Our band is called Soma. Soma was a ritual drink in ancient India and Persia. It is unclear from which particular plant it was made. However, its role was to cause change in consciousness in the worshippers.
In shamanic cultures, a sacred plant is also a spirit, who grants healing. In Hinduism, Soma is also a god. In the hymns dedicated to him, Soma is identified as giver of energy and riches.
According to a legend, divine hawk Shyena brings the drink of Soma from heaven to earth in order to revitalise and rejuvenate things there. This is why we asked a talented artist Rachel Johns (who used to play with Sandi and Oxana in Incidentals) to put a bird of prey on our band’s logo.
Sandi is also an artist. She designed the headdresses that she and Oxana wear during the band’s performances, as well as the showpiece headdress that sits on the stage.
Soma showpiece headdress by SandiContemporary natural headdress1903 ball: Princess Olga K. Orlova
Soma’s 2017 programme followed the wheel of the year: from the birth of light on Winter Solstice with Ukrainian Carol, through the flowing of plant juices and sexual energy on May Day with the Serbian song Lazare, to the melancholic I Shall Find You by Inanna Sisters in Rhythm, finally arriving at the dead of the year with Serbian Evil Wood Nymph Dimna Yuda.
Sandi got inspired by Russian and Ukrainian traditional and contemporary flower headdresses. Our showpiece headdress tells a story of the seasons, flowing from winter on the left to fruitful autumn on the right, and was made mostly from natural materials and handmade paper flowers.
Sandi and Oxana sport beautiful headdresses by Sandi at Soma’s performances, as this recent one in the Blue Pig, Midgehole.
Soma at the Blue Pig, 10 March 2018Kokoshnik
The headdresses were inspired by ancient traditional Slavic costume, particularly Russian, Bulgarian, Polish and Ukrainian headdresses, such as the Russian “kokoshnik”, which is worn high on the head.
Sandi also drew inspiration from contemporary Slavic and tribal fusion headdresses. In addition to this, the metal detail and the dangling ends are reminiscent of the ceremonial attire of Siberian and South American shamans.
Ukrainian girl by Nikolay Rachkov (2nd half 19 c., Chernigov museum)
The headdress’ shape refers to the traditional Slavic kokoshniks and wreaths. However, the addition of the feathers brings about the images of shamans. At the same time, the feathers are artificial and thus bring us back to the present moment.
Tuvan Shaman
Soma the band is about connection in every sense of the word. Our music is influenced by ancient and modern traditions from around the globe.
Our headdresses are supposed to invoke the sense of ceremony and tradition, while being modern and playful at the same time.
We turn this composition into a little quiz game with our audiences. We ask the name of it and where they have heard it before. See if you can tell.
Oxana, of course, had known Miserlou only as an opening titles tune for Quentin Tarantino’s Pulp Fiction. Oxana is a huge Tarantino fan and played Honey Bunny in a skit for Initiation Day in her University.
Andrew and Steve, being better musically educated, knew that Miserlou had been recorded many times before Tarantino had an insight to use the song for his seminal piece of cinematography.
In fact, Spotify has hundreds of versions. But it was Dick Dale’s American surf rock version of Miserlou that took flight to fame thanks to Pulp Fiction. Steve does a bit of riffs on his mandola in honour of that version for us.
Trivia point: the word Miserlou means “Egyptian.”
The history of this tune is long, complicated and contested. A few cultures claim it as their own. However, it seems to be generally agreed that it comes from Greek and Armenian minorities in the Ottoman Empire. In early 20th century these people moved to the US, bringing their music with them.
Sandi and Oxana play Layne Redmond‘s patterns for her performance composition Translucent Path. We use the “double section” that Layne wrote for our grand finale, when the boys on tune instruments stop and give us girls a chance to be wild.
I never met the late Layne Redmond in person. I learnt from her DVDs, CDs and her book. Nevertheless, what I do now with passion: frame drumming, and the circle of friends that I have got around me, is all due to her work.
I am Oxana Poberejnaia. I come from the Soviet Union. I live in Todmorden, England, UK.
Soma: Steve, Sandi, Andrew, Oxana 2017
Here is my website. I write poetry and prose and paint watercolours. I play frame drums and sing in a world music band Soma.
Oxana’s first frame drum 2011
A few years ago, I started going to local drumming circles. Usually they had dozens of hand drums there, and just one or two frame drums – and I was drawn to them. I got a 22″ Renaissance drum in summer 2011 and started practicing. I know, not the best choice for a beginner, due to its size, but I loved its vibrations. They went right into my body. I also loved watching Layne Redmond and Miranda Rondeau, Layne Redmond’s disciple, on YouTube.
Teaching public members at Meet the Makers 2013
I got Layne Redmond’s When the Drummers Were Women, her training DVDs and CDs all at the same time. I practised frame drumming by day and read the book by night.
Spirituality and frame drums with Jo and Jayne of Incidentals 2013
I am a feminist, so I am fascinated with the Sacred Feminine. This is another reason Layne’s book has been such an inspiration for me. Frame drumming turned out to be the real practical way to abide with Goddess. In time, I wrote a post in honour of Layne’ life for the international blog Feminism and Religion, where I am a regular contributor.
Todmorden Frame Drum Group 2013
From the very beginning, I have felt that the most important part of playing frame drums is playing them in a group and connecting with other people and the rhythm of life, together.
This is how the idea for Todmorden Frame Drum Group was born. Then the lovely Filo, the Taranta master and Jayne Johnson, a Shamanic drummer (who was in my Beginners’ drum class and then in Incidentals) agreed to lead a session each.
Todmorden Frame Drum Group 2013
In April 2012 I sent an email to Layne thanking her for her work and telling her about my plans. She replied:
Hi dear, I’m so glad you are so enthusiastic! I want more and more women to begin frame drumming!
Incidentals: Oxana, Jayne, Rachel 2013
I started teaching a small group of female friends in September 2012 and in July 2013 they became my Intermediate group, as I set up a new Beginners’ class in a local community centre.
I notice how women instantly feel the magic of frame drums.
Photo by Sarah Baldry, Incidentals 2015
They smile and laugh, they become animated and they say things like “I don’t have the sense of rhythm (or “I am not musical”), but I love frame drums!” Women of all ages and all backgrounds are drawn to frame drums.
Once when on holiday in Crimea I taught a Russian friend frame drums, and she picked up Layne’s rhythm Uma faster than anyone I had ever seen in my life, including myself. A middle-aged British lady in my Beginners’ group got herself a frame drum just after two classes.
Incidentals with Ania, organiser of a Ukrainian charity event 2015
Days before Layne’s death I received by post her signature Lotus Tambourine, which Layne developed with Remo. The first time, when I sat down with the tambourine to watch Layne’s training video, she was in the same world as I, and the very next day she was gone. At the moment, we at Soma rehearse a fusion MiddleEastern/Jazz instrumental piece, where I play that very tambourine.
Incidentals performing in Bacup 2014
I posted one of Layne’s last messages, from the time she was teaching her last frame drumming retreat. Please take time to read the eight lovely tribute comments that people left on our website. Most of them, like me, did not know Layne personally, but had been deeply affected by her work.
Layne and the Goddess gave me so many gifts: frame drumming is one. All my friends, whom I met through frame drumming, soon followed.
Incidentals and friends at Bacup Christmas Fayre 2013
One friend from the original Incidentals, Jayne, taught me shamanic journeying.
I also had an adventure: my best friend plays bodhran. In May 2013 we went to Anglesey on a pilgrimage to pre-historic Standing Stones and Burial Chambers, by which we played our drums.
Oxana on Anglesey
Sandi of Incidentals, who learnt from Layne together with me and who was also impressed by Layne’s book, and I went to the local French and Breton music workshops.
There we found Andrew, who now plays clarinet, harmonium and drums in Soma.
We still use Layne’s frame drumming patterns in our music.
We play “I Shall Find You”, a song by Tori Morrill&Al Newman. Inanna Sisters in Rhythm, who has originally played it, kindly gave us permission to perform the song and even shared their score notes!
Steve
Inanna Sisters in Rhythm also count the late Layne Redmond as one of their teachers.
No one can take her vital, creative and uniting spirit from us.
A frame drum is a drum traditional for many Middle Eastern, Central Asian, North African, Indian and Native American cultures. The depth of its frame is much smaller than the diameter of the head (where you beat it with your hands or a beater).
Tar, Tambourine, Daf, Bodhran, and Shamanic drum are all examples of frame drums. They can be played with hands or with a beater. In Soma, Oxana and Sandi play modern drums made with synthetic drum heads. These are made emulating traditional frame drums from the Middle East, such as Tar.
Oxana and Sandi learnt frame drums from Layne Redmond indirectly with the help of her DVDs and CDs. Layne Redmond was an American frame drum player and teacher. She wrote When the Drummers were Women where she traces the spiritual history of rhythm.
In her book, Layne presents a story of the Goddess and her priestesses playing frame drums. She discusses sound, vibration, and the moon cycle. Many people found that Layne gave them a key to recovery of sacred women’s frame drumming practices for today’s world.
Sandi also drew inspiration from contemporary Slavic and tribal fusion headdresses. In addition to this, the metal detail and the dangling ends are reminiscent of the ceremonial attire of Siberian and South American shamans.
Tar, 
In her book, Layne presents a story of the Goddess and her priestesses playing frame drums. She discusses sound, vibration, and the moon cycle. Many people found that Layne gave them a key to recovery of sacred women’s frame drumming practices for today’s world.
Soma 