Explore the living tradition of trance dancing, the practice of connecting with the subtle energies and secret knowledge of spirits through rhythmic movement to music. Written by an expert teacher who has trained and performed with top dancers in Paris, London, and Cairo, this meticulously researched, hands-on book delves into the history and modern practice of ecstatic dance. Discover a range of religious and spiritual trance dance traditions—from Egyptian zar ceremonies to Sufi whirling dervish techniques—and the entities you can contact through them. You’ll also find a detailed how-to section that provides a safe, effective, and fun way to connect with the ethereal realm from within your own home. Praise: “This is a must-read book. Keep Ms. Henkesh’s book in your reference library for the well-researched richness of its information and its understanding of the many types of zar.”—Sahra C. Kent (Saeeda), dance ethnologist and founder of Journey through Egypt “Yasmin writes beautifully and with great joy. She has done impressive research . . . into the mystifying corners of the supernatural and into the remarkable interfaces between body and mind.”—Robert Lebling, author of Legends of the Fire Spirits “Through a deep exploration of myth and science, history and belief, [Henkesh] reveals a compelling insight into these unusual yet ancient practices. Definitely a valuable resource.”—Laura Tempest Zakroff, fusion and sacred dance pioneer, performer, instructor, and author of The Witch's Cauldron

The popularization and cult-like following of electronic music has provoked new relations between men and machines, art and technology, and modern shamans and disc jockeys. New technologies and multimedia tools have awakened neo-ritual practices through the emergence of Psychedelic Trance parties, evoking tribal experiences inspired by a new shamanism, mediated by high-tech guide elements. Exploring Psychedelic Trance and Electronic Dance Music in Modern Culture investigates the expansive scope of Electronic Music Dance Culture (EMDC), the rise of Psychedelic Trance culture, and their relationship with new digital platforms. Drawing from perspectives in sociology, anthropology, psychology, aesthetics and the arts, religious studies, information technologies, multimedia communication, shamanism, and ritualism, this book analyzes the impact of new technologies on individual and collective behaviors in cyberspace. This innovative reference source is ideal for use by academicians, researchers, upper-level students, practitioners, and theorists. Focusing on a variety of topics relating to sub-cultures, human behavior, and popular culture, this title features timely research on alternative culture, electronic music festivals, ethnography, music and religion, psychedelic drugs, Psytrance, rave culture, and trance parties.

An international bestseller with over 100,000 copies in print - one of the first sources of information about the drug and its correspondent dance culture.

Ecstatic Trance contains in-depth information on 60 ritual body postures and describes them in precise, accurate detail, with clear illustrations. The first complete manual on this subject, presented here are age-old postures (one dates back 32,000 years and was inspired by a cave painting) along with newly-researched postures, published here for the first time. Learn these postures and access, energize, and integrate your creative potential. Practicing these postures also leads to new insights into healing, inner development, and rebirth. And combined with appropriate rhythmic stimulation--music and dance, for example--the postures can engender a profound change in consciousness, leading the participant to experience altered states of reality including visions and ecstatic trance states. The postures themselves do not promote any one belief system or dogma but are elements in an overall shamanic worldview.

Ritual trance has always been closely associated with music—but why, and how? Gilbert Rouget offers and extended analysis of music and trance, concluding that no universal law can explain the relations between music and trance; they vary greatly and depend on the system of meaning of their cultural context. Rouget rigorously examines a worldwide corpus of data from ethnographic literature, but he also draws on the Bible, his own fieldwork in West Africa, and the writings of Plato, Ghazzali, and Rousseau. To organize this immense store of information, he develops a typology of trance based on symbolism and external manifestations. He outlines the fundamental distinctions between trance and ecstasy, shamanism and spirit possession, and communal and emotional trance. Music is analyzed in terms of performers, practices, instruments, and associations with dance. Each kind of trance draws strength from music in different ways at different points in a ritual, Rouget concludes. In possession trance, music induces the adept to identify himself with his deity and allows him to express this identification through dance. Forcefully rejecting pseudo-science and reductionism, Rouget demystifies the so-called theory of the neurophysiological effects of drumming on trance. He concludes that music's physiological and emotional effects are inseparable from patterns of collective representations and behavior, and that music and trance are linked in as many ways as there are cultural structures.

.."". a first-rate piece of scholarship... an invaluable summary and commentary on the multilingual literature on [Bushman] people."" -- Choice The trickster and trance dancer are the guides through Bushman (or San) religion, a world of ambiguity and contradiction, and of enchantment. The two figures, who in Bushman belief are symbolically equivalent and mystically linked, embody these antistructural traits.

This exciting new and original collection locates dance within the spectrum of urban life in late modernity, through a range of theoretical perspectives. It highlights a diversity of dance forms and styles that can be witnessed in and around contemporary urban spaces: from dance halls to raves and the club striptease; from set dancing to ballroom dancing, to hip hop and swing, and to ice dance shows; from the ballet class, to fitness aerobics; and 'art' dance which situates itself in a dynamic relation to the city.

"The dramatic genre of the horse dance (jaranan) is part of an age-old Javanese tradition displaying wide local and regional variations. A striking feature of the performances of the majority of horse-dance groups is the appearance of trance dancers. These are used as a means of establishing contact with the spirits of the ancestors, who continue to play an important part in the lives of their descendants as moral beacons in the solution of problems and the fulfillment of wishes. As a consequence of the modernization of society in almost every aspect of life, vigorously propagated as it was by the Soeharto regime in the period 1966-1998, the trance in horse dancing has been strongly discouraged as an anachronism." "This has prompted a search for new ways of preserving this dramatic genre for future generations. The way the administration of Kediri and a number of local horse-dance companies set about solving this problem constitutes a dominant theme of this book. To bring the phenomenon of the horse dance in Java into sharper focus, a brief account is given of its history, as well as a description of the great variety of horse-dance groups and a range of aspects of this genre."--BOOK JACKET.