Dance Was Her Religion

Three dancers who changed the face of Modern Dance and liberated dancers from ballet’s rigidity to glorify the human body as a scared vessel: Isadora Duncan, 1877-1927, Ruth St. Denis, 1879-1968, and Martha Graham, 1894-1991. From youth, each recognized an organic urge for ecstatic human expression. This book explores their pioneering approaches to spiritual choreography and reveals unkown aspects of their lives and work: * each insisted upon her vision of dance as prayer * each was a mystic * each had a profound, personal devotion to the Virgin Mary * each choreographed work in her honor * each portrayed the Madonna in dance * each felt herself to be a priestess of dance * each worked to establish a school, where dance was the basis for an enlightened life The book contains quotes about and interviews with these women, including rare materials, restoring the understanding of dance as religious expression and placing these women in their rightful places among spiritual philosophers.

Why did dance and dancing became important to the construction of a new, modern, Jewish/Israeli cultural identity in the newly formed nation of Israel? There were questions that covered almost all spheres of daily life, including “What do we dance?” because Hebrew or Eretz-Israeli dance had to be created out of none. How and why did dance develop in such a way? Dance Spreads Its Wings is the first and only book that looks at the whole picture of concert dance in Israel studying the growth of Israeli concert dance for 90 years—starting from 1920, when there was no concert dance to speak of during the Yishuv (pre-Israel Jewish settlements) period, until 2010, when concert dance in Israel had grown to become one of the country’s most prominent, original, artistic fields and globally recognized. What drives the book is the impulse to create and the need to dance in the midst of constant political change. It is the story of artists trying to be true to their art while also responding to the political, social, religious, and ethnic complexities of a Jewish state in the Middle East.

LaMothe paves the way for new theories and methods in the study of religion and dance by critiquing and displacing a conceptual dichotomy between “religion” and “dance” forged in the colonial era that justified western Christian hostility towards dance traditions across six continents over six centuries.

In popular thought, Christianity is often figured as being opposed to dance. Conventional scholarship traces this controversy back to the Middle Ages. Throughout the medieval era, the Latin Church denounced and prohibited dancing in religious and secular realms, often aligning it with demonic intervention, lust, pride, and sacrilege. Historical sources, however, suggest that medieval dance was a complex and ambivalent phenomenon. During the High and Late Middle Ages, Western theologians, liturgists, and mystics not only tolerated dance; they transformed it into a dynamic component of religious thought and practice. This book investigates how dance became a legitimate form of devotion in Christian culture. Sacred dance functioned to gloss scripture, frame spiritual experience, and imagine the afterlife. Invoking numerous manuscript and visual sources (biblical commentaries, sermons, saints' lives, ecclesiastical statutes, mystical treatises, vernacular literature, and iconography), this book highlights how medieval dance helped shape religious identity and social stratification. Moreover, this book shows the political dimension of dance, which worked in the service of Christendom, conversion, and social cohesion. In Ringleaders of Redemption, Kathryn Dickason reveals a long tradition of sacred dance in Christianity, one that the professionalization and secularization of Renaissance dance obscured, and one that the Reformation silenced and suppressed.

For Native Americans, religious freedom has been an elusive goal. From nineteenth-century bans on indigenous ceremonial practices to twenty-first-century legal battles over sacred lands, peyote use, and hunting practices, the U.S. government has often act

Landmark interdisciplinary study of religious systems through their dance performances

Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.

"I was amazed to find that I had no idea how to unfold my spiritual life in a feminine way. I was surprised, and, in fact, a little terrified, when I found myself in the middle of a feminist spiritual reawakening." ––Sue Monk Kidd For years, Sue Monk Kidd was a conventionally religious woman. Then, in the late 1980s, Kidd experienced an unexpected awakening, and began a journey toward a feminine spirituality. With the exceptional storytelling skills that have helped make her name, author of When the Heart Waits tells her very personal story of the fear, anger, healing, and freedom she experienced on the path toward the wholeness that many women have lost in the church. From a jarring encounter with sexism in a suburban drugstore, to monastery retreats and to rituals in the caves of Crete, she reveals a new level of feminine spiritual consciousness for all women– one that retains a meaningful connection with the "deep song of Christianity," embraces the sacredness of ordinary women's experience, and has the power to transform in the most positive ways every fundamental relationship in a woman's life– her marriage, her career, and her religion. This Plus edition paperback includes a recent interview with the author conducted by the book's editor Michael Maudlin.

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.

Dealing with the ongoing interaction of rich and diverse cultural traditions from Cuba and Jamaica to Guyana and Surinam, Nation Dance addresses some of the major contemporary issues in the study of Caribbean religion and identity. The book’s three sections move from a focus on spirituality and healing, to theology in social and political context, and on to questions of identity and diaspora. The book begins with the voices of female practitioners and then offers a broad, interdisciplinary examination of Caribbean religion and culture. Afro-Caribbean religions, Hinduism, Judaism, Islam, and Christianity are all addressed, with specific reflections on Santería, Palo Monte, Vodou, Winti, Obeah, Kali Mai, Orisha work, Spiritual Baptist faith, Spiritualism, Rastafari, Confucianism, Congregationalism, Pentecostalism, Catholicism, and liberation theology. Some essays are based on fieldwork, archival research, and textual or linguistic analysis, while others are concerned with methodological or theoretical issues. Contributors include practitioners and scholars, some very established in the field, others with fresh, new approaches; all of them come from the region or have done extensive fieldwork or research there. In these essays the poetic vitality of the practitioner’s voice meets the attentive commitment of the postcolonial scholar in a dance of "nations" across the waters.