Sahumerio Shaman Incense Blend

Sahumerio Shaman Incense Blend

Sage Smudging is one of the most traditional and common ways to clear and bless a space or an object. Smudging is simple and direct: Just light the sage bundle, blow it out so it smolders, and walk around the room or house, fanning the smoke. This works for most home clearing needs.

A New Smudging Alternative

Smokeless Smudge SpraySometimes people ask if there is an alternative, either because they do not like the scent or because they don’t like smoke or because they’ve tried smudging with sage and it isn’t as effective in their space. Of course, we offer smokeless smudge spray for those who can’t do a smokey smudge. Our spray is a blend of sage, cedar and sweetgrass oils to provide energy clearing in places where smoke can’t go.

Palo Santo Smudge StickPalo Santo (Holy Wood) is what we have traditionally offered as an alternative traditional smoke. Palo Santo wood is the blessing wood traditionally used in South American Native Cultures.

Now we add a third option, Sahumerio, which includes Palo Santo as its main ingredient. It also adds more herbs in a mix of plants which is used in Peru by Shamans for house clearings. It is a powerful purifying blend drawing from multiple cultures. We’ll detail the historical use of each ingredient here, in case you want to mix your own.

This is a blend of herbs and woods which can be burned on a small charcoal tablet in a heat safe dish and used to smudge an area, person or an object.

What is Sahumerio?

Sahumerio Shaman Incense Blend:  Palo Santo, Eucalyptus, Rosemary, Alucema (Lavender) and Myrrh

Sahumerio Blend

Sahumerio literally means perfuming with incense. This Sahumerio mixture is the combination of Palo Santo, Eucalyptus, Rosemary, Alucema (Lavender) and Myrrh. This incense mix is traditionally used by shamans in Peru to do ceremonies for purify houses and take out the bad energy. Creates a protective boundary, as well. [Read more...]

Make Your Own Spirit Drum

Make Your Own Spirit Drum

Used for millenia by Aboriginal peoples for devotional, celebration, healing, and journey work, the drum is a sacred tool to connect with the spirit of the earth and the spirits of the otherworld. Making your own drum is a spiritual journey of it’s own… one that you will remember for the rest of your life.

Drum Making Workshop

Drum Making Workshop

You can do this…

Just choose which size drum you wish to make. The cost of the workshop and all materials is included in the cost of the class. You have your choice of making a 13″ Drum, or a 16″ Drum for a little bit more. Select your drum size when you register.

  • Date & Time: February 9th (Saturday) 1-6pm
  • Location: Eye of Horus, 3012 Lyndale Ave S., Minneapolis, MN 55408
  • Register by Phone: 612-872-1292 or register online.

All materials will be provided to you, though if you wish, you can bring a rock or stone which will become the heart of the grip behind the drum. Also bring your desire to have a drum or create something unique. Also note, you must pre-register for this class. There will be no room for walk-ins, it is already filling up.

Click button to register for drum making class

What happens in class

Wayne Manthey, Master drum maker, has taught hundreds of people how to make their own drum. You will start with a pre-constructed cedar frame, deer hides, and a bucket of walnut stain. (Yes, you should dress for messy work or bring a smock to wear).

First, choose your frame, lay out the hides and take a few moments to connect to each piece and to envision them coming together to create one entity.

After cutting out the drum circles, master drum maker Wayne Manthey will take you, one step at a time, through the rest of the process. Perhaps we should say making your drum is a journey because, through story and shared experience, you will come to understand this instrument which is core to so many cultures and healing traditions.

The drum is the circle, it is the cycle of life. It is the earth and moon and all of these things to those who use the drum for trance or spiritual work. When you make your drum, you will honor the four directions and the center heart of the earth. There are no words that can completely describe what it feels like to make your own drum, except maybe magic.

Wayne Manthey on Drum Making

As I started making drums, I was especially interested in the vibration of rawhide and the sound it makes.  Once I was able to consistently achieve the quality sound and felling I was looking for, assign antlers, wood, stone, and lacing variations made the drums more decorative and visually pleasing.

The healing properties of a drum are found in the elements that make it:  wood and animal hide.

Making personal frame drums is a journey that is individually and spiritually meaningful.  Teaching drum making classes involves storytelling and introspection.  The drum symbolizes the heartbeat of life, the heartbeat of community.  It is not simply an art form, but a tool for cleansing, centering and focusing one’s intentions for health and happiness.

Drums teach responsibility.  Making them is an honor, a meditation, and continue to reveal lessons for me as well.

Don’t miss a beat

The goal of life is to make your heartbeat match the beat of the universe, to match your nature with Nature. ~Joseph Campbell

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The Visionary Art of Paul B. Rucker

Take a journey through physical self, levels of consciousness, and into transcendent realms.

Inspired by myth, diety and personal revelation, Paul paints vivid colors and light-lines to evoke the dancing energy surrounding both traditional and new mythic figures. His original art is featured at the Eye of Horus, both on our gallery wall, as well as throughout the store.

We also carry some of these images and several of his other works as limited edition prints, all in runs of less than 500.  Prints start at only $15 for limited edition, archival quality prints of 24 of Paul’s paintings, both in the store and in the Art of Paul Rucker section of our online shop.  Each is signed and numbered by the artist and come with a certificate of authenticity.

Interview with Paul Rucker

We sat down with Paul to talk about his work and inspiration. We ended up with five short videos which explore the nature and understanding of life and the divine. Click here to go to the YouTube playlist.

In Part One of the interview, below,  Paul talks about his early experiences and how archetypal beings, gods, goddesses became the driving force behind his art. We also discuss his current work with body painting, ritual theater and sacred drama. Art, as he strives to create is Mythopoeic work, and artists reshape the Mythical Matrix.  We also explore the vibrancy of  Paganism.

In the second half of the interview, below, Paul explores the creation and meaning of two of his works. The first is his image of Melek Ta’us.  The second is image of Oshun.  We talk about how he doesn’t just set out to depict a pantheon, rather he connects with and answers the call to paint a divinity, and finally, Paul reflects on nature’s wisdom.

In His Own Words

Androgyne

Androgyne

As a small child I shared my visions by making pictures. That act of magic still sustains me.

When still very young I dreamed of a White Stag that took me to a moonlit grove, wild and rambling, filled with Gods’ names. Not the “Names of God” but the names of the Gods and Goddesses of the world. To stand anywhere in that holy place was to feel each Divine personality completely. All were there, every divinity the human world had ever known, and the Stag of the Moon leading me on and on… even then I knew my task was to bring that magic back to this world, somehow, through making images.

I think of myself as part of the Tribe of Dream… the people who bring heightened reality into the world through art and other acts of creative sorcery. View a video of Paul as he discusses the mythic symbolism of The Androgyne.

The Art & Appearances

I paint in acrylic and occasionally in other water-based media and in oils. I draw in pen, pencil, and mixed media. Other experiences involve creating theatrical backdrops, murals, collage, sign painting, mask-making in clay and paper-mache, silk painting, costuming, and elaborate face and body paintings.  In 1997 my art was featured in a mixed-media collaboration by the performance group Body Prayers at the Merrymeet festival. In 2006, 2007, and 2009, my “Blue Man” persona extended the boundaries at the Faerieworlds Festival in Oregon.

My images have been featured on and in magazines such as Green Egg, Hecate’s Loom, Mezlim, Psychedelic Illuminations, Tapestry Journal, and Reclaiming Quarterly.  In recent years my exposure has grown to include Spellcraft, Witch Eye, Faerie Nation Magazine, and the Green Egg Omelette anthology. I’ve provided work for card games, logos, T-shirts, brochures, and CD album covers: Ancestor Energy and Mojo Roots: “Prakriti’s Kiss.”

Paul Talks about his Influences

In the beginning, of course, were the dreams and visions I had no words to express, which led me to make pictures. Very early influences include the lush and amazing illustration in childrens’ books of the late 60s and early 70s– such as the work of Leo and Diane Dillon, who illustrated many of the most fantastical of the stories included in the Silver Burdett Reading series. Saturation in literature came fast and deep. To this day I think of myself as a “writerly” painter, because my art always alludes in some way to story and myth.

I never cared for mere realism, since one could see that anywhere, and far too much of it besides. In reading faery tales, I never identified with the hero or his/her sidekick the way I was “supposed” to– it was their faerie guardian or angelic helper or radiant friend/enemy from the Otherworld that held me fast.

Later on I delved into my parents’ collection of the Time-Life series of “Great Masters of Art”: my fascination with mythological images and scenes, paralleled what I was learning about Greco-Roman, and later Egyptian, Norse and Indian mythologies. I learned about who, or at least of what nature, the supernal personalities I saw in my dreams and sidelong visions were.

In college I began to make an active effort to expand my inner sensibility by studying and incorporating artistic/spiritual styles from many different cultures, most notably Asian art: Moghul images, Tibetan Thangkas, and so forth. Exposure to psychedelics and “entheogens” obviously left a mark as well. But after graduation I continued to work to expand the boundaries of my inner eye: gathering books for instance of artists just beyond my range such as Frida Kahlo and Gauguin, so that I could taste where their work and style was coming from.

Gremlin Fugue by Paul B. Rucker

Gremlin Fugue

One of my most important epiphanies came from a book on Aboriginal art: the frontispiece showed nothing but a dark and wrinkled hand, presumably the artist’s, lightly touching an Aboriginal painting done in undulating dots. I suddenly got it: these were energy paintings! Ever after I searched for more primal and trans-cultural ways to relate to these styles: Huichol, shamanic arts. The more I learned the more I realized how to learn; that the arts I had the most affinity for and that could teach me something, came from the same current of relating to the world in its invisible, energetic, and more than ego-based aspect: the universe was not a stage for the ego, and the world not simply its tool and plunder, but an infinite diversion of living beings, a “great story.”

Perhaps the ongoing journey between the two hemispheres of my own brain in absorbing Images and Music and Stories, then studying philosophy and discourse relating to expeditions “behind the veil” of ordinary reality, has shaped my approach to my themes and subjects. View a video of Paul discussing his meld of music and art – Gremlin Fugue. I find the greatest meaning in my art as a marriage of content as consciousness (understanding) and content as transmission from the nonrational and often surprising Undermind. I see my work as ongoing dispatches from a miraculous theater of myth and meaning, out there, in the Otherworld.

Paul B. Rucker originals showing at Eye of Horus

Eye of Horus also has two of his Pen and Ink originals available: Mother Goddess and To Dance for Iblis.  Prices for the original paintings start at $900 and the Black and White originals are $350.