Then the prophetess Miriam, Aaron’s sister took a tambourine in her hand; and all the women went out after her with tambourines and with dancing. Exodus 15:20
Have you ever wondered what Miriam might have been thinking when she led the Israelites out of Egypt, from slavery to freedom, from sea onto dry land? Was she feeling fear, despair, or was she dwelling within; in an inner state so deep and profound with a knowing that all would be well? Was she driven by a force beyond her own ability to comprehend what was happening, a force which allowed her to step out with confidence? Was she so stunned by her natural instinct in the face of crisis that in order to release the tension her conscious act was to engage in total embodiment through the experience of music and movement? We can’t know for sure, but apparently, the mood was contagious!
From all accounts of this event, this was not a casual walk through the park. A great deal of suffering, fear and worry had occurred with hunger, lack of clean water, and moments of utter hopelessness both real and contrived—and then end up walking on land, singing and dancing?!
I’m pretty sure that if I had taken any time to think! I would have been doing a lot of questioning—my faith and sanity.
The Biblical character of Miriam has always fascinated me. Not only in observing her expressed womanhood, but at other times in her compassion and wisdom. At a time when women were not greatly favored in the hierarchy, here we see Miriam fully empowered demonstrating inner authority. We see a dancer and drummer expressing her freedom of movement and her rights as an artist and spontaneous, spirit-filled decision-maker.
For me, one of Miriam’s most alluring traits is her willingness to step into total embodiment—music, movement/dance, song—during a time of crisis—a phenomenal example of wholeness and clear thinking. We don’t often have time for planning during a crisis, but with a theocentric mindset—if I dare reference the mind at all—impossibilities happen and can raise one to a level of consciousness beyond our imagined capacity to do and be.
In a modern culture that has abandoned movement to sedentary technological engagement, where discussions deteriorate into feuds, and inner stillness is nearly unheard of, one has to wonder what called to Miriam to pick up a frame drum, dance and sing after a strenuous journey. It’s more than insightful. I find it utterly astonishing and inspiring! And yet, how often are we called upon to act without knowing the outcome, trusting all will be well?
I studied frame drum intensively for a number of years, by no means becoming an accomplished drummer, in spite of practicing diligently and consistently during my training. Even though I began each weekend totally uncoordinated—challenged by the combined finger patterns on the instrument and simple foot work to aid in maintaining rhythm—by the end of the weekend not only had I accomplished the two skills and was playing rhythmically, but I felt different; more attuned to myself and more in harmony with the other participants in the training. The upper and lower parts of my body were in accord with each other, my breath was flowing freely, tension in my shoulders had softened, my fingers became nimble and free. And I maintained this level of bodily awareness for days afterward. What happened during those hours?
There are many scientific studies supporting the beneficial relationship between the body and drumming from reducing stress to boosting immune health. What fascinates me as a dancer is the total bodily engagement that I experienced while participating in those sessions. Given the diversity of the group I recognized that drumming was more than an activity of body and mind, I’m suggesting that because of the multicultural dimensions of the art form (every culture has drumming in its history) —even if it is just tapping rhythms out on one leg—there is something elemental happening within the body, and perhaps in our hearts, as well, that is essential to our being; even if not totally understood by the practitioner. What a simple and intuitive way to bring about cohesiveness and allow the body to speak its truth.
Perhaps, it is the connection to the primal heart beat of the earth that affected my experiences in those intensive frame drumming weekends. Or maybe it was the universality of that earthen beat that collapses barriers and creates an environment of spontaneity and inclusivity—even first time drummers can experience a drumming circle with enthusiasm and joy!
Whatever it is, I don’t think we have to know! I believe that we need to trust the power of those essential moments; our own moments and movements and revel in the intuitive impulse that ripples through our bodies. It doesn’t even need to be named, but certainly needs to be recognized and revered. I believe it was that impulse that caused Miriam to pick up a frame drum, move forward, and eventually celebrate.
I believe it to be an impulse of hope and worth re-capturing today in days of personal and global transformation. Perhaps, now might be a good time to pick up your frame drum and engage in life, joy, and celebration.
Diana! Yes! Reading the Oxford Annotated Bible Footnotes when I was in seminary, I found, "Miriam was known as a prophetess to her people because of her ability to sing and dance." I later learned from a frame drum expert that the drum she would have carried was large, not the timbrel one usually imagines. The sound needed to carry for the communal work she was doing. I bought one of Layne Redmonds frame drums after taking her class and quickly realized this skill set was beyond me. Layne wrote "When the Drummers Were Women."