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Dancing The Holy Rhythms of Your Life - by Rabbi Miriyam and Parashakti
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TRANSFORMATION
Dancing The Holy Rhythms of Your LifeBy Parashakti and Rabbi Miriyam Glazer
Dance is the hidden language of the soul of the body. Martha Graham
Way back in 1964, after living on a poor socialist kibbutz in Israel, then 19yearold Rabbi Miriyam sailed
back to the States on the Greek ship Olympia where a radical discovery waited for her on the dance
floor.
While she had been studying Hebrew and washing floors in the Children's House, popular culture in
America had changed.
The "lindy" for which Dick Clark's American Bandstand had been embraced by every teenager; the lindy
of Elvis the Pelvis's "Blue Suede Shoes;" the lindy that the baby boom generation had perfected both to
their own joy and to the dismay of their parents, was now out.
The Twist was in.
Instead of dancing wild and intricate swings and dips with a partner, cocoordinating your every move,
now you danced all by yourself.
Partner dancing touch dancing, had overnight become passé. And whether it turned into nutty variations
like the "Mashed Potato," the "Monkey," or "The Duck," this sixties'generation change in dancestyles
heralded a great deal more than a change in dance styles. It was the dawning of a new age.
What did it mean to dance on my own?
To make up my own steps?
Do whatever my body called me to do?
And worst of all, would I make a fool of myself? Be laughed at?
Essentially, the way societies and individuals dance reveals deep truths about them. Club culture is very
popular all over the world. We believe that you can get to know someone really well on the dance floor
just by dancing with them, for to dance with another is also a really good way to embrace one another
without dialogue. As Parashakti has long taught, it is also a good way to express yourself without needing
to speak. Even more than the individual: a community dancing together develops its own beat and
rhythm. For example, club culture brings people together, and as they dance the vibration of unity
becomes magnified on the dance floor. You feel that vibration, too, in various rites of passage vividly,
for example, in weddings. And dancing at weddings seems to be universal, as if dance not only marks, but
itself is an invitation to, celebration.
Dance is also an ancient practice. We know that since earliest times, westerners celebrated the awakening
of nature in the spring or, in northern Europe, the ecstasy of nearly 24 hours of light in midsummer with
a dance we scarcely see today, the joyous Maypole. In this case, in a ceremonial context, dance was used
to connect to the cycles and rhythms of nature.
On a day most people today think of as unremittingly solemn Yom Kippur, in ancient Israel, young
women dressed in white went dancing in the vineyards. The Talmud describes it as a time of the greatest
joy, for women picked their future husbands. Dancing is also documented in the Torah:
"As the ark was brought up the hills of Jerusalem, King David and all of Israel danced to the
sounds of lyres, timbrels and cymbals, David whirling with all of his might..." [Adapted from II
Samuel 6]
For the Lakota tribe in the United States, to this day, one of the most significant of all rites de passage is
the sacred Sun Dance to Wakan Tanka the Great Spirit, that is sacrificial in nature.
For the Sufi followers of Rumi, the 700hundredyearold highly ritualized dances of the Whirling
Dervishes are designed to bring the dancer into an ecstatic union with the Divine and with the entire
created world. For, as Dr. Celalettin Celebi explains, "the fundamental condition of our existence is to
revolve," the planets around the sun, the particles within the atom, the circulation of blood in our body.
Hence the Dervish, in whirling, fuses with that essential movement of universal life.
So, to return to where we began, what difference did it make back in 1964 that the lindy was out, and the
Twist was in? Why did it matter?
To adapt the words of 1967's musical Hair, it seemed like the "dawning of the Age of Aquarius." We see
that as the liberation of the body's movement from imposed rules. This liberation was inextricable from
the radical changes going on in society as a whole. Rather than allow oneself to be restricted to prescribed
or rigid rules that demanded social conformity, one was now freed to move to one's own rhythms. "Do
your thing," became the "thing": innovate, express, let go. Rules themselves seem to lose their meaning
and their function, and it seemed, at least the Self and its desire for SelfExpression, reigned supreme.
For Rabbi Miriyam it was the "twist"; Parashakti remembers a similar experience at the tender age of six.
When her family lived in Jerusalem, her mother enrolled her in ballet classes, taught by a Russian
instructor in this very strict ballet school. Parashakti had to wear a pink ensemble complete with a little
tutu and tights and follow a carefully choreographed sequence of steps. For the life of her, she just could
not learn those steps. This whole experience culminated in her getting on stage for the final performance,
after a myriad of rehearsals, and just bursting into her own dance. Freedom of expression just took over.
It's as if her whole body knew, even at that age, that dance calls us to be expressive beings.
By now most of us over 30 know the downside of the 1960s. But there is also, increasingly, very, very
good news. The truth is that it is the upside the amazing grace of its legacy that, as we get evermore into
the twentyfirst century, is being increasingly revealed.
More and more of us are realizing that dancing alone is the beginning not for mere entertainment, not for
fun alone but rather for the awakening of selfknowledge, selfawareness, profound soulhealing, and
ultimately spiritual awakening. The brilliant synthesis of the present age is that between what we might
call the "One" and the "Many" what we have come to comprehend with ever greater depth as the power
of dancing alone in community. This realization is beautifully encapsulated in the following words from
Gabrielle Roth:
"To sweat is to pray, to make an offering of your innermost self. Sweat is holy water, prayer beads, pearls
of liquid that release your past. Sweat is an ancient and universal form of self healing, whether done in the
gym, the sauna, or the sweat lodge. I do it on the dance floor. The more you dance, the more you sweat.
The more you sweat, the more you pray. The more you pray, the closer you come to ecstasy."
Whereas western culture long severed dancing "from its healing and esoteric roots," writes Karen
Berggren, "in the past decade or so, it seems that the ancient understandings of dance as a healing and
spiritual modality are impressing themselves upon the modern mind... The idea of dance as a symbolic
language of the psyche that can initiate healing, visionary and ecstatic experience through rhythm and
movement, is being explored by increasing numbers of people searching for new levels of health,
wholeness, and spiritual connection."
Gabrielle Roth's Five Rhythms moves participants from flowing rhythms to percussive beats, to
unordered wildness, the rhythms of trance, and ultimately to stillness, has flourished all across the world.
Anna Halprin, doyenne of the Tamalpa Institute, has developed dance as a mode of individual and even
planetary healing, ever since the 1970s. Parashakti, drawing on the ancient and perennial knowledge of
shamans, recognized in the Dance of Liberation a modality for deep soul work, breath work, and vision
quest.
She describes it as an internal process of letting go of patterns, habits and behaviors that no longer serve
you, just as you are really freeing yourself to have a good time. When you are having a good time on the
dance floor you are really dancing a part of yourself that perhaps in everyday life you just don't have a
chance to express the voice of which comes from authentically finding your own rhythm.
Through authentically exploring your own rhythm on the dance floor you can begin a dialogue with
yourself about what it is that you want to heal in your body. It is an opportunity for truth to be discovered
that is far beyond just the hiphop lindy 60's dancing of having fun. It is an opportunity for opening up to
Divine Source and connecting to the Earth and to be able to gift that connection from your heart to the
world.
PARASHAKTI is the founder of Dance of Liberation, and creator of Liberation detox
and cleansing programs. Through the integration of dance yoga, ritual, hands on
healing, spiritual nutrition , live drumming, global music, sweat lodges, her programs
heal and free physical, mental, emotional and spiritual blockages. www.parashakti.org
RABBI MIRIYAM GLAZER Professor of Literature Chair, Department of Literature,
Communication & Media American Jewish Universityis and the author of PSALMS OF
THE JEWISH LITURGY: A GUIDE TO THEIR BEAUTY, POWER, AND MEANING
(a new translation and commentary).
ISSUE 158
Art by Caitlin Mahloney
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
Thinking of subscribing?For only $20.00 per year or $4.00 per issue, the Spirit will travel... right into your mailbox! Contact us to start your subscription today!
reading | resources | advertising | about us
READING RESOURCES ADVERTISING ABOUT US
TRANSFORMATION
Dancing The Holy Rhythms of Your LifeBy Parashakti and Rabbi Miriyam Glazer
Dance is the hidden language of the soul of the body. Martha Graham
Way back in 1964, after living on a poor socialist kibbutz in Israel, then 19yearold Rabbi Miriyam sailed
back to the States on the Greek ship Olympia where a radical discovery waited for her on the dance
floor.
While she had been studying Hebrew and washing floors in the Children's House, popular culture in
America had changed.
The "lindy" for which Dick Clark's American Bandstand had been embraced by every teenager; the lindy
of Elvis the Pelvis's "Blue Suede Shoes;" the lindy that the baby boom generation had perfected both to
their own joy and to the dismay of their parents, was now out.
The Twist was in.
Instead of dancing wild and intricate swings and dips with a partner, cocoordinating your every move,
now you danced all by yourself.
Partner dancing touch dancing, had overnight become passé. And whether it turned into nutty variations
like the "Mashed Potato," the "Monkey," or "The Duck," this sixties'generation change in dancestyles
heralded a great deal more than a change in dance styles. It was the dawning of a new age.
What did it mean to dance on my own?
To make up my own steps?
Do whatever my body called me to do?
And worst of all, would I make a fool of myself? Be laughed at?
Essentially, the way societies and individuals dance reveals deep truths about them. Club culture is very
popular all over the world. We believe that you can get to know someone really well on the dance floor
just by dancing with them, for to dance with another is also a really good way to embrace one another
without dialogue. As Parashakti has long taught, it is also a good way to express yourself without needing
to speak. Even more than the individual: a community dancing together develops its own beat and
rhythm. For example, club culture brings people together, and as they dance the vibration of unity
becomes magnified on the dance floor. You feel that vibration, too, in various rites of passage vividly,
for example, in weddings. And dancing at weddings seems to be universal, as if dance not only marks, but
itself is an invitation to, celebration.
Dance is also an ancient practice. We know that since earliest times, westerners celebrated the awakening
of nature in the spring or, in northern Europe, the ecstasy of nearly 24 hours of light in midsummer with
a dance we scarcely see today, the joyous Maypole. In this case, in a ceremonial context, dance was used
to connect to the cycles and rhythms of nature.
On a day most people today think of as unremittingly solemn Yom Kippur, in ancient Israel, young
women dressed in white went dancing in the vineyards. The Talmud describes it as a time of the greatest
joy, for women picked their future husbands. Dancing is also documented in the Torah:
"As the ark was brought up the hills of Jerusalem, King David and all of Israel danced to the
sounds of lyres, timbrels and cymbals, David whirling with all of his might..." [Adapted from II
Samuel 6]
For the Lakota tribe in the United States, to this day, one of the most significant of all rites de passage is
the sacred Sun Dance to Wakan Tanka the Great Spirit, that is sacrificial in nature.
For the Sufi followers of Rumi, the 700hundredyearold highly ritualized dances of the Whirling
Dervishes are designed to bring the dancer into an ecstatic union with the Divine and with the entire
created world. For, as Dr. Celalettin Celebi explains, "the fundamental condition of our existence is to
revolve," the planets around the sun, the particles within the atom, the circulation of blood in our body.
Hence the Dervish, in whirling, fuses with that essential movement of universal life.
So, to return to where we began, what difference did it make back in 1964 that the lindy was out, and the
Twist was in? Why did it matter?
To adapt the words of 1967's musical Hair, it seemed like the "dawning of the Age of Aquarius." We see
that as the liberation of the body's movement from imposed rules. This liberation was inextricable from
the radical changes going on in society as a whole. Rather than allow oneself to be restricted to prescribed
or rigid rules that demanded social conformity, one was now freed to move to one's own rhythms. "Do
your thing," became the "thing": innovate, express, let go. Rules themselves seem to lose their meaning
and their function, and it seemed, at least the Self and its desire for SelfExpression, reigned supreme.
For Rabbi Miriyam it was the "twist"; Parashakti remembers a similar experience at the tender age of six.
When her family lived in Jerusalem, her mother enrolled her in ballet classes, taught by a Russian
instructor in this very strict ballet school. Parashakti had to wear a pink ensemble complete with a little
tutu and tights and follow a carefully choreographed sequence of steps. For the life of her, she just could
not learn those steps. This whole experience culminated in her getting on stage for the final performance,
after a myriad of rehearsals, and just bursting into her own dance. Freedom of expression just took over.
It's as if her whole body knew, even at that age, that dance calls us to be expressive beings.
By now most of us over 30 know the downside of the 1960s. But there is also, increasingly, very, very
good news. The truth is that it is the upside the amazing grace of its legacy that, as we get evermore into
the twentyfirst century, is being increasingly revealed.
More and more of us are realizing that dancing alone is the beginning not for mere entertainment, not for
fun alone but rather for the awakening of selfknowledge, selfawareness, profound soulhealing, and
ultimately spiritual awakening. The brilliant synthesis of the present age is that between what we might
call the "One" and the "Many" what we have come to comprehend with ever greater depth as the power
of dancing alone in community. This realization is beautifully encapsulated in the following words from
Gabrielle Roth:
"To sweat is to pray, to make an offering of your innermost self. Sweat is holy water, prayer beads, pearls
of liquid that release your past. Sweat is an ancient and universal form of self healing, whether done in the
gym, the sauna, or the sweat lodge. I do it on the dance floor. The more you dance, the more you sweat.
The more you sweat, the more you pray. The more you pray, the closer you come to ecstasy."
Whereas western culture long severed dancing "from its healing and esoteric roots," writes Karen
Berggren, "in the past decade or so, it seems that the ancient understandings of dance as a healing and
spiritual modality are impressing themselves upon the modern mind... The idea of dance as a symbolic
language of the psyche that can initiate healing, visionary and ecstatic experience through rhythm and
movement, is being explored by increasing numbers of people searching for new levels of health,
wholeness, and spiritual connection."
Gabrielle Roth's Five Rhythms moves participants from flowing rhythms to percussive beats, to
unordered wildness, the rhythms of trance, and ultimately to stillness, has flourished all across the world.
Anna Halprin, doyenne of the Tamalpa Institute, has developed dance as a mode of individual and even
planetary healing, ever since the 1970s. Parashakti, drawing on the ancient and perennial knowledge of
shamans, recognized in the Dance of Liberation a modality for deep soul work, breath work, and vision
quest.
She describes it as an internal process of letting go of patterns, habits and behaviors that no longer serve
you, just as you are really freeing yourself to have a good time. When you are having a good time on the
dance floor you are really dancing a part of yourself that perhaps in everyday life you just don't have a
chance to express the voice of which comes from authentically finding your own rhythm.
Through authentically exploring your own rhythm on the dance floor you can begin a dialogue with
yourself about what it is that you want to heal in your body. It is an opportunity for truth to be discovered
that is far beyond just the hiphop lindy 60's dancing of having fun. It is an opportunity for opening up to
Divine Source and connecting to the Earth and to be able to gift that connection from your heart to the
world.
PARASHAKTI is the founder of Dance of Liberation, and creator of Liberation detox
and cleansing programs. Through the integration of dance yoga, ritual, hands on
healing, spiritual nutrition , live drumming, global music, sweat lodges, her programs
heal and free physical, mental, emotional and spiritual blockages. www.parashakti.org
RABBI MIRIYAM GLAZER Professor of Literature Chair, Department of Literature,
Communication & Media American Jewish Universityis and the author of PSALMS OF
THE JEWISH LITURGY: A GUIDE TO THEIR BEAUTY, POWER, AND MEANING
(a new translation and commentary).
ISSUE 158
Art by Caitlin Mahloney
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
Thinking of subscribing?For only $20.00 per year or $4.00 per issue, the Spirit will travel... right into your mailbox! Contact us to start your subscription today!
reading | resources | advertising | about us
READING RESOURCES ADVERTISING ABOUT US
TRANSFORMATION
Dancing The Holy Rhythms of Your LifeBy Parashakti and Rabbi Miriyam Glazer
Dance is the hidden language of the soul of the body. Martha Graham
Way back in 1964, after living on a poor socialist kibbutz in Israel, then 19yearold Rabbi Miriyam sailed
back to the States on the Greek ship Olympia where a radical discovery waited for her on the dance
floor.
While she had been studying Hebrew and washing floors in the Children's House, popular culture in
America had changed.
The "lindy" for which Dick Clark's American Bandstand had been embraced by every teenager; the lindy
of Elvis the Pelvis's "Blue Suede Shoes;" the lindy that the baby boom generation had perfected both to
their own joy and to the dismay of their parents, was now out.
The Twist was in.
Instead of dancing wild and intricate swings and dips with a partner, cocoordinating your every move,
now you danced all by yourself.
Partner dancing touch dancing, had overnight become passé. And whether it turned into nutty variations
like the "Mashed Potato," the "Monkey," or "The Duck," this sixties'generation change in dancestyles
heralded a great deal more than a change in dance styles. It was the dawning of a new age.
What did it mean to dance on my own?
To make up my own steps?
Do whatever my body called me to do?
And worst of all, would I make a fool of myself? Be laughed at?
Essentially, the way societies and individuals dance reveals deep truths about them. Club culture is very
popular all over the world. We believe that you can get to know someone really well on the dance floor
just by dancing with them, for to dance with another is also a really good way to embrace one another
without dialogue. As Parashakti has long taught, it is also a good way to express yourself without needing
to speak. Even more than the individual: a community dancing together develops its own beat and
rhythm. For example, club culture brings people together, and as they dance the vibration of unity
becomes magnified on the dance floor. You feel that vibration, too, in various rites of passage vividly,
for example, in weddings. And dancing at weddings seems to be universal, as if dance not only marks, but
itself is an invitation to, celebration.
Dance is also an ancient practice. We know that since earliest times, westerners celebrated the awakening
of nature in the spring or, in northern Europe, the ecstasy of nearly 24 hours of light in midsummer with
a dance we scarcely see today, the joyous Maypole. In this case, in a ceremonial context, dance was used
to connect to the cycles and rhythms of nature.
On a day most people today think of as unremittingly solemn Yom Kippur, in ancient Israel, young
women dressed in white went dancing in the vineyards. The Talmud describes it as a time of the greatest
joy, for women picked their future husbands. Dancing is also documented in the Torah:
"As the ark was brought up the hills of Jerusalem, King David and all of Israel danced to the
sounds of lyres, timbrels and cymbals, David whirling with all of his might..." [Adapted from II
Samuel 6]
For the Lakota tribe in the United States, to this day, one of the most significant of all rites de passage is
the sacred Sun Dance to Wakan Tanka the Great Spirit, that is sacrificial in nature.
For the Sufi followers of Rumi, the 700hundredyearold highly ritualized dances of the Whirling
Dervishes are designed to bring the dancer into an ecstatic union with the Divine and with the entire
created world. For, as Dr. Celalettin Celebi explains, "the fundamental condition of our existence is to
revolve," the planets around the sun, the particles within the atom, the circulation of blood in our body.
Hence the Dervish, in whirling, fuses with that essential movement of universal life.
So, to return to where we began, what difference did it make back in 1964 that the lindy was out, and the
Twist was in? Why did it matter?
To adapt the words of 1967's musical Hair, it seemed like the "dawning of the Age of Aquarius." We see
that as the liberation of the body's movement from imposed rules. This liberation was inextricable from
the radical changes going on in society as a whole. Rather than allow oneself to be restricted to prescribed
or rigid rules that demanded social conformity, one was now freed to move to one's own rhythms. "Do
your thing," became the "thing": innovate, express, let go. Rules themselves seem to lose their meaning
and their function, and it seemed, at least the Self and its desire for SelfExpression, reigned supreme.
For Rabbi Miriyam it was the "twist"; Parashakti remembers a similar experience at the tender age of six.
When her family lived in Jerusalem, her mother enrolled her in ballet classes, taught by a Russian
instructor in this very strict ballet school. Parashakti had to wear a pink ensemble complete with a little
tutu and tights and follow a carefully choreographed sequence of steps. For the life of her, she just could
not learn those steps. This whole experience culminated in her getting on stage for the final performance,
after a myriad of rehearsals, and just bursting into her own dance. Freedom of expression just took over.
It's as if her whole body knew, even at that age, that dance calls us to be expressive beings.
By now most of us over 30 know the downside of the 1960s. But there is also, increasingly, very, very
good news. The truth is that it is the upside the amazing grace of its legacy that, as we get evermore into
the twentyfirst century, is being increasingly revealed.
More and more of us are realizing that dancing alone is the beginning not for mere entertainment, not for
fun alone but rather for the awakening of selfknowledge, selfawareness, profound soulhealing, and
ultimately spiritual awakening. The brilliant synthesis of the present age is that between what we might
call the "One" and the "Many" what we have come to comprehend with ever greater depth as the power
of dancing alone in community. This realization is beautifully encapsulated in the following words from
Gabrielle Roth:
"To sweat is to pray, to make an offering of your innermost self. Sweat is holy water, prayer beads, pearls
of liquid that release your past. Sweat is an ancient and universal form of self healing, whether done in the
gym, the sauna, or the sweat lodge. I do it on the dance floor. The more you dance, the more you sweat.
The more you sweat, the more you pray. The more you pray, the closer you come to ecstasy."
Whereas western culture long severed dancing "from its healing and esoteric roots," writes Karen
Berggren, "in the past decade or so, it seems that the ancient understandings of dance as a healing and
spiritual modality are impressing themselves upon the modern mind... The idea of dance as a symbolic
language of the psyche that can initiate healing, visionary and ecstatic experience through rhythm and
movement, is being explored by increasing numbers of people searching for new levels of health,
wholeness, and spiritual connection."
Gabrielle Roth's Five Rhythms moves participants from flowing rhythms to percussive beats, to
unordered wildness, the rhythms of trance, and ultimately to stillness, has flourished all across the world.
Anna Halprin, doyenne of the Tamalpa Institute, has developed dance as a mode of individual and even
planetary healing, ever since the 1970s. Parashakti, drawing on the ancient and perennial knowledge of
shamans, recognized in the Dance of Liberation a modality for deep soul work, breath work, and vision
quest.
She describes it as an internal process of letting go of patterns, habits and behaviors that no longer serve
you, just as you are really freeing yourself to have a good time. When you are having a good time on the
dance floor you are really dancing a part of yourself that perhaps in everyday life you just don't have a
chance to express the voice of which comes from authentically finding your own rhythm.
Through authentically exploring your own rhythm on the dance floor you can begin a dialogue with
yourself about what it is that you want to heal in your body. It is an opportunity for truth to be discovered
that is far beyond just the hiphop lindy 60's dancing of having fun. It is an opportunity for opening up to
Divine Source and connecting to the Earth and to be able to gift that connection from your heart to the
world.
PARASHAKTI is the founder of Dance of Liberation, and creator of Liberation detox
and cleansing programs. Through the integration of dance yoga, ritual, hands on
healing, spiritual nutrition , live drumming, global music, sweat lodges, her programs
heal and free physical, mental, emotional and spiritual blockages. www.parashakti.org
RABBI MIRIYAM GLAZER Professor of Literature Chair, Department of Literature,
Communication & Media American Jewish Universityis and the author of PSALMS OF
THE JEWISH LITURGY: A GUIDE TO THEIR BEAUTY, POWER, AND MEANING
(a new translation and commentary).
ISSUE 158
Art by Caitlin Mahloney
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
Thinking of subscribing?For only $20.00 per year or $4.00 per issue, the Spirit will travel... right into your mailbox! Contact us to start your subscription today!
reading | resources | advertising | about us
READING RESOURCES ADVERTISING ABOUT US
