How to dance in eso

By imitating certain animals or elements, integrating with their energies, a person acquires their strength and qualities. In addition, this practice also contributes to the awakening of such energies in the person himself, which are usually localized at the level of the first two chakras, thereby harmonizing and strengthening his connection with the Earth and the surrounding nature and gaining unity with them. Man becomes a part of Nature, and not an outside observer. nine0003

With the help of magical dance and various ritual attire, shamans overcome the boundary between the physical and subtle worlds. Part of the shamanic dance symbolizes the reunion of the energy of the Earth and life on it. For this, images of animals and sacred dances are usually used.

All forms and images, including animals, reflect the manifestation of the energy of prototypes. These prototypes have their own properties and strength, which are reflected and symbolized by the behavior and activity of the animal. When we honor an animal through a sacred dance, we honor and invoke the entity behind it. This essence, creative and dynamic, can help us in our life circumstances. When we open a magical space and then tune in to this entity through posture, movement and dance, we borrow energy from it and use it for the purposes we need. The animal becomes our totem - our strength or talisman. nine0003

The creation of the totemic dance goes back thousands of years. All of them are based on the imitation of the movements and habits of an animal. The essence of the dance is to accept the power of the animal being danced and feel like this animal for some time. The hidden meaning of this dance is that the spirit of the animal enters the dancer and endows him with his strength and qualities. To achieve a greater resemblance to the animal being danced, special symbols are strengthened on the body - feathers, horns, leaves, tufts of wool, etc. Sometimes the body is painted in the color of the animal or a mask is put on. Through dance, we also learn to transform our energy into a form that is natural to our spirit animal. The development of this ability of reincarnation helps to change life, to harmonize it with the visible and invisible worlds around us, to awaken the primordial wisdom and energy of creativity in oneself. nine0003

The circle dance occupies a special place in shamanism. This is a micromystery in which each of the participants, identifying himself with the infinite power of life, symbolizes his own immortality. Georg Steller, who studied the traditions of the peoples of the North, wrote about the dynamics of the dance in 1774: “Their wild dances are accompanied by frantic cries. from them flows in streams. Whoever endures the longest deserves the greatest honor and the love of the woman with whom during the dance they exchanged glances. To one beat they dance for an hour, and the circle gradually increases, because in the house no one can resist, even the ancient old people join the dance, sparing their last efforts. Often the dance lasts from 12 to 14 hours, from evening to morning." nine0003

The energy of the dance performance, its duration directly affect the dancers. The purpose of the dance is to bring oneself to ecstasy, thereby approaching the vision of a shaman. When the body completely leaves the physical strength, it is replaced by the strength of the spirit, which causes ecstatic experiences. Consciousness separates from the material shell and rushes upward. A person begins to perceive other hypostases of being, meets with spirits, confers with long-dead ancestors, etc. One of the varieties of the circle dance, common among the Buryats, is called "Ekhor", which means "ascension". nine0003

Notes on the margins of crazy life. — LJ

This winter (preliminary - December 9-10) our studio is organizing a ball for the 1840s, namely for Polish mania.
In this regard, I start two new tags, and start publishing materials, including quotes from that time.
I will try to make my posts interesting not only for dancers, but in general for everyone who is interested in reading about the affairs of bygone days. Today we have Parisian balls.

Source: Illustration: weekly edition of everything useful and elegant. - St. Petersburg, 1847, V. 5: V. 5 No. 25 (109)-48(132). 1847 July-December. with. 14

How happy Paris is! He dances forever! Now it's summer, it's hot, - and he dances every evening in twenty different places; thousands of feet and legs jump; thousands of hands entwined and untangled. Paris dances in the open air, under blossoming acacias, by the light of stars and gas fires - and how it dances!
[ the opinion of a true bohemian. .. ]
With what bacchanal freedom, with what unimaginable zeal, with what animation and frivolity... Only Paris can dance like that. And I, a cold, beer German, was not able to resist the countless invitations to these balls, nailed to all streets, at all intersections and returning lighting to 20,000 gas jets, magnificent fireworks and the latest quadrilles! Every traveler here is like an ancient knight in fairy tales, riding through a magical forest and being disarmed little by little by fairies; entwining him with flowers, these sirens lead him to three enchanted castles: to Ranelagh or the Red Castle, to Bal-Mabile and to Chaumiere. nine0003

As a Bohemian, I can apologize for visiting the Parisian bals champetres only to see my native dances polka and redovaka (here called redovaka), to hear my native melodies, which always made me so happy in Prague ... Then It was the time of childhood, youth! I remember how I was sitting in a tavern in Littich by the window opposite the old cathedral, when suddenly some itinerant musician played Guilmar's polka under the window - and made me shed tears. Here in Paris I am happy and sad when the Labitzky polka is played. Bohemian patriotism will embrace my heart; I will remember the fatherland, which can give Europe only melodies. nine0035 Paris judges us by our polkas and imagines that Bohemia always sings and dances. I tested it at the balls. The dancers at Bal-Mabile are very talkative. One of them, dancing with me, entered into a conversation with the question: where am I from? (she noticed that I was a foreigner). I answered that from Bohemia. She thought it was a joke, but when I seriously repeated the answer, she cried out:
"Ah, I know! a merry land! Everyone sings, dances, plays, tells fortunes there; your compatriots are scattered everywhere..."
Alas! My dancer confused the Bohemians with the Gypsies, because in French they are called the same - and she herself could not distinguish between them. I wanted to explain, but why? nine0035 - And what beautiful polkas and reds you send us from there! she continued. - You, of course, have more fun than in Paris! . ..
This nonsense was praise for the fatherland, and therefore, even though it was nonsense, it made me happy.

In fact, not a single Bohemian recognizes our poor national polka in that dance that the Parisians call the polka. They completely transformed it and gave it a lot of cancan flavor... Don't be afraid of the word! - in vain Europe in its stiffness so badly denounced the cancan; the traveler hurries to get acquainted with the cancan, to look at it, and most of them see that they were mistaken. I would like to describe this dance in detail, but I am afraid that the description will not be recognized as indecent. Meanwhile, the cancan is nothing more than a caricature of the French quadrille, which, judging by the performance of the dancers, can take on all possible shades of gaiety and extravagance. Any dance can be made indecent; but the real cancan is only cheerful, funny, amusing, and everyone looks at it with pleasure. If the spree couple decides to go beyond the boundaries, they are immediately sent Au violon (to the exit). nine0035 Parisian bals champetres are divided into two main categories: lorgnette balls and grisette balls. The Bal-mabile serves as the representative of the first class, while the Bal de la Grande Chaumiere serves as the second. In the first they go in carriages: lionesses of the boulevards, women from the Quartier-Breda and actresses of secondary theaters; in the second, grisettes walk arm in arm with students. In Bal-Mabile, hats with feathers are visible, and in Chaumiere, simple bonnets of real grisettes.

As different are the visitors, so are the rooms of the balls themselves. The Bal-Mabile garden is beautiful, charming, adorned with all the luxury of artistic vegetation that Paris is provided with. Surely Aladin's gardens were no prettier. Walking incessantly under the arches of magnificent trees, flowering arbors, furnished with beautiful statues, and murmuring fountains. Bronze arcades surround the place of dancing and pour thousands of streams of ignited gas. In addition, many of the same palm trees are hung with colorful lanterns. Around this place - thousands of benches, arbors of light and twilight. Everywhere there are crowds of the most charming women, cheerful, carefree, laughing, chatting incessantly ... The air is clean, fresh and saturated with the fragrance of flowers. In a word, everything is lovely! nine0035 If Mabile has a beautiful garden, then Chaumiere has a magnificent park and the lighting is just as brilliant. The park's trees are taller and older; in the alleys more idyllic. From everywhere breathes rural simplicity and cheerfulness. The Parisian student, who wants to take a break from his pandecks and gloomy carcasses, comes here with his grisette, who manages his household and receives for that two hats a year, shoes and balls at the Chaumiere.

At seven o'clock dancing begins - to the sounds of Musard's new quadrille. You must see this dance; it is impossible to describe it. This marvelous mixture, this throwing of limbs, heads, these movements are either naive, or curious, or hilarious, or pitifully funny, or sentimental, they are not given under any description.

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