Shamanic Practitioner

04/09/2026

https://www.facebook.com/SandraIngerman/posts/pfbid0gRWq6XBTEZ6G3s3cfyeiqQUhwCRAJS36TJZLm8p4CKgrnUQgnaEvEabwnvAEKNwJl

Great Teacher, Author and Human Being!

One of the greatest losses we experience in our modern world is not just a loss of connection to nature, but a loss of connection to our own imagination. We are taught to rely on logic, to trust only what we can see, and to dismiss the inner images that arise within us.

It is through imagination that we dream, that we envision healing, and that we remember who we are. When we experience trauma, parts of our soul can leave in order to protect us. And often, with that loss, we also lose access to the wonder, creativity, and vision we once carried so naturally as children.

But this ability is never truly gone. When we begin the work of healing and call our soul parts back, something beautiful happens. The child within us returns.

🌿 What is something your imagination is asking you to remember?

04/09/2026

https://www.facebook.com/LakotaCreations/posts/pfbid02T937NiGPzoRK2FBpa9hyH85bQmCTyNoQA2PEHktn6ChwKtVBVCUFa1hfidzDByvjl

04/05/2026

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Starting in 1609, owning this drum was a crime punishable by death in the Kingdom of Denmark-Norway. In 1767, while hundreds of them were being thrown into the fire, a Norwegian priest sketched and documented one.

When the Norwegian priest and linguist Knud Leem (1697-1774) arrived in Finnmark (Northern Norway) as a missionary in 1725, he formed a deep bond with the Sámi people.He wore their clothes and learned their language.For years,he observed shamanic sessions and personally drew what he saw.

The engraver O.H.von Lode transferred these drawings onto copper plates. Published in Copenhagen in 1767, the book contained over 600 pages of parallel Danish-Latin text and 100 copperplate engravings. It's the most comprehensive Sámi ethnography published in Northern Europe in the 18th century.

The symbols on the drum's membrane were drawn with a red dye made from alder bark. This color symbolized blood. A single drum could hold up to 150 symbols. The noaidi (shaman) would place a brass ring called a 'vuorbi' on the membrane and beat the drum.The symbol where the ring stopped was the answer to the question asked: the location of a lost reindeer, the luck of a hunt, or which sacrifice to offer...

On Northern Sámi drums, the membrane was divided into three tiers by horizontal lines: the upper tier was the realm of the gods, the middle tier was the human world, and the lower tier was the realm of the dead. In 1692, an almost 100-year-old Sámi shaman named Anders Poulsen had his drum confiscated and stood trial for witchcraft in Vadsø (Northern Norway).

Poulsen played his drum in court. He called out to his gods, asking them not to be afraid of the Norwegians in the courtroom. In his 16-page testimony, he explained every single symbol on the membrane one by one. Before he was convicted, he was murdered in his cell with an axe by a mentally ill person named Villum Gundersen. He became the last victim of the Finnmark witch trials.

Missionary Thomas von Westen had about 100 drums collected all by himself. He sent them all to Copenhagen. In the Great Fire of Copenhagen in 1728, 70 of them burned to ashes. Today, only 71 original Sámi drums are preserved worldwide.

04/01/2026

https://www.facebook.com/thewisdomoftheshamans/posts/pfbid0crzdrvadHxMVgnmXda7Sj6jJxoPpC8Cc1dtVLEPjEBNHV3KobUubfaeuhmVttAkdl

✨Comment FREEDOM below to get the first two chapters of The Shamans Path To Freedom, the NEW BOOK By Don Jose Ruiz for free!✨

➡️ Link in BIO or visit https://www.calameo.com/read/0057759805cde1c72db1b

03/29/2026

https://www.facebook.com/nepalshaman/posts/pfbid02h6PPpA1eYrTy3AfNA6feXeAMswPUmteEqmLhyQ2DVfiCmwgkvKbfHz26bZqin1Pzl

The Dhyangro: Drum as Cosmic Axis
The Dhami-Jhankri — Nepal’s indigenous shamans — serve as spiritual bridges between the seen and unseen, the living and the dead. At the heart of this work is the Dhyangro: a double-headed frame drum used for centuries to enter trance, channel benevolent deities, and release malefic forces.
The drum is far more than an instrument. Its cyclical rhythms connect the physical and spiritual worlds, making it essential to healing, divination, and meditation. Its construction carries cosmological meaning: the two heads represent male and female polarities, and the shaman must navigate and harmonise. The elongated Murro-handle is carved to resemble a Kila — a ritual dagger — adorned with three deity heads, endless knots, and Naga caduceus motifs.
The Dhyangro’s rhythms map a cosmology. The world is divided into three realms: the upper realm of celestial deities, the middle realm of humans and nature spirits, and the lower realm of the dead. The Jhankri travels between them during trance and ritual.
In this worldview, mountains, rivers, and rocks are all animated with spirit life. Illness or misfortune is attributed to disturbances in this spiritual ecosystem. The shaman’s role is to mediate — communicating with these forces to restore cosmic harmony. Ancestral spirits, too, continue to influence the living. In a practice called Chinta, the Jhankri allows the spirit of the dead to briefly incorporate them, enabling families to communicate with the departed.
A ritual begins with the Dhyangro’s beat to summon spirits. Drum and chant build a rhythm that shifts the healer into a receptive state — identifying the offending spirit, naming what must be repaired, and prescribing what restores harmony. As the drumbeat intensifies, the Jhankri chants mantras in esoteric languages — part Sanskrit, part local dialect, part spirit language. The body shakes. Eyes roll back. Voice changes. A deity or spirit is incorporated. The drum’s painted surfaces serve as visual anchors: colours correspond to specific realms and ancestral powers, not decoration.
The Jhaak — the trance state — has a measurable neurological reality. Repetitive drumming accompanied by sacred chants leads to deep relaxation, vivid imagery, heightened intuition, and dream-like awareness. These are precisely the conditions required for the Jhankri to perceive and navigate the spirit realms.
The mechanism is brainwave entrainment — the brain synchronises its electrical patterns with external rhythmic stimuli. Hemispheric synchronisation follows, uniting logic and emotion, intuition, and analysis. The Jhankri’s shifting rhythms deliberately move consciousness through layered states, from dense waking awareness toward the expanded perception of the etheric sky realms.
The trance is not a performance. It is a communal event in which the boundaries between self and others dissolve. The shaman embodies a deity, an ancestor, or a natural spirit force.
For participants, the ceremony is an emotional container — giving expression to private suffering, making the crisis feel heard. The Jhaak is not only the shaman’s crossing. It is a collective recalibration between the earthly and ancestral, held by the unbroken heartbeat of the Dhyangro and the sacred songs.
To deepen the connection between the rhythm of the Nepali Jhankri's drum, colours and their attributes, please check these books:
https://bit.ly/5Elements-colour
https://bit.ly/5Elements-BlackandWhite
https://bit.ly/5Elements-Ebook

03/29/2026

https://www.facebook.com/archaeologymag/posts/pfbid0M9XREX1BmHWcg1UeaXJby4XCCYSgd9H3ALF2v8XEMKuKeAxnX8uG5KWeT3Aibzhfl

Bow and arrow, or atlatl? After the bow was introduced in North America around 1,400 years ago, people in warmer areas ditched the atlatl, an earlier dart-throwing tool, while those in colder climates continued to use the atlatl alongside the newer tool, according to new archaeological research.

archaeology.org/news/2026/03/24/study-tracks-arrival-of-bow-and-arrow-in-north-america/

(📸 David Hiser/Environmental Protection Agency)

03/29/2026

https://www.facebook.com/TaoZen2012/posts/pfbid028hD3trHe6WMSZok5LHiqYPaXyLPHx5ia8shHx4WWWWop819mxveXPapkLrazgRBwl

03/28/2026

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03/24/2026

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But of course!

Walk through the forests of the Pacific Northwest and it may feel untouched, but that quiet landscape hides a powerful truth. Many of these forests were not purely wild but carefully shaped over generations by Indigenous communities.

Archaeological and ecological research has shown that Indigenous peoples of the Pacific Northwest actively managed their environment long before modern agriculture. Rather than clearing land in the way industrial farming does today, they practiced a form of cultivation often described as forest gardening. This included selectively planting and tending species such as camas, hazelnut, berry shrubs, and medicinal plants. Controlled burning was also used to maintain open landscapes, encourage new growth, and support biodiversity. These methods created ecosystems that were both productive and resilient.

What makes this discovery so important is how it challenges long held assumptions about ancient human societies. For decades, many believed that dense forests in this region were untouched wilderness. However, soil analysis, plant distribution patterns, and oral histories from Indigenous groups all point toward intentional design. These landscapes were engineered in a way that balanced human needs with ecological stability, something modern systems are still trying to achieve.

From an archaeological perspective, these forest gardens represent a sophisticated understanding of ecology. Indigenous communities were not simply surviving off the land, they were actively shaping it in sustainable ways. This knowledge was passed down through generations, forming a deep connection between people and their environment that modern science is only beginning to fully appreciate.

Here is something strange to think about. Some of the oldest living trees in these regions may have grown in landscapes originally shaped by humans, meaning parts of what we call natural wilderness are actually ancient human creations.

03/23/2026

Not everything beautiful asks for attention.
Some moments just wait… until we slow down enough to see them.

•
With love,
Fiona
www.earthmonk.guru

03/23/2026

It's the sweet taste of freedom. It's the natural state we were always meant to be living in, but for some of us, we lost it along the way. If you haven't yet, I really hope you reclaim it, and soon. You are so very deserving of living your life completely free to be your magnificent self.

🦋Leila