Anthropologists have long debated the methods shamans use to induce their trance states.
Since the earliest anthropological studies, the rhythmic percussion technique has been recognized as a way to facilitate these soul journeys. Shamans have traditionally been described as musicians and dancers, engaging in frenzied songs and dances that culminate in ecstatic states, easing the soul’s departure and its journey into spiritual realms.
Yet the use of psychoactive plants as a means of unlocking the rich imagery inhabiting the human mind has only been widely recognized and rigorously studied in recent decades. Perhaps because it came to light later, a majority of scholars once assumed that chemical methods of reaching ecstasy represented a degeneration of older, rhythmic techniques.
We undoubtedly carry the deeply ingrained archetype of the “noble savage” drumming and dancing, contrasted against the biased trope of the degraded, drug-addled native.
In recent decades, prominent ethnobotanists such as Jonathan Ott and Terence McKenna pushed back against that mainstream consensus. In their view, chemical shamanism was the original practice, and rhythmic methods were merely a later, weaker imitation.
Which approach came first? There is no definitive answer at present. What truly matters in this debate is understanding that multiple paths lead to ecstatic states. In this article, we examine and break down the shamanic method through rhythmic percussive sound.
How to Do It
To induce a mental state conducive to shamanic journeying, one needs to listen to a steady rhythm of 205 to 220 beats per minute. This tempo prompts the brain to produce slow brainwaves, between 7 and 4 cycles per second or lower (analogous to the effects produced by mind machines or “megabrain” devices).
In traditional cultures, this rhythmic percussive sound is produced by a drum—naturally one of the shaman’s most prized tools. Shamanic drums are typically wide and deep, producing a low, sustained resonance. Their shapes and materials vary widely across the globe. Some are crafted from tree bark with an animal-hide head; others are hollowed gourds. In some regions they are single-headed, in others, double-headed. Some are rustic, while others are exquisitely decorated with symbols commemorating the journeys the shaman undertakes with them. Local ecology and culture shape every drum’s distinctive character.
In practice, having an assistant play the drum frees the psychonaut to focus fully on the inner journey. Sessions should take place in a quiet setting or outdoors in nature. Nighttime with dim lighting—candles or moonlight—is ideal. Alcohol, medications, stimulants, and other substances should be avoided beforehand.
At a signal from the traveler, the assistant begins drumming at a steady tempo of 205 to 220 beats per minute (roughly 3 to 4 beats per second). Naturally, the assistant needs prior practice, as maintaining a precise tempo is difficult on the first try. The drumming should continue for about 10 minutes.
The traveler lies flat on the ground, covering their eyes with an arm. Breathing should be calm and deep to relax body and mind. Once inner stillness is achieved, the traveler visualizes an entrance into the earth. It should be a hole or opening seen before in waking life, ensuring the mental image is sharp and vivid. The entrance can be a simple burrow, a hollow, a cave, or any opening, regardless of size.
The traveler soon senses movement through a long, winding tunnel burrowing deep into the earth. Initially, this feels like horizontal or gently descending motion, but at a certain point, a sensation of falling takes over. This is a pleasant, fear-free feeling that can last for several minutes.
Suddenly, the tunnel gives way to an opening illuminated by light: the threshold to the lower world. The psychonaut emerges into this landscape, which often resembles the waking world. One can fly through it or descend to the ground. The geography of this inner world is unique to each individual, but commonly features mountain ranges, forests, and lakes. At times it appears aquatic; at others, it resembles cities of light. It varies from person to person.
During initial journeys, the traveler should refrain from touching anything. Simply observe the landscapes and animals encountered, holding back from direct interaction until becoming familiar with the space. The inner world operates under its own laws, which must be respected.
Shifts in Brainwave Patterns
After 10 minutes, the assistant stops the steady rhythm and delivers four sharp drumbeats. This is the signal to return. The exit opening remains accessible to the traveler simply by holding the intention to reach it. The assistant then drums at a very rapid tempo, guiding the soul back into the physical body.
In the United States, commercial recordings of shamanic drumming are readily available for anyone wishing to explore these practices solo. Travelers can also record their own tracks, depending on their drumming ability.
To grasp how shamanic journeying works—or any vivid visualization practice—we need a basic understanding of human brain dynamics.
The Brain Generates Four Primary Brainwave Bands:
BETA: (14 to 22+ cycles per second). Corresponds to normal waking consciousness and alertness. In this state, the brain operates within everyday concepts of time and space. The physical senses are sharp, and cognitive processing relies on logic and analytical reasoning.
ALPHA: (7 to 14 cps). Alpha waves emerge during relaxation or light reverie. The body settles, and the mind enters a state of ease. Internal mental chatter quiets down, facilitating visualization. In alpha, the subjective sense of time begins to soften.
THETA: (4 to 7 cps). Here, the mind enters deep relaxation. Vivid mental imagery surges while bodily pain perception drops significantly. The sense of physical embodiment and space fades as somatic self-awareness recedes. The perception of linear time vanishes entirely.
DELTA: (0.5 to 4 cps). Associated with deep, dreamless sleep, this state represents the frequency band where consciousness connects to transpersonal realms and foundational restorative processes.
Both visionary plants and the shamanic journeying method described here evoke comparable functional states in the mind. By slowing down brainwave activity, one accesses an altered state of consciousness typically accompanied by rich, immersive mental imagery.
Where do the symbols and imagery encountered in these states originate? They likely emerge from several overlapping sources, including:
Subconscious contents of the individual mind: memories from childhood, cultural conditioning, repressed desires, and personal psychological material.
The collective unconscious: archetypes, mythic motifs, and primordial symbols shared across human spiritual traditions.
Connection to other planes of reality: according to shamanic traditions, psychic journeys allow the soul to contact realms every bit as real as our own—the domain of spirits and non-ordinary entities. These realities are understood to exist parallel to ours, invisible to ordinary waking cognition, and accessible solely through altered states of consciousness.
