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.

Life is an adventure, a game, a dance. Whether you're shakin' it at the disco with Athena or doing the Charleston with Hecate, each goddess offers vital lessons for exploring-and enjoying-every facet of our lives. No matter your age, Dancing the Goddess Incarnate can help you get in touch with the maiden, mother, and crone within. You don't have to know the rhythm or the steps. Simply allow each of the nine goddesses to lead you onto the dance floor, outside your comfort zone, where you'll learn to unlock creativity, rediscover play, strategize success, and nurture yourself. This fun Pagan guide to self-exploration includes meditations, games, magic tips, herbal remedies, and exercises that can-with help from the goddesses-bring balance, beauty, and joy into your life.

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. ,

Now you can turn every day into a day dedicated to the goddess and your own personal spiritual evolution, when you get The Goddess Companion by Patricia Monaghan. Turn to The Goddess Companion each day for a clearer insight into how the divine flows through your life. This spirit-nourishing collection of 366 authentic goddess prayers, invocations, chants, and songs was culled from dozens of diverse eras and cultures. Each ancient prayer rings out in clear language that maintains the sacred spirit of the originals. A different traditional prayer, invocation, or chant to the goddess for each day of the year Each is illuminated by readings about the ancient quote that offer rich material for reflection, inspiration, and bliss Multiple indices allow you to find information by goddess name, subject, or cultural origin Explore the goddess as envisioned by 68 different cultures throughout the ages--including the Americas, classical Greece and Rome, Asia, ancient Sumeria and Babylonia, Europe, the Middle East, and Africa Find prayers that encompass nearly 130 aspects of the goddess, from Aida Weydo and Amaterasu to White Buffalo Calf Woman and Zemyna Use the perpetual calendar to meditate upon one goddess prayer each day The Goddess Companion does far more than simply give you meditations and prayers. The readings associated with each will give you incredible insights into a wide variety of cultures and, just as importantly, into your very nature. Written by one of the leaders of the contemporary goddess movement, The Goddess Companion will help you on your spiritual path to self-understanding.

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.

The Great Goddess, in her various puranic and tantric forms, is often figured as sitting on a corpse which is identified as Shiva-as-shava (God Shiva, the consort of the Devi and an iconic representation of the Absolute without attributes, the Nirguna Brahman). Hence, most of the existing critical works and ethnographic studies on Shaktism and the tantras have focused on the theological and symbolic paraphernalia of the corpses which operate as the asanas (seats) of the Devi in her various iconographies. This book explores the figurations of the Goddess as corpse in several Hindu puranic and Shakta-tantric texts, popular practices, folk belief systems, legends and various other cultural phenomena based on this motif. It deals with a more intricate and fundamental issue than existing works on the subject: how and why is the Devi – herself - figured as a corpse in the Shakta texts, belief systems and folk practices associated with the tantras? The issues which have been raised in this book include: how does death become a complement to life within this religious epistemology? How does one learn to live with death, thereby lending new definitions and new epistemic and existential dimensions to life and death? And what is the relation between death and gender within this kind of figuration of the Goddess as death and dead body? Analysing multiple mythic narratives, hymns and scriptural texts where the Devi herself is said to take the form of the Shava (the corpse) as well as the Shakti who animates dead matter, this book focuses not only on the concept of the theological equivalence of the Shava (Shiva as corpse) and the Shakti (Energy) in tantras but also on the status of the Divine Mother as the Great Bridge between the apparently irreconcilable opposites, the mediatrix between Spirit and Matter, death and life, existence-in-stasis and existence-in-kinesis. This book makes an important contribution to the fields of Hindu Studies, Goddess Spirituality, South Asian Religions, Women and Religion, India, Studies in Shaktism and Tantra, Cross-cultural Religious Studies, Gender Studies, Postcolonial Spirituality and Ecofeminism.

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.