Dark Peril (53 page)

In the shamanistic tradition, it was understood that the small always reflects the large; the personal always reflects the cosmic. A movement in the greater dimensions of the cosmos also coincides with an internal movement. For example, the
axis mundi
of the cosmos also corresponds to the spinal column of the individual. Journeys up and down the
axis mundi
often coincided with the movement of natural and spiritual energies (sometimes called
kundalini
or
shakti
) in the spinal column of the shaman or mystic.

En Sarna Pus
(The Great Healing Chant)

In this chant, ekä (“brother”) would be replaced by “sister,” “father,” “mother,” depending on the person to be healed.

Ot ekäm ainajanak hany, jama.

My brother’s body is a lump of earth, close to death.

Me, ot ekäm kuntajanak, pirädak ekäm, gond és irgalom türe.

We, the clan of my brother, encircle him with our care and compassion.

O pus wäkenkek, ot oma śarnank, és ot pus fünk, álnak ekäm ainajanak, pitänak ekäm ainajanak elävä.

Our healing energies, ancient words of magic, and healing herbs bless my brother’s body, keep it alive.

Ot ekäm sielanak pälä. Ot omboće päläja juta alatt o jüti, kinta, és szelemek lamtijaknak.

But my brother’s soul is only half. His other half wanders in the netherworld.

Ot en mekem ŋamaŋ: kulkedak otti ot ekäm omboće päläjanak.

My great deed is this: I travel to find my brother’s other half.

Rekatüre, saradak, tappadak, odam, kaŋa o numa waram, és avaa owe o lewl mahoz.

We dance, we chant, we dream ecstatically, to call my spirit bird, and to open the door to the other world.

Ntak o numa waram, és mozdulak, jomadak.

I mount my spirit bird and we begin to move, we are underway.

Piwtädak ot En Puwe tyvinak, ećidak alatt o jüti, kinta, és szelemek lamtijaknak.

Following the trunk of the Great Tree, we fall into the netherworld.

Fázak, fázak nó o śaro.

It is cold, very cold.

Juttadak ot ekäm o akarataban, o sívaban és o sielaban.

My brother and I are linked in mind, heart and soul.

Ot ekäm sielanak kaŋa engem.

My brother’s soul calls to me.

Kuledak és piwtädak ot ekäm.

I hear and follow his track.

Saγedak és tuledak ot ekäm kulyanak.

Encounter I the demon who is devouring my brother’s soul.

Nenäm ćoro, o kuly torodak.

In anger, I fight the demon.

O kuly pél engem.

He is afraid of me.

Lejkkadak o kaŋka salamaval.

I strike his throat with a lightning bolt.

Molodak ot ainaja komakamal.

I break his body with my bare hands.

Toja és molanâ.

He is bent over, and falls apart.

Hän ćaδa.

He runs away.

Manedak ot ekäm sielanak.

I rescue my brother’s soul.

Alədak ot ekam sielanak o komamban.

I lift my brother’s soul in the hollow of my hand.

Alədam ot ekam numa waramra.

I lift him onto my spirit bird.

Piwtädak ot En Puwe tyvijanak és saγedak jälleen ot elävä ainak majaknak.

Following up the Great Tree, we return to the land of the living.

Ot ekäm elä jälleen.

My brother lives again.

Ot ekäm weńća jälleen.

He is complete again.

To hear this chant, visit:
http://www.christinefeehan.com/members/
.

4. CARPATHIAN MUSICAL AESTHETICS

In the sung Carpathian pieces (such as the “Lullaby” and the “Song to Heal the Earth”), you’ll hear elements that are shared by many of the musical traditions in the Uralic geographical region, some of which still exist—from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) to Romany (“gypsy”). Some of these elements include:

• the rapid alternation between major and minor modalities, including a sudden switch (called a “Picardy third”) from minor to major to end a piece or section (as at the end of the “Lullaby”)

• the use of close (tight) harmonies

• the use of
ritardi
(slowing down the piece) and
crescendi
(swelling in volume) for brief periods

• the use of
glissandi
(slides) in the singing tradition

• the use of trills in the singing tradition (as in the final invocation of the “Song to Heal the Earth”)—similar to Celtic, a singing tradition more familiar to many of us

• the use of parallel fifths (as in the final invocation of the “Song to Heal the Earth”)

• controlled use of dissonance

• “call and response” chanting (typical of many of the world’s chanting traditions)

• extending the length of a musical line (by adding a couple of bars) to heighten dramatic effect

• and many more

“Lullaby” and “Song to Heal the Earth” illustrate two rather different forms of Carpathian music (a quiet, intimate piece and an energetic ensemble piece)—but whatever the form, Carpathian music is full of feeling.

5. LULLABY

This song is sung by women while the child is still in the womb or when the threat of a miscarriage is apparent. The baby can hear the song while inside of the mother, and the mother can connect with the child telepathically as well. The lullaby is meant to reassure the child, to encourage the baby to hold on, to stay—to reassure the child that he or she will be protected by love even from inside until birth. The last line literally means that the mother’s love will protect her child until the child is born (“rise”).

Musically, the Carpathian “Lullaby” is in three-quarter time (“waltz time”), as are a significant portion of the world’s various traditional lullabies (perhaps the most famous of which is “Brahms’ Lullaby”). The arrangement for solo voice is the original context: a mother singing to her child, unaccompanied. The arrangement for chorus and violin ensemble illustrates how musical even the simplest Carpathian pieces often are, and how easily they lend themselves to contemporary instrumental or orchestral arrangements. (A wide range of contemporary composers, including Dvor̆ák and Smetana, have taken advantage of a similar discovery, working other traditional Eastern European music into their symphonic poems.)

Odam-Sarna Kondak
(Lullaby)

Tumtesz o wäke ku pitasz belső.

Feel the strength you hold inside.

Hiszasz sívadet. Én olenam gæidnod.

Trust your heart. I’ll be your guide.

Sas csecsemõm, kuńasz.

Hush my baby, close your eyes.

Rauho joŋe ted.

Peace will come to you.

Tumtesz o sívdobbanás ku olen lamt3ad belső.

Feel the rhythm deep inside.

Gond-kumpadek ku kim te.

Waves of love that cover you.

Pesänak te, asti o jüti, kidüsz.

Protect, until the night you rise.

To hear this song, visit:
http://www.christinefeehan.com/members/
.

6. SONG TO HEAL THE EARTH

This is the earth-healing song that is used by the Carpathian women to heal soil filled with various toxins. The women take a position on four sides and call to the universe to draw on the healing energy with love and respect. The soil of the earth is their resting place, the place where they rejuvenate, and they must make it safe not only for themselves but for their unborn children as well as their men and living children. This is a beautiful ritual performed by the women together, raising their voices in harmony and calling on the earth’s minerals and healing properties to come forth and help them save their children. They literally dance and sing to heal the earth in a ceremony as old as their species. The dance and notes of the song are adjusted according to the toxins felt through the healer’s bare feet. The feet are placed in a certain pattern and the hands gracefully weave a healing spell while the dance is performed. They must be especially careful when the soil is prepared for babies. This is a ceremony of love and healing.

Musically, the ritual is divided into several sections:

•
First verse
: A “call and response” section, where the chant leader sings the “call” solo, and then some or all of the women sing the “response” in the close harmony style typical of the Carpathian musical tradition. The repeated response—
Ai Emä Maγe
—is an invocation of the source of power for the healing ritual: “Oh, Mother Nature.”

•
First chorus
: This section is filled with clapping, dancing, ancient horns and other means used to invoke and heighten the energies upon which the ritual is drawing.

•
Second verse

•
Second chorus

•
Closing invocation:
In this closing part, two song leaders, in close harmony, take all the energy gathered by the earlier portions of the song/ritual and focus it entirely on the healing purpose.

What you will be listening to are brief tastes of what would typically be a significantly longer ritual, in which the verse and chorus parts are developed and repeated many times, to be closed by a single rendition of the final invocation.

Sarna Pusm O Maγet
(Song to Heal the Earth)

First verse

Ai Emä Maγe
,

Oh, Mother Nature,

Me sívadbin lańaak.

We are your beloved daughters.

Me tappadak, me pusmak o maγet.

We dance to heal the earth.

Me sarnadak, me pusmak o hanyet.

We sing to heal the earth.

Sielanket jutta tedet it,

We join with you now,

Sívank és akaratank és sielank juttanak.

Our hearts and minds and spirits become one.

Second verse

Ai Emä maγe,

Oh, Mother Nature,

Me sívadbin lańaak.

We are your beloved daughters.

Me andak arwadet emänked és me kaŋank o

We pay homage to our mother and call upon the

Põhi és Lõuna, Ida és Lääs.

North and South, East and West.

Pide és aldyn és myös belső.

Above and below and within as well.

Gondank o maγenak pusm hän ku olen jama.

Our love of the land heals that which is in need.

Juttanak teval it,

We join with you now,

Maγe maγeval.

Earth to earth.

O pirä elidak weńća.

The circle of life is complete.

To hear this chant, visit:
http://www.christinefeehan.com/members/
.

7. CARPATHIAN CHANTING TECHNIQUE

As with their healing techniques, the actual “chanting technique” of the Carpathians has much in common with the other shamanistic traditions of the Central Asian steppes. The primary mode of chanting was throat chanting using overtones. Modern examples of this manner of singing can still be found in the Mongolian, Tuvan and Tibetan traditions. You can find an audio example of the Gyuto Tibetan Buddhist monks engaged in throat chanting at:
http://www.christinefeehan.com/carpathian_chanting/
.

As with Tuva, note on the map the geographical proximity of Tibet to Kazakhstan and the Southern Urals.

The beginning part of the Tibetan chant emphasizes synchronizing all the voices around a single tone, aimed at healing a particular “chakra” of the body. This is fairly typical of the Gyuto throat-chanting tradition, but it is not a significant part of the Carpathian tradition. Nonetheless, it serves as an interesting contrast.

The part of the Gyuto chanting example that is most similar to the Carpathian style of chanting is the midsection, where the men are chanting the words together with great force. The purpose here is not to generate a “healing tone” that will affect a particular “chakra,” but rather to generate as much power as possible for initiating the “out of body” travel, and for fighting the demonic forces that the healer/traveler must face and overcome.