When the Drummers Were Women: A Spiritual History of Rhythm

by Layne Redmond

In this long-awaited, lavishly illustrated book, drummer Layne Redmond presents an empowering narrative history of the sacred drum in the ancient Goddess civilization, using her extensive collection of images gathered during more than five years of research and travel in the Mideast and Europe. 80 photos & drawings.

Genres: Music, Nonfiction, History, Spirituality, Feminism, Womens, Religion

224 pages, Paperback

First published May 27, 1997

Reviews

[Lauren · Rating 4 out of 5]

Redmond's thesis is quite fascinating, and it is wonderful to see this area of oft-overlooked women's spirituality and religion come to light. However, I was a little disappointed in the writing of this book, finding it straying too far from the intended topic of the history of women's drumming practices. In recent years, many books have been published with this theme: ancient goddesses, Divine Feminine, etc. I picked up this book because I thought it would offer a completely new angle on ancient practice, yet, I found it repeated things that I have learned in various other publications. There were a few new insights, as well as very interesting images and pictures to demonstrate how ancient women used their drums, but not the amount of information for which I was hoping.

One other qualm I had with this book was the subtitle: A Spiritual History of Rhythm. When an author attaches this inclusive subtitle to a book, the reader hopes for a survey from many different cultures and continents. I was disappointed that African rhythm history was altogether ignored in this book, in favor of Asian, and European rhythm history. African rhythms are some of the most ancient, and the women had a special purpose and place in the development of rhythm and music in Africa. Why ignore them? Perhaps Redmond's subtitle should have read: A Spiritual History of Frame Drumming in Europe and Asia. At least that way, it would have been clear upfront what the reader could expect.

Although I have been critical of the overall work, I applaud Redmond's effort to commute her passion and love for drumming and rhythm, as well as her devotion to the Divine. Reading the book inspired me to pick up her CD, and I am anxious to hear more of her work.

[Elmira Bahmani · Rating 4 out of 5]

از بین کتابهایی که در این حوزه به فارسی ترجمه شده به نظرم این کتاب یکی از بهترین هاست. از خوندنش واقعا لذت بردم و از هر سطرش یاد گرفتم. سرشار از
اطلاعات نو و تامل برانگیز بود. چندصفحه ای از کتاب به خاطر گرایشات خود نویسنده، به مراقبه و یوگا می‌پردازه که برای من جندان جذاب نبود، اما هیچ کجا نگاه شخصی نویسنده وارد روند پژوهشی نشده .
به کسانی که به انسان‌شناسی،اسطوره شناسی، فمینیسم، دین پژوهی و روانکاوی فرویدی- یونگی و مهمتر از همه (اتنو)موزیکولوژِی علاقه دارند این کتاب رو پیشنهاد میکنم.

[✨Bean's Books✨ · Rating 4 out of 5]

Great information.
This book is a historical reference piece on the divine feminine. Where it began, how it developed, how it died and how it is reviving. it is very well-researched and goes into great detail about individual goddesses of the drum and rhythm. It goes very in-depth into the sacred feminine and where that has derived from. It speaks of different cultures from around the world and the female deities who represented them.
The illustrations although black and white really add to the book and it's information. Some of the photos are of ancient statues and carvings and paintings that are just unbelievably gorgeous.
It had a lot of information for the Layman but not a lot of new information for the well-versed. If you are a seasoned Pagan practitioner you will probably already know most of the things covered in this book.
Altogether the book is very well compiled and obviously very well-researched. It is put together in such a way that it tells a definitive story throughout history. in my opinion this is the best way to lay out a historical reference book. it makes it much easier for the reader to follow and remember the information they are reading.
This is definitely a book that I would recommend to any woman looking to revive her ancient roots and become in touch with the rhythm of her sacred & divine self.

[Victoria Haf · Rating 5 out of 5]

Ya no me acuerdo cómo fue que empecé a leer sobre las vírgenes negras de Italia (a lo mejor fue por curiosidad sobre la que hay en la iglesia del pueblo) pero todo eso me fue llevando al uso ritual del pandero y a este libro que tenía en mi lista de pendientes, ya lo había buscado antes en internet sin resultados y ahora lo encontré gratis en archive.org
Me lo imaginaba más tamburoso pero en realidad es bastante histórico, hace una reconstrucción del culto a la diosa a través de rituales y signos que iniciaron en el paleolítico. Es interesante como va tejiendo diferentes simbolos que están presentes en las cuevas y figuras de venus, con la cultura egipcia, de la India y mediterránea hasta el imperio romano. Me ayudó a darle sentido a todos los panteones de dioses que si tratas de entenderlos son un desmadre, en este caso la propuesta es que el culto a la madre se fue dividiendo en sus diferentes atributos, que fueron cambiando mientras las poblaciones se movían y luego por intercambio cultural se introducían versiones diferentes de la diosa (Cybele que era de Chipre y se introduce al imperio romano por ejemplo) que se tienen que meter en la genealogía del panteón y por eso los dioses tienen una familia bien rara disfuncional jajajja
Otra cosa que propone este libro (y no solo este libro, ahora tengo pendiente leer a Marija Gimbutas) es que hubo un choque de civilizaciones entre la civilización madre y la proto-indoeuropea o kurgan, que es la civilización patriarcal inicial, y te explica sus diferencias de pensamiendo y de símbolos y como pensamientos tan opuestos no pueden haber surgido de una misma cultura.
Me remitió al concepto aymara de ch'ixi, propuesto por Silvia Rivera Cusicanqui: lo jaspeado, donde lo opuesto convive en eterna oposición.
También trae varias ideas sobre el ritmo, sobre todo de percusión que me gustaría explorar más, formas de repetición rituales porque nos hacen vibrar en la misma onda (meditación, rosario, mantras) y esto se ha usado para entrar en trance y hacer fiesta ritual, como de forma patriarcal en los tambores de guerra. Y esta forma de usar el ritmo la aprendimos de las abejas, por eso la abeja es un atributo de la diosa madre.
Quizá faltó explorar más el ritmo en Africa ya que se va mucho al Mediterráneo pero en general se me hace un libro bien investigado, con muchas imágenes y fuentes. Trae mucha información y seguramente lo tendré que volver a leer.

[Linda Robinson · Rating 3 out of 5]

This is more accurately a spiritual history of spiritual history, which is fine, but I was hoping for more drumming. There was mention in an article I read of Redmond's book; in particular about the misidentification of early art as Women with Cake, rather than identifying the circular object as a drum. Women celebrated the goddess with music, and Redmond has a bounty of artwork to show that is truth. But women also celebrated male gods with drumming in ancient cultures. In a 189 page text, Redmond covers the entire history of goddess in summation, producing grand generalizations. "Because drumming was recognized as an ancient source and symbol of the power of female technicians of the sacred, drumming was banned." Drumming was banned in many cultures around the globe, including those that did not worship the goddess. Perhaps the banning was of women in spiritual positions of power, rather than the drums alone. This book is a very good short read on ancient art of women in celebration - the pictures and illustrations are worth a perusal. I'm going to look at Redmond's video Ritual Drumming, and also look at her own line of drums created by Remo, Inc. Redmond writes in the notes that this undertaking was the hardest thing she's done in her life. I honor that effort, and appreciate the results.

[Elyse Welles · Rating 5 out of 5]

I cherished every page of this book. I’ve been reading it like a sacred text and truly, as it’s been such a companion for me on my journey with the drum, it has become a sacred text for me.

If you’re like me, always looking to go deeper and deeper with your spiritual path, you are tempted and seduced by the priestess arts not because they’re new and shiny but because they feel like a memory. This book explains why.

The great remembering is upon us, and it’s time to embrace each other. To look ahead towards the world we can build together when we spread this message of connectedness.

When we revive our ancestral practices and ways of viewing the world.

And when we radically choose self expression and expressions of deep emotion in a time that seeks to numb us, silence us, and lead us into conformity.

This book is prescient and lasting in its message.

[Light of Astarte - Bookgram · Rating 5 out of 5]

 

1.    Contesto Storico

La Dottoressa Redmond ci illustra l’origine del tamburo,
strumento sacro e pregno di significato durante l’età del matriarcato, con la
progressiva demonizzazione e ostracizzazione di questo strumento a causa dell’incombere
delle prime sette patriarcali aggressive verso le società matrifocali.

Il tamburo a forma di luna piena (classica forma circolare)
è simbolo femminile. Da sempre realizzato con pelle di ovini. Non è casuale la
scelta del vello, soprattutto per le corna di questi animali che ricordano la
forma della falce lunare. Spesso le dee madri proteggevano il regno animale, in
particolar modo il mondo caprino. Ma proprio gli ovini sono state vittime della
propaganda patriarcale. Dobbiamo ricordare un periodo storico in cui potere
temporale e spirituale erano fusi, concentrando nell’uno e nell’altro la
propria forza. 

I miti così conosciuti erano un monito da parte dello stato
che da matriarcale, scendeva nel patriarcato attraverso una fase intermedia
chiamata gilanìa («l» è l'iniziale
del termine inglese linking) dei prefissi generalmente utilizzati per
significare il maschile e il femminile: «gi» e «an», nobilitati da una lunga
tradizione e dall'etimologia greca ([γυνή/ γυναικός] gyné - donna e [ανήρ/ανδρός]  anèr - uomo) – Da “Il Calice e la Spada” di
Riane Eisler).

Molti miti nati agli albori
del mondo, quando l’essere umano seguiva gli archetipi, era portato
naturalmente ad essere politeista. Perché l’uomo non concerne il monoteismo,
non è nella nostra psiche, è solo una pre-struttura applicata a causa
dell’assolutismo religioso degli ultimi millenni.

Quando l’umanità era
matriarcale e la Dea era capostipite della famosa Età dell’Oro, i miti su cui
si concentrano le metafore di vita-morte-rigenerazione, non erano macchiate di
sangue e masochismo, come avviene per il patriarcato nella figura di Cristo.

Con l’avvento del dio
violento, si ha anche nel mito un monito per le donne: gli stupri (Demetra e
Poseidone), le violenze (Ade e Persefone), l’usurpazione dei troni (Gugalanna e
Ereŝkigal), gli abbandoni delle amanti da parte dell’eroe (Calypso e Odisseo,
Enea e Didone), per la nascita di uno stereotipo incombente nell’attuale
società del XXI secolo: la donna sottomessa, morigerata che rimpiange l’uomo
senza cui poter vivere.

 

Osserviamo nei secoli la
figura della Dea Madre disgregata in altre piccole dee, ninfe, oreadi, driadi,
maghe, titanesse e molte altre donne “magiche” (Latòna, Arakne e Arianna),
sminuite, rese umane dal patriarcato mortali, perché la religione della Dea era
un pericolo sovversivo. Basti pensare che durante il medioevo la popolazione,
sia maschile che femminile, continuava ad essere pagana nel privato, ma nel
pubblico dichiarava di essere fedele ad un solo dio.

Si ha tracce di politeismo
da parte di cristiani anche nel modo di seppellire i propri morti applicando
due monete sulle palpebre della salma, famosa usanza della Grecia classica, ma
di cui sono trovate tracce anche in paesi cristianizzati da secoli.

 

La Grande madre sminuita non
solo nelle sue emanazioni dalle dee a maghe, è stata sminuita anche nei
simboli, a partire dal tamburo costruito col vello. Il suono di questo
strumento a percussione ricorda i battiti del cuore che guida durante la
trance, la/o sciamana/o nel percorso paragonato ad un labirinto, un meandro, un
percorso a metà tra il mondo dei vivi e l’oltretomba, un sentiero per cui hai
accesso solo grazie al suono vitale simile a quello del cuore: il tamburo.

Battuto con due bacchette,
stilizzazione del lingam che batte sulla vulva, percosso dal vello sacro
appartenete al mondo della luna e al ciclo mestruale, primo misuratore del
tempo assieme alle stesse fasi lunari. Grazie ai noviluni che si sono potuti
creare i primi calendari, infatti un anno era diviso in tredici mesi con la
durata di ventotto giorni.  Il
tredicesimo giorno del mese era sacro, il giorno in cui la luna è piena, mentre
il diciassettesimo giorno era il giorno in cui la luna decadeva, andava in
“putrefazione”, spariva nel cielo.

Ancor più sacro era il
venerdì tredici, il giorno della Dea, sminuita ad una Venere-oggetto in età
classica, ma che nasconde in età attuale paura per le reminiscenze che l’hanno
resa potente. In parole povere Venerdì tredici non è il giorno di
Satana, ma il giorno sacro alla Dea in ogni sua forma (anche se per costruire
la figura di Satana gli ebrei hanno preso varie caratteristiche del femmineo
venerato nelle religioni politeiste e distorto, facendo sì che una cultura
pagana potesse essere aborrita e demonizzata).

Con la dottrina della Dea anche i suoi strumenti a lei
sacri vennero banditi progressivamente delle esibizioni religiose: dal
cristianesimo con la marginalizzazione delle donne a semplici lagnone (coloro
che piangono in una processione) e suonatrici di tamburo.

Ma pian piano le donne furono totalmente estromesse
dalla vita religiosa pubblica, estromettendole anche nei cori dei madrigali.
Forti erano le opposizioni della popolazione femminile, cosicché da far emettere
due bolle papali nel IV e V secolo in Spagna e in Italia, laddove la religione
della Dea era ancora celebrata in segreto, ancora forte e potente nelle mura
private.

 

2.   
Origine

Layne analizza la parola “luna”, derivato dalla parola
sanscrita “me”, letteralmente tradotta con “misurare”. Le fasi lunari sono
state il più antico metodo per misurare il tempo. Tredici lune, tredici mesi
composti da ventotto giorni. Proprio il numero tredici è stato demonizzato
dalle comunità patriarcali, infatti tutt’ora portiamo una vecchia eredità,
matenendo il luogo comune che questo numero e il diciassette siano numeri di
grande sfortuna. Ma questo è avvenuto perché il tredicesimo giorno del mese la
luna diventa piena, mentre dopo quattro giorni “decade”, volgarmente come
sinonimo di sfortuna. Il patriarcato ha sminuito i segni della luna, sacri al
femmineo, iniziando a campagna “politica” di diffamazione. Dobbiamo tenere a
mente che a quel tempo il potere spirituale era temporale, e gli averi
materiali, ingenti somme di denaro erano in mano a sacerdoti, in quel caso,
milioni di anni fa alle sacerdotesse. Il sacerdozio era puramente femminile,
grazie al ciclo mestruale, ciò che lega per natura una donna alla luna.

L’autrice ci spiega in poche righe il lavoro
dell’archeologa Marija Gimbutas introducendoci nel pieno matriarcato,
affiancata da Renfrew, Joseph Campbell e Riane Eisler.

Nel libro “Il linguaggio della Dea” Gimbutas ci
illustra da decodificazione di vari simboli, fino alla stilizzazione e
spiegazione della presenza di illustrazioni di animali. In particolar modo lo
chevron: un triangolo con la punta capovolta verso il basso ad indicare la
stilizzazione della vagina, il segno più antico e venerato e non oggettificato
grazie al patriarcato fascista. Ma il problema è insorto quando le dottrine
levitiche (un elite  formata da sacerdoti
del “Traboccante” in un certo senso uno Zeus hittita, leggete il mio commento
al libro di Merlin Stone Quando Dio era Donna, per ulteriori
approfondimenti). I leviti apportarono una campagna di demonizzazione della
Dea, volevano appropriarsi degli averi materiali, denaro e terre gestiti da
Donne che avevano tra le mani interi capitali economici. Queste sette
aumentavano e si moltiplicavano, inneggiando alla distruzione e allo stupro per
le Qadishtu[1].
Grande promotore in questa campagna di stupri punitivi fu San Paolo con le sue
epistole ai popoli “da educare” nei confronti del solo e unico Dio. Inneggiando
allo stupro, alla segregazione del femmineo, Paolo di Tarso temeva il potere
femminile appropriandosi dei beni dei suntuosi templi politeisti. San Paolo al
proprio auditorio, quando parlava del Messia[2] non lo definiva mai come
“figlio della Vergine”. L’apostolo davanti un pubblico politeista non poteva
usare riferimenti a titoli alla Dea Madre, nel caso delle nazioni
mediorientali, Astarte, Cibele, Kubaba, Rhea, Gea, Latòna, Ishtar e Inanna,
così iniziò ad usare come descrizione “figlio della donna”, lontano da
un’eredità matriarcale.

Nei suoi racconti San Paolo ha sminuito l’identità di
queste Dee a demoni ebraici, pensando a Moloch e Tanit, lo Zeus e la Hera
cartaginesi, famosi “demoni” ebraici succhia sangue di infanti. La dottrina di
propaganda di non solo della Dea madre ma anche delle religioni politeiste era
iniziata.

 

Marija Gimbutas analizza soprattutto “Il Tempio degli
Avvoltoi” a Catal Huyuk, in Turchia, risalente al 7000 a.C. al suo interno ci
sono vari riferimenti alla cultura campestre e soprattutto ovina. In ogni
camera, riservata solo alle donne, sono presti dei letti posizionati ad est,
dove nasce il sole. Appesi si trovavano scheletri e carni di tori, il simbolo
per eccellenza della donna, come stilizzazione dell’apparato riproduttivo
femminile, accompagnato dalle corna, simbolo delle falci di luna. Inoltre si
trovava un altro simbolo femminile: l’avvoltoio. Questo animale ha sempre
destato interesse nella specie umana, dato che è uno dei pochi animali in
natura a riprodursi per partenogenesi (Пαρθένος “vergine”). La riproduzione per
partenogenesi avveniva senza il rapporto sessuale, semplicemente le femmine di
avvoltoio rimanevano incinte da sole, da vergini. È raro trovare nella donna
questo tipo di riproduzione, contando una percentuale allo 0.01%.

In seguito alla fecondazione del calcio, l’ovulo
subisce una mutazione genetica naturale, non avendo bisogno dello spermatozoo.

Millenni fa l’essere umano non collegava che col
rapporto sessuale si potesse rimanere incinta, a volte non succedeva, così da
associare alla donna l’avvoltoio, sacro animale della Dea per eccellenza.

Ma il patriarcato nella sua campagna di propaganda
politica ha usato i simboli del femminino alla “rovescia”, portando alla
consuetudine che portassero sfortuna o che fossero di malaugurio, in una
società avversaria a quella delle donne, intese solo come incubatrici umane e
schiave sessuale, defraudandole da secoli di dominio

La recensione continua su https://lightofastarte.blogspot.com/2... oppure su https://www.academia.edu/50994181/Sag...)

-Astarte

[Lamotina · Rating 5 out of 5]

Extraordinary and fascinating 🙌

[Donna · Rating 5 out of 5]

This book opened my eyes on the Goddess' path. I didn't know that centuries long ago, that the
Goddess, by different names, ruled over countries & was the supreme deity that was worshipped &
loved.
And how She was worshipped! By frame drums & dancing with joy! Women were Priestesses, who were respected & their leadership guided their communities. This book was an eye-opener to an ex Roman Catholic, who knew nothing of this history, or this knowledge.
I strongly recommend any Woman to read this book, no matter what spirituality she might believe in. This book is a staple in Herstory and belongs in every library or home, or both. Buy this book for a girlfriend. She will now, or later, thank you for this modern classic.

[Emma · Rating 4 out of 5]

quite simply, a remarkable account of the rich ancient history of what empowers the female mind and body. there is this intrinsic connectedness among women, one that is laced deeply within our physical embodiment and psyche-- and this book did a tremendous job of laying the groundwork for it's presence in our everyday lives as well as, what this looked like for women living in pre-historic eras. even down to a biological sense, in regards to the ancient methods of tracking a menstrual cycle, it is hard to believe that we were ever forced to forfeit this harmony we once had with our bodies and nature. what i found to be particularly powerful in when the drummers were women, was the focus on how science and religion were never separate in these ancient times. "yet we deny the validity of personal experience in service to this 'objective' truth. those who separate themselves from the natural world in order to study it lose the vital connection that makes sense of the whole." for the longest time, i had been needing to find the words to describe that feeling. i tell all of the children that i work with that their emotions are THEIRS. no one can tell them how to feel it, no one can tell them that they aren't feeling or should not feel it. for women especially, our intuition IS our logic. our emotions ARE our reality-- there is nothing irrational or hysterical about that. in fact, it's the contrary. female emotions and our natural intuition are as tangible as our own pulse, and the divinity comes from being able to feel that entirely, to it's true extent. sensitivity is the divine nature... because women, how many times has your intuition failed you? and remind me again, why we refuse to view that as logical, reliable, or analytical? because it's magic.

[Autumn Kearney · Rating 3 out of 5]

When Drummers Were Women is an extensively researched and illustrated book. Yes, it's about drumming, but it is also about so much more. This book covers religious life, Goddes religion, and the history of the divine feminine. It's about when drumming was a sacred act and not just something to do for fun or entertainment.

[Rana El Ibrik · Rating 5 out of 5]

This book exceeded my expectations, I think it will be my very first book to re-read, I must do so again soon. A much more suited title would do it more justice, something as close to how deep and mystical it is. I look forward to learning more about Redmond and learning from her too.

[Nikki · Rating 4 out of 5]

I discovered "When the Drummers were Women" while trying to do some research into the history of the Darbuka, a type of drum originating in Egypt and Turkey. And by some miracle, this book came across my path.

I do wish the book was a bit more focused on drumming, but I can't even complain because I love how the author was not afraid to intertwine scholarship with spirituality. This is how we are meant to be studying the past. After Christianity completely stomped out what was left of the goddess traditions, it has largely been men who are in charge of interpreting history. I guess you could call it sort of "alternative" research into these topics, such as this book, are STILL seen as woo-woo fairytales because no one with an expensive PhD wants to risk their reputation to say that our female ancestors may have known MORE about the universe than our male-dominated scientists do today. I really appreciate the work that Redmond has accomplished here, because she doesn't take the easy route and just report the archaeological evidence (if you want that, there are plenty of other sources), but it also takes the extra step to humanize the people (mostly women) who once USED those objects in a deeply meaningful and empowering way. Redmond does not shy away from advocating for modern women to reawaken their ancestress' spiritual traditions and incorporate them into their modern day lives, if they choose to.

This was the perfect thing for me to read right now, as I am about to start learning the Darbuka! I have felt a pull towards drumming for almost my entire life, but settled for piano because I didn't see drumming as a "feminine" activity. My perspective has been completely flipped, and I think reading this has had a profound impact on the way I will play my music in the future!

[James · Rating 5 out of 5]

'When the Drummers were Women' is significant to me as a history of the role of women playing frame drums in the sacred observances of early civilizations, documented as far back as ca. 5600 B.C.E. In a jazz band at a grade school in the early 1950's, our drummer was a girl: the reappearance of women as drummers and a means of renewal. If you are interested Women 's Studies you'll be grateful to the author Layne Redmond who plays and teaches fame drumming. Her extensive documentatin and rich bibliography and robust illustrations qualify this gem for your shelves.

[Duncan · Rating 4 out of 5]

Very interesting history of how Christianity stole nearly all of it's central ideas from various 'pagan' religions (including Hinduism) then largely removed the role of women, or changed them to be shameful, evil etc. However, many of those 'original' ideas go back even further to previous societies. A lot of the references in the conclusion / summary to scientific ideas and cultural ideas are blanket statements and are out dated, as the book was written 20 years ago.

[Wendy Barrott · Rating 3 out of 5]

interesting at times

This book was interesting and thought provoking at times and a slog to get through at others. Overall an appreciation of the frame drum and non patriarchal social structure was gained.

[Tristy · Rating 4 out of 5]

This is about so much more than drumming, it's a serious history of women's spirituality.

[Shala · Rating 3 out of 5]

It was good for the type of book it was. I didn't go Ga-Ga like some folks I know. It's dry. More like a manual.

[Carol · Rating 3 out of 5]

This book is very interesting about women and drumming Kind like a history book. Makes me want to get a cool frame drum

[Korie Brown · Rating 3 out of 5]

Skimmed most of it. Not enough about the drumming.

[Ihar Kudraŭcaŭ · Rating 5 out of 5]

Кніга збольшага не пра бубны, як я думаў, а пра гісторыю жанчын бубначэй.
Аўтар заўважае, што першымі бубначамі, якіх пачалі маляваць, былі жанчыны (у кнізе дарэчы 100500 фатаграфій гэтых малюнкаў). Прасачыўшы гісторыю з дагістарычных часоў да сучаснасці, аўтар сцвярджае, што гэта праз культ Вялікай Маці. Быццам пачалося ўсё ў пячорах, дзе першабытныя людзі былі зачараваны здольнасцю жанчын нараджаць. Гэта быў сапраўдны мэйджык. І таму паўсюль з’яўляюцца венеры - тыя самыя Вялікія Маці. Ну а жрыцамі Вялікай Маці былі, вядома ж, жанчыны.
Прыгожая гіпотэза, што мажліва жанчыны першымі пачалі звяртаць увагу на каляндар праз менструальны цыкл, які між іншым амаль супадае з месяцовым цыклам. А бубен як раз вельмі нагадвае поўню. Можа таму, жрыцы былі бубначамі - жрыцы, увасобленыя поўні (менструальны цыкл) трымаюць у руках поўні.
Гэта ўсё канешне ж не азначае, што мужчын бубначоў не было. Былі шаманы мужчыны і былі іншыя барабаны, акрамя бубнаў. Просто пра іх не засталося ніякіх сведкаў, бо яны не ўдзельнічалі ў рэлігіёзных абрадах.
А потым аўтар знаходзіць культ Вялікай Маці спачатку ў шумераў (Іштар), егіпцян, а потым ён змешваецца з міфалогіяй хетаў (здаецца) і ўжо ў грэкаў Вялікую Маці можна знайсці ў некалькі багоў (Афрадыта, Гея, Гефест), да таго ж яе роля значна зніжаецца (аўтар упэўнена, што гэта было зроблена наўмысна).
Ну а хрысціянста ваявала з паганствам, таму пад забарону патрапілі і бубначкі. Але нават хрысціянства не здолела канчаткова знішчыць культ Вялікай Маці і яго можна знайсці ў постаці Дзевы Марыі (у кнізе нават цікавая заўвага, што жрыцаў Вялікай Маці ў шумераў называлі цнатлівымі, але пад гэтым мелася на ўвазе, што яны цалкам аддадзены багіне).
Ну гэта кораценька. А ў кнізе мноства гэтаму доказаў і паралеляў. Як тое, што царква (будынак) - гэта працяг свяшчэнай пячоры, якая з’яўлялася ўвасабленнем похвы.
І яшчэ ў кнізе свярджаецца тое, аб чым я ўжо здагадваўся: хрысціянскія малітвы былі пераняты з індыйскіх мантраў.

[Dianne Adel · Rating 5 out of 5]

If you're like me, you keep your favorite books on your desk so that just looking at them gives you chills - like fine pieces of artwork. For me, this book has the place of honor right smack in the middle of that exclusive dislplay. This book is part inspirational, part joyous, part impossible to imagine, part sacred and part "Really? Women did that?" I mostly use it as a reference for my writing but it is, in and of itself, just a darn good read. And any youtube of (the late) author Layne Redmond playing the frame drum will give you a taste of what kind of talent lies behind those hands. Hands that not only take you on a journey with her drumming, but whose writing can also put you under a spell the minute you crack open the cover of this lovely book.

[Rachel Marie · Rating 5 out of 5]

Not only did the author connect the drum to our divine female ancestors, but she spoke to a contemporary audience who seems to need evidence to believe in a religious history that is instinctively a part of universal truth. Discussing archaeological evidence to demonstrate the heart of our society, the drum as a heartbeat, the rhythm of humanity, there is no disdain for the intrusion of science into the myth. The author produces these patterns, these themes with a curiosity and sense of amazement that has embedded itself in my own creative pursuits. A demonstration of a credible, and authentic source for further study, thank you Layne Redmond for your wisdom.

[Paola · Rating 5 out of 5]

Libro estremamente informativo e dettagliato sulla storia del ritmo associato alle pratiche religiose a partire dalla preistoria fino all'avvento del Cristianesimo, in Europa, Asia Minore e Nord Africa. Interessantissimo scoprire le enormi similitudini nei culti, nei simboli, nell'utilizzo delle percussioni trasversali in luoghi lontanissimi come la Turchia e l'India. Un ritorno alle origini del culto della Madre, alla riscoperta del potere trasformativo del tamburo e del potere femminile, per troppi secoli negato.

[Monique · Rating 5 out of 5]

I loved this book! It was my introduction into the theory of an ancient goddess worship. Even though it has been many years since I read it, much of the information is still solid in my memory. The author has an accessible style and her claims are often supported by the many illustrations included in this book. The emphasis is, of course, on the drumming (and music) aspect of worship and spirituality.

[Nick · Rating 5 out of 5]

Serving both as an essential overview of the history of matriarchal, pre-Christian societies, as well as the frame drum’s own history as a tool for ritual and higher consciousness, primarily played and led by women, Redmond has left me wanting to learn way more about both. It also inspired me to read more about her own life & music, sadly cut short too soon.

[Elke · Rating 4 out of 5]

Interesting research. Would like to see a second edition of the book that includes women’s practices with drumming and the use of rhythm in other cultures beyond just those the author focuses on in this book. Examining how colonization and the Christianizing of peoples impacted the role of women with drums I imagine there is much more that could be explored with other people groups.

[Inga · Rating 4 out of 5]

inspiring, made me re-tape my tambourine and tune my drum.

[Rosemarie · Rating 5 out of 5]

I read this along time ago probably around 1995. I would recommend it .

[Leeza Robertson · Rating 3 out of 5]

This is such a fabulous book.