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Living considerably outside the "matrix" for over 35 years…with many skills attained in Dance, Theatre, Shamanic Improvisation, Contact Improv, Music, Sculpting, Drum Making, Herbal Tincture Preparation, Film, Sound Engineering, Psychic Skills, Facilitator, Teacher, Conduit/Conductor/Creator of "Quantum Leap" a Shamanic Improv Ensemble and Co-Producer of 4 Live Webcast Events for Earthdance... to state but a few.
Joined The One Network in 2013 as a "Resonant Messenger" sharing tools in Psychic Mentoring, Energetic Signatures, Shamanic Improvisation, Writer, Interviewer and Audio/Sound Engineering.

I started and continued listening to the One People’s, Collective Imagination and The Transitioning Online Radio Shows early in the Winter of 2012. Right from the start I sensed original platform for each and every show hosted. About mid-way I began to call in and experience the conversations and energetic exchanges. Attending these weekly shows was a discipline and commitment as each were 2 hours in length and the set times is when we were invited to show up.
My life had been fully dedicated to my spiritual path. I had already carved out a good 5-8 hours each day dedicated to my studies and meditations and writings of consciousness. My lifestyle was simple, modest and non-demanding. As a result of staying simple I was able to engage myself in 24/7 dedication to my spiritual path.
During this time I was teaching, mentoring and Prayerforming. These were forms that had evolved over my lifetime and allowed the “I Am” to flow through and bee expressed.
There was a permeating kernel of truth presented during the Radio Shows that had my undivided attention. After many years of reading, researching and practicing a multitude of spiritual practices, philosophies and “intentional communities” I had come to the conclusion that none of them had anything to offer to my hunger for expanded consciousness. However, that “kernel” perked my attention. You can read my full article at: OR

That “kernel” was what I refer to as the “OPC (One People’s Community) Perspective”. Very simply stated, it was the perspective of the “I Am”, Eternal Essence that represented our sole responsibility that lies from within. The other values attributed to this “I Am” are transparency, sovereignty, accountability, etc. This “kernel” represented a “consciousness”. In no way were the Radio Hosts delivering a practice, dogma or set of guidelines. It was this “nugget” of consciousness that I was after.
The “Energetic Trail” to connect with this consciousness is how I was guided to Aouchtam, Morocco. There was nothing in my way. Letting go of a lifetime of stuff was easy compared to the inner calling to join the people who were speaking a truth that resonated in my bee-ing.
The Following is an interview by, Jeanell Innerarity, that encompasses a good sense of the path that led me to where I Am today. It specifically is directed towards the body of work I have created over the past 35 years “Shamanic Improvisation” “The Art of Be-ing In The Moment” and “Going Between The Worlds”. This is the interview that Jeanell sent me questions to and I answered and returned to her. If you choose to go to her site the interview is interwoven with her version and edits along with an interview phone call. The article was intended to be published in “Contact Quarterly” but content was a bit too on the edge for audience. Hah! Go figure!

1. What distinguishes Shamanic Improvisation from other forms such as Contact Improvisation, 5 Rhythms dance, Authentic Movement, etc.?
I look at our dance as a metaphor for all life events and sometimes refer to as relation-shipping. I sometimes refer to emotional dance as “emoting” through movement. I seek the awareness in dance that we wish to have in our relationships. This includes such things as; Self Awareness and Awareness of other. This inspires the ability to resonate universally and ultimately opening our consciousness to our higher evolutionary growth.
Dance-Movement-Therapy (D/MT) has influenced this body of work so I recognize that as we drop more deeply into the self many layers are revealed. Shamanic Improvisation is similar to the practice of D/MT in that it utilizes tools to encourage dropping deeply and revealing the many layers of Self. Within the practice of Shamanic Improv we journey through the impulses that are purely emotional like D/MT. However as D/MT encourages one to stay within the unconscious emotional process Shamanic Improv moves through that and takes it into the direction of the higher spiritual self accessing our multi-dimensional reality, totems and guides.
It is not uncommon to experience impulses that are purely emotional prompts. At this level we may address some of the common occurrences one would encounter when practicing a spiritual discipline.
Similarly to 5 Rhythms and Contact work the mover is guided to explore boundaries, trust, working within a group structure and moving on emotional or physical impulses. In Shamanic Improv there is a recognition that the ego dances differently from the soul impulses or divine self revealing. Thus the facilitation is to honor what is happening in the Now and encourage going deeper, higher. Ultimately one of the major distinctions of Shamanic Improv to the naked eye is that vocalization, speaking and character embodiment are evident in the deepest part of the process. An example of this is when we are expressing simple life obstacles such as issues of self esteem or confidence. This is where character development is helpful. It allows the character to express the real life issues and for the story-line to unfold. My experience is that once this level is given expression then we are able to move and explore at a deeper level. Again similar to a spiritual practice, once peace is experienced another aspect of self emerges and engages differently with life issues. Thus the healing aspect of the dance.
Although the basic parameters of the above mentioned forms of dance are similar as in a more free form and explorative dance it is the intention that most distinguishes Shamanic Improvisation from other.
Shamanic Improvisation has a focus of “Going Between The Worlds”. Shamanic Improv is free form movement and vocalizations focusing on going beyond accessing our unconscious movement and voice and imagery and accessing our totems and guides. What I mean is that a multi-dimensional reality that exists is enthused in Shamanic Improv by using body and voice equally. A further definition of “Going Between The Worlds” is to access and allow the multidimensional aspects of ourselves to enthuse the body and voice. Improvisational tools and vocabulary are offered to guide the journey. The basic vocabulary of contact dance is included in this approach offering a construct that creates an experience of intimacy with the group consent and honoring one’s personal boundaries and agreements. Contact offers a heightening of sensitivity and energetic communication. It contributes considerably to the development of experiencing subtle realities from within and outside of the physical body.
In 5 Rhythms Dance and Authentic Movement it is allowable to have eyes closed. I encourage eyes wide open. On occasion within a guided visualization eyes may relax to a half focus. Ultimately after we recognize and cultivate all the impulses coming from within, the next step is to bridge to the outer reality. Thus it is important to strengthen the inner focus simultaneously reconciling our balance with eyes that see the physical world. Sustaining this dual focus inhibits the participant from experiencing a trance-like state. In my experience of trance dancing, which does have its own particular value, we tend to release the use of the Aware minds ability to navigate deliberately with a conscious focus. I am inviting conscious focus and deliberate Self-awareness as I cultivate the accessibility of our multi-dimensional growth.
5 Rhythm Dance stays deeply in the unconscious body whereas I’m going from within to without. Authentic Dance is not prompted to use voice. I use voice and body equally.
In Shamanic Improv I apply D/MT techniques that work on the unconscious such as emotional stagnation and psychological scars. Then I take it to the next level, the ethereal, alchemical and universal body.

2. How do you incorporate techniques of Shamanism into the dance?
The basic technique of Shamanism that I integrate into dance is access to the multidimensional realms where our soul and guides speak.
This begins by first creating a safe and supportive environment to take risks then beginning with exercises to warm up the body, voice and heart. Guided exercises in breath awareness and visualization are offered and then followed by isolated body part and vocal warm-up.
During this I am intuiting or recognizing the body language of the participants and begin to take my cues from what is given. The exercises are then adjusted from my intuitive read of the individual and the group. Although I have a score prepared for the session, I teach improvisationally, always going with the flow.
Slowly we evolve from these exercises to what I call “solo” development. This is when the strengthening and development of solo integrity and inner reflection is encouraged. Once the solo is strong in integrity of self we move into “duo” or “other” in which now we recognize others in the shared space and time scenario. This unfolds into group, community and world embrace.
At some point within this evolution I experience what I call a “drop”. This is similar to a shamanic drumming meditation when we are journeying to meet our guides. There is an experience of when the group is beginning to venture “between the worlds”. There is an experience that the “ordinary” reality is no longer the impulse for movement and voice but something primal and otherworldly. When I experience this moment is when I can begin to offer the prompts for deepening our connection to the other realms.

3. How did you choose, or receive, the name Deerwomon? Why the alternative spelling?
This is quite an involved story with many facets and traveling in timelines to define. The simplified version is this…when I was living in San Francisco I received an anonymous postcard, no signature, no postmark. It was a picture of a deer and the words written on the back said “You are very much needed in this world Deer Woman!”. I never knew who sent it but I kept it on my altar for years.
In the late 1980′s I moved to Eureka Springs, Arkansas. This was the first time I went to live there and returned 25 years later. I arrived on 360 acres of land with no electricity or running water. I loved it! When I got there I had shared that I really wanted to make my own drum. I had a hoop drum at the time but I wanted to get a hide and have the spiritual journey of making my own. I was informed that a woman, Owl Medicine Heart, was arriving in 3 days and she was specifically coming to tan her deer hides. We met. I told her my wish. She said you need a deer. Look for a road kill. Now I just arrived here straight out of NYC with a bleached mohawk and the thought of gathering a roadkill was rather foreign. None the less, within 24 hours a roadkill comes to me. I borrowed a truck and proceeded to load the heaviest weight I could have possibly imagined. But I did, sheer force of will.
I brought the deer home. We strung her up and Owl Medicine Heart proceeded to show me how to remove a hide more meticulously than you can imagine. It was exquisite. After the hide was removed I asked Owl to identify the body parts and she did. As we were examining the organs and such Owl comes across a part she is uncertain about. At that very instant of examination we both knew, looked at each other and started crying. We had a mama deer that had 3 young fawns inside. We just sobbed.
The day had been very long with a very emotional ending. I had been instructed to take the hide to the creek behind the shed where I was staying and put it under water so the flesh would soften and prepare it for the skin cleaning in the next few days.
Prior to my arrival in Arkansas I had attended a Women’s Spirituality Conference in NJ facilitated by Sonia Johnson. One of the ceremonies offered there was for anyone wanting to empower themselves with a name change. I had been pondering this but wasn’t too certain of my name. With the help of some sisters I came up with Jesse Womoon (womon of the moon). Mary Daly, a writer, was a strong feminist influence of the times and she encouraged wimmin, wymin to make up new words in place of patriarchal words. She believed this was a way for us to re-empower and heal ourselves. Thus the beginning of my playing with words and taking the name “womoon”.
As I returned to my shed hut and sat down on the edge of my bed. There on my altar was the postcard. I picked it up, re-read it and intuitively and very deeply heard my name was Deerwomon. I went on to make medicine drums with deer-hides for the next 15 years and the stories of my relations with deer continue to today.

4. Can you describe a little about your background, training, interests, and how you became involved in improvisation and Shamanism?
I was interested in Psychology and psychic phenomenon from an early age. I was determined to understand life and held a firm belief that there had to be more to life than we just live and die. Thus, my life long spiritual journey.
I graduated from C.W. Post, NY with a Masters in Special Education and had every intention of getting a Ph D. in Psychology until I came across CIIS (California Institute of Integral Studies) San Francisco and entered the Intercultural Philosophy and Religion Doctoral Program in 1980. This was the first graduate school to become accredited in our country with the mission of integrating eastern and western thought. This is where I was introduced to Shamanism.
At the time Michael Harner, founder of The Center of Shamanic Studies, was an adjunct professor teaching about Shamanism at CIIS. His particular studies were the aborigines in Australia.
My deer friend at the time , Sandy Ingerman, was participating in his classes and program but I couldn’t participate as there was a schedule conflict with the program I was signed up for. So Sandy would share with me everything she was being taught. We were drumming together, journeying with the drum and on and on. Via this intimate exchange I became very knowledgeable about Shamanism. Eventually I was gifted my first drum and embellished the journey and further independent education from there.
I had already gained quite an eclectic background of dance by now. I had experienced a taste of modern, jazz, ballet and the awesome involvement with Wallflower Order Dance Collective later to evolve into Dance Brigade. There I started a lengthy commitment to Amazon Kung Fu (Kajukenbo) that was integrated into choreographed dance productions. In the midst of this experience I was introduced to improvisational movement theatre. This is what really jazzed my world because it was free form and more of me could be expressed.
I was also involved with several other dance troupes at the time, some with political focus, spiritual orientation and healing intention. I tried them all. Simultaneously I was introduced to Dance Therapy. I reaped so much knowledge and experience from each of these disciplines. As I went on to teach workshops and develop my own body of work some of the more poignant parts of these experiences began to surface in my own language through my own teachings. It wasn’t until maybe the late 1990′s that a student said to me you should be calling your dance Shamanic Dance. I took the suggestion to heart, meditated upon it and thus “Shamanic Improvisation” was be-earthed.

5. I remember you going into a “character” once during one of the group improv sessions. The character had distinctive faces and sounds, and suddenly I recognized the character and realized I had seen you perform a year before at a Gathering of the Women event, but I hadn’t recognized you until I saw the character reappear. Can you say a little more about the use of characters in Shamanic Improvisation practice?
I use character development as a way of advancing the expression from within. Allowing a character to emerge typically releases the deeper impulses into recognized form. You could equate this to soul infusing form or spiritualizing matter. When a character emerges it is embodied by posture, movement and voice it now has the ability to tell a story and communicate with the present reality. This requires the presence of the “self director”. This is similar to the “I Am” presence or inner observer that evolves as we deepen a spiritual practice. There is an awareness that something other than the ego is directing. The result is that we are now dancing and vocalizing with the steady application of “Now” impulses emerging rather than pre-meditated ones. The “self director” is discerning the path of the dance similar to the aspiration that the soul is infusing the personality and thus the personality is discerning the source, the soul purpose.
If and when we are in the “Now” the authentic character is inevitably present and the organic story of soul infused self emerges, albeit, one breath and one moment at a time. Like the spiritual practice of “Nowness” a deep frequency of trust in the unknown is unavoidable, in fact, necessary. However, if the character experiences that moment of fear or hesitation and avoidance then that becomes the character. One ultimately needs to be committed to what is truly present. This does not negate the observer’s position it just simply allows what is to be present as the teachings of Eckhart Tolle might explain. You now embrace that indeed ego has moved in and so love the ego while all the while intentioning the deepening of original source.
As a result the development of character requires a very deep commitment to vulnerability. It is understandable that character emergence is only synonymous with how genuine we are in each moment. It’s an exploration of unveiling the inner self. In its simple form we do dance between the worlds in regards to dancing the levels of personality as in ego. This dance tends to exemplify the ego dance of emotions, physical boundries and mental ideologies. However the bridge between the worlds of the ego and the Soul is always there if we dare to take it.
In the Shamanic aspect of characters we are inviting the soul that speaks or spirit guides to come into form. You could equate this to channelling or the experience of a shaman dancing and vocalizing spirit. This is when the character may not be recognizable from the “ordinary” view of consciousness. This is actually where my expertise shines. When these characters emerge my whole presence is involved and listening as is the character. These are moments of revelation and collective shared consciousness. Now messages from the collective soul emerge and typically speak to everyone in some shape or fashion. This is also an invitation for our soul brothers and sisters to have a voice. This includes our brothers and sisters of the Star and Earth Nations also known as E.T.’s.
The extraordinary part of this emergence is that the mere caliber of energy required for them to surface alters not only the individual expressing but those who are in the company of this expression.
Now if you take this further as in a group experiencing this heightened state you inevitably invite a council of beings who now have the ability to exponentially empower the experience and communications. This initiates an interactive dialogue between beings dwelling in different dimensions or worlds. Anything can happen here and everything is enthused…our illumined minds, body, spirit, molecules and cellular memory. The doors of infinity are wide open, portals are available to an unending existence of realities.
As you can imagine this can be a very unnerving experience yet as we dare to go, mysteries can be revealed and healing on a multitude of levels can be experienced. This now leads me into the deeper aspects of my work. This is where sacred geometry, fractal and acoustical physics and deeper studies of energy are applied. There are no limitations. The entire universe is open to us now.
You may be asking at this point how do we get there? That is a good question. It is engagement of my own multidimensional self that intuitively provides the prompts of opening these portal doors. I sense where the portals are and the readiness of the individual and group. With that information I am guided in how to proceed, adapt and rearrange the exercises. At the very foundation of this work I nurture intention and the concept of energy and all its ramifications and brilliance of limitlessness. Of course it all begins with the participants willingness to go the distance, dance between the worlds. Without consent and open mindedness there can be no journey as I’m describing it. As you can imagine it is quite a unique character to begin with that is attracted to this journey. I would say there is a deeper call from within that is simply yearning for something more and yearning for validation of their multidimensional self.

6. On your website you speak about “multi-dimensional selves” and “dancing between the worlds.” Can you speak a bit more about these concepts?
I have actually addressed this question in the above response but let’s isolate this topic for a moment and elaborate on some distinctive definitions.
Often in a Shamanic practice you will hear reference to “going between the worlds”. This can sometimes be identified as an altered state of consciousness often precipitated by what is named Shamanic Drumming. Much can be understood by the writings and research of Michael Harner and Sandy Ingerman both of whom I was influenced by in earlier studies and practice.
One of the practices of Shamanic Journeying is after you have journeyed and met your guides you are encouraged to dance your animal totem or guide as a way of honoring and thanking them. It was from this experience that I learned to honor all voices and movement that was coming through me as a result of journeying within. However I was also practicing many forms of dance at the time and started to surmise from my own experiences that my dance was tapping into this altered state on a fairly regular basis. That is how “dancing between the worlds” entered into what I teach now. However I have expanded this experience to encompass and literally acknowledge that there is a multidimensional reality of dance that we are experiencing that is not necessarily addressed in the shamanic teachings. I also needed a non-traditional venue so I could explore these other influences without dishonoring what already existed within the American Indian way. So I ventured off of traditional practices knowing full well it was impulsed by the great healing practices of shamans. But I needed to have free flow with all the tingling sensations of the cosmos that I was experiencing and the culmination of my intercultural and eclectic spiritual/philosophical practices and studies.
In the end “dancing between the worlds” was a bridge of my dance-theater-voice background with my spiritual path and ultimately this body of teachings.

7. In the classes I took with you, we never danced with music in the background. This is not uncommon in the world of contact improvisation, but it is often unnerving for those who are accustomed to musical accompaniment, or unaccustomed to silence. In your class, we experimented with sound through our own voices–sometimes a word, other times “noises.” Can you say a bit about these sound choices in the practice?
My first class in improvisation was with Irini Nadel. She was teaching movement theater in San Francisco in the early 1980′s. At the time I was enrolled at CIIS, The California Institute of Integral Studies and had taken up the practice of Vipassana meditation (object of focus being breath). It so happened that Irini was a buddhist practitioner and the foundation of her classes were based upon same meditative practice, vipassanna, before evolving into the exercises. Working with Irini was profound for me and the stillness and silence we experienced as a group was essential in my evolution as a dancer. It remained with me until this day.
I offer shamanic Improvisation not only as a Prayerformance Art but as a healing art as well. In this respect silence proved to be a valuable therapeutic approach to uncovering emotions. Stillness, silence indeed does push our comfort zones and thus was a good tool in getting to the source of issues rather directly. In the course of this application I started to experience the very non-traditional and perhaps indigenous evolution of voice and sounds. Not only was I able to recognize sounds of the shamans and the deep release of giving voice to them but I could hear the voices of other terrestial and extraterrestial entities. When the voices of the group emerged I started to recognize what I have come to name the “Music of The Spheres”. My sensitivity increased in unveiling the sensation of vibration, light and frequencies beginning to exhibit a very powerful role in the sounds that were now ignited into free expression. This was clearly the portal to the multi-dimensional realms I knew existed but hadn’t quite articulated yet in the teachings. Alongside this experience I was introduced to “Acoustical Physics” that I’ll elaborate on more in later discussion.
As a result I came to have this founding belief: When we are able to be open and unencumbered by the ego or critical self the absolute divine source will express through our physical vehicle of voice and movement and resonance. Trusting the divine is in perfect order thus embraces the concept that our vehicle will express within divine order. This leads me to recognize the authentic origins of genius and brilliance. If in fact we are all connected and in Oneness then it would only make sense that a group experiencing this divine expression together would spontaneously be in perfect sync and harmony. This is how I think of “Music of The Spheres”. The music is already there inclusive of rhythm, melody and acapela genius. All we need to do is get out of the way and allow this to come through us. As a result of this belief I’ll often say “not until all is improvisational in life will we have truly arrived!”
As an improvisational dancer I was always challenging myself to break out of the box so-to-speak. I recognized that there was a comfort zone that one could fall into improvisationally. That comfort zone started to reveal itself when I experienced a movement or sound coming out of me that I recognized. The inner guidance was always to go deeper and find more range and intricacy in my being so that I would reflect that uniqueness through my movement. Sometimes we can recognize this familiar place when we are warming up, when we haven’t quite dropped yet. I often have shared with my students how important it is to do a good warm-up before a Prayerformance or you are going to perform your warm-up. Thus the experience that would occur is that not until the very end of the performance do you really feel you are dancing and dropped. This can be witnessed in any form of dance. Watch with that perspective. It’s easy to identify someone dancing their warm-up. Usually it is not very inspiring. You may appreciate the technique but ask where is the real guts of the activity? Where is the risk and vulnerable display of dancing the unknown? Aaaaah, that is when our breath can be taken away or a new horizon opens in us as a result of being the witness.
The most significant observation I have regarding music and dance is that we do fall into a scripted movement as a result of the rhythmic beat. The bobbing starts and we begin to dance by rote. Of course creativity and technique is added but the base beat becomes the base dance. I encourage finding the music from within simply because I experience most music as predictable. Usually music is rearranged to make it different but in my experience music for the most part only represents a limited part of our sounds and albeit influenced by the limited culture from which it is derived. There is an entire universe sounding the “Music of The Spheres” with tones, rhythms, frequencies yet to be expressed. We are in fact those tones and frequencies that we are yet to vocalize. This I find exceptionally exciting and a portal to our deeper selves. As you can imagine there are many layers to be dissolved in our existing personnas in order to articulate the kind of sounds I am identifying. This requires an extraordinary trust and surrender as well as you can imagine the ability to be awkward and funny. Now we are venturing even closer to “dancing and sounding between the worlds”. This jazzes my soul!

8. You have a long history of working in the fields of music and recording, and you have produced a couple of cds in the past. In relationship to the dance you speak about “acoustical physics.” Can you describe this concept, and how your musical background relates to your dance and improvisation?
I had the honor and privilege of joining up with Christopher Lantz about 20 years ago. He is a famous Symphony Conductor and Painter. He created the Acoustical Physics Program at Stanford University and founded The House of Symphonies in Santa Fe, New Mexico. I also contributed to and recorded his audio book version “The House of Symphonies”. This is quite an extraordinary story and not so simple to state briefly. However I will attempt to highlight the aspects that did indeed enter my body of work as a result.
Christopher built a 4000 sq.ft. acoustical chamber as was guided by a vision. In a 2 week period of time a petroglyphic-looking array of images appeared on his perfectly white, plaster walls. He recognized that there was a musical notation of sorts within the images. He spent 26 years deciphering this new music, 20 yrs. of which I was a part. Thus the audio masterpiece “House of Symphonies”. Needless to say the Star Nations brought this body of work to and through Christopher. My contribution was the uncovering of dance as a vehicle to assist in the translation of the musical notations and messages.
Christopher had uncovered and created some principles of physics that we worked with continuously throughout this journey. First he identified 4 bodies, physical, auric/emotional, dream and nagual/mysterioso. Then he applied 3 applications to these bodies, Acknowledge, Enthuse (Enthios), Honor and the Law of Affinity. The instruments of choice were 22 crystal bowls. To keep this brief I integrated these applications into my teachings to create the platform in which a multi-dimensional experience could be prompted. I created improvisational scores that were influenced by how Christopher and I explored and experienced them with rather good success according to us.
This experience of “Acoustical Physics” is what opened the door to my understanding of how dance and the physics of acoustics could indeed facilitate an altered state of consciousness. Not only did it create a non-drug activation of the pineal but it endorsed multi-dimensional expression from and through the physical body. As a result of this experience I have continued to explore and integrate many understandings via my own personal journey into the body of work I now call “Shamanic Improvisation”.
More recently, within the past few years, I started to explore using traditional instruments, electronic music devices, professional and nonprofessional musicians to explore the range of bringing more of “Music of The Spheres” to fruition. My basic underlying premise is that if we are truly experiencing “The Art of Being In the Moment” and assuming we work with the spiritual premise that all is oneness and perfect then we are capable of being the perfect divine instruments of expressing the perfect divine music that already exists “Music of The Spheres”. I know this is a very tall order like – be enlightened and then play – but bottom line we actually have this potential. That is my expertise, recognizing potential and going the distance within my earthly and starry capabilities. This is how I view each and every member who dares to experience the likes of me..LOL! I will facilitate the environment and prompts that are conducive to your highest potential with gentle loving care.
Early in the 1980′s when I was exploring many brilliant improvisational teachers, some of which are represented in CQ, I observed many exploring how to create a larger form of expression. At the time many of these instructors had come from formal backgrounds of traditional dance such as ballet, modern, jazz, etc. alongside theatrical backgrounds as well. So it was realistic to experiment with how is a Performance or Theatrical event created using an improvisational approach. This was an awesome and beautiful time in the Bay area. Thankfully, I was there when it was happening. I experienced so many levels of this as did the many others at that time. “Scores” was the word applied to setting the parameters in which the improvisational dance would occur. I continue to use that vocabulary to this day. Inevitably some areas were choreographed or scripted with enough spaciousness to improvisationally participate. However I do remember us trying to improvise a story-line or a way of threading an hour’s show to be extraordinarily challenging and not always interesting. But us renegades were so devoted to the process that group support was abundant. Contact was popular and included at the time.
So after many years of developing Shamanic Improvisation I was again exploring that very concept. How could I develop this art into a full out show? I already had accomplished the integration with Shaumbra Dance Theater Company of Consciousness (which I will elaborate on in one of your other questions) but I hadn’t created an ensemble of musicians playing improvisationally. This would now integrate yet again the brilliance I was in the presence of with my long standing relationship with Christopher Lantz now sourcing from his musical doctorate of expertise.
In 2010 I made the call for musicians to experiment with a Shamanic Improvisational Ensemble named Quantum Leap. I was to be the conduit/conductor of this ensemble. 10 members came on board in less than a 24 hr window of putting the request out. This ensemble met every week for 1 year and expanded my vision of “Music of The Spheres”. It was a mixed group of professional and nonprofessional musicians and a few members who I had identified as having potential to bring their talents to the forefront such as storytelling and vocal experimentation. The experience and evolution of this ensemble is a book in and of itself. Let me simply say that this particular aspect of my work is yet to continue. The vision and facilitation I have to offer is now another option of what I can recreate in an even more vast unfoldment in the world of Shamanic Improvisation.
In answer to your inquiry about my skills as a recording artist I have created original scores for Shaumbra Dance Theater Company of Consciousness and recorded every session of Quantum Leap. My self education of the recording arts began in 1997 and evolved into the creation of, a mobile audio/video service. Multi-media is essential in my work and has been applied in a numerous amount of ways. Presently, I am enhancing my electronic musical skills using both Protools and Ableton Live. I am exploring the bridge between electronic improvisation and Shamanic Improvisational Prayerforming.

9. Your website indicates that you are currently involved with a dance company called Shaumbra Dance Theater Company. What message do you hope to convey with the company’s performances? What do you hope the audience, whether of the theater company or any other Shamanic Improvisation performance, gets out of the experience?
Shaumbra Dance Theater Company of Consciousness was co-founded by myself and Tamarah Jonason, a professional Ballet Dancer and then included Rebecca Hahn, Dance-Movement Therapist, performance artist and dancer, as a prominent Company Member and co-creator. We came together knowing our dance expertise had retired from the traditional venues of dance for dance sake. We shared a vision of consciousness through our art and devoted our past 20 plus productions to the greater purpose of world awakening. The performances themed around a universal vision or message and all the performances produced and co-created by the three of us were full length shows that movement was scored but never choreographed. We would use many improvisation and intuitive techniques to stay connected to one another, the movement and the theme. Brilliantly we co-created top of the line productions to eventually be housed at Enthios Art Venue, Eureka Springs, Arkansas.
The uniqueness of our backgrounds challenged and succeeded at dissolving the typical boundries and finding the co-creation between the varied disciplines. Each one of us had strong expertise and disciplines in the art of dance and production.
Our intention was always to enthuse thus the name “Enthios” and a derivative and dedication to Christopher Lantz and the House of Symphonies. Christopher chose to use Enthios to mean enthuse however the Greek word enthios, means “to be inspired from the spirit within.”
The productions were inevitably a collection of local professional and nonprofessional artists. We were determined to enthuse human potential by eliminating any boundaries based upon experience or lack of or status quo of who was eligible or not. Our intent was to integrate all with integrity and respect of whatever one’s talent might be. Many productions were actually created for and by the talent that was participating. There was always an invitation to participate with no expectation of how to perform just a desire to perform. This proved to be invigorating and inspiring for the community.
Every production was created as if we were on Broadway. Professional lights, sound and attitude was the perks we offered. Everyone was a star in these shows. Intention was the joining force.

10. Can you speak a bit about “prayerforming” in the context of Shamanic Improvisation? Is there a line between art and prayer?
It was obvious to me early on that it was my higher self moving through my Shamanic Improvisations. From my deep meditation as preparation it was clear the source moving through me was what I asked to be present when I went out on that stage. Eventually I realized that I was truly performing my prayer. Prayer for me is soulful expression inclusive of our multi-dimensional being. Art is the variety of mediums through which we can express. Thus Art (medium of expression) and Prayer (soulful expression) when sharing intention of source are inseparable. Thus it seemed perfect to create the word “Prayerforming”. To this day it truly represents what I do and facilitate.
I believe that at our original Source we are absolute brilliance and genius. When we freely express from this point of presence we are in perfect relationship with the Source.
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