The Shaman’s Drum: Eurocentric Interpretations of Non-European Sonic Worlds

The term 'shamanism' was brought to Europe from Russian Siberia in the 17th century and reinterpreted as an epitome of the exotic and diabolic until the 20th century. In the last third of the 20th century, the term was romanticized in alternative and New Age contexts, transforming associated Indigenous ritual music—such as monotonous drumming—so that anyone could play it. Both the historical construction of the exotic and contemporary romantic appropriations are based on colonial prejudices against what was considered 'primitive' and ignore Indigenous historical and contemporary realities.

Study at a glance

Abstract

In this contribution, I will focus on the history and meaning construction of the term “shamanism” and its implications for the music that is attached to this concept. “Shamanism” was brought to Europe from Russian Siberia in the 17th century and then, until the 20th century was re-interpreted as an epitome of the exotic and diabolic. During the last third of the 20th century, however, the term and concept were transformed and romanticised in alternative and New Age contexts of modern societies. The music associated with Indigenous ritual was likewise transformed and adapted so that anyone could play it, such as monotonous drumming for instance. Both processes, i. e. the historical construction of the exotic and contemporary appropriations of the romantic, are based on highly colonial prejudices against what was considered as “primitive” and are ignorant of the Indigenous historical and contemporary realities.