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A fascinating exploration of an ancient system of beliefs and its links to the evolution of dance. From Southern Greece to northern Russia, people living in agrarian communities have long believed in “dancing goddesses,” mystical female spirits who spend their nights and days dancing in the fields and forests. In The Dancing Goddesses, archaeologist, linguist, and lifelong folkdancer Elizabeth Wayland Barber follows the trail of these spirit maidens—long associated with fertility, marriage customs, and domestic pursuits—from their early appearance in traditional folktales and harvest rituals to their more recent incarnations in fairytales and present-day dance. Illustrated with photographs, maps, and line drawings, the result is a brilliantly original work that stands at the intersection of archaeology and folk traditions—at once a rich portrait of our rich agrarian ancestry and an enchanting reminder of the human need to dance.
Blending theory, criticism, and ritual, reveals the foundations of the ancient tradition of "matriarchal art," and shows how that tradition flourishes in the works of major contemporary women artists and in contemporary women's spirituality.
Blending theory, criticism, and ritual, reveals the foundations of the ancient tradition of "matriarchal art," and shows how that tradition flourishes in the works of major contemporary women artists and in contemporary women's spirituality.
Dark, earthy, and immensely powerful, the Black Goddess has been a key force in world history, manifesting in images as diverse as the Indian goddess Kali and the Black Madonnas of medieval Europe. She embodies the energy of chaos and creativity, creation and destruction, death and rebirth. Images of Her, however, have been conspicuously missing in the Western world for centuries—until now, when awareness of the Goddess is re-arising in many spheres, from the women's movement to traditional religion, from the new discoveries of quantum physics to the dreams of ordinary men and women. Why now particularly? The answer provided by Marion Woodman and Elinor Dickson is bold and thrilling: the reemergence of the Divine Feminine in our time indicates our readiness to move to an entirely new level of consciousness. The reemerging Goddess calls for a shattering of rigid categories, a willingness to hold opposition. She calls us to marry reason and order to creativity, and to embrace the chaos that can ultimately lead to wisdom and transformation on personal and global levels.
Nemetona is an ancient goddess whose song is heard deep within the earth and also deep within the human soul. She is the Lady of Sanctuary, of Sacred Groves and Sacred Spaces. She is present within the home, within our sacred groves, our rites and in all the spaces that we hold dear to our hearts. She also lies within, allowing us to feel at ease wherever we are in the world through her energy of holding, of transformation. She holds the stillness and quiet of a perfect day; she is the stillness at the end of it, when the blackbird sings to the dusk. She is the energy of sacred space, where we can stretch out our souls and truly come alive, to be who we wish to be, filled with the magic of potential. Rediscover this ancient goddess and dance with a Druid to the songs of Nemetona. Learn how to reconnect with this goddess in ritual, songs, chants, meditation and more. ,
The essays in this dynamic compilation are a testament to dance as a healing art. Widely interdisciplinary in nature and written by women dancers from around the world, they illustrate a rich array of dance practices, cultures, and disciplines and show how this expressive therapy can be both empowering and exhilarating. The women’s narratives all share a deep appreciation for the connection between mental, spiritual, and physical dimensions, offering dance as a transformative power of renewing and rebuilding that bond. Both personal and professional, the stories weave a vivid tapestry of lived experiences and insights, balance, and a community healed by dance.
Study of inner and outer adventure. Dance is life fully lived, offering us remarkable, experiences, memorable people and deep wisdom.
"This work provides information on the modern practice of Isis worship, portraying the goddess as a universal rather than specifically Egyptian deity. It contains rituals and exercises demonstrating how to divine the future using the Sacred Scarabs, cast love spells, and more."--Amazon.
Explores the growth, suppression, and modern reemergence of witchcraft as a religion, demystifying a misunderstood and maligned tradition and pointing out its relationship to feminism.
Tantra is a family of rituals modeled on those of the Vedas and their attendant texts and lineages. These rituals typically involve the visualization of a deity, offerings, and the chanting of his or her mantra. Common variations include visualizing the deity in the act of sexual union with a consort, visualizing oneself as the deity, and "transgressive" acts such as token consumption of meat or alcohol. Most notoriously, non-standard or ritualized sex is sometimes practiced. This accounts for Tantra's negative reputation in some quarters and its reception in the West primarily as a collection of sexual practices. Although some today extol Tantra's liberating qualities, the role of women remains controversial. Traditionally there are two views of women and Tantra. Either the feminine is a metaphor and actual women are altogether absent, or Tantra involves the transgressive use of women's bodies to serve male interests. Loriliai Biernacki presents an alternative view, in which women are revered, worshipped, and considered worthy of spiritual attainment. Her primary sources are a collection of eight relatively modern Tantric texts written in Sanskrit from the 15th through the 18th century. Her analysis of these texts reveals a view of women that is generally positive and empowering. She focuses on four topics: 1) the "Kali Practice," in which women appear not only as objects of reverence but as practitioners and gurus; 2) the Tantric sex rite, especially in the case that, contrary to other Tantric texts, the preference is for wives as ritual consorts; 3) feminine language and the gendered implications of mantra; and 4) images of male violence towards women in tantric myths. Biernacki, by choosing to analyse eight particular Sanskrit texts, argues that within the tradition of Tantra there exists a representation of women in which the female is an authoritative, powerful, equal participant in the Tantric ritual practice.