Figure 4 - uploaded by Detlef Schlich
Content may be subject to copyright.
Source publication
This paper explores the postmodern [quasi] shaman/artist and the potential of shamanism as a therapeutic tool benefiting and curing our ´online` culture in order to maintain their audience in the ´offline` world. A rising number of people no longer retain their place in just one physical world whereby they challenged our contemporary understanding...
Context in source publication
Context 1
... I first performed this work, in 1964, I did it with some anger and some turbulence in my heart. This time I do it with love for you, for me, and for the world. Come and cut a piece of my clothing wherever you like the size of less than a postcard, the one you love. My body is the scar of my mind`. Alejandro Jodorowsky (1929) is a filmmaker (Fig. 14), writer and innovative psychotherapist 75 living in Paris. His work has been influenced by the transformative power of shamanic and genealogical principles. His method to heal is to use the powers of dreams, art, and theatre. 76 thing, rich developers have visions, councils have visions. Archaic culture has become part of ...
Citations
... Aado Lintrop studied the representation of neo-shamanism on Internet, classified the neo-shamanic sites according to ideological and substantive criteria, and also considered communicative features of neo-shamanic experience representation on Internet (Lintrop 2009). Detlef Shplich explores the phenomenon of cyber-shamanism, highlighting the functions and types of roles of shaman artists in the digital environment (Shplich 2016). Among the studies of how Internet communications impact the social practice of Russian neo-shamanism we can point to only our own article where the types of sites and social media pages were identified, the gender and age characteristics of the audience and unified structures for the representation of shamanic experience in social media were determined (Ivashchenko, Ivanov, and Elinskaya 2019). ...
This paper presents an analysis of how neo-shamanic communicative practices have evolved in Siberia and the Russian Far East over the last four decades. We identify three social cultural factors that have facilitated the spread of neo-shamanism: the ideological vacuum left by the collapse of the Soviet system; foreign missionaries and their work; and ethnic revival. We discern three periods in the development of the communicative practices according to a respective key process in each of them. During glocalization , followers of experiential neo-shamanism and initiators of the revival of indigenous shamanic traditions act as agents of communication. During institutionalization , what takes place is typification and streamlining interactions with mass audiences, with government agencies, tourism industry and artistic practices. The period of hybridization is the time when neo-shamanic elements merge with parapsychology, business consulting, fine arts, and when neo-syncretic forms are created.
