Talking Drum Newsletter

Talking Drum Newsletter

Number 12, Spring 2005

FEATURES:

Riding With the Spirits by Michael Drake

For the last six months I have been working as a medical transport driver, assisting clients to and from doctor appointments. The work is very rewarding and I meet interesting people from all walks of life. I am truly amazed at how people cope with their illnesses and disabilities. The human spirit is simply irrepressible.

Why Is Drumming Healing? by Catherine Marie Flinn

Making A Slit Drum (Krin)by Chris Bittner

The Drum Circle by Steve Silberman

OUT OF THE DAY COME THE DRUMMERS, with congas and maracas and tars, with bongos and little hand-drums painted with sacred symbols and incised with the faces of demons, with drums of skin and wood and river clay and metal, the drums of the four elements. With rainsticks and shekeres, drums that hiss and drums that rumble like two stones rolling against each other on the floor of the ocean, with clay ghatams as round as their bellies and surdos like flame under the feet, with all kinds of drums in their hands streaked and fretted with the day's labor, hands that know how to make matter speak secrets of spirit.

Spirit Of A Healing Drum Circle by David Johannes

DEPARTMENTS:

Events

Riding With the Spirits

I had an incredible experience one day after dropping a client off at a local hospital. As I got back in the car and sat down in the driver’s seat, I got the sensation that someone or something was in the car with me. I closed my eyes for a few seconds, entered an altered (shamanic) state of consciousness, and tuned in to what was happening. To my surprise, I discovered a huge Spirit Bear sitting in the back seat directly behind me. He was a jovial character and not the least bit menacing. I knew at once that he was a helping spirit there to help the sick.

Sitting next to the bear was the spirit of a recently deceased friend. Jane (a fictitious name) was a powerful healer and drummer when she walked the Earth in the flesh. In her hospice work she had assisted folks in their death journey to the other side. She often worked with Bear Medicine in her healing work and the Bear Spirit was her traveling companion.

Jane had first appeared to me several weeks earlier during a healing ceremony at a friend’s home. I was performing drum therapy on a client. I was drumming the Bear Beat and singing the Bear Chant (available on my Sacred Chants CD). Spirit Bear filled me in a powerful way and Jane came through me as well. She did some powerful healing work on the client. Before she left, Jane told me that she would be available to help me whenever I needed assistance in my healing work.

I was overjoyed to see Jane once again. I asked her what she was up to. She told me that she was there to help the sick and the dying. She told me to call upon her and my other helping spirits daily to ride around in the cab with me. She told me that they would provide whatever help and healing they could for my clients.

I now begin each morning with a prayer to my helping spirits, asking them to assist me not only with my clients but with my driving as well. I ask them to help me drive safely. I am not always aware of who is in the cab with me or what is transpiring in the spirit realm. I have to focus on my driving and it is not a good idea to enter altered states while operating a motor vehicle. Moreover, I find that tuning in to what is happening can be emotionally overwhelming.

Occasionally I get glimpses of spirits coming and going. I was driving a dialysis patient from Salem to Portland recently. She sat in the front seat beside me and soon nodded off into a deep sleep. Shortly after she fell asleep, an enormous serpent slithered over the front seat and coiled around my client’s body. The serpent worked on her for the entire ride to Portland. The energy in the cab was palpable. I was witness to an incredible and powerful healing. It was an uplifting and unforgettable experience.

At times, I sense dark and ominous beings leaving the cab after they have been extricated from clients. At other times, I sense an entire entourage of spirits riding around with me or following me as I walk through various hospitals and clinics. I have seen spirit wolves, lions, eagles, hawks, horses and a host of ancestral spirits. I once saw a very protective black jaguar watching over an infant boy with respiratory problems. I am waiting for the day when one of my clients inquires about the Bear Spirit who rides around in the back seat.

I never imagined when I began driving a medical taxi that it would become such an inspirational and rewarding experience. I thank the spirits each day for the opportunity to help others and for this wonderful gift of life. Riding with the Spirits is a journey of power, healing, and boundless joy.

Michael Drake is a writer, rhythmist, and ceremonial drummer of Cherokee descent. He is a member of the United Lumbee Nation and author of The Shamanic Drum: A Guide to Sacred Drumming and I Ching: The Tao of Drumming. He has studied with traditional drummers from the Native American and Mongolian shamanic traditions. Michael lectures and facilitates workshops around the country. To learn more, visit Michael’s web site at: http://www.geocities.com/talkingdrumpub/

Why Is Drumming Healing?

When we drum, we connect with the Creator and experience our natural childlike innocence through drumming, rhythm and movement. This form of play facilitates spiritual expansion because drumming naturally brings one into the relaxed alpha state of meditation. Usually the two brain hemispheres issue different wave frequencies, but drumming synchronizes the left and right brain hemispheres, bringing one into a healing state that only meditation can provide. There is nothing more connecting or healing than coming home to our center and experiencing the nurturing, loving compassion of our Creator through the heartbeat of the drum. The relaxation achieved by drumming helps us to see, feel and know our connection with the Divine, with all of life, and with each other. Because of this, it naturally awakens our creativity and mental capacity, and helps to expand our heart.

As drumming expands our heart and awakens our connection to all life, it cultivates the bridge between Heaven and Earth. We can then understand that we are the intermediaries between the Divine and the earthly plane; it helps us to realize that everything that we think, do, or say affects everything and everyone around us! It helps us to know that Earth Mother was lovingly created for us, to help sustain, nurture and heal us. Her waters were made to quench our thirst; her woods and vegetation were made to protect and feed us. It helps us know that all life is sacred and what we do to one, we do to all. When we tread upon the skin of the Earth, we are moving about on a living, breathing organ! When we sit upon the ground of our Mother Earth, we can experience her heartbeat and feel her love.

Drumming is very primal in nature and we all have roots from tribes of the world, whether they be Native American, Celtic, European, Asian or African. The beating of the drum symbolizes the beating of the heart, and when we drum in a circle, we are not only connected to each other in the immediate circle or group, but we are connected through the web of life to all of humanity in what the Native Americans call the Circle of Life. Being in a drumming circle helps us to realize that we are all One in Spirit, no matter where we are from, physically, or where we are now.

There is but one song, the Song of Life, and drumming together is the human expression of our connection in the web of life. When we drum, I believe that our God celebrates with us in our joy and our communion with all of creation. As a baby is rocked against his mother’s breast and relaxes to the lullaby of her heartbeat and experiences pure love, the heartbeat of the drum helps us similarly. It helps us understand how we can peacefully and lovingly interact with the whole world, as one mind, one soul, one love, and one joy.

When I touch the wet elk hide while building a drum, I feel the expressions of Mother Earth. In touching her, I touch that aspect of myself; and I can experience the body and heart of my ancestors in the reality of my body on the heart of the land. It is this bridge between my ancestors and me where I can hear them whisper on the flow of the breeze.

Love & blessings,

Cathy Flinn

Cathy Flinn is a drum maker and drumming group facilitator who shares her gift of story-telling and drumming with all age groups, in and outside of school systems, working with children and youth with emotional and physical challenges. Cathy is also a Reiki practitioner and healer who has been operating the SpiritDance Healing Center since 1998. She is a teacher, published author and poet, and an active community volunteer. In her Westminster Maryland home, Cathy hosts regular drum circles, and also Reiki circles in her office. To learn more about Cathy and the SpiritDance Healing Center please visit her site at www.spiritdancehealingcenter.com.

Making A Slit Drum (Krin)

Slit drums are a fascinating and ancient percussion instrument, common to cultures around the world. The basic design of a slit drum is quite simple; a section of log or tree branch with a long slit carved along its length, through which the middle of the log is hollowed out. The slit stops short of reaching the ends of the log, so that the ends are left intact. The drummer will play the slit drum with two sticks, striking near the center of the log, and on either side of the slit. Generally, one "playing area" has been carved thinner on the underside, giving that side a lower tone than the other side. Slit drums vary in size from quite small (perhaps a foot long and four inches in diameter) to full size logs.

I have been fortunate to see a few large slit drums in museums which were beautifully crafted. One that I remember in particular was carved over its entire surface with carvings of animals. This slit drum was African. At the ends of the slit on the top of the drum were fair sized squarish holes the probably serve to enhance resonance as well as giving the carver greater access for the hollowing process.

A few years back, my friend and teacher Dan Trevino visited Guinea and brought back a set of three "krins" . These were small slit drums, one each small, medium and large, with the largest perhaps 20 inches long. The krins were to be played by three different drummers, each playing a different part, therefore playing specific songs. The krins were carved with three slits: one wide one in the middle, and two narrower ones on each side of the wide one. The wide slit allows access to the middle of the log for hollowing, while the two outer slits create two separate "tone bars". Additionally, one of the narrower slits is shorter on one end than the other two slits, giving its tone bar a higher pitch. The ends of the log are also used. In fact, the sticks tap out a continuous steady beat, and whichever musical spaces are not being played on the two tone bars are being played on the "side notes", as we called them. As you can imagine, it takes some practice to coordinate the continuous left-right-left-right pattern with the proper notes of the song.

Making A Slit Drum

After playing krin music for some time, I made several krins. The first krin I made was from a piece of elmwood, fresh-cut from a living tree that was taken down. It was about 15 inches long and 4 inches in diameter. I know from my carving experience that green wood is softer and easier to carve than dried wood. Of course, it is also true that the carved green piece is likely to crack, to some degree, as it dries. As you may know, wood shrinks as it dries. As the outer portions of the wood dry faster than the inner portions, stresses develope, and cracks open up to relieve the stresses. But I decided to carve the krin from green wood, reasoning that I may get lucky and have few cracks develop, and that I could always dry some wood and try dry wood later.

It is worth noting here that the subject of drying wood without cracks is quite involved. But if this task is before you, you are well advised to read what you can about it to increase your chances of success. An excellent resource is Understanding Wood by R. Bruce Hoadley, considered by many to be the most comprehensive book on the subject. It becomes very scientific at times, but is very friendly to the novice (myself included).

I brought the piece of elm into my workshop and debarked it. I chose the side that I wanted to carve the slits on and maked the outlines of the 3 slits. The middle slit would be about 1 inch wide, and stopping about 2 inches from the ends. The second slit would be 3/8ths of an inch wide, and the same length as the middle slit. The third slit would also be 3/8ths of an inch wide, but shorter on one end than the frist two slits by about 2 inches. The tone bar on this side will be the higher note of the finished krin.

The task is to carve out the three slits and the entire inside of the log piece, creating two tone bars and a resonation chamber. I began by drilling holes along the slits, the same size as the width of the slits. I went maybe halfway into the log. Then I continued with carving gouges until I had the slits basic shape opened up. Carving gouges are a straight handled tool with a "U" shaped cutting edge, used by pushing or tapping with a mallet. They come in all sizes. I continued using the gouges and the drill to remove wood from the middle of the log, working through the large, middle slot. As you can imagine, this is rather difficult. One thing that will help is to secure the log to a workbench. I did this by wrapping a rope around the ends of the log, and putting the two rope ends through holes in the workbench, one hole at each end of the krin. I tied the two rope ends (from one end of the krin) together to form a loop, then put a stout piece of stick through the loop, then twisted the stick to pull the krin down ever tighter against the workbench. I pounded a nail into the table to secure the stick. Repeat for the other end. Now the krin wouldn't move as I carved it.

Eventually the inside was carved out to my satisfaction. I put the krin in a relatively humid place to try to allow it to dry slowly, to avoid cracks. But as it turned out, the krin split wide open radially from the middle slit to the pith of the log. Interestingly, the krin sounds fine anyway! But it sure doesn't look good.

For my second krin, I tried using a piece of sycamore wood, larger than the first krin. I drilled a hole into each end of the krin, straight into the pith. I reasoned that this would help to remove some of the stresses that cause cracks. Then I carved the krin as before. When finished, I put a hoseclamp around each end of the krin, maybe one inch from the ends, and tightened them down very hard. I hoped that this would physically stop the cracks from opening. I noticed that it was necessary to tighten the hose-clamps everyday to maintain tightness, since the wood was drying and shrinking continuously. In the end, it worked! I dried it without any cracks, and finished it beautifully with oil finish and paste wax. Several more krins were completed with good results this way.

All of this causes one to wonder how they're made in Africa. Although certainly the carvers there don't have all the same tools I have access to, I'm sure their methods are simpler. I believe that it is also true that some woods are more susceptible to cracking than others.

I enjoy working big. It occurred to me awhile back that I could make a similar instrument by cutting a large log section in half straight down the length of the log, then carving this piece out on the inside, leaving a sort of a "half-cylinder". I imagined mounting this half-cylinder on a thick board to create a base for it. Then I would carve the slits, and finish the drum. Then it came to pass that I cut down a dead walnut tree. When the tree fell, it was revealed that the tree was hollow in a four-foot section at the base of the tree. Normally, this section would have become an ashiko-type drum, but this section had split in two in the course of the tree's falling. So there I had my two half-cylinder pieces, having come right to me! I have dried the two pieces and begun work on them. I'm sure they will make fine slit drums.

I hope you have enjoyed reading about my slit drum adventures! I hope you will be inclined to make your own percussion instruments. Enjoy, Chris Bittner

Chris Bittner developed an appreciation of wood at an early age, as well as a talent for working with it. Later in life he learned the joys of rhythm and community drumming. In 1999, Chris made his first djembe, when it became magically apparent to him that drum making could be his full time endeavor. And so, DrumWorks was born, in an effort to work at what he loves, and to provide people with the instruments so that they could enjoy rhythm as much as he does. You may learn more about Chris and DrumWorks at http://www.drumworksbychris.com/.

The Drum Circle

MASTER DRUMMERS WITH EAGER APPRENTICES, drummers who leave their men at home to make love to the moon with their drum, drummers who lie to people but never to their drum. Big fat drummers with bellies overspilling their too-tight pants who love nothing more than to eat, make love, and drum, drummers lean as snakes with muscles articulate as the taut skin of a drum, rude drummers with beery kisses, inept drummers fumbling the beat, shy drummers who roar like thunder when they drum, tomboys who bury a tooth under the Milky Way wishing for their first drum, drummers who are glad they are not soldiers, fire-eyed drummers with stretch marks on their breasts and tough nipples, drummers who heard their true name one night from a drum.

INDIGENT DRUMMERS SLACKING ON THE RENT but never on the rhythm, drummers with neighbors pounding on the wall, drummers who sleep in their truck with their drums, drummers who stroke the skin of a drumhead patient as a lover who know what Duke meant when he said "A drum is a woman," drummers drumming as the first warhead opens its flower of heavy elements, drummers full of acid playing drums of water, mathematical drummers building golden triangles in the ear, drummers who could have been poets inventing a new language of the heart on a secondhand drum, drummers who think of the most beautiful breasts they never touched when they drum, drummers with pieces of metal in their flesh binding them to this world, drummers who dreamed they could fly when they were young, who learned to fly.

DRUMMERS WHO PLAY WHAT THEY HEAR INSIDE, drummers who play what's never been heard, drummers who keep the secret of the silent beat. Drummers who make earthquakes when they drum, rhythm masters of the cutting rhyme and the tricky sample, compassionate drummers drumming the drum of swift death, old drummers who set searing coals of envy in the chests of young drummers, drummers born in the wrong century, exiles of time. Medicine drummers with caxixi and berimbau stinging trances into the air, heavy metal drummers to whom visions of Norse thundergods come in garages stinking of dinosaur perfume, kind rainbow drummers with bellies full of lust for perfect young bodies, drummers who weep thinking of a cow in the slaughterhouse, assassin drummer aiming his arrow well, blind drummer sounding the colors of the setting sun, lonely drummers, drummers drumming first blood between their legs, drummers who smile when they play knowing they were born to drum, drummers who say dancing with the hands, drummers who should have stuck with the violin lessons, drummers who learn they are drummers ringing the temple bell, drummers unraveling the net of the law, drummers making one from one and one, drummers who keep drumming when the drumhead cuts the fingers of their hands, drummers who feel nothing but pain, drummers drumming to steal knowledge of the dead, drummers waiting absolutely still for the animal whose skin will be the skin of a drum.

Steve Silberman is an editor of Wired magazine. His email address is digaman@sonic.net.

Spirit Of A Healing Drum Circle

Intro

What is a healing drum circle you may ask? You might say that all drumming provides healing benefits and all drum circles provide the opportunity to also experience the group energy of drumming together in community. In this article though I am speaking of my personal experiences in a circle whose intent is less musical, and more spiritual in focus and intention. Since the spring of 2001 I have been involved in a circle based for the most part in Atikokan Ontario, with some events held in Thunder Bay Ontario. These circles are hosted by Tod Pringle, an acupuncturist whose personal spiritual journey has taken him to many native based ceremonies, particularly in North Dakota. Typically a circle is held for each solstice and equinox, with additional circles held if desired. Lately the trend has been to hold the winter solstice circle in Thunder Bay due to the elements. All are welcome to attend and the only requirements necessary are a willingness to participate and to open up to one's own spirit. Numbers of people tend to be small, around 5-15 participants which makes for an intimate setting.

Instruments

The typical instruments involved are the water drum, hand drum, community drum and rattles, all of Native American origin or inspiration. The intention in playing is for everyone to play together, and in a monotone steady beat, which facilitates an altering of consciousness and an entrainment of energy. Added to the mix is singing, and sometimes Tibetan bowls as well. While much of the flavour of the circle draws from Native American or shamanic influences, the circle is not strictly based on any traditional rituals or rules and is open to contribution from all influences keeping in spirit with the nature of the circle.

Preparation

Before the circle begins, the room itself must be prepared. The circle room is in a separate outdoor building which is only used for spiritual practice such as the circles. This allows for the presence of very clear energy. In the "center" of the room is an octagonal area oriented to the "four directions". This altar is usually prepared by one or two of the participants with objects such as rocks, candles and plant materials symbolizing the energy and intent of the circle and also the current season. The room is also smudged to cleanse the energy by burning plant material using a combination of cedar, sage, sweetgrass and tobacco, and by sweeping the smoke around the room. Coals are provided from the wood stove in the adjoining room, which has a fire prepared in advance.

The water drum is a key drum used during the circle and originates from Native American peyote meetings. It is made from a vessel such as a metal pot which is filled partially with water, and then has a moose or deer skin laced to the vessel using small stones. It is played with a thin stick and usually at a fairly rapid pace. This drum must be assembled prior to each circle. After each playing session the skin is remoistened by shaking the drum and then blowing air into it.

Smudging and Group Drumming

Once all participants have arrived, each person will be individually smudged. If weather permits, this takes place outside in the yard around an outdoor fire pit. The smudge area is bordered by logs and each person enters the smudge area and then puts their intention into the fire with a handful of tobacco. Usually two others perform the actual smudging using the same materials as for cleansing the room. The person's energy field will be sweeped with the smoke on all sides, and also any instrument they have brought to play.

When a person is smudged they leave the pit to start playing the community drum. The first person sets up the beat, and the rest join in one at a time. When no more room is left to drum the first drummer leaves to make room for another, and so on until everyone is smudged and everyone has drummed. Our circle is blessed now in having two very special community drums. The first drum was built by Tod out of wood slats and is headed with moose skin. Its name is Albert Sugarhead (I won't go into where that name came from here) and it does have a very sweet sound. The second drum was the joint project of John and Debbie from Thunder Bay. This drum is substantially larger in volume and has a thunderous sound. John constructed the shell out of cedar boards and made the stand. Debbie obtained the buffalo hide from Manitoba and with a little help prepared and scraped the hide. When the hide was ready it was fastened to the shell using rawhide lacing by Tod, John, myself (David) and Tarmo. That was a memorable experience and the net result was simply amazing ... thank you Debbie for your vision! And so "Spirit That Wraps Around Us" was born.

Elements Of The Circle

Once the smudging and group drumming is completed, all participants settle into their spots. Tod as facilitator takes up the "west" and lately with me acting as "fireman" sitting in the "north" and all other spots open. The circle typically begins with some opening comments from Tod and whoever prepared the altar. The format and flavour of each circle varies, but some common elements usually take place. Commonly an initial drumming round takes place where each person may play a hand drum or a rattle if they desire, usually with Tod playing the water drum. The purpose of this is to help set intention for the circle. After this drumming round a "talking stick" or feather is passed around the circle, giving each person an opportunity if they desire to speak about what their current issues or thoughts are that they want to work on in the circle. If one does not feel moved to share they may pass on this as well.

At this point the circle takes a short break and then resumes with several "rounds". These rounds usually evolve from what people have spoken of in the initial round. Some rounds may involve drumming and rattling. In some of these Tod usually sings some traditional Native American peyote meeting songs while rattling, accompanied by someone on the water drum. Another round may involve shamanic journeying. A shamanic journey basically involves one person drumming a monotone beat while the others relax and "journey" into an altered state of consciousness. A person may journey for themselves, or for an issue spoken of by another. The journey itself may typically last 15-20 minutes, and after its completion those that wish to share any information or visions obtained on the journey may do so. These insights are shared without analysis or judgment, and it is up to the person whom the insight is about to consider how it relates to their own life. I find sometimes these sharings can provide very insightful information, and sometimes can sound quite humorous or entertaining.

Typically a circle may last 4-5 hours from the very beginning to the end. After all rounds have been completed, and all issues which arose feel to the group like they have been dealt with, the circle draws to a close. Some final songs may be performed, and then all arise and hold hands. Each person hugs each other person as they leave and the circle is then done. At this point we relax and commune over a pot luck meal before heading home.

Conclusion

If this article appeals to your spirit, I urge you to attend a healing or shamanic circle in your area if you can find one, or perhaps you might like to start one of your own. For me, I always leave the circle with a renewed sense of energy and spirit. Sometimes emotional issues are stirred up which then continue on with their inner healing in the days that follow. Each circle is like a "coming home" for me. The circle provides an opportunity to connect with your own spirit at a deeper level, and also to connect with a group of other like minded people. Each person who attends brings their own special gift of Spirit to the circle. I feel very blessed for knowing Tod and all of the other wonderful people I have had the chance to meet at the circles.

Meegwich ~ with gratitude and blessings ~ David.

David Johannes is a musician at heart. The language of rhythm, as well as musical performance, has always been an integral part of David's life. Later in life David received the "call of the drum" and soon realized that hand drumming was where he wanted to direct all of his creative energy. Blending his new love of drumming with his existing technological and creative skills has resulted in the community based drummer's resource known as Drum Journey. To learn more about David and Drum Journey you may visit the site at http://www.drumjourney.com.

DEPARTMENTS:

EVENTS

The Shamanic Drum

A Workshop with Michael Drake

This introductory workshop presents the basic shamanic methods of drumming. The focus is on universal rhythmic phenomena, drum circle dynamics, ceremony and ritual, creating sacred space, invoking the powers of creation, Eagle and Horse Medicine, initiating change through intent, and learning healing rhythms.

Workshop Time & Location:

Saturday, June 11th from 9:00 AM to 6:00 PM

Central Oregon Environmental Center

16 N.W. Kansas Ave.

Bend Oregon

Contact Info:

Gregg Swanson

541-382-6338

gregg@healingshamans.com

http://HealingShamans.com

Michael Drake

talkingdrumpub@yahoo.com

Shamanic Drum Making

With Jade Wah'oo Grigori

Caretaker of 'the Ways'

An authentic Shamanic Lineage

Sandy, Oregon

August 5 - 7, 2005

August 5 at 4:00 PM (to 10:00 PM) through August 7 at 4:00 PM

Drum Making is a Sacred Act.

More than just a crafting project, Drum Making is a meditation, an act of creation, the bringing to life of an instrument of prayer. During this three day workshop of ceremonial creation each person will construct an authentic two-sided Shamanic Drum, a Drum that is the expression of their own uniqueness and relationship with the Spirit of the Drum. Awakening of the Drum requires consecration, returning the Elk Spirit, of the hide used, back to its Spirit Home and connecting the wooden rim to the World Tree/Tree of Life which enables all trees to sing the prayers we send forth while drumming with a consecrated Drum.

Activities:

· Construction of the Shamanic Drum

· Consecration of your Drum (in the Sweat Lodge of the Great Mother Bear)

· Myths and stories related to the Drum

· Training in songs, drumbeats and rhythms

· Training in Shamanic Journeying

· Training to establish Drum Circles in your community

$365.25

(Yes! That is equivalent to a dollar a day for a year!)

Includes all materials, use of tools, one-on-one instruction and training.

Pre-Registration is Required!

A non-refundable deposit of $150 is due no later than one month before the event. Full payment due no later than two weeks before the event. Payment may be made using your credit card or electronic check via PayPal, available online at my APPLICATION FORM, or by Cashier's Check (sorry, no personal checks), sent to: Jade Wah'oo, PO Box 4448, Sedona, AZ 86340

If the links do not work, the website is: www.shamanic.net

Please note: The above price does not include accommodations or meals. It is requested that you arrange to stay on-site for the duration of this event if possible. A kitchen is available for your meal preparation, and shared bathrooms with showers. Two private bedrooms are available by reservation at $35 per night (max 2 per room), room for sleeping bags and/or tent camping (bring your own bags & tents) at $10 per night, per person. These nominal fees help cover our costs to make the facility available. Please contact Leslie Harris to make your specific arrangements and for location information.

Leslie Harris (503) 706-8312

DancingCloudDreams@msn.com

_____________________________________________________________________________

Many Blessings,
Michael Drake

To view articles, books, and music downloads on shamanic drumming, please visit my web site, Talking Drum Publications at: www.geocities.com/talkingdrumpub/