This past weekend I set up a vending booth at the Yule Bazaar. The first day was held down at the Unitarian Universalist church in Salem, OR, and the branch of organizers there had arranged for a group of traditional Aztec dancers to come and share some of their dances. These weren’t white people “inspired by” the Aztecs; these were folks in the broader Hispanic community here in the area who had connections with people in Mexico who had still hung onto pieces of the indigenous Aztec lore. This was knowledge that had gone underground as a result of the genocide perpetrated by Spanish invaders, and over the past fifteen years or so there’s been more of an effort to try to combine what’s left and recreate the traditions.

One of the dancers spent a good amount of time giving a lot of context for how the knowledge had been revived, and what the importance of the practices was. I was especially fascinated by the assertion that each footstep, each move, in each dance had its own special meaning and piece of lore; the shell-covered ankle cuffs the dancers wore that made lovely ringing noises as they moved represented the various sounds that running water makes–not just THE sound, but many sounds. The spear that one of the dancers carried wasn’t a weapon, but a tool to pierce through to truth. And so forth. I paid close attention to each individual step and move, the voices, the conch shells and other tools, how everything flowed. I was awed and humbled.

It’s not my first time watching other cultures’ dances; I’ve seen dancers at powwows, for example, though it’s been many years. However, probably due to my age and better context this moved me even more than those earlier beautiful experiences.

What struck me the most was just how rich in symbolism and meaning every element of the dance was. I realized that what I am creating here in some ways pales by comparison, not because I’m not sincere or not trying hard enough, but because what I was watching had been developed from the observations, experimentations, and sheer creativity of thousands upon thousands of people over many generations. All of those people had contributed their day by day observation of the sounds of rivers, or the bright colors of bird feathers. These were woven into centuries of myth and legend, art and dance and other expression.

So many of us practicing neoshamanisms simply don’t have that sort of shared community support. Getting together once a week for a drum circle, or once a month for a full moon ritual, can’t compare to a community living on the same piece of land with the same people for many lifetimes. We can have good friends, and we can have good family, but so many of us live far away from our families, or have families who are not supportive of our paths. Friends move away; we move, too. I have moved an average of once a year since 2001, and am now in my fourth state. I can keep up with old friends online, but it’s not the same.

This is not to say that I am deterred. But it does offer me some idea of what is missing in much of neoshamanism, and some direction in further developing my own practice. I can’t necessarily create community, and it’s highly unlikely that I would given how much of a solitary I tend to be. But I can at least explore Meaning more deeply, and connect it to more than just intellectual understanding of “This is what North means”. Which is a lot of what I’ve been doing anyway, but I have more inspiration now. Not taking from the Aztec dancers, of course, but looking at my own relationships.