Firedance 2000: A Magical Drum
and Dance Celebration
by Michael Wall
The festival took place in the mountains near Santa Cruz, CA and was
attended by approximately 300 drummers and dancers from all across the
United States, as well as participants from Australia, Poland, Israel,
and Canada. Experiential workshops on drumming, sacred dance, chanting,
exploring sacred space, body art and community ritual were presented
during the day. These prepared and encouraged people toward the central
focus of the weekend — the 11pm to sunrise dances around the fire.
The shared intention was to create a container for spiritual community
and individual magical work. The attendees came from many different
and diverse paths — American Indian, Wicca, Judaism, High Magic, Sufism,
Christianity, Krishna, Candomble and more. Firedance 2000 has its roots
in a style of fire circle celebration that has been evolving for well
over a decade at magical drum and dance events held on the North-East
Coast.
The Firedance began each night as the celebrants silently entered through
a hand-crafted bamboo portal/gate into a large outdoor ceremonial area
which was intended only for transformational work. The organizers requested
that drugs, alcohol or tobacco stay out of this area. People were encouraged
to set up their personal "nests" outside the circle for times
when they might want to relax or socialize. A clear intention was created
for sacred space, visually reinforced by the prayer flags which each
participant created and hung on the cord demarking the outer perimeter.
Every individual was warmly greeted in a sacred and respectful way,
offered smudging with sage, and made welcome — even the late arrivals!
The Four Directions were called, the fire was lit to the accompaniment
of invocational songs, and the circle of dancers began to move clockwise
around the fire. As the singing swelled and harmonies developed, the
dunun players began a simple heartbeat which slowly evolved into the
first rhythm.
There were a number of very talented drummers there, and the development
of each new rhythm was a fascinating process to be a part of. In contrast
to other circles I have played in, the sacred space of the event created
a strong impetus for listening and musicality. Some DEEP funky rhythms
were birthed as the night stretched out. There were lots of dun - sangba
- kenkeni players! People playing bells and woodblocks provided the
intricate, high-pitched trance lines. Don't think for a minute that
the drumming was limited only to slow or shamanic rhythms. Some very
spacey 6/8 pieces unfolded, as did some high energy djembe burners!
We were also blessed to have an extremely talented doumbek and frame
drum player in our midst.. and the drummers rountinely had the sensitivity
to play softly enough for that voice to be easily heard. All this without
any overt facilitation of the players!
Once the singing began to gradually fade away, the natural tendency
to pick up the tempo was indulged and the trance dancers began to move
in earnest. The structure of the dance circle allowed the more energized
and ecstatic dancers to orbit rapidly near the fire, while those in
more contemplative or meditative states moved slowly near the outer
edge. I thoroughly enjoyed witnessing the vast array of ceremonial garb
and body adornments that people wore to the circle, no doubt encouraged
by a group agreement that no cameras would be present.
Eventually the first rhythm and energy peaked and the drumming was
either called to break, or gently faded out. For a few minutes, the
group continued to circle in silence, listening to the wind, breathing
deeply, whispering soft prayers. Occasionally some didge players added
their deep sonic vibration; at other moments a harpist playing shimmering
melody lines.
Then, in dramatic style, someone would share a quotation, prose or
poetry — beautiful invocations of spirit. I noticed that people largely
avoided direct reference to their personal deities, preferring to share
words and thoughts inclusive and inspirational to all present. All the
while, a sense of continuity was maintained by people who were circling
on the outer "rattle track", softly playing rattles and shakers.
Soon the process began again as someone started up a new chant or song,
the drummers began to build a new rhythm and the energy began to rise
again. This went on in ever deepening and ever more energizing cycles
until sunrise. I was amazed that we just kept right on dancing, singing
and drumming until nearly 8:30 am when the sun actually peeked over
the ridge above us. When we finally stopped the stillness, beauty and
power of the moment was incredible!
The empowerment and spirit present in the circle clearly carried people
far beyond the normal need for rest — we did this 3 nights in a row!
I'd be lying if I said I wasn't physically tired Sunday night, but I
was and am energized in ways I haven't felt for far too long.
As we drummed through the night, smiling people appeared to feed us
bits of fruit and sweets and to provide drink. This is in marked contrast
to so many parties or events I have performed at where the drummers
were taken for granted to the degree that no one saved us any food!
The appreciation the dancers displayed through such simple actions is
just one example of the profound sense of community which quickly developed
in a group which had no prior experience together.
Drumming, dancing and singing under the full moon and stars until we
greeted the sun was so transformational! I feel honored and elated to
have been a part of something which promises to become (continue?) a
tradition of our own. The frictionless sharing of sacred space by people
from many different spiritual paths was encouraging and empowering to
say the least. Of course many more special experiences took place outside
the firecircle - performances, a vendor's area with many beautiful treasures,
a musical procession of bells and frame drums — and the spectacular
location.
What a blessing to be able to drum in service to 200 people moving
in trance, each doing their own inner magical work. The looks on their
faces told the tale.
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