Ecstatic dance

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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.

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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 (Ancient 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 (Ancient 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 music with a different rhythm, together constituting a "Wave". [33] [34] 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 is a spiritual practice that involves a practitioner (shaman) 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.

Spirit possession is an unusual or an altered state of consciousness and associated behaviors which are purportedly caused by the control of a human body and its functions by spirits, ghosts, demons, angels, or gods. The concept of spirit possession exists in many cultures and religions, including Buddhism, Christianity, Haitian Vodou, Dominican Vudú, Hinduism, Islam, Judaism, Wicca, and Southeast Asian, African, and Native American traditions. Depending on the cultural context in which it is found, possession may be thought of as voluntary or involuntary and may be considered to have beneficial or detrimental effects on the host. The experience of spirit possession sometimes serves as evidence in support of belief in the existence of spirits, deities or demons. In a 1969 study funded by the National Institute of Mental Health, spirit-possession beliefs were found to exist in 74% of a sample of 488 societies in all parts of the world, with the highest numbers of believing societies in Pacific cultures and the lowest incidence among Native Americans of both North and South America. As Pentecostal and Charismatic Christian churches move into both African and Oceanic areas, a merger of belief can take place, with demons becoming representative of the "old" indigenous religions, which Christian ministers attempt to exorcise.

<i>Trance and Dance in Bali</i> 1952 anthropology film by Gregory Bateson, Margaret Mead

Trance and Dance in Bali is a short documentary film shot by the anthropologists Margaret Mead and Gregory Bateson during their research on Bali in the 1930s. It shows female dancers with sharp kris daggers dancing in trance, eventually stabbing themselves without injury. The film was not released until 1951. It has attracted praise from later anthropologists for its pioneering achievement, and criticism for its focus on the performance, omitting relevant details such as the conversation of the dancers.

<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>

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.

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<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.

Neoshamanism, refers to new forms of shamanism, where it usually means shamanism practiced by Western people as a type of New Age spirituality, without a connection to traditional shamanic societies. It is sometimes also used for modern shamanic rituals and practices which, although they have some connection to the traditional societies in which they originated, have been adapted somehow to modern circumstances. This can include "shamanic" rituals performed as an exhibition, either on stage or for shamanic tourism, as well as modern derivations of traditional systems that incorporate new technology and worldviews.

<span class="mw-page-title-main">Dionysian Mysteries</span> Ritual of ancient Greece and Rome

The Dionysian Mysteries were a ritual of ancient Greece and Rome which sometimes used intoxicants and other trance-inducing techniques to remove inhibitions. It also provided some liberation for men and women marginalized by Greek society, among which were slaves, outlaws, and non-citizens. In their final phase the Mysteries shifted their emphasis from a chthonic, underworld orientation to a transcendental, mystical one, with Dionysus changing his nature accordingly. By its nature as a mystery religion reserved for the initiated, many aspects of the Dionysian cult remain unknown and were lost with the decline of Greco-Roman polytheism; modern knowledge is derived from descriptions, imagery and cross-cultural studies.

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

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<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

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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.

Chinese shamanism, alternatively called Wuism, refers to the shamanic religious tradition of China. Its features are especially connected to the ancient Neolithic cultures such as the Hongshan culture. Chinese shamanic traditions are intrinsic to Chinese folk religion.

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.

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References

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  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. Archived from the original on 15 October 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.
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