Fire Tribe Gathering

Guardianship and the Fire Circle

by V. Josselyne Price

The fire circle is a rhythmic mandala, and a container for personal and community transformation. Chanting, dancing, drumming, poetry, and other spontaneous creative ritual come together in an ever-changing mandala of sound and movement, encouraging transformation of body and spirit. Supporting a safe space for such sacred work takes many kinds of effort: conscious behavior in drumming, uninhibited dance and chant offerings; awareness of our own personal needs and how they fit into the larger mandala; and cooperative community-focused relationships. Most important (in my experience) is our individual ability and desire to support the ritual of rhythm and movement as guardians.

Guardianship at the fire circle means taking responsibility for self and circle without making assumptions for others, and without the intention of feeding personal ego. Those taking on the role of guardian in any given moment are often invisible to others, but their actions assure that the circle moves and grooves as a well-oiled wheel. Guardianship can be an umbrella term for many actions, including those of music, motion, and magick. It is these three that I feel are the vital components of a safe and powerful fire circle.

In the Circle: Layers of Sound

Sound is the invisible yet tangible color of the fire circle mandala. It is the ocean the dancers swim within, its waves and currents co-created by the percussionists, rattlers, didgeridoo and bowl players, and the chanters. Each eddy of rhythm is part of the rising and falling tides of sonic blessing.

Drummers, rattlers, and chanters assume the responsibility of guardianship in the circle from the first sound they make. Each instrument contributes to the experience of the fire circle in a different way, which can be represented with many different kinds of metaphors. I teach the following:

Bass Drums/Earth

We must all have firm ground beneath our feet to walk with confidence. The bass drums — dunduns, surdos, and other such low frequency instruments - form the foundation upon which the other musicians lay down their rhythms. Thus, they act as guardians to the instrumentalists. In a smaller circle, a single bass drum can serve to strengthen the confidence of the other drummers, by laying down a simple pulse that everyone can hear and relate with. In larger groups, bass drums lock together to form melodic grooves that underlie all the other rhythmic patterns being played. The key to strong bass and solid earth is simplicity and responsibility. Simplicity will better support the other drummers, and give the dancers a safe beat to lock onto. Responsibility means that those playing bass drums should be experienced enough to play an accurate, consistent rhythmic phrase, and should be willing to continue playing a single rhythmic motive for long periods of time. Dropping out suddenly is something like yanking a carpet out from under a person's feet — it can cause whole groups of drummers to lose their rhythm (what we call a train wreck) or a dancer to feel dropped, and suddenly pulled out of trance. Anyone playing bass drums are guardians not only for the other drummers, but for the dancers as well.

One ritualized way to emphasize the guardian/ritual aspect of the bass drums is to have a single, large (and ideally the deepest or lowest) bass drum set in the center of the drummers area that is highly decorated and only played occasionally during the night. The ritualizing of this drum will import the responsibility of the player to stay conscious and focused, and will help the drum to bring the other instruments together into a tight groove. A single beat every four to eight dance pulses is all that is needed on this drum to bring cohesion.

Hand Drums and Sacred Sounds/Water

Dumbeks, frame drums, congas, djembes, ashikos — all hand drums found frequently at the fire circle — are the instruments which create motion and fluidity of rhythm. Similarly, instruments such as didgeridoos, singing bowls, vibratones, and others can create unique and wonderful sounds that help new offerings to emerge, or to maintain sacred space during non-rhythmic moments. Here, guardianship can be exemplified in being conscious of, and allowing for both unity and diversity of rhythm, instrumentation, and intent.

Unity of Rhythm: The more drummers that play, the more difficult it is to hear a distinct beat unless the drummers cooperate and are attentively listening, playing consistently and together. The average number of hand drummers at a large fire circle is somewhere between 30-50. If each person plays a unique rhythm of their own, at all times, leaving few spaces in their pattern, it becomes impossible to hear distinct rhythmic ideas. It also makes new ideas very difficult to manifest. When a single person plays without giving space to others, an effect lovingly called “bada-bada” drumming is created. Unfortunately, Bada-bada drummers tend not to listen to any drum but their own, busily striking their instrument without creating a distinct rhythm, and leaving no space for other rhythms to be woven in. It can be frustrating to both the other drummers and to the dancers by making them feel locked out and unheard. It can also ‘blur' the rhythm enough to throw the other players off, because they are unable to hear a clear melody line through the din of so many percussive strikes. Sometimes multiple drummers play in this fashion, and this can be wholly uninspiring to the dancers and chanters. If only a few dancers are in the circle, it is a good signal to witness what is occurring musically/rhythmically. Is everyone listening?

Rhythmic unity can create powerful moments for dancers and chanters; if 50 drummers play the same one or two patterns in unity, with the bass drums laying out the groove beneath, a beautiful mandala of rhythm is created that is much more easily accessible to everyone. Sound is made up of waves of moving air, and that movement affects the very molecules of the body — once of many reasons why rhythm is a part of so many ritual and trance traditions around the world. Playing together, we move those waves of sound out much more effectively — creating more than just an emotionally inspiring experience for the dancers and each other. We bask in a strong physical and kinesthetic connection as well.

Diversity of Rhythm: Recognizing the responsibility of the guardian drummers to remain conscious and linked to each other while playing, it is also important to honor and foster diversity. Individual rhythms that are heard and felt at the circle are the beauty and shape of the drummer's mandala.

Polyrhythm — two or more distinct rhythms played at the same time to make interlocking patterns — is the backbone of African and many other musical traditions from which the fire circle derives its sound. Finding a pattern that compliments the music being played while maintaining rhythmic individuality is a wonderful thing, and can deepen the sonic complexity, making the trance-like qualities of the music much more intense.

Call and Response is a form of rhythmic statement/answer that actively engages the drummers and dancers — a single player or group plays one idea, and in response a second player/group responds with a rhythmic “response,” all within the groove of the ongoing bass drum rhythms.

Unity of Intent: Drummers are strongest when they are aware of both themselves and of each other. When a fire circle drummer ‘trances out,' the reliability of the drummer as a supporter of rhythm and motion is lessened. Everyone goes into the circle for their own reasons, and with their own tools and methods. However, the strength of the circle depends upon the common goal set by all of a magickal, safe container. Making rhythm at a fire circle is a communal effort, as well as a personal path. The drummers, as a group, act as guardians for the circle, providing a sonic marker of magickal work.

Diversity of Intent: In addition to their connection with the dancers, drummers, and others at the fire circle, a drummer will find strength in personal intent; what is the intended manifestation of playing one's drum?  It could be to connect to the greater spirit of community through sound, or to take a spiritual journey through rhythmic mediation and celebration. The drummer who plays with intention will be a stronger part of the rhythmic community, a brighter, clearer color in the mandala of sound.

Unity of Instrumentation: By unity of instrumentation, it is meant that groups of instruments such as frame drums, dumbeks, congas, or various kinds of percussion can present powerful offerings when given space to do so by other players. Often at bigger fire circles it is West African drums that dominate the sound — they are in unity together, presenting traditional and non-traditional rhythms for the dancers. In the same way, the discreet sounds of groups of other, different drums and percussion are important to the fire circle.

Diversity of Instrumentation: It is not only the rhythmic, groove-oriented sound of hand drums and percussion that stir the magick of the fire circle. Sacred Sounds are more melodic or gentle vibrations created by unique non-percussive drone instruments such as didgeridoos, singing bowls, and others. They act as glue between separate percussion instruments, and during moments when drums are not playing, they can be a powerful booster of emotion behind chants, movement, or spoken offerings. It is important for the drummers to give space — silence! - for these different instruments and sounds just as the drummers are honored and given space within the circle. When quiet drums are playing, players of louder instruments must be aware of the softer drum- voices in the ensemble. Be willing/able to share space with the more delicate drums by playing very quietly, or by taking a break so that a totally different voice can be heard.

All of these ideas surrounding unity and diversity require one essential act: Deep Listening.

High Percussion/Fire

Higher-pitched sounds such as rattles, bells, and shakers ‘cut' through the other percussion instruments in a much clearer way than lower frequencies. It is because of this property that rattles and bells are the “driving instruments” in ritual trance music all over the world.

Metal and those that work it are believed to hold special magick in African traditions. Transformed by fire, metal instruments contain the magick of transformation themselves. They also are considered the “leaders” of the percussion instruments, meaning that all other instruments must follow their lead. Bell players take on the responsibility of identifying the pulse — a single bell can keep 50 drummers together if played consistently. Conversely, a single bell can throw the entire group off if played inconsistently. Bells are most effective playing a solid, unchanging pulse or otherwise a repeating rhythmic pattern (called a timeline) that helps define the groove. As bells are loud and can be painful to the ear when held too close, players should be aware of where their instrument is held/pointed. Keep the bell away from other drummers' ears, and never play directly behind someone's head. Entering into an already-set groove with a bell, a player can serve as guardian by helping to solidify the entire ensemble. Listen first, begin playing softly and raise the volume gradually — and if the need or desire arises to stop playing, it is vital to avoid suddenly dropping out!  Fade out slowly, slowly, slowly. Many times, the power of the bell can be felt when this is done, because the drummers will almost unconsciously fade out with the bell.

Rattles and shakers are the small licks of flame that make the groove burn… by playing pulse, by adding faster beats on top of an established rhythm, or by being played without other accompaniment to support a chant, helping to keep the singers together. Shakers, such as the African shekere, are louder/crisper in sound and can therefore play a more intense supporting role for the drummers, as well as playing more intricate patterns. Rattles, which are softer in sound and simpler in what they can achieve rhythmically, are more of a solitary or focused group instrument. Rattles carry a heavy significance apart from their musical role, as the main tools of guardianship and magick both inside and outside of the dance track (this aspect will be discussed below). When played by many people around the perimeter, rattles form a powerful pulse that serves the heartbeat of the entire ritual.

Chant/Air

The voice is truly the breath of Spirit. In so many ways, it is the chants that give distinction to the individual and group intent of each moment. Guardians can support others in the circle by lending their voice when a chant is first offered up. Used wisely, the chanting can inspire, reassure, invoke, support… it is one of the most powerful tools of the fire circle guardian. The voice can also be used effectively by remaining silent; remembering to hold on to the energy of the moment. Singing softly, or refraining from yelling or cheering at the end of a powerful rhythm helps keep the energy contained and ready instead of discharging it.

One does not need to have a trained voice in order to support or lead chants — the needed ingredient is inspiration, blended with heart and soul.

Motion/Spirit

Dancers within the circle are part of the inspirational exchange of energy that flows between themselves, the drummers, chanters, and those witnessing. They inspire by expressing themselves and their joy, sorrow, and magickal selves within the dancers mandala (dance track).

Motion can reflect the rhythms played by a single drummer or a group; it can mirror another in the circle; it can communicate very strong content to others, or help a dancer go further and further inside his or herself. 

Rattles As Tools for Community

Standing around the perimeter edge of the dance track, multiple rattle players serve to keep a solid sonic container apparent for the dancers — many go around the circle with their eyes almost closed, or while looking at the fire — and the rattles help them to “see” where they are within the dance track. The sound of rattles also mark the player as an active participant/witness to the energy inside the circle, rather than “deadwood” — simply an observer who contributes little, while taking in the energy of others doing work.

With eye contact and the shaking of a rattle, those along the edge of the dance track can make a dancer feel supported, seen, heard, and loved — simply by being present and willing to be aware of another's work.

Rattles As Personal Tools

As the common style of fire circle rattles are softer instruments, and do not sonically carry much beyond the player, they are very effective as magickal tools for dancers and solitary practitioners around the circle. The soft call of the rattle can keep us centered on our work, on the pulse, and keep out other distractions such as voices or unwanted sounds. 

As shamans from North America and Asia use rattles as sonic guides into the world of Spirit, those dancing the fire can employ them also. Envision rattles as a personal guide and protector whose voice is ever-present — as long as the dancer maintains the responsibility of playing them. 

Rattles As Guardian Tools for Others

Dancers often go into trance as a result of the continual movement around the circle, the mantras of the chanters, and the waves of cyclical rhythm emanating from the drummers/rattlers. Some dancers maintain the ability to continue their circuits around the fire without assistance, but sometimes there is a need for a moving guardian who can keep them from running into other players or objects.

Guardianship of dancers should only happen by explicit request — being followed, watched or exclusively witnessed by another can cause a dancer to feel inhibited or annoyed. When a dancer is in trance and does not seem aware of their own surroundings, there may be a possibility of danger to others or themselves as a result. A guardian dancing a bit behind their path without interfering in their space can be ready to support in case of a loss of balance or direction. If a dancer seems to be moving in a way that makes others in the circle feel unsafe, a moving guardian can help the dancer to become aware of his/her surroundings without breaking out of trance. Using chant or rattles, a guardian can help the dancer focus in on their proximity to others (another important reason to have rattlers around the perimeter of the circle). In moments that a dancer seems to be unaware of self or others, a guardian can find gentle ways of raising their awareness to ensure safety for all. Singing words of caution softly next to them, or using their name so that they understand the message is for them, allows the situation to be handled in a way that stays private between the dancer and guardian. Only under extremely rare circumstances should any dancer (or anyone else at the circle) touch another without specific, vocal permission. Assume that everything is O.K. unless you see a definite danger in another's behavior, or someone asks for your assistance. 

Dancers in trance do not need more than one rattler to attend to them unless they specifically say so. If you see a dancer or person in trance and a rattler engaged in intense work by the fire, it is best to continue on around the fire instead of joining in (or watching). Clusters of four, five, six, or more people become a serious obstacle to the orbits around the fire and can be very distracting both to the person being “clustered”, and to the others present who are doing their own work. Guardians can help clear clusters of people trying to “help” by singing words that encourage them to resume movement, or by making eye contact and gesturing to indicate that the flow of the circle has become obstructed. It is important to be gentle and compassionate, for everyone is trying their best to contribute to the community in a helpful way.

A rattler can make a dancer in trance feel incredibly safe and supported!  Keep an eye out for more experienced fire circle community folks and observe how they interact, and how they are ‘watchers' for each other — the mark of a true guardian.

Guardianship Outside the Circle

The magick of the fire circle ritual extends well beyond the dance track. It is all around — many people work their magick outside of the dance circle, making orbits in what can be called the “walkabout path. People in need of quieter, introspective time while remaining within the ritual container are often here, and rattlers/guardians can help keep the area safe and sacred by quietly walking the path and gently shaking a rattle. The sound of the rattle helps to pull those who might be engaged in idle chatter back into the ritual, and to remember that even outside the circle there is sacred work happening. Those standing on the perimeter of the dance track often hear the rattling behind them and feel like their backs are being watched, and therefore are more able to turn their energies to the circle.

Guardians can help in other ways, too — by lending an ear or shoulder to those who ask for it, by making sure the dancers, drummers and others have water, and by helping to keep the food altar and other areas set. Clearing objects that are in harm's way such as abandoned instruments, keeping oil in the torches, and adding wood to the fire are all essential to the well-being of the fire circle, and therefore are within the realm of the guardian's work.

The true essence of the fire circle is that every person present is a guardian; every person holds responsibility for themselves, and ultimately for the circle through responsibility, watchfulness, and deep listening. May all of us be blessed with open hearts, open minds, and open ears and eyes as we dance the mandala together.

For information on upcoming Fire Tribe events please contact 808-864-1701, or visit http://www.firetribehawaii.org/