Exploring the F-word in religion at the intersection of scholarship, activism, and community.
Author: Laura Shannon
Laura Shannon has been researching and teaching traditional women’s ritual dances since 1987, and is considered one of the ‘grandmothers’ of the worldwide Sacred / Circle Dance movement. She holds a BA in Intercultural Studies (1986), a postgraduate Diploma in Dance Movement Therapy (1990), an MA in Myth, Cosmology and the Sacred (2020), and is currently a PhD candidate at the University of Gloucestershire. Since 1998 she has been on the faculty of the Sacred Dance Department at the Findhorn ecological community in Scotland. Laura has carried out pioneering primary research in many Balkan and Greek villages, learning traditional women's songs, dances, rituals and textile patterns which embody an age-old worldview of sustainability, community, and reverence for the earth.
She is Founding Director of the German-based nonprofit Athena Institute for Women’s Dance and Culture; Director since 2021 of the Ariadne Institute for the Study of Myth and Ritual, to preserve Carol P. Christ's literary legacy and continue the Goddess Pilgrimage on Crete; and in 2018 was made an Honorary Lifetime Member of the Sacred Dance Guild in recognition of her 'significant and lasting contribution to dance as a sacred art'. Many of Laura's essays, articles and book chapters can be found at https://uniog.academia.edu/LauraShannon. Also a musician, Laura performs and records internationally with her husband Kostantis Kourmadias and others. She lives in Greece and the UK.
Knossos Throne Room showing edge of lustral basin at left. Photo: Laura Shannon
A few weeks ago I was on Crete, having coffee with an archaeologist friend. She happened to mention something strange. Crete has always been a seismic zone, with lots of earthquakes, yet remarkably, in Minoan times, no one was killed in collapsing buildings; they were never taken by surprise.
We pondered this – it seems astounding. They must have had some means of warning. Perhaps the serpents sacred to them could have given them some sign?
Two and a half years ago, our beloved friend and mentor Carol P. Christ passed to the realm of the ancestors. It’s been wonderful to read her archive posts every week as well as so many posts remembering and referencing her brilliant work. The FAR community was so important to her: as Carol herself pointed out, she not only offered her own posts each Monday, she also read and responded to every post, every day. I also cherish the daily connection to our FAR ‘family’, and find profound comfort for the loss of such a tremendous presence through this daily connection with others who knew her and miss her as as I do.
Part One of this article spoke of our collective yearning for peace, and the difficulty of imagining a peaceful world when we are taught to believe that “patriarchy and with it war and domination are universal and inevitable.” (Carol Christ, 2015)
But this is a myth. The peaceful civilisation of Bronze Age Crete lasted two thousand years with no sign of violence, slavery, or war. Most likely matriarchal, matrifocal, and matrilineal, ancient Crete embodied the final flowering of Old Europe. Art and archaeology reveal a life-loving people who honoured the earth, the Goddess, and nature, particularly mountains, caves, and trees. Key values and symbols of this culture of peace survive today in Cretan women’s dances and folk arts including pottery, textiles, baskets, and bread.
These are difficult days. We awaken daily to the ongoing horror of senseless killing. My heart is filled with a yearning for peace. Now is the time to dream of peace, to choose peace, to practice peace – within our selves, with those we love, in our communities and in our world.
But what might a peaceful world look like? It can be hard to even imagine – not only because we live in a world filled with war, but because we have been taught to believe, as Carol Christ explains, that “patriarchy and with it war and domination are universal and inevitable.” However, she goes on, “this is a myth perpetrated by those who do not want to give up the power and privilege the patriarchal system has accorded to them.” War is not inevitable. Peace is possible.
Kapka Kassabova is an award-winning author of poetry, fiction and nonfiction, born in Bulgaria and now living in the Scottish Highlands. Her newest work of narrative nonfiction, Elixir, soars with the luminous prose and unflinching honesty we have come to expect from this brilliantly gifted writer.
Elixir is an extraordinary, profoundly moving book. The moment I finished reading it, I began again from the beginning, pausing only to order multiple copies for friends. Like Robin Wall Kimmerer in Braiding Sweetgrass, Kassabova effortlessly integrates science and the sacred, addressing historical, ecological, and personal trauma with clarity, compassion, and hope. Elixir combines memoir, travel, history, ethnography, botany, philosophy, spirituality, eco-psychology, traditional Chinese medicine, and even alchemy, in a subtle, sophisticated exploration which defies categorisation.
Tree and Goddess motifs on the ‘Wall of the Foremothers’ (Ahninnenwand), Bodensee, Germany, 4th Millenium BCE
Yes, times are tough. But a better understanding of our interconnectedness can help us move beyond the cynicism, frustration, and despair we may be feeling in the modern world. A closer look at trees, and at women’s traditional circle dances, can offer valuable lessons about friendship, community, and the interconnectedness of all life.
Image 1: Berber women dancers and musicians of Taroudant, Southern Morocco. The long red fringes of their headscarves connote fertility and rainfall. Photo: Liz Hammer, 2014.
Since ancient times people have danced for rain, the life-giving gift from heaven to earth. Rain rituals were seen as important work and were usually performed by women, traditional bringers of life and fertility. Both bearing and raising children, and cultivating the land to nourish the community, are activities dependent on, and psychically equated to, rainfall. Women’s ability to bring rain when necessary was a key belief of indigenous European culture and is found in many places today. Many women’s dances, songs and rituals in Eastern Europe and the Near East express this connection, and women’s folk costumes often feature long fringes representing water.
In my recent post ‘Forty Days After Childbirth, Mary Returns to the World,’ I wrote that ‘the woman’s power to bless and protect, as well as to create, is shown in the symbol of her hand.’ We see expressions of this power in the Orthodox Christian icon of the Three-Handed Madonna, whose third hand is over her womb, and the Hamsa, the hand-shaped talisman common to Jewish, Christian, and Islamic traditions. Also known as the Hand of Fatima, Miriam, or Mary, the Hamsa often incorporates eye or vulva motifs, which also offer protection.
Hand, womb, and eye all signify female creative power, personified in the image of Goddess and revered in Neolithic Old Europe. This life-giving principle is expressed in many ways apart from childbearing: as Carol Christ affirms, early technologies of spinning, weaving, pottery, and agriculture, along with Neolithic religion, were most likely invented by women.
All week we have been warming our spirits at the sacred fire of Candlemas / Imbolc, the Celtic holiday in honour of Brighde, Irish saint and Goddess of poetry, smithcraft and healing. Imbolc falls approximately 6 weeks between the winter solstice and the spring equinox, one of the 8 festivals of the Celtic year.
In the Greek Orthodox Church, February 2 is celebrated as Ypopantis, the presentation of Jesus at the Temple, 40 days after his birth, in accordance with Mosaic law. This day also marks Mary’s ritual return to the world after forty days of postpartum seclusion. This practice was known in the Western Church as ‘churching’ or blessing a new mother after 40 days; Hindu tradition also recommends women spend up to 40 days in rest and isolation after childbirth.
Thirty years ago, Carol P. Christ founded her Goddess Pilgrimage to Crete, which she wrote about in her book A Serpentine Path: Mysteries of the Goddess (original 1995 title Odyssey with the Goddess) and in numerous posts on this site over the years. She led over 40 groups of women Pilgrims to encounter the history and sacred sites of the peaceful, egalitarian civilisation of Bronze Age Crete.
Here, the Goddess-honouring culture of Old Europe survived the longest, when patriarchal Indo-Europeans were taking over in the ‘Kurgan waves’ Marija Gimbutas has described. The sophisticated artworks of ‘Minoan’ Crete show women in positions of honour and authority, and do not depict violence, slavery, or war. People celebrated at ceremonial centres, made offerings at cave and mountain shrines, and worshipped the Goddess in sacred trees and stones.
As many readers know, before Carol passed away, she asked me to take on the leadership of her Goddess Pilgrimage, and to serve as her literary executor and the director of her Ariadne Institute for the Study of Myth and Ritual. Deeply moved by her trust in me, and guided by very clear dreams I received around the time of her death, I accepted Carol’s request. In October 2022, after a three-year delay due to the pandemic, the Goddess Pilgrimage to Crete was reborn.
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