The Source: Theatre, Shamanism, and Witchcraft

Grand tidings to all of you and welcome to this week's episode! I am so, so excited to dive into the connections and threads connecting the most ancient of practices, Shamanism, to Theatre and Witchcraft. Join me as we walk those paths, betwixt us and Them Who Have Gone Before, to uncover the most occult of secrets and pieces of wisdom. I cannot wait for you to listen. 

Instagram: @beyondtheseaspodcast
EMAIL ME: beyondtheseaspodcast@gmail.com
Tarot Collaboration: @thefeatherwitchnyc
Weekly Book: The White Mare
Podcast website: https://beyondtheseas.buzzsprout.com/
More info: https://www.kierandanaan.com/beyond-the-seas

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Sources
-“The Revival of Shamanism: Exploring an Ancient Role in a Modern World.” Shamanic Supply. https://shamanicsupply.com/pages/the-history-of-shamanism
-Ridgway, Alisa Shriner. The Heroic Journey: Shamanism and the Origin of the Theatre. 1975. University of Arizona, MFA Dissertation.  

Music
"Inhalation" by Piotr Hummel
"Intimacy" by Ben Winwood
"Where the Light Fades" by Lunapool
"Chapters" by Josh Leake
"Love2016" by Ben Winwood

Cheers,
Kieran

Transcript

My name is Kieran and I am an actor. 

A world traveler, insofar as bridging the divide among the worlds. 

A character onstage, hidden in plain sight behind the fourth wall.

A creator and storyteller,

The most recent in a long, ancestral line. 

One that stretches back across the millennia:

Flowing among not only the great artists of the past,

In the Renaissance, Neoclassical, Kabuki, Greek, and Roman traditions,

In the Vaudevillian circuits and Broadway houses, 

But also the magicians.

The witches.

The Pagans.

The shamans. 

For these two threads are interwoven and linked,

Like the strands of the human sequence of DNA. 

A double spiral, flowing in and out of each other,

Yet, as we flow back into the past, 

Notice one commonality that exists as the most important. 

The Source of All is the Same. 

The unbridled field of the human condition is Magick

And Magick is the human condition. 

Through mimicry, trance, dance, and song, 

The Other becomes the Self, and the Self explores the Other. 

Thus, the unification of the five elements is achieved

And the actor-as-storyteller-as-shaman returns from the journeys into other worlds,

With truth, knowledge, and wisdom for the Peoples. 

And in our modern traditions today,

Both artistic and magickal,

We know that our work…

Has only just begun.

(transition music)

            Grand tidings and welcome to you on this, the twenty-first episode of Beyond the Seas. My name is Kieran and here we are again, back at it for another week. We are now venturing into new territory here, people, the turbulent twenties. Hahaha. But not really, they’ll be amazing. As always, can’t wait to share all the wonderful things with you over on Instagram: @beyondtheseaspodcast and @thefeatherwitchnyc, for Claudia’s collab with the show. And hit the follow and like buttons on there and your podcast app of choice. I’m so happy you’re here with me today. 

            And now, artistic and literary updates! I am so, so happy to have done the callback last Thursday—felt super great about it. And I’ve been auditioning my little catookis off every day since. I had an audition on Sunday, for a brand new Off-Broadway musical, and immediately got a callback. I actually did that this morning, right before coming back home and recording the episode. Hahaha, so everyone, whenever you are listening to this, send some positive energy my way. And in terms of books, I started a new one! Yes, another one! Hahaha. It is called The White Mare, by Jules Watson. This time, it is all about Scotland and the indigenous tribes in that sacred land as they prepare for the inevitable onslaught of the Romans. There is a theme among these books that I cannot help but notice…ah well, here’s to finding more wonderful moments in that book and others throughout the week. 

            And now, the Card of the Week! Super excited about the card this week, folks, because it relates soooo strongly to the topic. Claudia and I literally were texting between five and six AM the other day, as she got ready to travel and I dealt with early week insomnia—and it was all about, “well what the heck is this card saying?” And come to find out, after she pulled The King of Pentacles—REVERSED—and yes, yet another court card—we saw that the motif of psychopomp was profoundly abundant. Again. Hahaha. This guy, this fella, is all about throwing his cards down on the table and prompting you to do the same. Claudia said, “He is so combative!” And I have to agree. He demands the best from us, and to fight for what we want—while also not taking any crap from someone who says that our hard work is useless. Now, when I pulled this card from the Ghosts and Spirit Deck, it projected the legend of the Ankou, which I’ll talk about towards the end of the episode; but suffice it to say, that spirit is a psychopomp: a bridge betwixt this world and the Otherworld. One who walks that liminal space again and again, ushering souls this way and that, and returns with more knowledge and wisdom. Exactly like the role of the shaman and actor. But…more on that in a minute. 

            And now, the Wine of the Week!

            And finally, this week’s topic. After concluding the Elements Series on the show and feeling the power of those five elements flowing in and around me, I was inspired to enact them in my artistic practice in Manhattan. What better arena to practice magick and intention than the stage and the audition and callback room? Ergo, I felt the thought before it hit my noggin: I had to talk about Theatre and Shamanism and Witchcraft arising from the same source. This topic has been floating in my mind since I was in graduate school and a lot of my Masters of Fine Arts self is about to come out over the next forty or so minutes. Ergo, this week, the actor speaks (hehehe that’s a theatre reference for those of you in the know winky face) about the commonality connecting all three aspects. What is shamanism? Why does it connect to storytelling and the modern theatre industry today? How might we see its threads and influences throughout the different periods of theatrical history? And most importantly, how do these historical and modern notions connect to the practice of witchcraft today?

            For now, grab your favorite bottle of red, find a comfy chair, and close your eyes as I tell you the tale of The Source: Theatre, Shamanism, and Witchcraft—and take you…

            Beyond the Seas.

            (transition music)

            More than thirty millennia ago, the first shaman in our world died. So we may assume. But evidence exists to trace back the practice of Shamanism on planet earth to more than 30,000 years ago. It is the oldest form of spirituality and religious practice in our world—and is one of the most beautiful that survives to this day. Essentially, it is the connection between practitioner and Nature, and the Spirit World by extension. As such, its threads interweave among the various practices we find in our world today, and maintains its ancestral hegemony over the foundational teachings of our Craft today. 

            There is such a profoundly wonderful article I found that is both relevant and researched—I was jumping up and down when I saw its cited sources and suggested reading list. The majority of the information that follows comes from The Revival of Shamanism: Exploring an Ancient Role in a Modern World, as written on the Shamanic Supply website. Strap in, kiddos, it is sure to be one hell of a fascinating ride. 

            “At its core, shamanism is the practice of connecting with unseen realms, communicating with spirits, and harnessing the healing power of the natural world. This practice is as old as humanity itself, starting as a key part of our ancestors’ lives and changing with time. Shamans use methods like drumming, prayer, and sometimes psychedelic substances to heal by reaching different states of consciousness, acting as a link between the spiritual and physical worlds. (this is acting: link between the world of the play and reality of the audience)

            “As folks look for more holistic ways to take care of their health and find deeper satisfaction in life, this ancient way of life is gaining attention for its deep roots in human culture and spirituality.

            “The reason shamanism remains relevant, even in our modern world, is simple: it taps into our enduring desire to understand ourselves and our place in the cosmos. Shamanism invites us to explore beyond the obvious, encouraging a deeper look into our existence and what lies beyond our daily lives.

            “…Since the very beginning of human history, in the distant past of prehistoric times, people developed practices and beliefs that would form the basis of what we now call shamanism. Evidence from archeology, like cave paintings and old objects, supports the idea that shamanism started back in the Paleolithic era, or Old Stone Age. This was when our ancestors who hunted and gathered moved around a lot, living closely with the natural cycles and the animals they relied on to live. They dealt with their world’s challenges not only with physical ability and smarts but also by tapping into the spiritual world they believed in. 

            “Inside dark, ancient caves, these early humans made incredible art showing shamanic scenes—people wearing animal skins, figures looking like they’re in trances, and animal images. These painting seem to show shamans entering the spirit world, possibly through rituals, dance, and the use of mind-altering substances. Also, objects found at old sites show that shamanic practices were a part of these early societies. 

            “Shamanism first appeared in Siberia and Central Asia among tribes of hunters and gatherers thousands of years ago. The shamans from these areas were thought to have special powers to connect the human and spirit worlds. Their practices, like drumming, chanting, and using plants that chance consciousness, allowed them to talk to spirits of nature or ancestors for healing, guiding hunts, predicting the future, affecting the weather, and more. These shamanic beliefs in the spirit of things and ancestors, along with methods like drumming and dancing for spiritual visions, spread from northern Asia to other places over centuries through trade, moving people, and cultural exchange. 

            “In these early days, shamanism’s foundations were laid, and from these beginnings, a wide and varied tradition of spirituality grew, reaching every part of the world. As we look into shamanism’s history, we see how this old spiritual way changed and adapted across different cultures and times. 

            “Shamanic traditions are found all over the world, but Siberia holds a unique place in the history of shamanism. The word ‘shaman’ itself comes from the Tungusic Evenki language of North Asia and was originally used to describe the spiritual leaders who were central to Siberian cultural and spiritual life. 

            “In the cold, vast landscapes of Siberia, shamans have been key figures in society and spirituality for thousands of years. The Siberian shaman, or ‘saman’ as it’s said in Tungusic, wasn’t just a spiritual guide but also served as healers, fortune-tellers, and bridges between humans and the spirit world. 

            “Their ceremonies, filled with the steady beat of drums and their songs’ eerie tunes, were thought to let the shaman enter a trance. In this different state of mind, they were believed to visit various spiritual worlds, meet with spirits, and bring back wisdom, advice, and healing for their people. 

            “A special aspect of some Siberian shamanic rituals is the use of the Amanita Muscaria mushroom, also known as ‘Fly Agaric,’ recognized for its mind-altering effects and believed to help induce visions and trances. Siberian shamans have a long history of using this mushroom in their traditions. Because the mushroom can be poisonous, shamans had a unique way of using it: they would drink the urine of a reindeer that had consumed the mushroom. This process allowed the reindeer to filter out most of the dangerous toxins but keep the psychoactive elements. This way, shamans could experience the mushroom’s spiritual effects without the bad side effects. 

            “…Shamanism has deeply influenced the cultural and spiritual traditions of the Americas. From the cold Arctic to the mild forests of North America, Native American tribes have developed a rich and varied tradition of shamanism over thousands of years. 

            “Although the practices and beliefs differ greatly between tribes, there’s a common belief in Native American shamanism that the universe is filled with spiritual forces and beings. People can communicate with these spirits through shamans. This communication often happens in the form of healing ceremonies, divination rituals, and rites of passage that mark important events in an individual’s life. 

            “The vision quest is a key practice that shows how shamans act as bridges between the physical and spiritual worlds. It’s a spiritual journey taken by someone, often with a shaman’s help, that involves being alone in nature, fasting, and sometimes using natural substances that affect the mind. The goal of the vision quest is to gain guidance, understanding, or healing from the spiritual world. 

            “…South America, especially the Amazon Rainforest, is home to a vibrant array of shamnic traditions. Here, tribes like the Shipibo, Ashaninka, and katukina have developed profound connections with nature and the spiritual world over thousands of years. Their shamanic practices are vital to their culture, health, and worldview. 

            “Amazonian shamans, known as ayahuasqueros or vegetalistas, have a deep understanding of the rainforest’s plant and animal life, particularly those with medicinal and psychoactive properties. Ayahuasca, a potent psychedelic concoction made from the Banisteriopsis caapi vine and the leaves of the chacruna plant…plays a central role in their spiritual rituals. These ceremonies, aimed at healing, fortune-telling, and spiritual discovery, are led by shamans who use icaros or holy chants, believed to be taught by spirits or the plants themselves, to navigate and direct the ceremony’s spiritual and healing energies. 

            “…Moreover, the extensive use of a wide range of plants and animals in their practices, each with unique purposes and spiritual meanings, demonstrates the vast traditional knowledge held by Amazonian shamans, This knowledge, passed from generation to generation, highlights the significance of South American shamanic traditions within indigenous cultures. 

            “Shamanism in South American beautifully illustrates the interconnectedness of humans, nature, and the spiritual realm, emphasizing the universal value and significance of shamanic practices across different cultures.

            “Although we often associate shamanism with indigenous tribes of the Americas or the vast landscapes of Siberia, it’s important to recognize that shamanic-like practices are also part of medieval Europe’s folk traditions. These European traditions, sometimes linked to witchcraft and herbal knowledge, share a fundamental aspect with shamanism: a strong bond with nature and an insight into its healing powers.

            “In the Middle Ages, the community’s healers, midwives, and spiritual advisors were known as wise women or cunning men, roles that mirror the shaman’s responsibilities. Their expertise in the healing virutes of plants and herbs was handed down from one generation to the next, similar to the transmission of shamanic knowledge. Mugwort is a prime example of a plant used in this tradition, believed to have magical properties. It was utilized in dream pillows to encourage vivid dreams, in smudging rituals for purification, and as a remedy for various health issues, reflecting the shaman’s practice of employing sacred plants for healing and spiritual quests. 

            “These traditions were often misunderstood and persecuted, especially during times of religious conflict, yet they represent a native European expression of shamanic practice, deeply entwines with the land’s natural rhythms and seasonal cycles. Reexamining these practices today allows us to embrace a wider perspective of the global spiritual heritage and deepens our understanding of the universal human desire to connect with both the natural and the mystical realms. 

            “Shamanic practices around the world are deeply entwined with the natural environment, showing a deep resepct for and understanding of the interconnectedness of all life. Earth and its cycles are seen not as distant or separate but as central to a holistic system that includes humans. This view goes beyond just a philosophical outlook offering a practice and direct understanding of our deep connection to the natural world. 

            “Rituals and ceremonies often align with the Earth’s cycles, like the change of seasons, the moon’s phases, and the shift from day to night. These events are more than just symbolic; they are active engagements that help align individuals and communities with nature’s rhythm.

            “Through practices like rhythmic drumming, dancing, and the use of sacred plants, shamans build a connection between humans and the wider natural community. The journey to the spirit world, often guided by animal totems, highlights the strong bond between humans and nature in shamanic cultures. Shamans are views as guardians of this sacred relationship, tasked with preserving the knowledge that emphasizes our connection with the environment. Their role extends beyond mediating between the human and spirit worlds to include preserving harmony between humans and nature. 

            “A key aspect of the shaman’s duty is to discover and share knowledge that benefits their community, especially insights into nature’s complexities. This wisdom can reveal the healing properties of plants and animals or provide guidance in difficult times. Through trance states and sacred rituals, shamans can venture in the spirit realm and interact with its inhabitants. 

            “Thus, shamans play a crucial role in linking not just the human and spirit worlds but also bridging problems with solutions, sickness with health, and the known and the unknown. Their journeys to the spirit world and back underscore the profound insight and practical advantages shamanism brings to its followers and their communities. 

            “Shamanism offers a spiritual framework that promotes sustainable living, environmental responsibility, and profound respect for nature’s gifts and wisdom. In an era of ecological challenges, the shamanic viewpoint provides essential lesson son living in harmony with the Earth and its cycles.”

            Refill your drinking horns, your goblets, your chalices, for the second half of The Source: Theatre, Shamanism, and Witchcraft after this brief break.

            (transition music)

            So, now that we took a deep dive into the amazing world of Shamanism, how do we relate it to Theatre and Witchcraft? What entices me so strongly about this topic is how the shaman and the actor act as the physical link between the world of reality and that of the spirits—or the world of the other, of the characters. When viewed in this way, the actor-as-shaman becomes more mysterious and powerful: a sense of otherworldy travel arises on the stage, for the actor is imparting the wisdom and knowledge learned from the world of the characters to those beyond the fourth wall. Back into the world of our reality. The actor is the messenger, the one who rides the mysterious steed of shamanic flight into the realms beyond and returns more knowledgable, and forever changed. 

            There is a wonderful thesis I found from The University of Arizona that speaks all about Theatre and Shamanism—and their origins arising from the same source. It is written by Alisa Shriner Ridgway, for her Master of Fine Arts, and was published in 1975.

            “A unique, harmonious whole is created calling upon all arts with a fluency that artists of our society might envy. The shaman is not only the spiritual leader of his people and the healer, but he is a creative artist as well. He is as proficient in the performance of the dance and music as he is in the drama dr poetry or using paint and sculpture to fashion his costumes, masks and other designs. This artistic aspect has been well explored by Lommel (1967:8): (and here is a block citation in her thesis, so bear with me folks) 

                        ‘The shaman, is not merely a medicine man, a doctor or a man with priestly functions, he is                                 above all an artistically productive man, in the truest sense of the word creative--in fact, he is                           probably the first artistically active man known to us. In order to understand him it is not enough                                  merely to explain his significance in terms of the history of civilization, or to interpret it                                           psychologically, we must also consider his position and his nature as an artist. From this                                       standpoint we shall be able then to gain insights into the nature of prehistoric art and to                                        understand the Ice Age artist, the man who painted the pictures on the cave walls at Lascaux and                           Altamira.’

            “Aristotle sensed that all of the arts were united in a common creative source. Aristotle…called all art ‘poetry’ and realized that the differences between one art and another lie not in the basic impulses but in the medium employed. He created a hierarchy among the arts and saw Greek tragedy as an expression of man's highest aspirations.

            “It appears to have been a quality of the classical Greek mind, as it is of ours today, to rank order, to classify, and to neatly compartmentalize most phenomena that we encounter. This attitude is, however, foreign for the most part in societies which we have labeled as ‘primitive.’49 While nonliterate societies may classify such useful data as which foods are edible or what herbs can be used for medicines, a basic interrelatedness pervades everything. To the primitive hunter rank ordering the arts and dividing ritual elements in a rite would be foreign. All parts of the hunter's life, like all parts of nature, are related and play a vital role. We might as well ask, "Which is more important, water or air?" Certainly no one could survive with one at the expense of the other. The anthropologist Franz Boas well expressed this aspect of unity found in the ‘primitive’ mind: 

                        ‘A trait of primitive life that early attracted the attention of investigators is the occurence of close                        associations between mental activities that appear to us as, entirely disparate. In primitive life,                         religion and science; music, poetry and dance; myth and history; fashion and ethics-- appear                                   inextricably interwoven. 

            “Even more foreign to our minds than the relatedness that hunting groups feel with nature, is the idea of corporate personality that appears to be a part of such societies. Each man of a primitive hunting group is a part of the whole society in a way that we can scarcely comprehend. The emotions and actions of one individual are not his alone. Each individual affects all members of his group in such a profound manner that his thoughts and actions may lead to the preservation or destruction of others of his group. It is as if the members of primitive 50 societies share a group consciousness and unconsciousness. The psychologist Karl Jung's idea of the "collective unconscious" shared by all members of a society is easier to comprehend in terms of primitive hunting peoples. 

            “The emotional life of hunting peoples is closely bound to the phenomenon of shamanism. The shaman is responsible for the group ‘soul.’ If one or more members are ill, whether physically or mentally, he must cure that member or those members for the benefit of the society. The shaman must preserve the -equilibrium of the tribe. 

            “Aristotle saw the function of Greek tragedy in terms of the preservation of equilibrium within a society. Aristotle states the function of Greek tragedy as, "arousing pity and fear, wherewith to accomplish its catharsis of such emotions." Even at such a late date in human development, Aristotle was able to pinpoint the source of power behind art. We can see a "catharsis" of the emotions of "pity and fear" is the central function of art in its most primordial form known: Paleolithic shamanism. The anxieties of the Stone Age hunters, as those of primitive hunters today, had to have a means of catharsis. Such catharsis releases the corporate psychic energy necessary to perform the hunt and to survive the enormous hardships that must have plagued humanity for the greater portion of its existence. 

            “The shaman is the repository of the psychic energy of a whole tribe. His power is so profoundly an expression of group psyche that…there are reports among modern primitives that when a great shaman is about to emerge members of his clan must often die for the emergence to transpire. If a shaman dies his group is profoundly affected and such a group of followers may even perish for want of psychic direction. Lommel has expressed this corporate psychic nature of primitive hunting societies: 

                        ‘Such a group of natives must be regarded not as a sum of individuals, but rather as a total                                    organism, whose limbs consist of individuals. The individual human being cannot live without a                              collective of this kind. The shaman is the center, the brain, and the soul of such a community. He                               is, so to speak, the regulator of the soul of the group or tribe, and his function is to adjust, avert,                                   and heal defects, vacillations, disturbances, and diseases of this soul. 

            “The shaman performs his healing through his, unique form of ritual. Shamanic rite is a religious theatre as valid as that of ancient Greece or Europe in the Middle Ages, and serves, no doubt, many of the same functions. In nonliterate cultures or in cultures where the masses are illiterate, especially during times of crisis, one can only imagine .the vital role of theatre, the repository not only of all arts but the drama of all tribal learning as well. In shamanic ritual all six elements of tragic drama which Aristotle noted are present. For the purpose of understanding the dramatic and artistic nature of the shaman’s rites, an analysis of the classical Siberian example in terms of Aristotle’s six elements follows. To reiterate, these parts of a tragedy are: plot, characters, diction, thought, spectacle, and melody. 

            “There are essentially two plots in classic shamanic ritual. One plot is the ecstatic journey of the shaman to the underworld or the sky. As Aristotle noted, there is a strong similarity between epic and tragedy. The journey type plot is as essential to shamanic ritual as it is to epic and even tragedy. This.similarity suggests shamanic rite may well be the parent genre of epic and tragedy. The epic hero makes a heroic journey in the exterior world defeating the forces of evil. The tragic hero makes an inner journey into the depths of himself, retrieving from these depths spiritual knowledge for the benefit not only of himself but his group. Both the epic and the tragic hero must suffer before journey is over. The journey of the shaman combines the spiritual inner journey of the tragic hero and the external, miraculous journey of the epic hero. The second plot of shamanic ritual coexists with. that of the ecstatic journey. 

            “This second plot is that of the death and resurrection of the shaman which is implied in the ritual not only of initiation but of every journey to and from the world of the beyond by the shaman. The death and resurrection plot is common to shamanism and to Greek tragedy. The characters of the shamanic ritual are created by the shaman during his performance. Through ventriloquism the shaman assumes the voices and manners of many spirits, both helping spirits who assist and evil spirits with whom he battles. The shaman may often become various animals since the spirits are most often animals. The shaman does not imitate animals but becomes the animals not only in his own mind but that of his audience. He must exercise extreme caution in causing the spirits to appear. Any improper step can cause the spirits to seek vengeance upon the shaman or his following.”

            Good heavens!! Quite the romp and foray into the past, right? Now, all of this boils down to the following: the magick of shamanism and that of the theatre is based in mimicry. Attempting to understand both Nature and the Natural world, as well as the inner realms of the human condition. The outward journey of the comedy and the inward journey of the tragedy. The shaman, then, travels up and down the world tree to explore these outer and inner worlds. Much like the actor throughout history, too. Also, huge shoutout to the Mummers and Mummery and Mumming Plays because that was a huge research paper I did in grad school, that was all about how shamanistic practices survived in the folk theatrical practice. Regardless, moving on. 

            Now, shamanism and witchcraft. It is no question at all that the honoring of spirits, rhythms, natural orders, psychic abilities, astral projection, healing, divination, and spellcrafting from shamanism are a part of the modern witchcraft practices. The compartmentalization of shamanic lifestyle, within the paleolithic mindset of connectivity, separated the magick of the Craft from that of theatre. Magick and its energies stand on one side, with the psychological and mimetic qualities of the arts on the other. They are siblings, related and the same. Shamanism gifted the witches the power of the plants, stones, stars, and trees. Here, we see the outgrowth of Druidry, Asatru, Voudo, Hoodo, Santeria, and Ceremonial Magick from shamanism. We see spirit craft and hedge riding. Toad workings and cunning crafts. It all traces back to the dancing of the shaman, tens of thousands of years ago, around the fires of old. 

            To the songs and chants woven among the peoples of the tribes,

            And the paintings made deep within the Earth’s womb. 

            To the thunders among the mountains,

            And the crashing of the waves,

            And the shaman’s inner sight to unveil the hidden messages among them. 

            To the hunts and stalkings, the rites and celebrations,

            Our magick today is a direct descendant of their efforts. 

            And as a result, it will always be stronger…

            Because of it. 

            (transition music)

            The stories, research, and production elements were done and edited, respectively, by me, Kieran, with sources attached in the description. If you want to be a guest on the show, or have a topic you wish me to explore and discuss, send me an email at beyondtheseaspodcast@gmail.com. And be sure to hit the follow button, on whichever platform you enjoy the podcast, and look forward to more content next week. Until then, seek the veil between the worlds, and allow yourself to travel…Beyond the Seas.