The sound memories of these ancestors are beautifully fused with uplifting dance rhythms, wooden flutes, whistles, bagpipes and drums creating a new celebration of these cold northern lands. These flowing rhythms and chants tell a wonderful story about this powerful frozen landscape.
Additional lyrics and voices by Carolyn Hillyer. This work is inspired by the spirits of the grandfathers and the songs of ancestral lands. The music offers a shared understanding of our human connection to this beautiful planet. Since the first meeting Bamboo Cedar Oak have travelled together giving concerts and workshops, performing in Buddhist temples across Japan, a cathedral in New York and amidst the wild hills of Dartmoor Englandtravels that have fed this recording with a rich tapestry of new sounds and melodies.
Guillermo Martinez is a master-instrument maker living in California and a native Tarascan, a tribe from the highlands of Michoacan, Mexico. He is a highly regarded teacher and has made many of the flutes, drums and rattles played on this album.
Guillermo plays cedar flute, clay flutes and whistles, drums and percussion, and sings traditional songs. Hiroki Okano is one of the most widely respected ambient composers and recording artists in Japan. He plays many ancient and contemporary instruments, works with several Japanese world music bands and travels extensively promoting peace projects.
Hiroki plays bamboo flute, native American flutes, guitar, bouzouki, tonkuri, drums and percussion, voices. Nigel Shaw is an acclaimed composer and international performer, well known through his many recordings of inspired ambient, world and shamanic trance music. His work is deeply inspired by the ancient landscape of southwest England where he lives.
Nigel plays Dartmoor wood flutes, long flute, Irish whistles, clay flute, keyboards, dulcimer, drums and percussion. Domenic plays guitar, Cretan laouto, cedar flute, percussion and voices. Together these three musicians from different corners of the planet have produced a rare and special collection of recordings that evoke a unity of spirit and a global sound.
The music moves between gentle flute pieces performed on three Native American flutes, traditional Buddhist and Native American prayers, and powerful drumming chants.
The range of music reflects the diversity of ancient traditions on this earth and the realisation that, regardless of our different cultures, we all sing the same songs. Instruments include: Native American flute, Irish whistle, bamboo flute, guitar, samisen Japanese luteframe drums, djembe, traditional rattles, and voices. Carolyn Hillyer - vocals. Featuring: keyboards, samples, synthesisers, drum and percussion loops, acoustic flutes and whistles, djembe, frame drums, acoustic percussion as well as vocals and chants.
Brian has played guitar for over ten years with the bands Global and Riven. The album is an extraordinary journey, the music moving from archive recordings of Tibetan monks and nuns through beautiful ambient soundscapes and sonic prayers where contemporary western instruments merge with Mongolian and Tibetan instruments to full power dance and rock compositions. Gig-na-gig celebrates the dance of life, drawing on the deep tribal pulse of this land and a wild web of rhythms.
Instruments include sampled and synthesised keyboards, loops, vocals, flute, guitar, didgeridoo, acoustic drums and percussion. It touches both the stars and the soil in its enthralling brilliance' - Rock 'n' Reel Magazine. Total album duration 69 minutes. M:SHAMANKA Global Shamanka is an hour long journey into the ethereal and ecstatic from the spiralling and sensuous rhythms of She eats the stars, through the weird and haunting atmosphere of Lucky we know the forest so well or we might get lost, to the powerful heartbeat of the title track Shamanka - 'I will dance 'til my spirit bleeds'.
The Dartmoor Symphony is a profound expression of the extraordinary beauty and power of this ancient landscape, drawn from many years of intimate connection with the moors and a constantly evolving journey into how the voices of nature can be expressed through traditional, classical and indigenous instruments. Echoing some of the musical themes and melodies from both of his previous works, Dartmoor Journey and Dartmoor Roundhouse, Nigel has developed the music into a richly textured symphonic composition that describes the landscape, and our human relationship within it.
A sense of journeying, yearning, returning, and belonging are central to the feeling of this work as it travels through the five movements of Overture, Stone, Wood, Water and Sky. Nigel handcrafted a special set of Dartmoor yew wood flutes especially for this project and these unique instruments are constantly woven through the music.
Each of the movements also includes instruments made from the raw materials and elements of the land such as granite grinding rocks, wooden bells, water-filled bowls and air chimes. Also featured are traditional whistles, small pipes, fujara, overtone flutes, piano, harp, celeste, bell, bowls and other percussion. Vocal parts are sung by Carolyn Hillyer. Ten Tors is a chamber orchestra with a membership of up to 50 professional players, including a seventeen-piece string ensemble plus flutes, oboes, clarinets, bassoons, horns, trumpets, percussion and harpsichord.
All the members are recruited from the south west region of Britain and many of them play with leading national ensembles including the Academy of St Martin-in-the Fields and the English Chamber Orchestra. Created and produced with Nigel, the film is a journey through all the seasons in the Dartmoor landscape, moving from close abstract images Album) wild nature to the wide, expansive open hills.
The film has been created to flow seamlessly alongside the Symphony: both a visual reflection of the music and a symphony of images. Chris Chapman has been documenting and archiving all aspects of Dartmoor life since moving here in His photographs reflect the truly authentic nature of these moors and its people.
We uncover and absorb the mythology and wisdoms that lie behind them, gather together the fragments of our own ancient memory and explore our personal myths as women of wisdom. This journey is created around song, rites of passage and a cycle of eight initiations to honour and celebrate our changes from girlhood to old age: from girlseed and first blood; through fruitmother, spinmother and midwoman; to earthcrone, stonecrone and Old Silverhead herself.
We seek out the strange and ancient megs of the wild weather and the enduring seasons, who dance the cycles and rhythms of the earth, the ebb and flow of the year and the deep magic of the elements found at the very edges, and in the secret places, of the ancient land.
Exploring the outer and inner dynamics of menopause, working with words, music, herbs and sacred myths and tokens, creating rites of passage and simple ceremony to bring power, courage and wisdom to our understanding and experience of the midwoman time.
We make drum beaters and prayer tokens, share drum songs and explore the drum traditions of northern Europe. Includes the making of red deer or horse skin rattles.
In the heart of wild moors, women meet together to share ancestral wisdoms and express wild spirits. Includes guest presenters, contributions from participants and a special creative group project using traditional felting techniques and involving the hands of 80 women.
Concludes with a shared ritual within a marsh labyrinth and around the roundhouse fire. We make and decorate traditional Arctic reindeer paddle or dancing drums using reindeer or red deer skin, and we create a ceremony to honour the spirit of wild deer. We begin to unravel the threads of what might be waiting for us as we journey northwards, facing our mortality and our aging, slipping into our old skins and moving closer to our final transformation as crone women.
We challenge our boundaries of perception and courage at a time of year when the shadows of the coming winter reach towards us and the mists of samhain swirl around our feet. We draw on the untameable moors as a source of gentle and fierce darkness, quiet secrets, unexpected mystery and wise revelation. Includes the opportunity to use our wise hands to make a spirit of ice pouch using materials gathered from the Arctic. A weekend of bright circles, drum songs and sacred chants, gentle ritual and shared council at the roundhouse fire.
We walk beneath the night sky across the moon-lit moor to visit a hidden ancient shrine and we make hare drums small deerskin finger drums on which to sound the pulsing lunar rhythms in our veins. The ancient salmon drum draws us into a spiralling dance of seasonal ebb and flow, initiations, rites of passage and circling currents in the rivers of our own lives.
Following the magical routes of water, laid out as living veins across the wild earth, we seek the gifts of the salmon drum: freedom, perseverance and clarity of intent. Around the sacred fire of our ancestral mothers we build the power of the long journey, honouring its sacrifices, its challenges and its changing shape. We learn how to tan salmon skin using traditional Arctic methods and we make salmon rattles and small fish leather pouches in which to carry tokens of our journey out and of our return.
A winter retreat and intense journey into the powerful territory of the bear drum. We work together to prepare for a special all-night ceremonial vigil in the roundhouse, Album), deepening our connection with ancestral and inner landscapes. We learn ancient song techniques from the cold northern lands and use clay, ashes and bear magic to make traditional fire oracles.
A chance to investigate the maturing of our journey and travel through the mysteries of our ancient mothers to a place of silent strength and fierce courage.
As we turn to face the darkest nights and the dead of winter, we explore the themes of feeding the hearth fires, keeping safe the winter light, and moving ourselves into quiet hibernation where we may rest and dream and mend. Together we share a winter ceremony around the roundhouse fire, brewing the elements of ice, flame, mist, stone and black earth within our cauldron and drawing inspiration from the wise bones of our ancestral mothers.
A drum with which to honour the abundance of the earth and the rituals of the gathering time. With our drums we create and perform a special harvest rite. A weekend of creating wild skin drums with reindeer, red deer and horse and using them as sacred tools for harnessing the raw power of the autumnal shift. We walk into the ancient hills to find inspiration for our own drum song and make a ceremony around the roundhouse hearth to bless our drum journeys and honour the spirits of the skins.
The festival is shaped as a journey around thirteen moons: copper, fallen crow, salmon, warriors, healers, nameless, leaping hare, drummers, weavers, granite, bone, honey and finally honouring our sacred journey with many sisters moon. An ancient pilgrimage of sisters sharing wisdom, wonder, music, old magic, inspiration, spirit, food and fun.
Solitude, the disintegrating woman and the bearer of wounds are aspects of the darkest mythological guardian of the Ashes and Earth cycle. She is found Album) the primordial cauldron of crows, the vessel that holds our most profound mysteries of death and life. In this workshop we enter the earth along the harsh edge of winter and deep into the silent lands. Involves a personal ritual journey into the Cauldron House and the shared creation of a winter book.
A special retreat for the deep winter. Within the silent stillness of the hollowing woman, caught in the marrow of ancient bones and far inside the cauldron of crows, rests one seed that holds the key to the restoration of life. So we create a journey of germination and renewal as we pause before the last out-breath of winter, held at a turning point within the protecting hands of the oldest guardian, and guided by the visions that wait behind our eyes.
A time for mending, dreaming, tending fires and travelling gently, supported within the circle of women and nurtured by the ancient land. Over the raw spring earth runs the quickening woman, following the strange seam where death and life are knitted together, where a perfect balance exists between the winding of shrouds and the vibrant expression of new energy.
We are midwoves of so much: last and fisrt journeys, blodd of grave and of womb, return and release, physical and elemental bodies, all lifted on a rising wave of change. Involves a profound connection with a wild place and the alchemy of sacred water.
We use willow and hazel on which to spin some spring magic and paint our red journeys as we catch the early spring waves of energy that carries us onwards towards the illumination of summer. The final weekend in the Ashes and Earth cycle of journeys that have explored our intimate connection with a moon that repeatedly carries us on a circle road through dark solitude, incubation, inspired renewal and the illumination of memory. In the full brilliance of the Illuminating Woman we discover the ultimate blessing of ashes and earth.
She slowly dances around the rim of the cauldron of crows, where light is revealed through its relationship with shadow, creting deep ceremony enriched by the intricate weavings of soul songs and lament and the wonder of life. Many of her workshops take place on the ancient farmstead of Lower Merripit amid the wild hills of Dartmoor.
All women are welcome to participate in these workshop journeys, whether stepping out for the first time or carrying the experience of long-time travellers. The farm is run as an organic small-holding. We draw all our water from two spring-fed wells and encourage visitors to use eco-friendly washing products as we maintain our own sewage system. The farm protects some rare natural habitats and caretakes a small herd of wild hill ponies on the open moors.
Accommodation is generally in shared rooms in the cottage, with camping in the meadow or additional rooms at the nextdoor farm available for larger groups. Food is vegetarian wih vegan options and organic where possible.
Public transport onto the moor is very limited so those using bus or train services are advised to travel to Exeter from where we are usually able to arrange a shared taxi or lift.
We will travel through a starkly beautiful landscape of death and restoration, touching into dark solitude with the Dissolving Woman who carries the burden of wounds within the deep belly of the cauldron ;A journey into shadow. Dartmoor:Seventh Wave Music. Introduction:Approaching the Cave The Oracle of Nights is a cycle of work that binds together ritual,myth an d black wrapped journey into the Cave.
It is a personal territory of darkness and shadow. It is an intimate underworld. It is the poetry of a land without light. The traveller enters the Oracle top seek,to confront,and ultimately to understand the places that are fearful to her. The Oracle journey is formed around a series of encounters with five guardians or protectors located within the chambers of the Cave.
It is an exploration of the five aspects of fear that they represent. The protectors are positioned at the five points of the Oracle,which is travelled in a counter clockwise or widdershins direction. Once embarked upon the intent is that this journey should be completed in full.
Each chamber of the Cave sits in sequence with the others and it is in this context that the experience has most meaning. The traveller is guided by the pulsing of the moon from fullness to dark and through ful again. Light is left behind at the entrance to the Cave,to be slowly regained as the cycle ends. The Oracle is a quest into darkness but the images and words are not intended to be anything other than ultimately empowering and healing. Night holds many truths. Much hidden beauty dwells in shadow.
And how does the mind grasp it? As waste? Nothing is cheaply within grasp from what was. But as the fundamental nought,the positive,original nil? As the immeasurable drop into pre-thought,pre-existence,pre- essence? But then, the mind that will conceive this must empty inwards from a lifetime's frame of accumulated references,must plunge from the physical platform into primordial abyss.
Within which alas,lie the creative energies which 'abhor a vacuum' even more than Nature. The cycle must commence again. Still,there Album) nothing worse to do,Pluto tried to discover tunnels even from the dead netherworld into deeper bowels of Void. At the best,it was mesmeric:the mind's normal functioning seized up,the day eased out in a gentle catalepsis. At worst it lay within that darkest ring of recreative energies,revolving on its axis,turning on its spoor in the gossamer dust of infinity Which existed and had always been -Life,that is,which God did say Let there Be.
For it had always been within his protean Meet The Mirror - Carolyn Hillyer - Old Silverhead - Songs and Initiations of Womanhood (CD form that was not formed,motion that did not move,time and space which existed not,yet were all severally and wholly contained,rolled and moulded within that great amorphous origin,pulse,breath, androgynous source of matter and of essence. Until,suffering,I do not seek,I find-he delved within and ordered:let there Be!
Tangibly,visibly,olfactorily, audibly What then,what was this need to materialise in poor second-mould copy such merely outward manifestations of the pure Idea! Why break the invisible chrysalis of essence,that one unassailable Truth. Truth,because there was no copy,no duplicate,no faulted cast,not even a bare projection from an alien mind of that pure idea? For there were no other minds. No faker. What was this need to turn materialist?
Loneliness,said the Holy Writ. A fear that thought was Nothing,and a fear of Nothing which could only be allayed by the thought made manifest. A stone lay on the ground,worn smooth and oval shaped,subtly creviced as if by human hands,faintly reminiscent of a shuttle. Not to create or think is best.
The pause leaves the Crypt a little darker than before. Creation is admission of great loneliness. Turn the mind to a loom of cobwebs,rest the time-smoothed shuttle in its home of timelessness. A mind must be the shuttle and the loom but in dead repose for in the home of death the living is sole creator.
And what agitates and moves,what manifests itself is surely the work of that mind. Dawn,noon,night and man-made satellites. Lest the spirits of the underworld suspect him and unmask him him he shall wear vestments of and as the dead,embrace the outer form of death,chill his mind to that inaudible beat of death intertia. A shuttle in repose,as in the darkness of an old woman's hands,whose heavy lids drop lower and lower even as she weaves the death shroud of the old,the swaddlings of a new awakened world.
Her tired earth-departing hands sinking slowly on her lap. Why then spin and gather dust and filth when the pure unsoiled form reposes in the mind? His spirit moved among the leaden clouds,across the dark gestation of waters,across the waters restless,lonely. A dragon-fly,a twig-legged water insect,insubstantial ray of matter,probing clues where the slow mutation had begun,exciting those inert gases that moved towards the first amoeba,nudging,prodding, pleading,this light immutable catalyst.
I create,I re-create in tune with that which shuts and opens all about me. Dawn or dusk. Darkness or light. Concrete bars and iron gates. A murmuring rose from the gate in the Wall of Flagellation.
He saw it was the anachrones,and their eyes were on his restless spirit among the clouds,and they sank their heads again and shook them,staring at at the waiting land Dare we plant? Will the Seer wait until close to fruition then give the wanton order for destruction?
Do you think God has punished him enough for that wicked deed? They looked at the barren spot where once the guava stood. A sigh broke forth from among them. Oh ye of little faith. But they were shadows not substantial men. Their apprehensive utterances spoke,true,in undercurrents of hope and bridged a gulf,a new rib of humanity pushing upward from their barren soil. But anachrones he called them yet,saying, they were formed before their minds. The mind is time-and on that he rested now the problem of infinity at last.
The mind is sole coefficient of time and space. Muffle it Pluto,muffle it in thick impenetrable cotton wool. Wole Soynka,T he Man Died. London:Rex Collins, The frame,for example,is made up of eight main pieces of wood:four vertical ones that symbolize the four collateral points. The weaver,placed in the middle,represents primordial Man,Maa,at the heart of the eight directions of space. With his presence,we obtain nine elements which recall the nine fundamental sates of existence,the nine classes of being,the nine openings of the body gates of the forces of life ,the nine categories of men among the Fulani,etc,etc.
Before beginning work the weaver must touch each piece of the loom,pronouncing words or litanies that correspond to the forces of life embodied in them. His feet are supposed to speak as follows: Fonyoko! When one goes up the other goes down. For its part,the shuttle says: I am the barque of Ftae. I pass between the reefs of the threads of the warp that stand for Life. From the right bank I pass to the left, unreeling my intestine[the thread] to contribute to the fabric.
And then again from the left bank I pass to the right, unreeling my intestine. Life is a perpetual to and fro, a permanent giving of the self. Amadou Hampate Ba. General History of Africa Vol. BLOOD the journey inward. Please only submit official CD releases; no bootlegs or cassette-only or LP-only releases.
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