The ritual space was organized in a series of concentric semi-circles.   At the top of the innermost semi-circle was the altar and Mongolian shamanness with her assistants.   Around the shamanness, also grouped in a semi-circle, sat Buryat shamans who would support her with their own prayers. And behind the shamans, was the audience. It was strictly prohibited to go behind the altar - "you will become seriously ill if you do," local shamans warned the public.   An assistant passed the shamanness her big drum and drum stick fitted with metallic rings.   The séance began.    Striking her drum, the shamanness began chanting, invoking the spirits of her ancestors.   At first monotonous, her chanting was gradually gaining strength and her movements were becoming more energetic. Her breathing became heavy as she danced, alternating her original monotonous chant with animal noises, rattling in the throat, and melodic refrains in different registers, expressions, and styles. All this time, her assistants were behind her, following her every move with their hands spread out but not touching her as if ready to catch her if she fell. After a few minutes, she raised the drum up to the sky and started jumping in rhythm with her chanting, accompanying every jump with a drum strike.   Eventually, her movements became jerky while chants turned into gargling.   "The ongon (ancestral spirit) has entered her," N., one of the senior ethnographers from our bus, whispered in my ear. "Wow, she is really powerful." NEXT