Know the song well enough yourself so you are comfortable teaching it. As you show confidence in your voice, you will draw in others and build enthusiasm. • Sing the melody several times with the group until it becomes familiar. Then add the words, extra verses and harmony. • Make sure the group understands the meaning of the words. Repeat the words several times, especially if there are more than four lines. Print them out if possible. • Encourage everyone to sing from their hearts and feel the essence of what they are singing. Experiment with evoking different moods-- slow, sad, fast, happy or melancholy. Try changing the beat, the pitch and the dynamics; repeat the chant for a while in a whisper, or silently (on the breath). This deepens your experience. Be aware of the quality of the chant-- is it sharp, gentle, calming, stimulating? Notice how the higher notes connect you more to your upper body and spirit, while the lower notes go deep into your body, helping you connect with the earth. • At times, you may want just the women to sing, or just the men. • Repeat familiar chants and gradually add new ones. • Don’t be afraid to stop a chant or dance if it just isn’t making it. It is more important to bring the group into harmony than to do the chant/dance all the way through without group focus and cohesion. • Many of the chants can be sung as rounds. Rounds are a good way to introduce the concept of harmony and holding your part. There are many rounds in this book. • Remember that the purpose in singing is not to produce concert sound but to facilitate participation, enjoyment and group harmony. • After the sound and music have stopped, tune in to the silence, the underlying meditative state that is present at all times. This is your opportunity to absorb all the healing vibrations that have been created. The Power of Dance Dance has been used throughout the ages by all cultures for healing, meditation and celebration. Movement is as natural to our lives as breathing. Like chanting, movement helps us to express our inner spirit through outer form, to ground and physicalize our intentions and inspirations. All peoples of the world have traditions of sacred/ folk dances. Some dances are done in circles on the earth; others in temples and churches. The movements may reflect nature or imitate animals; they are usually simple and repetitive. Working with Dances Dance Forms There are three common dance forms used by groups: the circle, the chain/snake dance, and the spiral dance. The Sacred Circle The symbol of the sacred circle is universal and has been used in rituals and ceremonies throughout time. Ancient stone circles, carvings and other archeological evidence have been found in the caves of our earliest ancestors. The circle is a powerful symbol of unity and wholeness connecting us with the cycles of life. The center of the circle is like the center of the universe. As we move around the circle, we learn to develop balance, and to find the relationship between our inner and outer lives. (For more on the Sacred Circle, see Chapter One, Creating Sacred Space.) 1. The Circle Dance In this dance, participants move around a circle, generally side- stepping, and linking hands. When circle members face inward, the group energy is contained and a charge is built up easily. When they face outward, the group energy is sent out to others and to the planet for healing. The direction of the movement is important. The clockwise direction is solar and connects us with active, masculine yang energy. The counterclockwise direction is lunar and connects us with receptive, feminine yin energy. The solar direction helps to build a concentration of energy and draw in positive forces; the lunar direction diffuses and releases energy. 2. Chain/Line / Snake Dance The line/snake dance is a variation of the circle. Dancers begin in a circle, but then one person (the leader) lets go of the hand of one of her/his neighbors so that the circle becomes a line, chain or snake. (For more on the power of the snake see Chapter Four--Woman Power,pp. 104--5.) • The chain/snake of dancers can double or triple or more around so that people begin to pass each other face-to-face, making eye contact in their respective lines. The lines can weave in various patterns such as making concentric circles, forming a spiral, weaving in and out of each other; making bridges with partners while others go under them. The chain/snake can wind around the room, and separate into several snakes. All can face in one direction like a train as each dancer puts her or his hands on the shoulders or waists of the person in front of them. The snake can move fast and make many curves, creating a whip-like effect; or move more slowly, in a more focused way. You can also experiment with gradually building up power, speed and intensity, then returning to a slower pace. The Sacred Spiral The spiral pattern, inherent in the circle, is a very old, sacred symbol of initiation and personal power. It has been found on historic sites throughout the world. (One of the most famous, which extends over several miles, is in Nazca, Peru.) The spiral differs from the circle in that it never closes, but keeps expanding outward, forming ever-widening concentric circles. The spiral movement can go high up into the outer atmosphere or deep down into the earth, or both, spinning clockwise or counterclockwise. It has the potential to shift us from one dimension of reality to another, into limitless time and space, deep into the core of our being. The center of the spiral is the quiet stillpoint, the ‘eye’ at the center of the cyclone, where we experience the primal source of all possibilities. 3. The Spiral Dance To create a spiral dance, follow the instructions for the chain/snake dance with all participants standing in a circle, holding hands. • The leader lets go of the hand of one of their neighbors and leads the group in a slow chain dance, following a spiral pattern toward a center point. • The leader then stands at the center, raising his/her arms skyward to create a focal point of energy. It's important when you have ended any of the dances to ground yourself well: lean over, touch your hands to the earth or stand in a balanced way feeling roots growing from your feet,connecting you deep into the earth. It's important when you have ended any of the dances to ground yourself well: lean over, touch your hands to the earth or stand in a balanced way feeling roots growing from your feet,connecting you deep into the earth. The Grandmother Step This step comes from the Native American tradition. It is a variation of the basic side step, (going clockwise) as described above. Move L foot 12" (30 cm) bend your L knee, sink into earth, and put all your weight on your L connecting with the magnetic energies of the Mother Earth. (This can also be done with a more active stamp) Then on the ‘silent’ beat, bring your R foot to meet the L, feeling an upward rising movement, connecting you to Father/Sky and cosmic energies. Continue this pattern in the same direction. Alternate feeling one with Mother Earth as you sink down with your L foot, and on with Father Sky as you draw the R foot to meet the L. Your feet stamp on every beat, on the down beat. As you do the grandmother step, feel your connection with everything around you-with ‘all your relations’. Reverse the pattern going counter-clockwise. Do the step holding hands in a circle, or in a more expressive way leaving hands free to improvise, as in the African dances and Blood of the Ancients in Chapter Three. Ghost dance step The following steps come out of the Native American Ghost Dance tradition and are more elaborate variations of side-stepping. The Ghost Dance was founded in the late 1880's by a Paiute Indian named Wovoka. Through a vision, he was given sacred songs and dances that would help his despairing people reunite and reclaim their spirit. The Ghost dance movement, although short--lived, raised the hope and consciousness of many . Version #1--One step per beat. Side step to R (weight on R foot), bring L to meet R with a stamp. Then Side step L (weight on L foot) and bring R to meet L with a stamp. Continue this pattern, (Step R, Stamp L; Step L, Stamp R) advancing slowly around circle. This can be done in either direction. Combine with simple arm movements: Link arms and hands-- raise them to shoulder level--making a W, and then lower them to hip level--making a V. (See arm diagram.) Version #2--Lightly stamp L foot in place, then on next beat move it 12" (30 cm) to the L and stamp it again, simultaneously transferring your weight onto it. On next beat, stamp R foot where it is, then move it 12" to join the other foot, stamping and transferring weight onto it. Continue with this pattern. (Stamp L, Step L; Stamp R, Step R) advancing slowly around circle in either direction. Use the same arm movements. The Grapevine Step This is another popular variation of the side-step used a lot in traditional folk dances of the Middle East and Europe. If you are moving to the right, put your L foot behind the R, step sideways with the R, then step in front of R foot with the L, step to side with R, etc. Continue this pattern as you link hands or shoulders. Reverse to go into the opposite direction. Spinning Spinning activates the life force and stimulates your whole energy system. As you spin you are calling forth new life. Imagine something you want to manifest, and literally set it in motion as you turn. You are moving between the worlds into an altered state of consciousness, spinning within the sacred spiral. It is dangerous to spin for long periods (as do the whirling dervishes ) unless you have a lot of experience. Find a fixed point in your environment to focus on, keeping your eyes open. This helps you stay in balance and find the stillpoint at the center. Be aware of the different effects of spinning to the right or the left. Hand Positions When moving in a circle, your hands are commonly held in a V or W position or around shoulders of neighbors. Mudras You can distill your experience into a simple series of movement patterns which are repeated over and over like a mantra. These movement patterns, especially those done with the upper body, hands and fingers, are known in Sanskrit as ‘mudras.’ In the yogic traditions they are combined with different postures and breathing practices. Try using mudras in the following ways: • Choose one or two qualities, or divine attributes you would like to affirm and embody more fully. These can come from the words of one of the chants such as ‘I am the dance of the moon and sun’. (For an example see the Shiva mudra in Chapter Five.) • Translate these qualities into a few simple mudra movements. Repeat them over and over. Try repeating them with and without accompanying words and sounds. •As you repeat the movements, they become your meditation, your gestures of affirmation. Head and Torso Movements You can also intensify the power of a chant and induce an altered state by moving and swaying your head and upper torso from side to side, or in a circular pattern in rhythm with the melody or beat. Try this alone or with others as you are standing, sitting, or side-stepping around a circle. In the Sufi/Islamic tradition certain prayers, called Zikrs, are spoken or chanted with accompanying head and torso movements. (See Chapter Five.) Guidelines for Sharing the Dances • Make sure the group knows the chant/song well before you begin doing the movements as a group. • If the movements are simple, begin to dance immediately. Describe and demonstrate as you go. The group will usually pick the steps up quickly. Don’t talk too much; try to get people out of their heads and into their bodies as quickly as possible. If the dance is more complicated, involving partners, break it down into segments, demonstrating and practicing each part separately. After everyone has learned the dance, begin again. Encourage group attunement and fuller expression. . When the chant/dance is a round, it is possible to dance in as many circles as there are parts. Each circle begins to move and chant when it is their turn to come in. • When the dance requires changing partners, have the partners face each other within the circle and look ahead in the direction in which they are going. The next person they see facing them will be their next partner. Creating your own chants and dances As you become more experienced with chanting and dancing, your own inspiration and creativity may begin to emerge. Here are a few suggestions for creating your own chants and dances : • Begin with an already existing melody and rhythm and add your own words. • Or begin with words and let melody and rhythm come forth. If the chant doesn't come easily, take more time to tune into the natural rhythm of the words. Play with it for a while, emphasizing different words and syllables, The melody can be very simple, just using one or two tones with which you are comfortable. Experiment till you have what you want. Don’t judge. Trust what you first receive. • Make sure that the words are uplifting in some way. For inspiration, you might choose a favorite prayer or poem, or spend time meditating in nature. Listen to the sounds of the wind, the flowing of a brook, the chirping of a bird or hear the voice of a tree or rock as you sit next to it. Begin to echo the natural sounds you hear. Join your song with the song of nature. Clap two sticks or stones together to provide rhythm. • Many traditional people use medicine chants to heal themselves and others and get in touch with their power at different times in their life. Discover your own personal healing ‘medicine’ power chant: Listen deeply within yourself to the source of your inner power, to the voice of your own being. Chant over and over the appropriate words of power, healing or affirmation you need at this time such as, ‘ I will not be afraid. I have the courage of a bear.’ Information and Resources There are over three hundred songs and chants in this collection, gathered over many years from various retreats, workshops, and healing/ritual circles. Some have their roots in ancient religions and native traditions; others come out of the human potential, new age, neo-pagan/shamanic movements that have grown in America and Europe since the late 60’s. Some have been created spontaneously by one or more people during prayer, meditation and ceremony. The women’s spirituality movement has also been a rich source of chants. The majority are in the English language, but there are also chants and songs from many global sources including Native American, African, Celtic, Mayan, Maori, Aboriginal and Japanese. The accompanying dances, by Kate Marks, draw their inspiration from folk and sacred circle dance traditions.As these chants and songs have been passed on mostly through an oral tradition, they have changed and evolved over time; many versions exist. It is not always possible to trace the original. It is also difficult to ‘fix’ them in book form. Great efforts have been made to trace sources, and receive permissions when possible. If any song, or chant has not been correctly notated or credited, please let us know. Before leading the chants and dances it is best to study with an experienced teacher for an extended period. Learning from a book such as this is really not enough. For information and further resources see the list in the appendix. There is a companion CD available with recordings of some of the chants and songs from the book. Kate has also produced a CD called Journeys in Sound and Healing which discusses the power of vibration and sound and includes meditations and toning exercises to free the voice and restore health. Workshops and seminars on many of the themes in this book can be set up in your area. If you have written or know of special chants, (especially from other cultures or from the men's movement) that can be included in future volumes, please send them with their meaning and sources, preferably sung on tape with accurate musical notation. As we sing and dance, we join spiritually with others on the planet and lay the foundations for a peaceful harmonious world. We celebrate our unity and diversity, and honor all our spiritual paths. Our reverberation expands in spirals of light and sound, like the ripples of a pebble dropped in a pond. Let us open our hearts and spirits and come together in a circle of song!
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