(Yes, I like puns–why do you ask?)
Last night I did the Otter ritual that is somewhat of a sequel to the Badger ritual I did a week and a half ago. Now, technically these were both supposed to be New Moon rituals. However, my insanely busy (and exhausting) schedule coupled with remnants of procrastination led to the Otter ritual getting postponed. Rather than getting frustrated and deciding I should just forget the ritual since it was almost the Full Moon, I stuck to my philosophy of staying motivated and stopping guilt. The result was that late is, indeed, better than never.
The Otter ritual was very similar in structure to the Badger ritual (and my skindancing rituals in general). I started by calling on the four directional totems, again doing so without words. My elemental meditations have most definitely been paying off, as the evocations were quite strong and quick, and I’m definitely feeling much more connected to the totems and their respective elements.
I evoked Otter the totem next, using my staff as a channel. Per usual, I did a mild energetic shift to Otter as she arrived, laughing and bouncing, into the ritual room. I then picked up my otter skin and held her so that she could be “seen” by Otter. I then silently explained to Otter what the otter spirit wanted to do to help me, and she agreed to give us an extra boost.
So we danced.
I held the otter skin over my left shoulder, placed the candle in the center of the room, and danced in a circle around it, channelling the energy of both the otter spirit and Otter the totem, as well as my own, in a flood of waves and currents. I started out looping and circling as I danced, very free-form. I then settled into a rhythm of “step-step-step step-step-step DIP” that was repeated every half-circle. The “DIP” involved arcing my body down and then up, like an otter diving into the water, then coming up for air. At first I simply breathed the rhythm, but then began to spontaneously hum and whistle it as I danced.
Eventually the rhythm sped up, and we danced faster, joyfully spinning, drawing the energy in tighter and tighter, until I lifted up the otter skin high above my head, and helped her to “dive” with the energy down to the candle on the floor. The energy flooded into the candle, and as I laughed quietly at the end of this enthusiastic dance, I let that joy pour into it as well, sealing it at the end. I then placed the otter skin on the same side of the altar as the candle holder, lit the candle, and let the spirit take the flow of energy to where she needed to start the task I’d asked her to work on.
Otter the totem came to me at this point and asked to be able to stay with the otter skin spirit while the magic worked. I gave her free passage into my home as long as she needed. She seemed incredibly concerned for this little one, and wanted to be sure that her (the spirit’s) enthusiasm wouldn’t lead her into trouble, since she was a relatively young being. Otter may not always be thought of as one of the “motherly” totems, but she is, from my experience, quite concerned over her own. She can play, but she can also be quite serious when need be.
I bid farewell to the directional totems after this, as well as my spiritual friends, family and guardians. As I did so, I felt the energies of the elements return to their original sources–some within me, and some in the environment around me.
I’m glad I have the help of an otter with this situation; it could definitely use the flexibility and fluidity, as well as a reminder to not stress too much as things develop! Additionally, I’ve been enjoying developing specific dances for each spirit/totem species; before I would dance however I felt at the moment, though I’m feeling more inclined to have more “formal” dances to go with each animal. I do want to pick up a drum sooner rather than later for use in journeying and other practices, and the dances I’ve gotten so far have good rhythms for drumming as well–which could make for some interesting evocation and invocation practices.
Have you ever looked at Bata drumming? It’s the traditional drumming of the Yoruba-speaking peoples of West Africa. (A precursor to Santaria and Voudun, etc.) I learned a little about it when I was a Percussion Major in school, and your last paragraph reminded me of it a lot. Apparently, for every one of their Deities there is a traditional drumming pattern which matches a traditional chant (something typically invocational to my understanding), and a traditional dance (depicting some past-time of the Deity’s). Everyone comes together and drums, sings, and dances, and occasionally the Deity decideds to “ride” someone present. The system you’re developing seems to be highly similar, either by design or by chance. I’m very interested to see what you come up with.
The only exposure I’ve had to that are the derivative drumbeats common at drum circles, and reading a bit about traditional drumming in the book Mickey Hart wrote, “Drumming at the Edge of Magic” (I believe that’s the title). That sounds like something i definitely need to look into, though–thank you for the suggestion!