THE IMAGE DRUM The drum must have its own image with which it shows itself to those who listen to it, or even just look at it.
THE IMAGE
DRUM
The drum must
have its own image with which it shows itself to those who listen to it, or
even just look at it.
The figure, the
appearance, the image are part of the rite. The rite is a desired and wanted
action with a serious shared or private purpose. The rite is a conscious doing
that produces visible effects in the mask that each shows to himself and to the
other.
But the rite
also produces deep hidden affections with an importance and effectiveness that
cannot be controlled and therefore secretly modulated by the events of before
and after.
The rite steals
for itself a slice of objective real time, but it is only a springboard to
activate tensions and energies hidden in the unconscious-blood of each person.
Such effects
will act, or not, in moments that the ego does not know. They will be effects
that cannot be “seen” by the ego, but that can still be “perceived” by the
conscious ego of the shaman and of those who have welcomed such effects.
Blood does not
“reason” but lives in an environment without time or moral rules. Blood is an
accumulation of life experiences without infinite time, and such is its program
of action.
You can build
your own drum,
or buy it at
the supermarket, or steal it, or inherit it …
but the image
of the drum is its identity in front of those who see it, look at it, listen to
it …
The serious
drum shows itself as an object that has lived a life of fruits and power:
It cannot have
an image of a “new drum”, as it does not transmit power and experience, it
would be an immature object.
The drum will
have a lived-in appearance,
a little dirty
and worn,
intact and
solid,
complete with
discrete amulets and a non-bulky shoulder strap.
Scented of old,
of herbs and of discreet grease and light smell of dry sweat,
of indifferent
security in front of those who look at it,
absent from now
or today.
Held with care
and never left alone.
Distant from
any exaggerated touching of others.
But always
waiting, available at a safe distance.
Every Shaman is
his drum. As a drum shows itself, so does the Shaman.
With a decisive
and modulable sound, never repetitive or absolute.
A drum with an
absolute sound is a cage of limited and parasitic sound.
Between a
shaman and his drum there is no time, rules or morals or desires.
His drum is the
live dialogue of blood.
Shaman only
cleans his drum with his own dry hands. But if he deems it appropriate he wets
his fingers with his own spit and respectfully passes them where to remove an
inappropriate stain.
The drum has
its own identity and worshiping it (dialogue with it) is a precious rite.
All this is not
absolute.
This is just a
dream of conscious play.
Every true
conscious play plays without too many expectations, but believes in playing
what is born from the pleasant intuition of courageously challenging Life.
For Vita ( Life ) we are just tools that by chance
(playful?) have gained a special and unique degree of autonomy that allows us
to make fun of ourselves and reinvent or exploit the rules of Vita to our
advantage.
We play at
taking ourselves seriously and we play it consciously. We do it in the limited
time of our personal spark and if we really succeed we give a temporary special
sense that illuminates even the immense time of Vita.
Vita is not
interested in our light.
Therefore,
those who really play also illuminate Vita, and give an image to their time.
From the
chapter “Rites in practice, Shamanic psychology”, by Gian Berra.
Shamanic Psychology. Gian Berra. Direct link:
https://drive.google.com/file/d/1X7HAvs0mCGVHv11Yw5sxRv9UKBeVyZGa/view?usp=sharing
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