A Serpentine Path: The Dance Is About To Begin by Carol P. Christ

carol-p-christ-photo-michael-bakasEntering the archaeological site of Kato Zakros, which includes a Sacred Center and part of a town on a small hill above it, I felt too tired to continue with the others. As we passed a stone bench to the north and west of the open court, I lay down and closed my eyes. I don’t know if I actually slept, but when I opened my eyes, I was in a trance.

I could see the air vibrating, and as I looked up the hill, I could almost see women walking up and down the stepped paths. My eyes were fixed on the path where women I could not quite see with my eyes went about their daily tasks. After a while Cathleen joined me. “I don’t want to talk,” I said, “but if you sit quietly beside me, you will see women walking in the village. She sat down and said nothing, but smiled broadly and nodded when I asked her if she could see what I saw.

After a while, I moved and sat facing the Central Court. I could still see the vibrations of the air, and as I looked across the court, I felt a sense of anticipation. “The dance is about to begin,” I told Cathleen when she joined me a few minutes later. She nodded. It was an hour before sunset, and the ancient stones were bathed in the last light of day. Jana and Patricia were talking in the central shrine room, while the others leaned over the ancient cistern watching turtles and turtle babies dive into the water and emerge again. “The dance is about to begin,” I said again.


Cathleen exclaimed, “I see the path of the dance rising up in the court. It looks like the Processional Paths we saw at Knossos, Phaistos, and Malia. Do you see it?” Though I did not “see” it, I was moved to the court, where I could “feel” it. I raised my arms, bent at the elbows, and slowly wove my way back and forth across the court, following a snakelike path I could feel with my feet. As I neared the center of the court, I almost lost my footing. Turning to face Cathleen, I gazed at her solemnly, sending energy through my palms. Cathleen raised her arms in greeting. I turned again, continuing to trace the snakelike path, back and forth, across the court. When I reached the south end of the court, I turned again to greet Cathleen and Robin who was sitting next to her. “The path you followed was exactly the path I saw,” Cathleen cried out with astonishment. “You were meant to stop at the center.” “It was an ancient path,” I said solemnly. 

Jana and Patricia, who must have been watching, entered from the northwest entrance to the court. Jana was leading, arms upraised, tracing another path, walking with the same slow rhythm in which I had been led. I turned and slowly walked towards Jana until I could sense the energy flowing between our palms, then we softly touched our upraised hands. Carol, Patricia, Cathleen, and Robin formed a circle around us, and stood, arms upraised one in each of the four directions. Sensing that we were meant to share the blessing with the others, Jana and I turned, walking slowly towards the women standing in the north and south, feeling the energy, then touching their palms. Back to the center, we turned to the east and the west, completing the ceremony. As we turned to face each other again, I whispered to Jana, “We were called to this dance. It was an initiation.”

. . .

[A few days later] thinking of the snakelike path I had traced on the ancient stones, my eyes fixed on the gold snake bracelet on my right arm. I reviewed the many meanings the symbol of the snake held in ancient cultures. Goddess temples were used for storing grain, the harvest returned to She who presided over it. Snakes were guardians of the temples, eating the mice and rats that came to take the grain. The coiled snake and the snake biting its tail are symbols of wholeness. Snakes shedding their skins are images of rebirth and regeneration. Snakes hibernate under the earth and are reborn. But there was more: the rhythm of the snake in movement. I picked up a pen and wrote: “a serpentine path.”

These words described our initiation in the dance at Zakros: the serpentine path is the path of life, a snakelike, meandering path, winding in and out, up and down, with no beginning and no end, into the darkness, into the light. There is no goal, only the journey.

A cycle was coming to completion in my life. Through hard work and amazing grace, I found my way back to the Goddess, to myself. The mystery that was revealed to me as my mother died was unfolding in my life. Love had never abandoned me and never would. The Goddess would be with me at every turn in the path, and in that knowledge. I could give up control and open myself to life.


a-serpentine-path-amazon-coverThis is an excerpt from A Serpentine Path, Carol P. Christ’s newly released, moving memoir of transformation. Order it now in paperback or on Kindle. Carol’s other new book written with Judith Plaskow is Goddess and God in the World: Conversations in Embodied Theology. Carol also wrote the first Goddess feminist theology, Rebirth of the Goddess.

Join Carol on a Goddess Pilgrimage to Crete in 2017. Save $200.

Read two more the chapters in the book: Mysteries and Dionysian Rites.

Thanks to Judith Shaw for the cover art “Downward Serpent.”

If the paperback is unavailable on Amazon, you can order it from Barnes and Noble.


Categories: Dance, Earth-based spirituality, Embodiment, Feminism, Feminism and Religion, Feminist Awakenings, General, Goddess Spirituality

Tags: , , , , , , ,

6 replies

  1. “Love had never abandoned me and never would. The Goddess would be with me at every turn in the path, and in that knowledge. I could give up control and open myself to life.” Such a timely, timeless message. Thank you!


  2. It’s so important to realize that the Goddess/Love is the heart of creation and thus she is the essence of our own life force too, here, now and always present.


  3. Back in 2004 when I was preparing for a personal pilgrimage trip to Crete and Malta, I read your book that at the time was entitled “Odyssey With the Goddess.” The chapter you’ve quoted from today particularly captured my imagination. The reason for my trip was an artistic experiment – I had been composing music in the avant-garde and experimental music scene for quite some time and many of my pieces had been based on themes related to the goddess traditions. Now it was time to visit some of these places. My idea was that I would record vocal improvisations on site, responding to the energies I was able to intuitively perceive while also being aware of the specific history and iconography of each place. At the time, I wasn’t at all sure what would unfold, but the more I showed up and experimented, the clearer the path became.Eventually I composed pieces from these recorded improvisations, each one connected to a specific site.

    When I arrived at Kato Zakros, I found my way to the central court, and recalling your story of the snake dance, I began walking rhythmically, spontaneously accentuating my breathing patterns. I made other recordings on site, including singing a rhythmic duet with a single cicada while sitting in a shady nook. With these recordings, I composed a piece I called “Serpentine Dance” which can be listened to at http://wendalyn.ca/track/serpentine-dance. (A listening tip – it’s best to use good headphones or speakers).

    Reading your post today Carol motivated me to share this story with you. Thank you for your inspiring stories and embodied ways of living in communion with these ancient traditions that continue to breathe new life into our current times. Your work has been a huge source of inspiration and guidance for me.


  4. I just finished _Odyssey with the Goddess_, the first version of this book, on my trip to Washington, D.C. to participate in the Women’s March. It seemed like a fitting read for the occasion. Your excerpt was also one of my favorite passages, since it described your intuitive feel into one of the sacred sites you visited, one that resulted in a dance of sorts. I had a similar reaction to a part of Avebury called the “cove” (I think that’s the name). I instantly knew that it was a place for ecstatic dancing, so I danced.


  5. For me it was the dance and the metaphysical meaning of the dance, dance as metaphor, the dance of life. Was it thus for you too Nancy?



  1. A Serpentine Path – Excerpt from the New Memoir by Carol P. Christ | The Motherhouse of the Goddess

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