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... l examples such as pirate ships and even the first utopian communities in the United States (Bey). In comparison peyote ceremonies are all night vigils at which Native American Church (NAC) members partake of the psychedelic cactus peyote. The people feel that by eating the cactus, they will learn how to live correctly. Their belief system is a syncretism of ancient Mexican peyote religions and Christianity brought by Europeans (The Peyote Foundation). During these ceremonies members play peyote songs, where many chant and play rattles and water drums in order to help them along the Peyote Road (Titon, 55).
Peyotists and their songs are can be traced back to the Tarahumare and Huichol Indians of Mexico. Many Navajo Indians in the United States reflect their culture in ceremony and song. The tradition is ancient because peyote caches aging up to 7000 years old have been found in caves in Texas (The Peyote Foundation). Traditionally, only Native American men were allowed to participate in the ceremonies, except for the Water Woman who brings water at midnight and in the morning. More recently, however, more liberal communities of protists allow women and non-Indians who show sincere interest to participate. There are two types of ceremonies; Half Moon, traditionally more native, and the Cross Fire, traditionally more Christian (Morgan).
Peyote ceremonies are staged when a member of the church feels that it is necessary, either at the time of a funeral, wedding, or illness of another member. The ceremony is then mainly concentrated on that purpose and prayers are offered all night in accordance. The all night ceremonies are held in a circular tipi or hogan that has been made or designated for that purpose. The tipi is symbolic of the womb and the drum played throughout the night is symbolic of the fetal heartbeat.
In the center of the structure is a crescent altar that opens to the east. Inside the crescent is the sacred fire; on the top of the crescent is an indented groove that represents the path of ones life. The beginning to the curve represents birth, childhood, and maturing. The peak of the curve marks the middle point of ones life before travelling down the curve to aging and death. The four directions are constantly symbolic in all aspects of the evenings events (Smith, 77 - 101).
People accustomed to the ways of the Peyote ceremony are given specific roles to play throughout the night. These are not paid clergy, nor are they formally educated in the ways of the ceremony; all aspects of the ritual are learned from observing and imitating elders. The Roadman plays the central role in the ceremony, leading the participants in song, prayer, and consumption of their sacrament. He leads the participants in trance-like observance down the Peyote Road of correct living. The Roadman sits to the north of the opening of the lodge (which is on the east side). The Drum Chief sits on the right of the Roadman and accompanies singing with his drum, driving the prayers to the east.
The Cedar man sits on the left of the Roadman and is responsible for placing cedar on the fire to create a pleasant aroma. The Fireman or Fire Chief sits opposite the Roadman and tends the fire throughout the night. The Water Woman brings water in the morning, representing Peyote Woman, who is traditionally thought of as the first person who discovered the religious sacrament. The other participants are expected to direct their energy towards prayers for the intent of the ceremony (Smith 77 - 101).
Peyotists believe in many Christian values, such as abstinence from alcohol, the Ten Commandments, and the relationship between God, Jesus and Man. Grandfather peyote is considered a means of communication between God, Jesus and Man. It is said that God gave humans peyote in order for them to appreciate and understand the world He had created for them. It is considered their sacrament and will lead them down the Peyote Road to better living and understanding. Peyotists believe in living in harmony with all creations of the earth (Smith 77 - 101). Undoubtedly, the concern about the negative effects of the federally illicit drug has remained controversial.
However, few negative effects are found, occurring only when the drug is combined with an existing condition of poor health or used without supervision. Anthropologists have documented many positive effects in behavior and health after consumption of the drug (Smith, 109 - 113) The peyote songs that are sung during the ceremony have distinctly native and European elements. Native elements include the peyote rattle and water drum that accompany the singers. The rattle symbolizes the earth and the people speaking from the inside. The decor on the outside of the rattle represents worldly possessions.
The vocals in the songs are all vocables, rather than a translatable language. These syllables are from native tradition, but are arranged in a distinctly European style, using the strophic structure of Christian hymns (Titon, 56) The Navajo Peyote Song recorded on the accompanying cassette presents general features of the sacred songs. The singer in accompanied by rattles and a water drum, and although there is only one singer in this recording, oftentimes there are multiple singers. The song is metric, played at a relaxing but inspiring pace, about 120 beats per minute. It could be considered homophonic since the singer is accompanied, but the song would lose meaning without the drum and rattle, so it should be considered polyphonic. Melody and rhythm are present, but there is no harmony.
It should be noted that the last he ne yo we is very similar to Christian hymns ending in amen. The drugs used by these cultures help their participants to define and experience their ideologies. Ecstasy, the most prevalent drug at a rave, helps the raver become egoless and more in tune with people around them. Those who have experienced this drug feel that communication with other people becomes easier and their ideas are more readily conveyed from one mind to another. Others have stated that while rolling (being under the influence of ecstasy) everyone in the club feels like a best friend. The ideology of the rave scene reflects this feeling of community.
Peyote is a hallucinogen that makes protists feel connected with nature. Some feel that peyote helps one explore their own mind and therefore they can examine their actions and determine which are right and which are wrong. The ideals of harmony with nature and choosing the right path for your life are prevalent in NAC ideology. In both of these music cultures, there are three main elements, music, people, and drugs.
Its fascinating how people in both cultures are involved with mind-altering substances and music in order to achieve a state of trance and spiritual guidance. The drugs consumed assist in making the listener more entranced with the music. In the peyote tradition the drug is administered in a controlled and supervised manner, which is now protected by the constitution under freedom of religion. Next to the traditional pow-wow, peyote ceremonies are the most popular Native American ritual practiced today.
However, traditional minded Indians, as well as most government narcotics officers, oppose the use of the psychedelic cactus. Many people also oppose the use of the drugs consumed by ravers. All of which being illicit, these drugs are not administered in a supervised way, nor is the purity of the narcotic guaranteed. Another controversial issue is the remarkably young age of those attending raves, in contrast to a seemingly older, more informed generation of protists.
Other striking similarities between these two cultures are the use of a spiritual guider. Ravers view the DJ as a person who helps them down an incredible path of ecstasy, reassuring and challenging them with music. Peyotists view their Roadman as the same type of spiritual assistant, and through the drum, the Drum Chief helps maintain connection with the worldly plane while participants are entranced. In general, both cultures also seem very accepting of all kinds of people, although there are exceptions. References to the heartbeat as heard in the womb are surprising, reminding us that at either extreme, primitive or modern, we are all still human. Underneath the worlds extraordinary musical diversity Is another deeper realm in which there is no better or worse, No modern or primitive, no art music versus folk music, No distinctions at all but rather an almost organic Compulsion to translate the emotional fact of being alive Into sound, into rhythm, into something you can dance to.
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