The 2nd edition of Animated Earth has just been published.|
July 20, 2003
I revised Animated Earth for a variety of reasons. Fifteen years have passed
since the initial publication of my book about the ancient whistling vessels from Peru.
During those years my journey with the whistles has continued. Along the way new
perspectives have emerged that I feel warrant inclusion in my book about the ancient
vessels. These new perspectives focus on both the whistles themselves as well
as on my own inner journey. Synchronicities discernibly deepen the story in much
the same way as they deepened my life and deepened my understanding of the ancient
instruments. The 2nd Edition of Animated Earth weaves this newly discernible
pattern into the story. Recounted is my deepest understanding of this
ancient tool and its reanimation in the modern world. I hope you enjoy the story.
July 5, 2001|
I have recently (in the last several weeks) decided that after more than 20 years
of making and giving away sets of these instruments the time has now come for me
to offer them to others for a fair exchange.
Up until now, I've
never sold a set of vessels, always giving them freely to hundreds of people.
Each instrument takes at least a full day of work for me to construct, and a set of
seven which includes making each vessel, making and tuning the resonance cavities,
the two firings as well as the packing and shipping takes at least two working weeks.
My life circumstances have recently taken a change with the consequence I will now have to
charge for the vessels. I've thought about a price and decided that I will ask
$1,500.00 for a set of seven vessels. This price includes the shipping charges.
With all best wishes,
October 22, 1996|
In 1980, living in rural New Mexico, I felt that my work with the whistles
was completed. I had made and given away
over a hundred sets of instruments, pondered the possible meaning
of the various iconographies, and experienced the vessels in a wide
variety of settings. What was meant to evolve, I felt, would happen in
due course. Don Wright, a graduate
student in psychology at Boston College, had approached me about becoming
my apprentice. I agreed to teach him the craft of fashioning and
tuning the instruments, and I gave him my first set of molds.
I then turned my attention to other things among which was writing
poetry and walking the beach in Naples, Florida. It was there that I
wrote the book, Animated Earth, to help
put into perspective (for myself as well as for those who might wish to
read about it) the journey that I had traveled with the whistles.
In the intervening years since then I have occasionally revisited my experience
of replicating the whistles.
On one occasion (winter of 1983), I joined Don Wright in New Mexico in
order to make instruments for people who had approached me and to
whom I could not refuse. However, I continued to feel that a dynamic
process was in motion and that my personal involvement in that process
was largely completed.
With my family, I moved back to Santa Fe
in 1988. After a couple of
years, a woman in Santa Fe asked me to teach her how to make the
vessels. By this time I had made a new set of molds for myself (just in
case), and discovered that I enjoyed the process of teaching Kamala
the craft of whistle making.
Over the years a few other people showed up asking for sets of vessels
and in each case I made them a set, asking only that they be dynamically
involved with the actual process of fabricating the instruments.
Finally, in January of 1996, I decided to resume making instruments as
a serious, integral part of my life.
Without anyone in particular in mind, I began to make vessels and
discovered that there were still people who "appeared" with a sincere
desire to explore where the whistle energy would take them. The very
first set of instruments that I made ended up in Peru with a Peruvian
anthropologist who is working with native peoples there.
I also revisited Don Wright at his new home in California and found
that he had evolved his own interpretation of the frequencies that
he used in making sets of instruments. Although Don is still using my
molds, he now tunes his instruments to a subjective effect that he
himself experiences while tuning each instrument. Recipients of
Don's whistles continue to report that his vessels are effective in
catalyzing an altered state of consciousness. I view his new direction
as another evolutionary path in a dynamic process.
Nevertheless, I decided to continue to make and tune my instruments
in the same way as the pre-Columbian Andean craftspeople who had
I continue to believe that what the Andean shaman/priests were doing
with these instruments remains to be re-discovered. Certainly, they
are a remnant of a lost art. In all
likelihood, they are part of a
psycho-spiritual tradition, an element in a technology of sound that
disappeared along with the Inca Empire in the 16th century.
If this is the case, then the whistles were a component of an
arcane tradition: their use limited to an elite class of scientist/priests.
In any event, the old understanding that pertains to them has been
lost. I have always felt that these sound instruments were used to
access another dimension. Whether that was an actual physical
place or an inner realm does not seem important.
Our advantage in re-discovering these instruments now, so many
hundreds of years after they were last employed, is that the cultural
"garb" that they must have accumulated over thousands of years
of use has been set aside. Whatever "real" value Peruvian whistling
vessels may have for so-called "modern people" is now free to emerge. - DKS
Daniel K. Statnekov|
1201 N. Orange Street, Suite 700
Wilmington, Delaware 19801 U.S.A.
Webmaster: Daniel K. Statnekov
Copyright © 1996-2014 by Daniel K. Statnekov
Installed: Nov. 15, 1996|
Last modified: May 13, 2010