PRESENTATION
 














VEDUN Ensemble

PRESENTATION OF THE VEDUN ENSEMBLE AND THE HARMONISING SOUND OF ITS MUSICIAN-THERAPISTS

Concerts and sound-energy surgeries by the Vedun Ensemble, an ensemble for ancient meditative music and the revival of the spiritual healing sounds of the cultures of the world, are quite unique. Not only are they a dance of unusual sounds, rhythms and harmonies, they are also a dance of energies, feeling and colours. A mirror of the current moment.
 
The nature of the content and spiritual-musical performance practices of the Vedun Ensemble make them the first of their kind in Slovenia, and globally unique. These achievements were only made possible through the persistent and profound research of human spiritual abilities and, over many years, the long-time practice of ancient spiritual techniques.
 
After researching and integrating theory and practice, the next logical step was the creation of the Trutamora Slovenica Ensemble (in 1978), an ensemble for the revival of the Slovene folk musical heritage, and then, in 1999, the creation of the Vedun and Truta Ensembles, which exposed the connections between the music of the European elite and the music of the common people. Drawing on the richness of musical forms and the sound formulae of the ancient world, the musicians of the Vedun Ensemble, an ensemble for ancient meditative music and the revival of spiritual healing sounds of the cultures of world, reveal the differences between and the common denominators of Slovene, ancient Slavic, European and world musical heritages. They meld this into a distinct and unique concert sound ritual, into a timeless and harmonising musical yarn.
 
Less than a thousand years ago, musical art was not hierarchical, it was broadly holistic and all-connected. In Slovenia and Europ, it was only the medieval singers and musicians – travelling musicians, bards and gauklers (called igrci in Slovenia) who expressed this miraculous performing of music in the consciousness of oneness at the tail end of the music history of trance-play. They were simultaneously magi, alchemists and healers who used sound and energies. But they were the last authorities on the broad knowledge of past eras. Following different indigenous traditions and ancient Pythagorean wisdom, they mostly had a vast array of knowledge, which has unfortunately almost totally sunk into oblivion today. The high art of past eras reveals the refinement of spirit and mind, while folk art particularly reflects our profound spiritual connection to the Earth and nature, to the rhythms of the Universe and life. It is a brilliant mirror of human multidimensional Cosmic-Earth consciousness. A sound image of all-connectedness.
 
Medieval, Renaissance, Baroque, classical and contemporary musical instruments have developed over the last two thousand years from the ancient instruments of antiquity. Travelling musicians introduced them to different cultural circles, where they were further developed and changed. It is an interesting musical and spiritual experience to listen to the early versions of many types of instruments. Two-stringed gusle (predecessors of the violin) can, for example, be found everywhere: across Slavic countries and in the Arabic world. Some instrument types were preserved as folk instruments until the Atomic Era. 
 
The greatest gift and magic of our planetary ancestorsmusical practice is hidden in its distinct ritual-sound simplicity, which is, in the cultures of the world, extremely diverse and intricately unusual at the same, especially to a classically trained musician. By using simple and complex forms and with an extreme, almost ceremonial attention to every single sound, rhythm and noise, the musician-priests of the world, scientist-(astronomer)-musician-priests, who were simultaneously healers, forged the magic of sound and the alchemy of life for thousands of years. The simplicity of harmonies and the constant repetition of melodic forms are magical and effective tools for the actualisation of our vision, clear thought and intention. They carry the power of realisation.
 
The more simple the music is, the more powerful it is in its essence, the more it enables the musician-priest’s consciousness to effectively express itself in the fullness of awareness, in numerous dimensions of spirit, or soul. Simplicity is also the backbone, the principal support within spiritual processes, growth and in the awakening of spiritual powers. Sound is a scalpel and a needle in the creation of the harmony of spirit, body and life. The virtuosity of the musical expression and instrumental play of the Vedun Ensemble (previously Trutamora Slovenica) reveals itself primarily in their presentation of the diversity and differences of numerous, very versatile sound languages of the world. Like curators in an unusual aural museum of historical memory, the musicians of the Vedun Ensemble offer to their audience a rare treasure – a musical treasury of various periods and cultures. “Sing the world as you wish it to be” say the sages of the past, “and you will find joy, prosperity and peace!” Try it.

The Ensemble’s leader Dr Mira Omerzel - Mirit has (during the last forty years) completed over 33 creative revolutions personally and with the Ensemble. These revolutions were in the fields of art (music), science, education, as well as in the field of spiritual search and the teaching of the laws of life and the awakening of spiritual abilities (more about them can be found in her above-mentioned book From Musician to Medium). These revolutions are in their essence evolutions. They contribute significantly to raising people’s awareness, to developing and connecting different scientific and artistic disciplines and to general well-being. And her spiritual maturing, research (scientific) discoveries and spiritual insights are all reflected in the Vedun Ensemble’s music which has a powerful harmonising effect. Following the model of ancient knowledge, Vedun music is a powerful sound-energy therapy. But not only that: it is an effective sound-energy surgery. Some of Mirit’s and the Ensemble’s most important revolutions are definitely: the unveiling, reviving, reconstruction and preservation of Slovene sonic and spiritual roots, of “pre-classical” music instruments and songs buried in oblivion. And also the restoration of melodic formulae of the world and ancient (rooted in antiquity) musical techniques and practices, among which aliquot throat singing is especially interesting, difficult and hard to learn. The expansion of the musicians' consciousness was crucial on this path, as well as the awakening of their spiritual abilities and the honing of their performance in a “shamanic” trance. A very special chapter in the work of the Trutamora Slovenica/Vedun Ensembles was actualising the possibility for channelling healing sound, which required them to open up to the higher levels of consciousness and a wholistic spirit. The study and practice of the sound forms and practices of other musical cultures is also a great challenge, which needs a very attentive and patient listening to differences. Hundreds, even thousands of years ago, science and art went hand in hand, cross-pollinating each other. Together they developed the cultures and philosophies of life of the ancient world. But contemporary humans unfortunately long ago forgot this link.
 
In 1971, Mira Omerzel, a high school student at that time and then a student of ethnology and musicology, began to carry out ethno-musicological field research across Slovenia and to collect old folk musical instruments, which were rooted in antiquity and which had been increasingly disappearing from our everyday life after the World War II. As a student (at the age of 22), she formed an ensemble for the revival of the Slovene musical heritage – the Trutamora Slovenica Ensemble – an ensemble for the revival of the Slovene folk musical heritage. As an ambassador of the Slovene musical heritage, the Ensemble spread the voice of the Slovenes throughout the world.
Mirit’s field, archival and scientific work
was soon reflected on the concert stage at home and abroad. This first Ensemble was called Trutamora Slovenica for almost 30 years; then in December 1999, Dr Mira Omerzel - Mirit – a scientist and musician who cuts her own path – established the Vedun Ensemble, which was at that time an ensemble for the early and meditative music and the transcendental sound of the peoples of the world (in addition to the Truta Ensemble, an ensemble for the revival of Slovene and European art- and folk musical heritage of the past centuries, from the Middle ages and Renaissance to the present). The Vedun Ensemble was named after an ancient Slavic deity who expelled darkness through words and sound and who healed the environment, the world and living beings. In 2008, upon the 30th anniversary of the Trutamora Slovenica Ensemble, they merged the musical endeavours of the musicians from the three ensembles under one name: VEDUN.
 
The Ensemble's work is based on an ancient knowledge of effective harmonising (healing) sound – on the so-called channelled, spontaneous sound, which rises spontaneously from their throats and instruments, from beneath their fingers. Into this sound yarn, the Vedunci (a word denoting masters of sound and spirit, the sound magi) braid revived songs, instrumental melodies and dance plays of different cultures and traditions. They perform music in a transcendental state of consciousness, in a shamanic trance, in which their silenced mind allows them to enter the so-called Cosmic-Earth consciousness of all-connectedness. This opens the doors into the fairy (yet equally real!) realms of spirit, into dimensions beyond the material. The musicians of the Vedun Ensemble sing and play in a semi-trance. In this way, they reach levels beyond the physical world, levels of spiritual (frequency-sound) laws where everything is born, formed, and which reflects everything that exists, both spiritual and material. As mediums for the frequency (sound) waves of the dimensions of reality that humans are capable of attaining, they channel and transmit an unpredictable spontaneous sound which can never be repeated. But this spontaneous (channelled) sound is not merely ordinary improvisation! It is much, much more. It is something completely different. Into their spontaneous playing, into their vocal sound yarn, the musicians of the Vedun Ensemble weave the less known and forgotten sound languages, songs and melodies of different cultures and historical periods. They offer them to people – for listening, harmonisation, for the expansion of spirit and (self-)healing. In this way, they return to music its former holiness, effectiveness and ancient sacred magic. Sound becomes an efficient surgical tool and a human being becomes a successful creator – alchemist.
 
After decades of Mira’s ethnomusicological research and almost 40 years of the Ensemble’s artistic, educational and therapeutic work, an unusual ensemble for the ancient music has come into being. It is an ensemble which reveals and revives the forgotten secular and previously sacred, Slovene and Slavic, as well as European and global musical heritages. In all the multi-layeredness of energy-frequency sonic (musical) and therapeutic effect. Into their yarn of ancient melodies and songs, the musicians weave channelled, spontaneous sounds, which, according to the ancient wisdom, reinvigorate and give meaning to musical messages, adding to them a therapeutic power. The audience is nourished with the all-present Universal life energy, which is, in its essence, energy- and frequency-sound undulation, even though it is inaudible and difficult to perceive. These inaudible waves are the invisible power of life, which invigorates both the musicians and the listeners.
 
Sound is everything, claimed the ancient sages. The visible and invisible, the audible and inaudible... The alchemy of frequencies. And life itself is sound undulation too. In the past, there was no event, no festivity without music. Until the 20th century, music had a different and a very precious purpose: to harmonise, compose, disintegrate, raise awareness, heal etc. When does it start losing this role? When it becomes ever more complex and devoid of the primordial harmonising dimensions? Since time immemorial, sound has been a tool for establishing life harmony, harmonious resonance and health. Harmonious resonance manifests itself also as the feelings of peace and as well-being. And also as numerous spontaneous inspirations. The quest for harmony in our lives is once more a challenge, and the old-new knowledge of sound once more enables us to build an effective and creative technology of the future. And our bodies, along with human multi-dimensional consciousness, meta-sensory perception and hearing, remain our most sensitive measuring instruments. Every seer, every knower or medium has to develop all of that. Every Vedunec, as the Slovene and Slavic tradition would put it. Everything that we need in order to grasp the world lies within our own sonic (frequency) sound field and in the very music itself! The energy of each sound, tone or rhythm is important; and of special importance is also the musician’s clear focus on sound occurrences, as well as their channelling and shaping of the appropriate energy-sound (musical) images. That is why in the past, most important was to attain the knowledge of the impact of frequencies, of tones, and to develop the wisdom of frequency modulation: how to use this world of frequencies and sounds for the benefit of ourselves and others!? How to tune the world with them? It is well worth discovering this ancient knowledge, and to remember it! To revive, complete, fulfil it etc.
 
The last truly great authority on wholistic wisdom, a true master of sound, with an importance for Europe, was the Greek mathematician, philosopher, healer, spiritual teacher and high priest Pythagoras. In its contents and working methods, the Veduna Mystery School resembles his Mystery School. Today, white people have unfortunately lost the fundamental awareness of the dimensions and power of sound and the knowledge of effective sound-energy rituals. They have lost all-connectedness at both the individual and group level. In her own way, Mirit revives it through her books. To revive it, she also uses the spoken word at her courses and lectures, and she uses the indescribable and inexpressible during her healings – at the Veduna cosmic sound-energy surgeries, initiations and resonances. She co-creates the alchemy of sound also on the concert stage within the harmony of all-connectedness between the musicians and listeners. Every concert is a special experience, a unique group and magical ritual, which unfolds between musicians and course participants, between the course participants, or the sick, “the out of tune” people. The performers and audience create group attention on the harmonising sound, which helps to focus the waves of thoughts and to actualise visions and wishes. With the use of selected sound tools and music, the Vedun Ensemble musicians create harmonies and shape balance in the environment and people. The needed euphony. The Vedun Ensemble offers all of that to the people through its sound yarn of unusual instruments and voices, attuned to the moment. They connect the old and the new at a meta-sensory level. Their sound yarn is timeless! It smells of boundlessness. Of the wholistic music of our planet, which does not know conflicts, just the richness of the differentness of a diverse resonance. The sound of different cultures teaches us – about differences and similarities, it inspires us to embrace differentness and tolerance.
 
For more than ten years the Trutamora Slovenica Ensemble was the only one to revive Slovene instruments and ancient music on the Slovene concert stage. Today, by using sound, songs, word and unusual ancient instruments, the Ensemble, under the name Vedun, helps people to reveal the Slovene history, the Cosmic-Earth pulse of the Slovene soul and the common spirit of humanity through time. Vedun sounds help listeners to restore harmony within themselves and in their lives. After a decade of performing, the Trutamora Slovenica Ensemble got its first imitators. But unfortunately, these new ensembles have chosen mostly popular modern interpretations of our musical heritage. With this approach, they are unfortunately distorting a musical and spiritual heritage, handed down through hundreds, even thousands of years. And the precious ancient quality – sacred to our ancestors – is withdrawing. But the Trutamora Slovenica / Vedun Ensemble has remained loyal, throughout 40 years, to its initial devout attempts to authentically revive and reconstruct both the Slovene and foreign musical heritages. Like curators in the gallery of ancient sound and in the style of vocal-instrumental ensembles for the ancient music, they ennoble their musical performances with the priestly shamanic sound and harmonising energies.

The creative impulse of the Ensemble's members can be observed in seven-year cycles. During the first period Mira Omerzel - Mirit researched Slovene folk musical instruments and sound-makers (initially together with her husband Matija Terlep). She began that research mission as a teenager. The second period included stage presentations of Slovene folk instruments and songs, after which followed a period of research and development of the vocal capabilities of both instrumentalists – of Mira and Matija. In the fourth seven-year cycle the Ensemble immersed themselves in exploring the deepest mysteries of sound and heritage and the shape-giving power of the Universe of frequencies, in which we live. For thousands of years, the Mysteries of sound, like a sensitive compass, led our planetary ancestors in the distant past to penetrate the transcendental “reality” of hearing, other physical senses and meta-senses and consciousness itself. Using their knowings of the realms “beyond”, these mysteries influenced the sound qualities, forms and tuning of folk musical instruments, they influenced even song themes and contents.
 
Every seven years Vedun members add a new dimension to their work and creativity, a new dimension. They descend deeper into the core nature of sound, as they say. They are interested not only in what and how, but also why it is so and how to create even more efficient sound images. In their sixth seven-year cycle, the Vedun members were drawn to delving deeper into shamanic trance-play, into a shamanic performance of music. And now, in their seventh period, it is time to sensitively piece together the meta-time and meta-sensory shared musical mosaic of the sound languages, practices and instruments of different cultures and traditions of the world.

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Creativity profile


















Festival Imago (2015)





















Mirit z indijansko piščaljo "keno" na bregu Ljubljanice (festival Imago, 2015)










 




















Ansambel Vedun snema zvočne utrinke iz staroslovenskega izročila v 300 let stari hiši visoko pod gorami (avgust, 2015)










 




















Tinetov prvi koncert (star 7 let) v Cankarjevem domu (Otroška matineja, 1988)










 




















Skupno obredovanje z balijskima prijateljima - zdravilcem in glasbenikom Arijem ter svečenikom Gino (Ubud, julij 2016)










 




















Cekinov grad (november, 2015)










 




















Med oživljanjem slovanske in staroslovenske kulturne in glasbene dediščine; v makedonskih oblačilih (Ljubljana, 2015)