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Ancestry is big business these days, but mere biological genealogy fails to tap into our spiritual roots. The shamans of indigenous cultures have known for millennia how to do this. In this comprehensive cross-cultural survey, Dr. David Kowalewski, scholar and practicing shaman, offers several techniques for engaging the Old Ones the old-fashioned way. Although modern people have largely lost this tradition, the ancestors are coming back strong, along with the shamans—a welcome happening that may reverse our ancestor-deficit disorder. Drawing on a global survey of ethnographic reports, direct teachings from shamans of many continents, and experiences from his own shamanic practice, the author presents a wealth of useful ways that shamans have developed, around the world and across the ages, to connect with ancestors in both our realm and theirs. These include spirit-plates; effigies; pilgrimages; walkabouts; and trips with plant-spirits. Using these ancient techniques, indigenous peoples receive a variety of gifts from their Old Ones, including destiny guidance, healing, protection, and wisdom teachings. Yet some ancestors may behave like hooligans, causing psychological distress and physical woes, and even curses against a whole lineage. But these maladies are both prevented and countered by shamanic methods such as home cleansing, disposal of the deceased’s property, severance ceremonies, and the like. The author ends with practical takeaways—lessons from the lineages so to speak—showing how you and your ancestors, through concerted spiritual action, can co-evolve to higher spiritual planes. As a team.
In this tender picture book, Sara Florence Davidson transports readers to the excitement of a potlatch in Hydaburg, Alaska—her last memory of dancing with her late brother. It feels like my brother and I have always known how to sing the songs and dance the dances of our Haida ancestors. Unlike our father, we were born after the laws that banned our cultural practices were changed. The potlatch ban did not exist during our time, so we grew up dancing and singing side by side. The invitations have been sent. The food has been prepared. The decorations have been hung. And now the day of the potlatch has finally arrived! Guests from all over come to witness this bittersweet but joyful celebration of Haida culture and community. Written by the creators of Potlatch as Pedagogy, this book brings the Sk'ad'a Principles to life through the art of Janine Gibbons.
In 1884, the Canadian government enacted a ban on the potlatch, the foundational ceremony of the Haida people. The tradition, which determined social structure, transmitted cultural knowledge, and redistributed wealth, was seen as a cultural impediment to the government’s aim of assimilation. The tradition did not die, however; the knowledge of the ceremony was kept alive by the Elders through other events until the ban was lifted. In 1969, a potlatch was held. The occasion: the raising of a totem pole carved by Robert Davidson, the first the community had seen in close to 80 years. From then on, the community publicly reclaimed, from the Elders who remained to share it, the knowledge that has almost been lost. Sara Florence Davidson, Robert’s daughter, would become an educator. Over the course of her own education, she came to see how the traditions of the Haida practiced by her father—holistic, built on relationships, practical, and continuous—could be integrated into contemporary educational practices. From this realization came the roots for this book.
Anna Halprin, vanguard postmodern dancer turned community artist and healer, has created ground-breaking dances with communities all over the world. Here, she presents her philosophy and experience, as well as step-by-step processes for bringing people together to create dances that foster individual and group well-being. At the heart of this book are accounts of two dances: the Planetary Dance, which continues to be performed throughout the world, and Circle the Earth. The Circle the Earth workshop for people living with AIDS has generated dozens of "scores" for others to adapt. In addition, the book provides a concrete guide to Halprin's celebrated Planetary Dance. Now more than 35 years old, Planetary Dance promotes peace among people and peace with the Earth. Open to everyone, it has been performed in more than 50 countries. In 1995 more than 400 participants joined her in a Planetary Dance in Berlin commemorating the fiftieth anniversary of the signing of the Potsdam Agreements, at the end of World War II. More recently, she took the Planetary Dance to Israel, bringing together Israelis and Palestinians as well as other nationalities. Throughout this book Halprin shows how dance can be a powerful tool for healing, learning and mobilizing change, and she offers insight and advice on facilitating groups. If we are to survive, Halprin argues, we must learn, experientially, how our individual stories weave together and strengthen the fabric of our collective body. Generously illustrated with photographs, charts and scores, this book will be a boon to dance therapists, educators and community artists of all types.
An Ojibwe girl practices her dance steps, gets help from her family, and is inspired by the soaring flight of Migizi, the eagle, as she prepares for her first powwow.
Using storytelling and performance to explore shared religious expression across continents Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, Situated Narratives and Sacred Dance explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents, but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline. Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
It may be one of the most complex questions ever asked:What really happens to the soul after death?Some discarnate souls may cross over; others may stay in the earthy realm to help or protect family members; and other earthbound souls may need to work through psychospiritual dilemmas before being escorted to the Other Sidewith help from a shaman psychopomp. Dr. David Kowalewski relies on personal experiences and his studies with shamans of many continents to illuminate the mysterious worlds of life, death, and afterlife and share an inside look at the ancient craft of psychopomping. While presenting over ninety cases of psychopomp work, Dr. Kowalewski offers statistics that explain why souls become earthbound; relay how often unfamiliar spirits show up during journeys; and provide reasons why shamanic protocols, practices, and adventures with the dead in daily life can help the task along. Included are other fascinating examples of psychopomp practices of indigenous peoples from around the world. Death Walkersshares compelling stories and evidence for why there are ghosts around us and the important role shamans play in guiding these earthbound souls to their final resting places. Drawing on first-hand accounts and cross-cultural research, David Kowalewski offers us an engaging Western perspective on the art and methods of the psychopomp Bill Plotkin, PhD, author ofSoulcraft This is an important book for the times we live in, for as people die more consciously, the more conscious the earth becomes. Sandra Ingerman, MA, author ofSoul Retrieval
This book is a must read for anyone who would like to learn more about Dance in Mexican History. It is an especially important reference for teachers of Mexican Folkloric Dance who would like to incorporate Mexican Dance History into their teachings. Using the time frame of 1325-1910, Martínez-Hunter skillfully gives a brief overview of Mexican history accompanied by an analysis of the dances during this period. She begins by diving into accounts of the Aztec dances in Pre-Hispanic Mexico before and after the conquest. Then, she describes the Dance Dramas that arose when the Spanish began to Christianize the Indigenous people. During the Spanish colonization, Martínez-Hunter notes the ways in which theatrical dances were imported from Europe to Mexico; the influences of the court dances including the pavane, sarabande, and the chaconne which began in the New World and traveled to Europe; as well as the Indigenous, mestizo, Chilean, and African influences on the dances of Mexico. Then, covering the dances during the Independence of Mexico (1810-1821) until the beginnings of the Mexican Revolutionary War (1910-1920), Martínez-Hunter juxtaposes the popularity of the European ballroom dances with the dances of the peasant people known as jarabes and sones. To honor the life's work of Martínez-Hunter all the photographs of the jarabes and sones included in this book feature her dancers of the University of Texas at Austin Ballet Folklorico from the 1970s. They document her many contributions to Dance when she was a faculty member at this institution.
As one of the earliest art forms of humanity, dance has its roots in all kinds of activities and is deeply ingrained in human social life.