Ancestral Dances

Ancestry is big business these days, but mere biological genealogy fails to tap into our spiritual roots. The shamans of indigenous cultures have known for millennia how to do this. In this comprehensive cross-cultural survey, Dr. David Kowalewski, scholar and practicing shaman, offers several techniques for engaging the Old Ones the old-fashioned way. Although modern people have largely lost this tradition, the ancestors are coming back strong, along with the shamans—a welcome happening that may reverse our ancestor-deficit disorder. Drawing on a global survey of ethnographic reports, direct teachings from shamans of many continents, and experiences from his own shamanic practice, the author presents a wealth of useful ways that shamans have developed, around the world and across the ages, to connect with ancestors in both our realm and theirs. These include spirit-plates; effigies; pilgrimages; walkabouts; and trips with plant-spirits. Using these ancient techniques, indigenous peoples receive a variety of gifts from their Old Ones, including destiny guidance, healing, protection, and wisdom teachings. Yet some ancestors may behave like hooligans, causing psychological distress and physical woes, and even curses against a whole lineage. But these maladies are both prevented and countered by shamanic methods such as home cleansing, disposal of the deceased’s property, severance ceremonies, and the like. The author ends with practical takeaways—lessons from the lineages so to speak—showing how you and your ancestors, through concerted spiritual action, can co-evolve to higher spiritual planes. As a team.

Connecting to Our Ancestral Past is a pragmatic, spiritual journey that introduces a variety of specific rituals and conversations in connection with Constellations work, an experiential process that explores one's history and powerful events of the past in order to understand and resolve problems of the present. Constellations facilitator and author Francesca Mason Boring presents this therapeutic method in the context of cultures like the Shoshone, of which she is a member, that have seen the world through a prism of interrelationships for millennia. In Constellations work there is an organic quality that requires a discipline of non-judgment, one that is embraced in traditional native circles, where the whole truth of a person's life, roots, and trans-generational trauma or challenge is understood and included. Mason Boring provides a transformational walk through the universal indigenous field— that place of healing and knowledge used by Native healers and teachers for centuries—by describing stories and rituals designed to help people with their particular struggles. These rituals, such as "Facing the Good Men"—designed to help women who have suffered abuse in relationships with men—reject Western notions of over-the-counter medication. Instead, they stress a comfortable environment whereby the "client," with the help of a facilitator, interacts with people chosen to represent concepts, things, and other people. In Western culture the word "medicine" is thought of as a concrete object, but Mason Boring explains that indigenous cultures favor a process of healing as opposed to an itemized substance. She re-opens doors that have been closed due to the exclusion of indigenous technology in the development of many Western healing traditions and introduces new concepts to the lexicon of Western psychology. A range of voices from around the world—leaders in the fields of systems constellations, theoretical physics, and tribal traditions—contribute to this exploration of aboriginal perspectives that will benefit facilitators of Constellations work, therapists, and human beings who are trying to walk with open eyes and hearts.

Kariamu Welsh Asante examines and celebrates the ethnic diversity of Zimbabwe and the survival and endurance of the Zimbabwean national character. She emphasises how the former colonial power had proscribed indigenous cultures.

"Publication of the International Council for Traditional Music, Ireland."

This collection shows how traditional music and dance have responded to colonial control in the past and more recently to other external forces beyond local control. It looks at musical pasts and presents as a continuum of creativity; at contemporary cultural performance as a contested domain; and at cross-cultural issues of recording and teaching music and dance as experienced by Indigenous leaders and educators and non-Indigenous researchers and scholars.

Yolngu art as a communication system encoding meaning as form; relation of art to the systems of clan organisation and restricted (secret) knowledge; contact history and social contexts of art production; iconography of clan paintings; response to the art market; social organisation rights to land and law; marriage and kinship; rights to paintings; knowledge system - structure, inclusiveness, power, secrecy; role of paintings in ceremonies - burial rituals; range of meanings associated with paintings - examples used in ceremonies associated with the Wawilak Sisters and ancestral shark images; graphic components of painting - figurative and geometric, clan designs; chronological change - the Donald Thomson Collection, past and contemporary categories of painting, commercial art; iconographic analysis of Manggalili clan paintings; relation of events in painting to Yolngu cosmology - creative powers , life and death, male and female dualities.