Land Acknowledgement

I acknowledge that my work and gatherings are on the traditional territories of the Neutral (Attawandaron), Anishinaabek, and Haudenosaunee peoples, within the lands of the Haldimand Tract along the Grand River. I give thanks to the traditional keepers of this land. I honour the Dish With One Spoon Wampum teaching as a powerful and ancient Indigenous teaching that originates from the Haudenosaunee and Anishinaabeg peoples: a sacred reminder to share this land with care, to co-exist in harmony and resource share, to take only what we need, and to protect the land’s abundance for the generations to come.

A note on drumming, singing, sounding, smoke cleansing practices and more…

In my embodiment spaces, I offer practices such as smoke cleansing with Cedar, drumming, sounding, and singing with the utmost reverence. These are medicines of the people, of all people, and ancestral gifts that connect us beyond culture and time.

I use Cedar primarily because it is not overharvested like White Sage. I personally gather, bundle, and dry the Cedar through my own ethical relationship with the land. If I ever do use White Sage in my spaces, it has been sourced ethically and used with care (grown and harvested sustainably, not wild harvested). I do my best to avoid using the word smudging, as I acknowledge that, on the land where I live, this term is tied to the traditional ceremonial practices of Indigenous peoples.

Smoke cleansing is a practice found in many cultures for cleansing, prayer, and blessing. In my work, I use plants and methods from my own ancestry, training, and my deepening relationship with the plants of the land I live on.

Drumming and singing practices are healing medicines shared across many cultures worldwide, including Middle Eastern & Mediterranean Lineages, Indigenous nations, Central/South Asian & Indian Lineages, European & Celtic Lineages, East & North African Lineages, and more. Frame drumming is one of the oldest known musical traditions in the world and appears in multiple, unrelated lineages across continents. It carries the heartbeat of community, ceremony, healing, and connection with these sacred practices that remind us of our deep belonging and the communal bonds that sustain us. In my work, I honour this shared lineage of drumming and singing as a universal language that connects us to ourselves, to each other, and to the rhythms of the earth. Rhythm is innate, it is the most natural thing on the planet. This medicine belongs to all of us.

We have long forgotten many of the community rituals that bridge separation, and it is the intention of my work that we remember we are simultaneously sovereign and all one. Our survival depends on connection, on community.

I honour and respect my own ancestry. I am of Indian, East African, and Irish descent. I honour all the people who have come before me, whose legacies carry through these shared medicines and practices.

A note on Feminine Shamanic Traditions and Archetypical Work…

My work draws deeply from feminine shamanic lineages and traditions, as well as archetypal and goddess wisdom. These teachings offer profound pathways into embodiment, healing, and reclaiming feminine power.

Feminine shamanic work includes connection to nature, the ancestors, cyclical wisdom, spiritual practices and rituals, dance journeying, intuition, and altered sates of consciousness. This work is rooted in the sacred feminine energy, and honouring feminine wisdom across many cultures. It is my belief that this work is desperately needed during this time on Earth.

I approach these practices with humility and reverence, aware that the term “shaman” holds sacred meaning in many Indigenous cultures.

In weaving feminine shamanic practices into my offerings, I hold space for the ancestral feminine energies and archetypes that live within us our very bones, inviting a connection to the wild, wise, and sacred aspects of ourselves that support healing and transformation.

This work is often inspired by, or draws from, a variety of folk, earth-based traditions, and cross-cultural feminine wisdom, but it is not synonymous with any one specific Indigenous shamanic tradition.

It is my truth and my path to steward this work, and I offer it with deep care and respect for teachers who have inspired me.
Please see below for an acknowledgement to my teachers.

An Acknowledgement to my Teachers

I acknowledge the following teachers as guides on my path, whose wisdom and presence have shaped my journey and offerings
(listed in no particular order)

• Mother Earth, the land, and her endless wisdom

• My own sacred body

• Camille Willemain (feminine shamanic teachings and wisdom, archetypical expression)

• Peter Levine, Joshua Sylvae, and Somatic Experiencing International (somatic experiencing modality)

• Julie Gaia (folk herbalism, traditional land teachings)

• Maria Mendola (myofascial release)

• Stephen Porges and Deb Dana (polyvagal theory and attachment healing)

• Genevieve Yellin and TIYT (trauma-informed practice)

• Richard Miller and iRest Institute (Nidra, visualization techniques, and Dyad somatic work)

• Thomas Hanna and Sarah Warren (somatic movement)

• Kimberly Ann Johnson (somatic trauma healing)

• Kaitlyn Holsapple (feminine somatic practice)

I honour my teachers, their teachers, and the teachers who came before them. We are so lucky to be alive in a time when such rich knowledge is so readily accessible, and I am deeply grateful for the teachings I have had the privilege and honour to receive and practice.