Chapter 7 SHAMANISM BELIEVER EXPERIENCE
Stage 3 Emerging from the vortex, the subject enters a strange, ever-changing world of hallucinations, such as attenuation of limbs and bodies, polymelia,
zoopsia; and changing into animals and other transformations – therianthropes (Fig. 7.17).
Their cultural contexts permit individuals to select motifs and standardise them in
culturally specific ways. Zig-zags with grids might be labeled snakes in some cultures or plumed serpents in others (van Pool 2009:180). Lewis-Williams and Pearce (2005:198- 249) have identified a link between art and ASC that is shaman-related. Although Paul Bahn (2010) and others have concerns with this, it can provide insight into the context and meaning of prehistoric behaviour.
Shamans present themselves through visual imagery in two ways, figuratively or
abstractly, which can be used to convey mystical or magical messages. While the former offers something familiar to which people could relate, the latter is different and needs explanation that only shamans could provide. As such, it represented convincing evidence of their interface with the supernatural, thus bringing together supernatural presence and shamanic power. Through this, a ‘real’ community relationship with the supernatural is confirmed and experienced.
Most shamanic rituals include some form of hallucinogenic agent. In some cases, shamans lose consciousness completely and appear dead, and their hallucinations are considered divorced from the mundane, reflecting the underlying ‘real’ spirit world (Barclay and Russell-White 1993; Littlejohn 1998; van Pool 2009).
7.3.7 Behaviour/Activity: Music, Song and Dance
Laboratory research by Nether (1961; 1962) has demonstrated that drumming produces changes in the central nervous system which are the result of the many sound frequencies transmitting low frequency impulses to nerve pathways in the brain. Research by Jilek (1974) on shamanistic spirit dances of the Salish expanded on the capacity of rhythmic drumming to induce ASC. It found that frequencies in the theta wave EEG range predominated with a deer-skin drum and was the most effective in the production of trance states. While the shaman may beat the drum himself, complete trance requires an assistant to maintain it. At that point, the shaman sets the tempo by dancing, the rhythm of bells and other trinkets on his costume leading the drum and supplementing it with higher frequencies. This provides body motion input to the shaman’s nervous system. As Shirokogoroff (1935) observed, dancing is called forth by the necessity of producing rhythmic sounds (Harner 1980:52-53).
The shaman’s entry into the ASC state is also helped by singing. Typically, he has special ‘power songs’ that he chants. These are repetitive and monotonous, mainly increasing in tempo as he approaches ASC. Words help to evoke trance, referring to his spiritual guardians and helpers, and reaffirming his power. They animate the spirits in power objects which then take over the artefacts. This process is also enhanced by the audience joining in singing (Harner 1980:52-53; Joralemon and Sharon 1993:65). As noted earlier, group participation in song and dance permits sharing of the shaman’s out- of-world experience.
REDACT10NS
Figure 7.1 Siberian shaman and costume ref: Siikala and Hoppál 1992 Figure 7.2 Siberian shamans and costumes
ref: Diakonova 1994 Figure 7.3 Siberian shaman costume vestments ref: Diószegi 1968
Figure 7.4 Siberian shaman costume symbolism: Skeleton ref: Dioszegi 1968
(a) Dress (b) Vest (c) Boots (d) Leggings
Figure 7.5 Siberian shaman costume symbolism: Bird
(a) Shaman headdress with bird motive and feathers ref: Diószegi 1968
(b) Feathered headdress ref: Joki 1978
(c) Feathery headband ref: Diószegi 1968
Figure 7.6 Siberian shaman headgear: Power animal: (a) Deer ears and antlers ref: Drury 1989
(b) Bear snout ref: Joki 1978
Figure 7.7 Canadian Eskimo masks ref: Sullivan 2003
(a) Crescent-shaped eyes and spots on dark background may represent the moon and stars
(b) Black forehead with dots may represent the upper world with star holes to the beyond
(c) Complex mask with opposing faces possibly representing complementary relationships between land/sea, land/sky and men/women
Figure 7.8 Shaman paraphernalia (sacra):
(a) Basket of power objects ref: Furst 1994
(b) Rattle of timber stick and metal rings ref: Diószegi 1968
(c) Rattle of seedpods filled with stones ref: Lewis-Williams and Pearce 2004 Figure 7.9 Shaman paraphernalia (sacra):
(a) Staffs headed with owl, curer and serpent ref: Sharon 1978 (b) Drumstick ref: Diakanova 1994
(c) Moon and sum pendants ref: Krupp 1997
Figure 7.10 Shaman paraphernalia (sacra): Drum-shaped idols ref: Diószegi 1968
Figure 7.11 Shaman paraphernalia (sacra)
(a)Siberian drum ref: Lewis-Williams 2004 (b)Siberian drum ref: Krupp 1997 (c)Chilean Drum ref Krupp 1997
Figure 7.12 Altered states of consciousness (ASC) ref: Lewis-Williams and Pearce 2005
Diagram illustrating how distinctive motifs are completely derived from the structure and function of the human brain.
Figure 7.13 Altered states of consciousness (ASC) ref: Lewis-Williams and Pearce 2005
Diagram illustrating the three stages of ASC. As the human mind moves deeper into altered states, hallucinations shift from scintillating geometric forms through a narrow tunnel or vortex to bizarre, full sensory hallucinations.
Figure 7.14 Altered states of consciousness (ASC): Entoptic Phenomena in Shamanic Rock Art
ref: Lewis-Williams and Dowson 1988 The six categories of entoptic phenomena are shown in two forms (A, B); their
presence in San (C) and Shoshonean/Coso art (D); and Upper Palaeolithic mobile and parietal art(F, G, G, H, I)
Figure 7.15 Altered states of consciousness (ASC): Entoptic Motifs (a) Californian rock art ref: Pearson 2002
(b) Mexican yarn painting depicting a shamanic vision ref: Descola 2010 Figure 7.16 Altered states of consciousness (ASC): Entoptic Motifs in Art
(a) Wales ref: http://pm.reveues.org/docannexe/image/887/img-3-small480.jpg
(b) Tasmania ref: Flood 1983 Figure 7.17 Altered states of consciousness (ASC): Therianthropes
(a) South Africa ref: Lewis-Williams and Pearce 2004
Part A THE STUDY AND KEY ELEMENTS Return to Contents A2: SHAMANISM