JAYA RADHE ! HARE KRISHNA ! SRI SRI GURU AND GAURANGA KI JAYA !
BELOW ARE SOME EXCERPTS FROM WRITINGS I FOUND ON THE INTERNET RELATED TO THIS VERY IMPORTANT SUBJECT OF THE ‘RASA DANCE’ IN BIBLE-RELATED TRADITIONS. IN ONE HALF HOUR I LOCATED OVER 500 REFERENCES TO THE SUBJECT OF THE SACRED CHORUS (OR CIRCLE DANCE), BY SEARCHING THE WORDS I HAVE LISTED AT THE END OF THIS LETTER. THESE REFERENCES RANGED FROM EXPERT SCHOLARLY SECULAR ACADEMIC AND CHRISTIAN WORKS, TO ‘NEW AGE’, NEO-PAGAN AND MASONIC-RELATED ‘ESOTERIC’ SOURCES. THE SUBJECT IS SO VAST AND HAS BEEN STUDIED BY SO MANY WESTERN SCHOLARS, FROM SO MANY PERSPECTIVES, THAT I AM AMAZED THAT THERE ARE NOT ALREADY NUMEROUS WORKS AVAILABLE ANALYZING IN DETAIL THE VARIOUS RELATIONSHIPS BETWEEN RADHA-KRISHNA BRIDAL MYSTICISM AND CATHOLIC (AND PROTO-CATHOLIC HELIOPOLITAN) HIEROGAMOS MYSTICISM, AS CELEBRATED IN THE SUPREME DANCE DIVINE, THE SACRED CAROL, CIRCLE DANCE OR ‘PARADISE ROUND’.
GREEK CHORUS , THE KYKLOS / CHAKRA CIRCLE DANCE OF HELIOS
I HAVE BEEN TRYING TO INTEREST VAISHNAVA LEADERS / SCHOLARS IN EXPLORING THESE CONNECTIONS FOR 30 YEARS WITH NO SUCCESS. I HAVE THUS BEEN FORCED TO CONCLUDE THAT VAISHNAVA AND HINDU PREJUDICE AGAINST THE JUDEO-CATHOLIC / CHRISTIAN TRADITIONS PRECLUDES THESE LEADERS FROM EVEN REMOTELY CONSIDERING THESE CONNECTIONS. FOR 30 YEARS THEY HAVE REFUSED TO EVEN LOOK AT THE EVIDENCE, WHAT TO SPEAK OF CONSIDERING ITS PROFOUND IMPLICATIONS FOR WORLD RELIGIOUS UNITY. BECAUSE THE BIG SCHOLARS AND LEADERS HAVE NOT LISTENED, I AM THEREFORE APPEALING DIRECTLY TO YOU MY SISTERS AND BROTHERS, TO PLEASE CONSIDER WHAT I AM PRESENTING FOR THE PLEASURE OF GURU, GODHEAD AND OUR HOLY MOTHER. THEY DO NOT DESIRE OUR SAD DIVISIONS. THESE DIVISIONS ARE OF OUR OWN MAKING. SOME OF OUR ALIENATION IS NOW DUE TO PAST OFFENCES AND RELATED FEAR. SOME OF IT IS DUE TO WEAK FAITH OR TO MISINFORMATION. THERE IS NO REAL REASON TO FEAR THE TRUTH. THE TRUTH HAS NOT MADE ME AN IMPERSONALIST OR ATHEIST OR LEFT-HANDED TANTRIST. IT HAS NOT DESTROYED EITHER MY VAISHNAVA OR MY CHRISTIAN FAITH. INSTEAD, THE TRUTH HAS COMPLETELY RECONCILED ANY APPARENT DIFFERENCES BETWEEN THESE TWO GREAT BHAKTI TRADITIONS. THE TRUTH HAS SET ME FREE FROM EITHER EASTERN OR WESTERN FORMS OF PREJUDICE. PREJUDICE IS IMPOVERISHING. IT IS LIKE KEEPING ONE EYE CLOSED. ONE CAN SEE, BUT ONE’S RANGE AND DEPTH OF VISION IS RESTRICTED. PLEASE LET US NOW OPEN BOTH EYES, AND BEHOLD THE LORD OF LOVE, WHO HAS BEEN STANDING, RATHER DANCING RIGHT BEFORE US ALL THESE EONS !
KRISHNA AND BALARAMA ARE BOTH THE CHOREAGOES, LEADERS OF THE DANCE. THEY ARE TWO PERSONS OF THE SAME ECHAD (HEBREW) / EKA (SANSKRIT) / ONE GODHEAD. KRISHNA (ELI-YAHU /HELIOS KOUROS) DANCES WITH RADHA (RHODA), AND HIS EXPANSIONS (KOUROI) DANCE WITH HER EXPANSIONS (KORAE). BALARAMA DANCES WITH THE GOPIS. JESUS (YAHU-BALU / DIONYSOS) AS THE SECOND PERSON OF THE GODHEAD DANCES WITH HIS NYMPHIA / BRIDES IN THE GARDEN OF PARADISE. GOD HAS NOT HIDDEN THIS ! HE HAS REVEALED IT OVER AND OVER AGAIN. OUR SEPARATION IS OUR OWN DOING. GOD IS ‘HIDDEN’ IN PLAIN SIGHT, ONLY BECAUSE HUMANS ARE REFUSING TO RENOUNCE THEIR EGO-CENTRIC AND ETHNO-CENTRIC PRIDE TO LOOK AT HIM ! IN THE SAME WAY, HUMAN PREJUDICE HAS DENIED THE PERVASIVE PRESENCE OF THE WORSHIP OF OUR ONE HOLY MOTHER IN HER SACRED MULTI-FORM. HER SUPREMACY AS SHAKTI / SHEKINAH IS ALSO REVEALED IN HER PRESENCE AS RADHA / RHODA KORE, THE SACRED LADY, ORIGIN OF THE KORAE MAIDENS IN THE SACRED CIRCLE DANCE. AS THE BELOVED OF HELIOS KOUROS, SHE IS THE SOURCE OF ARTEMIS, SELENE AND HECATE. SHE COMPREHENDS ALL OF THE KORAE / GOPIS, MUSES, AND GODDESSES IN HERSELF. KRISHNA / KOUROS IS NEVER APART FROM RADHA / RHODA. HARI / ELI IS NEVER APART FROM HIS SHAKTI / SHEKINAH. SO I WILL BEGIN THIS LITTLE REVIEW OF SOME SOURCES BY CITING A ‘MYTHOLOGICAL’ REFERENCE TO KORE AS SELENE, THE LUNAR SISTER-BELOVED OF HELIOS, LEADING HER EXPANSIONS AS THE “CHORUS-LEADING QUEEN”.
She blessed with verdure the meadows and arable lands, and from them obtained a meed of thanks. When weary of the chase, she turned to music and dancing; for the lyre and flute and song were dear to her. Muses, Graces, nymphs, and the fair goddesses themselves thronged the rites of the chorus-leading queen.
~~ From Classic Mythology by Charles Mills Gayley circa 1893 ~~
[I WAS UNABLE TO CONFIRM THIS SOURCE ON THE INTERNET, BUT SELENE’S LUNAR REVELRY WITH HER NYMPHS IS TRADITIONAL. IF ANYONE FINDS USEFUL REFERENCES TO ANY OF THESE SUBJECTS, PLEASE SHARE THEM WITH US BY E-MAILING THEM TO ME AT firstname.lastname@example.org )]
NEXT BELOW IS EXCERPTED FROM A CLASSICS COURSE OUTLINE, WHICH VERY NICELY TIES TOGETHER SOME OF THE IMPORTANT ELEMENTS I HAVE MENTIONED IN MY VARIOUS WRITINGS ON THIS SUBJECT SINCE THE EARLY 1970s. NOTE ESPECIALLY THE RELIGIOUS SIGNIFICANCE AND ASSOCIATION WITH APOLLO (HELIOS) AND DIONYSOS (THE PAEAN AND DITHYRAMBOS ), CULTURAL COMPARISONS TO THE NEAR EAST AND EGYPT AND INDO-EUROPEAN, THE TIME FRAME AND AREA OF THE STUDY (THE HELIOS-WORSHIPING SPARTANS WERE RELIGIOUSLY ALLIED AND RELATED TO THE JEWS…READ MACCABEES IN THE BIBLE). THE GODDESS WORSHIPERS OF LESBOS CONSIDERED THEMSELVES THE RETINUE OF KORE, PLATO, KHOREGOS, THE DANCE, HYMN (ANOTHER RELIGIOUS TERM, WHICH LIKE ‘CHORUS’ HAS COME THROUGH INTO CHRISTIANITY), AULOS (THE REED FLUTE), AND KITHARA (HEBREW OLD TESTAMENT ‘HARP’ IS GITHAROS, NEW TESTAMENT GREEK ‘HARP’ IS KITHARA, COGNATE WITH BOTH SITAR AND GUITAR).
Eva Stehle, Performance and gender in ancient Greece : nondramatic poetry in its setting (Princeton, 1997)
C. M. Bowra, Greek lyric poetry from Alcman to Simonides (Oxford, 1936)
G. Kirkwood, Early Greek monody; the history of a poetic type (Ithaca 1974)
D. A. Campbell, Greek lyric poetry: a selection of early Greek lyric, elegiac and iambic poetry, 1967)
M. L. West, Greek lyric poetry : the poems and fragments of the Greek iambic, elegiac, and melic poets (Oxford)
D. Gerber, A Companion to Greek Lyric Poetry
Claude Calame, Choruses of young women in ancient Greece : their morphology, religious role, and social function, translated by Derek Collins and Janice Orion (1997)
Lyric poetry (should be “songetry”)
All poetry apart from epic (which has narrative) and tragedy.
a) song 1: poetry performed by choruses, plus
b) song 2: monodic poetry apparently sung; Sappho and Alcaeus, also probably elegy
c) some non-epic poetry that may not have been sung, but we nevertheless group in there: iambos.
Differences from modern lyric: most ancient lyric is not strongly subjective or introspective.
Time span: 7th century BCE to 5th century BCE and beyond
Geographical span: Sparta is a major center; also Lesbos.
1) religious functions of various sorts
2) the symposium
3) occasions in life when people used poetry which we wouldn’t naturally associate with poetry; e.g. battle.
Fragments and transmission:
One of the things you notice is that most of the poems are fragmentary. The only exception are the works of Pindar.
Fragments come to us in two forms:
a) Papyrus fragments dug up in the Egyptian desert;
b) Fragments transmitted in other authors; the most important are the two larger fragments of Sappho.
Some major concepts
A khoros is a group of people who perform a song. They may have a chorus-leader or khoregos/khoragos. Khoroi are generally non-professional; everyone could sing. Typically, a khoros tended to be composed of a group of the same gender and similar age. Cf. Plato, Laws
We tend to think of texts as written down, but it is important to realize that performance is more important. Key things to think about are:
– regular performance and re-performance
– is the information the poem gives us about its performance reliable?
– do men and women have different styles of performance?
Major types of “song”:
Dithyrambos = “song to Dionysus” or “narrative poem”
Paean = “song to Apollo” (with refrain: i.e. paean)
Epinikion = victory song (in the games)
Partheneion = song sung by parthenoi (i.e. maidens)
Humnos = hymn (roughly)
Enkomion = “praise”
Prosodion = processional song
Huporkhema = dance
Threnos = dirge
Elegy = solo-poetry with a particular form of meter; not = “song of mourning”
Iambos = invective, sung to a certain sort of meter
aulos = reed-pipe
lura = lyre
kithara = kithara, lyre (“guitar” is a derivative)
Music has different modes or “harmoniai” or modes, which had different associations or “ethe”, e.g. the “Dorian mode” was conservative
long syllables and short syllables
meters are combinations of these
A simple meter is the glyconic: – u – uu – u –
– similar choral poetry found in the Near East and Egypt (see West, East Face of Helicon
– also an “Indo-European” dimension
– can we learn anything from more diverse comparisons?
W. Ridgeway, The dramas and dramatic dances of non-European races in special reference to the origin of Greek tragedy, with an appendix on the origin of Greek comedy (Cambridge, 1915)
– myth (universal);
– praise of gods, other religious functions;
– praise of aristocrats (Pindar)
– personal life of the singer? (Sappho)
Question of the “speaking subject”
Choruses talk about themselves
Poets tall about themselves
– Latin lyric poetry: Horace
– Lyric in modern age
THE FOLLOWING IS A REVIEW OF DOROTHEA FROHDER’S WORK ON HOMERIC HYMNS. IT TREATS THE SUBJECT OF CHORAL RITUAL OR CULTIC HYMNS IN SOME DEPTH. IN MY OPINION, FROHDER’S HOMERIC PERSPECTIVE SKEWS HER UNDERSTANDING REGARDING HELIOS AND SELENE. IT MUST ALWAYS BE REMEMBERED THAT HELIOS WORSHIP HAD DEVOLVED CONSIDERABLY BY THE TIME OF HOMER, AND HOMER HIMSELF WAS LATER ACCUSED BY THE ASCETIC HELIOPOLITAN MONOTHEISTS (LIKE THE PLATONISTS) OF WRITING BLASPHEMOUS CARICATURES OF THE GODS. SIGNIFICANTLY, FROHDER MENTIONS ARTEMIS DANCING WITH HER ENTOURAGE AT DELPHI, ONE OF HELIOS-APOLLO’S GREAT SANCTUARIES, WHERE ARTEMIS, WITH HER ARMAMENTS, WAS WORSHIPED AS APOLLO’S SISTER. STUDYING ARTEMIS AND HER CONNECTIONS TO CHRONE AND SEKMET-ASHERAH IN EGYPT SHOWS HER CLEAR CONNECTIONS TO SUBHADRA AS SHAKTI, MAYA, DURGA AND KALI. IT IS DUE TO HER LUNAR ASSOCIATIONS THAT ARTEMIS MAY BE IDENTIFIED WITH SELENE.
Bryn Mawr Classical Review 96.04.04
Dorothea Fröhder, Die Dichterische Form der Homerischen Hymnen untersucht am Typus der mittelgrossen Preislieder. Spudasmata 53. Hildesheim: Georg Olms, 1994. Pp. 390. DM 68,–. ISBN 3-487-09863-6.
Reviewed by Jenny Strauss Clay, University of Virginia.
…. whereas hymns in honor of the gods were liturgical choral productions which included music and dance, F. here appears to overlook the evidence of the “Lay of Ares and Aphrodite” inOdyssey 8, which bears a striking resemblance in style and tone to the longer Hymns and suggests the existence of an older and independent hymnic genre.
According to F., our Hymns are “rhapsodifications” of the choral ritual hymn and must be considered a secondary sub-genre of epic and simultaneously a Mischform combining elements of the ritual hymn and heroic epic. Since the long Hymns share the same formal patterns with the shorter ones, they must belong to the same genre and share the same functions. Moreover, the shortest Hymns should not be considered abbreviations of the long ones, as some have thought, but, on the contrary, would be especially useful to the rhapsode as a kind of minimalist acknowledgment of the divinity at whose festival he was performing. While the long Hymns constitute an expanded form (and F. follows Lenz in classifying H. 7 to Dionysos among the long Hymns), the middle-length Hymns represent the generic norm. Drawn from a doubtless much larger corpus, our collection of Hymns forms a kind of textbook for rhapsodes.
F.’s exposition, while quite conventional, raises a good number of questions. If the Hymns are really such occasional pieces, why do they contain so little indication of the specific occasion or festival at which they were presented? And why are some of the Hymns dedicated to divinities who are not the gods of cult at all? I think here not only of Gaia (30), but also of Helios (31) andSelene (32), which must in any case be late (later, I would judge than the 5th century B.C.E. to which F. dates the collection), and which surprisingly enough are the only Hymns which specify the performance of heroic epic to follow. And if, as F. so provocatively suggests, our collection provides a textbook for rhapsodes, how did they use it? Were they literate? F. never openly confronts the question of literacy; in fact she sidesteps it.
Artemis (27) offers an example of the third type of praise via the goddess’ characteristic activities and haunts, first in the wilds where she appears as the huntress and then dancing with her entourage at Delphi. The Hymn, according to F., is inspired by the simile in Odyssey 6.102-108 and the opening and middle of the Hymn to Apollo and was performed at Delphi. Yet if, as F. maintains, BOULH/ in line 20 refers to a cult title of Artemis, it would suggest an Athenian provenance, since the goddess was there worshipped as Boulaia. Athena (28) combines three types of praise (birth and epiphany, typical activity, and appearance) and unites the two aspects of the goddess as warrior and goddess of metis. F. believes that the same poet may have composed bothAthena and the Hymn to Artemis, but thinks Athena was composed in Athens for the Panathenaia.
IN THE PAPER QUOTED BELOW, UNFORTUNATELY THE AUTHOR’S WORK IS MARRED BY HIS ACCEPTANCE OF THE “BOOK OF MORMON” AS AN AUTHENTIC ANCIENT WORK. THE “BOOK OF MORMON” IS THE PRINCIPAL ‘SCRIPTURE’ OF THE MORMONS / CHURCH OF JESUS CHRIST OF THE LATTER DAY SAINTS (LDS), AND THEIR ARCH-FOES, THE REORGANIZED LDS (RLDS). THIS BOOK WAS, LIKE SIMILAR WORKS OF THE 19TH CENTURY, PART OF A GENRE OF ESOTERIC MASONIC-RELATED WORKS. THUS WHEN WE READ SHIRTS’S REFERENCES FROM “THE BOOK OF MORMON”, WE ARE NOT GETTING SOMETHING FROM THE ANCIENT AMERICAS, BUT WE ARE GETTING AN INSIGHT INTO THE MASONIC ‘ESOTERIC’ THOUGHT OF JOSEPH SMITH’S REGION AND PERIOD. K. A. SHIRTS ALSO USES UNCRITICALLY OTHER MASONIC AND ‘ESOTERIC’ SOURCES WHICH ARE NOT EITHER ANCIENT OR CREDIBLE. HOWEVER, IN SPITE OF THESE PROBLEMS, BECAUSE HE IS WIDELY READ AND HAS SOME UNDERSTANDING, HIS BASIC IDENTIFICATION OF THE COMMON COSMIC SIGNIFICANCE OF THE CIRCLE-DANCE THEME ACROSS VARIOUS SACRED TRADITIONS IS CORRECT. BECAUSE HE IS STEEPED IN THE MASONIC-TYPE GNOSTIC OUTLOOK, HE SEEMS LIMITED TO THE MERELY COSMIC REALIZATION, AND UNABLE TO GRASP THE HIGHEST TRANSCENDENT THEOLOGICAL SIGNIFICANCE OF GOD AND HIS SHAKTI’S / SHEKINAH’S DANCE OF DIVINE LOVE. HIS WORK AND REALIZATION IS ALSO LIMITED BY HIS TYPICAL ‘ESOTERIC’ BIAS AGAINST, AND THEREFORE LACK OF FAMILIARITY WITH, AND USE OF AUTHENTIC CATHOLIC CHRISTIAN SOURCES. I AM INCLUDING HIS REFERENCE ONLY TO SHOW THAT SCHOLARS OF DIFFERENT PERSUASIONS HAVE GIVEN SERIOUS CONSIDERATION TO THE SUBJECT OF THE CHRISTIAN CHORUS / PARADISE ROUND, EVEN NOTING POSSIBLE CONNECTIONS TO OTHER ANCIENT WORLD TRADITIONS.
THE FOLLOWING IS EXCERPTED FROM:
The Dance of JesuShiva
by Kerry A. Shirts
The idea of the dance. What does it signify? Why did Jesus himself dance with his Apostles? In reading the Hindu scriptures, one runs across the god Shiva and his dancing posture. Many have looked at this and shown that is has cosmological importance. It is remarkable to note that Jesus too, did dance. His “Round Dance” was performed with his chosen Apostles in the Early Christian Prayer Circle, of which Hugh Nibley and Max Pulver have expounded on at length.
1 Hugh Nibley, “The Early Christian Prayer Circle,” in BYU Studies, 19/1 (Fall 1978): 41-78. See also The Message of the Joseph Smith Papyri, Deseret Book, 1976: 282. Max Pulver, “Jesus’ Round Dance and Crucifixion According to the Acts of St. John,” in The Mysteries, edited by Joseph Campbell, Princeton Univ. Press, 5th print, 1990: 169-193.
More remarkable still, is the understanding of the origin of Dithyrambos and dithyramb, the song sung in his honor. This song is sung for Dithyrambos, because the Greeks always regarded this epithet as “indicating and describing the manner of the birth of the god.” Dithyrambos, as the god of the song of birth is born at the resurrection of earth in the spring-time. Interestingly, the songs (dithyramb) that the three maidens, the Thriae, sing was the source of Hermes prophetic gift. Their inspiration derived from drunkenness, not of wine, but of honey. They are Melissae, “Bee-Prophetesses,” inspired by a honey intoxicant. The Priestesses of Artemis at Ephesis were also bees, as well as those of Demeter, and still more significant, the Delphic priestess herself was a Bee. The Thriambos, was the song of the Thriae, or honey-priestesses, a song about beginnings.
The meaning of the word “mysteries,” was in fact, only understood by those who danced the dance. By dancing they actually enacted the mysteries. Paul Schmitt has noted that Euripides in Ion, demonstrates Demeter dancing and her followers performing a religious dance which involved the sun, moon, and stars, as Demeter went to get her daughter from hell. The Zoharic vision of dancing and praying and chanting (singing) is that at night 3 hosts of angels arrange themselves in 3 parts of the universe and chant to God which keeps his throne intact. During the day, it is humans who chant and hence through an elaborate and prayerful process “the movement resembles a kaleidoscope ceaselessly opening, or a flower constantly blooming…”
Again poetry means “creation of the world.” “The business of the Muses at the temple was to sing the creation song with the morning stars. Naturally, because they were dramatizing the story of the creation too, the hymn was sung to music. The singing was performed in a sacred circle or chorus, so that poetry, music, and dance go together.” In Egypt Kronos was named Keb, the “Great Orb,” and this everlasting Keb is evidently the root of Kebla, meaning a stone circle. In Septum the Latin term for stone circle is again occurrent the idea is ep tum the light of the Eye or Orb, Tum, or Time, the resplendent Sun. All tempes, or Temples may be indeed described as originally Time Fathers, Time Tellers, Time Keepers, or Time Bells.
The art depicted in the ancient caves shows figures dressed as animals dancing. The idea reminds us of Orpheus “about the musician who charmed the animal world into an unnatural state of harmony, and, shamanlike, rescued souls from the otherworld.” Visions and dreams have been associated with prophetic divine instruction and have had cosmogonic implications. Vishnu asleep on his lotus is such an image in the ancient Eastern symbolism. Shiva, the Lord of the dancers is also symbolic of cosmic creation as we learn what his symbols mean. “With drum and dance, in one aspect, he represents the world’s perpetual unfolding… the drum in Hindu myth is an agency of cosmic creation, and …dancing is one of the many aspects of Shiva’s essence.” Wherever we turn we find this constellation of symbols in ancient shamanism. “The cosmic formal power of the Huron and Iroquois, orenda, is derived from a root meaning ‘song.’ For archaic man, human creativity is grounded in cosmic creativity and music and dance articulate a connection between the two. Archaic man’s sense of continuity with this creative force is well expressed by the Aztec claim to have sung and danced their cities into creation…Dance, drum, vision, and song all symbolically suggest man’s link with the cosmic creation… in dancing to the percussive beat and rhythm of drum, chant, and song, the shaman becomes one with the cosmic creation.
This is the dance of Shiva. This is the Dance of Jesus. The created world is what Shiva dances. He unites the male and female in himself. The two become one flesh. Jesus’ prayer in John 17 was that the world would become one with Him and His Father. Again, the Caduceus signifies this unity, with the two snakes bring together earth and sky (signified in male and female terms anciently). In ancient Shamanism, the initiation into Shamanism was supplied with a dance in a circle and singing, the shamans being prepared to reach the sky via the ladder of the sky. The Spirit that helps them is the Grandfather, that is the Creator or Supreme Being. This is very reminiscent of Jesus being in the presence of his Apostles dancing in a circle with their wives. Originally we are told, ALL dancing was sacred.
Overall, Shiva’s Dance and Jesus’ Dance accomplish the same thing. They are the same symbol with the same power to evoke incredible emotions in us and those who participated anciently in these prayer circles. It is the interplay of Macrocosm/Microcosm, so prevalent in ancient religious systems. The dance is the incarnation of celestial energy, hence the ring of fire around Shiva. When Christ visited the Nephites and gathered the little children, they were enveloped with a ring of fire. (3 Nephi 17:24)
It is remarkable that Jesus continues the tradition and enhances it among the inner circle of his followers. It’s too bad the later Christians got rid of it, as it is a key to understanding man, God, and Creation.
ACTUALLY, CAROLING WAS CONTINUED AFTER MASS IN THE CATHOLIC CHURCH FOR CENTURIES. UNFORTUNATELY DUE TO THE ONSLAUGHT OF THE DEGRADING INFLUENCES OF KALI YUGA, THIS CAROLING DEGRADED INTO MERE SOCIAL DANCING AND, HAVING LOST ITS SACRED SIGNIFICANCE, WAS THUS DISCONTINUED AS THE COMMON CELEBRATION OF THE FAITHFUL AFTER MASS. STILL IT PERSISTED AT POPULAR RELIGIOUS FESTIVALS, LIKE MARY’S MAY CROWNING AND MAY-POLE DANCES, AND IN THE GREAT CATHOLIC RELIGIOUS RELIC PILGRIMAGE REVIVAL FAIRS. IT NEVER COMPLETELY DIED OUT, AND SURVIVES IN NUMEROUS FORMS IN CATHOLIC AND RELATED TRADITIONS TO TODAY.
FOR MORE INFORMATION ON THE SACRED CIRCLE DANCE, SEARCH FOR THE FOLLOWING TERMS: CHOIR, CAROL, CAROLING, CHORAL, CHORUAULOS, CHOREAGRAPHER, CHOREAGOES (TITLE OF GOD OR THE HOLY SPIRIT), JESUS AS THE LEADER OF THE DANCE OR ANGELIC CHOIR, THE LORD OF THE DANCE, HELIOS / HELIUS, APOLLO AND MUSES, MOUNT PARNASSUS, CHORUS, KHORUS, CHORAL CULT HYMNS, GREEK CLASSICAL AND HOMERIC HYMNS, GREEK POETRY, GREEK THEATER, GREEK FESTIVALS AND POETIC OR CHORAL COMPETITIONS, THE PAEAN (HELIOS OR APOLLO), THE DITHYRAMBOS (DIONYSOS), DIONYSIAN ORGIES (MAENADS, BACCHANTS, BACCHAE…THIS IS THE LEFT-HANDED TANTRIC CORRUPTION OF THE CHORUS TRADITION), THE HISTORY OF THE DANCE, SACRED DANCE, THE ANGEL ROUND, THE PARADISE ROUND, BALLAD, BALLET, BALLATIO (LIKE THE CHORUS WAS SINGING WITH DANCE TO TELL A SACRED STORY), BALL (BALLET), CYCLE (COSMIC) DANCE (HORAE, HOURS, SEASONS, MOONS, 12 SIGNS, ZODIAC, HEAVENLY ROUND, SOLAR 12 CYCLE / KYKLOS), CIRCLE, CHAKRA, KALA CHAKRA, CALENDARS, LABYRINTH, AND WORDS RELATED TO THE ABOVE.
TO END THIS LETTER, HERE IS THE INTERNET LOCATION OF THE AUTHENTIC VERSION OF THE HYMN “LORD OF THE DANCE”. GO TO THE SITE TO READ THE WORDS AND GET THE SHAKER MELODY OF THIS MODERN CHRISTIAN HYMN. IT REFLECTS THAT THE EXPERIENCE OF GOD AS THE LORD OF THE DANCE IS STILL A PART OF CHRISTIAN FAITH. THE AUTHOR MENTIONS THE SHAKERS, WHOSE MELODY HE HAS USED. THEY WERE CELIBATES DEVOTED TO GOD IN THE TOTAL-GIVING MOOD OF ‘BRIDAL MYSTICISM’. IN SEPARATE CIRCLES OF MEN AND WOMEN, THEY WOULD DANCE THEIR ‘PARADISE ROUNDS’ FOR HOURS AT A TIME.
SHIVA NATARAJA, LORD OF THE DANCE
MAY THE LORD OF THE DANCE AND HIS BELOVED BLESS US ALL TODAY, AND DRAW US TOGETHER IN LOVE, BY THE SOUND OF HIS TRANSCENDENTAL FLUTE, FROM ALL OF THE PLACES WHERE WE HAVE BECOME LOST AND ALIENATED IN HIS CREATIONS.
AMEN AUM & HARE KRISHNA !
ASPIRING TO SERVE THE SERVANTS OF GOD’S SERVANTS,
BHAKTI ANANDA GOSWAMI