Typically a group of men would form a circle around the sick Carpathian (to “encircle him with our care and compassion”) and begin the chant. The shaman or healer or leader is the prime actor in this healing ceremony. It is he who will actually make the spiritual journey into the netherworld, aided by his clanspeople. Their purpose is to ecstatically dance, sing, drum and chant, all the while visualizing (through the words of the chant) the journey itself—every step of it, over and over again—to the point where the shaman, in trance, leaves his body, and makes that very journey. (Indeed, the word ecstasy is from the Latin ex statis, which literally means “out of the body.”)
One advantage that the Carpathian healer has over many other shamans is his telepathic link to his lost brother. Most shamans must wander in the dark of the nether realms in search of their lost brother. But the Carpathian healer directly “hears” in his mind the voice of his lost brother calling to him, and can thus “zero in on” his soul like a homing beacon. For this reason, Carpathian healing tends to have a higher success rate than most other traditions of this sort.
Something of the geography of the “other world” is useful for us to examine, in order to fully understand the words of the Great Carpathian Healing Chant. A reference is made to the “Great Tree” (in Carpathian: En Puwe). Many ancient traditions, including the Carpathian tradition, understood the worlds—the heaven worlds, our world and the nether realms—to be “hung” upon a great pole, or axis, or tree. Here on earth, we are positioned halfway up this tree, on one of its branches. Hence many ancient texts referred to the material world as “middle earth”: midway between heaven and hell. Climbing the tree would lead one to the heaven worlds. Descending the tree to its roots would lead to the nether realms. The shaman was necessarily a master of movement up and down the Great Tree, sometimes moving unaided, and sometimes assisted by (or even mounted upon the back of) an animal spirit guide. In various traditions, this Great Tree was known variously as the axis mundi (the “axis of the worlds”), Ygddrasil (in Norse mythology), Mount Meru (the sacred world mountain of Tibetan tradition), etc. The Christian cosmos, with its heaven, purgatory/earth and hell, is also worth comparing. It is even given a similar topography in Dante’s Divine Comedy: Dante is led on a journey first to hell, at the center of the earth; then upward to Mount Purgatory, which sits on the earth’s surface directly opposite Jerusalem; then farther upward first to Eden, the earthly paradise, at the summit of Mount Purgatory; and then upward at last to Heaven.
In the shamanistic tradition, it was understood that the small always reflects the large; the personal always reflects the cosmic. A movement in the greater dimensions of the cosmos also coincides with an internal movement. For example, the axis mundi of the cosmos corresponds with the spinal column of the individual. Journeys up and down the axis mundi often coincided with the movements of natural and spiritual energies (sometimes called kundalini or shakti) in the spinal column of the shaman or mystic.
En Sarna Pus (The Great Healing Chant)
In this chant, ekä (“brother”) would be replaced by “sister,” “father,” “mother,” depending on the person to be healed.
Ot ekäm ainajanak hany, jama.
My brother’s body is a lump of earth, close to death.
Me, ot ekäm kuntajanak, pirädak ekäm, gond és irgalom türe.
We, the clan of my brother, encircle him with our care and compassion.
O pus wäkenkek, ot oma śarnank, és ot pus fünk, álnak ekäm ainajanak, pitänak ekäm ainajanak elävä.
Our healing energies, ancient words of magic and healing herbs bless my brother’s body, keep it alive.
Ot ekäm sielanak pälä. Ot omboće päläja juta alatt o jüti, kinta, és szelemek lamtijaknak.
But my brother’s soul is only half. His other half wanders in the netherworld.
Ot en mekem ŋamaŋ: kulkedak otti ot ekäm omboće päläjanak.
My great deed is this: I travel to find my brother’s other half.
Rekatüre, saradak, tappadak, odam, kaŋa o numa waram, és avaa owe o lewl mahoz.
We dance, we chant, we dream ecstatically, to call my spirit bird, and to open the door to the other world.
Ntak o numa waram, és mozdulak; jomadak.
I mount my spirit bird and we begin to move; we are under way.
Piwtädak ot En Puwe tyvinak, ećidak alatt o jüti, kinta, és szelemek lamtijaknak.
Following the trunk of the Great Tree, we fall into the netherworld.
Fázak, fázak nó o śaro.
It is cold, very cold.
Juttadak ot ekäm o akarataban, o sívaban és o sielaban.
My brother and I are linked in mind, heart and soul.
Ot ekäm sielanak kaŋa engem.
My brother’s soul calls to me.
Kuledak és piwtädak ot ekäm.
I hear and follow his track.
Saγedak és tuledak ot ekäm kulyanak.
Encounter I the demon who is devouring my brother’s soul.
Nenäm ćoro, o kuly torodak.
In anger, I fight the demon.
O kuly pél engem.
He is afraid of me.
Lejkkadak o kaŋka salamaval.
I strike his throat with a lightning bolt.
Molodak ot ainaja komakamal.
I break his body with my bare hands.
Toja és molanâ.
He is bent over, and falls apart.
Hän ćaδa.
He runs away.
Manedak ot ekäm sielanak.
I rescue my brother’s soul.
Alədak ot ekam sielanak o komamban.
I lift my brother’s soul in the hollow of my hand.
Alədam ot ekam numa waramra.
I lift him onto my spirit bird.
Piwtädak ot En Puwe tyvijanak és saγedak jälleen ot elävä ainak majaknak.
Following up the Great Tree, we return to the land of the living.
Ot ekäm elä jälleen.
My brother lives again.
Ot ekäm weńća jälleen.
He is complete again.
To hear this chant, visit: http://www.christinefeehan.com/members/.
4. CARPATHIAN MUSICAL AESTHETICS
In the sung Carpathian pieces (such as the “Lullaby” and the “Song to Heal the Earth”), you’ll hear elements that are shared by many of the musical traditions in the Uralic geographical region, some of which still exist—from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) to Romany (“gypsy”). These elements include:
the rapid alternation between major and minor modalities, including a sudden switch (called a “Picardy third”) from minor to major to end a piece or section (as at the end of the “Lullaby”)
the use of close (tight) harmonies
the use of ritardi (slowing down the piece) and crescendi (swelling in volume) for brief periods
the use of glissandi (slides) in the singing tradition
the use of trills in the singing tradition (as in the final invocation of the “Song to Heal the Earth”)—similar to Celtic, a singing tradition more familiar to many of us
the use of parallel fifths (as in the final invocation of the “Song to Heal the Earth”)
controlled use of dissonance
“call and response” chanting (typical of many of the world’s chanting traditions)
extending the length of a musical line (by adding a couple of bars) to heighten dramatic effect
and many more
“Lullaby” and “Song to Heal the Earth” illustrate two rather different forms of Carpathian music (a quiet, intimate piece and an energetic ensemble piece)—but whatever the form, Carpathian music is full of feeling.
5. LULLABY
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This song is sung by a woman while a child is still in the womb or when the threat of a miscarriage is apparent. The baby can hear the song while inside the mother, and the mother can connect with the child telepathically as well. The lullaby is meant to reassure the child, to encourage the baby to hold on, to stay—to reassure the child that he or she will be protected by love even from inside until birth. The last line literally means that the mother’s love will protect her child until the child is born (“rise”).
Musically, the Carpathian “Lullaby” is in three-quarter time (“waltz time”), as are a significant portion of the world’s various traditional lullabies (perhaps the most famous of which is “Brahms’ Lullaby”). The arrangement for solo voice is the original context: a mother singing to her child, unaccompanied. The arrangement for chorus and violin ensemble illustrates how musical even the simplest Carpathian pieces often are, and how easily they lend themselves to contemporary instrumental or orchestral arrangements. (A wide range of contemporary composers, including Dvořák and Smetana, have taken advantage of a similar discovery, working other traditional Eastern European music into their symphonic poems.)
Odam-Sarna Kondak (Lullaby)
Tumtesz o wäke ku pitasz belső.
Feel the strength you hold inside.
Hiszasz sívadet. Én olenam gæidnod.
Trust your heart. I’ll be your guide.
Sas csecsemõm; kuńasz.
Hush, my baby; close your eyes.
Rauho joŋe ted.
Peace will come to you.
Tumtesz o sívdobbanás ku olen lamt3ad belső.
Feel the rhythm deep inside.
Gond-kumpadek ku kim te.
Waves of love that cover you.
Pesänak te, asti o jüti, kidüsz.
Protect, until the night you rise.
To hear this song, visit: http://www.christinefeehan.com/members/.
6. SONG TO HEAL THE EARTH
This is the earth-healing song that is used by the Carpathian women to heal soil filled with various toxins. The women take a position on four sides and call to the universe to draw on the healing energy with love and respect. The soil of the earth is their resting place, the place where they rejuvenate, and they must make it safe not only for themselves but for their unborn children as well as their men and living children. This is a beautiful ritual performed by the women together, raising their voices in harmony and calling on the earth’s minerals and healing properties to come forth and help them save their children. They literally dance and sing to heal the earth in a ceremony as old as their species. The dance and notes of the song are adjusted according to the toxins felt through the healer’s bare feet. The feet are placed in a certain pattern and the hands gracefully weave a healing spell while the dance is performed. They must be especially careful when the soil is prepared for babies. This is a ceremony of love and healing.
Musically, the ritual is divided into several sections:
First verse: A “call and response” section, where the chant leader sings the “call” solo, and then some or all of the women sing the “response” in the close harmony style typical of the Carpathian musical tradition. The repeated response—Ai Emä Maγe—is an invocation of the source of power for the healing ritual: “Oh, Mother Nature.”
First chorus: This section is filled with clapping, dancing, ancient horns and other means used to invoke and heighten the energies upon which the ritual is drawing.
Second verse
Second chorus
Closing invocation: In this closing part, two song leaders, in close harmony, take all the energy gathered by the earlier portions of the song/ritual and focus it entirely on the healing purpose.
What you will be listening to are brief tastes of what would typically be a significantly longer ritual, in which the verse and chorus parts are developed and repeated many times, to be closed by a single rendition of the final invocation.
Sarna Pusm O Maγet (Song to Heal the Earth)
First verse
Ai, Emä Maγe,
Oh, Mother Nature,
Me sívadbin lańaak.
We are your beloved daughters.
Me tappadak, me pusmak o maγet.
We dance to heal the earth.
Me sarnadak, me pusmak o hanyet.
We sing to heal the earth.
Sielanket jutta tedet it,
We join with you now,
Sívank és akaratank és sielank juttanak.
Our hearts and minds and spirits become one.
Second verse
Ai, Emä maγe,
Oh, Mother Nature,
Me sívadbin lańaak.
We are your beloved daughters.
Me andak arwadet emänked és me kaŋank o
We pay homage to our mother and call upon the
Põhi és Lõuna, Ida és Lääs.
North and South, East and West.
Pide és aldyn és myös belső.
Above and below and within as well.
Gondank o maγenak pusm hän ku olen jama.
Our love of the land heals that which is in need.
Juttanak teval it,
We join with you now,
Maγe maγeval.
Earth to earth.
O pirä elidak weńća.
The circle of life is complete.
To hear this chant, visit: http://www.christinefeehan.com/members/.
7. CARPATHIAN CHANTING TECHNIQUE
As with their healing techniques, the actual “chanting technique” of the Carpathians has much in common with the other shamanistic traditions of the Central Asian steppes. The primary mode of chanting was throat chanting using overtones. Modern examples of this manner of singing can still be found in the Mongolian, Tuvan and Tibetan traditions. You can find an audio example of the Gyuto Tibetan Buddhist monks engaged in throat chanting at: http://www.christinefeehan.com/carpathian_chanting/.
As with Tuva, note on the map the geographical proximity of Tibet to Kazakhstan and the Southern Urals.
The beginning part of the Tibetan chant emphasizes synchronizing all the voices around a single tone, aimed at healing a particular “chakra” of the body. This is fairly typical of the Gyuto throat-chanting tradition, but it is not a significant part of the Carpathian tradition. Nonetheless, it serves as an interesting contrast.
The part of the Gyuto chanting example that is most similar to the Carpathian style of chanting is the midsection, where the men are chanting the words together with great force. The purpose here is not to generate a “healing tone” that will affect a particular “chakra,” but rather to generate as much power as possible for initiating the “out of body” travel, and for fighting the demonic forces that the healer/traveler must face and overcome.
The songs of the Carpathian women (illustrated by their “Lullaby” and their “Song to Heal the Earth”) are part of the same ancient musical and healing tradition as the Lesser and Great Healing Chants of the warrior males. You can hear some of the same instruments in both the male warriors’ healing chants and the women’s “Song to Heal the Earth.” Also, they share the common purpose of generating and directing power. However, the women’s songs are distinctively feminine in character. One immediately noticeable difference is that, while the men speak their words in the manner of a chant, the women sing songs with melodies and harmonies, softening the overall performance. A feminine, nurturing quality is especially evident in the “Lullaby.”
APPENDIX 2
The Carpathian Language
Like all human languages, the language of the Carpathians contains the richness and nuance that can only come from a long history of use. At best we can only touch on some of the main features of the language in this brief appendix:
The history of the Carpathian language
Carpathian grammar and other characteristics of the language
Examples of the Carpathian language (including the Ritual Words and the Warriors’ Chant)
A much-abridged Carpathian dictionary
1. THE HISTORY OF THE CARPATHIAN LANGUAGE
The Carpathian language of today is essentially identical to the Carpathian language of thousands of years ago. A “dead” language like the Latin of two thousand years ago has evolved into a significantly different modern language (Italian) because of countless generations of speakers and great historical fluctuations. In contrast, many of the speakers of Carpathian from thousands of years ago are still alive. Their presence—coupled with the deliberate isolation of the Carpathians from the other major forces of change in the world—has acted (and continues to act) as a stabilizing force that has preserved the integrity of the language over the centuries. Carpathian culture has also acted as a stabilizing force. For instance, the Ritual Words, the various healing chants (see Appendix 1) and other cultural artifacts have been passed down through the centuries with great fidelity.
One small exception should be noted: the splintering of the Carpathians into separate geographic regions has led to some minor dialectization. However, the telepathic link among all Carpathians (as well as each Carpathian’s regular return to his or her homeland) has ensured that the differences among dialects are relatively superficial (e.g., small numbers of new words, minor differences in pronunciation, etc.), since the deeper, internal language of mind-forms has remained the same because of continuous use across space and time.
The Carpathian language was (and still is) the proto-language for the Uralic (or Finno-Ugric) family of languages. Today, the Uralic languages are spoken in northern, eastern and central Europe and in Siberia. More than twenty-three million people in the world speak languages that can trace their ancestry to Carpathian. Magyar or Hungarian (about fourteen million speakers), Finnish (about five million speakers) and Estonian (about one million speakers) are the three major contemporary descendents of this proto-language. The only factor that unites the more than twenty languages in the Uralic family is that their ancestry can be traced back to a common proto-language—Carpathian—that split (starting some six thousand years ago) into the various languages in the Uralic family. In the same way, European languages such as English and French belong to the better-known Indo-European family and also evolved from a common proto-language ancestor (a different one from Carpathian).
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