A new experience in a breath-taking setting!
Immerse yourself in the tonal beauty, history and culture of the Native American flute by attending technique courses and special sessions presented by some of the most notable instructors and performers in the country. The Flute School will provide enriching experiences for flute players of all levels, from the newest beginner to the seasoned, advanced player. The entrance fee covers all courses and sessions offered during the duration of the School. Evaluation for placement in the proper technique track will take place at the opening orientation. Advance registration is required. Don't be concerned which track is best for you because switching between tracks will be allowed to help you get the most of your Zion Flute School experience.
Plan now to take part in the new Zion Canyon Native Flute School. Or make it a week long adventure by staying on for the weekend and attending the Festival!
School Cost: $349 All amounts quoted in US dollars. Limited Space – Enroll Early
Cost does not include food, lodging or travel.
Your Native Flute School registration fee is refundable up to 30 days prior to the event minus a 10% cancellation fee. No refunds will be made after May 12th, 2008.
Dixie College Celebrity Concert Featuring Flute Music, OC Tanner Amphitheater, Springdale UT - Tickets sold at Dixie State College box office or at the door.
Dixie College Celebrity Concert, OC Tanner Amphitheater, Springdale UT
Flute concert to be announced
Saturday 8:00 pm
Dixie State College Celebrity Concert series presents Peter Phippen, a dynamic world flute recording artist in the OC Tanner Amphitheater Saturday evening at 8:00 pm. This is not a Zion Festival event. Tickets are only available at the door or at the Dixie State College box office. You do not need to buy your tickets in advance. There is plenty of non-assigned seating. The ticket price is $9.00 per person.
Peter Phippen Canyon Records Recording Artist
Peter Phippen has spent the past twenty years playing, collecting and researching flutes from around the world. His connection to these instruments began when a friend gave him his first flute, an Indian Bansuri. Since then, Peter has had four CDs released by Canyon Records of Phoenix, Arizona. Phippen’s Canyon recordings have brought his flute playing to the attention of critics and flute enthusiasts worldwide.
Released in October, 2006, “Shadows of Dawn” was featured for five months in the top 25 on Public Radio International’s syndicated program ECHOES, peaking at #8. This recording was also nominated for two Native American Music awards in 2007. Peter’s other Canyon recordings, “Night Song”, “Echoes of the Past”. and “Book of Dreams” have also been selected for numerous awards and have been played by public radio and other stations throughout the US, Europe and Japan.
Aside from his time in the recording studio, Peter is a frequent performer and lecturer at universities, public schools, festivals and conventions throughout the country. Peter has had the honor of being chosen as the featured world flute performer at each of the conventions of the International Native American Flute Association: 2001 at Kent State University in Ohio; 2003 at Taos, New Mexico; and 2006 in Belmont, California. His unique presentation on world flutes has been given at such locations as Dallas Community College in Dallas, Texas; University of Virginia at Newport News; Crane School of Music in Potsdam, New York; and twice at the Wisconsin Music Educators Association in Madison, Wisconsin. Recent 2007 concert performances were played in Zion Canyon, Springdale, Utah; Hood River, Oregon; and the historic Chautauqua Institute in New York state. Peter has shared the stage with such musicians as R. Carlos Nakai, Coyote Oldman (Michael Graham Allen), and Peter Kater. Since 1998, Phippen has taught world flutes to young students during College for Kids on the University of Wisconsin campus in Madison, and for the past two years at the University of Wisconsin-Eau Claire’s Summer Institute.
Originally from Potsdam, New York, Peter currently resides in Eau Claire, Wisconsin with his wife Julie.
Phippens recordings have been aired on radio and television world
wide. Purchase Peter Phippen's CDs by clicking on the images below:
CD Review: Peter Phippen’s Shadows of Dawn by Dr. Kathleen Joyce-Grendahl
In Shadows of Dawn, Peter Phippen once again reveals his mastery of world flutes, gently bringing forth every nuance and color bend from each instrument. He skillfully maps the heart and soul with every subtle, emotional musical gesture. Every phrase lifts the spirit and entices the ear to listen more closely in search of the aural journey that Phippen is so skilled at gifting, quenching the musical thirst of the being in quest for soulful, musical saturation.
With every performance, it never ceases to amaze me at Phippen’s skill and mastery of every type of world flute. The sounds he pulls forth from every instrument is both astounding and natural. Many world flute players are masters of their instruments, but Phippen instills an aura of worldly mysticism and elemental knowledge in each breath, making the music delicate and achingly beautiful. His music on Shadows of Dawn is the aural manifestation of yearning and desire, sadness and loss. Every human emotion runs rampant in the soaring melodic explorations of Phippen’s music; he is an old soul with prismatic stories and many profound musical gifts to share.
Shadows of Dawn emphasizes world flutes, yet there are other instruments present such as synthesizer, Nigerian drums, chimes, crystal singing bowls, conga, and African drums. However, the accompanying instruments subtly enhance the masterful musical shadings of Phippen’s flute lines. The textures are always clean and pure, allowing the the flute to reach out and gently caress the ear of the listener with rich flute sounds laden with serenity. The presence of percussion truly complements and feels like the heartbeat within each of us; feel it in your being as Phippen floats his warm flutes phrases through the air and into your inner being.
The flutes with which Phippen expresses himself on Shadows of Dawn are an Edo period shakuhachi, a transverse bamboo flute, an Anasazi flute, Native American flutes, a contemporary shakuhachi, and a bone whistle. Each aerophone has its own story and voice, and Phippen coaxes the beauty from each instrument as his artistry unfolds with each musical selection.
It is my opinion that Peter Phippen is the most overlooked flutist in the industry. He is not only a gifted world flutist, but he is a true artist. Each musical note is a color on the palette and each phrase a soulful brush stroke, creating a musical work of art to be cherished and taken into the soul like a warm drink of musical sustenance. Phippen’s music comes from his heart, and he has much to say to the world and many gifts to reveal. There are many people in the world who play world flutes, but there are few who are soulful, truly ambient artists like Peter Phippen.
Peter Phippen, Canyon Records recording artist and authority on world
flutes, will present this workshop designed to expand the expressive palette
of intermediate to advanced players. Participants will learn embellishment
techniques that can be used as tools to enhance future compositions and
instill increased confidence in their playing. Melodic ornamentation
techniques such as bending pitches, falls, trills, flutters, overtones,
nature sounds, and varied uses of vibrato will be demonstrated. Rhythmic
variations will also be shown and participants will have the opportunity to
experiment with new techniques in a cooperative learning environment. Each workshop attendee should come with a simple memorized melody that they can
use as their canvas, to which many musical colors will be added through
newly acquired ornamentation skills. A or E minor Native American flutes
are preferable for this workshop, but any key will be acceptable.
Peter Phippen has spent the past 19 years playing and researching flutes
from around the world. Because of his innovative approach and style in
playing these instruments, he has received the favorable attention of
critics and flute enthusiasts worldwide. Peter's latest CD on the Canyon
Records label is due out in late summer 2006.
Recording artist Peter Phippen will be offering one on one instruction on playing the shakuhachi, transverse flute or Anasazi flute at this years festival. These beautiful instruments can be challenging to play and a private lesson may be just what you need to jump start the process of advancing your flute playing abilities to the next level.
Start
the day joyously with healing movement to flute
music in Zion Canyon. This Nia* inspired hour
long energized wake-up workout is designed to
give you a new awareness of the joy of moving
in your body's way. No prior experience is necessary
to enjoy and benefit from this healing movement
to flute music.
*Nia is a personal growth,
body-mind-spirit fitness program. It is a dynamic
system that works with the natural wisdom and
intelligence of the body, mind, spirit, and emotions.
The Nia Technique incorporates the Healing Arts
(love) such as Yoga; The Martial Arts (mindfulness)
such as T'ai Chi; and The Dance Arts (technique) such as
Jazz. It is carefully integrated to provide an experience
of joy and well-being.
The session is designed and led by Andrea Hanson,
a Nia Blue Belt Instructor. Andrea has life-long
history of study and practice of integrating healing
systems, including Chinese, Native American, Incan,
Mayan, Toltec, East Indian, Tibetan, Huna, Vibrational
Psychology, Sound and Energy Healing.
She is a Certified Meditation Teacher, Ayurvedic
Instructor, and Level VI Training In Power Teacher.
Her traditional education is in Psychology and
Speech Therapy. She is a writer, Instructor and
Life Coach.
The music selected for the event is from Peter
Phippen's "Book of Dreams" and "Echos of
the Past" CD.
Our Flute School adventure will kick-off with this session intended for all Flute School participants. Clint and Vera will lead activities designed to truly “awaken the inner musician” in everyone. Emphasis will be on tuning in to the “feel” of music, and recalling the kind of natural enthusiasm young children possess for sounds and movement. Participants will experience the rhythms and tones of music from other cultures, and by instinct, will add their own contribution to various styles of music, not just as a flute player, but as a well-rounded musician. This Monday morning session will give all participants an opportunity to get acquainted in a supportive, confidence-building environment.
Bio of Clint Goss
Clint began playing the clarinet 30 years ago. His encounter with
a Native American flute made by Kai Mayberger of White Raven Drums
re-connected him with music. In 1997, Clint and his wife Vera traveled
to Zimbabwe on a technical assistance project, and were infused with
the music that is ever-present in that culture. The musical landscape
broadened and Clint began jamming on the African Kalimba. Since then,
Clint and Vera have undertaken extended projects and trips in Calcutta,
Tokyo, Zimbabwe, Bulgaria, Namibia, South Africa, Moscow, Kenya, Egypt,
Jordan, and China. Each trip has widened the musical universe and
brought more sounds into the mix.
Infused with the core philosophy of improvisation from the Native
Flute culture, Clint connected with the Music for People organization
led by Grammy nominee David Darling. He has studied music facilitation
with them for the past three years, and plans to complete the full
four-year Music Leadership Program in June 2007.
In addition to Native American Flutes, Clint now performs on Indian Bansuri,
African Kalimba, Slovakian Fujara, Indian Shruti box and Tamboura, Swiss Hang,
and a variety of world percussion instruments including African Djembe and Udu.
His improvised performances weave rhythms and melodies from many musical
heritages to create music that is deeply respectful of the cultures that created
the instruments he plays.
Clint's first commercial CD release, SpiritGrass, with Eric Miller was released
in September 2006.
History of The Native American Flute (+Range Creek) Robert Gatliff By
Robert Gatliff
Monday 1:30 pm - 2:30 pm
This multimedia and hands-on presentation will explore a wide variety of historical flutes, Native to North America. Examples will range from the courting flutes of the Great Plains to the much older flutes of the Southwest, including the recently discovered flute in Range Creek Utah.
Bio for Robert Gatliff
Robert is probably most well-known in the flute community for his website www.flutetree.com , which he started in 2002 to freely share his historic flute research and teaching aids for the various flute workshops that he participates. Additionally, he is a regular contributor to the International Native American Flute Associations Journal: Voice of the Wind, which he has primarily written about historic flutes: The Last Chapter in a Flute Collection (2005.4); Did Pocahontas Play The Flute? (2006.2); Flutes and Courting Along the Upper Missouri (2006.3); The Beginning of a Renaissance (2007.1); The Man With the Red Umbrella and the Flute He Collected in 1823 (2007.2).
All of which are supported by his extensive research into historic accounts from early America, through the decline of the courting flute, and into the Renaissance of the last 30 years. Robert’s research also extends into making and playing reproductions of prehistoric wooden flutes that have survived the centuries in the dry climate of the Southwest.
Composition For The Native Flute
By Julia Gatliff>
Monday 3:00 pm - 4:00 pm
Would you like to write a song out of the incredible sounds you hear coming from your Native American Flute? Come see how easy it is to compose a song, using a few time-proven methods and techniques. The practice of these concepts could launch you into a whole new realm of creativity with your flute! This is a participatory class, so everyone needs to bring along a flute, preferably one in G minor.
Bio for Julia Gatliff
Julia is a classically trained musician, composer, teacher, recording artist, and award-winning Native American Flute performer. Her deep respect for the flute as a means of personal expression has led her to develop classes that make learning simple, fun, and meaningful to flute players of all skill levels.
Instruments As Healing Allies - Viaje de Curacion By René Jenkins & Janet Janay Cipriani La Mesa = The Universe and Peruvian Cosmology
Monday 7:00 pm - 9:00
pm
Ceremonial Sound Healer, René Jenkins and Angel
Therapy Practitioner, Janet Janay Cipriani will discuss
ancient indigenous instruments and their
metaphysical healing properties, the power of
Inspiration, sound & healing touch, and explore
fundamental principles of healing from the Angelic
realm, shamanic philosophies and Peruvian
Cosmovision. An experiential sound healing
demonstration will conclude each workshop.
The 7 Directions
5 Elements: Earth, Wind, Fire, Water & Sound
Instruments and their Elemental partnership (Conch shell, Condor quill antara, Rattle, Mayan drone & Zapotec flutes, Chimu Silbadora & others)
3 Worlds (Pachas) & their Instruments (Didjeridu, Zampona, Wind Wand, Tingsha & others)--Power of Presence (Kay Pacha, "Jaguar") Now is the center in everything! And yes, there's a center of gravity, of the Earth, of the Universe, and a center of being. Bringing all your 'selves' into present time, alert, receptive, ready for action where all senses are activated is most important for any healing work. The Kay Pacha is the here & now, and the bridge between the Uqhu (Inner/Under) & Hanan Pachas (Upper). It is essential to bring your Will to bear- your strength, your faith, your inner warrior/leader, intuitive visionary, your teacher/wise one, lover/healer, and divine witness to this moment...the center of everything.
Ceremonial Space
Presence- Align to deepest intent
Create an opening & invitation for "Divine Intervention"
Center - "ground, connect, protect" personal space, and self-clearing
Prayer - Alignment w/ Intention
Calling upon guides, Allies of Light, Angels & Ascended Masters
Power of Love (masculine/feminine - dynamic/magnetic)
Aqua de florida, palo santo, tobacco, and feather to 'call, clear & cleanse'
Closing the space
Cultivating Relationship w/ Healing Allies
Your Angelic helpers, Spirit Guides & Teachers
Take a hike! Dialog with natural world. BE with your instrument as a healing ally and listen to it's song ~
**Workshop concludes with a Group Sound Healing Experience**
Bio of René Jenkins
Rene' Jenkins is a professional musician on “the Spiritual Path” for more than 25 years, studying many different religious and healing modalities in search of a more healthy and meaningful life for himself and others.
As a Ceremonial Sound Practitioner & Healing Performance Artist, Rene' performs “healings” (attunements), concerts and house clearing ceremonies for individuals and groups.
Rene' has been generously gifted with many ancient Peruvian instruments of historic metaphysical properties while working in collaboration with renowned South American sound healer/musician Tito La Rosa.*
Bio of Janet Janay Cipriani
Janet Janay Cipriani is a Certified Angel Therapy Practitioner and has a healing practice in Sonoma, California called Divine Connections. An amazing clairvoyant and clairsentient, Janay is an intuitive, medium, healer and Angelic Reader who uses her gifts to offer guidance, insight, and energy healing.
Start
the day joyously with healing movement to flute
music in Zion Canyon. This Nia* inspired hour
long energized wake-up workout is designed to
give you a new awareness of the joy of moving
in your body's way. No prior experience is necessary
to enjoy and benefit from this healing movement
to flute music.
*Nia is a personal growth,
body-mind-spirit fitness program. It is a dynamic
system that works with the natural wisdom and
intelligence of the body, mind, spirit, and emotions.
The Nia Technique incorporates the Healing Arts
(love) such as Yoga; The Martial Arts (mindfulness)
such as T'ai Chi; and The Dance Arts (technique) such as
Jazz. It is carefully integrated to provide an experience
of joy and well-being.
The session is designed and led by Andrea Hanson,
a Nia Blue Belt Instructor. Andrea has life-long
history of study and practice of integrating healing
systems, including Chinese, Native American, Incan,
Mayan, Toltec, East Indian, Tibetan, Huna, Vibrational
Psychology, Sound and Energy Healing.
She is a Certified Meditation Teacher, Ayurvedic
Instructor, and Level VI Training In Power Teacher.
Her traditional education is in Psychology and
Speech Therapy. She is a writer, Instructor and
Life Coach.
The music selected for the event is from Peter
Phippen's "Book of Dreams" and "Echos of
the Past" CD.
This beginner’s course will be appropriate for the “newest beginner” to those who have already handled a flute but want to improve their playing. Vince will guide the participants through the basic skills of finger control, correct embouchure, and proper breath control. Other topics will include learning the Native American Flute scale (minor pentatonic, mode 1), understanding the basic music elements of melody and rhythm, and experimenting with creating original melodies. Required materials for this class is an A minor flute. If needed, you may purchase a flute at registration.
Bio of Vince Chafin
Though I play
traditional Native American Flutes, my music does not
follow the traditional Native path. My intention is to
create music that reflects the love in my heart for all
life and to bring healing and peace to all that hear
it. It is said that you do not play the flute, you breath
through it. Rumi, one of the greatest Sufi poets talked
about breathing this way: "There is a way of breathing
that's a shame and suffocation, and there's another way
of expiring a LOVE Breath, that lets you open to infinity.
I am deeply honored every time I get a chance to play,
and every time I expire, I think, LOVE. I hope to meet
you at one of my performances real soon. In Love and Light,
Vince
Vince Chafin
Intermediate Flute Technique By
Clint Goss & Vera Shanov
Tuesday 9:00 am - 12:00
pm
Topics of study will include the elements of music, Native American flute modes, ornaments, improvisation techniques, song forms and styles…all presented in a supportive environment focused on building confidence and nuturing the expression of one’s inner voice.
Bio of Clint Goss
Clint began playing the clarinet 30 years ago. His encounter with
a Native American flute made by Kai Mayberger of White Raven Drums
re-connected him with music. In 1997, Clint and his wife Vera traveled
to Zimbabwe on a technical assistance project, and were infused with
the music that is ever-present in that culture. The musical landscape
broadened and Clint began jamming on the African Kalimba. Since then,
Clint and Vera have undertaken extended projects and trips in Calcutta,
Tokyo, Zimbabwe, Bulgaria, Namibia, South Africa, Moscow, Kenya, Egypt,
Jordan, and China. Each trip has widened the musical universe and
brought more sounds into the mix.
Infused with the core philosophy of improvisation from the Native
Flute culture, Clint connected with the Music for People organization
led by Grammy nominee David Darling. He has studied music facilitation
with them for the past three years, and plans to complete the full
four-year Music Leadership Program in June 2007.
In addition to Native American Flutes, Clint now performs on Indian Bansuri,
African Kalimba, Slovakian Fujara, Indian Shruti box and Tamboura, Swiss Hang,
and a variety of world percussion instruments including African Djembe and Udu.
His improvised performances weave rhythms and melodies from many musical
heritages to create music that is deeply respectful of the cultures that created
the instruments he plays.
Clint's first commercial CD release, SpiritGrass, with Eric Miller was released
in September 2006.
Clint Goss
Vera Shanov
Advanced Flute Technique
By
Vince Redhouse
Tuesday 9:00 am - 12:00
pm
Vince will introduce advanced Native American flute playing techniques such as fingering systems for playing chromatic scales, technique for playing in various keys on one flute, and how to transpose music and read chord symbols on a printed music score. Time will also be devoted to solo and ensemble performance skills, improvisation, and tips on how to play spiritually.
Bio of Vince Redouse
Vince Redhouse began playing music at 6 years old, starting with
the recorder and then the clarinet. He then began to study guitar
and piano at eight years of age I remember practicing on an old Sears
Silvertone guitar until my fingers would bleed. I was inspired by
groups like the Beatles and later groups from the San Francisco area.
My siblings and I (who are all professional musicians to this day)
would perform in neighbors yards on picnic tables and in the family
garage. We'd play with cardboard cutouts of guitars and use brooms
as microphones and play karaoke with whatever songs came up on the
radio. I heard Jimi Hendrix play "Purple Haze" at the Monterey Pop
Festival from my front yard! There was so much music during that Music
Revolution!"
After high school
Vince attended the Academy of Arts/Humanities, a private music school under the direction of
German professor Axel Duwe. There he received thorough classical training on piano as well as
education in acting, foreign language study and comprehensive study in ear training, theory
and counterpoint composition. While at the same time Vince played in Jazz Big Bands under the
leadership of Don Schamber in Monterey, CA. "I learned to love to practice the right way because
of what I learned at the Academy-it became exciting to practice 8 hours a day 7 days a week and
then at night we'd have all night jazz sessions with some really great players." Vince was now
playing tenor sax which he had started at age 17 and within two years he was the lead tenor sax
player with the Air Force Band of the Southwest. Later he would be successful in his audition
for the Air Force Academy Band. "I feel very fortunate to have had the opportunity to study music
as I have. And having five other siblings just as dedicated to music created this intense environment
that only helped make us strive to be the best musicians." Vince also believes being an Urban Indian
and always living away from those like himself helped him do something that would garner the respect
of others and which came naturally, it seems-play music.
"I believe music is more than what
we hear but something that we feel at a very deep place. I think of music as a spiritual event that
we participate in-the musician as well as the listener. Navajo people have always been regarded as
spiritual people and my family through the generations was known for its medicine men-my grandfather
Hosteen Redhouse was greatly respected in Indian Country. I believe those gifts continue to be passed
to us just as physical characteristics are, except these are spiritual. My music carries the Spirit
of my dad and his fathers and I am keenly aware of this especially when I play the Native Flute and
when I compose music. Music for me is one of the greatest expressions of spirit and heart and healing
and it is the gift I am blessed to share."
"My first exposure to the Native Flute took place about six years ago. I was a Painting Contractor at the time and had received a work order to repair some drywall in a house that happened to have a Native Flute sitting on a coffee table along with other pieces of American Indian art. I was so bold to ask if I could play the Native Flute and from that very moment began a new chapter in my life."
Having been a serious woodwind player from a very early age Vince first thought about the obvious limitations of the Native Flute but fell in love with its sound and the connection it had to his Native culture. There came "dark nights of the soul", times when it felt like the world was crashing about his life and Vince late at night would play just one note on the Native Flute and hold it.”I felt the sound that others have been moved by and I began to play myself to sleep. It brought something to me that no other instrument ever did. I chose the Native Flute as my instrument or should I say it chose me?"
Being classically trained taught him the discipline of study, which he would need in
order to create a chromatic fingering system. "I've incorporated all the fingering systems I've known from the open hole silver flute, clarinet and the tenor sax on which
I had to create and instantly memorize fingerings for the altissimo register (which enables me to play four and a half octaves in every key on the tenor sax). Some day I'll write a book on this system which allows me to play in every key on one Native Flute and makes it possible for me to sight read any written piece of music. Also my extensive jazz background helps me improvise and play off the page and in the moment just as I would on any other woodwind instrument that I play."
"I've been asked why I play music like "Claire de Lune" by Debussy
or Pat Methany's "The Road To You" on the Native Flute? To me it's
fairly simple. I want to play the most beautiful music ever written
or played on what I consider the most beautiful sounding instrument.
Also my unique upbringing as an Urban Indian that was exposed to great
music and training all through my life makes this my gift to others."
Vince also hopes that because of the significance of the Native Flute
to its people that his playing of this instrument as he does will
make American Indians more visible in this 21st century."We have a
spiritual connection to this land that is very unique and a spirituality
that was vital to those who lived on this land then and now."
Look for Vince's latest music called "A Long Way Home". This music
of the Southwest is sure to be on everyone's "must have list".
Jazz For Native Flutes Beginner Class By Vince Chafin Intermediate Class By Clint Goss Advanced Class By Vince Redhouse
Tuesday 2:00 pm - 4:00
pm
Surprise, 'you'll get rhythmn'! All levels will enjoy this class on the basics of Jazz for the NAF.
Bio of Vince Chafin
Though I play
traditional Native American Flutes, my music does not
follow the traditional Native path. My intention is to
create music that reflects the love in my heart for all
life and to bring healing and peace to all that hear
it. It is said that you do not play the flute, you breath
through it. Rumi, one of the greatest Sufi poets talked
about breathing this way: "There is a way of breathing
that's a shame and suffocation, and there's another way
of expiring a LOVE Breath, that lets you open to infinity.
I am deeply honored every time I get a chance to play,
and every time I expire, I think, LOVE. I hope to meet
you at one of my performances real soon. In Love and Light,
Instruments As Healing Allies - Viaje de Curacion
with René Jenkins & Janet Janay Cipriani
La Mesa = The Universe and Peruvian Cosmology
Tuesday 7:00 pm - 9:00
pm
Ceremonial Sound Healer, René Jenkins and Angel
Therapy Practitioner, Janet Janay Cipriani will discuss
ancient indigenous instruments and their
metaphysical healing properties, the power of
Inspiration, sound & healing touch, and explore
fundamental principles of healing from the Angelic
realm, shamanic philosophies and Peruvian
Cosmovision. An experiential sound healing
demonstration will conclude each workshop.
The 7 Directions
5 Elements: Earth, Wind, Fire, Water & Sound
Instruments and their Elemental partnership (Conch shell, Condor quill antara, Rattle, Mayan drone & Zapotec flutes, Chimu Silbadora & others)
3 Worlds (Pachas) & their Instruments (Didjeridu, Zampona, Wind Wand, Tingsha & others)--Power of Presence (Kay Pacha, "Jaguar") Now is the center in everything! And yes, there's a center of gravity, of the Earth, of the Universe, and a center of being. Bringing all your 'selves' into present time, alert, receptive, ready for action where all senses are activated is most important for any healing work. The Kay Pacha is the here & now, and the bridge between the Uqhu (Inner/Under) & Hanan Pachas (Upper). It is essential to bring your Will to bear- your strength, your faith, your inner warrior/leader, intuitive visionary, your teacher/wise one, lover/healer, and divine witness to this moment...the center of everything.
Ceremonial Space
Presence- Align to deepest intent
Create an opening & invitation for "Divine Intervention"
Center - "ground, connect, protect" personal space, and self-clearing
Prayer - Alignment w/ Intention
Calling upon guides, Allies of Light, Angels & Ascended Masters
Power of Love (masculine/feminine - dynamic/magnetic)
Aqua de florida, palo santo, tobacco, and feather to 'call, clear & cleanse'
Closing the space
Cultivating Relationship w/ Healing Allies
Your Angelic helpers, Spirit Guides & Teachers
Take a hike! Dialog with natural world. BE with your instrument as a healing ally and listen to it's song ~
**Workshop concludes with a Group Sound Healing Experience**
Bio of René Jenkins
Rene' Jenkins is a professional musician on “the Spiritual Path” for more than 25 years, studying many different religious and healing modalities in search of a more healthy and meaningful life for himself and others.
As a Ceremonial Sound Practitioner & Healing Performance Artist, Rene' performs “healings” (attunements), concerts and house clearing ceremonies for individuals and groups.
Rene' has been generously gifted with many ancient Peruvian instruments of historic metaphysical properties while working in collaboration with renowned South American sound healer/musician Tito La Rosa.*
Bio of Janet Janay Cipriani
Janet Janay Cipriani is a Certified Angel Therapy Practitioner and has a healing practice in Sonoma, California called Divine Connections. An amazing clairvoyant and clairsentient, Janay is an intuitive, medium, healer and Angelic Reader who uses her gifts to offer guidance, insight, and energy healing.
Healing And The Sacred Breath
By
Jan Seiden, MS & Michael DeMaria, Phd
Tuesday 7:00 pm - 9:00
pm
We shape air with our intent and hearts. When we step aside from ourselves, and get out of our own way, laying our minds to rest, Spirit breathes through us and through the flute. Thus, the secret of breath control is not in controlling the breath, but in emptying our minds so we can be “breathed through” by Spirit. We release ourselves to Divine Breath. When we empty ourselves we can let go and let Spirit take over. Spirit shapes us through breath.
This workshop will provide the participants with an overview of the ancient roots of using sound for healing and contemporary framework on how the Native American flute can promote healing. We illustrate how the ancient wisdom is needed now, more than ever, to help us in today's crazy, hectic world of information overload and future shock.
Then we move deeply into a hands-on opportunity for participants to experience the healing power of the 'sacred breath' and how we can access this in our playing and our life.
Both Michael and Jan will share real-life examples from their respective practices of healings through the NAF. Discussion will include current clinical evidence for the relationship between vibration, breath and healing.
Goals for this workshop:
To gain greater awareness of our bodies and breath
To experience how we are “breathed.” Divine consciousness breathes through us and through the flute.
To experience effects of the flute’s vibration on our state of being, emotional, psychological and physical
To experience how we breathe and some of the muscles we unconsciously use in breathing.
To access deep meditative state with the NAF through breath-work.
To learn how to play more effective healing songs from this meditative state.
To learn about using the healing flute with different populations; chronic pain, hospice, etc.
Start
the day joyously with healing movement to flute
music in Zion Canyon. This Nia* inspired hour
long energized wake-up workout is designed to
give you a new awareness of the joy of moving
in your body's way. No prior experience is necessary
to enjoy and benefit from this healing movement
to flute music.
*Nia is a personal growth,
body-mind-spirit fitness program. It is a dynamic
system that works with the natural wisdom and
intelligence of the body, mind, spirit, and emotions.
The Nia Technique incorporates the Healing Arts
(love) such as Yoga; The Martial Arts (mindfulness)
such as T'ai Chi; and The Dance Arts (technique) such as
Jazz. It is carefully integrated to provide an experience
of joy and well-being.
The session is designed and led by Andrea Hanson,
a Nia Blue Belt Instructor. Andrea has life-long
history of study and practice of integrating healing
systems, including Chinese, Native American, Incan,
Mayan, Toltec, East Indian, Tibetan, Huna, Vibrational
Psychology, Sound and Energy Healing.
She is a Certified Meditation Teacher, Ayurvedic
Instructor, and Level VI Training In Power Teacher.
Her traditional education is in Psychology and
Speech Therapy. She is a writer, Instructor and
Life Coach.
The music selected for the event is from Peter
Phippen's "Book of Dreams" and "Echos of
the Past" CD.
This beginner’s course will be appropriate for the “newest beginner” to those who have already handled a flute but want to improve their playing. Vince will guide the participants through the basic skills of finger control, correct embouchure, and proper breath control. Other topics will include learning the Native American Flute scale (minor pentatonic, mode 1), understanding the basic music elements of melody and rhythm, and experimenting with creating original melodies. Required materials for this class is an A minor flute. If needed, you may purchase a flute at registration.
Bio of Vince Chafin
Though I play
traditional Native American Flutes, my music does not
follow the traditional Native path. My intention is to
create music that reflects the love in my heart for all
life and to bring healing and peace to all that hear
it. It is said that you do not play the flute, you breath
through it. Rumi, one of the greatest Sufi poets talked
about breathing this way: "There is a way of breathing
that's a shame and suffocation, and there's another way
of expiring a LOVE Breath, that lets you open to infinity.
I am deeply honored every time I get a chance to play,
and every time I expire, I think, LOVE. I hope to meet
you at one of my performances real soon. In Love and Light,
Vince
Vince Chafin
Intermediate Flute By
Clint Goss & Vera Shanov
Wednesday 9:00 am - 12:00
pm
Topics of study will include the elements of music, Native American flute modes, ornaments, improvisation techniques, song forms and styles…all presented in a supportive environment focused on building confidence and nuturing the expression of one’s inner voice.
Bio of Clint Goss
Clint began playing the clarinet 30 years ago. His encounter with
a Native American flute made by Kai Mayberger of White Raven Drums
re-connected him with music. In 1997, Clint and his wife Vera traveled
to Zimbabwe on a technical assistance project, and were infused with
the music that is ever-present in that culture. The musical landscape
broadened and Clint began jamming on the African Kalimba. Since then,
Clint and Vera have undertaken extended projects and trips in Calcutta,
Tokyo, Zimbabwe, Bulgaria, Namibia, South Africa, Moscow, Kenya, Egypt,
Jordan, and China. Each trip has widened the musical universe and
brought more sounds into the mix.
Infused with the core philosophy of improvisation from the Native
Flute culture, Clint connected with the Music for People organization
led by Grammy nominee David Darling. He has studied music facilitation
with them for the past three years, and plans to complete the full
four-year Music Leadership Program in June 2007.
In addition to Native American Flutes, Clint now performs on Indian Bansuri,
African Kalimba, Slovakian Fujara, Indian Shruti box and Tamboura, Swiss Hang,
and a variety of world percussion instruments including African Djembe and Udu.
His improvised performances weave rhythms and melodies from many musical
heritages to create music that is deeply respectful of the cultures that created
the instruments he plays.
Clint's first commercial CD release, SpiritGrass, with Eric Miller was released
in September 2006.
Clint Goss
Vera Shanov
Advanced
Flute Technique By
Vince Redhouse
Wednesday 9:00 am - 12:00
pm
Vince will introduce advanced Native American flute playing techniques such as fingering systems for playing chromatic scales, technique for playing in various keys on one flute, and how to transpose music and read chord symbols on a printed music score. Time will also be devoted to solo and ensemble performance skills, improvisation, and tips on how to play spiritually.
Bio of Vince Redouse
Vince Redhouse began playing music at 6 years old, starting with
the recorder and then the clarinet. He then began to study guitar
and piano at eight years of age I remember practicing on an old Sears
Silvertone guitar until my fingers would bleed. I was inspired by
groups like the Beatles and later groups from the San Francisco area.
My siblings and I (who are all professional musicians to this day)
would perform in neighbors yards on picnic tables and in the family
garage. We'd play with cardboard cutouts of guitars and use brooms
as microphones and play karaoke with whatever songs came up on the
radio. I heard Jimi Hendrix play "Purple Haze" at the Monterey Pop
Festival from my front yard! There was so much music during that Music
Revolution!"
After high school
Vince attended the Academy of Arts/Humanities, a private music school under the direction of
German professor Axel Duwe. There he received thorough classical training on piano as well as
education in acting, foreign language study and comprehensive study in ear training, theory
and counterpoint composition. While at the same time Vince played in Jazz Big Bands under the
leadership of Don Schamber in Monterey, CA. "I learned to love to practice the right way because
of what I learned at the Academy-it became exciting to practice 8 hours a day 7 days a week and
then at night we'd have all night jazz sessions with some really great players." Vince was now
playing tenor sax which he had started at age 17 and within two years he was the lead tenor sax
player with the Air Force Band of the Southwest. Later he would be successful in his audition
for the Air Force Academy Band. "I feel very fortunate to have had the opportunity to study music
as I have. And having five other siblings just as dedicated to music created this intense environment
that only helped make us strive to be the best musicians." Vince also believes being an Urban Indian
and always living away from those like himself helped him do something that would garner the respect
of others and which came naturally, it seems-play music.
"I believe music is more than what
we hear but something that we feel at a very deep place. I think of music as a spiritual event that
we participate in-the musician as well as the listener. Navajo people have always been regarded as
spiritual people and my family through the generations was known for its medicine men-my grandfather
Hosteen Redhouse was greatly respected in Indian Country. I believe those gifts continue to be passed
to us just as physical characteristics are, except these are spiritual. My music carries the Spirit
of my dad and his fathers and I am keenly aware of this especially when I play the Native Flute and
when I compose music. Music for me is one of the greatest expressions of spirit and heart and healing
and it is the gift I am blessed to share."
"My first exposure to the Native Flute took place about six years ago. I was a Painting Contractor at the time and had received a work order to repair some drywall in a house that happened to have a Native Flute sitting on a coffee table along with other pieces of American Indian art. I was so bold to ask if I could play the Native Flute and from that very moment began a new chapter in my life."
Having been a serious woodwind player from a very early age Vince first thought about the obvious limitati
