by Evelyn C. Rysdyk
This is an example of a staff made from a sapling entwined by bittersweet vine and topped with a reindeer antler.
Around the world and across cultures, a shaman’s power regalia often includes a magical staff. Different forms of this power object are seen from the deep jungles of the Amazon basin, to the steppes of Asia, the deserts of Australia and even to the high reaches of the Arctic. More than a simple walking stick, staffs function as symbols of the shaman's status and may be called upon as useful tools in the shaman's work.
For many peoples, the shaman’s staff represents the connection between the realms of upper, middle and lower worlds. In this role, it functions as a representation of the World Tree or central axis of the cosmos. As with other shamanic power objects, the staff is imbued with spiritual purpose and becomes a living presence. As such, it is a catalyst for change and transformation--even capable of working on it’s own on behalf of the shaman.
In the Amazon, the shaman’s staff or baculo is made from a six-foot length of wood which is ceremonially cut from a Pona tree which many tribes in the region see as especially sacred. The staff is also decorated with special symbols, talismans and carvings which are connected to the shaman’s own power. For these people, the staff represents a connection to the Pleiades--a constellation that many Amazonian people believe is their spiritual home. The staff functions as an energy conduit between the "up above" and "down below" worlds. As the stand-in for the Axis Mundi/World Tree/Center of the Cosmos-- it holds the spiritual center in ceremony.
Among the Selkups, Enets and Nenets of Siberia, the shaman’s staff is her “tree of life” and functions as a support in the spirit journey to help the shaman negotiate the perils of the journey to the spirit world of the ancestors. For these people, the land between the realms is harsh, with many sharp mountains and ravines separating the place of the dead from our world. Since the shamans in this region sing and dance their journeys, the staff also functions as a rhythm stick. To facilitate this role, the staff is forged of iron and covered in iron rings which clang together and against the body of the staff. Thus the staff takes the place of the shaman’s drum while the journey is undertaken. These staffs are three to five-feet tall and some end in the form of a reindeer hoof at their base. As reindeer herders, it represents a connection to the spirit of the animal on which the tribe relies.
The Enet shaman's staff is traditionally forged from iron.
Among Grandfather Misha’s people--the Ulchi of southeastern Siberia--the sacred objects are usually made from the wood of the most sacred tree in the taiga--the larch. While their costumes are made of intricately sewn and embroidered cloth or fish skins, most of the shaman’s other regalia are carved from larch wood. Larch is used for the drum hoop, the rattles and extraction brooms (made from shaved larch sticks), saiven carvings, as is the shaman's staff. Among the Ulchi the staff functions as a connector of the realms and also as a healing implement much like the way the drum beater or drum itself is used. In each case, the patient is touched and brushed by these objects as a part of their healing.
The Aboriginal people of Australia have ceremonies that honor the Sacred Pole that connects the people to the revelations of the Dreamtime. Echoes of the Sacred Pole may be found in the long spear which is carried by traditional hunters. This spear is used as a walking stick, pointer, ritual “scepter,” as well as a tool for gathering food. Women use a shorter digging stick much in the same way. We can also see connections to the Sacred Pole in the tall grave posts which Aboriginal people used to honor the dead. From the Dreaming we emerge and to the Dreaming we return.
The shamans of the Peruvian North Coast use short staffs as healing implements on their healing mesa (altar). These staffs are arranged in an upright row at the head of this ceremonial altar along with swords or long knives. Holding the energy of each of the shaman’s many compadres or helpful and healing spirits, these staffs range from about two to four feet long and are used as a part of the all-night San Pedro ceremony.
The shaman’s mesa is arranged in such a way to have left, center and right fields of energy. The left side holds images and power objects that invoke darker spirits. The right holds the spirits of light and the center is the point of balance behind which the shaman sits as mediator. During the ceremony, the various staffs--each one living and filled with spirit--are used to cleanse the patient of negative energy, the spirits of sickness and bad luck. The staffs are made of very dense, dark chunta wood and are carved at the top with figures of the particular spirits and saints that the staffs embody.
The shaman's mesa with several short staffs and swords. Each of the staffs holds a different energy that can be called upon by the shaman during healing ceremonies.
The ancient Icelandic sagas tell us about the use of staffs in the shamanic rituals of the ancient Norse and Germanic peoples. Among these tribes, the ceremonial staff is the tool of the the völva or seeress. The völva is a woman who--while in a shamanic trance--enters the roots of the great, world tree Yggdrasil to gain access to ancestral wisdom. (As it is with all world trees, Yggdrasil’s roots lead to the lower realms, its trunk runs through the middle worlds and it’s branches support the upper worlds.)The ritual in which this prophesy is received is known as seiðr (pronounced “SAY-thr”) This oracular ceremony was usually performed by specially gifted women--and very rarely by men--who, when in trance acted as the goddess Freyja. Freyja is the Norse/Germanic goddess of the Earth. She reflects the many faces of the more ancient Neolithic Earth Goddess. Freyja is both the giver and taker of life and she is the original shaman. Since she knows what the three Norns (Fates) will weave--she is also the goddess of prophesy. For this reason she is also the patroness of the völva or seeress. As a part of the völva’s ritual costume, she carries a tall staff which is usually set with stones and bound in brass. This staff is known as a völ. Clearly the staff is a critical part of the ritual since the ceremonial title völva, literally means “staff bearer.”
When spirits work through objects, such as the staff, it is possible to amplify the spiritual power available to the shaman in that moment. Inspirited by the shaman for service, these objects are alive and as such, they function as assistants, partners and guides to the shaman in her/his work. It is for this reason, a shaman's staff is cared for as one might a treasured, living being.
Creating a staff of your own
As we've seen, shamans all around the world and across time have used and carried staffs. However, those who aren't following the shamanic path may also find themselves drawn to carry a staff or walking stick. I have found that a staff not only makes walking across uneven ground more safe, it also provides a wonderful feeling of grounding. I like the feeling of my staff in my hand and especially love the feeling of traveling through a forest while holding on to what was once a sapling. It just feels "right".
There are many fine walking staffs available through such venues as metaphysical shops, hiking stores or renaissance fairs. Many of you, however, may wish to actually create a staff of your own. I have found that most people get a tremendous satisfaction from creating their own spiritual tools. A powerful, personal bond is woven with an object in the act of its creation.
The first step is finding an appropriate stick and I like to work with green wood. That is, wood that has been just harvested, however, it isn't wise to go and cut down a young tree just to satisfy your need for a staff! The wooded places on our world need our protection. Instead, be a bit creative! For instance, the Maine Department of Transportation trims trees and removes saplings along highways on a regular basis. The cutting crew leaves the wood along the side of the road until the chipper crew comes along. I think "rescuing" a sapling destined for the chipper is an excellent source! A phone call to a commercial tree service might provide another way to access a staff.
Check with your local garden club or community gardening group about times they might want help clearing brush. Many places around this area need help in controlling the spread of Oriental bittersweet vine. This vine is a terribly invasive plant considered by many to be an environmental menace. Oriental bittersweet vines choke out native plants, replacing them with a single species monoculture. Environmental groups often get groups of volunteers together to cut down the vines that strangle trees. This work usually also means cutting down the saplings that have been squeezed into terribly beautiful corkscrews by the spiraling vines. My favorite staff is one of these unfortunate saplings.
Along with how you gather your wood, it is important to look and what wood makes a good staff. Hardwood is especially good for making a durable staff. A list of hardwood species that make excellent choices would include ash, apple, beech, cherry, chestnut, hickory, maple, oak, pear and walnut. These are also the woods that are chosen for furniture and with good reason. They are strong and the wood is often quite beautiful. Birch is good too but a bit softer than the other hardwoods. If you're smitten with birch, you'll need to choose a stouter branch or sapling.
The length of your staff is quite personal. I prefer one that allow me to grasp the shaft of the staff comfortably when my arm bent is at an angle of about 70 degrees. That is, with my hand higher than my elbow. This allows me to pull myself over obstacles and up hills with ease. Some of you may prefer something shorter like a cane. In this case, you would be holding the very top of the stick. Either one will work, it's just what you prefer.
As I stated earlier, I prefer working with green wood and this is because it is much easier to remove bark from a green branch. The hazard of using green wood that a branch may crack as it dries. To help alleviate this possibility, harvest your wood in the very late autumn or winter when the sap is no longer flowing. This wood will shrink less as it dries and therefore be less prone to splitting.
If you will want to strip the bark, do it right away. You can strip it later, but it will put up more of a fight once it shrinks to the wood. You may strip the entire length or choose to strip only the place where you will hold it. Some people strip a pattern into the bark creating a design.• I use a pocket knife for this purpose although if you are stripping the entire length of the staff, you may also wish to use a draw knife. Be careful to work parallel to the bark so that you don't accidentally gouge the wood beneath. Also be especially careful not to cut yourself!
Once that is done it needs to be left to dry and it is important to allow it to dry slowly. Place it in a cool place and lay it flat to dry for at least a few months. If you have a dry climate or it will be in a heated house, you may want to wrap it in plastic to slow its release of moisture. Check in on it often and brace it if you find it bending too much as it dries.
When the staff is fully dry it's time to sand it smooth. You may sand the entire staff or just the places where you have peeled the bark. Sand it by following along the grain. Once this step is completed it's time to decorate your staff. You may carve or wood burn to embellish the surface of the wood. At this point, I like to seal the wood with a varnish to preserve it. I have used both water-soluble and oil-based varnishes. Choose what makes sense to you and remember to read the directions carefully so that you will be safe. Many varnishes have extremely hazardous fumes so it's best to work outside. Even then, protect yourself with gloves and a mask. Allow the varnish to dry thoroughly.
After the staff is dry, you may wish to wrap it with leather or tie beads or talismans to its surface. You can also paint designs on it. Let your imagination and your heart guide you through this process. Remember, if you are going to be using the staff extensively-keep your embellishments sturdy and if you want to be able to catch sight of wildlife on your walks don't use noisy, jingly objects for decoration!
-Evelyn
• Some carvers also rough out three-dimensional images when the wood is green, but remember a split could arise over the drying period and "change" your design!
© 2008 Evelyn C Rysdyk
Evelyn C. Rysdyk, author of Modern Shamanic Living is a nationally recognized presenter. Included in the book Traveling Between the Worlds she is among the world’s most influential writers and teachers of shamanism.
Originally trained in core shamanism, she has integrated practices taught to her by elders from North and South America, Central Asia, Nepal and Siberia. She is also a Medicine for the Earth Teacher--teaching ways that transfigured human energy can heal our planet.
With her partner C. Allie Knowlton, MSW, LCSW, DCSW she presentseco-spiritually focused training programs--which include advanced shamanism and shamanic healing---across the USA and Canada. In addition, as a founding member of True North, a unique, integrated medical center in Falmouth, Maine--she collaborates with physicians, nurses, a psychiatrist, a naturopath and several other complementary healthcare practitioners to provide a new model of health care that includes the spirit.
www.spiritpassages.org | www.spiritliving.org
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