The ensemble Vedun (Mira Omerzel – Mirit, Ph.D., Mojka Žagar, Tine Omerzel Terlep) channels the guided sound of the original Cosmic Intelligence and the energy-frequency waving, which we call the Master Teachers of the Universe, with shaman instruments of diverse peoples of the world that were used by diverse ethnic groups for spiritual healing and self-realization. The performers are the media for sound which comes with Cosmic guidance in order to benefit all the present and to harmonize all the bodies (mental, emotional, spiritual) and souls (and indirectly also the physical body); they are also the performers in the ensembles Trutamora Slovenica and Truta.


VEDUN – THE “CHILD” OF THE ENSEMBLE TRUTAMORA SLOVENICA


The Trutamora Slovenica ensemble for the music of the past centuries and revival of Slovene folk musical heritage based on archival sources has been active for more than 30 years. It’s child, the ensemble Vedun, celebrated it’s tenth anniversary in 2009. As the ambassador of Slovene musical tradition their musicians have presented Slovene musical heritage on practically all the continents. During the three decades the ensemble has undergone changes both in its composition and its concert themes and modes of performing. Its presentation of Slovene folk instruments and songs began in 1978, and on its 10th anniversary it assumed the name of Trutamora Slovenica. The trutamora is an apotropaic sign in the form of a pentagram that the Slovene forefathers used to paint on different objects and on beams in houses to protect themselves from evil and nightmare. The name of the ensemble was chosen according to a symbolic analogy: to know one's own tradition can protect one from the chaotic search for one's own identity and continuity. For more than a decade this characteristic ensemble was the only one of the kind on the concert stages and helped to discover and present through sound and word, myth and legend, tales and narrative songs and the unusual already forgotten folk instruments – to Slovene population and to foreigners – Slovene history and the sonic harmonious pulse of the Slovene soul. After a decade of its activity a number of followers to the ensemble emerged, and Slovene musical folk tradition began to be revived in various modes by ever more numerous ensembles performing “music on folk themes” (especially after the year 2000). But these were mainly inclined to musical arrangements of traditional tunes into more popular modern forms. But the ensemble Trutamora Slovenica, even after the three decades, still faithfully follows its initial eager intentions to revive and reconstruct Slovene folk songs, dances, tunes and instruments of the past times on the basis of archival materials. In the style of other vocal-instrumental groups for the music of the past the members of the ensemble – like keepers in the gallery of folk sound – continue to present the Slovene musical folk tradition, i.e. the archival and field records as “museum exhibits”, cleansed and staged, but interlaced with their own performing experience.

Dr. Mira Omerzel – Mirit and the ensemble received numerous awards and honours for their merits in artistic, educational and scientific fields.

The creative impetus of the ensembles has been expressed in septennial cycles. The first septenary, dedicated to the investigation of Mira Omerzel (from 1971 onwards; her secondary-school years) into Slovene folk instruments and sound producing implements, was followed by the period of stage presentation of folk instruments and performance of folk songs, and then by the septenary of investigating and developing vocal capacities. In the fourth septenary, the ensemble was deeply immersed in the investigation into the profound mysteries of sound and tradition, and the forming capacities of the frequency Universe which in the past, like a sensitive compass, told the way to our ancestors to transcendental "reality" of hearing (and of other senses) and consciousness, and conditioned the form of folk instruments and the themes and contents of folk songs. Therefore, playing, singing, listening to and investigating folk tradition means immersing into the essence of sound, into the centre of ourselves, into the very essence of nature, into the psycho-physical capacities of voice, spirit and body, the search for archetypal structures of human timeless messages. Through ever more thorough investigation into the universal wisdom, which has mainly been forgotten by contemporary people of the atomic era, although it is of equally fundamental importance for us as it was for the people of the past millennia, the ensemble entered the fifth period of its activity, which requires the investigation into the transcendental essence of sound and tradition as well as the search for common origins of art and folk music of the past centuries, the disclosing of the forgotten or overlooked modes of music making and vocal techniques, and the discovering of oneness and timelessness, or the timelessness of human sound structures and discoveries.

The performers as media are channelling the “guided sound” which flows through them without the interference of their minds, and during this process they are using shaman instruments of the planetary forefathers of diverse peoples and cultures:

- pre-historical bone flutes, bororos and scrapers
- Indian wooden flute
- Slovak fujaras
- Slovene and European žveglas
- European clay ocarinas
- Aborigines’ singing tube didgeridoo
- Mayan clay and wooden flutes
- Oceania’s nasal pipes
- Slovenian, European, Indian and Philippine pan-pipes
-------------------------------------------------------------------------------
- Tibetan horns
- Oceania’s conches
- Himalayan singing bowls
- Alpine horn
-------------------------------------------------------------------------------
- Hawaiian calabash drum ipu
- Siberian-Hakasian shaman drums
- (American) Indian drums and India’s drums
- Egyptian and Nepalese drums and tambourines
- Nepalese gongs and cymbals
- medieval string drum
- European mouth harps
- Australian, Polynesian and European voicing sticks
- percussions and shakers of diverse traditions
-------------------------------------------------------------------------------
- Slovene cimbalom
- Slovene and Hungarian drsovce zithers
- European medieval string psalteries
- Slovene medieval dulcimers
- Hakasian-Tuvan chartan
- Hawaiian guitar ukulele
- Balkan tamburitzas
- Slovene violin and harp zithers
-------------------------------------------------------------------------------
- Bali bell utur
- African metallophone kalimba
- xylophones, metallophones and bells of diverse traditions
- modern metal bells (of pure
cosmic frequencies)

The ensemble is focused on the investigation of sound-producing consciousness and its functioning. In the world of expanded sound-producing consciousness which decomposes within the non-substance and substance world, or forms the multidimensional Realities, the performers reach into the multidimensional world of sound vibrations which transcend our limited linear (conceptual) mind (time and space) and physical reality. They enter the transcendental experience of consciousness and sound and the cosmic sound telepathy in which
the sound is no more the physical frequency only but has (also in millennia-old traditions) its own temperature and energy, structure, volume, colour, resonance or beauty, which is the harmony of consonance. (While the dissonance points out disharmony!) Thus, the performers enter the experience which through “guided gesture” and “guided sound” brings the basic sound constituents and light-sound codes that are necessary for our spiritual transformation, consciousness rising, development, limitless creativeness, (self)healing, etc.

In the past centuries and millennia music making (spiritual healing) in the transcendental state of consciousness (when the mind is tranquillized and only receives or channels the sound for the specified moment, space and the present audience) was the only valuable musical practice of unrepeatable sound, which was the practice of sages, healers and shamans. Its performers use diverse vocal techniques (nasal singing, guttural and harmonious singing and the singing of harmonious tones…) and instruments and sound producing implements of the world heritage, the basic purpose of which has always been to clean and balance the (frequency) world of human thoughts, emotions, soul and body and expand the world of perception of hearing, seeing, touching, etc., and intuition, and awaken the dormant capacities, even the so-called cosmic telepathy. Most efficient to serve this purpose are the flutes of diverse traditions, Tibetan bells, cymbals, Bali bell, singing bowls, African sansas, drums of diverse musical traditions/ Greek, Tibetan, Indian, etc. Their purpose was to break to pieces the unwanted and destructive mental-emotional energy blockades and forms in humans and in their environment. Different horns /Tibetan, European, Nepalese, etc…, percussion instruments and shakers of diverse peoples of the world, Oceania's conches, etc... are just the things for this purpose. In order to connect us to the planetary sound of existence – the Geo-tone G, which is produced by the still existing European and Slovene drone zithers, bag-pipes, hurdy-gurdy, Australian didgeridoos, Himalayan singing bowls, Siberian string chartan, etc., and reach the multidimensional levels of the Universe. Tuned to the same purpose are also the Slovak fujaras, Himalayan singing bowls, European mouth harps, xylophones and metallophones.


Thus in the time in which we live the spiritual wisdom of the almost forgotten traditions meets again the needs and spiritual awakening and the search of contemporary humans.

Vedun is an ancient Slovene name taken from the old Slavic heritage, which denotes a performer of healing rites: a bajalnik (male) or bajevka (female), i.e. the one who heals with words = sound; also vorožec, a wizzard who posesses a secret knowledge and heals. The 'charms' – ritual means (help for oneself and for others) are diverse: from healing potions to verbal (sound) formulas... We have taken the name from our Slavic heritage, which denotes a person who can 'heal' a soul and body also with words, i.e. with voices, vocals, consonants, sounds, tones, noise, rumble..., which all compose the sound language, or, the sound tools for developing counsciousness. The word VEDUN originates in the verb vedeti (to know), which roots in the Indoeuropean linguistic heritage, in the word vidja (awareness, knowledge, vede, vedanta...).


on top