Spring 2009 Drum Making Class in Amadore County

More info soon!

Calaveras County Drum Making Class

I was asked to facilitate another Drum Making class for our Sister Circle in Angels Camp, held every Monday evening at 630 pm in the Mercantile on Main Street downtown. We will be holding it in Murphys on Jan 11th. Contact me if you are interested as space is limited and filling up fast.

Drum Birthing: Tuolumne County Drum Making Class a Success!

I want to thank everyone who came to my drum making class. It was such a huge success. The atmosphere of the room lent power to the project at hand, and so much healing energy went into those drum that it was almost unfathomable.

As we talked about before, about the process of "remembering", it took very little instruction before everyone started making their drums as if an instinctual element in each one present just took over. Judy F. who has very little hand strength was tightening her drum as if she had made 100 of them before. I was commenting about my "bass player hands/fingers" and how I rely on my hand strength for tightening the drums (as the Native Peoples didn't have needle nose pliers) as much as possible. Before I took over to give the last couple rounds of tightening with the group and the tying of the handles, hers was the one drum that required the least tightening.

This really drives home the point that when we make a drum, we really step into a time-shift and consciousness shift. One can explain it in several different ways, but I will leave that to the reader but needless to say, it was amazing to see people instinctually helping each other as if they had done this before, and to see and feel the energy of the room.

Since the drums take 4 days to dry, we will all be "birthing" our drums for the first time at drum circle on Wednesday. I cannot wait to "feel" that room.

The biggest thanks go to Jefferey and Cindy, whom made this possible, and whom shared the time before the class to smudge and pray. You both are so dear to me. Thank you for your spirit.

Drum Making Paradigm: My Journey

Making a drum involves processes that mirror life. What is interesting to see is how much of a person’s life is reflected in how a drum manifests in the hands of the maker. Even more interestingly is what the drum actually teaches us in this process of the drum journey.The drum maker’s journey can be separated, for the sake of this paradigm, into a few metaphorical, intellectual steps. The first step usually involves in what I call…

The Invitation:

Many are called. Few answer. Even fewer are “initiated”. I recall attending a “real” powwow for the first time. It was different than just a bunch of white guys selling cheap knockoff beads, dream catchers made in horrid colors and with plastic beads, low grade “Native American” flutes that were made in China or India, and guys running around in moccasins with “made in China” imprinted on the sole. I have been to those, and while you can find good “finds” from the occasional vendor who sells the real articles, they are not a good representation of traditional drumming, traditional dancing, traditional food, or high quality wares from vendors who sell to people expecting to pay more for authentic goods.

While attending this more sophisticated, authentic powwow I heard a sound that captivated me and spoke to something innate that was likely encoded within me on a genetic level. It was the heartbeat of Mother Earth. In the center of a ring used for traditional dancing and dancing competition, the local tribe sat around a ceremonial drum with beaters in hand and offered a prayer. There were 8 of them and the drum was so large it easily accommodated all of them. When they began to beat the sound would ricochet off any solid object and echo back from a great distance, but only after penetrating the skin, bones and sinews of everyone present. From then I knew what I wanted, but didn’t know that I was being called to become a drum maker.

From that very moment, like many, I was “initiated” into the rhythm of the Earth and the path of the Drum Maker. I fell in love with the drum and wanted to play one. I didn’t own a single percussion instrument at this point, but I opened myself to the Universe and discovered so many “coincidental” happenings just falling into my path, including a resource for which to purchase my first drum (a Djembe) and people who would teach me about drumming, about how to make drums, and about the wisdom of the animals used in the process. One would be surprised as to just how many of such “life lessons” present themselves to us in our day to day activities when one steps into the stream of Awareness and Intention; the key is just to be open and available to be taught by them.

The Test:

This next stage I call “The Test” because in that stage we are given an opportunity to experience the heartbeat of Mother Earth, and to partake in it like it were a communion with The Sacred. This might come in several forms for individuals, but for me it presented itself by way of the Native American flute, surprisingly enough. The process has given me a greater understanding of quantum theory and of the Great Web of Wyrd, an ancient but valid concept of the inter-connectivity of everything. Chief Seattle in his famous speech referred to it as “The Web of Life”. Digressing, the Native American flute caused me to gain a deeper understanding of natural rhythms from the standpoint of an instrument originally designed as a courting tool, and later as a solo instrument that uses techniques of rhythm in its playing. In learning to play the Native American flute I was taught to look at the horizon and, for example, pick a tree line and play the notes on flute according to the rises and dips in the height of the trees. I would Experientially come to understand that rhythm comes in visual forms, in cause verses action as seen in a swaying branch in the wind, and a host of other examples.

Of course, the Native American flute is also commonly played along with drums and other percussion instruments such as rattles and shakers. Basically the Native American flute and drums go together like ham and eggs. I would then go on to form a flute circle where drums are often played, so I began to look at the Native American flute, like life itself, as complementary to the drumbeat. That of course, caused me to want to experience drums on a more intimate level, and an opportunity presented itself – again, Universe directed – to make a drum. The real test came when I was presented with the challenge of what to do with this opportunity.

I view the entire experience in this stage as a test because at each stage an opportunity was presented to me. What I choose to do with it, and how I chose to relate to it, was purely my own choice based on Awareness, on Intuition, and on an almost Spiritual level, the answer to what I felt was a natural Calling from what already was within me… I just needed to Remember both how to do it, and how to step into the rhythm I already know was there. Some of the best things come to you when you open yourself to them.

The Initiation:

In short, I made my first drum, and I quickly discovered the healing properties of sound and was forever transformed from the very moment I soaked my hides and ties 2 days prior to making it.

I was introduced to a gentleman in his mid-seventies. He started his path as a drum maker in his 60’s, and has since made over 4000 drums and has taught many to become drum makers over the last 15 years or so. He showed me how painfully easy it is to make a drum, as they key to making a good drum is knowing first how to approach the process, then how to prepare the hides for stretching, and finally the proper techniques involved in building them. These are all easily learned. What can really make a bad drum is in NOT knowing what NOT to do during the process. That, as well, is easily learned and therefore avoided... sometimes by trial and error to the new drum maker.

So with my wet hides and willingness to learn, I became initiated as a drum maker. Once a drum maker always a drum maker, as you will continue to make drums all around you from that point forward. Even if you never touch a wet piece of Elk, Moose, Deer, Bear, or any other animal, the process of creating a drum for yourself that can be handed down to generations to come, is more than just making a drum. It’s about stepping into a Sacred Mindspace with an intellectual and Experiential knowledge of the workings of the Universe, the interconnectivity of all things, and how the voice is created. And to that end, we learn when taking the drum into circle that we have the power to create and to cause change. Its as simple as stepping into the rhythms all around us, and taking your proverbial beater, and the heart beat of the Earth within you, and changing the rhythm that can be felt and heard by others. One simple idea can change the course of a society or culture. In quantum theory we say that the beating wings of a butterfly can change the weather patterns on the other side of the world. We can prove this theory in the laboratory on a molecular level, but what we also do is what we have done for centuries. We can use the gift that resides in each of us to do the very same thing. Making a drum is an intellectual and kinetic expression of this, and a physical celebration of this Great Power.

From the first drum I made, I knew that I wanted others to experience the personal transformation and Awakening. I knew it would be my calling to Initiate others and present them with the Opportunity. As with anything, it is up to them what they get out of it. However I have yet to find anyone who was not transformed by the process of making and connecting with their own drum.

The reflection:

It has been said that the Journey of 1000 miles begins with the first step. The Drummers journey never stops and transcends this life I am most certain. Once you are open to drumming and, perhaps, even as a drum maker, you become open to so many useful things in life. The perspective you gain, and the voice you develop, is unstoppable and ever developing. The drum has been used in cultures of developed humans for ages. Shamans refer to the drum as the horse, as it carries you; some even induce a “shamanic state of consciousness” using the drum. Some use it to communicate, while others use it to celebrate. Some use it to heal, while others use it to study the world around them. One common thread is that drumming unites, transcending all language, culture and understanding.

As a drum maker, it now behooves you to teach these concepts to others. Again, it doesn’t necessarily mean you need to teach someone how to stretch and tie rawhide, but merely how to reflect on the information and Experience presented to you by the Universe and by your own heartbeat.

Further reflections on the drum making process:

Now, getting to the process of drum making and what you have an opportunity to experience. There are many important lessons a drum maker has an opportunity to both experience and learn in the process of making a drum. We are not perfect. The good new s is that we don’t have to be! Every one of us has imperfections in our physical, emotional, “spiritual”, or any other areas in our lives. It gives us something to work on and to perfect. It also gives us a reflection point for which to triangulate our efforts in life, in everything we do. When we make a drum, we use materials that are imperfect. The edges are rough. The hide has scars, bruises, marks, and other imperfections. The rawhide ties are cut by hand and reflect rough edges; we do that, as well, to use as much of the hide as we can so not to waste anything unnecessarily. When we tie a drum, sometimes the holes break and we have to make another one. Sometimes the ties break and we have to splice them. Sometimes the hide or the handle is not centered. Like life, a good drum will have imperfections. With this process, as mirrored in life, we need to embrace the spirit of humility and acceptance. This is as important in the drum making process as it is in life. What we do come to discover is that like with people, what is important is the Voice. Some of the ugliest drums I have seen have turned out to have the best voice. Some of the most perfect, mechanically made drums have sounded the worst, in my opinion. Consider why this is.

In my estimation, it is because the drum lacks “soul”.

The drum is alive, and alive with the Spirit of the drum maker. Nothing less than an Experiential understanding of this will do.

If you have the opportunity to make a drum for yourself, I urge you to consider the journey. If you do not, you can still benefit from regular attendance at a local Drum Circle. Most communities have at least one. If you do not have access to one, consider starting one.

The Journey of 1000 miles begins with one footstep...

or even one drum beat.

Remembering How to Drum

It is during the solstices, equinoxes and all the physical evidences of seasonal changes around me that I am reminded that we are all a part of a global and, ultimately, a universal rhythm. From even before conception our very existence is as a result of rhythm. Once conceived the rhythms of a mothers heartbeat (and even emotional rhythms) have both direct impact and direct implications to the fact we now must simply remember.

Whether considering interpersonal relationships where emotions have their own rhythms, to the walk in the forest where the creaking of trees in the wind, or their branches moving back and forth in rhythmic movement, rhythm is all around us.

In my experience the key to celebrating and stepping into this is to first learn to "recognize" this.

Any drummer will tell you that they spend a lot of time recognizing patterns… beginning with the reorganization of our recognition receptors to the point of seeing/ feeling that there ARE patterns around us before even getting to the patterns themselves. With this mindset we start to look at the world around us differently and with more appreciation. We tend to look at life differently as well, and see that all things are natural patterns, even to birth, life, death, and rebirth again.

Drumming is Pathwork.

Drumming is recognizing your place in the rhythmic continuum of existence.

Drumming is a celebration of that "Experiential Understanding" of this concept.

When we begin to drum from "Experience" we realize that drumming is merely "remembering".

When we do a Circle of Eight's where a particular piece of percussion begins on the first, second, third, forth, etc., etc. beat, and after X-amount of measures everyone strikes the same beat, we "Experientially understand" the inter-connectivity of everything through rhythm… the very rhythm we are born with. This is good to understand, especially when we are challenged with walls and borders that often come up in life whether related to interpersonal, social, economic, geo-political, or any other challenges. We find that the reality of things are that there is a meeting place in any chaotic stream of events… there is an "event horizon" where all things meet and connect.

Some might say "well, I am not a drummer" (often as they are tapping their pens, or wiggling their leg. The fact is, we are all drummers. We are all percussionists. We are all masters of rhythm as our very heartbeats, our breathing patterns, the gate in which we walk along, the subconscious rhythm we use and the order in which we grab for razors, toothbrushes, makeup, etc. in the morning all demonstrate this simple fact.

That fact is that we are all drummers.

It has been said that even "the Creator" loves drums so much that he gave us each a heartbeat so that it would be within us at all times.

We celebrate this fact when we pick up a drum, shaker, etc. and, even with a simple beat, carry a tradition older than time itself. We celebrate this fact every time we begin drumming at a different pace or rhythm and others start following along. Drumming causes change, and change causes evolutionary process that no human can stop.

The local drum circles in Tuolumne County every Wednesday night, and now in Calaveras County every Monday night, are venues for which to explore world drumming. There are always an assortment of drums, rattles, etc. to borrow, but many bring their own drums (whether Djembe, Native American drums, or as we saw last Wednesday, an overturned garbage can). Sometimes a flute or didgeridoo makes its way into the venue.

We will be offering a drum making class, and soon a rattle/shaker making class.

However the point is that it is really healthy, healing, and just a powerful experience to step into the natural rhythms of the world around through world instruments, through hand to skin on the drum head, and through celebration of the most primal, instinctual experience there is.

Even if you choose not to partake in a drum circle, consider these things next time you walk your dog, or the next time you walk in the forest, or drive your car. Recognizing the inner drummer in yourself is to recognize the potential in yourself to change the very rhythms around you for good or ill.

Drum Making Workshop Update

We now have a date for the Drum Making 101 workshop, which is November 1st.

Seats are very limited and are almost filled. If you attend the Drum Circle this Wednesday, September 24th at the Tuolumne County Senior Center, we will be finalizing the attendance list. Payment will be required by the following Wednesday in order for the order to go out for the custom made hoops and custom cut Elk hide we are using for the workshop.

Local Drum Making Workshop

In conjunction with another drum circle in Tuolumne County, I have been asked to lead a drum making workshop. Space is already filling up. If anyone in the area wishes to attend, this workshop will cost you about half of what others do, since its really not for profit. We are using the finest octogon frames and the finest elk hides. The cost for a 15x4 inch drum is under $80.

I wanted to do this to combat those who offer cheap kits (with substandard hoops and skins) and workshops for $125-$150. You will pay that much for a drum like this premade as well.

The key is, making a drum is quite "spiritual" in experience, for lack of a better word. A symbiotic connection occurs with the drum and drummer, and really should be experienced by anyone who feels drawn to the drum. As such, we are bringing a low cost solution, with the highest grade materials, and are basically donating the hours to prepare and instruct.

For more info please contact us as cblackwolf@sbcglobal.net.

Yosemite Flute Festival Creeping upon us!

Only 3 more weeks to go! There will be several of us from the Northern California Flute Circle and associated clans that will be both performing on the open mic stage, and helping out behind the scenes. We really could use volunteers. There is a sign up roster on the www.YosemiteFluteFest.com website.

Tickets are also now availble! Feel free to purchase them at the festival, but you can receive them now and have them mailed to you, or waiting at Will Call. The website has this information as well.

I have heard that people are coming from as far away as Europe and Asia to this festival! I also know the date has been set for next years, so take heed to avoid the current situation of hotels running out of space.

See you there!

Mary Youngblood Cave Concert!

2 Grammy winning artist Mary Youngblood held her 3rd annual concert inside Moaning Caverns near Murphy's, CA last night, August 2nd. We Northern California Flute Circle clans are her back up musicians for some of her songs, but many were solo and duet.

Below are two Youtubes I took from last night. Visuals are hard to see as, well, its a dark cave. But you can really hear the sound of the flute echoing against the cave walls.

Here is a free flow improv Mary dedicated to the audience:

http://www.youtube.com/watch?v=PST76dQLBAY

Here is a duet she did with her Kayak partner:

http://www.youtube.com/watch?v=8QIC_wxW6qI

Here are a couple of pictures as well:

http://wolfspirittrading.com/marycave.jpg

http://wolfspirittrading.com/mary.JPG

Enjoy!

First Annual Yosemite Flute Festival

The First Annual Yosemite Flute Festival will be held the last weekend of September, on the 26th-28th.

We have Internationally acclaimed artists that will be performing on Friday and Saturday nights!

Two Grammy-winning artist Mary Youngblood and Vince Chafin will perform on Friday night. Scott August, Mark Holland (Autumn's Child), and Jeff Ball will be performing on Saturday.

There are TONS of workshops, and the artists themselves are offering opportunities to both learn and jam with them.

Please visit www.YosemiteFluteFest.com for more information.

The Master Flute Maker Series: Earth Tone Flutes

If you are reading this it is probably because you have been bitten by the flute bug and have subsequently begun to develop a synergetic relationship with the Native American flute. Before you realized it you probably found yourself a member of a local flute circle (or have started your own). Looking back, you realize you have truly begun your amazing flute journey one note at a time. It is my desire to give credit to those that make this possible for those of us who do not have the time or skills to make our own flutes. These are our esteemed Flute Makers who have made the Native American flute accessible to us, and to everyone for generations to come.

As a way of paying tribute to the Master Flute Makers for their art form, for their expertise, and for their efforts to produce consistent quality in their offerings that are continued to be offered at a reasonable price, I will be featuring an in depth interview with one or more of our flute makers here, with an abridged version that will be published with each edition of "The Voice of the Circle", the official newsletter of the Northern California Flute Circle (www.naflute.com). If it wasn't for our flute makers a lot less people would be enjoying the benefits and the healing that the Native American flute brings, and many of us would not have our "Voice".

Geoffrey Ellis of Earth Tone Flutes has been making quality flutes for many years now. What started out as a passion for him turned into a successful career where he is able to harmonize with his creative muse and make a successful living being immersed in doing something he is quite passionate about. This passion is quite evident when you see the detail in his work, when you hear the tone in the finished product, and when you are told about his unconditional guarantee on every flute he sells.

While I have several flute makers represented in my collection, his was the first "quality" flute I have purchased. Compared to what I had before, it was so well made that it my learning curve spiked and I found myself playing music that was from the heart rather from the blood, sweat and tears of frustration. Having a quality flute got me hooked with the first note, and thus my journey truly began. Geoffrey has also been busy with the successful new launch of the Flute Portal Forums, the only online forum of its kind. You can sign up for a free account and access the forms by going to www.fluteportal.com/forums or by clicking "Forums" from the main page at www.fluteportal.com. He has also been busy with the new Scott August Signature line of Anasazi flute, available sometime this Spring. More information will be available soon at www.earthtoneflutes.com.

I sat down on the phone with Geoffrey and learned quite a bit about his passion and where it comes from. I have learned to appreciate how accessible Geoffrey is and how much time he is willing to invest whether talking about his work, or in helping a customer figure out what kind of flute they really want. Such things are both hallmark and trademark of a good Flute Maker.

Cryss: Geoffrey, how long have you been making flutes?

Geoffrey: It’ll be eleven years this June.

Cryss: Please describe your earliest experience with the Native American flute and, or NA flute music.

Geoffrey: Hearing R.Carlos Nakai’s Earth Spirit CD was my first exposure, around 1989. I never actually played one until 1995 when I bought one as a gift for my brother (a Coyote Oldman backpacking flute from Michael Allan).

Cryss: From this, what was the experience at the proverbial crossroads where you made the conscious step in the direction of becoming an accomplished flute maker, rather than just a collector and player of the Native American flute?

Geoffrey: Well, I only ever owned one flute before I became a maker. My brother, in his turn, gifted me a High Spirits flute when I moved back to California from Portland, Oregon. I had been working in Portland restoring old houses and doing pastel painting. I decided to try to make it as a full time artist, and so in February of 1997, at the encouragement of my retired parents, I moved down to Humboldt County, CA where they lived. They have 20 acres up on a ridge, and my Dad and I started building my home/art studio in a corner of their land. They had always been really supportive of my art, and they were thrilled that I was going to make a go of it, so they wanted to help.

The construction took more than a year, and when we weren’t working I was sitting on a stump in the woods playing the flute. About this same time two things happened concurrently: I wanted some more flutes, and I realized that I needed a job while I was getting my studio started! We were out in the sticks a bit, and I didn’t own a car, so the idea of trying to find a job in the town (25 minutes away) was not very attractive. My Dad had a fully equipped wood shop that was pretty much dormant when we weren’t building, so I took it in my head to try to make some flutes for myself. It was only after I had made a couple that the light bulb went off and I thought, “I could try doing this for a living!”

I had bought some books by Lew Price (Creating and Using the Native American Flute series) and was starting to teach myself the basics. Because I had no other distractions I was able to commit a huge amount of time to the process, so I got pretty far pretty quickly. By Spring of 1998 I had made Earth Tone Flutes official with a presence on the internet, and by 2000 I was supporting myself full time at flute making (I had been working at it full time from the get go, but it took nearly three years to build up to it being an actual livelihood.

Cryss: I have heard some pretty amazing snippets of the pre-mastered recordings that you and Kenneth Hooper of Elysium Calling are working on for an upcoming disk. How much influence has your playing and recording had on your flute making and has it affected techniques, wood choices, etc. when you consider how it sounds and plays under the digital microscope of mastered tracks?

Geoffrey: I didn’t really get serious about recording music until late 2000 when I started my first digital “studio” (a computer in a room of my house). It was another 4 years until I started to build a proper studio in the backyard. My flute making techniques were already long established by that time, so the recording had little influence on my decisions in that respect. I had been blessed with a lot of great feedback over the years from different recording artists who used my flutes so I already had a notion of how they worked in a studio setting. In almost all cases, what sounds great to your ear sitting in your living room or out in the woods is going to sound good when you record it.

Cryss: Are you able to speak about your recording projects?

Geoffrey: Sure. By the time Kenneth and I met, I already had a serious project studio going and had been learning the ropes of mixing and editing audio, as well as getting practice with more elaborate arrangements and compositions.

Kenneth and I got along very well, and we both loved a lot of the same kind of music, so eventually we decided to team up. Elysium Calling had been put on sabbatical by some geographical challenges, so Kenneth was a free agent, creatively speaking. I had always admired him as a truly gifted player--apart from technical skill, which he has a great deal of--I had never met anyone who had such a natural gift for melody. I could show him a song with just a rhythm and chord changes, and within minutes he would have just reached into the ether and grabbed the most amazing melody line! The uncanny thing is that he can do this just about every time.

Our current (first) project is very much in the “process” phase right now. We are writing songs and messing with arrangements and the atmosphere of the whole thing. It has been getting more ambitious as we go, but we are not forcing the pace at all. It might be a year or more before we actually have a finished “product”, assuming that the ebb and flow of lifes events don’t sideline it. We both have jobs and other responsibilities and we live about 350 miles apart, so things have to be flexible.

Cryss: I know that some of your customers – myself included – have come to you for a flute but pretty much give you full, creative and artistic license. What do you draw from as a muse to assist you when creating something for someone in complete, proverbial darkness who has given you no parameters or coordinates to triangulate from? Do you consider their personality? Do you, perhaps, take the Pygmalion approach and breath life into the finished product from its solid wood origins, and just let your hands and instinct guide you as you shape and embellish the flute and let it manifest the way it will?

Geoffrey: That’s funny! No, no Pygmalion. I’ve always shied away from trying to “assess” my customers in any way that is remotely psychic ( for lack of a better word). I actually try to stay out of the way completely, actively avoiding letting my opinion (about who they might “be“) get involved. I’ve always felt that a flutes “spirit” is given to it by the player, not by the maker. If someone has no preconceived ideas of what they want, I might ask them a few very simple questions, such as: Do you like low tones, medium tones, or high tones? Are you allergic to any woods? That sort of thing. It actually doesn’t happen that often that a player says, “Do whatever you want---surprise me.” Most people have an inkling of what they want, even if it’s just the key of the flute. So I don’t have a “muse” per se. I have a fair amount of practice, however. I’ve made over 2,000 flutes at this point, so picking a nice wood and nice accents, and matching them with the key of the flute is pretty easy. When someone doesn’t know what they want, I make what I feel like making in the moment, and so far that has always worked (which is nice).

Cryss: Do you make other types of flutes? Perhaps a middle eastern tuning flute or an anasazi?

Geoffrey: I’ve messed with some unusual tunings for the NAF, and I’ll be offering them as an option pretty soon. I’m also hoping to make Anasazi flutes, and possibly some other notch blown flutes. It’s a different discipline, but there is a lot of interest in these other kinds of flutes. I know I’m interested, and I’m not alone when it comes to liking these other types of voices and tunings. (note: Since the interview Geoffrey has confirmed the official Scott August Signature Anasazi flute will be made available around April 2008 in standard and limited editions).

Cryss: What is the most unusual request that you have received? As you might recall from a conversation several months ago, I had a bone or two laying around from my college days as a Biology Major. I asked if you make me a flute from the human Fibula I bought from UC Berkeley’s Bone store would count. I dont blame you for your declining, by the way.

Geoffrey: A bone flute probably takes the cake. Prior to that, I’ve had requests for quadruple barreled drones and the like--nothing too crazy. I’ve had some very odd decoration requests, but only one that was so bizarre and out-of-character for me that I flatly refused to do it. I won’t say what it is, in case the customer is reading this (I managed to disguise my incredulous horror behind a plausibly urbane exterior J .

Cryss: Is there a flute that you recall that was either really fun or really a challenge from perspective of wood, shape, tuning, etc. ?

Geoffrey: I did a big drone flute with a design of Lilies on it that was pretty challenging and lots of fun. I also did a flute with a multi-colored, stone inlay turtle (probably my favorite decorating task so far). Those leap to mind. Most of the construction aspects are not so unusual (I never agreed to do that quadruple drone, for example).

Cryss: How do you resolve the symbiotic relationship between you, the flute maker, and the medium you use to create? Do you consider yourself a creator, inventor, and artist… or perhaps more of a Channeler or Instrument yourself from which a greater creation occurs through your gift and art form?

Geoffrey: Wow, man…this is a perfect opportunity for me to say something really pretentious! Tempting….

Seriously, I’d call myself a craftsman or artisan. Flute making is a bit of both: an art and a craft. I’d only call it a gift insofar as “artsy” things have always come very easy to me (things like drawing, music, crafts of different sorts). That is not something a person can claim any credit for--we each have a gift of some kind. I was lucky in that I grew up in an environment that told me it was a good thing, something to be pursued. But that didn’t mean that I stepped into a wood shop and started making good flutes! Lots and lots of practice is the only way to become a good instrument maker.

I will add one thing that I think is very important, and I fear that this will sound pretentious, though I mean it in the humblest sense. You can’t be a good instrument maker if you do not have an “ear”. I’ve had a lot of discussions with my friend Colyn Petersen on this subject, because we’ve had an uncanny number of parallel experiences in our flute journeys. Your guide, as a flute maker is always your ear. You have to be able to hear in your imagination how you want the flute to sound. If you have that image clearly available to you, then you can’t go wrong. You may struggle to adapt your physical skills to the task of reaching that image, but you will get there in time. If you don’t have the “ear”, no amount of technical skill will get you there. Added to this is the fact that your ear continues to refine. My ability to hear nuance within the voice of the flute has gotten more and more honed with practice. And after having enough “shop time” to build the craft-based skills that are needed to make the physical flute, refining this image of the flutes voice is where the essence lies.

I should also say, that I’m talking about successful, commercial flute-making. To do that, you really need to be very consistent from flute to flute. Hit and miss flute making is actually not that hard. My first flute sounded amazing (because I was copying another flute). My next two were not very good at all. Then a good one, then a mediocre, etc.. You get the idea. There are a lot of part-time makers, hobbyist makers who do it for love, not money (meaning they don’t have to make a living) who can make a good flute. There are a tremendous amount of skilled woodworkers who can make a wooden work of art--something truly amazing to look at, but that can barely be played (we’ve all seen these--Nakai called them “wall-hangers”). And there is everything in between. For people to come back to you again and again, and for them to recommend you to their friends, you need to be very consistent, and that will only happen if you have a consistent ear. However, I do need to offer a respectful tip of the hat to makers who embrace a different philosophy. I’ve talked to makers who truly feel that every flute should be unique--different voice, different character, and they make no attempt to have a consistent “sound” that is representative of them. This is a valid approach as well, and more suited to certain players.

Cryss: When you absolutely need to get away from the shop, where do you like to go and/or what do you like to do to freshen your well of inspiration?

Geoffrey: Apart from taking a walk in the woods or doing some yoga, I generally go into my music studio. That is my favorite pastime and what I do when I have leisure.

Cryss: Can you please offer some insight regarding your shop, your tools, your methods, etc. Do you have any unconventional methodologies?

Geoffrey: Not really! Nothing special about the tools--they are just tools. My methodology comes from lots trial and error--nothing that I would call unconventional. There are some little tricks that I use for certain phases of flute making, but those are my “trade secrets” if you will. There aren’t really many things about flute-making that you can’t just look up on the internet or in a book these days. These “tricks” or methods that each maker develops are their personal, hard-won pieces of wisdom. Some share them, some don’t. I don’t. I believe that there is value in figuring things out for ourselves, and letting others do the same. Knowledge that is earned from experience is always valued differently from knowledge that is just handed to us with no effort on our part.

Cryss: As the adage says, “If you do something you love you never work a day in your life”. It became apparent to me (during a recent conversation with regard to a flute I wanted to commission you to make) that you really love what you do. What you said really impressed me. For starters, awhile back I approached you for a flute I wanted you to make which would have required a process you do not perform in your shop. You made a couple of recommendations as to whom I should speak to. When I jokingly said I felt like I was “cheating on you” you said, “Most seasoned players will have flutes from more than one maker. Besides, there’s plenty of business to go around”. I have come to really appreciate how much you have lifted your competition up and placed them in a peer role, showing that you are all giving back to the Flute Community at large rather than trying to squash your competition. I found that not only refreshing, but common amongst the seasoned artists such as yourself. From the perspective of the flute maker, do you perceive yourself as filling an important niche, or merely having the coolest job in the world where you get to do something you really love and make a living at the same time?

Geoffrey: I just think that I have the coolest job in the world J When I first started making flutes I was just looking for something that I could tolerate doing that would make me a bit of money to support my art. Well, it totally swept me up and I haven’t painted a picture since I became a flute maker! I was really happy to have it turn into a sustainable career that I could do from home in a peaceful setting--that was already a huge blessing, but there was another aspect that I didn’t anticipate at all. I think a lot of makers will relate to this, but I didn’t foresee the thanks that would be offered to me.

I’ve received hundreds of e-mails from customers telling me how happy their new flute is making them, how they use it for healing, meditation, inspiration…how it has changed their life for the better. They thank me for my art and for creating this for them. That just blew me away--I never saw it coming. To have a “job” that I enjoy doing is already a great blessing, but then to see all of this gratitude and joy is intensely moving. Humbling, really, because every time I get an e-mail or phone call like that it immediately shifts me into this “higher” viewpoint. I never feel at those moments that I was “doing” something cool, but rather that I get to be a small part of this beneficial stream of creation that is manifesting in this persons life. It’s nice to be the middle-man, if you know what I mean, but a person cannot take credit for that any more than they can take credit for having a good singing voice, or the ability to run a marathon. Sure, you practice to get better, but the ability is God given and therefore not eligible for ego-identification (ideally). At least that is what I feel in the moment. There are times when I indulge in a bit of pride, but I try to keep that nonsense in check as much as I can.

Cryss: What advice can you offer for consideration with regard to buying a flute, whether it is the first one, or the fortieth one?

Geoffrey: Hmmm. Well, I’ve never actually bought a flute before, if you can believe that! I can only really say what my own values are when I pick up a flute: playability first. Good response, well tuned with a pleasing voice. I don’t care at all what it looks like if it really sings. Beautiful wood, embellishments and decorations are all pointless if the flute does not sing to the ears of the player. If it plays well and the player feels a connection, that is all that matters--go ahead and buy it. Doesn’t matter if it is a $400 flute from a famous maker or a $30 flute from the craft fair.

Cryss: What trends, as a flute maker, have you seen in the Flute Community at large? Do you see more studious individuals who become repeat customers, more fading fad type individuals who buy one and you never hear anything from them again, or any other indicators as to the health and vitality of the flute community?

Geoffrey: The flute community is healthy and thriving--no question about it. Flute circles are popping up everywhere, and they are a lovely thing. What can be more wonderful than a bunch of strangers united by a common interest in a healing instrument?

I have a fair number of one-time customers, like any maker. However, the vast majority of my flute sales are to repeat customers. We all know what it is to be bitten by the Flute Bug, and those who are bitten usually start a modest collection (sometimes not-so-modest). When they find a maker who creates what they like, they tend to come back, which is a wonderful symbiotic relationship. They support the maker, and in return they always know they will be getting something that they will like.

There are fads in the flute business. When I was early in my career, really high flutes were quite popular and I made a lot of them. Then they went out of style for the most part and drones were all the rage. Made a lot of drones. Then bass flutes got popular, and have stayed popular (I don’t think that will ever change because they are so soothing and healing). Ancient flutes seem to be gaining popularity now. The Anasazi flutes have been brought to life again by Michael Allan, and they are inspiring a lot of players (which is pretty incredible considering how hard they are to play!). There will always be “fads” but they never really affect the core-interest in the NAF.

26 Principles of Life

I found the 26 Principles of Life below to be an excellent alagory for approaching the Native American flute for me who will be spending a lifetime getting to know this most ancient friend, teacher, tool, and well of inspiration. For me the NA flute is these and more. I do not know the author, but found it on the http://greywolfdrums.com/ website.

"MITAKUYE OYASIN"meee-ta-ku-yah ... oh-yah-seeen
is Lokota for "We are all related" ... People, Elk, Rivers, the Gravel in the bedsof the rivers, Salmon, the Wind, the Sun, Bees and Honey ... "we are all related"

26 Principles of Life:

1. Mitakuye Oyasin (mee-ta-ka-yah oh-yah-seeen) translates roughly to "We are All Related". Everything in the universe is part of The Great Spirit, from a rock, to a plant, to a fish, to a human. The spirit flows between and within us all, and is the building block of everything. Since we are all part of the same whole, we should treat the rest of the whole as if it is part of us, i.e. with compassion and love. We are all part of the Great Spirit, just like all the different leaves on a tree are still part of the tree.

2. The Energy Flow ... The universe is composed of energy. This energy flows between everything, us and within us all. When we have internal blocks, the energy fails to flow correctly, causing illness, lethargy and other symptoms. This energy can be directed consciously, we can see it, and feel it. How we feel affects our energy levels; negativity drains energy, positivity creates energy.

3. We Are Beings of Both Spirit and Flesh ... We are spirits, but at the same time, we are creatures of the flesh. We inhabit both worlds simultaneously, even though we are often unaware of it. We should not shun the flesh for spirit or vice versa. Both are equally important. We have to walk with one foot in each of these worlds, and pay them both attention. Neglecting either world causes distress in the other.

4. No One Entity is Superior to Another ... No one being or creature is any better or greater than another. We are all the same. We are all on different paths and have different levels of understanding, but that does not make any one of us better than another. Humans are not masters of nature, nor the animals and plants. They are our companions, and co-inhabitants of this planet. We are not superior to them, nor do we own them. We should treat them all with respect.

5. Belief Creates ... How we perceive the universe is shaped by our beliefs. If we believe we are in a hurry, then everyone else appears to be going slow. Through belief and positive thought, we can create virtually anything. We should believe in our abilities and ourselves, and we will succeed. We can combine the power of belief with that of visualisation to bring anything into reality.

6. Intuition ... Inside of us, a voice speaks and guides us. It is our intuition. We can choose to ignore it or to listen to it. Once we are in tune with our intuition and start to listen to it, we will be guided and will find that we can achieve more than we thought possible. We will begin to realise that the Great Spirit works through us - often in mysterious ways, but always to our benefit - in the long term.

7. The Higher Purpose ... Everything that happens is for a reason and for the greater good. We have to learn to look at events in our lives from more than just the normal human perspective. We must see them from the perspective of the Great Spirit and to look at what good will come from these events. This is the old maxim of "is the glass half full or half empty". We can look at events badly, half empty, and our reaction will be worse. However, should we look at events better, i.e. half full, then we are more positive, which means our energy is higher, and our reaction will be better.

8. There are No Ordinary Moments ... The past only exists in our memory. The future only exists as our expectation. The only time that really exists is NOW. It is a precious moment and we should treat every single moment as special and live it to the full. By being in the present, we have presence. To live in the now the conscious mind should be quiet and you must focus totally on what you are doing, not what you are going to be doing next week, or what you are going to have for lunch.

9. There are No Limits ... The only limits we have are those we place upon ourselves, or others place upon us. To this end, we should avoid being put in a pigeonhole and labelled by others. If someone views a dog as being vicious, then it is more likely to be vicious. We should hold no expectations of others, and let them be themselves, just as we should be ourselves.

10. Action not Reaction ... If we are tickled, our reaction is to laugh. We should be at a state where we do not react in a situation, but act. Reaction is unconscious, whereas Action is conscious. We should not let past influences affect our actions, e.g. if we were once bitten by a dog, when we next meet a dog, we should not let the past bite affect how we act towards it. There are times to act, as well as times to be still. By living in the present and having control of the conscious mind, we can better direct our action.

11. Positivity Rules ... Negative thoughts attract negative events and drain our energy. Positive thoughts attract positive events and increase our energy. To this end, we should look at our thoughts and the events which happen to us in a positive light, realising negative thoughts for what they are and releasing them.

12. Posture, Pose & Breathing ... Energy flows through the body, as it flows through all things. If the posture and pose are bad, the energy can not flow cleanly and causes blockages, which manifest as pain or illness. We breathe in energy from the world around us. Therefore, our breaths should be deep and full, coming from the bottom of the belly, and not the chest. This enables us to maximise our energy. Deep breathing helps relax us. When we are stressed, angry or afraid our breathing changes and becomes shallow and faster. By consciously controlling our breathing and keeping it deep and even, we can release the stress, anger or fear, enabling us to act consciously in the situation.

13. Everything in Balance ... The universe exists in a state of balance, as should we. We can do anything we wish, but should always do it to moderation, never to excess. Should we do things to excess, then they can become addictive, which drains energy and may become negative. Being balanced allows us to act better in situations. If we are sat on the fence, so to speak, we can jump off either way should we desire to.

14. Intent is Action ... You can intend to do anything, and your intent is important. However, unless the intent is followed with action, then the intent is nothing. As an example. I may intend to get fit, but spend all my time sat in front of the TV eating pizza and drinking cola. I have my intention, but myactions do not confirm or create the intention. Therefore, if you intend something, do it, don't just talk about it. Action turns knowledge into wisdom.

15. Freedom of Choice ... We all have free will, and can choose to do anything we wish. There is no situation where we do not have choice. It may appear that we do not, but there are always options, if we have the courage and strength to take them. We just have to have the courage of conviction to make the decisions.

16. Change Happens ... Change is continuous and is always happening around us. We can not actually perceive change, but can see the end result of it. Change is not a bad thing nor is it to be feared. Through change we can grow and go forwards.

17. Taking Responsibility ... Our actions cause a reaction - it is a law of nature. We have to be aware of our actions and take responsibility for them and for the consequences of them. It is no good doing something and then saying you did not mean to do it. Had you not meant to do it, you would not have done it. By taking responsibility for our actions, so we can take back our power and freedom to choose. We have to accept that no one will live for us, and that sometimes our actions will cause others, or ourselves, a measure of discomfort. Remember though, that discomfort is one way of helping us grow and to show us where changes need to be made.

18. One Step at a Time ... To get to any goal, break it down into a number of small steps. If you have many small successes, then this will lead to a big success. If you aim for a big success straight off, you may fail. Remember that a journey towards any destination starts with a single step, and then a second and a third, and as many as required until you reach that destination. Remember to reward and praise yourself for your successes, however small they are. By acknowledging them, you increase your power and will to succeed, strengthening your belief in yourself.

19. Judgement ... We have no right to judge another for their words, thoughts or deeds. They have the freedom of choice to do as they please and act as they wish, just as we do. We are in no position to judge anyone, as we are imperfect ourselves. It is easily done, for example, you see a big man with tattoo's, a skinhead and wearing leather, and the automatic assumption is that he is trouble. He may be a florist for all we know. This colours our judgement of people and changes how we act towards them. By having no preconceptions of other people, we can interact better with them, and perhaps make a new friend.

20. Integrity ... Integrity is all about how we act when no one is looking. We must live to our own standards and should not judge others by them. This is about living in line with our highest vision despite urges to the contrary.

21. Air Your Doubts ... By airing your doubts, fears, and worries, by looking at them and seeing them for what they are, so you can conquer them and rid yourself of them forever. By refusing to confront them, so they gain power over you, and become even more deeply rooted. After you realise what they are - release them.

22. Failure ... It is very rare for us to fail. We only ever choose to stop trying. That is us exercising our free will. We can stop trying any time we wish, but those that succeed never stop until they get to their goal. Success often does not come easy, and does require work and effort from us. You will find that most 'overnight successes' have been working hard for that success for many years. Failure is not something to be feared or worried about, because we can never fail! Everything we do, no matter whether we view it as a success or failure is a valuable lesson for us to learn. By looking at a perceived failure as a valuable lesson, it no longer feels as bad.The only true failure is not learning the lessons our mistakes teach us.

23. The Ongoing Journey ... Our journey of exploration through life never, ever stops. The destination is not the reward or the goal. The journey to the destination is the goal itself.

24. Don't Mind ... If we take an objective view of our mind, then we can see that lots of thoughts drift through it, many of which we are unaware of. A sad, angry or fearful thought may drift up from the sub-conscious and change how we feel for no apparent reason. We must take control of the mind through tools such as meditation, and become aware of these thoughts and realise them for what they are. Then, we can let them go and stay relaxed and centred. By consciously focussing on our breathing, and keeping it deep and even, we can help to release these negative thoughts.

25. Emotions ... Emotions come and go. They flow through us all the time, often without us even realising. Many of us do not express our emotions because we feel we have to "Be manly" or "Be responsible" or "Be cool". When we feel the negative emotions, we can feel our bodies tense. If we do not express these emotions when we feel them, the tension is stored within our bodies. Having emotions is not to be feared and should be celebrated. When you feel an emotion - express it! If you are happy - smile and laugh, if you are sad cry. Expressing your emotions releases the tension they give, and helps you live more fully in the here and now. Once you have expressed an emotion, it is gone and will not return with the same force for that situation. If we refuse to express them and store the emotions up, then, like damming a fast river, eventually the water level will rise too high if we do not provide it with an outlet.

26. Play ... As children, we play exuberantly. We have fun, enjoy ourselves and have lots of energy. Then something happens, we grow up, and we no longer play believing that adults have to be adult and they don't play. Playing is one of our greatest sources of pleasure. It takes many forms, from sport to games to laughing and joking with friends. Playing increases our energy and makes us more positive. It makes those around us more positive and generally lifts the spirits of all involved. There are times to be serious, yes, but there are times to play too, and that is what we must not forget.

Scott August Signature Anasazi Flute

It has been confirmed. The new Scott August Signature Anasazi flute will be created by Flute Maker Geoffrey Ellis of EarthToneFlutes.com. The news was broke on www.fluteportal.com/forums and should be officially announced via www.ScottAugust.com and www.EarthToneFlutes.com.

There will be a short run, limited edition Anasazi flute signed by Scott, as well as a standard line of Scott August Anasazi flutes.

I believe they will debut at the Spring Flute Festival in April of this year in Georgetown, CA. More info on the festival can be found at www.naflute.com.

New NAFP Forums are up!

Hello friends of the Native American Flute Portal,

We are pleased to announce the launch of one of our most anticipated features: The NAFP Internet discussion forums!

So what is the NAFP Forum?

The forum is a full-featured internet discussion site, where members can gather to talk about all things related to the flute. There are ten separate topic areas within the forum where members can discuss anything related to N.A. and world flutes. There are separate forums for things like: General discussion, World Flutes, Live Performance and Recording, Flute Making and Product Reviews.

Members can start discussion threads and post samples of their own art and music. If you are new to the flute there is a Q&A forum where you can ask your questions and get helpful answers and there is a debate forum for folks who enjoy a spirited give and take!

How to get to the forums?
Just go to www.FlutePortal.com and click on "Forums".

Anasazi Flute Class announced!

Nationally acclaimed Native American Music Award winning Artist Scott August will be both performing and teaching at the Spring Flute Festival this year! The festival is free, but the workshops and performances have extremely small, very reasonable fee's associated. Scott's new record LOST CANYON is taking the country by storm!

Scott will be offering two classes: Advanced Flute Playing Techniques and his Anasazi Workshop!

They are combining these two very successful festivals into one 2-day festival with live performances from Nationally renown recording artists. Many vendors, workshops, food, etc. will also be there. For more information on the events and lodging, please click below!

http://www.softcom.net/users/greebo/festival.htm

Arts in Nature Fest / Spring Flute Festival

April 26-27,

The Nature Area in Georgetown, California

8:00 AM to 6:00 PM

Flute Circle for January Postponed

We are postponing the January Flute Circle due to people still digging themselves out from the holidays. Two people actually are recovering from surgery as well.

Stay tune for updates, and do contact us via the link on our website if you would like to attend.

Thanks!

www.SierraRavenClan.com