The title for this book comes from the ancient Aboriginal concept of “song lines” —pathways to another world reached through dreamtime and visionary insight, and encounters with the unknown realm of experience. Veronica Goodchild addresses how dreams, synchronicities, UFO/ET encounters, Crop Circle mysteries, and NDEs all point to the new unfolding vision of reality. She draws on ancient mystery traditions to explore how this metamorphosis is already reflected cross-culturally in Hopi, Aztec, Mayan, Hindu, Tibetan, Maori, Zulu, Dogon, and Egyptian cultures. Songlines of the Soul proposes a new paradigm of reality, a new worldview. The signatures of this new reality are arising both in our own experiences and all around us if only we can stretch wide our stubbornly held perceptions of what is “reality.” As we stand at a crucial turning point in our human history, this book offers hope, a call to awaken and expand our perceptions of the fundamental principles that orchestrate reality. In an age when the answers offered by governments and traditional religion are no longer sufficient, the quest for meaning must—as it always has in the past—arise first through visions, dreams, and journeys to other dimensions of consciousness.

This book examines Orpheus as a figure who bridges the experience of the Greek tribal shaman and the modern poet Stéphane Mallarmé, the father of modernism. First mentioned in 600 B.C., Orpheus was present at the moment when the Apolline forms of western culture were being encoded. He appears again at the opposite moment embodied in the language-crisis at the end of the nineteenth century, which inaugurated the break-up of those forms and ushered in the Dionysian. Mallarmé's "Orphic Moment," when Orpheus's scattered limbs first begin to stir back to life, enacts a dance at the boundary of Apollo and Dionysos, marking the collapse of Apolline form back into its Dionysian ground in Nietzsche's The Birth of Tragedy.

John Bradley's compelling account of three decades living with the Yanyuwa people of the Gulf of Carpentaria and of how the elders revealed to him the ancient songlines of their Dreaming.

Joint winner of the 2020 Prime Minister's Award for Non-Fiction. Shortlisted for the 2020 Victorian Premier's Award for Non-Fiction. 'We want you to come with us on our journey, our journey of songspirals. Songspirals are the essence of people in this land, the essence of every clan. We belong to the land and it belongs to us. We sing to the land, sing about the land. We are that land. It sings to us.' Aboriginal Australian cultures are the oldest living cultures on earth and at the heart of Aboriginal cultures is song. These ancient narratives of landscape have often been described as a means of navigating across vast distances without a map, but they are much, much more than this. Songspirals are sung by Aboriginal people to awaken Country, to make and remake the life-giving connections between people and place. Songspirals are radically different ways of understanding the relationship people can have with the landscape. For Yolngu people from North East Arnhem Land, women and men play different roles in bringing songlines to life, yet the vast majority of what has been published is about men's place in songlines. Songspirals is a rare opportunity for outsiders to experience Aboriginal women's role in crying the songlines in a very authentic and direct form. 'Songspirals are Life. These are cultural words from wise women. As an Aboriginal woman this is profound to learn. As a human being Songspirals is an absolute privilege to read.' - Ali Cobby Eckermann, Yankunytjatjara poet 'To read Songspirals is to change the way you see, think and feel this country.' - Clare Wright, award-winning historian and author 'A rare and intimate window into traditional women's cultural life and their visceral connection to Country. A generous invitation for the rest of us.' - Kerry O'Brien, Walkley Award-winning journalist

Shamanism can be defined as the practice of initiated shamans who are distinguished by their mastery of a range of altered states of consciousness. Shamanism arises from the actions the shaman takes in non-ordinary reality and the results of those actions in ordinary reality. It is not a religion, yet it demands spiritual discipline and personal sacrifice from the mature shaman who seeks the highest stages of mystical development.

CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success.

The domain of spirituality, separated from its theological overburden, believes in the existence of a spiritual self, presumed to be distinctly separate from the psychological self. The spiritual eternal self, also known as the soul or spirit (sometimes supported by an overarching Spirit), is asserted to be operating behind the ephemeral self. This book takes a contrarian stance; it argues that the premise of the soul concept is obtained through the magic of language, maintained through the marvel of the brain’s biochemistry, and sustained through the mirage of the psychological juggernauts of the brain. The magic, the marvel and the mirage, together, bring about subtle shifts as the linguistic brain suppresses many psychological details, habitually applies mental templates such as inversions and dichotomies, and enhances its language by coining religious and spiritual metaphors. The consequence of these changes is that the usual flickering self begins to be impressed by itself, believing it is buttressed by something transcendental and eternal within: the soul or the spirit. The self, although indoctrinated during its formative years, also begins to assimilate and accept the opinion that the overwhelming weight of religious doctrines and dogmas, the overburden, signifies as the legitimate proof for the eternal soul.

International Bestseller: The famed travel writer and author of In Patagonia traverses Australia, exploring Aboriginal culture and song—and humanity’s origins. Long ago, the creators wandered Australia and sang the landscape into being, naming every rock, tree, and watering hole in the great desert. Those songs were passed down to the Aboriginals, and for centuries they have served not only as a shared heritage but as a living map. Sing the right song, and it can guide you across the desert. Lose the words, and you will die. Into this landscape steps Bruce Chatwin, the greatest travel writer of his generation, who comes to Australia to learn these songs. A born wanderer, whose lust for adventure has carried him to the farthest reaches of the globe, Chatwin is entranced by the cultural heritage of the Aboriginals. As he struggles to find the deepest meaning of these ancient, living songs, he is forced to embark on a much more difficult journey—through his own history—to reckon with the nature of language itself. Part travelogue, part memoir, part novel, The Songlines is one of Bruce Chatwin’s final—and most ambitious—works. From the author of the bestselling In Patagonia and On the Black Hill, a sweeping exploration of a landscape, a people, and one man’s history, it is the sort of book that changes the reader forever. This ebook features an illustrated biography of Bruce Chatwin including rare images and never-before-seen documents from the author’s estate.

Since the nineteenth century, the distinct tones of k&299;k&257; kila, the Hawaiian steel guitar, have defined the island sound. Here historian and steel guitarist John W. Troutman offers the instrument's definitive history, from its discovery by a young Hawaiian royalist named Joseph Kekuku to its revolutionary influence on American and world music. During the early twentieth century, Hawaiian musicians traveled the globe, from tent shows in the Mississippi Delta, where they shaped the new sounds of country and the blues, to regal theaters and vaudeville stages in New York, Berlin, Kolkata, and beyond. In the process, Hawaiian guitarists recast the role of the guitar in modern life. But as Troutman explains, by the 1970s the instrument's embrace and adoption overseas also worked to challenge its cultural legitimacy in the eyes of a new generation of Hawaiian musicians. As a consequence, the indigenous instrument nearly disappeared in its homeland. Using rich musical and historical sources, including interviews with musicians and their descendants, Troutman provides the complete story of how this Native Hawaiian instrument transformed not only American music but the sounds of modern music throughout the world.