How to dance trance music

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Please click [ ♥ Like ] button, if ya like it! Thanks!!! ♥♥♥ 😍❤️ MY PLAYLIST: ____________________________________________________________________ 2018 Vocal Trance Mix - Volume 1 = 2017 Vocal Trance Mix = Volume 2 = 2017 Vocal Trance Mix = Voume 1 = ____________________________________________________________________ February 2018 - Top Dance Songs / Vocal Trance Songs (Incredible Vocals) soundcloud. com/vocaltrance4ever/sets/vocal-trance-songs-february January 2018 = Top Dance Songs / Vocal Trance Songs 2018 (Beautiful Vocals) _____________________________________________________________________ Top Vocal Trance Songs - Exquisite Vocals!!! 500+ Songs Playlist ____________________________________________________________________ Vocal Trance Mixes 1, 2, 3, 4, 5 Playlist = Top Vocal Trance Songs!!! = Volumes 1, 2, 3, 4 + 5 Mixes = ___________________________________________________________________ Ibiza Summer Playlist = 300+ Songs Playlist (Fantastic Vocals!!!) = Summer Lounge Music *** Sensational whimsical dreamy vocals and easy listening songs for those breezy summer-time relaxing days in the sun or evenings with sunsets or nights with moonlights, or to chill out whenever. So just close your eyes and imagine the paradise islands of soothing beaches and beautiful skies. Do enjoy the incredible vocals from these amazing artists/ vocalists. Where To Buy:

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Trance Dance Induction Methods - Ecstatic Trance: Ritual Body Postures

by Erika Bourguignon. . . From the point of view of the scientific observer rather than that of the participant and believer, we may speak of trance in somewhat different terms. We may define it as a state of altered consciousness; that is, a state in which one or several psychological and physiological changes occur: a change in the perception of time and form, of colors and brightness, of sound and movement, of tastes and odors, a change in the feel of one’s own body, in sensations of pain, or heat or cold, of touch; a change in memory or in notions of one’s own identity. Such changes may last for shorter or longer periods, may be of greater or lesser intensity, may be frequent or rare or even a single event in the life of the individual. They may be fleeting experiences given little or no cultural interpretation or value, they may be terrifying events of major proportions. Or they may be prized and cultivated, intentionally induced, as a means toward a supreme experience of the self or of the powers of the universe. The reader will recognize in these comments some of the effects attributed to hallucinogenic drugs. The whole field of altered states of consciousness has in recent years acquired a popular fascination and an aura of familiarity. But drugs are only one of many ways to achieve such states. They have been sought, or feared and avoided, given cultural explanations and treated ritually in many hundreds of societies for thousands of years. The “psychedelic movement” and the “psychedelic experience” in contemporary America represent only a special, local variant of a major theme in human cultural history. While trance states can be—and often are—induced by drugs, in the ritual context these methods are especially typical of South American Indians and of some North Asiatic peoples. Where drugs are used the aim will be to have visions, to communicate with spirits, to gain special powers, to send one’s soul on errands to find lost objects or to bring back the abducted souls of sick persons. Indeed, the Siberian or South American shaman sends his soul “on a journey”— and we are not very far from the hippy term, “to take a trip. ” Elsewhere, particularly in Africa and among descendants of Africans in the Americas, drugs are rarely used for this purpose. Nor are dissociational states generally utilized to attain visions or insights. Instead, they are part of public ceremonial occasions in which dissociated individuals are believed to be possessed by certain spirits and act out the behavior of these spirits. Typically, musical rhythms associated with a given spirit or group of spirits are played, and the trancers dance the characteristic steps and movements of the spirits. They may be dressed to fit the part, often in elaborate costumes, but significantly, while impersonating the spirits, they generally do not wear masks. Masks, representing other groups of spirits, involve a different type of impersonation and are associated with other occasions, other dances and other dancers. . . . Like the mask, the possession trance phenomenon is intimately related to the dance. Indeed this is the kind of trance state (or dissociational state) most frequently linked to the dance. Non-possession trance, particularly the drug-induced variety, is essentially a passive, subjective and private experience, even when it occurs to several persons at the same time or to one person in the presence of others. The effect of the drug is likely to alter the perception of sound, of music and rhythm, and to limit more or less severely the controlled, co-ordinated and disciplined execution of patterns of motion. This in itself would tend to make dance performance unlikely. Possession trance, with its emphasis on impersonation, is an objectively demonstrated, active, public phenomenon. It requires an audience not only to validate the experience but, in most cases, to bring it about in the first place. Furthermore, possession trance may at times be more significant for the group that observes it than for the individual who experiences it; this is particularly true when, as is frequently the case, the experience is not remembered by the subject. The dance and the accompanying music may be used to initiate dissociation, or, in the language of the believers, to “invite” the spirits; or the dance may be the characteristic motion of the spirit. Or again—where the spirits are to be dispatched, forcing the trancer to dance to exhaustion, to unconsciousness—the dance may be the preferred method of exorcising or removing the possessing, interfering, alien spirit. Dance, music, handclapping, singing, costuming, the presence of an expectant and participating audience, a ritual setting at an appropriate place and time—all these are ideally suited to produce both induction of dissociation and the therapeutic results of the ritual. Expectation and suggestion are obviously of great importance in bringing these about. The music, with its increasing frequency and intensity, facilitates rhythmical movement and itself has a clear psychological effect: it may help to release the dancer of part of his responsibility for his movements and actions. But it may have a physiological effect on the brain as well, helping to induce dissociation. The dance itself will contribute to an alteration of breathing patterns; it may bring about hyperventilation and—if prolonged—partial exhaustion, both of which again facilitate dissociation. Another significant factor, however, is to be found in the frequent whirling and turning, of circular and rotational movements. These tend to affect the sense of balance and equilibrium, thus leading to dizziness. Disturbances of balance are likely to be experienced, involving a loss of control over the body and thus over the self. They may indicate the impending loss of consciousness. If, furthermore, a disturbance in the sense of balance is believed to be a preliminary to possession, to being “mounted” by a spirit as it is so frequently phrased, this in itself will contribute to the likelihood of the occurrence of trance. Thus there are many types of ritualized, patterned forms of trance; there are many types of beliefs in possession by spirits. In fact, several such types of trance and spirit-possession belief may co-exist in the same society or in different segments of the same society. When trance is interpreted as due to spirit possession and when spirit possession finds its expression in states of trance, then we are also likely to find a linkage between trance and dance. Non-possession trance more rarely uses the dance as its vehicle of expression and it is least likely to do so when hallucinogenic drugs are employed. Where spirit possession trance occurs, the trancer impersonates the spirit, but he is unlikely to utilize masks among his accessories. Ritualized, formalized dissociational states are found worldwide, are given a great variety of cultural interpretations and are embedded into many different institutions, customs, traditions and practices, most of which are religious in nature. The very wide distribution of these states among the peoples of the world would suggest that they are very ancient. We cannot trace their origins in the nearly two million years of human evolutionary history and to speculate about these origins would be rather pointless. . . . However, if we are more modest in our aims and look back to the span of five thousand years of recorded history, we meet many ancient examples of ecstatic dance involving experiences of dissociation and, often quite explicitly, a statement of belief in supernatural possession or union with the Divine. Our own Western tradition has its deepest roots in the Mediterranean world of Jew and Greek, and we find what we are looking for in both of these traditions. For example, we are told in the Bible (I Samuel 10) that Saul traveled with a company of ecstatic prophets. “And David danced before the Lord with all his might.” (II Samuel 6). He leaped and danced ecstatically before the Ark while he and his men played on such instruments as harps and psaltries, timbrels, cornets and cymbals, as the King James Version lists them. Ecstatic and dissociated behavior, visions and voices, appear throughout the Bible, both in the Old and New Testaments. ____________________________________ “Trance Dance Induction Methods” by Erika Bourguignon is an extract from The Highest State of Consciousness edited by John W. White, published by White Crow Books and available from Amazon and other bookstores. About the AuthorErika Bourguignon was Professor Emerita of Anthropology at Ohio State University, where she taught for more than 40 years. She is best known for her contributions to psychological anthropology, anthropology of religion and anthropology of women. Working with Dr. Erika Bourguignon was a significant turning point for Cuyamungue Insitute’s founder, Felicitas Goodman.  In 1973 Felicitas worked with Erika on a comparative study of 488 indigenous societies around the world. They found that 90 percent used at least one culturally institutionalized method to experience an altered state of consciousness. This became a significant clue that launched Felicitas on the path to re-discover the ritual postures.

Dance Trance - Trance

Trance dance is based on the state of feeling the rhythm and movement of your body. Trance is a beautiful, energetic style of rhythmic music that penetrates with its sound to the depths of the soul, body and brain, this is a mental state in which a person's consciousness perceives only a small fraction of what is happening around him.

Trance dance

Ever since the beginning of the 90s, techno-maniacs obsessed with electronic music have chosen this small Indian place and began to dance trance in the open air. Indo-Buddhist traditions, cyber-aesthetics, fluoro and techno, mixed, gave rise to another dance style.

The basis of this style " Psy-trans '' is improvisation. Here you can find elements of break , modern , jazz , any familiar plasticity, it all depends on imagination and memory.

-Trance " is not a "children's dance", not a sports, not a traditional " go-go ", it does not have a clear form. It is an improvisation, a dance of the spirit, free from illusions, a dance of power, where the dancer is first of all a personality, an artist, not a performer of someone else's canon.0005

In trance there is no melody and vocals, which frees the dancer from following their will, and the rhythm promotes free improvisation and finding a "new self".

You can know a lot of interesting movements and combinations, perform someone else's ballets all your life, but never learn to dance freely. There is a problem with some experts.

Trance is based on content and condition. The attitude to dance is deeper, it resembles a journey in space and time. Creativity and liberation are important here. It gives strength, energy, raises above everyday life.

The dance is very energy-intensive and is performed in long performances. V him a different approach, you must be able to keep your attention in improvisation for tens of minutes. First you need to stabilize your gaze, concentrate on breathing, straighten, stretch your whole self, feel the "central channel"

Features of dance Trance

DANCE BEGINS with small amplitude movements. First, the fingers come to life, they represent thoughts. Behind them are included brushes (mind), elbows [soul], shoulders [will].

Eventually, the body begins to move naturally and organically. It flows into the flow of inertia, rests at speed, controls breathing. Everything really appears here from the air: movement, rhythm, fantasies...

DIFFERENT ELEMENTS OVERLOOK THE BODY, it either "flows like water", or "flames like fire", or is carried by the wind, or becomes hard as metal. After the body is turned on, the whole body begins to tremble and jump. Moves evenly over the floor in microjumps with unexpected freezes.

The legs are very bouncy, they either knock out sparks, or trample the floor, or slip out, depriving of support, or take out in an unexpected jump. Hands compact and discharge space, create fields and strike. They either calm down, or vibrate from the energy that overwhelms them.

Energy ripples through the body. Wave-like discharges pulsate - from the center to the periphery and back. Inertia, looking for a way out, breaks out from different parts of the body.

Feeling that everything is shifting relative to each other, the eyes are burning with fire, and the head is surrounded by a sheaf of sparkling dust. The dancer seems to be knocked down by something, but he stubbornly continues the flight, in fact, he watches the phantoms rushing around, denotes spheres.

THE DANCE IS BASED on the swing and vibration, which either spreads throughout the body, or concentrates in the shoulders, elbows, and palms. Trans-artist demonstrates the state of mind in the circle of rebirths. In the Buddhist tradition, this is called the circle of samsara .

Dancer is a mirror that reflects all stages of cultivation - from the hungry spirits of hell to the gods of the higher realms. The goal is to show the frailty of all worldly passions and take the dancer to the Higher spheres. You can dance Shiva or Buddha and they are also a source of inspiration, thoughts and forms. Initially, this is a shamanic, yogic dance, where the deity and his state of mind are embodied in the dance.

Dance Trance releases the energy hidden in the depths of the human soul. It allows people to exchange internal emotions, sharpens the perception of the world.

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How to dance to trance | SUZUKI CLUB RUSSIA

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