Growing up in Marshall, Texas is I assume growing up and living in any small town across the nation is just the same. But when your susceptible to Voodoo Hoodoo trancing at different times not knowing when the consequences may shape your life in a direction not to many small time people can deal with.

As I grew much older and read about the real 'Shamanic techniques' I learned that the repetition of certain tones with increased beats-per-minute can induce a trance state. Even the tone in someones voice can cause it. I use to trance in Marshall Hardware on a daily basis.

I do suggest to everyone who wishes to let the spirit take them to paranormal realms simply must learn the basics of the Voodoo Hoodoo trance dance, including tips on warming up, choosing attire, breathing exercises and information about what you can expect from the being Mounted by a Lwa trance experience. All of it is very spiritual, mental and physical. With this particular focus being the key ... your own health and welfare ... this is the primary focus of certain types of voodoo trance dancing, but there are methods and guidelines a dancer must be aware of in order to experience it in the fullest sense.

I became a Voodoo Hoodoo Priestess 8 years ago. And am now being initiated in to a Voodoo Sect like the one I joined in Galveston, Texas. I now am starting up my own Voodoo Hoodoo Temple in the my home in the 5th ward of Houston Texas.

You see I had to join a Secret Voodoo Hoodoo Texas Society before they the spirits of the great Lwa would allow me to start my own Perystyle. At least thats how Texas Voodoo Hoodoo is structured.

A Voodoo Hoodoo Trance, as a class term, is a categoric auspice or rubric, employed to denote a variety of processes, techniques, modalities and states of mind, awareness and consciousness. And in some terms being possessed by a Lwa (loa) spirit or ghost.

My Voodoo Trance states may be consciously and intentionally induced, or they may occur involuntarily and certainly not asked for or wanted when I'm out shopping at Wal-Mart for Vagisil cream or at the grocery bying bananas and Ground meat. In most Voodoo trance the lwa "mount" people. That is, they come and take over a person's body for a time. When the lwa come the person is gone. (It's not clear where the person goes for in reality I can attest I have no conscious memory of what happened. And since my initiation recently I have been mounted 6 times so far.) The body is the body of the person, but it is really the lwa or spirit inside controlling all movements and bodily functions. If a male lwa mounts a female person, (That happened in my case) he is referred to as "he," not she, during the mounting. I have many close friends in New Orleans, Miami, California, Puerto Rico and Galveston who have been mounted by spirit and Lwa's in closed door urban American voodoo or hoodoo rituals.

They all say they remember nothing when it is over except, Melinda Hymel who said she watched the whole thing from outside her body. And another Brad Guillory, Who said it seemed like he was very drunk and knew he wasn't then the lights just went out. He was then transported to a world of dancing skeletons. He said that he knew he had entered the Gates of Guinee. In my few experiences so far I remeber nothing but have awakened from the (what I can only relate to as coma.) Only with a bad taste in my mouth and dirty knees.

Trances in Necromancy are more less then common as in Voodoo, among those that attend Galveston Voodoo rituals as guests and it is because you open the gates to the spirit world. Not so with Necromancy. This is why I am very selective if I invite someone to witness my Necromantic invocations.

From at least the 16th century it was held that march music may induce soldiers marching in unison into trance states where according to apologists, they bond together as a unit engendered by the rigors of training, the ties of comradeship and the chain of command. Conversely, the detractor may hold that they entrain as automaton. This effect was widely evident in the 16th, 17th and 18th century due to the increasing prevalence of firearms employed in warcraft. Military instruments, especially snare drum and other drums were used to intone a monotonous ostinato at the pace of march and heartbeat. High-pitched fifes, flutes and bagpipes were used for their "piercing" effect to play the melody. This would assist the morale and solidarity of soldiers as they marched to battle.

As the mystical experience of my practice of Necromancy generally entails direct connection, communication and communion with ghosts, spirits entities such a great Deity, Godhead, deity and/or god; trance and cognate experience are endemic.

Viking berserkers were said to have often entered battle naked and entrenched in a state of primal rage, biting their shields and howling like wolves. This fanaticism was so powerful that they were known to continue fighting even after having lost limbs or being otherwise deeply wounded.

Samadhi: Yoga provides techniques to attain a state of ecstasy called Samadhi. According to practitioners, there are various stages of ecstasy, the highest of which is called Nirvikalpa Samadhi. Different traditions have different understanding of Samadhi.

Bhakti: (Devanāgarī) is a word of Sanskrit origin meaning devotion and also the path of devotion itself, as in Bhakti-Yoga. Within Hinduism the word is used exclusively to denote devotion to a particular deity or form of God. Within Vaishnavism bhakti is only used in conjunction with Vishnu or one of his associated incarnations, it is likewise used towards Shiva by followers of Shaivism. Saints in these traditions exhibit different trance states or ecstasy.

Agape or Divine Love: the term 'Agape' appears in the Odyssey twice, where the word describes something that creates contentedness within the speaker.

In most Voodoo trance the lwa "mount" people. That is, they come and take over a person's body for a time. When the lwa come the person is gone. (It's not clear where the person goes.) The body is the body of the person, but it is really the lwa. If a male lwa mounts a female person, he is referred to as "he," not she, during the mounting. I have many close personal Voodoo friends in New Orleans, Louisiana, Gulfport, Mississippi, Miami, Florida, Marion, North Carolina and now Galveston who have been the mount of the spirit in closed door urban voodoo or hoodoo rituals. They all say they remember nothing when it is over.

And oneness with The Lwa god or devil or demons. Indeed, ecstasy is the primary vehicle for the type of prophetic visions and revelations found in the Bible. However, such experiences can also be personal mystical experiences with no significance to anyone but the person experiencing them.

† ¥ †

My initiation: Voodoo Spirits are called in Galveston, Texas

To become a Galveston Island, Texas Voodoo Hoodoo hongan of the Baron Samedi, a voodoo priestess and cultist such as myself attends a ritual led by priests already initiated to his service. I personally attended one in a suburban Galveston, Texas neighborhood between 57th street and 42nd, held by the local Voodoo Hongan Babutthol. All of this I am doing to research deeper in to the mysteries of this religion to investigate the Voodoo Zombie Doll I have elected to investigate.

Many years ago I went to Americas Voodoo Capital got involved with the true side of Voodoo Hoodoo New Orleans style. Not the commercial side that so many see when visiting. Or the classic books that tell of a homogenized society. But the very Secret Society of Marie Laveau her self. There I became a real voodoo hoodoo priestess. But I need to be certified now through this ritual as a Texan Voodoo Queen.

"The houngans offer food and drink to the Baron to gain his attention," says Babutthol. He comes here accompanied by the sound of thee heavy drums. As officiates and aspiring initiate join together in an sacred static dance, they all are employing fast, exhausting moves that induced an altered state of consciousness in each and everyone one of us being initiated.

This ritual required many nights of ritual activity before the Baron Samedi decided to mount me his new charge. (Well seasoned and experienced Texas houngans like Babutthol, The Baron's human counterparts learn over time to slip into this trance state more easily.)

When mounting me, the loa took over my body, Those present told me that I began speaking in a different voice, sometimes different tongue, adopting a body language all of its own. I openly declared "It is I Baron Samedi" Many said I was truly possessed and engaged other participants in conversation.

My mounting did not come upon me too quickly otherwise the houngans suspiciously would have interrogated the loa to ensure that it was Baron Samedi who has come and not some lesser petro loa mischievously hijacking me and the ceremony for its own amusement.

If it was not the Baron, Hongan Babutthol would have employed special invocations and rites to drive out the interloping lwa and then continue the ceremony until the Baron did appear . This to me, is so similar to a necromantic ritual in many ways.

I believe before I fell into the trance I experienced a form of deep Rapture or Religious ecstasy: This of course is an altered state of consciousness characterized by greatly reduced external awareness and expanded interior mental and spiritual awareness which is frequently accompanied by visions and emotional/intuitive (and sometimes physical) euphoria.

Although my personal experience was brief in physical time, there are records of such experiences lasting several days or even more, and of recurring experiences of ecstasy during one's lifetime. Subjective perception of time, space and/or self may strongly change or disappear during ecstasy.

Siddhi: is a Sanskrit term for spiritual power (or psychic ability); it literally means "a perfection." It is known in Hinduism and Tantric or Vajrayana Buddhism. These spiritual powers or perfections supposedly vary from relatively simple forms of clairvoyance to being able to levitate, to degrees of omnipresence, to become as minuscule as an atom, to manifest or materialize objects, to have access to memories from past lives, access to the akashic records, and more. The term became known in the West through the work of H.P. Blavatsky. Siddhi powers are said to be obtainable by meditation, control of the senses, devotion, herbs, mantras, pranayama, or good birth.

Peak experiences: is a term developed by Abraham Maslow and used to describe certain extra-personal and ecstatic states, particularly ones tinged with themes of unification, harmonization and interconnectedness. Participants characterize these experiences, and the revelations imparted therein, as possessing an ineffably mystical (or overtly religious) quality or essence.

Stigmata: In his paper Hospitality and Pain, iconoclastic Christian theologian Ivan Illich "Compassion with Christ... is faith so strong and so deeply incarnate that it leads to the individual embodiment of the contemplated pain." Illich's thesis is that stigmata manifests from exceptional poignancy of religious faith and desire to associate oneself with the suffering Messiah. Interestingly, stigmatics have manifested the Holy Wounds in different bodily locations possibly due to subjective interpretation or envisioning.

In Christianity, the ecstatic experiences of the Apostles Peter and Paul are recorded in Acts 10:10, 11:5 and 22:17.

Some charismatic Christians practice ecstatic states (called e.g. "being slain in the Spirit") and interpret these as given by Holy Spirit.

In hagiography (writings on the subject of Christian saints) many instances are recorded in which saints are granted ecstasies. According to the Catholic Encyclopedia , religious ecstasy (called supernatural ecstasy) includes two elements: one, interior and invisible, in which the mind rivets its attention on a religious subject, and another, corporeal and visible, in which the activity of the senses is suspended, reducing the effect of external sensations upon the subject and rendering him or her resistant to awakening.

Voodoo Hoodoo Possession Photo by Harriet Cross © 2008

 

How And Why Trancing While You Dance is Possible

The term "trance" may be conflated with others such as meditation, magic, flow and prayer. It may also be conflated with the earlier generic term, altered states of consciousness, which, due to the value judgment that is embedded within the adjective "altered", is no longer used in "Consciousness Studies" discourse.

The various frequencies, resonate and open the energy centers of the body. The heartbeat of Voodoo drums keeps us grounded on the earth, while the higher frequencies of voices particularly a singing voice can and does open our crowns to the world of the Paranormal.

a real trance is an altered state of consciousness which individuals can enter through a variety of techniques, including hypnotism, drugs, sound (particularly music, percussive drumming etc.), sensory deprivation, physical hardships (eg. flagellation, starvation, exhaustion) and vigorous exercise (particularly dance).

For the energy-shifting effects of actual trance dancing to fully manifest and take you over, as a person with the necessary understanding of what they are doing, The once upon entering the Trance state move in the intense energy field generated by high- level sound and light frequencies.

Now more then often out Teenagers around the world at techno raves or Dance and music clubs are practicing what many Paranormal Investigators such as myself believe to be a unintended form of dance magic. Trance is a style of electronic music that developed in the 1980s. Trance music is generally characterized by a tempo of between 130 and 160 BPM, featuring repeating melodic synthesizer phrases, and a musical form that builds up and down throughout a track. It often features crescendos and breakdowns. Sometimes vocals are also utilized. The style is arguably derived from a combination of largely electronic music such as ambient music, techno, and house. The origin of the term is ambiguous with suggestions that the term is derived from the Klaus Schulze album Trancefer or the early trance act Dance 2 Trance though it is likely that both these uses are linked to the perceived ability of a drum beat to induce altered states of consciousness, aka a trance. As this music is almost always played in nightclubs at popular vacation spots and in inner cities, trance can be understood as a form of club music.

Trance employs a 4/4 time signature, a tempo of 130 to 160 BPM, and 32 beat phrases, somewhat faster than house music but usually not as fast as Goa Trance or Psychedelic Trance. Early tracks were sometimes slower. A kick drum is placed on every downbeat and a regular open hi-hat is often placed on the upbeat. Some simple extra percussive elements are usually added, and major transitions, builds or climaxes are often foreshadowed by lengthy 'snare rolls' - a quick succession of equally spaced snare drum hits that builds in volume towards the end of a measure or phrase.

Synthesizers form the central elements of most trance tracks, with simple sawtooth-based sounds used both for short pizzicato elements and for long, sweeping string sounds. A technique called "gating" is often employed in creating these lead sounds (turning the volume up and down rapidly in rhythm with the piece to create a stuttered, chopped sound). Rapid arpeggios and minor scales are common features. Trance tracks often use one central "hook" melody which runs through almost the entire song, repeating at intervals anywhere between 2 beats and several bars.

While many trance tracks contain no vocals at all, other tracks rely heavily on vocals, and thus a sub-genre has developed. The sound and quality of the production relies to a large degree upon the technology available. Vintage analog equipment still holds a place in the hearts of many producers and enthusiasts, with names such as Moog, Roland and Oberheim staples in the trance sound palette. However, the mainstream availability of digital technology has allowed a whole new group of producers to emerge due to the fact that while top shelf digital (or analog modeling) synthesizers cost thousands of US dollars, high demand and a small supply of clean vintage analog synthesizers causes them to be extremely expensive.

 

† ¥ †