Ecstatic dance

Last updated

Ecstatically dancing maenad. Detail from a Paestan red-figure skyphos, c. 330-320 BC Dancing maenad Python BM VaseF253.jpg
Ecstatically dancing maenad. Detail from a Paestan red-figure skyphos, c. 330-320 BC

Ecstatic dance is a form of dance in which the dancers, sometimes without the need to follow specific steps, release themselves to the rhythm and move freely as the music takes them, leading to trance and a feeling of ecstasy. The effects of ecstatic dance begin with ecstasy itself, which may be experienced in differing degrees. Dancers are described as feeling connected to others, and to their own emotions. The dance serves as a form of meditation, helping people to cope with stress and to attain serenity.

Contents

In the ancient and widespread practice of shamanism, ecstatic dance and rhythmic drumming are used to alter consciousness in spiritual practices. Ecstatic sacred dances are known also from religious traditions around the world. Modern ecstatic dance was revived by Gabrielle Roth in the 1970s and formalised in her 5Rhythms practice; it is now found in variants across the western world. Attitudes to ecstatic dance have varied widely. In the 1920s, musicologists such as Paul Nettl and Fritz Böhme considered it primitive and unrefined. More recently, it has been compared to dancing in raves and in club culture, the anthropologist Michael J. Winkelman and the musicologist Rupert Till finding in these forms elements of ritual, spirituality, and healing. The philosopher Gediminas Karoblis relates early ecstatic dance to religious ritual, and notes that all well-executed dance borders on ecstasy.

Ecstasy

Ecstasy (from Ancient Greek ἔκστασις ékstasis, in turn from ἐκ (ek, out) and ἵστημι (hístēmi, I stand) is a subjective experience of total involvement of the subject, with an object of his or her awareness. In classical Greek literature it meant the removal of the mind or body "from its normal place of function." [1]

The primary effect of ecstatic dance is ecstasy itself. [2] In particular, sacred dancers actively pursue ecstasy "in the experience of seizure and rapture". [2] [3] The religious historian Mircea Eliade stated that shamans use dance, repetitive music, fasting, and hallucinogenic drugs to induce ecstasy. [2] [4] The ethnologist Maria-Gabriela Wosien identified four degrees of ecstasy that dancers may experience: "the warning, the whisper of inspiration, the prophecy, and finally the gift, the highest grade of inspiration." [3]

The described effects of ecstatic dance include a feeling of connection with others, [5] indeed of "universal relatedness", [2] and with the dancer's own emotions; serving as a meditation, providing a way of coping with stress and restoring serenity; and serving as a spiritual practice. [5] Roth identified specific emotions associated with the five different rhythms of ecstatic dance that she used, namely that the flowing rhythm connected the dancer with their own fear; the staccato rhythm with anger; chaos with sadness; lyrical with joy; and stillness with compassion. [6]

Ancient

The ecstatic Kouretes dancing around the infant Zeus, depicted by Jane Ellen Harrison, 1912 Curetes.jpg
The ecstatic Kouretes dancing around the infant Zeus, depicted by Jane Ellen Harrison, 1912

Little is known directly of ecstatic dance in ancient times. However, Greek mythology does have several stories of the Maenads; the maenads were intoxicated female worshippers of the Greek god of wine, Dionysus, known for their "ecstatic revelations and frenzied dancing". [7] [8] The mythical female followers of Dionysus, including bacchants and thyai as well as maenads, were said to have sought the "wild delirium" of possession by the god so they could "get out of themselves", which was called "ekstasis". [9] The male counterparts of the Maenads were the Korybantes (Greek : Κορύβαντες), armed and crested ecstatic dancers who worshipped the Phrygian goddess Cybele with drumming and dancing. They were the offspring of the muse Thalia and the god Apollo. The Greeks often confused them with other ecstatic male confraternities, such as the Idaean Dactyls (Greek : Δάκτυλοι Ἰδαῖοι) or the Cretan Kouretes (Κουρῆτες), spirit-youths ( kouroi ) with magical powers who acted as guardians of the infant Zeus. [9]

The myths gave rise to ancient Greek practices in honour of Dionysus. The oreibasia ("mountain dancing") was a midwinter Dionysian rite practised by women, and said to be originally an "unrestrained, ecstatic dance where the 'human' personality was temporarily replaced by another", [10] though it eventually became structured into a definite ritual. [10]

The theologian W. O. E. Oesterley argues that Old Testament passages such as 1 Kings 18:26, "They [The prophets of Baal] limped about the altar they had made", and 1 Kings 18:21, "How long will ye limp upon two legs?" describe a kind of ecstatic dance used for pagan worship in which the knees were bent, one after the other, to give a kind of limping step repeated for each leg. He notes that the dance increased "to an orgiastic frenzy", [8] as by 1 Kings 18:28 the dancers are crying aloud and cutting themselves "with knives and lances". He suggests that this might have been intended to awaken the god's pity and hence answer the people's prayers. [8] Oesterley compares this to Apuleius's account in his 2nd century The Golden Ass 8:27–28 of the ecstatic dance of the priests of the Syrian goddess, in which "they began to howl all out of tune and hurl themselves hither and thither as though they were mad. They made a thousand gest[ure]s with their feet and their heads; they would bend down their necks, and spin round so that their hair flew out at a circle; they would bite their own flesh; finally, everyone took his two-edged weapon and wounded his arms in divers[e] places." [8]

Oesterley notes also that Heliodorus of Emesa recorded in his 3rd century Aethiopica 4:16ff that sailors from Tyre performed a dance worshipping their god Herakles, to the "quick music" of flutes, hopping, jumping up, "limping along on the ground, and then turning with the whole body, spinning around like men possessed." [8]

Traditions

A variety of religions and other traditions, founded at different times but still practised around the world today, make use of ecstatic dance.

Map of ecstatic dance across the world. Some dance forms have spread widely or, like Shamanism, are found in different forms across the world. Map of ecstatic dance across the world.svg
Map of ecstatic dance across the world. Some dance forms have spread widely or, like Shamanism, are found in different forms across the world.
TraditionCountriesDescriptionStart
Rudra-Shiva IndiaIn Hindu mythology, the Rig Veda tells of the Maruts, the wild but playful companions of the god Rudra-Shiva. [9] The god's human followers may identify with and imitate the god's companions, just as happened in ancient Greece with the followers of Dionysos and the Korybantes. [9] Ancient
Shamanism WorldwideUses drumming, rhythm, and ecstatic dance to alter consciousness in spiritual practices, [12] [5] [13] hence magical rather than purely ecstatic; [14] in Europe, this ended in the Middle Ages, prohibited by the Christian church, while it continued among native peoples in America, Siberia and elsewhere [2] Ancient
Anastenaria N. Greece,
S. Bulgaria		In the annual celebrations for Saint Constantine and Saint Helen, dancers perform the Anastenaria, a fire-walking ritual, as the climax of three days of processions, music, dancing, and animal sacrifice. [15] [16] [17] Ancient or medieval
Sufi whirling TurkeyIn the tradition of the Mevlevi Order founded by Rumi, ecstatic [18] Sufi whirling is practised by devotees as active meditation within the Sama (worship ceremony). [19] In 2007, ecstatic dance was a focus for political resistance in Iran, reportedly "demoniz[ed]" by Shi'a clerics. [20] 12th century
Santeria CubaA syncretised form of African dance of Yoruba religion, Fon of Benin, and Congolese traditions, [11] merged with Christianity and indigenous American religions [2] 16th century
Candomblé Brazil Afro-American religious tradition practiced mainly in Brazil; makes use of music and ecstatic dance in which worshippers become possessed by their own tutelary deities, Orishas. [21] Early 19th century
Shakers, some Pentecostalists America"Charismatic" Christian sects using ecstatic ritual dance [2] 18th century
Balinese ritual dance Bali, IndonesiaThe anthropologists Gregory Bateson and Margaret Mead filmed Trance and Dance in Bali in the late 1930s, recording the use of trance in Balinese ritual dance, but also influencing what they observed, for example introducing the use of women dancers in the kris -dance in 1937. The dance climaxes with the women dancing ecstatically, stabbing themselves with their razor-sharp kris daggers, and coming to no harm. [22] [23] [24] 1930s
Modern witchcraft Western worldModern witchcraft traditions such as the Reclaiming Tradition and the Feri Tradition define themselves as "ecstatic traditions", and focus on reaching ecstatic states in their rituals, which incorporate dance with other techniques. [25] [26] 1960s
Caribbean Shaktism Indo-Caribbeans Madrasi Tamil immigrants from south India brought with them ritual worship of the goddess Mariamma, based on ecstatic dance to drumming on the tappu. [27] Since the 1970s Kali worship has taken the form of "ecstatic healing ceremonies of spirit possession". [28] 1970s

Modern

Grete Wiesenthal's ecstatic Danube waltzes, 1908, photographed by Arnold Genthe Grete Wiesenthal (Donauwalzer) LOC agc.7a09891 (cropped).jpg
Grete Wiesenthal's ecstatic Danube waltzes, 1908, photographed by Arnold Genthe

Early in the 20th century, the Austrian dancer Grete Wiesenthal turned the formal Viennese Waltz into an ecstatically danced performance with "swirling, euphoric movement and suspended arches of the body", [29] the dancers "with unbound hair and swinging dresses". [30]

Modern ecstatic dance is a style of dance improvisation with little or no formal structure or steps to follow or any particular way to dance. [5] Modern ecstatic dance has developed alongside Western interest in tantra; the two are sometimes combined, and ecstatic dance often plays a part in tantra workshops. [31] [32]

The dancer and musician Gabrielle Roth brought the term "Ecstatic Dance" back into current usage in the 1970s at the Esalen Institute with her dance format called 5Rhythms . This consists of five sections, each accompanied by trance music [33] [34] with a different rhythm, together constituting a "Wave". The five rhythms (in order) are Flowing, Staccato, Chaos, Lyrical and Stillness. [35] The form strongly expects dancers to shape a distinct movement style consistent with each of the five rhythms, which in practice is unlike other contemporary ecstatic dance as these rhythms often look similar between dancers, but has few other rules. The dance music set is carefully arranged, [34] as documented in Roth's 1989 book Maps to Ecstasy [35] and a set of three DVDs. [36] [37]

Ecstatic tantric union, Yuan dynasty, 14th century. Modern ecstatic dance sometimes incorporates elements of tantra. The Tantric image from Cave 465, Dunhuang. Yuan dynasty. (detail).jpg
Ecstatic tantric union, Yuan dynasty, 14th century. Modern ecstatic dance sometimes incorporates elements of tantra.

My eyes scan the dancing bodies but keep returning to a young man. He's been gliding along the surface doing his standard repertoire of flowing moves, when suddenly something shifts inside of him. He transcends his boredom and enters the body of a panther on Rollerblades. Moves spin out from his center in endless waves, some breathtaking to watch. He disappears in the dance until all that's left of him is a mop of bleached-white hair... He dissolves in a swirl of arms, in the sweep of a leg, in the curve of his neck. ... he surrenders his bones to the waves and dances in the ocean of his being. [37]

Many different formats have developed since the 1970s, often spun off from Roth's 5Rhythms. [38] [39] After being taught by Roth in 1989, Susannah and Ya'Acov Darling-Khan founded the Moving Centre School in Britain in 1989, teaching the 5 rhythms across Europe. In the early 1990s, "Barefoot Boogie" in San Francisco offered twice weekly drug and alcohol free dance event very similar in form to contemporary ecstatic dance, without the name. In 2006, having met shamans in the Amazon, the Darling-Khans started their own ecstatic dance form, Movement Medicine. [40] The science and environment journalist Christine Ottery, writing for the British newspaper The Guardian in 2011, suggested that "ecstatic dancing has an image problem", [41] but that it "encompasses everything from large global movements such as 5Rhythms and Biodanza to local drum'n'dance meet-ups". [41] Reviewing her experience of 5Rhythms for the newspaper, she suggests that readers may "find 5 Rhythms a good place to start" if wanting to try ecstatic dance. [41]

However, there are other styles that have been developed in North America, too, including the Ecstatic Dance Community founded in 2000 by Bodhi Tara at Kalani Honua in Puna on the Big Island of Hawaii who then passed it on to DJ Max Fathom and influenced by Carol Marashi's 1994 Body Choir in Austin, Texas. [42] Also in Texas, Sydney 'Samadhi' Strahan founded Ecstatic Dance Evolution in Houston in 2003, [43] whilst the Tribal Dance Community of Julia Ray opened in Toronto in 2006. [44] A more influential event program of ecstatic dance, simply named Ecstatic Dance, was founded later, in 2008, by Tyler Blank and Donna Carroll and held at Sweet's Ballroom in Oakland, California. [42] By 2018, the Ecstatic Dance Community Foundation listed over 80 places which offered "organized, spontaneous dance practices". [45]

Reception

The musicologist Paul Nettl [de] argued that the ecstatic dance of the Sufis and others was "primitive". Painting by Kamal ud-Din Behzad (c. 1485) Dance of Sufi Dervishes.jpg
The musicologist Paul Nettl  [ de ] argued that the ecstatic dance of the Sufis and others was "primitive". Painting by Kamāl ud-Dīn Behzād (c. 1485)

20th century attitudes

The musicologist Paul Nettl  [ de ], writing in 1929, granted that ecstatic dance had emotional power "expressive of some psychic exaltation, some intensified emotion", [46] and that the "ordered rhythm" [46] on which it was based was hypnotic, inducing a meditative state and the "dissolution of consciousness", [46] but argued that it was a "primitive" form of dance, a precursor to "higher", more structured dance forms. [46] Nettl stated further that ecstatic dance was both religious and erotic, giving examples from ancient Greece, medieval Christianity and Sufism. [46] In his 1926 Tanzkunst ("Art of Dance"), [47] the dance theorist Fritz Böhme similarly asserted, without giving examples to illustrate the statement, that ecstatic dance lacked "artistic refinement", [48] being limited to "a natural, organically grown expression." [48]

Philosophy

The philosopher Gediminas Karoblis states that in early cultures, ecstatic dance was linked to religious ritual, releasing the dancer from the egocentric self, undoing self-consciousness and connecting to the absolute. In Karoblis's view, trance dances can be either ecstatic or magical. He considers that the trance of the whirling dervishes is genuinely ecstatic as it glorifies God, whereas shamanistic dance is not, being instead magical, as it is intended to induce effects in the world. [14] Karoblis notes that all dance borders on ecstasy, as the catharsis that it produces – if good – cannot be controlled or "technically calculated", yet dancers depend upon it. [14]

Psychology

The psychoanalyst Mary Jo Spencer wrote of Pompeii's Villa of Mysteries Maenad: "She does not dance in ecstasy; she is the dance". Roman fresco Villa dei Misteri Pompeii - detail with dancing menad 03.jpg
The psychoanalyst Mary Jo Spencer wrote of Pompeii's Villa of Mysteries Maenad: "She does not dance in ecstasy; she is the dance".

The psychoanalyst Mary Jo Spencer used the image of the ecstatic dancer (a Maenad) depicted in the Villa of Mysteries, Pompeii when explaining the appearance of the dance as a symbol for the psyche. She described in the fresco "a nude woman with a flowing scarf turning in a contained but ecstatic dance, much like the description of the dervishes: she does not dance in ecstasy; she is the dance". [49] This was in the context of a client who presented a continuing "motif" of dance, which appeared whenever "a major shift in attitude" was imminent. [49]

Mindfulness

The nursing researcher Yaowarat Matchim and colleagues write that while mindfulness meditation arose in Buddhism, practices that provoke mindfulness are found in wisdom traditions around the world; such practices include ecstatic dance as well as yoga, prayer, music, and art. [50]

Parallels

The anthropologist Michael J. Winkelman suggests that shamanism and modern raves share structures including social ritual and the use of dance and music for bonding, for communication of emotions, and for their effects on consciousness and personal healing. [51]

The musicologist Rupert Till places contemporary club dancing to electronic dance music within the framework of ecstatic dance. He writes that "club culture has elements of religion, spirituality and meaning. Its transgressional nature is partly a reaction to the history of repression of traditions of ecstatic dancing by Christianity, particularly by Puritan and Lutheran traditions." [52] He notes that the scholars of music Nicholas Saunders and Simon Reynolds both discuss electronic dance music culture "in terms of trance rituals and ecstatic states." [52]

Documentation

In their 2003 documentary Dances of Ecstasy, the filmmakers Michelle Mahrer and Nicole Ma portrayed ecstatic dances from around the world, with traditional dances by the San of the Kalahari desert of Namibia, and by the Yoruba of Nigeria; the modern annual Firedance celebration in the Santa Cruz Mountains, California; by Gabrielle Roth; the whirling Zikr dance of the Sufi dervishes; the Hadra ritual danced by Moroccan women, brought by immigrants from Ghana and Senegal; the modern Rainbow Serpent Festival in Australia; the Candomblé ritual in Brazil, derived from Yoruba, Fon of Benin, and Congolese traditions; and the shamanistic Kut ritual of Korea. [11]

See also

Related Research Articles

<span class="mw-page-title-main">Shamanism</span> Religious practice

Shamanism or samanism is a religious practice that involves a practitioner interacting with the spirit world through altered states of consciousness, such as trance. The goal of this is usually to direct spirits or spiritual energies into the physical world for the purpose of healing, divination, or to aid human beings in some other way.

<span class="mw-page-title-main">Religious music</span> Music intended for religious purpose

Religious music is a type of music that is performed or composed for religious use or through religious influence. It may overlap with ritual music, which is music, sacred or not, performed or composed for or as ritual. Religious songs have been described as a source of strength, as well as a means of easing pain, improving one's mood, and assisting in the discovery of meaning in one's suffering. While style and genre vary broadly across traditions, religious groups still share a variety of musical practices and techniques.

<span class="mw-page-title-main">Religious ecstasy</span> Altered state of consciousness

Religious ecstasy is a type of altered state of consciousness characterized by greatly reduced external awareness and reportedly expanded interior mental and spiritual awareness, frequently accompanied by visions and emotional euphoria.

<span class="mw-page-title-main">History of dance</span> Timeline of the development of dance

The history of dance is difficult to access because dance does not often leave behind clearly identifiable physical artifacts that last over millennia, such as stone tools, hunting implements or cave paintings. It is not possible to identify with exact precision when dance becomes part of human culture. Dance is filled with aesthetic values, making it distinct from one society to another and is shrouded in symbolism that expounds on the cultural heritage of a community accordingly being unique from one society to another. Dance can help tell a story, convey feelings and emotions, and connect with others and ourselves.

<i>Miko</i> Shinto shrine maiden

A miko, or shrine maiden, is a young priestess who works at a Shinto shrine. Miko were once likely seen as shamans, but are understood in modern Japanese culture to be an institutionalized role in daily life, trained to perform tasks, ranging from sacred cleansing to performing the sacred Kagura dance.

<span class="mw-page-title-main">Sacred dance</span> Use of dance in religious ceremonies and rituals

Sacred dance is the use of dance in religious ceremonies and rituals, present in most religions throughout history and prehistory. Its connection with the human body and fertility has caused it to be forbidden by some religions; for example, some branches of Christianity and Islam have prohibited dancing. Dance has formed a major element of worship in Hindu temples, with strictly formalized styles such as Bharatanatyam, which require skilled dancers and temple musicians. In the 20th century, sacred dance has been revived by choreographers such as Bernhard Wosien as a means of developing community spirit.

<span class="mw-page-title-main">Ganachakra</span> Tantric assemblies or feasts

A ganacakra is also known as tsok, ganapuja, cakrapuja or ganacakrapuja. It is a generic term for various tantric assemblies or feasts, in which practitioners meet to chant mantra, enact mudra, make votive offerings and practice various tantric rituals as part of a sādhanā, or spiritual practice. The ganachakra often comprises a sacramental meal and festivities such as dancing, spirit possession, and trance; the feast generally consisting of materials that were considered forbidden or taboo in medieval India like meat, fish, and wine. As a tantric practice, forms of gaṇacakra are practiced today in Hinduism, Bön and Vajrayāna Buddhism.

<span class="mw-page-title-main">Felicitas Goodman</span> American linguist and anthropologist

Felicitas D. Goodman was an American linguist and anthropologist. She was a highly regarded expert in linguistics and anthropology and researched and explored Ecstatic Trance Postures for many years. She studied the phenomenon of "speaking in tongues" in Pentecostal congregations in Mexico. She is the author of such well-received books as Speaking in Tongues and Where the Spirits Ride the Wind: Trance Journeys and Other Ecstatic Experiences. Her work has been published mostly in the United States and Germany.

The term afoxé refers to a Carnival group originating from Salvador da Bahia, Brazil in the 1920s, and the music it plays deriving from the Afro-Brazilian Candomblé religion. It came to indicate a musical rhythm, named ijexá derived from the ijexá nation within Candomblé. Cultural performances of the afoxés, typically at Brazilian Carnival, incorporate choreography, song, ritual language and ceremonies deriving from the Candomblé religion. In Brazil, afoxé is generally performed by blocos, afros-groups of mostly black or mulatto musicians who are familiar with African Brazilian music. Afoxés are a cultural and religious entity that preserves a tradition of Afro-Brazilian culture. 

Neotantra, navatantra, or tantric sexuality is a Western new religious movement influenced by the Eastern esoteric spiritual traditions of Tantra. Rooted in elements of Hindu and Buddhist tantras, neotantra blends New Age interpretations with modern Western perspectives, often emphasizing the sexual aspects of these ancient traditions. While some proponents reference traditional texts and principles, many utilize tantra as a broader term encompassing sacred sexuality, occasionally incorporating unconventional practices. However, neotantra does not always adhere to the complete range of Indian tantric practices, particularly the reliance on a guru.

<span class="mw-page-title-main">Anastenaria</span> Greek fire-walking & dance ritual

The Anastenaria, is a traditional barefoot fire-walking ritual with ecstatic dance performed in some villages in Northern Greece and Southern Bulgaria. The communities which celebrate this ritual are descended from refugees who entered Greece from Eastern Thrace following the Balkan Wars of 1911–12 and the Population exchange between Greece and Turkey in 1923.

<i>Kagura</i> Type of ceremonial dance in Shinto ritual

Kagura is a type of Shinto ritual ceremonial dance. The term is a contraction of the phrase kami no kura, indicating the presence of gods in the practice.

<span class="mw-page-title-main">Gabrielle Roth</span> American musician and dancer (1941–2012)

Gabrielle Roth was an American dancer and musician in the world music and trance dance genres, with a special interest in shamanism. She overcame depression and injury to create the 5Rhythms approach to movement in the late 1970s; there are now hundreds of 5Rhythms teachers worldwide who use her approach in their work. Her vision was to spread dance across the world, using the power of movement to heal body and spirit.

<span class="mw-page-title-main">Shamanic music</span> Ritualistic music genre

Shamanic Music is ritualistic music used in religious and spiritual ceremonies associated with the practice of shamanism. Shamanic music makes use of various means of producing music, with an emphasis on voice and rhythm. It can vary based on cultural, geographic, and religious influences.

Divine madness, also known as theia mania and crazy wisdom, refers to unconventional, outrageous, unexpected, or unpredictable behavior linked to religious or spiritual pursuits. Examples of divine madness can be found in Buddhism, Christianity, Hellenism, Hinduism, Islam, Judaism and Shamanism.

Movement Medicine is a movement meditation practice, intended to create an experiential and embodied connectedness with the world. It was developed by Susannah and Ya'Acov Darling Khan, who directed the Moving Centre School Europe, representing Gabrielle Roth and the 5Rhythms in Europe until 2007. Movement Medicine integrates physical, artistic, spiritual, shamanic and therapeutic practices so as to stimulate human creativity, healing and transformation, focussing on the relationship with ourselves, each other, the earth, and the spirit of life. It is non-denominational, aiming to answer the spiritual impulse without the need for dogma or belief. The Movement Medicine practice is meant to give people tools to integrate the freedom and aliveness of the dance into daily life.

<span class="mw-page-title-main">Trance</span> Abnormal state of wakefulness or altered state of consciousness

Trance is a state of semi-consciousness in which a person is not self-aware and is either altogether unresponsive to external stimuli or is selectively responsive in following the directions of the person who has induced the trance. Trance states may occur involuntarily and unbidden.

<span class="mw-page-title-main">5Rhythms</span> Method for meditation through movement, since late 1970s

5Rhythms is a movement meditation practice devised by Gabrielle Roth in the late 1970s. It draws from indigenous and world traditions using tenets of shamanistic, ecstatic, mystical and eastern philosophy. It also draws from Gestalt therapy, the human potential movement and transpersonal psychology. Fundamental to the practice is the idea that everything is energy, and moves in waves, patterns and rhythms.

Hunza, Pakistan, has been famous for its practices in Shamanism. Shaman in the local language (Burushaski) are referred as 'Bitan'. Shamanism in the area has been linked to its dynamic history.

Shamanism is a religious practice present in various cultures and religions around the world. Shamanism takes on many different forms, which vary greatly by region and culture and are shaped by the distinct histories of its practitioners.

References

  1. ↑ Versnal, H. S. "Ecstasy". The Oxford Classical Dictionary (Third, revised ed.). p. 505.
  2. 1 2 3 4 5 6 7 8 Zmolek, Paul; Zmolek, Josephine A. (2002). "Dance as Ecstatic Ritual/Theatre" (PDF). Callous Physical Theature. Retrieved 17 October 2018.
  3. 1 2 Wosien, Maria-Gabriele (1974). Sacred Dance: Encounter with the Gods. Thames and Hudson. p.  211. ISBN   978-0500810064.
  4. ↑ Eliade, Mircea (2004) [1964]. Shamanism: Archaic Techniques of Ecstasy (New ed.). Princeton. ISBN   978-0691119427.
  5. 1 2 3 4 Rooke, Jacques. "The Restorative Effects of Ecstatic Dance: A Qualitative Study" (PDF). Retrieved 29 March 2018.
  6. ↑ "Gabrielle Roth's 5Rhythms". 5Rhythms. Retrieved 18 October 2018.
  7. ↑ Dickason, Kathryn (10 April 2014). "Stanford scholar studies ancient Greek dance performances from the viewers' perspective" . Retrieved 14 October 2018.
  8. 1 2 3 4 5 Oesterley, William Oscar Emil (2010) [1923]. The Sacred Dance: A Study in Comparative Folklore. Kessinger. pp. 107–139. ISBN   978-1163177228.
  9. 1 2 3 4 Daniélou, Alain (1992). Gods of Love and Ecstasy: The Traditions of Shiva and Dionysus. Simon and Schuster. pp. 81–82. ISBN   978-1-62055-023-6.
  10. 1 2 Russell, Meredith (August 2003). The Danced Space, Ancient and Modern | The Role of Transformation in Classical Indian and Modern Dance. University of South Australia (Ph. D. Thesis). p. 38.
  11. 1 2 3 Mahrer, Michelle; Ma, Nicole (October 2003). Dances of Ecstasy (booklet inside DVD case). Opus Arte, a label of Naxos Records.
  12. ↑ Berggren, Karen (1998). Circle of Shaman: Healing Through Ecstasy, Rhythm, and Myth. Inner Traditions / Bear & Co. ISBN   978-0-89281-622-4.
  13. ↑ "The Shaman Healing Dance of the San Bushmen". Rock Art Research Institute, University of the Witwatersrand. 2011. Retrieved 15 October 2018.
  14. 1 2 3 Karoblis, Gediminas (2007). "The Question Concerning Dance Technique". In Sepp, Hans Rainer; Copoeru, Ion (eds.). Phenomenology 2005, Vol. IV, Selected Essays from Northern Europe. Bucharest: Zeta Books. pp. 363–398.
  15. ↑ Xygalatas, Dimitris (2007). "Firewalking and the Brain: The Physiology of High-Arousal Rituals". In Joseph Bulbulia; Richard Sosis; Erica Harris; Russell Genet; Cheryl Genet; Karen Wyman (eds.). Evolution of Religion: Studies, Theories, and Critiques. Collins Foundation Press. pp. 189–195.
  16. ↑ Xygalatas, Dimitris (2011). "Ethnography, Historiography, and the Making of History in the Tradition of the Anastenaria" (PDF). History and Anthropology. 22 (1): 57–74. doi:10.1080/02757206.2011.546855. S2CID   154450368.
  17. ↑ Danforth, Loring M. (1989). Firewalking and Religious Healing: The Anastenaria of Greece and the American Firewalking Movement. Princeton University Press. ISBN   978-0691028538.
  18. ↑ Erzen, Jale (2008). "The Dervishes Dance -- The Sacred Ritual of Love". Contemporary Aesthetics. 6. hdl:2027/spo.7523862.0006.007.
  19. ↑ "The Sema of the Mevlevi". Mevlevi Order of America. Archived from the original on 21 December 2012. Retrieved 26 March 2009.
  20. ↑ Scolieri, Paul (2008). "Introduction Global/Mobile: Re-orienting Dance and Migration Studies". Dance Research Journal. 40 (2 (Winter)): XVII. doi:10.1017/S0149767700000346. S2CID   145573700.
  21. ↑ "Religions - Candomblé: Candomblé at glance". BBC. 15 September 2009.
  22. ↑ Jacknis, Ira (May 1988). "Margaret Mead and Gregory Bateson in Bali: Their Use of Photography and Film". Cultural Anthropology. 3 (2): 60–177. doi:10.1525/can.1988.3.2.02a00030. JSTOR   656349.
  23. ↑ Geertz, Hildred (1976). "Trance and Dance in Bali . Gregory Bateson, Margaret Mead.; Bathing Babies in Three Cultures. Gregory Bateson, Margaret Mead. ; Karba's First Years. Gregory Bateson, Margaret Mead". American Anthropologist. 78 (3): 725–726. doi: 10.1525/aa.1976.78.3.02a01160 .
  24. ↑ Rony, Fatimah Tobing (2006). "The Photogenic Cannot Be Tamed: Margaret Mead and Gregory Bateson's "Trance and Dance in Bali"". Discourse. 28 (1): 5–27. JSTOR   41389738.
  25. ↑ M. Macha Nightmare, "Reclaiming Tradition Witchcraft" Archived 11 March 2019 at the Wayback Machine , Witchvox, 2001. Retrieved on 13 January 2008.
  26. ↑ Cholla and Gabriel, Ecstasy and Transgression in the Faery Tradition Archived 2008-08-28 at the Wayback Machine , Witch Eye, 2000. Retrieved on 13 January 2008.
  27. ↑ Stone, Ruth M. (1998). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Taylor & Francis. p. 602. ISBN   978-0-8240-4946-1.
  28. ↑ Winer, Lise (2009). Dictionary of the English/Creole of Trinidad & Tobago: On Historical Principles. McGill-Queen's Press. p. 484. ISBN   978-0-7735-7607-0.
  29. ↑ Cates, Meryl (24 December 2020). "Dancing by Herself: When the Waltz Went Solo". The New York Times . Retrieved 28 December 2020.
  30. ↑ "Grete Wiesenthal (1885-1970)". Mahler Foundation. Retrieved 28 December 2020.
  31. ↑ "Tantric Trance Dance | Moving Meditation and Alchemical Practice". Urubu. Retrieved 16 October 2018.
  32. ↑ Solluna, Shashi (2016). Tantra: Discover the Path from Sex to Spirit. Hay House. p. 47. ISBN   978-1-78180-784-2. Dance has traditionally been a part of Tantric practice, at least for women, with the Devadasis being women who danced in Tantric temples... modern Tantra workshops often have a lot of dance in them. Freestyle dancing, such as ecstatic dance, is also often found in modern-day Tantra, for both men and women.
  33. ↑ Plonka, Lavinia (2005). What Are You Afraid Of?. Penguin Publishing Group. p. 102. ISBN   978-1-101-16082-4.
  34. 1 2 May, Meredith (25 October 2013). "Ecstatic dance moves the spirit, soothes the soul". San Francisco Chronicle . Retrieved 20 October 2018.
  35. 1 2 Roth, Gabrielle; Loudon, John (1989). Maps to Ecstasy: Teachings of an Urban Shaman. New World Library. ISBN   978-0-931432-52-1.
  36. ↑ Roth, Gabrielle (2004). Ecstatic Dance (DVD-ROM ed.). Sounds True. ISBN   978-1591791768. Roth, Gabrielle (1 May 2004). Gabrielle Roth Ecstatic Dance Collection (The Wave, The Inner Wave, The Power Wave) (DVD Video (3 DVDs) ed.). Sounds True. ISBN   978-1-59179-176-8.
  37. 1 2 Roth, Gabrielle (1997). Sweat Your Prayers: Movement as Spiritual Practice. Tarcher Putnam. pp.  52–53. ISBN   978-0-87477-959-2.
  38. ↑ Faulkner, Ian (1 March 2018). "The Healing Practice of Ecstatic Dance". Elephant Journal. Retrieved 15 October 2018.
  39. ↑ "Welcome to Ecstatic Dance". Donna Carroll International. 2018. Retrieved 15 October 2018.
  40. ↑ Darling-Khan, Susannah; Darling-Khan, Ya'Acov (2009). Movement Medicine: How to Awaken, Dance and Live Your Dreams. Hay House. pp. 20–25. ISBN   978-1-84850-605-3.
  41. 1 2 3 Ottery, Christine (21 July 2009). "Ecstatic dance: rhythm to beat the blues". The Guardian. Retrieved 18 March 2012.
  42. 1 2 "Ecstatic Dance Community". Ecstatic Dance Community. Archived from the original on 15 October 2018. Retrieved 15 October 2018.
  43. ↑ "Ecstatic Dance Evolution" . Retrieved 15 October 2018.
  44. ↑ "Ecstatic Dance Toronto" . Retrieved 14 October 2018.
  45. ↑ Miller, Anna Medaris (24 May 2018). "What Is Ecstatic Dance – and Can It Improve Your Health?". US News.
  46. 1 2 3 4 5 6 Nettl, Paul (October 1929). "Notes on the History of the Dance". The Musical Quarterly. 15 (4): 583–589. doi:10.1093/mq/xv.4.583. JSTOR   38569.
  47. ↑ Böhme, Fritz (1926). Tanzkunst (in German). Dessau: Dünnhaupt.
  48. 1 2 Toepfer, Karl (1997). Empire of Ecstasy | Nudity and Movement in German Body Culture, 1910–1935. University of California Press. p. 348.
  49. 1 2 3 Spencer, M. J. (1984). "Amplification: The Dance" . Journal of Analytical Psychology. 29 (2): 113–123. doi:10.1111/j.1465-5922.1984.00113.x. PMID   6735917.
  50. ↑ Matchim, Yaowarat; Armer, Jane M.; Stewart, Bob R. (October 2008). "A Qualitative Study of Participants' Perceptions of the Effect of Mindfulness Meditation Practice on Self-Care and Overall Well-Being" (PDF). Self-Care, Dependent-Care & Nursing. 16 (2): 46–53.
  51. ↑ Winkelman, Michael James (2015). "Biogenetic structural perspectives on shamanism and raves". In Emilia Simão; Armando Malheiro de Silva; Sérgio Tenreiro de Magalhães (eds.). Exploring Psychedelic Trance and Electronic Dance Music in Modern Culture. IGI Global. pp. 1–37. ISBN   978-1466686656 . Retrieved 18 October 2018.
  52. 1 2 Till, Rupert (2009). "Possession Trance Ritual in Electronic Dance Music Culture: A Popular Ritual Technology for Reenchantment, Addressing the Crisis of the Homeless Self, and Reinserting the Individual Into the Community". In Deacy, Christopher; Arweck, Elisabeth (eds.). Exploring religion and the sacred in a media age. Ashgate. pp. Chapter 10. ISBN   978-0754665274.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.